Reissue with the latest remastering. Comes with liner notes. Strictly Bud Powell, in the best sense of the word – as the album's a sharp batch of trio tracks recorded for RCA in the 50s, and a great showcase for Bud's firey talents on the piano! The rhythm combo features bold work on drums from Art Taylor, alongside the bass of George Duvivier – but Powell's definitely the leading light here, as the album features some of his tremendously deft work on the keys throughout. There's a nice tension to the material – played with a strength that matches most of Bud's other work from the time – but a bit different than some of his other recordings for Verve and Blue Note. The set features 11 tracks in all – and titles include "Time Was", "Jump City", "Elegy", "Coscrane", and "Topsy Turvy".
Jazz superstar Chick Corea and some of jazz's finest musicians team up to salute legendary jazzman Bud Powell in these two 1996 sets. Corea, Roy Haynes, Kenny Garrett, Christian McBride, Wallace Roney and young master saxophonist Joshua Redman play live in Japan and Germany, highlighted by some of Powell's finest music.
In the bebop revolution of the 1940’s, as Charlie Parker was the leading voice of the alto saxophone, so was Bud Powell the leading voice of the piano. Recorded in 1956 (before his Paris sojourn), the long-unavailable Blues in the Closet features Powell’s lightning-fast runs and nimble keyboard navigations on a set of originals and well-chosen standards. He is accompanied by Osie Johnson, a solid mainstream drummer, and the dean of jazz bassists, Ray Brown. A must for Powell fans and bop devotees.
The story of the Cranberries is one of dogged survival. Debuting with a maiden release that everybody seemed to rate as a portent of great things, the band suffered not only a "difficult" second album but also an absolute stinker of a third one, as the bandmembers strove desperately – too desperately – to live up to their reputation for sensitivity and thoughtfulness, and completely lost sight of their true virtues in the process. Internecine squabbling, health problems, and general disaffection all took further toll, so much so that, as the band prepared to release its fourth album, 1999's Bury the Hatchet, many observers were shocked to learn that the band even existed any longer, let alone was capable of actually making a new record – especially one that was as good as Bury the Hatchet turned out to be. Filmed at the Paris Omnisport de Bercy on December 9, 1999, toward the end of that album's accompanying tour, Beneath the Skin captures the full 84-minute concert performance, with the band ranging and, occasionally, raging through a veritable greatest-hits collection. The 22 tracks date back to the shimmering beauty of the Everybody Else Is Doing It era, fast forward through the highlights (and there were a few) of the two albums that followed, and then climax with eight cuts from the new record, including an opening salvo of "Animal Instinct," "Loud and Clear," and "Promises" that restates Hatchet's own defiant kickoff.
BLUES PILLS are what they call the band of the hour. Their latest album, »Lady In Gold«, not only rocketed them onto position #1 of the German album charts and brought them numerous other chart entries all around the globe but also led them through the vast majority of the European continent…
From Robert's early Geometry and Rainforest period, with hours of previously unreleased music. Melodic sequencers with swift patterned keyboard improvisation, melting down into slow looping textures and flutes.