A collection of 80s/ first 90s music videos from AOR band Chicago. The promos of their best known hits and ballads are here included, coming both from the Peter Cetera and the Jason Scheff eras. Among them: 'Hard to Say I'm Sorry', 'Love MeTomorrow', '25 or 6 to 4', 'Will you still love me?', 'You're Not Alone' and 'Chasin' the Wind'.
According to Billboard chart statistics, Chicago is second only to the Beach Boys as the most successful American rock band of all time, in terms of both albums and singles.
The Chicago Symphony Orchestra has long been renowned for the sound of its brass section. This CD features the symphony's brass in a selection of pieces that span almost 250 years, including some works originally written for brass and some transcriptions of works for keyboard, orchestra, or band. It's a diverse and appealing program that effectively shows off the players' virtuosity and should interest any fans of brass.
The Chicago Transit Authority recorded this double-barreled follow-up to their eponymously titled 1969 debut effort. The contents of Chicago II (1970) underscore the solid foundation of complex jazz changes with heavy electric rock & roll that the band so brazenly forged on the first set. The septet also continued its ability to blend the seemingly divergent musical styles into some of the best and most effective pop music of the era. One thing that had changed was the band's name, which was shortened to simply Chicago to avoid any potential litigious situations from the city of Chicago's transportation department – which claimed the name as proprietary property…
Despite stints with Orchestras and duos Peterson loved the trio format best. Touring the world in the early Sixties with Ray Brown on Double Bass and Ed Thigpen on Drums the band settled in Chicago for a week long Residency, subsequently recording a four LP set of their performances. The two recordings here are considered the cream of the crop consisting of compositions from right across the 20th century along with two of Peterson's own, masterful creations. Originally released on Verve Records in 1961.
Features 24 bit remastering and comes with a mini-description. This is the music that will be playing when you die and go to heaven. Excellent original style Dixieland, George's clarinet is heaven! I don't know if any record can do justice to the live experience of the original giants of jazz creating this stuff. But the George Lewis tracks on this record come pretty close! For this alone this CD is well worth buying.
Thanks to the dedicated effort of the folks at Real Gone, this often bootlegged date by the Paul Butterfield Blues Band gets its first official release. These 13 tracks come from a smoking date at the Unicorn Coffee House in Boston. Nobody's sure of the exact date, but estimates put it somewhere during a two-week run in May, two months before the band's classic East-West was released. There's over an hour of music on what amounts to the first recorded document from this sextet: hard-grooving Chicago drummer Billy Davenport (Sam Lay left after the band's debut album) joined vocalist/harmonicist Butterfield, guitarists Mike Bloomfield and Elvin Bishop, organist Mark Naftalin, and bassist Jerome Arnold.
In 2001, legendary blues pianist Pinetop Perkins was edging up on 88 years of age when he played the concert date in Chicago documented on this album. Perkins sounds plenty spry here, but this certainly doesn't capture the great man at his best; Perkins was a pioneer of the boogie-woogie style and was a longtime member of Muddy Waters' band, but most of On the 88's: Live in Chicago is devoted to easygoing midtempo numbers that sound a bit timid compared to what he played in his prime. Perkins shows he still had a great touch on this recording, and his timing is more than fine, but his left hand doesn't quite anchor these tunes the way he did in his salad days (it might have helped if he'd been given a better piano for this gig, since the instrument has the tone of a second-rate electronic keyboard), and even if his singing is game, his voice was showing its wear.