Eric Reed didn't want to make a good record, he wanted to make a great one. The celebrated pianist and musician says, I could have called guys who play exactly what I want; it would have been good and not very interesting. It would have been swinging or it would have sounded nice there wouldn t have really been a spark. You don t just want to sound good. You want it to be amazing. And, his Groovewise is that killing record. It features a memorable quartet with Seamus Blake, Ben Williams, and Gregory Hutchinson and is the first recorded meeting of Reed and Hutchinson in over 15 years.
Eric Reed didn't want to make a good record, he wanted to make a great one. The celebrated pianist and musician says, I could have called guys who play exactly what I want; it would have been good and not very interesting. It would have been swinging or it would have sounded nice there wouldn t have really been a spark. You don t just want to sound good. You want it to be amazing. And, his Groovewise is that killing record. It features a memorable quartet with Seamus Blake, Ben Williams, and Gregory Hutchinson and is the first recorded meeting of Reed and Hutchinson in over 15 years. They are clearly inspired performing in front of a live audience and the creative energy flies off the bandstand. They open with an impromptu rendition of Powerful Paul Robeson for Clifford Jordan whose wife, Sandy, who was in attendance and they close with the extended title track Groovewise bracketing a thrilling set of live jazz. Several of the compositions are dedicated to the memories of Mulgrew Miller, Cedar Walton, and Marian McPartland and Eric s Until the Last Cat has Swung, is a declaration that jazz remains alive and well in the hands of a new generation. Although Eric might not feel ready to be a keeper of the flame, jazz music is much better off that he already is.
Every jazz pianist stands somewhere in the shadow of Thelonious Monk (1917-1982), and Eric Reed has embraced that shadow, with The Dancing Monk.
This disc introduces Yo-Yo Ma's latest and most ambitious adventure, the Silk Road Project. It explores the cultures that flourished along the Silk Road, the ancient trade route that for centuries connected Europe and the East. Founded by Ma in 1998, the project aims to create connections, mutual trust, and cultural interchange between people from different parts of the world through their only shared language: music. This recording includes music from Mongolia, China, Persia, Japan, Iran, Azerbaijan, and an improvisation on an Italian Renaissance street song, performed by musicians from all those countries, as well as America, on both Eastern and Western instruments. Ma, who participates in every piece either as soloist or part of the ensemble, plays cello and a Mongolian "horse-head fiddle." There is also a Mongolian soprano, who sings a traditional song native to her region.
If Wishbone Ash can be considered a group who dabbled in the main strains of early-'70s British rock without ever settling on one (were they a prog rock outfit like Yes, a space rock unit like Pink Floyd, a heavy metal ensemble like Led Zeppelin, or just a boogie band like Ten Years After?), the confusion compounded by their relative facelessness and the generic nature of their compositions, Argus, their third album, was the one on which they looked like they finally were going to forge their own unique amalgamation of all those styles into a sound of their own…
The Police were back in 1983 with Synchronicity, which hit No. 1 everywhere and remained on top a phenomenal 17 weeks in the U.S. The gold, Grammy-winning "Every Breath You Take" was No. 1 for eight weeks. "Wrapped Around Your Finger" was Top 10 and both "King Of Pain" and "Synchronicity II" became Top 20 hits. The quadruple platinum album took home a Grammy as well. "I do my best work when I'm in pain and turmoil," Sting told Rolling Stone. And indeed, the dissolution of his first marriage produced some of his best work yet, including "King of Pain" and the stalker's anthem "Every Breath You Take." There was pain and turmoil in the band, too — it would be the Police's last album."
Blind Faith was cursed at its very inception by being billed as a supergroup. This was truly a pity, because for all the classic beauty of its only recording, Blind Faith was a band that never had a legitimate opportunity to come together as a performing ensemble. Hyped to the hilt and rushed into a massive, chaotic tour, the band fell apart after its final American concerts when Eric Clapton packed it in to join Delaney & Bonnie's band. Despite the hurried and mysterious nature of the recording of the album Blind Faith, it produced two classic hits "Can't Find My Way Home" and "Presence of the Lord".
FELICIANO: A Name That is Synonymous with music. It is synonymous with an international presence that has influenced popular music for more than two generations. It is synonymous with a presence that has bridged musical styles in a way that has never been equaled. Jose Feliciano is recognized as the first Latin Artist to cross over into the English music market, opening the doors for other artists who now play an important role in the American music industry. As importantly, Feliciano has been acclaimed by critics around the world as "The greatest living guitarist"…
Bitches Brew is a studio double album by American jazz musician Miles Davis, released on March 30, 1970, on Columbia Records. The album continued his experimentation with electric instruments previously featured on his critically acclaimed In a Silent Way album. With the use of these instruments, such as the electric piano and guitar, Davis rejected traditional jazz rhythms in favor of a looser, rock-influenced improvisational style. Bitches Brew was Davis's first gold record; it sold more than half a million copies. Upon release, it received a mixed response, due to the album's unconventional style and experimental sound. Later, Bitches Brew gained recognition as one of jazz's greatest albums and a progenitor of the jazz rock genre, as well as a major influence on rock and funk musicians. The album won a Grammy Award for Best Large Jazz Ensemble Album in 1971.