Official 2016 remastered collection of 5 albums recorded for Prestige, housed in replica card sleeves with full original artwork. Includes 'Worktime', 'With The Modern Jazz Quartet', 'Tenor Madness', 'Moving Out', & 'Saxaphone Colossus'. The quality of the music collected here needs no comment, really. But what I like about this series of box sets is that the original LP covers are faithfully reproduced on the small paper sleeves, front and back, just like the Japanese do it with their ridiculously expensive miniature CD paper sleeves. All relevant discographic data, like musicians, recording dates etc., are listed on the CD labels, which is unique for this kind of box sets and a great service if you ask me.
Released swiftly after Ghost Stories – just a year and a half, all things considered – A Head Full of Dreams plays like a riposte to that haunted 2014 album. Where Chris Martin spent Ghost Stories in a mournful mood – his sorrow perhaps derived from his divorce to Gwyneth Paltrow or perhaps not; it's best not to read too much into the tabloid headlines – the Coldplay leader sees nothing but sunshine and stars on A Head Full of Dreams. Martin gives away the game with his song titles. He's quite literally having "Fun" on an "Amazing Day," living for the weekend and viewing his impending middle age as nothing so much as the "Adventure of a Lifetime."
Features the high-fidelity SHM-CD format (compatible with standard CD player). Cover artwork faithfully replicates original one. Comes with lyrics and a description. Camel was still finding its signature sound on its eponymous debut album. At this point, Peter Bardens and his grand, sweeping organ dominate the group's sound and Andrew Latimer sounds tentative on occasion.
John Paul Jones stayed quiet for years after the disbandment of Led Zeppelin, performing the occasional arranging, soundtrack, or production gig, or collaborating with such avant garde musicians as Diamanda Galas. Throughout it all, he never released a full-fledged solo album – until the fall of 1999, when he unleashed Zooma. Anyone that was following who Jones worked with in the '90s – including Galas, the Butthole Surfers, and R.E.M. – shouldn't be entirely surprised by the depth, range, and gleeful strangeness on Zooma, but those expecting something like Led Zeppelin IV will be disappointed.
The Dave Pell Octet was the epitome of mid-'50s West Coast jazz. With its tight arrangements, concise performances (usually around three minutes long despite the rise of the LP), soft tones, and distinctive brand of restrained swing, Pell's ensemble was a perfect representative of cool jazz. The ensemble originally was part of the Les Brown Big Band, gaining an independent life of its own in 1955. This valuable reissue CD from 1998 has all of the first 13 selections that Pell recorded for Capitol – eight from 1955 and the remainder from 1957 – plus four titles (one previously unissued) led by trumpeter Don Fagerquist with a similar band in 1955 (one of only two opportunities that the underrated great had to head his own date).
By 1974, the phenomenon known as T. Rextacy was on the wane. The group had always been Bolan's vehicle, but the departure of some original members, the addition of three backup vocalists, and the name change, to Marc Bolan And T. Rex, signaled a significant new direction for the band.
The sound of ZINC ALLOY shows the influence of American soul music, and demonstrates an overall evolution. Where the group's biggest hits were basically gritty, straightforward rock, the sound on ZINC is flashier, more orchestrated, and generally slicker. The prominent string section and heavy echo of the opener, "Venus Loon," recalls Phil Spector. Additionally, Bolan shares many of the vocal duties with his girlfriend, the American singer Gloria Jones. In the record's sometimes operatic settings, the pair occasionally sound like Meatloaf and Karla De Vito.
Give 'Em Enough Rope, for all of its many attributes, was essentially a holding pattern for the Clash, but the double-album London Calling is a remarkable leap forward, incorporating the punk aesthetic into rock & roll mythology and roots music. Before, the Clash had experimented with reggae, but that was no preparation for the dizzying array of styles on London Calling. There's punk and reggae, but there's also rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock; and while the record isn't tied together by a specific theme, its eclecticism and anthemic punk function as a rallying call.
At age eighty, tenor saxophonist, composer and band leader Benny Golson is still going strong, and although he experienced a few lean years, is very much a force on the modern mainstream jazz scene in the years of the 2000s. He has revived the spirit of his original Jazztet, co-founded with the late trumpeter Art Farmer, on several occasions since the ensemble was originally founded in 1959. This edition features a strong front line of Golson, trumpeter Eddie Henderson, and trombonist Steve Davis, players from different generations who completely understand the hard and post-bop language. The rhythm section is even more delicious, with pianist Mike LeDonne, peerless bassist Buster Williams, and younger drummer Carl Allen working together in the best sense of that ideal.
In There Is No Love, Davies, Sylvian and Wastell offer a sparse and brooding setting of Bernard Marie Koltès’ text – part of a longer play from 1985 - in which its two characters, named only the Dealer and Buyer, are barely more than ciphers, their ghostly figures enacting a mysterious negotiation in a crepuscular world where emotional engagement has departed in place of commodified exchange (“There is no love”.) What, exactly, is being bought and sold is never revealed, yet Sylvian’s careful enunciation bristles with implicit violence and desire.
Sublime early work from Stan Getz — a lyrical genius even at this early point in his career ! There's a subtle brilliance here that's undeniable — a tenor sound that draws from Lester Young and Ben Webster, but which pushes into fresh new territory for the 50s — lean, but still very soulful at the core — a blend that none of Stan's contemporaries could ever match this well ! The album features a group that includes a very young Bob Brookmeyer on valve trombone, plus rhythm by Teddy Kotick, John Williams, and Frank Isola. Tracks are longish and easily swinging — and Getz's tone, as always, makes the whole thing come together like magic!