Hammock go massive as they meditate on grand themes of death and loss, their music ever larger, more expansive. Every song a mountaintop vista with a clear view to the horizon, unencumbered by clouds, in all directions. Departure Songs demands that it be played loudly so that the details in each track can breathe, whether it is the androgynous, falsetto vocals of Marc Byrd or the angelic voice of Christine Glass Byrd or just a little bit of guitar in the background, this record is nuanced in a most compelling fashion. The arrangements beg to be picked apart - soaring guitars, propulsive bass, and hypnotic strings. The vocals work wonderfully as an instrument, but when the words finally become understandable, they cause shivers.
This LP would be recommended if only for trumpeter Woody Shaw's autobiographical liner notes which definitively sum up both this recording and his career up to 1972. Four of Shaw's originals are interpreted by a sextet also including Emanuel Boyd on flute and tenor, keyboardist George Cables, bassist Henry Franklin, drummer Woodrow Theus II, tenorman Ramon Morris (on two songs) and Bennie Maupin on tenor for "The Goat And The Archer." The music falls between hard bop, modal musings and the avant-garde. Although possessing a tone similar to Freddie Hubbard's, Woody Shaw was a more advanced player and his solos throughout the date are both original and consistently exciting.
Formed in 2011 with Mathew Spivack and Chris Childness, the band had several line-up changes with Kody Little departure and Calvin Merseal joining the band in 2013. At that period, the band went into a productive writing period. Kody came back to solidify things even further. The band has to rely on many musicians to play the keyboards because they don't have a permanent keyboard player. They had a lot of songs to record (more than 3 hours). The first album "Time of Departure" was the first of a trilogy around the story of Alan Quill struggling artist in this modern society. They played at the Progtoberfest III in Chicago, the second album "As We Were" was just ready for that festival. The music of Amalgam Effect shows some nice interplay between guitar and flute with a solid rhythm section. The influences of Jethro Tull and Rush can be heard but in the distinctive own style of the band.
English composer Thomas Tallis witnessed dramatic changes of religion under four monarchs, and his career accordingly represents the development of polyphonic church music in Renaissance England. Along with his student and fellow Roman Catholic, William Byrd, Tallis was one of the earliest composers to publish music under royal patent in England, and his works demonstrated the shifting doctrines and styles of liturgy in the reigns of Henry VIII, Edward VI, Mary I, and Elizabeth I. This 2017 Obsidian release features one piece with a text by Henry VIII's sixth and last wife, Katherine Parr, which gives the album its title, though the mix of Roman Catholic and Anglican pieces on the program suggests that "songs of Reformation" may be seen as one-sided. In any case, the performances by the vocal ensemble Alamire and the viol consort Fretwork put the emphasis on Tallis and his varied output, rather than on the theological preferences of royalty. The result is a well-balanced portrait of Tallis, and his choral music is given transparent textures and clear diction by the 14-voice choir, which maintains independence of parts while offering an evenly blended tone.
A prolific singer, remembered as one of the greatest pop song stylists alongside Ella Fitzgerald, Billie Holiday, and Sarah Vaughan. Peggy Lee's alluring tone, distinctive delivery, breadth of material, and ability to write many of her own songs made her one of the most captivating artists of the vocal era, from her breakthrough on the Benny Goodman hit "Why Don't You Do Right" to her many solo successes, singles including "Mañana," "Lover" and "Fever" that showed her bewitching vocal power, a balance between sultry swing and impeccable musicianship.
Classic Bob Dylan songs interpreted by British artists drawn from the 60s pop, folk, beat and underground scenes.
JUNO-nominated Canadian jazz quartet, Peripheral Vision launches their fourth album, More Songs About Error And Shame. "A rules-breaking quartet made up of some of the best modern players around" (CBC), Peripheral Vision extends their no-holds-barred performance aesthetic into the production concept on this album. Once again, they have teamed up with mad-scientist engineer, Jean Martin (Barnyard Records) to orchestrate a bigger sound for the record, adding layers of overdubs and studio treatments to the live-off-the-floor recordings. Peripheral Vision has always been a live show band, and the seven new Herring and Scott originals on More Songs About Error And Shame show what can be gained from years of touring, including three recent tours throughout Europe as well as many trips across Canada.