A team of geologists attempt to remove a native cannibal population from an island to perform atomic research, but the cannibals' female leader disposes of them one by one by seduction.
Here We Are Again is the fourth album by the psychedelic rock band, Country Joe and the Fish. It was released in 1969 with the US catalog number Vanguard VSD 79299. It peaked on the Billboard 200 at number 48, and stayed on the charts for eleven weeks. Only Country Joe McDonald and Melton remained from the original lineup that began breaking up since the previous album. The past members would appear as guest musicians however.
This was the second of Joe Newman's three dates he led under the Swingville banner. For this session he was in the very fine company of Frank Foster (tenor sax), Tommy Flanagan (piano), Eddie Jones (bass) and Bill English (drums). Recorded 10 months after the excellent JIVE AT FIVE album (also for Swingville), and with Flanagan and Jones returnees, this album is just as good as its predecessor. Frank Foster's forceful, mainly middle-register playing is very effective, and Tommy Flanagan is as good as ever. Only one tune, MO-LASSES, which is a blues a bit too overloaded with funk, is not up the the high level of the other tracks. A solid date.
It is difficult to think of this as anything but pure joy, although in some ways it is less intense than other releases led by the remarkable violist Mat Maneri and it is stamped with a cerebral quality from the start. There is a surprisingly charming density, too, that comes through on most tracks, though as with most of his work, there are few if any melodic references but instead a focus on color and sound. Maneri carefully paces himself and the quintet so that every note counts, resulting in some of his most interesting work on disk. At times it might seem somewhat slow, even morose, but upon close listening a diversity and a depth are revealed that belie the noir episodes.
One of the many jazzmen who started out playing hard bop but went electric during the fusion era, Joe Sample was, in the late '50s, a founding member of the Jazz Crusaders along with trombonist Wayne Henderson, tenor saxman Wilton Felder, and drummer Stix Hooper. The Crusaders' debt to Art Blakey's Jazz Messengers wasn't hard to miss – except that the L.A.-based unit had no trumpeter, and became known for its unique tenor/trombone front line. Sample, a hard-swinging player who could handle chordal and modal/scalar improvisation equally well, stuck to the acoustic piano during the Crusaders' early years – but would place greater emphasis on electric keyboards when the band turned to jazz-funk in the early '70s and dropped "Jazz" from its name.
Joe Pickett vient d'obtenir le poste de garde-chasse, dans la ville de Saddlespring, état du Wyoming. Il aime son métier, et tente de le faire le mieux possible.
Un jour, il surprend un braconnier qui vient de tuer trois cerfs. Les deux hommes échangent des mots, le ton monte…