This recording chronicles the live performances of Bruford Levin Upper Extremities from 1998. The disc showcases the band's unique blend of jazzy modes with Crimson-esque textures and, occasionally, just plain weirdness. Many of the tracks become looser jams in the live performance. For those who saw this tour, the disc will be a great memento. For those who didn't, it will serve as a shining example of what they missed, and encouragement to be more careful not to pass up subsequent tours. The band is Tony Levin, Bill Bruford, Chris Botti, and David Torn.
These two sonatas, originally written for clarinet, marked the end of an intense period of depression for Brahms, during which his creative energies had all but faded. Kim Kashkashian, whose command of the viola unearths an even deeper realm of possibility in this already engaging diptych, faithfully captures the somber circumstances of its creation. In doing so, she shows that the viola is no less an instrument of breath, drawing from deep within her lungs the sheer vocal power required to carry across such arresting music.
Bill Bruford and Tony Levin, two very well known prog musicians, formed BRUFORD LEVIN UPPER EXTREMITIES for a while, which was a fusion band. They put out two albums, a self-titled and a live album called "Blue Nights." David Torn and Chris Botti were the other two members of the band.
The rumors of retirement weren't true. While it's nearly impossible to keep anything a secret in the 21st century, David Bowie managed to accomplish the feat, recording The Next Day during a period many believed he had sung his last note. Once you hear the album, Bowie's first in ten years and 30th studio effort of his career, you'll be thankful he's come back for more.
For a first crack at a fresh idea for Lazy Bones Records—three well-known musicians brought together to create improv-based music with a minimum of planning—Levin Torn White (2011) was a set that, beyond finding common ground amongst bassist/stick master Tony Levin, guitar sound sculptor David Torn and drummer Alan White. Levin Minnemann Rudess is an even better outing, if for no other reason than the two musicians associated with Levin this time around are even more impressive, both from sheer instrumental mastery and in their ability to shape a far more focused 65-minute set of thrilling material that leans even more heavily into progressive rock territory with complete aplomb and no shortage of reckless abandon.