The Bay Area band Oxbow have been putting out noisy, experimental rock music and putting on intense and confrontational live shows since 1989; frontman Eugene Robinson probably still holds the informal “toughest man in underground rock” championship. But it’s been a solid decade now since the band put out their last album, 2007’s The Narcotic Story. So it’s very cool to learn that Oxbow will return this spring with a new LP called Thin Black Duke. Just like Oxbow’s other records, this one promises to be equally influenced by classical music and mash-your-face hardcore.
Vocalist/cornet player Al Basile's longtime friend Duke Robillard gets front cover billing, as well he should, as co-producer and guitarist on this impressive outing. The album, Basile's fifth, was even recorded at the guitarist's Pawtucket, RI studio called the Mood Room, hence the album's title. Musically, it's a combination of old-school R&B ("Baby Sister," "Be a Woman"), swamp-tinged rock & roll ("I'm in a Mood"), mid-tempo, Chuck Berry styled groovers ("Coffee and Cadillacs"), grinding blues ("Picked to Click") and even a jump blues throwback to the duo's Roomful of Blues days ("She's on the Mainline"). Robillard keeps the sound full yet stripped down – most of the tracks feature a standard three-piece – bass/drums/guitar setup – which leaves space for Basile's sly vocals and snappy lyrics. Basile, a teacher and fiction author who also has a Master's degree in creative writing, not surprisingly crafts lyrics that are far more imaginative and original than most blues artists'. But they never detract from these melodies that glide along sparked by Robillard's tasty licks.
La Maison du Duke is proud to present a collection of unpublished recordings of Duke Ellington, which come from an important stock of Ellington archives (Clavié collection), acquired by the association, which only a few collectors had access to today . The CDs are reserved for members of the Maison du Duke association and are not intended to be marketed.
Duke Daniels is not a solo artist, but rather an alias for singer/songwriter Dan Clark and his bandmates. Led by singer, songwriter and multi-instrumentalist Dan Clark, Duke Daniels is one of southern California's best new country rock bands. With Clark's baritone vocals accompanied by Geoffrey Moore on guitar, Larry Aberman on drums, Byron Thomas on keyboards and Nick Sample, the son of jazz bassist Joe Sample, on bass, Duke Daniels continues to build on their roots-oriented sound.
The sort of album you can imagine Leonard Cohen making if still with us,or even Lucinda Williams.A blissfully laid back album as Duke's sofly spoken lyrics of dread are almost enough to make you feel sleepy.This won't start any parties,but for those quiet moments of contemplation it's excellent.
The widely heralded recordings made of Duke Ellington & His Orchestra during a 1940 concert in Fargo, ND, have been justifiably praised for their historic value as well as for the surprisingly good sound obtained by a pair of young amateur engineers with a portable disc cutter. Both the soloists and Ellington's unique-sounding blend of reeds and brass are very distinct. Some of these tracks previously appeared on the Jazz Society label, followed by a Book-of-the Month Club set, and all of them appeared on the now-defunct Vintage Jazz Classics, but this latest version tops them all for sound quality.
This most unusual Duke Ellington record includes two selections featuring nine symphonic percussionists on timpani, vibes, marimbas, and xylophones. Dizzy Gillespie makes a historic appearance with Ellington's orchestra on "U.M.M.G."…
Though Duke Ellington called his first concert of sacred music "the most important thing I've ever done," it might have been more accurately called the most controversial thing he had ever done – even more so than the so-called "Controversial Suite." The year was 1965; institutions of all kinds, including organized religion, were under fire; even Time magazine dared to run a cover with the legend "Is God Dead?" In response to progressive members of the clergy, jazz musicians like Ellington, Lalo Schifrin, Vince Guaraldi, and a bit later, Dave Brubeck took up the challenge of fusing Christian texts with jazz – and no project had a higher profile, nor drew more fire, than Ellington's.