Former Ultravox leader John Foxx continues to explore his minimal, electronic pop on THE PLEASURES OF ELECTRICITY. Taking a cue from Kraftwerk, one of Foxx's most obvious stylistic touchstones, PLEASURES is a streamlined monorail of lock-step computer-generated beats and wiry synthesizer melodies with an equal emphasis on dark, atmospherics and energized, danceable rhythms.
A Classics collection of tenor saxophonist Dexter Gordon, 1947-1952 features some of the mellow jazzman's most identifiable recordings from that period. Beginning with an extended version of "The Duel," the disc also includes Gordon's epic tenor battle with Wardell Gray on "The Chase."
Gordon Haskell is an English musician and songwriter. A pop, rock and blues vocalist, guitarist, and bassist, he was a school friend of King Crimson guitarist Robert Fripp, the two first working together in Fripp's mid-1960s teenage group the League of Gentlemen (not to be confused with Fripp's later new wave band). Haskell first gained recognition as bass player for the British band The Fleur de Lys, and subsequently spent a short period in King Crimson, singing one of the songs on their second album and both singing and playing bass on their third album. After departing from King Crimson, he continued his musical career as a solo musician, finally gaining international recognition in 2001 with his hit song How Wonderful You Are followed by his Platinum selling album Harry's Bar.
Scarcely three decades old, the enduring appeal of novelist Stephen King's horror oeuvre has already begun to foster remakes of the films and TV productions already based on his most popular works. This cable TV redux of King's 1975 tale of a small hamlet beset by vampires features an ominous, brooding orchestral and choral score that's a winning collaboration between newcomer Christopher Gordon and former Dead Can Dance mainstay cum film scorer Lisa Gerrard. The gothic seasoning she imparted to her previous collaborations with Hans Zimmer (most notably Gladiator) comes to the forefront on this score's haunting title aria (composed by Gerrard and partner Patrick Cassidy) and tracks like "Bloody Pirates" and "Free in Spirit." But it's the music of newcomer Gordon (Master and Commander) whose sheer scale and ambition belie the small screen format it was written for at nearly every turn.
Although tenor saxophonist Dexter Gordon seemed to have been largely forgotten in the U.S. during his long residence in Europe, he was playing in prime form during the period and made occasional trips back to America. On this CD reissue, Gordon teams up with pianist Wynton Kelly (one of his last recordings), bassist Sam Jones and drummer Roy Brooks for an obscure original ("Evergreenish"), "The Jumpin' Blues," the veteran ballad "For Sentimental Reasons" and three songs that were long a part of Gordon's repertoire: "Star Eyes," "Rhythm-A-Ning" and "If You Could See Me Now." Dexter Gordon is in fine form on the excellent straightahead bop set.