In music and love, routine can be deadly. The exquisite stillness of the xx's music was so distinctive and influential that, by the time of Coexist, it felt dangerously close to confining them instead of defining them. Given the half decade between that album and I See You, change wasn't just necessary, it was inevitable.
In the follow up to 2015’s Night Drops, Italian producer Indian Wells aka Pietro Iannuzzi returns with his third full length. Released via Los Angeles label Friends of Friends - home to the likes of Shlohmo, Nadastrom and Jerome Lol - Where The World Ends tackles the concept of borders that perpetuate our day to day politically, socially and geographically.
Flamboyant, larger than life and eternally funky. All of the music herein has been instrumental in defining the infectious Afro-beat sound which Fela and his band had been relentlessly crafting into long extended pieces since the 1960s. Essential music for anyone interested in African dance music and funk in general.
The Kansas City alto saxophonist Charlie Parker, who was to post-second-world-war jazz what Louis Armstrong had been to its first wave, is as likely to be remembered today for his heroin habit and early death than for his exquisite and melodically stunning improvising. If that era's jazz is like journalism, Parker was its acutely observant war reporter, who kept coming back from the front of his own exploding world with new stories to tell.
Features 24 bit digital remastering. Comes with a description. The first studio date of the Charles Lloyd Quartet, with Keith Jarrett, Cecil McBee, and Jack DeJohnette, was recorded and released just a few days before the band took both the European and American festival circuits by storm. First came Europe, which was just getting the disc as the band was tearing up its stages. While the live dates are now the stuff of legend, it's easy to overlook the recordings, but to do so would be a mistake. Dream Weaver is a fully realized project by a band – a real band – in which each member has a unique part of the whole to contribute.
Whatcha Gonna Do? is an album by British blues rock musician Peter Green, who was the founder of Fleetwood Mac and a member from 1967–70. Released in 1981, this was his fourth solo album, the third in his 'middle period' of the late 1970s and early 1980s, and his last for PVK Records. All the tracks on the album were written by Green's brother Mike.
Features 24 bit digital remastering. Comes with a description. The Charles Lloyd Quartet was (along with Cannonball Adderley's band) the most popular group in jazz during the latter half of the 1960s. Lloyd somehow managed this feat without watering down his music or adopting a pop repertoire. A measure of the band's popularity is that Lloyd and his sidemen (pianist Keith Jarrett, bassist Ron McClure and drummer Jack DeJohnette) were able to have a very successful tour of the Soviet Union during a period when jazz was still being discouraged by the communists. This well-received festival appearance has four lengthy performances including an 18-minute version of "Sweet Georgia Bright" and Lloyd (who has always had a soft-toned Coltrane influenced tenor style and a more distinctive voice on flute) is in top form.
In commemoration with her concert in Japan in July, Sarah Brightman brought a new greatest hits album exclusively released in Japan. The album includes leading songs in her career such as "Time to Say Goodbye (solo version)," "Nessun Dorma," "Canto Della Terra," "Stranger In Paradise," and "Pie Jesu." Features the high-fidelity SHM-CD format. Japanese original release. Tracks 16-18 are bonus tracks.
Mr. Bojangles pairs Sonny Stitt with arranger Don Sebesky for one of the smoothest and most mainstream-facing dates of the saxophonist's career. Sebesky's luminous treatments underscore the elegance of Stitt's soulful alto and tenor leads–Roland Hanna's graceful electric piano leads the music even closer to funk, but the overall emphasis is more on atmosphere than rhythm. The material likewise spotlights ballads and slow-burn groovers, borrowing liberally from the pop charts for tunes including "Killing Me Softly with His Song" and "Ben"–even War's "The World Is a Ghetto" simmers instead of boils.