There was something in the air in the urban corners of late ‘60s Japan. Student protests and a rising youth culture gave way to the angura (short for “underground) movement that thrived on subverting traditions of the post-war years. Rejection of the Beatlemania-inspired Group Sounds and the squeaky clean College Folk movements led the rise of what came to be known in Japan as “New Music,” where authenticity mattered more than replicating the sounds of their idols.
Reissue with the latest remastering. Comes with liner notes. Phil Woods toured Japan in 1975 with the Japanese Rhythm Machine (pianist Hideo Ichikawa, bassist Mitsuaki Furuno, and drummer George Otsuka), recording this album at during a concert at Kosei Nenkin Kaikan in Tokyo. The alto saxophonist is at the top of his game, while the rhythm section provides excellent support, with Ichikawa especially shining in the solo spotlight.
Beautiful late Blue Note work from Bobby Hutcherson – laidback, warm, electric, and with a mixture of CTI funk and some of the more lyrical soul jazz work of his years with Harold Land! Part of the credit for the set should go to George Cables – who plays both acoustic and electric keys on the record, and who gives the album a sweetly dancing feel that really warms things up wonderfully – and all other players are wonderful too, including drummer Eddie Marshall, bassist James Leary, and horn players Freddie Hubbard, Hadley Caliman, and Manny Boyd. Includes a great remake of "Little B's Poem", the mellow groover "Why Not", and the cuts "Til Then", "Knucklebean", and "So Far So Good".
A decade after they delivered Okie Dokie It's the Orb on Kompakt on…Kompakt, Alex Paterson and Thomas Fehlmann return to the stalwart Cologne label with an album bearing a less sportive title and it sounds like serious sci-fi business. The standard edition consists of four tracks, each one between nine and 15 minutes in length. Not one of them is humorously titled "Captain Korma" or "Komplikation," unless "God's Mirrorball" triggers a recollection of the first Tad album. Unlike Okie Dokie, this is all new, not an amalgamation of tweaked, previously released tracks and new material…
Surviving a shaky decade that produced a couple decent albums and few identity crises, Korn bring it back to basics on their 12th full-length, The Serenity of Suffering. It's both a reminder that Korn are the masters of this particular universe and also fiercely dedicated to its fans. Inasmuch as the Korn faithful are capable of fuzzy feelings, Serenity delivers goose bumps for those who have stuck with the band since the '90s. Diehards will notice that Jonathan Davis and the gang have brought things back to the Issues/Untouchables era – especially on "Take Me" and "Everything Falls Apart" – when Korn perfected the combination of nu-metal brutality, desperate vulnerability, and spook show creepiness (in fact, the Issues doll – now wrapped in stitched-up skin with exposed ribs – makes a prominent appearance on Serenity's album art). Without pandering to career-peak nostalgia, Korn deftly execute all the hallmarks that have come to define their sound.