David Cross was a member of King Crimson during the 1970s and David Jackson was a member of Van der Graaf Generator. This new studio album also features Mick Paul on bass, Craig Blundell on drums and was produced by Jake Jackson. The 12 new tracks on this album showcase the talents of Cross & Jackson and will appeal to the fanbases of both artists and the bands they have been in. It’s an innovative meeting of minds. The band will be touring in support of the album and it will be publicised with a worldwide marketing campaign
The music of the Mediterranean Deconstruction Ensemble led by Moscow-based pianist Gregory Sandomirsky follows a twofold formula. It could be described as a continuation and further development of what he was doing with Lampa Ladino and is still doing with Goat’s Notes, two other bands he had co-founded: reimagining the traditional music of Sephardi Jews and free improvisation, respectively. On this album, it barely takes three minutes for the deconstruction to begin: the Sephardi tune literally crumbles, or is smashed, into pieces, only to reassemble for a melodious comeback in a matter of another couple of minutes. In the end, however, Mediterranean slightly beats deconstruction. For the most part, elements of free improvisation only serve to enhance and adorn the smooth flow of these compositions. Sandomirsky and his teammates have apparently reached a level of freedom where they can rein back their anarchic instincts if necessary.
Timothy Lee Miller presents SOMETHING MORE, eight original jazz compositions that explore the unique relationships that the composer has with his family. Expanding upon something as simple as a photograph or a memory, Miller's noir-influenced jazz expands his reflections beyond words, and instead creates story through moods. The album features both contemporary compositions, as late as 2017, as well as some that Miller had written back in the 1980s.
Backed by some of the top bop players of the day, Al Cohn stretches out here for a program heavy with up-tempo swingers. Cut in two sessions during 1950 and 1953, Cohn's Tones finds the usually more mellow tenor great feeding off the driving drum work of both Tiny Kahn and Max Roach. Besides the ballad evergreen "How Long Has This Been Going On" and a bluesy "Ah-Moore," the eight-track set is all Cohn originals done in a Lester Young-on-the-West Coast style. Also featuring the talents of pianist Horace Silver, this early Cohn release is at once hot and cool, vigorous and lithe.