Evolución is the name of a Chilean Progressive rock band. Although founded and active since the Eighties, keyboards player Pedro Muñoz' group had to wait for more than twenty years before its works were eventually published, thanks to the good care of the Musea and Mylodon labels. "La Era De Piscis" is thus a collection of pieces recorded between 1982 and 1986. As for the music, it is halfway between the Progressive rock of Camel ("Music Inspired By The Snow Goose" period) and Eighties-like fusion jazz-rock, the whole with an innate melodic sense. The quality of the whole album is simply so remarkable that you finally wonder why such music was never officially released earlier!
Shakatak's keyboardist Bill Sharpe's has always written memorable tunes, of which lyricist Roger Odell said: "The melodies are always very catchy, chord sequences are always nice." In fact Bill Sharpe's piano playing is one reason for jazz fans to enjoy Shatatak's music, as he produces well-constructed solos as well as writing sweet but jazz-infused melodies which are immediately unforgettable. Another reason for liking this band is its tight funkiness. One has only to hear on YouTube some of the amateur attempts at Shakatak tunes to realise how much the band contributes to their success. George Anderson Jr.'s slapped bass guitar drives the band along, with help from Roger Odell's propulsive drumming. There's a lot to like in this classic jazz-funk recording.
The Getaway gave Chris de Burgh his first charted single with "Don't Pay the Ferryman," which peaked at number 34 in 1983. A feverishly fast-paced tune, it contained vibrant keyboards and had de Burgh powerfully barking out the chorus in one of his most intense offerings. As his most spirited single up to that point, it proved that he could easily dish out a charging rock song that still harbored his enchanting brand of lyrics and mystery. Other songs carry this surging flow as well, like the flighty tempo of "The Getaway," kept together by its pop/rock stride, or the determination aching from de Burgh's voice throughout "Ship to Shore,"…
Features 24 bit remastering and comes with a mini-description. A tremendous live performance from the group co-led by Red Rodney and Ira Sullivan – two players who really bring a lot to each other's music! There's a mode here that really blows us away – a careful, sensitive approach that allows each horn player to hit their most lyrical moments – shading things in with a far richer palette of sounds than we might ever have expected. The rest of the group's a big factor for the album's sound, though – as it features the great pianist Garry Dial, who also wrote some of the tunes – plus Jay Anderson on bass and Jeff Hirschfield on drums. Rodney plays trumpet and flugelhorn, and Sullivan plays flute, flugelhorn, alto, and soprano sax – on titles that include "How Do You Know", "As Time Goes By", "Sprint", "My Son The Minstrel", and "Speak Like A Child".
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. Pianist Debbie Poryes works here with a Dutch trio formed right after her arrival on that scene – a nicely-balanced group that really respects Debbie's sensitive touch on the keys, and seems to make her subtle sounds come out even more than they might in the setting! Poryes has an approach that's on the mellower side of lyrical – kind of a post-Bill Evans approach, but even more subtle overall – yet one that's also very striking in its subtlety – as the lean choices of notes show just how far and free jazz piano had come by this time, but in ways that could still swing and stay inside. The group features Hein Van De Geyn on bass and Hans Eykenaar on drums – and titles include "For Brad", "Sweet Georgie Fame", "Holland", "Foolish Door", and "My Romance".
Vince Clarke can claim involvement in two stunning debuts in only two years: Depeche Mode's Speak and Spell and Yaz's Upstairs at Eric's. While Speak and Spell is, by far, the more consistent record, Upstairs at Eric's is wholly more satisfying, beating the Depeche record on substance and ambition, and is light years ahead in emotion. "Don't Go" and "Situation" are absolutely killer with Clarke's bubbling synth and singer Alison Moyet's bluesy and powerful delivery.