1100 Bel Air Place was designed as Julio Iglesias' breakthrough to the American audience, finding the Latin superstar recording with producer Richard Perry – the architect behind blockbusters by Barbra Streisand, Ringo Starr and Harry Nilsson – and duetting with such established American superstars as Diana Ross, Stan Getz, the Beach Boys and Willie Nelson…
A lost chapter of genius from vibes player Billy Wooten – and a great one too! The set's a rare outing with Hammond giant Groove Holmes – laid out nicely here in a quartet setting that offers up plenty of Billy's great vibes mixed with the organ – in a mode that's very different than anything else Wooten ever recorded, and which really takes us back to the best soul jazz years of 60s Prestige Records! The group also features great tenor from Jimmy Coe – a player we don't really know at all – and drums from Jozell Carter, who works nicely with the rhythms from Holmes' work on the Hammond. Titles include "Blue Bossa", "Bags", "Groove's Blues", "It's A Groove Thing", and "I Remember April."
The second (and arguably most fully realized) album from Texas psychedelic band Fever Tree, Another Time, Another Place owes less to the sound of roots-based contemporaries like the 13th Floor Elevators, Moving Sidewalks, or the Sir Douglas Quintet and more to heavier West Coast acid rock. One of the most underrated '60s psych bands, Fever Tree comes off like a coincidental midnight meeting of Jim Morrison, Steppenwolf, Jefferson Airplane, Iron Butterfly, and Jimi Hendrix at the tail end of a drug and whiskey binge…
Reissue with the latest 2015 DSD remastering. Comes with liner notes. Not J.J. Johnson's initial public offering by any means, First Place was done with only a quartet in 1957 for Columbia Records, where other efforts by the legendary jazz trombonist were set in a larger ensemble format. Long out of print, this is now on CD with bonus tracks from 1954 featuring Charles Mingus. Playing standards and originals, Johnson assembled a mighty band with pianist Tommy Flanagan, bassist Paul Chambers, and especially on-fire drummer Max Roach, a group you'd be hard-pressed to top.
Guitarist Mike Stern's music has often been a little difficult to classify, featuring strong improvisations, the sound and power of rock, and elements of funk, R&B and sometimes pop. For his second recording as a leader, Stern is joined by either Bob Berg or Michael Brecker on tenor, keyboardist Jim Beard, electric bassist Jeff Andrews, drummer Peter Erskine and percussionist Don Alias; Don Grolnick sits in on organ during "No Notice." The music (seven Stern originals) ranges from the rhythmic to the more sophisticated and features plenty of the leader's high-powered guitar.
Each box contains 25 slipcase CDs, a booklet (up to 186 pages) and an index. The booklets contain extensive notes (Eng/Fr) with recording dates and line-ups. 31 hours of music in each box, totalling 1677 tracks Each track has been restored and mastered from original sources. The only reason I can think of for there not yet being a review of these four boxed sets, is that those who own them are just too busy having one hell of a blast listening to them. Some people moan about the 50 year copyright law for audio recordings in Europe, but without it this highly entertaining, eye-opening and educational undertaking could never have taken place. These 100 discs (spread over four boxed sets of 25 discs) tell the story of jazz from 1898 to 1959.
DGM has shown such amazing improvement with their 4th release, Hidden Place. The band has evolved and created their own sound, escaping the shackles of being a Symphony X rip-off. Although at times the singer Titta Tani sounds a lot like Russell Allen, he has a much broader vocal range. He's can be (but isn't always) more ferocious than Russell, especially on the last track Winter Breeze, in which he shows he can scream with the power of any black metal vocalist. Not only have DGM's vocals improved, but also their production. At last, every instrument is crystal clear and the sound is exactly how progressive metal should be like. Technically, DGM is almost perfect.