Reissue with the latest remastering. One of the hardest, heaviest albums that Ray Bryant ever cut – even on the ballads – a monster little record that grabs you from the very first note! Ray did the arrangements for this one himself – working with his core trio that featured Ron Carter on bass and Grady Tate on drums, and adding in a twin-trumpet frontline that cooks the groove over the top with a really righteous sound!
Cleopatra Records offers up this live set by glam metal queen Lita Ford. Recorded in 2000, the album comprises material from her first six solo albums, the most recent of which prior to this recording was 1995's Black. Her major chart hits "Kiss Me Deadly" and the Ozzy Osbourne duet (sans Ozzy) "Close My Eyes Forever" are both here, and she sounds remarkably vibrant playing for a small club's worth of hardcore fans. Her voice and guitar playing are in good form, though there are moments here that sound like obvious overdubs or pre-recorded parts, like the way-too-clean backing vocals on "What Do You Know About Love." Still, most of it has the fire of a hard-rocking band playing in a sweaty rock club, which is what fans would want from one of the founding Runaways.
Reissue with latest 2014 remastering. Comes with liner notes. This rare set features the cool-toned clarinetist Tony Scott with a big band on five numbers, heading a ten-piece band for three others and jamming with a quartet that also features the young pianist Bill Evans on the four remaining songs. The songs range from swing standards and the tongue-in-cheek "Rock Me But Don't Roll Me" to "Aeolian Drinking Song" and an original titled "Vanilla Frosting On A Beef Pie." Musically, the performances are pretty modern for the period while never failing to swing. This LP is well worth searching for, as are most of Tony Scott's recordings of the 1950s.
Special priced-down reissue available only for a limited period of time until December 21, 2015. Comes with liner notes. Finally, a non-bootleg issue of one of Miles Davis' greatest electric performances ever. In fact this is the very first of the Miles Davis Quintet's electric gigs – it was also one of the last four performances of this great band. Not just recorded, but performed. The band, consisting of Davis, Wayne Shorter on soprano and tenor, Chick Corea on Fender Rhodes, Dave Holland on both acoustic and electric bass, and Jack DeJohnette on drums. With percussionist Airto Moreira providing color and texture, the band became a sextet.
Reissue. Comes with new liner notes. This was the first real indication to the world that Keith Jarrett was an ambitious, multi-talented threat to be reckoned with, an explosion of polystylistic music that sprawled over two LPs (now squeezed onto a single CD). Using his classic quartet (Dewey Redman, Charlie Haden, Paul Motian) as a base, Jarrett occasionally adds the biting rock-edged electric guitar of Sam Brown and always-intriguing percussionist Airto Moreira, and indulges in some pleasant string and brass arrangements of his own, along with some grinding organ smears and acceptable soprano sax.
Features 24 bit remastering and comes with a mini-description. A beautiful fusion of Joe Zawinul's roots in the groups of Miles Davis and Cannonball Adderley – a set with some of the far-reaching jazz ideas of the former, and much of the soulful subtleties of the latter! The album features Joe on electric piano throughout, playing alongside Herbie Hancock in a twin-piano style that's quite spacious, and filled with slow-building, long-flowing lines! Other players include Woody Shaw on trumpet, Earl Turbington on soprano sax, George Davis on flute, Miroslav Vitous and Walter Booker on drums, and Joe Chambers, Billy Hart, and David Lee on a range of percussion.
Bill Graham rides in on a giant mushroom. Etta James and Tower of Power Horns featured as well as the mercurial John Cipollina on "Not Fade Away", "Deal" and "Sunshine Daydream".
Features 24 bit remastering and comes with a mini-description. The 1960's represented a very interesting time for musicians of all genres; three particular reasons began a trend for future generations of musical artists. The Beach Boys, The Beatles, and The Rolling Stones were the 3 reasons which permanently altered the musical landscape and basically made it impossible for stars of the past to remain economically viable in the present. The only 2 exceptions to the rule of course were Mel Tormé and Frank Sinatra.