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.
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".
The cover art of Reel Life, with a tiny image of Sonny Rollins sitting on top of a giant tape reel, is a telling factor in this 1982 studio session. Rollins was one of the first beboppers, and one of the last remaining to record with magnetic audio tape in an analog format. This sterling band with Rollins featured two electric and distinctly different guitarists in Bobby Broom and Yoshiaki Masuo, longtime electric bass guitarist Bob Cranshaw, and the keen and vibrant drummer Jack DeJohnette. As the career of Rollins moved into fourth gear, his love for hard bop, Caribbean music, and funkier styles continued to appeal to die-hard fans and the urban crowd.
Out of several live Hendrix albums, The Jimi Hendrix Concerts stands as one of the very best. Taken from shows at Winterland, The Royal Albert Hall, and from various venues in New York, Berkeley, and San Diego, the set includes hits like "Fire," "Voodoo Chile," and "Hey Joe," as well as fine blues like "Red House," "Bleeding Heart," and "Hear My Train a Comin'." Highlights include a definitive version of "Little Wing" and one of the most assured and driving versions of "Voodoo Chile" (these and four other stellar tracks come from what must have been an amazing concert at Winterland in the fall of '68). Another standout is "I Don't Live Today," which features a fine mix of jazz-inspired soloing and various feedback and distortion "tricks" (tricks that figure into Hendrix's way of "playing with the electronics," and which make up one of the more innovative aspects of his guitar playing). Hendrix gets adept and sympathetic support throughout from bassist Noel Redding and drummer Mitch Mitchell (Band of Gypsies' bassist Billy Cox replaces Redding on "Red House" and "Hey Joe").
Here are the first two albums from pioneer smooth jazz unit Pieces of a Dream on a single disc. Produced and mixed by the late Grover Washington, Jr., Pieces of a Dream/We Are One combine soulful, tight arrangements, spirited and inspired playing, and a canny knack for grooves, Pieces of a Dream and We Are One endure as gems of the genre.
D.S. Al Coda is the third album by the progressive rock and jazz fusion group National Health. It is a tribute to former member Alan Gowen, who died of leukaemia in May 1981, and consists solely of compositions written by him. Most of these had not been recorded in the studio before, although "TNTFX" and "Arriving Twice" both appeared earlier on albums by Gowen's other band Gilgamesh.