In memoriam Maestro Maazel, Sony Classical re-releases the ‘Maazel Great Recordings’ 30-CD Box to honour his great work.
I had to hunt for this listing; for some odd reason this CD was buried in the Ultravox listings, almost lost! In any case, this is a great compilition of early Ultravox recordings, picking the cream off their first three albums, before Midge Ure and "Vienna" catapulted them to worldwide acclaim and popularity. But these songs were just as dynamic and moving. This version of Ultravox, of course, had a different lead singer, that being the stylish John Foxx.
Drawing on his vast experience as viola player of the Arditti Quartet, Ensemble InterContemporain and his close collaboration with many of the today’s leading composers, Garth Knox has become a master of many styles. Presenting a completely new interpretation of the “Book of Angels”, the beautiful medieval-tinged arrangements produced by Garth Knox and his group capture the folk song quality of Zorn’s compositions with a lovely and intimate ensemble of strings and percussion. Playing viola and viola d’amore, Garth presents these enigmatic compositions in a new and refreshing light. This penultimate installment of the “Book of Angels” is also one of the most charmingly beautiful.
Along with its sister recording, Pangaea, Agharta was recorded live in February of 1975 at the Osaka Festival Hall in Japan. Amazingly enough, given that these are arguably Davis' two greatest electric live records, they were recorded the same day. Agharta was performed in the afternoon and Pangaea in the evening. Of the two, Agharta is superior. The band with Davis – saxophonist Sonny Fortune, guitarists Pete Cosey (lead) and Reggie Lucas (rhythm), bassist Michael Henderson, drummer Al Foster, and percussionist James Mtume – was a group who had their roots in the radically streetwise music recorded on 1972's On the Corner, and they are brought to fruition here.
None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Miles Davis' promise that he could form the "greatest rock band you ever heard." Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970, and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, "Right Off," the band is Miles, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes.
With their second album, Miles Smiles, the second Miles Davis Quintet really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound. This is clear as soon as "Orbits" comes crashing out the gate, but it's not just the fast, manic material that has an edge – slower, quieter numbers are mercurial, not just in how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove. This is music that demands attention, never taking predictable paths or easy choices.
Miles Davis' concert of February 12, 1964, was originally divided into two LPs, with all of the ballads put on My Funny Valentine. These five lengthy tracks (which include "All of You," "Stella by Starlight," "All Blues," "I Thought About You," and the title cut) put the emphasis on the lyricism of Davis, along with some strong statements from tenor saxophonist George Coleman and freer moments from the young rhythm section of pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams.
To mark their 30th anniversary The Wonder Stuff release their eighth studio album, '30 Goes Around The Sun', on March 19th 2016 - thirty years to the day since the band first walked into a rehearsal studio in the heart of The Black Country in 1986. The band chose to revisit it's old stomping ground of Stourbridge to record the album and even managed to persuade renowned heavy metal and hard rock producer, Simon Efemey (Paradise Lost/Napalm Death/The Wildhearts), to return to his home town to produce the record.
Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps because this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of "So What." From that moment on, the record never really changes pace – each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz – tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance.