Amazingly, it has been 30 years since Roy Orbison‘s 1987 television ‘comeback’ show A Black & White Night. To mark the occasion ‘Roy’s Boys’ – Alex Orbison and Roy Orbison Jnr – have gone back to the source footage and audio and re-edited, remastered and, if you are feeling fanciful, ‘re-imagined’ the television special, to create an expanded audio/visual document that will be available on CD/Blu-ray or CD/DVD in February. The concert – filmed at Cocoanut Grove in Los Angeles – was shot using seven separate cameras and there were hundreds of hours of footage that went unused and unseen. Roy’s youngest son Alex has gone back to this source material and, with the help of co-editor Luke Chalk, re-edited to reflect the correct set order as seen by those who attended the show.
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.