Billy Cobham, the pioneering jazz-rock fusion drummer who left all his rivals and imitators in the dust when he surfaced in the 1970s, always sounded like a complete musician rather than simply a technical miracle. Approaching 70, he still does. Cobham and a hard-rocking quartet are at Ronnie Scott's, celebrating the 40th anniversary of the drummer's bandleading debut album, Spectrum, by playing most of the music from it, and a little new material besides.
What made this flat-out show so much more than a routine tribute-band trot through a famous tracklist was the enthusiastic drive of the band.
Since 1977, when the double-live Love You Live offered a live souvenir of the 1976 Black and Blue tour, the Rolling Stones made a habit of documenting their recent tour with a live album released a year later. It's as reliable as clockwork, but in the early days of the 2000s there was a spanner in the works – the Stones hadn't released an album of new material since 1997…
In 2002, the Rolling Stones launched a major tour to celebrate the band's 40th anniversary and support their career-spanning FORTY LICKS collection. For the Stones and their fans, this marked a return to many long-overlooked live favorites and a chance for the iconic British group to show the younger generations how rock & roll was meant to be played. On this double-disc live set, Mick Jagger and Keith Richards (both bordering on age 60 during this tour) lead the band through more than 20 classics with their time-defying energy and showmanship intact.
A Guitar Licks Goldmine awaits in this incredible acoustic collection! With four hours of content, this DVD is jam-packed with a variety of tasty lead lines, fingerstyle phrases, and creative riffs personally taught to you by professional guitarists Colin O'Brien, Peter Roller, Matthew Schroeder, and Ben Woolman. From blues to bluegrass to rock and beyond, each and every authentic lick includes; A walk-through explanation by a pro guitarist. Note-for-note on-screen tablature. Normal- and slow-speed performance demos.
These two concerts, from very early in Maria Callas' career, are of the if-you've-got-it-flaunt-it school of singing. At these points in her performing life there was little Callas couldn't do: almost three octaves were at her command; she was fearless (and reckless) with her resources; and her innate dramatic sense was, if not quite in full-bloom, then at least in mid-blush.
The first concert alternates two murderous–and voice-murdering–Verdi heroines, Abigaille and Lady Macbeth, with two coloratura shrinking violets, Lucia and Lakmé. The alternation of heavy and light, brutal and fragile, is astonishing, the variations in tone consistently remarkable, the singing itself absolutely secure. From 1954 we get light coloratura (Dinorah) enchantingly sung; dramatic coloratura (Konstanze) with a vengeance; lovely lyric (Louise) almost convincing but not quite "pretty" enough; and the nearly-overwhelming fireworks of Armida. The sound is acceptable-to-good. This is a must-have.–Robert Levine