We Can't Dance is the 14th studio album by Genesis, both recorded and released in 1991. It was released as a single album on CD and Cassette, and as a double album on vinyl. The album reached #1 in the UK, where it remained on the charts for 61 weeks. It was the band's final studio album featuring vocalist/drummer Phil Collins, who would eventually leave Genesis in 1996 to focus on his solo work.
Features 24 bit digital remastering. Comes with a description. The Charles Lloyd Quartet was (along with Cannonball Adderley's band) the most popular group in jazz during the latter half of the 1960s. Lloyd somehow managed this feat without watering down his music or adopting a pop repertoire. A measure of the band's popularity is that Lloyd and his sidemen (pianist Keith Jarrett, bassist Ron McClure and drummer Jack DeJohnette) were able to have a very successful tour of the Soviet Union during a period when jazz was still being discouraged by the communists. This well-received festival appearance has four lengthy performances including an 18-minute version of "Sweet Georgia Bright" and Lloyd (who has always had a soft-toned Coltrane influenced tenor style and a more distinctive voice on flute) is in top form.
Features 24 bit remastering and comes with a mini-description. A wonderful set from Barney Kessel – bossa-inflected jazz, and a wonderful setting for Barney to hit some very groovy lines on electric guitar ! The group on the date is part of the strength of the record – with Conte Candoli on trumpet, Emil Richards on vibes, Paul Horn on flute, and Victor Feldman on piano – with loads of great percussion and guitar interplay on the set, plus some excellent use of flute and vibes – all of which makes for the sort of session that really translates the Brazilian groove into the best sort of sound the LA scene was cutting at the time ! Nice, light, and dancing rhythms – and titles that include "Love", "Days Of Wine & Roses", "Latin Dance #1", "Lady Byrd", and "One Note Samba".
This specialty album is of particular interest for audiophiles and for anyone wishing to calibrate their precious sound system and speaker placement. This is a great Setup and Test recording, packed with expertly chosen music cuts, test tones, instrument resonances, stage perspectives, noises and a system burn-in track, in HD format, to help properly set up and enhance your system; a must have tool to help tweak your system for maximum performance.
Rui Massena conducts the Fundação Orquestra Estúdio’s recording of David Chesky’s fantasy for children The Zephyrtine ballet. The characters throughout the ballet are represented by specific instruments; the two main characters, Ben and the Zephyrtine, are voiced by the piccolo and the French horn. The Zephyrtine is a wonderful adventure that revolves around a little boy from Vermont, Ben, who meets a magical Zephyrtine and journeys to the enchanted land of Eudora. Eudora is a Utopian society where people are different colors, red, blue, green, and yellow! Vegetables are not grown instead built in factories, ice cream grows on trees, and fish fly. When the Blue Princess is captured by Ib the monster, it is up to Ben to rescue her and save the kingdom. Children are taken on a thrilling journey where they learn the importance of friendship and accepting cultural diversity.
Features 24 bit remastering and comes with a mini-description. This studio date came about as a result of Albert Mangelsdorff's appearance at the Third Yugoslavian Jazz Festival, where pianist John Lewis was impressed enough with his performance to set up a recording session a few days later. With bassist Karl Theodor Geier and drummer Silvije Glojnaric also on hand, none of the musicians had ever played together, though it made little difference as they quickly absorbed the originals of Lewis and Mangelsdorff, along with the familiar standard "Autumn Leaves" (a trio arrangement omitting Lewis) and Gary McFarland's "Why Are You Blue."
Features 24 bit remastering and comes with a mini-description. One of the strongest sessions recorded by pianist John Lewis in the 50s – a date that shows depths of his talents that run even greater than his work with the Modern Jazz Quartet, quite possibly because is work on piano is at the forefront of the record throughout! There's a sense of darkness here that really fits the image on the cover – a style that's stated clearly on piano lines that are often as spacious as they are gentle, but which also have a moodier undercurrent below, thanks to Lewis' careful choice of keys and notes.