There's no arguing his sincerity when Trever Keith bellows "I don't want this to end!" to finalize Three Chords and a Half Truth. Face to Face started in the early '90s, opening for bands like the Offspring and the Mighty Mighty Bosstones, and yet they continue to go strong. After a few minor road bumps, for the 2010s they have managed to release an album every year, and for their 2013 outing the energy is still fully intact. Aside from some weightier production, there isn't much to separate the sound of the band from the early days, and that's a good thing.
A Common Truth is the second album by Saltland, the solo project of veteran Montr al cellist and composer Rebecca Foon. Following the acclaimed 2013 debut. Thought It Was Us But It Was All Of Us, Foon performed Saltland live in various successful configurations, but as the concept and compositions for a new album began to materialize, she wished to further expand on an approach with her cello as primary source for all sounds on the record. Combining unadulterated processed and sampled cellos, A Common Truth largely reflects this commitment and results in an album of gorgeous integrity, restraint, and meditative intensity. The one notable exception: longtime friend and prior collaborator Warren Ellis (Nick Cave, Dirty Three) is the album's special guest player contributing violin, pump organ and loops to the album's four instrumental tracks.
With IN A SILENT WAY, the elements of popular music, blues and electronics that had been implicit in Miles Davis' previous recordings now came center stage, and the trumpeter never looked back again. IN A SILENT WAY is Miles' BIRTH OF THE COOL/MILES AHEAD/KIND OF BLUE for the rock generation. Gone are the rhythmic and harmonic trappings of bebop. In their place, Miles conjures a hypnotic, subliminal dance pulse and an airy, celestial drone of electric keyboards. Miles fell in love with the bell tones and flute-like textures of Fender/Rhodes electric pianos, and in the hands of Herbie Hancock, Chick Corea and Joe Zawinul (who doubles on organ), they create layer upon layer of choral texture, in great reverberant washes of color and counterpoint.