Trombonist Curtis Fuller's recordings for Savoy in the 1950s, like those of labelmates Hank Mobley, Milt Jackson, Wilbur Harden, Donald Byrd, and others, were prototypes in the development of hard bop. The next stage would come with the subsequent work of many of the same artists for Blue Note, where improved recording technique, greater attention to writing and arranging, and a more generous policy with respect to preparation and rehearsal time helped bring in the classic hard bop era of the late '50s and early '60s. On Fuller's Jazz…It's Magic, the hard bop prototype is still under refinement, but it's easy to enjoy the music in its essential elements: elegant, bluesy melodies; earthy, yet sophisticated, solo work; and fresh treatments of standards.
Coming a year on from the brash debut EP, Melvista, Inner City Dream features twelve tracks of swirling psych, jangly pop and punchy, crunchy glam that show off Fullers broadening sonic palette and his progression as a writer and producer.
After the elegant, introspective romantic narratives of And Then Nothing Turned Itself Inside-Out and the beautifully crafted but restrained pop textures of Summer Sun, it was hard not to wonder if Yo La Tengo was ever going to turn up the amps and let Ira Kaplan go nuts on guitar again. For more than a few fans "Pass the Hatchet, I Think I'm Goodkind," the opening cut from YLT's 2006 album I Am Not Afraid of You and I Will Beat Your Ass, will feel like the reassuring sound of a homecoming – ten minutes of noisy six-string freak-out, with James McNew's thick, malleable basslines and Georgia Hubley's simple but subtly funky drumming providing a rock-solid framework for Kaplan's enthusiastic fret abuse.
“Beat” was released in June 1982 just eight months after the 80s Crimson lineup debut album “Discipline”. It marked the first occasion where a King Crimson line-up had remained intact for a two album stretch and was also the first album by the band to employ a separate producer – Rhett Davies. The juxtaposition of lyrics heavily influenced by 50s beat luminaries Jack Kerouac and Neal Cassady. The complex polyrhythmic musical textures of the ‘80s Crimson, the strength of the songs and the cohesion of the studio performances, all helped the album chart upon release in the US and the UK…