Delegation was formed in the United Kingdom in 1975 by Ricky Bailey, Len Coley and Roddy Harris.In 1979, Delegation released Eau De Vie, on the Ariola label and had international hits with "Heartache #9", "You And I" and the "Put A Little Love On Me". By 1980, Coley and Harris were replaced by Ray Patterson and Bruce Dunbar, and group continued on with lesser success.
Predictable is not an adjective associated with the recordings of pianist Steve Kuhn. He is joined by bassist Steve Swallow and drummer Pete La Roca for this exciting studio session from the mid-1960s, both of whom he had worked with under Art Farmer, as well as on La Roca's smashing debut as a leader, Basra. With the exception of "Ida Lupino" and "Never Let Me Go," the music will likely be unfamiliar to most jazz fans, but adventurous souls are in for a treat. Kuhn's originals include the furious modal work "Bits and Pieces," which sounds as if it represents the center of a storm, as well as "Today I Am a Man," which suggests a well-known composition from the heyday of the bop era. "Why Did I Choose You" is played with a soft bossa nova accent, while Sergio Mihanovich's "Three Waves" is intense, with overlapping changes of rhythm. "Never Let Me Go," a favorite of singers, is understated and subtle, only hinting briefly at the melody.
Some stellar stuff in there, and other bits that are a bit more on the forgettable side of things. Even though Young's output was starting to be a bit inconsistent, he was still very much trailblazing and this CD is nonetheless an important document; This was to be his last complete album session before his untimely passing at age 38, and it shows the maverick organ player charting a course for the funkier and electrified side of things. This CD was only made available in Japan, as a part of the "Legends Of Cosmic Jazz Funk" paper sleeve series.
The music on this "M-Base" recording, despite the difference in instrumentation, does not sound radically different than Ornette Coleman's harmelodic music of the 1980s. Altoist Steve Coleman is the lead voice throughout most of his originals and his solo style (often relying heavily on whole-tone runs and unexpected interval jumps) is intriguing, but it would be surprising if his rhythm section did not get bored playing the funky (although eccentric) rhythms after awhile.
24bit K2 digitally remastered Japanese limited edition special issue of the album classic in a deluxe, miniaturized LP sleeve replica of the original vinyl album artwork. A sweet session of 70s electric jazz – recorded as a unique live all-star outing by a group of Arista's best jazz players at the time! The second of two volumes of an excellent live show featured Steve Khan (g) and The Brecker Brothers.
Good reviews can kill a band, particularly if they arrive before they've ever released a record. That essentially happened to Symposium, who was labeled the "best live band in Britain" by the weeklies at the tail end of Britpop – the handful of days before OK Computer and Urban Hymns replaced Parklife and (What's the Story) Morning Glory? as the template for modern British pop.
Kazumi Watanabe has for the past 40 years been one of the top guitarists in fusion, a rock-oriented player whose furious power does not mask a creative imagination. Watanabe studied guitar at Tokyo's Yamaha Music School and he was a recording artist while still a teenager. In 1979, he formed the group Kylyn and, in 1983, he put together the Mobo band. Several of his recordings have been made available by Gramavision and they show that he ranks up with Al DiMeola (when he is electrified) and Scott Henderson among the pacesetters in the idiom.
ELV1S: 30 #1 Hits is a greatest hits collection of songs by American rock and roll icon Elvis Presley that reached No. 1 in both the United States, Australian and the United Kingdom's album charts. The album was released by RCA Records on September 24, 2002. When released, ELV1S: 30 #1 Hits was an instant success, going straight to the top of the albums charts in several countries and shipping mass quantities around the world. By 2003 the album had received certifications in more than fifteen regions and had sold millions of copies worldwide…
Slavic Smile was recorded in 1982, shortly after the Modern Jazz Quartet was reunited. On this album, the unique pianist of the MJQ, John Lewis pursued a different sound and approach from the legendary group, albeit with the same instrumentations and Connie Kay on the drum chair…
…the whole album was resplendent in a happy balance of all of these creative elements, before excessive experimentation (musical and chemical) began affecting the band's ability to do a straightforward song. The group never made a better album, and few artists from the era ever did.