Consisting of Steve G. Jones` Explorations Beyond The Body (14 Empowering Audio Modules) and Intensive (9 Empowering Audio Modules) as well as Steve G. Jones` Explorations Advanced Journeys (16 Empowering Modules), this system is designed to take you step step-by-step through the process of having and sustaining a conscious Out of Body Experience (OBE) by equipping you with the essential prerequisites needed to achieve a true astral experience.
Working in Tennessee, Merle Haggard's second album for Vanguard, plays a little slower and softer than 2010’s I Am What I Am, a record where Hag gently dwelled on his mortality. There are times where his age crosses his mind – particularly on “Sometimes I Dream,” where he casually lists off things that aren’t likely to pass his way again – but generally, he’s ready to “Laugh It Off” as he gripes about what’s playing on the radio, smokes a little dope, and enjoys playing a little bit of blues as he looks back to the past, even cutting a couple of old favorites (“Cocaine Blues,” “Jackson”) and a new version of “Working Man Blues.”
The Tibetan Freedom Concert was the largest rock charity event of 1997, a two-day event held in June that featured many of the biggest names in rock and rap. Appropriately, it was filmed and recorded with the intention of being released later in the year as a charity record. The triple-disc set, The Tibetan Freedom Concert, is the extraordinary document of that weekend, containing one performance apiece from the 36 artists who appeared at the concert.
Concerts with Maria Schneider are something special. They are stylistically not only out of the ordinary, they also manage to bring large orchestras to perform artistically at high voltage, with an energy and at a creative level which is otherwise known only in much smaller ensembles. It is not the music alone that drives the participants, but rather the serene seriousness of a band leader who demands a maximum of intensity from her compositions and passes this premise on to their interpretation. It is impossible to conceive of compositions for jazz orchestras more stringently. The instrumentalists know this too, and therefore feel called upon not only to reproduce the charts accurately but to work out all the contained hints, implications, and visions of sound down to the deepest levels. This original recording was made in May 2000 when Schneider appeared alongside the SWR Big Band. And for the SWR Big Band, those days in May 2000 are some of the highlights of their orchestral history.