Along with its fellow CD, Groove Blues, this reissue fully documents all of the music recorded by tenor saxophonist Gene Ammons on the busy day of January 3, 1958. Although there were many guest soloists, only one of the four songs on this half of the set (Mal Waldron's "The Real McCoy") has appearances by John Coltrane (on alto) and the tenor of Paul Quinichette.
In this tutorial we look at many different techniques to help create bigger, deeper and cleaner mixes, including: Multiple different EQ techniques to allow you to sit each layer of each sound in it's own part of the frequency spectrum, and removing phasing issues between clashing frequencies; Different compression techniques, from using a compressor to control the dynamic range of a sound, to using a compression as a effect to create movement in the mix; Extensive use of layering to build up each sound, and group of sounds, and planning ahead with your productions to allow you more choices when it comes time to mix; And much more!
From small beginnings in Amy Lee's home town of Little Rock, Arkansas, Evanescence have grown to become a global phenomenon, with their blend of metal infused intensity, gothic melodrama and pop sensibility adhering them to legions of fans across the world. Members have come and gone with some frequency, but this hasn't stopped the band winning several Grammy Awards and selling millions upon millions of albums, as Amy Lee has lead her group through its many guises to achieve that rare combination of critical acclaim and commercial success.
Lorenzo Thompson (Chicago) and Jose Luis Pardo (Argentina) met in the late 90´s in Buenos Aires. Several years and shuffles later, destiny reunited them in a wild and fun tour around all Spain. By the end of the tour in Sept. 2010, they went into Studio in Mallorca Island with local band Big Yuyu´s solid base and Quique Gomez playing harp. The result is an exquisite blues album payin homage to the greats but with a refined and fresh touch. Both Pardo and Jordi Alvarez play the true stuff with short but accurate solos. The voice of Lorenzo fills every room and this you will hear. Quique´s big sound in his harmonica easily reminds us of Little Walter and Pep on drums and Juan Amaro on bass are not playing one wrong note in the entire CD. Enjoy this piece of recent blues history.
During the 70s, the Japanese jazz scene was in an incredibly intense phase - one that had players breaking out of older modes that were often strict copies of American jazz, and working in newer styles that often blended soul, modal, and spiritual jazz with freer-thinking ideas and more Eastern-inspired modes. The result was an incredible batch of music that was probably more strongly recorded by the Three Blind Mice label than any other Japanese imprint - because unlike some of their contemporaries, TBM didn't fill their catalog with work by American players, and often focused exclusively on Japanese artists.
The Unknown is saxophonist/composer Phillip Johnston's soundtrack to the 1927 silent film of the same name. As with much of Johnston's other work, the music here is a witty, often changing mix of sounds and styles from various eras. Appropriately, there is an emphasis on various film music archetypes, although not just from the silent film era, but from more modern times, too. The tracks weave in and out of frantic, polka-driven chase-scene themes, genteel waltzes, nostalgic parlor-room piano sections, sultry noir-jazz passages, and more. Johnston also adds in more modern elements, from dissonant horn harmonies and free-leaning improvisation to a few rock-oriented rhythms and even some electronic/synthesizer touches.