| | Red Garland Manteca CD Red Garland Discography of CDs
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Our Price: $9.89  CDFor Sale Usually ships in 1-2 days
Our Price: $5.94
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Digitally remastered by Phil De Lancie (1990, Fantasy Studios, Berkeley, California).
This is a solid CD reissue that differs from most sets by pianist Red Garland in that, in addition to bassist Paul Chambers and drummer Art Taylor, ... Red Garland Manteca Songs Manteca Review
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Purchase Manteca CD To buy, Click on price to add to cart | Red Garland All Kinds Of Weather CD (1958)
Manteca album
 $9.85  
Digitally remastered by Kirk Felton (1990, Fantasy Studios, Berkeley, California).
Red Garland was always a consistent pianist and all of his mid-to-late-'50s Prestige dates are worth acquiring. This CD reissue has six titles having to do with seasons and the weather (such as "Rain," "Summertime" and "Winter Wonderland"). The gimmick served as a good excuse for Garland, ...
| | Red Garland P.C. Blues CD (1957)
Manteca CD music
$9.85
Digitally remastered by Phil De Lancie (1996, Fantasy Studios, Berkeley, California).
This CD is a reissue of P.C. Blues, a trio album from 1957 that features pianist Red Garland with bassist Paul Chambers (the "P.C." in the title) and drummer Art Taylor. In addition to the four original titles (which are highlighted by a sensitive version of "Lost April" and the lengthy "Tweedle Dee Dee"), Garland's feature on a 1956 Miles Davis record, "Ahmad's Blues" (which features him with Chambers and drummer Philly Joe Jones), adds to the value of this thoughtful but swinging ...
| | Red Garland Can't See For Lookin' CD (1958)
Manteca music CDs
$9.89
Digitally remastered by Joe Tarrantino (1996, Fantasy Studios, Berkeley, California).
Pianist Red Garland recorded many sets in the late 1950s and early '60s, often (as in this case) with bassist Paul Chambers and drummer Art Taylor. Despite the LP length of this CD reissue (under 35 minutes), this is ...
| | Gerry Mulligan Meets Johnny Hodges CD (1960) Remastered; Digipak
Manteca songs
$9.89 
Gerry Mulligan's 1959 studio date with Johnny Hodges is one of the most satisfying sessions of his various meetings with different saxophonists for Verve, yet it was inexplicably the last to be made available on CD. With a hand-picked rhythm section consisting of pianist Claude Williamson, bassist Buddy Clark, and drummer Mel Lewis, and three originals contributed by each of the two leaders, everything gels nicely, though several tracks took more than three takes (in spite of liner note writer Nat Hentoff's assertions) to reach their final form. Mulligan contributed the gorgeous ballad "What's the Rush" (where he sat back to enjoy Hodges' solo and never plays his own horn), the easygoing swinger "Bunny," and the brisk cooker "18 Carrots (For Rabbit)," the latter which its composer would ...
| | Continuum Mad About Tadd: The Compositions Of Tadd Damerson CD (2004)
Manteca album
$11.09
| | Chocolate Watchband At The Love-In Live! CD (2001)
Manteca CD music
$11.39 
This is an Enhanced audio CD which contains regular audio tracks & multimedia computer files.
Bill "Flo" Flores (bass); Gary Andrijasevich (drums, background vocals).
Recorded live at the Westbeth Theatre, New York, New York on November 6, 1999. Includes liner notes by Alec Palao & Dave Aguilar.
The classic lineup of the Chocolate Watchband, with David Aguilar on vocals, was arguably the best garage punk band of the mid-'60s, as well as one of its most short-lived. This live reunion from 1999 is therefore a most welcome addition to the band's canon. It gave the group a chance to refashion some old tunes that may have been rushed by producer Ed Cobb when they were first recorded. For example, "She Weaves a Tender Trap" seems more fully realized than the original, and it's nice to hear Aguilar, and not Don Bennett, sing "Let's Talk About Girls." But "Gone and Passes By," despite Aguilar's claims to the contrary, pales next to the original's sitarized Bo Diddley groove. The essence of garage rock was always spontaneity over fidelity, not to mention teen angst, so the idea of men in their fifties presenting pristinely recorded oldies might be alarming to purists. But there is no doubt it's great fun and the energy is contagious. The Chocolate Watchband have always owed their greatest debt to the Rolling Stones, from whom they borrowed their sneer and sound. Despite the fact that the Stones have had tours longer than the Watchband's original tenure, At the Love-In: Live will endure in your CD player long after No Security has been put away. ~ Brian Downing
Originally formed in San Jose, CA in 1964 and officially breaking up in March 1970, Chocolate Watchband is back. Today C.W.B. are considered both internationally and historically amongst the foremost of all American garage bands from that era. Releasing only 3 albums altogether under the supervision of producer/songwriter guru Ed Cobb in 1967, 1968 and 1969, C.W.B. are more popular and collectible today ...
| | Thelma Houston Sunshower CD (1969) Japan
Manteca music CDs
$45.09
| | Best Of Sadao Watanabe CD (2005) Import
Manteca songs
$51.75
| | Champion Jack Dupree Mercy On Me CD (2006)
Manteca album
$6.19
Liner Note Author: Paul Oliver.
| | Andres Calamaro El Cantante CD (2007) (Import)
Manteca CD music
$27.75
| | Horslips Unfortunate Cup Of Tea CD (2008) (Import) Japan; Mini LP Sleeve
Manteca music CDs
$56.35
| | Dam-Funk Toeachizown CDs (2009)
Manteca songs
$13.85 
These two discs slightly whittle a five-volume series of 35- to 40-minute LPs, a generous amount of modern--yet unapologetically nostalgic--synth funk from a former session musician who does it all in his Los Angeles garage. Dâm-Funk fits within the domain of future/past left-field R&B, alongside Sa-Ra and J*Davey, however, his inspirations are relatively focused, narrowed down to the fallout caused by synthesizer wizards Bernie Worrell and Junie Morrison that affected funk's developments for a few years, from the tail-end of the '70s to the brink of Chicago house. What also sets Dâm apart from his contemporaries is a total reliance on, and mastery of, old gear; that's how some of these tracks swing like the best of Mtume's '80s albums while bouncing, kicking, and squirming like Zapp and early Prince. A highly specialized sound that serves one purpose--unwinding, basically--should lend itself to listener fatigue after 140 minutes, but most of the 24 cuts do distinguish themselves with repeat listens. Dâm's warm synthesizers jab, ripple, glide, and writhe over an array of chunky machine rhythms, from the twilight slide of "Candy Dancin'" (with a nod to Mary Jane Girls' "Candy Man") to the psychedelic flutter of "Mirrors." Some of the melodies, like the twinkling figures throughout "The Sky Is Ours" and the low-profile "10 West," where Dâm concocts an extended coda ...
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