| | Gary Peacock Tales Of Another CD Gary Peacock Discography of CDs
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Bassist Gary Peacock contributed all six originals to this set which also features pianist Keith Jarrett and drummer Jack DeJohnette. These musicians (who are equals) have played together many times through the years and their support of each other and close communication during these advanced improvisations is quite impressive. It's a good example of Peacock's music. ~ Scott Yanow
Recorded at Generation Sound Studios, New York, New York in February 1977.
Personnel: Gary Peacock (bass); Keith Jarrett (piano); Jack DeJohnette (drums).
Gary Peacock Tales Of Another Songs | 1. | Vignette | $0.99 | |
| 2. | Tone Field | $0.99 | |
| 3. | Major Major | $0.99 | |
| 4. | Trilogy 1 | |
| 5. | Trilogy 2 | |
| 6. | Trilogy 3 | |
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Tales Of Another Music Review Purchase Tales Of Another CD To buy, Click on price to add to cart | Mike Bloomfield Super Session CD (1968) Bonus Tracks; Remastered
Tales Of Another album
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A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune").
All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. ...
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On FIRST LOVE, contemporary jazz saxophonist and composer Everette Harp moves deeper into the space he addressed on 2007's excellent MY INSPIRATION. Produced by George Duke, the meld of acoustic and electric instruments here is perfectly balanced. Melodic and harmonic structures are much more complex and don't always fit the C-jazz cookie-cutter mold. Check his original "The Council of Nicea," one of the most satisfying things here. Harp's tenor is accompanied by James Genus' acoustic bass, and some spot-on breaks by Terri Lyne Carrington, a beautiful bluesy, hard ...
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Originally issued on vinyl and cassette, the Spinners' Live is much better on CD. The original was a foldout double-sleeve job with two vinyl disks. The worst tune, their campy rendition of George and Ira Gershwin's "Fascinating Rhythm," is track one. Maybe in person they spiced it with fancy choreography, but without any visuals, it's just blah. For some strange reason they omitted "I'll Be Around," which would have been a far superior opening track than the Gershwins' dinosaur. The excitement unfolds ...
| | Tom T Hall In Search Of A Song/The Rhymer And Other Five And Dimers CD (2005) (Import) United Kingdom
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In Search of a Song, Tom T. Hall's fifth album (from 1971), and The Rhymer and Other Five and Dimers (from 1973), his seventh, are combined onto one CD on this British reissue. While the pairing of two LPs that weren't consecutive might be a little disconcerting to some collectors, at least both of these records counted among Hall's stronger titles, and were released fairly close to each other, if not exactly next to each other. In Search of a Song is the stronger of the two, containing an abundance of the wry, sly, storytelling songs for which Hall's most famous (or at least most critically respected). "The Year That Clayton ...
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This album by jazz saxophonist Gato Barbieri features six remastered tracks.
Some artists totally change directions; some reinvent their personalities. It is hard to know exactly what to make of the case of this Argentinian tenor saxophonist, who first appeared as a sideman on several extremely important Don Cherry projects, making such an essential contribution to the overall feel of these records that listeners expected great things. After a few attempts at finding a meeting place between the energy and harshness of free jazz and the his own rhythmic roots, he created this album in which everything seemed to come together perfectly. If a judgement is to be made based on Barbieri's overall career, then a lot of credit would be given to his accompanying musicians here, who are strictly the cream of the crop. A horn player certainly couldn't complain about a rhythm section featuring bassist Ron Carter, drummer Lenny White, and pianist Lonnie Liston Smith, the last fresh out of the band of Pharoah Sanders, where he had established himself as the absolute king of modal, vaguely Latin or African sounding vamps. Smith was able to fit right in here, and he ...
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While few rock bands even bother to produce a concept album during their careers, Hammers of Misfortune have never attempted anything but; with three full-lengths already under their belts, dealing in everything from dungeons and dragons-type fantasy to intra-dimensional chicanery to political allegory -- and all of them set to consistently stunning and inventive heavy metal, to boot. But after experiencing a rather traumatizing bout of musician turnover following 2006's arguable career best, The Locust Years (namely losing vocalist/guitarist Mike Scalzi and bassist Jamie Myers), one would have readily forgiven bandleader, guitarist, and songwriter John Cobbett for taking the easier, concept-free route whilst penning the next wave of HoM songs. Instead, Cobbett went above and beyond reasonable expectations, breaking in new bandmembers Jesse Quattro (vocals), Patrick Goodwin (guitar/vocals), and Ron Nichols (bass) with, not one, but two separate, yet thematically intertwined long-players entitled Fields and Church of Broken Glass. Released as a double-gatefold CD set in the fall of 2008, both LPs summed up to a very reasonable 70 minutes in length, and like two faces of a coin, contrasted pastoral and urban imagery veiled behind Cobbett's typically elliptical prose. But since neither Quattro (the owner of a restrained '60s folk nymph croon) nor Goodwin (far less forceful than the departed Scalzi) seemed capable of leaving a strong imprint on HoM's sound, as yet, the most prominent characteristics of both albums fell to the band's instrumentalists. Among these, special mention was deserved by keyboardist Sigrid Shele, who was apparently rewarded for sticking around by having her organ riffs and solos assuming a more prominent instrumental role alongside Cobbett's guitar, thereby heightening the albums' '70s-progressive rock feel. This general sonic ...
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