| | Sonny Rollins Tour De Force CD - Import Sonny Rollins Discography of CDs
Tour De Force Music | List Price | $26.99 (You save $2.04) | | Category | Rock/Pop Albums, Jazz CDs | | Label | JVC Japan | | CD Universe Part number | 7046188 | | Catalog number | 41354 | | Discs | 1 | | Release Date | Mar 24, 2006 | | Additional Info | Japan |
Sonny Rollins Tour De Force Songs | 1. | Ee-Ah | $0.99 | |
| 2. | B. Quick | $0.99 | |
| 3. | Two Different Worlds | $0.99 | |
| 4. | B. Swift | $0.99 | |
| 5. | My Ideal  | $0.99 | |
| 6. | Sonny Boy | $0.99 | |
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Tour De Force Review
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Nearly a decade after Dean Martin's death, the crooner's fans were finally given the definitive Dino collection. While there was already a two-disc summation of Martin's Capitol recordings, as well as several compilations of his Reprise material, the single-disc, 30-track DINO: THE ESSENTIAL DEAN MARTIN contains a generous selection of the best of his work, culling from both labels' vaults. Steubenville, Ohio's favorite son became a singing star in the 1950s, mostly by virtue of his smooth, easy charm, apparent both in his vocal style and his public image. That charm is crystallized here--the South American lilt of "Sway;" the spare, countryish "Memories Are Made of This" (not insignificantly ...
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If there's one band that pretty much defines the appellation smooth jazz, it would have to be Spyro Gyra. Their combination of slick, ...
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All songs written or co-written by Levellers except "Dirty Davey" (Nick Burbridge).
Perhaps it's a testament to their literalness, but leave it to the Levellers to start their album and opening song "Warning" with a mock air-raid siren sound. More to the point, though, leave it to them to have the song be an early-'90s indie pop/semi-baggy/singalong thing, however pumped up with extra brass by the Kick Horns. Furthermore, given that the members of the Kick Horns first came to attention in part due to work in the Waterboys, the unspoken connections between that group and the Levellers start making even more sense here. Take that as a launching point and on Levellers, the band once again do what they do, anthemic folk/punk/whatever, and dos it very well. It just won't be the type of thing to automatically warm the cockles of anyone's heart not already convinced,and will just annoy those who already hate them. All that said, though, there are audible signs that the group's vaunted live power now has more of a happy home in the studio, with acoustic-based numbers like "Is This Art? " and the dreamy but downbeat ballad "Julie" coming across with both delicacy and sudden power. Sevink's fiddling often provides the heart of the band's songs, ...
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Coming to the close of his tenure with Epic records, Duke's great work seemed to be overshadowed by bunk. At the same time, he was becoming an in-demand producer with assignments from Jeffrey Osborne, Phillip Bailey, and Deniece Williams filling his schedule. Guardian of the Light reflects that strain. Released in 1983, Guardian of the Light also had the added baggage of a hard-to-follow concept of a fictional character's mystical exploits. This being George Duke, although the idea is odd, he was sure to get some good songs done here. It doesn't come easily however. Despite the good intentions, "Light," "Shane," and "Reach Out" differ little from the melodically challenged songs that typified his post-Brazilian Love Affair efforts. That being said, Guardian of the Light does include a classic. The gorgeous and soaring "You (Are the Light)" has Duke giving a particularly strong vocal performance. Duke also does one of his best Rhodes solos on the track as well. "Born to Love You" is also very affecting. This album closes with the rock-influenced and surprisingly effective "Fly Away." This effort is worth seeking out for its highs, but the middling work does seem to win out here. ~ Jason Elias
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Jeff Kashiwa has a fluent if generic style on soprano, alto, and tenor, which fits perfectly into the "feel good" smooth music that he performs on "Peace of Mind." The 11 selections clock in between 3:46 and 5:14 and were clearly recorded with hopes of getting maximum radio airplay. Kashiwa's rhythm section is effective if anonymous (despite the presence of Brian Bromberg on bass) with the focus being almost entirely on the leader's melodic playing. While the music is lightly grooving and mildly soulful and Kashiwa plays well, no surprises occur and this set never rises above the level of pleasant background music. ~ Scott Yanow
Recording information: Automotive Recording, Irvington, NY; Bassment ...
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All tracks have been digitally mastered using 24-bit technology.
Though it had served as the birthplace of heavy metal back in the '70s, not to mention revitalized the genre via the New Wave of British Heavy Metal at the start of the '80s, England had watched its previously uncontested supremacy quickly slip away across the pond as the decade unfolded. Leading the charge were bands like Metallica, Slayer, and Anthrax (all of them diligent students of these historical developments in British rock), who, after absorbing all the lessons they could, transformed them into their own, beautifully vile perversion: thrash metal. So overwhelming was their advance that, closing on the end of the decade, British bands had yet to mount any kind of resistance, much less a counter-strike. Just when it seemed like all hope was lost, Sabbat arrived, ready to correct that discrepancy by releasing their seemingly prophetically titled first album, 1988's History of a Time to Come. A razor-sharp, incredibly powerful slice of pure thrashing intensity, the album also came packed with a few very original twists, not least of which had to be peculiar lead singer Martin Walkyier. Utterly obsessed with mysticism, witchcraft, and pagan legends, Walkyier's unusually original and idiosyncratic ...
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