| | Baba Da's Fusion Orchestra Baba Da's Great Tradition Improvisation Fusion CD Baba Da's Fusion Orchestra Discography of CDs
This is a fresh collection of music that was freely improvised by a varied group of musicians with backgrounds in Indian music, jazz and Western classical music. The music is eclectic and ranges from the exotic to the meditative to experimental. All the
Personnel: John Wubbenhorst (vocals, flute); Antonina Randazzo (vocals); Byron Duckwall (cello); Michael Shepard (keyboards); Glenn Roberts (percussion).
Audio Mixer: Ken Anoff.
Baba Da's Great Tradition Improvisation Fusion Music Baba Da's Fusion Orchestra Baba Da's Great Tradition Improvisation Fusion Songs | 1. | Improvisation, No. 1 |
| 2. | Improvisation, No. 2 |
| 3. | Improvisation, No. 3 |
| 4. | Improvisation, No. 4 |
| 5. | Improvisation, No. 5 |
| 6. | Improvisation, No. 6 |
| 7. | Improvisation, No. 7 |
| 8. | Improvisation, No. 8 |
| 9. | Improvisation, No. 9 |
| 10. | Improvisation, No. 10 |
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Baba Da's Great Tradition Improvisation Fusion Review
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Purchase Baba Da's Great Tradition Improvisation Fusion CD To buy, Click on price to add to cart | Diana Krall Christmas Songs CD (2005)
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On 2005's CHRISTMAS SONGS, Diana Krall applies her sultry vocals and nuanced piano lines to a strong set of holiday classics. In addition to turning in a stirring performance of "The Christmas Song" that would make Nat "King" Cole proud, ...
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With BIRTH OF THE COOL, Miles Davis distilled a new tonal palette for jazz. As early as 1954, Miles reacted to the escalating chordal complexity of hard bop by fashioning an evocative blues based on a simple scalar pattern ("Swing Spring"). KIND OF BLUE was the ultimate fulfillment of this approach, with Miles providing his ...
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This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
John "Wes" Montgomery taught himself to play at the age of nineteen and created a style as influential to jazz guitar as was Charlie Christian's to an earlier generation. Recorded in the early part of his solo career, THE INCREDIBLE JAZZ GUITAR OF WES MONTGOMERY defined standards for hard bop guitar which are as cogent today as they were in 1960.
The album jumps out with the quartet hustling through Sonny Rollins' "Airegin," where Wes performs his often imitated licks with grace and agility. His extended phrases, thematic development, harmonic and melodic embellishment come together in a formidable technique with a heavy swing. An impressive use of octaves and chords coupled with the rejection of a guitar pick in favor of his own thumb allowed Wes' guitar to sing with warmth and with beauty. The lyrical rendition of "Polka Dots And Moonbeams" and his own "D-Natural Blues" are prime examples ...
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TURN IT OVER is almost like an experimental rock album (think WHITE LIGHT, WHITE HEAT) rather than the other way around. Unusual for virtuosic jazz fusion, the second release ...
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As spontaneous performance artist Timothy "Speed" Levitch says in the introduction that opens the album, "This may seem like a compilation; this may seem like an album," but it is ultimately much more than either of those things. On the one hand it is an outstanding sampler that displays the type of remarkable pop music put out by New York's Messenger Records, an album-length cross-section of relentlessly artistic individuals and bands. On the other hand, it is a wild ride through the current state of underground, independent rock music and an exciting listen from beginning to end with virtually no dead spots. It also happens to serve as a recorded assault on the kind of timid and formulaic commercial pop that gets played on the radio and MTV, not with its attitude but with the sheer level of its excellence. The star of the show is Johnny Society, which released two brilliant Messenger albums prior to Wouldn't It Be Beautiful?, and contributes two mind-boggling songs: the previously released "Everyday" and the exclusive, dreamy dessert ballad, "Forget It." In addition, the band teams up with fellow New York band of multi-instrumentalists Church of Betty in the side-project the Hand, which contribute two songs, the Prince-cum-Indian-music title tune and the gorgeously odd raga, "Golden Melody." Church of Betty makes its own contribution as well, extending the exotic Eastern melodicism of the Hand while retaining its pop core. There is also a stellar ...
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EMI.
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