| | Jimmy Heath Gap Sealer CD - Import Jimmy Heath Discography of CDs
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Digipak edition of this 1972 album from the Jazz great featuring five bonus tracks taken from the album Love And Understanding (1973). Although Jimmy Heath released an album per year between 1959 and 1964, he would undergo an eight-year recording hiatus as a leader before returning to the studios in 1972. This CD contains the first album Heath recorded after his break. The tracks have a cohesive group sound and showcase the individuality and force of Jimmy's compositions coupled with his instrumental brilliance as a flautist and soprano and tenor saxophonist. 11 tracks. Jazzbeat.
Liner Note Authors: Gary Giddins; Doug Ramsey. Jimmy Heath Gap Sealer Songs Gap Sealer Review
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Purchase Gap Sealer CD To buy, Click on price to add to cart | Fred Anderson Back At The Velvet Lounge CD (2003)
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At the time of this 2002 recording, tenor saxophonist Fred Anderson was 74 and had been leading the house band at Chicago's Velvet Lounge for 21 years. There has been no mellowing in his adventurous flights and Anderson, who has a huge tone and sometimes hints at Sonny Rollins and (to a lesser extent) Gene Ammons, always pushes himself. His five lengthy originals are challenging yet loose enough for the musicians to be quite spontaneous. Trumpeter Maurice Brown (52 years Anderson's junior and sounding at times like early Don Cherry) shows lots of potential, the pianoless rhythm section is stimulating and supportive, and guest Harrison Bankhead helps out by playing acoustic guitar on "Job Market Blues" and bass on the first two numbers. "Fougeux" is a straight-ahead blowout, "Olivia" (which features two bassists) starts out as a ballad before getting more heated, "Job Market Blues" is a long jam over a one-chord vamp (rather than being an actual blues), and "Syene" is a mysterious strut with Brown's most rewarding solo of the live set. Saving the best for last, the final number of the CD, "King Fish," has some funky playing by bassist Tatsu Aoki and drummer Chad Taylor that leads to some colorful free bop interplay by the two horns over the walking bass. Although technically "avant-garde," the music on this lively outing should interest straight-ahead jazz fans too, for these Chicago-based musicians are all worthy of greater recognition. ~ Scott ...
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The Bridge Quartet consists of tenor saxophonist Phil Dwyer, pianist Darrell Grant, bassist Tom Wakeling, and drummer Alan Jones: Night is the second volume of their work together over a two day period in 2007, complicated by Dwyer being delayed at the U.S.-Canada border on his way to Portland. There's a bit more energy in this recording than their earlier release, since it is before a live audience. The quartet really stretches out on several of the selections, starting with a leisurely stroll through "Wouldn't It Be Loverly," followed immediately ...
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Many people think of smooth jazz as something that didn't start until the 1980s, but arguably, smooth jazz started around 1966-1968 with the overtly commercial, pop-drenched albums that guitarist Wes Montgomery recorded during the last few years of his life. Love it or hate it, Montgomery's more commercial output had a major impact on Peter White and many other guitarists who have contributed to smooth jazz (including George Benson, Lee Ritenour, Earl Klugh, Chuck Loeb, and Henry Johnson). Musically, a lot has changed since the '60s, but the more things change in music, the more they inevitably stay the same -- and 2009 found White (like Montgomery 41, 42, and 43 years earlier) still struggling with a desire to improvise and a desire for mass acceptance (the thing that jazz, for the most part, lost after World War II). Of course, one doesn't necessarily rule out the another; the late saxophonist Grover Washington, Jr. knew how to be commercial and adventurous at the same time, but most smooth jazz artists play it way too safe -- which is what White usually does on Good Day. This 2009 release is, on the whole, an album of pleasant but not very memorable background music; ...
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| | Harmonic 313 When Machines Exceed Human Intelligence CD (2009)
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WHEN MACHINES EXCEED HUMAN INTELLIGENCE, the first full length from Harmonic 313, represents yet another product of prolific electro mastermind Mark Pritchard's multi-faceted talent. Harmonic 313 evolved out of Harmonic 33, Pritchard's collaboration with the like-minded producer Dave Brinkworth, but despite the similar name, it finds Pritchard exploring uncharted sonic territory. The album combines the synthetic textures and minimal aesthetic of early Detroit house music with the rhythms of golden-era hip-hop to often mesmerizing effect.
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