| | Yanni Out Of Silence CD Yanni Discography of CDs
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Originally issued in 1987, OUT OF SILENCE is Yanni's third studio release of highly inspirational neo-classical-infused New Age music. SILENCE also represents one of Yanni's last attempts at composing a pseudo-soundtrack in the vein of Tangerine Dream or Vangelis before plunging headlong into the New Age meets World Music mantra, which has been his trademark sound ever since. Nevertheless, OUT OF SILENCE is an upbeat album, with danceable rhythms, ambient, emotional cues, and textured symphonic arrangements.
Personnel: Yanni (keyboards), Charles Adams (drums, percussion).
Personnel: Yanni (keyboards); Charles Adams (drums, percussion).
Yanni Out Of Silence Songs | 1. | Sand Dance | |
| 2. | After The Sunrise | |
| 3. | Standing In Motion | |
| 4. | Mermaid, The | |
| 5. | Within Attraction | $0.99 | |
| 6. | Street Level | |
| 7. | Secret Vows | |
| 8. | Point Of Origin | |
| 9. | Acroyali | $0.99 | |
| 10. | Paths On Water | |
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Out Of Silence Review
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Evening Star Records is proud to announce the release of IN THE BACK ROOM, the first solo CD by piano master RAY BRYANT in over a decade. Recorded live at two concerts sponsored by the Institute of Jazz Studies at Rutgers University in Newark, NJ, the CD includes seven pieces never before recorded by the pianist. The first concert, from May of 2004, was part of a day-long Fats Waller Centennial celebration. Bryant held the audience spellbound with a mixture of Waller evergreens and some of his own captivating originals. He also included “If I Could Be With You” by Waller’s friend and mentor, James P. Johnson, whose daughter was in the audience. The remaining two tracks were recorded in October 2008, when Bryant gave the first in a series of solo recitals at the Institute by noted jazz pianists. Billed as “Jazz Piano: Four Generations,” the series was designed to show the continuum of the art of solo piano. Bryant’s playing itself could serve as a capsule history of jazz piano. Watching him play solo, the noble lineage of the instrument comes alive as he conjures up aural images of Waller and Johnson, Teddy Wilson, Art Tatum, and Erroll Garner. Bryant’s artistry melds some of jazz’s earliest sources—the blues and gospel—with boogie woogie, bebop, and contemporary styles to create his own unique and immediately identifiable sound. Born in 1931, Bryant joined the vibrant Philadelphia jazz scene of the late 1940s and early 1950s that included Philly Joe Jones, Benny Golson, and the Heath brothers. In 1948, guitarist Tiny Grimes came through town and took the 17-year-old Bryant on his first tour. After a two-year stint with Grimes, the pianist returned to Philadelphia. Bryant’s trio backed visiting jazz stars at the local clubs like the Blue Note, where he worked with such luminaries as Roy Eldridge, Stan Getz, Ben Webster, Lester Young, Miles Davis, Charlie Parker, and Sonny Rollins. Davis and Rollins were so impressed with the young Philadelphian that each brought him to New York to record in 1955. In 1959, after a stint as Carmen McRae’s accompanist, Bryant decided to make the move to New York where he continued his eclectic musical education: “I spent my afternoons at the Metropole with guys like Roy Eldridge, Coleman Hawkins, and Charlie Shavers. Then at night I’d go down to the Five Spot and play with the younger guys like Benny Golson and Curtis Fuller.” Bryant has always managed to fit into any context while remaining himself, so timeless is his style. In 1959, Ray and his brother, bassist Tommy, formed a trio with the great drummer Jo Jones and a year later, the pianist formed his own trio. In 1960, John Hammond, the legendary talent ...
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