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Akosh S Unit Eleter CD

 Akosh S Unit Discography of CDs

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Eleter Music


Detailed Eleter Music Information



List Price $29.99 (You save $5.54)
Category Rock/Pop Albums, Jazz CDs
CD Universe Part number 2455185
Catalog number 538769
Discs 1
Release Date Feb 02, 1999
Akosh S Unit Eleter Songs


Akosh S Unit Eleter Album Track Listing



1.Foldeken (Lungoj Drom)
2.Let
3.Eredet
4.Lelekzet
5.Turul
6.Zradat (Zrviz)
7.Igeret
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Not all mellow, Houston Person's tribute to the softer side of jazz has its moments based on the laid-back timbre of his soul rather than a program consisting of only ballads. The tenor sax he wields certainly reflects the tradition established by Ben Webster in its soul-drenched ...
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Departure
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A fine Orange County-based tenor saxophonist probably best known for his cool jazz recordings on his own Resurgent Music label, Dan St. Marseille shows on this quartet date that he is also quite capable of playing high-quality hard bop and post-bop. Teamed up with bassist Henry Franklin (who put together the rhythm section), pianist Kirk Lightsey and drummer Carl Burnette for an advanced straight-ahead jazz set, St. Marseille sounds clearly inspired by his sidemen and the diverse material. The quartet performs numbers by Lightsey, Franklin, Jerry Kalaf, Carlos Villalobos ("Guapa," which adds Poncho Sanchez to the band), Wayne Shorter ("Pinocchio"), Tom Harrell and a standard apiece by Ray Noble ("The Touch of Your Lips") and Tadd Dameron ("If You Could See Me Now"). Lightsey (who borders on being a major name) and the fluent Franklin have plenty of solo space, but it is the leader's tough-toned tenor (inspired by Sonny Rollins and consistently overflowing with fertile ideas) that most makes this a CD well worth picking up. ~ Scott Yanow Jazz saxophonist/clarinetist and recording artist Dan St. Marseille plays in the tradition of all the jazz legends. ...
Electric Range
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ELECTRIC RANGE founders John Alden, Billy Darnell, Patrick Aicholtz and Peter Bradstreet had converged on Southern California in late 1969 and began writing and recording with Buffalo Springfield's Dewey Martin for his "Medicine Ball" album.

By the spring of 1971 John, Pete, and Billy, along with Lynn Rowe, Larry Galt, Patrick Aicholtz and Sandy Leigh were signed to Atlantic Records' Clean Records label as the band STARBUCK.

With Don Everly producing the album, and the band playing Los Angeles venues like the Hollywood Bowl, things were looking good. As things sometimes go, the scene turned sour and the album was never finished.

The group was forced to disband and they scattered about the country wondering "what if...?".

John and Peter made there way back to their original stomping grounds of Dayton, Ohio and played in the esoteric outfit DYS (Dayton-Yellow Springs Band) for several years.

Patrick moved out of the area but continued songwriting on his own. Billy, however, became a much sought-after studio musician and contributor to music greats like Dr. John, Garth Hudson, Roger McGuinn, Rick Roberts, Randy Meisner, Nicky Hopkins and Gene Clark. Billy also did stints as guitarist for the Byrds, Buffalo Springfield Again, and Hoyt Axton.

Fast forward to 1995. With prodding and encouragement from long time fan Jim Foreman, the band reunited for a performance in Dayton and things clicked big time.

Though Lynn was not available, the rest of the original Starbuck got together and revived the early material and presented new songs to each other that revealed they were still on the same page musically. Smokehouse Records was just gearing up and looking for their first client when Foreman brought them to the labels attention.

The result of that introduction lead to the signing of what came to be Electric Range. Original Starbuck members Alden, Bradstreet, Darnell, and Aicholtz were joined by Darnell collaborator and bassist/vocalist Robin Lamble.

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Lord, let my next child be a pianist." This was the prayer of Patti's mother Frieda. A few years later, at the age of four, this diminutive little girl, from the plains of Eastern Oklahoma, climbed upon the piano bench, stretched her little fingers over the keys and began to make music.

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Full Circle
Bill Stevens Full Circle CD  (2005)

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Bill StevensFull Circle Liner NotesShortly after the release of my fifth CD, Dedication, in 2003 I began to reevaluate my musical journey. Over the following year I began to see this journey more as a quest, one that is still incomplete and may be realized, completing the circle, during my next project. As I look back over the past year I have incorporated some theories that have shaped the compositions and improvisations on this CD.

These theories were developed initially through my study of Jazz history, primarily the influences of Miles Davis' Second Great Quintet through Kilimanjaro, the spiritual approach to sound of John Coltrane to the freedom of the 1960's "New Thing" musicians and the electrified sounds of Miles Davis' 1970's "Lost Quintet" are all represented as the foundation of this music. Others who have shaped my approach on this CD include Ornette Coleman, early Weather Report, Mark Isham, Woody Shaw and the last recordings of Lee Morgan. This study of the past has allowed me to explore musical concepts that I feel have opened up the compositions to allow the musicians to break through to a new, freer conception of Jazz improvisation and performance. My desire is for each player to construct what he feels in the music at any given moment. I want them to play what they hear in the music for themselves. These concepts have included the following:* I have explored, in some of the compositions, the idea of not grouping the rhythm in patterns of repetitive 3's or 4's. I have sought to remove the feeling of the continual one coming, now here in the present and then going.

* Instead of melody being the jumping off point for the improvisations, in all but two of the compositions, I have attempted to interweave the improvisations within the context of the melody.

* I have attempted to deconstruct the concept of the 8 or 12 bar phrase creating a more open feeling by minimizing or extending the phrase lengths within the compositional process. The improviser is asked to solo both individually and collectively through this process by letting go of repetitive phrase lengths.

* In examining chord structure and harmony, I have used the words of Wallace Roney to focus ...

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