| | Jazz Quartet Tribute To Black Sabbath CD
Tributee: Black Sabbath.
Personnel: Cory J. Wong (guitar); Patricio Toledo (bass guitar); Zach Schmitt (drums); STanley Schmitt (keyboards). Jazz Quartet Tribute To Black Sabbath Music Jazz Quartet Tribute To Black Sabbath Songs Jazz Quartet Tribute To Black Sabbath Review
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Jazz Quartet Tribute To Black Sabbath
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Guitarist John McLaughlin and his band of jazz-rock merry men were at the peak of their form when this essential live ...
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Liner Note Author: Will Friedwald.
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And why should the guy live on what the average jazzman makes if they'll pay him to surround himself with strings and keep the tunes simple? Twenty years ago, fans of Benson's tough, muscular synthesis of bop, blues and post-bop ideas screamed "sellout" over his success with "On Broadway" and "This Masquerade." Today we know ...
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Digitally remastered using 20-bit remastering technology by Doug Sax and Robert Hadley (The Mastering Lab, Los Angeles, California).
Before his run at the top of the easy-listening charts, Herb Alpert was already a music-industry ...
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With BIG SCIENCE, avant-garde sculptor Laurie Anderson made the big leap from fringe performance artist to commercial success. Originally creating music to embellish her artwork, Laurie soon moved on to creating the music for its own sake, providing a new sound comprised of electronics, voice enhancers, and humorous vignettes. Totally original for 1982, BIG SCIENCE stands up to the test of time, still sounding like an innovative mark of creativity.
From "This is your Captain speaking...," the opening lines of "From The Air," Laurie stands firmly in charge, piloting through an idiosyncratic and iconoclastic sonic experiment. The title track is an electronic dirge, exotic and technical--a futuristic ballad. "Sweaters" is a Middle Eastern kiss-off ("I no longer love the color of your sweaters..."), with the curious instrumentation of bagpipes, violin and drums. The unlikely hit "O Superman," with its repeated, hyperventilating "ah"s and spooky comical text, sets the tone--especially when Anderson asks to be held with "electronic arms." The acoustic, international grab-bag of "Example #22" provides one of the funnier lines on an album of countless, clever gems: "Honey you're my one and only/So pay me what you owe me." She also credits several paranormals for their work on the track.
BIG SCIENCE is a collection of mesmerizing ...
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In which George Benson stretches out over the pop grooves of 1968, pursued stage left by flutes, strings, harmonica, and studio brass orchestrations. Not to mention the sound of Benson himself holding forth on, according to the original liner notes, "alto guitar with Varitone attachment--a wild, doubled sound."
If you want to hear the heir to Wes Montgomery swing hard over a standard, forget it--and you'll have to wait until the second-to-last cut to hear him get serious on a blues. Finally though, on "Shape of Things That Are and Were," he does his thing with style and abandon. When the horns surface, they provide a kick reminiscent of Oliver Nelson's charts for Wes Montgomery and Jimmy Smith. It's worth the wait. Benson works up a serious head of steam on "Don't Let Me Lose This Dream," employs lush chord-melody work on "Face it Boy, It's Over," and gets plenty of room to stretch over a ...
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