Trombonist Joseph Bowie came out of St. Louis' Black Artists Group (a.k.a. BAG), co-founded by older brother Lester Bowie. In his teens, Joe played with bluesmen Albert King and Little Milton; in his twenties, he got his avant-jazz bona fides in order as well: member of the Human Arts Ensemble with Charles "Bobo" Shaw, duos with Oliver Lake, sideman with Frank Lowe. He moved to New York City, joined the horn section of No Wave legend James Chance's band The Contortions, and then in 1978 spun off his own group, Defunkt, simultaneously funkier and jazzier. A series of stellar Defunkt albums on the Hannibal label made them stars on NYC's underground scene. After many lineup changes, the classic '80s lineup got back together for a 21st century comeback and is still going strong.

After releasing her previous album in 2017, Samantha Crain thought she would never make music again. Instead she found herself trying to work out how to live without the use of her hands, which had become paralysed. However, with a steeliness and concrete determination to at least employ music as a pastime, if no longer professionally, she tasked herself with perseverance in finding her way back to health. And she never gave up.

Whoosh!” sees Deep Purple for the third time joining forces with producer Bob Ezrin, who invited the band to Nashville to write and record new songs. Together they created the most versatile album in their collaboration.

Canadian songwriting hero Ron Sexsmith comes back into our lives with a new album on Cooking Vinyl. Ron worked with producer Don Kerr to create this album; the two set up in Ron’s living room to record where Ron played all the instruments for the album, with the exception of the drums. The result is the songwriter’s most self-assured collection, still charmingly subtle yet increasingly full of musical vigor, as on Chateau Mermaid, an ode to his own Stratford Graceland, or the surprisingly hopeful Small Minded World in which Sexsmith croons, "Oh now don’t feel blue ‘cos they don’t get you, you’ll win this small minded world". This new zen can be heard from the first moments of Kinks-esque album opener, Spring of the Following Year, as the serene sound of birds situate the listener into Sexsmith’s state of grace.

BGO's 2013 double-disc set gathers three late-'70s albums from Tom Scott: 1977's Blow It Out, 1978's Intimate Strangers, and 1979's Street Beat. This is the moment when Scott entered the mainstream, leaving behind his backing band the L.A. Express, and getting progressively pop.

Unlike Verdi's earlier successes, Nabucco and I Lombardi, both of which had been composed for the large stage at La Scala, Milan, Ernani was written for the smaller stage and more intimate atmosphere of Teatro La Fenice, Venice and he was in his thirty third year when it was composed. This recording is superb in every way. The singers, led by Placido Domingo as Ernani and Mirella Freni as Donna Elvira, entertain us with bravura performances and it's a joy to listen to and watch from beginning to end.

1987's Wildest Dreams finds this Canadian semi-progressive band leaning toward a more radio friendly sound. With songs ranging from ballads to perky pop tempos, Wildest Dreams is a far cry from their keyboard-induced music of the early '80s…

Frankie Miller’s eighth solo album “Standing On The Edge” was his first away from the Chrysalis label and was also at that point his rockiest and most polished effort. The bar room backing or stripped back blues and soul of the earlier albums being replaced with a polished, sleek and far more rocky production. Musically and arrangement wise this was more akin to Bad Company, Foreigner or even Whitesnake than the old blues and soul feel of its predecessors…

Carla Bley - The Very Big Carla Bley Band (1991) {ECM Records 847 942-2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 337 Mb | MP3 @320 -> 126 Mb
Full Artwork @ 300 dpi (png) -> 12 Mb | 5% repair rar
© 1991 WATT Works / ECM Records | WATT/23 / 847 942-2
Jazz / Post Bop / Experimental Big Band / Progressive Jazz / Piano

Five striking Bley compositions are featured here, including two extended works, 'United States' and 'All Fall Down'. The lasting impression is one of unusual voicings, adventurous soloists, unconventional arranging touches, and dissonant shadings. 'Delightfully quirky, chaotically dynamic, delicately impressionistic, buoyantly upbeat, and brashly bold.' - Downbeat