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![Skip Martin - Miles High (2006) {Sound Success Inc.} **[RE-UP]**](https://pixhost.icu/avaxhome/a6/eb/0046eba6_medium.jpg)
![Project - Winter In June (2007) **[RE-UP]**](https://pixhost.icu/avaxhome/74/eb/0046eb74_medium.jpg)
![Amanda Lear - Uomini Piu Uomini (1989) [Vinyl Rip 16/44 & mp3-320 + DVD] Re-up](https://pixhost.icu/avaxhome/93/0d/00590d93_medium.jpg)
A French pressing of Amanda's 1989 Italian-only album Uomini più uomini was entitled Tant qu'il y aura des hommes (As Long As There Are Men) and basically contained the same song selection, although some of them had been re-recorded with French lyrics…
![Gong - Shamal (1975) [2015, Universal Music Japan, UICY-77298]](https://pixhost.icu/avaxhome/d1/e3/003ae3d1_medium.jpeg)
Between Daevid Allen's departure from the band and Pierre Moerlen's official takeover of the band, there is Shamal. This transitional album contains none of the Allen-inspired psychedelia, but also very little of Moerlen's jazz influence…
Never before released radio transcriptions by jazz's greatest pianist, recorded for KHJ (Los Angeles) in 1940. The discovery of these milestone recordings may be the single most important contribution to jazz in decades. One of the goals of Memphis Archives is to preserve our rich American musical heritage by making these historical recordings available. Without this concern, thousands of songs from the dawn of the recording industry would be lost forever.
Recorded live during an Italian jazz festival, The Carla Bley Big Band Goes to Church is a perfect showcase for the forward-thinking compositions and arrangements of Carla Bley. Starting with "Setting Calvin's Waltz," a gentle, reverent blues that blooms into a nearly 24 minute workout for the whole ensemble, the album displays Bley's spontenaiety, flexibility and lightness, unique to her and few others within the modern large group format. It helps that this material is highly sympathetic to her style – as Bley's band splits apart into sections and solos, then reforms again, echoes can be heard of gospel music, with its powerful choirs counterpointed by the clarity of a single voice. Not quite as experimental as her earlier compositions, this album manages, regardless to be among her best work in the '90s.
Time for Tyner finds pianist McCoy Tyner with vibraphonist Bobby Hutcherson, bassist Herbie Lewis, and drummer Freddie Waits. Tyner and Hutcherson blend together quite well on the first three tracks from the original program (all Tyner originals), and both display expertise at coming up with inventive ideas over modal vamps. The other three selections are veteran standards. "I Didn't Know What Time It Was" is taken by the full quartet, Hutcherson sits out on "Surrey with the Fringe on Top," and a rhapsodic "I've Grown Accustomed to Your Face" is a piano solo. A fine all-round showcase for McCoy Tyner in the late '60s.
Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless harmon mute to make his sound more personal and intimate. But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean. To examine his career is to examine the history of jazz from the mid-'40s to the early '90s, since he was in the thick of almost every important innovation and stylistic development in the music during that period, and he often led the way in those changes, both with his own performances and recordings and by choosing sidemen and collaborators who forged the new directions. It can even be argued that jazz stopped evolving when Davis wasn't there to push it forward.
This is a world première production on DVD. Torvaldo merits greater attention than has been previously paid to it; the rich orchestration, preludes of infallible expression and recitative passage of extraordinary clarity deem this an opera of considerable interest.