Like the Charleston Chasers, the Louisiana Rhythm Kings existed entirely as a studio recording ensemble. The time frame is even the same; both bands operated during those fascinatingly pivotal years of 1929 and 1930. The Louisiana Rhythm Kings were at first nothing more or less than a variable version of Red Nichols & His 5 Pennies, or in the case of the sessions recorded February 20 and April 23, 1929, the last vestiges of Red & Miff's Stompers. Miff Mole's trombone acted as the gravitational center of most every band he ever worked with, while Red was usually the next best thing to his idol, Bix Beiderbecke. Some of the players on the first three selections are holdovers from the Stompers sessions of several years earlier…

Progenesi are a young prog band hailing from Milan and formed by four musicians coming from different musical backgrounds. In 2012 they released an interesting debut album titled "Ulisse L'Alfiere Nero". Their aim was to blend progressive rock, jazz and classical music and among the influences they boast you can find Premiata Forneria Marconi, Le Orme, Emerson Lake & Palmer, Genesis, Pink Floyd and Porcupine Tree along with jazzists as John Coltrane and Dave Brubeck or classical composers as Bela Bartok and Chopin. According to the band, "Ulisse L'Alfiere Nero" is a concept album freely based on Homer's epic verses about the fall of Troy in the Iliad. The album is completely instrumental and the story is told just through the music and the nice pictures that you can find in the booklet.

Its stick or twist for GoGo Penguin as they release this, their Blue Note debut and the first of a reputed three album deal. Do they push ahead, expanding their palette of electronica seen through the prism of acoustic jazz, or retreat a tad in deference to their new paymasters by emphasising the more traditional jazz elements of their sound. Should we be concerned that the two years since their breakthrough v2.0 album suggest a creative block or difficulty coping with the raised stakes? While they would hardly be the first act to lose their nerve on entering the major label big league, it is thankfully and emphatically not the case here as "Man Made Object" develops and builds on their early promise.

Andrew Drury - My Fingers Will Be Your Tears (2009) {Cadence Jazz CJR1207 rec 2004}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 301 Mb | MP3 @320 -> 126 Mb
Full Artwork @ 300 dpi (png) -> 44 Mb | 5% repair rar
© 2009 Cadence Jazz Records | CJR 1207
Jazz / Chamber Jazz / Avant-Garde Jazz / Drums

Riveting live performance of five Drury compositions, a group improvisation, and a solo piano interlude by the trio of Briggan Krauss, Myra Melford, and Andrew Drury. The original release was not publicized or promoted at the time of its release. One of the most inquisitive and exploratory drummer/percussionists in 21st century creative improvised jazz, Brooklyn-based Andrew Drury is also a composer, bandleader, and collaborator involved in a wide range of projects, and he's active in educational and social programs across the United States and internationally.

This recording from jazz vocalist Gregory Porter, produced by Kamau Kenyatta, is billed as a program of songs based on themes of love and protest. Whether pining, yearning, or speaking out against injustice, Porter's voice is clearly understood in his attempt to tell you how he feels emotionally. While stylistically similar to the late Gregory Hines, Porter phrases like Stevie Wonder and enunciates the lyrics similar to Kurt Elling, while also incorporating techniques of singers like Jimmy Witherspoon and Joe Williams. Porter wrote most of the material, but also borrows from the show tune legacy, or modernists like Wayne Shorter. Many of these tracks feature him only with pianist Chip Crawford in preludes or complete duets, and they are introspective, as you might expect. Then there's the ode to riot-stricken Detroit "1960 What?," a powerful and deep piece that reminds the world what happened to the once industrial capital of the world

After years of playing a dispiriting game of musical chairs with various lead singers during the early '80s, Black Sabbath guitarist Tony Iommi finally stumbled upon a dependable frontman when he admitted relative unknown Tony Martin into the fold, thereby initiating the original heavy metal band's long awaited return to respectability – if not chart-topping success. Martin joined the oft-interrupted sessions for what would become 1987's The Eternal Idol album already in progress, stepping in for an unreliable Ray Gillen when the latter moved on to Jake E. Lee's Badlands, and helping Iommi rescue an astonishingly solid long-player from the jaws of complete and utter chaos.

Praticamente la storia dietro è che Bollani è stato invitato a comporre la colonna sonora per il film "Caos calmo" di Moretti. Lui ha deciso di raggruppare un gruppo di musicisti con i quali ha lavorato negli ultimi anni (sotto il nome "I visionari"), gruppo che comprende anche Ferruccio Spinetti che abitualmente registra e recita in duo con la moglie di Stefano Bollani, Petra Magoni.

Chinese pianist Niu Niu has announced he will release his new album Fate & Hope on 7 May 2021. The recording features Liszt’s extraordinary solo piano transcription of Beethoven’s epic Fifth Symphony, Beethoven’s ‘Pathétique’ and ‘Moonlight’ sonatas and Niu Niu’s debut composition Hope.

The recordings on Oneness date from Jan, March and September 2008 and were born from a period of experimentation as Halsall first began to explore the music that would provide the inspiration for his spiritual jazz recordings Fletcher Moss Park and When the World Was One.

Esoteric Antenna label is pleased to announce the release of a new CD EP by the legendary PROCOL HARUM – Missing Persons. Completed during lockdown conditions imposed by the outbreak of the COVID 19 virus, the EP title track is a poignant and emotive song in the finest musical tradition of PROCOL HARUM. War is Not Healthy is also a fine observation of war and its impact on humanity. With the lyrical subject matter of both songs being particularly apt for the times we live in, this new music from PROCOL HARUM is timely.

It is difficult to imagine two greater opposites. On the one hand, Jazz, the rough companion who made ends meet in the big cities of the 20th century. On the other, Emily Dickinson, the quiet poet from a Calvinist family, who spent all of her life in the rural community of Amherst, Massachusetts. When Dickinson died at the age of 56 in 1886, jazz had not been born yet. It was no more than a dark premonition, lingering in the dank swamps of the Mississippi delta.
Do they go together? Without doubt. But to achieve this union requires a unique talent. Great musicianship. A feel for words, images, and sounds. It requires the ability to invent tunes that linger in the ear and move the heart. Only then can we fully appreciate the brittle, secretive art of Emily Dickinson…