How fast was Miles Davis moving in 1970? Listen to the title track on the double LP recorded late summer 1969 and released the next April and then play the version on the bonus live at Tanglewood CD recorded August 1970.
Recorded in December of 1956 and released in the spring of 1957, this lushly arranged, string-drenched concept album collected a set of love ballads that Nat “King” Cole delivered with unerring intimacy and warmth.
Neil plays, Daniel "La-noise" manipulates. The result is a solo album—a man and his guitar— that takes on gargantuan proportions as it throbs, undulates, oozes, howls, flows, rattles and hums through a series of reminiscences, philosophical discussions, entreaties and proclamations of faith that only an older man could possibly produce and deliver with such rich and fervent authority.
Clearly, releasing this as a double 180g vinyl set was an act of musical idealism and not because someone at Mobile Fidelity thought vinyl fans and audiophiles were clamoring for it.
It’s difficult to believe this November 18th, 1993 Sony Music Studios performance is almost seventeen years old. Though it aired on MTV a month later, it wasn’t issued on vinyl or CD until November 1st, 1994, six months after Kurt Cobain’s suicide.
Like Elton and Leon, Duke and Coleman were long-time mutual admirers but somehow had never worked together until late in their careers. This session, long in the making, took place on August 28th 1962 and was released the next February.
Joni Mitchell’s move to jazz on this 1974 game changer upset her hippie contingent, who wished she’d remained a “lady of the canyon,” and it didn’t exactly thrill fans who considered themselves jazz aficionados either—not with the likes of “jazz-lite” guys like Tom Scott, Joe Sample, Wilton Felder and Larry Carlton involved.
More mysterious and less of a head-bobber than the pop fave The Sidewinder, Search For The New Land is the one to have if you’re going to have but one Lee Morgan Blue Note (too bad, though if you’re only going to have one).
Sadly, during the early '60s Muddy Waters and other Chicago blues masters were better known to white English youth than to their American counterparts. Mick and Keith weren't alone in their fandom. Search YouTube and you'll find an amazing Howlin' Wolf performance before an adoring audience of well-scrubbed English white kids that was probably never repeated in America where blues was dubbed "race music" and relegated to the ghettos.
Kitsch fans alert! This obscure 1960 oddity by composer/arranger Bob Thompson consists of a dozen short, lushly orchestrated impressions of various forms of transportation, each introduced with a stereo high-fidelity sound effect recording of a train, ocean liner, motor scooter, sports car, Intercontinental Ballistic Missile, or what have you.
This psychedelic noise-rock band from Japan is definitely not for everyone but if your tastes run towards free-jazz when you think of jazz and you find the opening of Axis: Bold As Love structurally symphonic, you will surely dig Acid Mothers Temple & The Melting Paraiso U.F.O. and this album in particular, which definitely has a Hendrix vibe, right down to the cover art that has lettering like Are You Experience and some scantily clad gals like the UK Track edition of Electric Ladyland that Jimi hated.
If you were around when the second Jimi Hendrix album was released you probably got ripped off. After Reprise’s success with Are You Experienced?Capitol dusted off a Curtis Knight and the Squires album that Hendrix had played on as a sideman before forming The Jimi Hendrix Experience and using a recent photo, issued it as Get That FeelingJimi Hendrix Plays and Curtis Knight Sings.
This hard /progrock trio never got the media hype and they are rarely mentioned outside their own musical world, but Muse has made it big. How? The old fashioned way: hard work in the studio and constant touring. They have an intensely loyal fan base. Their worldwide touring grosses are impressive and they chart well around the world
Bootlegs, outtakes and unreleased material mostly interests completists, scholars and obsessive fans. Usually, the quality and significance declines with each new archival release, but not with Bob Dylan.
Even atheists will swoon for Mahalia's unlikely Sunday morning thanksgiving at the 1958 Newport Jazz festival. Accompanied by piano, organ and bass Ms. Jackson begins with the solemn song "An Evening Prayer" and then moves to a more celebratory "I'm On My Way." Then it's back to the mournful "A City Called Heaven."