9 11 2002

This sophomore disc from the Chicago multi-instrumentalist (but mainly harpist/vocalist) Lester Davenport follows his solo debut by a whopping 11 years. Although it's impossible to justify the wait, this is a terrific West Side Chicago blues album, confirming he's an under-recognized and way under-recorded musician. Guitarist Jimmy Dawkins (who also produced) adds more authenticity to this rugged album, one that could have been recorded for Chess in the '60s. Well, except for a rollicking instrumental entitled "To Our Lost Ones 9/11/01," and even that ignores its contemporary title, capturing the spirit of Little Walter's glory days. Piano duties are shared equally by Detroit Junior (on tracks 1-7) and Allen Batts (on 8-13). Both play with remarkable restraint, as does the entire band…

The original Gabin - a French actor known for his portrayals of jaded, faded anti-heroes in 1930s and '40s-era films - might have chuckled ironically if he had been told that, a half-century after his heyday, two Italian musicians would name a fledgling lounge music project after him. But if he had listened to the music, he would have understood. It's full of languid grace and melancholy and is undeniably stylish - exactly what you'd expect to hear in a Parisian café or supper club. Just to add to the effect, many of the song titles and lyrics are in French.
Gabin (2002). Milky, silken rhythms lace through this collaboration between Roman DJ Filippo Clary and jazz bassist Max Battini. Their perspectives find accord in the realm of what martini-addled old-timers might label "acid jazz"…

In 1969, after finishing A Salty Dog, organist Matthew Fisher and bassist Dave Knights decided to exit the lineup of Procol Harum. The remaining members – Gary Brooker, Robin Trower, and B.J. Wilson, in the course of reshaping the band – added Chris Copping, who played both bass and keyboards had been part of the original lineup of the Paramounts, whence the rest of Procol Harum had come. The new version of the band was still working out their sound with neophyte producer Chris Thomas and in mid-January of 1970 decided to head to Abbey Road Studios for a series of informal demo sessions, devoted to straight-ahead rock & roll of the kind that they'd played as the Paramounts.

RCA and the Elvis estate made no bones about their intention on replicating the blockbuster success of the Beatles' The Beatles 1 with their own single-disc collection of number one hits – hence, the 2002 release of Elvis: 30 #1 Hits. The idea of collecting all the number one hits is simple enough, but there are problems inherent with the concept, not the least of which is that RCA did this once before. Unlike the Beatles, who went through numerous changes in just seven years of recording, Elvis had nearly three times as many years' worth of material and hits to choose from. Also, he hit on a number of different charts – not just pop, but also R&B, country, and adult contemporary.

BBC in Concert is one of those miraculous archival finds that one just can't anticipate and dares not hope for. Apart from Yes (always the exception to a lot of rules), very few progressive rock bands managed to get themselves recorded live under optimum conditions, much less so early in their careers…

Prior to the release of The Power to Believe (2003), King Crimson issued this disc in two distinct forms. In Asian territories it was christened Shoganai (2002) - which literally translates as "it could not be helped" or there is no way of doing, or nothing can be done. In the rest of the world, it was released as Happy with What You Have to Be Happy With (2002). While P.J. Crook's inventive artwork is perceptibly different, the audio contents are the same. Featured within is King Crimson's inaugural incarnation of the 21st century with Adrian Belew (guitar/vocals), Robert Fripp (guitar), Trey Gunn (Warr guitar/rubber bass/fretless Warr guitar), and Pat Mastelotto (drums/percussion) all providing their respective input…

These performances bring out so much of the gorgeous sonority in Gabrieli's music. The marvelous singing of the soloists and choir demonstrate the lavish riches of Gabrieli's triadic harmonies. The sound of the trombones and cornets is neatly absorbed into the overall sound of the vocal ensemble.

In love as in music, let pleasure be your guide…
Thus was born Sex Lounge and the desire to unite for the first time the most enticing Lounge and Downtempo selection ever dedicated to love and sensuality.
Sensual and sexual, it is the subtle and perfect mingling of these musical inspirations that guarantee the tenderness of this erogenous and erotic journey in which what lies ahead belongs to you and you alone… or not so alone…