Applemagazine From 22 January 2016

Barney Kessel - Live At The Jazz Mill 1954 (2016) {Modern Harmonic MHCD-007}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 175 Mb | MP3 @320 -> 106 Mb
Full Artwork @ 600 dpi (jpg) -> 83 Mb | 5% repair rar
© 1954, 2016 Modern Harmonic / Sundazed Music | MHCD-007
Jazz / Bop / Cool / Guitar

A fantastic addition to the Barney Kessel catalog of the 50s – a never-heard live set that has the guitarist in form that's every bit as strong as his famous albums for Contemporary Records! In fact, the strength of the recording may well capture Kessel at a level that beats those sessions – as Barney's playing live, with a bit more bite – and really grabs us with the strong tone on his solos – and the sense of energy he gets in a quartet that also includes a young Pete Jolly on piano! The recording quality is excellent – crystal-clear, and very focused – and the set isn't one of those lost tapes that should have stayed "lost" – but instead a real lost chapter in Barney's tremendous career.

Digitally remastered and expanded edition including six bonus tracks. Memphis during the 70s was a hot bed of musical talent. Sure, it's blues and R&B roots had always been proudly on display, but with the explosion of FM radio, bigger live venues, and the establishment of a renowned studio (Ardent), the city seemed to be providing it's home grown musicians with an opportunity to set the world on fire. None of these possibilities were lost on Target, a cabal of tough rockers keen to stamp their identity on the local scene and beyond. Riding a wave of creativity and seeking to maximize their already solid reputation as a band to watch, Target took the recording of this, their second album, with an impressive sense of purpose.

James Arthur is the 2012 X factor winner, with his debut single ‘Impossible’ becoming the biggest X factor winner’s song of all time. The single kept the #1 chart spot for 3 weeks, won platinum in the UK and was nominated for a Brit Award. His self-titled first album, featuring the No.2 single “You’re Nobody Until Somebody Loves You” and collaborations with Naughty Boy and Emeli Sande, was certified Gold in the UK after worldwide sales of over 400,000. However, months after his debut single and album was finally usurped from the top spot, the struggles of the limelight became too much for the singer and in his own words, he “cracked”. Fast forward 2 years, James is a very different animal in 2016 and managed to process his experiences on his new album BACK FROM THE EDGE, which will be released 28th October. BACK FROM THE EDGE’s first single SAY YOU WON’T LET GO, released September 9, is the sound board for what has been a turbulent career, still very much in its infancy. Apart from the deeply emotional ballad, the album presents many songs with a personal experience.

James Arthur is the 2012 X factor winner, with his debut single ‘Impossible’ becoming the biggest X factor winner’s song of all time. The single kept the #1 chart spot for 3 weeks, won platinum in the UK and was nominated for a Brit Award. His self-titled first album, featuring the No.2 single “You’re Nobody Until Somebody Loves You” and collaborations with Naughty Boy and Emeli Sande, was certified Gold in the UK after worldwide sales of over 400,000. However, months after his debut single and album was finally usurped from the top spot, the struggles of the limelight became too much for the singer and in his own words, he “cracked”. Fast forward 2 years, James is a very different animal in 2016 and managed to process his experiences on his new album BACK FROM THE EDGE, which will be released 28th October. BACK FROM THE EDGE’s first single SAY YOU WON’T LET GO, released September 9, is the sound board for what has been a turbulent career, still very much in its infancy. Apart from the deeply emotional ballad, the album presents many songs with a personal experience.

Steve Gunn - Eyes On The Lines (2016) {Matador Records OLE-1090-2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 270 Mb | MP3 @320 -> 98 Mb
Full Artwork @ 600 dpi (jpg) -> 41 Mb | 5% repair rar
© 2016 Matador Records | OLE-1090-2
Rock / Neo-Psychedelia / Alternative / Indie Rock / Guitar Virtuoso / Indie Folk

Brooklyn singer, songwriter, and guitar slinger Steve Gunn makes his Matador debut with Eyes on the Lines, a windblown set of road explorations that, despite its meandering nature, is one of his most accessible records yet. The Pennsylvania native has maintained a prolific output over the previous decade, much of it in the form of one-off projects and collaborations, but his solo releases all seem to spring from the same well of wanderlust. Expanding on the spacious sound of his excellent 2014 LP, Way Out Weather, Eyes on the Lines is more of a free-flowing rock affair, finding Gunn and his band locking into bucolic grooves that take their time to unfurl.

Shakuhachi players of old followed the path of ichion-jobutsu, or “enlightenment in a single tone.” The spiritual element of the simple bamboo flute with its notched mouthpiece and five fingerholes is essential to its existence, and part of what led Henry Cowell to refer to it as “the universal flute.” Ralph Samuelson’s album shares that name, and presents remarkably evocative works for the shakuhachi by American composers.

France’s leading young harpsichordist performs works by two masters of the French Baroque. No surprises there, perhaps … but the harpsichordist in question is Jean Rondeau and the album is called Vertigo. It conceives the harpsichord in vividly theatrical terms. Vertigo takes its name from a dramatic, rhapsodic piece by Joseph-Nicolas-Pancrace Royer, who, along with Jean-Philippe Rameau, forms the focus of this album. If Rameau (1683–1764) is the better-known composer today, especially admired for such operatic masterpieces as Hippolyte et Aricie and Platée, the younger Royer (1705–1755) was also a major figure in his time, rising to become master of music at the court of Louis XV. Both Rameau and Royer excelled in keyboard music and in works for the stage. As Jean Rondeau says: “These two illustrious composers battled for the top spot at the Opéra.” He describes them as “two magicians, two master architects, amongst the most wildly imaginative and brilliant of their era … Two composers who also tried to capture echoes of grand theatre with the palette offered by their keyboard.