Auto Express From 8 July 2015

Lennie Tristano - Descent Into The Maelstrom (1952-66) {2015 DSD Japan East Wind Masters Collection 1000}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 132 Mb | MP3 @320 -> 101 Mb
Full Artwork @ 600 dpi (png) -> 144 Mb | 5% repair rar | DSD Mastering
© 1976, 2015 East Wind Music / Universal Japan | UCCJ-9170
Jazz / Bop / Cool / Avant-Garde Jazz / Piano

An excellent collection of rare material by this fantastic modernist piano player! The record compiles rare recordings from the years 1951 to 1966, including a few excellent solo recordings that stand as essential gems from his underrecorded career. Titles include "Ju Ju", "Pastime", "Stretch", "Dream: Paris 1965", and "Descent Into The Maelstrom". (Great Japanese pressing!) This hard-to-find LP starts off with the utterly unique title cut. On this completely atonal track (which predates Cecil Taylor by a few years), Lennie Tristano overdubbed several pianos and created picturesque and extremely intense music.

Canned Heat are celebrating in 2015 their 50th birthday. Since 1967 Adolfo Fito de la Parra is the drummer and Larry The Mole Taylor on bass and guitar was in periods always in the line-up. Together they are the force and musicians who keep The Heat alive; on tour and by recordings…

Pianist Jacky Terrasson's Impulse! Records debut, 2015's Take This, is a sophisticated showcase for his virtuoso jazz chops and eclectic musical taste. Following up his 2012 effort, Gouache, Take This finds Terrasson investigating a mix of originals and unexpected covers, many of which are infused with a strong African and Cuban rhythmic influence. Supplying much of this rhythmic intensity is Terrasson's adventurous outfit featuring bassist Burniss Travis, drummer Lukmil Perez, and Malian percussionist Adama Diarra. Together, this group is responsible for many of the album's brightest moments, with updates of such classic jazz piano numbers as Bud Powell's "Un Poco Loco," and Miles Davis' "Blue and Green," to name a few. Also collaborating with Terrasson here is French vocalist/beatboxer Sly Johnson…

Firewind / Ozzy Osbourne guitarist GUS G. returns with a fantastic second solo album! Fans of Slash, Halestorm & Avenged Sevenfold will love this! Features vocals by Jacob Bunton (Adler, Lynam), Mats Leven (Candlemass, ex Yngwie Malmsteen), Jeff Scott Soto (Trans-Siberian Orchesta, ex Journey) and Elize Ryd (Amaranthe), as well as Marty O Brien (Lita Ford) on bass and Jo Nunez (Firewind) on drums Recorded by Jay Ruston (Stone Sour, Anthrax, Steel Panther) and mixed by Mike Fraser (Aerosmith, Metallica, AC/DC).

The New Seasons referred to in the title here are the so-called American Four Seasons, the Violin Concerto No. 2 of Philip Glass, which has even less of a connection to Vivaldi's model than do Astor Piazzolla's Buenos Aires Four Seasons and other works that take Vivaldi as a point of reference. The work is in eight sections, but which ones are supposed to represent which season is left up to the listener. It's really a typical but unusually effective example of late-period Glass, with the composer's usual textures intact but lots of harmonic motion. Part of the interest here lies in hearing Latvian violinist and conductor Gidon Kremer and his Kremerata Baltica, long champions of minimalism's Baltic branch, tackle a work by one of the leaders of Western minimalism. The American Four Seasons get a treatment that's a bit rougher than usual, but then Kremer turns around (after a Pärt girls' choir interlude) and delivers pristinely smooth, glassy textures in Giya Kancheli's Ex contrario. The program closes with a fascinating little melody by Japanese rock musician and film composer Shigeru Umebayashi, a daring and effective choice.

Once again working with producer/songwriter Tom Hambridge – the bluesman's main collaborator since 2008's Skin Deep – Buddy Guy serves up a straight-ahead platter with Born to Play Guitar, his 28th studio album. Many of Guy's latter-day records loosely follow a theme, but Born to Play Guitar is pretty direct: just a collection of songs designed to showcase Buddy's oversized Stratocaster. Which isn't to say there's either a lack of variety or pro forma songwriting here. Hambridge cleverly colors Born to Play Guitar with a few bold, unexpected flourishes: the sweeps of sweet strings that accentuate "(Baby) You've Got What It Takes," a duet with Joss Stone that lightly recalls Etta James' Chess Records work; the big, blaring horns of "Thick Like Mississippi Mud" that moves that track out of the Delta and into an urban setting; the acoustic "Come Back Muddy" which performs that trick in reverse, pushing Chicago blues back down south.