Reissue features the high-fidelity Blu-spec CD format (compatible with standard CD players) and the latest remastering. Smooth and silky jazz funk from trombonist Urbie Green – a record that's much more in a mainstream R&B fusion mode than his earlier work – yet also arranged by David Matthews in a soulful style that still keeps things pretty real on the best cuts! The group's a good one for the mellow groove of the material – and includes Mike Mainieri on keyboards, Eric Gale on guitar, Jeremy Steig on flute, and Toots Thielemans laying down a bit of harmonica – all kicking back in classic 70s CTI styles. Titles include the nice modal groover "Mertensia", plus "Manteca", "Foxglove Suite", "Another Star", and "Goodbye".
Recorded while the band was evolving slowly into the Ritchie Blackmore's Rainbow, Trying to Burn the Sun is the third and final release from Elf, the band that finally earned Ronnie James Dio the attention he had been seeking since the late '50s. After writing and recording a few singles for Blackmore, Dio and Elf were solidly moving in a heavier musical direction, no doubt influenced by Deep Purple and the British supergroup's lead guitarist. Standout cuts include "Wonderworld" and "Streetwalker," two cuts that were somehow placed at the tail end of the record, despite their strong melodies and musicianship. Because the Rainbow debut was released during the same year, this record was slightly overlooked, even though the band had established a small amount of momentum in Europe and Japan especially. Trying to Burn the Sun is a great listen for fans of '70s rock, not just Dio/Rainbow fans.
For some reason, the second Elf record, 1974's Carolina County Ball, was released under the title L.A./59 in the United States and Japan, while the more widely accepted title was used in the U.K. and Europe. The Ronnie James Dio-led outfit was becoming increasingly entwined with Deep Purple – Roger Glover was producing the band, they appeared on the Deep Purple-owned Purple record label in the U.K., and the group was working frequently with Ritchie Blackmore – and their music began taking on a more powerful, more complex, more Deep Purple-like sound because of it. The more or less straight-up boogie rock of the Elf debut was not entirely abandoned for this follow-up, but tracks like "Annie New Orleans" and "Carolina County Ball" have a depth that goes beyond the accomplishments of the group's previous, self-titled offering. Difficult to obtain, this long out-of-print release is a true find for fans of Rainbow, Black Sabbath, and Ronnie James Dio's best solo efforts of the '80s.
Reissue features the high-fidelity Blu-spec CD format (compatible with standard CD players) and the latest remastering. A brilliant return to Montreux from Bill Evans – working here with a trio that includes some killer bass work by Eddie Gomez! The set's an acoustic one – despite its appearance on electric powerhouse CTI – but Evans' work on the piano has an electricity that's all its own, magically crafting waves and shapes of sound and tone. And despite the CTI setting, there's a nicely spacious sound to the way the album was recorded – one that's got a bit less of the "perfection" than on some of Bill's other 70s live dates – a sense of humanity that comes through wonderfully, and which makes this one a very special record! Titles include "Very Early", "34 Skidoo", "Israel", and "Peri's Scope".
PROVIDENCE were formed in 1985. For some years around their foundation they had changed the members or produced some demo tapes but they could not appear upon major scene in those days. In 1989 they saw the light with solidifying their members and recording their debut album 'And I'll Recite An Old Myth' (released in the following year), in that Madoka TSUKADA (keyboards) composed all songs. This album has got renowned also with the collaboration of Christian Beya (ex-Atoll). After replacing some members in 1991, PROVIDENCE had got more active on stage or production. In 1996 they released their second work 'There Once Was A Night Of Choko-Muro The Paradise'. PROVIDENCE had gigged in Japan actively until 2002 but sadly been disbanded without any notice.
Raw to the Bone is the 13th album by rock band Wishbone Ash. Like its predecessor, Twin Barrels Burning, it is one of the band's heaviest records, capitalising on the popular new wave of British heavy metal that Wishbone Ash had helped influence. It is the only Wishbone Ash album to feature Mervyn Spence on bass and vocals. It is also the last album with guitarist/vocalist Laurie Wisefield, who ended his eleven-year stint with Wishbone Ash after the release of this album.
Twin Barrels Burning is the twelfth studio album by British rock band Wishbone Ash. It was recorded at Sol Studios and released in 1982. It was the highest charting Wishbone Ash album in years, reaching No. 22 in the UK Albums Chart. Conversely, it was the final album to appear in that listing to date. It is the only Wishbone Ash album to feature Uriah Heep bassist Trevor Bolder, who was a member of the band for three years (1981–83).
"Havana Candy" was Patti Austin's second solo album and was produced by Dave Grusin and Larry Rosen. Stylistically, it's very similar to its predecessor and Patti's passionate and emotive vocals are truly magical and spellbinding on gorgeous ballads like "I Just Want To Know", "Little Baby" and "That's Enough For Me". While not commercially successful, "Havana Candy" is a Patti Austin classic which anyone who loves good music should not miss out on.
= 1 is the twenty-third studio album by English rock band Deep Purple, released on 19 July 2024 by earMUSIC/Edel AG. It is their first album with guitarist Simon McBride, who replaced Steve Morse in 2022. It is also the band's fifth collaboration with producer Bob Ezrin, who has produced every Deep Purple album since 2013's Now What?!. The album has been described as having a loose concept around "(symbolising) the idea that in a world growing ever more complex, everything eventually simplifies down to a single, unified essence. Everything equals one". Music writer John Aizlewood described singer Ian Gillan's voice as "richer than it’s sounded in years".