Gabriel Bondage originated from Morton Grove, Illinois, USA around 1973 and continued playing up to 1984. Bands members also had various other side projects up until 1984.Their music can be best described as spacey, great Heavy Prog like organ and keyboard work and along with their UK neighbors, Gravy Train, delivered an underlying religious theme to their music. Most sources show the band formed in 1973 and their first album Angel Dust was in released in 1975. This is seen my many to be their more inferior work. Their follow up Another Trip To Earth was released in 1977 to wider acclaim. They developed quite a strong cult following in the States especially live but sadly never released any other studio albums. The good news is they have reformed and are working on new material.
Bohemian-German composer Jan Ladislav Dussek, 10 years older than Beethoven and a major influence upon him in the realm of keyboard music, is known mostly for that keyboard music and for his chamber music with keyboard. This set of three string quartets from late in his career has apparently never been recorded before. Dussek confidently asserted to an English publisher that "they are neither in the Stile of Mozart, of Haydn, nor that of Pleyel, they are in the Stile of Dussek, and I hope will make some noise in the Musical World."
Dare To Dream is a tour de force of Onaje Allen Gumbs' talents as a composer, producer, arranger and keyboardist. Co-produced by V.Jeffrey Smith of The Family Stand,the opening track,"No Question," is propulsive funk in the style of The System and Herbie Hancock's "Chameleon." The mellow Sunday afternoon groove of "Second Thoughts," is led by the tenor sax of Roger Byam,the engaging interplay of drummer Buddy Williams,the shaker,tambourine and soft conga of Steve Thornton and gently,plucked bass of Oscar Carataya as Gumbs interweaves tasty piano solos and lays down warm,sustained digital piano.
This is the first-ever major retrospective of this period. For the most part, the recordings represent Louis Armstrong leading the big band. Never had Louis sounded more secure, more hip, or more like a star. His example was an important beacon that popular standards were a legitimate repertoire for significant jazz recording stylists.