Before emerging as a cult star in the 1970s, Lowell George was a presence on the L.A. folk-rock/psychedelic scene in the 1960s. With his group the Factory, he only managed to release one single during this time. Lightning-Rod Man rescues 15 tunes cut by this unit, including the single and over a dozen outtakes and demos. Almost exclusively original material, most of these tracks were recorded in 1966 and 1967. They show the group pursuing a slightly eccentric folk-rock vision that neither bears much similarity to George's more famous work nor matches the best work done in this genre by their L.A. peers. At times they echo Kaleidoscope in their vaguely spacy, good-natured folkish rock; just as often, they take cues from Captain Beefheart and Frank Zappa in their skewed blues-rock and obtuse songwriting. In fact, Zappa himself produced and played on a couple of the demos, and one-time Mothers of Invention members Elliot Ingber and Roy Estrada show up on a few others. A few songs cut toward the end of the decade feature a heavier, bluesier sound that show George edging in a different direction. An enjoyable vault find, but not a major revelation.
The combination of Neville Marriner and his always sterling evocation of excellence from the Academy of St. Martin's-in-the-Fields offers the perfect accompaniment and support for Malcolm's playing. The late George Malcolm was a brilliantly gifted organist even though his real specialty had always been harpsichord. He always seems to find the lightest most delightful playing to fit the idea of the piece.
Celebrated British bassist GEORGE ANDERSON leads an unusual dual musical life. He is, of course, best known for his work with smooth jazz icons Shakatak. He's a key member of the band – on the road and in the studio. George was also instrumental in co-writing many of Shakatak's best tunes ….most famously 'Day by Day' featuring Grammy award winner Al Jarreau. George was responsible too for co-writing the song 'Perfect Smile' which was a smooth-jazz radio play hit in the US for Shakatak in the 90's.
Acclaimed sextet One for All makes its much-anticipated return with BIG GEORGE, its first release in seven years and its 17th. The album reunites Eric Alexander, Jim Rotondi, Steve Davis, David Hazeltine, John Webber, and Joe Farnsworth, who are joined on three tracks by a very special guest saxophonist, their mentor and hero, NEA Jazz Master George Coleman.
Gershwin s Rhapsody in Blue is one of the most successful fusions of classical music and jazz ever, and is one of the most popular of all American concert works. Gershwin described the piece, which opens with an unforgettable two-and-a-half octave glissando wail on the clarinet, as a sort of musical kaleidoscope of America, of our vast melting pot… … our metropolitan madness.
George Dyson (1883-1964) studied with Charles Villiers Stanford at the Royal College of Music and Dyson's own compositions tend to reflect the kind of romanticism of both Stanford and Perry or the era just before Elgar, Vaughan Williams, and William Walton. His music is always lyrical if a bit modest,or perhaps understated is a better word after all, leggiero means "lack of pomp or pretention or prolixity." In this, he resembles Frederick Delius. The works on this disc come from Dyson's later years 1949 to 1951 which were his most creative.