Listen Here

Regina Carter (who has a beautiful tone and a swinging style) is one of the top new jazz violinists of the 1990s, and the more memorable selections on this CD are so strong that they almost allow one to overlook the three throwaway pop/R&B songs. Unfortunately, the opening "Downtown Underground" is one of the losers, and the Nicki Richards vocal piece "Late Night Mood" (which recording executive talked Carter into recording that turkey?) is so lightweight that it should have been released on another album. In contrast are near-classic renditions of Eddie Harris' "Listen Here" and Mal Waldron's "Soul Eyes"; Carter's haunting ballad "Reflections" deserves to become a standard. A mixed bag, but overall this CD is recommended, with reservations.

Ace's Songwriter Series continues to pay tribute to the most eminent tunesmiths of the 20th Century. This month they bring you our salute to one of the UK's highest profile singer-songwriters, with more than 50 years of hits under his belt Graham Gouldman. Listen People offers an overview of almost half a century of great British songwriting, from Graham's early 60s songs for his own first group the Mockingbirds, to his 21st century collaborations with Kirsty MacColl and McFly. Just about all of Graham's best-known songs are included, many of them performed by singers and groups with whom he has long been associated such as the Hollies, Herman's Hermits, the Yardbirds and both Wayne Fontana and the Mindbenders…

Here Garbarek is approaching the extremes of his style, appearing once again with the Jan Garbarek Group. He has his usual stark, meditative pieces, interspersed with some cutting-edge work, occasionally spinning just enough out of control to be exciting. And in other places he ventures headlong into the syrupy fields of Kenny G.-land. All pieces on this record are titled after quotes from poems by Tomas Transtromer, and though the actual connection to these poems remains tenuous at best, they do add a provocative element to the pieces themselves, which beg for at least some programmatic interpretation. Excellent bass work by Eberhard Weber, particularly on the more avant-garde pieces (e.g., "The Crossing Place" and "One Day in March I Go Down to the Sea and Listen"). Multi-instrumentalist David Torn is primarily responsible for the more aggressive edge this record takes.

Here Garbarek is approaching the extremes of his style, appearing once again with the Jan Garbarek Group. He has his usual stark, meditative pieces, interspersed with some cutting-edge work, occasionally spinning just enough out of control to be exciting. And in other places he ventures headlong into the syrupy fields of Kenny G.-land. All pieces on this record are titled after quotes from poems by Tomas Transtromer, and though the actual connection to these poems remains tenuous at best, they do add a provocative element to the pieces themselves, which beg for at least some programmatic interpretation. Excellent bass work by Eberhard Weber, particularly on the more avant-garde pieces (e.g., "The Crossing Place" and "One Day in March I Go Down to the Sea and Listen").

The transaltlantic trio that is King Hobo will release its new album, "Mauga", on May 31 via Weathermaker Music. The disc was produced by Tobias Strandvik and recorded at his studio in Varberg, Sweden. King Hobo consists of Thomas Juneor Andersson (KAMCHATKA) on vocals, guitars and percussion, Per Wiberg (KAMCHATKA, SPIRITUAL BEGGARS, CANDLEMASS, ex-OPETH) on vocals, bass, and keys, and Jean-Paul Gaster (CLUTCH) on drums.

Phil Manzanera & 801 - Listen Now (1977) {Expression Records–Virgin EXPCD17 rel 2000}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 344 Mb | MP3 @320 -> 130 Mb
Full Artwork @ 600 dpi (jpg) -> 230 Mb | 5% repair rar
© 1977, 2000 Expression Records / Virgin | EXPCD17 / 7243 849276 22
Rock / Prog Rock / Art Rock / Electronic / Experimental Rock

Phil Manzanera had no problem filling his mid-'70s downtime away from Roxy Music. His guitar graced some 20 albums, like John Cale's Fear, Eno's Here Come the Warm Jets, and Nico's The End. This outing from his all-star side group is slicker than his 1976 live debut album, but no less worthwhile; some 16 musicians are credited. The sound is sleek and sophisticated; even lyrics aren't exempt from creative twists, as shown on "Listen Now"'s glistening jazz-pop – which cleverly juxtaposes its title against a bouncy "now, now, listen" chorus.