The Eagles spent most of 2018 on the road with an extensive North American tour that found Don Henley, Joe Walsh, and Timothy B. Schmit joined by two new bandmates: Deacon Frey and Vince Gill. Earning rave reviews from fans and critics alike, the quintet was firing on all cylinders when they arrived at the Forum in Los Angeles for three sold-out, hometown shows on September 12, 14, and 15. Highlights from all three shows have now been compiled for a new 26-song live album and concert film Live From The Forum MMXVIII. Live From The Forum MMXVIII captures definitive live performances of the band’s most iconic hits (“Hotel California,” “Take It Easy,” “Life In The Fast Lane,” “Desperado”) and beloved album tracks (“Ol’ 55,” “Those Shoes”), along with some of the individual members’ biggest solo smashes (Don Henley’s “Boys Of Summer,” Vince Gill’s “Don’t Let Our Love Start Slippin’ Away,” Joe Walsh’s “Rocky Mountain Way”).
Massimo Faraò studied with Maestro Flavio Crivelli and began his career collaborating with musicians from the Genoa Area, especially with the bassist Piero Leveratto. In 1993, he was invited to the US to play with Red Holloway and Albert “Tootie” Heath on a West Coast tour. In the same year, he founded the “We love Jazz” workshop, now one of the biggest events in Europe for jazz teaching.
Impulse! Records released its first recording in 1961—60 years ago. The legendary jazz label, now a subsidiary of Universal Music Group, is marking that milestone with a yearlong campaign that will focus on a bevy of new releases, reissues, and other initiatives.
The technically proficient guitar playing of John Petrucci elevated Dream Theater to the upper echelons of contemporary heavy metal. While its lineup has continuously evolved, the Long Island-based quintet has consistently delivered sharp-edged music…
Features 24 bit digital remastering. Comes with a description. When Charles Lloyd brought his new band to Monterey in 1966, a band that included Keith Jarrett on piano, Jack DeJohnette on drums, and the inimitable – though young – Cecil McBee on bass, no one knew what to expect. But they all left floored and this LP is the document of that set. It is difficult to believe that, with players so young (and having been together under a year), Lloyd was able to muster a progressive jazz that was so far-reaching and so undeniably sophisticated, yet so rich and accessible. For starters, the opening two title tracks, which form a kind of suite (one is "Forest Flower-Sunrise," the other "Sunset"), showcased the already fully developed imagination of Jarrett as a pianist.