Men's Ex Japan From October 2016

Transcendence is the seventeenth studio album by Canadian musician Devin Townsend. It is the seventh and final album in the Devin Townsend Project series. It was released on September 9, 2016 via HevyDevy Records. Transcendence is the first Devin Townsend album not to be produced solely by Townsend, by featuring Periphery member Adam "Nolly" Getgood as additional producer, engineer and mixer. By Townsend's request, the other musicians' input to songs, arrangements and production is also greater than on previous Devin Townsend albums.

I have been looking for this album for a very long time now, my cousin lend me a copy of this around mid-80's and he wasn't quite sure about the title of the album but he's definitely sure it's Warren. My first CDs of Mr.Bernhardt were all from his DMP released CDs, two tunes from this album were even re-recorded but with a different arrangement and with a more straight ahead feel not like the ones included in this album. Try listening to the title cut and you will know what I'm talking about, Steve Gadd's rudimentary drum solo from this cut can be likened to Larry Carlton's masterworks on Steelydan's "Royal Scam". The Original Album contains 5 tunes and I was hoping they would come up with bonus takes for the CD version but hey it's better than not having a copy of maybe one of the most exciting Jazz Albums ever released during the 80's.

A sublime solo performance from Mal Waldron – the kind of unbridled, spiritual work he started giving us once he spent a lot of time overseas – sounds that are light years away from his American records of just a few short years before! Waldron is incredible here – and his ability to work in different ways with each hand on the piano almost makes it feel as if the performance is a duet, instead of a solo – as Mal can lay down modal rhythms with one hand, create incredible flights on the keys with the other – all while holding onto a sense of rhythm and melody that's completely wonderful throughout. Unlike some other Waldron records of this nature, which might go a bit outside – this one is free, but never "out" – and instead has Mal opening up beautifully on the titles "The Blues Suite", "Chairo No Hitomi", "The Stone Garden Of Ryoanji", "Summertime", "All Alone", and "Left Alone".

She was heard for the first time in June 1962 by a small but enthusiastic audience in Seiler's Café Atlantis in Basle: Elsie Bianchi sang and played what some call "bar jazz". It was great entertainment nevertheless and only a few jazz fans missed her performances. Elsie Bianchi learned to play the accordion when she was only five years old, somewhat later she began to play the piano and then she started to sing. One man with a well-trained ear and grand piano, the Villinger boss of SABA, H. G. Brunner-Schwer, offered Elsie Bianchi and her Trio the chance to record a total of 14 numbers in his professional studio in 1965.

Toshiyuki Honda (born April 9, 1957, Tokyo) is a Japanese jazz musician and composer. Honda's father was a jazz critic, whose name was also Toshiyuki Honda. As a jazz musician, he learned flute and saxophone, and worked in the late 1970s with George Otsuka and the Burning Waves ensemble. In the 1980s he worked with Chick Corea, Tatsuya Takahashi, and Kazumi Watanabe, as well as leading his own ensemble, Super Quartet. he was also a member of the ensemble Native Son. Starting in the late 1980s, Honda turned increasingly toward composing for film and television, as well as working in record producing. He composed the soundtrack for the film A Taxing Woman in 1987, which raised his prominence as a film scorer.

Produced by Creed Taylor himself, Jeremy Steig's jazz-funk throwdown, Firefly, is one of the great forgotten masterpieces of the genre. Steig is a monster flutist who may lack some of Herbie Mann's subtlety, but more than makes up for it with his chops. Taylor surrounded Steig with a band that was testosterone-fueled yet knew how to get the sexy grooves. Firefly was designed for the purpose of being a hit in the dance clubs, and it should have been, because it kicks ass on that level as well as on the jazz-funk beam. Arranged and conducted by pianist Dave Matthews, the band included guitarists Eric Gale, Hiram Bullock, and John Scofield, Richard Tee on keys, drummers Steve Gadd and Allen Schwarzberg, conguera Ray Mantilla, percussionist Sue Evans, and vocalist Googie Coppola.