Myslivecek (1737-1781) was a Bohemian contemporary of Haydn. Some radio broadcasters have latched onto his music, and in fact it's ideal for radio, light, melodious, entertaining, and undemanding. Haydn's octet, although the work of a better composer, aims at the same entertainment level and, of course, reaches it unerringly. This ensemble is an expanded version of the Albert Schweitzer Quintet, which put us forever in its debt with its complete recordings for this label of Reicha's Wind Quintets. This music isn't as valuable, but the ensemble's playing is just as good. A lovely disc for a lazy day.
Rammstein's first album was about what was to be expected from a bunch of Germans who happily grew up on everything from Skinny Puppy to Depeche Mode to Laibach and back again, not to mention plenty of skull-crushing metal straight up. Precisely brutal and often brilliantly arranged - the band aren't per se inventive, but they bring everything together to make something astonishingly radio-friendly out of something that isn't necessarily - Herzeleid in particular is the logical conclusion of KMFDM's self-referential electro-metal. The band freely invokes its own name throughout the way that group did in its songs – the final tune is called "Rammstein," to top it all off - and the riffs readily connect the dots between the older band's clipped guitar bursts and their even more compressed nu-metal equivalents…
If judged solely on its fabulous array of sonorities, Green Dolphy Suite by Double Trio (the combined forces of Trio de Clarinettes and the Arcado String Trio) would have to be considered a real find for intrepid listeners, especially those with a taste for jazz and avant-garde explorations. Every conceivable extended technique for clarinet, bass clarinet, contrabass clarinet, violin, cello, and double bass is tried at least once, and there is music here for fans of anything between hard bop and frenzied skronk. But what makes this album extraordinary is its profound musicality, in what may seem an extremely difficult idiom for both technically precise and emotionally connected playing. The music is often angular, brusque, cerebral, and fiendishly virtuosic, yet it is also remarkably expressive, richly colorful, and entertaining for its great variety and frequent wit…
While living in Dallas, Chambers worked for a while as a waiter at a blues club where he also acted as emcee and developed an engaging stage presence. Later, he appeared regularly at blues clubs in many Midwestern cities. His day job was a bus driver but whenever the opportunity arose he would be on stage, singing, occasionally playing drums, and introducing other acts with considerable panache. Although he lived in several other cities, he eventually settled in St. Paul, Minnesota. There, he led his own band, the Blue Birds, and also worked with a band led by Harmonica Tom Schafer. In 1991 he recorded the single, "Mean And Evil Woman", which became a local hit, as did the b-side, "Cleo". These tracks appeared on his sole album, which was completed not long before his death. A cassette was prepared for a launch, which Milwaukee Slim was able to attend even though he was failing in health. The album itself was released two years later…
Walker remains in fine form on this 1995 set, a mix of remakes of past triumphs ("Hello, My Darling," "Hey, Hey Baby's Gone") and fresh explorations. Two distinct bands were utilized - a New Orleans crew populated by bassist George Porter, Jr., and his funky cohorts, and an L.A. posse with more of a straight-up swinging feel.
Tony O was given his name by the great late Howlin' Wolf and his guitar player Hubert Sumlin back in the late 60's. Wolf was a friend and mentor. Tony O has toured and recorded with Jimmy Rogers, Victoria Spivey, James Cotton, Pinetop Perkins, Willie "big eye's" Smith, Hubert Sumlin, Bob Stroger, Calvin "Fuzz" Jones, The Legendary Blues Band, Little Mike and the Tornado's, Zora Young, Louis Myers, and more. Tony has recorded on over twenty five records and for seven different record labels. His debut record (Top of The Blues) on Deluge Records was released in 1995 with only great revues world wide, it included special guests Pinetop Perkins (piano), Willie "big eye's Smith (drums), Brad Vickers (bass) & Stan Bronstein (Sax).
The Stax empire wasn't exactly renowned for its legion of blues harpists, but Little Sonny found the Memphis firm quite an agreeable home during the early '70s (he even appeared in the label's grandiose concert film, Wattstax, albeit very briefly).
Little Sonny, whose birth name is Aaron Willis, is a product of Detroit's blues scene. He moved to the Motor City in 1953 after growing up on his dad's farm in Alabama (his mom gave him his nickname). When Little Sonny wasn't working local haunts with John Lee Hooker, Eddie Burns, Eddie Kirkland, Baby Boy Warren, or Washboard Willie (who gave him his first paying gig), he was snapping photos of the patrons for half a buck a snap…
Thought they didn't make traditional Chicago blues albums worthy of the name anymore? Guess again: Primer's major-label bow is an entirely satisfying affair produced by Mike Vernon that's long on intensity and devoid of pretension. Lots of originals, a handful of well-chosen covers, and a vicious band (pianist David Maxwell and harpist Billy Branch solo stunningly) help make the set go, while Primer grabs hold of the opportunity with a vise-like grip and makes believe it's the 1950s all over again.
Christian Richet is a French keyboard player inspired by 70's electronic music. Richet has been active since late 80's and has regularly released albums on the Musea label.
Pete Namlook was one of the most influential protagonists of ambient music during the 1990s. Inspired by Oskar Sala, one of the pioneers of electronic music, Namlook focused on the untapped potential of analogue synthesizers, often developed or extended in his laboratory. This album is dedicated to Klaus Kuhlmann who died on the 14th of November 1995.