A sweet larger group session from vibist Milt Jackson – proof that he was really trying to stretch his wings, and get into new things during the 60s! The set's got Milt working with some great help from Tadd Dameron and Ernie Wilkins on larger group arrangements – nicely swinging charts that have a nice touch of modern, but lots of straightforward grooving too! Milt's the primary soloist, buoyed by an orchestra built around a rhythm section of Hank Jones on piano, Ron Carter on bass, and either Connie Cay or Philly Joe on drums – plus loads of great horn players like Clark Terry, Nat Adderley, Melba Liston, James Moody and Jimmy Heath among others.
Dream Theater's first official release gave an indication that this was a talented band that combined the styles of Yes, Rush, and Queensrÿche. The latter seemed to be too big of an influence at this stage of their career. Vocalist Charlie Dominici's voice is not powerful enough to carry out the band's otherwise convincing intensity, and his attempt to sound like Queensrÿche's Geoff Tate was unsuccessful. The music here is not as heavy as it would become in the '90s but could still be classified as progressive metal. Guitarist John Petrucci and drummer Mike Portnoy established themselves as competent musicians, but their individual styles were not yet refined. The band's originality does shine through on "Light Fuse and Get Away," "The Ones Who Help to Set the Sun," and "Only a Matter of Time"…
Her mountainous stature matching the sheer soulful power of her massive vocal talent, Big Maybelle was one of the premier R&B chanteuses of the 1950s. Her deep, gravelly voice was as singular as her recorded output for Okeh and Savoy, which ranged from down-in-the-alley blues to pop-slanted ballads. In 1967, she even covered ? & the Mysterians' "96 Tears" (it was her final chart appearance). Alleged drug addiction leveled the mighty belter at the premature age of 47, but Maybelle packed a lot of living into her shortened lifespan.