They may have recorded three albums of crisp riff-rock in the studio, but it s onstage that the chemistry between Robin Trower and Jack Bruce really comes alive For this 2009 live DVD, they perform tracks from their album Seven Moons with telepathic intensity, locking into each other s playing ( So Far to Yesterday ) or hanging back to allow the other to shine…
Canned Heat are celebrating in 2015 their 50th birthday. Since 1967 Adolfo Fito de la Parra is the drummer and Larry The Mole Taylor on bass and guitar was in periods always in the line-up. Together they are the force and musicians who keep The Heat alive; on tour and by recordings…
Following the 2013 release of Betty’s S.F. Blends, Volume One and their third full-length album, 2014′s Phosphorescent Harvest, Chris Robinson Brotherhood are back with an exciting double-LP: Betty’s Blends, Volume Two: Best From the West. Taking cues from Volume One, the CRB once again joined forces with Betty Cantor-Jackson, legendary archivist for the Grateful Dead, and allowed her to curate the new live album.
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. An explosive late 70s moment of brilliance from trombonist Curtis Fuller – and one of his greatest albums of the time! The set's got Fuller working with an unusual group – Pepper Adams on baritone sax, making for a nice "bottom" alongside Fuller's trombone, plus James Williams, borrowed from Art Blakey's group of the time – and really stepping out here with some great soaring piano lines. The rest of the quintet features Dennis Irwin on bass and John Yarling on drums – but the real boss of the set is clearly Fuller, who's contributed some wonderful originals to the session, and is clearly working with a re-kindled spirit at this point in his career. Titles include "Four On The Outside", "Suite Kathy", "Little Dreams", "Ballad For Gabe-Wells", and "Corrida Del Torro".
For their new album, Concerto Köln have tracked down yet another gem of the Baroque era. Their journey takes us to England, to the composer Charles Avison and his arrangements of Domenico Scarlatti’s harpsichord sonatas, which represents a milestone in British music history – beautifully interpreted here by one of the leading ensembles in the field of historical performance practice. Charles Avison is not exactly that what one would call a “popular composer”. He hardly plays any role whatsoever in the musical scene, the Bielefelder Katalog has documented only a handful of performances of his works and he surfaces rather sporadically within the expanse of musicology. It is basically due to historical performance practice that attention is once again being drawn to his works. And indeed: it is worth it!