Screaming Trumpet

When you write a song in answer to an existing song, you get an answer song. Gerda Dendooven, Rokus Hofstede, Jef Neve, Corrie van Binsbergen, Peter Vandenberghe, Bruno Vansina, Peter Verhelst, Peter Vermeersch and Tom Wouters worked on lyrics and music for a dozen songs for FES. Among others, Esther Lybeert performs as singer. Existing songs, susceptible to or screaming for an answer were longlisted (a.o. ‘Song to the Siren’, ‘Should I stay or should I go’, My funny Valentine’ and ‘Poupée de cire’). Style, age, language were of no importance. Usually the text was decisive, but also instrumental songs were considered. There were no limits to how close the adaptation had to refer to the original, the new composition didn’t even have to be in the same style. But new lyrics on an existing song were out of the question. The result had to be a completely autonomous song, and couldn’t depend on its reference to the original. The reference could go from 0 to 100 %, but it couldn’t become a cover-evening.

Coming off a Best New Artist Award at the 2006 MTV Video Music Awards, the members of Avenged Sevenfold returned to the studio, ambitious to create an exciting follow-up to City of Evil - perhaps overly so, as their self-titled release focuses entirely too hard on pushing the songs into non-metal territory. Their signature, blistering Yngwie Malmsteen guitar arpeggios and lightning fast double-kick drums are still evident, but the overall heavy metal thunder is diluted by their everything-but-the-kitchen-sink approach. Left alone in the studio to record the album on their own, AS show their unbridled enthusiasm to be as inventive as possible as they run through a staggering amount of production enhancements: four songs have string arrangements; violinists, pianists, and vocalists make guest appearances here and there…

Inner City Blues kicks off with its title track, a burning version of the Marvin Gaye tune with Washington lending a heft and depth to it that reveals the sophistication of Gaye's original. From Airto's hand drums and the hi hat whispers of Muhammad to the chunky wah-wah guitar vamp and a funky bassline by Carter, it becomes clear that Washington's methods of deep soul articulation on his horn extend into the heart of this mix. James decorated his charts with subtle organ flourishes and his piano, but this is early jazz-funk at best.

Sex Mob Does Bond is the soundtrack to an imaginary James Bond flick, and a tribute, of sorts, to the music of John Barry. Aside from the leadoff track and its reprise ("Dr. Yes," ostensibly the title of the film), the program is a collection of Barry tracks taken from various Bond films. As always, Sex Mob applies its own swaggering brilliance to the proceedings, spicing up the somewhat familiar music with outrageous musicianship and a sly grin. Joined by guests John Medeski (organ) and the Sex Mob Soul Choir (backing vocals), Sex Mob rip through the Barry songbook, infusing each piece with a sexy, almost trashy vibe that was always subdued in the Bond films..

CD reissue of this 1979 album by the jazz percussionist/bandleader. Fans of Billy Cobham have been screaming for B.C. to make its worldwide CD debut. This album features Ernie Watts and Bobby Lyle. Our CD reissue features a bonus track of the 12" extended version of the song "What Is Your Fantasy". You will note that Billy takes his fusion drumming seriously on this album as well.

Miles Davis - The Complete On The Corner Sessions (2007) {6CD Box Set Columbia 886970 6239 2 rec 1972-1975}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.73 Gb | MP3 @320 -> 964 Mb
Full Artwork @ 300 dpi (png) -> 541 Mb | 5% repair rar
© 1972-75, 2007 Columbia / Legacy / Sony BMG Music | 886970 6239 2 | 24bit remastering
Jazz / Fusion / Jazz-Funk / Jazz-Rock / Free Funk / Funk

From the opening four notes of Michael Henderson's hypnotically minimal bass that open the unedited master of "On the Corner," answered a few seconds later by the swirl of color, texture, and above all rhythm, it becomes a immediately apparent that Miles Davis had left the jazz world he helped to invent – forever. The 19-minute-and-25-second track has never been issued in full until now. It is one of the 31 tracks in The Complete On the Corner Sessions, a six-disc box recorded between 1972 and 1975 that centers on the albums On the Corner, Get Up with It, and the hodgepodge leftovers collection Big Fun. It is also the final of eight boxes in the series of Columbia's studio sessions with Davis from the 1950s through 1975, when he retired from music before his return in the 1980s. Previously issued have been Davis' historic sessions with John Coltrane in the first quintet, the Gil Evans collaborations, the Seven Steps to Heaven recordings, the complete second quintet recordings, and the complete In a Silent Way, Bitches Brew, and Jack Johnson sessions. There have been a number of live sets as well; the most closely related one to this is the live Cellar Door Sessions 1970, issued in 2005.