Saving Michelangelo's Dome Wayne Kalayjian

Atlantis is the sixteenth album by Wayne Shorter. It was released on the Columbia label in 1985 and was Shorter's first solo album since 1974. The recording is notable in Shorter's body of work both for its relative lack of improvisation and for the high level of its compositions and group arrangements. Brazilian and Funk rhythms are featured on several tracks, as is a mixture of electric and acoustic instrumentation.

The much awaited studio album from Wayne Krantz after his last release, Good Piranha Bad Piranha (2014) featuring Gabriela Anders, Keith Carlock, Will Lee, Orlando le Fleming, Tim Lefebvre Pino Palladino and Chris Potter.

First off, Kenny Wayne Shepherd was 33 years old at the release of this album, so he’s not a kid playing hot guitar anymore, he’s a grown man doing it. And he does play a hot lead guitar – that, in a nutshell, is what he does. But over the years he’s also learned that the blues isn’t just about blazing lead licks, it’s also about letting the song say its say – and on Live! In Chicago he does that. This is a concert full of songs and not just a bunch of guitar leads broken up by someone singing for a bit. Shepherd is also fully aware of the history of the blues and he honors some of his heroes here by playing with blues legends like Hubert Sumlin, Willie “Big Eyes” Smith, Bryan Lee and Buddy Flett and he doesn’t step all over them with his guitar playing – he supports them. The concert grew out of the tour Shepherd put together in support of 10 Days Out: Blues from the Backroads project, a DVD/CD documentary that featured Shepherd traveling around the country on a ten day trip interviewing and playing with icons from the blues world, including the surviving members of Muddy Waters' and Howlin' Wolf's bands, making this show, recorded at the House of Blues in Chicago, a kind of culmination.

A classic mid-‘60s Blue Note selection from another living legend of our music: Juju (1965) features the stellar, one-time John Coltrane rhythm section of McCoy Tyner, Reggie Workman and Elvin Jones; Speak No Evil (1966) is simply one of the all-time-great jazz albums, recorded with Wayne’s Miles Davis Quintet bandmates Herbie Hancock and Ron Carter; and its follow-up The All-Seeing Eye (1966) features some striking compositions in a highly unusual septet format.

Originally issued on three 10-inch LPs, these albums feature three outstanding but underrated jazz guitarists: Lou Mecca, Bill de Arango and Chuck Wayne.
Crisp, inventive and fleet-fingered, Mecca found his own voice from his main inspiration, Tal Farlow, whom he replaced in the Gil Mellé Quartet. Lous classical guitar sound is complemented in this 1954 Blue Note recording by fine vibist Jack Hitchcock, bassist Vinnie Burke and drummer Jimmy Campbell.
De Arango, among the first of the modern jazz guitarists in 52nd Streets heyday, hadnt recorded for a while when he made his album for EmArcy in 1954. His full sound, great swing and consistently imaginative power were in the Charlie Christian tradition, but, as this date proves, he was also very individual…