The East Pointers

The Dwarfs of East Agouza is a trio from Cairo, Egypt, featuring Maurice Louca (Alif, Bikya), Sam Shalabi (Land of Kush, Shalabi Effect) and Alan Bishop (Sun City Girls, The Invisible Hands, Alvarius B.).

Paul Desmond Quartet with Jim Hall - The Complete Recordings (1988) {4CD Set, Mosaic MD4-120 rec 1959-1965}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.50 Gb | MP3 @320 -> 693 Mb | Artwork | 5% repair rar
© 1959-65, 1988 RCA Victor / Mosaic Records | MD4-120
Jazz / Cool / Saxophone / Guitar

Although the RCA recordings featuring the Paul Desmond Quartet with Jim Hall were eventually reissued by the original label (also in a boxed set) after the last copy of this limited edition Mosaic box was sold, it is the Mosaic collection which will be remembered as a classic. Only that set includes the initial studio collaboration of Desmond & Hall for Warner Bros.; also present are reprints of Doug Ramsey's warm memorial tribute to the alto saxophonist, as well as Marian McPartland's brilliant portrait (written for Downbeat in 1960) and Desmond's own side-splitting article written for Punch about a Brubeck gig that went slightly haywire, all helping to unfold a portion of the mystery behind this man.

This is a collection of the five first albums of the Paul Butterfield' group. The first two albums are classic and influenced rock music. The first album gives an electric atmosphere to blues, and was one of the influences to Bob Dylan's music to became electric…

This material is the English version of East’s first album, Játékok which was released in 1981. East is one of the most beloved prog acts from Hungary (if not the most). While the rest of the world was into New Wave, Marillion carried the prog torch for Great Britain and points west. Guitarist János Varga, keyboardist Géza Pálvölgyi, singer Miklós Zareczky, bassist Péter Móczán and percussionist István Király decided to pick up the prog banner for Eastern Europe. In 1981, they released their debut album "Játékok." The English translation is games. Oddly, they did release an English version, but it was titled "Blue Paradise." It was a well-received debut, and is still highly regarded.

One inspiration for the title of bassist Nathan East's second album for Yamaha – third if the Grammy-nominated Bob James collaboration The New Cool is counted – was the passing of Maurice White. The Earth, Wind & Fire leader is twice paid explicit tribute on Reverence. First, there's a faithful version of "Love's Holiday," featuring Philip Bailey in support, with East's bass in White's lead role during the verses. A slick "Can't Hide Love" fake-out and some other references are in the mix, too. Additionally, "Serpentine Fire" gets an ornate update with Bailey and EW&F partners Verdine White and Ralph Johnson. Phil Collins' drums and Eric Clapton's guitar are dredged from the master recording of an abandoned project, lost for 25 years, that was found in Patti Austin's basement by East's engineer.

Criminally overlooked in the psychedelic scene of the early '70s, East was a Japanese band that made music seemingly right at home in the Haight-Ashbury district of San Francisco. Despite the usage of traditional Japanese instruments such as the koto, biwa, taisho-goto, and the shakuchi, they sounded more like authentic West Coasters than a quintet born on the Land of the Rising Sun. Performing lyrics in perfect English, and with enough of an Americana influence to sound at times like the Flying Burrito Brothers – at other times, more like Love or Jefferson Airplane – the five bell-bottom- and paisley-clad lads put out only one self-titled album in 1972 before disbanding. In 2007, Fallout Records, the accomplished crate-diggers that they are, reissued East on CD.

The Allman Brothers shared the bill with the Grateful Dead on several notable occasions. This release recalls the Brothers in support of the Dead and Love in February 1970 at the fabulous Fillmore East. No specific dates for the performances are noted, so it is presumed this release is a composite from recordings made at some point during the two sets per night that the Allman's performed on February 11th through the 14th. There is no mistaking the unbridled fervor of the original line-up of the band. Rising to the challenge of exploratory psychedelia – while remaining ever faithful to their Southern blues roots – blues standards such as "(I'm Gonna Move to The) Outskirts of Town" and "Hoochie Coochie Man" are strengthened and extended beyond their typical assertions. No longer are they relegated to the inadequately rendered thrashings of garage rock. Betts and the Allman's understand the dynamics of blues. It is out of this respect for the art form that the band is able to pull off such authentic psychedelia-tinged Delta sounds.