Symphony X is an American progressive/power metal band from New Jersey founded in 1994 by guitarist Michael Romeo. The band came into existence when guitarist and composer Michael Romeo recorded a demo tape entitled "The Dark Chapter" with the keyboardist, and future band mate, Michael Pinnella in early 1994. Romeo distributed the tape to various recording labels and, due to the tape's reception in Japan, he got himself a record deal in the Land of the rising Sun with the now defunct Zero Corporations Label. Musically Symphony X is similar to, although heavier than most other progressive metal bands to which they are commonly compared: Dream Theater, Fates Warning and Pain of Salvation. They play in a very syncopated, progressive fashion, also incorporating elements of symphonic metal into their sound…
Reissue with the latest remastering. Features original cover artwork. This Timeless CD is a bit unusual in that guitarist Charlie Byrd sings the first six numbers; it is only the second time in his career he has taken vocals on record. His singing is simple and generally effective if not too memorable. The final 11 numbers are instrumentals (odd programming) and also surprising in that the emphasis is on standards, often from the swing era; there is only one Brazilian song (Antonio Carlos Jobim's "So Danca Samba"). Byrd (in a trio with bassist Joe Byrd and drummer Chuck Redd) is in generally fine form overall although it is doubtful that he will get too many requests to feature his singing in the future.
Miles Davis was best-known during the late '40s for offering an alternative approach to trumpeters Dizzy Gillespie and Fats Navarro, emphasizing his middle register, a softer tone and a more thoughtful approach. This concert performance, which was not released until nearly three decades later, shows that Davis was just as capable of playing hard-driving bebop as most of his contemporaries. In a quintet with tenor-saxophonist James Moody and pianist-composer Tadd Dameron, Davis confounded the French audience by playing very impressive high notes and displaying an extroverted personality. Never content to merely satisfy the expectations of his fans, he was already moving in surprising directions. This LP also gives one a very rare opportunity to hear Miles Davis verbally introducing songs in a voice not yet scarred.
Status Quo are an English rock band who play a brand of boogie rock. The group originated in The Spectres, founded by schoolboys Francis Rossi and Alan Lancaster in 1962. After a number of lineup changes, which included the introduction of Rick Parfitt in 1967, the band became The Status Quo in 1967 and Status Quo in 1969…
Could there be any more confrontational sound in Miles Davis' vast catalog than the distorted guitars and tinny double-timing drums reacting to a two-note bass riff funking it up on the first track from On the Corner? Before the trumpet even enters the picture, the story has been broken off somewhere in the middle, with deep street music melding with a secret language held within the band and those who can actually hear this music – certainly not the majority of Miles' fan base built up over the past 25 years. They heard this as a huge "f*ck you." Miles just shrugged and told them it wasn't personal, but they could take it that way if they wanted to, and he blew on his trumpet.
Features 24 bit remastering and comes with a mini-description. There was a lot of change in the air in 1967 when Jack McDuff released “Do it Now”, and that is reflected on many of the tracks on this fine soul jazz disc. In 67 James Brown was still developing the new funk sound, he had already hit us with the semi-funk of “I Feel Good”, but had not quite hit the pure funk heights of “I Got the Feelin” and “Say it Loud”. The first and last cuts on side one of McDuff‘s “Do it Now” are not quite full-on funk jazz numbers, but you can clearly hear the influence of James’ recent hits. In fact, side two closer and title cut, “Do it Now“, sounds like its based on that famous walk down riff from “I Feel Good”.
All vibraphonists owe a debt of gratitude to Lionel Hampton for paving the way in traditional and modern jazz, pioneering the instrument as more than in an accompanist role or being heard only in lounges. In his heyday, Teddy Charles was a prime example of taking Hampton's approach to a different level, eventually in hard and post-bop, but here he takes swing era tunes of Hamp's, changing up or editing their melodic structures with a quartet featuring pianist Hank Jones, and a larger ensemble with horn complement.
After years of playing a dispiriting game of musical chairs with various lead singers during the early '80s, Black Sabbath guitarist Tony Iommi finally stumbled upon a dependable frontman when he admitted relative unknown Tony Martin into the fold, thereby initiating the original heavy metal band's long awaited return to respectability – if not chart-topping success. Martin joined the oft-interrupted sessions for what would become 1987's The Eternal Idol album already in progress, stepping in for an unreliable Ray Gillen when the latter moved on to Jake E. Lee's Badlands, and helping Iommi rescue an astonishingly solid long-player from the jaws of complete and utter chaos.
Jon Faddis and Billy Harper made an interesting, if at times mismatched, team on this 1974 date recently reissued by Evidence. Faddis was then laboring to find his own voice on trumpet; his mentor, Dizzy Gillespie, remained both his predominant influence and stylistic guiding light. Harper had won critical attention and praise for his work with Lee Morgan, and his robust tenor sax was well-displayed throughout this date.