Yhlqmdlg Bad Bunny

Bunny Berigan began his prime stretch of solo recordings with this collection of songs cut between 1935-1936. Berigan still worked as a sideman for the likes of Benny Goodman during this period, and he even did some session and film work, but it is his own material which has solidified his reputation as a top figure of the big band era. And while later sides from 1937-1939 would trump some of the ones included here, this collection still brims over with exciting and tight material from a variety of Berigan contingents. In addition to his first stab at "I Can't Get Started" (somewhat inferior to the classic version from 1937), Berigan is featured on a bevy of small group and a large ensemble highlights, like "Chicken and Waffles" and "Blues"…

Bunny Brunel is best-known as a virtuosic electric bassist who is featured in high-quality fusion settings. This particular recording is quite a bit different for Brunel is heard exclusively on acoustic bass, performing advanced jazz standards including pieces by Wayne Shorter, Steve Swallow, and Herbie Hancock along with two of the bassist's originals, "Stella by Starlight," Charlie Parker's "Relaxin' at Camarillo," and "Someday My Prince Will Come." Guitarist Mike Stern has plenty of solos, pianist Billy Childs gets in his spots, and drummer Vinnie Colaiuta is fine in support, but Brunel clearly controls the music. On the concluding "Twelve Bars for Leberstraum," Chick Corea guests on piano.

Bad Company’s incredible commercial success continued in 1979 with the British supergroup’s fifth studio album, Desolation Angels. A double-platinum hit, the album peaked at #3 on the U.S. album charts and took radio by storm with “Rock ’n’ Roll Fantasy,” the best-selling single of the band’s career. Bad Company will celebrate the album’s 40th anniversary with a newly expanded version that boasts nineteen unreleased songs taken from the album’s recording sessions. Desolation Angles was recently remastered from the original multi-track tapes for THE SWAN SONG YEARS 1974-1982, a boxed set that was released this summer. That remastered version of the album is also used in this new anniversary collection.

21 years after their landmark first appearance as a genre exploding piano-bass-drums trio, the ever adventurous The Bad Plus have reinvented themselves as a dynamic quartet with the addition of guitarist Ben Monder and saxophonist Chris Speed. This new iteration of the group makes its vital eponymous debut now, as always, challenging convention by pushing their inimitable approach to jazz in boundary-breaking new directions. Though the components may have changed, what remains is The Bad Plus’s unique musical language and their undeniable drive and intent. Having re-contextualized their own chemistry, The Bad Plus not only affirms the band’s continuing relevance and longevity, it burns bright on its own terms as an extraordinarily powerful debut from an all-new creative force to be reckoned with.

Nick Cave is a singular figure in contemporary rock music; he first emerged as punk rock was making its presence known in Australia, but though he's never surrendered his status as a provocateur and a musical outlaw, he quickly abandoned the simplicity of punk for something grander and more literate, though no less punishing in its outlook…

Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound.
From the wreckage of Free came Bad Company, a group fronted by singer Paul Rodgers and featuring his drummer bandmate Simon Kirke, Mott the Hoople guitarist Mick Ralphs, and King Crimson bassist Boz Burrell. The latter is something of a ringer, suggesting an undercurrent of adventure in the band, but as the group's eponymous 1974 debut decidedly proves, the band is proudly not progressive. If anything, Bad Company excise the excesses of Free - there are no winding jams and very little added color by way of pianos or even air in the production; those two tricks are evident on their title track/rallying call "Bad Company," and the details make a difference, as do the pastoral acoustics of the closing "Seagull" - reducing their rock & roll to a strong, heavy crunch…