Big 1986

After Count Basie's death, his orchestra went through an expected period of turmoil, almost declaring bankruptcy and having a new short-term leader (the late trumpeter Thad Jones). By 1986 its fortunes had improved and under the leadership of tenor-saxophonist Frank Foster it has become the only "ghost" orchestra to still play viable music after the death of its leader. Long Live the Chief was recorded only weeks after Foster assumed command, but already his arrangements and leadership were giving fresh life to this great jazz institution. In addition to remakes of "April in Paris, " "Lil' Darlin', " "Corner Pocket" and "Shiny Stockings, " there was already some new material in the band's books and this enjoyable CD shows just how strong the orchestra was even during this period of transition.

Gil Evans - Bud and Bird (1986) {Evidence ECD22003-2 rel 1992}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 398 Mb | MP3 @320 -> 159 Mb
Full Artwork @ 300 dpi (jpg) -> 18 Mb | 5% repair rar
© 1986, 1992 Evidence | ECD 22003-2
Jazz / Modern Big Band / Post Bop / Progressive Jazz

Gil Evans celebrated his 75th birthday shortly before this session was issued in Japan. He was not looking back, judging from the progressive, animated quality of these numbers. They included some extensive, rollicking numbers, songs with multiple movements, and energized solos from John Clark on French horn, trumpeter Lew Soloff, bass trombonist Dave Tucker, and bassist Mark Egan. Special guest Johnny Coles chimed in on "Half Man, Half Cookie." Some critics rapped Evans' '80s orchestras for their almost chaotic sound and loose feel. But Evans wanted a sprawling sensibility, and although his bands often seemed disorganized, they always maintained discipline in the midst of what others thought sounded like musical anarchy.

Chicago's early-'80s return from the scrapheap did more than bring the group its biggest chart successes: it finally shattered the carefully maintained "faceless" image that had prevented any member from becoming an individual star. In the dawning age of video, the band needed a focal point, and bassist Peter Cetera – already the voice behind Chicago's soft rock smashes like "If You Leave Me Now," which had made significant inroads with the MOR audience – was the logical choice. So it wasn't a huge surprise that, following Chicago XVII, Cetera decided to use his new celebrity to strike out on his own.

South of the Border is an album by the David Murray Big Band released on the Japanese DIW label. Recorded in 1992 and released in 1995 the album features performances by Murray, Rasul Siddik, James Zoller, Hugh Ragin, Craig Harris, Frank Lacy, Al Patterson, Vincent Chancey, Kalil Henry, John Purcell, Patience Higgins, Don Byron, Sonelius Smith, Fred Hopkins, Tani Tabbal, and Larry McDonald, conducted by Lawrence "Butch" Morris.

Delivered in the wake of Phil Collins' massive success as a solo star, Invisible Touch was seen at the time as a bit of a Phil Collins solo album disguised as a Genesis album, and it's not hard to see why. Invisible Touch is, without a doubt, Genesis' poppiest album, a sleek, streamlined affair built on electronic percussion and dressed in synths that somehow seem to be programmed, not played by Tony Banks. In that sense, it does seem a bit like No Jacket Required, and the heavy emphasis on pop tunes does serve the singer, not the band, but it's not quite fair to call this a Collins album, and not just because there are two arty tunes that could have fit on its predecessor, Genesis.