Bill Rose

In New York, Janice Templeton is happily married with the executive Bill Templeton and they live in a comfortable and fancy apartment with their eleven year-old daughter Ivy. One day, Janice is stalked by a weirdo and she tells her husband. Soon the stranger contacts them and invites the couple to meet him in a restaurant. Elliot Hoover tells to Janice and Bill that his daughter Audrey Rose died eleven years ago burned in a car crash and her soul would have reincarnated in Ivy's body. Bill and Janice believe that Elliot is nuts and Bill tells his lawyer to get a restraining order against Elliot. However, Ivy has dreadful nightmares and only Elliot is capable to calm her down.

Bill Monroe & The Bluegrass Boys - Castle Studio 1950-1951: Complete Sessions (2017) {5CD Set RWA ACD 12522}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.12 Gb | MP3 @320 -> 739 Mb
Artwork @ 300 dpi (png) -> 22 Mb | 5% repair rar
© 1950-51, 2017 Castle / Decca / Richard Weize Archives | ACD 12522
Bluegrass / Country / Close Harmony / Old-Timey / Traditional Bluegrass / Bluegrass-Gospel

5-CD hardcover album (CD-size) - 68-page booklet - 181 tracks -(366 min.). For devotees of Bill Monroe's music, the CD box sets issued by BEAR FAMILY beginning in 1989 were the answer to a listener's dream: having the bluegrass originator's complete recordings tastefully collected in boxes, with informative books included. What we now have is something even more dreamlike: all the familiar Monroe recordings for DECCA in 1950-51, featuring lead singers Jimmy Martin, Carter Stanley, and Edd Mayfield, presented next to – unbelievably – all the outtakes (none pre- viously issued) of all the tracks. Among other things, this means multiple takes of Raw Hide.

When Bill Evans agreed to do a two piano date with Bob Brookmeyer, eyebrows surely must have raised. Pairing a rising superstar of modern jazz with a gentleman known for playing valve trombone and arranging charts might have been deemed by some as a daunting task. Fortunately for the keyboardists, this was a good idea and a marvelous concept, where the two could use the concept of counterpoint and improvisation to an enjoyable means, much like a great chess match. For the listener, you are easily able to hear the difference between ostensible leader Evans in the right channel of the stereo separation, and the accompanist Brookmeyer in the left.

After providing an abundance of hard-edged, aggressive jazz-funk and jazz-rap on Live and Escape, Bill Evans surprised his followers by being so relaxed on Starfish and the Moon. This excellent, highly melodic CD was hailed as "Bill Evans' acoustic album," which was misleading because Starfish has its share of keyboards and synthesizers as well as electric bass and electric guitar. But it is accurate to say that the rap-free Starfish uses more acoustic instruments and less amplification than one had come to expect from the soprano and tenor saxophonist, who favors subtlety on such introspective, lyrical jazz-pop as "The Last Goodbye," "Something In the Rose" and "I'll Miss You." Even when he gets into a funk-minded groove on "Whiskey Talk" and "Shady Lady," Evans is moody and evocative rather than intense…