5 years after his last studio album, Wax Tailor is back with "The Shadow Of Their Suns" a darkly elegant "sound feature" accompanied by a new and prestigious cast.
Tony Joe White's self-titled third album, Tony Joe White, finds the self-proclaimed swamp fox tempering his bluesy swamp rockers with a handful of introspective, soul-dripping ballads and introducing horn and string arrangements for the first time. The album – White's 1971 debut for Warner Bros. – was recorded over a two-week period in December 1970, in two different Memphis studios (one was Ardent Studios, where Big Star later recorded their influential power pop albums). His producer was none other than London-born Peter Asher, who had just produced James Taylor's early hits for the label (he would continue to produce hits for Taylor and Linda Ronstadt on his way to becoming one of the most successful producers of the '70s). One can surmise that Warner Bros. may have put White and Asher together as a way for the producer to work his magic with an artist who had much promise.
Our second album with David Newman, this animated feature follows in the footsteps of classics such as his "Anastasia" and "Ice Age". In style similar to Newman's "The Air Up There", this score features sweeping melodies, battling drums and an African choir. The album contains the complete orchestral score and is different from the previous European release inasmuch as it doesn't have the songs by Naturally 7 and Xavier Nadoo. Produced by David Newman and Robin Esterhammer.
Ultimate Superheroes is the newly recorded epic collection of the greatest superhero themes of all time including tracks from blockbusters Black Panther, Doctor Strange and Ant-Man. Features compositions from some of the greatest film music composers of all time including Hans Zimmer and John Williams. The constant reimagining of superhero movies has created a global appeal to an audience both young and old alike. From the traditional orchestral sounds of The Dark Knight Rises to the African beats of Black Panther there’s something for every superhero fan in this unique collection.
Combining sessions that blues pianist Sunnyland Slim and blues guitarist Johnny Shines recorded separately on the same day in Chicago in 1968 for the Blue Horizon imprint, this interesting little set shows two blues veterans doing what it was they did, which was, in part, to push and pull the Delta blues one small step closer to being in the modern urban world. The Slim sides, several of which are new to digital disc, are a bit more interesting than the Shines sides, but only by degree. Slim's songs can appear on the surface to be tossed-off exercises in the usual blues clichés, but they were actually carefully written, while Shines worked similar territory, giving old blues figures a slightly ironic twist. Since both played at one time or another with Robert Johnson, and both straddle the old and new worlds of the blues as it transfigured into an electric and urban form, it makes perfect sense to stick these two sessions together in one package.
Calvin Massey (1928-1972) is virtually unknown with the exception of both highly knowledgeable jazz scholars and a small coterie of illustrious musicians who remain alive and were immensely indebted to Massey s musical influence and mentorship. Massey was a father figure and close friend to many of the greatest jazz musicians of the post-World War era until his early death in 1972. Massey was a trumpeter, but was most noted as a composer of magisterial works, of which his epic opus was The Black Liberation Movement Suite, an extended work of nine movements. Until now, the work had never been recorded in its entirety. Cal Massey ranked among the greatest jazz composers of the 20th century, included with Duke Ellington, Thelonious Monk and Sun Ra.
When the definitive swamp rocker Tony Joe White signed with Warner Bros. in 1971, it sure seemed like a good idea – while White seemed like an anomaly at Nashville's Monument Records, WB was a label with a reputation for nurturing creative mavericks with a taste for stylistic crossbreeding, and with his soulful, organic fusion of rock, blues, and country sounds, White was as individual as they came in the late '60s and early '70s.