Cbs Sony

Naniwa Express (ナニワエキスプレス) was a Japanese jazz fusion group active from 1977 to 1986. According to The New Grove Dictionary of Jazz it was "one of the most successful jazz fusion bands in Japan". The group was founded by Ko Shimizu and Kazuhiko Iwami, with Kiyoshi Kamada on drums in the early years; Kenji Nakamura joined in 1978. The group traveled to the USA in 1979 and returned in 1980; Rikiya Higashihara and Makoto Aoyagi joined in 1981. The group made its first recordings for CBS/Sony in 1982, and continued recording until its dissolution in 1986. Limited reunion touring and recording occurred in the 2000s.

Vladimir Horowitz confined himself mainly to the Romantic repertoire of the nineteenth century, particularly Schumann, Liszt, Mendelssohn and Chopin (in whose music, especially perhaps the mazurkas, he was held by many to be peerless). Horowitz recorded for RCA from 1927 to 1962 and for Columbia/CBS/Sony thereafter. The repertoire of this release includes Bizet’s Carmen variations, his arrangement of Sousa’s Stars and Stripes Forever, the Rákóczy March, Scarlatti and Clementi’s sonatas, as well as works by Mozart, Beethoven, Rachmaninov and Moszkowski.

Miles Davis & Tadd Dameron - In Paris Festival International De Jazz, May 1949 (1991) {Sony Music Japan SRCS 5695}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 92 Mb | MP3 @320 -> 90 Mb
Full Artwork @ 300 dpi (jpg) -> 23 Mb | 5% repair rar
© 1949, 1991 CBS / Sony Music Japan | SRCS 5695
Jazz / Bebop / Trumpet / Piano

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.

This quiet, lovely record, in which the Gambian kora virtuoso Foday Musa Suso is given equal billing, was generally ignored when it came out, probably because it fit no one's preconceived idioms — be they jazz, funk, MTV, or even world music. The only performers are Hancock on a detunable Yamaha DX-1 synthesizer and drum machine and Suso spinning his webs of delicate sound on the zither-like kora, vocalizing a bit and playing a talking drum — all in real time in a Tokyo studio. The results are absolutely mesmerizing, with Herbie aligning himself perfectly within Suso's unusual, complex rhythmic conceptions and folk-like harmonies. On the 20-minute "Kanatente," Hancock does introduce some of his own advanced harmonic ideas, and he contrasts and interweaves them with Suso's deceptively simple lines in a splendid jam session that eventually ends in a dance that can only be described as Gambian funk.

Following Cliff Burton's death, Metallica took some time off and initiated new bassist Jason Newsted with a raw, unpolished EP of covers originally recorded by Diamond Head, Holocaust, Killing Joke, Budgie, and the Misfits. Most fit the band's style quite well; only "Last Caress" sounds out of place, as the original seemed looser and more dangerous…

The Final Cut extends the autobiography of The Wall, concentrating on Roger Waters' pain when his father died in World War II. Waters spins this off into a treatise on the futility of war, concentrating on the Falkland Islands, setting his blistering condemnations and scathing anger to impossibly subdued music that demands full attention. This is more like a novel than a record, requiring total concentration since shifts in dynamics, orchestration, and instrumentation are used as effect…

Despite the title, the boys seemed to have cooled off substantially since their scorching debut. Dizzy Dean's attempts at singing straight on the majority of these tunes rob the band of its raw edge, and the ultra-clean acoustic guitars backing many of the midtempo tracks are too clearly derived from Poison's "Every Rose Has Its Thorn." Unfortunately, the band tames its strip club mentality for a more mature outlook on relationships, only to find they have nothing to say on the subject…

Ejected from Metallica despite being their prodigiously-talented lead guitar player and primary songwriter, Dave Mustaine was so filled with anger and bitterness and determination for revenge upon his dismissal some weeks before the recording of Metallica's seminal debut album, that he would spend the next 20-odd years singularly trying to prove what a mistake they made…

The Electric Light Orchestra (ELO) are an English rock band formed in Birmingham in 1970, by songwriters/multi-instrumentalists Jeff Lynne and Roy Wood with drummer Bev Bevan. Their music is characterised by a fusion of Beatlesque pop, classical arrangements, and futuristic iconography. After Wood's departure in 1972, Lynne became the band's leader, arranging and producing every album while writing virtually all of their original material…