Dragon’s Domain Records presents the soundtrack release of The Quest + The True Story Of Eskimo Nell, a collection featuring music composed by Brian May (MAD MAX, THE ROAD WARRIOR, CLOAK & DAGGER) for a select group of Australian films produced by Antony I. Ginnane during the boom of the Australian New Wave of cinema in the late 1970s and early 1980s. Dragon’s Domain Records is excited to bring the THE QUEST and THE TRUE STORY OF ESKIMO NELL together, newly remastered by Digital Outland. The booklet includes liner notes written by author Randall Larson. The Quest + The True Story Of Eskimo Nell is a limited edition release of 1000 units.
4CD 60 track clam shell box set rounding up pretty much all of Altered Images’ releases on Epic Records.
This 1990 release is one of DeJohnette's finest. A trio recording, PARALLEL REALITIES showcases the talents of Herbie Hancock and Pat Metheny, as well as the highly acclaimed drummer. All three of these players should require no formal introduction to jazz aficionados. However, first time listeners will be impressed by the playing ability of these three jazz icons.
So titled because the original album, simply titled Bat Chain Puller, had to be ditched and rerecorded after a legal tuzzle involving Frank Zappa's manager, Shiny Beast turned out to be manna from heaven for those feeling Beefheart had lost his way on his two Mercury albums. Then again, what else could be assumed with a song titled "Tropical Hot Dog Night" that sounds like what happened when Beefheart encountered Miami disco and decided to make something of it?
Four CD set containing eight albums from the Jazz legend. Includes the albums Hank Mobley Quartet, Tenor Conclave, Hank Mobley All Stars, Hank, Hank Mobley Quintet, Hank Mobley Sextet, Soul Station and Roll Call. With no disrespect toward Hawk, Bean, Prez, Trane, Rollins, Getz, Shorter, Henderson, Dexter and Brecker, Hank Mobley is the tenor player I listen to more than any other (were Sonny Stitt exclusively a tenor player, his recordings would be a close second, with Harold Land, Charlie Rouse, Oliver Nelson and Paul Gonsalves in the 3rd spot). Mobley doesn't so much "impress" as "seduce" the listener with ceaselessly melodic, lyrical, soulful inventions each time out. He was no "innovator" or trailblazer. Nor, like so many "showier" tenors, did he introduce "artifacts" into his sound–wobbles, growls, squeals and screeches, etc., approaches as common during the '30s and '40s as in the adventurous experimentation of modal and free players in the '60s and beyond.