The legendary Danish pop duo is celebrating their 40th anniversary with a new album. With a staggering record sale in the multimillion class and indelible classics like Sunshine Reggae, White Horse and Bakerman on the conscience, this year Laid Back can celebrate 40 years of fruitful collaboration. However, the stylish Danish pop duo looks ahead rather than back, which means that on the occasion of their anniversary they have made a brand new album entitled Healing Feeling. The new album is believed to have come to the world in Laid Back's own studio at Vesterbro in Copenhagen, where the duo, made up of the couple John Guldberg and Tim Stahl, have had their steady base ever since the beginning of their career.
One of the last records made by avant sax legend Albert Ayler – a really mind-expanding album that's unlike anything else he ever did! By the time of the record, Ayler had made a full round trip between the New York and European jazz scenes – leaving important influences wherever he went, and trying desperately to pick up new ones the further he moved on. Here, he's working in a style that's a bit like that of Archie Shepp at the time – still steeped in free jazz and new thing ideals, but infused with a free-thinking approach to the music that allows for bold new styles and sounds.
1990's Spiritual Healing wrapped up a trilogy of Death LPs delineating the birth of a genre and featuring the childishly provocative splatter-gore cover art of the ever-popular Ed Repka; artwork that, as the years wear on, has increasingly undermined the revolutionary musical accomplishments contained within all three of the legendary Floridian death metal band's first studio efforts…
Born in England, the son of a jazz guitarist, Keith Salmon later moved to live and work in the Highlands of Scotland. Here, surrounded by the natural beauty and influenced by his own spiritual awakening, his music developed from its up-tempo origins to the gentleness of its present form…
In listening to Bunky Green, one can hear where Greg Osby, Steve Coleman, and Gary Thomas came from. Green sails in and out of the chord changes and makes most of his solos into a do-or-die situation full of emotional intensity, especially when he plays alto. On this diverse CD (which finds him also performing a bit on soprano), Green shows that he is not afraid to occasionally caress a melody (as on a slow "Everything I Have Is Yours") and frequently emphasizes unexpected notes, particularly during a fascinating version of "I Concentrate on You." Joined by a fine rhythm section consisting of pianist Billy Childs, bassist Art Davis, and drummer Ralph Penland, Green is in top form on what may very well be his definitive recording. Highly recommended.
The Crusaders became a part-time group after the early '80s and by 1986 drummer Stix Hooper had departed. This final set by what was left of the group finds the two original members (keyboardist Joe Sample and saxophonist Wilton Felder) sharing the spotlight with bassist-producer Marcus Miller and an oversized rhythm section. The funky music (which includes originals by Sample and Miller in addition to "Mercy, Mercy, Mercy" and a Stevie Wonder piece) is pleasant but not too memorable. Considering the upcoming infighting that found Felder and the group's former trombonist Wayne Henderson forming a "New Crusade" over Sample's objections, the title of this CD is rather ironic.
Hubert Sumlin arguably did his best work during the 23 years he was Howlin' Wolf's guitar player, and his ragged, angular guitar style was a big part of Wolf's rough-and-ready sound. The perfect sideman, Sumlin was by all accounts somewhat shy and reticent about taking center stage, and Healing Feeling, his second album for Black Top Records, much like his first, Hubert Sumlin's Blues Party, is really more of an all-star blues jam than it is a fully realized project. Recorded May 5 and 6, 1989, at Southlake Recording Studios in Louisiana, with two additional tracks coming from a live show at Tipitina's in New Orleans earlier in the day on May 5, the sessions were once again organized by guitarist Ronnie Earl, whose band the Broadcasters is used on most of the cuts. The vocal duties were shared by James "Thunderbird" Davis and Darrell Nulisch, with Sumlin singing on "Come Back Little Girl," "Honey Dumplins," and the set closer, "Blues for Henry," all of which gain poignancy because of Sumlin's somewhat fragile, whispered vocal approach. A clear highlight is Sumlin's solo electric guitar version of "Down the Dusty Road," which is focused, clear, and intimate.
Three-time Grammy nominee Ruthie Foster with her ninth studio album, Healing Time! Her new studio album represents a new high for the veteran blues artist - Healing Time shows Foster pushing her limits as a singer and songwriter more than ever before, creating a truly live-sounding atmosphere with the help of her band, which sounds refreshingly loose and alive on these 12 songs Healing Time is the latest jewel in Foster's successful career, which includes multiple Grammy nominations and collaborations with the likes of Susan Tedeschi and Derek Trucks.