This Concord release was tenor saxophonist Harold Land's first as a leader in a decade, although he had co-led many sessions in the interim with vibraphonist Bobby Hutcherson. Starting in 1975, Land and trumpeter Blue Mitchell worked regularly in a quintet up until Mitchell's death in 1979, but this album was just about their only joint recording. With keyboardist Kirk Lightsey, bassist Reggie Johnson, and drummer Al "Tootie" Heath offering solid support, the group performs four originals by Land (including the title cut and "Rapture"), two songs by Lightsey, and Mitchell's "Blue Silver." Fusion may have been the dominant force at the time, but despite Lightsey doubling on electric piano, this is an excellent example of 1977 hard bop.
The Waterboys, one of the most creative, loved and literate bands of the last four decades, return this summer with their 14th studio album Good Luck, Seeker. Comprising dramatic spoken-word over wild, relentless genre-busting music (is it psychedelic soul? Is it trance? punk?), My Wanderings In The Weary Land might just be the greatest rock’n’roll record ever made – and one that is darkly appropriate to our weird, wired times.
“Give me the reasons to go on. Soften the sorrow that shatters and bends, and mend broken dreams.” Singer/songwriter Mark Heard wrote those words in “House of Broken Dreams” on his Dry Bones Dance LP in 1990. There was a prophesy buried within the lines, whether he knew it or not. Heard passed away two years later, in August of 1992, but his words have echoed on in the hearts of all who knew them. And now, with Treasure of the Broken Land: The Songs of Mark Heard, many more hearts can join the chorus while marking the 25th anniversary of his passing. Available June 2 on Storm Weathered Records with a limited edition vinyl to follow, Treasure of the Broken Land is distributed via Redeye Worldwide.
Features the latest remastering. Includes a Japanese description and lyrics. Frank Minion's one and only recording is a fascinating window into the world of a jazz performer. Quite cynical and sarcastic toward the jaundiced American view of the jazz life, Minion minces no words in stating his case, his reasons why, and his conclusions as to the home country of the music so thoroughly dismissing the music he loves. As this project was done back in the late '50s and early '60s, it reflects a syndrome that unfortunately still exists 50 years later. The CD reissue begins with a five-part suite based on the talking points and songs reflecting the vagaries and perceptions of a fictional big city neighborhood, which just as easily could be the reality of renaissance Harlem, references to Atlanta, or perhaps his native Baltimore.