Julian Jay Savarin was born on the exotic island of Dominica, being of British origin, and moved to London in 1962. There he found the appropriate enviroment to reveal his talents as an organist and composer.He was in love with sci-fi stories and wrote some sort of a Rock Opera, based on an Atlantis-like lost civilization. He formed his personal band Julian's Treatment in 1970.
"A Time Before This" is a charming British Prog/Psychedelic Rock gem, where Savarin's mood for cosmic, jamming and atmospheric music eventually surfaces via the emerging progressive scenery, as the album is dominated by his work on Hammond organ and his tendency towards sinister Marsupilami-like psych manifests and The Nice-inspired semi-Classical piano and organ smashing…
About the things I play: Id say my treatment of tunes should be classed as repertoire rather than a particular jazz style. This is probably due to the fact that years ago when I first started to play jazz, I would imitate various jazz greats such as Earl Hines, Tatum, and Cleo Brown. (She was the first musician Id ever heard who played eight-beat piano.) With imitation we can come close but we never really achieve what we try to achieve by imitation, at least I didnt. So I started to develop each tune as an individual composition rather than trying to play every tune in the same style. I had the best luck with this kind of approach, and now I have a repertoire built up over twenty years Incidentally, I usually write the piano parts out note for note even though when I play I never work from the music. This is a kick I got on years ago. I think we get the sound we do because a lot of our stuff is worked out carefully. It isnt what youd call free improvisation.
With this release, Edgar Winter was faced with the question that haunts many a superstar following a highly successful album – how can he outdo himself? While Shock Treatment falls short of outdoing himself, it still manages to rock pretty righteously. Beginning with this album's answer to their previous "Hangin' Around," "Some Kinda Animal," the band moves into the excellent blues torcher "Easy Street," which is painted with highlights from the substantial saxophone talent of Winter, not to mention some of his finest singing. Like They Only Come Out at Night, this recording includes a pair of haunting ballads, "Maybe Someday You'll Call My Name" and "Someone Take My Heart Away." "Queen of My Dreams," along with "River's Risin'," showcase the Edgar Winter Group doing what they do best – rocking out with passion and lots of drums and guitar. Not as good as their previous album, but still a winner in its own right.
Don Ellis was such a talented trumpeter, composer, and organizer that everything he recorded as a leader has at least some unusual moments worth exploring. His big bands were characterized by big brassy arrangements, odd meters that somehow always swung, lots of trumpet solos by Ellis, and an often visceral excitement. Although not equal to his best records such as Electric Bath, this late recording of Ellis' band is filled with all these traits, and thus exudes lots of excitement and electricity. At this stage in his career, the trumpeter seemed to be searching for a breakthrough, perhaps on a popular level. This manifests itself with occasional Age of Aquarius vocals and spacy harmonies that appeal to a broad audience…
On his second album Heat Treatment, Graham Parker essentially offered more of the same thing that made Howlin' Wind such a bracing listen. However, his songwriting wasn't as consistent, with only a handful of songs – like "Pourin' It All Out" and the title track – making much of an impression. Unfortunately, the record was also tamed by the production of Mutt Lange, who polishes the record just enough to make the Rumour sound restrained. Which means, of course, the sheer musicality of the band can't save the lesser material. Heat Treatment remains an enjoyable listen – at this stage of the game, Parker hadn't soured into a curmudgeon, and his weaker songs were still endearing – but it's a disappointment in light of its predecessor.
After a ten year hiatus, original Boytronic vocalist and songwriter Holger Wobker (Kamerata/Beachead), return with former Boytronic frontman James Knights to release the new Boytronic album The Robot Treatment. Never before in the history of pop music has a predecessor collaborated with their replacement to make a new album. It's very much a thing of legend. And perhaps it's hard for some to understand why two singers occupying the same position would make a new album together. The answer is simply Boytronic! Despite critically acclaimed performances surrounding the release of the Jewel album in 2017, differences of opinion over the musical direction of the band saw James leave the line-up in January 2018. Holger and James decided to meet in Berlin. They soon realised they had far more in common musically than they'd realised…