Don Byron is the quintessential clarinetist of the modern mainstream, and this is a tolerably good example of his work as an improvisor, composer, and bandleader. Byron swings and grooves well in a conventional sense, yet his slippery phrasing runs clear of rhythmic cliché. His tone is clear and pure, as well, but what's even more important than his considerable instrumental skill is the manifest originality and inspiration that drives his art.
An original-art 1' x 2' tour poster designed exclusively for these sets by Dennis Loren (who created album covers, concert posters, and print ads for Jimi Hendrix, Muddy Waters, Paul McCartney, The Velvet Underground, Rick James and many others) comes in each box, as does a luxurious LP-sized 28-page booklet featuring extensive liner notes by Richie Unterberger, rare photos, memorabilia and a reproduction of the original LP artwork in 12 inch; format. For sound, look and luxury, these sets have it all…so have at it! It must have been a blast (not just a blast from the past) for the designers at Culture Factory USA to work on these new Jefferson Airplane reissues. Not only are these seminal albums of the psychedelic era, but these painstaking reproductions celebrate the band s groundbreaking graphics and feats in elaborately configured packaging.
Cold Spell was released in 1997 as the debut of composer/keyboardist Wayne Horvitz's newly-formed instrumental band Zony Mash. This solid record set the tone for future releases with it's remarkable Hammond B3 organ work, controlled jams, sneaky muted guitar riffs, and jazz-funk beats. The album demonstrated the group's abilities with improvisation and technique, as well as their knack for keeping themes concise and accessible. Numerous musical ingredients can be found throughout this work.
Recorded as a guitar-less trio (Hugh Hopper on bass, Kramer on piano, organ, and tape loops, plus Damon Krukowski on drums), Huge is marginally less chaotic than Hopper and Kramer's previous collaboration, 1994's A Remark Hugh Made. Each of the songs is a relatively concise (only two tracks break the five-minute mark) and melodic improvisation on a basic theme, which generally is introduced, soloed upon, and quickly resolved, with Kramer's found voices and sound effects providing the album's only truly random element.
The gifted pianist/composer demonstrates his facility with contemporary classical and jazz pieces, playing sometimes in duos, other times trios, and also interacting with The Kansas City Symphony Orchestra. Percussionists Pheeroan Ak Laff or Gerry Hemingway and violinist Shem Guibbory are his partners, while all the compositions are Davis'.
While there has been an enormous number of Slade collections over the years, Shout Factory's 2004 release Get Yer Boots On: The Best of Slade is the first comprehensive U.S. compilation, containing both their '70s peak and their early-'80s comeback. If the track listing looks vaguely familiar to Slade-heads, that's because it does share numerous similarities to the 1994 British collection Wall of Hits, which also covered the band's entire career, extending it to their brief return to the U.K. charts in the early '90s.
It goes without saying that 1968 doesn't have the same kind of cachet as 1967 - a year that, in musical terms, will always be indelibly associated with the Summer of Love, Sgt Pepper and the emergence of psychedelia. But although the major players turned away from the excesses of the previous year in favour of a back-to-basics musical approach, there were arguably a greater number of psychedelic records made in 1968 than during the preceding twelve months. Vital, lysergically-inclined 45s emerged from a whole host of younger groups, with The Factory, Mike Stuart Span, Fleur de Lys, The Fire, The Barrier, Boeing Duveen, Rupert's People and numerous others all releasing singles that have long been widely regarded by psychedelic collectors as genre classics.