T.d Lee

This set is one of the finest Lee Morgan records. The great trumpeter contributes five challenging compositions ("Search for the New Land," "The Joker," "Mr. Kenyatta," "Melancholee," and "Morgan the Pirate") that deserve to be revived. Morgan, tenor saxophonist Wayne Shorter, guitarist Grant Green, pianist Herbie Hancock, bassist Reggie Workman, and drummer Billy Higgins are all in particularly creative form on the fresh material, and they stretch the boundaries of hard bop (the modern mainstream jazz of the period). The result is a consistently stimulating set that rewards repeated listenings.

Grant-Lee Phillips' latest album, Lightning, Show Us Your Stuff, is a turbulent and highly musical rumination that finds the veteran singer-songwriter at his most inspired. His tenth solo release bears the markings of his prolific output, a melodic prowess and an ear for lyric in everyday conversation. The album is grown from the same rich soil that Phillip's long career, from Grant Lee Buffalo to his solo work has sprang from. The result is a beautifully human musical tapestry. The warm, live on the floor, instrumental bed is the perfect support for Phillips' inimitable voice. This spontaneous approach has become a tradition among his solo works. This record is supported by peerless drummer, Jay Bellerose (whose many credits include Raising Sand by Alison Krauss and Robert Plant) and bassist Jennifer Condos (heard on Bruce Springsteen's Ghost of Tom Joad and other classics).

It seems that the ex-Ten Years After frontman considers this 2012 release a career recap of sorts, at least judging from its title, which references Lee's first solo album circa 1973. Although Mylon LeFevre, who was co-billed on that disc, is inexplicably M.I.A. (it would have been nice for Lee to mention him in his self-penned liner notes), the organic nature of this one does capture the nearly 40-year-old album's rather loose, homespun structure that was such a departure from Ten Years After's "I'm Going Home" boogie. Still, this is bookended by some of Lee's most overtly TYA-sounding material, with the lead-off title track and especially "Midnight Creeper" capturing his first band's psychedelic blues as effectively as anything he's recorded since…

Trumpeter Lee Morgan unleashes his all-time classic 1964 album The Sidewinder plus two further Blue Note landmarks: 1957's City Lights featuring the Miles Davis rhythm section of Paul Chambers and Art Taylor; and 1969's Charisma featuring Jackie McLean, Cedar Walton and Billy Higgins.

Ladies and gentlemen, scoot over, there is something fiery in the world of blues, bursting into flames, and sooner or later we’ll all be catching. But do not be fooled, JLH know their way around the field, from the drums to the vocals, it is all quality that only years of experience can provide. Not only does Jane Lee Hooker take on classics, they’ve been influenced by the greatest in Blues and with its debut album, the band flaunts it hitting all the right notes. A badass punk rock sound, with the smoothness of blues, the five member group has it all, bringing an old school vibe that is nothing but refreshing for the blues rock scene. These New Yorkers are making noise, and it will just get louder, hence the ! in No B! Jane Lee Hooker takes on classics like “Mannish Boy” by Muddy Waters, one of its biggest influences, while staying loyal to the original version. The group’s style is still palpable; just the same when it comes to her its take on traditional songs. “Wade in the Water” was given a killer guitar riff halfway through, and “Didn’t it Rain” has a very particular sound, the old and the new mixed and matched.

It seems that the ex-Ten Years After frontman considers this 2012 release a career recap of sorts, at least judging from its title, which references Lee's first solo album circa 1973. Although Mylon LeFevre, who was co-billed on that disc, is inexplicably M.I.A. (it would have been nice for Lee to mention him in his self-penned liner notes), the organic nature of this one does capture the nearly 40-year-old album's rather loose, homespun structure that was such a departure from Ten Years After's "I'm Going Home" boogie. Still, this is bookended by some of Lee's most overtly TYA-sounding material, with the lead-off title track and especially "Midnight Creeper" capturing his first band's psychedelic blues as effectively as anything he's recorded since…

The Complete Live at the Lighthouse is an expansive collection that presents for the very first time all 12 sets of music the legendary trumpeter Lee Morgan’s quintet with saxophonist Bennie Maupin, pianist Harold Mabern, bassist Jymie Merritt, and drummer Mickey Roker recorded during their historic engagement at The Lighthouse in Hermosa Beach, California from July 10-12, 1970. This definitive edition produced by Zev Feldman and David Weiss comes in an 8-CD set and a limited-edition 12-LP all-analog 180g vinyl set that encompasses 33 performances including more than 4 hours of previously unreleased music that lets the listener relive the experience of being in the club for every exhilarating moment. Both sets include a beautiful booklet featuring interviews, essays, and rare photos.

The Complete Live at the Lighthouse is an expansive collection that presents for the very first time all 12 sets of music the legendary trumpeter Lee Morgan’s quintet with saxophonist Bennie Maupin, pianist Harold Mabern, bassist Jymie Merritt, and drummer Mickey Roker recorded during their historic engagement at The Lighthouse in Hermosa Beach, California from July 10-12, 1970. This definitive edition produced by Zev Feldman and David Weiss comes in an 8-CD set and a limited-edition 12-LP all-analog 180g vinyl set that encompasses 33 performances including more than 4 hours of previously unreleased music that lets the listener relive the experience of being in the club for every exhilarating moment. Both sets include a beautiful booklet featuring interviews, essays, and rare photos.