With an incendiary initiation on Jan Garbarek’s Afric Pepperbird, and after successfully leading far-reaching experiments like his first self-titled project and the plush Whenever I Seem To Be Far Away, Terje Rypdal opened a new door for ECM when he stepped into the studio to record perhaps his most intimate statement to date. In spite of their brevity, the ten tracks on After The Rain flow in a single 38-minute ode to the almost painful depths of life’s greatest joys. Rypdal overdubs every instrument himself, with his former wife, vocalist Inger Lise, providing the occasional organic touch. Shielded by a holy trinity of intimacy, sincerity, and fearlessness, Rypdal plunges with open eyes into the darkest eddies of his emotional waters.
After the Rain dates from the most controversial period in Muddy Waters' history – along with its predecessors, Electric Mud (probably the most critically despised album in Muddy's catalog) and Brass and the Blues (an effort to turn him into B.B. King), it came out of an era in which Chess Records was desperately thrashing around trying any musical gambit to boost the sales of its top blues stars. But unlike Electric Mud, in which the repertoire selected by producer Marshall Chess was mostly unsuited, and the musical settings provided by Phil Upchurch, Pete Cosey et al. were too loud and too frenetic for Muddy's style of singing, After the Rain simply let him be Muddy Waters.
In the early '70s John McLaughlin was one-third of the supergroup Lifetime with drummer Tony Williams and organist Larry Young. This particular CD from 1994 matches him with drummer Elvin Jones and organist Joey DeFrancesco, but the music has little in common with Lifetime. Instead many of the tunes can be considered to be tributes to John Coltrane; Jones's participation certainly reinforces that connection. McLaughlin, back on electric guitar after several years sticking almost exclusively to acoustic, is in top form on such numbers as "Take the Coltrane," "My Favorite Things," "Crescent," and "Afro Blue." The improvising is advanced and colorful with DeFrancesco keeping the proceedings swinging, and even if the results are not quite classic, the collaboration is somewhat unique.
This double CD is the most comprehensive collection of Elkie's music yet released. The first CD is similar to previous compilations, focusing on hits and covers of other songs. Some covers (Nights in white satin (Moody Blues), Don't Stop (Fleetwood Mac)) show that Elkie can take famous songs and keep them interesting. Others (such as Lilac wine) she plucked from obscurity and made her own. This CD contains much great music, most if not all previously released on CD. The second CD showcases Elkie's blues roots. It also includes covers, but of bluesy songs such as Hello stranger (Barbara Lewis), The way you do the things you do (Temptations), Rescue me (Fontella Bass), He's a rebel (Crystals) and Do right woman do right man. The first 13 tracks on this CD pre-dates Elkie's commercial breakthrough and some may be making their CD debut.
In the beginning there was John Coltrane. Teodross Avery experienced an epiphany at 13 when he first heard Trane’s “Giant Steps.” He emerged in the mid-1990s with two critically hailed releases for GRP/Impulse! Avery’s long and productive journey has taken him down many musical paths, from gigs with jazz legends and hip hop stars to sessions with NEA Jazz Masters and platinum pop albums. With his Tompkins Square label debut After The Rain: A Night for Coltrane, Avery has found his way back home, reasserting himself as a supremely eloquent exponent of the post-Trane jazz continuum.
Music is life. This is the artistic approach of the three members of the British-Belgian Ambient Jazz project Groovecatcher. With their Elektrolux debut, the U.K. producers Simon Cooper and Phil Webb and the Belgian singer Manuela Van Geenhoven have managed to release one of the highlights of the label's 10th anniversary year. Their After The Rain album is an intensive encounter of organic naturalistic Ambient pop and jazzy lounge sounds between Balearic Beats and mellow Drum'n'Bass. Groovecatcher's music takes you from a smoky jazz club in the heart of town to a secluded beach to catch the sunrise, from a street-corner to an ocean drive.
Many consider Berlin to be the birthplace of the 1970's electronic music movement that has proved so influential to the development of a myriad of electronica musicians, both past and present. So when Boddy got the opportunity to play an experimental set at the Electricity series of concerts held in the Lichtblick-Kino in this famous city, he jumped at the chance.
His musical heritage is shaped very much by the analogue modular synthesisers available to him in the late 70's, when he first started to compose and release music…