The Beta Band

Esoteric Recordings are pleased to announce the release of a newly re-mastered edition of the super rare and now classic self-titled Progressive/Jazz Rock album by The Gasoline Band. The group came together in Berlin in 1969 when two Americans, keyboard player Fred Schwartz and trumpeter (and US Army bandsman) Larry "Fish” Brown came together to form a group that would fuse the influences of rock and jazz. By 1970 Schwartz had assembled an ensemble of ten musicians, all hailing from a US military service background. Stylistic differences caused the band to come apart, but the Gasoline Band was the result. After playing concerts in Germany, Schwarz was offered a contract by Cube Records and in 1971 the various members of the band left the US Army and came to London to record their only self-titled album…

Esoteric Recordings are pleased to announce the release of a newly re-mastered edition of the super rare and now classic self-titled Progressive/Jazz Rock album by The Gasoline Band. The group came together in Berlin in 1969 when two Americans, keyboard player Fred Schwartz and trumpeter (and US Army bandsman) Larry "Fish” Brown came together to form a group that would fuse the influences of rock and jazz. By 1970 Schwartz had assembled an ensemble of ten musicians, all hailing from a US military service background. Stylistic differences caused the band to come apart, but the Gasoline Band was the result. After playing concerts in Germany, Schwarz was offered a contract by Cube Records and in 1971 the various members of the band left the US Army and came to London to record their only self-titled album…

The U.S. release of Melvin Taylor's two early-'80s LPs by Evidence a decade later was a shock introduction to a blues guitarist who seemingly blazed out of nowhere – outside of Rosa's Lounge in Chicago, that is. "Blazed" is the right word, too, because Taylor is a total maximalist who unleashes torrents of notes to fill up every space. But he's so convincing a player that the concept of "blues guitar hero" might get a good name again, even with fans dead-tired of excess who never thought they'd think things like, "Man, can Melvin Taylor play the ever-loving (add the expletive superlative of your choice) out of the guitar" again. Taylor's first real-time release, Melvin Taylor & the Slack Band, is a pretty straightforward affair – basic trio with minimal overdubs, servicable vocals in an Albert King mode, and a mix of originals and very classic covers. The opening "Texas Flood" lets him rip on a slow blues, constantly changing up his playing with wah-wah blitzes as the real ace in his sonic hole.

Fans of Stevie Ray Vaughan will notice the title of this disc is that of a Vaughan song. Indeed, three selections from his songbook are covered here: "Too Sorry," "Telephone Song," and the title track. The impressive Melvin Taylor is an electric blues guitarist who will appeal to the fans of the legendary Texan for his skilled and precise playing along with his smooth and expressive vocals. Taylor definitely continues the Chicago blues tradition that begot Luther Allison, Buddy Guy, and Otis Rush. Taylor gives his version of Rush's "Right Place, Wrong Time" on this collection of nine covers. His lineup here is a trio – a reliable bass and drum rhythm section keeps up a steady bottom end, showcasing his ability to handle all vocals and guitar parts. Every track here is rife in the easy genius that marks a true master of the blues craft.

Vienna Art Orchestra - The Big Band Years 1993-2007 (2010) {4CD Box Set EmArcy-Universal 0602527539966}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.86 Gb | MP3 @320 -> 713 Mb
Full Artwork @ 600 dpi (jpg) -> 226 Mb | 5% repair rar
© 1993-2007, 2010 EmArcy / Universal | 0602527539966}
Jazz / Modern Big Band / Experimental Big Band / Progressive Jazz

The Vienna Art Orchestra is a 15-member jazz orchestra that features the avant-garde arrangements and compositions of its leader, pianist Mathias Ruegg. This is a reissue of their 1980 debut, an important document in the post-modern jazz movement. The opening, title track is a joyous, folkish tango that's been cartoonishly toyed with, featuring three solo sections. The marimba section is also ornamented with vocalese from Lauren Newton, followed by an extremely playful horn lead that sounds like a toy instrument. The solo offering from violinist Rudi Berger has an electronically effected fusion sound. A tight, alto sax solo by Wolfgang Puschnig ties everything together neatly with a lengthy, unaccompanied performance.