The Roost 2005

Mississippi-born but Texas-based Omar Kent Dykes understands a fundamental fact about modern electric blues. He knows there are only a handful of rhythms and themes in the blues grab bag, and he uses them all over and over again in slightly different guises. This isn't necessarily a bad thing. The blues has lasted this long because it's supposed to sound like the blues, and if you stretch it too far you end up with something like prog rock. It is this fundamental conservatism of the blues and its limited palette that has kept the form alive long after its colorful offspring (R&B, soul, rock & roll etc.) have flown the roost, taking a large part of the audience with them. But Omar understands all this. He has had a 30-year career playing these rhythms, and he knows how to keep it all simple, direct, and powerful, and how to build new songs out of the fabric of the old songs without destroying their familiarity. Bamboozled, a live set recorded at the Musa in Gottingen, Germany on October 20, 2005, finds Omar & the Howlers looking back over that 30 years of bars, sheds, and studios and hitting some of the high points…….

As far as debuts go, the one from James "Super Chikan" Johnson is one of the most auspicious and accomplished of modern times. Recorded in Clarksdale, MS – about as close to a home as blues has – it covers the bases, from the sophisticated soulful swing of "Crystal Ball Eyes" to the funk of "Super Chikan Strut" and the Mississippi pride of "Down in the Delta" (albeit with a bayou rhythm). Unlike so many bluesmen, however, Super Chikan doesn't always take himself too seriously……

Truly a gem of recordings of this genius of jazz, accompanied by the best musicians such as Hank Jones, Ray Brown, Lester Young, etc. Highly recommended!

Jethro Tull - 17 Chrysalis Album Collection (1968-87) [19CD+DVD] {2001-2005 Japan Mini LP Remaster} [combined repost]
EAC rip (secure mode) | FLAC(tracks)+CUE+LOG -> 6.36 Gb | MP3 @320 -> 2.39 Gb
Full Artwork @ 300 dpi (jpg) -> 336 Mb
© 2001-2005 Toshiba-EMI / Chrysalis | TOCP-65879~67682
Rock / Prog Rock / Art Rock

Jethro Tull's first album, THIS WAS, recorded and released in 1968, shows a band that is a far cry from their better-known incarnation as a prog rock outfit in the late 1970s. Instead, Tull come across here as a solid and talented blues band with elements of jazz, folk, and psychedelia thrown in. The band's sound was heavily influenced by guitarist, singer, and songwriter Mick Abrahams, whose bluesy singing and leads distinguish this disc in Tull's discography. Frontman Ian Anderson also shines with tunes like "Some Day the Sun Won't Shine for You" and the excellent cover of Rashaan Roland Kirk's "Serenade to a Cuckoo."

1951-1952 (2003). In response to shortsighted comments implying that Stan Getz and Zoot Sims sounded too much like each other and too similar to Lester Young, Ira Gitler liked to use the analogy of "…a friend calling you on the telephone. You know who it is immediately. It's the same thing when you hear a musician play." The secret, of course, is to listen so carefully and consistently that you feel as though you have become a friend of the artist. This sort of empathy is a vital ingredient in jazz - the empathy between composers, players, and listeners. Hearing Stan Getz recorded live in performance at Boston's Storyville club on October 28, 1951, spells it out marvelously. Backed by pianist Al Haig, guitarist Jimmy Raney, bassist Teddy Kotick, and drummer Tiny Kahn, Getz sounds as though he has arrived at a hard-won maturity…

During times of extreme political and social change, Stevie Wonder's voice and songwriting served as cultural and spiritual guideposts to many a listener, often lending insight and a barometer with which to measure the ways of the world. But that was largely during the golden phase of his career, generally regarded as being the late '60s through 1980's Hotter Than July. His work in the mid-'80s through the '90s was marginal in comparison, only hinting at glimpses of former brilliance, sugar-coated by over-polished production and radio-friendly content. So with a decade passing since his last full-length, 1995's Conversation Piece, people waited with bated breath for a sign of his return…and wondered which Wonder would show up: would it be the socially conscious genius who wrote anthems for a generation, or the R&B crooner who dominated quiet storm radio? Thankfully, it's a blend of both.

Medieval Baebes and other far greater shocks to the bourgeoisie have come along. Wild adventures placed under the rubric of performances of Vivaldi's Four Seasons are commonplace. Yet Nigel Kennedy continues to roost atop the classical sales charts in Europe, and even to command a decent following in the U.S. despite a low American tolerance for British eccentricity. How does he do it? He has kept reinventing himself successfully. Perhaps he's the classical world's version of Madonna: he's possessed of both unerring commercial instincts and with enough of a sense of style to be able to dress them up as forms of rebellion. Inner Thoughts is a collection of slow movements – inner movements of famous concertos from Bach and Vivaldi to Brahms, Bruch, and Elgar.