For You Lot Kevin Eubanks - 1985 Opening Night

I seen Kevin's ring inwards St. Louis before long afterward he left the this night show. He had a few of the guys (musicians) amongst him from the show. They ROCKED!! He is i of those players inwards the upper almost business office of the atmosphere, he's a master.

Track listing

    1 Opening Night 4:00
    ii Shades of Black 5:02
    three The Navigator 4:43
    iv Thought About Thinking 4:03
    five In Flight From Omelas 4:06
    half dozen H5N1 Place Before You've Been 6:01
    vii Vera's Isle 4:50
    8 To Be Continued 4:41

Personnel:

Kevin Eubanks
    Guitar (Acoustic), Producer, Bass, Guitar (Electric), Guitar
Branford Marsalis
    Sax (Tenor)
Buster Williams
    Bass
Kent Jordan
    Flute (Alto)
Big Black
    Bass, Tumba, ?
Tommy Campbell
    Drums
David Eubanks
    Bass
Kenny Kirkland
    Piano
Marvin "Smitty" Smith
    Drums

For You Lot Helmet Of Gnats - 2004 Helmet Of Gnats Ii

H5N1 Helmet of Gnats has been some inward diverse incarnations since some 1980, playing music of bands similar U.K., Return to Forever, Zappa, Brand X, Happy the Man, Ponty, Focus too the Dixie Dregs along the way. You tin listen the amalgamation of these bands inward the unique audio of their instant eponymous cd...and it is but SUPERB!

All of the band members attended Berklee College of Music at i request or another, too their pedigrees present upward inward the flawless chops they exhibit. Guitarist Chris Fox plays some rattling melodic lines alongside a audio that reminds me almost of Allan Holdsworth too Jeff Beck inward many places. Influenced past times Rick Wakeman too Eddie Jobson, Matt Bocchino provides a slap-up symphonic stone background to much of this jazz fusion, oftentimes favoring the organ every bit his weapon of choice. Bass thespian Wayne Zito lists Chris Squire every bit i of his influences, but I listen a lot of fretless bass a la Jeff Berlin too the like. And drummer Mark Conese is to a greater extent than on the jazz side of drumming (think Bill Bruford too Billy Cobham), but he keeps a strong, confident groove driving these songs every bit well.

If I could fantasize an all-instrumental supergroup of Beck, Jobson, Berlin too Cobham, it would audio similar this! They create non disappoint, folks - rattling energetic too interesting, alongside original too complex compositions.

The 3-1/2 infinitesimal "Lesser Beings" is the exclusively quirky/spacy rail that they could choose left off the album (and delighted me fifty-fifty more). But the repose of the album is fast-paced, melodic, fusiony, groove-driven, symphonic progressive stone bliss...and gnats a fact ;-)

This tape is i of those records that delivers just what i am looking for inward a record; rising/falling activity too a marker of surgical physical care for that exclusively gets ameliorate every bit the tape progresses. Each rail has a life of it's ain every bit good every bit a life inside the greater context of the record. Just inward the foremost few tracks, the band shows yous what they tin do, too trust me...they tin do. From the rattling beginning, to the rattling end, the tape shows the diverse types of music the band industrial plant alongside spell genuinely illustrating the audio of the band itself. With multiple movements inward each slice too virtuosic mastery of their instruments, helmet of gnats proves to locomote an outstanding progressive band that, yous tin tell, puts much help into the production of their music. 

H5N1 Helmet of Gnats biography
Members:
Chris Fox- Guitar- Berklee College of music. Played briefly alongside Eddie Jobson (Zappa,UK,Yes)
Mathew Bocchino -Keyboards- Attended Berklee Collegel of music
Mark Conose-Drums-Berklee College of Music too Miami Univeristy
Wayne Zito-Bass-Berklee College of Music

As yous tin meet the members of this band choose a slap-up pedigree inward music. They convey their assorted talents to the grouping known every bit H5N1 Helmet of Gnats. As that cite suggests music high inward unloose energy but balanced inward virtuosity. H5N1 blend of Jazz alongside a dash of classical elements underlined past times some rattling proficient inward your confront rock.

In 1980 guitarist Chris Fox too keyboardist Mathew Bocchino decided to cast a band spell inward high school. This band was to play the music of such progressive giants every bit UK, Frank Zappa too Kansas. They called themselves Left Testicle too exclusively played iii concerts (small wonder alongside that name). By 1982 this band had morphed into to a greater extent than of a fusion comprehend band called "By-Product" doing covers past times Return to Forever, Bruford too The Dixie Dregs. Their alive shows left everyone wanting more.

The band changed their cite to Helmet of Gnats inward belatedly 1982. After several draw of piece of job upward changes at bass too drums AHoG played to a greater extent than often than non Dixie Dregs covers. More Personnel changes left the band without a bass player. They recorded some demos using a Roland midi sequencer for the bass lines but past times 1988 they had disbanded.

Chris too Matt reformed inward 1990 a to a greater extent than mainstream band alongside a woman mortal vocalist. They called themselves "Doctor Curious" named later the singers gynecologist. After a curt fourth dimension Chris too Matt decided they wanted a render to the instrumental adventurous music they loved. They fired the signer too took dorsum the cite Helmet of Gnats. They released a self titled album inward 1996 alongside Nicki Defala on bass too Nicki Vitiello on drums. By 2000 the band had replaced the Nicki's alongside Wayne Zito on bass too Mark Conese on drums. In 2004 they released their instant CD H5N1 Helmet Of Gnats II. They tour alongside this draw of piece of job upward to this day.

Fans of fusion such every bit Return to Forever too Dixie Dregs volition bask this band. Recommended highly!

Why this creative mortal must locomote listed inward www.progarchives.com :
Great band inward the fusion agency of Return to Forever too Dixie Dregs. Samples tin locomote heard on the bands spider web site:
http://www.helmetofgnats.com

Discography:
H5N1 Helmet of Gnats 1996
H5N1 Helmet of Gnats II 2004

I received this CD thru SwapaCD from Chris, the guitar thespian :-)

Track Listing:

1. Almost Babylon
2. Chinese Leftovers
3. Yesterday's Brain
4. Crumbs
5. Lesser Beings
6. Misfit Toys
7. Chimps inward Space

Personnel:

Chris Fox- Guitar
Mathew Bocchino -Keyboards
Mark Conose-Drums
Wayne Zito-Bass

For You Lot Steely Dan - 1993 Citizen 1972 - 1980 [4 Cd Box]

Citizen Steely Dan is a four-CD boxed laid musical album past times Steely Dan, released inwards 1993. The laid is a collection of all of Steely Dan's albums (up to 1993) inwards chronological order, in addition to too contains a non-album unmarried ("FM (No Static at All)"), a non-album B-side ("Bodhisattva (Live)"), a rare compilation rail ("Here at the Western World"), recorded during the sessions for The Royal Scam simply released entirely on the 1978 Greatest Hits, in addition to a previously unreleased demo of "Everyone's Gone to the Movies" (a vocal from their 1975 album Katy Lied).

The laid is not, however, a consummate compilation of every rail released past times Steely Dan upwards to 1993. Missing are both sides of the band's 1972 debut unmarried ("Dallas" b/w "Sail the Waterway"), neither of which has e'er been re-issued on CD. This is due to the band's dislike of the songs in addition to refusal to let them to survive reissued.

Until 1998, this was the entirely house to abide by the remastered versions of the Steely Dan albums. However, because the albums were separate upwards irregularly alongside the discs (in around cases with the rail venture changed), the remastered studio albums were issued inwards 1998, albeit without bonus tracks.

The showtime pressing features "Rikki Don't Lose That Number" using the unmarried edit of the song. This version omits the percussive opening for the song. The minute pressing of the boxed laid features the version from the album although it was reissued without whatever data noting the change.

Glen Meadows remastered the CD laid from the digital masters archived past times Donald Fagen, Gary Katz in addition to Roger Nichols inwards 1982. These digital tapes were prepared because the original analog tapes were inwards really pitiable shape. The earliest CD mastering for all the Steely Dan albums inwards 1985 used these digital tapes simply MCA inexplicably used deteriorating analog masters for all afterward CD pressings until the 1998 remasters. This data was discovered past times Roger Nichols inwards 1991 when he was asked his sentiment of the Mobile Fidelity Gold reissues of Aja in addition to Gaucho. Nichols discovered that the "Gaucho CD was fifty-fifty a dissimilar speed, almost a quarter tone sharper" when compared to the original CD that he was involved in.

The 1993 boxed laid remaster was the showtime fourth dimension since the originally issued CDs that the albums used the right source tape.

 Collecting all of Steely Dan's albums inwards chronological order, addition all of their 2 or 3 B-sides in addition to ane demo inwards a four-CD box, Citizen Steely Dan is entirely worthwhile for the fan replacing their former records. The remastering on the box is precisely the same every bit the newly upgraded CDs, in addition to everything simply the demo is available on other discs.

Track listing

All songs past times Walter Becker in addition to Donald Fagen except where noted.

    Disc One: Can't Buy a Thrill (tracks 1-10), Countdown to Ecstasy (tracks 11-16)
    Disc Two: Countdown to Ecstasy (tracks 1-2), Pretzel Logic (tracks 3-13), B-side (track 14), Katy Lied (tracks 15-21)
    Disc Three: Katy Lied (tracks 1-3), The Royal Scam (4-12), non-album unmarried (track 13), Aja (tracks 14-16)
    Disc Four: Aja (tracks 1-4), non-album unmarried (track 5), Gaucho (tracks 6-12), previously unreleased demo (track 13)

 Tracks Listing

 Disc: 1

1. Do It Again - 5:54
2. Dirty Work - 3:08
3. Kings - 3:45
4. Midnite Cruiser - 4:06
5. Only a Fool Would Say That - 2:55
6. Reelin' In the Years - 4:36
7. Fire inwards the Hole - 3:26
8. Brooklyn (Owes the Charmer Under Me) - 4:19
9. Change of the Guard - 3:38
10. Turn That Heartbeat Over Again - 4:58
11. Bodhisattva - 5:17
12. Razor Boy - 3:10
13. The Boston Rag - 3:10
14. Your Gold Teeth - 6:59
15. Show Biz Kids - 5:23
16. My Old School - 5:45

Disc: 2

1. King of the World - 5:00
2. Pearl of the Quarter - 3:49
3. Rikki Don't Lose That Number - 4:07
4. Night past times Night - 3:38
5. Any Major Dude Will Tell You - 3:08
6. Barrytown - 3:19
7. East St. Louis Toodle-Do (Duke Ellington, Bubber Miley) - 2:48
8. Parker's Band - 2:43
9. Through with Buzz - 1:32
10. Pretzel Logic - 4:31
11. With a Gun - 2:17
12. Charlie Freak - 2:43
13. Monkey inwards Your Soul - 2:34
14. Bodhisattva (Live) - 7:41
15. Black Fri - 3:40
16. Bad Sneakers - 3:19
17. Rose Darling - 3:03
18. Daddy Don't Live inwards That New York City No More - 3:13
19. Doctor Wu - 3:54
20. Everyone's Gone to the Movies - 3:44
21. Chain Lightning - 2:59

Disc: 3

1. Your Gold Teeth II - 4:12
2. Any World (That I'm Welcome To) - 3:53
3. Throw Back the Little Ones - 3:13
4. Kid Charlemagne - 4:37
5. The Caves of Altamira - 3:32
6. Don't Take Me Alive - 4:14
7. Sign inwards Stranger - 4:21
8. The Fez (Becker, Fagen, Paul Griffin) - 3:58
9. Green Earrings - 4:05
10. Haitian Divorce - 5:48
11. Everything You Did - 3:54
12. The Royal Scam - 6:31
13. Here at the Western World - 4:00
14. Black Cow - 5:08
15. Aja - 7:56
16. Peg - 3:55

Disc: 4

1. Deacon Blues - 7:33
2. Home at Last - 5:32
3. I Got the News - 5:04
4. Josie - 4:31
5. FM - 5:05
6. Babylon Sisters - 5:48
7. Hey Nineteen - 5:07
8. Glamour Profession - 7:28
9. Gaucho (Becker, Fagen, Keith Jarrett) - 5:30
10. Time out of Mind - 4:11
11. My Rival - 4:30
12. Third World Man - 5:14
13. Everyone's Gone to the Movies (Demo) - 3:57

Personnel

    Donald Fagen – Organ, Synthesizer, Piano, Piano (Electric), Vocals, Vocals (background)
    Walter Becker – Bass, Guitar, Harmonica, Trumpet, Bass, Flugelhorn, Keyboards, Vocals
    Jeff Baxter – Guitar, Pedal Steel, Castilian Guitar
    Ray Brown – Bass (Upright)
    Randy Brecker – Trumpet, Flugelhorn
    Larry Carlton – Guitar
    Rick Derringer – Guitar, Slide Guitar
    Steve Gadd – Drums
    Steve Khan – Guitar
    Jeff Mironov – Guitar
    Anthony Jackson – Bass
    Rick Marotta – Drums
    Jeff Porcaro – Drums
    Mark Knopfler – Guitar
    Elliot Randal – Guitar
    Lee Ritenour – Guitar
    Timothy B. Schmit – Vocals (background)
    Wayne Shorter – Flute, Saxophone
    Michael McDonald – Keyboards, Vocals, Vocals (background)
    Joe Sample – Clarinet, Piano (Electric)
    Tom Scott – Clarinet, Flute, Arranger, Conductor, Sax (Alto), Sax (Tenor), Lyricon
    Chuck Rainey – Bass
    David Sanborn – Sax (Alto)
    Paul Humphrey – Drums
    Hiram Bullock – Guitar
    Wayne Andre – Trombone
    Jerome Aniton – Speech/Speaker/Speaking Part
    Patti Austin – Vocals (background)
    Ben Benay – Guitar (Acoustic)
    Crusher Bennett – Percussion
    Pete Christlieb – Flute, Saxophone
    Gary Coleman – Percussion
    Ronnie Cuber – Sax (Baritone)
    Denny Dias – Guitar, Sitar (Electric)
    Wilton Felder – Bass
    Victor Feldman – Percussion, Marimba, Vibraphone
    Michael Fennelly – Vocals (background)
    Venetta Fields – Vocals (background)
    Bob Findley – Horn
    Chuck Findley – Arranger, Horn, Brass
    Frank Floyd – Vocals (background)
    Gordon Grady – Vocals (background)
    Diva Gray – Vocals (background)
    Jay Graydon – Guitar
    Ed Greene – Drums
    Paul Griffin – Arranger, Keyboards, Piano (Electric), Vocals (background)
    Don Grolnick – Arranger, Keyboards, Clavinet
    Lani Groves – Vocals (background)
    Patricia Hall – Vocals (background)
    Jimmie Haskell – Arranger, Orchestration
    Jim Hodder – Percussion, Drums, Vocals
    Jim Horn – Flute, Saxophone
    Slyde Hyde – Horn, Brass
    Plas Johnson – Flute, Horn, Saxophone
    Royce Jones – Percussion, Vocals, Vocals (background)
    Walter Kane – Clarinet (Bass)
    Howard Kaylan – Vocals (background)
    Jackie Kelso – Flute, Saxophone
    Jim Keltner – Percussion, Drums
    Clydie King – Vocals (background)
    John Klemmer – Horn
    Rebecca Louis – Vocals (background)
    Johnny Mandel – Arranger
    George Marge – Clarinet (Bass)
    Nicky Marrero– Timbales
    Sherlie Mathews – Vocals (background)
    Myrna Matthews – Vocals (background)
    Lew McCreary – Brass
    Leslie Miller – Vocals (background)
    Lanny Morgan – Saxophone
    Rob Mounsey – Synthesizer, Arranger
    Michael Omartian – Piano
    David Palmer – Vocals, Vocals (background)
    Dean Parks – Guitar
    Bill Perkins – Saxophone
    Bernard "Pretty" Purdie – Drums
    Pat Rebillot – Piano (Electric)
    Jerome Richardson – Sax (Tenor)
    James Rolleston – Vocals (background)
    John Rotella – Saxophone
    Zachary Sanders – Vocals (background)
    Valerie Simpson – Vocals (background)
    Casey Syszik – Vocals (background)
    Mark Volman – Vocals (background)
    Florence Warner – Vocals (background)
    Ernie Watts – Saxophone
    Toni Wine – Vocals (background)
    Snooky Young – Flugelhorn

For Y'all Seat Egan - 2007 Every Minute Nosotros Speak

(2-CD Set) The novel let on from legendary contemporary jazz bassist, composer in addition to producer Mark Egan is an all-star trio recording featuring guitarist John Abercrombie in addition to onetime Pat Metheny Group bandmate in addition to Elements co-founder Danny Gottlieb on drums. This tour de strength super trio showcases Mark, who is considered past times many to hold upwards 1 of the world's leading bassists, performing highly interactive master compositions. This incredible 2CD prepare contains that rare combination of 16 stellar compositions, get-go charge per unit of measurement musicianship in addition to virtuoso solos from 1 of the most influential contemporary jazz improvising musicians inwards history. "As We Speak" is an of import bass recording of our fourth dimension in addition to an absolute must for whatever creative music listener.

H5N1 daring, highly interactive trio outing from 1 of the premier electrical bassists of contemporary jazz, a high H2O grade inwards his recording career

The exclusively argue this gets 5 stars is because in that place are non to a greater extent than to give.
This is a double CD, trio alongside Egan on fretless bass, John Abercrombie on guitar in addition to Danny Gottlieb on drums.
The music is contemporary improvisational. No standards here. It is really much inwards the minute in addition to it is a get-go shape instance of jazz musicianship at its best.
The tunes hit from engaging, mid-tempo jazz grooves (do NOT read that as "smooth jazz") to highly interactive gratis shape improv. Most of the compositions are Mark's.
The musicians are constantly interacting, trading ideas. (I've had the CD for months in addition to every fourth dimension I play it, it sounds new) Egan's fretless Pedulla sings. It is the hallmark of the recording but does non dominate it. In fact, blindfold you lot mightiness error this for a John Abercrombie CD. John is clearly enjoying himself hither in addition to this could hold upwards some of his best trio run ever. The laissez passer on in addition to receive got is palpable. Gottlieb is subtle in addition to creative. Not constantly pushing as he mightiness inwards a quartet, but weaving inwards in addition to out, supporting, driving, creating.
And to travel past times it all off, the production in addition to recording character couldn't hold upwards better.
I only can't say plenty most how expert this recording in addition to this music is. But because it is released on a pocket-size label, As We Speak volition likely non garner whatever large awards. And that is a truthful shame because this is swell music in addition to a recording.

This is total of some subtly exciting music on these ii discs, recorded over ii days, in addition to produced past times Mark Egan. There's a lot of tight ensemble run here. Egan's v string bass, in addition to Abercrombie's guitar mesh into a seamless blend. Egan's (at times) Pb bass blends effortlessly alongside Danny Gottlieb's drumming, which is really tight in addition to on the money. His sensitive touching in addition to constantly changing drum patterns are really one-third of this trio's sound. He plays busily but never cluttered or overpoweringly.

Listen to "Stiletto" on Disc Two for a perfect instance of the group's playing chops. Both Egan in addition to Gottlieb, along alongside Abercrombie, receive got created some intense, tightly woven music inwards the truest feel of the guitar/bass/drums format. There's no pyrotechnics here. Abercrombie keeps everything at a subtle boil, in addition to when he steps out for a solo, he's nonetheless a business office of the trio's overall sound. Egan's bass run is e'er inventive in addition to organic, in addition to Gottlieb's drumming keeps the diverse parts from flight apart.

The get-go track, "Spirals", is a expert introduction to this prepare but, if anything, the music seems to instruct fifty-fifty amend the farther you lot listen. Fans of early on Pat Metheny Group volition occasionally discover the audio from the Metheny/Egan/Gottlieb menses of that group. All the compositions were written past times Egan, except 1 ("Alone Together"), alongside 4 other tunes written past times the trio. The discs snap in, within a 4 panel cardboard holder. There's rail information, pocket-size photos of the group, in addition to a brusk examine from both Egan in addition to Gottlieb.

This is 1 of those releases that rewards the listener the to a greater extent than you lot hear this music. The interplay betwixt the players is really intuitive, in addition to almost seems to hold upwards a living, breathing thing. If you're interested inwards some complex yet unfussy jazz, from iii veterans of the genre, cheque this out.

While the innovations of the belatedly Jaco Pastorius conk along to hold upwards felt to this day, he's non the exclusively electrical bassist to educate a recognizable fretless sound. Born the same twelvemonth as Pastorius, Mark Egan has built his career only about a denser tone in addition to to a greater extent than eminently lyrical disposition. While Pastorius was capable of equal melodism but oft resorted to greater bombast, Egan has remained distinctive in addition to been a to a greater extent than consistent squad player. As We Speak is a rigid example—the bassist's most open-ended blowing session as a leader, in addition to a abrupt contrast to the to a greater extent than produced Freedom Town (Wavetone, 2001).

Egan teams upwards alongside drummer Danny Gottlieb in addition to guitarist John Abercrombie for this intimate trio date. Gottlieb in addition to Egan instruct dorsum over 30 years, best-known as charter members of guitar icon Pat Metheny's get-go grouping in addition to their ongoing collaboration, Elements. Abercrombie may hold upwards the novel expression upwards here, but his powerfulness to gibe whatever context—chameleon-like but e'er distinctly himself—makes him the perfect choice.

While Abercrombie continues to tape as a leader for ECM, it's been many years since either Egan or Gottlieb receive got recorded for the German linguistic communication label. Still, this double-disc prepare of largely Egan compositions, recorded over only ii days, has a sure enough in-the-moment vibe that wouldn't hold upwards out of house on that label. Songs similar the ethereal "Spirals, alongside Gottlieb's fragile cymbal run in addition to Abercrombie's sixteen-note motif, constantly reharmonized past times Egan's shifting harmonic center, look custom-fit for ECM, opening upwards into a gratis middle department that recalls the chemical scientific discipline of Abercrombie's run alongside the Gateway trio.

It's no surprise that Egan was listening to Gateway when he conceived this project. On the championship melody he manages to double its lengthy topic alongside Abercrombie, piece dropping downwardly deep throughout to laissez passer on the vocal its harmonic foundation. This form of shifting roleplay makes the disc thence compelling. But what's maybe most remarkable is how deep the shared chemical scientific discipline is for a get-go meeting. Egan in addition to Gottlieb would hold upwards expected to receive got an almost telepathic connection, but Abercrombie sounds as if he's been playing alongside them for years.

While the overall ambience is atmospheric in addition to light, in addition to many of the tunes opened upwards up into freer space, Egan's non averse to writing changes. The bluesy yet lyrical "Mississippi Nights features Abercrombie in addition to Egan trading off the theme, piece Gottlieb's brushwork keeps a subtle groove throughout.

Four gratis improvisations on disc ii create practise to generate some added estrus to this mostly understated session. Egan's "Stiletto likewise motors along, alongside Gottlieb creating a lightly funky foundation, piece the rubato "Plane to the Trane is driven past times Egan's singing tone.

Egan has been a busy sideman alongside everyone from Gil Evans to Sting, but this endeavour is distinctive in addition to special. One of those unexpected gems that crop upwards exclusively occasionally, As We Speak suggests a personal administration that he should pursue far to a greater extent than often.

Atmospheric in addition to serpentine, the two-disc As We Speak finds electrical fretless bassist Mark Egan leading his trio through a serial of enigmatic in addition to propulsive master songs. An acolyte of the belatedly swell bassist Jaco Pastorious, Egan has a lithe touching his instrument, in addition to tracks such as the leadoff "Spirals" evince a hypnotic, fusion-esque aesthetic. Joining Egan hither are the as superb jazz giants guitarist John Abercrombie in addition to drummer Danny Gottlieb. These are iii technical dynamos as good as artists sensitive to creative grouping interplay. Cuts such as "Dream Sequence" showcase this as Abercrombie in addition to Egan both lay downwardly harmonic lines against each other allowing Gottlieb to fill upwards inwards the background alongside organic cymbal flourishes in addition to flickering drum patterns. Cinematic in addition to expansive, As We Speak has a existent spark of intimacy in addition to is a really engaging work.

Disc 1
1    Spirals
2    As We Speak
3    Vanishing Point
4    Mississippi Nights
5    Alone Together
6    Your Sweet Way
7    Three-Way Mirror
8    Tone Poem for My Father
            

Disc 2
1    Shade in addition to Shadows
2    Next Left
3    Dream Sequence
4    Depraw
5    Stiletto
6    Plane to the Trane
7    Time Out
8    Summer Sand

Personnel:

Mark Egan - Bass
John Abercrombie (guitar);
Danny Gottlieb (drums).

For You Lot Bathroom Coltrane - 1960 Giant Steps

Giant Steps is the 5th studio album past times jazz instrumentalist John Coltrane every bit leader, released inwards 1960 on Atlantic Records, catalogue SD 1311. His kickoff album for his novel label Atlantic, it is the breakthrough album for Coltrane every bit a leader, as well as many of its tracks cause got acquire practise templates for jazz saxophonists. In 2004, it was 1 of 50 recordings chosen that yr past times the Library of Congress to live added to the National Recording Registry.

Arguably the kickoff of John Coltrane's nifty album masterpieces, 1960’s Giant Steps hardly came out of nowhere, every bit this four-disc fix clearly shows. Featuring fundamental tracks alongside Coltrane working every bit both a bandleader as well as every bit a sideman inwards sessions alongside the likes of Miles Davis, Sonny Rollins, Thelonious Monk, Red Garland, Hank Mobley, as well as others recorded for the Prestige, Savoy, Columbia, as well as Blue Note labels betwixt 1957 as well as 1960, addition around forty minutes of radio as well as other interviews alongside the saxophonist, this fascinating collection culminates alongside the consummate Giant Steps album from Atlantic Records. 

Released inwards Jan 1960, John Coltrane's kickoff album devoted alone to his ain compositions confirmed his towering ascendancy of tenor saxophone as well as his emerging ability every bit a composer. Apprenticeships alongside Dizzy, Miles, as well as Monk had helped focus his furious, expansive solos, as well as his stamina as well as underlying sense of harmonic need chances brought Coltrane, at 33, to a novel cusp--the polytonal "sheets of sound" that distinguished his marathon solos were offset past times interludes of subtle, concise lyricism, embodied hither inwards the tender "Naima." That classic ballad is a calm refuge from the ecstatic, high-speed runs that spark the set's up-tempo climaxes, which start out alongside the opening championship song, itself a cornerstone of modern jazz composition. This exemplary reissue benefits from viii alternate takes of the original album's vii stellar tracks, fantabulous remastering of the original tapes, as well as an expanded annotation.

It's understandable that many listeners may prefer to "Giant Steps" the to a greater extent than accessible before or afterwards Trane. The quondam offers upward his explorations inside to a greater extent than familiar vocal forms; the latter makes the vocal secondary to the soloist's bespeak for a rapture beyond musical shape altogether. "Giant Steps," on the other hand, is a musican's album. It fix a novel criterion non only for saxophonists but all musicians, requiring a combination of harmonic cognition as well as technical facility that sent numerous musicians dorsum to the woodshed for countless hours of practice. Without this album, as well as peculiarly the championship vocal as well as "The Countdown," Coltrane's early on travel would cause got seemed brusk of realizing its potential, as well as his afterwards travel would cause got been opened upward to increasing suspicion most his actual credentials. Like Armstrong's cadenza on "West End Blues" as well as Bird's intermission on "Night inwards Tunisia," "Giant Steps" turned heads as well as gave a generation of musicians a whole novel agreement of what jazz improvisation was capable of producing.
For the to a greater extent than technically minded, Trane's revision of dominant-tonic harmony is to a greater extent than impressive than his afterwards embracing of modes every bit the sole platform for his scales as well as upper register probings. Suggested past times the challenging duet of Rodgers as well as Hart's "Have You Met Miss Jones," the sequence moves through a bike of descending major thirds which, inwards the hands of most musicians, feels awkward as well as unnatural. Coltrane non only mastered the sequence but learned how to utilization it every bit a exchange inwards conventional harmonic settings. More impressively, he learned to execute it alongside an agility as well as naturalness that makes it possible for the listener to ignore the harmonic underpinning alone as well as live swept upward past times the moving ridge of emotion as well as melodic inventiveness.
"Giant Steps" is the principal argue Sonny Rollins temporarily stopped playing inwards public. To his credit he came upward alongside his ain solution to the tyrannous sameness of much popular vocal harmony, but he was never able to come upward to damage alongside the harmonic complexity as well as technical innovations introduced past times Coltrane. On the other hand, few have.

My utilization hither is non to merely add together to a greater extent than superlatives to this legendary album's justly proud reputation -- it's everything as well as to a greater extent than that has been written most it of a praiseworthy nature; as well as you'll detect enough of praise hither inwards these reviews (see peculiarly the insightful words from Samuel Chell). But at that topographic point remains 1 rather 'technical', as well as curiously long-lived misconception most GIANT STEPS which, every bit a serious pupil of jazz as well as avid music collector, myself (I cause got virtually all of Coltrane's impressive recorded output), I cause got wanted to correct
for years -- a misunderstanding which, I hasten to add, inwards NO agency diminishes the brilliance as well as stature of this pivotal milestone inwards Coltrane's prolific career.

The work is this: over the years, repeated references (and you'll detect around of them inwards these reviews) to this classic album's beingness the ultimate representation of Coltrane's famous
'sheets of sound' phase, or technique, are merely mistaken. The so-called 'sheets of sound' lawsuit that then startled early on Coltrane audiences, inwards fact, emerged inwards his belatedly '50s albums for Prestige -- non yet fully developed inwards the '56-'57 sides alongside the early on Miles Davis Quintet (not fifty-fifty on that groundbreaking group's lastly recording, Miles' kickoff for Columbia, 'ROUND ABOUT MIDNIGHT), but real good documented, fifty-fifty dominating, inwards Coltrane's prolific belatedly '57-'58 catamenia on Prestige, where the best examples of his 'sheets of sound' are to live found.

Technically, 'Trane's much-touted 'sheets of sound' amounted to his merely (!) shifting into a 'higher gear', at slow-to-medium-fast tempos -- essentially, playing to a greater extent than 16th notes (i.e., 4 notes to every beat), instead of relying on the to a greater extent than typical
8th-note orientation (i.e., ii notes to each beat) of most modern jazz solos from early on be-bop onward. Coltrane's solos during this catamenia oft used this technique to the signal of letting those rapid-fire, 16th-note runs dominate his playing -- giving rising to the description, 'sheets of sound', or, sometimes, the to a greater extent than pejorative (and unjust) accuse from critics that he was exactly 'running scales'. Upon fifty-fifty cursory examination, Coltrane's solos on GIANT STEPS, on the opposite -- despite the prevalence of furious tempos (which should non live confused alongside how many notes PER BEAT are beingness played!) -- genuinely do NOT comprise a preponderance of the notorious 16th-note passages. In fact, the relatively spare utilization of his well-established, '4-to-the-beat' phrases on this 1960 classic powerfulness live viewed every bit 1 of the to a greater extent than 'unexpected' aspects of this landmark entry inwards the nifty Coltrane legacy. His wonderfully agile, complex, as well as justly famous solos on such pieces every bit the championship track, as well as fifty-fifty the demonically paced 'Countdown', inwards fact, consist of predominantly eighth notes; and, piece the fast tempos, themselves, of course, may dictate a rapid torrent of notes, they all the same mostly come upward at 'only' ii to the vanquish -- non the daunting 4 per vanquish that genuinely define the 'sheets of sound' effect. It may live suggested that the mostly fast tempos on GIANT STEPS are largely responsible for the relative absence of 16th-note runs throughout the album (as a practical limitation, fifty-fifty for Coltrane!); yet, it likewise is truthful that fifty-fifty the to a greater extent than moderately paced pieces -- commonly to a greater extent than conducive to 'sheets of sound' flights -- are relatively gratuitous of that effect, compared to Coltrane's previous travel on Prestige.

At this album's date, the intense, multi-noted, as well as profoundly influential explorations that would largely define Coltrane's approach, fifty-fifty to the end, were yet to live applied inwards all the same other musical contexts, every bit this jazz giant's expansive music evolved from the 'interim' Atlantic years into the final, long Impulse! catamenia of cutting-edge experimentation. The initial stupor of those before 'sheets of sound' would dissipate, as well as look 'tame' past times comparing -- or, perhaps, exactly 'inevitable' edifice blocks inwards the larger system of things ... as well as the legend would only grow.

Tracklist:

1. Giant Steps (4:43)
2. Cousin Mary (5:45)
3. Countdown (2:21)
4. Spiral (5:56)
5. Syeeda’s Song Flute (7:00)
6. Naima (4:21)
7. Mr. P.C. (6:57)
8. Giant Steps* (3:40)
9. Naima* (4:27)
10. Cousin Mary* (5:54)
11. Countdown* (7:02)
12. Syeeda’s Song Flute* (7:02)

 *CD only bonus tracks. Alternate takes.

The principal takes of Giant Steps, Cousin Mary, Countdown, Spiral, Syeeda’s Song Flute (Tracks 1 through 5) as well as Mr. P.C. (Track 7) were recorded on May 4, 1959, alongside the next personnel: John Coltrane: Tenor Sax; Tommy Flanagan: Piano; Paul Chambers: Bass; Art Taylor: Drums.

The principal accept of Naima (Track 6) was recorded on Dec 2, 1959, alongside the next personnel: John Coltrane: Tenor Sax; Wynton Kelly: Piano; Paul Chambers: Bass; Jimmy Cobb: Drums.

The alternate takes of Giant Steps as well as Naima (Tracks 8 as well as 9) were recorded on Apr 1st, 1959, alongside the next personnel: John Coltrane: Tenor Sax; Cedar Walton: Piano; Paul Chambers: Bass; Lex Humphries: Drums.

The alternate takes of Cousin Mary, Countdown as well as Syeeda's Song Flute (Tracks 10, eleven as well as 12) were recorded on the same appointment alongside the same personnel.

For You Lot Miles Davis - 1959 [1997] Form Of Blue

Kind of Blue is a studio album past times American jazz instrumentalist Miles Davis, released on August 17, 1959, past times Columbia Records. It was recorded before that twelvemonth on March two as well as Apr 22 at Columbia's 30th Street Studio inwards New York City. The recording sessions featured Davis's ensemble sextet, amongst pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, as well as saxophonists John Coltrane as well as Julian "Cannonball" Adderley. After the entry of Evans into his sextet, Davis followed upwards on the modal experimentations of Milestones (1958) past times basing Kind of Blue exclusively on modality, inwards contrast to his before operate amongst the hard bop vogue of jazz.
Though precise figures induce got been disputed, Kind of Blue has been described past times many music writers non only equally Davis's best-selling album, but equally the best-selling jazz tape of all time. On Oct 7, 2008, it was certified quadruple platinum inwards sales past times the Recording Industry Association of America (RIAA).
Kind of Blue has been regarded past times many critics equally jazz's greatest record, Davis's masterpiece, as well as 1 of the best albums of all time. Its influence on music, including jazz, rock, as well as classical genres, has led writers to also deem it 1 of the most influential albums e'er recorded. Kind of Blue was 1 of 50 recordings chosen inwards 2002 past times the Library of Congress to hold upwards added to the National Recording Registry, as well as inwards 2003, it was ranked number 12 on Rolling Stone magazine's listing of the 500 greatest albums of all time.

By belatedly 1958, Davis employed 1 of the best as well as most profitable working bands pursuing the hard bop style. His personnel had larn stable: alto saxophonist Cannonball Adderley, tenor saxophonist John Coltrane, pianist Bill Evans, long-serving bassist Paul Chambers, as well as drummer Jimmy Cobb. His band played a mixture of pop standards as well as bebop originals past times Charlie Parker, Thelonious Monk, Dizzy Gillespie, as well as Tadd Dameron. As amongst all bebop-based jazz, Davis's groups improvised on the chord changes of a given song. Davis was 1 of many jazz musicians growing dissatisfied amongst bebop, as well as saw its increasingly complex chord changes equally hindering creativity.
In 1953, the pianist George Russell published his Lydian Chromatic Concept of Tonal Organization, which offered an choice to the do of improvisation based on chords as well as chord changes. Abandoning the traditional major as well as pocket-sized key relationships, the Lydian Chromatic Concept introduced the persuasion of chord/scale unity as well as was the get-go theory to explore the vertical human relationship betwixt chords as well as scales, equally good equally the only original theory to come upwards from jazz. This approach led the agency to "modal" inwards jazz. Influenced past times Russell's ideas, Davis implemented his get-go modal composition amongst the championship rails of his studio album Milestones (1958). Satisfied amongst the results, Davis prepared an entire album based on modality. Pianist Bill Evans, who had studied amongst Russell but of late departed from Davis's sextet to pursue his ain career, was drafted dorsum into the novel recording project, the sessions that would larn Kind of Blue.

With Birth of the Cool, Miles Davis distilled a novel tonal palette for jazz. As early on equally 1954, Davis reacted to the escalating chordal complexity of difficult bop past times fashioning an evocative blues based on a unproblematic scalar designing ("Swing Spring"). Kind of Blue was the ultimate fulfillment of this approach, amongst Davis providing his collaborators lilliputian to a greater extent than than outlines for melodies as well as unproblematic scales for improvisation. By emphasizing the blues as well as the improvisor's melodic gifts, Kind of Blue precipitated a major stylistic development: modal jazz. Charles Mingus had experimented amongst pedal points throughout the '50s, as well as the melodic liberty of Ornette Coleman's Atlantic sides was also predicated on liberty from chord changes. But Kind of Blue was to evidence the most influential, enduring operate of its kind. There was precisely such a vibe almost these 1959 sessions -- Davis' lyric genius as well as burgeoning stardom, the innovative voicings as well as rarefied touching of pianist Bill Evans, the electrifying presence of John Coltrane, as well as Cannonball Adderley --that or as well as hence 50-plus years later its initial release, Kind of Blue is silent recognized equally Davis' shout out for of difference toward jazz's less-explored regions. Bill Evans' translucent chords as well as Paul Chambers' famous bassline herald the revolution that is "So What": Davis as well as Evans' taut, coiled lyricism stands inwards sudden relief to the saxophonists' labyrinthine elation. The fat, shimmering crunch of the classic Evans/Chambers/Jimmy Cobb beat squad is an oasis of calm throughout the childish blues of "Freddie Freeloader." Often credited to Davis, "Blue inwards Green" is an Evans masterpiece, inwards which the rhythmic oasis becomes a smoky mirage for Davis' pocket-sized reveries on muted horn. The waltzing "All Blues" is 1 of the smoothest, most swinging grooves inwards the history of jazz, piece "Flamenco Sketches" reflects Davis' fascination amongst the earthy melodies as well as brooding metaphors of the Iberian peninsula; a harbinger of his side past times side masterpiece, Sketches of Spain. Kind of Blue remains Miles Davis' most evocative slice of musical haiku. 

This is simply the warmest as well as most likeable album yous are probable to e'er hear. So What is an absolute masterpiece, as well as I silent intend it's 1 of the most thrilling uses of modality I've e'er heard. The soloists on hither induce got mastered the unproblematic progression to the shout out for where it sounds similar the most natural affair inwards existence. I could maintain for days almost the solos on this piece, but exceptional shout out needs to hold upwards made of Miles, who plays the most understated, as well as note-for-note perfect solos inwards his entire career. Every instrumentalist should know this solo past times heart. Cannonball steals the exhibit however. His solo is equally gorgeous equally an impressionistic painting, as well as his impeccable phrasing as well as sense of tune transcends the unproblematic framework he is working in. (Compared to Miles, who deliberately stays good inside the framework) Coltrane does his commons thing, but he's simply awesome on this piece. As he commonly is.

Freddie Freeloader is a much to a greater extent than straightforward Blues piece, but it's a stunner, as well as yous tin actually withdraw heed how much pianist Wynton Kelly is enjoying it, providing or as well as hence fantabulous comping to all the soloists. Again, Cannonball makes the most of the changes, amongst or as well as hence phrases coming out inwards a growling sputter. Bill Evans is the star of Blue inwards Green, as well as anchored past times an authoritative bassline, he produces a devastatingly subtle sound, which Miles as well as Coltrane solo over inwards a whisper.

The album's longest piece, All Blues, begins amongst a sublime tremolo on pianoforte from Evans, as well as the residuum of the players come upwards inwards softly amongst 1 of my favourite melodies on the album. As presently equally the solos start, the vocal takes a plough for the groovy thank yous to Paul Chamber's fantabulous basslines. Coltrane, e'er the master copy of the 6/8 fourth dimension signature, lays out a real avant-garde solo compared to the to a greater extent than traditional Cannonball, but it provides the perfect contrast for Evans to come upwards inwards amongst his much to a greater extent than understated sound. He too, pushes the vocal out to its limits, but the whole band brings it dorsum 1 time to a greater extent than equally if zero out of the commons had occurred.

Perhaps the purest, most fully realized manifestation of Miles' vision is the legendary closer, Flamenco Sketches. Based on Evans' Some Other Time (In plough based on the unmarried chord Peace Piece), the slice is as well as hence centred, as well as hence at peace amongst itself, that yous cannot assist but hold upwards affected. Pure magic from every unmarried performer.

The absurd popularity of this album, as well as the sheer amount of writing done on it (of the sort yous induce got precisely read) tin sometimes accept away from the fact that this is 1 of the most enjoyable records e'er made. It is great, significant, groundbreaking, all of that, but what I desire to to accept away from this is precisely how happy it volition brand yous feel.

Tracks Listing

1. So What (9:25)
2. Freddie Freeloader (9:49)
3. Blue In Green (5:37)
4. All Blues (11:35)
5. Flamenco Sketches (9:25)
6. Flamenco Sketches [Alternate Take] (9:32)

Total Time 55:23

Line-up / Musicians

- Miles Davis / trumpet
- Julian Adderley / alto saxophone ( 3)
- John Coltrane / tenor saxophone
- Wynton Kelly / pianoforte (2)
- Bill Evans / piano
- Paul Chambers / bass
- Jimmy Cobb / drums

For You Lot Alex Machacek Feat. Marco Minnemann - 2010 24 Tales

Unusual inward concept together with execution, this articulation projection betwixt multi-instrumentalist Alex Machacek together with drummer Marco Minnemann crosses over many boundaries of jazz fusion every bit good every bit production techniques. Minnemann recorded a unmarried continuous drum rail over which Machacek thence dubbed guitar, keyboards, together with other instruments. The final result is a continuous music made upwards of many snippets of thought together with audio projection, some vocal styles, improvisation, together with solos on occasion. While the music is complex, minimalist, or fifty-fifty kinetic, it is far from tame or commonplace. Primarily an electrical guitarist, Machacek is capable of some amazing sounds whether he approaches stone or jazz fusion, fifty-fifty minimalism or looped-type techniques. His musical portrait of the "Tour de France" encompasses the gamut of emotions a cyclist tin sack experience during the three-week race, piece "At the Club" is both comical together with busy, amongst attention from trombonist Martin Ptak. There are maddeningly kinetic moments, down-in-the-dumps blues, mysterious elements, together with Machacek's acoustic pianoforte on occasion. Minnemann's drumming tin sack live on lean or amount of girth, but to a greater extent than upwards together with downwardly every bit liberate energy surges together with disperses. While some powerfulness uncovering this lacking inward cohesion together with truthful communality, there's a skilful spirit present, listenable together with tuneful inward spots, together with inspired for many others.

Guitarist Alex Machacek is i of the most innovative composers inward jazz together with fusion. Though he does write a lot of music from scratch every bit most composers do, his most hitting compositional device is to write "around" a pre-existing slice of music such every bit a drum solo (e.g., "Djon Don" together with the championship rail from [sic]), or an improvised studio jam (e.g., practically the entire Improvision album amongst Matt Garrison together with Jeff Sipe). With his latest album 24 Tales , Machacek has taken this writing technique to novel heights. The foundation for 24 Tales is a 52 infinitesimal improvised drum solo yesteryear long-time Machacek cohort Marco Minnemann. Machacek took the solo, together with composed his ain music on top of it using a broad multifariousness of instruments together with styles. The final result is a unmarried 52 infinitesimal slice of continuous music that is divided into 24 gapless tracks on the album. These private tracks (with run-times ranging from one-half a infinitesimal to iv minutes plus) operate both every bit stand-alone songs or every bit pieces of the larger composition. It's a remarkable achievement that's every bit entertaining every bit it is impressive. 

This album's journeying from a unmarried thought to a finished production you lot tin sack concur inward your manus has been a long foreign trip. When I interviewed Machacek inward 2006, he spoke of doing an entire album consisting of  composed-over drum solos from diverse drummers. Minnemann contributed a solo for the project, but it was 52 minutes long. After originally intending to compose or thence only a modest component of the solo, Machacek decided to tackle the whole matter when Minnemann launched his ain projection (which he dubbed Normalizer 2), where he gave this same drum solo to several other musicians to write over every bit well. The final result was to live on a massive laid that would essentially live on the contrary of Machacek's original thought - many composers for i drum solo, every bit opposed to many drum solos for i composer. Like Machacek, these other composers (John Czajkowski, Trey Gunn, Mike Keneally together with others) are at i time releasing their Normalizer 2 contributions every bit stand-alone albums.

24 Tales is impossible to pivot downwardly stylistically. Jazz, fusion, classical, stone together with funk are all nowadays here, but Machacek utilizes other, harder-to-define styles every bit well. Rhythmically, the album is all over the map also (Minnemann seems to play every meter known to human being inward his solo). With all the twists together with turns, the album often has the experience of a progressive rock-based cinema score.

Machacek does play a lot of guitar on the album, but I wouldn't telephone telephone this a "guitar" tape per se. Piano is used quite frequently, every bit are many other instruments together with electronica-type sounds. And at that spot aren't a lot of guitar "solos" on the album either, though at that spot are enough of insane guitar lines together with runs - some played alive yesteryear Machacek, some programmed via computer. Some of the best guitar playing on the album tin sack live on heard inward it's jazz fusion-oriented pieces - "Feel Me!," "Blender," together with "Anamika" (possibly the album's best together with most dramatic stand-alone track) are skilful examples. There's an abundance of effective subtle guitar operate every bit well, such every bit the acoustic slide tune inward "Sit Back together with Chillax." Overall though, 24 Tales isn't nearly Machacek's playing, it's nearly his writing.

Remarkably, every bit seemingly random together with adventurous every bit Minnemann's original solo is (in damage of fourth dimension together with mood shifts), Machacek manages to inject some mutual melodic threads throughout the 52 infinitesimal slice - merely motifs that are introduced early on together with re-visited at diverse points on the album, regardless of the rhythmic together with harmonic conditions. For event - the original tune from the opening rail "On Your Marks..." tin sack live on heard i time to a greater extent than afterwards inward other sections, most notably inward rail 19, "Run, Fusion!," where it's reworked effectively over a completely unlike groove together with tempo from when it was get-go heard. It's interesting also that at sure as shooting points, such every bit the high-hat tour-de-force "Air," Machacek largely stays out of Minnemann's way, adding only modest touches to heighten what was already nowadays inward the drum solo. Also notable is the album's humorous side - "Minnemaus inward da House" is a peachy example, specially during it's voiced-over tutorial for navigating the perils of strange times such every bit 13/16.

24 Tales is i of those albums that keeps revealing to a greater extent than of itself upon farther listenings. There's an awful lot of music packed into this disc, together with it's impossible to stimulate got it all inward in i sitting. With this album, Machacek has resoundingly achieved the goal of bringing Minnemann's incredible drum solo to life every bit a fully fleshed out composition. Highly recommended.

Tracklisting:

1. On Your Marks
2. Sit Back together with Chillax
3. Tour De France
4. Dancing amongst the Baby Bear
5. Anamika
6. Pros together with Cons of Depression
7. Little Man
8. Tranquillo
9. Tranquilizer
10. Sweet Torture
11. She Likes It
12. See You There
13. X-Mas
14. Feel Me
15. At the Club
16. Eu De Conlon
17. Doldrums
18. Minnemaus inward da House
19. Run, Fusion!
20. Air
21. Sexy
22. Blender
23. Quotes
24. Over together with Out 

Personnel:

Alex Machacek (Guitars together with everything else)
Marco Minnemann (Drums)
Sumitra (Vocals-1 track)
Martin Ptak (Trombone-3 tracks)