This fairly early effort by organist Joey DeFrancesco features him displaying a great deal of energy on a variety of standards and basic originals. DeFrancesco swings hard throughout, mostly featuring his regular trio (with guitarist Paul Bollenback and drummer Byron Landham) and such fine (but little-known) players as tenor saxophonist Glenn Guidone, altoist Robert Landham, and trumpeter J.R. Henry. Joey's father, John DeFrancesco, makes a guest appearance on second organ on "Gut Bucket Blues." The music is quite enjoyable and easily recommended for fans of Jimmy Smith-style organ playing.
Here is a very interesting recording devoted to little-known works, in particular inventions, rich in teaching (as always with Dupré), both in terms of writing and instrumental playing. And performed, like the rest of this magnificent complete, with the seriousness, rigor, inspiration and talent of Ben Van Oosten.
Charlie Hunter's seventh Blue Note release is the first to feature vocalists – Theryl De'Clouet, Kurt Elling, Norah Jones, and rapper Mos Def – who appear in rotating guest spots. Five of the 13 tracks are instrumental originals. Some meander in a typical jam band way, but they're guided by an economical, live-quartet sound and driven by Hunter's highly intriguing eight-string guitar work. The short solo guitar piece "Sunday Morning" is a tease, but also a gem. De'Clouet's gravelly, soulful voice fits nicely on Earth, Wind & Fire's "Mighty, Mighty" and the Willie Dixon blues classic "Spoonful"; his control of harmonic overtones on the latter is astounding.
The Road to Hell: Part 2 is the fifteenth studio album by Chris Rea, released in 1999, ten years after The Road to Hell. The single released for the album was New Times Square. It reached #54 position in UK album charts, and was certified Silver.
In the summer of 1998, the Human League set out on tour with the reunited Culture Club, both bands hoping to capitalize on the new wave nostalgia that was slowly sweeping the country. The tour naturally provided an ideal opportunity for a new hits collection, The Very Best Of. Essentially, it's a slightly reworked version of Greatest Hits, sharing all the obvious tracks ("Don't You Want Me," "Love Action (I Believe in Love)," "Mirror Man," "Fascination (Keep Feeling)," "Human," "Being Boiled," "The Lebanon") and subsituting earlier cuts like "The Sound of the Crowd" and "Open Your Heart" for middle-of-the-road '90s singles "Tell Me When," "Stay With Me Tonight," "Heart Like a Wheel," and "One Man in My Heart."
Eighty-three or not, saxophonist Lee Konitz never seems to lose his enthusiasm for new musical situations. In this one, he's shooting the breeze with Dave Liebman, a sax master of a later generation (though they were both Miles Davis employees, Konitz for Birth of the Cool in 1948-51, Liebman with the early electric bands in 1972-74) and the versatile pianist Richie Beirach.
Living in a Fantasy is the last album to yield hits for Leo Sayer in America, closing out the terrific '70s run as the '80s began. A-ha/Bow Wow Wow/Squeeze producer Alan Tarney chooses to keep the production slick and sparse, the large mix of musicians who helped craft albums like Thunder In My Heart, Endless Flight, Here, World Radio, and others vanishes as the singer goes back to the pared-down format of his Just a Boy period. The big difference is that Sayer had gone beyond the singer/songwriter personality of those early recordings to having marquee value, as well as his own TV show. Songs here like "You Win, I Lose are bouncy pop, this one like five others composed by the singer and his producer.
In short, Pipelare’s striking personality becomes apparent through hearing and analysing his masses rather than from the meagre details of his life. It is as if he redefines polyphonic composition with each work, rather than reverting to the tried and tested as say Jakob Obrecht did. There is nothing immediately recognisable, nothing that sounds even vaguely familiar, nothing can be categorised, rather everything sounds new, fresh, lively – wilfully individual!
![War - Anthology 1970-1994 [2CD Set] (1994)](https://pixhost.icu/avaxhome/29/cb/007acb29_medium.jpg)
For some reason, there still isn't a truly comprehensive single-disc War collection on the market. Rhino's Grooves and Messages easily comes the closest, although its unnecessary remix disc kicks up the price a bit (and one could argue about a couple of omissions in favor of latter-day tracks). That makes Rhino's own double-disc Anthology (1970-1994) even more valuable – it might be too much for casual fans who just want War's biggest hits, but there's absolutely nothing missing here. All the hits are included, of course, as well as some overlooked singles and fine album tracks; plus, Anthology does fans a service by gathering the highlights from their uneven later work, which is more disco-tinged and less distinctive. A concise overview this is not; what Anthology illustrates instead is the full scope of War's versatility, and their loping, easygoing way with a groove.
If you want a representative sample of Igor Kipnis’ Bach, start with the introductory toccata to the E minor Partita (No. 6). You get little of the music’s introspective undertones, but Kipnis’ subtle registration changes, resourceful ornamentation, and rhythmic extroversion proves quite insidious. Some of Kipnis’ textual emendations will surprise you, such as his duple-meter reading of the Fifth Partita’s Allemanda. Only on the repeats does Kipnis reinstate the middle notes of the right hand triplet groupings.
