Mid-'80s release that established Horovitz among the prime composers and players on the contemporary improvising scene. He's not among either the traditionalists or the fusion/light jazz crowd, but is part of the New York "downtown" school that utilizes everything from hard bop to rock to contemporary classical. Guitarist Bill Frisell was also an important contributor to the date.
Originally released in 1964 and 1965 on the Fontana label. Included among the ranks of The Mindbenders were future 10cc members Eric Stewart (at the time of these recordings) on guitar and vocals, and later (1968) Graham Gouldman on bass. For straightforward solid meat'n'potatoes British Beat, one need look no further than Wayne Fontana & The Mindbenders. What they lacked in originality they more than made up for in good old-fashioned exuberance and panache.
Though Krantz has utilized vocals in his music before - most notably on Krantz Carlock Lefebvre - on Howie 61 Krantz pushes this aspect of his artistry a step further by incorporating vocal content in his music in a manner that is more complete and tightly integrated than anything he has done in the past. “I’m very excited about this record.” says Krantz. “It’s another step in a direction that I’ve been making since Long To Be Loose really; Long To Be Loose was an instrumental version of this record. I’ve been trying to figure out how to get words into my music for the longest time, and it took so much trial and error just to get to the point where I could use just a few words on a song, and have it feel integrated with the music.
Wayne Smart Reveals He Is Just Another Stranger! The Album-A mixture of classy rockers, soaring ballads and choruses that will keep you up all night. From the aggression of "Father Forgive Me" to the beauty of "In Your Eyes", this album never stops delivering, listen to an album that will turn more than a few heads. Wayne Smart, "Just Another Stranger"……but not for long!
Originally issued on three 10-inch LPs, these albums feature three outstanding but underrated jazz guitarists: Lou Mecca, Bill de Arango and Chuck Wayne. Crisp, inventive and fleet-fingered, Mecca found his own voice from his main inspiration, Tal Farlow, whom he replaced in the Gil Mellé Quartet. Lous classical guitar sound is complemented in this 1954 Blue Note recording by fine vibist Jack Hitchcock, bassist Vinnie Burke and drummer Jimmy Campbell.
Features 24 bit remastering and comes with a mini-description. The aptly titled The Warm Sound reunites Frances Wayne with husband and arranger Neal Hefti, adding to the equation a wonderful support unit including tenorist Al Cohn, guitarist Billy Mure, pianist Hank Jones, and flautist Jerome Richardson to yield one of the singer's most delightful and consistent sessions. Hefti keeps his more extravagant impulses in check here, creating a series of sophisticated but appealingly simple arrangements that underscore the breathy appeal of Wayne's vocals. Likewise, warhorses including "'Round Midnight" and "Prelude to a Kiss" prove particularly well-matched to her sexy but sweet persona.
Seven years after his last solo project, Wayne Shorter returns with HIGH LIFE, which proceeds from the point where ATLANTIS, PHANTOM NAVIGATOR and JOY RIDER left off. With the assistance of master bassist-producer Marcus Miller and keyboardist Rachel Z., Shorter has fashioned a sumptuous series of harmonically detailed tone poems, anchored by the contemporary rhythm-n-ning of former Living Colour drummer Will Calhoun.HIGH LIFE won the 1997 Grammy Award for Best Contemporary Jazz Performance.