CRI (Composers Recordings Inc., a non-profit, composer-directed American new music label) introduced their "blueshift" imprint in 2001 with this unique merging of jazz and the music of Charles Ives. The recording itself, however, was made in November, 1988 at Tedesco Studios in New Jersey and engineered by Jon Rosenberg, produced by Matt Moran and Adam Good (the vibraphone player and the guitarist, respectively, on the recording). The other musicians are John Hollenbeck (drums and other percussion) and Oscar Noriega (alto saxophone and bass clarinet).
The 1987 edition of the Brubeck Quartet featured pianist Brubeck, his son Chris on electric bass and bass trombone, clarinetist Bill Smith and drummer Randy Jones. In addition to remakes of "Blue Rondo à la Turk," "Strange Meadowlark" and "Swing Bells," the leader contributed six new originals including "I See, Satie" and a tribute to Dizzy Gillespie and Stan Getz called "Dizzy's Dream." Bill Smith, who uses electronics with taste on his clarinet during a few songs, has long been a major asset to the later Brubeck Quartets. This is one of their better Concord CDs.
Sweet organ lines, heavy drums, and a great little groove throughout – a tight batch of groovers from the mighty Charles Kynard! The keyboardist is in fine 70s form here – stepping away from the sparer sound of his albums for Prestige with a fuller style for Mainstream Records – in a groove that's almost part blacksploitation funk, thanks to some sharp backings from arranger Richard Fritz! The mighty Paul Humphrey is at the bottom of the set on nicely funky drums – and other players include Arthur Adams on guitar, Chuck Rainey on bass, and some great additional horns, which give the record a larger jazzy finish, but never get in the way of Kynard's lean, mean organ lines. There's a great version of "Rock Steady" on the album, one that has a great funky intro – plus the cuts "Shout", "Lime Twig", "Slop Jar", "Name The Missing Word", "Little Ghetto Boy", and "Hot Sauce".
When it comes to the boundary-stretching spirit that has become so widespread among many of today's leading jazz musicians, drummer Mark Guiliana deserves credit for being one of the most enthusiastic embodiments of this attitude. He has a longstanding passion for electronic music, as heard especially on the releases on his own Beat Music label (2014's My Life Starts Now and Beat Music: The Los Angeles Improvisations).
A recording of an historic concert, released for the first time! This 1940 concert was part of a celebration of the 75th anniversary of the end of slavery in the United States. Performing are the legendary Golden Gate Quartet with Josh White, singing Spirituals, Blues and Work Songs. The concert features commentary by Alan Lomax, the poet Sterling Brown, and Alain Locke, the godfather of the Harlem Renaissance. Immediately after this concert, Eleanor Roosevelt engaged White and the Golden Gate to perform at FDR’s inauguration.