Diego's Umbrella is an American gypsy rock band consisting six male members from San Francisco, California, celebrated as San Francisco's Ambassadors of Gypsy Rock. The members of the group include Tyson Maulhardt a.k.a. the Facehorn, Vaughn Lindstrom a.k.a. the Juergistador, Jason Kleinberg a.k.a. the Gypsy, Benjamin Leon a.k.a. the Token Ecuadorian, Jake Wood a.k.a. the Samurai, and Red Cup a.k.a. the Animal. Diego's Umbrella describes their own music as "a blend of eastern European gypsy traditional stuff, Spanish flamenco, polka/ska rhythms, and good ol' pop and rock from the west. It sounds schizo to describe it, but it all comes together as dance music. It's a show for getting drunk, sweaty and making bad decisions." Their matching outfits are homemade, and they are known to perform shows without set lists…
Features 24 bit remastering and comes with a mini-description. The 27 trombones that earned one of Down Beat's rare 5***** review. Each of the selections on this set has between seven and a dozen trombonists along with a rhythm section. The first five selections were recorded with East Coast musicians and the next six with players from the West Coast but, truth be told, there is no real difference in the style of music.
Features 24 bit remastering and comes with a mini-description. An amazing American release from this legendary baritone saxophonist – one of a few Swedish sessions that Lars issued here in the US at the time! The album's a perfect introduction to Gullin's groundbreaking work – that blend of soul, swing, and modernism that easily made him one of the best talents on his instrument in the postwar years – an overseas player to rival gians like Pepper Adams or Serge Chaloff here in the US!
Reissue with the latest remastering. Comes with liner notes. One of JJ's best from the late 50s – a tightly crackling hardbop set, recorded very much in the manner of his classic JJ Inc album! The sound here is a bit more compact overall – with some shorter tracks that really allow Johnson to display his keen sense of economy on his horn, while working in a burning mode that recalls some of his best bop sides from the early years – particularly his work on Blue Note.
…Thanks to the unprocessed and fully natural audio signal, all of the nuances of Schleiermacher's touch are captured, yet there is also a slight background sound that apparently comes from the performance space, not from any defect in the all-digital recording. Listeners may find that this is only a mild distraction and easy to get past once the music takes hold. This important series is recommended for all Feldman aficionados and anyone interested in the sublime expressions of his late period.