Guitarist Jeff Richman, bassist Jimmy Haslip (taking a break from the Yellowjackets to play some fusion!) and drummer, Danny Gottlieb recorded live at the Baked Potato, in Hollywood CA, on Oct. 6 & 7 2000. Entirely instrumental, tasty, well played fusion from these three jazz/fusion veterans.
Danny Bryant is on the way into the top League of the European Blues rocker. What the music magazine guitar & bass 2010 detected, on the occasion of a double publication in spring 2012 a wider audience you can see will. With night life - live in Holland (Jazzhaus of records), two versions of a show recorded in the Dutch Rosmalen concert recording appear on 9 March. CD and DVD documenting an equally energetic as virtuoso ride through the fields of hand made blues rock. The distilled essence of the session of the British exception guitarist and his Redeyeband goes as a nine song - career cross-cutting on sale….
Playing live from Holland, British bluesman Danny Bryant offers up an aggressive rock and blues show that really gets the crowd pumping. Bryant’s wailing guitar and extended soloing is dominant throughout this live performance with a combination of blues styles from hard blues/rock to more morose, emotive songs. Bryant’s showmanship is always prevalent as he is constantly looking to get the crowd involved to great effect.
Carole King and James Taylor reuniting isn’t quite a monumental reunion – they never were an official performing entity, so they never had a falling out, appearing on-stage and on record from time to time since their ‘70s heyday – but it is a notable one, particularly when they choose to perform at the Troubadour, the L.A. venue so crucial at the start of their stardom, backed by such fellow veterans of the SoCal singer/songwriter scene as guitarist Danny Kortchmar, bassist Leland Sklar, and drummer Russell Kunkel, musicians who supported them the last time they co-headlined the club back in 1971…
This album was sort of tossed out by MCA without fanfare after Darkman was released to only minor success. It's another in the series of dramatic, heavily orchestrated scores Elfman is known for, orchestrated by Steve Bartek with an assist from conductor Shirley Walker. While comparisons have been made between this score and that for Batman, there are major differences – this score is brighter, often more obvious in its effects than Batman was, with a brassier overall tone that works well. There are also some delightfully demented moments – "Carnival From Hell" is fairground music tilted at an angle, the funhouse mirrors peeking through. For some people, the differences in tone and attitude won't be enough to make it worthwhile, and it's certainly true that there's some repetitiveness involved here – Elfman needs to break away for a while from fantasy/horror/science fiction/comic book scoring and develop his compositional abilities in other directions.