Van Ruller has arranged the Joe Henderson pieces for guitar so beautifully. And it's a great trio. Although the music is extremely technically accomplished, you feel the emotion and mood of each piece comes first. Van Ruller has a unique sound, not really like any other jazz guitarist I know. Some tracks have a bitter-sweet yet peaceful vibe that reminds me more of Bill Evans' piano than other guitarists. There's Scofield-like dissonance, Jim Hall-like swing, Rosenwinkelesque moments, but really it's an original and wonderful record. I'm sure Joe Henderson would have loved it.
Porcelain Moon is a Finnish band, made of seven young musicians, who shared for some years a common passion for Pink Floyd and Progressive rock. Their music contains the usual sounds Seventies lovers appreciate: Hammond and Wurlitzer organs, analog synthesizers, Fender Stratocaster guitar, cello, a female singer and a rhythm section. "…As It Were, Here And There" offers seven mid-long tracks, and the result may recall early Pink Floyd, but also Camel in the quietest moments, and The Doors for the unquiet ones. With a strong psychedelic touch, some hints from Scandinavian folk music and intense vocals, Porcelain Moon proves to be enthusiast, sincere and generous.
This CD reissue has rarities from three different Eric Dolphy sessions. "April Fool" and the alternate take of "G.W." are drawn from Dolphy's initial date as a leader, a quintet outing with trumpeter Freddie Hubbard and pianist Jaki Byard. "Don't Blame Me" is taken from a Copenhagen concert but it is the two remaining numbers ("Status Seeking" and an unaccompanied rendition on bass clarinet of "God Bless the Child") that are of greatest interest.
The film is based on another (unfinished) film, which Jean-Luc Godard, along with Armand Marco, and Jean-Pierre Burning shot in Palestine by the money of Arab League in the beginning of 1970. "Before the victory» / Jusqu'a la victoire /.
Here and There is a live album by British singer/songwriter Elton John, released in 1976. The title refers to the two concerts represented on the album: "Here" is a concert recorded at the Royal Festival Hall in London during the summer of 1974; "There" is a concert recorded at New York City's Madison Square Garden on 28 November 1974.
" De ces chemins qui nulle part ne mènent mais serpentent au coeur du jazz, Eric Dolphy, tel qu’il nous apparaît une année après sa mort, fut l’un des plus sûrs découvreurs. Toute droite, sans faille ni ressaut, sa ligne est tendue de Chico Hamilton au « free-jazz » : tout se passe comme si, d’avoir fait de l’hésitation un des éléments et un des matériaux de son jeu, il l’avait chassée de sa musique et de son inspiration. En ce sens, et dans la mesure où son « évolution » est surtout accomplissement, où elle se présente en tout cas comme très linéaire et « logique », Eric Dolphy est, de la rive ancienne à la rive nouvelle du jazz, le passeur exemplaire. "Jean-Louis Comolli - Jazz Magazine 1965
As part of The Stranglers' celebration of their Ruby Anniversary, the definitive collection of the B-side recordings they made whilst signed to Epic is released for the first time, via their own label. Appropriately, as befits a band marking forty years together, Here & There: The Epic B-sides Collection 1983-1991 gathers 40 tracks across 2 CDs and is also released as a 40 track digital package. The Stranglers released no less than 13 singles in the UK during this period, which saw them produce five albums: four studio and one live. The Stranglers signed to Epic Records in 1982 having been with United Artists / Liberty since 1977. The change of label coincided with changes in marketing policy across the UK industry - often dubbed "the Frankie Goes to Hollywood effect". Previously, The Stranglers' had released only one 12" single - an extended version of Bear Cage in 1980 - but from 2nd Epic single, Midnight Summer Dream until 1990, each release had a 12" version which required extra studio or, increasingly, live tracks to "add value" to the package.