The wide range of styles on offer on Wrong Meeting highlights the band's dazzling creativity and provides a memorable and zesty soundscape for the listener to experience. If you like albums that are easily accessible and embed in your mind after a few listens, then the Wrong Meeting is probably not for you. This is an album that is durable and progressive in every sense of the word. It has countless levels to explore and numerous secrets to disclose. In Wrong Meeting, Lapis Lazuli has continued to develop their unique style, but have pushed the boundaries even further. The album is not easily categorised, and the combination of so many influences and genre's blurs any labels that might be given to the band.
This seeks to be a good-time record while maintaining the musical intelligence that listeners should expect from Anderson. "Putting the cookies on a lower shelf" can be dangerous if the artists are too busy worrying about public taste to do any real cooking, but it's obvious from the start that the players (Amina Claudine Myers, organ, piano; Jerome Harris, guitar; Lonnie Plaxico, bass; Tommy Campbell, drums) are having a blast themselves. I can't imagine any complaints about anyone's contributions instrumentally. The rhythm team swings, Anderson sounds just great, Myers and Harris shine throughout, and the trombone-organ-guitar ensembles are downright dangerous. The four vocal tracks feature Myers and Anderson solo and in tandem: gutsy, extroverted performances of intelligent lyrics by Jackie Raven. This music is hard to describe but it's natural and infectious, somewhat comparable to Mose Allison, but hotter.
Lapis Lazuli have recently been touring their latest project ‘Alien/Abra Cadaver’ - a holographic forty-minute sci-fi epic that has been a year in the making. With influences ranging from Progressive Rock, Math Rock, Funk, Jazz, Balkan, Psychedelia and Alien Visitation the latest piece is a tour-de force of the band’s past and future musical paradigms crystallized into orchestral proportions that takes them a step forward into new unchartered lands. The six-piece don’t write songs, their compositions are more expansive and eclectic instrumental pieces of music combining diverse influences delivered with the aesthetic of a rock orchestra. It’s a huge sound…
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. An overlooked gem from reedman Sam Rivers – and a set that's surprisingly soulful, given that most of his other work from this stretch is much more outside! The album's got a laidback groove on most numbers – with rhythm from Daryll Thompson on guitar, Rael Wesley Grant on bass, and Steve McCraven on drums – often in this midtempo mode that has the electric currents providing a subtle bounce, which opens up as Rivers solos on tenor, soprano sax, and flute! The style's a few steps down from funky fusion, but not that far away, either – and Sam proves to be an expressive soloist in the setting, in ways we really wouldn't have expected. Titles include "Swirl", "Chant", "Coral", "Lazuli", "Ripples", "Dandelions", "Devotion", "Beatrice", and "Sprung".
Mastered by Gus Skinas of Sonoma Records and produced by Mickey Holuhan of Wind Over The Earth, this acoustic DSD PURE recording was commissioned by the Denver Museum of Outdoor Arts for their premiere multimedia "Color of Sound" presentation. Color of Sound is a live-in-studio abstract improve stereo and surround recording of the musicians' interpretation of various colors. The recording contains no edits or overdubs and is an excellent rendition of the live studio performance and was recorded live to the Sonoma DSD PURE recording system.
The original Chico Hamilton Quintet was one of the last significant West Coast jazz bands of the cool era. Consisting of Buddy Collette on reeds (flute, clarinet, alto, and tenor), guitarist Jim Hall, bassist Carson Smith, and the drummer/leader, the most distinctive element in the group's identity was cellist Fred Katz. The band could play quite softly, blending together elements of bop and classical music into their popular sound and occupying their own niche. This six-CD, limited-edition box set from 1997 starts off with a Hamilton drum solo from a 1954 performance with the Gerry Mulligan Quartet; it contains three full albums and many previously unreleased numbers) by the original Chico Hamilton band and also has quite a few titles from the second Hamilton group (which has Paul Horn and John Pisano in the places of Collette and Hall).