Enta da Stage is the debut album of American East Coast hip hop group Black Moon, released on October 19, 1993 through Nervous Records. The album was produced by DJ Evil Dee and Mr. Walt of Da Beatminerz.
The CD issue of Enta Da Stage: The Complete Edition is enclosed in a deluxe hard case box set featuring the original album, Da Beatminerz instrumentals and remixes across 3 CDs, an 18-page booklet with new interviews, extensive liner notes, and unreleased photos from the original Enta Da Stage photo shoot and additional visual ephemera.
The sophomore effort from Georgia-raised, Britain-based vocalist Kristina Train, 2012's Dark Black is a brooding, atmospheric collection of slow-burn pop songs that put her burnished, sultry croon at the fore. Picking up where 2009's Spilt Milk left off, Dark Black finds Train once again working with British singer/songwriter Ed Harcourt, as well as songwriter/producer Martin Craft. Together, they've come up with an album that builds upon Train's twangy Southern roots layered with a baroque, cinematic aesthetic. Train's vocals are often drenched in an echo-chamber sound, often backed with boomy, resonant percussion, languid piano parts, eerie orchestral sections, shimmering baritone guitar lines, and even some light electronic flourishes. In that sense, the album brings to mind the work of such similarly minded contemporaries as singer/guitarist Richard Hawley and neo-soft rock singer Rumer as much as it does the classic soul-inflected '60s sound of Dusty Springfield.
Eddie Higgins is a quiet musician. His playing is never flamboyant and never exceeds the boundaries of good taste. The music coming out of his piano is reflective, exuding a feeling of relaxation, contemplation, and intimate beauty…
This 1972 LP (recorded at 1959), a complement to All the Gin Is Gone, released the remainder of tenor saxophonist Jimmy Forrest's two Delmark sessions, including four alternate takes and five other songs. Forrest sounds fine, guitarist Grant Green was making his debut on record, and the rhythm section (pianist Harold Mabern, bassist Gene Ramey and drummer Elvin Jones) plays up to par. Get All the Gin Is Gone first, and then, if one wants to hear the rest of the story, this set.
A great lost chapter in the career of organist Lonnie Smith — a session recorded in the 80s, but done with the simple straightforward soul jazz groove of earlier sides on Muse and Prestige ! Lonnie's working here in a loose and free trio format — with Melvin Sparks on guitar and the great Alvin Queen on drums — rolling out over longish tracks in an open-ended style that almost recalls more of the feel of Don Patterson's great organ trio sides than it does the heavier funk of Smith's early years. The recording quality is great — very faithful to the best tones of the Hammond.
This was one of altoist Marion Brown's best recordings. Although a very adventurous improviser, Brown usually brought lyricism and a thoughtful (if unpredictable) approach to his music. Accompanied by bassist Maarten van Regteben Altena and drummer Han Bennink for this stimulating session (recorded in Holland), Brown stretches out on five of his compositions and is heard at the peak of his creative powers.
Amazingly, it has been 30 years since Roy Orbison‘s 1987 television ‘comeback’ show A Black & White Night. To mark the occasion ‘Roy’s Boys’ – Alex Orbison and Roy Orbison Jnr – have gone back to the source footage and audio and re-edited, remastered and, if you are feeling fanciful, ‘re-imagined’ the television special, to create an expanded audio/visual document that will be available on CD/Blu-ray or CD/DVD in February. The concert – filmed at Cocoanut Grove in Los Angeles – was shot using seven separate cameras and there were hundreds of hours of footage that went unused and unseen. Roy’s youngest son Alex has gone back to this source material and, with the help of co-editor Luke Chalk, re-edited to reflect the correct set order as seen by those who attended the show.