AFTER DARK is an album by Andy Gibb. It was his final studio album, and was released in 1980. It features his last US Top 10 single "Desire", "I Can't Help It" (a duet with Olivia Newton-John) and two Bee Gees numbers "Rest Your Love on Me" (duet with Olivia Newton-John) and "Warm Ride".
Some composers really deserve their reputation as artists whose fame rests on a single work, but with Holst the popularity of The Planets really has obscured the large quantity of good music he wrote in other forms. Part of the problem also stemmed from his daughter, Imogene, who was severely critical of her father's work and whose baleful influence persists to this day. These three choral ballets contain a large measure of delightful and wholly characteristic music. It's crime that we have had to wait until now for a complete recording of them, and fortunately these performances make a strong case for many more.
For Morning Glory, John Surman sets aside his signature baritone saxophone in favor of soprano sax, bass clarinet, and synthesizer – the result is a record as radiant and beautiful as its title portends, comprised of four epic tracks that despite their scope represent his most mainstream work to date. The skill and dexterity of the improvisations here are astounding. Surman and sidemen Terje Rypdal (guitar), Chris Laurence (bass), John Taylor (electric piano), Malcolm Griffiths (trombone), and John Marshall (drums) connect on an almost telepathic level. But for all its experimental approaches and ingenious ad-libbing, Morning Glory is a remarkably generous album, inviting and approachable like few avant-jazz dates before it. So much of Surman's brilliance hinges on his refusal to alienate listeners regardless of their personal leanings and expectations, while at the same remaining true to his singular muse.
In the 1950s, Herbie Mann frequently shared the spotlight on record dates with other flutists. This V.S.O.P. LP, a reissue of a set originally for Mode and also out for awhile on Premier, matches Mann (who here also plays piccolo, clarinet and tenor) with Buddy Collette (switching between flute, clarinet, tenor and alto) in a quintet with pianist Jimmy Rowles, bassist Buddy Clark and drummer Mel Lewis. The results are generally pleasing, if somewhat lightweight, with such obscure tunes as "Here's Buddy," Rowles' "Pop Melody," "Here's Pete" and Mann's "Theme from 'Theme From'" alternating with three standards and Chico Hamilton's "Morning After."
Hailing from Israel comes Trespass, a symphonic progressive rock trio whose second album Morning Lights is a continuation of the classically inspired style they showed on their 2002 debut In Haze of Time. With similarities to classic bands like ELP, The Nice, Triumvirat, and Gentle Giant, Trespass use their keyboard heavy sound to create five epic sounding pieces here that are highly enjoyable.