Sanctuary's mammoth triple-disc Pentangle overview poses a bit of a dilemma. First of all, it's called Pentangling, which is already the name of a 1973 compilation, and secondly, while not deliberately misleading, it focuses more attention on the solo careers of John Renbourn and Bert Jansch than it does on the entity that supplies the collection's title. Despite these petty gripes, Pentangling is filled to the brim with some of the finest recordings the British folk movement had to offer, and hearing the group as a whole, followed by an entire disc – one apiece – of two of the genre's most gifted guitarists, is rewarding in more ways than one: both men, as well as the band, released material well into the 21st century, but Pentangling focuses only on their treasured late-'60s/early-'70s output. Listeners looking for a more comprehensive take on Pentangle would be better off with Castle's excellent Light Flight: The Anthology, and Renbourn and Jansch both have lovingly packaged retrospectives that fare better than the ones offered here, but as far as entry points go, Pentangling does more than skim the surface.
The Epic is saxophonist Kamasi Washington's aptly titled, triple-length, 172-minute debut album for Brainfeeder. He is a veteran of L.A.'s music scene and has played with Gerald Wilson, Harvey Mason, Flying Lotus, and Kendrick Lamar (his horn is prominently featured on To Pimp a Butterfly), to name but a few. Most of his bandmates have played together since high school, and it shows. There are two drummers (including Ronald Bruner), two bassists (including Stephen "Thundercat" Bruner on electric), two keyboardists, trumpet, trombone, and vocals (Patrice Quinn). In various settings, they are supported by a string orchestra and full choir conducted by Miguel Atwood-Ferguson. Washington composed 13 of these 17 tunes; he also meticulously arranged and produced them. At just over six to nearly 15 minutes, the jams leave room for engaged improvisation. The Epic is based on a concept, though it's unnecessary to grasp in order to enjoy. The music reflects many inspirations – John Coltrane, Horace Tapscott's Pan-African People's Arkestra, Azar Lawrence's Prestige period, Donald Byrd's and Eddie Gale's jazz and choir explorations, Pharoah Sanders' pan global experiments, Afro-Latin jazz, spiritual soul, and DJ culture.
2009 three CD collection. How do you like your Funk, y'all? Streetwise, southern fried or paaarty? You'll find them all here as this collection of original rare grooves brings you Curtis Mayfield, The Meters, Funkadelic, Bobby Womack, Mavis Staples and many other true funky legends. Sure to satisfy, this is funky perfection on plastic! Includes informative notes on all songs featured. 60 tracks.
The Milkees are Kobe-based 60s styled all-girls trio formed in 2004. The band combine cute looks, fantastic musicianship, and stirring chorus work for a loud garage-styled and yet amazingly listenable blend of pop and rock. This collection includes three fantastic releases in the retro-modern style that has brought bands like Shonen Knife and The 220.127.116.11's to fame.
The Grammy-winning trumpeter/composer returns to his jazz-renaissance roots with a set steeped in the glossy hues and tones of New York City at night. Blanchard’s score for the soundtrack of Robert De Niro’s new film captures a late-life crisis with jaunty blues, brooding balladry and svelte modern jazz. The mood-setting themes have strong melodies and rhythmic edge, and with saxophonist Ravi Coltrane stretching out and on-form pianist Kenny Barron leading a classy rhythm section, the jazz is for real. Blanchard pares his playing of excess, and plays beautifully.