The classic music of John Lennon, united with original and unique film of John and Yoko in London, New York and Tokyo.
In 1992 Paul McCartney and his band began recording Off the ground, and preparing for the New World Tour. Director Aubrey Powell and his cameras were with them every step of the way. The film shows Paul rehearsing, recording at Abbey Road, and performing live.
A brilliant "experimental" album featuring elaborate and rhythmically complex compositions by jazz academician George Russell performed by an large ensemble, and featuring Bill Evans on piano and Fender Rhodes. Very psychedelic and groovy. Pianist Bill Evans' second and final Columbia album was a rematch of sorts with composer-arranger George Russell; Evans had been on a couple of Russell's more significant albums of the late '50s. Russell's lengthy and episodic work "Living Time" (which has eight "events") features crowded ensembles as played by Evans' trio plus 19 musicians (including two additional keyboardists). Despite the major names in the "backup group" (including the reeds of Jimmy Giuffre, Sam Rivers and Joe Henderson), the focus throughout is on Evans' acoustic and electric keyboards.
A free form jazz mentality, avoiding musical clichés and commercialism, has always characterized the music and philosophies of German freak 'n roll band Guru Guru who have categorically occupied their own special stage within the realms of modern music. From its LSD induced origins in the late '60s to its present day configuration which still rocks and grooves with intensity, countless personnel changes have occurred making it more of a succession of musical ventures and concepts under the moniker Guru Guru, which came about as a tongue-in-cheek reference to the Beatles and their guru worshipping of the late '60s…
"Hinten" is the sophomore album by Guru Guru which effectively confirms this power trio as a crucial item for the development of the krautrock movement that by 1971 had already become a melting pot of various sonic offerings converging on a common purpose of augmenting the language of rock and creating a peculiar edge to the avant-garde ideals that were being instilled in popular culture. This album is also famous (and infamous) for the cover photograph: a not too athletic male behind bearing a coarse tattoo that spreads on both buttocks. Well, the idea is clear in its intention to go against the two most recurrent trends in rock album sleeves: either a display of psychedelic figures based on a Modernistic approach or a manifestation of fantastic landscapes and characters where Surrealism and Romanticism unite. Not on this album sleeve, just that "lovingly" ugly image that I've already described and never will describe again.