This quintessential release presents one of Hooker's most difficult to find albums: Burning Hell. Recorded in Detroit in April 1959, the Riverside label only originally issued the LP in England. A country-blues classic, John Lee Hooker only plays acoustic guitar throughout the album, and sings straight to the bone with his soul drenched vocal delivery. Highlights include songs associated with Muddy Waters, Howlin' Wolf, Lightnin' Hopkins, and Big Bill Broonzy, as well as a number of Hooker's own finest compositions. In addition to the original masterpiece, this remastered CD also contains 8 bonus tracks, including a number of solo recordings taped in different locations between 1952 and 1961.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. Intrioduction, recorded live at the North Sea Festival – on a set that features sparkling interplay between Harry Happel on piano, Koos Wiltenburg on bass, and Fred Krens on drums – a lineup that has a great balance between the strength of Happel's piano lines, and some of the more inventive roles the other musicians can play! The date was recorded by Timeless in 1982, but not issued until the mid 90s CD generation – which means there's plenty of space to present the full performance – almost 75 minutes of music, on some nicely long tracks that include "Soft Winds", "Night Child", "Jordu", "Love For Sale", "You Are The Sunshine Of My Life", "Cowboy Samba", "Summertime", and "Place St Henri".
This album was released on the occasion of the 20th anniversary of the North Sea Jazz Festival. It contains live recordings of John Patitucci, Spyro Gyra, Russ Freeman & The Rippingtons, B.B. King, Chick Corea, Robben Ford and Gary Burton. All songs were recorded live during various editions of this festival.
John Coltrane (1926-67) was the most relentlessly exploratory musician in jazz history. He was always searching, seeking to take his music further in what he quite consciously viewed as a spiritual quest. In terms of public recognition, this quest began relatively late. The tenor saxophonist, a native of North Carolina who later moved to Philadelphia, was 28 when he joined the Miles Davis quintet in 1955, after years of paying dues in the big band and combo of Dizzy Gillespie (where he played alto before switching to tenor) and as a supporting player behind saxophonists Johnny Hodges, Eddie "Cleanhead” Vinson, and Earl Bostic. Coltrane’s anguished tone and multi-noted, rhythmically complex solos with Davis quickly elevated him to the front ranks of jazz…
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. A sweet 70s set from the ultra-hip rhythm duo of bassist John Lee and drummer Gerry Brown – working here in a European setting with loads of great reed work to support the "bamboo" vibe of the title! Flute player Chris Hinze blows both bamboo and regular flute – and the feel of the set is like some of his excellent fusion dates from the same time – but the record also has lots of great work from Gary Bartz on alto and soprano sax, plus some keyboards from Hubert Eaves and Jasper Van'T Hof – two very different players who balance out the mood nicely. Some tracks are full-on fusion, but they're offset by mellower, more introspective passages – of the sort that really let the reed players come out strongly – and titles include "Jua", "Rise On", "Who Can See The Shadow Of The Moon", "Infinite Jones", and "Deliverance".
Two classic Hooker LPs, all digitally re-mastered, 22 solid slabs of dark, leathery, brooding nostalgia. This is the electric blues at its very roots. If there’s still anyone out there reading this magazine who hasn’t at least one Hooker album in their collection, then you’re still a long way from qualifying as a blues aficionado. So this is a good place to start. This stripped-bare, one man and a growling electric guitar (on most tracks) music is the stuff those guys who fled the south for the auto production lines in the north used to listen to.
With a musical career spanning more than three decades, Al Di Meola continues to be one of the most influential and pioneering guitarists in the jazz-world-fusion category, mirroring the rich influences of flamenco, tango, Brazilian, African, and Middle Eastern music in his work. Recorded in 1993 at the North Sea Jazz Festival, an event widely acknowledged as the biggest and most prestigious festival in the world. Over the past 30 years, Al Di Meola has been recognized as a prolific composer, with over two dozen recordings to his name. The profundity of Di Meola s writing, along with the soulfulness and natural lyricism of his playing, have won him a large number of admirers worldwide.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. John Hicks works in some really wonderful company here – a trio with bassist Curtis Lundy and drummer Idris Muhammad – both of whom really add a lot to the date! We're always big fans of Lundy's sound on bass – and his approach here has the same warm-rolling quality you'd find in his own best 80s work – really helping to push Hicks' lyrical agenda on the piano with a rhythmic support that's tremendous. Muhammad's pretty great too – definitely on the understated side of his talents, that nicely subtle sound he developed in the 80s – and Hicks, as always, is more than a cut above most of his contemporaries, and continues a long legacy of extremely soulful work on the keys of the piano.