If you've been wondering what's been keeping Lee Southall busy all this time, you're about to find out. On Iron In The Fire, the former The Coral guitarist brings the outside world in through quality songmanship - showing that whichever paths our lives may take, our exposure to the elements will remain the same. Taking an alternative path to each of his Coral cohorts, when the group disbanded in 2012, Lee left behind his native seaside town of Hoylake on the Wirral, and moved 75 miles inland to the 'tops' of Hebden Bridge. In search of a fresh start, the dramatic wind-beaten and changeable landscape gave Lee time and space to craft Iron In The Fire but equally, it lingers like the taste of the salty air hanging above the coast. 'I've lived by the sea and watched weather roll in, but it's the same in Hebden, watching storms roll over the moors,' Lee says. 'The place is changing all the time and sometimes looks a bit chocolate box, village of the year, but when the tourists are gone it can feel like the set of a 1970s BBC folk horror - a bit Wicker Man.'
Seasons Change is an album by saxophonist Lee Konitz and vibraphonist/pianist Karl Berger recorded in Zürich in 1979 and released on the German Circle label. A beautiful pairing – the vibes and piano of Karl Berger, and the amazingly sharp alto tone of Lee Konitz!
Even in the increasingly crowded field of electronic music, Kelly Lee Owens’ debut album arrives as a wonderful surprise. An album that bridges the gaps between cavernous techno, spectral pop, and krautrock’s mechanical pulse, 'Kelly Lee Owens' brims with exploratory wonder, establishing a personal aesthetic that is as beguiling as it is thrillingly familiar.
John Lee Hooker developed a “talking blues” style that became his trademark. Though similar to the early Delta tradition, his metrically free approach and unique sound would make him a staple of Detroit blues. Often called the “King of the Boogie,” Hooker's driving, rhythmic approach to guitar playing has become an integral part of the blues. This quintessential release includes two albums from the beginning of his career: Sings the Blues (Crown 1961) and Sings Blues (King 1960). Although the two records share nearly identical titles, each contains a different and excellent track list. The former LP features great electric numbers such as “Hug and Squeeze (You),” “Good Rockin' Mama,” and “The Syndicate,” while the latter contains Hooker's solo recordings originally issued on the Modern label. Both albums have been remastered and packaged together in this very special collector's edition, which also includes 5 bonus tracks from the same period.
Lee Konitz is a master of linear playing and a stylist on the highest level. The purity of Konitz intonation – that cool nobility which hasy been present in his playing since the 40s – is famous. Lee Konitz shows in this recording just how exquisite chords can sound even without chord instruments. But we have always known Lee to be one of the greatest spontaneous composers of Jazz. To play without chord instruments is absolutely no problem for a baritone saxophonist of Thomas Zoller’s calibre, it has had its own special fascination ever since the days of the Gerry Mulligan Quintet in the 50’s. Carlo Mombelli (South Africa) and Billy Elgart (USA) give a rhythm team that plays from funky to free with inspiring imagination. The result of this group’s unique partnership is a clear, transparent line. A revelry in counterpoint, modern grooves and sounds that ,sophistication.succeeds as seldom before, in a union of eloquence and fire.
Don't Look Back is an album released by Blues legend John Lee Hooker in 1997 that was produced by Van Morrison, who also performed duets with Hooker on four of the tracks. The album was the Grammy winner in the Best Traditional Blues Album category in 1998. The title duet by Hooker and Morrison also won a Grammy for Best Pop Collaboration with Vocals.
Listen to the very first cut on Freefall and you'll understand the basic problem with the Alvin Lee Band: the track is a nice piece of mid-tempo rock, rather catchy, but is Alvin Lee in there anywhere? Repeated listenings reveal that he might be singing background vocals, and that guitar lead sounds like a slick studio player who listened to a few Ten Years After records one afternoon…