Many highlights of Scofield's work from his late 1980s-early 1990s tenure on Blue Note are included in this collection, which features cameos from Pat Metheny, Joe Lovano, Randy Brecker, and Bill Frisell among many other all stars. Also included is material from Hand Jive, Scofield's collaboration with Eddie Harris, and an unreleased take on Wayne Shorter's "Tom Thumb".
All albums in this CD box are the original Dutch Shocking Blue album releases from the sixties and seventies, housed in their original covers and with original artwork, representing the band at the time. For a long time Shocking Blue was believed only to be a hit singles band but their albums have well proven to stand the test of time, not only in the Netherlands but also internationally…
The Blue Jukebox is the twentieth studio album by Chris Rea, released in 2004. The cover artwork is inspired by Edward Hopper's Nighthawks painting.
This is a keeper from the word "go." Recorded live in 1995 (but not released until 1998) at Yoshi's in Oakland, CA, Robben Ford is joined by long-time Blue Line trio members Roscoe Beck on bass and Tom Brechtlein on drums, as well as Bill Boublitz on a baby grand piano. Although nearly all of the songs can be found on other Ford albums (most are from Handful of Blues), one of the things that makes this jazzy recording so special is that Ford is playing only an acoustic guitar. The Ray Charles gem "Don't Let the Sun Catch You Crying" (which you WON'T find elsewhere) is simply beautiful, and on Paul Butterfield's "Lovin' Cup," it's just Ford and his guitar. The brilliance of his playing and the reason behind why so many guitar players put him at the top of their list can be found in Ford's performance on this release, alternating between lead and rhythm. The Authorized Bootleg also has great (albeit laid-back) versions of "When I Leave Here" and "Tired of Talkin'." Highly, highly recommended.
This sublime album by an elusive bunch of Scottish Minstrels is one of the best British albums of any decade and a very rare gem. What it is not is "anthemic like U2" and neither does it "compare to Simply Red and Deacon Blue". Let us for the sake of goodwill extend the milk of human kindess and hope that the author of this heinous claptrap was successful in his or her GSCE Music exam since these comparisons are laughable and "Hats" deserves a whole better than these shoddy musical "bedmates". All Blue Nile albums are essentially markers in time and the yawning gaps between their production seems to grow ever longer. Yet the sparsity of their output over the years and a host of great albums cannot hide the fact that "Hats" is the masterpiece.