This concert was recorded in Budapest in April this year on the final show of the European tour in support of Hackett's most recent album 'To Watch The Storms'. It combines songs from across his career including classic Genesis tracks like 'Blood On The Rooftops' and 'Firth Of Fifth', early solo material like 'Ace Of Wands' and 'Spectral Mornings' and more recent tracks such as 'Mechanical Bride' and 'Darktown'. The evening ends appropriately with the old Genesis showstopper 'Los Endos'.
Former NBA All Star baller, Wayman Tisdale has done it again with this smooth jazz CD release Hang Time.Showing once again that he is at the top of his game, and in top form. Thumping out smooth jazz tracks one right after the other.If you've not yet been introduced to Wayman Tisdale, the musician, this would be a great CD for you to get acquainted with him through.
More than any other improvising artist during the past 45 years,the pianist/composer/bandleader Dave Brubeck (b. 1920) has expanded the rhythmic boundaries of Jazz, while creating a body of work that is notable for its consistent levels of melodic content and harmonic invention. Recorded between 1959 and 1965, this five-disc set captures the Brubeck quartet, featuring the floating alto saxophone of Paul Desmond (composer of the million-selling "Take Five"), at the peak of their powers.
Jordan Rudess - Rhythm Of Time Magna Carta “Dream Theater,” keyboardist Jordan Rudess and a slew of progressive-rock guitar gods navigate tricky time signatures on this high-flying production. At times, it’s difficult to discern whether it’s Rudess performing his synth lines or guitarists such as Greg Howe and Joe Satriani’s, high-tech – into the ozone – type leads. Essentially, Rudess is a speed demon on the keys. Occasionally, he interjects slick jazz grooves into the mix, but the thrust of this generally, soaring affair is rooted within his polytonal chord progressions, and layered orchestrations. And as we might expect, drummer Rod Morgenstein (Dixie Dregs) handles the difficult pulses with chutzpah along with a whiz-bang approach to dynamics.
Über-lunged German saxophonist Peter Brötzmann teamed up with American vanguard legend Joe McPhee (who plays alto, tenor, trumpet, and pocket cornet here), bassist Kent Kessler, and drummer Michael Zerang (four-tenths of the Tentet Brötzmann toured and recorded with in the late '90s) for a single day of exchanging tunes and improvising in June 2002. McPhee and Brötzmann are perfect foils for one another on the front line. They both have requisite force, but McPhee is also a chameleon's player; he understands what lies in the spaces and knows how to make the most of it. His own compositions here, which account for over half the album, stress the kind of joint front-line melodies and close harmonics that create inner space in a tune – just check his two-part "Stone Poem" and his "Anticipation of the Next," dedicated to departed bassists Peter Kowald and Wilbur Morris, for evidence. Brötzmann offers some surprises here in his pieces as well, not the least of which is his reformulation of a hymn Thelonious Monk recorded shortly before his death, originally entitled "This Is My Story, This Is My Song." Titled "Blessed Assurance" here, it takes the hymn, moves through its changes twice, and extrapolates them through his solo and the band's collective improvisation. McPhee's trumpet is the perfect complement and the pair sound like Albert and Don Ayler swinging their chariots toward the heavenly gates. Likewise, the beautiful art-damaged composition "Pieces of Red, Green, and Blue" (supposedly written about a museum experience he and Brötzmann shared) offers killer honking saxophone phrases that are repeated, striated, warped, turned inside out and back on themselves, and finally exploded into intense and inspired group interplay. This is a fiery and yet accessible date that showcases many aspects of the two men not only as players, but as composers as well.