Sailor is the second studio album by American rock group The Steve Miller Band, released in October 1968 by Capitol Records. Like The Steve Miller Band's previous album, Children of the Future, Sailor was produced by Glyn Johns. Unlike its predecessor which was recorded in London, England, Sailor was recorded in Los Angeles, California. It was the last Steve Miller Band album to feature contributions by original members Boz Scaggs and Jim Peterman. Scaggs went on to a successful solo career. The album features a psychedelic blues rock sound.
Originally released in 1988, this album marked one of the truly successful world fusion creations, which Rhythm Magazine said symbolizes "the birth of a new era in music". It's a direct, transcendent exchange between six acclaimed musicians from diverse cultures, including L. Shankar, Zakir Hussain, Nicky Skopelitis, Daniel Ponce, Aiyb Dieng and producer/bassist Bill Laswell. This CD is a true American melting pot of deeply tangled roots, merging East and West to create a new music soundscape. At it's core, there's Indian music, and somewhere underneath lies flashes of the slow rustic lope of American country music.
Some Other Time: The Lost Session From the Black Forest is a newly unearthed studio session from the iconic pianist Bill Evans featuring bassist Eddie Gomez and drummer Jack DeJohnette. Recorded on June 20, 1968, nearly 10 years after the legendary Kind of Blue sessions with Miles Davis and a mere five days after the trio's incredible Grammy award-winning performance at the Montreux Jazz Festival, this is truly a landmark discovery for jazz listeners worldwide. Available in deluxe 2-CD and limited edition 2-LP sets, and containing over 90 minutes of music, this is the only studio album in existence of the Bill Evans trio with Gomez and DeJohnette. Some Other Time was recorded by the legendary MPS Records founder and producer Hans Georg Brunner-Schwer along with writer/producer Joachim-Ernst Berendt at the MPS studios in the Black Forest (Villingen, Germany).
Many different possibilities for harmonizing the same melody are illustrated and analyzed, using techniques by such influential arrangers and composers as Duke Ellington, Billy Strayhorn, Oliver Nelson, Gil Evans, and Clare Fischer. Techniques of melody harmonization, linear writing, and counterpoint for 2, 3, 4, and 5 horns. A chapter on writing for the rhythm section clearly illustrates the techniques commonly used by jazz arrangers and composers.