Ritchie Valens was only 17 when he died in 1959 in the same plane crash that claimed the lives of Buddy Holly and the Big Bopper, and he had only been working in a recording studio for about seven months when the tragedy occurred; thus, his musical legacy rests on about an album-and-a-half of completed studio material, a poorly recorded high school concert, and a handful of demos and rehearsal tapes. This set combines Ritchie Valens, Valens' first album for Bob Keane's Del-Fi label (essentially the only truly finished work Valens recorded), with his second, Ritchie, which was cobbled together from demos, rehearsal sessions, and other odds and ends, and ended up with an internal coherence that is pretty remarkable given the circumstances. The set then adds in eight additional tracks, mostly solo demos and live tracks, to present a pretty complete look at Valens' woefully short career. Virtually everything is here.
Most of this CD is taken up by a special Newport Jazz Festival concert featuring a big band full of Lionel Hampton's alumni. With trombonist Al Grey, Frank Foster on tenor and a screaming trumpet section that boasted Snooky Young, Jimmy Nottingham, Joe Newman and Wallace Davenport, the explosive nature of the music is not too surprising; the climax is provided by guest Illinois Jacquet on "Flying Home." The remainder of this disc contains half of a very effective 1956 session cut in Spain in which the medium-size group includes a castanet player and two songs match Hampton with the great Spanish pianist Tete Monteliu.
In 1954, producer Norman Granz held a couple of marathon recording sessions featuring vibraphonist Lionel Hampton, pianist Oscar Peterson, bassist Ray Brown, drummer Buddy Rich, and (on April 13) clarinetist Buddy DeFranco. This set has three selections from the DeFranco date (a 17-plus-minute "Flying Home," the original "Je Ne Sais Pas," and "On the Sunny Side of the Street") and one from the earlier session ("April in Paris"). Hampton is typically exuberant throughout (grunting rather loudly during a few later ensemble choruses on "Flying Home"), DeFranco and Peterson are as swinging as usual, and the overall music is quite joyous.
This recording presents two Austrian requiems of totally different character. Johann Joseph Fux wrote his Requiem in 1720 for the funeral of Eleonora von Neuburg, widow of the Holy Roman Emperor Leopold II. Composed by a musician reputed for his theoretical skill, it impresses with the quality of the polyphonic writing combined with a very rich instrumental fabric comprising cornetts, trombones and bassoon in addition to violins, instruments also benefiting from concertante interventions.
The true power of music is impossible to define and yet we can all feel it when the sonic planets align. The magical impact of the finest rock'n'roll - that hazy but overwhelming blend of inspiration and perspiration - sustains us through dark times and fills our hearts with joy and strength. Music unites us, nourishes us and provides us with an emotional clarity that the rest of our turbulent lives singularly fails to offer. For those reasons and many more, we must proudly acknowledge and salute the true architects of the musical world that we call home. Above all else, Ritchie Blackmore is one of rock's greatest architects…
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. Lionel Hampton was the first jazz vibraphonist and was one of the jazz giants beginning in the mid-'30s. He has achieved the difficult feat of being musically open-minded (even recording "Giant Steps") without changing his basic swing style.
Gaïa finds West African guitarist Lionel Loueke reunited with his longstanding trio of bassist Massimo Biolcati and drummer Ferenc Nemeth for the first time since 2010's Mwaliko. It was produced by Blue Note label boss Don Was and cut live in the studio – sans overdubs – in front of a small invited audience. The sonics are a tad more brittle, but they add to the crackling energy on offer. First single "Aziza Dance" is funky as hell; the guitarist vamps up a storm and Nemeth drops a ton of breaks amid snare-driven syncopation.