Strange Cargo III (1993). Strange Cargo III is the fourth album by electronic instrumentalist William Orbit. The album matches elegant sequencer trance and understated organic instruments (piano, guitar) with ethnic-fusion and soft house rhythms. It's the only Strange Cargo record featuring vocals, with Beth Orton making an early appearance (more earth mother than neo-folky) on the beautiful ambient-trance single "Water From a Vine Leaf." "Into the Paradise" and "The Story of Light" are variations on the same form, while Orbit borrows from hip-hop and dub for "Time to Get Wize," with the toasting of Divine Bashim. While still tied to the '80s Fourth World aesthetic of its predecessors, on Strange Cargo III Orbit begins moving toward a more completely electronic form of music in keeping with the productions of his Guerilla label…
Thelonious Monk, in addition to all his other notable qualities, was actually one of Riverside's most valuable talent scouts, recommending such mainstays as Johnny Griffin and Wilbur Ware, and introducing the label to Sonny Rollins and Clark Terry. The astoundingly adept trumpeter was always greatly appreciated by Thelonious, who quickly accepted the invitation to accompany Terry on this occasion. It was an album full of firsts and rarities: Monk's only Riverside appearance as a sideman; the first of Terry's many recordings on flugelhorn; the first of a great many Riverside dates for the great bassist Sam Jones; and the only occasion on which Monk and drummer Philly Joe Jones recorded together.
Blues in Orbit is an album by American pianist, composer and bandleader Duke Ellington recorded for the Columbia label in 1959 and released in 1960.
It had indeed been a few years since Nina Hagen's last regular album ("Freud Euch" and its English version "Bee Happy" in 1995), so there was reason enough to be curious about what the title of the new album, Return of the Mother, might portend. It turns out that the whole album is devoted to balancing the ambivalence contained in that title: the possible sinister undercurrent as well as the advent of sheltering care. The mother figure of the title track is revealed to mean a kind of caring divine principal, not bound to any one religion but common to all. Throughout the album (mostly sung in German but with English interjections) lots of well meaning good advice to humanity gets contrasted with none too clear warnings, all set on a musical backdrop of often sinisterly weighty and elaborate dance/rock arrangements.
Though Gene Ammons and Sonny Stitt were the premier twin towers of jazz tenor sax bar none, they also had great mutual respect for their distinctly different styles. The soulful Ammons and the bop-oriented Stitt meshed well whether playing standards, jamming on familiar melodies, or in ballad form. This recording sees them a bit restrained, teamed with the brilliant organist Don Patterson, the totally obscure guitarist Paul Weeden, and the great drummer Billy James. There's a schism in terms of the stereo separation as each saxophonist gets his own channel, but on occasion they do play together, just not all that much. Some longer cuts allow Patterson to loosen up and take charge, but he is in the main an accompanist on this date from 1962.