Very nice imperial personnel
351523
I bought this set because I wanted a piloting crew for my Tydirium shuttle. They are perfect for the job! These are probably the best-looking imperial crew members on the market!
282406
I like the whole album.  I have listened to a number of contemporary flutist since yusef, bobbi, dave, and others, Keep up the good work.
2574122
Excellent sound, great arrangements and terrific improvisation from three of the greatest all time soloists - Bill Watrous on trombone, Pete Christlieb on Tenor sax, and Carl Saunders on trumpet with an excellent band.  A real treat to listen to.
4343770
Claudio Rodditi is one of my favourite trumpet/flugelhorn players of Latin mode. His playing is often fast paced, very eloquent and very musical. His past collaborations with the UN Orchestra (fantastic) and his countless CDs with Paquito D'Rivera, Dizzy, Arturo Sandoval, various Latin jam sessions etc. make him stand out as a warm and very melodic team player, to be much enjoyed. He also sings from time to time, and not a bad thing it is too! He does produce some average mushy placid CDs - pleasantly enjoyable to boring ('Simpatico') - but this CD is one of his most definitive recent cuts and moderately paced in tempo. The trio are very seasoned, tightly integrated and produce music (songs) that are very definitive. The recording is well done and I would much like to hear more from this trio. 4.5 star.
2833258
This is GREAT instrumental rock guitar music.  And if you love this style of music as I do, I invite you to check out these other great guitarists: Anand Mahangoe, Andy Timmons, Anthony Reynaert, Ballurio, Ben Randall, Ben Trexel, Brett Michael Spunt, Brian Tarquin, Char Davis, Chris Feener, Chris Francis, Chris Mahoney, Dan Shimmyo, Daniele Gottardo, Danny Jones, Dave Atherton, DC Slater, Denis Vlachiotis, Dimitar Nalbantov, Doug Doppler, Edward Box, Fabrizio Chiruzzi, Fernando Miyata, Goncalo Pereira, Greigg Fraser, Guido Campiglio, Guitarsnake (aka Nicolas Notorianni), Gustavo Di Padua, Gustavo Guerra, Hal Lindes, Howard Hart, Hugo V. Monteiro, James Ryan, Jarle H. Olsen, Jas Morris, Jason Sadites, Jeff Loomis, Jeff Treadwell, Joaquin Lievano, Joe Satriani, Joe Stump, Joey Tafolla, John Petrucci, Keith Miller, Larry Van Fleet, Lars Eric Mattsson, Lindsey Boullt, Lyle Watt, Marc Playle, Marcel Coenen, Marco Sfogli, Martin Winch, Mathias Holm, Matt Rach, Michael Angelo Batio, Michael Elsner, Michael Mangaroo, Michael Schenker, Michael Thompson, Mike Breen, Mike Oldfield, Muris Varajic, Neal Schon, Neil Rambaldi, Norman Kim, Patrick Rondat, Patrik Carlsson, Paul Speer, Petchalov, Philippe Thibaut, Randy Coven, Rob Metz, Roine Stolt, Ronnie Montrose, Russ Pettit, Sean Mercer, Silvio Gazquez, Steve Howe, Steve Morse, Steve Stevens, Taz Taylor, Teemu Kleemola, Thorbjorn Englund, Tim Simmons, Tino Izzo, Tom Quayle, Tony MacAlpine, Toshi Iseda, Travis Larson, Ty Oliver, Vinnie Moore, Yngwie J. Malmsteen.
4944121
Fennell and the Eastman Wind Ensemble members do a great job with Gabrieli, both Andrea (this track) and Giovanni (the others).  I've had the LP version for years, and always enjoyed it. The inclusion of non-brass instruments is perhaps a bit unusual.
3403586
I had the pleasure of seeing Arno Haas perform recently in a night club setting.  I'd say that is an ideal venue for him - he really is expressive and gets great tone on his alto sax.  Haas is an accomplished, if not stellar, sax player from Germany.  He has played at NAMM shows, and has gained the respect of many notable L.A. musicians in the smooth, funk-soul jazz field, which is indicative by the players who accompany him on this recording, including Vinnie Colaiuta (drums), Thom Rotella (guitar), Jeff Golub (guitar), and Brian Bromberg (bass).  "Spin Cycle" and "Sahara Nights" are notable tracks here.  The music is not that original - however, it is well-played.  I rated this at 4-stars, as I expect even better things from Arno Haas in the future.
2267214
Joe Turner's magnificent voice stars in this session, with some fine backing from his Thirties partner Pete Johnson and other great musicians, including some of the young stars of the mid-fifties. Perhaps the arrangements are a little restrictive but Joe Turner was at his peak and the horn players deliver distinctive solos. I particularly like Jimmy Nottingham's trumpet introduction to I Want a Little Girl and Pete Brown's rolling piano introduction to Cherry Red, that's real mood music!
2942694
This is a very nice record, beautiful cover and fascinating playing by the trio Lennie Tristano (piano), Peter Ind (bass) and Tom Weyburn (drums). The only disappointment is the rather muddy sound, which is not typical for the mid 1950's recordings. Maybe one reason might be that these sessions were recorded during the years 1955-56 at the Lennie Tristano's Manhattan home-based studio by himself as a recording engineer. This album is available only in a new 180 g vinyl format and it is a new production. Despite the sound limitations it is highly recommended for every serious Lennie Tristano fans. Hopefully this will be published as a cd with a better remastering.
2564993
I would really want to give this a 5 star review because the music is so awesome but I have to be clear that it isn't a perfect quality recording. If you are reading this it is because you are a fan of this line up and for that I just say  get it!!! This is an Early show including Jamie Muir on Percussion and all sorts so the rarity of the line-up addds a different dimention to  this group. Unfortunaely Exiles is a mere snippit as are the last 2 tracks but the Improve All that Glitters is Unbelievavble
The Power and Fury unleashed is about how I would sum this remarkable display of a classic band of stellar musicians.
4080667
I recently bought this cd not knowing that the recording of these two trumpet giants ever existed. A truly wonderful combination of two of my favorite trumpet players of all time. Recorded in Switzerland, most probably when Clark Terry and Jon Faddis were in the country at the same time for the jazz festival. At first, I didn't know what to expect from this recording session. As I could only compare it with the Pablo recordings of Clark Terry and Jon Faddis with Oscar Peterson.

Over all the trumpet playing is very good, Clark Terry more so than Jon Faddis a few miss pitched notes on the first track by Faddis; which is out of the ordinary for him. A little corny at times especially when trumpet licks are mimicked by each other. It might be asking for too much, but I think these two trumpet players would be more suited backed with a big band.  However the small band arrangements are excellent. Jon Faddis worked well with Clark Terry, stylistically and in sound, providing a variety of trumpet fundamentals that were suited to their individual playing styles e.g. Faddis on high notes, Terry playing "Terry Licks". Harmon Mutes,  Flugelhorn  Horns, everything is here on this recording.  The singing is  average on "It don't me a thing" having fun Terry stealing the show by far. However, the backing band is excellent. You don't get to see this cd around very often. I think there are few different reissues of it available; a Japanese version on Dennon, a Phillips version and an Emarcy version that I picked up. I have seen the Japanese go for big dollars in the past.

It's a pity that Dizzy and Arturo Sandoval wasn't there with them on this recording date. Overall a great recording to have but I wouldn't pay big dollars for a copy. However, that depends on how rare these discs are.
1537296
This is a very good recent recording of the pipes and drums of the 1st battalion, the Scots Guards.  The Scots Guards were the first Scots unit to tour the States in 1955, and thus made a very big impression.  They were the main word in piping over here before the Black Watch took over the show!  The Scots Guards have toured many times since, but unfortunately it has been a while since they have done so.  Thats why its good to see a new CD by the pipes and drums which have also not recorded in a while.  Under Pipe Major Macdonald, the band sounds very impressive.  The playing is sharpe, and the selection of tunes is very good.  The medleys are well arranged and played as only a top army pipe band can do.  The listener might find it interesting to compare how the band sounds today with the older sounding recordings which are available here as well.  Here one can discern that the style of playing has changed over the years.  The older rope tension drums have been replaced by the newer Premier drums, which produce a very sharpe and less deep tone.  Purists like myself prefer the older sound, as it is more martial in nature.  The modern drums are almost jazzy, and do not belong in an army pipe band in my opinion.  In years past the Scots Guards use to have two battalions, thus there were two pipe bands, which when combined produced an impressive sound. Today only the 1st battalion remains. Again, the older recordings will give the listener that opportunity to hear the massed pipes of the Scots Guards.  The Scots Guards also use the standard double three beat intro for the drums in this CD, instead of the longer single five beat drum roll which normally introduces the pipes in the Scots Guards and Guards regiments as a whole.  Its odd that they would do this, almost as if the style of playing was intended to be civilian-like for this CD, instead of more army style playing.  Still, this is a most excellent CD which the discerning pipe listener should enjoy.  The CD notes on the band and current Pipe major are also good.  Recommended.
4391838
These guys are cool - I like that their stuff is overall pretty upbeat. I like Annalise and Pym the best. Look forward to hearing more from them.
4544608
I agree with the fans of this recording that the orchestra plays wonderfully and I find no fault in Honeck's interpretation.  Indeed, the finale is among the most exciting I have heard. The sound is also wonderfully transparent on this Exton recording, however in my view the brass -- trumpet in particular -- seems to be mixed too strongly in the first and second movements.  Mahler obviously wrote boldly for the trumpet in this symphony, and the musicians play with great energy and precision, but were the audio engineers also trumpeters in another life?  In my subjective listening experience before equally-transparent studio speakers, it feels that the brass were mic'ed too close, like hearing to the concert from the bassoonists chair, not from the middle of the house.  I generally love the detail that is characteristic of many SACD productions, but this brass-heavy mix is just too unbalanced for my liking.  Again, no such complaints in the fifth movement, which is brilliant in all respects, earning this a fourth star.
2930073
"We have some of the absolutely  greatest living modern jazz musicians in this band!"

Released on the 50th anniversary of the band's first gig in Feb. 1966, these tapes have never been heard before except for an illegal  release in 2000 which didn't include all the music heard here.  Recorded  on a 2 track machine using six mics (2/7) and ten mics (3/21), and using a 4 channel mixer, you get the feel of being in the audience.  The sound is very good from highs to the low end--sharp and clean but warm.  The 92 page booklet (actually closer to a small book) has interviews with band members, and essays, along with some great unseen  period photos.  There's also a list of soloists for each tune--a nice (and needed)  addition.  The tri-fold cardboard package is a bit taller than a jewel case which makes it harder to put on a CD shelf.  And a minor quibble--the discs slip inside slots which are a bit too tight (maybe yours will be different) which could lead to disc scratches.  And the booklet can easily fall out of either side of the front slot if you're not careful.  But all in all this is packaging  befitting music of this caliber.  I gave this set 5 "stars"--4 for the great performances and an added  "star" because this band set the bar for this kind of music that other bands would follow.  This was in it's own way trailblazing music using a large band in 1966--the era of Miles Davis' second great band with Shorter and Coltrane's group,  which was reaching  to the outer edges of jazz during this same time.  And all three groups played the Village Vanguard during this  period.

The first disc is devoted to the initial gig on Feb. 7, 1966.  The band features Jones, Lewis, Hank Jones-piano, Sam Herman-guitar, the great Richard Davis-bass, Jerome Richardson and Jerry Dodgion-alto sax/clarinet/flute, Joe Farrell-tenor sax/clarinet/flute, Eddie Daniels-tenor sax/clarinet, and Marv Holladay-baritone sax.  Also included are four more trumpets (including Snooky Young), and four trombones (including Bob Brookmeyer) that really beef up the sound.  With tunes like "Back Bone", the title tune, "Big Dipper" and others, this is a fantastic set  of big band jazz--especially when you consider the period when this band first played the Village Vanguard.  Crowds couldn't get enough of this music and this night set up a twelve year Monday night residency for the band.

The March 21, 1966 set (Disc 2)  has the same core set of players with Pepper Adams in for Holladay.  Also included are the four trumpets and trombones with slightly different personnel.  Tunes like "Low Down", "Lover Man",  "Don't Ever Leave Me", "Willow Weep For Me", "Mornin' Reverend", and others are even more proof that this was one hot band.  Thad Jones arranged and conducted both sets and it's easy to hear how tight his work was and how the band responded to the music.

If you're familiar with the Jones/Lewis band you have an idea of  what's here.  But I have to say even I wasn't totally prepared for how great these gigs are.  Part of it is because the initial gig is here but it's the arrangements and the playing that ultimately show how good this band was.  This is the band (mostly) blowing up a storm, with both band and audience reveling at the level of musicianship.  If you can, think back to 1966 and jazz at that time.  Listening to these gigs in 2016 is vastly different  than hearing them in 1966.  The impact of this music was pretty huge at the time.  And thankfully much of that impact can still be heard in the solos and the exciting ensemble work--razor sharp arrangements and a group of musicians who sound almost as surprised as the audience at what's happening on stage.  I can't comprehend how great it must have been to sit in the audience next to this powerhouse band, listening to this great jazz.  This is well worth adding to your shelf of big band jazz.
1644954
Having been a fan of the Deep Purple Mark One lineup, I bought this LP in 1970 and really liked it.  Mr. Jon Lord was a true virtuoso musician, well-versed in playing classical and jazz as well as rock.  His composition for orchestra and group is great music.  The contrasting components do work well together.  Ritchie Blackmore's aggressive and wild guitar (when he was still playing a Gibson 335) adds dynamite soloing.  Highly reccomended for Deep Purple fans and anyone who likes intelligent and progressive music.
1817942
This is a very good CD played by an awesome German band. I purchased this album directly during one of their gig in Rome (Italy) in the Summer of 1997 . Musically is great and compositions are very catchy-all of them-. The sound is often heavy but never disturbing with good harmonic Jazz imports played mostly by the Keyboardist/Pianist- Mat Junior. I give very good credit to Alex Gunia (guitar) for his hot and passionate playing , interesting phrasing and the sound also is something researched. The rhythm section (Arnd Greise bass & Jost Nickel drums) does an excellent  job by playing strong, steady and accurate with great moments during unison parts or different or more complicated time signature than 4/4. I think that the name "JazzGrunge" is very appropriate for the mix of heavy and jazzy sound provided. Plus you have some extra guests such Randy Brecker (trumpet) and Steve Smith (drums) in 2 different tracks which is valuable for the listener. 5 stars for sure for a band that deserved more feedback from the public according to me.