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This is 'Winds Of Change', a very nice tiny new collection of tracks featuring 'Experience," "DNA," "Life," and some more.
Music has become more important than ever in recent times. As a result, the triumphant return of AMARANTHE feels particularly timely. The Swedish six-piece have spent the last decade establishing themselves as a formidable, positive and fervently melodic force for metallic good. From their explosive self-titled debut in 2011 to the more sophisticated, streamlined likes of 2014’s Massive Addictive and its immaculate follow-up Maximalism (2016), AMARANTHE have masterfully blurred the lines between melodic metal, crushing brutality, cinematic sweep and futuristic sparkle. Led by the endlessly ingenious songwriting of guitarist Olof Mörck and powerhouse vocalist Elize Ryd, their rise to prominence has been a joy to behold.
![David Bowie - ChangesTwoBowie (1981) [1984, Reissue] {Japan for Europe}](https://pixhost.icu/avaxhome/a3/d4/007fd4a3_medium.jpg)
Focusing on all-original material, pianist Enrico Pieranunzi's Dream Dance proves that when there's the right chemistry, a group can retain it throughout the years, even if reconvening only occasionally. While not a regular working unit like Keith Jarrett's enduring Standards Trio with bassist Gary Peacock and drummer Jack DeJohnette, Pieranunzi's trio with bassist Marc Johnson and drummer Joey Baron has been together almost as long.
![David Guetta - 7 [2CD] (2018)](https://pixhost.icu/avaxhome/93/d4/007fd493_medium.jpg)
Kenny Barron and John Hicks are both well-respected veteran pianists whose styles fall well within the modern mainstream of jazz, initially influenced by Bud Powell but today much closer to McCoy Tyner. They join forces for this two-piano quartet date with bassist Walter Booker and drummer Jimmy Cobb. Only the 5:35 "Ghost Of Yesterday" (a feature for Booker's bowed bass) and "Rhythm-a-ning" at 9:50 clock in under 12 minutes. Although it can be fun to figure out who is playing what when, Barron and Hicks have such complementary styles that they often sound like one pianist with four hands. Their riotous version of "Rhythm-A-Ning" is the highpoint of this successful collaboration.
The Grammy Award–winning Bob Mintzer Big Band has explored diverse styles of music in its illustrious 25-year recording history—from New York and Afro-Cuban to Count Basie and John Coltrane. On the band’s new MCG Jazz CD, "For the Moment," which is scheduled for release June 19, saxophonist/composer/arranger/bandleader Mintzer puts the spotlight on Brazilian music.
Currently serving as Assistant Professor of Music at Amherst College in Massachusetts, multi-reedist Jason Robinson originally obtained his Ph.D. in music from the University of California. A promising new arrival to the East Coast scene, Robinson's academic background imbues his episodic writing with an organically cohesive sensibility, while his years spent co-leading the longstanding bicoastal ensembles Cosmologic and the Cross Border Trio lend his focused improvisations a warm, economical lyricism.
Good '86 big band set led by tenor saxophonist and bass clarinetist Bob Mintzer, a fine player and arranger. These recordings are in a conventional format, with polished ensemble sections and good, occasionally great solos. They are well produced and mastered.
The pairing of pianist McCoy Tyner and vibraphonist Bobby Hutcherson had them teamed up with firebrands of modern jazz in the '60s, but some 20 years later they made this recording in duet performance with their minds focused on the mellow side. That's not to say their progressive ideas are completely harnessed, but this recording is something lovers of dinner music or late-night romantic trysts will equally appreciate. They play a mix of standards and originals with the genius inventiveness and spontaneous interplay you would expect, while also elongating beautiful melodies that will warm any cold or bitterly emotional situation.
How's this for a group.Teddy Quintet leader and vibes,Booker Ervin on tenor,Booker Little on trumpet,Mal Waldron piano,Addison Farmer on bass, and Ed Shaughnessy (who latter was really co-leader of Johnny Carson's Tonight Show band) on drums.That's a group.Teddy Charles was most famous for his thrid stream cool jazz Tentette but could swing in any context of style and has to be in list of greatest vibe players with Hamp,Hutcherson,Walt Dickerson,Cal Tjader,et al.
Many of the top Cuban jazz musicians have played in Irakere during the past several decades, including altoist Paquito D'Rivera and trumpeter Arturo Sandoval (before both individually defected). Pianist Chucho Valdes has been the orchestra's longtime leader, and its music ranges from Latin jazz and bop to Cuban folk melodies, with an emphasis on infectious rhythms and advanced improvisations. Several of Irakere's records have been made available domestically (including sets for Columbia and Jazz House).
As the title suggests, Joshua Redman explores new rhythmic territory on Freedom in the Groove. Abandoning the traditional hard bop that has dominated his past recordings, Redman attempts to work himself into hip-hop and urban dance rhythms, which results in an occasionally intriguing but often frustrating album. Occasionally, the fusions work, with Redman contributing sympathetic, graceful licks to the gently insistent rhythms. Too often, the record sounds forced and stilted, which is unfortunate, since jazz/hip-hop fusion need a musician of Redman's caliber to make it credible in the jazz world.
Trombonist Julian Priester, after playing with many different groups, including those of Sun Ra, Lionel Hampton, Dinah Washington, Max Roach, and Duke Ellington, was a member of the Herbie Hancock Sextet during 1970-1973. Hancock's intriguing ensemble went from funk to free blowing, and in its later period was experimenting with synthesizers. On Love, Love, Priester continues in that vein. The two lengthy improvisations are mostly on one-chord repetitive rhythmic vamps stated by the bass, featuring sound explorations and plenty of electronics. Only on the last half of the second medley does Priester himself emerge a bit from the electronic sounds. One is reminded of Bitches Brew, since that is an obvious influence, but also Hancock's group and Weather Report.