2011 holiday release from the contemporary band from England that specializes in Jazz and Swing. A Christmas album from an established artist is normally high up on the recording agenda. In this respect it might be fair to say this album is somewhat overdue, especially as the Orchestra had a radio hit with 'White Christmas' in the '70s. A little research into seasonal songs from the '20s, '30s and '40s reveals a wealth of material, and whilst some of these tracks will be very familiar. The styles on this album range from a pure Norman Rockwell like 'Rudolph the Red Nosed Reindeer' to an out and out swinging Dorsey style 'Santa Claus is Coming to Town'.

Produced by Roy Bittan, the original album – featuring Chicago's interpretations of well-known Christmas classics plus one original tune (co-penned by Lee Loughnane) – was very well received upon its release in August 1998, peaking at #47 in the US and going gold during a stay of 7 weeks on the charts. After Chicago entered into a long-term partnership with Rhino Records in 2002, that label re-issued Chicago XXV: The Christmas Album that same year. It was further decided to record six additional Christmas songs – with Hot Streets and Chicago 13 producer Phil Ramone – and re-issue the whole package in 2003 under a new design, title and sequencing, entitled What's It Gonna Be, Santa?, deleting its predecessor in the process. It has been reported that the band had initially considered recording an entirely new holiday effort, but didn't due to cost factors.

Soul jazz クロスオーヴァーなセンスが光る全音楽ファン注目のレーベル。.

Guitarist Keith Howland sang his first lead vocal on the track, 'Jolly Old Saint Nicholas'.[citation needed] This later release reached #102 in the US during a stay of 5 weeks on the charts. Portico Quartet are an instrumental band from London, UK. They are known for their use of the Hang, a modern percussion instrument. Their debut album, Knee-Deep in the North Sea, was nominated for the 2008 Mercury Prize and was Time Out’s Jazz, Folk and World album of the year 2007. The group consists of Duncan Bellamy (drums and electronics), Jack Wyllie (saxophones and keyboards), Milo Fitzpatrick (electric and double-bass) and Keir Vine (keyboards). Their name comes from when one of their early gigs was rained off in Italy and they ended up playing under a portico. All of the groups album covers, artwork and graphic design is done by the drummer, Duncan Bellamy, who has a degree in Fine Art from Central Saint Martins.

The group predominantly makes modern instrumental music. They are known for the use of the hang, a modern percussion instrument. Their main influences are jazz, ambient and electronic music. The band’s first two albums are largely acoustic recordings, reflecting their origins as a live busking band. These are based around the hang drum, double bass and drums, with the saxophone playing the melody line.

Nick Mulvey’s departure from the band in 2011 heralded a notable change in style. The group had already been exploring use of electronics, live samples and looping when touring their second album Isla in 2010.

Without their main hang player, for their self-titled third studio album Portico Quartet the group turned to sampling the hang, as well as using a hybrid mix of electronic and acoustic drums, and electronically treated and looped bowed bass and saxophone lines. The Living Fields album featured another change style, focused on experimental electronic pop music rather than instrumental compositions. Reflecting this the group chose to release it under the name Portico rather than Portico Quartet, considering it to be a separate band.

There's a bit of false advertising behind the 2003 double-disc Mick Taylor release, Shadow Man. The album in question is not a Taylor solo recording, but rather it features Taylor as a sideman, to a singer named Sasha Gracanin. It turns out that Gracanin specializes in an over-the-top R&B style of singing, and hogs most of the spotlight. And as evidenced on such tracks as 'Turn Off the Light' and 'Shadow Woman,' leaves little space for Taylor's guitar.

Expectedly, there is, of course, the obligatory Stones cover -- 'Honky Tonk Woman' -- which shouldn't come as a surprise. The second disc of the set fares far better, as it's the six-track live set, 2003's 14 Below, which allows Taylor more than enough room to do his thang. Certainly not the best Taylor release out there, but may appeal to Stones obsessives. ~by Greg Prato.

The Jazz Club series is an attractive addition to the Verve catalogue. With its modern design and popular choice of repertoire, the Jazz Club is not only opened for Jazz fans, but for everyone that loves good music. This collection of other-worldly Psychedelic Jazz features 18 tracks from artists such as Roy Ayers, the Dave Pike Set, Dorothy Ashby, Jimmy Smith and many others. A great nifty package for folks hungry for some mind expanding jazzy workouts.& a brilliant introduction for younger & more adventurous fans who are looking beyond what the normal rock & pop radio has to offer. LILIENTAL is the side project of Dieter Moebius after Cluster's momentary break. To accompany the artist in his new musical adventure, the band includes two members of the famous jazz rock band KRAAN: Helmut Hattler (on e-bass guitar) and Johannes Pappert (on alto sax parts).

The musical engineer Conny Plank who participated to the publication of many Cluster's albums helps the band for guitar, synth, and manipulated voices parts. Their album was recorded in 1978 for the Brain records label. The tracks range from 'ambient' synth experimentations fusing to rock, jazz, 'exotic' elements.

Liliental is more various, colourful than most of late Cluster albums from its ambient era. Liliental guides the listener into a cunning, pleasant, intricate musical world with lof of 'weird' experimentations, electronic patterns, loops and nice floating guitar harmonies.

This recording is built as one long title. After this amazing project, Dieter Moebius and Conny Plank will record many others imaginative albums together, always putting the emphasis on 'electronic'. An album with a theme, “Marijuana Unknowns” features obscure bands from the sixties toting tunes referencing the heady herb.

Subject aside, which is not nearly as shocking or rebellious as it was when these tracks were conceived, this is a really great collection of songs as it examines an array of musical moods and measures. Expected to be a series, no additional installments ever appeared, which leads me to believe there were simply no funds to keep the project going. Perhaps the record label’s money all went up in smoke - pun purposely intended! I'm not going to spend a huge time going through all of the songs on Trouble In Eden as I'll be here all day. All I will say is that Zed have written a collection of great tracks that will appeal to both old and new fans of the band.

They have all bases covered with a stunning array of songs that will appeal to both fans of the Hard Rock/Stoner Rock spectrum. Download Jellycar 3 For Android there. Zed include many different moments of Psych, Blues, Grunge, Stoner and Hard Rock that will make you join their musical revolution in causing Trouble In Eden itself.

Zombie Zombie sounds like a horror movie, and their first album, A LAND FOR RENEGADES, oftentimes sounds like a soundtrack for one. But instead of spooky sound effects and ambience, think instead of those glorious Eurosleaze films. 'Driving This Road Until Death Sets You Free,' for instance, has an insistent pace and smothering synths, whereas 'I'm Afraid Of What's There' amps up the creepiness factor by 10.

Meanwhile, 'A Land For Renegades' has a familiar theme, which I can't put my finger quite on, but it sounds vaguely Bernard Herrman-esque, and the processed voices on 'What's Happening In The City' add to the strange menace. And never have the 'Texas Rangers' sounded so ominous. If anything, Zombie Zombie creates these analogue moods -- even if its something more silly, like on 'Nightclubbing.' But it's the Moroder frights of fancy that make 'When I Scream You Scream' and its ilk stand out. The album to make every day sound like Halloween.