Surf, Soul, Spy, Spaghetti Western - instrumental moods and 1 freaky film theme with vocals. Our third release is a 7-song EP with 4 originals and 3 cover songs, featuring "Midnight Confessions" from Tarantino's "Jackie Brown". The 2 rockin' surf originals are "You're Gonna Lose That Curl" and "(Please Don't) Dead End"- (that title comes from a scene at the end of Tarantino's "Death Proof"). Then there's the epic "Shaken Not Stirred", in 9/8 time no less, with a 4/4 swing interlude. We do a version of Brian Wilson's "Pet Sounds" with a nice guitar solo over the end and our version of Link Wray's "The Shadow Knows" is more moody than comic book style. That's drummer Tony on the big laughs. Finally, we threw in a song we wrote for Michael Carr's mystery film "The Key".

"Sweet or Mean," the new raw blues-rock EP written by the Detroit born renegade 'Eliza Neals'… Enter, producer Ted Horowitz aka "Popa Chubby" the incendiary blues-rocker, together celebrating their true love of rock-blues. For Ted to produce + arrange was natural after meeting him a few times and sitting in with his Smokin band causing a real combustion on stage. Eliza admits that the drama on these tunes is 100% authentic; because truth is strangely more entertaining than fiction. “Sweet or Mean” is rootsy blues-rock bliss with no gimmicks or tricks from the first heavenly note to the last guitar riff. Popa Chubby’s tone is reminiscent of ZZ Top, Santana and other seasoned vintage guitarists who know how to knock audiences out.

Jaco Pastorius - The Birthday Concert (1981) {Warner Bros. 9 45290-2 rel 1995}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 465 Mb | MP3 @320 -> 167 Mb
Full Artwork @ 300 dpi (png) -> 63 Mb | 5% repair rar
© 1981, 1995 Warner Bros. | 9 45290-2
Jazz / Fusion / Post Bop / Big Band / Progressive Jazz / Bass

On an irregular basis in the early '80s, the innovative electric bassist Jaco Pastorius led a big band that he called Word of Mouth. This excellent CD documents Pastorius' 30th birthday party, a concert at which he was joined by the Peter Graves Orchestra (consisting of 14 horns, two steel drums, and two percussionists) plus drummer Peter Erskine, Don Alias on conga, and both Michael Brecker and Bob Mintzer on tenors.

These performances derive from two quintet concerts in Germany: early, 1953 (first 5 tunes) and December, 1961 (remainder). Dizzy is in prime form on both occasions. The first band (his undistinguished New York group of the time, Bill Graham with a few short bari solos) stays in the background, allows Diz to shine. The second quintet carries more weight with Lalo Schifrin (piano), Leo Wright (alto), and Mel Lewis subbing on drums. Schifrin was just coming into prominence as Dizzy's musical director, and he brought a lot of Latin energy and authenticity into the band. He had premiered his tango "Long Long Summer" a few weeks before at the Monterey Jazz Festival. Schifrin also takes some virtuosic piano solos. Typically an understated accompanist, Lewis steps forward and stirs things up though he doesn't actually solo…

Although Dandrieu is best-known for his talents as an organist, his trio sonatas deserve a prominent position in the chamber music of the period. They show a stunning mastery of style and variety of characters. Dances overflowing with energy, mischievous and impetuous counterpoint between the three parts, movements with highly expressive Italianate suspensions, articulation, phrasing, rhythm, gentleness, passion – in a word, life. He published them under the title Premier Œuvre in 1705, when he was twenty-three years old, our own age when we first met and played these sonatas: “Opus 1” was therefore a natural choice as the title for this album!’ say the members of Le Consort. ‘The trio sonata was created in the second half of the seventeenth century and Corelli, the master of the genre, helped to diffuse it throughout Europe. Dandrieu’s trio sonatas are marked by Corelli’s influence. And when he calls one of his harpsichord pieces “La Corelli”, he indicates himself as an heir to the great Italian maestro . . . We have arranged this piece as a sonata a tre.