If you enjoy the electronic orchestrations of Vangelis or the refined Japanese sensibility of Kitaro, this album is a must. Sea and Sky is a masterpiece. Working with the brilliant arranger Paul Buckmaster, Stomu Yamashta brings together his virtuoso synthesizer and percussion playing with the richness and power of full symphonic orchestra. From the surging initial ascent to the spectacular final crescendo, Stomu brings you images of the sea and sky in all their grandeur, with echoes of Debussy's "La Mer," the passion of Berlioz and the lushness of the great film scores. With the exception of one inexplicable section of light jazz, every moment of this 1984 album shines with a special energy.

An album full of vintage 1966-1968 music by the band that brought you the incredible "Hashish" on the legendary San Franciso Sampler "Fifth Pipe Dream". First ever release of this killer Westcoast psychedelic monster that took many years to complete! West Coast Natural Gas started in 1965 in Seattle. In early 1967 they went to San Francisco to work for a local music manager named Matthew Katz. Katz was the original manager for Jefferson Airplane, Moby Grape and later also It's a Beautiful Day. He talked West Coast Natural Gas into signing a contract with him but being young and stupid, they didn't realize at the time that they had basically signed everything over to him. They went into the studio and recorded some original tunes: A Favor, Go Run and Play, The Jumping Frog, Hashish, Water or Wine, Beyond This Place, and Two's A Pair…

The final album of an (unintentional) trilogy, Crusade is most notable for the appearance of a very young, pre-Rolling Stones Mick Taylor on lead guitar. Taylor's performance is indeed the highlight, just as Eric Clapton and Peter Green's playing was on the previous album. The centerpiece of the album is a beautiful instrumental by Taylor titled "Snowy Wood," which, while wholly original, seems to combine both Green and Clapton's influence with great style and sensibility. The rest of the record, while very enjoyable, is standard blues-rock fare of the day, but somewhat behind the then-progressive flavor of 1967. Mayall, while being one of the great bandleaders of London, simply wasn't really the frontman that the group needed so desperately, especially then. Nevertheless, Crusade is important listening for Mick Taylor aficionados.

Terasima Records presents Jazz Bar 2020. Enrico Pieranunzi Trio, Niels Lan Doky, Harry Allen, Chad Lawson Trio, Dag Arnesen, Jan Harbeck Quartet and many others.

The story began in 1975 with singer and guitar player David Radford releasing a first single that was not commercially successful. So David hired a new line-up in 1976 with Maurice Memmott and Steve Wyse. The band had the reputation to do some impressive live shows for the visuals and the audio in 1977-1979. They released a first album "Just like Mater Bates" and a second one in 1981 "Victims". In 1984, Gizmo reformed with Martin Reed on guitar. They played some shows with Ozric Tentacles, released an EP, suffers many line-up changes and finally split-up in 1992 after the release of their third album "They're Peeling Onions in the Cellar". In 1995, David was contacted to do a Van der Graaf Generator tribute…

For this album Ralf Knappe-Heinbockel heads for more darker territory. "Intruders" presents a more darker side of his Hemisphere's music, for which Ron Boots constructed some nice soundeffects and enviRONmentals to connect most of the tracks with eachother. An album which will do late at night.

Borboletta was the first new Santana band studio album in 11 months and the group's sixth overall. Once again, individual credits were listed for each song. The main problem was that the band seemed to be coasting; Carlos turned in the usual complement of high-pitched lead guitar work, and the percussionists pounded away, but the Santana sound had long since taken over from any individual composition, and the records were starting to sound alike. That, in turn, started to make them inessential; Borboletta spent less time on the charts than any previous Santana album.

It's unequivocally nice to have Little Sonny back in harness after a long recording hiatus, but the harpist's comeback offering suffers from backing that feels too mechanical to really do his supple harp justice. A little more earthiness would have suited the project much better.

Lutz Rahn was born on October 11th 1951 in Hamburg, Germany. He played in the jazzrock band Capricorn before joining the known German progrock band Novalis in 1971 until 1985 when Novalis disbanded. Between 1973 (LP Banished Bridge) and 1983 (Sternentaucher) Lutz Rahn made 10 album with Novalis. In 1978 Lutz Rahn delivered a solo album entitled Solo Trip featuring 8 pleasant, light-weighted symphonic/electronic/pop songs. Solo Trip is a pleasant effort that evokes JM Jarre and features wonderful, varied work on keyboards, from sparkling Fender Rhodes piano and soaring string-ensemble to majestic Mellotron and fine synthesizer flights.

Martial "Mimi" Lorenzini, one of France's most famous guitarists for his contribution to Canterbury band Triangle, got together with female singer/keyboard player Ann Ballester, bass player Josquin Turenne des Prés and drummer Jean-François Bouchet D'Angely to form Edition Spéciale in 1975. Their style of groovy, accessible jazz-rock is highly comparable to that of Return To Forever and Brand X. Their first album "Allée des Tilleuls" received mixed reviews, in part due to Ann's vocals that spoiled the effect of the excellent musicianship. Featuring virtuoso drummer and newcomer Alain Gouillard, the subsequent "Aliquante" and "Horizon Digital" were a definite improvement. Gouillard's drumming is so tight he could probably rival Bill Bruford. Both albums are rhythmic concepts based on very complex tempo cuts, where the guitar and violin interplay will remind the listener of Mahavishnu. Two excellent albums of world-class French fusion.

Kenny Drew, with the assistance of bassist Paul Chambers (whose bowed solos are always welcome) and drummer Philly Joe Jones, explores six standards and two of his originals. Although Drew would have to move to Europe in the early '60s in order to get the recognition he deserved, it is obvious (in hindsight) from this enjoyable date that he was already a major improviser.

A superb combination at this live event, held 1991 in Cologne. The two musicians joined their forces to create an outstanding work of Berlin School / rhythm and drum music. 3 long pieces show a good expresion of the evening. Overall, a synth album with plenty of live atmosphere, an attractive and unusual emphasis on live drums, and involving variations from abstract to highly integrated sounds.

Alan Hull's third solo album, and his last before Lindisfarne reconvened in 1979, follows firmly in the footsteps of its two predecessors, while advancing their musical outlook towards entire new pastures. Indeed, a crack band and lush production could lure you into mistaking the opening "I Wish You Well" for any number of contemporary MOR troubadours, although the self-deprecating "Anywhere Is Everywhere" quickly brings your ears back to basics, a rock & rolling singalong that finds Hull sounding as sharp and sassy as he ever did in the past… and ever would in the future. Brilliant stuff.

Nothing flashy or outrageous here, just a meat-and-potatoes session produced by Al Smith that satisfyingly showcases Bell's charms. Once again, there are hearty tributes to Little Walter ("Last Night") and Muddy Waters ("She's 19 Years Old"), but there's some original stuff too, backed by a combo that boasted a daunting collective experience level: Taylor and Perkins return, along with bassist David Myers and drummer Willie "Big Eyes" Smith.

In the 1980s, tenor saxophonist Houston Person and bassist Ron Carter recorded a pair of unlikely but successful duo albums. Person, who has mostly been heard through the years with organ groups, piano trios, and accompanying the late singer Etta Jones, has a large tone worthy of Gene Ammons, while Ron Carter (who has played with everyone) clearly had a good time interacting with Person in the sparse format. In 2000, Person and Carter recorded their third duet album, and the results are at least as rewarding as their first two collaborations. On such songs as "Doxy," "Dear Old Stockholm," "On the Sunny Side of the Street," and "Mack the Knife," Person and Carter swing hard and sound at their most playful and creative in each other's company…