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Where To Buy On the Right Track by The Skatalites At The Lowest Price?

On the Right Track by The Skatalites

Why Buy A On the Right Track by The Skatalites?
Without the killer grooves and syncopated horn blasts of the always wonderful Skatalites, life on this planet would be a far duller thing. — L.A. Daily News The Skatalites are Jamaicas answer to the Motown house band and Booker T. & The MGs combined. — Rolling Stone The Skatalites took influences from jazz, calypso and US rhythm `n blues to help create the sound that dominated Jamaican sixties music … This is a must have album for anyone interested in Jamaican music and a great introduction for those who wish to learn. — BBC.co.uk More than a band, The Skatalites were and are an institution, an aggregation of top-notch musicians who didnt merely define the sound of Jamaica, they were the sound of Jamaica across the 50s and 60s. — All Music Guide The second wave of ska produced some good bands and some great music, the third wave fewer, but if you want to really hear the music played with respect for its deepest roots, you need to go to the source, and that is undoubtedly The Skatalites … The band is more musically sophisticated than many of its contemporaries were and than pretty much all of its present day imitators are. — PopMatters

Recorded in Byron Bay in 2006, On the Right Track mixes the coastal island vibes of Australias and Jamaicas hippest towns with a heavy jazz influence. Among a myriad of reissues and compilations, this album stands out as having the best new original material on an international Skatalites release since 1964. Studio sessions were held in the style of a classic jazz session, much like the one-take upbringing Studio 1 provided the group in the early days. From the late 50s into the 60s, The Skatalites transcended popular music, introducing and defining Jamaican music and culture to the world. Combining the best of American boogie-woogie with R&B, jazz, and big band swing, The Skatalites created the up-tempo syncopated island beat dubbed ska, which evolved into rocksteady and reggae. The original backing band for Bob Marley, Jimmy Cliff, and Toots & The Maytals, these two-time Grammy nominees have toured extensively worldwide since the 80s.

Over 2 Five Star Customer Reviews On Amazon!


Great introduction to The Skatalites
This is the first Skatalites album I bought, and I think it’s a great way to get into their sound. Now that I know a little more about these amazing musicians, and after hearing most of their classic 60′s records, I find this album their best since their reformation, in the 80′s.
I agree with the last review, these songs are really true to their ska roots, plus you won’t get the poor sound quality of the 60′s recordings. It’s well recorded, now you can in fact hear the bass lines and the terrific job by Lloyd Knibb on the drums. This senior citizen never got the recognition he deserves for inventing the SKA beat, which is the same beat as the reggae beat, the reggae drummers just slowed it down. I was lucky enough to see him play 2 weeks ago, with the reformed Skatalites.
The tracks sung by Doreen Shaffer are the icing on the cake.
Buy it!

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Where To Buy The Genius of the Electric Guitar by Charlie Christian At The Lowest Price?

The Genius of the Electric Guitar by Charlie Christian

Why Buy A The Genius of the Electric Guitar by Charlie Christian?
This CD presents an outstanding selection covering the whole career of Charlie Christian, the true inventor of electric jazz guitar. He is heard in studio sessions with the Benny Goodman Sextet, soloing backed by the whole Goodman orchestra and in an amazing rehearsal with Cootie Williams. As a bonus, are included three extended tracks taken from the legendary jam sessions at New York’s Minton`s Playhouse in May 1941. All time classic tracks by the musician who inspired all the jazz guitarists to come. Disconforme. 2005.

Over 3 Five Star Customer Reviews On Amazon!

Great Material!
Charlie Christian (1916-1941) was one of the leading jazz guitarists of his generation, comparable to other greats such as Eddie Lang, Django Reinhardt or Joe Venuti. Before Christian’s untimely death in 1941 at the age of 26, his career really only lasted through the years of 1939 and 1941; this disc contains music ranging throughout this period. This is a nice sampling with excellent sound quality and musicianship.

TRACKS 1 and 2: “The Benny Goodman Sextet” recorded on October 2, 1939 and November 22, 1939 with the following personnel: Charlie Christian (electric guitar), Benny Goodman (clarinet), Lionel Hampton (vibes), Fletcher Henderson (piano), Artie Bernstein (bass) and Nick Fatool (drums).

TRACKS 3 and 4: Recorded on February 7, 1940 with the following personnel: Charlie Christian (electric guitar), Benny Goodman (clarinet), Lionel Hampton (vibes), Count Basie (piano), Artie Bernstein (bass) and Nick Fatool (drums).

TRACK 5 is the same though with Johnny Guarnieri replacing Count Basie on piano.

TRACK 6 is the same though with Dudley Brooks replacing Johnny Guarnieri on piano.

TRACKS 7 to 10: Recorded on November 7, 1940 with the following personnel: Charlie Christian (electric guitar), Cootie Williams (trumpet), Benny Goodman (clarinet), Georgie Auld (tenor sax), Count Basie (piano), Artie Bernstein (bass) and Harry Jaeger (drums).

TRACKS 11 and 12 are the same though with Jo Jones replacing Harry Jaeger on drums.

TRACK 13: “Benny Goodman and His Orchestra” recorded on March 4, 1941 with the following personnel: Charlie Christian (electric guitar), Alec Fila – Irving Goodman – Jimmy Maxwell – Cootie Williams (trumpets), Benny Goodman (clarinet), Cutty Cutshall – Lou McGarity (trombones), Gus Bivona – Skippy Martin (alto sax), Georgie Auld – Pete Mondello (tenor sax), Bob Snyder (baritone sax), Johnny Guarnieri (piano), Artie Bernstein (bass) and Dave Tough (drums).

TRACKS 14 to 16: Recorded on March 13, 1941 with the following personnel: Charlie Christian (electric guitar), Cootie Williams (trumpet on 15 and 16 only), Benny Goodman (16 only), Georgie Auld (tenor sax), Johnny Guarnieri (piano), Artie Bernstein (bass) and Dave Tough (drums).

TRACKS 17 to 19: Recorded live at Minton’s Playhouse in May of 1941 with the following personnel: Charlie Christian (electric guitar), Joe Guy (trumpet), Don Byas (tenor sax), Kenny Kersey (piano), Nick Fenton (bass), Kenny Clarke (drums).

Guitar slingers, meet your pioneer
Guitars were invented in Europe, or instruments similar to the modern acoustic guitar, probably hundreds of years ago. The lute, for example, is a direct ancestor, with similar tones and playing style. As for the guitar being anything but a rhythm instrument, with the exception of flamenco, what we recognize as “lead guitar”, that is, melodic series of notes that highlight the instrumental portion of a song, didn’t really get started until the late 19-teens, with the appearance of the first blues singers, most notably Blind Lemon Jefferson, who was among the first to play independent soloes apart from the vocals, usually in a slide-style.
Historians credit Eddie Lang, a late 1920′s guitar player, with the first conventional “lead guitar”, backing up Joe Venuti, a popular jazz singer of the time. Lang died tragically at an early age, and most experts agree the torch was then passed to Charlie Christian, who was the first electric lead guitar player of note, primarily with Benny Goodman, and in some live sets at Minton’s jazz club that gave birth to bebop.
Before you snort at the mention of Benny Goodman, it will serve you well to hear his band. Unlike the swing bands like Glenn Miller, Goodman was a furious clarinet player and a jazz giant. His soloes were as hot as any solo on any instrument would ever be, and it would take a genius to allow Goodman to share the stage. Enter Charlie Christian.
The title of the CD is not an understatement. Christian developed the voice we all take for granted, with swooping bends, intricate scales and the spirit of rock before the genre would develop some ten or so years later. It’s light years ahead of its time, much like his compatriot Django Reinhardt, and the three closing cuts that were recorded at Minton’s shortly before Christian’s untimely death from tuberculosis are music history. Hendrix, Atkins, and Wes Montgomery all owe a debt to Charlie Christian, and rock fans interested in hearing the first tentative steps of guitar heroism cannot miss out on this stellar collection.

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Where To Buy The Complete Columbia Studio Sessions, 1965-68 by Miles Davis Quintet At The Lowest Price?

The Complete Columbia Studio Sessions, 1965-68 by Miles Davis Quintet

Why Buy A The Complete Columbia Studio Sessions, 1965-68 by Miles Davis Quintet?
By 1965 Miles Davis had gone through a handful of stages, from the Birth of the Cool nonets multihued orchestrations to the development of a hard-bop sound keeled on Daviss midregister wooziness and the bands driving backbone in the first great quintet (featuring John Coltrane), to the modal freedom of Kind of Blue. So when the solidly established Davis convened a new quintet, known as his second great one, and hired youngsters Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams, it seemed a skewed move. These six CDs show just how creatively and intelligently skewed the move really was. The material here, which has also been reissued on expanded single CDs of the main full-length original LPs (E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky), is immediately and unceasingly startling. Davis & Co. were quickly discarding their live performance practice of playing loads of standards and were further discarding traditional melodic structures for more rigorous harmonic exercises. Shorter in particular, at times the most prolific composer in the band, was advancing his tunes and his solos in equal proportion. The tunes are increasingly sharp-edged and, with Williams driving the band with a categorical balance of abandon and control, loopily energized. Miles blows with tighter and tighter control of his tone even while the band seems to be finding all kinds of expressive freedoms that easily elongate into lengthier studies. Toward the end of this box, youll hear the seeds of the Miles that went on to unloose Bitches Brew. Even though the roots of the aggressively electric Miles are in these sessions, there are uncategorizable points of beauty strewn all over the tunes. –Andrew Bartlett

Over 27 Five Star Customer Reviews On Amazon!

By 1965, the world of jazz had changed almost unrecognizably from just five years ago, and Miles Davis was in danger of being left behind. After the triumphs of his first few years with Columbia, it seems Davis had had enough. His past few records and his live performances found him falling back on old habits, exploring standards and hard bop pieces that he’d been playing for the past several years. Meanwhile, Ornette Coleman, Cecil Taylor and Albert Ayler shook the foundations of jazz and John Coltrane in December of 1964 had just aligned himself with them by recording his masterpiece “A Love Supreme”. All this time, Davis had been standing still, but he’d assembled a new quintet, completed by plucking his crown jewel and tenor saxophonist Wayne Shorter from Art Blakey’s band to add to his working band of pianist Herbie Hancock, bassist Ron Carter and drum prodigee Tony Williams. And while his band dutifully played the hard bop he was paying them for, they wanted to stretch out, to build on the innovations of Coleman, Taylor, Ayler and Coltrane, and remarkably, they inspired Davis to do so as well. In January of 1965, they went into the studio to record their first album together– “E.S.P”, and it was clear that, to steal an Ayler song title, change has come.

Now granted, the music here isn’t quite free jazz, but it’s certainly a lot more adventerous than anything Davis had done since “Sketches of Spain”. Davis by and large let his sidemen stretch their wings. Eschewing the previous use of standards and compositions by contemporaries, virtually all the material by the quintet came from within the quintet (in fact of the 45 or so compositions on this set, only two come from outside the quintet). Early on, Shorter carried the lion’s share of composition with Davis taking this role later (as he began experimenting with electric instruments, his began composing more), but everyone contributes. By and large, they’re extraordinarily adventerous hard bop tunes– similar in vein to the kind of work Dolphy was doing, or perhaps even a less detailed Mingus (who tended to use larger ensembles). The performances are fierce and inventive, with fiery interaction between the members of the band and the rhythm section stealing the performances from the soloists at times. It’s interesting to track the band’s evolution– the earliest material is loose and exciting (recorded in January of 1965 and October of 1966), the middle material (from the spring and summer of 1967) seems to pick up a denseness and an almost claustrophobic quality, and the later material, where Davis was driving composition and experimenting with electric instruments, becomes loose again. One thing is sure– it’s pretty much all essential material.

Sonically, the set is nothing short of superb, as all the Columbia reissues of Davis’ catalog have been. An extensive booklet with biographical details, a history of the group, and a song-by-song analysis is provided as well, although it’s rather hard to read in this box.

A set like this is a substantial investment, but it would serve most well who are interested to pick up the set. Try “Miles Smiles” for a taste of the quintet’s material, but everything on here is essential. Highly recommended.

An outstanding possession!
All of these recordings were worth producing, as throughout they feature the most important and lastingly satisfying five-man group in jazz (I am not being sexist here – there is no female group to compare). Occasionally of course five-man groups have played that were as good, as happened at times in the case of Charley Parker and Dizzy Gillespie (e.g. at Massey Hall) – but not in as organised, abundantly brilliant and sustained a fashion as this. Miles Davis was as good, all in all, as at any time in his career, and the range of his expressive powers is astounding: from the delicately subtle to the searingly soaring. The choice of tracks was amazingly varied and rewarding throughout. Coltrane was still maturing, but played nevertheless with a fire and intensity of invention that noone on tenor has matched either before him or after. And the rhythm section was also extraordinarily good. The whole package is very much worth having, and not least because it is NOT monotonous, ever – the artists were too richly imaginative for that, and constantly played meaningful, profound, varied and deeply rewarding music. An accompaniment for and to one’s life, and an original expression OF life, that of the artists and us all, so that we can all share in what these musicians so generously offered. – Joost Daalder

Value!! ++++
This 4 CD Set contains 6 complete albums:

5:Miles “The New Miles Davis Quintet”
6:’Round about Midnight

The 6 albums are not in any order, but still complete.
Plus 2 bonus tracks, “Brass Ensemble of the Jazz-Classical Music Society”
CD 4 >>
8:Three Little Feelings 10:49 (Previously not Released)(Miles Davis, tp)
9:Poem For Brass 9:53 (Previously not Released)(Miles Davis, tp)

This is a good value way to start collecting Miles, or fill in some gaps.

Miles the Auteur
Miles Davis’ mid-1960s quintet with Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and Tony Williams on drums was not a typical leader-and-sidemen ensemble but a cooperative grouping of some of the most gifted and important musicians in all of postwar jazz. Sharing compositional duties, solo space, ambience and ideas, these five men crafted one of modern music’s most distinctive and impressive bodies of work – sounds at once fully realized and ceaselessly probing, classic and cutting edge. By the end of their four-year association, they had reached a plateau of unified creative thought where few of their peers would ever join them, in the process doing as much as any other group or individual to forge a recognizable stylistic link between post-bop and fusion while somehow never quite slipping into either realm.
This six-disc set, covering the quintet’s entire studio output, is noteworthy in that it can – unlike many of Columbia’s other “complete” Miles packages – be recommended even to relatively casual fans. Almost nothing here is superfluous, including the handful of alternate takes, some stunning rehearsal nuggets and a couple of long-lost gems which were truly worth finding. Everything fits and makes sense.
Whether you’ve come to Miles via KIND OF BLUE and BIRTH OF THE COOL and are now looking to move forward, or along the other well-worn path leading back in time from BITCHES BREW and ON THE CORNER, THE COMPLETE COLUMBIA STUDIO SESSIONS 1965-68 is something you’ll never regret adding to your collection. Modern jazz is as much about the music contained in this package as it is about that contained in any other; jump on in and hear it for yourself!

One of the all-time best Miles Davis box sets
“Miles Davis Quintet, 1965-1968″ features nothing less than some of Miles’ best music. This box set showcases many of Davis’ most innovative albums including “E.S.P.,” “Miles Smiles,” “Sorcerer,” “Nefertiti” and “Miles in the Sky.” While the music leans towards psychedelia and the impending fusion movement, this is still jazz by any stretch of the imagination. The mood is cool, intelligent and laid back. While the box set documents the inevitable introduction of electric instruments, it is a gentle preamble. The electric piano is a mere suggestion and the plugged in guitar seems light years away from squealing Jimi Hendrix type power chords. While [...] Brew would eventually pass the point of no return, these six discs suggest mind expansion, but never cross the line. If you’ve always wanted Miles’ ‘light trip’ music in one place, the “Miles Davis Quintet, 1965-1968″ is the perfect box set.

Around $30.00 can be saved by purchasing the 2004 reissue of this 1998 box set. The reissue has the same music and also comes with a handsome full-color booklet.

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Where To Buy A Passion Play by Jethro Tull At The Lowest Price?

A Passion Play by Jethro Tull

Why Buy A A Passion Play by Jethro Tull?
Following quickly on the heels of their career-defining Aqualung and Thick as a Brick, Ian Andersons Jethro Tull demonstrated that their musical and thematic ambitions were as muscular as ever on 1973s Passion Play. But if Thick was a bit tongue in cheek about its conceptual conceits, Passion was a dizzying example of the prog-rock eras overweening musical aspirations at their zenith. Anderson now sums up it its obtuse, theater-as-metaphor libretto as the theme of post-death meanderings in another world, but the sheer propulsive tension of Tulls sprawling musical interplay insures its folk-rooted baroque and roll a tight orbit around this mortal coil for nearly the albums entirety. –Jerry McCulley

Over 68 Five Star Customer Reviews On Amazon!

Artistic and Experimental Tull
Many critics initially reviled this album when it first appeared in 1973, though Tull fans loved it so much that it went to number one on the charts. With the passing of time better explanations of the music exist and music has evolved to the point where the music of “A Passion Play” has achieved a better perspective.

The music and the composition, confusing as it may initially appear, was an attempt to create an epic and eclectic work. In some ways the work is unfinished, because the original studio sessions stopped before the original concept was completed, and thus Jethro Tull had to cut three albums sides of material to two. Some of the music originally intended for this album appeared on later albums; one example is “Skating Away on the Thin Ice of a New Day,” which eventually appeared in “Warchild.”

The album was intended to tell the story of a recently-deceased man seeing his own funeral, and his journey in the afterlife, including purgatory and hell, and eventual reincarnation. In addition to this primary story was the inclusion of “The Story of the Hare Who Lost His Spectacles,” a story likened to stories from Winnie the Pooh to Peter and the Wolf.

“A Passion Play” combines ten tracks into a single work (according to the official Jethro Tull web site – not according to the track listing for this album). As in “Thick as a Brick,” there is an occasional uneven spot in the transition from one track to the next. However, as in the earlier album, the transitions and concept works nearly as well. The music is certainly well refined, with hard-driving rock riffs, drums and synthesizers keeping Jethro Tull at the more experimental, progressive edge of rock. I warn you, though, that the music requires a good sound system to be able to listen to music that extends from very quiet to very loud, and the range of styles is similarly broad. I compare this music to classical music, which similarly has sounds that extend from soft to loud and also requires a good sound system. I also warn you to attempt to understand the lyrics at your own peril. The lyrics verge on the incomprehensible, even for those who have studied them at length. The lyrics are poetic and symbolic, and attempt to describe events and concepts barely attainable by the human mind, much less by a human language.

Music such as this does not attempt to pander to a “style” or to commercial success. This music is art. Thus, a listener should interpret the meaning, significance and relevance of the music individually. I will not pretend to tell you that I understand this work in its entirety. Perhaps Jethro Tull never intended for listeners to understand the music, in the manner of Yes’s “Tales from Topographic Oceans.”

Note that there are several versions of this CD, with varying price and availability. If you plan to purchase this CD, I recommend you survey the variations available and their price and choose the version that best fits your needs.

While I may not be able to define or understand progressive rock, I know it when I hear it, and this music is definitely progressive rock. Listen to this music only if you are prepared to be open-minded and to accept it for what Jethro Tull and Ian Anderson attempted to do, and not for the misguided interpretations of those who think they have the divine ability to judge the work of an artist as trash.


Ian’s second album length composition. It’s not as fine as Thick as A Brick, but what is? MUCH MUCH more difficult to get into; there aren’t the catchy themes that pop up all the time. The music is also in minor keys constantly. The lyrics aren’t humorous; they’re serious, oh lord. And there’s lots of sax all over the place. Oh yeah and The Hare who lost his spectacles…
I won’t discuss the meaning of the album; it has one. there is a website devoted to figuring it out. Go there. This album is a must for Tull fans. Be prepared to work though; it’s a difficult listen. Their most experimental and difficult album ever. They retreated a bit after this into more normal song craft. Which was probably just as well.

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Where To Buy Virtual Pose 2: The Ultimate Visual Reference Series for Drawing the Human Figure by Mario Henri Chakkour At The Lowest Price?

Virtual Pose 2: The Ultimate Visual Reference Series for Drawing the Human Figure by Mario Henri Chakkour

Why Buy A Virtual Pose 2: The Ultimate Visual Reference Series for Drawing the Human Figure by Mario Henri Chakkour?
Virtual Pose 2 is the second installment in what is fast becoming the ultimate visual reference series for drawing the human figure. For professional and student artists, this series is the next best thing to working with a live model–and the ultimate for amateur artists who have no access to studio sessions.

Each volume includes an interactive CD-ROM with 54 full-figure poses which the artist can rotate 360 degrees. The artist is also able to zoom in on the pose, thus presenting the human form in a way that allows a deeper understanding of shape, form and gesture. Ranging from action to classic poses, standing and reclining, these carefully selected subjects were designed to offer visually pleasing as well as challenging drawing subjects.

Furthermore, there is the choice of male and female models to draw from, music for inspiration, and four drawing tutorial movies, making Virtual Pose 2 an invaluable tool for every artists reference.

* Features more models in a significantly higher number of poses (54 poses, 1,944 views in all)

Over 35 Five Star Customer Reviews On Amazon!

Virtual Pose 2: The Ultimate Visual Reference Series for Drawing the Human Figure
This is more than helpful for my art class. This is great!

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