This 3 CD set includes radio broadcasts transmitted during this initial period of Tom Waits career, and features complete live performances recorded in; 1975 at the studios of KRQS FM, Minneapolis, featuring just Tom alone at his piano; in December 1976 at Media Sound Studios - another in studio session during which, between numbers, Tom is interviewed by the station presenter; and in 1977, back in the big apple at the famous, My Father s Place venue, out on Long Island.
Expert en polyrythmie virtuose, Nasheet Waits est un improvisateur brillant mais aussi un leader assez charismatique comme le prouve ce véritable premier album de son groupe Equality. A 45 ans, ce batteur influent du jazz contemporain s’inscrit dans l’évolution d’un jeu sans faille, subtil, fougueux, loin des codes d’accompagnement traditionnels. Son usage atypique et complexe de la polyrythmie ouvre la voie à une expression plus libre et authentique qui brille de mille feux tout au long de Between Nothingness And Infinity.
In the 1970s, Tom Waits combined a lyrical focus on desperate, low-life characters with a persona that seemed to embody the same lifestyle, which he sang about in a raspy, gravelly voice.
Time Waits for No One is the seventh album by American soul singer Mavis Staples. The album was her first on Prince's Paisley Park Records label and was released on May 24, 1989. The album includes six Prince-penned songs and two songs written by Homer Banks and Lester Snell. Shortly after this album, she continued her collaboration with Prince. In September 1989, she recorded the song "Melody Cool" which would appear in the 1990 movie Graffiti Bridge, as well as on its soundtrack, and on her 1993 follow-up album The Voice.
In his second ECM appearance (following a critically-acclaimed duo recording with Markus Stockhausen) pianist Florian Weber leads a strong cast through a programme of his compositions and sketches. Whether paying tribute to mentor Lee Konitz on “Honestlee”, impressionistically conveying the glittering “Melody of a Waterfall” or generating impactful drama out of fragments of sound on “Butterfly Effect”, Weber continually draws fresh responses from his players. “I wanted this project to be as open as possible”, he says. “It’s the idea of exploration that is important here, and the differences between the players.” The strong, grounded bass of Linda May Han Oh contrasts strikingly with Nasheet Waits’s fleet, fluid drumming, setting up new contexts for Ralph Alessi’s elegantly inventive trumpet and the leader’s highly creative piano playing. Lucent Waters was recorded at Studios La Buissonne.