May 01

George Thorogood and The Destroyers – George Thorogood and The Destroyers (1977/2003)
FLAC (tracks) 24 bit/88,2 kHz | Time – 46:53 minutes | 952 MB | Genre: Pop, Rock
Official Digital Download – Source: | Digital Booklet | © New Rounder Records

Rockin’ rhythm ‘n’ blues in the style of Chuck Berry, Bo Diddley, John Lee Hooker and Elmore James. This hard-rocking trio from Newark, Delaware started off playing for hard-core blues fans in small clubs in the ’70s, became for a few years Rounder’s biggest-selling act. This is the album that started it all. Heavy on his bluesy guitar playing, this album serves as the prototype for all future Destroyer records. The 1977 classic also contains their crowd pleasing rendition of John Lee Hooker’s “One Bourbon, One Scotch, One Beer.”

Recorded 1977 at Dimension Sound Studios in Boston, Massachusetts.

01. You Got To Lose (00:03:22)
02. Madison Blues (00:04:34)
03. One Bourbon, One Scotch, One Beer (00:08:30)
04. Kind Hearted Woman (00:04:25)
05. Can’t Stop Lovin’ (00:03:11)
06. Ride On Josephine (00:04:26)
07. Homesick Boy (00:03:12)
08. John Hardy (00:03:28)
09. I’ll Change My Style (00:04:08)
10. Delaware Slide (00:07:55)

George Thorogood – electric guitar, acoustic guitar, harmonica, lead vocals
Jeff Simon – drums
Billy Blough – bass
Ron Smith – guitar

Recording engineer: John Nagy
Mastering engineer: Jonathan Wyner

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May 01

George Thorogood and The Destroyers – Move It On Over (1978/2003)
FLAC (tracks) 24 bit/88,2 kHz | Time – 40:57 minutes | 840 MB | Genre: Pop, Rock
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Digital Booklet | © New Rounder Records

Thorogood’s (and Rounder Record’s) first gold record. Thorogood & the Destroyers take on a wider range of tunes than on their blues-based debut, here adding their distinctive stamp, er, stomp! to Johnny Cash’s “Cocaine Blues,” and their hit rendition of the title tune, originally done by Hank Williams. Plenty of the hard blues stuff, too, including “The Sky Is Crying,” Chuck Berry’s “It Wasn’t Me,” and more. Originally released in 1978.

In 1978, George Thorogood was just beginning to make some noise on the blues-rock circuit. This was his second album, and what’s now almost a cliché then sounded fresh and vital. Thorogood’s energy, rousing vocals and driving guitar playing came roaring through on inspired covers of Elmore James’ “The Sky Is Crying,” Bo Diddley’s “Who Do You Love” and Chuck Berry’s “It Wasn’t Me.” He even did a credible Piedmont blues on Brownie McGhee’s “So Much Trouble.” While Thorogood went on to make more commercially succesful albums, the spirit and innocence in his early releases has seldom been duplicated. This Rounder CD reissue returns him to a simpler, and in some ways superior, period.

01. Move It On Over (00:04:21)
02. Who Do You Love? (00:04:22)
03. The Sky Is Crying (00:05:18)
04. Cocaine Blues (00:02:56)
05. It Wasn’t Me (00:04:07)
06. That Same Thing (00:03:10)
07. So Much Trouble (00:03:22)
08. I’m Just Your Good Thing (00:03:36)
09. Baby Please Set A Date (00:04:51)
10. New Hawaiian Boogie (00:04:44)

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May 01

Gary Peacock – Voices (1971) [Japanese Reissue 2007]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 53:03 minutes | Scans NOT included | 2,13 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans NOT included | 1,00 GB
Genre: Jazz

After touring with Albert Ayler, Peacock took time off from music & moved to Japan in 1969, where he studied eastern philosophy & medicine. This album featuring a quartet composed of Peacock & 3 Japanese players. The music is at times very minimalist, with Gary Peacock’s bass dominating the pieces most of the time.

01. Ishi
02. Bonsho
03. Hollows
04. Voice From The Past
05. Requiem
06. Ae. Ay.

Recorded at Mohri Studio, Tokyo, April 5, 1971.

Gary Peacock – Bass
Kikuchi Masabumi – Piano, Electric Piano
Hiroshi Murakami – Drums (tracks: 1 to 3,5,6)
Masahiko Togashi – Drums (tracks: 1 to 4,6)

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May 01

Gary Peacock Trio – Now This (2015)
FLAC (tracks) 24 bit/96 kHz  | Time – 00:57:54 minutes | 1,16 GB | Genre: Jazz
Official Digital Download – Source: | © ECM Records GmbH
Recorded: July 2014 at Rainbow Studio, Oslo

In the realm of the piano trio the bar is set high, and creative bassist Gary Peacock has helped raise it in the groups of Bill Evans, Paul Bley and Keith Jarrett. ‘Now This’ is an album with the bassist’s current trio, recorded in the summer of 2014 in Oslo and issued in time for Peacock’s 80th birthday (on 12 May, 2015).

Powerful new versions of some Peacock classics – such as ‘Moor’, ‘Vignette’, ‘Requiem’ and ‘Gaya’ – are interspersed with recent compositions. Pianist Marc Copland and drummer Joey Baron each contribute tunes, and the group also tackles Scott La Faro’s ‘Gloria’s Step’. In this band, roles are very evenly shared, and this is an optimum context in which to appreciate the melodic invention of Peacock’s bass playing. Marc Copland always honours the needs of the compositions and Joey Baron supplies both drive and sensitive detail.

Born in Idaho, Gary Peacock has earned renown as one of the most versatile and searching bass players in jazz over the past five decades. One of his earliest influences was innovative saxophonist Albert Ayler, with whom Peacock performed and recorded in the 1960s. Since the early 1980s, the bassist has been adding contemporary twists to jazz standards in the globally popular trio with Keith Jarrett and Jack DeJohnette.

In New York City in the 60s he performed with, amongst others, George Russell, Archie Shepp, and Paul Bley, became part of pianist Bill Evans’ trio and recorded in a second trio with Bley and Paul Motian. He began his long association with ECM in the 70s, releasing ‘Tales of Another’ (with Jarrett and DeJohnette) in 1977 and ‘December Poems’ a year later. Along with his subsequent ECM albums as leader, Peacock has made duo albums with guitarist Ralph Towner, as well as recordings with Bley, Marilyn Crispell, John Surman and Bill Connors.

1. Gaia 06:42
2. Shadows 05:02
3. This 05:45
4. And Now 04:35
5. Esprit de Muse 06:16
6. Moor 05:18
7. Noh Blues 05:49
8. Christa 04:44
9. Vignette 04:57
10. Gloria’s Step 04:00
11. Requiem 04:48

Marc Copland, piano
Gary Peacock, double bass
Joey Baron, drums

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May 01

Gary Peacock, Marilyn Crispell – Azure (2013)
FLAC (tracks) 24-bit/48 kHz | Time – 59:10 minutes | 516 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: AcousticSounds | Artwork: Digital booklet | © ECM

Azure features beautiful duets by two great improvisers who proved their compatibility long ago. Bassist Gary Peacock and pianist Marilyn Crispell made some outstanding music together in Crispell’s trio with late drummer Paul Motian, but their duo project also has an extensive history, until now unrecorded. With their shared sense of lyricism, their individual compositional styles and their profound background in free playing, Peacock and Crispell are exceptional musical partners. The album, self-produced in upstate New York, home territory for both musicians, contains pieces written by each one, duo improvisations and highly inventive piano and bass solos.

The release of Azure, a duo recording by bassist Gary Peacock and pianist Marilyn Crispell, may have been inevitable, but it sure was a long time coming. Peacock and Crispell have played together on tour for years, but this is their first opportunity to record as a pair. Under Crispell’s leadership, they teamed with the late Paul Motian on two of the finest piano trio offerings of the last two decades: Nothing Ever Was, Anyway and Amaryllis. There are three tunes composed by each artist, three duo improvisations, and each has a solo track. Crispell’s “Patterns” opens the proceeding on a lively note. A complex, knotty, muscle-flexing duet that is full of quick call-and-response motivic thought and counterpoint, it reveals the duo’s considerable dialogic power. On the other end of the spectrum is Peacock’s lovely, melodic “The Lea,” which extends naturally from both the folk and blues traditions. He opens with his solo; it states its loose theme followed by his improvisation upon it for half the tune’s length. When Crispell enters, she underscores the song-like nature of the piece, painting its frame with melancholy, minor-key chord voicings, and brief, luxuriant fills. The set’s longest cut, “Waltz After David M,” by Crispell, is elliptical and graceful with a gorgeous melody. Peacock’s support offers avenues for more expansive – yet subtle – thought in the middle’s long improvisational section. Though these pieces are quite satisfying, the duo’s real poetic is displayed in their improvisations, especially the hypnotic “Blue,” with Crispell’s Monk-tinged chords and tight, angular lines. Peacock’s playing reveals so much wood in his tone that it feels percussive – despite his continual bluesy, swinging riffs and vamps. The title cut that closes the proceeding is crystalline, full of space, elegance, and grace. It sounds like the seamless interplay between the two is not improvised but composed and arranged. On Azure, the effortless communication between these players is like a conversation that is so intimate it can, at times, feel as if the listener is eavesdropping. Hopefully these two will be motivated to do this again.

01 – Patterns
02 – Goodbye
03 – Leapfrog
04 – Bass Solo
05 – Waltz After David M
06 – Lullaby
07 – The Lea
08 – Blue
09 – Piano Solo
10 – Puppets
11 – Azure

Produced by Gary Peacock and Marilyn Crispell. Engineered by Chris Andersen.
Recorded January and February 2011 at Nevessa Production, Saugerties, New York.

Gary Peacock – double bass
Marilyn Crispell – piano

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