Jimmie Vaughan is far more than just one of the greatest and most respected guitarists in the world of popular music. As Guitar Player Magazine notes, “He is a virtual deity–a living legend.” After all, Vaughan provides a vital link between contemporary music and its proud heritage, as well as being a longtime avatar of retro cool.
Since releasing his first solo album in 1994, he has set the standard for quality modern roots music. Throughout his career, Vaughan has earned the esteem of his legendary guitar-playing heroes and superstar peers along with successive generations of young players. His musical ethos and personal style have had an impact on contemporary culture, from spearheading the current blues revival with The Fabulous Thunderbirds to his longtime, innate fashion sense of slicked-back hair and sharp vintage threads (now seen throughout the pages of contemporary fashion journals) to becoming a premier designer of classic custom cars. But for Jimmie Vaughan, none of it is part of a crusade or a career plan. It’s just his natural way of living his life and pursuing the interests that have captivated Vaughan since his youth.
Now, with his third solo release and Artemis Records debut, Do You Get The Blues?, Vaughan has fashioned his most compelling and appealing musical statement yet, creating a rich and variegated masterpiece of 21st Century rhythm and blues. From the first notes of the opening instrumental, “Dirty Girl,” it’s clear that Vaughan has created a contemporary classic. Driven by Vaughan’s lyrical guitar work, the skin-tight drumming of George Rains and the verdant Hammond B-3 work of the song’s writer, Bill Willis (whose long career includes work on the seminal R&B and blues sides issued by King Records as well as stints with Freddie King and Lavern Baker), the song speaks volumes without a single word, and sets a tone of distinctive and emotion-laden musical articulation that continues throughout the disc.
LED ZEPPELIN 2 – THE LIVE EXPERIENCE brings you the excitement of Led Zeppelin “In Concert” by re-enacting the live improvisation & onstage interaction that earned Led Zeppelin their legendary status for performing. Rather than a “greatest hits” show, you get to experience Zeppelin as Zeppelin would have played in front of an audience.
Jim DeRogatis of The Chicago Sun-Times writes: “… Bruce Lamont, Paul Kamp and the killer rhythm section of Ian Lee and Chris Klein bill themselves as Led Zeppelin 2, and they do as good a Zep as Zep ever did back in the day.”
The original line-up of Fred Durst, Wes Borland, Sam Rivers, John Otto, and DJ Lethal are back from an eight year hiatus to bring their world back to ours. Fred Durst and Wes Borland said in a joint statement:
"We decided we were more disgusted and bored with the state of heavy popular music than we were with each other. Regardless of where our separate paths have taken us, we recognize there is a powerful and unique energy with this particular group of people we have not found anywhere else. This is why Limp Bizkit is back."
The fact that Texas music titans Joe Ely, Jimmie Dale Gilmore and Butch Hancock - on their first go-round as The Flatlanders in 1972 - were completely rejected by the country music establishment is surprising in retrospect but, ultimately, poetic. That each went on to have formidable solo careers is a testament to their talent and determination. Add to this their diverse yet complimentary styles - Joe the street-wise rocker, Jimmie Dale the mystic with the classic country voice and Butch the cerebral folk singer - and you've got a story of one of the most extraordinary kinships in American musical history.
It took these Flatlanders a mere three decades to release the sequel to their legendary debut. So the swift arrival of the group's latest New West album Wheels of Fortune - which comes hard on the heels of 2002's widely acclaimed Now Again - is a delightful and very welcome surprise. The fourteen songs that make up Wheels Of Fortune are absolute wonders of songcraft, sung by three of the most authentic voices in music today.
Joe, Jimmie and Butch initially reunited as The Flatlanders in 1998 to do a one-off recording, at the behest of Robert Redford's people, for the soundtrack of The Horse Whisperer. It was so much fun, the trio regrouped and cut an entire album. The result, Now Again, was unanimously received as a triumph. Mojo magazine dubbed them a "country Beatles." Rolling Stone gave it 3 and 1/2 stars. The Washington Post said, "Given the jaw-dropping quality of the disc, three decades almost seems a reasonable wait." Billboard raved, "An event record that lives up to all expectations." Now Again spent 17 weeks at #1 on the Americana charts and 21 weeks on the Billboard Country charts.
Few jazz groups in recent memory have amassed such acclaim, and inspired such controversy, as The Bad Plus. For over a decade, they have thnved at the intersection of jazz, indie rock and contemporary classical music, inspiring Rolling_ Stone to call them "about as badass as highbrow gets." On Made Poss1ble, the group's 8th studio album, The Bad Plus unleashes spellbinding original compositions that showcase everything this groundbreaking trio is capable of: heart-pounding acoustic anthems, bleary melancholia, fearless juxtapositions, tunefully mathy contortions and a masterful sense of song. From first listen,it's the sound of three gifted players and composers at a dizzying creative peak, proving yet again that a piano-bass-drums trio can still transport listeners to rapturous and uncharted places.
Throughout The Bad Plus' career, they have held fast to a band ethos deeply collaborative with no leader. Bassist Reid Anderson, pianist Ethan Iverson, and drummer David King make up this powerhouse collective, and together they have broken down the walls of jazz convention, creating an uncompromising body of work, while staying true to their belief in "avant-garde populism:" progressive, musically sophisticated ideas without the highbrow trappings. Their vast repertoire is
Italian pianist Beatrice Rana drew mass attention during the 2013 Cliburn Competition, capturing second prize, as well as the Audience Award. Born in Copertino, Italy, into a family of musicians, Beatrice Rana began musical studies at the age of four and made her concerto debut when she was nine.
A prizewinner many times over, Ms. Rana was named “One to Watch” by International Piano magazine just before her Cliburn appearance. Highlights of her 2013–14 season include invitations to perform with Yannick Nézet-Seguin and the Orchestre Métropolitain, Miguel Harth-Bedoya with the Fort Worth Symphony Orchestra, and Fayçal Karoui with the Orchestre Lamoureux in Paris’ Théâtre des Champs-Elysées, as well as tours of the United States arranged by the Van Cliburn Foundation.