Lacy, Andy Fitzgerald, Jerome Richardson, Bob Tricarico (reeds, woodwinds), Bob Maxwell, Margaret Ross (harp), Harry Lookofsky (tenor violin), Kenny Burrell, Barry Galbraith (guitar), Ron Carter, Paul Chambers, Gary Peacock, Richard Davis, Ben Tucker (bass), Elvin Jones (drums). Recorded at A&R Studios, New York in September, 1963; at Webster Hall, New York on April 6 and May 25, 1964; and at Van Gelder's Studio, Englewood Cliffs, New Jersey on July 9 and October 29, 1964. CD contains 5 bonus tracks. If it contained nothing else than than the ravishing slow version of Kurt Weill's ""Barbara Song,"" 1964's THE INDIVIDUALISM OF GIL EVANS would still rate as one of the greatest of '60s jazz LPs. It's possible that tenor saxophonist Wayne Shorter never surpassed his solo here, which is similar in impact to the young Stan Getz's career-defining turn on Woody Herman's ""Summer Sequence Pt. IV."" Even though the original ""Barbara Song"" from THE THREEPENNY OPERA is actually pretty jaunty, this magical arrangment still has a claim as a definitive one. Elsewhere, the undulating ""Las Vegas Tango,"" marked by an exciting solo by guitarist Kenny Burrell during the bridge, is another example of Evans at his best, which wasn't always the case since he tended to reserve his best writing for the collaborations with Miles Davis and others. The CD version offers a whole LP's worth of bonus material from the original sessions, including the swirling ""Time Of The Barracudas,"" Bob Dourough's ""Nothing Like You,"" and an extended treatment of Willie Dixon's ""Spoonful."""  (less)

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perpetuated by Tool and Alice In Chains. But by mixing the raw riffing of their peers with the machine-gun rhythms of Nine Inch Nails, they distinguish themselves from the pack. On their self-titled major label debut, they demonstrate the commitment to furthering the evolution of metal that won them a loyal fan base in New England. Singer Sully screams his way through a dozen tunes chock full of chunky guitars and moshing rhythms. In keeping with the tone of modern metal, he sings about his own demons and failings rather than vaguely defined ills of society. While no threat to Dave Mustaine or Cliff Burton, guitarist Tony and bassist Robbie have a commanding presence that emphasizes attitude and power over technique. And drummer Tommy has picked up where Lars Ulrich left off with quirky fills that add a depth to the sometimes two-dimensional rhythms.  (less)

and death-defying tricks. Features: Insane Circus-Like Tricks and Big Air - New Uber tricks take airborne stunting to the next level. Surreal, Mind-Blowing Worlds - All-new Garibaldi and Valdez courses. Garibaldi is located in the heart of British Colombia, Canada, where it's all about big air. Valdez features near-vertical sections of snow and huge cliff drops on what promises to be the scariest, edge-of-your-board course yet. Unprecedented Gameplay Controls - Second-generation rider physics provide more in-air and on-snow user control. 12 International Superstar Riders- Six all-new competitors plus six riders from the original SSX make up the circuit. Celebrity voice talent brings the characters to life. Unsurpassed Speed - Survival mode racing. Three Gameplay Modes - Compete in the World Circuit, go head-to-head in the unique Showoff (trick) versions of nine courses on the World Circuit, or just kick it in Free Ride. Sick In-Game Beats - New releases and exclusive mixes from the cutting-edge world of electronic breaks and beats by turntable all-stars Mix Master Mike (Beastie Boys), Aphrodite, The Plump DJ's, and more. DVD Media - DVD technology delivers a new 3D front end as well as exclusive behind-the-scenes and making-of footage, from voice recording sessions to off-the-mountain interaction between the riders. Fresh New Soundtrack - Music and sound effects integrate with the action to create more emotional moments before, during, and after they occur, delivering a more interactive and intelligent companion to gameplay.  (less)

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Alfred Lion. Reissue producer: Michael Cuscuna. Recorded at Van Gelder Studios, Englewood Cliffs, New Jersey on March 21, 1964. Originally released on Blue Note (4167). Includes liner notes by Nat Hentoff. Digitally remastered using 24-bit resolution by Rudy Van Gelder (1998, Van Gelder Studio, Englewood Cliffs, New Jersey). This is part of Blue Note Records ""Rudy Van Gelder"" Editions series. Japanese version features three bonus tracks in an LP-style slipcase. Trying to describe Andrew Hill's POINT OF DEPARTURE in words is like trying to explain the pictures made by a kaleidoscope--it's impossible to be completely articulate about something so magically unique. Of course, with an assembled cast that includes Kenny Dorham, Eric Dolphy, Joe Henderson, Richard Davis, and Tony Williams all in their creative prime, Hill would have been hard-pressed not to come up with a masterpiece of these proportions. The result is, indeed, a record that is a beacon of the New Thing movement, which was coming to the foreground in the early '60s. From oddly swinging cuts like ""New Monastery"" to the intricately mesmerizing ""Flight 19,"" Hill proves to be a both a pianist and composer of incomparable range as he and his legendary sidemen explore the furthest reaches of group improvisation. The churning waltz ""Refuge"" offers intense ensemble passages that constantly shift colors and textures as Williams drives the group with hurricane-like waves of cymbals. The closing ballad, ""Dedication,"" is a beautifully esoteric piece that, like the kaleidoscope, must be experienced to truly capture its true nature. For most, this will be a DEPARTURE that will take listeners on an indescribable journey.Q (9/99, p.132) - 4 stars (out of 5) - ""...[Hill] created his own brooding, pulsing, abstract style. There's some miraculous playing on this 1964 date, and Rudy Van Gelder's remastering allows it all to shine through..."""  (less)

Englewood Cliffs, New Jersey on June 13-20, 1979 and live at Yomiuri Hall, Tokyo, Japan on April 8-9, 1978. Includes liner notes by Chip Stern. VERY RARE documents two superb sessions lead by the legendary drummer. Elvin Jones is in fine form on both 1978 studio session and 1979 live concert. Jones' ability to play with great power, yet accompany soloists with a nimble sensitivity, is a sign of his drumming genius. He knows when to spur his bandmates on to reach higher musical vistas, and when to lay back and give them space, an acute and rare musical intuition. Highlights include the album's opener, ""Sweet Mama,"" which finds Jones unleashing a barrage of dexterous counterpoint on drums and cymbals, and the 26-minute live version of John Coltrane's famous opus, ""A Love Supreme,"" which serves as a kind of homage to the great musician.JazzTimes (12/93, p.67) - ""...[VERY RARE] is a wonderful example of [Elvin] Jones' strengths as bandleader, as drummer, and as musical collaborator ....Suffice it to say that the concentration of the studio dates stands in majestic contrast to the athletic stretches of the concert hall--and that both repay repeated listenings...."""  (less)

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Jones (drums) for this album, and these musicians were already forming the concepts they would unleash on the Coltrane session. But the music on INNER URGE is unique, too, namely in its improvisational approach. Henderson and company span the gaps between hard-bop and avant-garde jazz with greater ease and cohesiveness than many of their contemporaries, a quality best evidenced on the title track. INNER URGE was Henderson's fourth date as a leader for Blue Note Records, and the first time he set out to record without his trusted friend, trumpeter Kenny Dorham. This release features ""Isotope,"" now a well-known Henderson tune, and a lively version of the standard ""Night and Day."" Clearly the record's most memorable track, however, is the explorative ""El Barrio,"" a droning piece that offers listeners a plethora of rich musical textures, modal detours, and percussive explosions."  (less)

by Stanley Dance. Digitally remastered by Erick Labson (MCA Music Media Studios). Coleman Hawkins recorded three sessions for Impulse Records in the early to mid '60's. Of the three, TODAY AND NOW is the most compelling. The unusual choice of repertoire is what sets this album apart. Versions of the traditional song ""Go Li'l Liza"" and the fairly obscure Quincy Jones ballad ""Quintessence"" are creatively rendered. Indeed, Hawk seems inspired throughout; he plays with an abandon that is altogether effortless. Moreover, his band (consisting of pianist Tommy Flanagan, bass player Major Holley, and drummer Eddie Locke) backs the tenor king up with a similar imaginative approach. A largely impromptu session, each song develops and evolves with each chorus. The Bean's (one of Hawkins' nicknames) interplay with Flanagan on the mid-tempo swinger, ""Swingin' Scotch"" is the album's highlight. Indeed, this is one of Hawkins' last great records.Q (12/96, p.154) - 3 Stars (out of 5) - ""...Hawk's sound still seems huge with little effort, his notes as wide and looming as thunderclouds...a good quartet featuring the all-but-psychic piano of Tommy Flanagan, and the repertoire is ostensibly folksy...but casually transformed by Hawkins' sonorous purr..."""  (less)

URGE bears some resemblance to Coltrane's later work. This is no surprise since Henderson employed McCoy Tyner (piano) and Elvin Jones (drums) for this album, and these musicians were already forming the concepts they would unleash on the Coltrane session. But the music on INNER URGE is unique, too, namely in its improvisational approach. Henderson and company span the gaps between hard-bop and avant-garde jazz with greater ease and cohesiveness than many of their contemporaries, a quality best evidenced on the title track. INNER URGE was Henderson's fourth date as a leader for Blue Note Records, and the first time he set out to record without his trusted friend, trumpeter Kenny Dorham. This release features ""Isotope,"" now a well-known Henderson tune, and a lively version of the standard ""Night and Day."" Clearly the record's most memorable track, however, is the explorative ""El Barrio,"" a droning piece that offers listeners a plethora of rich musical textures, modal detours, and percussive explosions."  (less)