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The album art of other musicians has been influenced by Blue Note's covers, including Elvis Costello's Almost Blue (1981), whose cover is an homage to Burrell's Midnight Blue (1963), Van Morrison's The Skiffle Sessions – Live in Belfast (1998), which has a cover inspired by Blakey's Free for All (1965), and Aesop Rock's Float (2000), whose ...
Heartbeat City is the fifth studio album by American new wave band the Cars, released on March 13, 1984, by Elektra Records. This marks the band's first album not produced by long-time producer Roy Thomas Baker , instead opting to produce with Robert John "Mutt" Lange .
"Heartbeat City" is a song by American rock band the Cars from their fifth studio album of the same name (1984). It was released in September 1985 as the album's sixth and final single. It was released in September 1985 as the album's sixth and final single.
Penguin Guide to Jazz: Crown Albums List (1st – 8th editions; not affiliated with the publisher or authors) Penguin Guide to Jazz: Core Collection List (1st – 8th editions; not affiliated with the publisher or authors)
Rob Bamberger is a jazz historian and collector best known for his long-running program Hot Jazz Saturday Night, which has run for more than 40 years on WAMU Radio, 88.5, a public broadcasting radio station in the Washington, D.C. area.
He signed with the jazz record label Inner City Records and recorded his first album, Nite Ride (1980). His second album, The Hot Spot (1982), reached the top 10 of the jazz chart in Billboard magazine. [2] He moved to Los Angeles and composed music for movies and television. In 1986, he signed with Epic Records and released a series of smooth ...
Paul Bacon (December 25, 1923 – June 8, 2015) was an American book and album cover designer and jazz musician. He is known for introducing the "Big Book Look" in book jacket design, and designed about 6,500 jackets and more than 200 jazz record covers.
In Aaron J. West's introduction to his analysis of smooth jazz, "Caught Between Jazz and Pop" he states, "I challenge the prevalent marginalization and malignment of smooth jazz in the standard jazz narrative. Furthermore, I question the assumption that smooth jazz is an unfortunate and unwelcomed evolutionary outcome of the jazz-fusion era.