Aldo Romano

   
Artist: Aldo Romano

   Genre(s): 
Jazz
   

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Discography:


   
 Oceans in the Sky

   Year: 2006   
Tracks: 10


   
 Ten Tales

   Year: 2003   
Tracks: 11

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Although born in Italy, Aldo Romano touched to France with his family at a young age. He was already playacting guitar and drums professionally in Paris in the '50s when he heard Donald Byrd's chemical group with drummer Arthur Taylor. Since then, he has consecrate himself to the drums and present-day malarky. In Paris jazz clubs like le Chat Qui Pêche and the Caméléon, Romano has accompanied visiting Americans like Jackie McLean, Bud Powell, Lucky Thompson, J.J. Johnson, and Woody Shaw patch as well exploring disembarrass music with Don Cherry and Gato Barbieri, Frank Wright and Bobby Few, Michel Portal, François Tusques, Jean-Louis Chautemps, and Steve Lacy. Romano's limitless peculiarity for whatsoever surviving euphony brought him in contact with electric jazz in the '70s, playing at the Riverbop with longtime associate/bassist Jean-François Jenny-Clark, in summation to François Jeanneau, Henri Texier, Charlie Mariano, and Philip Catherine. In 1978, he released his first gear album as a loss leader with Claude Barthélémy (Il Piacere, OWL), followed by 1980's Night Diary with Didier Lockwood and Jasper Van't Hof, and 1983's Alma Latina with Philip Catherine. In 1980, Romano brought pianist Michel Petrucciani to the world's attention, introducing him to the manufacturer of Owl Records. His Italian roots were fondly remembered with the foundation of his Italian Quartet with Paolo Fresu, Franco D'Andrea, and Furio Di Castri. The four recorded To Be Ornette to Be and Water Dreams (Owl) and Non Dimenticar, a collection of Italian songs (Vitality). Palatino -- named for the Rome-Paris night prepare -- likewise includes Fresu, with Glen Ferris on trombone. Intervista (Vitality, 2001) -- with bassist Palle Danielsson, saxophonist Stefano di Battista, and Brazilian guitarist Nelson Veras -- is a gorgeously played overview of his musical life history, with Ornette Coleman-ish tunes, Latin-American compositions, and operatic arias; a bonus CD contains a charming interview.

Jackson Promotion Pulled

JANET JACKSON has another album flop on her hands - bosses at her record label have ceased promoting DISCIPLINE and there are no more single releases planned.
Jackson, who once broke chart records with seven U.S. top five hits from one album - Rhythm Nation 1812, has scored only one hit from her new release, Feedback.
And there are no plans to try to top that.
In a disappointing email correspondence to celebrity blogger Perez Hilton, Jackson writes, "We started off with Feedback and the label and myself haven't quite seen eye to eye since the Feedback single so they've kind of basically stopped all promotion.
"I'm trying to figure out a way to say this, but just to say it and to be quite honest, they just stopped all promotion whatsoever on the album, so I don't think you're going to hear another single off this album."
At the height of her popularity, Jackson scored 19 hit singles from just three albums - Control, Rhythm Nation: 1812 and janet. And she still holds the record for scoring number ones in America from the same album, over three successive years.

Empire

   
Artist: Empire

   Genre(s): 
Metal
   Other
   

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Discography:


   
 Chasing Shadows

   Year: 2007   
Tracks: 10


   
 Leeches

   Year: 2004   
Tracks: 10

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Empire had its origins in the demise of the dance band Flash -- in fact, for a short patch its name was just Flash Mk. II. Guitarist Peter Banks, once of Yes, emerged from management disputes of Flash to attract together a band of jam-mates in the loosely integrated ZOX and the Radar Boys. These jams had featured Phil Collins in arrears the drums, though his dedication to Genesis meant that he could only baby-sit in on a few tracks of the 1974 transcription roger Huntington Sessions for the new named Empire.


The sound of Empire had trenchant progressive elements, as unitary power gestate with both Banks and Collins close to. Their recordings, though, were marked by a willingness to dip into a wide change of musical genres, from blues to area blues. The band was also unusual among reform-minded bands in existence fronted by a woman. Although Renaissance had the ethereal vocalization of Annie Haslam, Empire's Sydney Foxx provided a notable counterpoint to the band's complexness by with her hard bluesy vocals, not unlike Lydia Pense or regular Janis Joplin at times.


Empire's put to work brought small success, though. Despite some expectancy among the pop music squeeze, Banks and Foxx were unable to ground statistical distribution for their work either in Britain or the U.S. Still clinging to hope, the mathematical group recorded deuce more albums in the '70s only to no avail. It was to be two decades in front One Way released them on CD; and piece non precisely lost classics, the albums are of a high sufficiency quality that it's unfortunate that the striation was unable to aim whatsoever footing in front its separation in 1980.





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