Miles Davis shocked the music world in 1985 when he left Columbia Records after 30 years to join Warner Bros. Records. In October of th at year, he began recording the album Rubberband in Los Angeles at Ameraycan Studios with producers Randy Hall and Zane Giles. The musical direction Davis was taking during the sessions marked a radical departure, with the inclusion of funk and soul grooves; with plans to feature guest vocalists Al Jarreau and Chaka Khan. Eventually, the album was shelved and Davis went on to record Tutu, leaving the Rubberband songs unheard and untouched for over 30 years.
Recorded 1985
Studio
Ameraycan Studios
Utopia Studios (new recordings)
The Village (Ledisi Lalah Hathaway, Isaiah Sharkey, and Vince Wilburn, Jr.)
Dot's Way Recorders (Munyungo Jackson and Vince Wilburn, Jr.)
Miles Davis – trumpet, keyboards, synthesizers, bandleader
Additional musicians
Randy Hall – on "I Love What We Make Together", production on 1985 sessions
Lalah Hathaway – vocals on "So Emotional"
Ledisi – vocals on "Rubberband of Life"
Mike Stern – lead guitar on “Rubberband
Technical personnel
Zane Giles – production on 1985 sessions
Vince Wilburn, Jr. – production for 2019 release

山根麻衣（英文名Mai Yamane，日文也写作山根麻以），日本创作女歌手，自由音乐人。

19歳の時の初期アルバム。今,ファンに人気のあるMOBO倶楽部のような明るさはなく,中低音を自在に動きまわるオーソドックスなジャズを聴ける一枚だ。10歳以上の先輩たちを前にして,こういう演奏をしていたのだから香津美少年は恐しい。

24bit digitally remastered.

Harriet Tubman: The Band have long been pioneers in the furthering of creative music. Blending elements of jazz, rock, funk and progressive music, the Trio consisting of guitarist Brandon Ross, bassist Melvin Gibbs and drummer JT Lewis has always strove to push the boundaries of musical expression. Ascension finds Harriet Tubman with the addition of guests, trumpeter Ron Miles and turntablists DJ Logic and DJ Singe, as they pay homage to the large ensemble works of John Coltrane and Ornette Coleman.

This brand-new project from the legendary guitarist features an orchestral suite performed by I Pommeriggi Musicali di Milano as well as a number of classic standards. Thieves and Poets marks a welcome return to form by McLaughlin. It is his first new studio album in nearly six years. The new CD begins with the three-part suite "Thieves and Poets," which McLaughlin says "is in a way, a story of my musical journey through life." The cinematic piece features McLaughlin on acoustic guitar along with the orchestra, conducted by Renato Rivolta.

Also featured on the second and third part of the suite, as well as the album's four standards, is The Aighetta Quartet (Olivier Fautrat, Francois Szvnyi, Alexandre Del Fa, and Philippe Loli). This acoustic guitar group can also be heard on McLaughlin's 1993 Verve release, Time Remembered: John McLaughlin Plays Bill Evans. Helmut "Hell" Schartlmueller contributes to the same tracks on acoustic bass guitar.

Line-up/Musicians
- Remigius Drechsler / guitar
- Hennes Hering / keyboards
- Moran Neumüller / vocals, saxes
- Klaus Spöri / drums
- Stefan Wisheu / bass
The three albums the band made in their prime were all drastically different from each other yet so unmistakably OoF. Their music is absolutely theirs and sound like nothing else and although they are Germans, I hesitate to call it Krautrock or as some call it Krautjazz. They develop a strange mix of psyched-out rock with a good sense of jazz rock (although not quite as much in this debut album), add a good dose of flute/sax dominated prog rock and give themselves a maximum space for instrumental interplay even if Moran’s voice holds an important role (and is an acquired taste in the same way that Peter Hammill or Roger Chapman are an acquired taste) with some non-sensical lyrics laying out their hippy ideals. With an abstract artwork this debut album (released on the legendary Kuckuck label) is aptly named Wake Up, even if the goal is to send you into dreamy trip, the music is raw, just the way the Germans liked it, reminiscent of their crosstown colleagues of Amon Duul II.
Right from the first repetitive note of Drechsler’s guitar, soon underlined by Herring’s organ and Moran Neumuller’s flute, in the opening White Negro, you just know you’re flying in a wonderful universe where time seems to be a very random dimension and the dreamy soundscapes are an invitation to tripping around the universe. The tougher-sounding God Save The Queen is more of rougher guitar-lead early 70’s UK proto-prog ala EBB or BechKendel, but the middle section shared between the folky flute and the organ is a great counter-point using the full dynamics contrasting with the return of the opening section. Hey John is an almost 10-minutr wild flute-lead jam that can sound like Deep Purple’s Mandrake Root in the middle.
The flipside jumps at your throat with the short but powerful No Name track that could easily be called You’re Wasting Time, and even if there are obvious flaws in recording levels, this track is most likely to also claim the album’s title, Wake Up! World’s end is a fairly doomy track that still trails a bit of 60’s into it, sometimes reminding of Floyd (Herring’s organ and Spori’s drumming sound like early Floyd circa Saucerful Of Secrets), while Moran’s flute is more reminiscent of Traffic’s Chris Wood and the guitar reminding us a bit of Krieger in The Doors’ epic track The End. Ending the album is the lengthy Dark Darker track, which is a bit disjointed in its psyched-out moods especially Moran’s flute racing up and down the ladder of sanity. This is one track where the group shows an excellent aptitude at light improvisation that lead to wild jamming, a thing that we would see much more of in the next three albums. Again the raw sound gives the impression that this record could’ve easily been recorded live in the Anglo-Saxon world, with only the approximate accent of Moran giving a hint otherwise. The closing section is a hard-driving Atomic Rooster-like heavy prog.
As with most German band singing in English, the vocals are not perfect but this is very minor as the lyrics are easily understood and are of a very social/political nature. This only adds to the quality of the music. Technically brilliant!

Japanese pressing. Konami. 2005.