Johnny Cash - Live at Town Hall Party 1959 - VINYL LP

Mary Elizabeth Bowden, praised for her Inchsplendid, brilliantInch artistry (Gramophone), celebrates the narrative power of the trumpet with Storyteller Contemporary Concertos for Trumpet. Bowden is joined by the Chicago Youth Symphony Orchestra and conductor Allen Tinkham in a collection of new concertos that redefine the trumpet's voice in modern classical music. This recording, a testament to Bowden's commitment to expanding the trumpet repertoire, features world premiere recordings of works by James M. Stephenson, Clarice V. Assad, Vivian Fung, Tyson Gholston Davis, Sarah Kirkland Snider, and Reena Esmail, showcasing the richness and versatility of contemporary classical trumpet music. Two works by James M. Stephenson bookend the program The Storyteller, which pays homage to legendary trumpeter, Adolph Herseth, and Scram!, a spirited display of musical virtuosity. Clarice Assad's Bohemian Queen draws it's inspiration from the life and visual art of Gertrude Abercrombie, known as Inchthe queen of the bohemian artistsInch and active in Chicago's jazz circles. Assad's concerto integrates the classical form with the spontaneity of jazz. Vivian Fung's Trumpet Concerto is written for and inspired by Bowden's pioneering journey as a female trumpeter in a male-dominated field. This continuous, episodic work traverses a spectrum of emotions - from struggle to triumph - culminating in a celebratory frenzy that challenges and expands the instruments' traditional boundaries. Tyson Davis's Veiled Light is a musical interpretation of a James Abbott McNeill Whistler painting, Nocturne in Black and Red, conveyed through an exploration of light and shadow. The piece captures the artwork's serene yet dynamic

Recorded November 15, 1958 - All tracks previously unissued on LP. FIRST TIME ON VINYL-The birth of country cool! The Johnny Cash you hear on these two remarkable live performances is not the venerable legend of today. This was the young, feral Cash, full of piss, vinegar and sly orneriness. Even to those who know every note, joke and guitar lick on Johnny Cash At Folsom Prison or San Quentin, hearing Cash in his prime, aided and abetted by the Tennessee Two, guitarist Luther Perkins and bassist Marshall Grant, is a revelation. These historic documents, sourced directly from the 1958 and 1959 kinescope reels, capture Cash in his most revolutionary days, laying the bedrock of all that was to come and-despite age and infirmities-continues today.

Emerging with a labyrinthine work of creativity constructed with an intensity both unrelenting and precise, Voidceremony return with their signature sound, an abstract and scathing zone of musical obscurity rife with cynicism toward humanity. Abditum, the third full length album, unfurls with a sense of arcane design where twisting riffs clash and converge in unforeseen sequences. Composed by Wandering Mind (aka Garrett Johnson) the otherworldly riffing spirals into altered shapes, conjuring tones that veer between luminous clarity and abyssal murk. Joined in the darkness by guitarist The Archonoclast (Jayson McGehee), Dylan Marks on drums and bass co-conspirators The Great Righteous Destroyer (Damon Good) and The Absent Deity (Ben Ricci), in tandem they create a cacophony of hellish jazz-inflected discord and unpredictable texture; every composition a descent into shifting caverns, where sudden openings reveal hidden pathways only to close again with finality.Existing within an unawakened mind, contemplate a journey through the landscapes of Abditum, a region replete with the harmonies of the spheres and ever evolving chaos. These elements create a world that is alien yet meticulously considered. Voidceremony once again resists easy grasp, demands immersion and rewards repeated exploration, materializing new contours perpetually.