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Brian Auger

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The music of "Bumpin' on Sunset" perambulates throughout our household, casting a relaxing, hypnotic spell on everybody and everything as my brother blasts Straight Ahead again and again in the Fall of 1974.   Thus, Brian Auger became absorbed into me, helping to reveal to me my innate preferences--the stuff that was conditioned in my DNA for future choice. I did not, however, ever even think to explore other albums of Mr. Auger's creation--until very recently. And now, having heard and integrated Mr. Auger's discography from the 1960s to the end of the 1970s I am so glad for it! I have enjoyed the amazing journey of growth and experimentation that Brian traveled from his start in blues through all of his experiments with folk, jazz, funk and pop-oriented in their purest forms as well as in their most "fused" versions. Why his collaborators rarely get cited for their significant talents and contributions to the evolution of blues, blues-rock, rock, folk,...
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Miroslav Vitous

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Czechoslovakian-born bassist Miroslav Vitous was a child prodigy who's scholarship to the famed Berklee College of Music in Boston, MA spawned a very successful career in music that became firmly-based in the United States. Despite early appearances and collaborations with noted musicians in his home country in his teen years, it was the connections made through Berklee (with country-mate Jan Hammer) and New York-based mentor Herbie Mann that paved the way for Miroslav's explosion onto the jazz and jazz-rock fusion music scene. Before his 24th birthday he had secured prominent roles on albums (and gigs with) Herbie Mann, Roy Ayers, Steve Marcus, Sonny Sharrock, Jack DeJohnette, Chick Corea, Larry Coryell, and Wayne Shorter as well as played with the likes of Herbie Hancock, John McLaughlin, Billy Cobham, Joe Zawinul, and Sadao Watanabe.      After four albums with Herbie Mann, the influential bandleader rewarded the bass phenom with an album of his own on his brand new fl...
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