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This is a beta 3.4a version of the Circular Orbit program written by TeJaun RiChard, a senior at Shaw High School in East Cleveland, Ohio, during a shadowing experience in July 2012 for Future Connections, Ian Breyfogle, a senior at Kent State University, and Tom Benson from NASA Glenn.

Given the label and roster here, one should have a good idea of what's in store for: fusion guitar giants performing well played, immaculately produced songs written or popularized by.And that's what it delivers, but while some of the performances areimpressive, the overall sound seems to place more emphasis on techniqueand production than the spiritual passion embodied by.Each player is backed by electric bass, drums, Hammond organ and rhythmguitar, giving each song an almost-funky smooth jazz vibe. This worksfairly well on songs like 'Mr. Syms' and 'Village Blues,' but it'spretty inappropriate for 'Resolution' (part of the 'Love SupremeSuite'), where the solemn spirituality of the original is completelyundermined by the upbeat backing. On most of the other songs, once thehead of the tune is stated, they all begin to sound the same since everytune is given exactly the same treatment. 'Afro Blue' is one of thealbum highlights, with 's distorted tone giving a bit of edge to the sound, does a nice 'My Favorite Things,' and turns in a couple of fiery solos.

'stake on 'Village Blues' is also well done, but the other tracks end upall blending together. None of this is bad, mind you, and the folks whoare into the Tone Center/Shrapnel sound will be pleased and perhapsspurred to investigate more music from the jazz spectrum. Keep in mindthat this is an album geared for fusion/guitar fans much more than fans, and you shouldn't be disappointed.John Coltrane's musical virtuosity not only influenced sax players, butalso composers and soloists on many other instruments. A GuitarSupreme: 'Giant Steps In Fusion Guitar'brings together the creme de la creme of jazz/fusion guitarists withMike Stern, Larry Coryell, Eric Johnson, Steve Lukather, Greg Howe, JeffRichman, Frank Gambale and Robben Ford, paying a guitar tribute to oneof the most influential jazz musicians of all time. These phenomenalguitarists approach their lead solos with a respect and energy whichrenders their contributions to 'A Guitar Supreme' among their greatestindividual works to date. Additional musicians include Alphonso Johnsonon bass, Tom Brechtlein on drums and Larry Goldings on keyboards.Track Listings. Giant Steps5.

My Favorite Things6. Central Park West/Your Lady9. Village Blues11. SatellitePersonnel:Eric Johnson (guitar on 'Resolution'),Jeff Richman (guitar on 'Afro Blue,' 'Central Park West/Your Lady'),Steve Lukather (guitar on 'Crescent'),Greg Howe (guitar on 'Giant Steps,' 'Mr.

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Syms'),Mike Stern (guitar on 'My Favourite Things,' 'Equinox'),Frank Gambale (guitar on 'Naima,' 'Lazy Bird'),Robben Ford (guitar on 'Village Blues'),Larry Coryell (guitar on 'Satellite'),Larry Goldings (organ),Alphonso Johnson (bass),Tom Brechtlein (drums). 25th Anniversary Box Set is a 1993 limited edition box set by.It includes some of the band's best-known compositions from 1969 to1992, many of them previously unavailable in the versions presentedhere.

It was the second Jethro Tull in five years, the first being the 3CD/ 5LP/ 3Cassette.Four CDsThe CDs are housed in a mock cigar-box, along with a bookletfeaturing extensive notes and photographs, sealed with a label bearingan image of Ian Anderson.The four CDs are:. Remixed Classic Songs: remixes some older tracks (77:06). Carnegie Hall, N.Y., Recorded Live New York City 1970:benefit concert for Phoenix House to rehabilitate drug abusers. This CDomits 'By Kind Permission Of' and 'Dharma For One', due to CD timeconstraints. Both can be found on the compilation.

This performance was later released again in an expanded edition of. (60:28). The Beacons Bottom Tapes: new recordings, mostly of older tracks (71:07). Pot Pourri, Live Across The World & Through The Years: live (1969–1992) (77:43)Where the first box five years earlier, mostly traded on radio broadcast performances and rarities, a few outtakes, and a remastered collection of key songs, benefits from a more thorough raid on the vaults that has yielded up one essential addition to anycollection. Disc two is the centerpiece of the set, containing anadditional hour of the group's November 4, 1970 concert at Carnegie Hallin New York (two pieces were previously issued on ).Preserved on a 16-track master tape, this benefit show for the drugrehabilitation program Phoenix House was the group's most prominentAmerican gig up to that time. It's a good representation of what theband sounded like in its second incarnation, when they were stillestablishing themselves outside of England. The Complete Original Mahavishnu Orchestra Columbia Albums Collection (5 CDs):1 The Inner Mounting flame (1971)2.

Birds Of Fire (1973)3. The Lost Trident Sessions (1973)4. Between Nothingness and Eternity (1974)5.Bonus Disc: Between Nothingness And Eternity Disc 2The Complete Columbia Albums Collection features the output of the original (, and ).When it was released in 2012, this compact box set sold for roughly thesame price as two full-price CDs. It contains the studio albums (1971) and (1973). The live release (1973) is joined by Unreleased Tracks from Between Nothingness & Eternity,which features three cuts from the same August 1973 Central Parkperformance documented on the original, along with another three cutsrecorded the previous night at the same location.

The fifth and finaldisc is the 1999-released. As with similar Legacy sets for, and,the discs are in durable LP replica sleeves that feature all-originalartwork reproductions. Full credits are listed in the 15-page booklet,which also includes brief notes from and.The Mahavishnu Orchestra, in its original incarnation, lasted just fouryears, but in that brief time, the pioneering quintet set both thetemplate and the high-water mark for fusion music. No band ever rockedas hard in a jazzy place as guitarist John McLaughlin's chargingensemble.McLaughlin had already built a firm reputation in hisnative England as a keen improviser with blues and rock leanings when hewas invited by drummer Tony Williams in early 1969 to join him in NewYork. Almost immediately, McLaughlin was swept up into the veryepicenter of the burgeoning fusion movement, appearing on in 1969 alonethree of the genre's most significant recordings: Emergency! (by thenewly-formed Tony Williams Lifetime) and In a Silent Way and BitchesBrew, the epochal Miles Davis albums that kick started fusion.Whenit was time for McLaughlin - who, in his initial New York stay, hadquickly developed from a gifted player to a brilliant one - to form hisown band, he brought together musicians who could apply full-force rockenergy to improvisatory jazz skill. Keyboardist Jan Hammer, violinistJerry Goodman, and drummer Billy Cobham were each extravagant virtuososeager to match McLaughlin at his own game; bassist Rick Laird containedthe passion with his steady bass lines.

Dubbed the Mahavishnu Orchestra,the new band released its debut recording, The Inner Mounting Flame inAugust of 1971: fusion as we know it was now fully born.Youngerlisteners raised on rock responded to the band's vitality andextraordinary musicianship; before long The Mahavishnu Orchestra wasappearing with the likes of The Byrds and Aerosmith. Subsequent hitalbums built on The Inner Mounting Flame s innovations; Hammer addedsynthesizers to his arsenal, developing a keyboard style nearly asinfluential as that of McLaughlin's frenetic guitar work and Cobham'srumbling percussive attack.

But it was nearly inevitable that the lifespan of such a dynamic ensemble would be brief. The Mahavishnu Orchestrathrew down the gauntlet; fusioneers who followed have been trying tocatch up ever since.The original Mahavishnu Orchestra only lasted a short time, but theycreated a tremendous body of work. Not quite rock but too loud forjazz, they blazed the trail for fusion and left everyone far behind.This collection has both studio albums - with not a bad cut between them-and the live 'Between Nothingness and Eternity', which, unusually forthe time, had all new music on it and was more expansive, with theshortest cut being nearly ten minutes long.Tensions among suchhigh powered individuals were perhaps inevitable, especially concerningsongwriting royalties, and the group broke up after only two shortyears. It was a real pleasure when decades later 'The Lost TridentSessions' was released, a complete album recorded and abandoned duringthe last days of the group. Much of the material overlaps the livealbum, with less intensity but greater precision and accuracy. It oftensounds slightly incomplete and doesn't quite reach the heights of thefirst two albums, but it is still superior material to everything elseto come from other contemporary bands.But the real treat of thisbox set, besides the remastering, besides the great price, and besidesthe informative booklet, is the bonus album of live material.

Thisstuff is as smoking hot as you would expect and clocks in at a generousrunning time. A lot of the classics are covered, often at blisteringspeed. This alone is worth the price of the box set. But wait, there'smore! The first album also has a 15 minute bonus live cut from theMar-Y-Sol festival.The Mahavishnu Orchestra may not beeverybody's cup of tea, and jazz traditionalists dismiss them as tooloud and fast. But for the fan of early 1970s music, of jazz fusion orprogressive rock (the band is closer to King Crimson than anyone else,in truth), they were the Kings of the Mountain.Until recently, this set had only been sold on Sony's 'Pop Market'website, which is absurdly secretive, not revealing song line-ups forproduct, so it is impossible for fans to know (before buying) if theirbox sets contain any previously unreleased material.

I've now purchasedthis set from Amazon.com, and so I can now reveal the specifics. Thecontents are:1.' The Inner Mounting Flame'(original 1971 DonPuluse mix), plus a bonus track: a 15 minute 'Noonward Race' live at the'Mar Y Sol' festival, which was originally released on a 2-L.P. ATCORecords 'Mar Y Sol' various artists set)2.Birds of Fire3.The Lost Trident Sessions4.Between Nothingness & Eternity5.' Unreleasedtracks from Between Nothingness & Eternity'.Tracklisting: 'Hope','Awakening', 'You Know, You Know','One Word', 'Stepping Tones', 'VitalTransformation', 'The Dance of Maya'.

These tracks were all recordedAugust 17 & 18,1973 at Wollman Rink in New York.The bookletwith the box set gives the basic information for each album, but doesnot reproduce the liner notes for 'The Lost Trident Sessions'. Also, Iwould note that I would have preferred the late 1980's Mark Wilder remixof 'The Inner Mounting Flame' because of its superior sound quality,but I've got it elsewhere in my collection.The Disc Five ofunreleased material is worth the price of the box set's purchase. Somemay complain about the omission of later Mahavishnu Orchestra albums,but the set is titled 'The Original Mahavishnu Orchestra-The CompleteColumbia Albums Collection', and so it is complete; all the releasedalbums by the original John McLaughlin/Jan Hammer/Rick Laird/BillyCobham/Jerry Goodman line-up.Disc 11971 2011 The Inner Mounting Flame. The Inner Mounting Flame is 's first studio album, released in 1971 and consisting solely of original compositions by.The track 'You Know, You Know' was sampled in ', 'Kalifornia', 's single ', 's ', Cecil Otter's ' and 'Intro' from album.A version of the album, on, was released in 1998. It features a facsimile of the LP front cover, a new set of by, as well as many photographs of the band.

'The Inner Mounting Flame' was included in 2011 as part of ' boxset, along with the other albums by the first line-up of the band, including '. This version includes a version of 'The Noonward Race' recorded live at the 3 April 1972. That version was previously available on the compilation album ', but the version included in the boxset is two minutes longer.This is the album that madea semi-household name, a furious, high-energy, yet rigorously conceivedmeeting of virtuosos that, for all intents and purposes, defined thefusion of jazz and rock a year after Miles Davis' Bitches Brewbreakthrough. It also inadvertently led to the derogatory connotation ofthe word fusion, for it paved the way for an army of imitators, many ofwhose excesses and commercial panderings devalued the entire movement.Though much was made of the influence of jazz-influenced improvisationin the band, it is the rock element that predominates, stemming directly from the electronic innovations of.

The improvisations, particularly 's post-machine-gun assaults on double-necked electric guitar and JerryGoodman's flights on electric violin, owe more to the freakouts that hadbeen circulating in progressive rock circles than to jazz, based asthey often are on ostinatos on one chord. These still sound genuinelythrilling today on CD, as andbattle Jan Hammer's keyboards, Rick Laird's bass, and especially BillyCobham's hard-charging drums, whose jazz-trained technique pushed theenvelope for all rock drummers. What doesn't date so well are thecomposed medium- and high-velocity unison passages that are played insuch tight lockstep that they can't breathe. There is also time out forquieter, reflective numbers that are drenched in studied spirituality('A Lotus on Irish Streams') or irony ('You Know You Know');was to do better in that department with less-driven colleagueselsewhere in his career. Aimed with absolute precision at young rockfans, this record was wildly popular in its day, and it may have beenthe cause of more blown-out home amplifiers than any other record thisside of.Tracks Listing1. Meeting Of The Spirits (6:52)2. Dawn (5:10)3.

Noonward Race (6:28)4. A Lotus On Irish Streams (5:39)5. Vital Transformation (6:16)6. The Dance Of Maya (7:17)7. You Know, You Know (5:07)8.

Awakening (3:32)Total Time: 46:34Line-up / Musicians- John McLaughlin / guitar- Jerry Goodman / violin- Jan Hammer / piano, electric piano and organ- Rick Laird / bass- Billy Cobham / drumsDisc 21973 2011 Birds Of Fire. Birds of Fire is 's second album. It was released in the first half of and is the last studio album released by the original Mahavishnu Orchestra line-up before the group dissolved, although,a live album, was recorded and released later that same year. (Thefinal studio recordings by this line-up would be released as in 1999).As in the case of The Mahavishnu Orchestra's previous album, Birds of Fire consists solely of compositions. This includes the track 'Miles Beyond ', which McLaughlin dedicated to his friend and former bandleader.The back cover of the LP features a poem entitled 'Revelation' by.A version of the album, on, was released in 2000. It features a facsimile of the LP cover and a new set of by, as well as photographs of the band.Emboldened by the popularity of among rock audiences, the firstset out to further define and refine its blistering jazz-rock directionin its second - and, no thanks to internal feuding, last - studioalbum. Although it has much of the screaming rock energy and sometimesexaggerated competitive frenzy of its predecessor,is audibly more varied in texture, even more tightly organized, andthankfully more musical in content.

A remarkable example of preciselychoreographed, high-speed solo trading - with, andall of one mind, supported by Billy Cobham's machine-gun drumming andRick Laird's dancing bass - can be heard on the aptly named 'One Word,'and the title track is a defining moment of the group's nearly atonalfury. The band also takes time out for a brief bit of spaced-outelectronic burbling and static called 'Sapphire Bullets of Pure Love.' Yet the most enticing pieces of music on the record are the gorgeous,almost pastoral opening and closing sections to 'Open Country Joy,' arelaxed, jocular bit of communal jamming that they ought to have pursuedfurther. This album actually became a major crossover hit, rising tonumber 15 on the pop album charts, and it remains the key item in thefirst 's slim discography.Tracks Listing1. Birds Of Fire (5:41)2.

Miles Beyond (Miles Davis) (4:39)3. Celestial Terrestrial Commuters (2:53)4. Sapphire Bullets Of Pure Love (0:22)5. Thousand Island Park (3:19)6. Hope (1:55)7. One Word (9:54)8.

Sanctuary (5:01)9. Open Country Joy (3:52)10. Resolution (2:08)Total Time: 39:48Line-up / Musicians- John McLaughlin / guitar- Jerry Goodman / violin- Jan Hammer / piano- Rick Laird / bass- Billy Cobham / drumsDisc 31973 2011 The Lost Trident Sessions.

The Lost Trident Sessionsis a studio album by group, released on 21 September 1999 through. It was originally recorded in June 1973 at but was not released until 26 years later.

According to the album's detailed liner notes, in November 1998 producer stumbled upon two in Columbia's Los Angeles vault whilst gathering material for a reissue of the Mahavishnu Orchestra's 1972 album. The tapes were otherwise unlabelled besides the recording location, but upon further inspection they were revealed to be the mixes for what would have been the Mahavishnu Orchestra's third studio album at the timeMcLaughlin feels that the Orchestra was never recorded at their peak.' There is a studio album that never got released which is really good',he explains.

It would have been their third studio album, following and Birds of Fire.' But at the time the record was being made, emotion in the band wasrunning so high that people could no longer see clearly. Everyone feltnervous about it'. 'I don't know why'. And McLaughlin did notpursue it either: 'When the people in the band told me how they felt, Irespected it.

I didn't ask them to explain why they felt it. That wasenough.

So we put a live album out which was good, but it wasn't on the same level. But one day I'd like the album to come out. It's a great album'With the exception of 'John's Song #2', all compositions on this albumwere performed on other albums: 'Dream', 'Trilogy' and 'Sister Andrea'appeared on the Mahavishnu Orchestra's 1973 live album Between Nothingness and Eternity, whilst 'I Wonder' and 'Steppings Tones' appeared on violinist and keyboardist 's 1974 albumRecorded in London on June 25, 1973, these sessions for a planned third album were shelved when the band decided to put out the liveinstead. Bootlegged in the past, two-track mixes of the missing albumwere discovered in the vaults in the late '90s, paving the way for itsofficial release in 1999. It's thus the last of the three studio albumsdone by the original lineup (with on drums, on violin, on keyboards, and on bass). Although had been the only composer on the first two albums, he penned only three of the six tracks here, with writing two and pitching in one. It's fiery, if perhaps over-busy at times, fusion,reaching his most feverish pitches in the frenetic concluding passageof the ten-minute 'Trilogy.'

The numbers written by other members than tend to be a little more subdued, and perhaps unsurprisingly less inclined toward burning guitar solos.Tracks Listing1. Dream (11:06)2. Trilogy (9:30)3. Sister Andrea (6:43)4. I Wonder (3:07)5. Stepping Stone (3:09)6.

John's Song (5:54)Total Time: 39:45Line-up / Musicians- John McLaughlin / 6 & 12 string electric guitar & acoustic guitar- Jerry Goodman / electric violin, viola & violow (custom viola with cello strings)- Jan Hammer / electric piano & synthesizers- Rick Laird / bass- Billy Cobham / drumsDisc 41973 2011 Between Nothingness & Eternity. Between Nothingness & Eternity is the first live album of, and last with the original line-up, released in 1973. According to the Mahavishnu Orchestra Gigs listing by Walter Kolosky, it was recorded live at the, held in, New York on August 17 and 18, 1973,even though, available recordings seems to prove that all of thematerial from the album was actually taken from the second night only. Originally, Mahavishnu Orchestra's third album was to be a studio one, recorded in June 1973 at in,but was scrapped during the final days of the project. A live albumcontaining versions of three out of the original six tracks came outinstead. The original studio album was later released in 1999 as.Between Nothingness & Eternity was included in 2011 as part ofboxset, along with the other albums by the first line-up of the band,including 'The Lost Trident Sessions'.

This new version was a newdifferent mix with an additional minute of music on 'Sister Andrea'. Theboxset also contained an album called ' which contains other selections from the two Central Park shows.The first 'soriginal very slim catalog was padded out somewhat by this live album(recorded in New York's Central Park) on which the five jazz/rockvirtuosos can be heard stretching out at greater length than in thestudio. There are only three selections on the disc, all of which wereto have been on the group's then-unissued third album - two of them,guitarist 's 'Trilogy: Sunlit Path/La Merede la Mer' and keyboardist 's 'Sister Andrea,' are proportioned roughly as they were in their studio renditions, while the third, 's'Dream,' is stretched to nearly double its 11-minute studio length.Each develops organically through a number of sections, and there arefewer lockstep unison passages than on the earlier recordings. Is as flashy and noisy as ever on double-necked electric guitar, and and violinist are a match for him in the speed department, with drummer displaying a compelling, raw power and dexterity to his work as well, especially on the CD edition, which also gives bassista showcase for his slightly subtler work. Yet for all of the superbplaying, one really doesn't hear much music on this album; electricityand competitive empathy are clearly not enough, particularly on the21-minute 'Dream,' which left a lot of fans feeling let down at the endof its side-two-filling run on the LP. Unreleased Tracks from Between Nothingness & Eternity is a live album by the, first released in 2011 as part of boxset, along with the other albums by the first line-up of the band, including.As the title explains, the album contains other selections from the twoCentral Park shows from August 1973 from which the live album was culled.While the other half of this concert, recorded in August 1973 in NYC'sCentral Park, was released as Mahavishnu Orchestra's third album, theserecordings have been sitting in a vault for almost 40 years.

Well recorded, and with at times, blistering performances,this concert should be regarded as essential. The Mahavishnu Orchestra (original lineup) only existed for two short years. You will be glad you did.Shame on Columbia records for keeping this hidden for 40 years. Theyseem to have a fetish for this sort of thing.

After all, they allowedwhat we now have as 'The Lost Trident Sessions' to languish unseen for25 years. It was live versions of the major songs from that recordingwhich Columbia released as the original 'Between Nothingness &Eternity.' This second volume from that same concert contains a shortyfrom 'Trident' and three pieces each from 'The Inner Mounting Flame' and'Birds Of Fire.' But these are not simply readings of familiar tunes.This is a band at the pinnacle of its estimable powers.

Each player isa brilliant soloist, but also a team player who comps for the others.The guys have stretched and squashed these pieces, smacked them flat andthrown them over, popped them inside out and played them backwards.They've wrung as much joy, peace, exuberance, anguish, anger andlaughter from them as possible, until they resemble the originals attimes, but also not at all. This is muscular music which calls to mind aworld record athletic performance: its tempos are furious, itsharmonies angular and shifting, its rhythms thunderous yet intricate,its execution serving precision and inspiration equally. It will hityou in the solar plexus and knock the wind straight out of you.Fivestars is not nearly enough for this music. How about several hundredeach for Billy, Rick, Jan, Jerry and Johnny Mac. And another hundredfor Rex Bogue's (RIP) magnificent double rainbow, the finest examplepossible of the right guitar for the right player.Track listing:1 Hope 1:482 Awakening 14:093 You Know, You Know 7:124 One Word 18:305 Stepping Tones 2:026 Vital Transformation 6:167 The Dance Of The Maya 14:04Line-up / Musicians- John McLaughlin / guitar- Jerry Goodman / violin- Jan Hammer / piano- Rick Laird / bass- Billy Cobham / drums. Land of the Midnight Sun is the first album by, released in 1976. The complex pieces (which include the three-part 'Suite-Golden Dawn,' an acoustic duet with on 'Short Tales of the Black Forest' and a brief Bach violin sonata) show Di Meola's range even at this early stage.One of the guitar heroes of fusion, was just 22-years-old at the time of his debut as a leader but already a veteran of 's.

The complex pieces (which include the three-part 'Suite-Golden Dawn,' an acoustic duet with on 'Short Tales of the Black Forest,' and a brief violin sonata show 's range even at this early stage. With assistance from such top players as bassists and, keyboardist, and drummers and, this was a very impressive beginning to 's solo career.After joining Chick Corea's Jazz-Fusion project, Return To Forever in 1974, guitarist AlDiMeola released his first solo album in 1976, named 'Land of the Midnight Sun'. DiMeolawas 21 at the release of the album and I am surprised over his mind-bogglingly technicalskills at so young age, and this album shows both his technical skills, as well as hissongwriting skills very nicely through-out the album's (shockingly short) playing time at 35-minutes. Another great positive with this release is that DiMeola is themed up with a nicehandful of guest musicians, including Jaco Pastorius from Weather Report and Chick Corea,who plays a beautiful acoustic duet with DiMeola on the last track.

The music has very fewweak moments and is a pleasant surprise to your ears. Overall, 'Land Of The Midnight Sun' is a completely necessary release to be featured inyour Jazz-Rock collection (or Jazz collection for that matter).

The only real flaw is the shortplaying time. Otherwise, there's not much here to dislike. One of the best debut's I know!Having recently shocked and awed the JR/F world with two amazingalbums (Hymn To The seventh Galaxy and Romantic Warrior),Return To Forever was riding high on the wave it had created, riding onCorea and DiMeola's incredibly fast playing, displaying amonstrous but cold virtuosity that would eventually have a lot of fansgrinding their teeth. ADM's debut solo album was anothermonster that would enthral fans around the world. This writer bought thealbum within the month it came out, well before he wouldindulge in Nucleus of Liles' start of the decade masterpieces, so for afew years, this album represented what jazz-rock was allabout. Although called a solo album, you'd swear this could yet anotherRTF album as all of the RTF members appears at one pointor another on this album.

Musically speaking, this album is a bitschizophrenic, as 2/3 pf it is pure jazz rock, while the last third ismore eclectic, from Classical toStarting out on one of thealbum's highlight, Wizard, with its superb rhythm section and Latinpercussions ala Santana and Al'sguitar, often Santana-esque as well. Starting almost on the same feel,the title track is a tremendous piece, where Al and Chicktrade incredibly fast and virtuosi lines. But in this case, Al's guitarresembles more McLaughlin's while the Latin percussions mightsound a bit odd for this supposedly Norwegian-inspired track. In termsof jazz-rock, this album would be stuck between Santana'sbests (Caravanserai), Mahavishnu's best (Birds Of Fire) and RTF'sRomantic Warrior. Closing the album's first side is a slow Bachpiece (Sarabande), which might sound out of place, but provides awelcome interlude.On the flipside, the album starts on theequally XXX, a progressive pieces that comes with delicate female/malevocals that couldcome out of Carlos Santana & Alice Coltrane's Illuminations. Thelengthy three-part suite Golden Dawn brings us back to the album'smain focus, a sizzling JR/F (can't speak of pure fusion jazz album yet).You'd swear this was McLaughlin with Hammerduelling/duetting back in 72 for BOF. The closing Black Forest is aChick Corea-written acoustic piece that displays the duo's talentsand closely the album in a very worthy manner.ADM's solo debutalbum is one of the late 70's crown jewels, one of those albums thatwill probably never age and is part of thehistory of its genre.

A very highly and warmly recommended album, andprobably my favourite, even over the usually better ratedElegant Gypsy album that was to follow this one.Track listing / Personnel:1. 'The Wizard' (James Mingo Lewis) – 6:46Al Di Meola - 6- and 12-string guitarsMingo Lewis - keyboards, percussionAnthony Jackson - bassSteve Gadd - drums2. 'Land of the Midnight Sun' (Al Di Meola) – 9:10Al Di Meola - electric guitarBarry Miles - electric piano, Mini-Moog synthesizerAnthony Jackson - bassLenny White - drumsMingo Lewis - percussion3. 'Sarabande from Violin Sonata in B Minor, (Partita No. 1 in B minor, BWV 1002)' (Johann Sebastian Bach) – 1:20Al Di Meola - acoustic guitar4. 'Love Theme from Pictures of the Sea' (Al Di Meola) – 2:25Al Di Meola - 6- and 12-string acoustic and 6-string electric guitars, vocals, synthesizer, chimesPatty Buyukas - vocalsStanley Clarke - bass, vocalsMingo Lewis - percussion5. 'Suite Golden Dawn' - (Al Di Meola) – 9:49I.

'Morning Fire' - 1:15II. 'Calmer of the Tempests' - 1:11III. 'From Ocean to the Clouds' - 8:38Al Di Meola - electric guitarBarry Miles - electric piano, Mini-Moog synthesizerJaco Pastorius - bassAlphonse Mouzon - drumsMingo Lewis - percussion6.

Jigsaw is the fourth studio album by guitarist, released in 1989 through and reissued on July 17, 2007 through. The album reached #12 on 's Top Contemporary Jazz Albums chart in 1989.This is a fairly typical fusion date, featuring his rocking guitar on seven of his pieces. Is joined by his usual sidemen - tenor saxophonist, keyboardist, electric bassist, either or on drums and percussionist - and plays with plenty of fire, yet a good amount of restraint.is a guest on 'Chief,' jamming on his fairly anonymous-sounding EWI.

Adecent effort, easily recommended to fans of the more adventurous rockguitarists.This CD by Mike Stern reaffirms why he was such aqn important componentof Miles Davis' bands in the 80's. This probably can't be called a'jazz' CD, because on many solos such as 'Another Way Around,' Sternsqueals and crunches and bends his notes in a way a rock guitaristwould, but also has the sense to run with the solo different from how arock guitarist would by improvising his notes like a jazzman. Hiswood hardbody electric guitar that he features on the cover of the CDhas such an interesting sound. Its tone is hard to describe, justlisten to it for yourself. He rocks as hard as any jazz guitarist i'veheard. Excellent CD of guitar work. Buy the CD, because one of thesongs is cut out of the tape version.

All the songs on this CD must beheardTrack listingAll songs written and composed by Mike Stern.No. Title Length1.

'Another Way Around' 6:252. 'Loose Ends' 6:113.

'To Let You Know' 6:304. 'Jigsaw' 7:065. 'Chief' (bonus track on CD edition only) 7:456. 'Rhyme or Reason' 5:467.

'Kwirk' 6:58Total length:46:41PersonnelMike Stern – guitarJim Beard – keyboard, synthesizerPeter Erskine – drums (except tracks 1, 4, 5)Dennis Chambers – drums (tracks 1, 4, 5)Manolo Badrena – bongo, shakerDon Alias – percussionJeff Andrews – bassBob Berg – saxophoneMichael Brecker – EWI. The original members of Journey came together in San Francisco in 1973 under the auspices of former Santana manager Herbie Herbert. Originally called the Golden Gate Rhythm Section and intended to serve as a backup group for established Bay Area artists, the band included recent Santana alumni Neal Schon on lead guitar and Gregg Rolie on keyboards and lead vocals. Bassist Ross Valory and rhythm guitarist George Tickner, both of Frumious Bandersnatch, rounded out the group.

Prairie Prince of The Tubes served as drummer. The band quickly abandoned the original 'backup group' concept and developed a distinctive jazz fusion style. After an unsuccessful radio contest to name the group, roadie John Villaneuva suggested the name 'Journey.' The band's first public appearance came at the Winterland Ballroom on New Year’s Eve, 1973.

Prairie Prince rejoined The Tubes shortly thereafter, and the band hired British drummer Aynsley Dunbar, who had recently worked with John Lennon and Frank Zappa. On February 5, 1974, the new line-up made their debut at the Great American Music Hall and secured a recording contract with Columbia Records.Journey released their eponymous first album in 1975, and rhythm guitarist Tickner left the band before they cut their second album, Look into the Future (1976). Neither album achieved significant sales, so Schon, Valory, and Dunbar took singing lessons in an attempt to add vocal harmonies to Rolie's lead.

The following year's Next contained shorter tracks with more vocals, and featured Neal Schon as lead singer on two of the songs.The ORIGINAL Journey was a superb rock band before their managementdecided to bring in Steve 'The Nose' Perry. While they achieved a lot ofsuccess after turning into a pop band, the original lineup producedexcellent progressive rock and rock and roll. I saw them open for BlueOyster Cult in 1975 and then again the next night by themselves, whenthey were on tour in support of their first album and they were superblive! Once they began recording Infinity and Perry joined the band, itwas over for me. These are the only releases I own or will listen to as Iam not into pop music. The first album is a progressive masterpiece by 2former members of Santana (Rolie and Schon), 1 from Frank Zappa(drummer Ainsley Dunbar) along with Ross Valory and George Tickner (wholeft the band shortly after).

Look Into The Future and Next were bothmore straight ahead rock albums with some progressive jams included in afew songs. This is a great deal for 3 great albums.Sure, these could use a once over by a good post-production engineer,but I doubt that's going to happen. That said, these are still greatrecords and they deserve to be heard.

They're very different than theSteve Perry records, so don't expect 'Stone In Love', because what youget here is much more aggressive instruments and less emphasis onvocals. This band rocks!Disc 11975 2011 Journey. Journey is the self-titled debut album by the band.

It was released in 1975 on. Unlike their later recordings, this is a album which focuses mainly on the band's instrumental talents. It is the only album to include rhythm guitarist among their personnel.Journey features progressive rock tracks like 'Of a Lifetime', 'Kohoutek', 'Topaz' and fan favorite, 'Mystery Mountain'.Journey recorded a demo album prior to the release of the self-titled Journey album, with the same songs, in different order and withas the drummer. There were additional tracks, including additionalinstrumental pieces, that did not make it to the final product. One ofwhich was the original title track of the demo album 'Charge of theLight Brigade'.Track Listings1. Of a Lifetime2.

In the Morning Day3. To Play Some Music5. In My Lonely Feeling/Conversations7.

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Mystery MountainPersonnelNeal Schon - lead guitarGeorge Tickner - rhythm (all but 2) and bass (2) guitarsGregg Rolie - keyboards, vocalsRoss Valory - bass guitar (all but 2), piano (2)Aynsley Dunbar - drumsDisc 21976 2011 Look Into The Future. Look into the Future is 's second studio album. It was released in January 1976 on.For their second album, the members of Journey toned down the overtprogressiveness of their first, self-titled release, in favor of a morefocused approach. Despite that, Look into the Future still retains some of the experimental approach and sound of the debut, especially in the title track and 'I'm Gonna Leave You', the latter of which some claim inspired the main riff in the famous song '. The album features a cover version of ' ' from the 1968 film and 1969.

The title track was the longest recorded Journey song until 1980, when 'Destiny' from would claim that honor.Guitarist left the band after having co-written two songs for this album, leaving members (lead vocals/keyboards), (guitar), (bass), and (drums).Track listing:1. On a Saturday Nite2. It's All Too Much3. She Makes Me (Feel Alright)5.

You're on Your Own6. Look Into the Future7. Midnight Dreamer8.

I'm Gonna Leave YouPersonnelNeal Schon - guitarGregg Rolie - keyboards, vocalsRoss Valory - bass guitarAynsley Dunbar - drumsDisc 31977 2011 Next. Next is the third by, released in 1977. The band continued the formula from 1976's but this album also retains some of their progressive rock style from the first album. It is the last album to feature on lead vocals. 'Spaceman' and 'Nickel and Dime' were the two singles released from Next.The instrumental 'Cookie Duster' was listed in very early pressingsof the album, though not actually included on the pressings, and thennot listed on the cover art at all. It was later released on their compilation album.Next reached #85 on the Albums charts.Although he did not contribute to Next, lead vocalist joined Journey shortly after the album's release as a songwriter and the group's first dedicated,sharing lead vocal duties with Rolie during subsequent live shows.

Allof the songs on the album vanished from the band's live setlist after1979 and two ('Spaceman' and 'Here We Are') have never been performedlive.Track listing:1. I Would Find You4. Here We Are5. Nickel and Dime8. KarmaPersonnelNeal Schon - guitarGregg Rolie - keyboards, vocalsRoss Valory - bass guitarAynsley Dunbar - drums.

C ose XHomeAdam smithcapital assetdepreciationdurable goodeconomicsgoodsnon-renewablephysical capitalproductionservicestockA non-renewable resource (also called a finite resource) is a resource that does not renew itself at a sufficient rate for sustainable economic extraction in meaningful human timeresource frames. An example is carbon-based, organically-derived fuel. The original organic material, with the aid of heat and pressure, becomes a fuel such as oil or gas.

Earth minerals and metal ores, fossil fuels (coal, petroleum, natural gas) and groundwater in certain aquifers are all considered non-renewable resources, though individual elements are almost always conserved. In contrast, resources such as timber (when harvested sustainably) and wind (used to power energy conversion systems) are considered renewable resources, largely because their localized replenishment can occur within time frames meaningful to humans. Earth minerals and metal ores are examples of non-renewable resources. The metals themselves are present in vast amounts in Earth's crust, and their extraction by humans only occurs where they are concentrated by natural geological processes (such as heat, pressure, organic activity, weathering and other processes) enough to become economically viable to extract.

These processes generally take from tens of thousands to millions of years, through plate tectonics, tectonic subsidence and crustal recycling. The localized deposits of metal ores near the surface which can be extracted economically by humans are non-renewable in human time-frames. There are certain rare earth minerals and elements that are more scarce and exhaustible than others.

These are in high demand in manufacturing, particularly for the electronics industry. Most metal ores are considered vastly greater in supply to fossil fuels, because metal ores are formed by crustal-scale processes which make up a much larger portion of the Earth's near-surface environment, than those that form fossil fuels which are limited to areas where carbon-based life forms flourish, die, and are quickly buried. In 1987, the World Commission on Environment and Development (WCED) an organization set up by but independent from the United Nations classified fission reactors that produce more fissile nuclear fuel than they consume -i.e.