GALLERY – Nice to Be with You (1972/2021)
FLAC (tracks) 24 bit/96 kHz | Time – 33:49 minutes | 613 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Sussex Records
James A. Gold (born January 12, 1947) is the singer-songwriter/guitarist of the 1970s soft rock band Gallery, best known for their 1972 song “Nice to Be with You”, written by Gold. Several years later, the group’s name was changed to Jim Gold & Gallery.
Gold grew up in Detroit, Michigan and started performing music with his friends around his hometown during his teenage years.
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GALLERY – Gallery Featuring Jim Gold (1972/2021)
FLAC (tracks) 24 bit/96 kHz | Time – 31:46 minutes | 603 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Sussex Records
James A. Gold (born January 12, 1947) is the singer-songwriter/guitarist of the 1970s soft rock band Gallery, best known for their 1972 song “Nice to Be with You”, written by Gold. Several years later, the group’s name was changed to Jim Gold & Gallery.
Gold grew up in Detroit, Michigan and started performing music with his friends around his hometown during his teenage years.
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GALLERY – Gallery (1981/2019)
FLAC (tracks) 24 bit/96 kHz | Time – 43:40 minutes | 896 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © ECM
Another enigmatic outlier in the land of the as-yet-to-be-reissued, Gallery follows in the tender footsteps of First Avenue. Its talents are immediately sent skyward in “Soaring,” where the sprightly vibes of Dave Samuels find complement in bassist Ratzo Harris and cellist David Darling, both of whom roll off Michael DiPasqua’s delicate snare and cymbals like words from a poet’s tongue. Darling takes some of the album’s most gorgeous improvisatory turns here. His fluid lines continue in “Prelude,” a duet with Samuels that shares the same breath with “A Lost Game.” The latter is transitory, not unlike the album as a whole, playing out especially in the rhythmic crosspollination between vibes and drums, slung ever so delicately by the bass’s curves. Paul McCandless lays the gold foil of his own beauties with a soprano sax solo that takes this configuration to greater heights, surpassed only by the reflective cello that follows. “Painting” sounds like a Gavin Bryars ensemble piece, unfolding into the remnants of a Morton Feldman dream before awakening in the harmonic contract of a “Pale Sun.” On then does the “Egret” drop us in limpid vibrations, where only a hushed “Night Rain” shows us the final trail.
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