The combination of these Nancy Wilson albums, Hollywood: My Way and Broadway: My Way, provide pleasant, easy listening interpretations of Broadway and Hollywood standards. These 24 tracks - including "Tonight" from West Side Story, "Moon River" from Breakfast at Tiffany's, and "Days of Wine and Roses" from Days of Wine and Roses - hold up exceptionally well. The LPs were originally released on Capitol Records in 1963 and 1964, and had been out of print until EMI reissued them on a compact disc in 2001.
V or Five is the fifth studio album by Hollywood Undead. It is slated to be released on October 27, 2017. It is the band's first release without longtime member Da Kurlzz.
Pianist Don Friedman's debt to Bill Evans was obvious in the early '60s, particularly on standards, but he also had his own creative spirit to offer. This 1997 CD reissue brings out Friedman's third of four Riverside dates, teaming him with the obscure bassist Dick Kniss and drummer Dick Berk. The pianist shows that he was developing an original voice and was familiar with the avant-garde of the period on such originals as "Ohcre" and "Flashback." In contrast, he swings conventionally but with subtle creativity on "Alone Together," "News Blues" and "How Deep Is the Ocean." A fine, well-rounded set from the underrated pianist.
Special Feature / Bonus Track: 2 bonus tracks. After years of staying free of comparisons with Charlie Parker, Sonny Stitt steps confidently into a set of compositions by the late, great one – sounding really wonderful in his own interpretations of these classics! The album's got the same simple and focused still as Stitt's best work on Roost – and although the compositions are all by Bird, the overall sound is still very much Sonny's own – especially given the wonderful sense of space and timing brought to some of the performances! The group's an unusual one, especially for Stitt – and features John Lewis on piano, Jim Hall on guitar, Richard Davis on bass, and Connie Kay on drums – all offering a slightly more modern take on Bird than might be expected – especially through the angular lines on Hall's guitar.