A great change of pace for Billy Taylor – and one of the most striking sessions he made in the 50s! As you'll guess from the title, the record features Taylor's piano along with four flutes – played by Frank Wess, Herbie Mann, Jerome Richardson, and Phil Bodner – working here both in group formation, and in solo mode – fluttering nicely with a cool jazzy sound that really prefaces lots of use of the instrument in the 60s! Another added bonus on the record is added congas from Chano Pozo on most tracks, making for a groovy Latinesque bounce. Titles include "Blue Shutters", "One For The Woofer", "The Song Is Ended", "Back Home", "No Parking", and "Lady Be Good".
Reissue features the latest digital remastering and the high-fidelity SHM-CD format (compatible with standard CD player) and the latest DSD / HR Cutting remastering. Comes with a description. Features the original LP designs. A Touch of Taylor is an album by American jazz pianist Billy Taylor recorded in 1955 for the Prestige label. The album was one of the first 12-inch LPs released by the label.
Features 24 bit remastering and comes with a mini-description. On One for Fun from 1960, Earl May is back on bass, this time with Kenny Denis on drums. The set has a more contemporary feel than the earlier tracks and features three Taylor originals, including the cool, yet cooking, "A Little Southside Soul." Among the standout tracks, the Rogers and Hart classic "Blue Moon" is transformed by Taylor and company into a vehicle for some of the CD's best solo and group work.
As Whiskeytown finally ground to a halt in the wake of an astonishing number of personal changes following Faithless Street (coupled with record company problems that kept their final album, Pneumonia, from reaching stores until two years after it was recorded), Ryan Adams ducked into a Nashville studio for two weeks of sessions with Gillian Welch and David Rawlings. While arch traditionalists Welch and Rawlings would hardly seem like a likely match for alt-country's bad boy, the collaboration brought out the best in Adams; Heartbreaker is loose, open, and heartfelt in a way Whiskeytown's admittedly fine albums never were, and makes as strong a case for Adams' gifts as anything his band ever released.
The Faces were unanthologized on CD prior to 1999, but ever since Rhino's corking single-disc Good Boys…When They're Asleep…, the group has seen a number of different compilations of different sizes, of which Rhino U.K.'s 2012 set Stay with Me: Anthology is the fifth. At two discs, this has 2007's The Definitive Rock Collection as its closest cousin: they're both double discs that cover a tremendous amount of ground, but Stay with Me has a slight edge, weighing in at 36 tracks compared to Definitive's 30. Of those 30 tracks, 27 cuts are present and accounted for on Stay with Me – the missing numbers are "Open to Ideas," "Jodie," and "(I Know) I'm Losing You," the latter two cuts from solo Rod Stewart albums where he was backed by the Faces – and those other nine songs include some of the Faces' very best, including the roaring rocker "That's All You Need," Ronnie Lane's sweet, plaintive "Richmond," and the gloriously shambolic "On the Beach".