Very nice set of Mingus' legendary Candid recordings – produced in 1960, after Mingus angrily departed Columbia records, and was finally given the freedom to work in the way that he wanted. The recordings are some of Mingus best – and they feature a righteous anger and sheer jazz power that's unmatched by few other recordings.
A rare treat from soulful reed player Sonny Fortune – a session recorded in 1987 in New York, but only ever issued by the Japanese Why Not label. Fortune's alto has this incredibly sharp tone – searching and yearning with a sound that's as great as that heard on any of his 70s recordings. The group's a quartet with Renee Rosnes on piano – but the real talents on the record are Sonny's, as he spiritually blows his way through original compositions like "Real Knowing", "Space In Time", and "5/4 Train", plus an incredible reading of Bronislaw Kaper's "Invitation".
In May 1956, the Texan label Starday issued a wild rockabilly single by Thumper Jones. Its top side, the kinetic “Rock It”, was primal, uncontrolled and wild. The flip, “How Come It”, was less frenzied but still driving and infectious. Original pressings of the two-sided pounder in either its 45 or 78 form now fetch at least Ј200. This is not your usual rockabilly rarity though. The record’s label credited the songs to a Geo. Jones. Thumper Jones was a pseudonymous George Jones (1931–2013), who was cashing in a hip style: the only time he did so with rockabilly.
Documenting Stan Kenton's always controversial but never sleepy music, the seven-CD Complete Capitol Studio Recordings of Stan Kenton 1943-47 features the orchestra at a time when it was reaching its greatest popularity, evolving from using the artist's charts into the Pete Rugolo era. In addition to some unreleased tracks, there are also several rare sessions included that were recorded at the time strictly for radio airplay. Most of Kenton's biggest hits ("Artistry in Rhythm," "Eager Beaver," "And Her Tears Flowed Like Wine," "Tampico," "Southern Scandal," "Artistry Jumps," "Intermission Riff," "Across the Alley From the Alamo," and "The Peanut Vendor") are here, as are many concert works. A classic reissue.
For a truly haunted high-lonesome sound, the duo of Ralph and Carter Stanley stands alone in bluegrass. This collection features their earliest recordings, beginning in 1947 for the Rich-R-Tone label, and presents the duo at their rawest and most unbridled. Of all the recordings that bluegrass trailblazers the Stanley Brothers made in their 20 years together, their early Rich-R-Tone cuts are some of the hardest to find-and most exciting. These are essential for any bluegrass collector: Little Maggie; The Jealous Lover; Our Darling's Gone; Death Is Only a Dream; Little Birdie; The Rambler's Blues; The Girl Behind the Bar , and more!
In March 2016 Billy Bragg and Joe Henry, guitars in hand, boarded a Los Angeles-bound train at Chicago’s Union Station looking to reconnect with the culture of American railroad travel and the music it inspired. Winding along 2,728 miles of track over four days, the pair recorded classic railroad songs in waiting rooms and at trackside while the train paused to pick up passengers.
Forest of Feelings is keyboardist/guitarist/composer David Sancious' debut solo effort after leaving Bruce Springsteen's employ. He not only played keyboards on Greetings from Asbury Park, N.J. and The Wild, the Innocent & the E Street Shuffle and the title cut on Born to Run, but also arranged them. A musical polymath, Sancious never met a musical style he didn't like – or couldn't master. Here he is fully under the sway of jazz-rock fusion and progressive rock. Produced by Billy Cobham, Forest of Feelings features Sancious on an army of keys – Hammond B-3, clavinet, Moog, acoustic and Rhodes piano, etc. – but also on guitar (on which he is just as proficient, if not better).
The independent jazz reissue label Mosaic Records garnered a rightful reputation as industry leaders and enthusiast favorites with deluxe and strictly limited-edition packages such as this one. The contents of this four-LP/three-CD collection are derived from two performances during the summer of 1954 and feature the Chet Baker Quartet: Baker (trumpet/"boom bam" percussion), Russ Freeman (piano), Carson Smith (bass), and Bob Neel (drums). The two performances – recorded July 21 at Santa Cruz's Civic Auditorium and August 10 at The Tiffany Club in Los Angeles, respectively – are presented chronologically.