This reissue is unrelated to another V.S.O.P. set simply titled A Jazz Band Ball. Terry Gibbs on vibes and marimba matches wits and creativity with Victor Feldman and Larry Bunker, both of whom double on vibes and xylophone. Assisted by pianist Lou Levy, bassist Max Bennett and drummer Mel Lewis, the intriguing frontline essentially plays bop, but with a great deal of color. The interaction between the vibraphonists, who are all featured and occasionally trade off, is the main reason to acquire this very interesting set.
On this reissue CD, pianist/arranger Marty Paich heads a septet that consists of trumpeters Jack Sheldon and Don Fagerquist, valve trombonists Stu Williamson and Bob Enevoldsen, and a quiet rhythm section with bassist Buddy Clark and drummer Mel Lewis. While some swing standards are taken as stomps (including "Blue Lou" and "Jumpin' at the Woodside"), a pair of Dixieland warhorses ("Dinah" and "Ida") are surprisingly recast as dreamy and introspective ballads. In addition, there are a couple other familiar pieces, plus an original apiece by Paich ("Iris of the IRA") and Bill Holman. The cool-toned music holds one's interest and is one of many fine Marty Paich recordings from the 1950s.
This revered Russian pianist was famous for probing the poetry of the pieces he played even as he exhibited breathtaking virtuosity. This set collects his highly prized interpretations of masterpieces from the 18th, 19th and 20th centuries: more than 5 CDs of Beethoven plus Rachmaninov's Piano Concerto No. 3 in D Minor ; Saint-Sa+«ns' Piano Concerto No. 2 in G Minor ; Tchaikovsky's Piano Concert No. 1 in B Flat Minor ; Chopin's Piano Sonata No. 2 in B Flat Minor ; Shostakovich's 24 Preludes and Fugues, and more!
Little Richard had been making records for four years before he rolled into Cosimo Matassa's J&M Studio in New Orleans and cut the epochal "Tutti Frutti" in the fall of 1955, but everything else he'd done – and much of what others had recorded – faded into insignificance when Richard wailed "A wop bop a loo mop a lomp bomp bomp" and kicked off one of the first great wailers in rock history. In retrospect, Little Richard's style doesn't seem so strikingly innovative as captured in 1956's Here's Little Richard – his boogie-woogie piano stylings weren't all that different from what Fats Domino had been laying down since 1949, and his band pumped out the New Orleans backbeat that would define the Crescent City's R&B for the next two decades, albeit with precision and plenty of groove.