Released in conjunction in 2002 with the four-disc box set Walking to New Orleans, as well as three other titles in EMI/Capitol's Crescent City Soul series, The Fats Domino Jukebox: 20 Greatest Hits the Way You Originally Heard Them becomes the definitive single-disc Fats collection on the market nearly by default – it's remastered, it's the one in print, and it has a flawless selection of songs. It's not markedly better than, say, the '90s' definitive Fats compilation, My Blue Heaven, since it has essentially the same track selection and even if the tapes were restored to their originally running speed, the difference is not enough for most ears to notice, but it's still a great collection of some of the greatest music of its time, and it summarizes Domino's peaks excellently. So, if you don't already have a Fats Domino collection, this surely is the one to get.
Get ready for the shock of the new , or, in this case, the old. This disc of Beethoven concertos by keyboardist Arthur Schoonderwoerd has a highly unusual sound, even by the standards of the historical-performance movement. Performances of the Beethoven concertos in period style are rarer than those of the sonatas, which are themselves rarer than those of music by Mozart and Haydn. This is partly because the whole issue is more problematical with Beethoven, who was clearly striving toward larger dimensions.
This disc, covering Beethoven's first two piano concertos, is the last of a series of three Beethoven concerto discs by historical pianist Arthur Schoonderwoerd, playing an 1800 Walter fortepiano and accompanied by the small ensemble Cristofori. The ensemble basically involves one instrument per part. The other booklets contain more elaborate justifications for this procedure, but here the only evidence given involves the cover pages of the original publications of the concertos, which refer to the instruments in the singular.
Whenever someone makes the transition from jazz instrumentalist to R&B singer, he/she is bound to be lambasted by jazz purists and denounced as a sellout. Roy Ayers was no exception – like George Benson, George Duke, and Patrice Rushen, Ayers was frequently attacked by jazz's hardcore in the late '70s for turning away from instrumental jazz and making vocal-oriented soul and funk his main focus. But what didn't interest jazz snobs excited R&B lovers, who found a lot to admire about Vibrations and other Ayers albums from that period. This 1976 LP boasted the moody hit "Searching," which has jazz overtones but is essentially an R&B song, and the title track which has become nothing less less than a funky soul classic…
Ce coffret de trois disques (et soixante chansons) permet de rappeler, à fin d’inventaire, l’invraisemblable quantité de tubes enchaînée par Richard Anthony durant sa prolifique carrière.