You may remember him as the leader of the All-Star Frogs (1970-1983) and the Power Trio (1983-present), doing humorous and raunchy blues originals such as “Tie You Up!” and “More Love, More Money”. You may remember the Tumatoe tours of local clubs and endless spins of his songs on college radio in the ’70s and ’80s. You may not know that he played in a FIJI house band (Lothar and the Hand People) at the University of Illinois, the band name created by Bill Geist, CBS Sunday Morning News Correspondent; recorded for Warner Bros. (I Like My Job, produced by John Fogerty of Creedence Clearwater Revival fame); and was a member of REO Speedwagon — he left in 1969, evidently taking all rocking bluesy rootsy-ness with him — and he grew up on the South Side of Chicago, a blues-loving youth who hung with the legends.
This was Duke Ellington's first film score, undertaken at the urging of Anatomy of a Murder's director, Otto Preminger. The full range of the composer's previous work was brought to bear on this 1959 work. Ellington was a natural choice to convey the rich and varied emotional moods of this drama. Tension and release, danger and safety, movement and stillness, darkness and light; the textural palette that was Ellington's signature was always compellingly cinematic. In these orchestral settings, Duke's soloists (Cat Anderson, Clark Terry, Johnny Hodges, Harry Carney, and others) shine, as their playing reflects true variations on a theme in a classical sense. That's not to say that this set doesn't swing, too – "Happy Anatomy" is a short but fully cranked gallop. This is an album of rich variety and evocative writing.
In a three-year period, Stan Getz played with bands featuring either pianist Duke Jordan or a young Horace Silver. This is the boppin' Getz on tenor, playing standards fervently. There are two Gigi Gryce originals, the Getz original "Hershey Bar," and Silver's "Penny" among the 24 tracks. This is a decent introduction to the pre-bossa nova player the world would later know.
Duke Ellington called his music "American Music" rather than jazz, and liked to describe those who impressed him as "beyond category. He remains one of the most influential figures in jazz, if not in all American music and is widely considered as one of the twentieth century's best known African American personalites. As both a composer and a band leader, Ellington's reputation has increased since his death, with thematic repackagings of his signature music often becoming best-sellers…
Greatest all-round musical figure of the 20th century, who achieved monumental status as a composer, bandleader, arranger, and instrumentalist. Duke Ellington was the most important composer in the history of jazz as well as being a bandleader who held his large group together continuously for almost 50 years. The two aspects of his career were related; Ellington used his band as a musical laboratory for his new compositions and shaped his writing specifically to showcase the talents of his bandmembers, many of whom remained with him for long periods. Ellington also wrote film scores and stage musicals, and several of his instrumental works were adapted into songs that became standards…
Digitally remastered two CD set containing a pair of albums from iconic New Orleans singer/songwriter Mac Rebennack AKA Dr. John. By the end of the '90s, Dr John was again embracing the mysterious bubbling gumbo of his Gris-Gris era, which was music to the ears of a generation of younger British musicians such as Paul Weller, Gaz Coombes of Supergrass and Jason Pierce of Spiritualized. While Pierce is credited with producing two tracks here, the lion's share of ANUTHA ZONE was helmed by UK producer legend John Leckie. Although much of the album was recorded in New York in 1998, six tracks were recorded at Abbey Road, with guest appearances from the UK stars above. The following year saw Dr John pay his respects to the music of Duke Ellington - like he says: 'Doesn't sound like these tunes were written by a hundred year-old cat, but they were. You want to know the ticket to immortality, write a bunch of tunes that people keep on singin' and playin'. The package includes 24 page booklet is fully annotated by Paul Myers.
Louis Armstrong and Duke Ellington were (and are) two of the main stems of jazz. Any way you look at it, just about everything that's ever happened in this music leads directly – or indirectly – back to them. Both men were born on the cusp of the 19th and 20th centuries, and each became established as a leader during the middle '20s. Although their paths had crossed from time to time over the years, nobody in the entertainment industry had ever managed to get Armstrong and Ellington into a recording studio to make an album together. On April 3, 1961, producer Bob Thiele achieved what should be regarded as one of his greatest accomplishments; he organized and supervised a seven-and-a-half-hour session at RCA Victor's Studio One on East 24th Street in Manhattan, using a sextet combining Duke Ellington with Louis Armstrong & His All-Stars.
Historians and some Duke Ellington fans look askance at the brief period he spent on Capitol Records (1953-55). This was a hectic period in jazz, with bebop in the near-view, hard bop coming along as well, and the big band was considered by many to be a relic of bygone eras. Yet Ellington persevered, and not without another adversity: the temporary loss of signature alto player Johnny Hodges, who was off leading his own bands. The resulting five CDs worth of material collected here show an Ellington band more aimed at repetition, both of its own repertoire, which had sounded better in the 1940s, and of other bands' material.