As the repository of the earliest phase of Frank Sinatra's solo career, 1943-1952, Columbia Records is usually thought to be at a disadvantage against the more accomplished work the singer recorded for Capitol Records and his own Reprise imprint. But in two albums released on the same day in 2003, Sinatra Sings Cole Porter and Sinatra Sings Gershwin, Columbia's Legacy division expands on its studio recordings of Sinatra by borrowing airchecks from the collection of Charles L. Granata, and thereby improves its holdings. Sinatra would not seem at first blush to be the ideal interpreter of Porter, if only because his rough-and-tumble background is always visible beneath his careful intonation, while Porter's lyrics are redolent of wealth and comic condescension. But Sinatra sang "Night and Day" in his first solo session in 1942 and went on to perform Porter throughout his career, often achieving near-definitive readings. The ground on which they met was intellectual rather than social: Porter was at heart a wit, and Sinatra understood the jokes, while emphasizing what emotional content there was, giving it a greater sincerity than the songwriter might have intended. This collection effectively mixes a bunch of studio recordings with previously unreleased radio performances that find Sinatra ranging over many different Porter moods.
In the summer of 2002, with the help Eagle Records - Candy was given total creative freedom to create the CD of her dreams, giving her the opportunity to push the boundaries with her seamless fusion of R&B, Drum `n Bass, Funk, Jazz and Ambient sounds. Right In My Soul marks Dulfer's first studio album in four years. Right In My Soul has all the trademark riffs, solos and that fit in with the new Candy Dulfer but still instantly recognizable to her legions of fans.
Wycliffe Gordon is best known for being the star trombonist with Wynton Marsalis' groups, but as he shows on the colorful Joyride, he is much more. Gordon not only plays trombone but a bit of tuba, trumpet, and even piano (on "Blessed") in addition to taking some good-time vocals. His music is inspired by New Orleans jazz while also including swing, blues, bop, and some more modern explorations. With Victor Goines also showing off his versatility (mostly on tenor but also playing some soprano and clarinet) and the rhythm section being both flexible and alert, this is a highly enjoyable and rather unpredictable set that keeps one guessing.
The future "King of Swing", Benjamin David Goodman, was born on the 30th May, in Chicago, Illinois. He was the son of Jewish immigrants and grew up with 11 brothers and sisters. Benny Goodman learned to play the clarinet in a synagogue and took his first steps as a musician on the pleasure boats on the nearby Lake Michigan.
He worked for several years from the middle of the Twenties with Ben Pollack, but also played with several other bands. Goodman met the well-known music producer John Hammond in 1933, and was persuaded by Hammond to form his first big-band…
Rick Wakeman's return to YES in June of 2002 coincided with the completion of the recording of "Out There", his first progressive rock album with his own band for 26 years. In true Wakeman tradition, "Out There" is a musical concept continued from where he left off in 1976 with his quest for the origins of all music with "No Earthly Connection" which sold in excess of five million copies worldwide…
One of roots reggae's institutions, Culture has cut a broad swath through Jamaican music thanks to potent political lyrics and an organic roots reggae sensibility that eschews dancehall's rough ghetto patois and digitized music making in favor of sweet-sounding vocal harmonies and live music backing. On its 30th album, the long-running outfit is still led by Joseph Hill, whose raspy sing-song vocals and rastafari political convictions touch on such subjects as oppression ("No Segregation," "Sweet Freedom"), war ("World Peace"), ganja ("Bud A Bawl"), and salvation ("Holy Mount Zion" and "Walk In Jah Light"). Hills messages are nicely supported by solid, groove-driven backing from the Firehouse Crew (a great group of hired studio guns), noted Jamaican saxophonist Dean Fraser, and members of Shaggy's backing band. Culture first made its impact felt in the mid-'70s, but this album proves that Hill and company still have much to say.