Simply a grand and eloquent performance put together by Verve records highlighting the best years of Ella Fitzgerald – that sassy, charming legendary singer in jazz. The Best of the Songbooks features a captivating lineup of some of jazz's greatest composers and arrangers. It is here that Fitzgerald records and sings songs of Cole Porter, Richard Rogers and Lorenz Hart, Duke Ellington, Irving Berlin, George & Ira Gershwin, Harold Arlen, Jerome Kern, and Johnny Mercer.
Though her career stretched from the '30s to the '80s and she's widely considered possibly the greatest female jazz singer or all time, Ella Fitzgerald will probably forever be best known for a mid-'50s collection of albums collectively called the Songbooks, where she devoted entire albums to the works of such composers as Harold Arlen, Cole Porter, and Duke Ellington. THE BEST OF THE SONGBOOKS: THE BALLADS is one of the many compilations based on these recordings, and one of the best. From its beautiful, informative packaging to its gorgeously remastered sound, this 16-track, 64-minute collection treats the material with the respect it deserves. The material, of course, is first-rate, wall-to-wall standards from Johnny Mercer's wistful "Laura" to Ellington's sly "Do Nothin' Til You Hear From Me." Fitzgerald's performances are equally outstanding, as are the mostly big-band arrangements. This is as good as jazz ballad collections get.
Blue Oyster Cult - The Columbia Albums Collection brings together the group's 14 official Columbia Records albums–including newly-mastered editions of On Your Feet or on Your Knees, Fire of Unknown Origin, The Revolution by Night, Mirrors, Cultosaurus Erectus, Extraterrestrial Live, Club Ninja and Imaginos–alongside two newly-curated bonus discs: Rarities and Radios Appear: The Best of the Broadcasts (a special collection of classic live performances).
The Roberta Martin Singers were an African-American gospel group based in the United States. The group was founded in 1933 by Roberta Martin, who in that same year had just become acquainted with gospels music, which was different from the traditional spirituals which were popular at the time. Theodore Frye and Thomas A. Dorsey were directing a junior choir at Ebenezer Baptist Church in Chicago, Illinois, and asked Martin to serve as the accompanist. From this junior choir, Martin selected six young men at random to form a group, Eugene Smith, Norsalus McKissick, Robert Anderson, Willie Webb, James Lawrence, and W.C. Herman. This group was named the Martin and Frye Singers, and in 1936, the group adopted the name of The Roberta Martin Singers. The Roberta Martin Singers (RMS) contained no traditional bass. For a brief period of time, the group was known as the Martin and Martin Singers, when Sallie Martin joined Roberta's group.