Official 2016 remastered collection of 5 albums recorded for Prestige, housed in replica card sleeves with full original artwork. Includes 'Worktime', 'With The Modern Jazz Quartet', 'Tenor Madness', 'Moving Out', & 'Saxaphone Colossus'. The quality of the music collected here needs no comment, really. But what I like about this series of box sets is that the original LP covers are faithfully reproduced on the small paper sleeves, front and back, just like the Japanese do it with their ridiculously expensive miniature CD paper sleeves. All relevant discographic data, like musicians, recording dates etc., are listed on the CD labels, which is unique for this kind of box sets and a great service if you ask me.
Released swiftly after Ghost Stories – just a year and a half, all things considered – A Head Full of Dreams plays like a riposte to that haunted 2014 album. Where Chris Martin spent Ghost Stories in a mournful mood – his sorrow perhaps derived from his divorce to Gwyneth Paltrow or perhaps not; it's best not to read too much into the tabloid headlines – the Coldplay leader sees nothing but sunshine and stars on A Head Full of Dreams. Martin gives away the game with his song titles. He's quite literally having "Fun" on an "Amazing Day," living for the weekend and viewing his impending middle age as nothing so much as the "Adventure of a Lifetime."
The Songbooks inherited from the musical tradition of Broadway are at the epicentre of Oscar Peterson´s musical culture; this was also the case for the one he regarded as a master : Art Tatum. It was to the extent that Oscar Peterson recorded them twice. The first time was at the beginning of 1950s principly as a Trio with guitar and double bass, then a second time with double bass and drums a few years later. It is this first wonderful remastered series that is presented to you here. Technical mastery, irresistible swing, constant inventivness and a remarkable complicity with Ray Brown, Barney Kessel and Herb Ellis characterise this sum of inexhaustible richness.
First recorded collaboration between one of the leading sopranos of our time, Juliane Banse, and the incomparable pianist András Schiff. The programme is a fascinating combination of two different worlds of 'Liedgesang' - in language as well as musical style and historicity.
This CD is a compilation of some of Miles Davis's earliest recordings as a sideman from the late 1940s. His formative years are represented here in a large group setting. The groups featured here are scaled down or actual big bands. This CD is probably most dominated by the arrangements of Tadd Dameron, arguably the definitive arranger-composer of the bop era.
Big Brass is an appropiate name for the large ensemble arranged and conducted by Ernie Wilkins that accompanies the huge sound of Sonny Rollins. The energy within the leader's gospel-flavored shout "Grand Street" is considerable, while a swinging but no less powerful version of George & Ira Gershwin's "Who Cares" features a choice solo by guitarist Rene Thomas. Also added to this compilation are trio recordings with bassist Henry Grimes and drummer Specs Wright, including a brilliant leisurely stroll through "Manhattan," along with Rollins' tour de force unaccompanied tenor sax on "Body and Soul."
Credit Väsen with the urge to keep their music fresh. This time around they entered the studio without much preparation, only brief rehearsals to familiarize themselves with the tunes – all originals for this outing. The arrangements they'd worked out were rudimentary at best. Instead, they chose to rely on spontaneity and an empathy built from years of playing to create an intricate sound. Recording live with just one or two takes for each tune, the group made a gamble that paid off in full. A single listen to a piece like "Glada Polsken" is evidence that they're all musicians of great technique and inspiration, able to weave lines around each other as if it had all been carefully worked out to the last note. And there's a palpable joy for them in walking this knife edge.
This release presents the celebrated LP At the Stratford Shakespearean Festival (Verve MGV-8024) in its entirety. The album showcases Oscar Peterson’s drum-less trio featuring Herb Ellis and Ray Brown live in Ontario, Canada. According to Peterson himself, the group was seldom captured so well on records. A rarely heard reading of “Will You Still Be Mine?” taped by the same trio a couple of months later has been added here as a bonus.
Al Caiola’s mastery of the guitar was always abundantly clear, both in his recordings as a studio musician and in his stage performances, and it is just as self-evident in these two albums and in his relationship with the two solid jazz groups that accompany him on them. "High Strung" was recorded in 1959, and without climbing way out on a limb, Al and his supporting cast of guitars—George Barnes, Al Cassamenti, Don Arnone, John Pizzarelli, and Billy Bauer—set new ideas to a solid swinging beat in “electrifying” up-tempo evergreens and a couple of his own compositions, backed by an excellent rhythm section.
Can it be a coincidence that this CD, subtitled "Inspiration from Gregorian Chant," was recorded right around the time that chant music was reaching its improbable peak on the album charts? In any case, this enjoyable, offbeat trio album featuring the unusual combination of Bley's piano, David Eyges' electric cello and Bruce Ditmas' drums seems to have very little to do with Gregorian chant per se. Indeed, such numbers as "Wisecracks" and "Loose Change" are definitely based on the blues, "Decompose" has an M-base funk foundation, and "Funhouse" is a nasty, down-home bit of grooving that eventually becomes engulfed in a swirling maelstrom (so this is from whom Keith Jarrett may have picked up some of his group concepts).