Elle King brings the debut album. Comes with lyrics and a description. Special Feature - Bonus Track: Japan only bonus tracks. Existing at the intersection of the two major retro-roots movements of the new millennium – the beehived, swinging '60s soul of Amy Winehouse and the bluesy roar of the White Stripes – Elle King's debut, Love Stuff, feels like a record that should've happened prior to 2015. Surprisingly, King is the only musician to mine this territory but she's not quite stuck in the past, whether that means the 20th century source or the canny revivals of Winehouse and Jack White.
Reissue with the latest remastering. Comes with liner notes. Lee Konitz has had many opportunities to record with European artists over the decades, but this session is a bit unusual, in that all the compositions are by bassist Giovanni Tommaso and Konitz doesn't stick strictly to alto saxophone. Joining them are pianist Franco D'Andrea (with whom Konitz worked on a number of Philology CDs decades later), trumpeter Enrico Rava and drummer Gegé Munari.
THE FIRST OF THE TWELVE discs in this collection of Anna Moffo’s RCA recital recordings begins with a 1960 performance of the jewel song from Gounod’s Faust, and that selection, along with the others on this disc, sets out the singer’s basic assets and liabilities. It’s a fresh lyric sound - Moffo was twenty-eight that year - ven throughout the range, accurate in pitch and coloratura, with a good try at a trill.
Reissue with latest 2014 DSD remastering. Comes with liner notes. Jeru was a favor that Gerry Mulligan did for his drummer, Dave Bailey, who owned a startup label called Jazzline. Mulligan was bet-ween recording contracts. The ensemble played together only once, during the four-and-a-half-hour session when Jeru was made in 1962. It features Tommy Flanagan on piano, Ben Tucker on bass, Bailey on drums and Alec Dorsey on congas. The album never appeared on Jazzline because CBS bought the master and released it on Columbia.
Reissue with latest 2014 remastering. Comes with liner notes. The last of the pianoless quartet albums that Gerry Mulligan recorded in the 1950s is one of the best, featuring the complementary trumpet of Art Farmer, bassist Bill Crow, and drummer Dave Bailey along with the baritonist/leader. This recording is a little skimpy on playing time but makes every moment count. Virtually every selection is memorable, with "What Is There to Say," "Just in Time," "Festive Minor," "My Funny Valentine," and "Utter Chaos" being the high points. Highly recommended both to Mulligan collectors and to jazz listeners who are just discovering the great baritonist.
This long-out-of-print CD has finally been reissued and it's a must-have for Phil Woods fans, or for anyone interested in an excellent example of post-Parker be-bop saxophone. The sound quality is excellent, the rhythm section is very competent and Phil is at the top of his game on a nice mix of standards and originals. It's easy to see why he has been the benchmark for jazz alto for decades. His swing and inventiveness are nicely showcased as he eases his way through the list of tunes. If one were to buy one or two CD's that best show Phil Woods' ability to create meaningful jazz, this one would have to be high on the list for consideration. Don't miss it!