Under the watchful eye of famed producer Michael Cuscuna, this nine-CD set serves as a compilation of Stitt's 1950s and 1960s Roost LPs. This release also features a 28-page booklet consisting of comprehensively annotated liners. Moreover, the record label does its best to convey the artistic element via a series of black-and-white photos of Stitt and his sidemen amid anecdotes by many of the late saxophonist's affiliates. Interestingly enough, seven of the original LPs did not list personnel. In some instances, guesses were made, although most of these tracks are well-documented, thanks to the producer's diligence and painstaking research. Artists such as drummer Roy Haynes, bassist/composer Charles Mingus, and pianist Harold Maber represent but a few of Stitt's accompanists.
The Baseballs werden 10! Und es gibt reichlich Grund zu feiern, denn Sam, Digger und Basti blicken auf eine Erfolgsgeschichte zurück, die ihresgleichen sucht. Gleich mit ihrem ersten Album Strike! (2009) eroberten sie nicht nur Deutschland, Österreich und die Schweiz, sondern belegten in mehreren europäischen Ländern Platz 1 der Charts, heimsten reihenweise Platin-Auszeichnungen ein und spielten ausverkaufte Tourneen. Es folgten prestigeträchtige Preise wie der EMMA Award, der European Border Breakers Award sowie gleich zweimal der ECHO und bis heute vier weitere Alben, auf denen The Baseballs sich populären Songs der Neuzeit widmeten und ihnen das Rock-and-Roll-Lebensgefühl der 50er- und 60er-Jahre verpassten zuletzt Hit Me Baby… (2016), das einmal mehr die Top 10 der Album-Charts in Deutschland, Österreich und der Schweiz erreichte…
From the opening four notes of Michael Henderson's hypnotically minimal bass that open the unedited master of "On the Corner," answered a few seconds later by the swirl of color, texture, and above all rhythm, it becomes a immediately apparent that Miles Davis had left the jazz world he helped to invent – forever. The 19-minute-and-25-second track has never been issued in full until now. It is one of the 31 tracks in The Complete On the Corner Sessions, a six-disc box recorded between 1972 and 1975 that centers on the albums On the Corner, Get Up with It, and the hodgepodge leftovers collection Big Fun. It is also the final of eight boxes in the series of Columbia's studio sessions with Davis from the 1950s through 1975, when he retired from music before his return in the 1980s. Previously issued have been Davis' historic sessions with John Coltrane in the first quintet, the Gil Evans collaborations, the Seven Steps to Heaven recordings, the complete second quintet recordings, and the complete In a Silent Way, Bitches Brew, and Jack Johnson sessions. There have been a number of live sets as well; the most closely related one to this is the live Cellar Door Sessions 1970, issued in 2005.
With three discs featuring a total of 63 tracks, this is Mahalia Jackson's complete output for the Apollo label from 1946 to 1954. These are the recordings that brought Jackson to a national audience right up to her breakthrough with Columbia Records and the ones that literally made gospel recording history. Highlights can be found anywhere the laser beam falls on any of the three discs in this set, but her performances of "Go Tell It on the Mountain," "His Eye Is on the Sparrow," "In the Upper Room, Pts. 1 & 2" "Move on Up a Little Higher," "What Could I Do," "Ever Me," "I'm Going to Tell God," "Dig a Little Deeper," and "Walk with Me," "In My Home Over There," "Just Over the Hill, Pts. 1 & 2," and "Walking in Jerusalem" are too perfect for words and should simply be in everyone's gospel collection as some of the best the genre has to offer. Marvelous transfers of the original master tapes plus great notes by AMG contributor Opal Louis Nations are just extra icing on the cake to this essential collection.
Johnny Smith is an exquisite jazz guitarist known mostly to fellow musicians and serious jazz fans. This beautifully packaged and expertly annotated eight-CD limited-edition boxed set from Mosaic includes his complete small-group recordings for Roost, most of which have languished out of print for decades. Smith's unique voicings on his instrument set him apart from other players, yet he maintains a lush, crystal-clear tone no matter the tempo or setting.