Stereo RecordingArguably the most adventurous female jazz singer of all time, Betty Carter was an idiosyncratic stylist and a restless improviser who pushed the limits of melody and harmony as much as any bebop horn player. The husky-voiced Carter was capable of radical, off-the-cuff re-workings of whatever she sang, abruptly changing tempos and dynamics, or rearranging the lyrics into distinctive, off-the-beat rhythmic patterns.
Stereo RecordingBack in the 1930s Kansas City was a major jazz scene as it was home to Bennie Moten’s Band followed by the Count Basie Jazz Orchestra. Bob Brookmeyer, the virtuouso valve trombonist, who just passed away in the last several months, gathered in 1958 a largely Basie-oriented septet to do honor to the KC scene by recording several standards of the day including “Jumping at the Woodside,” “Blue and Sentimental,” “Moten Swing,” and Travlin’ Light.”
Mono Recording“Actual playing experience on the job is the best way to learn to think. Improvising is playing with a lot of thought behind it; but none of the hard work that goes into thinking should show up in your playing. Too often improvising is really copying. To really improvise , a musician needs to know everything – not only his instrument, but harmony, composition, theory, the whole works. It’s more important than ever today. (“Today” being 1960)
Mono RecordingHarry “Sweets” Edison, a smooth and suave trumpeter, was a cohort of orchestra leader Count Basie, a favourite of bandleader Nelson Riddle, and a noted backup artist for the most prominent vocalists of his time. Edison, with his energetic yet reticent blowing style, bridged a genre gap between the early classic jazz sound of Louis Armstrong and modern bebop modes.
Stereo RecordingA beautifully recorded session of top quality blues performed by masters of their art. On paper it may look like a slightly odd coupling of KC shouter with a Chicago blues band. The results confirm that Jimmy Witherspoon is a blues singer full of passion and throughout this session all the musicians compliment each other admirably. A beautiful slab of music.
The 1967 Newport Jazz Festival, fourteenth in a world-famous series, was inexplicably the first at which Lionel Hampton had ever appeared. Better late than never, the great vibist and bandleader came, played and conquered. As the crowd roars ecstatically at the end of this record, the awed but happy voice of producer George Wein is heard: "This hasn’t happened since Duke …" he begins, casting back in his mind to 1956 and the nearest comparable triumph.
Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, LondonThis jazz recording is considered as the 'magnum opus' of master "drummer extraordinaire'', composer, arranger, producer, and leader Norman Connor's in a career that has spanned 4 decades. This recording is what many will consider the debut of the legendary vocalist Dee Dee Bridgewater who has since gone on to a brilliant career.
Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London When Paul Robeson took the stage at Carnegie Hall in May of 1958, it had been 11 years since he had previously concertized freely in the United States. Blacklisted from the entertainment industry at home, and with the State Department unwilling to issue him a passport, he had fallen into eclipse as a singer and actor over the previous eight years. The concert recorded here, one of two at Carnegie Hall in May of 1958, marked his return.
MONO RECORDINGArguably one of the most exciting saxophone soloists in Jazz History,Kirk was a post-modernist bsfore that term even excisted. Kirk played the continum of Jazz tradition as instrument unto itself, he felt little compuction about mising ans matching elements from the music's history, and his concoctions usually seemed natural, if not inevitable.
Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, LondonOnce fired from Lucky Millinder's band, it was the great Duke Ellington who recommended Ruth Brown to Herb Abramson and his fledgling Atlantic Records in 1949. Good thing, too, because it was Ruth Brown who put Atlantic on the map, make no mistake. She did that with 24 R&B hit singles from 1949 to 1960, five of which crossed over to the Billboard Pop charts.
Sidney Bechet's historic recordings for Blue Note and RCA Victor tend to overshadow some of his other work because they have been reissued more frequently, though there are lesser-known dates worth acquiring as well. This Columbia LP compiles three separate recording sessions made between 1938 and 1947. Bechet sticks almost exclusively to soprano sax throughout each of them and has ample space for his solos, full of his trademark heavy vibrato. The earliest set matches him with drummer Zutty Singleton, bassist Henry Turner, and guitarist Leonard Ware (all members of his working band at the time), along with pianist Dave Bowman and baritone saxophonist Ernie Caceres.