A charming little beauty, Starry Starry Night is a collection of cover versions of mainly familiar material by drummer Paul Clarvis and pianist Liam Noble, two characterful lights of the British jazz scene. The tunes range from classic standards like Duke Ellington's "Mood Indigo," the Gershwins' "Embraceable You" and Scott Joplin's "Maple Leaf Rag," through to more recent treasures like Gillian Welch's "Dear Someone," Don Maclean's "Vincent (Starry Starry Night)" and Moondog's "Paris."
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.
"A two-LP set on Theresa, Rejoice features Pharoah Sanders in excellent form in 1981. Sanders sounds much more mellow than he had a decade earlier, often improvising in a style similar to late-'50s John Coltrane, particularly on "When Lights Are Low," "Moments Notice," and "Central Park West." The personnel changes on many of the selections and includes such top players as pianists Joe Bonner and John Hicks, bassist Art Davis, drummers Elvin Jones and Billy Higgins, vibraphonist Bobby Hutcherson, trombonist Steve Turre, trumpeter Danny Moore, a harpist, and (on "Origin" and "Central Park West") five vocalists. The music always holds one's interest, making this one of Sanders' better later recordings." Scott Yanow/AMG
From its opening bars, with Bill Salter's bass and Rahsaan's flute passionately playing Bill Withers' "Ain't No Sunshine", you know this isn't an ordinary Kirk album (were any of them?). As the string section, electric piano, percussion, and Cornel Dupree's guitar slip in the back door, one can feel the deep soul groove Kirk is bringing to the jazz fore here.
Why didn`t this girl get the recognition she deserves?There are some absolutely wonderful songs on this album and even better vocal performances that few have come close to. The collection is slightly jazz tinged but don’t let that put you off.
Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, LondonThis is one of the few handful of recordings to feature the Rev. Gary Davis in concert. As the name of the project suggests, the proceedings were documented at the Newport Folk Festival in July of 1965. The Reverend's solo vocal is accompanied by his own six- and twelve-string guitar(s) as well as mouth harp.
REAL blues... He took the pain in his soul and the dirt on his hands and made songs out of them.... Robert Pete Williams ...the most avant-garde blues performer ever recorded. No punk rock band has ever matched the jagged, acerbic fury of the riffs Williams played 35 years ago. No rapper has approached his ability to evoke the torment of life in prison or bend language to cast an eerie spell over a chance encounter with a seductive woman.... His blues was extremely original, sometimes even hard to understand. No other performer has captured the emotional effect of a desperate situation like he did. He had never been recorded when he was discovered in Angola Penitentiary in Louisiana, convicted of murder.
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.
Shorty Rogers' "Jazz Waltz" is exactly that, an exploration of ten compositions played in waltz settings. Only these big-band charts are hardly the waltzes heard on Lawrence Welk's long-running television series. Rogers kicks off with a swinging number ("I'm Gonna Go Fishin'") written by Duke Ellington for the soundtrack to the film "Anatomy Of A Murder" and featuring the leader's rich flügelhorn. The lyrical take of the centuries-old folk melody "Greensleeves" alternates between the tense rhythm section and Bud Shank's gorgeous flute solo.
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.
As the New Orleans R&B sound developed rapidly during the early '50s, so did Lewis. He scored his first national hit in 1952 with "The Bells Are Ringing," but enjoyed his biggest sales in 1955 with the exultant "I Hear You Knocking" (its immortal piano solo courtesy of Huey Smith.