The Queen, they called her and Dinah Washington's regality was nowhere more apparent than in the recording studio, where she was uncompromising in her demands for the best in material and in backing. She is marvelous in this recording, which dates from 1957, for not only did she have some great standards to sing in arrangements by Quincy Jones and Ernie Wilkins, two of the best around at that time, but she also had behind her a star-spangled band (the trumpet section alone is sufficient indication of it's quality) that gave her every opportunity to be at her best.
Prima, who died in 1978, was the eternal game-changer. In his early years, he led various jazz outfits including the highly rated New Orleans Gang. A star of not only music, but also films - Prima appeared in several shorts and full-blown Hollywood productions during the '30s. In 1967 he provided the voice for King Louie, the orang-utan in Disney's The Jungle Book, for which many people remember Prima today. But as this essential double-album confirms, long before that he made great, humour-instilled, often exciting sounds that left audiences feeling happy. Featured here are his all his very best and most loved songs.
Louis Armstrong enjoyed many distinct phases of recognition and success during an extraordinary career spanning some 70 years. An iconic figure, his influence on the world of jazz, popular music and showbusiness is inestimable. Many of his finest and best-loved performances are included on this comprehensive 4CD set drawn from his prolific output during the 1950s and early 60s. This was the era when Louis was playing and singing with a zest and good humour that made him a true ambassador for jazz.
180 gram, 2 x LP gatefold pressing. 'Contains the original Lady Sings the Blues album plus a Best Of album. With few exceptions, every major pop singer in the United States has been touched by her genius. It is Billie Holiday, who was, and still remains, the biggest influence on me', Frank Sinatra's words still ring true today. This album pairs her original Lady Sings The Blues LP Recorded in 1954-1956 with a Best Of LP that reaches back and forward through the decade to gather more late gems from her catalogue.
This 'Definitive Collection' features a selection of Sarah Vaughan's most iconic recordings including songs such as 'S'Wonderful', 'Have You Met Miss Jones?', 'Broken-Hearted Melody', 'Summertime', 'Body And Soul' and many more. All tracks have been digitally remastered for optimum listening. 3 CD set
Modern jazz has had from the start two main sources whence came most of the ideas. These two founts, as it were, of inspiration and of ideas are Charlie Parker and Dizzy Gillespie. In- disputably they have enriched the lore of jazz throughout the world. They have taken what people have built before them, refashioned it in many ways, added to it, and have sent the jazz edifice soaring for others to look up to; be inspired by, and, eventually, build upon. 180GM Vinyl
Saxophonist Wayne Shorter can divide his long and distinguished career into phases. In the early years he played the role of sideman with great distinction, being singled out as a truly original stylist who also brought his considerable composing talents to the table before enjoying a period of popular recognition during the Seventies. In 1959 he got the chance to record under his own name for the first time. 'Introducing Wayne Shorter', comprised four of his own compositions alongside a Roland Kirk original and the classic Brecht/Weill 'Mack The Knife'. The album is a hardbop concoction, with Morgan and a Miles Davis rhythm section adding weight to an impressive debut
1957 was an important year in the career of John Coltrane, one of the jazz world's most influential and dynamic innovators. By the age of 31 the tenor saxophonist had already made an impact with a powerful, yet still evolving style. While more excitement lay ahead Coltrane, the first record made under his own leadership, shows a confident, commanding presence tempered with a willingness to work as a team player with his fellow musicians. The result is an album that embraces all the virtues of the hard bop school of modern jazz. Cleverly wrought arrangements, hypnotic themes, intense moods and creative soloing are underpinned by the time-honoured pulse of swing, always a satisfying staple ingredient.
Ella Fitzgerald's singing talents were simply supreme. Every one of her contemporaries looked up to her as the standard to be judged by. There are dozens of quotes from everyone including Crosby, Sinatra and virtually all the major band leaders extolling her virtues. Ella Fitzgerald was undoubtedly one of the greatest jazz and pop singers and interpreters of the twentieth century. Listeners can dance to her work, relax to it, laugh with it, cry with it, and everything in between as she can satisfy every mood. This album gathers some of her very best recordings, and could serve as a starting point for some deeper delving into her fine catalogue of songs.
Limited 180gm vinyl LP pressing. This album deservedly acquired 'cult status' thanks perhaps to the blend of material and happy assurance of all the soloists. Art Farmer for example is melodic and tuneful on Cool Struttin', helped by Sonny's sympathetic yet urgent chordal backing. The same applies to Jackie McLean, a loyal devotee of Charlie Parker but blessed with his own style. The pianist's solos have finger bustin' moments when the keys seem melded into one homogenous mass. But Sonny also displayed his expertise as a tasteful stylist with a unique approach much admired by Bill Evans. The musicians assembled for this session were produced by Blue Note Records supremo Alfred Lion, and would have been familiar to Clark, on this occasion cast in the role of Leader. Sonny was one of the Jazz label's house pianists called on to back the likes of John Coltrane, Kenny Burrell and Hank Mobley.
It takes one to know one. Which is why jazz drummers have always been ready to join the queue when assessing Art Blakey's influence, not only in the field of percussion but in the shaping of his chosen genre. Max Roach described him as "An original - the only drummer whose time I recognise immediately. When I first met him on 52nd Street in 1944, he already had the polyrhythmic thing down. He was doing it before anybody else." Thelonious Monk Jr concurred: "When I became a drummer, I learned how to swing from Art Blakey. What he did with the hi-hat and his roll got pressed into my soul. He had a primal approach to drums." All of which warmed the ears of Blakey, who admitted that his aim was to be one of the greatest drummers in the world- an ambition which he undoubtedly achieved.
