W. His Orch. Inc. Lester Young, Harry Edison, Dicky Wells.

Vocalists w. Sammy Kaye incl.. Billy Williams, Arthur Wright, Nancy Norman & Sally Stewart / vocalists w. Les Elgart incl.. Terry Parker and the Tune Tellers.

From 1944, w. Oran "Hot Lips" Page, Clyde Hart, Charlie Drayton, and Denzil Best, 14+ cuts from February 8, 1944.

Bunk Johnson-tpt and his band, includes nine previously unreleased tracks.

23 cuts w. His Tympany Five.

43 tracks on 2 CDs recorded between 1945 and 1950 by the Legendary Blind Boys of Mississippi. This is the most comprehensive overview of the group ever released. The lead vocals are performed by the incomparable Archie Brownlee, whose vocal prowess was an inspiration to scores of R&B and Soul singers who grew up listening to him. These titles were recorded for America's premier Gospel labels Peacock Records, and some of the earlier tracks were recorded for the Coleman label owned by the Coleman Brothers, who also have a release on Acrobat this month. This series has been greeted with great acclaim by both Radio and Press around the world, and we are confident that this package will be no exception. It comes with comprehensive liner notes from expert, Opal Louis Nations and many rare and unseen illustrations.

The main idea behind this recording was to focus on the presentation of pieces composed by Hungarian and Polish artists in one particular year: 1948. We wanted to show here compositions of two major artists from each of those countries. Both Hungarian pieces featured on the album naturally continue the 'Hungarian sound,' characteristic of the interwar period, shaped by the output of Zolt�n Kod�ly. Cast in four movements, the Serenade for String Orchestra by Endre Szerv�nszky (1911-1977) is an example of one of the outstanding compositions symptomatic of the generation of the master's successors. Let us quote the words of an excellent music critic, Marianne P�ndi: 'This work combines all the qualities of the Hungarian music of that period: it is melodic, understandable, Hungarian in style, and rhythmic. It is a source of first-class entertainment.'

Classical Music

15 cuts by this jazz trumpeter from 1949, w. different band members on cuts 1-11 and 12-15.

The heart of this man had warmed ten thousand, thousand nights for all the world - that's what Jelly Roll Morton said of "Big Eye" Louis. This CD features the clarinetist joined by Charlie Love, Johnny St. Cyr, Austin Young, Ernest Rogers, "Wooden Joe" Nichols, Albert Jiles and others.

They called her Lady Patachou and, in fifties’ Montmartre, her cabaret was a “must” where she used to gather all the great names whose songs she sang, from Georges Brassens and Guy Beart to Charles Aznavour and Leo Ferre. This anthology compiled by Dany Lallemand brings to light a selection of recordings made by Patachou as an icon of Parisian music-halls, a major figure combining the popular accents of Paris with the elegance of Montmartre. Claude COLOMBINI FReMEAUX

1950S ALBUM COLLECTION

1951

Classical Music

This continues the strand of R&B and country collections associated with Acrobat's highly popular "America's Greatest Hits" series, this one focusing on the top R&B records in the US Billboard charts during 1960. This great value 115-track 4-CD anthology includes, with the exception of certain records which are unavailable for inclusion due to copyright restrictions, just about every record which peaked in the Billboard R&B Top 15 during that year. By this time, the R&B scene had evolved considerably as the rock 'n roll scene had matured and Tin Pan Alley had marketed it's teen-oriented offshoots, and there was an exciting feel to the charts, with substantial crossover of pop artists into the R&B chart and vice versa, with artists like Jackie Wilson, The Drifters, Ray Charles and Sam Cooke. The big chart winner of the year was Brook Benton, with three No. 1s and 23 weeks at the top, fourteen of those with Dinah Washington. With the blurring of the boundaries between the genres, the more traditional blues and R&B artists whose music had helped lay the groundwork for rock found it harder to reach the top positions. However, there was still a solid representation of old school blues artists like B.B. King and Jimmy Reed, and top class R&B singers like Etta James, Bobby Bland and James Brown formed the core of the chart, as well as the first chart incursions from the Motown stable by Barrett Strong and Marv Johnson. As with all these collections, it provides a window onto a dynamic and exciting musical environment, and includes a number of unfamiliar names and recordings of which even enthusiasts of the genre may not be too aware, and which will be welcome additions to their collections. It contains a 12,000+ word booklet featuring background notes on every record.

This continues the strand of R&B and country collections associated with Acrobat's highly popular "America's Greatest Hits" series, this one focusing on the top R&B records in the US Billboard charts during 1961. This great value 113-track 4-CD anthology includes, with the exception of certain records which are unavailable for inclusion due to copyright restrictions, just about every record which peaked in the Billboard R&B Top 15 during that year. By this time, the R&B scene had evolved considerably as the rock 'n roll scene had matured and Tin Pan Alley had marketed it's teen-oriented offshoots, and there was an exciting feel to the charts, with substantial crossover into the pop charts through artists like Ben E. King, Ray Charles, Brook Benton, The Miracles, Aretha Franklin and The Marvelettes. There was also a significant weight of other records from the increasingly powerful Motown, Tamla and other labels producing material which would have a significant influence on emerging talent across the pond in the UK, like The Beatles, who absorbed some of the songs in this anthology into their repertoire, sowing the seeds of the British invasion which was soon to transform the pop landscape once more. With the blurring of the boundaries between the genres, the more traditional blues and R&B artists whose music had helped lay the groundwork for rock found it harder to reach the top positions in the R&B chart, and the foundations of the soul boom of the late '60s and 70s was clearly in evidence in many of the hits included here. As with all these collections, it provides a window onto a dynamic and exciting musical environment, and includes a number of unfamiliar names and recordings of which even enthusiasts of the genre may not

2020 release. 1962 features saxophonist Mark Turner, pianist Kevin Hays and the returning rhythm section of Joe Martin and Eric Harland. For fans of Kurt Rosenwinkel, Chris Potter, the Brian Blade Fellowship, and Jazz! Since arriving in 2012, guitarist Ricardo Grilli has been rising through the ranks and making quite an impression in New York's jazz scene. In this short time he has played with world renowned artists such as Chris Potter, Chris Cheek, Mark Turner, Aaron Parks, Joe Martin, Eric Harland, Kendrick Scott, Kevin Hays, Jon Cowherd, Orlando Le Fleming and Taylor Eigsti among others.

Bud Powell was “the foundation out of which stemmed the whole edifice of modern jazz piano" (Herbie Hancock) and “the greatest be-bop piano player in the world “ (Hampton Hawes). Though his life was short and troubled (1924 – 1966), Bud found some solace and tranquillity during the years (1959 – 1963) he lived in Europe (mostly in Paris). The recordings that make up this album are from March and August of 1962 from Danish Radio Concert Hall and Jazzhus Montmartre in Copenhagen. However battered mentally and physically the man was, here’s the clear evidence of his genius more intact than generally believed.

This continues the strand of R&B and country collections associated with Acrobat's highly popular "America's Greatest Hits" series, this one focusing on the top R&B records in the US Billboard charts during 1962. This great value 103-track 4-CD anthology includes, with a few exceptions, just about every record which peaked in the Billboard R&B Top 10 during that year. By this time, the R&B scene had evolved considerably as the rock 'n roll scene had matured and Tin Pan Alley had marketed it's teen-oriented offshoots, and there was an exciting feel to the charts, with substantial crossover into the pop charts through artists like Sam Cooke, Ray Charles, The Crystals, The Four Seasons, Booker T & The MGs, and The Marvelettes. There was also a significant weight of other records from the increasingly powerful Motown, Tamla and other labels producing material which would have a significant influence on emerging talent across the pond in the UK, like The Beatles, who absorbed some of the songs in this anthology into their repertoire, sowing the seeds of the British invasion which was soon to transform the pop landscape once more. With the blurring of the boundaries between the genres, the more traditional blues and R&B artists whose music had helped lay the groundwork for rock found it harder to reach the top positions in the R&B chart, and the foundations of the soul boom of the late '60s and 70s was clearly in evidence in many of the hits included here. As with all these collections, it provides a window onto a dynamic and exciting musical environment, and includes a number of unfamiliar names and recordings of which even enthusiasts of the genre may not be too aware, and which will be welcome additions to their collections. It contains a 12,000+ word booklet featuring background notes on every record.

“Bud was a genius piano player–the best there was of all the bebop piano players.” - Miles Davis “If I had to choose one single musician for his artistic integrity, for the incomparable originality of his creation and the grandeur of his work, it would be Bud Powell. He was in a class by himself" – Bill Evans Bud Powell 1962 is something we at SteepleChase have been obsessed with for a while. The previous release SCCD 36040 “Bud Powell 1962 Copenhagen” was from the recordings made at the Danish Radio Concert Hall and Jazzhus Montmartre. What we have here is from the same year from the fabled Golden Circle where SteepleChase’s 5-volume releases At The Golden Circle come from. The Swedish part of this release were recorded two days prior to those SteepleChase releases. Bud Powell travelled on to Oslo Norway the same year to perform some memorable tracks captured here before going back to USA for the last time.

2014 reissue of two albums first time on CD from Billy Vaughn, one of the most successful orchestra leaders of all time based. 1962's Greatest Hits" peaked at #17 and was 32 weeks in the charts. "The Shifting Whispering Sands" was originally a Top 5 single recorded in Mono; Vaughn re- recorded the version here in stereo and the album was his tribute to the American West with the inclusion of songs such as "Cool Water", "Red River Valley", "Home on the Range" and his own musical saga "Songs of the West". 6 bonus tracks are from Vaughn's other best-selling albums "Look for a Star" and "A Swingin' Safari".

1965 CARNEGIE LIVE UNEDITED

Session from 1966 features Keith Smith, Alvin Alcorn, Jimmy Archey, Darnell Howard, Alton Purnell, Pops Foster & Cie Frazier; includes a never before released track.

1967

Three disc (CD + DVD + Blu-ray) set. In 1971 Pink Floyd recorded the Meddle album, containing the LP side-long 'Echoes', regarded by many as laying the groundwork for The Dark Side Of The Moon, and, as such, is an important part of The Pink Floyd canon. This package includes part of the original demos, when the project gestated from Nothing to Return Of The Son Of Nothing, as well as a contemporary BBC session recording. Audio-visual material includes the original unreleased Quad mix of 'Echoes' but also material of live band performances in 1971, including songs performed with Roland Petit and his Marseille ballet company.

1976

Gyorgy Sebok (1922-1999) was a Hungarian-born American pianist who was also renowned as a teacher and giver of masterclasses. He made more than 16 recordings for the Erato label as a soloist early on in his career. He has received countless honors and awards throughout his career in recognition of musical life. His fellow Hungarian pianist Livia Rev said of him: “one of the greatest pianists in the second half of the century, if not the greatest.” Cellist Janos Starker, with whom Sebok played for more than six decades, pulled even fewer punches: “First hand, second hand, or in recordings, Gyorgy Sebok is the greatest pianist who ever lived,” and also “one of the greatest teachers of all time.” This live recording was made at the 1991 Grange de Meslay Recital, Parcay-Meslay, France.

In every respect, this is superb. Here is not merely a wonderful souvenir of a special event but a thing of joy forever.

In every respect, this is superb: a 'must'. I recently listened to DG's historic issue of VPO Johann Strauss ((D 435 335-2GWP2), reviewed enthusiastically in February by RO. Here the present needs fear nothing from the past. Indeed Carlos Kleiber combines in one baton, miraculously, every attribute of his predecessors—his father Erich's discipline and élan, Krauss's Schwung, Karajan's elegance, Boskovsky's lift and Krips's insinuating charm. Anyone who saw and heard the concert on television (the video incidentally will be released on Philips) will know just how delightfully Kleiber, with his unorthodox, seemingly effortless methods, achieves his aims and how willingly his complaisant orchestra responds to his peculiar gifts.

If I had to decide between so many winners, I might choose Eine Tausend und eine Nachi for the translucency of its introduction and the champagne elation of its main section, and Spharenklange for ethereal wonder. But then there is the irresistible verve of the Pizzicato Polka where the rubato is perfectly judged, and the tremendous panache of Unter Donner und Blitz. Is there a touch of the mannered just once or twice, as in the opening bars of The Blue Danube? If so, it is usually justified as a means to an entirely convincing end—in this case a familiar piece given with a swooning spontaneity that invites the body to sway with the music.

To crown one's pleasure, the recording is faultless: it has presence, warmth, depth, and captures ideally a sense of the occasion. Here is not merely a wonderful souvenir of a special event but a thing of joy forever. And now if you'll excuse me, I shall go and listen to it again.

-- Gramophone [4/1992]

1995 NEW YEAR'S CONCERT MEHTA

Classical Music