Classical Music

This CD contains the material Hawkins recorded for Al Benson's Parrot label in Chicago. Discographical details about these tracks remain incomplete but it seems all items were made in Aug. 1953 - despite various other recording dates found in reference-books and biographies. He was playing a residency at the "Toast of the Town" club in Aug. 1953 when Benson seized the opportunity to record for his new label. Only 4 tracks were actually issued on 45/78s - incidentally one with a romantic typo: "I'll Follow My Secret Heart" appeared as "I'll Follow My Sacred Heart!" Benson obviously tried to experiment, yet neither the vocal choir nor the organist helped Hawkins a lot. It seems that a 10" or 12" LP was originally planned but Benson never issued it. Tracks: I'll See You Later - What a Difference a Day Made - I'll Follow My Sacred Heart - Blue, Blue Days - Flight Eleven - Modern Fantasy - Confessing' - September Song - You Can't Take That Away from Me - Should I - Last Stop - Lullaby of Birdland - Get Happy - Out of Nowhere - Blue Lou - Stompin' at the Savoy - Just You, Just Me.

Racism and disdain for improvised music in the "motherland of jazz" drove more and more Americans to Europe in the 1950s and 1960s. Bud Powell, Kenny Clarke and Oskar Pettiford, who had already contributed to the development of bebop in the early 1940s, appear here on the occasion of the Jazztage in Essen in 1960, and the saxophonist Coleman Hawkins joined them in the second half of the concert.

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.

1960 SESSIONS

1960S ALBUMS

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

Dizzy Gillespie - 1961-1964: The Classic Philips Albums - This four-disc collection features eight of the finest LPs Dizzy Gillespie recorded for Philips in the 1961-1964 period. One of the most recognised and esteemed names in all of jazz music, Dizzy Gillespie's work, his live performances and his multiple recordings are legendary. A truly gifted player on his chosen instrument, the trumpet, Gillespie was famous for the complexity of his improvisation. His work also had a profound effect on the popularity of bebop during the 1940s and 1950s. Dizzy's influence on host of jazz masters who followed in his footsteps, from Miles Davis to Lee Morgan and numerous others, was profound, and he embraced a wide variety of styles and arrangements during his lifetime. Some of his finest work emerged during the late 1950s to the mid-1960s, when he was initially signed to Verve Records, and then, from 1962 onwards, to the legendary Philips label. This four-disc collection, containing over five hours of music in total, features eight of the finest LPs Gillespie recorded for Philips during the 1961-1964 period, and houses some of the best playing to grace jazz records at this time.

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.

1974 live-recordings of US - Jazz and World Fusion artists Oregon documenting the band at their mesmerizing best.

Oregon, formed in 1970, comprised Ralph Towner (classical and 12-string guitars), Paul McCandless (oboe and English horn), Glen Moore (double bass) and Collin Walcott (sitar and tabla).

The band's music has always been almost totally acoustic. ''Acoustic instruments sound more expressive to me,'' Towner explained to Jazzwise magazine (UK) in September 1997. He further explained his guitar style: ''With classical guitar [you're] using all the fingers of your right hand to pluck which means you can be sounding anything from two to five notes in exact unison, rather than a strum.'' As well as their core instruments, Towner has played trumpet, synths and piano with the band, McCandless bass clarinet and flute, Moore flute and violin and Walcott clarinet and dulcimer. To name but some. ''At one time we were carrying eighty instruments on the road!'' McCandless has said.

The combining of instruments from disparate musical traditions and the musicians' range of influences meant that 'jazz' was always an inadequate label for the band. ''Live In Bremen 1974'' documents Oregon at their mesmerizing best. The interplay between the four players is stunning and on each piece mood and texture are ever-changing, yet always following an aesthetic logic that seems irrefutable. ''Live In Bremen 1974'', however, is a reminder of a band that made music that had never been heard before, that had never been imagined before. One track is titled ''Brujo'', Spanish for ''sorcerer.'' Truly, Towner, McCandless, Moore and Walcott were musical sorcerers whose playing retains its power to enchant not only the band's original fans but even, surely, anyone lucky enough to be hearing the band for the very first time.

1st Time Ever available! Oregon, formed in 1970, comprised Ralph Towner (classical and 12-string guitars), Paul McCandless (oboe and English horn), Glen Moore (double bass) and Collin Walcott (sitar and tabla). The band's music has always been almost totally acoustic. 'Acoustic instruments sound more expressive to me,' Towner explained to Jazzwise magazine (UK) in September 1997. He further explained his guitar style: 'With classical guitar [you're] using all the fingers of your right hand to pluck which means you can be sounding anything from two to five notes in exact unison, rather than a strum.' As well as their core instruments, Towner has played trumpet, synths and piano with the band, McCandless bass clarinet and flute, Moore flute and violin and Walcott clarinet and dulcimer. To name but some. "At one time we were carrying eighty instruments on the road!" McCandless has said. The combining of instruments from disparate musical traditions and the musicians' range of influences meant that 'jazz' was always an inadequate label for the band. 'Live In Bremen 1974' documents Oregon at their mesmerizing best. The interplay between the four players is stunning and on each piece mood and texture are ever-changing, yet always following an aesthetic logic that seems irrefutable. 'Live In Bremen 1974', however, is a reminder of a band that made music that had never been heard before, that had never been imagined before. One track is titled 'Brujo', Spanish for 'sorcerer.' Truly, Towner, McCandless, Moore and Walcott were musical sorcerers whose playing retains it's power to enchant not only the band's original fans but even, surely, anyone lucky enough to be hearing the band for the very first time.

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

South African based saxophonist and flute player Mthunzi Mvubu started his music career at the age of 14 at the Music Academy of Gauteng under the mentorship of the late Dr. Johnny Mekoa. His intent and approach are evident in the title of his debut album, as is his deep respect for the art form. Comfortable in any Jazz club or stage, the music speaks to a deep spiritual connection between player and listener at the heart of improvisational Jazz.

Classical Music

Classical Music

Downbeat: A mega-production without equal. The hard grind for this exceptional double album has in every respect extremely fresh interpretations and solo contributions. Jazz Times: This is an astonishing extended album. Fay Claassen dominates the entirety of this release. Claassen replaces Baker's trumpet revealing her amazing skill at phrasing. This album brought Fay worldwide eurphoric reviews, as well as the first “Chet Baker Award,” a first place in the “All About Jazz” critics poll in New York, the ‘Choc’ from the French magazine “Jazzman” and finally in 2013 her first gold record in the Netherlands. She has, up to this point, published five albums under her own name. As a guest soloist, she can be heard on fifteen additional releases.

Augusta Read Thomas : Two Thoughts About the Piano (2017)For solo pianoDuration: c. 5 minutesFormat: 24-page scoreTWO THOUGHTS ABOUT THE PIANO was inspired by - and is a response to - Elliott Carter's Caténaires from his Two Thoughts About the Piano. My work is entirely original and does not quote from or share music in common with Mr. Carter’s work.

Although little known, the literature for two violins has an ancient history, that on one hand refers to the educational purpose of playing together and reciprocally listening to each other, and on the other hand refers to folk tradition. The compositions featured on this album truly move within all these different perspectives: they are in part folk music pieces, in part pieces with a didactic aim, but above all they are dialogs with a high chamber music value. Bartók and Prokofiev, with the Forty-four duets and the Sonata for two violins gifted us with two cornerstones of the literature for these instruments in the narrow space of two years, 1931 and 1932, opening this repertoire to new textures and new languages.