Charlie

This second installment in the Classics Charlie Parker chronology contains quite a number of Bird's best-loved and most respected recordings. The first 12 tracks, recorded in New York for the Dial label in October and November of 1947, are all masterpieces of modern music, with the ballads, especially "Embraceable You," constituting some of Parker's very best recorded work. This is the classic 1947 quintet with Miles Davis, Duke Jordan, Tommy Potter, and Max Roach. Even if his personal life was characteristically chaotic, 1947 was a good year for Charlie Parker's music. It was in November 1947 that this band hit the road to play the El Sino Club on St. Antoine Boulevard in Detroit. Unfortunately, Bird got really snockered and couldn't perform, so the El Sino management canceled the gig. Bird ultimately destroyed his saxophone by throwing it out of a hotel window onto the street below. (A tragic and disturbing image!) Back in New York, the band – now a sextet with the addition of trombonist J.J. Johnson – made six more sides for Dial on December 17, 1947.

CD configuration of the Charlie Parker LP box set released earlier in the year. The collection highlights Bird's pioneering bebop recordings for Savoy Records from 1944-1948, featuring jazz legends Miles Davis, Dizzy Gillespie, John Lewis, Bud Powell, Max Roach and more.

Whiskey is a 1977 LP re-issue of the 1974 album Way Down Yonder. Presumably, the album was re-named and marketed in 1977 to capitalize on the popularity of the country rock and outlaw country genres. Whiskey, however, quickly disappeared into obscurity only to re-surface as a long overdue CD reissue on the outstanding Wounded Bird Records in 2008. Because of these circumstances and its long absence from print, Whiskey is somewhat of a "lost" Charle Daniels Band album.

The Great Guitars' fifth and final recording with their original three guitarists (Charlie Byrd, Herb Ellis and Barney Kessel) is another excellent effort, although a bit lazier than their previous records. Bassist Joe Byrd and drummer Chuck Redd contribute tasteful support. Other than "Get Happy," most of the selections (which include "Where or When," "Opus One," "Old Folks" and even a soulful "When the Saints Go Marching In") are taken at slow to medium tempos, but the interplay between the guitarists is always impressive and swinging.

Charlie Poole wasn't a particularly brilliant banjo player (although his later three-finger-style picking would set the table for the advent of bluegrass banjo a couple of decades after his death), and he wasn't the world's greatest vocalist either, but he had a certain devil-may-care charisma that made him a superstar in the string band era of the 1920s. Poole's greatest talent – aside from an ability to go on long drinking sprees and to manage to be at the center of things even in his absence – was in his song adaptations, which drew from sources outside the standard Appalachian fiddle tunes and reels, including pop, ragtime, and blues. This extensive 96-track, four-disc box set from Britain's JSP Records collects the lion's share of his recordings on Columbia, Poole's label from 1925 until his death in 1931 at the age of 39. Also included are a handful of cuts Poole made under the table for Paramount (where his North Carolina Ramblers were called the Highlanders) and Brunswick (which saw the band disguised as the Allegheny Highlanders).

In the 1950s, Charlie Mariano was one of the most promising of the bop-oriented altoists. His personnel here is consistent, with Mariano joined by pianist Claude Williamson, bassist Max Bennett, drummer Stan Levey, trombonist Frank Rosolino, and the cool-toned trumpeter Stu Williamson. The repertoire mixes together fairly basic group originals and swinging standards with many fine solos by the horns. An excellent example of Charlie Mariano's playing in the '50s.

Charles Wayne Sexton is an American guitarist, singer, and songwriter. Sexton is best known for the 1985 solo hit "Beat's So Lonely" and for his work with the band Arc Angels. Charlie Sexton, released in 1989, is the second studio album released by singer/guitarist Charlie Sexton. An about-face, with more emphasis on Sexton's guitar playing and Texas roots. Although a youngster compared to most of his Austin friends, guitarist, singer, and songwriter Charlie Sexton has already had several phases to his career. Sexton, raised in Austin, TX, made his debut with Pictures for Pleasure in 1985 at age 16. He followed that up with a self-titled second album when he was 20. Because word of his reputation as a prodigy guitar player spread far and wide, he found himself an in-demand session player while still in his late teens, and he had the opportunity to record with Ron Wood, Keith Richards, and Bob Dylan.

Originally titled HONEY IN THE ROCK and later renamed for its hit song (Daniels's first chart entry), UNEASY RIDER is the third Charlie Daniels album, but the first to put his name on the map. In addition to his previous southern-rock-meets-Western-swing sound, the album includes a significant R&B influence, making for an intriguing country-funk style. The title track's talking blues is particularly significant for espousing a hippie/counterculture perspective on the part of a man who'd later become known for championing more conservative values.