Chinatown Girl

German dance-pop duo Modern Talking were formed in Berlin in early 1983 by Dieter Bohlen, then a composer and producer employed by the Intersong label; teaming with vocalist Thomas Anders, they soon began work on their first single, 1984's "You're My Heart, You're My Soul." …

John Zorn - Naked City - The Complete Studio Recordings (2005) [5CD Box Set] {Tzadik}
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© 2005 Tzadik | TZ 7344-5 | Tzadik Archival Series
Jazz / Avant-Garde Jazz / Experimental / Modern Composition / Structured Improvisation

Naked City: The Complete Studio Recordings is a five disc box set that contains all of the studio albums released by Naked City during their five-year history. Probably Zorn's most popular and most controversial musical project, the music of Naked City has been debated, analyzed, adored and reviled by fans, critics and academics alike, but nothing can replace the experience of hearing it in all its frightening glory. Most people know this music from the single domestic release on Nonesuch, but the major portion of their studio recordings were issued from 1989 - 1993 on the hard to find Japanese labels Avant and Toy's Factory.

This budget-priced three-disc Australian import – on RCA, so it's official – compiles Chet Atkins' work from the early '50s to about 1980. Basically, from the time he became "Mr. Guitar" to the end of his prime – though Atkins remained a monster guitarist until his death in 2001. You would have to know Atkins' music to get any of this because, besides a track listing and a cursory essay on how great he was, there is literally no discographical information provided here. Still, there's enough of his well-known material here for any fan to sit up and take notice, such as "Mr. Sandman," "Barbershop Rag," "Hot Toddy" and "It Don't Mean a Thing (If It Ain't Got That Swing)," both with Les Paul, "Teensville," "Sleepwalk," "Terry on the Turnpike" with Boots Randolph, "Make the World Go Away," "Rocky Top," "Tennessee Stud" and "Mystery Train," both with Jerry Reed, and of course, the amazing "Do I Ever Cross Your Mind" with Dolly Parton. The vast majority, of course, are instrumentals by Atkins.

For many, Eddie Condon's name is synonymous with swing-infused Chicago-style Dixieland, which he embodied in almost every way. Although not considered a great technician, Condon was a great section man, a guitarist who provided a solid rhythmic root. More than that, he was an organizer who sponsored and influenced innumerable musicians. These eight CDs feature groups led by players associated with Eddie Condon. Although Condon only performs on a handful of the tracks, his spirit is pervasive, and the collection is unified not only by style but also by something more ethereal as well. As is common with the Mosaic box sets, there is a commitment to quality recording that often begins with long-forgotten original masters…

Through the 1930s, Coleman Hawkins growth is exponential, especially in his ballad playing. Buttery warm and cozy, he finds notes that always work within the chord and are clearly there for anyone to find. But he's the one who finds them. And what is there to say about his solo on 1939's "Body and Soul" that hasn't already been said? This is the music that has proven so inspirational to generations of tenor saxophonists since; the endless possibility when taste and intelligence take on exceptional material. Our jam-packed set on eight CDs includes 190 tracks, 12 never before released. Included is material from Coleman's earliest days with Mamie Smith and her Jazz Hounds, his time with Henderson including various pseudonym bands and offshoots that shared personnel, the Mound City Blue Blowers, Benny Goodman's orchestra, Lionel Hampton, Benny Carter, Count Basie, co-leader sides with trumpeter Henry Red Allen, Cozy Cole, and a variety of all-star dates for Metronome, Leonard Feather, and Esquire, as well as recordings as a leader of his own dates. Our research has corrected many discrepancies in previous discographies.

Bob Howard made a remarkable number of recordings during 1935-38, enough to fill up five LPs. With the popularity of Fats Waller, Howard was signed by Decca as competition but he never came close despite the utilization of some notable sidemen. Howard moved to New York in 1926 and performed as a solo act. He was a fixture on 52nd Street in the 1930's, including at the Hickory House, Park Central Hotel and the Famous Door among others. Howard recorded five selections during 1931-32 for Columbia (three solo sides that included his vocals and two duets with trumpeter Manny Klein). A decent pianist, Howard stuck exclusively to goodtime vocals during his Decca period and among the other players on his records were Benny Carter (on trumpet and alto), trumpeters Bunny Berigan and Marty Marsala, clarinetists Buster Bailey, Barney Bigard, Cecil Scott and Artie Shaw, pianists Teddy Wilson…