Dixon Jones

It's a matter of opinion as to whether Dixon's Aladdin output was his peak; many would give his Specialty sides (available on the Marshall Texas Is My Home compilation) the nod. Still, his late-'40s and early-'50s work for the label included some of his most popular and best tracks, such as "Wine, Wine, Wine," "Call Operator 210," "Tired, Broke and Busted," "Let's Dance," "Telephone Blues," and "Too Much Jelly Roll" (the last of which was one of Leiber-Stoller's first recorded compositions). This two-CD, 48-track compilation is geared more toward the completist collector than the average fan, especially with the inclusion of five Sonny Parker sides (which Dixon now says he didn't play on, despite some reports to the contrary) and about ten songs that feature Mari Jones on vocals…

Quincy Jones - The Great Wide World Of Quincy Jones: Live! (1961) {Mercury Japan 822 613-2 rel 1984}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 252 Mb | MP3 @320 -> 94 Mb
Full Artwork @ 300 dpi (jpg) -> 13 Mb | 5% repair rar
© 1961, 1984 Mercury / Nippon Phonogram Japan | 822 613-2
Jazz / Modern Big Band / Progressive Big Band

Quincy Jones' original big band toured Europe under stressful conditions in 1960 before returning home. In 1961, they returned for a tour, and although the personnel had changed a bit, it was still a mighty orchestra. This album of music from a Zurich, Switzerland concert has six selections, including a 14-minute version of "Stolen Moments" and a nine-minute Phil Woods original, "Banjaluka," along with four other pieces. Among the key soloists are trumpeter Freddie Hubbard, Eric Dixon and Budd Johnson on tenors, altoist Woods, trumpeter Benny Bailey (featured on "Moanin'") and trombonist Curtis Fuller. Fine straight-ahead music from a short-lived but significant jazz orchestra.

Best known among the key producers to emerge from the American underground's jangle pop movement of the early '80s, Don Dixon also enjoyed a cult following as a solo performer. A native of North Carolina, he dwelled in relative obscurity for well over a decade as a member of the little-known Arrogance before attracting his first significant notice around 1983 after co-producing with Mitch Easter R.E.M.'s landmark debut LP, Murmur. Subsequent work on Chris Stamey's It's a Wonderful Life, the Windbreakers' Terminal, and Tommy Keene's Run Now solidified his reputation among jangle pop aficionados, and in 1985 Dixon recorded his solo debut, Most of the Girls Like to Dance But Only Some of the Boys Do, a further affirmation of his love of classic pop melodies and spiky, Nick Lowe-inspired wordplay.