Dongjin Lee

This album is marked by the interaction between John Lee Hooker and his guitar-playing cousin Earl. Earl, who succumbed to illness in 1970, was a fine bluesman in his own right, possessing a formidable slide technique. Many are unaware that the two often performed together, and the band that accompanies John Lee here also backed Earl frequently. The opening cut, then, a slow 12-bar number called "The Hookers" is not about ladies of the evening, but rather about the gentlemen in question.
Heard here less than a year before his death, Earl still sounds frisky and versatile, often utilizing a funky wah-wah style without ever descending into the psychedelic excesses that plagued so many late-'60s electric blues albums…

Four CD box set from the Killer himself featuring 128 true Rock 'N Roll, Country, Blues and rockin' Gospel classics from his days with Sun Records. Features 'Whole Lotta Shakin' Goin' On', 'Great Balls of Fire', 'High School Confidential', 'Breathless', 'Crazy Arms' and many many more.

Special FOUR disc collection of some of NEA Jazz Master Lee Konitz's finest recordings. Among the most creative and prolific saxophonists of his generation, Lee Konitz was one of few altoists working in the early fifties who retained a unique style, in an era when Charlie Parker extended a huge influence. An early sideman for Miles Davis, Konitz participated in the legendary Birth Of Cool sessions, while his work with jazz pianist and teacher Lennie Tristano - Lee was a former pupil - remains highly sought. Comprising the musician's eight original albums made for Verve and Atlantic in the late 1950s, this four-disc set features the finest work this estimable sax-man ever produced. With over five hours of extraordinary music, this collection documents the most pivotal phase of what was both a widely celebrated and long standing career. Working as both an ideal introduction to Lee Konitz's best music, and a welcome reminder of his musical prowess, this delightful set will thrill newcomers and seasoned fans alike.

John Lee Hooker's 1948-1952 recordings made in Detroit, Michigan by Bernard Besman. Includes 19 previously unissued versions.

Rare 1992 UK 127-track remastered 6-CD box set compilation featuring a complete as possible collection of recordings from John Lee Hooker's Vee-Jay years, including previously unreleased tracks. Themaster expresses the passion of the blues, from blue mood to the boogie, showing his ability to transcend generations and conquer new audiences. Each disc is issued in a jewel case picture sleeve and housed in a silver embossed picture slipcase with a 28-page booklet.
John Lee Hooker was beloved worldwide as the king of the endless boogie, a genuine blues superstar whose droning, hypnotic one-chord grooves were at once both ultra-primitive and timeless. But John Lee Hooker recorded in a great many more styles than that over a career that stretched across more than half a century.

Ladies and gentlemen, scoot over, there is something fiery in the world of blues, bursting into flames, and sooner or later we’ll all be catching. But do not be fooled, JLH know their way around the field, from the drums to the vocals, it is all quality that only years of experience can provide. Not only does Jane Lee Hooker take on classics, they’ve been influenced by the greatest in Blues and with its debut album, the band flaunts it hitting all the right notes. A badass punk rock sound, with the smoothness of blues, the five member group has it all, bringing an old school vibe that is nothing but refreshing for the blues rock scene. These New Yorkers are making noise, and it will just get louder, hence the ! in No B! Jane Lee Hooker takes on classics like “Mannish Boy” by Muddy Waters, one of its biggest influences, while staying loyal to the original version. The group’s style is still palpable; just the same when it comes to her its take on traditional songs. “Wade in the Water” was given a killer guitar riff halfway through, and “Didn’t it Rain” has a very particular sound, the old and the new mixed and matched.

A prolific singer, remembered as one of the greatest pop song stylists alongside Ella Fitzgerald, Billie Holiday, and Sarah Vaughan. Peggy Lee's alluring tone, distinctive delivery, breadth of material, and ability to write many of her own songs made her one of the most captivating artists of the vocal era, from her breakthrough on the Benny Goodman hit "Why Don't You Do Right" to her many solo successes, singles including "Mañana," "Lover" and "Fever" that showed her bewitching vocal power, a balance between sultry swing and impeccable musicianship.

Winding through the literally hundreds of titles in John Lee Hooker's catalog is a daunting task for even the most seasoned and learned blues connoisseur. This is especially true when considering Hooker recorded under more than a dozen aliases for as many labels during the late '40s, '50s, and early '60s. I'm John Lee Hooker was first issued in 1959 during his tenure with Vee Jay and is "the Hook" in his element as well as prime. Although many of these titles were initially cut for Los Angeles-based Modern Records in the early '50s, the recordings heard here are said to best reflect Hooker's often-emulated straight-ahead primitive Detroit and Chicago blues styles. The sessions comprising the original 12-track album – as well as the four bonus tracks on the 1998 Charly CD reissue – are taken from six sessions spread over the course of four years (1955-1959). Hooker works both solo – accompanied only by his own percussive guitar and the solid backbeat of his foot rhythmically pulsating against plywood – as well as in several different small-combo settings.

In 1959, John Lee Hooker signed a one-off deal with the Riverside label to record an acoustic session of the country blues. It was a key change from his earlier recordings, most of which had featured Hooker on an electric guitar with his trademark reverb and stomping foot. Folk purists of the day were delighted with COUNTRY BLUES, believing Hooker had returned to his roots, leaving the "glitzy commercialism" of R&B behind. But some Hooker fans considered COUNTRY BLUES a "betrayal" of his true sound.