This is the most comprehensive collection of the rockabilly era that was ever assembed in one box. On these 40CDs there are 1000 carefully chosen songs. A booklet is also included with information, biographies and many rare illustrations.
This four-CD set contains 112 performances by the Trio from 1938-1941, radio transcriptions made especially to be played on the air. The early trio is instantly recognizable and, although there is a greater reliance on group vocals and guest singers (including Bonnie Lake, Juanelda Carter, Pauline and Her Perils, and the Dreamers) rather than on Cole's solo vocals, the music is not all that different from what the King Cole Trio would be playing a few years later when they became much better known.
8-CD box (LP-size) with 47-page book, 137 tracks. Playing time approx. 725 mns. The third German Jazz Festival in 1955 was a four-day event that featured nearly 30 groups and soloists. It was recorded by Deutsche Grammophon for release on Brunswick, but only parts of it were released on long-deleted EPs. The complete tapes survived though. The 1954 festival was also recorded, but only the portion issued on an EP was saved. Now the surviving portion of the 1954 festival and the entire 1955 festival are issued complete by Bear Family on eight CDs.
Combining sessions that blues pianist Sunnyland Slim and blues guitarist Johnny Shines recorded separately on the same day in Chicago in 1968 for the Blue Horizon imprint, this interesting little set shows two blues veterans doing what it was they did, which was, in part, to push and pull the Delta blues one small step closer to being in the modern urban world. The Slim sides, several of which are new to digital disc, are a bit more interesting than the Shines sides, but only by degree. Slim's songs can appear on the surface to be tossed-off exercises in the usual blues clichés, but they were actually carefully written, while Shines worked similar territory, giving old blues figures a slightly ironic twist. Since both played at one time or another with Robert Johnson, and both straddle the old and new worlds of the blues as it transfigured into an electric and urban form, it makes perfect sense to stick these two sessions together in one package.
For Loren Schoenberg of the Jazz Museum of Harlem, it's the discovery that capped nearly forty years of searching. For us at Mosaic, it's the "find" that has us re-examining an era we thought we knew inside out. And now, for listeners, it's an historic and fleeting opportunity to own a treasure trove of previously unknown music. Mosaic Records presents "The Savory Collection" - six CDs with 108 tracks locked away for more than 70 years and finally available on CD for the very first time anywhere. The recordings are from the personal collection of Bill Savory, a quirky and secretive studio engineer in New York whose day job in the late 1930s and early 1940s was transcribing radio broadcasts for foreign distribution, and whose nighttime passion was turning on the disc recorders to pull in and preserve what was happening in the clubs of New York City and other cities.
By any measure, Resonance's 2019 box Hittin' the Ramp: The Early Years (1936-1943) is a monumental achievement in musical preservation. Over the course of seven CDs (or 10 LPs), Hittin' the Ramp chronicles the earliest recordings of Nat King Cole, rounding up every known track from the days prior to his time at Capitol Records. Those records for Capitol – sessions that found him slowly transitioning from a swinging jazz pianist to smooth pop crooner – were what brought Cole lasting fame, but the sides on Hittin' the Ramp lie at the foundation of his music.