Modern Jazz Classics Ps3

Art Pepper + Eleven – Modern Jazz Classics is a 1960 jazz album by saxophonist Art Pepper and a small big band performing arrangements by Marty Paich, who also directed the ensemble. The recording is one of several dates Pepper made with Paich in 1959 and is the only one with Pepper as leader. The recording focuses on Paich's large group arrangements of modern jazz classics, including Denzil Best's "Move", Thelonious Monk's "'Round Midnight", Gerry Mulligan's "Walkin' Shoes". Other highlights of the recording are Pepper's clarinet performances on "Anthropology" and the alternate takes of "Walkin'".

Art Pepper + Eleven – Modern Jazz Classics is a 1960 jazz album by saxophonist Art Pepper and a small big band performing arrangements by Marty Paich, who also directed the ensemble. The recording is one of several dates Pepper made with Paich in 1959 and is the only one with Pepper as leader. The recording focuses on Paich's large group arrangements of modern jazz classics, including Denzil Best's "Move", Thelonious Monk's "'Round Midnight", Gerry Mulligan's "Walkin' Shoes". Other highlights of the recording are Pepper's clarinet performances on "Anthropology" and the alternate takes of "Walkin'".

With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock & roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre. Vaughan bridged the gap between blues and rock like no other artist had since the late '60s. For about seven years, Stevie Ray Vaughan was the leading light in American blues, consistently selling out concerts while his albums regularly went gold. His tragic death in 1990 only emphasized his influence in blues and American rock & roll. This is classic Stevie Ray Vaughan, meticulously remastered from the analog tapes by New York's Sterling Sound. In each set you'll receive Texas Flood, Couldn't Stand the Weather, Soul to Soul, In Step, plus the posthumous classics Family Style and The Sky Is Crying.

Perfect Alibi is a diverse mix of modern classics, featuring special guest John Martyn. Presenting an extensive variety of songs that demonstrate Claire's stunning vocal talents, Perfect Alibi includes tracks written by Phoebe Snow, Todd Rundgren, Jimi Hendrix, Laura Nyro, Julia Fordham and John Martyn. This album saw Claire Martin lead the jazz world into pop-crossover territory before Norah Jones and Madeleine Peyroux made this style an accepted genre featuring Jimi Hendrix's 'Up From The Skies', the Stylistics' 'People Make The World Go Round', Donny Hathaway's 'More Than You'll Ever Know', and Laura Nyro's 'He's A Runner'.

Double Trouble is an American blues rock band from Austin, Texas, formed by guitarist/singer Stevie Ray Vaughan in 1978. The group was active throughout the 1980s and contributed to reviving the blues, inspiring many later blues and rock musicians. By the mid-1980s, they had become an international act, touring extensively around the world until August 1990, when Vaughan was killed in a helicopter crash after departing East Troy, Wisconsin.

Singer/pianist Diana Krall breaks new ground interpreting modern standards by Tom Waits, Mose Allison, and Joni Mitchell, as well as compositions by herself and new husband, Elvis Costello. Krall's piano-jazz cred comes through loudly and clearly on her Count Basie-styled version of the Bonnie Raitt staple "Love Me Like a Man" (written by folk-bluesman Chris Smither). But it's the collaborations with her spouse that unearth untapped emotional nuances of her velvet voice; many are reminiscent of Bill Evans's moody, impressionistic pieces. The title track, "Narrow Daylight," "Abandoned Masquerade," and "I’m Coming Through" all deal with love and loss. "Departure Bay," a picturesque ode to her hometown of Nanaimo, B.C., proves that this is the start of something big, and that two heads–and hearts–are better than one.

Couldn't Stand the Weather is the second studio album by American blues rock band Stevie Ray Vaughan and Double Trouble. It was released on May 15, 1984, by Epic Records as the follow-up to the band's critically and commercially successful 1983 album, Texas Flood. Recording sessions took place in January 1984 at the Power Station in New York City.

Couldn't Stand the Weather is the second studio album by American blues rock band Stevie Ray Vaughan and Double Trouble. It was released on May 15, 1984, by Epic Records as the follow-up to the band's critically and commercially successful 1983 album, Texas Flood. Recording sessions took place in January 1984 at the Power Station in New York City.

Blues credibility doesn’t get any deeper or more real than Robert Lockwood Jr. On Delta Crossroads, the 85-year-old Delta bluesman lays out a heartfelt homage to the immortal Robert Johnson, his guitar teacher, close friend, role model and possibly step-father. Playing the acoustic 12-string guitar and singing with uncommon authority, Lockwood delivers unaccompanied, bone-chilling renditions of Johnson classics like “32-20 Blues”, “Stop Breakin’ Down Blues” “Mr. Downchild”, “Love In Vain Blues” and “I Believe I’ll Dust My Broom”, along with authentically earthy readings of Leroy Carr’s “Mean Mistreater Mama” and “In the Evening”, Lightnin’ Hopkins’ “C.C. Rider” and “Key to the Highway”, which Lockwood says was written by Jazz Gillum and not Big Bill Broonzy, who usually gets credit. This purely acoustic offering is a rich tribute and a must for Delta fanatics.

Blues credibility doesn’t get any deeper or more real than Robert Lockwood Jr. On Delta Crossroads, the 85-year-old Delta bluesman lays out a heartfelt homage to the immortal Robert Johnson, his guitar teacher, close friend, role model and possibly step-father. Playing the acoustic 12-string guitar and singing with uncommon authority, Lockwood delivers unaccompanied, bone-chilling renditions of Johnson classics like “32-20 Blues”, “Stop Breakin’ Down Blues” “Mr. Downchild”, “Love In Vain Blues” and “I Believe I’ll Dust My Broom”, along with authentically earthy readings of Leroy Carr’s “Mean Mistreater Mama” and “In the Evening”, Lightnin’ Hopkins’ “C.C. Rider” and “Key to the Highway”, which Lockwood says was written by Jazz Gillum and not Big Bill Broonzy, who usually gets credit. This purely acoustic offering is a rich tribute and a must for Delta fanatics.