Queens OF Vocal Jazz

Born March 25, 1929 in Long Island City, Queens, and raised in Corona, Queens, Cecil Percival Taylor, the American jazz musician, pianist and poet, was classically trained and is generally acknowledged as one of the pioneers of free jazz.

Anthony Dominick Benedetto (born August 3, 1926), known professionally as Tony Bennett, is an American singer of traditional pop standards, big band, show tunes, and jazz. He is also a painter, having created works under the name Anthony Benedetto that are on permanent public display in several institutions. He is the founder of the Frank Sinatra School of the Arts in Astoria, Queens, New York. Born and raised in Astoria to an Italian-American family, Bennett began singing at an early age. He fought in the final stages of World War II as a U.S. Army infantryman in the European Theater. Afterward, he developed his singing technique, signed with Columbia Records and had his first number-one popular song with "Because of You" in 1951. Several top hits such as "Rags to Riches" followed in the early 1950s. He then refined his approach to encompass jazz singing. He reached an artistic peak in the late 1950s with albums such as The Beat of My Heart and Basie Swings, Bennett Sings. In 1962, Bennett recorded his signature song, "I Left My Heart in San Francisco". His career and his personal life experienced an extended downturn during the height of the rock music era.

Perception Productions, a New York based label that ran from the late 60s through until 1974, was a strangely eclectic affair. Its roster stretched from a radical Afro-American poet through to the pop band King Harvest whose hit ‘Dancing In The Moonlight’ became a massive hit for the UK band Toploader a couple of decades later. The inbetween points covered jazz, funk, vocal harmony soul and proto-disco. In fact distilled down into this compilation the label provides us a view of Manhattan’s black music scene of the period, from the established greats to the fresh young things who would make their mark in the coming years. The two men who ran the label, President Terry Phillips and Boo Frazier burned brightly for that half a decade before almost entirely disappearing from the music scene.

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators. Collection includes: (Who's Afraid Of?) The Art Of Noise! (1984); In Visible Silence (1986); In No Sense? Nonsense! (1987); Below The Waste (1989); The Ambient Collection (1990); The FON Mixes (1991); The Seduction Of Claude Debussy (1999).

Anthony Dominick Benedetto (August 3, 1926 – July 21, 2023), known professionally as Tony Bennett, was an American jazz and traditional pop singer. He received many accolades, including 20 Grammy Awards, a Lifetime Achievement Award, and two Primetime Emmy Awards.

Anthony Dominick Benedetto (born August 3, 1926), known professionally as Tony Bennett, is an American singer of traditional pop standards, big band, show tunes, and jazz.

2010 five CD box set containing a quintet of albums from the British Art-Rockers. Box includes Soft Machine Third, Fourth, Fifth, Six & Seven.

Twin Danger's 2015 self-titled debut showcases the Brooklyn duo's smoky, neo-noirish jazz and R&B infused sound. Formed in 2013, Twin Danger is a collaboration between longtime Sade guitarist/saxophonist Stuart Matthewman and vocalist/guitarist Vanessa Bley. The daughter of jazz pianist Paul Bley, Vanessa Bley has a yearning yet cherubic vocal style that's matched with subtle precision by Matthewman's sophisticated horn arrangements and nuanced instrumental accents. In some ways, their languid, stylish aesthetic does bring to mind the distinctive pop Matthewman helped craft with Sade in the '80s and '90s.