Quincy Jones Sacd

The Genius After Hours is a 1961 album by Ray Charles. All of the songs were taken from the same three studio sessions that created the album The Great Ray Charles which featured the use of both a trio and a septet; the later arranged by Quincy Jones.

The Genius of Ray Charles is a 1959 album by Ray Charles. In 2003, the album was ranked number 263 on Rolling Stone magazine's list of the 500 greatest albums of all time. Some players from Ray Charles' big band are joined by many ringers from the Count Basie and Duke Ellington bands for the first half of this program, featuring Charles belting out six songs arranged by Quincy Jones. "Let the Good Times Roll" and "Deed I Do" are highlights, and there are solos by tenorman David "Fathead" Newman, trumpeter Marcus Belgrave, and (on "Two Years of Torture") tenor Paul Gonsalves. The remaining six numbers are ballads, with Charles backed by a string orchestra arranged by Ralph Burns.

This 1954 studio date, a self-titled album recorded for Emarcy, was later reissued as Sarah Vaughan with Clifford Brown to denote the involvement of one of the top trumpeters of the day. Vaughan sings nine intimate standards with a band including Brown on trumpet, Herbie Mann on flute, and Paul Quinichette on tenor.

Genius + Soul = Jazz is a 1961 album by Ray Charles featuring big band arrangements by Quincy Jones and Ralph Burns. Charles is accompanied by two groups drawn from members of The Count Basie Band and from the ranks of top New York session players. The album was inducted into the Grammy Hall of Fame in 2011.

Ástor Pantaleón Piazzolla was an Argentine tango composer and bandoneon player. His oeuvre revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music.

John Pizzarelli, one of the most celebrated performers bringing popular standards to a new generation, pays homage to Frank Sinatra with the release of Dear Mr. Sinatra. Early in his career, Pizzarelli opened for Sinatra on tour. His father, the jazz guitar legend Bucky Pizzarelli, played on many of Sinatra's seminal recordings. Focusing on songs that were specifically written for 'Ol' Blue Eyes' and also featuring The Clayton-Hamilton Jazz Orchestra, Dear Mr. Sinatra is in many ways the most personal of all the Sinatra tributes available.

Given the sped-up classic soul samples with which Kanye West has made his mark, it comes as no surprise that the producer/rapper would pick a tradition-minded R&B singer as his first big pet project. Legend first made his name on Philly's incense-clouded, '70s-obsessed neo-soul scene, then found his way to New York and became West's right-hand man in the studio. His patron's pop smarts serve Legend well–while many contemporary R&B records rely too heavily on a singer's cadence and skill to carry underdeveloped tunes.

Cinema Serenade came to be as a result of the 1992 collaboration of the world's premier film composer, John Williams, with one of the world's finest violinists, Itzhak Perlman, on the score for Steven Spielberg's Holocaust epic Schindler's List. The duo reunited to create a collection of excerpts from a variety of different film scores presented in new arrangements that are centered around Perlman's violin. Williams arranged most of the numbers and conducted the Pittsburgh Symphony Orchestra. The selections are a strange hodgepodge culled haphazardly from some 50 years of film history.

Count Basie and Frank Sinatra had the perfect arrangement at the Sands. Before the Chairman hit the stage in Vegas, Count Basie and his big band warmed up the already enthusiastic crowd with a brief set of their own. A dynamite entertainer, the legendary leader causes hearts to race, hips to shake, and fingers to snap with high-energy readings of his trademark swing music, taken to feverish heights by both his first-rate orchestra and the incredibly swank setting. Fortunately, the finest of Basie and Co.’s introductory performances from the historic 1966 dates have been preserved here and serve as a seminal complement to Sinatra’s iconic Live at the Sands. Mastered from the original master tapes, our hybrid SACD version of Live at the Sands (Before Frank) gives you a dead-center, eighth-row seat at the famed Sin City club. You’ll just need to supply your own table and cocktail. Renowned for its sonic clarity, transparency, crispness, and punch, the record is now tremendously enhanced, with improved tonality, a deeper soundstage, correct balances, and lifelike presence.