The NOW party series is officially back! Join us on the dancefloor for 100 Party Hits! Includes tracks by LMFAO, P!nk, Los Del Rio & more…
This 3-CD set presents the complete 1954-62 singles by the great Ella Fitzgerald. Prior to 1956, complete sessions were devoted to singles, however, following that, only a few tunes from each date would be released as singles, and the remainder would be issued on the new LP format. The classic singles featured here were released on the Decca and Verve labels. Ella is accompanied on these tracks by all-star studio orchestras conducted by Nelson Riddle, Frank DeVol, Marty Paich, and Paul Weston, among others. The outstanding 1954 Ella duets with pianist Ellis Larkins were originally issued both as singles and on the then new LP format.
Includes the following albums - Pretty Baby, Sleep Warm, A Winter Romance, This Time I'm Swinging, Dino Italian, Love Songs, Cha Cha Cha De Amour, Free Style, Dino Latino.
What a strange, wondrous work this is! Dealing almost exclusively with emotions–paternal, filial, and romantic love, sacrifice, jealousy, hatred, spite–there is very little “action” per se. But in Handel’s Tamerlano we are smack in the middle of these people’s hearts and it’s more suspenseful and moving than operas with battles, great political themes, wind machines, and exotic dancers. In short, absolute ruler Tamerlano has conquered and taken the Turkish Emperor Bajazet captive. Despite his engagement to Irene, Tamerlano loves Bajazet’s daughter Asteria; Andronicus, his Greek ally, loves her too and Asteria returns Andronicus’ love. Although it appears as if Asteria also has accepted Tamerlano’s love (to the horror of Bajazet, Andronicus, and Irene), in fact she plans to kill him. She and her father are condemned to death when her plot is discovered, but Bajazet commits suicide and in a last minute change of heart, Tamerlano allows Andronicus and Asteria to wed, while he takes Irene as bride.
It therefore seems appropriate to highlight recommend this present performance of Karl Richter's, which stands firmly in the Romantic Messiah tradition preserved through the last century. Unlike most modern recordings, this Messiah utilizes a full orchestra, large chorus, and operatic soloists who do no ornamentation.
A Texas singer/songwriter once said of Jimmy LaFave early in his career: "He's got a ton of talent and a vision, now all he needs is a personality." This was as complimentary and positive a criticism as can be made of an artist early on, when they are still honing their vision, figuring out what works, live and in the studio, and what doesn't. LaFave has been on as restless a journey as a songwriter can embark upon. He's a person who doesn't like to be produced; he likes the raw bar band stuff and demands he be true to himself both on record and on the road./quote]
On this first volume of The Mose Chronicles, singer-songwriter and pianist Mose Allison brings his idiosyncratic brand of southern comfort to London for this well-cheered live session. Flanked by a crowd that wholeheartedly embraces both his sardonic drollery and the supple rhythm section of bassist Roy Babbington and drummer Mark Taylor, Allison is in top form in this enthralling program that's characteristically wry and full of sharp wisdom. Mose is always divinely swinging, too, leveraging the hundreds of gigs he's played with this trio. Plain-folk advice marks the jumping "No Trouble Livin'," just as poetic social commentary rivets the sly "Everybody's Cryin' Mercy" and the joyfully apocalyptic "Ever Since the World Ended." Straight-ahead balladry comes to the fore on "Meet Me at No Special Place," an early favorite of Nat King Cole's trio. Allison's punchy piano style is as effervescent throughout the Chronicles as his singing is backwoods, and it makes for great listening.