A 3 CD boxed set which includes 73 songs - all the original recordings, and a booklet from Mercury with a 5,700 word essay by Colin Escott, 84 rare photographs, brief biographies on all 73 Artists. The 3 CDs provide over 3 hours of total playing time.
The Complete Motown Singles has been a dream project of Motown and soul fanatics for many years, ever since the first decade of Stax/Volt singles was compiled in an impressive nine-disc box set in 1991. The Complete Motown Singles might have seemed like a logical move to soul collectors and fanatics, but it remained in the realm of fantasy for many years because, as enticing as that set was, it was difficult to create.
A 3 CD boxed set which includes 73 songs - all the original recordings, and a booklet from Mercury with a 5,700 word essay by Colin Escott, 84 rare photographs, brief biographies on all 73 Artists. The 3 CDs provide over 3 hours of total playing time.
Larry Young, one of the most significant jazz organists to emerge after the rise of Jimmy Smith, is heard on this limited-edition six-CD set at the peak of his creativity. Formerly available as nine LPs, the set includes the original Larry Young albums Into Somethin', Unity, Of Love and Peace, Contrasts, Heaven on Earth, and Mother Ship, while drawing from the compilations 40 Years of Jazz, The History of Blue Note (Dutch), The World of Jazz Organ (Japanese), and The Blue Note 50th Anniversary Collection Volume Two: The Jazz Message, and also including guitarist Grant Green's Talkin' About, Street of Dreams, and I Want to Hold Your Hand.
Little Richard was not the only original rock & roller to attempt a comeback in the late '60s and early '70s, but he may have been the one to take the greatest musical risks. Fats Domino merely updated his sound (albeit in a charming fashion), Jerry Lee Lewis refashioned himself as a hardcore country singer, and Chuck Berry pandered with "My Ding-A-Ling," but Little Richard pushed himself on his three albums for Reprise, all of which were collected – along with his contributions to Quincy Jones' 1972 Dollar$ soundtrack album, non-LP singles, session outtakes, and a complete unreleased album from 1972 called Southern Child – in 2005 by Rhino Handmade for the triple-disc set The King of Rock and Roll.
Guitarist Joe Pass was known for his forthright, straight-ahead style, gorgeous tone, and melodic concepts. This magnificent five-CD set collects his entire output in 1963 and 1964 as a leader, with additional sessions in which Pass plays in a trio led by Les McCann. Most of the tracks feature a quartet (the five exceptions adding the saxophone or flute of Bill Perkins), with the guitarist virtually always a key voice.
With a lyricism and warmth to his sound that was without equal, Arthur Stewart Art Farmer will always be remembered as one of the finest trumpet and flugelhorn players in jazz. Continually evolving in style and approach throughout his career, his playing was noted for its distinctive phrasing, letting the beat run ahead of him rather in the manner of Billie Holiday's vocals". Farmer produced a number records that remain among the most defining of the jazz genre, and which often featured him performing alongside other legendary musicians, including Benny Golson, Gigi Gryce, Horace Silver, Jim Hall and Sonny Rollins. 1961 saw one of the most important shifts in Art Farmer s career. Having played primarily trumpet up until that point, Farmer switched to the softer tone of the flugelhorn, and for the rest of his life it would remain his instrument of choice.
The Complete Capitol Singles Collection is a 1996 box set by the American singer Frank Sinatra. This four-disc set contains all the singles —A-sides and B-sides—that Sinatra recorded for Capitol Records between 1953 and 1960. Among them are duets with Bing Crosby, Keely Smith, June Hutton, and the Nuggets, who provided vocal backing at a 1955 session where Sinatra made two forays into rock 'n' roll. Those songs, along with about 20 others, make their first appearance on compact disc with this set. The packaging includes many photographs, detailed session notes, and a long essay by Will Friedwald, who explains that Sinatra followed a "singles aesthetic" that set these songs quite apart from the "concept" albums he was recording simultaneously for Capitol.