The Complete Library of Congress Recordings

Exploring 20th-century repertoire – both acknowledged masterpieces and new discoveries – this 14-CD anthology reflects the diverse aesthetic strands of Pierre Boulez’s programming over the course of his ground-breaking and influential career. These Erato recordings, made between 1966 and 1992, feature composers otherwise absent from Boulez’s discography – Xenakis, Donatoni, Grisey, Dufourt, Ferneyhough, Harvey and Höller – and the first CD release of the interpretation of Stravinsky’s incantatory Les Soucoupes in the version for female voices and four horns.

Jelly Roll Morton - Last Sessions, The Complete General Recordings (1997) {CMD 14032 rec 1939-1940}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 226 Mb | MP3 @320 -> 155 Mb
Full Artwork @ 300 dpi (png) -> 58 Mb | 5% repair rar
© 1939-40, 1997 Commodore ‎| CMD-14032
Jazz / Early Jazz / Piano

This CD contains Jelly Roll Morton's final studio recordings (the only existing later performances by Morton are a couple of tunes from a radio broadcast) and supercedes an earlier two-LP Atlantic set. The main reason to acquire this 1997 CD is Morton's 13 classic piano solos, which include five vocals, his first on record other than the much earlier "Dr. Jazz" and the Library of Congress sides. Only ten of the solos were originally released, so this is a very complete reissue.

Behold! A survey of Moondog’s earliest recorded works - many of them unreleased until now - through a collaboration by Mississippi Records and Lucia Records. From 1954 - 1962 eld recordist Tony Schwartz frequently checked in with Moondog, his favourite street musician. Tony Schwartz made recordings of Moondog’s earliest compositions as they were coming into focus. Sometimes these recordings were made right on the street as Moondog busked, sometimes they were made in Schwartz’s studio, and sometimes they were made on NYC rooftops. The resulting recordings, many of which had never been released, were deposited at the Library Of Congress as part of the Tony Schwartz Collection in 2006 when Schwartz passed away, and this record was culled straight from these original tapes.

The Austrian Document Records label continues its series of CDs presenting Leadbelly's commercial recordings in chronological order from 1939 with this second volume, which picks up with the second day of the singer's two days of sessions for RCA Victor Records in June 1940, some of the tracks featuring the Golden Gate Quartet, material issued either on the album The Midnight Special and Other Prison Songs or on singles on the discount-priced Bluebird Records subsidiary. These recordings (tracks one through ten) marked the end of Leadbelly's work for major record labels for the time being…

The Austrian Document Records label begins its series of CDs presenting Leadbelly's commercial recordings in chronological order from 1939, although annotator Ken Romanowski acknowledges that the singer "had recorded a combined total of well over two hundred titles" prior to that date, tracks made either for the Library of Congress or ARC Records under the auspices of John Lomax. Still, most of those tracks had not been issued, and, contrarily, most became readily available later on either Elektra or Columbia Records. Two exceptions are 1935 alternate takes of "Daddy I'm Coming Back to You" (take three) and "Shorty George" (take two), which lead this album off as bonus tracks…

The six earlier volumes in Austrian reissue label Document Records' series of albums featuring Leadbelly's commercial recordings are given the date range of 1939 to 1947. But this seventh volume runs up to the year of Leadbelly's death, 1949, after having started with a couple of airchecks from a broadcast of the This Is Jazz radio series from June 14, 1947 ("Green Corn" and "John Henry"). These tracks are followed by four recorded for the Library of Congress, and the rest of the album consists of more radio broadcasts or concert performances that were issued on LPs by Folkways Records or, in the case of the last two, "Old Ship of Zion" and "I Will Be So Glad When I Get Home," from Playboy Records' album of one of the singer's last concert at the University of Texas on June 15, 1949…

"MAY 1977: GET SHOWN THE LIGHT is a collection of what is unanimously believed to be the most sought-after previously unreleased complete shows the Grateful Dead ever played. Collected, traded, and debated for decades, "the beloved Golden Trinity" of Boston, Ithaca, and Buffalo, along with their New Haven prelude, have inspired fans to "get on the bus," converted critics, and even garnered national attention (Cornell was added to the Library of Congress’ National Recording Registry). But until now, you've never really heard them quite like this!

This collection spotlights the great Delta bluesman Son House at three distinct points in his life. Included here are three of his 78s issued in the 1930s by Paramount Records, several of the Library of Congress field recordings done by Alan Lomax in 1941-1942, and a sampling of rediscovered 1960s concert pieces, including a riveting version of Blind Willie Johnson's "John the Revelator." All of this material is available elsewhere, but having examples of these different eras all on one disc makes this set a nice introduction to the full sweep of House's recorded legacy.

This collection spotlights the great Delta bluesman Son House at three distinct points in his life. Included here are three of his 78s issued in the 1930s by Paramount Records, several of the Library of Congress field recordings done by Alan Lomax in 1941-1942, and a sampling of rediscovered 1960s concert pieces, including a riveting version of Blind Willie Johnson's "John the Revelator." All of this material is available elsewhere, but having examples of these different eras all on one disc makes this set a nice introduction to the full sweep of House's recorded legacy.