Two Tenor Winners

Lester Young & Harry "Sweets" Edison - Going For Myself (1958) {Poll Winners PWR 27294 rel 2012}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 337 Mb | MP3 @320 -> 180 Mb
Full Artwork @ 600 dpi (jpg) -> 179 Mb | 5% repair rar
© 1958, 2012 Verve / Poll Winners Records | PWR 27294
Jazz / Cool / Saxophone / Trumpet

This release presents the complete original Verve LP "Going for Myself" reuniting Lester Young and Harry “Sweets” Edison, one Pres’ last studio albums ever. Backing Pres and Sweets are superb musicians like Oscar Peterson, Louie Bellson and Herb Ellis. Five extra tracks have been added to the contents of the original album, including three alternate takes and two tunes not included on the originally issued set.

This release contains two complete original LPs by Clare Fisher. First Time Out (Pacific Jazz PJ52) received the maximum five-star rating in Down Beat magazine and presents Fischer in a trio format with the splendid Gary Peacock on bass. Our companion LP, Clare FischerJazz (RCA Victor Mexicana MKL-1433) marks Fischer’s debut album as a leader. It is a true rarity and appears here ON CD FOR THE FIRST TIME EVER. The album was recorded in 1961 during Fischer’s visit to Mexico, and showcases him backed by competent local musicians. All but three of the eight tracks from this LP feature the pianist in a trio format!. The repertoire consists of a selection of jazz standards and compositions by Fisher, who arranged all of the tracks. With the exception of “Fascinating Rhythm”, which he has previously recorded with the Hi-Lo’s in 1958, Fisher never recorded any of the tunes from the Mexican album again!!

By the time Winners was wrapped up in the studio, Kleeer were riding high on the disco wave, thanks in no small part to the smash singles on their debut record, "Keeep Your Body Workin'" and "Tonight's the Night." With Winners, the group deviates a slight bit, with less straightforward uptempo in-your-face disco and more of an R&B slant than before. The title track stays in fine disco form, but things slow down right away with two borderline quiet storm jams in "I Still Love You" and "Your Way." The rest of the album is pretty upbeat, and Winners definitely eludes the cursed sophomore slump that most bands fear.

Stan Getz Quintet - Interpretations #2 + Interpretations #1 (1953) {Poll Winners PWR 27280 rel 2011}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 328 Mb | MP3 @320 -> 185 Mb
Full Artwork @ 600 dpi (jpg) -> 206 Mb | 5% repair rar
© 1953, 2011 Norgran / Poll Winners Records | PWR 27280
Jazz / Cool / West Coast Jazz / Mainstream Jazz / Saxophone

Digitally remastered two-fer containing a pair of albums from the Jazz great on one CD: Interpretations By the Stan Getz Quintet and Interpretations By the Stan Getz Quintet #2. Both albums (which were 10-inch LPs) were given a 5-star rating in Down Beat magazine. Three additional tracks have also been included which complete all of the master takes recorded by this exact formation of the quintet, with Bob Brookmeyer, John Williams, Teddy Kotick, and Frank Isola.

Itzhak Perlman, born in 1945, is the supreme violinist of his time. Warner Classics salutes him in his 70th birthday year with Itzhak Perlman: The Complete Warner Recordings, 59 albums on 77 CDs. Presenting his art in all its warmth, generosity and brilliance, this comprehensive edition unites the recordings Perlman made for both EMI and Teldec over a total period of more than 30 years. Available as a magnificent deluxe box set, or as 59 separate releases, Itzhak Perlman: The Complete Warner Recordings embraces every aspect of Perlman s art.

Here's an example of the Classics Chronological Series serving as a valuable tool for savoring and comprehending a temporal segment of one artist's personal and professional development. Over a span of 27 months, Louis Armstrong waxed 21 sides that appeared on three different record labels, beginning with a set of V-Discs cut at New York's Metropolitan Opera House on January 18, 1944. How interesting and exciting it is to hear Louis Armstrong, Barney Bigard, and Jack Teagarden in the company of Roy Eldridge, Coleman Hawkins, Art Tatum, Al Casey, Oscar Pettiford, and Sidney Catlett. The opening track, a five-minute version of Hawkins' "Mop! Mop!," constitutes thrilling proof that two generations of jazz musicians had plenty of stylistic common ground regardless of any imaginary divisions invented and imposed by jazz critics…

Itzhak Perlman: The Complete Warner Recordings embraces every aspect of Perlman's art. It contains concertos (the ‘essential' concertos, of course, but also more rarely-heard works, including Perlman's own commissions from living composers); other pieces for violin and orchestra; chamber music; recital and crossover repertoire (including jazz, ragtime and klezmer), and even a disc that focuses on Perlman as narrator and (briefly) opera singer. The recordings document his collaborations with the world's greatest orchestras and an array of superlative fellow-soloists and conductors, including Martha Argerich, Vladimir Ashkenazy, Daniel Barenboim, Plácido Domingo, Carlo Maria Giulini, Bernard Haitink, Lynn Harrell, Yo Yo Ma, Zubin Mehta, Seiji Ozawa, André Previn and Pinchas Zukerman.

One of the great alto saxophonists to emerge from the hard bop era, Julian "Cannonball" Adderley possessed an exuberant, bright tone that communicated directly and emotionally. With live audiences, his intelligent banter about the music's presentation, combined with wry humor, made him popular.

Stanley Clarke and George Duke,two musical titans who'd worked together for years finaly get around to doing a duo album, namely one that emphasises the funk that both artist's regular releases tended to skim over and considering funk is both artists best asset,that's a wonderful thing.