Big 1986

Duke Ellington has been hailed as the greatest single talent to have emerged in the history of Jazz. His working life spanned half a century during which he was always at the forefront of the development of Big-Band Jazz. This album traces his evolution from the Jazz Age to the Swing Era in a series of new digital stereo transfers from the original direct-cut 78 pm masters, making possible a cleaner insight into both the subtlety and force of his unique contribution to the development of Jazz.

This set documents a historic occasion. Although Coleman Hawkins had been an admirer of Duke Ellington's music for at least 35 years at this point and Ellington had suggested they record together at least 20 years prior to their actual meeting in 1962, this was their first (and only) meeting on record. Although it would have been preferable to hear the great tenor performing with the full orchestra, his meeting with Ellington and an all-star group taken out of the big band does feature such greats as Ray Nance on cornet and violin, trombonist Lawrence Brown, altoist Johnny Hodges, and baritonist Harry Carney. High points include an exuberant "The Jeep Is Jumpin'," an interesting remake of "Mood Indigo," and a few new Ellington pieces. This delightful music is recommended in one form or another.

Louis Armstrong and His All-Stars - Satch Plays Fats (1955) {Columbia VCK-40378 rel 1986}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 172 Mb | MP3 @320 -> 91 Mb
Full Artwork @ 300 dpi (jpg) -> 17 Mb | 5% repair rar
© 1955, 1986 Columbia / CBS Canada | VCK-40378
Jazz / Jive / Swing / Trumpet

Louis Armstrong and Fats Waller only worked together twice, briefly in 1925 in Erskine Tate's band and four years later in the New York revue Connie's Hot Chocolates. But Waller made an indelible enough impression for Satchmo to record the tribute album Satch Plays Fats: The Music of Fats Waller in 1955, when such ideas were new. The nine tracks feature Armstrong ably supported by his All-Stars on such classics as "Honeysuckle Rose," "Squeeze Me," and "Ain't Misbehavin'." The mid-'50s was a fertile time for Armstrong, and this makes for a stellar package.

2014 five CD box set containing a quintet of releases from this New Wave act and their original frontman. Includes Kajagoogoo's first three albums: White Feathers, Islands and Crazy People's Right To Speak; plus Limahl's first two solo albums: Don't Suppose and Colour All My Days.
Kajagoogoo's light synth pop and pretty, photogenic look made the group an instant sensation in the early days of MTV. Led by vocalist Limahl (born Chris Hamill), the group also featured Steve Askew (guitar), Nick Beggs (vocals, bass), and Stuart Crawford (vocals, synthesizer). Produced by Duran Duran's Nick Rhodes, Kajagoogoo's debut single "Too Shy" hit number one in the U.K. in early 1983; it peaked at number five in the U.S. "Too Shy" and the following album White Feathers proved the band may have shared some similarities with Duran Duran and Naked Eyes…

By the 1980's, Gil Evans orchestra's repertoire was a distinctive blend of Hendrix tunes, original pieces from band members and the occasional nod to Gil's earlier recordings. The set at Hamburg includes four songs from the Hendrix book, although just one of these ("Up From The Skies") was part of the original studio album. Regular appearances in Europe meant that the band had now acquired a younger following, such as many in the audience at Fabrik, one well accustomed to its rock-referent concerts. A year and a half after the concert at Fabrik, Gil Evans passed away in Cuernavaca, Mexico. Quite rightly he'll always be remembered for recording those brilliant, luminous albums with Miles Davis and under his own name, but he had, in fact, led at least three contrasting musical lives. His final years saw him directing his band at a regular Monday night gig at Sweet Basil, New York, so it's fitting that we now have this recording from Hamburg, one that serves as a memorial to his free-spirited later days. With an All Star Musicians Cast.

The uniquely American art form of jazz has spread all over the world, yet many great jazz artists are not of American origin. English violinist Nigel Kennedy has often been known for his willingness to push boundaries, musical and otherwise, and he teams up with bassist Alec Dankworth for the first half of this album, while Simon Rattle and the Birmingham Symphony Orchestra join forces with a roster of jazz legends to play some of Ellington's most well-known tunes. However, the end product is not so satisfying, as the album does not cohere and adequately convey the richness and soulfulness of this great composer. The Kennedy/Dankworth half of the album explores Ellington's Black, Brown and Beige suite, pared down for the violin and double bass…