Carolyn Sampson Wadsworth

Al Caiola & Don Arnone - Great Pickin' + Soft Guitars (2016) {Blue Moon BMCD 876 rec 1960-1962}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 328 Mb | MP3 @320 -> 152 Mb
Full Artwork @ 600 dpi (jpg) -> 174 Mb | 5% repair rar
© 1960-62, 2016 Chancellor / Time Records / Blue Moon | BMCD 876
Jazz / Cool / Guitar

The name of Al Caiola has been part of that very select fraternity of studio musicians who were heard on most of New York’s top rated television and recording assignments from the 40s up to the 70s. There’s a distinctive style and approach in his playing which made for a “sound.” On these recordings, Caiola joined forces with Don Arnone, another top-class, revered and busy studio jazz and pop guitarist. Both men get the chance to swing on these albums featuring two dozen well-known standards and originals, which showcase how well their unique styles blend.

Lucky Thompson - Complete Parisian Small Group Sessions 1956-1959 (2017) {4CD Set Fresh Sound FSR-CD933}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.71 Gb | MP3 @320 -> 720 Mb
Full Artwork @ 600 dpi (jpg) -> 996 Mb | 5% repair rar
© 1956-59, 2017 Fresh Sound Records | FSR-CD 933 | Mono | 24-Bit Digitally Remastered
Jazz / Bop / Hard Bop / Mainstream Jazz / Saxophone

4 CD Box Set including a 36-page booklet with comprehensive essay by Jordi Pujol, complete sessionography, extensive recording details, rare photos and original art covers. Lucky Thompson (1924-2005) had never been accorded the praise he deserved in the United States, despite the fact that in the 40s many prominent critics and musicians considered him the finest tenor-saxophone player to appear in jazz since the emergence of Coleman Hawkins and Lester Young.

Why any critic would think that Hank Mobley was at the end of his creative spark in 1963 - a commonly if stupidly held view among the eggheads who do this for a living - is ridiculous, as this fine session proves. By 1963, Mobley had undergone a transformation of tone. Replacing the scintillating airiness of his late-'50s sides was a harder, more strident, almost honking one, due in part to the influence of John Coltrane and in part to Mobley's deeper concentration on the expressing blues feeling in his trademark hard bop tunes. The CD version of this album sets the record straight, dropping some tunes form a session months earlier and replacing them with alternate takes of the title cut and "Carolyn" for historical integrity, as well as adding "Syrup and Biscuits" and "Comin' Back"…

Why any critic would think that Hank Mobley was at the end of his creative spark in 1963 - a commonly if stupidly held view among the eggheads who do this for a living - is ridiculous, as this fine session proves. By 1963, Mobley had undergone a transformation of tone. Replacing the scintillating airiness of his late-'50s sides was a harder, more strident, almost honking one, due in part to the influence of John Coltrane and in part to Mobley's deeper concentration on the expressing blues feeling in his trademark hard bop tunes. The CD version of this album sets the record straight, dropping some tunes form a session months earlier and replacing them with alternate takes of the title cut and "Carolyn" for historical integrity, as well as adding "Syrup and Biscuits" and "Comin' Back"…

Massive 10 CD boxset celebrating the legacy of the Philadelphia International label and the unforgettable music released from the early '70s up through the early '80s. Philadelphia International expert Ralph Tee compiled this boxset for the label following his previous ground-breaking 14 x vinyl LP box set in 1986. This time, Ralph has the added benefit of a further 25 years of experience studying the Philadelphia International operation and a lot more time to play with: almost 800 minutes or over 131/2 hours of pure quality music from one of the greatest labels of all time. Also included within the package will be a 60 page full-size booklet containing full sleeve notes and track details from Ralph Tee, which will also include a number of archive photos and key album scans. Harmless.

Tatty Theo and Carolyn Gibley, founder-cellist and harpsichordist of The Brook Street Band, perform the Sonatas for Viola da Gamba by J. S. and C. P. E. Bach, the first recording of these works to use a baroque cello. The Brook Street Band has easily earned its reputation as "the smartest new baroque band around (The Times). Among today's most notable Handel specialists, the group's founder, cellist , and harpsichordist, Carolyn Gibley, turn their attention for only the second time to the music of J. S. Bach as well as his son Carl Philip Emmanuel.