This collection brings together some of their best work for BBC radio. There are red-hot, vintage studio sessions for DJs Andy Kershaw and Janice Long from 1985 and 1987 respectively, whilst a BBC concert from early '85 reveals just what a powerful live band they were from the start. Just feel that raw energy and electricity! British rock was tragically robbed of one of its most resilient flame keepers when the group had to call it a day in 1990.
This three-CD box set contains all of the recordings Charlie Parker made for the Savoy label and it is overflowing with gems and an almost countless number of alternate takes. Bird was one of the most important jazzmen of all time and nearly every note he recorded (in the studios if not live) is well worth hearing. This box starts off with his sideman date with Tiny Grimes in 1944, contains Parker's famous "Ko Ko" session of 1945 (with a young Miles Davis on trumpet and highlighted by "Now's the Time" and "Billie's Bounce"), and continues through his 1947-1948 quintet sessions with a more mature Miles Davis; either Bud Powell, John Lewis, or Duke Jordan on piano; bassists Tommy Potter, Curly Russell, or Nelson Boyd; and drummer Max Roach. Together they recorded such classics as "Donna Lee," "Chasin' the Bird," "Milestones," and "Parker's Mood." Every scrap that the great altoist cut for Savoy is in this box.
Ed Banger is more than just a record label. It's a lifestyle. It's a taste-maker and a game-changer, and its celebrating its 100th release with a 17-track compilation that features new music from the Ed Banger crew's favorite friends. “It was too hard to choose which artist will do the 100th release of the label, so we’ve asked everybody to make a track for this record,” label boss Pedro Winter, aka Busy P, is quoted in a press release, and he's not kidding. Ed Rec 100 features new sounds from Sebastian, Justice, Mr. Oizo, Boys Noize, Breakbot, Cassius, Riton, Krazy Baldhead, Feadz, Para One, Boston Bun and more.
From the notes: The Recordings: After signing a contract with the UK Columbia Graphophone Company in 1935, work began almost at once on nothing less than Beethoven's last Sonata, a characteristic yet somewhat surprising choice. 'Characteristic' because late Beethoven was very much Petri's domain but 'surprising' because at the time HMV, Columbia's sister company, had yet to complete its pioneering integral Beethoven cycle performed by Artur Schnabel, recorded by Fred Gaisberg and initially released as a subscription 'Society' release. By recording the Op. 111 sonata, Columbia under the artistic control of Walter Legge, was placing itself in direct competition with its stable companion in esoteric repertoire. Not that Egon Petri or Walter Legge were the type to be intimidated!Notes written by Bryan Crimp