Frank Kern

Supersax's third and final LP for Capitol (none of which have yet been reissued on CD) finds the five saxes joined by a large string section on some of the selections so as to pay tribute to Charlie Parker's recordings with strings. Trumpeter Conte Candoli, trombonist Frank Rosolino and pianist Lou Levy have some solo space, and among the Bird solos that are recreated are "April In Paris," "Ornithology," "Cool Blues" and "I Didn't Know What Time It Was." But after this third recording, it was becoming clear that Supersax was running out of material and that the concept had largely run its course.

LOS ANGELES, CA – MARCH 15, 2024 – Capitol Records and Universal Music Enterprises (UMe), in conjunction with Peggy Lee Associates, announce the release of Peggy Lee From the Vaults (Vol. 1), the first in a digital series that collects Peggy Lee’s performances not yet available on streaming platforms. With the launch of this series, her entire catalog of issued master recordings from the Universal family of labels — Capitol, Decca, A&M, and Polydor — will now be accessible via digital streaming.

Charles Mingus (1922-1979), nicknamed "the angry man of jazz" and still today an icon of the jazz world, was known for his intimidating temperament. His musical talent on double bass, as musical arranger, bandleader or composer, was immense. His music touches on all kinds of jazz styles, from free, blues, hard bop, big band or third stream, influenced by Duke Ellington's orchestrations, but always has an element of irritation and danger. Influenced by New Orleans jazz, Mingus also fancied collective improvisation (as we can hear on various albums on this collection). This exciting box set is a journey through his fascinating music, displaying all of his artistic mutations and idiosyncrasies. Mingus is accompanied here by a host of all-time greats including Max Roach, Teo Macero, Dizzy Gillespie, Charlie Parker and Bud Powell.

In contrast to most actor/actresses-turned-vocalists, there's nothing to joke about on this album - no Golden Throats candidates, except maybe the title track. For starters, Shepherd has a solid jazz ensemble backing her up, led by Stan Getz and arranged by Oscar Neves, and gives us a very enjoyable jazz-flavored record. She takes the Fred Astaire approach to singing, not denying that she has a limited range but working carefully within that range and even using those limitations to her advantage. Getz's solos perfectly complement Shepherd's voice, and she stretches out ravishingly on "This Masquerade," "I'm Old Fashioned" is a sexy torch number in her hands, without a trace of campiness, "Speak Low" soars subtly and elegantly, and the opening number, Ginastera's "Triste," is a sophisticated piece of concert music and a triumph for her as well.

This 1970 hard bop session from drummer Elvin Jones showcases his quintet consisting of George Coleman on tenor saxophone, Frank Foster on tenor sax and clarinet, Wilbur Little on bass and Candido Camero on percussion. Foster and Coleman contribute three of the original songs here; Jones himself wrote the fourth original tune. The fifth song is a cover of the jazz standard Yesterdays by Jerome Kern and Otto Harbach.

The long-awaited first collaboration between two icons, Count Basie and Frank Sinatra, did something unique for the reputations of both. For Basie, the Sinatra connection inaugurated a period in the '60s where his band was more popular and better-known than it ever was, even in the big-band era. For Sinatra, Basie meant liberation, producing perhaps the loosest, rhythmically free singing of his career. Propelled by the irresistible drums of Sonny Payne, Sinatra careens up to and around the tunes, reacting jauntily to the beat and encouraging Payne to swing even harder, which was exactly the way to interact with the Basie rhythm machine — using his exquisite timing flawlessly. Also the members of the Basie band play a more prominent role than usual on a Sinatra record, with soloists like Frank Wess — in some of the finest flute work of his life — and tenors Frank Foster and Eric Dixon getting prominent solo opportunities on several of the tracks. The record was criticized by some as a letdown when it came out, probably because Neal Hefti's charts rarely permit the band to roar, concentrating on use of subtlety and space. Yet the record's restraint has worn very well over the long haul — it doesn't beat you into submission — and it concludes with its best shot, a wonderfully playful treatment of "I Won't Dance."

Die Grundidee dieses einführenden Lehrbuchs besteht darin, eine einheitliche Darstellung von Kern- und Teilchenphysik aus experimenteller Sicht zu geben. Die Reduktion der komplex aufgebauten Materie der Atomkerne und Nukleonen auf wenige Grundbausteine und Wechselwirkungen ist die erste Botschaft dieses Buchs. Der zweite Teil, der den Aufbau von Nukleonen und Kernen aus diesen Grundbausteinen beschreibt, macht deutlich, dass Komplexität, die aus der Vielkörperwechselwirkung entsteht, in immer größerem Maß die Gesetzmäßigkeiten der zusammengesetzten Systeme bestimmt. Behandelt wird die Kernmaterie bei hohen Temperaturen und die Rolle von Kern- und Teilchenphysik bei astrophysikalischen Vorgängen. Die neuesten Entwicklungen in der Neutrinophysik werden dargestellt.