That Satin Doll pairs Carol Stevens with arranger Phil Moore to create one of the more unique and evocative major-label LPs of its era. Stevens' breathy, often haunting voice largely eschews conventional vocal approaches in favor of ethereal, wordless humming that perfectly complements Moore's exotic settings - there's something profoundly otherworldly yet curiously sexy about the record, and you just know Captain Kirk kept a copy handy to set the mood while banging green-skinned alien chicks aboard the U.S.S. Enterprise. Flautist Herbie Mann, guitarist Barry Galbraith and trumpeter Don Elliott further underscore That Satin Doll's moonlit beauty, contributing wonderfully nuanced performances that lend the music its distinctly jazzy appeal.
Howard Roberts was a talented guitarist on the level of a Barney Kessel or Herb Ellis, who spent most of his career playing commercial music in the studios. Shortly after he moved to Los Angeles in 1950, Roberts was firmly established in the studios, although on occasion he recorded jazz (most notably twice for Verve during 1956-1959, a Concord session from 1977, and one for Discovery in 1979); however, most of his other output is of lesser interest.
Color Him Funky (1963). Recorded with organ trio, Howard is slick and soulful. Find this one and you'll smile and tap your foot. The organ sounds a bit dated, but it's part of the charm…
The release of the movie MILES AHEAD, Don Cheadle's wildly entertaining and moving exploration of Miles Davis, will be accompanied by this new soundtrack featuring musical highlights from Miles' career and new recordings overseen by Grammy Award-winning jazz/hip-hop artist Robert Glasper. This is a perfect primer on Davis' career for the new fan and a brilliant audio keepsake of the film for those who've studied his works inside and out. The album features 11 tracks from across Miles' catalogue from 1956 to 1981, select dialogue from the film featuring Cheadle in character, and five original compositions written, co-written, produced or performed exclusively for MILES AHEAD by Robert Glasper. These cues include "What's Wrong with That?" a jam that closes the movie imagining Cheadle as Miles playing in the present day with guest performers Glasper, Herbie Hancock, Wayne Shorter, Gary Clark, Jr. and Esperanza Spalding; plus "Gone 2015," an end-credits song featuring guest verses from rapper Pharoahe Monch. Cheadle also pens new liner notes for the album discussing the selection and creation of the songs on the soundtrack.
Buddy Rich, the most remarkable drummer to ever play jazz, can easily have his career divided into three. During 1937-1945 he was a notable sideman with big bands including those of Bunny Berigan, Artie Shaw, and Tommy Dorsey. In 1966 he formed his own successful orchestra that capitulated him to his greatest fame. During the 20 years in between, Rich led short-lived bebop big bands, a variety of combos, toured with Jazz at the Philharmonic, recorded with all-star groups, and had stints with the orchestras of Dorsey and Harry James. This seven-CD set draws its material from Rich's second period and it can also be divided into two. The first half has Rich recording for producer Norman Granz in a variety of combos.
2CD compilation album from EMI featuring 39 tracks. Includes Sinead O'Connor, Dinah Washington, George Michael, Dianne Reeves & other artists from EMI associated labels.
The recordings in the present set are typically fluent, compelling De Franco music in a first-class small combo setting. Individually De Franco and Harry Sweets Edison blow with the confidence and assertiveness that have become their hallmarks. Kessel takes care of business, lying quietly in the background until it comes his turn to solo, then leaping out to have his say. Jimmy Rowles, Herbie Mann, Bob Hardaway, and the rest of the men playing here are deeply swinging in healthly, mainstream fashion. One of the attractions is the delicacy of some of the ensemble textures and the way in which basic harmonies have been amended to fit the character of these 1959 De Franco Septette. Theres a lot of great listening here whatever your bias.
Here is an example of crossover marketing '90s style - a classical conductor/jazz pianist signed to the classical Deutsche Grammophon label, whose previous jazz album issued on DG got lost in the shops and whose next disc was prudently shifted over to PolyGram's jazz line, Verve. The occasion was a rare jazz concert in Vienna's legendary, acoustically marvelous symphony hall, the Musikvereinsaal, where Previn - who normally leads the Vienna Philharmonic there - enraptured the Viennese with his piano/guitar/bass trio. According to Previn, one member of the Philharmonic was astonished to learn that the music was made on the wing ("You improvised in public?!," he exclaimed). Well, it wasn't that big a deal for Previn and his usual cohorts Mundell Lowe (guitar) and Ray Brown (bass), who turn in an amiable collection of mostly vintage standards that they probably know in their sleep…
Import 25 CD boxset containing 25 of the finest Jazz albums ever released. Each album is packaged in a card wallet, and the box set includes a 40 page booklet in both English and French. Classic albums included are Miles Davis' Kind of Blue, Dave Brubeck's Time Out, Billie Holiday's Lady in Satin, Nina Simone's Sings the Blues, Erroll Garner's Concert By the Sea, Charlie Parker's Bird and many more!