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As intended, this album presents alto sax specialist Paul Desmond as never featured before, with the backing of a string orchestra. The record, filled with such beautiful jazz standards as "My Funny Valentine", "I've Got You Under My Skin", and "Body and Soul", is very rich in texture, yet subtle and mellow overall in mood. It's unyielding purpose: to soothe the souls of its listeners. Desmond's style and tone shine with an alluring quality, and the record is filled with melodies that don't fail to stimulate the sophisticated jazz listener.

Cootie Williams, one of the finest trumpeters of the 1930s, expanded upon the role originally formed by Bubber Miley with Duke Ellington's Orchestra. Renowned for his work with the plunger mute, Cootie was also a fine soloist when playing open. This sessions from 1958 shows that Williams' broad style was still mightily intact some 30 years after joining the Ellington fold.

The Mahler Seventh comes not from a commercial recording but from someone connected with the Concertgebouw Orchestra. Made in 1983, it is of excellent fidelity but also suffers somewhat from the stridency problem. Possessed of the two mysterious “Night Music” movements with the devilish scherzo in between, plus a gangbusters rousing conclusion in the key of C, the Seventh has been my personal favorite Mahler symphony for some years. The Dutch audience is very quiet in spite of this being an exciting live recording.

Since its original release, Jochum's performance has consistently been a prime recommendation for this much-recorded piece, listening to it again in the superbly remastered sound, one can easily hear why. He pays great attention to detail - particularly with regard to tempo and articulation - yet the performance as a whole has a tremendous cogent sweep and the choruses have terrifiс power. The more reflective sections are not neglected, however, and movements such as "Stetit Puella", with Janowitz sounding alluring and fey, have surely never been more sensitively handled. Stolze is ideal as the roasted swan and Fischer-Dieskau encompasses the very varied requirements of the baritone's music with ease. In spite of the presence of more than 30 rivals in the catalogue, this distinguished performance, authorized by the composer and now sounding better than ever, easily retains its place at the head of the queue.

"Indigos" is a 1958 jazz album by Duke Ellington and His Orchestra. This album stands as an outstanding example of the Ellington Orchestra playing Jazz, features standards such as "Mood Indigo", "Autumn Leaves", "Prelude To a Kiss" and more.

"Indigos" is a 1958 jazz album by Duke Ellington and His Orchestra. This album stands as an outstanding example of the Ellington Orchestra playing Jazz, features standards such as "Mood Indigo", "Autumn Leaves", "Prelude To a Kiss" and more.

Featured on drums is Joe Morello of Dave Brubeck fame, and top percussionists Bobby Christian and Gary Burton with some very tasty vibes work. Robert Wessberg is outstanding on tubaphone (a soft marimba-like instrument). Wessberg, incidentally, is the Schory band's number one percussionist on tour and a master of all percussion instruments. The orchestra is sizable with full brass and woodwind sections and everybody doubling like mad.

In the early days of Stereo, record companies were always looking for ways to show off the capabilities of this new format. One musical genre that met with great success was instrumental pop, and especially percussive releases…

Nancy Wilson/Cannonball Adderley is a studio album by Nancy Wilson and Cannonball Adderley originally issued in February 1962 by Capitol Records. The Penguin Guide to Jazz states "The odd session out is the date with Nancy Wilson for Capitol, primarily designed as a showcase for the young singer but with five band-only tracks as well. Wilson had a self-conscious phrasing and melodramatic lighting-up of key lines - but there is a version of "A Sleeping Bee" here which is one of the most charming of all her recordings, and Cannon and the others play personably throughout". Wilson considered her vocals on the album "as a sort of easy-going third horn".