Jared Thomas Cocka

Four CD set. SoulMusic Records is proud to present a first-of-it's-kind complete collection of all of the Atlantic and Stax recordings by Carla Thomas, released between 1960-1968. With a total of 94 tracks, Let Me Be Good To You celebrates 'The First Lady Of Stax Records' whose 1961 classic hit 'Gee Whiz (Look At His Eyes)' led to the Memphis-based label's distribution with Atlantic Records. Sequenced by session, the deluxe 4-CD set includes tracks from Carla's four solo albums, plus the famed 1967 King & Queen LP of duets with the late Otis Redding. The 'A' and 'B' sides of all of Carla's singles - including (28) non-album tracks - are featured including Carla's duets with her famous father, Rufus Thomas, along with five live recordings from Carla's 1967 performances in London and Paris with the famed Stax/Volt Revue. Produced by SoulMusic Records founder David Nathan, Let Me Be Good To You - The Atlantic & Stax Recordings (1960-1968) boasts a stellar 8,000-word extensive essay by renowned UK writer Charles Waring with 2020 quotes from Stax executive Al Bell, famed songwriter/producer David Porter, Carla's sister Vaneese (a recording artist in her own right) and former Stax publicist and songwriter Deanie Parker and others.

Four CD set. SoulMusic Records is proud to present a first-of-it's-kind complete collection of all of the Atlantic and Stax recordings by Carla Thomas, released between 1960-1968. With a total of 94 tracks, Let Me Be Good To You celebrates 'The First Lady Of Stax Records' whose 1961 classic hit 'Gee Whiz (Look At His Eyes)' led to the Memphis-based label's distribution with Atlantic Records. Sequenced by session, the deluxe 4-CD set includes tracks from Carla's four solo albums, plus the famed 1967 King & Queen LP of duets with the late Otis Redding. The 'A' and 'B' sides of all of Carla's singles - including (28) non-album tracks - are featured including Carla's duets with her famous father, Rufus Thomas, along with five live recordings from Carla's 1967 performances in London and Paris with the famed Stax/Volt Revue. Produced by SoulMusic Records founder David Nathan, Let Me Be Good To You - The Atlantic & Stax Recordings (1960-1968) boasts a stellar 8,000-word extensive essay by renowned UK writer Charles Waring with 2020 quotes from Stax executive Al Bell, famed songwriter/producer David Porter, Carla's sister Vaneese (a recording artist in her own right) and former Stax publicist and songwriter Deanie Parker and others.

One of the most admired Lieder and concert singers of his generation, Bass-Baritone Thomas Quasthoff returns to the studio with his first solo album since 2010. Thomas Quasthoff is approaching standards such as Nice and Easy or Cry Me A River with new arrangements by Jörg Achim Keller. The results: exciting new versions of familiar jazz-classics. This release finds the singer partnering again with German trumpeter Till Brönner - featuring a solo and his Trio Partners Frank Chastenier, Dieter Ilg and Wolfgang Haffner as well as the unique NDR Bigband.

In the annals of Memphis music history, there is little that comes close to the timeless music of the queen, to Otis Redding’s King of Soul™, Carla Thomas. Stax Records’ first star, paired with her father Rufus Thomas on the classic “Cause I Love You,” Carla would go on to hit the charts through both the Atlantic Records-era, and after Stax split off to become an independent powerhouse, with a series of soul-pop gems that are featured on this compilation, from “B-A-B-Y” and “I Like What You’re Doing (To Me)” to “Let Me Be Good To You,” and of course her scorching 1966 duet with The Big O, “Tramp.”

René Thomas (1927-1975) was considered the best European jazz guitarist of his generation by fellow musicians and critics, but his career was marred by the pervasive skepticism of jazz fans. Despite trying hard to carve his own space, he never obtained the recognition he deserved for his immense talent, perhaps because of his introverted character and prolonged withdrawals from the scene.

This must be one of the most important historical documents ever to appear from previously unavailable archives. Much as we admire and praise Davis’s Berlioz (whose latest Trojans we reviewed last month)‚ Beecham has to be at least his peer on this and much other evidence. His arresting‚ inspiriting and brilliantly crafted performance here is a thing to marvel at in its understanding of the true Berlioz spirit. He persuades his newly formed RPO and the BBC Theatre Chorus of the day into giving quite thrilling accounts of their music that not even indifferent sound can mar. Beecham was to have returned‚ at Covent Garden‚ to the grand masterpiece in 1960‚ but that was not to be: a severe stroke prevented what would surely have been his crowning service to Berlioz right at the end of his distinguished career.