Show Boat 1951

Granting a long-held wish of many record collectors, Sony Classical is issuing the complete monaural American Columbia discography of Eugene Ormandy and the Philadelphia Orchestra in a vast box set of 120 CDs, all in new remasterings. Almost all of this material will be appearing for the first time on CD on Sony Classical. Indeed, 152 of these recordings have never been released at all on CD before now.

Mid 50s genius from Sonny Rollins - 5 albums in a single set, all presented in LP-styled sleeves. Includes 'Worktime' (1956), 'With The Modern Jazz Quartet' (1956), 'Tenor Madness' (1956), 'Moving Out' (1956) and 'Saxaphone Colossus' (1957).
Worktime is a record that perfectly illustrates why Rollins was one of the greatest players on his horn for many decades running! There's a depth of tone on the record that rivals Coleman Hawkins or Lester Young - but a quickness of pace and imagination that shows a clear influence from Charlie Parker, and a deftness that few were bringing to the tenor at the time. The rhythm section here is super tight - and features Ray Bryant on piano, George Morrow on bass, and Max Roach on drums…

This seven-CD box set lives up to its title, reissuing in chronological order all of tenor saxophonist Sonny Rollins' recordings for Prestige. Dating mostly from 1951-1956, these valuable performances find Rollins developing from a promising player to a potential giant; many of his best recordings would take place a year or two after this program ends. In addition to his own sessions, Rollins is featured with trombonist J.J. Johnson, on four dates with Miles Davis, and on sessions led by Thelonious Monk and trumpeter Art Farmer. Among the other musicians participating are trumpeters Kenny Dorham and Clifford Brown; pianists John Lewis, Kenny Drew, Horace Silver, Elmo Hope, Ray Bryant, Red Garland, and Tommy Flanagan…

Edith Piaf is almost universally regarded as France's greatest popular singer. Still revered as an icon decades after her death, "the Sparrow" served as a touchstone for virtually every chansonnier, male or female, who followed her. Her greatest strength wasn't so much her technique, or the purity of her voice, but the raw, passionate power of her singing…