Starship Titus, Vol.7 9

Charlie Parker - Intégrale Charlie Parker, Vol. 7, "Just Friends", 1949-1950 (2014) {3CD Set Frémeaux & Associés FA1337}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 896 Mb | MP3 @320 -> 543 Mb
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© 1949-50, 2014 Frémeaux & Associés | FA 1337
Jazz / Bebop / Bop / Saxophone

Charlie Parker did all the things I would like to do and more – he really had a genius, see. He could do things and he could do them melodiously so that anybody, the man in the street, could hear – that’s what I haven’t reached, that’s what I’d like to reach. -John COLTRANE. The aim of 'The Complete Charlie Parker', compiled for Frémeaux & Associés by Alain Tercinet, is to present (as far as possible) every studio-recording by Parker, together with titles featured in radio-broadcasts. Private recordings have been deliberately omitted from this selection to preserve a consistency of sound and aesthetic quality equal to the genius of this artist.

In the Roots of Rock N' Roll series, this volume covers 1951, a year flowing with lively, rhythmic and humorous master-pieces - all the ingredients for pure Rock 'n' Roll. Fats Domino, Tennessee Ernie Ford and Wynonie Harris are still around. But they have to make room for the newcomers who are to add spice to Rock 'n' Roll - Little Richard, Bill Haley. Big Mama Thornton…

Charlie Parker Records: The Complete Collection, Vol. 7 - Jerri Winters + Alice Darr (2012 CP Records 233193/7 rec 1962}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 217 Mb | MP3 @320 -> 159 Mb
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© 1962, 2012 Charlie Parker Records / Membran Media / Documents | 233193 / 7
Jazz / Vocal Jazz / Standards / Mainstream Jazz

Exhaustive 30 CD collection from the Jazz legend's short-lived label. Contains 44 original albums (421 tracks) plus booklet. Every record-collector has run across an album with the little sax-playing bird in it's label-logo, right next to the brand name Charlie Parker Records or CP Parker Records. Turning the sleeve over, especially if it was one of the non-Parker releases, and seeing a '60s release date under the header Stereo-pact! Was as exciting an experience as it was confusing. Was the claim Bird Lives meant more literally than previously thought?

That’s What Happened 1982-1985: Bootleg Volume 7 is the next installment in the celebrated, award-winning archival series that began in 2011, shining an in-depth light onto different eras of the legendary career of Miles Davis. In the 1980s, popular music had moved to a smoother, electronic-based sound that traded the steam of previous years for subdued arrangements meant to elicit peace and deep reflection. Miles Davis embraced this era, pulling inspiration from FM radio and an upstart music video channel called MTV. He was searching for the next frontier, letting his creativity roam. This music on The Bootleg Series Vol. 7 captures that exploration, and finds Miles beginning to re-emerge in a creative landscape far different than the one he left in 1975.

The late 1980s also saw the emergence of Yellow Dog, a label specialising in Beatles studio outtakes, who released the CD series Unsurpassed Masters in quality similar to Ultra Rare Trax; Yellow Dog, like Swingin' Pig's parent company Perfect Beat, was registered in Luxembourg, which had the most liberal copyright laws among EU countries. Yellow Dog released Unsurpassed Demos in 1991, featuring 22 songs from the 1968 Kinfauns (Esher) demos, only some of which had been previously made public during the radio series The Lost Lennon Tapes that debuted in 1988.

This seventh and final installment of the Anthology of the Royal Concertgebouw Orchestra covers the years 2000 to 2010, a rich period in the orchestra's history largely characterized by the changing perspectives of a new century. Indeed, it was in 2004 that Riccardo Chailly relinquished his position as chief conductor, to be replaced by the Latvian maestro Mariss Jansons, who shifted the orchestra's focus more towards Tchaikovsky, Richard Strauss and Shostakovich. A generation of orchestral players retired and were succeeded by a group of outstanding young musicians, most of them hailing from outside the Netherlands, resulting in a growing internationalization of the Royal Concertgebouw Orchestra. Also in this period, the launch of the orchestra's own in-house record label, RCO Live, breathed new life into its rich recording tradition.