30 Verve Collectors Edition album for sale was released Apr 26, 2011 on the Universal Import label. Import-only 30 CD box set containing some of the finest Jazz albums released on the legendary Verve label. 30 Verve Collectors Edition buy CD music Features hit albums from Jazz icons like Antonio Carlos Jobim, Ben Webster, Bill Evans, Ella Fitzgerald, Charlie Haden, Bud Powell, Herbie Hancock, John McLaughlin, Lester Young, Stan Getz, Oscar Peterson and many others. 30 Verve Collectors Edition songs Each CD comes housed in a miniature LP sleeve and all 30 discs are housed in an attractive lift-top box. Universal. 30 Verve Collectors Edition CD music contains a single disc.
One of the earliest Wes Montgomery collections to appear on CD (1984), this minimally (and at one point, misleadingly) annotated item concentrates mostly upon the guitarist's Verve small-group performances. Verve relies heavily upon the two albums Wes made with Wynton Kelly (Smokin' at the Half Note and Willow Weep for Me), adding a few tracks from the two he made with Jimmy Smith (Dynamic Duo and Further Adventures) and closing with a sole reminder of Wes' orchestral-backed work, Bumpin's glorious "Here's That Rainy Day." As such, we hear Montgomery stretching out with an eloquence and depth of tone that had actually deepened since his more critically celebrated Riverside period.
Come again? This crackpot title – probably the longest ever concocted for a jazz album – actually is a front for a not-so-dangerous, hard-swinging album in which Schifrin invents or borrows 18th-century classical themes and sets them into big band or small-combo contexts. Such is Schifrin's chameleonic mastery that his own inventions are a match for the themes of the period, and he is tasteful enough not to overload the window dressing and keep the rhythm section loosely swinging nearly all the time.
Vol. 16 of the Verve Jazz Masters series features pianist Oscar Peterson, who recorded prolifically for them from his start in the early '50s up to the early '70s. A single CD could never do Peterson justice, but this one, featuring 15 solid tracks, is evenly balanced between trio and guitar-accented small ensembles, with three big-band tracks added in. The hottest numbers are "Woody 'n You," his original (one of only three of his compositions) "Evrev," and "The Honeydripper." The jazz orchestras nearly consume Peterson during "West Coast Blues," "O.P.," and the stringy "Someday My Prince Will Come." No matter; it's the brilliant voice that listeners admire and are awed by that always shines through, and even though his discography for Verve is gigantic, this remains a good place to start, especially for the student or novice to Peterson's genius.
As a leader, Charlie Parker recorded for Savoy and Dial during 1945-1948 and then for Verve exclusively (at least in the studios) during 1949-1954. This remarkable ten-CD box set, which adds quite a bit of material to an earlier ten-LP set, contains all of these recordings plus Bird's earlier appearances with Jazz at the Philharmonic. The JATP jams are highlighted by Parker's perfect solo on "Oh Lady Be Good," a ferocious improvisation on "The Closer," and a solo on "Embraceable You" that tops his more famous studio recording. In addition, this box has all of the "Bird and Strings" sides, his meetings with Machito's Cuban orchestra, the 1950 session with Dizzy Gillespie and Thelonious Monk, small-group dates (including a 1951 meeting with Miles Davis), odd encounters with voices and studio bands, the famous "Jam Blues" with fellow altoists Johnny Hodges and Benny Carter, and his final recordings, a set of Cole Porter tunes. The fact-filled 34-page booklet is also indispensable. Highly recommended.
Anita O'Day is one of the very best jazz vocalists of all time. Her recordings for Norman Granz represent her best recorded work. Here it all is. The sound quality of these CDs is better than any others of the same recordings. I know because I have them all, in shellac, in vinyl, in CD. In addition, the booklet that comes with the set, like the ones in all Mosaic sets, is first class. Well written, nice photos, accurate information. The one shortfall is that Anita was very much a visual artist, the way she worked, led the band, her timing all that was fascinating to watch and of course other than the photos in the booklet, this is an entirely audio experience. Without question this is the best Anita you will ever hear. It is a shame that it is out of print.
By the mid-’50s, when Ory started recording for Norman Granz at Verve, Ory’s second blooming was in full flower. He was touring Europe and the United States to packed houses. Audiences in France were so enthusiastic that Ory supposedly mistook their exuberance for aggression-he thought he was being jeered when he was actually being cheered. A recording of that night’s performance opens the Mosaic set, and in that hyper-charged atmosphere one will hear the closest Ory comes to the sort of raw rowdiness that is typical of so many trad trombonists today.
Lunatic Taxi est le sixième album studio de Sixun, enregistré et mixé en novembre et décembre 1994 par James Farber au studio Power Station, New-York.
In a musical career that has spanned seven decades, Quincy Jones has earned his reputation as a renaissance man of American music. Jones has distinguished himself as a bandleader, a solo artist, a sideman, a songwriter, a producer, an arranger, a film composer, and a record label executive, and outside of music, he's also written books, produced major motion pictures, and helped create television series. And a quick look at a few of the artists Jones has worked with suggests the remarkable diversity of his career – Miles Davis, Frank Sinatra, Count Basie, Lesley Gore, Michael Jackson, Peggy Lee, Ray Charles, Paul Simon, and Aretha Franklin.