There's still a fair bit of Ray Charles soul in the set overall — no surprise, considering Hank's roots in Charles band — and it's almost a Charles-like sound that Paich seems to be conjuring for the set — slightly bluesy undercurrents, which offer Hank some great space to voice his own solos on the alto sax. Players include Oscar Peterson, Alvin Stoller, Barney Kessell, and Ray. Given the strength of the short-lived Candid label — a hotbed of modern jazz in the early 60s, filled with Newport Rebels like Charles Mingus, Max Roach, Booker Little, and Dolphy — the sides are all on a par, or better than, Dolphy's work for other labels at the time. Top Seam Of Jacket Is Scotch Taped. Some of the tracks are core Blue Note numbers, but others are much more left-of-center — and together, the package makes for a wonderful batch of jazzy grooves — cuts that slide easily from electric to acoustic, always grooving with a super-dope sort of style! Features The Ray Ellis Orchestra.
Beautiful stuff all the way through. Recorded Between 1944 And 1952. You can create alerts for anything searchable on our site — even artists or titles we've never had in stock before. As on her classic Sweetest Sound album, Elsie sings on a number of tunes — always in English, and in a laidback and mellow way that sounds wonderfully sweet next to her work on piano. . But instead, it's just some great studio work from Anita O'Day — recorded during her initial years for Verve Records! Her career was slightly ill-timed in the beginning, coming along with a baroque soul beginning that was great, yet somewhat out of place in the early 70s.
The pair work together extremely well — and the round soulful tones of Ware's bass add a lot to Drew's sprightly piano stylings. Gold Hype Sticker On The Outer Baggy. Five Of The Songs On This Album Were Recorded During The Same Week In 1957 And Are The Only Surviving Stereo Masters. She participated on various sessions surrounded by old friends like Benny Carter, Ben Webster, Harry 'Sweets' Edison', Charlie Shavers and Cozy Cole, all of whom had participated on dates with her in the 1930s, plus other big names from Granz's payroll at the time, such as Paul Quinichette, Flip Phillips, Oscar Peterson, Alvin Stoller, and Tony Scott. From The Collection Of A Columbia Record Exec.
Definitely Not Billie On The Front Cover. The care and quality of the record definitely demonstrate that the Verve years are some of Holiday's best — and for the session, Norman Granz has backed up Billie with a great batch of musicians — including Charlie Shavers on trumpet, Flip Philips on tenor, Barney Kessel on guitar, and Oscar Peterson on piano. Every record is shipped in original factory-applied shrink wrap and has never been touched by human hands. Finest Copy We Have Seen. First Copy We Have Seen In Six Years. Marvellous Covert Art By David Stone Martin.
We Play Graded This Whole Album And Found It To Play Near Mint With Very Little Surface Noise. Gabor's playing guitar in a two-guitar frontline, which makes for lots of dreamy interplay between the strings — a shifting pattern of sound that's even more exotic than some of Szabo's earlier work on Impulse, thanks to added help from guitarist Francois Vaz. An All-Time Classic Recorded In 1957. This one's a pretty great sampling of his genius — that unique blend of blues and soul that still makes Bobby's work sound fresher than most of the hackneyed, over-played work by other singers of the time. Box Has A Promo Sticker On The Front And Crisp Corners. This might include, but isn't limited to, warped records, tracks that skip, cover damage or wear as noted above, or strictly cosmetic flaws. These classic sides were originally recorded on acetates, so the sound quality here is that of the original releases.
The material was recorded in 1956 and 1957 in Hollywood, featuring Barney Kessel, Ben Wesbster, Harry Edison, and Jimmy Rowles — all grooving nicely in small group formation. You might be interested Classic Billie Holiday for Verve — sad, blue-tinged, and recorded with great small combo backing — in a mode that really updates the sound of her initial recordings while still keeping the best elements intact! Jacket Has Top And Bottom 4 Inch Seam Splits At The Mouth. The sound of the album's almost in the mood of a classic 50s Capitol album by June Christy — with a sophisticated and jazzy sound that O'Day didn't. Billie Holiday was an American jazz musician and singer-songwriter with a career spanning nearly thirty years. This Is The First Copy We Have Seen Of This Rare First Issue Box Which Is Green Rather Than The 2nd Issue Which Came In A Pale Blue Box. Remastered Directly From The Original Analog Tapes.
Protection Each record is protected within its record sleeve by a white vellum anti-dust sleeve. The rest of the group is great too — and features mighty Mike Melvoin on organ, plus fender bass, cello, and percussion — all produced by Gary McFarland with a wonderfully evocative feel! Small Lower Left Corner Push. Tiny Split To The Top Mouth Of The Front Of The Gatefold. Two Shrink Tears With Resultant Small Amount Of Wear. This Set Appears Near Mint, Without Any Spindle Marks On The Labels.
Next is Lady Sings The Blues — possibly one of the most essential Billie Holiday albums for Verve — a set that carries the same title as her famous autobiography, and which also features many key numbers from her songbook at the time! If You Could Only Have One Lady Day Record In Your Collection, This Would Have To Be The One. Pittman plays soprano sax in a way that's worth the price of admission alone — steeped in the older sounds of the Sidney Bechet generation, but also with some knowledge of more modern styles from the 50s onwards — in a way that gives him a really nice edge, even when things seem as if they might be familiar! Given the end-of-70s spirit, you might also say that some of the cuts were aimed at the dancefloor — although James was never really one to storm the discos as much as others. Other tunes feature vocals from singers Adrian Wilding and Duane Hobson, and the album also features some great instrumentals too — all with a groove that comes from Puddu's own work on drums, bass, and guitars — in a combo that also includes vibes, congas, tenor, and some sweet electric piano and organ. Thelma's one of those singers who must have been waiting years for disco to come around and help her find a reason to sing! After an impasse in which she mostly recorded with tightly arranged groups for Commodore and big bands with strings for Decca , Billie signed her last long-term contract with Norman Granz. Velvet Mood is a record with a velvet mood, but one with a bit of an edge — as you might expect from Billie Holiday in the 50s, hardly the stuff of a too-soft vocal date! Recorded Live In The Late 50's Near The End Of Her Life And Featuring Jimmy Rowles And Artie Shapiro. Great stuff, and just about the most complete collection of their work! Inludes 40 Page Booklet Plus Four Full Colour Card Reproductions Of Her 10 Inch Albums.
About Product Alerts Alerts let us notify you when products that match criteria you provide come in stock — such as artist or title. The expected clubby tracks are balanced by mellower, more personal numbers — and Thelma takes them all with the sort of care and confidence that always put her on the top shelf of mainstream female soul singers at the time! If these are not provided, please contact us and we will let you know as soon as possible. Jimmy Rowles Was The Pianist And Artie Shapiro The Bassist. He had showcased her as a star with his Jazz at the Philharmonic tours in the mid- and late forties, and when he signed her as a recording artist in 1952, he tried to repeat the small group magic of her early days. Also, the personnel he gives was mostly mistaken and has been corrected by subsequent research. Rear Cover Is Dated 1956.