100 CDs provide you with the most exciting, most beautiful and most swinging recordings from this period. All-Star Swing groups with their most famous recordings. Mit Henry Allen, Roy Eldrige, Ben Webster, Coleman Hawkins, Lester Young, Johnny Hodges, Benny Carter, Fats Waller, Art Tatum, Benny Goodman, Lionel Hampton, Red Norvo, Teddy Wilson, Buck Clayton, Django Reinhardt, Jack Teagarden, Rex Stewart, Chu Berry, Charlie Christian, Louis Armstrong u.a. 100-CD-Box with original recordings.
There is something truly majestic in the guitar playing and composing of Luiz Bonfá. From solo dates such as 1959's Solo in Rio (issued stateside by Smithsonian Folkways) to his 1972 masterpiece, Introspection, his sound is as telltale as the two other Brazilian guitar greats, Baden Powell and Djalma de Andrade (aka Bola Sete). Bonfá's elegance in style is what sets him apart from even these great masters. There is something utterly unhurried and gentle about his manner of playing, even during its most intense moments or in the most decorative settings (there were a lot of those during the bossa craze)…
Good to Be Bad is the tenth studio album by Whitesnake released in April 2008. This is the first album of new studio material in a decade, since 1997's Restless Heart, not including the four new tracks recorded for the 2006 live album Live: In the Shadow of the Blues. The album charted at number 8 on the Top Independent albums, number 23 on the Top Canadian albums, number 62 on the Billboard 200 charts, and number 7 on the UK Albums Chart. In November 2008, Good to Be Bad won the Classic Rock Award for "Album of the Year". The Dinosaur Rock Guitar forum honored the album with a 2008 Dino Award for "Best Album of the Year".
2008 release of this '60s recording by the American Jazz drummer Kenny Clarke and Belgian pianist Francy Boland, leading one of the finest Jazz ensembles ever assembled outside of the U.S. Had it not been for the post-war migration of many top American Jazz musicians to Europe, it is quite likely that the legendary Clarke-Boland Big Band might never have come into existence. As it happened, when Gigi Campi set up the first Big Band record date in Cologne in 1961, he was able to call upon such distinguished self-exiled Jazz stars as Benny Bailey (originally from Cleveland, Ohio), Sahib Shihab (Savannah, Georgia), Jimmy Woode (Boston, Massachusetts) and, of course, Kenny Clarke (Pittsburgh, Pennsylvania).
While most of his earlier albums are in the smooth jazz genre, Kim decided to change his lead instrument from piano to trumpet and to concentrate on jazz, what was his original intention and musical education. Places I've Been is settled in contemporary jazz, while At The Moment was the final step to jazz. When Katie Smiles (2008) is Kim's return to contemporary jazz and to the piano. Pensyl’s piano and keyboards are supported by the bass (Andy Woodson), drums (Reggie Jackson), electric and acoustic guitars (Kevin Turner) and percussion (Jim Ed Cobbs). The title song When Katie Smiles showcases Kim Pensyl in full swing. The accentuated piano melody is answered by Kevin's guitar.
In 1956, Jonah Jones started to become an unlikely commercial success. A veteran swing trumpeter not known to the general public despite being an exciting player, Jones caught on playing frequently muted solos with a quartet at the Embers in New York. His music often featured a shuffle rhythm and mixed Dixieland, swing and show tunes. This first recording by the quartet (also including pianist George Rhodes, bassist John Browne and drummer Harold Austin) was popular, although it would soon be dwarfed by Jones' successes for Capitol. Highlights of the date, which was also released by Groove and Victor, include "It's All Right With Me," "All of You," "High Society" and "At Sundown."
Christophe Wallemme describes this effort as a "wink at the great standards of American jazz," a laudable objective but an affirmation that seems intended to confuse the listener. The explicit musical references on Start "So Many Ways…" point instead to Antonio Carlos Jobim and Miles Davis' Bitches Brew rather than "Body and Soul" or "My Funny Valentine." No matter.
Robert Walter has no problem getting into funky, down-home soul-jazz when he wants to, but the organist/keyboardist/pianist also has his intellectual side. He obviously appreciates the soul-jazz that B-3 icons like Jimmy Smith, Richard "Groove" Holmes, Johnny "Hammond" Smith, and Jack McDuff offered in the '60s, but he has also shown his appreciation of Medeski, Martin & Wood as well as the post-bop and fusion that Larry Young explored after he moved beyond soul-jazz.