The artistic prowess of saxophonist John Coltrane was so expansive and influential - even in his own short lifetime, let alone in the decades since his death - that it's difficult to quantify or differentiate his significance as a leader, a collaborator, a sideman or any other role in the jazz idiom. What's certain, though, is that some of his most pivotal session work took place on the Prestige label in the 1950s.
Interplay, Prestige Records' new 5-CD set, containing early collaborative recordings of the peerless tenor saxophonist and visionary John Coltrane, serves two distinct purposes. The first is to offer an extraordinary collection of music that provides an excellent overview of the modern jazz scene during the fertile 1956-1958 period. The other - and arguably more important purpose to the legions of Coltrane faithful - is its rich delineation of the evolutionary process behind one of the most profoundly important and emotionally compelling artists this planet has ever seen.
As a rule, record companies don't give artists the chance to pick the songs when a boxed set is assembled. They might ask the person who writes the liner notes to interview the artist, or they might even have the artist write the liner notes. But the label, not the artist, usually chooses the material. Self Portrait is an exception; when this five-CD, 95-track boxed set was assembled in 2001, a 91-year-old Artie Shaw was given a rare chance to make the selections himself and comment on them. And for those who are seriously into the clarinetist, it is fascinating to see what he chooses. Self Portrait, which spans 1936-1954, contains most of his essential swing, era hits, including "Stardust," "Begin the Beguine," "Frenesi," and his ominous signature tune, "Nightmare."
VOLUME TWO : 5CD set, in card LP replica sleeves. Collects "Greasy Truckers Party : Live" (1972), "Live At The Padget Rooms, Penarth" (1972), "Back Into The Future" (1973), "Christmas At The Patti : Live" (1973) and "Maximum Darkness : Live" (1975)…
When one thinks of altoist/flutist Bud Shank's recordings of the 1950s, it is normally of his work with Stan Kenton's orchestra or collaborations with Laurindo Almeida or Bob Cooper. However, Shank led a superior quartet from 1956-1958 that also included pianist Claude Williamson, bassist Don Prell, and either Chuck Flores or Jimmy Pratt on drums. This typically magnificent five-CD limited-edition box set from Mosaic has the quartet's four albums (including a set that was recorded in Johannesburg, South Africa), a selection by Shank with a sextet that includes vibraphonist Larry Bunker, and three slightly later sets.
30 years have passed by since the first contract between Todor Todorovic (Blues Company) and in-akustik has been signed. 17 albums by the Blues Company, 2 solo albums by Todor 'Tosho' Todorovic released on the inakustik label and various awards handed out by by the German Record Critics are the testimonies of the creativity and consistency of this extraordinary liaison. This jubilee is celebrated with a special Limited Collector's Edition. The edition is limited to 2.708 copies and serialized. The content of this Limited Collector's Edition is assembled according to this occasion and provides an overview of this creative time working together: 3 original albums plus…
Other companies have Carl Perkins sets, but no one else has all the Sun recordings (complete - with some previously unissued) as well as his Columbia recordings from 1958-1962, and everything he cut for Decca between 1963 and 1965. We start in 1954 with the early rockabilly sound of 'Honky Tonk Gal', then the early country singles, and then 'Blue Suede Shoes' and those classic Sun rockabilly tracks. We have Your True Love at its original tempo and speeded-up for single release, and we have newly discovered alternate takes.
Anyone listening to this admirable set will gain an accurate impression of David Oistrakh’s overall playing style, his poise, composure, interpretative finesse, velvety tone and highly sophisticated musicianship. Various of the works programmed are - or have been - available in alternative Oistrakh recordings (the Tchaikovsky and Brahms concertos in around six versions apiece), but Melodiya’s selections are, in general, judiciously chosen.