When Sony/Columbia began its ambitious Legacy reissue project, those who followed their jazz titles knew it was only a question of time before the massive Billie Holiday catalog under their ownership would see the light in its entirety. The question was how? Years before there was a host of box sets devoted to her material, but the sound on those left something to be desired. Would they remaster the material in two- or three-disc sets with additional notes? Would it be one disc at a time? Would the material be issued as budget or midline material or at full price? The last item could be ruled out based on the label's aggressive and very thorough packages of single discs by Charles Mingus, Miles Davis, Duke Ellington, and others.
Pachacamac is a French group that plays Andean Folk music, led by Alain Geoffroy and Jean-Pierre Bluteau.
The fourth of five volumes (the first four are two-CD sets) that reissue all of Bessie Smith's recordings traces her career from a period when her popularity was at its height down to just six songs away from the halt of her recording career. But although her commercial fortunes might have slipped, Bessie Smith never declined and these later recordings are consistently powerful. The two-part "Empty Bed Blues" and "Nobody Knows You When You're Down and Out" (hers is the original version) are true classics and none of the other 40 songs (including the double-entendre "Kitchen Man") are throwaways. With strong accompaniment during some performances by trombonist Charlie Green, guitarist Eddie Lang, Clarence Williams's band and on ten songs (eight of which are duets) the masterful pianist James P. Johnson, this volume (as with the others) is quite essential.
“So, during the boom days of the great Japanese New Rock gold rush, many, many exploitation albums were released. Major label bosses, stacks of yen gleaming in their eyes, would corral a well-known studio/jazz musician, sign him to a contract and tell him something like "Here, go and get a bunch of your weirdo hippy friends and record a rock album!…
On the third of five volumes (the first four are double-CD box sets) that reissue all of her recordings, the great Bessie Smith is greatly assisted on some of the 38 selections by a few of her favorite sidemen: cornetist Joe Smith, trombonist Charlie Green, and clarinetist Buster Bailey. But the most important of her occasional musicians was pianist James P. Johnson, who makes his first appearance in 1927 and can be heard on four duets with Bessie, including the monumental "Backwater Blues." Other highlights of this highly recommended set (all five volumes are essential) include "After You've Gone," "Muddy Water," "There'll Be a Hot Time in the Old Town Tonight," "Trombone Cholly," "Send Me to the 'Lectric Chair," and "Mean Old Bed Bug Blues." The power and intensity of Bessie Smith's recordings should be considered required listening; even 80 years later they still communicate.
Larry Ehrlich was at end of a long day in a studio in Bristol, VA. Carter and Ralph Stanley as well as Ralph Mayo and Curley Lambert entered the studio in front of one microphone, and Ehrlich, after seeing them play hog callings, a couple of radio shows, and a barn dance, asked the band to sing some of the traditional songs they had been recording for the past 16 years. The results, completely unearthed until now, are no less than stunning. This is the Stanleys as listeners have never heard them: laid-back, relaxed, and full of recollection and goodwill, singing and playing songs as familiar to them as their upbringing.
Bessie Smith, even on the evidence of her earliest recordings, well deserved the title "Empress of the Blues" for in the 1920s there was no one in her league for emotional intensity, honest blues feeling, and power. The second of five volumes (the first four are two-CD sets) finds her accompaniment improving rapidly with such sympathetic sidemen as trombonist Charlie Green, cornetist Joe Smith, and clarinetist Buster Bailey often helping her out. However, they are overshadowed by Louis Armstrong, whose two sessions with Smith (nine songs in all) fall into the time period of this second set; particularly classic are their versions of "St. Louis Blues," "Careless Love Blues," and "I Ain't Goin' to Play Second Fiddle." Other gems on this essential set include "Cake Walkin' Babies From Home," "The Yellow Dog Blues," and "At the Christmas Ball."
In the 1970s, Bessie Smith's recordings were reissued on five double LPs. Her CD reissue series also has five volumes (the first four are double-CD sets) with the main difference being that the final volume includes all of her rare alternate takes (which were bypassed on LP). The first set (which, as with all of the CD volumes, is housed in an oversize box that includes an informative booklet) contains her first 38 recordings. During this early era, Bessie Smith had no competitors on record and she was one of the few vocalists who could overcome the primitive recording techniques; her power really comes through.