Swinging Side of Bobby Darin CD

Swinging Side of Bobby Darin album for sale With Birth of the Cool, Miles Davis distilled a new tonal palette for jazz. As early as 1954, Davis reacted to the escalating chordal complexity of hard bop by fashioning an evocative blues based on a simple scalar pattern ("Swing Spring"). Kind of Blue was the ultimate fulfillment of this approach, with Davis providing his collaborators little more than outlines for melodies and simple scales for improvisation. By emphasizing the blues and the improvisor's melodic gifts, Kind of Blue precipitated a major stylistic development: modal jazz. Charles Mingus had experimented with pedal points throughout the '50s, and the melodic freedom of Ornette Coleman's Atlantic sides was also predicated on freedom from chord changes. But Kind of Blue was to prove the most influential, enduring work of its kind. There was just such a vibe about these 1959 sessions -- Davis' lyric genius and burgeoning stardom, the innovative voicings and rarefied touch of pianist Bill Evans, the electrifying presence of John Coltrane, and Cannonball Adderley --that some 50-plus years after its initial release, Kind of Blue is still recognized as Davis' point of departure toward jazz's less-explored regions. Bill Evans' translucent chords and Paul Chambers' famous bassline herald the revolution that is "So What": Davis and Evans' taut, coiled lyricism stands in sharp relief to the saxophonists' labyrinthine elation. The fat, shimmering beat of the classic Evans/Chambers/Jimmy Cobb rhythm team is an oasis of calm throughout the childish blues of "Freddie Freeloader." Often credited to Davis, "Blue in Green" is an Evans masterpiece, in which the rhythmic oasis becomes a smoky mirage for Davis' minor reveries on muted horn. The waltzing "All Blues" is one of the smoothest, most swinging grooves in the history of jazz, while "Flamenco Sketches" reflects Davis' fascination with the earthy melodies and brooding metaphors of the Iberian peninsula; a harbinger of his next masterpiece, Sketches of Spain. Kind of Blue remains Miles Davis' most evocative piece of musical haiku. Liner Note Authors: Bill Evans ; Robert Palmer; Nat Hentoff; Robert Palmer . Recording information: Columbia 30th Street Studio, New York, NY (03/02/1959-04/22/1959); Columbia Street Studio, New York, NY (03/02/1959-04/22/1959). Photographers: Don Hunstein; Jay Maisel. Unknown Contributor Roles: Cannonball Adderley; John Coltrane; Bill Evans ; Wynton Kelly; Paul Chambers; Jimmy Cobb . Personnel: Miles Davis (trumpet); Miles Davis; Paul Chambers (double bass); Cannonball Adderley (alto saxophone); John Coltrane (tenor saxophone); Wynton Kelly, Bill Evans (piano); Jimmy Cobb (drums). Audio Remixer: Mark Wilder.

Swinging Side of Bobby Darin CD music The first pressings of THE DEFINITIVE COLLECTION included a bonus disc featuring rare tracks. Although Lionel Richie was AWOL for most of the '90s, he's still a pop culture force to be reckoned with, and THE DEFINITIVE COLLECTION ably supports this assertion. Between his work as a frontman for The Commodores, songwriter for other artists, and as a solo act, Richie became the only songwriter to score nine chart-toppers in nine consecutive years. Aside from Kenny Rogers' "Lady" and USA For Africa's "We Are The World," (co-written with Michael Jackson), all the other #1's are here: "Endless Love" (with Diana Ross), "Truly," "Hello," "All Night Long (All Night)," "Say You, Say Me," "Still" and "Three Times A Lady." That's not even counting the man's other Top 10 hits including further Commodores manna like "Easy" (later a hit remake for Faith No More). Throw in solo sides like the infectious "Dancing On the Ceiling" and the urgent "Running With The Night" and its easy to hear how Richie nonchalantly dominating the charts throughout the '80s. He brings things up-to-date with two new songs: the slow rolling Enrique Iglesias duet "To Love a Woman" and the piano ballad "Goodbye." Includes liner notes by Steven Ivory. All tracks have been digitally remastered. Additional Tracks Personnel includes: Lionel Richie (vocals); Diana Ross, Enrique Igelesias (vocals); Russ DeSalvo (guitar, synthesizer); Adam Philips, Cheili Minucci (guitar); Shane Keister (piano); Eric Kupper (keyboards); John Reade (bass); Patrick Carroll (electric bass, programming); Richie Jones (programming); Commodores. Producers include: Lionel Richie, James Anthony Carmichael, Commodores, Mark Taylor, Ric Wake, Stewart Levine. Compilation producers: Harry Weinger, Jeff Moskow. Personnel: Russ Desalvo (guitar, synthesizer); Shane Keister (piano); Eric Kupper (keyboards); Patrick Carroll (electric bass, drum programming, percussion programming); Richie Jones (drum programming). Audio Mixers: Dan Hetzel; Richie Jones. Liner Note Author: Steven Ivory. Recording information: Hit Factory Criteria, Miami, FL; Metrophonic Studios, England. Photographer: Alan Silfen. Arrangers: James Anthony Carmichael; Gene Page; Rick Wake; Russ Desalvo; Commodores.

Swinging Side of Bobby Darin buy CD music Recorded between 1958 & 1966. Includes liner notes by Bill Dahl. While Bobby Darin was an unpredictable sort who ventured from 1950s rock & roll to swing to country and folk-rock over the course of his career, THE HIT SINGLES COLLECTION does as good a job of touching all the Darin bases as any single-disc anthology possibly could. Darin's '50s pop period is covered here ("Splish Splash," et al), as is his neo-Sinatra big-band crooner work (as on the signature song "Mack the Knife"). Subsequent musical detours for Darin included a turn down the country road ("Things," "18 Yellow Roses") and eventually his re-invention as an introspective folk-rocker ("If I Were a Carpenter"). While the format allows for only brief pit stops along Darin's artistic journey, THE HIT SINGLES COLLECTION is the perfect thumbnail sketch of the man's multifarious gifts. All tracks have been digitally remastered. 1958-1966 On Atco,Capitol,& Atlantic Labels Compilation producer: James Austin. Personnel includes: Bobby Darin (vocals); Richard Wess, Jimmie Haskell, Jack Nitzche, Richard Behrke (arranger, conductor). Producers include: Herb Abramson, Ahmet Ertegun, Nesuhi Ertegun, Dick Jacobs, Jerry Wexler, Nik Venet, Charles Koppelman, Don Rubin.

Swinging Side of Bobby Darin songs Recorded between 1964 & 1981. Includes liner notes by Brian Chin. Though not as critically revered as label-mates Smokey Robinson and Stevie Wonder, the Supremes were the most popular Motown act of the 1960s. Not only did the group rack up a string of #1 singles, that, in terms of frequency and quality often rivaled that of the Beatles, they were one of the first black combos in America to truly achieve mainstream white acceptance. In many ways, the Supremes' music represented the Motown sound distilled to its essence; Hitsville USA's throbbing bass, relentlessly danceable drum beats, and ingenious arrangements were never so purely and perfectly geared for maximum pop appeal as on early hits such as "Where Did Our Love Go" and "Stop! In the Name of Love." On later, edgier tracks, like "You Keep Me Hangin' On" and "Love Child," the Supremes managed to adapt to the changing times without losing fans. Of course, even the Supremes' massive success couldn't match the superstar status garnered by their lead singer Diana Ross, with her definitive pop-soul classics such as "Ain't No Mountain High Enough" and "Endless Love." THE #1'S comes as advertised, collecting all of the Diana Ross and the Supremes chart-toppers and delivering them with excellent sound and eye-pleasing packaging. Diana Ross & The Supremes made history: an unprecedented five No. 1 hits in a row, 12 in total in the Sixties. In the Seventies, the group and Miss Ross went their separate ways. The Supremes, with Jean Terrell in the lead, hit No. 1 with Stoned Love. Diana Ross claimed the top spot as a solo artist on various charts nine more times on Motown. In fact, Miss Ross has sung lead on 18 No. 1 Pop hits, second only to The Beatles at 20. The Guinness Book of World Records has also recognized Diana as the most successful female artist of all time, with more than 70 hit singles to date. This new collection of No. 1's covers the full range of Motown excitement, 24 songs spotlighting two of the most influential stars of two decades: Diana Ross and The Supremes! `Diana Ross & The Supremes: The No. 1's' features newly mastered mixes of the classic Supremes hits, direct from the Motown session tapes, for the best fidelity in any Supremes and/or Diana Ross collection ever! Producers include: Brian Holland, Lamont Dozier, Frank Wilson, Nickolas Ashford, Valerie Simpson. Compilation producers: Harry Weinger, Andrew Skurow, Jeff Moskow. Personnel: Jean Terrell, Johnny Bristol (vocals). Audio Mixer: Suha Gur. Audio Remixer: Almighty Associates. Liner Note Author: Brian Chin . Recording information: Unit Four Productions, London, England. Editor: Suha Gur. Arrangers: David Blumberg; Gene Page; Clay Drayton; Lee Holdridge ; Michael Masser; Paul Riser; Tom Baird; Wade Marcus; David Van De Pitte. The Supremes: Diana Ross, Mary Wilson, Florence Ballard, Cindy Birdsong, Jean Terrell (vocals). Additional personnel: Lionel Richie, The Temptations (vocals); Nile Rodgers (guitar); Bernard Edwards (bass); Tony Thompson (drums); Johnny Bristol (background vocals).

Swinging Side of Bobby Darin CD music Recorded live at the Fillmore East, New York, New York on March 12-13, 1971. Originally released on Capricorn. Ultradiscs are mastered from the original master tapes using Mobile Fidelity's proprietary mastering technique, then plated with 24-karat gold and housed in a stress-resistant lift-lock jewel box. The original Fillmore East album is one of the finest live documents of the rock era, capturing the original line-up of one of the '70s' tightest outfits before they were cruelly robbed of Duane Allman and Berry Oakley. Taken from five 1971 performances at New York's fabled Fillmore East, the extended and effortlessly melodic workouts of "In Memory Of Elizabeth Reed" and "Whipping Post" still have the power to rivet and move. On display here is the Allmans' fabled chemistry at its finest. The band not only rocks, it rolls, swings, and stretches out in exploratory, jazzy passages. The dual guitar interplay of Duane Allman and Dickey Betts glides effortlessly over the propulsive rhythm section of Oakley and twin drummers Jaimoe and Butch Trucks, while Greg Allman's powerful blues voice and melodic keyboard work provides the icing on the cake. Though the later-released THE FILLMORE CONCERTS presents these songs in their original entirety, AT FILLMORE EAST, with its seamless edits of multiple performances, may be the superior recording. It highlights all the glint and sparkle of what still ranks among the best jamming committed to record. Additional Tracks; Live Recording; Deluxe Edition The Allman Brothers Band: Berry Oakley (bass instrument); Jai Johanny Johanson (drums, congas, timbales); Dickey Betts, Duane Allman, Gregg Allman, Butch Trucks. Personnel: Elvin Bishop (vocals, guitar); Gregg Allman (vocals, piano, organ); Duane Allman (guitar, slide guitar); Dickey Betts (guitar); Thom Doucette (harmonica); Steve Miller (piano); Jaimoe Johnson (drums, congas, timbales); Butch Trucks (drums, timpani); Bobby Caldwell (percussion). Recording information: Fillmore East, NY (03/12/1971-06/27/1971). Photographer: Jim Marshall . Arranger: The Allman Brothers Band. The Allman Brothers Band: Gregg Allman (vocals, piano, organ); Dickey Betts (guitar); Duane Allman (guitar, slide guitar); Berry Oakley (bass); Jai Johanny Johanson (drums, congas, timbales); Butch Trucks (drums, timpani). Additional personnel: Thom Doucette. Additional personnel: Thom Doucette (harmonica).

Swinging Side of Bobby Darin buy CD music On Let It Ripp, the contemporary jazz masters known as the Rippingtons offer a mixed exhibition of musical paintings that freely roam their "live" aesthetic more than on any previous studio project. Recorded with no outside musicians except for the horns of Jerry Hey, Gary Grant, and Steven Hoffman, this excellent collection of 11 original songs written by Russ Freeman exemplifies the culmination of 17 years of being on the road. Special guest saxophonist Eric Marienthal (whose killer chops have been heard with the likes of Chick Corea's Elektric Band, among others) provides another level of energy to the already energetic sound of Freeman, who plays guitar, synths, and keyboards, Scott Breadman on percussion, Kim Stone on bass, Dave Karasony on drums, and Bill Heller, also on keyboards. Illustrious highlights of the program include "Let It Rip" (a dynamic mix of guitar and sax), "Mr. 3" (a tune dedicated to Freeman's love of golf), "Bella Luna," and "High Life" (a party tune that features a call and response between Freeman's guitar and the horn section). Overall, these fresh collaborations have the excitement of a new day, and by alternating currents of smooth jazz with an intoxicating mix of distinctive rhythmic influences, the top-level musicianship heard here is sure to receive the acclaim it so rightly deserves. ~ Paula Edelstein Recorded at Swamp Rat, Boca Raton, Florida; Sapphire Sound, Las Vegas, Nevada and The Barn, Shadow Hills, California. Personnel: Russ Freeman (guitar, keyboards, guitar synthesizer); Eric Marienthal (saxophone); Steven Holtman, Gary Grant, Jerry Hey (horns); Bill Heller (keyboards); Dave Karasony (drums); Scott Breadman (percussion). Audio Mixer: Nick Sodano. Liner Note Author: Russ Freeman . Recording information: Sapphire Sound, Las Vegas, NV; Swamp Rat Studios, Boca Raton, FL; The Barn, Shadow Hills, CA. Photographer: Sonny Mediana. The Rippingtons: Eric Marienthal (saxophone); Russ Freeman (keyboards, synthsizer, guitar); Bill Heller (keyboards); Kim Stone (bass); Dave Karasony (drums); Scott Breadman (percussion). Additional personnel: Jerry Hey, Gary Grant, Steven Holtman (horns).