| | Dizzy Gillespie Champ CD Dizzy Gillespie Discography of CDs
All tracks have been remastered with 24 bit digital transfers.
An early LP on Savoy that gathers Dizzy Gillespie's small-group recordings from 1951-52, The Champ has a lot to recommend it -- songs, sidemen, and performances. With just one exception, each of the selections are drawn from quintet or sextet dates, boasting work by Art Blakey, Milt Jackson, J.J. Johnson, Percy Heath, and Stuff Smith in addition to an early appearance from John Coltrane (he made his debut with Diz, though not here). On the title track, a six-minute jam released as a two-part single, Gillespie plays furiously and tenor Budd Johnson contributes a great squawking solo. "Birk's Works," one of Dizzy's finest compositions, gets its first commercial recording, while Stuff Smith's violin solo gives "Caravan" exactly the exotic touch it needs to lift it above competing versions. Diz and Joe Carroll trade vocals on "On the Sunny Side of the Street," and bop culture meets gospel for "Swing Low, Sweet Cadillac." ~ John Bush
Recorded between March 1951 & July 1952. Includes original release liner notes.
Personnel includes: Dizzy Gillespie (trumpet); Joe Carroll (vocals); John Coltrane (tenor saxophone).
Personnel: Dizzy Gillespie (vocals, trumpet); Joe Carroll, Melvin Moore (vocals); John Coltrane (alto & tenor saxophones); Bill Graham (alto & baritone saxophones); Budd Johnson (tenor saxophone); J.J. Johnson (trombone); Stuff Smith (violin); Milt Jackson (vibraphone, organ); Wynton Kelly (piano); Kenny Burrell (guitar); Percy Heath, Bernie Griggs (bass); Kansas Fields, Al Jones, Art Blakey (drums).
Dizzy Gillespie Champ Songs Champ Review
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Purchase Champ CD To buy, Click on price to add to cart | Rosanne Cash List CD (2009)
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After the dark and chilling themes of 2006's BLACK CADILLAC, which saw Rosanne Cash dealing with the deaths of her mother, Vivian Liberto, her father, Johnny Cash, and her stepmother, June Carter Cash -- all of whom passed within a two-year span -- one might assume that her next project would move into an even deeper level of bleakness, but with THE LIST, it's immediately clear that she has instead found a more measured place to stand. It's a lovely and redemptive outing that looks back to go forward. When Cash turned 18, her father, alarmed that his daughter only knew the songs that were getting played on the radio, gave her a list of what he considered 100 essential American songs; Cash kept that list, and now she's drawn on it for this wonderfully nuanced outing that brims with a kind of redemptive timelessness. THE LIST is a renewal and a testament to life, and it belongs to her father as much as it belongs to her, a beautiful restatement of her father's passions, only now, they've become his daughter's treasures, as well. It's an affirming story, but that's all it would be if Cash didn't sing her heart out here. The opener, a version of Jimmie Rodgers' "Miss the Mississippi and You," is full of comfortable grace and sentiment, and Cash keeps that fine emotional tone throughout this set. Songs like the folk ...
| | Them Crooked Vultures CD (2009)
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Often, supergroups wind up dominated by one particular personality - think Eric Clapton in Derek & the Dominos, Jack White in the Raconteurs -- which makes the egalitarianism of Them Crooked Vultures all the more remarkable. Of course, when it comes down to it, it's a group of three natural-born collaborators: John Paul Jones, the old studio pro who gravitated toward provocative partners after Led Zeppelin's demise, teaming up with R.E.M. as easily as he did with avant-queen Diamanda Galas and nu-folkster Sara Watkins; Dave Grohl, who hopped into an empty drummer's chair whenever the opportunity presented itself; and Josh Homme, who set up a mini-empire based entirely on jam sessions. If Them Crooked Vultures brings to mind Homme's projects more than Grohl's or Jones', it's largely due to ...
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| | Brad Paisley American Saturday Night CD (2009)
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An American saturday night is not an unusual topic for a country song but Brad Paisley's celebration is. Paisley sees a typical weekend night as a cultural collision of French kisses, Italian Ices, Canadian bacon and margaritas, a place where Mexican and Dutch beers chill side by side in a bucket of ice. If he leans too heavily on labels, referring to those beers by brand name, it's merely a reflection of Paisley's uncanny knack for capturing the casual contemporary details of American life at the tail end of the 2000s. It's not just the pile up of iPhones and international video chats on "Welcome to the Future," the first country anthem of the Obama era, it's how he'll pick up prescription for his girl and flips macho stereotypes on their head on "The Pants." He's a thoroughly modern man and that attitude helps invigorate his traditional country, a sensibility that's welcome on AMERICAN SATURDAY NIGHT. The album veers toward the mellow despite its rollicking ...
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| | Nancy Stearns Sing Me A Song With Social Significance ... Or Not CD (2006)
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This CD is based on a cabaret show that Nancy Stearns performed at Don't Tell Mama in 2006 with her music director, Gregory Toroian. On the CD they are joined by David Finck, on bass.A regular on ...
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