Billie Holiday - Complete Commodore & Decca Masters CD

Complete Commodore & Decca Masters album for sale In 1964, when the Beatles where still singing "I Want to Hold Your Hand," Bob Dylan was quietly making history at New York's Philharmonic Hall (now Avery Fisher Hall). ANOTHER SIDE OF BOB DYLAN had recently been released, but even the flights of fancy on "Spanish Harlem Incident" and "To Ramona" (both performed here), while unprecedented, couldn't have prepared the audience for the Big Bang of songwriting represented by the still-unrecorded "Gates of Eden" and "It's Alright Ma (I'm Only Bleeding)." In a voice full of youthful vitality and insouciance, Dylan delivered groundbreaking poetic epics to a crowd that must have been equally confounded and exhilarated. Disc Two contains more of Dylan's older, more conventional material as well as four duets with Joan Baez, including the folk ballad "Silver Dagger," which Dylan would never record. As full of life as this second half of the Philharmonic concert is, it still serves as a breath-catching period in the wake of the world-changing new songs heard in the first set. Probably only a few of those in attendance realized it at the time, but music would never be the same again. Includes a 52-page booklet. Concert At Philhamonic Hall. 2cds. Recorded at Philharmonic Hall, New York, New York on October 31, 1964. Includes liner notes by Sean Wilentz. Personnel: Bob Dylan (vocals, acoustic guitar); Joan Baez. Audio Mixer: Michael Brauer. Liner Note Authors: Robert Shelton; Bob Dylan. Recording information: Philharmonic Hall, New York, NY (10/31/1964). Photographers: Hank Parker; Daniel Kramer; Sandy Speiser; Barry Feinstein; Douglas R. Gilbert. Arrangers: Joan Baez; Bob Dylan.

Complete Commodore & Decca Masters CD music These 1968 live recordings from the Filmore East and West are the definitive live document of San Francisco's premier psychedelic group. 1968 was prime time for the Airplane, as the instrumental interplay between Kantner, Casady and Kaukonen had really begun to gel. So too had the interaction between lead vocalists Grace Slick and Marty Balin reached near-telepathic heights, and it can all be heard here. From the mind-melting proto-acid-rock of "Somebody to Love" to ribald, bluesy brashness of "Plastic Fantastic Lover," this is the Airplane in full flight. POINTED HEAD also makes it plain that the early Airplane had a special way with cover tunes. Folk god Fred Neil's "Other Side of This Life" gets a furiously rocking revision, and Donovan's "Fat Angel" is stretched out to encompass some wonderfully trippy jamming. BLESS ITS POINTED LITTLE HEAD is a candid but flattering photo of this seminal American band. The album that showed the uninitiated just how astonishing this band was live is hereby reissued with performances of Today; Won't You Try/Saturday Afternoon , and Watch Her Ride that were intended for the original release but were left off due to the time constraints of vinyl! Liner Note Author: Jeff Tamarkin. Recording information: Filmore East, NY (09/24/1968-11/05/1968); Filmore West, San Francisco, CA (09/24/1968-11/05/1968). Photographer: Mike Frankel. Arranger: Jefferson Airplane. Jefferson Airplane: Jack Casady (bass guitar); Marty Balin, Grace Slick, Jorma Kaukonen, Paul Kantner, Spencer Dryden. Personnel: Marty Balin, Jorma Kaukonen, Paul Kantner (vocals, guitar); Grace Slick (vocals, keyboards); Spencer Dryden (drums).

Complete Commodore & Decca Masters buy CD music The music blends West Coast cool, swing, bop, and hard-bop styles in a manner befitting each of the monumental leaders, and the whole is driven by a spry rhythm section consisting of bassist Wendell Marshall, drummer J.C. Heard, and pianist Wynton Kelly. Aficionados will relish the opportunity to identify the solos and styles of each player--Getz's cool complexity, Gillespie's athleticism, Gonsalves's unique lyricism, and Hawkins's pioneering technique and tone. SITTIN' IN is a superb slice of bop history, starring some of the most influential figures in the evolution of jazz. SITTIN' IN is a jazz lover's dream come true. On this historic session, recorded in the summer of 1957, Dizzy Gillespie, Stan Getz, Coleman Hawkins, and Paul Gonsalves got together to create one of the most formidable frontlines ever captured on tape. The program, which includes "Dizzy Atmosphere," the chestnut "The Way You Look Tonight," and two lengthy ballad medleys, lets each horn player take a turn in the spotlight. Personnel: Dizzy Gillespie (trumpet); Coleman Hawkins, Paul Gonsalves, Stan Getz (tenor saxophone); Wynton Kelly (piano); Wendell Marshall (double bass); J.C. Heard (drums).

Complete Commodore & Decca Masters songs In 1954, pianist Horace Silver teamed with drummer Art Blakey to form a cooperative ensemble that would combine the dexterity and power of bebop with the mid-tempo, down-home grooves of blues and gospel music. The results are what would become known as hard bop, and the Jazz Messengers were one of the leading exponents of this significant era in jazz history. Before Silver's departure and Blakey's lifetime of leadership, this first major session by the original Jazz Messengers set the standard by which future incarnations of the group would be measured. The tunes here are all Silver's, save the bopping "Hankerin'" by tenor man Hank Mobley. Such cuts as the opening "Room 608," the bluesy "Creepin' In," and "Hippy" are excellent examples of both Silver's creative composing style and the Messengers' signature sound. Of course, the most remembered tunes from the session are the classic "The Preacher" and "Doodlin'," two quintessential hard bop standards. In all, this set is not only a stunning snapshot of one of the first groups of its kind but the very definition of a style that dominated jazz in the '50s and '60s and enjoyed a resurgence in the '80s. Personnel: Horace Silver (piano); Hank Mobley (tenor saxophone); Kenny Dorham (trumpet); Doug Watkins (double bass); Art Blakey (drums). Liner Note Authors: Ira Gitler; Bob Blumenthal.

Complete Commodore & Decca Masters album for sale THE COMPLETE VERVE STUDIO MASTER TAKES makes a definitive and compelling case for Holiday's Verve tenure. Packaged in a deep-dish metallic box (which resembles the world's most beautiful lunch pail), THE COMPLETE comprises six CDs, a 60-page booklet filled with rare photographs and superb liner notes, and dazzlingly crisp sound via digital remastering. The musicians on these sessions were some of the finest of the era, and Holiday herself--even with a gift impaired by time and abuse--sings with impeccable artistry, and beautifully enough to break the heart. The set is essential for completists, and is also a great one-stop for those looking to acquaint themselves with Lady Day's later work. Billie Holiday fans will argue eternally over the relative merits of the different phases of her career. In these arguments Lady Day's work for Verve, which roughly covered the last decade of her life, often gets short shrift. While it cannot be denied that Holiday had lost much of the elasticity and spring in her voice (due in large part to a rough life filled with alcohol and drug abuse), and that the recordings were sometimes weighted too heavily with strings and saccharine arrangements, it is impossible to overlook the exquisite phrasing and raw emotion underscoring many of these performances. Personnel: Billie Holiday (vocals); Freddie Green, Herb Ellis, Kenny Burrell, Barney Kessel, Barry Galbraith, Billy Bauer (guitar); Tony Scott (clarinet); Willie Smith, Benny Carter (alto saxophone); Flip Phillips, Paul Quinichette, Ben Webster, Budd Johnson (tenor saxophone); Harry "Sweets" Edison , Joe Newman , Charlie Shavers (trumpet); Jimmy Cleveland (trombone); Hank Jones , Jimmy Rowles (piano, celesta); Oscar Peterson (piano, organ); Wynton Kelly, Billy Taylor , Bobby Tucker (piano); Joe Benjamin, Joe Mondragon, John Simmons , Milt Hinton, Ray Brown , Red Callender, Red Mitchell, Aaron Bell (double bass); Chico Hamilton, Cozy Cole, Lenny McBrowne, Gus Johnson , Larry Bunker, Alvin Stoller, Osie Johnson, Ed Shaughnessy (drums).

Complete Commodore & Decca Masters CD music Edition contains four bonus tracks recorded live at the 1970 Rotterdam Pop Festival, plus previously unpublished photos. The first time that Sandy Denny left Fairport Convention, she formed Fotheringay with Trevor Lucas, adding guitarist Jerry Donahue, bass player Pat Donaldson, and drummer Gerry Conway (all of whom played with Fairport at one time or another). Unfortunately, Fotheringay only made one album before disbanding. But what an album it is! Several of Denny's signature pieces, including "Nothing More," "The Sea," and "Winter Winds" made their debuts here. There are also a few songs by Lucas, two adaptations of traditional numbers, and covers of songs by Bob Dylan and Gordon Lightfoot--in short, a recipe not unlike that utilized by her former band. FOTHERINGAY, like all the early Fairport Convention albums, was produced by Joe Boyd. This is Fotheringay's only album and it has long been regarded as one of the finest achievements of British folk-rock. Originally released in 1970, soon after Sandy Denny left Fairport Convention, the album includes some of her finest vocal performances Personnel: Sandy Denny (vocals, guitar, piano); Trevor Lucas (vocals, guitar); Jerry Donahue (guitar, background vocals); Pat Donaldson (bass guitar, background vocals); Gerry Conway (drums, background vocals); Todd Lloyd, Linda Thompson (background vocals). Audio Mixers: Paschal Byrne; Tim Chacksfield; David Suff. Recording information: Holland Pop Festival, Rotterdam, The Netherlands. Photographer: Tonya Marie Evans.