| | Lester Young Blue Lester CD Lester Young Discography of CDs
This reissue of BLUE LESTER includes three bonus tracks of the Count Basie Big Band.
This Savoy release is almost identical to the Young disc THE MASTER'S TOUCH. In fact, both CDs include nearly the same material, however, THE MASTER'S TOUCH contains many alternate takes. Nonetheless, BLUE LESTER is made up of probably the best takes of tunes such as "Circus in Rhythm," "Jump, Lester, Jump," "Basie English," and others. All of the songs on BLUE LESTER are derived from sessions recorded in the 1940s. In particular, three dates are included featuring diverse artists such as Jessie Drakes and Billy Butterfield (trumpet), Junior Mance, Johnny Guarnieri and Count Basie (piano), Hank D'Amico (clarinet), and others.
All 15 of the selections heard here represent Young in his prime. His light, airy tone floats over the music with splendor, making each solo quite memorable. His section work on songs such as "Poor Little Plaything" demonstrates Young's unerring ability to enhance (as a team player) any swing orchestra.
Recorded between 1944 & 1949. Includes original release liner notes by H. Alan Stein.
All tracks have been digitally remastered.
Recorded in 1945 and 1949.
This is part of Denon's 20-Bit Master Transfer Collection.
Personnel includes: Lester Young (tenor saxophone); Hank D'Amico (clarinet); Johnny Guarnieri (piano); Freddie Green (guitar).
Personnel includes: Lester Young (tenor saxophone); Jesse Drakes (trumpet); Count Basie, Junior Mance (piano); Freddie Green (guitar); Rodney Richardson (bass); Shadow Wilson, Cozy Cole (drums).
Down Beat (9/96, p.59) - 5 Stars - Excellent - "Pure, vintage Lester, from 1945 and 1949, with three small groups: a Basie rhythm section and two sextets..." Lester Young Blue Lester Songs | 1. | Ghost of a Chance |
| 2. | Crazy Over Jazz |
| 3. | Ding Dong |
| 4. | Back Home Again in Indiana |
| 5. | These Foolish Things |
| 6. | Exercise in Swing |
| 7. | Blues 'N Bells |
| 8. | Salute to Fats |
| 9. | June Bug |
| 10. | Blue Lester |
| 11. | Jump, Lester, Jump |
| 12. | Basie English |
| 13. | Circus in Rhythm |
| 14. | Poor Little Plaything |
| 15. | Tush |
|
Blue Lester Review
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Purchase Blue Lester CD To buy, Click on price to add to cart | Ray Davies Kinks Choral Collection CD (2009)
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Orchestral and choral arrangements of rock songs have been a curious subgenre ever since the mid-'60s when Andrew Loog Oldham arranged The Rolling Stones Songbook for syrupy strings, but The Kinks Choral Collection stands apart from the pack for the simple reason that it's not the project of some associate or admirer, but rather chief Kink Ray Davies. His very presence as arranger and lead vocal means The Kinks Choral Collection isn't nearly as stuffy and middlebrow as so many of these orchestral rock albums; he manages to inject some semblance of rock & roll by pushing the songs forward with guitar, and letting the rhythms swing instead of plod. This looseness is the first big surprise of the album. The second is its unrepentant but quite possibly accidental silliness, how many of the major guitar riffs are transposed for choir, an audacious idea in concept that's simply goofy in practice. These choral chants hamper the hardest rocking songs here -- "You Really Got Me," "All Day and All of the Night," "Victoria" -- and they're mercifully absent from the ...
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Dave Brubeck's TIME OUT ranks alongside Miles Davis' KIND OF BLUE as one of the few advanced jazz masterpieces to achieve great commercial success. In fact, the widespread popularity of TIME OUT, with its cool-toned ambience, smooth style, and elements borrowed from classical music, helped make modern jazz a mainstream phenomenon.
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Beginning with Louis Armstrong, through Harry James and Bobby Hackett of the Jackie Gleason Orchestra, the trumpet was once a king in pop music. This was true even in '60s-era easy listening, as demonstrated by the success of Al Hirt, Herb Alpert, and the ultra-shrewd German musician Bert Kaempfert, who probably was as responsible as anyone else in rehabilitating Germany's post-war world image. The Taragon label is re-releasing all of Kaempfert's many albums in an ambitious reissue project. This excellent compilation is the one to have however.
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Albums that sell vast quantities are not always to be recommended. This exceptional example of solo piano is the biggest selling record in the 25 year history of the pioneering jazz label ECM. It is an almost perfect recording of the art of piano dynamics, ...
| | Dizzy Gillespie 1946-1947 CD (1999) (Import) France
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For bop fans inclined to thorough chronicles of their favorite stars, Classics' Chronological series might be the best place to start. Dizzy Gillespie gets the royal treatment this time out, with his 1946-1947 edition and 21 slices of rarefied and powerfully swinging work. And besides loads of the maestro's incendiary solos, the disc also spotlights other young bop talent like James Moody, Sonny Stitt, and Kenny Clarke. Beware, though: In between top-flight solo work and crack material like "Emanon" and "One Bass Hit," ...
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| | Matthew Hope Black Tea Nights CD (2007)
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"Black Tea Nights" is a true neo-folk effort, capturing the bittersweet mood of British and American singer-songwriters of the early 70’s. Matthew Hope keeps the music up to date with the inclusion of guitar drones and the ambient textures of keyboards and organic strings. The title track is immediately distinctive, its haunting vocals and catchy chorus being the obvious choice for a first single. Another highlight, “When I'm Gone”, seems a classic Americana ballad, enhanced by pedal steel. “The Woman I Love is Crazy” is a bouncy folk-rock ditty full of twanging guitars, recalling the Byrds at their most light hearted. Hope's unflinching embrace of the pop hook keep repeated listens of “Black Tea Nights” fresh and memorable. A worthy addition to any collection of contemporary folk music.Born and raised in the outskirts of Chicago, Matthew Hope absorbed many different musical traditions at a very young age. Music was central to his existence in a world full of sound but without sight. His exceptional sensitivity to the sonic world has given him a unique perception of the nuances of everyday experiences, which show up in his music as seemingly-familiar vividness. His music is the fusion of alternative sounds with the familiarity of nostalgic folk traditions. His breathy vocals and intricate acoustic guitar work recall a more hopeful Nick Drake or Elliott Smith.With one foot in the dark brooding sounds of the Minneapolis underground and the other obsessed with writing idealistically about life and love, Matthew has created a nostalgic sound that is not easily forgotten. Time and time again fans say that his voice ...
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Israeli-born, New York-based post-bop pianist Ehud Asherie makes his debut as a leader with the unflashy small-combo set Lockout. Leading a solos-discouraged rhythm section (bassist Joel Forbes and drummer Phil Stewart) alongside a front line of trumpeter Ryan Kisor and tenor Grant Stewart (with whose quartet the young pianist got his first major exposure) on a set evenly split between originals and standards, Asherie generally keeps the tempos fleet and the spotlight moving. Asherie, Stewart, and Kisor all get their showcases, Stewart's most impressive workout coming on a briskly paced run through Dizzy Gillespie's "Shaw 'Nuff" ...
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