| | Clarence Williams And His Orchestra, Vol. 1: 1933-1934 CD Clarence Williams Discography of CDs
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Our Price: $24.65  CDFor Sale Usually ships in 1-2 days
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2-CD set contains 49 tracks from the early 1930s from Williams & His Orchestra. Features the songs "I Like To Go Back In The Evening," "High Society," "The Shim Sham Shimmy Dance," "Organ Grinder Blues," "Black-eyed Susan Brown" & many others.
& His Orchestra.
Contains 49 tracks. Clarence Williams And His Orchestra, Vol. 1: 1933-1934 Music Clarence Williams And His Orchestra, Vol. 1: 1933-1934 Songs Clarence Williams And His Orchestra, Vol. 1: 1933-1934 Review
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The '60s Blues Revival begins here. Calling this album influential is an understatement akin to calling the Grand Canyon a rut; suffice to say that an entire generation of musicians (mostly young and white) heard this and had their lives changed forever. In fact, for at least a year after the album's release in 1965, it was impossible to walk ...
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A rewarding trio session from Bruce Barth, one of the most underrated post-bop pianists. Joined by bassist Ed Howard and drummer Billy Drummond, Barth splits the program evenly between standards and originals, the latter including a lovely pair of dedications: "Song for Alex" and "For Clara." Barth's affinity for Monk comes through on "Evidence" and an intriguing original called "The Way He Wore His Hat," intended as a Monk tribute but based on a motif ...
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Pianist Chick Corea had a reunion with bassist Miroslav Vitous and drummer Roy Haynes for this double LP, 13 years after they had recorded Now He Sings, Now He Sobs. The first half of this two-fer consists of duet and trio free improvisations and is sometimes a touch lightweight even with moments of interest; playing free was not ...
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In his third album for the jazz side of the peripatetic label, Amosaya, trombonist Scott Whitfield continues to rely principally on his compositions to deliver his creative message. He is joined by a stellar cast of jazz musicians, all new to the studio with Whitfield, except the ageless one, Frank Wess, who performs quite regularly with the trombonist on gigs at such jazz venues as New York's Birdland. Whitfield is sufficiently wise to give his compatriots plenty of room to work out their ideas on many of the cuts. On "Table Eleven," Dave Glasser's cutting alto and John Eckert's facile trumpet gets plenty of play time, punctuated by Kenny Washington's solid, certain drum breaks. The album is by no means limited to high-energy dazzlers. There are a couple of very pretty Whitfield ballads. On "If You Can't Call, Don't Come," Whitfield brings home just how smoothly melodic a trombone can be in his hands. On this cut he retains his inventive improvising without sacrificing that effortless playing. "Inner Peace" is a platform for a dreamy Frank Wess flute. This track belongs to Wess and the support of Jim McNeely as Whitfield fades in and out with some unabashedly romantic playing. A commodious track, indeed. Whitfield gets his gold star here for his compositional skills more so than for his trombone. His compositions also earn high marks for their susceptibility to good ensemble work, especially on the swinging "Analogy." This exceptional album does nothing to lessen Whitfield's place as a flawless trombone technician and composer of real music. It also solidifies his ...
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The Joe Gilman Trio, which had recently interpreted a set of music by Dave Brubeck, recorded 28 Stevie Wonder tunes in a 13-hour period during June 10 and 11, 2004. Wonder's music is mostly pretty adaptable to jazz, particularly the nine selections included on this first volume. "Don't You Worry 'Bout a Thing" has become a minor jazz standard, although most of the other songs have rarely been heard in this context. Alternating moods, tempos, and grooves, the trio makes ...
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