Without Chet Atkins, country music may never have crossed over into the pop charts in the '50s and '60s. Although he recorded hundreds of solo records, Atkins' largest influence came as a session musician and a record producer. During the '50s and '60s, he helped create the Nashville sound, a style of country music that owed nearly as much to pop as it did to honky tonks.
This 1970 album heralded the emergence of the Kenton band from a relatively unproductive period on the recording scene, and along with the 1972 "Stan Kenton Today" album attracted a whole new generation of fans. Kenton's combination of new material and fresh performances of older charts was embraced by big band enthusiasts and jazz educators in the 1970s. ~ Amazon Customer's Review
Documenting Stan Kenton's always controversial but never sleepy music, the seven-CD Complete Capitol Studio Recordings of Stan Kenton 1943-47 features the orchestra at a time when it was reaching its greatest popularity, evolving from using the artist's charts into the Pete Rugolo era. In addition to some unreleased tracks, there are also several rare sessions included that were recorded at the time strictly for radio airplay. Most of Kenton's biggest hits ("Artistry in Rhythm," "Eager Beaver," "And Her Tears Flowed Like Wine," "Tampico," "Southern Scandal," "Artistry Jumps," "Intermission Riff," "Across the Alley From the Alamo," and "The Peanut Vendor") are here, as are many concert works. A classic reissue.
Christophe Goze, Openzone Bar, Jojo Effect, Bebo Best & The Super Lounge Orchestra, The James Taylor Quartet, Brenda Boykin and many more.
For this 1958 LP, Anita O'Day sings standards associated with other musicians, including "Four" (Miles Davis), "Early Autumn" (Stan Getz), "Four Brothers" (Woody Herman), "Sing, Sing, Sing" (Benny Goodman and Gene Krupa) and "Peanut Vendor" (Stan Kenton). Some of the material is unusual for a singer to interpret, but O'Day, one of the top jazz vocalists of the decade, improvises when the lyrics are not that strong (or barely exist). The backup by the Russ Garcia Orchestra is not all that memorable, but the focus is entirely on the vocalist, and O'Day really comes through.
The Beatles’ Get Back sessions have been written about to death, so we'll keep it brief. The Beatles gathered on January 2, 1969 at Twickenham Studios with the intention of rehearsing brand new songs for a concert that would be televised live throughout the world. They also agreed to have the entire process filmed for an accompanying documentary.
Features 24 bit remastering and comes with a mini-description. A wonderful set from Barney Kessel – bossa-inflected jazz, and a wonderful setting for Barney to hit some very groovy lines on electric guitar ! The group on the date is part of the strength of the record – with Conte Candoli on trumpet, Emil Richards on vibes, Paul Horn on flute, and Victor Feldman on piano – with loads of great percussion and guitar interplay on the set, plus some excellent use of flute and vibes – all of which makes for the sort of session that really translates the Brazilian groove into the best sort of sound the LA scene was cutting at the time ! Nice, light, and dancing rhythms – and titles that include "Love", "Days Of Wine & Roses", "Latin Dance #1", "Lady Byrd", and "One Note Samba".