Swing / Jazz
Result of your query: 693 products
| Charles Mingus - Changes One Originally released 1975 |
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Music On Vinyl Records 2013 | LP | 20.00 € |
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| Coleman Hawkins - Desafinado Coleman plays Bossa Nova & Jazz Samba |
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Waxtime Records 2013 | LP | 18.00 € |
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| Florence Joelle - Stealing Flowers Florence Joelle returns to her musical roots for her second album, carving out a unique sound that, although rooted in the past, vibrates in the present. A direct to stereo analogue recording, the album was made using vintage microphones and analogue processing and exudes the warmth and authenticity of the music of the pre-digital era. Featuring Arthur Lager on drums and percussion, Paul Seacroft on lead guitar, lap and pedal steel, Chris Campion on bass and acoustic guitar and Matt Jackson on snare drum |
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Zoltan Records 2013 | CD | 18.00 € |
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| Gerait Watkins - Mosquito Vol. 2 4 track 10" EP |
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Goldtop Records 2013 | 10" LP | 12.00 € |
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| Jesse Fuller - Jazz, Folk Songs, Spirituals & Blues Originally released 1958 |
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Doxy Music 2013 | LP | 20.00 € |
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| Les Baxter - Les Baxter's Jungle Jazz |
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So Far Out 2013 | LP | 20.00 € |
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| Miles Davis - Sketches Of Spain originally released 1960 by Columbia Records |
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Music On Vinyl Records 2013 | LP | 20.00 € |
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| Tito Puente - Night Beat originally recorded 1957 "El Rey de los Timbales" Tito Puente has been hitting drums, the ivories and timbales since the late forties and in the process has worked together with greats such as Mongo Santamaria, Willie Bobo and Ray Baretto. His stage performances are the stuff of legends, as well as his recording output: in total he released over 100 (!) albums during his five-decade spanning career. Night Beat (1957) is one of the best of his earlier period, presenting Tito as big-band leader, driving the jazzy, latin-tinged performances of his band fellows forward with his immaculate sense of timing, swing and energy. Essential album of the undisputed "King Of The Mambo". |
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Music On Vinyl Records 2013 | LP | 20.00 € |
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| VA: - Eteenpäin! Suomi-Jazz 1960-1975 3CD Nimimerkki Pessimisti kirjoitti Rytmi-lehden numerossa 6/1960 synkästi: "Minne menet Suomen jazz? Tällä hetkellä vastaus näyttää olevan tuhoisan yksinkertainen: Kuolemaan. Suomessa jazz on henkihieverissään." Nimimerkin ennustus ei onneksi toteutunut. Päinvastoin, sillä 1960-luku merkitsi suurta muutosta suomalaisessa jazzissa. Ripeä kehitys jatkui 1970-luvulla, jolloin suomalainen jazz vakiinnutti asemansa musiikin kentässä kansainvälisestikin. |
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Artie Music 2013 | 2-CD | 30.00 € |
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| Beverly Kenney - Complete Decca Recordings 2CD Complete Decca Recordings (3 Lps On 2 Cds) + Bonus Tracks Featuring: Beverly Kenney (vcl), accompanied by Ralph Burns, Hal Mooney & Eddie Safranski Orchestras, feat. Charlie Shavers (tp), Eddie Bert (tb), Al Klink (ts), Ellis Larkins (p), Chuck Wayne, Stan Freeman (g), Joe Benjamin, Bill Pemberton (b), Ed Shaughnessy (d) This definitive double-CD edition includes the complete DECCA albums: - SINGS FOR PLAYBOYS + 4 Bonus Tracks (*) - …BORN TO BE BLUE… + 1 Bonus Track (+) - LIKE YESTERDAY And many more from his SESAC recordings and TV broadcasts Over fifty years after her death, singer Beverly Kenney (1932-1960) remains a cult figure for her fans around the world. Her career was tragically brief—she took her own life when she was 28. She possessed a sweet, child-like vocal quality and a nuanced, pleasant jazz-styled phrasing that won her favour with both pop and jazz audiences. On these outstanding Decca sides, recorded few years before her death, she displays the smooth, smart and bittersweet touch that defined her personal style. In addition to the fine small group performances with front-rank jazzmen and orchestral settings with Ralph Burns and Hal Mooney, this set also includes all the sides she recorded with the Eddie Safranski orchestra for the Sesac publishing and record label. All the critical hosannahs they earned her, however, never quite translated into widespread public acceptance, due, at least in part, to the burgeoning rock & roll movement, which she loathed, even composing a song called “I Hate Rock and Roll”, which she performed on the Steve Allen TV show on May 18, 1958—making the perfect addition to this collection. The closer of the set is a highly valuable document, taped from a Playboy Penthouse TV show, where she is interviewed by Hugh Hefner and sings with her distinctive sophisticated phrasing and cool jazz sensibility. —Jordi Pujol (Fresh Sound Records) |
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Fresh Sound Records 2012 | CD | 25.00 € |
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| Big Bad Voodoo Daddy - Rattle Them Bones |
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Savoy Jazz 2012 | CD | 20.00 € |
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| Jive Aces - King Of The Swingers - A Salute To Louis Prima The 16 track album features some Louis Prima and Keely Smith favourites, a few lesser well-known Prima songs and also our hit version of "Bring Me Sunshine" as we felt the great man would have done it. It also features special guest artists including Toni Elizabeth Prima, Louis and Keely's daughter, dixieland jazz legend Kenny Ball, Ray Gelato, Marco Palos from Louis Prima Jr's band, Rebecca Grant, The Flirtinis and Hossam Ramzy on percussion. |
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Golden Age Recordings 2012 | CD | 15.00 € |
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| John Coltrane - Soultrane |
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Dol Records 2012 | LP | 18.00 € |
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| John Coltrane And Johnny Hartman - John Coltrane And Johnny Hartman reissue of 1963 Impulse LP |
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Universal Music 2012 | LP | 25.00 € |
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| Little Mike & Johan Stengård's Rockabilly Boogie Band - Rockabilly Boogie Summer |
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Saga Records 2012 | CD | 15.00 € |
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| Miles Davis - Miles Ahead |
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Wax Time Records 2012 | LP | 17.00 € |
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| Ray Collins' Hot Club - High Life their newest CD finally out. Great stuff as always. |
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Brisk Records 2012 | CD | 15.00 € |
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| Ray Collins' Hot-Club - High Life |
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Brisk Records 2012 | LP | 17.00 € |
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| Sam Cooke - Tribute To The Lady LP + CD 180 gram HQ vinyl featuring a FREE bonus CD of the album. The first ever vinyl reissue of Tribute To The Lady, Sam Cooke's tribute to the great Billie Holiday! This LP, originally rleased in 1959, features 11 songs famously recorded by Lady Day during the course of her brilliant career. When asked why he wanted to do this album, Cooke simply replied, "She was, and still is, the greatest that ever lived for my money," no small praise from a man who himself ruled the charts with over 30 Top 40 hits from 1957 until his death at age 33 in 1964. |
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Doxy Music 2012 | CD | 20.00 € |
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| VA: - Criminal Records Ello, ’Ello, ’Ello, what’s all this, then Crime and punishment have always gone hand in hand in the worlds of rock’n’roll, R&B and country and western music. For decades, goodies and baddies have provided us with a life sentence of chronicling of man’s misdemeanours and subsequent incarceration. When top Ace fan Tony Watson suggested that a compilation of songs about obeying and breaking the law would be right up the street of most of those who buy our CDs, we didn’t need to be read our reissue rights to agree. With that in mind, your honours, I hereby present the case for “Criminal Records” Our line-up of heroes and villains runs the whole gamut of lawbreaking and law enforcement. Within its 60 minute audio sentence (and no time off for good behaviour) we cheer western heroes such as Gunsmoke’s “Mister” Matt Dillon and boo villains such as the fictitious (and let’s be very glad he is) ‘Bad Dan McGoon’. Our helmets are doffed to radio and TV ’tecs of the calibre of Dragnet’s Sgt Joe Friday and the legendary iron-jawed Dick Tracy, as well as some of those smoother newer fellas that came later such as 77 Sunset Strips Stu Bailey and, from the TV show of the same name, Peter Gunn. Bob Luman tells us how much he wishes he was a ‘Private Eye’ which a pre-twistin’ Chubby Checker moans that he can’t get any girl reaction, because his lady love is too busy drooling over the kind of ruggedly handsome television PIs that Luman aspires to be. Other legendary enforcers of the TV screen from the years between Friday and Bailey are also on your case and on your trail, from Alaska (Sgt Preston Of the Yukon) to Chinatown (Charlie Chan, in the Coasters’ ‘Bad Detective’). If you grew up watching the small screen when it really was a small screen, you’ll remember most of these upstanding lawmen and their relentless pursuit of justice at all costs as they came into your homes on a weekly basis. Less savoury characters that we hear from include alimony dodgers Richard Berry and Wynonie Harris; hardened lifers Jumpin’ Gene Simmons, George Jones and Hylo Brown; denizens of DWI Benjamin “Scat Man” Crothers and, with some help from Cliff “King” Solomon’s orchestra, Gigi Gryce; chain gang toiler Billy Boy Arnold and the perpetually in-the-wrong-place-at-the-wrong time Bobby Nunn of the Robins. And lest anyone think we’ve gone soft on lady lawbreakers, vivacious Vicki Young puts a Prisoner Of Cell Block H perspective on what it’s like to ‘Riot In Cell Block #9’. Personally I reckon that at least some of these guys and gals ought to have been let off with a caution. Failure to support this project will result in a visit from the no-fun police and a lifetime of listening to R and B (that’s Rihanna and Bieber) for your sins. It’s a fair cop, guv, but society is to blame. Evenin’ all. By Tony Rounce (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| VA: - London American Label Year By Year 1956 Most Ace customers will know by now that both my grandfather and father had general (and considerable) influence on my collecting habits, thanks to the records they introduced me to even before I was old enough for school. Needless to say, I’m eternally grateful to them for showing me the value of music at an incredibly early age. Grandad bought 78s up to the point where the major labels announced their imminent discontinuance in late 1959. He then continued to buy two 45s each week from theUKcharts, all the way though to 1980 when he turned 78. Dad was somewhat quicker to adapt to the newer medium; the first 45 that ever came into our house arrived three years earlier. It’s almost inevitable somehow that said 45 was on London. Andy Williams’ ‘Canadian Sunset’ joined 78s by Tennessee Ernie, Hank Williams, Bill Haley, Guy Mitchell, Frankie Laine and other family favourites in 1956, and was quickly followed by others that fascinated me almost as much for their size and for their tri-centres as for the music they contained. The family Dansette regularly rocked to the sounds of ‘Rip It Up’, ‘When My Dreamboat Comes Home’ and other great records. I’m not sure where ‘Canadian Sunset’ fitted into all this – it may have been a purchase for my mum – but I liked it as much as anything else from Dad’s fast growing collection of 45s by Fats Domino, Little Richard and that bloke with the crazy name of Elvis something. More than 50 years later I still like ‘Canadian Sunset’, and it’s pleasing to be able to include it on the latest in our London American series. which overviews 1956. It’s also good to include the aforementioned Fats and Richard singles, as well as others that a number of Ace buyers will also have grown up on – plus even more that most of us didn’t hear until long after the event, thanks to the limited exposure pop music received in the UK in the mid-50s. Many of the greatest rock’n’rollers debuted on London during 1956, Carl Perkins, Chuck Berry and Mr. Penniman being just three. It was also the year that the London A&R team slipped the likes of Werly Fairburn and Faye Adams past their bosses, who may have been less pleased with those sales than with ‘Rip It Up’ and the ubiquitous ‘Davy Crockett’! As ever, most of our inclusions sound as they did on their original London releases, having been mastered from the same tapes. Several have never been legally reissued in the UK before, and others have never been reissued at all. Ace’s beloved founder Ted Carroll shares his own memories of London’s musical impact on his youth and life in the foreword, and as always there’s copious track-by-track annotation and at least one scan of every 45 (or 78) featured in our programme. Move over London 2012 – here comes London 1956! By Tony Rounce (Ace Records) |
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Ace Records 2012 | CD | 18.00 € |
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| VA: - Mod Jazz Forever The night is dark, and crisp enough to require a dark blue woollen overcoat over your midnight blue two-button narrow-lapelled, slim-fitting suit. Your loafers are oxblood and polished to a shine that reflects well on the rest of your outfit. You’re looking for the perfect soundtrack for a night on the town, not just any town, but a city, a bustling metropolis lit by neon and a full of a million souls – although you only want to be seen with a small percentage, the ones who can share your outlook and need the right sort of sounds. Fortunately for you the mod jazz crew are back in town and we have scoured the world to provide you with the perfect blend of jazz, with a touch of the blues, a shake of soul and a pinch of latin. Whether you are sipping a whisky sour in a wood-panelled bar, trying to created the perfect Mad Men moment, or working up a sweat, we have the number for you. As usual, we pay only lip service to genre divides, and bring you lots of great jazz vocals, often with an R&B twist. Check Troy Dodds’ ‘The Real Thing’ (the B-side of a super-expensive Northern soul hit) or Floyd White’s ‘Finders Keepers’, lifted from a previously unreleased Invader session. Mod jazz favourite Mark Murphy turns up with the amazing rare 45-only ‘It’s Like Love’ and Clint Stacy, Bobby Jenkins and Little Bob all help keep the mod jazz quality high. On the female side we have the phenomenal Tobi Lark, who is known for her soul numbers but was a consummate jazz performer, as was Byrdie Green, who gives us her take on Freddie Hubbard’s ‘Return Of The Prodigal Son’. A good mod jazz record needs plenty of roaring Hammond organ, which we give you by Brother Jack McDuff, Johnny “Hammond” Smith and the great Reuben Wilson with one of his earliest recordings. That other great Hammond exponent Billy Larkin sings like Georgie Fame and strokes some piano keys on ‘Looking’, which sounds rather like ‘Fever’, a song served up in a wonderful version by Buddy Guy. The Night Beats deliver a garage jazz take on ‘Who’s Afraid Of Virginia Woolf Pt 2’ mod jazz regulars Hank Jacobs, Dave Hamilton and Johnny Lytle keep our toes tapping and our fingers clicking. As you leave the room to the previously unreleased British jazz cut ‘Sunshine Superman’ by Bocking, Robinson, Morais you will be feeling as sharp as ever. Another mod jazz miracle. By Dean Rudland (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| VA: - The Girl Can't Help It 3CD Deluxe Expanded Edition. Over 100 tracks by the musical stars of "The Girl Can't Help It". Including songs from the many other rock'n'roll movies of the era. And much more. The Greatest Rock ’n’ Roll Film Of The 1950s – The Girl Can’t Help It brought rock ’n’ roll to groin-swivelling life in living colour, defining a new cultural revolution to focus a generation, providing a mutual relationship launch-pad for the likes of Lennon and McCartney, while setting a genre precedent which was never topped. Part of a deluge of musical exploitation films released for the Christmas 1956 market, in the wake of the success of Rock Around The Clock earlier that year, The Girl Can’t Help It was distinct from most of its hastily-conceived rivals by being shot in glorious colour, and having both a witty script and thoughtfully integrated musical performances. Initially created by Looney Tunes/action movie veteran Frank Tashlin as a vehicle for new-blonde-on-the-block Jayne Mansfield, the film sparked worldwide teenage rampage when it first appeared in 1956, giving many their first taste of the uncaged phenomenon of rock ’n’ roll as the music’s hottest names strutted and wailed through what would become their signature songs, including Little Richard, Eddie Cochran, Gene Vincent and Fats Domino. To celebrate the movie, music and all-star cast, Fantastic Voyage swing doctor Dave Penny has forged a colossal three-CD set based around the original soundtrack, kicking off with Little Richard’s three songs from the film (‘Ready Teddy’, ‘She’s Got It’ and dam-busting rock chick anthem title track), then another dozen affirmations of the pompadoured Georgia Peach’s unbridled gospel-charged piano-humping mayhem. Disc One also features screaming sax honker Nino Tempo on both the film’s ‘Tempo’s Tempo’ and eight more tracks from its mothership album, Rock ’N’ Roll Beach Party (including the immortal ‘Turkey Gobbler’) plus Texan rocker Johnny Olenn’s ‘I Ain’t Gonna Cry No More’ and ‘My Idea Of Love’ from the film, and more from his Just Rollin’ With Johnny Olenn album. Disc Two spotlights Gene Vincent, his ‘Be-Bop-A-Lula’ from the film, plus another seven tracks, including 1958’s ‘Git It’ (as later covered by Dave Edmunds) and four which appeared in the lesser-known Hot Rod Gang flick. Also here are Julie London (cheesecake chanteuse missus of the film’s soundtrack supplier Bobby Troup), rocker Eddie Fontaine, the Three Chuckles, Teddy Randazzo (with the now rather sinister-sounding ‘Be My Kitten Little Chicken’) and the great Abbey Lincoln injecting gospel passion with ‘Spread The Word’ (shortly before becoming one of the world’s leading firebrand jazz singers as wife of drummer Max Roach). Larger-than-life Fats Domino looms over Disc Three with his ‘Blue Monday’ from the film joined by other celluloid sorties, including ‘Ain’t It A Shame’ and two others from Shake Rattle And Rock, plus others including showings in The Big Beat and Jamboree. He’s joined by the Treniers, built around twin brothers Cliff and Claude, whose ‘Rockin’ Is Our Bizness’ appeared in The Girl Can’t Help It, joined here by their showings in Don’t Knock The Rock, Teen Age Rebel, Jukebox Rhythm and Calypso Heat Wave. The Platters demonstrate why the rock ’n’ roll movie genre was so essential to their career, ‘You’ll Never Know’ from The Girl Can’t Help It joined by items they contributed to Rock Around The Clock, Rock All Night, Carnival Rock and Girls Town. The set is completed by trumpet-titan Ray Anthony and a hidden track of Jayne Mansfield herself with her own ‘Just Plain Jayne’, completing a collection which explodes with all the energy, attitude and underlying musical flair which now sound like the perfect case for an axis-shifting revolution. The only missing ingredient is Elvis, offered the main male lead but scuppered by the Colonel’s financial demands. He didn’t do too bad but neither did the movie and stellar cast assembled on this brilliantly-executed manifesto for the movement it inspired. |
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Fantastic Voyage 2012 | 2-CD | 18.00 € |
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| VA: - The Ramones Heard Them Here First There’s no mistaking a Ramones song. The funny thing is, throughout their career, the band paid tribute to their roots and influences by peppering their albums with versions of their favourites by other artists, making them sound like Ramones songs too. To see what I mean, try listening to this CD without lurching into ‘Blitzkrieg Bop’, ‘Carbona Not Glue’ or ‘I Wanna Be Your Boyfriend’. Sequenced in the order in which the Ramones cut the songs, this collection kicks off with Chris Montez’s original of ‘Let’s Dance’, which the band revived on their debut album “Ramones” in 1976. In some instances, rather than be pedantic about original versions, some songs are included in the renditions first heard by the Ramones. Hence ‘California Sun’, featured on their second album “Leave Home”, is heard here by the Rivieras (not Joe Jones); ‘Surfin’ Bird’ and ‘Do You Wanna Dance’, from 1977’s “Rocket To Russia”, are by the Trashmen and the Beach Boys (as opposed to the Rivingtons and Bobby Freeman); and ‘Needles And Pins”, from their fourth LP “Road To Ruin”, is by the Searchers (rather than Jackie DeShannon). In 1978 the guys teamed up with the Paley Brothers for an update of Ritchie Valens’ ‘Come On, Let’s Go’, a childhood favourite of Joey Ramone; the band’s 1980 album “End Of The Century”, produced by Joey’s hero Phil Spector, contained a revival the Ronettes’ ‘Baby I Love You’; and in 1982 Joey got together with Holly (of Holly & the Italians) to cut a version of Sonny & Cher’s ‘I Got You Babe’. ‘Little Bit O’ Soul’, here by the Music Explosion, and ‘Time Has Come Today’ by the Chambers Brothers were both revamped by the band on 1983’s “Subterranean Jungle”. The sessions also yielded a version of the 1910 Fruitgum Co’s ‘Indian Giver’, which sneaked out on the B-side of a 12-inch single in 1987. In 1993 the Ramones released “Acid Eaters”, an entire album of cover versions, represented on this CD by Jan & Dean’s ‘Surf City’, the Troggs’ ‘I Can’t Control Myself’, the Byrds’ ‘My Back Pages’, the Seeds’ ‘Can’t Seem To Make You Mine’, Max Frost & the Troopers’ ‘Shape Of Things To Come’, the Amboy Dukes’ ‘Journey To The Center Of The Mind’, Jefferson Airplane’s ‘Somebody To Love’ and Love’s ‘7 And 7 Is’. TheJapanandBrazileditions of the album also contained the band’s version of the Beach Boys’ ‘Surfin’ Safari’. “Adios Amigos”, the Ramones’ farewell album of 1995, included their version of Tom Waits’ ‘I Don’t Wanna Grow Up’. Waits repaid the compliment by contributing a cover of the band’s ‘The Return Of Jackie And Judy’ for the Ramones tribute album “We’re A Happy Family”. It’s not every day that one band records a tribute to another, but Motorhead did just that with ‘R.A.M.O.N.E.S.’ on their 1991 album “1916”. In return, the Ramones’ own version of the song was included on theJapanedition of “Adios Amigos”. The set concludes with the Stooges’ ‘1969’ and, poignantly, Louis Armstrong’s ‘What A Wonderful World’, as covered on Joey’s solo album “Don’t Worry About Me”, released in 2002, by which time he, Johnny and Dee Dee were dead. The Ramones were no more. See, poignant. By Mick Patrick (Ace Records) |
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Ace Records 2012 | CD | 18.00 € |
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| Willie Dixon - The Willie Dixon Story 4CD |
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Proper 2012 | CD-Box | 20.00 € |
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| Barney Kessell - To Swing Or Not To Swing original 1955 album + bonus tracks from 1957. 19 tracks |
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Poll Winners Records 2011 | CD | 12.00 € |
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| Barney Kessell feat Art Pepper - Some Like It Hot originally released 1959 |
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American Jazz Classics 2011 | CD | 13.00 € |
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| Bing Crosby - Essential Early Recordings 2CD |
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Primo Collection 2011 | CD | 10.00 € |
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| Bobby Darin - Original Album Series 5CD |
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Rhino Records 2011 | 2-CD | 23.00 € |
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| Cannonball Adderley - Dis Here 4CD |
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Proper 2011 | CD-Box | 20.00 € |
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| Charlie Rich - It Ain't Gonna Be That Way - The Complete Smash Sessions hick-set and with a shock of silver hair, Charlie Rich always looked like an archetype of country music. When we included his original version of Isaac Hayes and David Porter’s ‘When Something Is Wrong With My Baby’ on the “Take Me To The River” southern soul box set, we were taken to task for it in some quarters, but one listen to that performance and you couldn’t fail to recognise a voice steeped in soul. His love of jazz and R&B and his rich voice proved a hindrance to him finding widespread popular success until he was well into the second decade of his career. Until then he lived off an occasional hit, one of which was the wonderful ‘Mohair Sam’, which kick-started his time working with producer Jerry Kennedy at Mercury Records’ Smash subsidiary. Over his 18 months there he recorded some of the best music of his entire career and in Kennedy found a producer who was willing to give him the freedom to express himself. The 29 tracks he cut are gathered up here – repeating a long deleted US CD release of the material in the early 90s – and reveal an artist who was hugely talented, but also out of place in trying to score pop hits. ‘Mohair Sam’, written by Dallas Frazier, was a slick slice of R&B-influenced pop with a somewhat novelty lyric. It captivated radio stations and their listeners, as Charlie’s performance seems to epitomise the easy swagger of “fast grooving, slow walking, good looking Mohair Sam”, but elsewhere on his Smash material – many tracks written by him – themes seem a lot more grown up, and a lot less happy. ‘I Can’t Go On’ tells the tale of a man whose lover has left him, and it moves from a mournful beginning through to a storming denouement. Charlie wails, almost operatically at times, and it isn’t difficult to hear in this the basis for the arrangement that would be used for Elvis on ‘Suspicious Minds’ some years later. ‘No Home’, with its sparse arrangement of strings, piano, bass and vibraphone, sounds like George Martin arranging for Roy Orbison and is the perfect setting for Charlie’s mournful tale of lost love in which his velvety rich voice is only interrupted by a piano solo of such bluesy intensity that Horace Silver would have been proud of it. Rich released two albums in his time at Smash, both gorgeous ensembles of numbers ranging from his wife’s beautiful song ‘Field Of Yellow Daisies’ to the R&B dancer ‘Party Girl’, where Kennedy’s production creates a perfect setting for the tale of the girl who wouldn’t stay home. This CD is a collection of an artist at the very top of his game. By Dean Rudland (Ace Records |
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Ace Records 2011 | CD | 17.00 € |
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| Chet Baker - In New York |
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Doxy Music 2011 | LP | 19.00 € |
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| Del Moroccos - Blue Black Hair VINYL VERSION - 180 GRAM LP WILL BE OUT IN FEBRUARY 2011 !! Produced by Jimmy Sutton, The Del Moroccos' debut CD, Blue Black Hair blends R'n'R, R'n'B, 50's garage, and Latin Rocanrol! . Fronted by 3 sexy singers the Del Moroccos also feature Jimmy Sutton on electric guitar and Beau Sample, Cave Catt Sammy, on bass. |
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Goofin Records 2011 | LP | 15.00 € |
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| Eartha Kitt & Shorty Rogers - St. Louis Blues 32-page booklet, 12 tracks. Playing time approx. 35 minutes. -- The 'Velvet Lounge' is a remarkable series of re-releases dedicated to music that is always elegant and entertaining - and sometimes even exotic. The series is a comfortable and welcoming home for treasures from the fabulous Fifties and the strange Sixties. It is a mark of quality placed on music we've rediscovered from long ago and far away, from a time and place between Rock and Beat ecstasy and psychedelic populism. -- This newest addition to the Bear Family contains music that comes straight from the archives of both large and small record companies, and is re-mastered to Bear Family's excellent quality, normally as a direct digitalisation of a master-tape but always with the best possible sound. What you hear is what you get, and the listener is tempted in by this music, asked to relax and savour the music, while maybe putting up their feet and slowly stirring a long drink. -- And who you hear is important; the artists' names alone make for a formidable series. Eartha Kitt, 'the most exciting woman in the world' according to Orson Welles, does her purring 'thang' on the album 'St. Louis Blues', alongside legendary West-Coast-trumpeter Milton 'Shorty' Rogers and an extravagantly exciting and highly entertaining blues program. And then on the album 'Personalities' another trumpeter Al 'Jumbo' Hirt dedicates himself to a sort of 'symbolization in sound' of sex-bomb Ann Margret, some twenty years his junior, on songs like My Baby Just Cares For Me or Baby, It's Cold Outside. Despite numerical evidence to the contrary, 'jazz' was not a four letter word back then, and even 'entertainment' did not smell funny, yet. The motto was 'anything goes' rather than 'is that allowed ' This artistic free-for-all and high quality craftsmanship produced songs that had every right to be called 'standards'. Artist-arrangers like Marty Paich or Juan Esquivel, for instance, not only showcased the abilities of some of the best studio musicians of their time, but also the songwriters. -- The 'Velvet Lounge' engages more than the ears, though. You'll need your stomach muscles, at least those involved in extensive laughter. On 'What were they thinking ' an overdue compilation with all kinds of 'odd couples', pleasure becomes a principle and the absurd gets to be ordinary. Country stars meet Exotica heroes or Easy Listening troubadours. Pop crooners like Perry Como are coupled with the Sons Of The Pioneers, and even Lotte Lenya, Kurt Weill's wife, and Bertolt Brecht's favorite mime, gets to share some hilarious studio-time with the sensational Louis Armstrong. -- Because the 'Velvet Lounge' series comes under the Bear Family banner, it is a given that the graphic design is perfectly fitting and fittingly perfect, featuring rare original photographs, exact discographies, and extensive liner notes. Everything about this series has a touch of exuberance and luxury. Everyone from the collecting specialist to the cultural crusader can feel most welcome and at home in this 'Velvet Lounge'. |
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Bear Family 2011 | CD | 17.00 € |
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| Frankie Laine - I Believe 2CD |
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Primo Collection 2011 | CD | 10.00 € |
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| Howard Roberts Quartet - H.R. Is A Dirty Guitar Player ! HOWARD ROBERTS’ SWINGING JAZZ GUITAR MASTERPIECE FROM ’63! In the pantheon of under-the-radar American guitar heroes, Howard Roberts looms large. A remarkably versatile musician who was one of Los Angeles' most in-demand session players from the early 1950s through the 1970s, Roberts' career encompassed an incredible array of studio assignments. He recorded with a dizzying assortment of acts, including Elvis Presley, Frank Sinatra, the Beach Boys, the Monkees, Dean Martin, Sonny and Cher, the Jackson 5, Peggy Lee, Eddie Cochran, Chet Atkins and the Electric Prunes. He also played on countless film and television soundtracks; his guitar work is featured prominently in the iconic theme music of The Twilight Zone, The Munsters and I Dream of Jeannie. Roberts was also an accomplished musical educator, co-founding Hollywood's Guitar Institute of Technology, writing a regular instructional column on jazz improvisation for Guitar Player magazine, and penning several highly-regarded guitar instruction books. As a guitar teacher, one of his students was a teenaged Phil Spector, for whom Roberts would later work as a session man. Impressive as his session resume is, for many guitar aficionados, the real highlights of Howard Roberts' body of work are the instrumental albums he released under his own name throughout his career. One of his best-loved solo releases is the memorably titled H.R. Is A Dirty Guitar Player, originally released by Capitol Records in 1963. Recorded at the legendary Studio A in the Capitol Tower, with a band that includes fellow studio legends Chuck Berghofer and Earl Palmer on bass and drums, H.R. Is A Dirty Guitar Player is a potent showcase for Roberts' fluid, swinging guitar work. The material offers ample opportunity for the artist to demonstrate his versatility, encompassing pop standards (Lerner, Loewe"If Ever I Would Leave You"), bossa nova (Antonio Carlos Jobim's "One Note Samba") and jazz (tunes by Herbie Hancock, Count Basie and Duke Ellington), along with such Roberts originals as "Smolderin'," "Turista," "Deep Fry" and "Dirty Old Bossa Nova." Long unavailable in its original form, this vintage instrumental gem has been restored to its original vinyl glory by Sundazed Music. The album has been sourced from the original stereo masters and pressed on 180 gram vinyl, with complete original cover art. |
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Euphoria Jazz 2011 | LP | 20.00 € |
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| Jimmy Smith - Essential Early Recordings 2CD |
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Primo Collection 2011 | CD | 10.00 € |
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| Joel Paterson & Lester Peabody - Biscuitboardin' / Boo-Wah Blues Great swinging guitar instrumentals by Joel Paterson and Lester Peabody. Recorded in Helsinki, Finland Oct 2010. |
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Goofin Records 2011 | Single/EP | 6.00 € |
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| John Barry - The Bees Knees-The EMI Years 1957-1964 3CD Tammikuun 30. päivänä kuolleen John Barryn EMI levytykset. Viisinkertainen Oscar-voittaja tuli tunnetuksi elokuvamusiikistaan mm. filmeihin 'Born Free', 'Out Of Africa' ja James Bond elokuviin. Tässä uudelleen pakattu tripla 1990-luvulla julkaistusta versiosta. The EMI years 1957-1964 kokoelman Cdt 1 ja 2 ilmestyivät 1993, ja Vol. 3 vuonna 1995. Mukana legendaariset levytykset mukanaan 'Stringband' albumi, sekä singlelevyjen, A-ja B-puolet. |
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Emi 2011 | 2-CD | 22.00 € |
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| Johnny Otis - Johnny Otis Story Vol. 1 1945-57 Midnight At The Barrelhouse There can’t be many people who have done more in the name of rhythm & blues than John Alexander Veliotes – Johnny Otis to his friends and fans. Johnny has packed a lot into his lifetime: author, father, painter, radio DJ, TV host, sculptor, political activist, priest, farmer and much more besides. But whatever he’s known for, it’s the music he’s been making since the mid-1940s that has always endeared him to record collectors and marked him as one of the true originators of R&B. Johnny turns 90 as 2011 draws to its close, and Ace felt that this momentous occasion should be marked by not one but two CDs in celebration of Johnny’s life and more than thirty years of recording activity. “Midnight At The Barrelhouse” is the first volume, and the repertoire embraces Johnny’s early years as a bandleader through to the peak of his worldwide popularity with his first and biggest Capitol hits. The second volume, “The Show Goes On”, will carry on with more Capitol classics and take us through to Johnny’s 1970s successes on Okeh/Epic and his own Hawk Sound label. Johnny always downplayed his skills as a vocalist but, as can be heard throughout our programme, his singing was always as enjoyable and recognisable as anyone who ever fronted his band. He can also be heard on drums and vibes throughout the set. Even though he’s not always the featured artist, his role in the creation of each and every one of these tracks is always apparent. Our selections here also showcase the great musicians from his classic early bands such as Pete “Guitar” Lewis and Devonia “Lady Dee” Williams, plus vocalists of the calibre of Marie Adams, Bobby Nunn (and the Robins), Big Mama Thornton and Little Esther. Many of these tracks will be as familiar as family to Johnny Otis devotees, but we have managed to disinter several terrific unissued cuts from the 1950s to gladden the hearts of even the most ardent completist. By Tony Rounce (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Louis Jordan - The King Of The Jukebox 2CD |
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Primo Collection 2011 | CD | 10.00 € |
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| Louis Prima with Sam Butera & Keely Smith - Jump, Jive An' Wail DigiPac (4-plated) with 36-page booklet, 30 tracksPlaying time approx. 87 minutes. - David Lee Roth copied the Louis Prima arrangement of 'Just A Gigolo/I Ain't Got Nobody' while Brian Setzer won a Grammy for his version of 'Jump, Jive An' Wail'. The amazing originals are here. Also contains Prima's big hits with the succulent Keely Smith: 'That Old Black Magic' and 'I've Got You Under My Skin' are the epitome of Las Vegas cool. Plus a clutch of lethal tenor-man Sam Butera's rock 'n' roll vocals including 'Ten Little Women' and the full kilter 'Bim Bam'. All told, there's no better collection of Louis Prima's seriously frantic fusion of rock 'n' roll, Dixieland and Neopolitan mayhem. Fans will also appreciate the generous number of tracks and the booklet's numerous photos. --Louis Prima can't be pigeon-holed. Jump blues, vaudeville, Dixieland jazz, Sicilian boogie, swing and flat-out rock 'n' roll; they were all reflected in the riotous lounge act which he pioneered if not invented. Despite his age (born 1910) and a recording career which spanned four decades, Prima understood rock 'n' roll. 'It's got that beat' he said. 'There's nothing, but nothing, wrong with rock 'n' roll'. -- This collection doesn't overlook his jazz-inflected pop hits with Keely Smith but it relies primarily on his very best recordings for Capitol, those which capture the exalted frenzy of his live show and the rumbustious spirit of '50s rock 'n' roll. It includes his own full-steam ahead classic, 'Jump, Jive An' Wail', several innovative medleys and a clutch of attractive rockers by his accompanists, tenor sax player Sam Butera and his band, the Witnesses. Spurned by critics at the time, this anthology of ground-breaking, house-rocking music restores Louis Prima to his rightful, well-deserved place in the reissue spotlight. |
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Bear Family 2011 | CD | 17.00 € |
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| Nieminen & Litmanen - Third Odotettu, uusi Nieminen & Litmanen! |
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Grand Pop 2011 | CD | 13.00 € |
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| Nieminen & Litmanen - Third |
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Keltainen Jäänsärkijä 2011 | LP | 20.00 € |
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| Nina Simone - Forbidden Fruit LP + CD When Nina Simone signed to Colpix in 1959 she was granted complete creative control over her music. This new freedom gave her the ability to explore new subject areas, particularly themes dealing with Civil Rights. Songs like "Work Song" on 1961's Forbidden Fruit gave an inkling of the maelstrom that was to come, when she would become a veritable force to be reckoned with, making white audiences squirm in their seats with her harsh condemnation of American apartheid. 180 gram vinyl + bonus CD of the same album. |
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Doxy Music 2011 | LP | 20.00 € |
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| Nino Tempo & April Stevens - Hey, Baby ! - The Nino Tempo & April Stevens Anthology When I was a four year-old pre-school music fan, I would often borrow records from our neighbours. One of my favourites from their collection was ‘Deep Purple’ by Nino Tempo & April Stevens. I don’t suppose I could have explained how it made me feel at that age, but for what is essentially a beat ballad, ‘Deep Purple’ created a strangely ethereal mood. Hearing it again all these years later, together with the other recordings collected on “Hey, Baby!”, it’s clear that the key ingredient to Nino & April’s sound was the warmth conjured up by the sibling harmonies of the brother/sister duo. Nino & April had each experienced a degree of success both independently and as a duo by the time ‘Deep Purple’ hit, Nino cutting his teeth as a session sax player and occasional film actor, while April enjoyed an on-off career as a feline, temptress-styled chanteuse. A selection of Stevens’ early sides is included here, sounding a little kitsch nearly 60 years on, but still rather alluring. Following a series of near-miss 45s together, the duo casually knocked off a cover of the 30s chestnut ‘Deep Purple’ at the close of a session. Almost by accident, they’d hit on something. In spite of label boss Ahmet Ertegun’s doubts about the recording’s hit potential (“the worst thing they ever recorded,” he claimed at the time), it climbed to the top of the US chart, winning the Grammy for Best Rock & Roll Recording a few months later. The success of ‘Deep Purple’ led to the duo recording a slew of updated pre-rock standards, timed – rather unfortunately – to coincide perfectly with the British Invasion. Suddenly their audience had no interest in the hits of yesteryear, and it seemed that Nino & April’s moment had passed as quickly as it had arrived. However, Tempo’s days as an in-demand saxophonist had led to a friendship with Phil Spector. This bond clearly paid off big time: the Tempo & Stevens magnum opus from ’66 – ‘All Strung Out’, originally written for the Righteous Brothers – is a powerful piece of work, and possibly the best Spector-influenced recording of the era, though the equally wall-of-sound-alike ‘The Habit Of Lovin’ You Baby’ gives it a run for its money. Still other influences abound throughout this collection. The ache and yearn of Tempo's ‘Boys Town’ cuts so true it could be a “Pet Sounds” out-take. ‘Out Of Nowhere’ acknowledges – if not quite embraces – the Liverpool sound. And, while also tipping the hat to Holland-Dozier-Holland, April’s solo ‘Wanting You’ 45 from 1967 seems to look ahead to the UK studio sound of the end of the decade (think Macaulay-MacLeod or Cook-Greenaway). This career-spanning compilation of Nino & April’s work is a real eye-opener if your familiarity with their output starts and ends with the hits. And on a personal level, hearing ‘Deep Purple’ 40-plus years on takes me straight back to being a four year-old, gazing at the Dansette in pure awe. Timeless and evocative, “Hey, Baby!” is a joy. By Harvey Williams (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Sarah Vaughan - Broken Hearted Melody 2CD |
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Primo Collection 2011 | CD | 10.00 € |
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| Spinshots - Never So Right The Spinshots have been working on their first album for over a year. They patiently rehearsed the right rhythms, tempos, count, adjusting the harmonies and arrangements, and steadily polished the diamond of their music into a product they are very proud of. In 13 songs the band takes you on a trip, a hallucinogenic 45 minutes of the purest and loveliest neo-exotica. The album is called ‘Never So Right’ and it’s truly a labor of their mutual love for the project. The Spinshots are ready. |
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Sonic Scenery 2011 | CD | 19.00 € |
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| Spinshots - Never So Right |
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Sonic Scenery 2011 | LP | 22.00 € |
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| Tony Crombie - Whole Lotta Tony |
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Fantastic Voyage 2011 | CD | 12.00 € |
