Arnett Cobb –  Sizzlin’
Arnett Cobb – Sizzlin’
Another of Arnett Cobb's great Prestige sessions, this one from late 1960. Arnett Cobb and his tenor sax are joined by Red Garland on piano, J.C. Heard on drums and George Tucker on bass. The quartet cruises through six tunes – including two Arnett Cobb originals and a couple of old standards in 'The Way You Look Tonight' and 'Georgia On My Mind.'  
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Art Blakey – !!!!!Jazz Messengers!!!!!
Art Blakey – !!!!!Jazz Messengers!!!!!
Four jazz evergreens give the musicians the time and opportunity to display their soloistic talents. The real climax, however, is to be found in the harmonic layering of the three winds which lend the themes new appeal. The message was broadcasted many times until the death of Art Blakey, but the history of jazz would have been a great deal poorer without these milestone recordings on the Impulse label. Art Blakey certainly knew how to delight his audience with fire, originality, a wealth of ideas and great humor.
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Art Blakey & The Jazz Messengers – Keystone 3
Art Blakey & The Jazz Messengers – Keystone 3
The Jazz Messengers are a musical balancing act, a study in contrasts, much like Art Blakey himself. As an ensemble, this is perhaps the most dynamic and expressive sextet Art has ever fronted. The contouring of arrangements, phrasing within the charts, and the repertoire itself constitute a lesson in musicality.  
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Art Blakey Jazz Messengers – Caravan
Art Blakey Jazz Messengers – Caravan
This is an event: the Riverside debut of Art Blakey's assertive and stimulating band, in an album that finds the group celebrating its new affiliation by performing at top level form. The name "Messengers" has been an apt description of Art's several groups down through the years to this sextet. For the ability to communicate directly to an audience - to deliver the message - is and always has been a Blakey hallmark.  
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Art Pepper : Art Pepper Meets The Rhythm Section
Art Pepper : Art Pepper Meets The Rhythm Section
Art Pepper, alto sax; Red Garland, piano; Paul Chambers, Bass; Philly Joe Jones, drums. Album notes don't always tell the whole story. Contemporary president Les Koenig, who rightly felt that Art had yet to record with musicians who were his equal, wanted to take advantage of Miles Davis's quintet being in L.A. But Pepper hadn't been playing for several months, and his horn was in a state of disrepair. To minimize anxiety, the session was kept secret from Art until the last minute. But Pepper always rose to a challenge: he taped to his dried-out cork, arrived for the date, and proceeded to record an album widely considered the most important of his career. This is an all tube recording from the microphones' to the tape machine.
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Art Pepper Quintet – Smack Up
Art Pepper Quintet – Smack Up
Art Pepper left a legacy of innumerable appearances on records, but his sessions for Contemporary always seemed to find him in the best company and in the best shape. Here his impassioned alto sax is appropriately applied to the compositions of six saxophonists, among them Benny Carter, Ornette Coleman, and Pepper himself.  
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B B King – Singin’ the Blues
B B King – Singin’ the Blues
King's vocals are exciting, playful and soulful; the horns are jumpin' and the piano honky tonks that thang all the way home. A number of the songs contained on these first recordings went on to become B.B. King classics, performed and re-recorded down through the years, but here are the first fresh, hot-from-the-oven versions of such tunes as "Did You Ever Love A Woman," "Every Day I Have The Blues" and "Sweet Little Angel." This is home cookin' and these are the original recipes.
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Bach – Suites For Unaccompanied Cello Complete
Bach – Suites For Unaccompanied Cello Complete
Without a doubt, Starker allows his instrument to resound freely but without forcing the tone. Starker’s full-bodied sound and technical brilliance are complemented by his finely chiseled interpretation that lends immense expression to Bach’s thrilling harmony and verve to the strict rhythmic construction of the movements. Just listen to his organ-like double-stopped passages, the eloquent dialogues, and the pure excitement created by his highly individual treatment of tempo. Then you will surely agree with the often-quoted paradox that Bach’s Cello Suites are ‘polyphony for a solo instrument’.
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Bach : Florin Paul, violin – Partitas
Bach : Florin Paul, violin – Partitas
Formerly concertmaster of Sergiu Celibidache’s Munich Philharmonic Orchestra, today Florin Paul occupies the same position with Hamburg’s North German Radio Symphony Orchestra.
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Bach: 6 Solo Cello Suites
Bach: 6 Solo Cello Suites
As can be easily inferred from his career path, Enrico Mainardi was a cellist whose artistic viewpoint was a grafting of the German school of cello playing influenced by Neue Sachlichkeit to the musical background of his motherland Italy. He recorded the monaural cycle for the Archiv label between April 1950 and October 1955. Mainardi's Bach is leisurely and contemplative. His playing meditates on the auspicious meaning of the work - it is a musical delta of courteous low notes, a magical prayer of an aged monk. This is a masterful performance, and its value is somewhat different from the performances of today. Recording: in mono
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Barb Jungr : Every Grain Of Sand
Barb Jungr : Every Grain Of Sand
»The most significant vocal album of the 21st century.« THE WALL STREET JOURNAL »The foremost interpreter of Bob Dylan’s back catalogue...« THE INDEPENDENT »Jungr approaches the Dylan songbook with a rare degree of intelligence, relishing each line in the manner of a true chansonnier.« MOJO »Ms. Jungr, a passionate Dylanologist, can squeeze more juice out of a Dylan song than just about anybody.« THE NEW YORK TIMES
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Bartok – Concerto for Orchestra
Bartok – Concerto for Orchestra
For years, the Concerto for Orchestra has been not only the most-played of Bartok's works, but also the most frequently performed among other contemporary scores. Since its original release on LP in the mid-1950s, Fritz Reiner's rendition of the Concerto for Orchestra has stood as the standard against which all other recordings of the work are measured.
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