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Music > Blues
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Deluxe Edition
(CD)
Lonnie Brooks; Recorded by Lonnie Brooks
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R350
Discovery Miles 3 500
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Out of stock
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Live
(CD)
Blues Band
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R285
Discovery Miles 2 850
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Out of stock
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Eyes of a Woman
(CD)
Kelly Band Richey; Recorded by Kelly Richey
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R315
Discovery Miles 3 150
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Out of stock
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1952-1954
(CD)
Carter Benny & His Orchestra
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R253
Discovery Miles 2 530
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Out of stock
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Volume ten in the complete chronological recordings of Benny
Carter, as compiled and presented on compact disc in 2006 by the
Classics label, contains most of the originally issued master takes
from his Verve and Victor sessions which transpired in New York and
Los Angeles during the period between July 26, 1952 and January 4,
1954. What didn't make it onto this disc was a chunk of the Carter
discography dating from August and October 1952, including the
material released as the Alone Together album by "Benny Carter with
the Oscar Peterson Trio and Buddy Rich" and a couple of tunes by
Benny Carter's Orchestra with vocals by Savannah Churchill. Tracks
one-three are performed by a solid little octet, while tracks four
and six exhibit all the traits of polished early-'50s studio
production, laying it on thickly using a large studio orchestra
glazed with strings, a harp, and neatly harmonized group vocals.
Even so, Carter sounds marvelous out in front with his creamy alto
sax. Tracks five, seven, and eight are even better examples of
Benny Carter's early-'50s sound. Tracks nine-twelve, played by
Carter and a quartet led by pianist Oscar Peterson, were issued on
a 10" long-playing Verve record with the word "Cosmopolite" on the
cover. The remaining selections on this disc feature the Benny
Carter Quartet augmented by a string and wind ensemble arranged and
conducted by Joe Glover. At no point during this portion of his
career did Carter sound like he was selling out or succumbing to
convention. True, the addition of strings, beefed up orchestral
charts, and especially the oozy vocals on "I Wanna Go Home" signal
a momentary concession to perceived notions of popular taste, but
in the larger scheme of things, and especially when placed into
context as a relatively brief chapter in the remarkably long life
and career of Benny Carter, this is pleasant enough stuff and it's
precisely what Carter thought he needed to do during the early
1950s. ~ arwulf arwulf
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Alabama Slide Guitar
(CD)
Charlie Musselwhite, Johnie Lewis, Chris Strachwitz; Performed by Johnie Lewis
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R254
Discovery Miles 2 540
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Out of stock
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Ray Charles' 1959 smash 'What I'd Say' secured him a place in music's top echelon. His unique combination of blues and gospel would eventually be christened Soul and went on to influence everyone from the Beach Boys to Stevie Wonder in a career that spanned more than 50 years. This selection features a 37 track introduction to one of the 20th Century's most enduring musical figures. Includes sleeve notes by Charles Waring (Mojo, Blues & Soul & Record Collector). Music Club. 2005.
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Cuttin Loose
(CD)
Chris Band Cain; Recorded by Chris Cain
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R348
Discovery Miles 3 480
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Out of stock
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Telephone Road
(CD)
Mark &. The Agitators May, May; Recorded by Mark May
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R293
Discovery Miles 2 930
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Out of stock
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Nite Out
(CD)
Mel Waiters
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R365
Discovery Miles 3 650
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Out of stock
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Hot Tracks
(CD)
John Hammond & The Nighthawks
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R301
Discovery Miles 3 010
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Out of stock
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Georgia-born and Detroit-raised pianist T.J. Fowler led a series of
smart, jazzy R&B bands in Detroit during the late '40s and
throughout the 1950s. This fascinating Classics chronological
compilation lines up all of Fowler's first recordings as a leader.
It opens with a couple of mood pieces issued on the Paradise label.
While "Sultry Moon" has a wistful charm similar to Earl Bostic's
ballad style, Freddie Johnson's pidgin West Indian vocal only
cheapens "Mango Blues," a counterfeit Caribbean lament in rhumba
time. Fowler's subsequent recordings, originally issued on the
National and Sensation labels, provided the spark that ignited his
career and led to his tenure with Savoy Records in 1952 and 1953.
Teamed with bassist Henry Ivory and drummer Clarence Stamp behind a
smoky front line of trumpeter John Lawton and saxophonists Walter
Cox and Lee Gross, Fowler presented hot music for dancing and the
occasional slow grind. Aside from a couple of Billy Eckstine
imitations committed by an unidentified crooner, the only voices
heard on the National and Sensation sides are group vocals with
handclapping over jump blues based in boogie-woogie and swing.
Adding singer and blues guitarist Calvin Frazier to his lineup,
Fowler made his first sides for Savoy in Detroit on March 28, 1952.
While the singalong rockers like "Oo-La-La" and "Yes I Know" were
designed and presented as crowd-pleasers, the ominous slow groove
called "Night Crawler" and the broiling "Fowler's Boogie," issued
back to back as Savoy 843, stand among Fowler's most enduring
achievements from this time period, along with "Back Biter," "Wine
Cooler," "Gold Rush," and "Camel Walk." With gutsy solos by
guitarist Calvin Frazier and saxophonist Walter Cox, this is early
Detroit R&B at its fundamental best. This portion of the T.J.
Fowler story ends with three of the only recordings he ever made
outside of the Motor City. Recorded in Chicago and issued on the
States record label, these tracks feature the pianist in the
company of trumpeter Dezie McCullers, alto saxophonist and singer
Frank Taylor, home boy tenor Walter Cox, bassist Gene Taylor, and
drummer Floyd "Bubbles" McVay, who switches to congas on the two
groovin' instrumentals, "The Queen" and "Take Off." ~ arwulf arwulf
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Duke Meets The Earl CD (2005)
(CD)
Ronnie Earl; Contributions by Duke Robillard, Thom Hiller, Huck Bennert; Produced by Duke Robillard; Performed by …
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R417
Discovery Miles 4 170
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Out of stock
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