Nagrania zostały zarejestrowane w 1953 roku w Oberlin Collehe Ohio oraz w 1954 w Michigan. Tracklista: 1. Balcony Rock 2. Take The "A" Train 3. The Song Is You 4. I Want To Be Happy 5. Don't Worry 'Bout Me 6. Le Souk 7. These Foolish Things 8. Perdido 9. Stardust 10. The Way You Look Tonight
Tracklista: CD 1 1. My Baby Just Cares for Me 2. Mack the Knife 3. That's Amore 4. How D'ya Like Your Eggs in the Morning? 5. Goldfinger 6. Mad About the Boy 7. From Russia With Love 8. Alfie 9. Fly Me to the Moon 10. Spanish Harlem 11. Blue Velvet 12. These Foolish Things (Remind Me of You) 13. Save the Last Dance for Me 14. 'Round Midnight 15. Ramblin' 16. My Favourite Things 17. Fly Me to the Moon 18. Moonlight in Vermont 19. Autumn in New York 20. Bullitt (Main Title) CD 2 1. Cry Me a River 2. Strange Fruit 3. Blackbird 4. These Foolish Things 5. Black Coffee 6. The Girl from Ipanema 7. Crazy He Calls Me 8. What a Wonderful World 9. Central Park West 10. The Shadow of Your Smile 11. My Funny Valentine 12. Lullaby of Birdland 13. Soultrane 14. Manhattan 15. The Meaning of the Blues 16. Wednesday Night Prayer Meeting 17. Bag's Groove 18. 'Round Midnight 19. The Inflated Tear 20. In a Sentimental Mood CD 3 1. I Left My Heart in San Francisco 2. The Look of Love 3. My Funny Valentine 4. Beyond the Sea 5. Big Spender 6. Can't Take My Eyes Off You 7. Moon River 8. Bye Bye Blackbird 9. What a Difference a Day Made 10. Summertime 11. On the Sunny Side of the Street 12. Open Your Window 13. Moody's Mood for Love 14. Moanin' 15. Baby Won't You Please Come Home 16. I Got It Bad and That Ain't Good 17. Our Love Is Here to Stay 18. In the Evening 19. Our Day Will Come 20. Can't Take My Eyes Off of You CD 4 1. It's Beginning to Look a Lot Like Christmas 2. Let It Snow! Let It Snow! Let It Snow! 3. Rockin' Around the Christmas Tree 4. First Snow in Kokomo 5. O Come All Ye Faithful 6. Santa Claus Is Coming to Town 7. Merry Christmas Baby 8. Snowbound 9. White Christmas 10. This Christmas 11. Mary's Boy Child 12. Christmas Wish (Aka My Christmas Wish for You) 13. Gee Whiz, It's Christmas 14. White Christmas 15. Silent Night 16. Christmas Cards 17. Merry Christmas Baby 18. The First Snowfall 19. England's Carol 20. Christmas Song
This disc is the first of a series that will present the entire piano-accompanied songs and vocal works of Johannes Brahms. As such it is a companion series to those undertaken by Hyperion for the songs of Schubert, Schumann, Fauré and Strauss.Brahms, like Schumann, but unlike Schubert with his much greater output, issued the majority of his songs in groups collected by opus number. There is a tendency in modern scholarship to suggest that he envisaged, or at least hoped for, performances of his songs in these original opus number groupings. Of course one cannot deny that some planning (though of a rather variable kind) went into the arrangement of these song bouquets for publication, but good order and cohesion in printed form (as in an anthology where poems are arranged to be discovered by the reader in a certain sequence), though pleasing to the intellect, do not automatically transfer to the world of the recital platform where one encounters a host of different practical problems, casting (male or female singer) and key-sequences (high or low voice) among them. There is nothing more meticulously planned in all song literature than the volume of 53 songs of Hugo Wolf’s Mörike Lieder—but we have no evidence to suggest that the composer, who had worked closely with the publishers to make this volume a feast for the eye, envisaged a performance of these songs in a single sitting, or on a single day.Printed poetry collections are as lovingly assembled as an opus of a composer’s varied settings, but this does not mean the poems therein are designed to be read aloud from cover to cover: the compiler of these volumes, whether or not the poet himself, would expect items to be selected by the reader according to taste or need. The anthology (or indeed opus number) might be likened to a well-ordered jewel case from which precious items may be extracted for use, depending on the occasion: the wearing in public of every item therein on a single occasion would be both impractical and vulgar. There is little evidence, especially from concert practice of the time (where items from the Schubert and Schumann cycles were often ruthlessly excerpted), that Brahms’s publications were conceived within a spirit of cyclic unity that called for an integral performance of the entire group.There is a modern tendency to see a famous cycle like Winterreise as the nineteenth-century norm to which all other groups of songs should be made to conform, and this ‘search for cycles’ has become something of an obsession in present-day musicology, a means of using the popularity of Schubert’s and Schumann’s genuine cycles as an excuse to pretend that there are similarly cohesive works in the repertoire waiting to be rescued, or restored to the unified shape the composer had intended for them all along. It is perhaps a symptom of our ‘bigger is better’ society that solitary songs, exquisite miniatures, are thought to be more significant if they form a part of something bigger. If this is true, it represents an ongoing challenge to the planners of programmes whose efforts can yield far better and more imaginative results when allowed to range over a broader canvas than that of a single opus number where all sorts of practical considerations, including commercial ones, had restricted the composer’s choices.Each disc of this Hyperion edition takes a journey through Brahms’s career. The songs are not quite presented in chronological order (Brahms had a way of including earlier songs in later opus numbers) but they do appear here in the order that the songs were presented to the world. Each recital represents a different journey through the repertoire (and thus through Brahms’s life). In a number of these Hyperion recitals an opus number will be presented in its entirety (in the case of this disc, Op 48). The folksongs of 1894 will be shared between all the singers in the series. In a letter to Marie Scherer of 20 October 1894 we learn of Brahms’s reaction to an evening (arranged by the well-meaning Amalie Joachim) where an entire evening was given over to these Volkslieder: ‘I do not think it a happy idea to spend a whole evening singing nothing but these folksongs. A few introduced among other (serious and sober!) songs might be enjoyable and refreshing.’ In this series this is exactly what will happen.Graham Johnson © 2010
CD:1 - I Can't Stand It2 - Stephanie Says3 - She's My Best Friend - The Velvet Underground,4 - Lisa Says5 - Ocean6 - Foggy Notion - The Velvet Underground, Morrison, Sterling7 - Temptation Inside Your Heart8 - One of These Days9 - Andy's Chest10 - I'm Sticking With You
1. LOVE COME BACK TO ME 2. FALLING IN LOVE WITH LOVE 3. LIZA 4. SOMETIMES I'M HAPPY 5. 'SCUSE THESE BLOOS 6. JONES BONES 7. STOCKHOLM SWEETIN' 8. POGO STICK
Tracklista: 1. Keep Going 2. Nice Nice 3. Black Sahara 4. These Days 5. Ocean Street 6. The Warriors 7. Orgasmocracy 8. Desert trip 9. Sixty Something
Wydany po raz pierwszy w 1957 roku debiut legendarnego saksofonisty dla Blue Note, nagrany w Van Gelder Studio, Hackensack, New Jersey. W nagraniach wziął udział wspaniały zespół w składzie: Wynton Kelly (fortepian), Curley Russell (bas) i Max Roach (perkusja). Kompozycja „Mil Dew” Griffina, to jeden z najintensywniejszych utworów otwierających w historii Blue Note Dwa wspaniałe oryginały Griffina („Chicago Calling”, „Nie And Easy”) oraz klasyczne wersje „These Foolish Things”, „Lover Man” i „It’s All Right With Me”. Album doskonale ukazuje ognisty, mistrzowski styl Griffina. Na następnym albumie Griffina dla Blue Note – „A Bowling Session” wystąpił John Coltrane na saksofonie tenorowym
Tracklista:1. Wait No Longer2. Turn Me Out3. Memory Shards4. Pretend U Are Free5. Way Out6. Chambermaids7. U Dug Us All8. Kingdom Come9. Someone10. Run Around11. These Plains12. Get Along Like U13. My Only Want14. Rainbows15. The End
This recording of the Water Music of Handel (or, this being a German disc, Händel) falls into the bin of revisionist interpretations of familiar works, and perhaps also that of German ensembles who feel they have to combat the reputation for conservatism of their musical culture by being radical. For the most part, Concerto Köln makes its radical reading hold together. Tempos run from quick to extreme, but there's an energy and a rollicking quality that keep the music moving along, with some very unusual early horns in the complement of historical instruments making clear the degree to which these instruments were novelties in the England of 1717. In general, the sharp attacks and varied, slightly exaggerated articulation employed by the group makes the music's original outdoor performance easy to imagine. There is a lot of ornamentation, and some innovative treatments of notated ornaments, including a very unusual decision right at the beginning of the disc (Concerto Köln, despite mention of other...
Tracklista:1. One of Those Days in England2. These Last Days3. Cherishing the Lonesome4. Naked Flame5. Watford Gap6. One of Those Days in England, Parts 2-10