The box contains a perfect overview of VIVARTE’s legendary catalogue of ancient music ranging from Vivaldi to Brahms. Most of the recordings received critical acclaim all over the world, many of them won prestigious awards and many are reference recordings.
When it came to tenor saxophonists, the late organist Shirley Scott had excellent taste. One of the big-toned tenor men she worked with extensively was Stanley Turrentine, whom she married; another was Eddie "Lockjaw" Davis. Recorded in Rudy Van Gelder's New Jersey studio in 1959, Bacalao is among the many solid hard bop/soul-jazz albums that resulted from Davis' association with Scott. The two of them enjoyed an incredibly strong rapport in the late '50s and early '60s, and they are very much in sync on Bacalao (which unites them with bassist George Duvivier, drummer Arthur Edgehill, and two Latin percussion men: Luis Perez and salsa giant Ray Barretto).
Esoteric Recordings are proud to announce the release of a newly re-mastered and expanded edition of the classic 1968 debut album by THE MOVE, "Move. Of all of the groups to emerge in Britain in the latter half of the 1960s, THE MOVE was arguably one of the finest. A powerful act on stage, the group were blessed with one of the most imaginative songwriters of his generation in Roy Wood and a fine vocalist in Carl Wayne, complemented by Bev Bevan (drums), Trevor Burton (guitar) and Ace Kefford (bass). Released in the UK in April 1968, "Move followed on from the international success the band had achieved with the classic singles Night of Fear, I Can Hear The Grass Grow, Flowers In the Rain and Fire Brigade. Their first album, "Move, demonstrated the imaginative diversity of the band and saw them break new ground creatively.
Eine exklusive Sammlung herausragend klingender Aufnahmen aus dem Hause MDG - Musikproduktion Dabringhaus und Grimm von Heinrich Schütz bis Johannes Brahms - vom Solo-Klavier bis zum großen Sinfonieorchester.
It might be more concise to list what musical genres Marc Ribot hasn't explored than the ones he has, but his approach to the guitar has often reflected the freedom, reinvention, and elastic boundaries of jazz, no matter what the specific context. On this date, recorded in mid-2012 during a handful of shows at one of New York's most iconic venues, Ribot gives himself the luxury of stretching out with a pair of gifted accompanists, bassist Henry Grimes (who worked with Albert Ayler, one of Ribot's key influences) and drummer Chad Taylor (a veteran of the Chicago Underground Duo and Trio), and the result is one of Ribot's most explicitly jazz-focused dates in some time.
The real proof in the pudding of whether the Beastie Boys can really funk it up isn't on their own records. Naysayers have been claiming that it's all a rip, that the grooves are pure sample-happy appropriation. While Dr. Lonnie Smith gave Beck the B-3 treatment on his own Boogaloo to Beck, Love Bug mastermind and killer B-3 boss Ruben Wilson snagged P-Funk keyboard ace Bernie Worrell, saxophonist Andrew Beals, and a rhythm section that includes guitarist Doug Munro and skin popper LaFrae Olivia Sci and dug deep into the Beasties' catalog to let the real soul groove out of the bag.