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Whether or not these two dozen songs inspired the Allman Brothers or not, this would still be a nice collection, and it's surprisingly varied, including not just [more]
The 56 cuts collected on this JSP set contain all but a few of Louis Jordan's singles and albums recorded for Decca, Aladdin, RCA's "X" imprint, and Mercury between 1953 and [more]
Three Shades of Blues comprises a selection of tracks cut by Bukka White, Skip James, and Blind Willie McTell, all recorded during different eras. [more]
King Curtis and his bubbling, stutter-style tenor sax playing brought a touch of jazz and a whole ton of R&B to countless rock & roll tracks in the early '60s, and his funky edge is [more]
Unlike his previous recordings on the Decca label, Louis Jordan's successful run on the charts was over by the time he began recording for Aladdin X and Vix between [more]
Mississippi Delta Dues is a complete departure from Mickey Baker's landmark 1950s electric guitar work for Ray Charles and others. With acoustic bottleneck [more]
Benny Carter had already been a major jazz musician for nearly 30 years when he recorded this particularly strong septet session for Contemporary. With notable contributions from tenor [more]
Just about to turn 60, Jimmy Rushing recorded his only LP for Colpix in early 1963 with a large group packed with Basie alumni (Freddie Green, Gus Johnson, Joe Newman, Snooky [more]
Nice jive and R&B numbers from Louis Jordan, recorded in live performance. Jordan is at his witty, mischievous best, while his tight combo adds the right blend of supporting riffs and catchy arrangements. ~ Ron Wynn, All Music Guide
This single CD reissues an earlier Jimmy Rushing two-LP set, leaving off two cuts due to lack of space. Jimmy Rushing, who may very well have been the definitive male big [more]
When Jimmy starts to sing, with a big band, small band or all-star group, every musician swings just a little bit harder. Jimmy is contagious! I consider it a privilege to provide a background in this album for Jimmy Rushing's voice. We didn't want to intrude on his style, simply to provide an accompaniment which would make him free. There were no suggestions as to how we should play behind him. We only knew that in working with Jimmy, we would have to rely on instinct to follow the feeling of the moment, to help him build the mood that he creates in a song. Jimmy is the daddy of them all. -Dave Brubeck
Although associated with the more modern styles of jazz, Brubeck always had a great respect (if not reverence) for the masters of the past. On ten [more]
This is a decent session that, considering the lineup, does not live up to its potential. At what was essentially a jazz party held in a recording [more]
Tremendous session with Earl Hines (p) quartet. ~ Ron Wynn, All Music Guide
All 11 of the songs are somewhat obscure and therefore fresh Carter compositions ("Summer Serenade" is perhaps the best-known) and Dizzy Gillespie sits in with the group for [more]
Louis Jordan's string of hits ended in 1952, but he was still in his musical prime throughout the 1950s, even though he was no longer on the charts. During 1955-56, he cut [more]