"When The Saints Go Marching In" is Bradley Sowash's follow-up to 2001's "We Gather Together". Aptly subtitled "Hymns & Spirituals for Solo Jazz Piano", Sowash combines traditional gospel and jazz stylings with his own contemporary flavor, creating a collection that is fun, inspiring, and uplifting. A pianist with impeccable chops, Sowash's playing always sounds effortless and spontaneous. Some of the tracks really cook, like "Down By the Riverside" and the title track. Others are more reflective ("Come Ye Disconsolate", "America", "Beach Spring", "My Shepherd Will Supply My Need") and some are bluesy ("He Never Said a Mumblin' Word", "Joshua Fought the Battle of Jericho" and the medley of "Swing Low, Sweet Chariot / Michael Row the Boat Ashore"). "Jesu, Jesu" doesn't really fit any of those categories, but has a beautiful, swirling effect that is full of joy and life. I've thoroughly enjoyed all of Bradley Sowash's albums, but this one may be my favorite. "When the Saints Go Marching In" is strong and exciting from start to finish. Even the cover art and liner notes are exceptionally good. Highly recommended!(Kathy Parsons, amazon.com)
This double LP was the first jazz concert ever recorded at the Hollywood Bowl (and only the second one held at that L.A. institution). Although not an official Jazz at the Philharmonic concert, it has the same basic format and was also produced by Norman Granz. Trumpeters Roy Eldridge and Harry "Sweets" Edison, tenors Flip Phillips and Illinois Jacquet, the Oscar Peterson Trio and drummer Buddy Rich all jam on "Honeysuckle Rose" and "Jumpin' at the Woodside" and there is also a ballad medley and a drum solo by Rich. In addition the Oscar Peterson Trio plays two numbers, the remarkable pianist Art Tatum (in one of his final appearances) has four, Ella Fitzgerald sings six songs (including a scat-filled "Airmail Special") and collaborates with Louis Armstrong on two others. For the grand finale nearly everyone returns to the stage for "When the Saints Go Marching In" which Armstrong sings and largely narrates, cheerfully introducing all of the participants. This is a historic and very enjoyable release featuring more than its share of classic greats.
This double-disc set is one of the more bountiful compilations gleaned from Mitch Miller's voluminous Columbia Records catalog. Unfortunately, the contents of 50 All-American Favorites (2004) have been confined to the years 1958 to 1962, during which time Miller's unconventional performance style was on its final descent. Mitch Miller & the Gang consisted of Miller fronting a full choral ensemble of vocalists who sang in unison.
Pryor reaffirms his mastery of postwar blues harp over the course of this sturdy set, again done with the help of some fine Texas and Chicago players. Pryor's downhome vocals shine on the distinctive "Bury You in a Paper Sack" and "Stick Way Out Behind".
This 10-CD set is as good a compendium of the genius of Louis Armstrong as anyone could wish for. It’s all here: the early years with the King Oliver and Fletcher Henderson bands, the glorious period of the Hot Fives and Sevens, the big band recordings of the Thirties, the collaborations with contemporaries such as Ella Fitzgerald. Then there are the later recordings, when Satchmo’s celebrity empowered him to soar over many political and racial divides. There’s also a fascinating unreleased Hollywood Bowl concert from 1956, a CD of “out-takes” from recording sessions, and a revealing interview with Dan Morgenstern.
40 CD box set. Artists include John Lee 'Sonny Boy' Williamson, Leadbelly, Big Bill Broonzy, Bessie Smith, Muddy Waters, Mississippi John Hurt, Memphis Minnie, John Lee Hooker, Big Joe Williams and many more. 725 tracks all digitally remastered to enhance the original recordings without manipulating the character of the music. Recordings made between 1923 and 1948. 20 double slimline jewel cases housed together in a cardboard box.