Features 24 bit remastering and comes with a mini-description. Released in 1963, this is a pair of traditional dixieland jazz performances recorded at the historic Preservation Hall in New Orleans - very distinctly New Orleans sound. Nathan "Jim" or "Big Jim" Robinson was a very reliable New Orleans trombonist who was much more consistent than most of the musicians he performed with, never seeming to have an off day. A jazz pioneer, Robinson played guitar as a child and started playing trombone in 1917, while stationed in France during World War I; he was already 24.
Beat-Club was a German music program that ran from September 1965 to December 1972. It was broadcast from Bremen, Germany on Erstes Deutsches Fernsehen, the national public TV channel of the ARD, and produced by one of its members, Radio Bremen, later co-produced by WDR following the 38th episode. It is notable for being the first German show to be based around popular music, and featured artists such as The Equals, Grateful Dead, Zager and Evans, Cream, Frank Zappa, The Rolling Stones, Gene Pitney, Ten Years After, Rory Gallagher, Led Zeppelin, Jimi Hendrix, Ike & Tina Turner, The Who, Black Sabbath, Harry Nilsson, David Bowie, The Bee Gees, The Beach Boys, Chicago, The Doors, Kraftwerk and Robin Gibb in its seven-year run. In 1972, it was replaced by Musikladen.
Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Coming fresh on the heels of his groundbreaking work with Eric Dolphy, Bobby Hutcherson's debut album is a masterpiece of "new thing" avant-garde jazz, not really free but way beyond standard hard bop. Dialogue boasts an all-star lineup of hot young post-boppers – trumpeter Freddie Hubbard, woodwind player Sam Rivers, pianist Andrew Hill, bassist Richard Davis, and drummer Joe Chambers – and a set of imaginative compositions by either Hill or Chambers that frequently push the ensemble into uncharted territory.
Throughout these sessions, a window into Billie Holiday's creative process is provided by the inclusion of alternate takes. Many of them are rare, although all have previously been issued on one or another of the labels that have interacted with Commodore over the years. As alternates for records on other labels also reveal, once Billie conceptualized her approach to a song, she seldom varied the basic template. She seemed to decide the best way to organize the expressive gifts at her disposal and "photograph" in her mind a musical image of how she would do the number. Once that image was in place, subsequent versions for the most part differed only in matters of nuance or animation.
Nowadays, the majority of those with two ears and a heart recognise her magnitude, whatever their usual musical preferences may be. This unanimity undoubtedly stems from the fact that Billie's voice reaches our greatest depths. Nobody has been troubled by her range, or by limited technical means the singer was offered, although she never needed anything other than her voice to shake the entire planet. Perhaps because Billie sang simply of love and love's desillusions, and the listeners are moved even without particularly grasping the textes. However, what we may hear is the result of a double paradow: vocal mastery, the placing of each syllabe, the perfect expression of each word confirms a tremendous virtuosity, the fruit of long experience; the emphasis put on the songs' lyrics, not often despairing all considered, come more from the despair of the interpreter than their actual contents…