For this set, tenor saxophonist Bill Perkins is showcased in an all-star octet also including altoist Bud Shank, baritonist Jack Nimitz, trumpeter Stu Williamson, trombonist Carl Fontana, pianist Russ Freeman, bassist Red Mitchell and drummer Mel Lewis. Perk's tone is heard throughout at its coolest (influenced by Lester Young but distinctive within the style) and there are plenty of short spots for the other key voices.
Alto saxophonist Lennie Niehaus is better known as the arranger for Clint Eastwood's films, but he has long been familiar to jazz fans as a respected bandleader, composer, arranger, and soloist. This limited-edition audiophile reissue of his first solo recordings (following stints with Stan Kenton and Shorty Rogers) is a stunner. Included is the first 10" LP he recorded with a three-saxophone front line – in this case, with Jack Montrose (tenor), and Bob Gordon (baritone) – and other quintet sessions with musicians including pianist Hampton Hawes, and fellow Kentonite Shelly Manne (who was responsible for Niehaus' record deal with Contemporary's Lester Koenig in the first place).
Features 24 bit remastering and comes with a mini-description. Somethin' Sanctified is an album by American jazz trombonist, composer and arranger Slide Hampton which was released on the Atlantic label in 1961. In 1959, trombonist Slide Hampton was known mainly for the excellent arrangements he did for the Maynard Ferguson Band, so it was no surprise that he formed his octet band and began making a serious bid for recognition as a top jazz artist and arranger, recording his first album for the small label Strand. His impact was immediate and in 1960 Slide signed for Atlantic resulting in two studio albums, Sister Salvation and Somethin Sanctified, which were the octets first for the label.
This 50-CD collection of analogue albums aims to represent the heyday of Philips’ passion for great natural sound – the Stereo Years. There was a firm belief within the label’s team that recording technique was there to serve the music - the Musicians had their own views about how any given piece should be interpreted and how it should sound; the recording team’s job was to grasp that vision and make it a reality. This recording philosophy, combined with great artistry and visionary repertoire policy, created a special chapter in the history of classical music recordings that still inspires artists, sound engineers and collectors alike.
In 1985, Miles Davis shocked the music world by moving from Columbia to Warner Bros.. He immediately started working on an album called Perfect Way after a tune by Scritti Politti, later renamed Tutu by producer Tommy LiPuma. When Tutu (a tribute to Desmond Tutu) was released in 1986, it re-ignited Miles Davis’ career, crossing over into the rock and pop markets and winning him two Grammy Awards. A definitive collection of the later part of Miles Davis’ work, lavishly packaged and remastered, from the Warner Bros studio albums Tutu, Amandla and Doo-Bop, the Dingo and Siesta soundtracks, live recordings with Quincy Jones, and the likes of Kenny Garrett, Foley and Adam Holzman.