Here we present 40 of Ray's most notable works. Ray Charles Robinson (September 23, 1930 – June 10, 2004), known professionally as Ray Charles, was an American singer, songwriter, musician, and composer. He was sometimes referred to as "The Genius", and was also nicknamed "The High Priest of Soul".
The steady increase in recordings of his music has now established Suk as one of the great musical poets of the early 20th century. Too much is made of his affinities with his teacher and father-in-law, Dvorák; for his own part, Dvorák never imposed his personality on his pupils and Suk's mature music owes him little more than a respect for craft and an extraordinarily well developed ear for orchestral colour. His affinities in the five-movement A Summer's Tale, completed in 1909 – a magnificent successor to his profound Asrael Symphony – reflect Debussy and parallel the music of his friend Sibelius and Holst, but underpinning the musical language is a profound originality energising both form and timbre.
Mackerras's recording joins a select band: Šejna's vintage performance on Supraphon and Pešek's inspired rendition with the Royal Liverpool Philharmonic; his is an equal to them both and the Czech Philharmonic's playing is both aspiring and inspiring. While their reading is suffused with a feeling for the work's myriad orchestral colours, they recognise that Suk's music is much more than atmosphere. In particular they excel in their handling of the drama and overwhelming emotional urgency of this remarkable, big-boned symphonic poem.
He's Coming captures Roy Ayers at the absolute top of his game, masterminding jazz-funk grooves as taut as a tightrope. Profoundly inspired by the Broadway musical Jesus Christ Superstar (and including a reading of the soundtrack's "I Don't Know How to Love Him"), the album is a deeply felt exploration of Ayers' spiritual and social beliefs, celebrating the life and rebirth of Jesus with "He's a Superstar" and its follow-up title cut before delivering the equally impassioned political manifesto "Ain't Got Time to Be Tired," a wake-up call for slumbering revolutionaries. Aided by an exemplary backing unit featuring saxophonist Sonny Fortune, bassist John Williams, keyboardist Harry Whitaker, and drummer Billy Cobham, Ayers channels the intensity of his message into his music, creating the most vibrant and textured music of his career to date.
Collects five of his original albums, in card LP replica sleeves! Features The Move's "Message From The Country" (1971), ELO's "Electric Light Orchestra" (1971) and Wizzard's "Wizzard Brew" (1973), plus his solo releases "Boulders" (1973) and "On The Road Again" (1979). Roy Wood is an English singer-songwriter and multi-instrumentalist. He was particularly successful in the 1960s and 1970s as member and co-founder of the Move, Electric Light Orchestra and Wizzard. As a songwriter, he contributed a number of hits to the repertoire of these bands. Wood was inducted into the Rock and Roll Hall of Fame in 2017 as a member of Electric Light Orchestra.
As far as Roy Eldridge's big bands go, this was the peak. With arrangements by Buster Harding and a stable of powerful young players, the Roy Eldridge Orchestra must have been formidable in live performance. Most of the recordings they made for the Decca label represent the ultimate in extroverted big-band swing. The explosive "Little Jazz Boogie" is one of the hottest records Roy Eldridge ever made. The flip side, "Embraceable You," bears witness to his profound abilities as an interpreter of ballads. Three sides by the Roy Eldridge Little Jazz Band recorded for V-Disc on November 14, 1945, allow for more intimate interplay…
The traditional Louis Armstrong - the funky, dixieland influenced bandleader - is hard to spot on this album. Instead, you get a funky and eclectic collection of songs that works well together - not unlike a big pot 'o gumbo.
Roy Eldridge worked with Gene Krupa for a couple of years, then made a series of hot sides with a great seven-piece band, featuring tenor saxophonists Ike Quebec and Tom Archia. "After You've Gone" begins with a funny false-start introduction that Eldridge seems to have developed while working with Krupa. "The Gasser," a hot-to-trot walking blues, was based on the chord changes of "Sweet Georgia Brown." Also included here are two lovely, passionate ballads and an incomplete take of "Oh, Lady Be Good." The Esquire Metropolitan Opera House V-Disc Jam Session turned into a real all-star blowout on "Tea for Two," the conglomerated ensemble sounding pretty crowded by the time it works up to the out chorus…
IIn his setting of Orlando, Handel offers us a score of remarkable dramatic power, diversity and originality. Orlando s mad scene and slumber aria are among the composer s most striking creations. Everything in the opera arouses admiration the extremely varied scoring, the exuberant vocal writing, the rhythmic invention and the supple melodies. On this new recording from K617, Jean-Claude Malgoire and La Grande Écurie et la Chambre du Roy are joined by a cast of talented soloists in a fantastic production rivaling the best in the catalog.
This 1965 Paris concert by Louis Armstrong is not all that different in content from many of his live dates recorded during the last 15 years of his life. His all-stars had changed somewhat, with clarinetist Eddie Shu replacing Edmond Hall, singer Jewel Brown taking the place of the late Velma Middleton, and trombonist Tyree Glenn replacing Trummy Young, but the dependable pianist Billy Kyle (who died the following year) is still on hand to keep the band in a familiar groove. Armstrong sticks to his dependable opener, "When It's Sleepy Time Down South," following it with a spirited "Back Home Again in Indiana." Jewel Brown is acceptable on the snappy "A Kiss to Build a Dream On," but butchers "Can't Help Lovin' That Man of Mine" with an overly dramatic and very pop-ish rendition…