Ralph Sharon is Tony Bennett's piano player and musical director. This is a solo LP of his.
The Who's 1982 tour, which was all in North America apart from two warm-up dates at the Birmingham NEC in England, was their last to feature Kenney Jones on drums and they wouldn't tour again until 1989. The tour promoted the recent 'It's Hard' album, which had been released in June 1982, and the set list included a number of tracks from that album, some of which the band would only play live on this tour. This concert film features the show from the second of their two nights at New York's Shea Stadium and was filmed on October 13th 1982. Although a couple of tracks have appeared on compilations, this is the first official release of the full show and features restored footage and newly mixed sound. The release includes Bonus tracks from the first night at Shea Stadium.
The Bach Reflections project was started 2012 by Gerard Kleijn and Dick de Graaf in order to search for another level in Bach's music by connecting it to the Jazz music of our time. In Ed Verhoeff, Paul Berner and Larissa Groeneveld they found like minded musicians, who were willing to investigate Bach's music and search for new ways of interpreting the message of Johan Sebastian Bach. The musicians of Bach Reflections rearranged compositions of Bach, or just took small elements of Bach's music and build new compositions or improvisations around them. The result is a very charming and musically satisfying rendition of what Bach could have sounded like had he been born in Kansas City in 1920 instead of Eisenach in 1685.
is the debut album by the American grunge band . It was released on June 15, 1989 through the independent record label Sub Pop. Bleach originally sold a mere 30,000 copies, but following the enormous success of the band's second album, Nevermind (1991), fans discovered Nirvana's obscure debut. It has since been certified platinum by the Recording Industry Association of America, making it one of only two albums released on Sub Pop to have received platinum certification.
The 43 tracks that make up the first part of the The Complete Decca Studio Master Takes 1940-1949 of Louis Armstrong are remarkable not only for the outstanding performances they reflect, but for the many settings Armstrong recorded in during the era. While none of this material will come as a surprise to collectors, those who are starting to check out Armstrong's post-New Orleans period would do themselves a favor in scoping this collection because the Decca years, even more so than his long tenure with Verve, showcase Armstrong at the pinnacle of American popular music, and that that music happens to be jazz is even more revelatory.