The DMP Big Band presents classic arrangements as originally performed by the Count Basie, Tommy Dorsey, Duke Ellington, Woody Herman, Stan Kenton and Glenn Miller Orchestras…, captured with 5.1 Digital Surround Sound.
2006 digitally re-mastered two-fer from the legendary Savoy Brown featuring two of their most popular albums (Street Corner Talking from 1971 and Hellbound Train from '72). The line-up on these albums feature the ever-present Kim Simmonds on guitar with Dave Walker (vocals), Andy Sylvester (bass), Paul Raymond (keyboards) and Dave Bidwell (drums), all of the formerly of Chicken Shack! Standard jewel box in a slipcase with extensive liner notes.
Digitally remastered two-fer containing a pair of Chess Records albums from the Blues great: 1966's Muddy, Brass And The Blues and 1973's Can't Get No Grindin'. Muddy, Brass And The Blues was a massive undertaking in direction which a couple of years later John Mayall.
New version of the Paco de Lucía Integral, 27 CDs his complete work remastered. "Cositas Buenas", his last album, comes as a new in this new Integral. Now in a new economic format. This collection is a unique tour of the work of Paco de Lucia from 1964 to 2004. Fifteen tracks taken from the most disparate and most unknown of Paco de Lucía’s works. In the first place the Extended Play of 1964, the guitar of Paco de Lucía, with four toques. The alegrías recorded for the record In Memoriam Niño Ricardo in 1972. The parts Paco recorded for the Dolores record Asa-Nisa-Masa in 1978. The three pieces he composed for the film by José Luís Borau La Sabina.
This comprehensive Bear Family audiotheque is dedicated to the mid-Sixties German Beat music boom. A total of 30 installments with 20 to 30 titles per CD, all remastered for the best possible sound quality. The author, Hans-Jürgen Klitsch, has written the hugely informative booklets for our CDs. Please note that all liner notes are in German language. Another Bear Family exclusive!
Not many records can be pinpointed as genuine historical turning points, but La Leyenda Del Tiempo is a bona fide before/after landmark in the flamenco world. El Camarón de la Isla, almost universally regarded as the greatest flamenco singer of all time, put aside his classic partnership with Paco de Lucía to record with different musicians and incorporate rock and jazz elements on an album often called the Sgt. Pepper's of flamenco. It was a radical, daring step by a singer in his late twenties who opened the door for a whole wave of musicians and bands who are still major figures in Spanish music. It cemented the legend of El Camarón de la Isla as a towering creative force who, much like Bob Marley in reggae, brought flamenco into the present without losing the essence of the root tradition.
Having earned his composing stripes after the 1960s, John Adams had the pioneering work of Steve Reich, Philip Glass, and Terry Riley close at hand as he ventured into his trade. And, while minimalism's historical continuum helps place Adams, he used Reich, Glass, and Riley (among others) only as a starting point. And here's proof: a 10-CD retrospective of nearly all Adams's recorded compositions on Nonesuch Records, the label that also issued Steve Reich 1965-1995 and Kronos Quartet: 25 Years. Adams's Harmonium, a choral work of startling energy and effervescence, appears here in a new recording, as do distillations of both The Death of Klinghoffer and Nixon in China, two path-clearing operas.