Itzhak Perlman must surely be considered one of the most popular violinists currently performing and recording, perhaps even one of the most beloved. His triumph over polio, which he contracted at age four, his warmth and engaging personality, his constant emphasis on teaching, have all contributed to his popularity. In honor of his approaching 70th birthday (August 31, 1945), DGG is releasing this limited edition 25 CD box set: Itzhak Perlman Complete Recordings on Deutsche Grammophon.
It was during the 1960s that Quincy Jones became a world renowned Jazz musician and composer of film soundtracks, but it was not until about the middle of the decade that success of this nature began to come his way, soon after he had composed the score for Oscar nominated The Pawnbroker. Indeed, during the first few years of the 1960s he lived as a working musician, bandleader and the musical director of Barclay Records - the French imprint of Mercury - but could barely earn enough to pay the bills. This however, did not prevent Quincy from continuing to perform and release music of a quite superlative nature.
At the end of his life, Horowitz had chosen to record for Deutsche Grammophon. The Hamburg label reissues all of its recordings, 6 CDs, commemorating the centenary of the birth of the pianist.
Bessie Smith cut 160 sides for the Columbia and OKeh labels between 1923 and 1933, and the four previous two-CD/cassette box sets of her complete recordings released in the 1990s covered 154 of them, which introduces the question, what can a fifth two-CD/cassette box set contain in addition to the remaining six cuts? First, there are five previously unreleased alternate takes; second, there is the 15-minute low-fi soundtrack to the two-reel short St. Louis Blues, which constitutes the only film of Smith; and third, taking up all of the second CD/cassette, there are 72 minutes of interview tapes of Ruby Smith, Bessie Smith's niece, who traveled as part of her show. The box contains a "Parental Advisory – Explicit Lyrics" warning because of the nature of Ruby Smith's reminiscences. You won't learn much about Bessie Smith's music from her niece's remarks, but you will learn a lot about her sexual preferences.
What one feels about this 27-song CD will depend entirely upon one's tolerance for soft rock and bubblegum pop. Pickettywitch were huge in England for about two years, and remain one of the more fondly remembered pop/rock groups of their period, mostly by virtue of singer Polly Browne, who has maintained a fandom for 30 years. The sound is soft rock in a modified group context, similar to the kind of music generated by the Partridge Family, the Cowsills, and, on a two-dimensional level, the Archies in America, slick and smooth, catchy and unthreatening; their version of Paul Simon's "Sound of Silence" is something akin to what the New Seekers' rendition might've been like, while "Days I Remember," which came close to charting in America, is akin to the Carpenters trying their hand at blue-eyed soul. It's all rather pretty, for all of its relative wimpiness, and difficult to dislike on that basis – "Solomon Grundy," the B-side that launched their public success, is one of those tunes that was meant for radio airplay two or three times daily, and the title track, a top-five U.K. hit, is a breezy piece of romantic soft rock.
One of country music s most eclectic heroes, Marty Robbins celebrated an extraordinary career as one of the genre s leading crossover artists. While Marty Robbins maintained a busy schedule throughout his life, it was without a doubt his early career that left the biggest impact on the world of country music. Johnny Cash released a version of I Couldn t Keep From Crying in 1960, while Guy Mitchell recorded versions of both Singing The Blues and Knee Deep In The Blues .