The Commodore record label was known for its recordings of the early period jazz pioneers up to bebop, and not necessarily the modernists. Frank Wess was one of those post-bop players, [more]
When I went to Atlantic, they just sat me down at the piano and let me do my thing. -Aretha Franklin
Queen of Soul: The Atlantic Recordings is an 86-track, four-disc box set that covers Aretha Franklin's Atlantic career, spanning from 1967's {"I Never Loved [more]
The classic songs of Richard Rodgers and Lorenz Hart are rendered on this outstanding three-disc set, which features vocalists like Billie Holiday, Ella Fitzgerald, [more]
This is not and cannot be the Complete Cole Porter Songbooks, but it's a marvelous collection of 48 timeless jazz interpretations drawn from the Verve catalog. [more]
This CD has ten performances of Christmas songs from 1990 plus a few earlier recordings (Chet Baker's "Winter Wonderland," Count Basie's "Jingle Bells," Dexter Gordon's "Have [more]
The Roulette half of the two Bennett/Basie sessions is a band singer's paradise, with the Basie band caught at a robust and swinging peak and Bennett never [more]
Although it appeared at a time when Count Basie was enjoying respect from all quarters (as evidenced by the pop acclaim of several Grammy awards and the jazz faithful's [more]
In the late 1960s and early 1970s, Scott recorded some sessions for Atlantic that were either withdrawn from the market for legal reasons, or unissued entirely. Lost and Found [more]
Rather than try to recreate Duke Ellington's famous "Black, Brown & Beige," Louie Bellson's big band does a reinterpretation of the 50-minute work on this CD that takes a lot of [more]
Not that fans ever need a new movie blockbuster as an excuse to release a collection of jazz and swing classics, but no doubt the film {#Pearl Harbor} [more]
Although Rhino's four-disc box set, Q: The Musical Biography of Quincy Jones, was released to coincide with Quincy Jones' autobiography, and that's what gives [more]
One of the first major jazz flutists, Frank Wess has also been a top Lester Young-influenced tenorman, an expert first altoist, and an occasional composer/arranger -- certainly a valuable man to have around. Early on he toured with Blanche Calloway, served in the military, and had stints with Billy Eckstine Orchestra (1946), Eddie Heywood, Lucky Millinder, and R&B star Bull Moose Jackson. That was all just a prelude to Wess' important period with Count Basie's big band, from 1953-1964. His flute playing, so expertly utilized in Neal Hefti's arrangements, gave the Basie Orchestra a fresh new sound, and his cool-toned tenor contrasted well with the more passionate sound of fellow tenor Frank Foster; Wess also had opportunities to play alto with the classic big band. Since that time, Wess has freelanced in countless settings, playing with Clark Terry's big band, the New York Quartet (with Roland Hanna) during the second half of the 1970s, Dameronia (1981-1985), and Toshiko Akiyoshi's big band, and has also had occasional reunions with Frank Foster. Frank Wess has led sessions for Commodore (1954), Savoy, Prestige, Moodsville, Pablo (with Foster), Progressive, Uptown, Concord, and Town Crier. ~ Scott Yanow, All Music Guide