Browse Titles - 88 results
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33 1/3
produced by Oliver Wood, fl. 1990-2000; performed by Shemekia Copeland, 1979- (Telarc, 2012), 45 mins, 11 page(s)
Sample
produced by Oliver Wood, fl. 1990-2000; performed by Shemekia Copeland, 1979- (Telarc, 2012), 45 mins, 11 page(s)
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Shemekia Copeland, 1979-
Contributor
Paul Blakemore, fl. 1999, Oliver Wood, fl. 1990-2000
Author / Creator
Shemekia Copeland, 1979-
Date Published / Released
2012-09-25
Publisher
Telarc
Copyright Message
Copyright © 2012. Used by permission of Telarc International Corporation. All rights reserved.
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20th Century Masters: The Millennium Collection: Best of James Brown
conducted by James Brown, 1933-2006; performed by James Brown, 1933-2006, The J.B.'s (Polydor, 2007), 51 mins
Sample
conducted by James Brown, 1933-2006; performed by James Brown, 1933-2006, The J.B.'s (Polydor, 2007), 51 mins
Date Written / Recorded
2002-01-29
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
The J.B.'s, James Brown, 1933-2006
Contributor
James Brown, 1933-2006
Author / Creator
The J.B.'s, James Brown, 1933-2006
Date Published / Released
2007-08-28
Publisher
Polydor
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20th Century Masters: The Millennium Collection: Best Of Louis Jordan
performed by Louis Jordan, 1908-1975 (Geffen, 1999), 37 mins
Sample
performed by Louis Jordan, 1908-1975 (Geffen, 1999), 37 mins
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Louis Jordan, 1908-1975
Author / Creator
Louis Jordan, 1908-1975
Date Published / Released
1999-09-21
Publisher
Geffen
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After Hours With Miss D
performed by Dinah Washington, 1924-1963, Clarence Anderson, 1924-1971, Keter Betts, Cándido de Guerra Camero, 1921-, Eddie Davis, 1922-1986, Julian 'Junior' Mance, 1928-, Paul Quinichette, 1916-1983, Clark Terry, 1920-2015 and Ed Thigpen, 1930-2010 (Verve Records, 2004), 51 mins
Any self-respecting jazz musician would leap at the chance to record an afterhours session with Dinah Washington. One of the finest musician's singers, Washington demanded respect from her band and paid in return by giving her fellow players plenty of room for solos, on record or in concert. Her Dinah Jams LP from...
Sample
performed by Dinah Washington, 1924-1963, Clarence Anderson, 1924-1971, Keter Betts, Cándido de Guerra Camero, 1921-, Eddie Davis, 1922-1986, Julian 'Junior' Mance, 1928-, Paul Quinichette, 1916-1983, Clark Terry, 1920-2015 and Ed Thigpen, 1930-2010 (Verve Records, 2004), 51 mins
Description
Any self-respecting jazz musician would leap at the chance to record an afterhours session with Dinah Washington. One of the finest musician's singers, Washington demanded respect from her band and paid in return by giving her fellow players plenty of room for solos, on record or in concert. Her Dinah Jams LP from 1954 isn't just one of the finest jazz-meets-vocals dates, it's one of the best jam sessions ever released. One year earlier, she bega...
Any self-respecting jazz musician would leap at the chance to record an afterhours session with Dinah Washington. One of the finest musician's singers, Washington demanded respect from her band and paid in return by giving her fellow players plenty of room for solos, on record or in concert. Her Dinah Jams LP from 1954 isn't just one of the finest jazz-meets-vocals dates, it's one of the best jam sessions ever released. One year earlier, she began recording the songs heard on After Hours With Miss D, a date sparked (as the original liner notes explained) by her enjoyment of the time after a standard recording date, those late hours when she could sing what she wanted, stretch out and treasure her notes while her musicians relaxed the rhythm. (The record also helped feed the appetite of many record-buyers, who would only after the fact hear tales of unmissable sessions at neglected clubs.) Listeners expecting a record of narcoleptic torch songs, however, may well be shocked by the dynamic range of this date, comprising ebullient stormers as well as slow blues. (Just because the band relaxes the rhythm certainly doesn't mean they have to slow it down.) The results of three sessions recorded one year apart, After Hours With Miss D featured a hand-picked band -- including Clark Terry on trumpet and Eddie "Lockjaw" Davis or Paul Quinichette on tenor, plus Washington's rock-solid rhythm section of bassist Keter Betts, drummer Ed Thigpen, and usually pianist Junior Mance (who made his debut with Dinah on the first of these dates). The first two selections are the best, the opener "Blue Skies" a studied introduction for all the principals (each of them heard in extended form on the eight-minute track), and the second a runaway train with Clark Terry's hyper-inflated trumpet as the conductor and the rest of the band carried along for the ride. Organist Jackie Davis leads the group into traditional afterhours territory, setting into a bluesy groove for "Am I Blue?" and "Pennies From Heaven." Washington meanwhile is at her interpretive best, whether tormented ("Love for Sale") or reflective ("A Foggy Day") or tranquil ("Pennies From Heaven"). Everyone gets to solo, as it should be, and the controlled environment makes this session a tighter display of finesse than the live-in-the-studio, completely frenetic Dinah Jams LP. ~ John Bush, All Music Guide
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Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Dinah Washington, 1924-1963, Clarence Anderson, 1924-1971, Keter Betts, Cándido de Guerra Camero, 1921-, Eddie Davis, 1922-1986, Julian 'Junior' Mance, 1928-, Paul Quinichette, 1916-1983, Clark Terry, 1920-2015, Ed Thigpen, 1930-2010
Author / Creator
Dinah Washington, 1924-1963, Clarence Anderson, 1924-1971, Keter Betts, Cándido de Guerra Camero, 1921-, Eddie Davis, 1922-1986, Julian 'Junior' Mance, 1928-, Paul Quinichette, 1916-1983, Clark Terry, 1920-2015, Ed Thigpen, 1930-2010
Date Published / Released
2004-02-10
Publisher
Verve Records
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Afterglow
performed by Dr. John, 1940-2019, George Bohannon, 1937-, Rick Baptist, Oscar Brashear, Ray Brown, 1926-2002, Larry Bunker, 1928-2005, Lenny Castro, 1957-, Pete Christlieb, 1945-, Jeff Clayton, 1954-, John Clayton, 1952-, Charlie Davis, 1899-1991, Tom Scott, 1912-1961, Charles Owens, Jeff Hamilton, 1953-, Gary Foster, Clay Jenkins, 1964-, Thomas Johnson, Israel Baker, 1919-2011, Marilyn Baker, fl. 1979, Jimbo Ross, Bill Watrous, 1939-, Phil Upchurch, 1941- and Tibor Zelig, fl. 1960, Gordon Marron Strings (GRP Records, 1995), 46 mins
Sample
performed by Dr. John, 1940-2019, George Bohannon, 1937-, Rick Baptist, Oscar Brashear, Ray Brown, 1926-2002, Larry Bunker, 1928-2005, Lenny Castro, 1957-, Pete Christlieb, 1945-, Jeff Clayton, 1954-, John Clayton, 1952-, Charlie Davis, 1899-1991, Tom Scott, 1912-1961, Charles Owens, Jeff Hamilton, 1953-, Gary Foster, Clay Jenkins, 1964-, Thomas Johnson, Israel Baker, 1919-2011, Marilyn Baker, fl. 1979, Jimbo Ross, Bill Watrous, 1939-, Phil Upchurch, 1941- and Tibor Zelig, fl. 1960, Gordon Marron Strings (GRP Records, 1995), 46 mins
Field of Study
Popular Music
Content Type
Music recording
Performer / Ensemble
Gordon Marron Strings, Dr. John, 1940-2019, George Bohannon, 1937-, Rick Baptist, Oscar Brashear, Ray Brown, 1926-2002, Larry Bunker, 1928-2005, Lenny Castro, 1957-, Pete Christlieb, 1945-, Jeff Clayton, 1954-, John Clayton, 1952-, Charlie Davis, 1899-1991, Tom Scott, 1912-1961, Charles Owens, Jeff Hamilton, 1953-, Gary Foster, Clay Jenkins, 1964-, Thomas Johnson, Israel Baker, 1919-2011, Marilyn...
Gordon Marron Strings, Dr. John, 1940-2019, George Bohannon, 1937-, Rick Baptist, Oscar Brashear, Ray Brown, 1926-2002, Larry Bunker, 1928-2005, Lenny Castro, 1957-, Pete Christlieb, 1945-, Jeff Clayton, 1954-, John Clayton, 1952-, Charlie Davis, 1899-1991, Tom Scott, 1912-1961, Charles Owens, Jeff Hamilton, 1953-, Gary Foster, Clay Jenkins, 1964-, Thomas Johnson, Israel Baker, 1919-2011, Marilyn Baker, fl. 1979, Jimbo Ross, Bill Watrous, 1939-, Phil Upchurch, 1941-, Tibor Zelig, fl. 1960
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Author / Creator
Gordon Marron Strings, Dr. John, 1940-2019, George Bohannon, 1937-, Rick Baptist, Oscar Brashear, Ray Brown, 1926-2002, Larry Bunker, 1928-2005, Lenny Castro, 1957-, Pete Christlieb, 1945-, Jeff Clayton, 1954-, John Clayton, 1952-, Charlie Davis, 1899-1991, Tom Scott, 1912-1961, Charles Owens, Jeff Hamilton, 1953-, Gary Foster, Clay Jenkins, 1964-, Thomas Johnson, Israel Baker, 1919-2011, Marilyn...
Gordon Marron Strings, Dr. John, 1940-2019, George Bohannon, 1937-, Rick Baptist, Oscar Brashear, Ray Brown, 1926-2002, Larry Bunker, 1928-2005, Lenny Castro, 1957-, Pete Christlieb, 1945-, Jeff Clayton, 1954-, John Clayton, 1952-, Charlie Davis, 1899-1991, Tom Scott, 1912-1961, Charles Owens, Jeff Hamilton, 1953-, Gary Foster, Clay Jenkins, 1964-, Thomas Johnson, Israel Baker, 1919-2011, Marilyn Baker, fl. 1979, Jimbo Ross, Bill Watrous, 1939-, Phil Upchurch, 1941-, Tibor Zelig, fl. 1960
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Date Published / Released
1995-06-20
Publisher
GRP Records
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Alexander O'Neal Live at the Hammersmith Apollo, London
produced by Jon Wells, fl. 1968; performed by Alexander O'Neal, 1953- (Paris, Ile-de-France: Qwest TV, 2006), 1 hour 24 mins
“My guitarist wants to know if I took my medication today,” quips the 54-year-old singer between songs. Dressed in purple, R&B legend Alexander O'Neal stands on stage at the Hammersmith Apollo looking better than ever. Neither his enveloping voice nor his roguish looks seem to have aged. "He finds me a littl...
Sample
produced by Jon Wells, fl. 1968; performed by Alexander O'Neal, 1953- (Paris, Ile-de-France: Qwest TV, 2006), 1 hour 24 mins
Description
“My guitarist wants to know if I took my medication today,” quips the 54-year-old singer between songs. Dressed in purple, R&B legend Alexander O'Neal stands on stage at the Hammersmith Apollo looking better than ever. Neither his enveloping voice nor his roguish looks seem to have aged. "He finds me a little crazy tonight," he says. Hard not to agree with his colleague: in front of the audience of the London theater, O'Neal is simply unhin...
“My guitarist wants to know if I took my medication today,” quips the 54-year-old singer between songs. Dressed in purple, R&B legend Alexander O'Neal stands on stage at the Hammersmith Apollo looking better than ever. Neither his enveloping voice nor his roguish looks seem to have aged. "He finds me a little crazy tonight," he says. Hard not to agree with his colleague: in front of the audience of the London theater, O'Neal is simply unhinged. With remarkable energy, he plays the titles that propelled him to the rank of darling of the 80s: he becomes a languid lover again with "If You Were Here Tonight," slips into the skin of the repentant Don Juan of "A Broken Heart Can Mend,” and dons his costume of a transitory lover with “What Is This Thing Called Love.” Tireless, the singer does not allow himself a break, not even between the titles, where he multiplies the strokes of humor and the glances at the public. This live show from 2007 recalls everything that makes the singer so charming. It's up to you to decide if you will fall for his velvety voice, his mischievous attitude, and his slightly roguish air. Léance Kalanzau
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Date Written / Recorded
2006-03-11
Field of Study
American Music
Content Type
Performance
Performer / Ensemble
Alexander O'Neal, 1953-
Contributor
Jon Wells, fl. 1968
Author / Creator
Alexander O'Neal, 1953-
Date Published / Released
2006
Publisher
Qwest TV
Topic / Theme
Soul, Funk, Blues, Hip-Hop
Copyright Message
Copyright © 2006 Auditorium
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performed by B. B. King, 1925-2015 (Universal Music, 1998), 1 hour 1 mins
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
B. B. King, 1925-2015
Author / Creator
B. B. King, 1925-2015
Date Published / Released
1998-11-10
Publisher
Universal Music
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America's Music Legacy, America's Music Legacy - Soul
directed by Kip Walton; presented by Isaac Kennedy; produced by Herb Silvers and Sandra Turbow, Skylark Savoy, in America's Music Legacy (Paris, Ile-de-France: Qwest TV, 1985), 1 hour 34 mins
It might be surprising, but not it would not be perverse to invite the reader to first watch the archive where Otis Redding sings "I Can't Get No Satisfaction" surrounded by about thirty children, which is found at the end of the program In the group, there is a kid who has such an innate sense of dance and showma...
Sample
directed by Kip Walton; presented by Isaac Kennedy; produced by Herb Silvers and Sandra Turbow, Skylark Savoy, in America's Music Legacy (Paris, Ile-de-France: Qwest TV, 1985), 1 hour 34 mins
Description
It might be surprising, but not it would not be perverse to invite the reader to first watch the archive where Otis Redding sings "I Can't Get No Satisfaction" surrounded by about thirty children, which is found at the end of the program In the group, there is a kid who has such an innate sense of dance and showmanship that it makes Otis Redding smile. After this dazzling musical moment, it is possible to pick up the thread of a beautiful program...
It might be surprising, but not it would not be perverse to invite the reader to first watch the archive where Otis Redding sings "I Can't Get No Satisfaction" surrounded by about thirty children, which is found at the end of the program In the group, there is a kid who has such an innate sense of dance and showmanship that it makes Otis Redding smile. After this dazzling musical moment, it is possible to pick up the thread of a beautiful program dedicated to Soul Music. Hybridization of gospel and rhythm & blues, brought to the end of the 1950’s by Ray Charles, in phase with the spirit of the struggle for civil rights of Martin Luther King, soul music marks the desire for emancipation of the African-American youth, and the bringing to the foreground of black pride and its culture. This music, which both identifies and challenges, is not exempt from contradictions; it oscillates between incisive incantatory singing with James Brown, and sexualized syrupy ballads, as if it had to comply with the demands of entertainment. To produce its own effect with an insane but not kitsch look becomes a scenic imperative: Rufus Thomas' cape, canary yellow suit, and blood red boots are a perfect illustration of this. One forgives this narcissistic childishness as the expressiveness of the voices always reaches an exceptional level; you just have to listen to Carla Thomas, Gladys Knight or the versions of "Spanish Harlem" by Ben E. King or "For Your Precious Love" by Jerry Butler, who was Curtis Mayfield's sidekick in the group The Impressions to be convinced. Philippe Lesage
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Field of Study
Jazz
Content Type
Performance
Contributor
Herb Silvers, Sandra Turbow, Skylark Savoy
Author / Creator
Kip Walton, Isaac Kennedy
Date Published / Released
1985
Publisher
Qwest TV
Series
America's Music Legacy
Topic / Theme
Soul, Funk, Blues, Hip-Hop
Copyright Message
Copyright © 1985 Auditorium
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At The Swing Cat's Ball
performed by Louis Jordan, 1908-1975, Dallas Bartley, 1916-, Bob Bushnell, Eddie Byrd, Maxwell Davis, 1916-1970, Bill Doggett, 1916-1996, Charles Drayton, 1919-1953, William K. Hadnott, Lowell Hastings, Carl Hogan, Aaron Izenhall, James Jackson, Thurber Jay, Bill Jennings, Clarence Johnson, fl. 1920, Lem Johnson, John Kirkwood, Chester Lane, Walter Martin, Bob Mitchell, fl. 1960, Robert Payne, Eddie Roane, Jesse Simpkins, Arnold Thomas and Courtney Williams, fl. 1930-1940 (Interscope, 1999), 55 mins
Sample
performed by Louis Jordan, 1908-1975, Dallas Bartley, 1916-, Bob Bushnell, Eddie Byrd, Maxwell Davis, 1916-1970, Bill Doggett, 1916-1996, Charles Drayton, 1919-1953, William K. Hadnott, Lowell Hastings, Carl Hogan, Aaron Izenhall, James Jackson, Thurber Jay, Bill Jennings, Clarence Johnson, fl. 1920, Lem Johnson, John Kirkwood, Chester Lane, Walter Martin, Bob Mitchell, fl. 1960, Robert Payne, Eddie Roane, Jesse Simpkins, Arnold Thomas and Courtney Williams, fl. 1930-1940 (Interscope, 1999), 55 mins
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Louis Jordan, 1908-1975, Dallas Bartley, 1916-, Bob Bushnell, Eddie Byrd, Maxwell Davis, 1916-1970, Bill Doggett, 1916-1996, Charles Drayton, 1919-1953, William K. Hadnott, Lowell Hastings, Carl Hogan, Aaron Izenhall, James Jackson, Thurber Jay, Bill Jennings, Clarence Johnson, fl. 1920, Lem Johnson, John Kirkwood, Chester Lane, Walter Martin, Bob Mitchell, fl. 1960, Robert Payne, Eddie Roane, Jes...
Louis Jordan, 1908-1975, Dallas Bartley, 1916-, Bob Bushnell, Eddie Byrd, Maxwell Davis, 1916-1970, Bill Doggett, 1916-1996, Charles Drayton, 1919-1953, William K. Hadnott, Lowell Hastings, Carl Hogan, Aaron Izenhall, James Jackson, Thurber Jay, Bill Jennings, Clarence Johnson, fl. 1920, Lem Johnson, John Kirkwood, Chester Lane, Walter Martin, Bob Mitchell, fl. 1960, Robert Payne, Eddie Roane, Jesse Simpkins, Arnold Thomas, Courtney Williams, fl. 1930-1940
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Author / Creator
Louis Jordan, 1908-1975, Dallas Bartley, 1916-, Bob Bushnell, Eddie Byrd, Maxwell Davis, 1916-1970, Bill Doggett, 1916-1996, Charles Drayton, 1919-1953, William K. Hadnott, Lowell Hastings, Carl Hogan, Aaron Izenhall, James Jackson, Thurber Jay, Bill Jennings, Clarence Johnson, fl. 1920, Lem Johnson, John Kirkwood, Chester Lane, Walter Martin, Bob Mitchell, fl. 1960, Robert Payne, Eddie Roane, Jes...
Louis Jordan, 1908-1975, Dallas Bartley, 1916-, Bob Bushnell, Eddie Byrd, Maxwell Davis, 1916-1970, Bill Doggett, 1916-1996, Charles Drayton, 1919-1953, William K. Hadnott, Lowell Hastings, Carl Hogan, Aaron Izenhall, James Jackson, Thurber Jay, Bill Jennings, Clarence Johnson, fl. 1920, Lem Johnson, John Kirkwood, Chester Lane, Walter Martin, Bob Mitchell, fl. 1960, Robert Payne, Eddie Roane, Jesse Simpkins, Arnold Thomas, Courtney Williams, fl. 1930-1940
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Date Published / Released
1999-09-07
Publisher
Interscope
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Attitude Adjustment
performed by George Howard, 1956-1998, Jonathan Butler, 1961-, Ray Fuller, Paul Jackson, Jr., Phil Davis, Vance Taylor, fl. 1980, Darrell Smith, fl. 1990, Eric Daniels, fl. 1980, George Duke, 1946-2013, Lil' John Roberts, Sonny Emory, 1962-, Ray Griffin, Munyungo Jackson, fl. 1973 and Bill Summers, 1948- (GRP Records, 1996), 51 mins
As one of the pioneers of the sound, the late George Howard was one of the most consistent rhythm and jazz saxmen over the last decade in terms of offering a smooth, light-funk melody that keeps to the status quo without going too far beyond it. Just as we thought he was staying on cruise control, his 1996 release...
Sample
performed by George Howard, 1956-1998, Jonathan Butler, 1961-, Ray Fuller, Paul Jackson, Jr., Phil Davis, Vance Taylor, fl. 1980, Darrell Smith, fl. 1990, Eric Daniels, fl. 1980, George Duke, 1946-2013, Lil' John Roberts, Sonny Emory, 1962-, Ray Griffin, Munyungo Jackson, fl. 1973 and Bill Summers, 1948- (GRP Records, 1996), 51 mins
Description
As one of the pioneers of the sound, the late George Howard was one of the most consistent rhythm and jazz saxmen over the last decade in terms of offering a smooth, light-funk melody that keeps to the status quo without going too far beyond it. Just as we thought he was staying on cruise control, his 1996 release offers a major Attitude Adjustment (GRP) to sizzling effect. There's still a smattering of the soprano silk-o-rama on the ballads, but...
As one of the pioneers of the sound, the late George Howard was one of the most consistent rhythm and jazz saxmen over the last decade in terms of offering a smooth, light-funk melody that keeps to the status quo without going too far beyond it. Just as we thought he was staying on cruise control, his 1996 release offers a major Attitude Adjustment (GRP) to sizzling effect. There's still a smattering of the soprano silk-o-rama on the ballads, but mostly his horn hits the street at breakneck speed. He may go overboard in incorporating vocal effects, but more important is the fact that the party (a celebratory street scene emphasizing the best of African American culture) never lets up. The title of "A Whole Lotta Drum in Me" sums up the electrified production values, world percussion often meeting industrial punch and ultra-slick hip-hop. Even if the best tunes work better environmentally than harmonically, it's hard to argue with this much joy, which finds Howard more aggressive and tenacious than ever before. ~ Jonathan Widran, All Music Guide
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Field of Study
Popular Music
Content Type
Music recording
Performer / Ensemble
George Howard, 1956-1998, Jonathan Butler, 1961-, Ray Fuller, Paul Jackson, Jr., Phil Davis, Vance Taylor, fl. 1980, Darrell Smith, fl. 1990, Eric Daniels, fl. 1980, George Duke, 1946-2013, Lil' John Roberts, Sonny Emory, 1962-, Ray Griffin, Munyungo Jackson, fl. 1973, Bill Summers, 1948-
Author / Creator
George Howard, 1956-1998, Jonathan Butler, 1961-, Ray Fuller, Paul Jackson, Jr., Phil Davis, Vance Taylor, fl. 1980, Darrell Smith, fl. 1990, Eric Daniels, fl. 1980, George Duke, 1946-2013, Lil' John Roberts, Sonny Emory, 1962-, Ray Griffin, Munyungo Jackson, fl. 1973, Bill Summers, 1948-
Date Published / Released
1996-02-27
Publisher
GRP Records
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