Rob de Nijs is one of most well-known Dutch singers of the post-war era. After having his first hit single with Rob de Nijs & the Lords in 1963, he continued to chart as a soloist into the next century while remaining one of the most-played Dutch artists on Dutch radio…
Joe Dassin (commonly called Les Champs-Élysées after its most famous track) is the third studio album by French musician Joe Dassin. It was originally released in 1969 on the CBS Disques label…
Erroll Louis Garner (June 15, 1921 – January 2, 1977)[5][6][7] was an American jazz pianist and composer known for his swing playing and ballads. His best-known composition, the instrumental ballad "Misty," has become a jazz standard. It was first recorded in 1956 with Mitch Miller and his orchestra, and played a prominent part in the motion picture "Play Misty for Me."…
Billy Vaughn was one of the most popular orchestra leaders and pop music arrangers of the '50s and early '60s. In fact, he had more pop hits than any other orchestra leader during the rock & roll era…
An ultra-rare exotica album originally released in 1963, Monte Moya & The Surfers' "Percussionata" is high on the list of many exotica collectors and commands high dollar on auction sites when an original LP copy becomes available. Sounding like a cross between the Latin fueled jazz of Cal Tjader and the mellow exotica of Arthur Lyman, "Percussionata" sounds as fresh today as it did when first released, largely thanks to the audiophile quality of the original recordings…
Charlie Shavers was an extraordinary musician. His Jazz At The Philharmonic trumpet battles with Roy Eldridge provided some of the most exciting music in jazz history. As a key member of the first jazz "chamber" unit, John Kirby's fine band, and lead soloist of Tommy Dorsey's legendary aggregation - he built a reputation as a musician that could cut any gig, and because of his reliability, he was frequently called upon by the brightest starts in jazz to add his special touch to their recordings and live shows…
After his big band experiment, Duke Pearson returned to a smaller group setting, but he didn't scale back his ambitions. The Phantom finds Pearson writing an ambitious set of post-bop that expands the boundaries of the music with Latin percussion and complex harmonies derived from the avant-garde…
