Justifiably overshadowed by the peerless Getz/Gilberto album (which featured "Girl from Ipanema") from a year before, Getz/Gilberto #2 still holds its own with an appealing selection of fine jazz and bossa nova cuts. Unlike the first album's seamless collaboration by Getz, João Gilberto, Astrud Gilberto, and Antonio Carlos Jobim, here Getz and João Gilberto turn in separate sets recorded live at Carnegie Hall in October of 1964. Backed by a stellar quartet comprised of vibraphonist Gary Burton, bassist Gene Cherico, and drummer Joe Hunt, Getz turns in a sparkling performances on the seldom covered ballad "Tonight I'll Shall Sleep with a Smile on My Face," while stretching out nicely on his original blues swinger "Stan's Blues…

Astrud Gilberto became an accidental success when her fragile command of English made her the de facto choice to sing "The Girl from Ipanema" at a session led by Stan Getz and her husband, João Gilberto. Of course, despite its overwhelming success, it wasn't clear that she could sustain a career when she recorded her first solo LP, The Astrud Gilberto Album. She had sounded more like an amateurish novelty act than a recording professional, her voice was sweet but fragile, and the Getz/Gilberto album had featured two strong voices, with Gilberto herself an afterthought (albeit a commercially effective afterthought). But The Astrud Gilberto Album was at least as good as Getz/Gilberto (despite what jazz fans say), for several reasons…

Rather than try to capture their legendary on-stage energy in a studio, MC5 opted to record their first album during a live concert at their home base, Detroit's Grande Ballroom, and while some folks who were there have quibbled that Kick Out the Jams isn't the most accurate representation of the band's sound, it's certainly the best of the band's three original albums, and easily beats the many semiauthorized live recordings of MC5 that have emerged in recent years, if only for the clarity of Bruce Botnick's recording. From Brother J.C. Crawford's rabble-rousing introduction to the final wash on feedback on "Starship," Kick Out the Jams is one of the most powerfully energetic live albums ever made; Wayne Kramer and Fred "Sonic" Smith were a lethal combination on tightly interlocked guitars, bassist Michael Davis and drummer Dennis Thompson were as strong a rhythm section as Detroit ever produced, and Rob Tyner's vocals…

"Home Cookin'", "Crazy! Baby", "Midnight Special", "Back At The Chicken Shack", "Softly As A Summer Breeze".
A pioneer of soul-jazz who revolutionized the Hammond organ, turning it into one of the most incisive, dynamic jazz instruments of its time. Jimmy Smith wasn't the first organ player in jazz, but no one had a greater influence with the instrument than he did; Smith coaxed a rich, grooving tone from the Hammond B-3, and his sound and style made him a top instrumentalist in the 1950s and '60s, while a number of rock and R&B keyboardists would learn valuable lessons from Smith's example.

Milt Jackson at the Museum of Modern Art is one of the many live jazz record dates that should be better known than it is. Perhaps it's because the LP has been unavailable in America since the early '70s; it was released on CD only briefly in Japan. Verve's brilliant Originals series has remedied this situation by issuing the gatefold-sleeve of the LP in a fine edition on compact disc (with the original liner notes pasted into a handsome booklet with the original photos). Released in 1965, shortly after the concert took place, this set is regarded by jazz historians as one of the greatest concerts ever to be performed during the MOMA's terrific free concert series during the '60s. During a rare respite from the Modern Jazz Quartet, Jackson was able to record as a solo artist with musicians of his own caliber. In this case his companions are pianist Cedar Walton, bassist Ron Carter…

Esoteric Recordings are pleased to announce the release of a 50th Anniversary Remastered Edition of the debut album by The Moody Blues, "The Magnificent Moodies”.
Now associated as being pioneers of pro-gressive orchestral rock, the Moody Blues had another life between 1964-1966, as one of Britain’s finest Rhythm and Blues influenced acts. With a line-up of Denny Laine (Guitar, Vocals, Harmonica), Ray Thomas (Vocals, Harmonica, Flute), Mike Pinder (Keyboards, Vocals), Clint Warwick (Bass, Vocals) and Graeme Edge (Drums), the band signed to a London based management company who leased recordings to Decca Records. Their second single, a cover version of Bessie Banks’ ‘Go Now!’ was a huge chart success across the world. Their debut album, "The Magnificent Moodies” was released in1965 to great acclaim and tours with The Beatles eventually led them to become part of Brian Epstein’s management stable…

Avid Jazz presents four classic Phil Woods albums, including original liner notes on Volume Three of a finely re-mastered and low priced double CD. “Pairing Off”; “Woodlore”; “Sugan” and “Rights to Swing”.
To continue the tennis analogy taken from the original liner notes of our first serving, “Pairing Off”, we have an ace album to start the first set! Enjoy the fantastic line up as the main protaganists pair off against each other for a swinging set of volleys! Phil Woods and old doubles partner Gene Quill on tenors, Donald Byrd and Kenny Dorham on trumpets, assisted by more than capable “ball boy” Tommy Flanagan on piano, Doug Watkins on bass and Philly Joe Jones on drums. Liner notes writer Ira Gitler was obviously a sports fan as he again uses a sports analogy on our second selection “Woodlore”…

The Byrds' second album, Turn! Turn! Turn!, was only a disappointment in comparison with Mr. Tambourine Man. They couldn't maintain such a level of consistent magnificence, and the follow-up was not quite as powerful or impressive. It was still quite good, however, particularly the ringing number one title cut, a classic on par with the "Mr. Tambourine Man" single. Elsewhere, they concentrated more on original material, Gene Clark in particular offering some strong compositions with "Set You Free This Time," "The World Turns All Around Her," and "If You're Gone." A couple more Bob Dylan covers were included, as well, and "Satisfied Mind" was their first foray into country-rock, a direction they would explore in much greater depth throughout the rest of the '60s.

One of the greatest debuts in the history of rock, Mr. Tambourine Man was nothing less than a significant step in the evolution of rock & roll itself, demonstrating that intelligent lyrical content could be wedded to compelling electric guitar riffs and a solid backbeat. It was also the album that was most responsible for establishing folk-rock as a popular phenomenon, its most alluring traits being Roger McGuinn's immediately distinctive 12-string Rickenbacker jangle and the band's beautiful harmonies. The material was uniformly strong, whether they were interpreting Bob Dylan (on the title cut and three other songs, including the hit single "All I Really Want to Do"), Pete Seeger ("The Bells of Rhymney"), or Jackie DeShannon ("Don't Doubt Yourself, Babe")…