He played the characteristic mix of styles of dance bands in the 1920s. George Olsen was a drummer and bandleader from Portland, Oregon, who made his name playing in hotels and then in Broadway shows, and despite latterly not being one of the best known names of the era had a string of 49 hits between 1925 and 1945. He played the characteristic mix of styles of dance bands in the 1920s, featuring a blend of hot dance music alongside his more familiar style of middle-of-the-road orchestral music, gradually introducing featured singers after his initial hits, and becoming typical of the "sweet" orchestras of the 1930s who were popular on radio. This 49-track 2-CD collection solely comprises all his career hits, which came out on the Victor, Columbia and Majestic labels. It includes the No. 1 hits "Who", "Always", "A Precious Little Thing Called Love", "Lullaby Of The Leaves" and "The Last Round-Up", plus the Top 3 hits, "Sunny", "Drifting And Dreaming", "Horses", "Someone To Watch Over Me", "Blue Skies and "The Best Things In Life Are Free". There were no notable stars among his featured vocalists, but they include Fran Frey, Bob Borger, Bob Rice, Jack Gifford, his wife Ethel Shutta, Paul Small, Dave Marshall, Joe Morrison Judith Blair and Ray Adams. Featuring only his hits, this is a thorough look at one of the consistently popular and successful bandleaders of the '20s and '30s.

Deutsche Grammophon is celebrating Leonard Bernstein's 100th birthday (August 18, 2018) with a mammoth project. The great conductor, composer and musical communicator is commemorated in various editions; This Complete Works edition celebrates Bernstein's work as a passionate composer for the first time, a facet of his multiple works that was particularly close to his heart. The entire spectrum of Bernstein's musical work is presented on 26 CDs and 3 DVDs, music for ballets, operas, musicals, soundtracks, symphonic works, as well as piano, chamber and vocal music - Bernstein's work as a composer unfolds not only stylistically but also genre-wise. regarding in living diversity.

It always seemed that women have led the way when it came to Swing. For every Crosby and Sinatra, there was not only an Ella or a Billie, but also a Sarah and a Peggy. For each Mel Tormé or Tony Bennett, there was a Lena, an Aretha, a Nina or a Dinah. When women became band singers during the Swing era, they frequently outlasted their employers in terms of celebrity and record sales. There are many remarkable examples of female vocal art on this compilation, some by those who have achieved superstar status. So many stories, so many brilliant performances. What a way to swing!

'Sexy Girls Sing Sexy Songs' screams the cover of this CD, and look hard at the track list and you'll note it contains just what it boasts on the tin. This compilation includes 25 tracks from classy dames who like to leave a little to the imagination, as they tease their men with innuendo, subtle put downs and occasional ridicule - but will never come across explicitly or "talk dirty". So please say it one time for the girls who know how to get their man, keep their man and drive their man wild as they dance in the old fashioned way.

Four CD set. An anthology of George Martin's sound productions before the advent of the Beatles; before the collaboration that would change popular music forever. He re-defined the role of producer; pioneering the recording itself as an art form. This edition is testament to a elegant, fearless musical innovator. The surrealistic, sometimes free-form recordings he created with comic geniuses Sellers, Milligan, Cribbins and Ustinov involved sound effects and collage. These madcap sonic adventures, allied to his understanding of the workings of an orchestra, his contacts within the classical fraternity, his love of the romantic and impressionist composers, and his fascination with studio experimentation made George Martin uniquely able to provide a particular objectivity and realise what the ever-curious Beatles, or any artist, would ask of him. As head of Parlophone, determined to explode the label onto the scene, he sought artists of character; taking mobile recording units out to capture Flanders And Swann's two-man show and the irreverent satirical revue, Beyond The Fringe. The Top Five was breached in 1960 both by Matt Monro and by Peter Sellers And Sophia Loren. George Martin's first UK Number One single, and an exemplar, was 'You're Driving Me Crazy' by The Temperance Seven who combined a revival of popular music from the 20s with styles from the Edwardian era.

75 chansons francophones, issues de moments inédits et marquants, captés par les micros de Radio-Canada, que ce soit à la télé ou à la radio, de 1936 à aujourd'hui. Des premières prestations télévisuelles de nos grands d'aujourd'hui (comme "La dame en bleu" de Michel Louvain, "Le ciel se marie avec la mer" de Lucille Dumont, etc.), de chansons devenues des grands classiques chantés par plusieurs générations ("Les gens de mon pays" de Gilles Vigneault, "Les ailes d'un ange" de Robert Charlebois, "L'amour existe encore" de Céline Dion, et une version originale de "Quand les hommes vivront d'amour" de Raymond Lévesque et plus encore), de collaborations uniques (Kevin Parent et Zachary Richard, Pierre Lapointe et le Quatuor Molinari, Mara Tremblay et Karkwa), de spectacles mythiques (Claude Léveillée et sa dernière prestation de Frédéric aux Francofolies).

This new set of rare Charlie Parker recordings dating from between 1941-1951, most of them never having been heard before and some never even having been known to exist, chronicle Bird's evolution from a blossoming soloist with the Jay McShann Band into a brilliant improviser who dominated the jazz landscape for decades to come. In addition to two unreleased 78s with the McShann band, this set offers two sets of private recordings made with local musicians and a very relaxed-sounding Parker.

La-La Land Records and Paramount Pictures proudly present NEVADA SMITH: THE PARAMOUNT WESTERNS COLLECTION, a deluxe 4-CD soundtrack collection of original film score recordings from Paramount Pictures’ big-screen westerns NEVADA SMITH (1966), EL DORADO (1967), THREE VIOLENT PEOPLE (1957), KID RODELO (1966), WALK LIKE A DRAGON (1960), WILL PENNY (1968), THE HANGMAN (1959), BRANDED (1950), THE FURIES (1950), COPPER CANYON (1950), and STREETS OF LAREDO (1949). Meticulously restored from Paramount Pictures’ vault elements, this exciting compilation features original score recordings from eleven of the studio’s western features spanning the course of two decades. Most of these recordings are making their world premiere here, and many contain material not heard in their respective films. It’s a sonic treasure chest, showcasing Hollywood’s top Golden Age maestros at the apex of their craft, working in a legendary genre. Composers Alfred Newman, Nelson Riddle, Walter Scharf, Johnny Douglas, Paul Dunlap, David Raksin, Harry Sukman, Roy Webb, Franz Waxman, Daniele Amfitheatrof and Victor Young are represented here, their music encompassing a breathtaking variety, from grand orchestral sweep to spare and intimate moments – and everything in-between.

75 cool, sophisticated and timeless tracks on three CDs, packaged in a handy fold-out bag with pockets. Includes Andy Williams, Elvis Presley, Ella Fitzgerald, Roy Orbison, Dusty Springfield, Frank Sinatra, Doris Day and many more. It's unlikely that most of us need entire albums from most of the artists included in this compilation. But this compilation of foreign pop music from the 50s and 60s is really something special. Here you get the classics of the genre as well as some rare tunes.

The World Arbiter label presents 1941 recordings of the Kokusai Bunka Shinkokai – masters of the shamisen. An extensive anthology of traditional Japanese music was created sometime around 1941-1942 by the Kokusai Bunka Shinkôkai (KBS), International Organization for the Promotion of Culture. KBS was established under the Ministry of Education and the Ministry of Foreign Affairs in 1934 for cultural exchange between Japan and foreign countries, representing genres such as gagaku (court music), shômyô (Buddhist chants), nô (Noh medieval theater play), heikyoku (biwa-lute narratives of battles), shakuhachi (bamboo flute music), koto (long zither music), shamisen (three-stringed lute music), sairei bayashi (instrumental music for folk festivals), komori-uta (cradle songs, lullabies), warabe-uta (children songs), and riyou (min'you) (folk songs). Considering that 1941-1942 was a most daunting time for Japan's economy and international relationships with Asian and Western countries, it is remarkable that this excellent anthology of Japanese music was ever completed and published, as it contains judiciously selected pieces from various genres performed by top-level artists at that time.

Réalisé par Jean-Baptiste Mersiol voici un petit objet ludique qui mélange histoire de la musique, histoire des techniques d’enregistrement et loufoqueries en tous genres. Envisagée comme un « blind test », cette anthologie est finalement un petit traité sur les expérimentations phonographiques des décennies 1940 à 1960. Enregistrements rares ou oubliés, balbutiements techniques, duos improbables, cet album viendra enrichir votre bibliothèque et vous permettra à coup sûr de dénicher la perle rare qui vous permettra d’épater vos amis au cours de longues soirées d’hiver.

Jam Session [Recorded 1952]. Jam Session was compiled from a 1952 jam session which brought together three of history's greatest alto saxophonists; Parker, Johnny Hodges and Benny Carter, as well as Ben Webster and Flip Phillips on tenor sax. Orchestrated by Norman Granz to come as close to an authentic jam session as possible, this is the first of the Jazz at the Philharmonic series. The album includes an original blues tune ("Jam Blues"), a medley of ballads selected by each musician, and a mellow blues tune called "Funky Blues." The standard "What is This Thing Called Love," stands out particularly for its follow-the-leader style ending, with each musician trading fours. Interestingly, the meeting of these three greats, with their widely varying styles, results not in spectacular and fiercely competitive playing, but rather in a slight muting and sense of reserve from all three…

Their music inspired many gospel, soul and R&B artists including Jackie Wilson and James Brown. The Dixie Hummingbirds were one of the longest-established and most influential gospel groups in the history of the genre, their career, through various evolving line-ups eventually lasting more than 80 years. Their style developed from the jubilee quartet approach of the 1930s through the 'hard gospel' of the music's golden era in post-war years to the more soul-tinged style of later times. This collection spans their development from their original line-up as their style gradually changed, with lead singer Ira Tucker being a constant link through the whole of the set.

1999 must have been deemed a banner year for the blues by someone at Capitol Records, issuing a passel of eclectic blues compilations in a month-long period on the EMD/Blue Note label. Jump Blue is a scholarly homage to the jump subgenre, characterized by sped-up high-hat tempos and lots of tight, fast horn work. This record jumps, too, all over the blues map of time and location, encompassing the vocal stylings of Dave Bartholomew ("Jump Children"), Helen Humes ("He May Be Your Man"), Peppermint Harris ("I Got Loaded," covered in 1984 by Los Lobos) and T-Bone Walker ("Teenage Baby"). Possibly the most eyebrow-raising cover: "A Fool in Love" by Ike and Tina Turner, recorded at the peak of their scorching funk career, certainly not known at the time for their contributions as ministers of jump blues. Other cool keepers from this disc series (which include a hearty helping of jazz and blues/jazz synthetics): Afro Blue, Blue Bacharach, Rhapsody in Blue, Blue So Funk and a half-dozen more.

Lu Watters' Yerba Buena Jazz Band was one of the most influential Dixieland groups of all time. With Watters and Bob Scobey on trumpets, trombonist Turk Murphy, clarinetist Bob Helm, and Wally Rose on piano, banjo, tuba (or bass), and drums, this band had a lot of power and enthusiasm. At a time when swing dominated jazz and bebop was ready to take over, Watters' successful extension of 1920s jazz was a major force in fueling the Dixieland revival movement. This four-CD set has all of the group's studio recordings plus live broadcasts from 1946-1947 and six rare performances by the wartime version of the YBJB featuring the talented but ill-fated trumpeter Benny Strickler. This reissue is absolutely essential for all traditional jazz fans and historians. The heated ensembles and joyous solos are great fun to hear.