New Release/Re-issue thread

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Nate Dogg
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#61 Post by Nate Dogg » Thu Jan 19, 2006 9:01 am

Hopefully, we will see more actions like this, so much music is sitting in faults, without large enough market potential to justify the cost of reissuing a real CD.

Better to release the music digitally, than let it sit, where it is not being heard nor generating any revenue.

There ought to be some treasures in the pool of music below.

Nathan

Universal Breathes Digital Life Into Rare Recordings
January 18, 2006, 4:55 PM ET
Billboard.com
Juliana Koranteng, London

Universal Music Group International is resuscitating its deleted European repertoire exclusively for digital downloading in an extensive multi-year program.

UMGI's move to reissue deleted tracks -- recordings no longer represented on a label's active catalog -- represents a significant opportunity for the burgeoning digital music business.

The first batch of digitized titles will focus on 3,000 tracks from the United Kingdom, France and Germany. Titles will be available through all UMGI's online business partners from mid-February. They will comprise tracks recorded during the last 40 years, vintage and rare titles from such artists as Marianne Faithfull, Fairport Convention and Chris DeBurgh plus continental artists like Eddy Mitchell, Nana Mouskouri, Noir Desir and Brigitte Bardot.

"Over the next three to four years, we aim to reissue perhaps as many as 10,000 albums for downloading, which amounts to more than 100,000 tracks," says London-based Barney Wragg, senior VP of UMGI's eLabs unit. "This program will offer material that, in some cases, goes back to the early days of recorded music."


Wragg also suggests that the move will enable UMGI to help meet the demands of digital purchasers seeking a more extensive repertoire to select from online. Another selection of deleted UMGI titles is planned for delivery to digital music stores by year's end.

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#62 Post by Nate Dogg » Tue Feb 28, 2006 12:43 pm

New Ella Fitzgerald reissue, on the Collectibles label.

"Things Ain't What They Used to Be", late 60s, Ella covering contempory songs and old standards, not sure if anything is super dance friendly. But, looks like an interesting album.

It appears that is has not been issued on CD since 1989, last time as a part of a double CD (or 2 albums on one disc) titled Ella/Things Ain't What They Used to Be. The 1989 album is available at Half.com for $35, so I imagine that means that it is out of print and not ultra common, hence the price.

Track Listing for Things Ain't What They Used to Be
1 Sunny Hebb 5:18
2 Mas Que Nada Deane 3:49
3 A Man and a Woman (Un Homme et une Femme) Barouh, Keller, Lai 3:17
4 Days of Wine and Roses Mancini, Mercer 2:22
5 Black Coffee Burke, Webster 4:28
6 Tuxedo Junction Dash, Feyne, Hawkins, Johnson 3:17
7 I Heard It Through the Grapevine Strong, Whitfield 3:44
8 Don't Dream of Anybody But Me Hefti, Howard 4:06
9 Things Ain't What They Used to Be Ellington~Mercer, Persons 3:11
10 Willow Weep for Me Ronell 4:40
11 Manteca Fuller, Gillespie, Gonzales 2:30
12 Just When We're Falling in Love Jacquet, Russell, Thompson 2:29

AMG Review of Ella/Thing's Ain't What They Used To Be.
Recorded live at Olympic Sound Studios, London, May 26, 28, 29, 30, 1969.
Made up of two late-'60s LPs, this 22-track disc is a wonderful oddity in Ella Fitzgerald's career. Recorded in 1969, live in London's Olympic Sound Studio with pop wunderkind Richard Perry producing, ELLA was Fitzgerald's attempt at a rock & roll album. (Remember, jazz-rock fusion was very big at the time.) The results are more Blood Sweat and Tears than BITCHES BREW, but that's no bad thing. The songs are mostly quite strong, and unlike most jazz singers who tackle rock, Fitzgerald never condescends to her material. As a result, her versions of Motown standards "Get Ready," "The Hunter Gets Captured by the Game," and "Ooo Baby Baby"; Beatles tunes "Savoy Truffle" and "Got to Get You Into My Life"; and most bizarrely, Randy Newman's "Yellow Man," are surprisingly durable. The more jazz-oriented second album still focuses on pop tunes, with more variable but often exceptional results
Last edited by Nate Dogg on Wed Mar 01, 2006 7:50 am, edited 2 times in total.

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trev
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#63 Post by trev » Tue Feb 28, 2006 8:02 pm

I just noticed these JSP Box Sets:
All Star Jazz Quartets - 1927 to 1941
and;
Basically Basie - 1937 to 1945

Anyone picked them up them already?

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#64 Post by Nate Dogg » Tue Apr 25, 2006 7:01 am

Interesting reissue today, probably not anything of note on it, but you never know.

http://www.allmusic.com/cg/amg.dll?p=am ... ogtq5zcu4a

Image

For a good part of the '50s B.B. King recorded for the Bihari Brothers' RPM and Kent labels, and the brothers would, in turn, issue collections of these singles on LP as part of their discount Crown Records series. B.B. King Sings Spirituals originally appeared as a Crown LP in 1959, but it was less a collection of singles than a true labor of love for King, who took it as an opportunity to return to the Baptist and Pentecostal church music of his childhood. It's easy to forget that King isn't just a blues player with a particularly distinctive guitar style, he is also a singer, and in the '50s he really worked more to the R&B side of the field than to the blues half, and, as these tracks show, his roots were always deep in gospel. The instrumentation here is sparse and appropriate to the spiritual material, just organ, piano, bass, and drums with tons of handclapping and choral support, and absolutely no guitar. King's singing here is a bit of a revelation to those who only know him for his blues work, as he breaks loose and sings vigorously on numbers like the rollicking "Ole Time Religion" and a stomping "Army of the Lord." This is B.B. King, one supposes, before the thrill was gone. He sounds absolutely jubilant. [This Ace reissue adds in a generous eight bonus tracks of period singles and alternate versions, some of them decidedly secular, including the stunning "I Am," which shows unequivocally that King is an explosively expressive singer when he chooses to be, and a curious horn-driven version of Merle Travis' "Sixteen Tons" that was released in 1955 as a single at the same time as Tennessee Ernie Ford's hit version of the song.

russell
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#65 Post by russell » Thu May 11, 2006 6:26 pm

Anyone know anything about this or have it:

Count Basie - Jumpin At Ten

http://www.allmusic.com/cg/amg.dll?p=am ... f4zfi5eh6k

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#66 Post by Nate Dogg » Tue May 16, 2006 3:26 pm

New Lou Rawls reissues out today (2 albums on one CD packaging), source albums for some of the songs we play...

Specifically, the two albums that followed the ever popular "Stormy Monday."

Image

Review by Tim Sendra
Black and Blue and Tobacco Road were Lou Rawls' third and fourth records for Capitol cut in 1962 and 1963, respectively. The powers that be at the label made the decision to send Rawls into the studio with a swinging big band under the direction of Onzy Matthews and featuring some real heavyweights like saxophonists Curtis Amy, Teddy Edwards, and Sonny Criss; organist Groove Holmes; and bassist Curtis Counce. The choice didn't pan out commercially, but artistically it is a triumph. The band is perfect, the arrangements are tight and interesting, and Rawls sounds completely in his element as he belts out jazz standards like "Summertime" and "Gloomy Sunday." Most of the records are devoted to blues standards like "Trouble in Mind," "Stormy Weather," "St. James Infirmary," and "I'd Rather Drink Muddy Water," and while on paper they may look like the same old songs everyone does, Rawls brings them to life and even sets a few ablaze with his rich, rough, and powerful vocals. The best moment is his sparse and exhilarating version of "Tobacco Road," a tune that has come to be associated with him, mostly due to his live version cut a couple of years later on Lou Rawls Live! This version is a touch less exciting but just as impressive, and it is a treat to hear. In fact, both albums are a treat. Rawls may just be starting his long career, but he sounds fully formed, relaxed, and at home with the big band behind him. It makes for some of the most enjoyable Lou Rawls you'll hear, and fans of Rawls and great jazz and blues vocals should rejoice that Capitol has finally made the records available on CD.

Tracks




Title
Composer
Time

1 Roll 'Em Pete Johnson, Turner 1:53
2 I'd Rather Drink Muddy Water Miller 3:35
3 How Long, How Long Blues Carr 2:31
4 Everyday I Have the Blues Chatman 4:22
5 St. James Infirmary Primrose 4:42
6 (What Did I Do to Be So) Black and Blue Brooks, Razaf, Waller 3:30
7 Gloomy Sunday [#] Javor, Lewis, Seress 3:07
8 Kansas City Leiber, Stoller 2:12
9 Goin' to Chicago Blues Basie, Rushing 2:53
10 Trouble in Mind Jones 3:52
11 World of Trouble Brown 3:11
12 Six Cold Feet of Ground Carr 3:02
13 Strange Fruit Allen 3:28
14 Tobacco Road Loudermilk 4:01
15 Cotton Fields Leadbelly 2:10
16 Rockin' Chair Carmichael 1:57
17 Stormy Weather Arlen, Koehler 3:02
18 Ol' Man River Hammerstein, Kern 3:49
19 Blues for a Four-String Guitar Bernstein, David 3:30
20 St. Louis Blues Handy 2:28
21 Georgia on My Mind Carmichael, Gorrell 3:19
22 Sentimental Journey Brown, Green, Homer 3:19
23 Summertime Gershwin, Gershwin, Heyward 3:34
24 When It's Sleepy Time Down South Muse, Rene, Rene 3:06

PS - Thanks Jesse for mentioning the B.B. King Spirituals albums on your Podcast, glad to know that the thread has helped your record collection grow.

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main_stem
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#67 Post by main_stem » Tue May 23, 2006 7:57 am

A future Mosaic set, probably my next purchase.
Duke Ellington The Complete Variety And Vocalion Duke Ellington Small Group Sessions
Our November release is one that has longed to be issued in its entirety. The Complete Variety And Vocalion Duke Ellington Small Group Sessions will be a 7 disc set covering all those seminal Helen Oakley and Irving Mills produced sides from 1935 to 1940. With Ellington at the piano these recordings were led by Barney Bigard, Johnny Hodges, Rex Stewart and Cootie Williams and are a significant display of how Ellington was able to arrange for small group and bring the absolute best out of his sidemen.

In some cases, these performances represented the first time collectors and fans were hearing now classic Ellingtonia: Juan Tizol's composition "Caravan" from a Barney Bigard session; Cootie Williams' "Echoes of Harlem"; vocal versions by the forgotten Mary McHugh on "Lost In Meditation" and "Prelude To A Kiss"; Rex Stewart's peerless cornet conceptions on "Rexatious" and "The Back Room Romp". And the Johnny Hodges masterpieces alone consist of "Blue Reverie", "Jeep's Blues", "The Jeep Is Jumpin'", a trio side with Duke and bassist Billy Taylor on "Finesse" and one of the most plaintive of these Hodges releases, "Wanderlust".

The set will also include small group sessions led by Ellington, his piano solos and the duet sides with bassist Jimmie Blanton. There is also the Gotham Stompers session that comprises both the Ellington band and the Chick Webb band with Chick at the drums. All known alternate takes are included here as well, some of which only came out on short-lived bootleg LPs in the 1960s and 1970s. The transfers of this material plus the thoughtful liner notes, come from the preeminent Ellington collector Steven Lasker. Steven has also provided us with a rare rehearsal disc on "Echoes of Harlem". There are 173 tracks in all with rare photographs, a complete updated discography and in-depth liner notes by Lasker.
"We called it music."
— Eddie Condon

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trev
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#68 Post by trev » Tue May 23, 2006 7:51 pm

That Duke Mosaic set is a no-brainer purchase - i can happily start saving up now :)

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#69 Post by Nate Dogg » Thu Nov 02, 2006 10:26 pm

Image

Nina Simone
Remixed and Remastered

Review by Jo-Ann Greene
AMG Review
Nina Simone's sole U.S. pop hit, "I Loves You, Porgy," was released in 1959; too black for American white audiences, she found more favor abroad. In Britain, for example, she placed five singles in the charts and had six hits; "I Put a Spell on You" charted twice. Back in the States in more recent times, the electro scene began delving ever deeper into funk and soul, and with that Simone's fabulous music finally began finding appreciation with a whole new generation of fans. To that end, RCA is remastering and re-releasing her back catalog, originally issued on the label between 1967 and 1974. To further fire up interest, the label has let a slew of DJs and producers loose on the late star's songs, resulting in Remixed & Reimagined, Simone for the dance-crazed generation. Groovefinder's "Ain't Go No/I Got Life" is the obvious point of entry, a sensational Stax-flavored remix that's already a U.K. hit. Daniel Y.'s remix boasts just a touch of Stax as well, but aimed at a far more sophisticated palette. In contrast, Jazzeem turns up the funk while creating a decidedly exotic flavor to his remix, while Tony Humphries takes funk straight into house. Madison Park and Lenny B. opt for brightness and lightness, house at its most effervescent; François K paints his house in pastels, creating a gently coursing, almost trance remix; and Mowo works in a darker mode that pushes his house styling into the vast aural atmospheres of dub. Chris Coco builds his house old-school style, with a four-on-the-floor beat and a cathedral organ that takes Simone herself straight back to church. Once there, she and DJ Logic confront the "Obeah Woman," with a remix that eloquently emphasizes the singer's gospel influences. Nickodemus floats his remix heavenward on swaths of instrumental strings and a rippling harp, exquisitely enhancing the lyrics and Simone's hope for the future. In contrast, Organica's remix swirls with dark, ominous clouds, sending Simone sailing across a psychedelic-laced "Westwind." But, unsurprisingly, it's Coldcut who offer the most adventurous track, taking their scissors to "Save Me" and creating a pulsing, effects-drenched classic. Then again, every remix here is inspired, re-creating Simone's music in ways that could barely be envisioned. The set's Reimagined title couldn't be more accurate, and this tribute to the late great singer could hardly be better.

Tracks
1 I Can't See Nobody [mix] 3:06
2 Funkier Than a Mosquito's Tweeter [mix] 5:24
3 Ain't Got No - I Got Life [Groovefinder Remix] 3:18
4 Save Me [mix] 6:35
5 Turn Me On [dub] 7:48
6 Here Comes the Sun [mix] 8:57
7 Westwind [mix] 4:28
8 Go to Hell [mix] 4:33
9 My Man's Gone Now [mix] 4:05
10 The Look of Love [mix] 3:44
11 O-O-H Child [mix] 3:33
1 To Love Somebody [mix] 5:40
13 Obeah Woman [mix] 4:57[/img]

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trev
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#70 Post by trev » Wed Nov 08, 2006 9:14 pm

Duke Ellington: 1936-40 Small Group Sessions

Image

http://www.mosaicrecords.com/prodinfo.a ... =235-MD-CD

Mosaic Records are about to release a 7CD set of Ellington's Small Group Recordings

Should be a quality job with most tracks transferred from master pressings and produced by the same guy that did the mega Ellington Centennial set.

I've already ordered mine!

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#71 Post by Haydn » Thu Nov 09, 2006 1:04 am

trev wrote:Duke Ellington: 1936-40 Small Group Sessions

Image

http://www.mosaicrecords.com/prodinfo.a ... =235-MD-CD

Mosaic Records are about to release a 7CD set of Ellington's Small Group Recordings

Should be a quality job with most tracks transferred from master pressings and produced by the same guy that did the mega Ellington Centennial set.

I've already ordered mine!
That looks good 8)

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#72 Post by dogpossum » Thu Nov 09, 2006 8:14 pm

This is probably a dumb question, but is there much cross-over with the mega Ellington centennial set?

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trev
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#73 Post by trev » Thu Nov 09, 2006 9:55 pm

My understanding is that there is no cross-over, because the other set was all RCA Victor releases, and this set is Brunswick, Columbia, Master, OKeh, Variety, and Vocalion, but I'll have to check to be sure.

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#74 Post by Eyeball » Thu Nov 09, 2006 10:54 pm

Sidebar -

"Brunswick, Columbia, Master, OKeh, Variety, and Vocalion" and a few other labels.....

One by one, as the Depression deepened, all these record companies were absorbed by other companies which were aborbed by even more companies until about 1938 when they all came under the control of CBS.

The Columbia label up until about 1938 was not owned by CBS.

The Brunswick and Vocalion labels 'suffered' a bizarre split and would up with their entire catalogs spilt between what was then (in this country) Decca and CBS/Columbia.

There is a 'split off' date in 1931where all the recordings before that date went over to Decca and all the recording after that date went over to CBS/Columbia.

It is especially odd b/c there were big artists on those labels (Bing Crosby, Boswell Sisters, Mills Brothers, Duke Ellington and many more) who had their catalogs cut in two.

It still holds even today.

*Even more bizarre is having the 2 biggest labels of the 30s and 40s, Victor and all the Columbia owned labels, now owned by one company when for decades those two labels were the biggest competitiors in the world.

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#75 Post by russell » Tue Aug 21, 2007 6:29 pm

New releases this month

From Hep - Ella Fitzgerald Live at the Savoy 1930-40. Interesting in that Ella does not sing - all instrumentals. Hep usually does a good job with the sound.

http://www.allmusic.com/cg/amg.dll?p=am ... fixzwgld0e

For those New Testament Basie fans - a new release from Mosaic with some unreleased tracks. Basie At The Birdland (1961).

http://www.truebluemusic.com/prodinfo.a ... er=BASIC43

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