mjzee

Deutsche Grammophon 111 - The Violin, disc 4.

Rafael Kubelik - Complete Decca Recordings box, disc 7.

Ricci American Decca box, disc 9 (last). Cute concept: pairing Ricci with one additional musician on a varied program of works. It works, too! I especially liked the Saint-Saens accompanied by harp.

https://www.wbgo.org/music/2023-01-25/carol-sloane-a-jazz-singer-of-impeccable-taste-is-dead-at-85

https://www.foxnews.com/entertainment/betty-sturm-worlds-greatest-sinner-actress-dead-89

Let's collaborate!

I just need some collaboratees.

Maybe he came from the Bob Weinstock school of producing!

Agreed. I found this was my first complete Ma Vlast. It really needs to be heard as a whole. Stunning and moving. Next: Deutsche Grammophon 111 - The Violin, disc 3.

His '50's albums were pretty consistent, mostly straight-ahead jazz, and very interesting. For that period, try to pick up the 10 CD box "Milestones of a Legend," which has 19 different albums originally on a myriad of labels. His Atlantic albums are all over the place, sometimes within the same LP. "The Beat Goes On," for example, contains tracks recorded 4/6/64, 5/6/64, 5/8/64, 9/29/66, 12/16/66, and 3/16/67. "Our Mann Flute" is even more varied: 8/3/60, 2/13/64, 5/7/64, 10/29/64, 3/10/66, and 5/26/66. The tracks within these albums don't seem to have a stylistic consistency. "Our Mann Flute," moreover, only has one track longer than 3 minutes. And yet, each track has a lot of quality. But listening to an LP side is like being inside the mind of someone with ADHD. "Our Mann Flint" is a very wacky album. Tracks include Philly Dog, Good Lovin', Frere Jacques, Fiddler On The Roof, Down By The Riverside, Monday Monday, and Skip To My Lou (!). As for deep cuts, check out the entire "Impressions Of The Middle East" album, and these: And, of course:

Was Jack Tracy the main producer for Argo?

Rafael Kubelik - Complete Decca Recordings box, disc 6.

Ricci American Decca box, disc 8. I think I feel sorry for the guy. While obviously talented and hard-working, he wasn't very attractive. So I think he was pidgeon-holed as a "shredder" - someone who could play really fast, like a classical Eddie Van Halen. It's very possible he could also play slowly and movingly, but wasn't called on to do that. So this album seems like an endless procession of 32nd notes.