div class="image"a href="http://pixhost.ws/avaxhome/big_show.php?/avaxhome/c6/d1/0009d1c6.jpeg" target="_blank"img src="http://pixhost.ws/avaxhome/c6/d1/0009d1c6_medium.jpeg" id="external_img_643526"//a/divbr/ div class="center"bThe Complete Lester Young Studio Sessions on Verve (1946-1959)/bbr/ FLAC + CUE | 53 PG Booklet in PDF, Complete Artwork: 2.26 GB | 8 CDsbr/ i1999 | Verve | Jazz/i/divbr/ With his airy, vibratoless tone and sophisticated harmonic imagination, Lester Young (1909-59) was arguably the most influential tenor saxophonist after Coleman Hawkins. As the star in Count Basie's big band and Billie Holiday's favorite soloist, Young's breezy solos, along with his patented porkpie hat and unique hipster jargon, affected legions of musicians. This 8-CD compilation marks the 90th anniversary of Young's birth and contains all of the recordings he made for producer Norman Granz from 1946 to 1959, the last 13 years of Young's life. This collection aurally illustrates his supernatural ability to enliven the most familiar pop tunes and rise above his own pharmaceutically challenged physical state to create magic. The keys to Young's music making is his emphasis on knowing the lyrics to songs and on telling a story, delivering a melodic solo that communicates as it innovates.

Over the past few months, Americans have been hearing the word depression with unfamiliar and alarming regularity. The financial crisis tearing through Wall Street is routinely described as the worst since the Great Depression, and the recession into which we are sinking looks deep enough, financial commentators warn, that a few poor policy decisions could put us in a depression of our own. nbsp; nbsp; It's a frightening possibility, but also in many ways an abstraction. The country has gone so long without a depression that it's hard to know what it would be like to live through one. nbsp; nbsp; Most of us, of course, think we know what a depression looks like. Open a history book and the images will be familiar: mobs at banks and lines at soup kitchens, stockbrokers in suits selling apples on the street, families piled with all their belongings into jalopies. Families scrimp on coffee and flour and sugar, rinsing off tinfoil to reuse it and re-mending their pants and dresses. A desperate government mobilizes legions of the unemployed to build bridges and airports, to blaze trails in national forests, to put on traveling plays and paint social-realist murals. nbsp; nbsp; Today, however, whatever a depression would look like, that's not it. We are separated from the 1930s by decades of profound economic, technological, and political change, and a modern landscape of scarcity would reflect that. nbsp; nbsp; What, then, would we see instead? And how would we even know a depression had started? It's not a topic that professional observers of the economy study much. And there's no single answer, because there's no one way a depression might unfold. But it's nonetheless an important question to consider - there's no way to make informed decisions about the present without understanding, in some detail, the worst-case scenario about the future.

eeves' records continued with good sales for both the old albums and a series of new ones. His widow, Mary, combined unreleased tracks with rerecorded previous releases (placing updated instrumentals alongside Reeves' original vocals) to produce a regular series of "new" albums after her husband's death. She also operated The Jim Reeves Museum in Nashville, Tennessee from the early 1980s until 1996. Indeed, Jim scored a major success when, in 1966, his record "Distant Drums" went to number one in the British singles chart and remained in pole position for a remarkable five weeks - beating off stiff competition from such acts as The Beatles with "Yellow Submarine" and "Eleanor Rigby" (a double-sided "A" release) and the Small Faces' "All Or Nothing". In addition, "Distant Drums" also held off many other songs from living artists who were in the UK charts at that time. In all, "Distant Drums" remained in the UK charts for a staggering forty-five weeks as well as topping the US country music charts. Not bad going for a song which had been recorded by Jim for its composer Cindy Walker only under the impression it was for her personal use only and had been deemed "unsuitable" for general release by Chet Atkins and the RCA record company. "Distant Drums" was named 'Song of the Year' in the UK in 1966 and Jim had the distinction of being the first American artist to receive that particular accolade. Although he no longer features in the singles charts, Jim Reeves compilation albums containing well-known standards continue to sell well. "The Definitive Collection" reached #21 in the UK album charts in July 2003 and "Memories are made of this" #35 in July 2004. Bear Family Records in Germany produced a 16-CD boxed set of Jim's studio recordings and several smaller sets consisting mainly of radio broadcasts and demos. In 2007, they released a set entitled "Nashville Stars on Tour", containing audio and video material of the RCA tour of Europe in April 1964 in which Jim features prominently. This is a fascinating collection as it enables us to listen to and see Jim at the height of his fame, just a couple of months before his death. Since 2003, the US based VoiceMasters has issued over 80 previously unreleased recordings by Jim, including new songs that fans have not heard, as well as newly overdubbed material. Among them is "I'm A Hit Again," the last song Jim recorded in his basement studio just a few days before his death. VoiceMasters overdubbed this historic track in the same studio in Jim's former home (now owned by another Nashville record producer). These Voicemasters releases are warmly welcomed and appreciated by Jim's legion of fans across the world. Reeves fans have repeatedly urged BMG or Bear Family to re-release some of the songs overdubbed in the years after Jim's death which have never appeared on CD. He was elected posthumously to the Country Music Hall of Fame in 1967, and in 1998 he was inducted into the Texas Country Music Hall of Fame in Carthage, Texas, where the Jim Reeves Memorial is located. Reeves' inscription at the Country Music Hall of Fame reads - "The velvet style of 'Gentleman Jim Reeves' was an international influence. His rich voice bought millions of new fans to country music from every corner of the world. Although the crash of his private airplane took his life, posterity will keep his name alive because they will remember him as one of country music's most important performers." The inscription on the Jim Reeves Memorial has: "If I, a lowly singer, dry one tear, or soothe one humble human heart in pain, then my homely verse to God is dear, and not one stanza has been sung in vain." Blind R&B and Blues artist Robert Bradley (better known as Robert Bradley's Blackwater Surprise) pays tribute to this singing legend in the album description of his latest studio release Out of the Wilderness. Bradley is quoted as saying, "This record brings me back to the time when I started out wanting to be a singer-songwriter, where the music did not need the New York Philharmonic to make it real...I wanted to do a record and just be Robert and sing straight like Jim Reeves on Put Your Sweet Lips a Little Closer to the Phone.'

Author: oldcountrytunes Keywords: MUSIC COUNTRY JIM REEVES Added: November 21, 2008