Recorded in New York City during May and June of 1969, this excellent album reveals the very core of Memphis Slim's blues artistry. He kneads the piano and sings his heart out in front of a tough little band comprised of R&B tenor sax legend Eddie Chamblee, an unidentified organist, guitarist Billy Butler, bassist Lloyd Trotman, and drummer Herb Lovelle. An anonymous utility horn section shows up during the rocking "Sassy Mae." "Ramble This Highway" (better known as "Key to the Highway") was written by Jazz Gillum, "Rock Me Baby" is credited to Big Bill Broonzy, and the famous "Caldonia" was composed by Fleecie Moore. The rest of the material heard on this album comes straight out of Slim's catalog of original songs. Check out Slim's relaxed sermon on "Freedom" and his candid statement about having the blues because he is black…

Hot on the heels of session work with Miles Davis and his Kind of Blue-era group, alto saxophonist Cannonball Adderley recorded this excellent live date with his brother, cornetist Nat Adderley, along with pianist Bobby Timmons, bassist Sam Jones, and drummer Louis Hayes. The Cannonball Adderley Quintet in San Francisco defined the accessible, yet technically challenging, soul-jazz that Adderley would be associated with for the rest of his career. The warm, exuberant feel of the quintet is especially evident on the set's two finest tracks - a spirited take on Randy Weston's "Hi-Fly," and on Timmons' swinging "This Here"…

Guitarist Pat Martino's second recording as a leader finds him essentially playing advanced bop. His quintet (with Joe Farrell on tenor and flute, pianist Cedar Walton, bassist Ben Tucker and drummer Walter Perkins) really roars on an uptempo version of "Minority" and is diverse enough to come up with meaningful statements on four of Martino's originals.

Mantovani's Golden Hits is the 1967 album by Mantovani & His Orchestra. This edition came out through London/Polygram in 1989.

Charles Aznavour, also known as La bohème is an album by French-Armenian singer Charles Aznavour, released in 1966. It included such international hits as "La Bohème" and "Jezebel". The album includes songs by Charles Aznavour, Georges Garvarentz, Gilbert Bécaud and others. In 1966 it was originally released by Barclay Records in France and Canada, then by Reprise Records in the US (as Aznavour). It was reissued in 1996 by EMI.

Features 24 bit remastering and comes with a mini-description. A great return to form for vocalist Earl Coleman – a singer who'd recorded earlier in the bop years, but who makes a rare 60s appearance here on a soulful set for Atlantic Records! Coleman's got a rich voice that's somewhere between Johnny Hartman and Billy Eckstine – with a great range that really goes deep when it wants, yet still has a fluid sensibility that's definitely jazz more than anything else. Billy Taylor's on the record on piano, and leads the combo on most numbers – but the set also features some nice arrangements from Frank Foster and Tom McIntosh, both of whom really keep things interesting. Titles include "Charade", "When Did You Leave Heaven", "I Wish I Knew", "Day In the Life Of a Fool", and "I Won't Tell A Soul".

16 Most Requested Songs is a 1989 compilation CD by singer/actor Robert Goulet. The disc was part of CBS Records' compilation series that lasted for six years. This one came out in the middle.

A truly unique and wonderfully American band, the Lovin' Spoonful released nearly all of their creative legacy between 1965 and the end of 1966. The first album, Do You Believe in Magic, hit in 1965, with the second, Daydream, and the third, Hums of the Lovin' Spoonful, arriving in 1966. Also in 1966, the group delivered the soundtrack to Woody Allen's first film, What's Up, Tiger Lily? This set combines that soundtrack with Hums on a single disc, and truthfully, it works mostly because Hums, which contained such classic Spoonful numbers as "Lovin' You," "Rain on the Roof," "Coconut Grove," "Nashville Cats," and "Summer in the City," is such a fine album. Aside from the minor song "Pow" and a redo of "Fishin' Blues," the music on What's Up, Tiger Lily? is of the instrumental soundtrack variety…

Mecki Mark Men were Swedens first Psychedelia band and this debut album from 1967 is so psychedelic and wasted that even the hardcore of both US and German Psych bands would be green with envy. The base is jazzy avantgarde like rock with wasted out there vocals and psyched out structures combined with sitar drone. This is not garagey jingle jangle pop psych of 1967 but hardcore acid psychedelia that became more the norm in the late 60's and early 70's than in 1967. This debut album is a cornerstone of Swedish underground psychedelia. Both Mecki Bodemark (Vocals & organ) and Thomas Mera Gartz (drums, still active with Trдd Grдs och Stenar) are among the founding fathers of Swedish psychelia.

Guitarist T-Bone Walker is one of the most influential musicians in musical history. The Texan was one of the pioneers of the electric guitar and his recordings, made in the early 1940s for Capitol, Rhumboogie, and Black & White, are some of the earliest defining moments for electric blues. His playing was influential upon others of his era: most notably B.B. King but also several jazz players and many rock greats. He made a lot of records throughout his later career, some of variable quality. The less ground-breaking albums have often been overlooked; one of the best is his 1969 Bluestime LP Every Day I Have The Blues . Producer Bob Thiele took him to Capitol studios, teamed him up with some of the best session musicians and made a crisp, slightly funky masterpiece. There are great vocal performances, such as on the title track and Sail On , and his guitar sounds amazing on For B.B. King . This album didn t sell well, is difficult to find and is largely forgotten. This is its first reissue, and is taken from original master tapes. As a bonus Ace have added two tracks that were recorded at a 1970 show at the Carnegie Hall, New York.

This obscure power trio is thought to have come from Boston, where they supported the Velvet Underground in 1969, the same year their sole LP appeared. An inspired blend of tough electric blues (Leavin' Trunk , Antique Locomotives), commercial songs with distinctive hooks (What Of I?, Pourscha Poe) and more overtly acid-influenced material (David's Rush, Yellow Wall), it's an overlooked psychedelic gem that deserves far wider recognition.

With a fun, bright, and wonderful run of hits like "Do You Believe in Magic," "Daydream," and "Summer in the City" behind them, the Lovin' Spoonful began running out of gas by the spring of 1967, and the two albums paired here, You're a Big Boy Now and Everything Playing, both released later that year, show a band that was creatively exhausted. You're a Big Boy Now, the soundtrack to a film written and directed by Francis Ford Coppola, did generate a couple of good songs, the title tune and the lovely "Darling Be Home Soon," while Everything Playing yielded the joyous "She Is Still a Mystery" and "Six O'Clock," but these were really the last great gasp of a truly great American band. Serious fans of the group will want to have these for the sake of completion, and this two-fer is a good way to get both of them at once, but taken together, it's a swan song.

Amon Düül was a German art commune whose members began producing improvisational psychedelic rock music during the late '60s. The group's members released several albums, mostly recorded during a single extended jam session. Concurrently, some of the commune's more musically inclined members formed the longer-lasting Amon Düül II, who made their debut with 1969's Phallus Dei and continued releasing ambitious efforts such as 1971's Tanz der Lemminge and the more pop-minded Made in Germany (1975). Both acts proved to be a major influence on generations of experimental rock musicians to come and are regarded as pioneers of the Krautrock style.

Two tenor sax colossuses - Paul Gonsalves and Tubby Hayes - join forces on 'Just Friends', a rare EMI album recorded in 1965, which here makes its first appearance on CD. Apart from one standard number (the title track), the music comes from the pens of several premier British jazzers including Ian Hamer, Stan Tracey, Jimmy Deuchar and Hayes himself. In the band are such luminaries as Jackie Sharpe (baritone sax), Les Condon (trumpet), Stan Tracey (piano), Lennie Bush (bass) and Ronnie Stephenson (drums).