For Loren Schoenberg of the Jazz Museum of Harlem, it's the discovery that capped nearly forty years of searching. For us at Mosaic, it's the "find" that has us re-examining an era we thought we knew inside out. And now, for listeners, it's an historic and fleeting opportunity to own a treasure trove of previously unknown music. Mosaic Records presents "The Savory Collection" - six CDs with 108 tracks locked away for more than 70 years and finally available on CD for the very first time anywhere. The recordings are from the personal collection of Bill Savory, a quirky and secretive studio engineer in New York whose day job in the late 1930s and early 1940s was transcribing radio broadcasts for foreign distribution, and whose nighttime passion was turning on the disc recorders to pull in and preserve what was happening in the clubs of New York City and other cities.

Chick Webb was a jazz and swing drummer and bandleader who enjoyed huge success and popularity during the 1930s before his career was tragically cut short by his death from spinal tuberculosis in 1939 at the age of 34. He was renowned for introducing the teenaged Ella Fitzgerald to the scene as his featured vocalist. With a much-admired powerful virtuoso drumming technique, he was a highly influential figure, paving the way for the likes of Gene Krupa, Buddy Rich and Louie Bellson. This 98-track 4-CD collection comprises most of his releases under his own name on the Brunswick, Vocalion, Columbia, Okeh and Decca labels, plus early recordings with the Jungle Band. It contains a significant number of recordings featuring Ella Fitzgerald, who performed on several of his 17 career hits, all of which are included here, most notably the No. 1 A-Tisket, A-Tasket.

The complete Decca Records work of one of the most groundbreaking groups of the swing era! 146 tracks in all – all original 78rpm recordings in a wonderful format.When saxophonist Jimmie Lunceford signed to the Decca label in 1934 he was running one of the best orchestras in the US. He had signed a deal to appear at the Cotton Club (where bandleaders Duke Ellington and Cab Calloway had recently launched into stardom) and was frequently beating others in battles of the bands, all the while leading an outfit with an uncanny amount of precision and professionalism. Even Glenn Miller claimed that when Lunceford's band was at its peak, no one could top it.

Roots 'N Blues: The Retrospective 1925-1950 is a four-CD box set released on Columbia Records in June 1992. The set features five hours worth of early blues, folk/country and gospel recordings from a variety of American artists. Many of these recordings had never previously been issued in any medium.

4 Cd Quality 80-track anthology of the great vocal group's singles incl Just For A Thrill, My Prayer, That's When Your Heartaches Begin, Stranger In Paradise and more.

Let us first salute the title, given by the publisher, and undoubtedly also by Jean-Paul Ricard and Jean Buzelin, co-responsible for this edition: Jazz Ladies, and not Women in Jazz as in the past, or even “girls » as was also the case. Not the “women” of jazz, a term that is used everywhere, but the “ladies”. We do say “ladies and gentlemen” after all. This time, the ladies are entitled to three CDs, one more than usual. The tenacity of Jean-Paul Ricard, a great specialist on the subject for years, collector of records and CDs, therefore produces its effect, and it is with pleasure and a certain amazement that we see the list of instrumentalists lengthening female who has practiced jazz. And again, the usual rights reasons limited the selection to the year 1962. We suspect that if we could go to the present day, we would need a good dozen cakes. Because, even if the figures do not seem to indicate a break in the famous “glass ceiling”, the presence of “ladies” is not weakening, and is even strengthening. Let us add that female singers are not included in this selection, except obviously the cases (not rare at all) of instrumentalists whom the producers pushed into singing, for financial reasons.

A cross section of Hawaiian music, from lap-steel great Sol Hoopii to Ella Fitzgerald, with a large helping of slack-key guitar, lush instrumentals, gorgeous singing and melodic masterpieces, some once buried in the vinyl landfill and resurrected here for the first time.

"100 jazz hits as featured in the celebrated TV series".

Groups of girls singing together… from the end of the 20s they were known as girl vocal groups, a huge phenomenon in the USA that ended only in the 60s. By then they’d established the art of singing vocal harmony in every genre of American pop, and gone far beyond the country’s borders. Jean Buzelin and Jean-Paul Ricard have gone deep into jazz, pop and soul material for this set, and chosen the most representative groups that sublimed the songs of America’s girl singers.

Also contains interviews with the composer as well as a recording of the second symphony during rehearsal. An extraordinary collection of Barber performances, most of them never before released. Several major works are included in both their original and revised versions. Newly restored sound.

Cabell Calloway III (December 25, 1907 – November 18, 1994) was an American jazz singer and bandleader. He was a regular performer at the Cotton Club in Harlem, where he became a popular vocalist of the swing era. His niche of mixing jazz and vaudeville won him acclaim during a career that spanned over 65 years.

The second of five CDs put out by the European Classics label that document trumpeter Red Allen's 1929-41 recordings has three titles from a session co-led with tenor-saxophonist Coleman Hawkins, eight songs from 1934 and a dozen from the following year. Allen takes vocals on most of the tracks and, even if not all of the songs are gems, there are many highlights including "Pardon My Southern Accent," "Rug Cutter Swing," "Believe It, Beloved," "Rosetta" and "Truckin'." The strong supporting cast includes trombonists Dickie Wells and J.C. Higginbotham, clarinetists Buster Bailey and Cecil Scott and, on one date, tenorman Chu Berry.

This double album is devoted to the exceptional match between African-American musicians and boxers who all packed a punch in carrying the hopes of their people. Selected by Monique Pouget and Jean Buzelin from material that has all the passion of the ring, these emblematic pieces evoke a people’s admiration for its champions… with some unexpected bouts with fighters who were heroes. A bonus is the tribute paid to the exboxers who shelved their gloves before going on to vibrate, body and soul, and with great talent, in the arena of blues and jazz.

This is a fascinating and engrossing compilation: the most remarkable sensation I had was that the musical evocation of Christmas mattered to these performers in a very direct and secure way. There is in almost every track a deep sincerity which I cannot find in many of the recent or current Christmas releases - and I don't think this is a brutally cynical comparison. Not only are there some superb voices displayed here, but the delivery and use of some of the voices seems to go way beyond the technical, and at times reaches magically inspiring heights.

In conjunction with the 2006 DVD documentary of record collector Joe Bussard, Dust-to-Digital released this companion CD, featuring 19 tracks in some of the kind of styles – rural blues, jazz, and old-timey country music, mostly from the '20s and '30s – that Bussard loves. Desperate Man Blues: Discovering the Roots of American Music isn't exactly a soundtrack to the documentary, since these records are not featured in their entirety in that film. Rather, it's a survey of some of the highlights of the music in which Bussard specializes, the liner notes featuring track-by-track annotation by Bussard himself. It's an excellent mixture of classics by some of the most esteemed early country and blues giants and the kind of more obscure items that are primarily known only to the type of listeners who covet what Bussard collects. Among the classics are Robert Johnson's "Cross Road Blues," Blind Willie McTell's "Statesboro Blues," Clarence Ashley's "The Coo-Coo Bird," the Carter Family's "John Hardy Was a Desperate Little Man," and the very first version of "Stack O' Lee Blues" ever made (by Cleve Reed and Harvey Hull, in 1927).