One of tenor-saxophonist Lester Young's final studio sessions (he died a year later), this date apparently had a lot of difficulties but the recorded results are excellent. Prez was joined by two great swing trumpeters (Roy Eldridge and Harry "Sweets" Edison) and a fine rhythm section for two standards, two originals and the ballad "Gypsy in My Soul." Young takes rare clarinet solos on two of the selections with his emotional statement on "They Can't Take That Away from Me" being one of the highpoints of his career.
This album comprises two original LPs, now available together on CD for the first time. The first 12 tracks come from Patented by Edison, recorded in 1960, and the last 12 are from Sweetenings, recorded two years earlier. Despite the differing personnels on each album, the format is basically the same: mainly short tracks featuring Harry Edison himself, with the other players somewhat in the background. The results might threaten to be samey, except that Edison is always worth hearing, with his judicious choice of notes and his soft, unassertive tone. It is no surprise that Frank Sinatra wanted Harry to be on many of his recordings with Nelson Riddle's orchestra, because the trumpeter could always supply an inimitable touch of sophistication without overpowering the singer.
This release presents the complete original Verve LP "Going for Myself" reuniting Lester Young and Harry “Sweets” Edison, one Pres’ last studio albums ever. Backing Pres and Sweets are superb musicians like Oscar Peterson, Louie Bellson and Herb Ellis. Five extra tracks have been added to the contents of the original album, including three alternate takes and two tunes not included on the originally issued set.
Brought up in the Roman Catholic faith, which he abandoned in 1917 following the death of his father, Poulenc returned to the Church in 1936 after the death of his close friend and fellow composer Pierre-Octave Ferroud. Together these events caused a spiritual crisis in Poulenc’s life which led to a series of important compositions for chorus. The powerful Mass in G major, dedicated to the memory of his father, is notable for its daring use of tonality, though the playfulness of Poulenc’s ‘Les Six’ period is not absent. In the Sept Chansons, set to surrealist texts, and in the two sets of Motets - both very personal and penitential - Poulenc generates a huge range of emotion.