Oodle

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This is the first of four CDs in a remarkable series of solo piano performances by Jack Gibbons. Gibbons has transcribed and reproduced virtually every example that exists of George Gershwin’s piano playing and arrangements for piano. The first CD covers Gershwin’s work from the 1918-25 period including his first hit (”Swanee”), “Rhapsody In Blue” (adapted from a two-piano arrangement), a large portion of “Concerto In F,” some standards (including “Lady Be Good,” “Fascinating Rhythm” and “The Man I Love”) and lots of lesser-known songs. Gibbons manages to duplicate not only the spirit of George Gershwin’s music, but also his style very closely. Highly recommended and continually fascinating.

- Scott Yanow, All Music Guide

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Oodles Poodles hard at work – The heart of Oodles Hi Tech Car Rental price comparison technology are oodles Obsessive, Highly trained, High flying, Adrenalin pumped, Bazooka firing Poodles.

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A collection of transcriptions recorded during 1952 strictly for use by radio stations filling time, The Complete Standard Transcriptions presents Doris Day in a relaxed setting rarely heard by even her fans. With the Page Cavanaugh Trio on the first five numbers and an intimate small group on the others, Day shines in her typically understated way, giving treatments to classic standards — among them “You Brought a New Kind of Love to Me,” “Star Dust,” “Sentimental Journey,” “Be Anything (But Be Mine),” “I Could Write a Book,” and “I’m in the Mood for Love” — that walk the fence between pedestrian vocal pop and straight-ahead jazz vocals with grace. For those unaware that Doris Day was anything more than just a staid movie and pop star, it’s convincing proof that she’s been consistently underrated in the lexicon of great vocalists. The Complete Standard Transcriptions reissues material previously released on Hindsight’s two-volume Uncollected Doris Day series.

- John Bush, All Music Guide

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Document’s second volume of George Williams and Bessie Brown’s complete works contains their final recordings as a duo (tracks 13 and 89, dating from 1925 and 1926) and eight records made by Williams without Brown during the years 19251930. This finishes off the chronology begun on the previous volume. Accompanying instrumentalists include Fletcher Henderson and his bandsmen Don Redman and Charlie Green; Canadianborn and Michiganraised pianist Louis Hooper; songwriter and pianist Lemuel Fowler, and cornetist Harry Tate. Curiously for a bluesman, but not at all unusually for an exvaudevillian and theatrically trained performer, Williams shows off his ability to sound like a Swiss mountaineer on “Yodelin’ the Blues Away.” Eleven titles by six other duos fill out the disc and transform it into a valuable and entertaining anthology of AfricanAmerican entertainments from the ’20s. Eddie Hunter (b.1888) and Alex Rogers (18761930) perform “I’m Done” and “Bootlegger’s Ball,” a pair of vintage spoken comedy routines recorded in 1923 with piano accompaniment by Harlem stride piano master Charles Luckeyeth Roberts. Hunter, who at one point worked as a lyricist for Bert Williams, would later retire from theater and become a very successful businessman specializing in Harlem real estate. “Sweet Mandy” and “Who Calls You Sweet Mama Now” were recorded in 1924 by Louella Jones (Alberta Perkins) and Jazz Caspar (William Weldon “Billy” Higgins), composer of “There’ll Be Some Changes Made.” The cornetist on this session, Bubber Miley, would soon achieve fame as one of Duke Ellington’s star soloists. “Just Too Bad” and “I’m Gonna Kill Myself” were performed in 1926 by pianist Mike Jackson and Mabel Richardson, with Thomas Morris blowing the cornet. Jackson recorded a lot with Morris during this time period, and was a cardinal member of Morris’ Hot Babies. Unlike tracks 119, which were recorded in New York and New Jersey, “I Don’t Care What You Say” and “That Same Cat” came together at a studio in Memphis, TN and were sung by Alfoncy and Bethenea Harris with backing by a trio led by clarinetist Douglas Williams. The male half of Harris Harris is believed to have been responsible for the brief alto saxophone passages on “I Don’t Care.” This highly entertaining compilation closes with three hokum recordings made for Brunswick in Chicago during the year 1929. The cleverly named Pete and Repeat were supported by an unidentified guitarist and a pianist believed to have been Clarence “Pinetop” Smith, while the quartet accompanying Hilda Alexander and Mamie McClure, billed as the BackaTown Boys, is believed to have included trumpeter Natty Dominique (best known for his work with clarinetist Johnny Dodds), banjoist Ikey Robinson, and (apparently the only verified participant) New Orleans string bassist Bill Johnson.

- arwulf arwulf, All Music Guide

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12345millencolinhttp://gdata.youtube.com/feeds/api/users/12345millencolinMusicDe, La, Soul, Oodles, Of, O’s, Hip, Hop, THPSDe La Soul – oodles Of O’s

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Just a halo 2 montage (excuse me…compilation w/ oodles of dialogue)…you might find it funny

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