Chesney Henry "Chet" Baker Jr. (December 23, 1929 – May 13, 1988) was an American jazz trumpeter and vocalist. He is known for major innovations in cool jazz that led him to be nicknamed the "Prince of Cool".

Lambert, Hendricks & Ross were an American vocalese trio formed by jazz vocalists Dave Lambert, Jon Hendricks and Annie Ross. From 1962 to 1964, Ross was replaced by vocalist Yolande Bavan.

The Christmas cantatas have in common the use of a church chorale as their conceptual starting point, and their intimate performing forces. In Bach's output they constitute a kind of meditation on the meaning of the feast of Christmas.

Two odes to death and the soul's salvation: Whatever the occasions for which they were written (a tribute to a dead queen, or a chorale cantata), the two works on this recording have one subject in common: death and the soul's salvation. Performed in 1727 in memory of the sorely mourned Christiane Eberhardine, Queen of Poland and Electress of Saxony, the Funeral Ode BWV 198 is particularly moving in its sincerity and spiritual grandeur.

Maysa Canta Sucessos is the eighth studio album by Brazilian singer Maysa, released in 1960 and re-released in 1969 under the name a Personalidade De Maysa.

Loving You is the first soundtrack album by American rock and roll singer Elvis Presley. It was released by RCA Victor in mono, LPM 1515, in June 1957 to accompany his first starring film, Loving You (1957).

Frank Sinatra's second set of torch songs recorded with Gordon Jenkins, No One Cares was nearly as good as its predecessor, Where Are You?

Morgan was born Florence Catherine Currier in Newton, Massachusetts, on May 3, 1924, one of five children born to musicians Olga (Brandenburg) and Bertram Currier.

The complete original soundtrack to Martin Ritt’s feature film Paris Blues, starring Paul
Newman & Sidney Poitier. All of the music was composed by Duke Ellington & Billy Strayhorn, and Louis Armstrong was a featured star on two tracks. Plus Bonus: Ellington’s complete original soundtrack to Otto Preminger’s movie Anatomy of a Murder.

Superbly constructed, the cantata "Ich hatte viel Bekümmernis" is incontestably of the material endows it with an emotional cohesion and a dramatic intensity worthy of the passions and mass in B minor.

In 1991, Philippe Herreweghe and La Chapelle Royale recorded three Bach cantatas on the themes of suffering and death - death viewed as a kindly comforter. The soloist was the prodigious bass Peter Kooy, a long-standing partner of the ensemble and a key figure in it's magnificent survey of Bach's cantatas, motets and Passions.

Sorrow, desolation and comfort: In 1723 and 1724, the congregation of the Lutheran parish church of St Thomas’s in Leipzig had ample opportunity to discover, week after week, a little more of the talent of their new Kantor, a certain Johann Sebastian Bach. Among the ‘obligatory cantatas’ that were his weekly lot were the three presented on this album, which make use of the texts of Psalms 22 and 130 (the De profundis: ‘Out of the deep have I called unto thee’) or deal with the ‘Weeping, wailing, lamenting, fearing’ that are our everyday fare in this vale of tears. In fact this cantata BWV 12, which actually dates from considerably earlier in Bach’s career, gives a particularly doleful tone to a programme whose ultimate message will nonetheless bring succour to souls in torment…

Bach reserved some of his most elaborate cantatas for worship on the Sunday before the beginning of Lent – and it was for that very day that he composed the cantatas BWV 22 and 23 in 1723, as test pieces destined to gain him the post of Leipzig Kantor. The cantatas BWV 127 and 159 were written for the same Sunday in subsequent years.

Christ lag in Todesbanden, BWV 4, Gott der Herr ist Sonn und Schild, BWV 79, and Ein feste Burg ist unser Gott, BWV 80. Written at different moments in the composer’s life and based to a large extent on the works of Martin Luther, these cantatas reflect a marked taste for dramaturgy, vivid word painting and an invariably astonishing use of instruments and voices. Herreweghe and Collegium Vocale Gent give us an accomplished version of these masterpieces, confirming, if further proof were needed, their stature as ardent champions of Bach.

After his move to Leipzig in 1723, the years 1724 and 1725 were especially creative ones for the new Kantor of St Thomas’s. Bach had decided to write a complete cycle of chorale cantatas, thus producing a body of work that went far beyond the expectations of his employers. The target he had set himself now offered an unparalleled laboratory for musical experimentation. These three cantatas for the Sundays after Trinity, which begin the liturgical year, date from this period.