Bud Shank & Bob Cooper - Blowin' Country

Styles: Saxophone Jazz
Year: 1958
File: MP3@320K/s
Time: 55:45
Size: 128,2 MB
Art: Front

(3:21)  1. Dinah
(3:48)  2. Mutual Admiration Society
(4:12)  3. Steve Allen Theme
(2:45)  4. I've Grown Accustomed To Her Face
(6:18)  5. Blowin' Country
(3:17)  6. Love Nest
(3:45)  7. As Long As There's Music
(3:45)  8. Just In Time
(3:47)  9. Two Lost Souls
(4:33) 10. Thanks For The Memory
(3:38) 11. A Romantic Guy
(3:44) 12. Sweet Georgia Brown
(3:26) 13. Gypsy In My Soul
(2:34) 14. I Want To Be Happy
(2:46) 15. What'll I Do

If ever a series lived up to its promise and its name, this one surely does. These two discs are part of a set of reissues on Pacific Jazz labeled West Coast Classics which indeed they are. Also among the early releases (not reviewed here) are memorable sessions by Chet Baker/Russ Freeman, the Jack Montrose Sextet, the Jack Sheldon and Shank/Bill Perkins quintets, and octets led by Perkins and bass trumpeter Cy Touff. So far at least, there’s not a lemon in the orchard. Blowin’ Country, recorded in 1956–58, includes all selections from the original LP of that name plus five bonus tracks, on all of which Bud and Coop show that there was much more to the West Coast scene than cool. Backed by a topnotch rhythm section (with guitarist Roberts replacing pianist Williamson on the last four tracks), these two masters offer a comprehensive clinic in good old–fashioned swinging. The West Coast did have a certain “sound” of its own, which is evident throughout but the rap that it somehow didn’t swing simply doesn’t hold up under close scrutiny. 

Multi–instrumentalists Shank and Cooper let it all hang out, skipping comfortably through a colorful program that consists mostly of standards with a few not–so–standards (Steve Allen’s theme song and Shank’s “Blowin’ Country,” on which Bob and Bud frame a remarkable impression of Al and Zoot) tossed in for added flavor. Also on the menu are several lesser–known but no less convincing pieces including “Mutual Admiration Society,” “Two Lost Souls,” “As Long As There’s Music,” “The Gypsy in My Soul” and themes used by film/TV stars George Burns and Gracie Allen (“Love Nest”), Bob Hope (“Thanks for the Memory“) and Bob Cummings (“A Romantic Guy, I”). If there’s a downside, it lies in the fact that 15 tunes are crammed into the 55:37 playing time, leaving scant room to stretch. But Shank and Cooper know how to make every note count, and their solos, while perhaps briefer than one might wish, are always inspiring. Neither Shank nor Cooper was ever satisfied treading water, and both continued to refine and develop their styles. Shank is playing today as well as he ever has, while Cooper remained one of the West Coast's premier tenors until his passing in August 1995 (on the way to a rehearsal with the Bill Holman band). Mid-'50s monaural sound, but nevertheless highly recommended. 

While I can’t say I understand completely the title of valve trombonist Brookmeyer’s reissue from 1957, that’s irrelevant, really, as this is another clear–cut winner from way out west. Sound isn’t quite as sharp as on Blowin’ Country (with some slight distortion in places), but that’s a minor complaint when one hears the way Brookmeyer, Jimmy Giuffre and colleagues carve up these eight oldies from Tin Pan Alley and Brookmeyer’s “Slow Freight.” Despite the addition of two bonus tracks (“Freight,” “The Sheik of Araby”) the session still clocks in at only 49:35, which may be a consideration for those on a fixed income. But it’s good to hear Brookmeyer, one of a handful of masters on his axe, and especially the versatile Giuffre, whose more recent work lies in the realm of the avant–garde, playing sturdy straight–ahead Jazz with a well–defined kick. Brookmeyer’s a pretty fair bar–room pianist too, as he shows on “Don’t Be That Way,” “Honeysuckle Rose,” “Slow Freight” and Truckin’.” Another highlight is his muted work on “Sheik of Araby.” Another admirable session, but if forced to choose between Traditionalism and Blowin’ Country, the Shank/Cooper pairing would earn the nod by virtue of its better sound quality, running time and choice of material. ~ Jack Boewrs  http://www.allaboutjazz.com/blowin-country-traditionalism-revisited-bud-shank-capitol-records-review-by-jack-bowers.php

Personnel: Bud Shank (alto & tenor saxophones, flute); Bob Cooper (tenor saxophone); Claude Williamson (piano); Howard Roberts (guitar).

Blowin' Country

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Valerie Joyce - New York Blue

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 51:42
Size: 118,6 MB
Art: Front

(6:14)  1. It Never Entered My Mind
(4:31)  2. Blue In Green
(3:12)  3. Baby Can I Hold You
(4:29)  4. Fever
(3:26)  5. Oasis
(5:25)  6. Every Time We Say Goodbye
(3:08)  7. Moon And Sand
(3:05)  8. Little Wing
(3:09)  9. Weaver Of Dreams
(6:10) 10. It's Easy To Remember
(2:56) 11. Darn That Dream
(3:38) 12. I Fall In Love Too Easily
(2:18) 13. Golden Slumbers

Without settling into jazz-vocalist convention, Valerie Joyce has developed a voice that is wonderfully idiosyncratic, lush, and richly expressive. In an emotionally arresting and disarmingly vulnerable style, she delivers standards, modern songs destined to become standards, and originals, all with great emotional nuance. With a knowing and considered expression of music and lyrics, she conveys a sense of discovering lyrics and the resonance of songs as if for the first time. All this is documented on Joyce’s fine discs on the influential audiophile label, Chesky Records. Those albums mark the maturation of this stellar Seattle-based singer, who grew up in Japan, the daughter of a Japanese mother and American father. Joyce’s musical education began with early solfege and classical piano lessons, and then music studies while pursuing her college degree in the United States, where she has lived since 1991. She has been making recordings since 2002 (Reverie), followed in 2003 by a yet-to-be-released world-jazz project with pianist Michael Wolff and others, and then two acclaimed CDs with Chesky since 2004. New York Blue featuring pianist Andy Ezrin and The Look of Love: The Music of Burt Bacharach, featuring pianist David Hazeltine. (by Peter Monaghan)  http://valeriejoyce.com/biography/

Personnel:  Valerie Joyce – Vocals;  Andy Ezrin – Piano;  Lawrence Feldman – Alto & Tenor Saxophone;  Eugene Jackson – Drums;  Jon Hebert – Acoustic Bass, tracks 4, 8, 9, 10 & 11;  Tim Lefebvre – Acoustic Bass, tracks 1,2,3, 5,6,7,12 & 13

New York Blue

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Laurindo Almeida - Viva Bossa Nova!

Styles: Guitar Jazz, Brazilian Jazz
Year: 1962
File: MP3@320K/s
Time: 28:22
Size: 65,6 MB
Art: Front

(2:21)  1. Naked City Theme
(2:27)  2. Lazy River
(2:16)  3. Ramblin' Rose
(2:25)  4. Maria
(2:18)  5. Petite Fleur
(2:22)  6. Teach Me Tonight
(2:36)  7. Lolipops and Roses
(2:05)  8. Moon River
(3:15)  9. Desafinado
(1:55) 10. Mr. Lucky
(2:15) 11. One Note Samba
(2:01) 12. Theme from 'Route '66'

Although Laurindo Almeida was involved in many top notch authentic Bossa Nova albums, he was hardly a purist and didn’t mind mixing pop elements with Bossa Nova with the intent of reaching a broader audience. Such is the case with “Viva Bossa Nova!” from 1962, the rhythms are pure Bossa Nova, and they are expertly played, but the melodies come from popular movies and TV shows. Adding to the early 60s pop appeal is Jimmy Rowles playing a beautifully cheezy electric organ, the ultimate in ‘lounge cool’ in this pre-hippie era. It all adds up, real Bossa Nova fans may not dig this, but its perfect for fans of exotica and 60s bachelor pad mystique. Although this was mostly meant to be a pop album, none of these excellent musicians checked their creativity and talent at the door. All of the arrangements are varied and interesting and almost every tune provides a solo or two. Some top tune honors go to “Maria”, with a great sax solo from Bob Cooper, and “Petite Le Fleur” with a beautiful bass flute melody from Justin Gordon. 

“Mr Lucky” and “Theme from Route 66” are also successes in arrangement and execution. Throughout this album, Almeida and his producers stay away from overplayed tunes and the kind of super corny songs that can often drag these kind of records down. “Moon River” is probably the only song close to that category, everything else on here sounds fairly fresh. Although the choice of songs pushes this album more in a pop/exotica type direction, the high musicianship and general good-taste in presentation might make this appealing to fans of real Bossa Nova too. http://www.jazzmusicarchives.com/review/viva-bossa-nova/247448

Personnel:  Bass – Max Bennett;  Flute – Justin Gordon;  Guitar [Second] – Al Viola, Howard Roberts;  Guitar, Cavaquinho – Laurindo Almeida;  Organ [Electronic] – Jimmy Rowles;  Percussion – Chico Guerrero, Milt Holland, Shelly Manne;  Tenor Saxophone – Bob Cooper;  Trumpet – Don Fagerquist

Viva Bossa Nova!

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Don Byas Quartet - Don Byas Quartet Featuring Sir Charles Thompson

Styles: Saxophone and Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 66:49
Size: 153,5 MB
Art: Front

(5:35)  1. Autumn Leaves
(7:08)  2. Darn That Dream
(7:25)  3. Bags' Groove
(7:14)  4. Tenderly
(7:03)  5. But Not for Me
(8:58)  6. Gone With the Wind
(7:04)  7. The Girl from Ipanema
(7:45)  8. Lover Man
(6:30)  9. Stella by Starlight
(2:03) 10. Jumpin' at Basie's (Theme)

Don Byas, believing he was never going to get the recognition he deserved in this country because of bigotry, left the United States for Europe and never looked back. Virtually all of his good work was done on the Continent. Usually cited as one of the first tenor saxophonist to take up Bop, Byas never let go of his romantic and swinging roots. This reissue of a free wheeling live performance demonstrates how successful Byas was in merging all these influences into his recognizable sax sound. Tracks like "Gone with the Wind", and "Darn That Dream" recall Byas' classic 1953 outing with Mary Lou Williams where he brought the ballad sax to a new level. At the same time, "Autumn Leaves" brings to the fore Byas' bop proclivities which he so eloquently waxed on his mid 1940 sides for Savoy. On a lengthy "Tenderly"  more than seven minutes  the sax man engages in imaginative improvisation. "But Not for Me" swings like crazy recalling Byas' days with the Count Basie Orch. when he took over Lester Young's chair. 

Byas is joined on this set by another emigree, pianist Sir Charles Thompson. These two were together on that famous jazz highway, New York's 52nd Street, during the early days of Bop before departing for more appreciative shores. Thompson took a relatively simplistic, clean approach to the piano, leaving lots of space between the chords. This creates a favorable contrast with the sometimes busy sax of Byas. Occasional bumps in the road notwithstanding, this CD offers an hour of solid playing from two of jazz history's more neglected figures. The only complaint with this CD is that sometimes Thompson sounds as if he's playing the piano in the next room. Despite that flaw, this album is recommended. ~ Dave Nathan  http://www.allaboutjazz.com/featuring-sir-charles-thompson-don-byas-storyville-records-review-by-dave-nathan.php
 

Personnel:  Don Byas - Tenor Sax;  Sir Charles Thompson- Piano;  Isla Eckinger - Bass;  Peter Schmidlin -Drums

Don Byas Quartet Featuring Sir Charles Thompson

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