Gene Krupa - Wire Brush Stomp: Original Recordings 1935-1940

Styles: Jazz, Swing
Year: 2002
File: MP3@320K/s
Time: 60:32
Size: 142,2 MB
Art: Front

(2:41)  1. The Last Round-Up
(2:42)  2. Jazz Me Blues
(3:09)  3. Blues of Israel
(2:44)  4. Three Little Words
(2:58)  5. Barrelhouse
(2:56)  6. The World Is Waiting for the S
(3:07)  7. I Hope Gabriel Likes My Music
(3:04)  8. Mutiny in the Parlor
(3:00)  9. I'm Gonna Clap My Hands
(2:59) 10. Swing Is Here
(2:12) 11. I Know That You Know
(2:59) 12. Apurksody
(2:31) 13. Nagasaki
(3:07) 14. Quiet and Roll 'Em
(2:16) 15. Wire Brush Stomp
(3:03) 16. The Madam Swings It
(2:55) 17. Jungle Madness
(3:10) 18. Ta-Ra-Ra-Boom-Der-E
(5:46) 19. Blue Rhythm Fantasy
(3:03) 20. Drummin' Man

The first drummer to be a superstar, Gene Krupa may not have been the most advanced drummer of the 1930s but he was in some ways the most significant. Prior to Krupa, drum solos were a real rarity and the drums were thought of as a merely supportive instrument. With his good looks and colorful playing, he became a matinee idol and changed the image of drummers forever. Gene Krupa made history with his first record. For a session in 1927 with the McKenzie-Condon Chicagoans, he became the first musician to use a full drum set on records. He was part of the Chicago jazz scene of the 1920s before moving to New York and worked in the studios during the early years of the Depression. In December 1934 he joined Benny Goodman's new orchestra and for the next three years he was an important part of Goodman's pacesetting big band. Krupa, whose use of the bass drum was never too subtle, starred with the Goodman Trio and Quartet, and his lengthy drum feature "Sing, Sing, Sing" in 1937 was historic. After he nearly stole the show at Goodman's 1938 Carnegie Hall Concert, Krupa and Goodman had a personality conflict and the former soon departed to form his own orchestra. It took the drummer a while to realize with his band that drum solos were not required on every song! Such fine players as Vido Musso, Milt Raskin, Floyd O'Brien, Sam Donahue, Shorty Sherock, and the excellent singer Irene Daye were assets to the Krupa Orchestra and "Drum Boogie" was a popular number but it was not until 1941 when he had Anita O'Day and Roy Eldridge that Krupa's big band really took off. Among his hits from 1941-1942 were "Let Me Off Uptown," "After You've Gone," "Rockin' Chair" and "Thanks for the Boogie Ride." Krupa made several film appearances during this period, including a very prominent featured spot in the opening half-hour of the Howard Hawks comedy Ball of Fire, performing an extended version of "Drum Boogie" (with Roy Eldridge also featured), and William Dieterle's faux jazz history, Syncopation. Unfortunately, Krupa was arrested on a trumped-up drug charge in 1943, resulting in bad publicity, a short jail sentence, and the breakup of his orchestra. In September 1943 he had an emotional reunion with Benny Goodman (who happily welcomed him back to the music world). Krupa also worked briefly with Tommy Dorsey before putting together another big band in them middle of 1944, this one with a string section. 

The strings only lasted a short time but he was able to keep the group working into 1951. Tenor saxophonist Charlie Ventura and pianist Teddy Napoleon had a trio hit in "Dark Eyes" (1945), Anita O'Day returned for a time in 1945 (scoring with "Opus No. 1") and, although his own style was unchanged (being a Dixieland drummer at heart), Krupa was one of the first swing big bandleaders to welcome the influence of bebop into his group's arrangements, some of which were written by Gerry Mulligan (most notably "Disc Jockey Jump"). Among the soloists in the second Krupa Orchestra were Don Fagerquist, Red Rodney, Ventura, altoist Charlie Kennedy, tenorman Buddy Wise, and in 1949 Roy Eldridge. After breaking up his band in 1951, Krupa generally worked with trios or quartets (including such sidemen as Ventura, Napoleon, Eddie Shu, Bobby Scott, Dave McKenna, Eddie Wasserman, Ronnie Ball, Dave Frishberg, and John Bunch), toured with Jazz at the Philharmonic, ran a drum school with Cozy Cole and had occasional reunions with Benny Goodman. In 1959, Columbia Pictures released The Gene Krupa Story, a biographical drama based on Krupa's life starring Sal Mineo in the title role and Red Nichols in a supporting part. Gradually worsening health in the '60s resulted in him becoming semi-retired but Krupa remained a major name up until his death. Ironically his final recording was led by the same person who headed his first appearance on records, Eddie Condon. Gene Krupa's pre-war big-band records are gradually being released by the Classics label. ~ Scott Yanow https://itunes.apple.com/mn/album/wire-brush-stomp-original/id193107265

Personnel:  Drums – Gene Krupa ;  Alto Saxophone – Mascagni Ruffo (tracks: 11 to 20);  Bass – Horace Rollins (tracks: 11 to 20), Israel Crosby (tracks: 1 to 10);  Clarinet – Benny Goodman (tracks: 1 to 10); Guitar – Allan Reuss (tracks: 1 to 10), Ray Biondi (tracks: 11 to 20);  Piano – Jess Stacy (tracks: 1 to 10), Milt Raskin (tracks: 11, 13, 15, 17 to 20);  Tenor Saxophone – Dick Clark (tracks: 1 to 7), Sam Donahue (tracks: 11 to 20), Sam Musiker (tracks: 12, 14, 16, 18);  Trombone – Bruce Squires (tracks: 11 to 20), Joe Harris (2) (tracks: 1 to 7);  Trumpet – Nate Kazebier (tracks: 1 to 7)

Wire Brush Stomp

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Stacey Kent - In Love Again

Styles: Vocal Jazz
Year: 2002
File: MP3@320K/s
Time: 53:57
Size: 125,6 MB
Art: Front

(3:42)  1. Shall We Dance?
(5:05)  2. Bewitched, Bothered And Bewild
(2:57)  3. My Heart Stood Still
(4:39)  4. It Never Entered My Mind
(4:06)  5. I Wish I Were In Love Again
(4:52)  6. Thou Swell
(4:39)  7. It Might As Well Be Spring
(3:48)  8. Nobody's Heart (Belongs To Me)
(4:35)  9. I'm Gonna Wash That Man Right
(3:07) 10. This Can't Be Love
(4:57) 11. Easy To Remember
(4:22) 12. Manhattan
(3:00) 13. Bali Ha I

Stacey Kent is back, with her regular combo, for an engaging tribute to Richard Rodgers. In addition to routinely covered songs like "It Never Entered My Mind" and "Bewitched," the Britain-based vocalist looks to the South Pacific book and comes up with two items seldom performed in a jazz context "I'm Gonna Wash That Man Right Outa My Hair" and "Bali Ha'i." Happily, these are two of the best cuts; the former, with its burlesque-ish 6/8 middle section, works amazingly well. The sound of the disc is strong, highlighting the nicely varied arrangements and the innate charm of Kent's puckish voice. There are a few downsides: a sluggish "Thou Swell," an aimless bossa nova reading of "It Might as Well Be Spring," and a general overabundance of ballads. But swinging tracks like "This Can't Be Love" and "My Heart Stood Still" (the latter spiced with tasty chord substitutions) make up for the lukewarm spots. ~ David R.Adler http://www.allmusic.com/album/in-love-again-mw0000018773

Personnel: Stacey Kent (vocals); Colin Oxley (guitar); Jim Tomlinson (flute, tenor saxophone); David Newton (piano); Jesper Kviberg (drums).

In Love Again

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Howard Alden - Your Story: The Music Of Bill Evans

Styles: Guitar Jazz
Year: 1994
File: MP3@320K/s
Time: 57:32
Size: 131,7 MB

(5:33)  1. Tune For A Lyric
(7:00)  2. Loose Bloose
(4:02)  3. Displacement
(5:15)  4. Time Remembered
(4:16)  5. Two Lonely People
(7:29)  6. Funkallero
(3:55)  7. Only Child
(7:24)  8. Laurie
(4:29)  9. Maxine
(5:10) 10. Five
(2:54) 11. Your Story

There seem to be a flurry of pianoless CD tributes to the late pianist Bill Evans in the mid-1990s, by far the most successful is this release by the extraordinary guitarist Howard Alden. He waited until he started playing a seven string guitar to fully explore Evans' rich and often difficult melodies, as he was then able to keep them in their original keys while being able to round out the original harmonies by playing the low notes himself on the extra string. Of course, it doesn't hurt him to have the talented bassist Michael Moore (who worked for a time in Evans' trio) and drummer Al Harewood on hand. Another thing that make this CD stand out from similar efforts is Alden's willingness to concentrate on the less familiar works by the pianist. The constantly shifting "Tune for a Lyric" and "Discplacement" are challenges that he seems to meet effortlessly, while the Latin setting of "Time Remembered" adds the ethereal flute of Frank Wess, and the foot patting bluesy "Loose Blues," with Wess on tenor sax, will compare favorably to Evans' original recording with Zoot Sims. Alden also includes several works written near the end of the pianist's career. "Laurie" is a lush blend of Alden's soft guitar and Wess' romantic tenor, while "Maxine" begins with the leader's unaccompanied solo before switching to a waltz-like setting featuring some of Moore's typically brilliant playing. There isn't a track on this CD by Howard Alden that is less than excellent. Highly recommended. ~ Ken Dryden http://www.allmusic.com/album/your-story-the-music-of-bill-evans-mw0000119387

Personnel: Howard Alden (guitar); Frank Wess (tenor saxophone, flute); Michael Moore (bass); Al Harewood (drums).

Your Story: The Music Of Bill Evans

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The Frank Capp Juggernaut - In A Hefti Bag

Styles: Jazz, Bop
Year: 1995
File: MP3@320K/s
Time: 56:10
Size: 129,5 MB
Art: Front

(3:01)  1. I'm Shoutin' Again
(3:25)  2. Cherry Point
(2:47)  3. Flight Of The Foo Birds
(4:49)  4. Late Date
(3:01)  5. Scoot
(3:13)  6. Teddy The Toad
(2:33)  7. Dinner With My Friends
(5:12)  8. Midnite Blue
(3:37)  9. Bag-A-Bones
(3:28) 10. It's Awf'lly Nice To Be With You
(3:22) 11. Cute
(4:00) 12. Whirly Bird
(3:09) 13. Duet
(4:36) 14. Li'l Darlin'
(3:28) 15. Fantail
(2:26) 16. The Kid from Red Bank

The Frank Capp Juggernaut's interpretations of 16 Neal Hefti compositions (which were originally written and arranged for the 1950s-era Count Basie Orchestra) bring new life to the highly appealing music without directly copying the earlier recordings. Capp and his 16-piece orchestra are in typically swinging form on obvious classics such as "Cute," "Whirlybird," and "Li'l Darlin'"; several songs whose ensembles are more familiar than their titles (such as "Flight of the Foo Birds," "Scoot," and "Bag-A-Bones"); and some high-quality obscurities. Many soloists are featured, including the late altoist Marshall Royal (who takes his last recorded solo on "It's Awf'lly Nice to Be with You"); tenors Rickey Woodard and Pete Christlieb; altoist Lanny Morgan; trumpeters Conte Candoli, Bob Summers, and Snooky Young; and trombonists Thurman Green, Alan Kaplan, and Andy Martin. Special mention should be made of the work of Gerry Wiggins, who is former co-leader Nat Pierce's permanent replacement and fits right into the Count Basie chair with enthusiasm and obvious skill. As for Frank Capp, he gets his share of drum breaks (including on "Cute" and "Whirlybird") while thoroughly enjoying himself driving the ensembles. Fans of swinging big bands cannot do much better than picking up this highly recommended release. ~ Scott Yanow http://www.allmusic.com/album/in-a-hefti-bag-mw0000644872

Personnel: Frank Capp (drums); Dennis Budimir, John Pisano (guitar); Bill Green (flute, baritone saxophone); Danny House, Lanny Morgan, Marshall Royal (alto saxophone); Pete Christlieb, Rickey Woodard (tenor saxophone); Jack Nimitz (baritone saxophone); Conte Candoli, Frank Zsabo, Snooky Young, Bill Berry, Bob Summers (trumpet); Alan Kaplan, Andy Martin, Thurman Green (trombone); Gerald Wiggins, Gerry Wiggins (piano).

In A Hefti Bag

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Tony Perkins - Tony Perkins

Styles: Vocal
Year: 1957
File: MP3@256K/s
Time: 52:20
Size: 96,2 MB
Art: Front

(3:06)  1. April Fool
(1:53)  2. Just Friends
(2:49)  3. Hit the Road to Dreamland
(2:08)  4. This Time the Dream's on Me
(2:53)  5. How Long Has This Been Going On
(2:50)  6. But Beautiful
(2:11)  7. Whi Shouldn't I
(4:03)  8. I Wish I Knew
(2:28)  9. Accidents Will Happen
(2:29) 10. Gone With the Wind
(3:08) 11. Better Luck Next Time
(2:36) 12. How About You
(3:02) 13. A Little Love Can Go a Long, Long Way
(2:46) 14. If You'll Be Mine
(2:48) 15. If You Were the Only Girl
(2:21) 16. Fool in Love
(2:57) 17. Melody for Lovers
(2:56) 18. If You Were the Only Girl
(2:47) 19. Friendly Persauasion (Thee I Love)

Tony Perkins will undoubtedly be best remembered for his considerable cinematic contributions rather than musical ones. However during the late '50s, Perkins demonstrated remarkable versatility as a sensitive vocalist on a series of pop recordings. By the time the entertainer issued this platter in 1957, he had already become an Academy Award nominee for his role in the Civil War era drama Friendly Persuasion (1956). Under the orchestration and scoring of arranger/conductor Marty Paich, Perkins reveals a real flair for the cool and easygoing approach of the West Coast post-bop jazz movement. In fact the song selection as well as darker vocal inflections recall a striking similarity to that of Chet Baker. Paich's contributions are tasteful and never overpower Perkins' warm and supple tones and are highlighted by an equally engaging choice of material. Among the more notable performances are "Just Friends," "This Time The Dream's On Me" and the hipster's lullaby "Hit The Road To Dreamland"." These sides, although his first to be released, were not Perkins' initial foray as a vocalist. At his suggestion, "A Little Love Can Go A Long, Long Way" was incorporated into the Goodyear Playhouse television adaptation of the screenplay Joey. The success and enthusiasm generated by the telecast led to an offer by Epic Records. Even before this album, Perkins had recorded half-a-dozen sides that eventually filled out the respective A and B sides of three 7" singles. Chief among these was his reading of the afore mentioned "A Little Love Can Go A Long, Long Way" as well as the title song from his concurrent motion picture Friendly Persuasion which was also known by its parenthetical title "Thee I Love." In 2003 Collectors' Choice Music issued Tony Perkins on CD and included not only these 45's, but also a previously unreleased reading of "If You Were The Only Girl" among the supplementary materials. Although Paich was not involved with the singles, Perkins' was in the respective company of Buddy Cole, jazz arranger Obie Masingill and Buddy Bergman. Jazz vocal enthusiasts might find themselves pleasantly surprised at the emotive range and style of Tony Perkins. Followers of the West Coast cool scene are highly encouraged to investigate this title as well. ~ Lindsay Planer http://www.allmusic.com/album/tony-perkins-mw0000595433

Personnel: Tony Perkins (vocals); Marty Paich (arranger).

Tony Perkins

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