Don Ellis - Live At Monterey

Styles: Trumpet Jazz
Year: 1998
File: MP3@320K/s
Time: 63:56
Size: 147,4 MB
Art: Front

( 1:18)  1. Introduction By Jimmy Lyons
( 8:50)  2. 33 222 1 222
( 6:39)  3. Passacaglia And Fugue
( 6:26)  4. Crete Idea
(12:50)  5. Concerto For Trumpet
( 6:35)  6. 27/16
( 9:07)  7. Beat Me Daddy, 7 To The Bar
(12:08)  8. New Nine

The first effort by the Don Ellis big band, as with all of his other orchestral projects, has yet to be reissued on CD. One of the most exciting new jazz big bands of the period, Ellis' ensemble became notorious for its ability to play coherently in odd time signatures. One of the four originals heard on this acclaimed outing from the 1966 Monterey Jazz Festival is titled "33 222 1 222" to show how the band manages to perform in 19/4 time. The other selections are Hank Levy's "Passacaglia And Fugue," "Concerto For Trumpet" (in 5/4) and "New Nine." In addition to the time signatures, Ellis enjoyed utilizing unusual combinations of instruments; the instrumentation on this date consists of five trumpets, three trombones, five saxes, piano, three bassists, two drummers and a percussionist. Among the more notable sidemen are a young Tom Scott (who solos on alto) and tenor-saxophonist Ira Schulman. Highly recommended but unfortunately this album will be difficult to find. ~ Scott Yanow https://www.allmusic.com/album/live-at-monterey-mw0000040544

Personnel:  Don Ellis - trumpet, arranger; Alan Weight, Ed Warren, Glenn Stuart, Paul Lopez - trumpet; Dave Wells, Ron Meyers - trombone; Terry Woodson - bass trombone; Ruben Leon - alto saxophone, soprano saxophone, flute; Tom Scott - alto saxophone, saxello, flute; Ira Shulman - tenor saxophone, alto saxophone, clarinet; Ron Starr - tenor saxophone, flute, clarinet; John Magruder - baritone saxophone, flute, clarinet, bass clarinet; David MacKay - organ, piano; Frank DeLaRosa, Chuck Domanico, Ray Neapolitan - bass; Alan Estes, Steve Bohannon - drums; Chino Valdes - bongos, congas; Hank Levy - arranger

Live At Monterey

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Connie Russell - The Very Best Of

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 67:22
Size: 158,1 MB
Art: Front

(2:17)  1. Dream a Little Dream of Me
(3:47)  2. Prelude to a Kiss
(2:23)  3. You'd Be So Nice to Come Home To
(2:35)  4. All I Do Is Dream of You
(2:45)  5. You're My Thrill
(2:48)  6. That Old Feeling
(3:34)  7. For Every Man There's a Woman
(2:30)  8. You're My Man
(3:26)  9. Caravan
(4:31) 10. Angel Eyes
(2:13) 11. You and the Night and the Music
(2:19) 12. Close Your Eyes
(2:34) 13. Near You
(2:42) 14. Love Is a Simple Thing
(2:40) 15. Woman's Love
(2:32) 16. I Wanna Be Loved
(3:25) 17. Don't Smoke in Bed
(2:33) 18. The Thrill Is Gone
(3:44) 19. Lonely Town
(2:33) 20. I Can't Give You Anything But Love
(2:26) 21. Take Me in Your Arms
(2:01) 22. Alone With You
(2:26) 23. The Touch of Your Lips
(2:28) 24. You've Changed

Shapely, sultry singer Connie Russell came from show biz parents and was already performing in her parent's song-and-dance vaudeville act by age two. The New York-born Connie, whose musical heritage included well-known vaudevillian and grandmother Marie Russell, traveled both in the U.S. and Europe during her early days. She turned solo at age 11 and, quite mature for her age, began booking her own shows at popular London night spots in her mid-teens. Making her musical film debut in Melody and Romance (1937) while in England, MGM signed her up and she appeared to good advantage in Lady Be Good (1941) in which she sang "Fascinating Rhythm" but, despite her pin-up good looks, did not go on to better things with the studio, appearing in nothing parts in Joe Smith, American (1942) and the Red Skelton/Eleanor Powell musical Ship Ahoy (1942). She also dubbed Claire Trevor's singing voice in the film Crossroads (1942). TV proved to be more viable medium for her when she auditioned for Dave Garroway and became a regular on his Garroway at Large (1949) show. She appeared on a number of variety TV shows for such luminaries as Morey Amsterdam, Ed Sullivan, Steve Allen, Milton Berle and Eddie Cantor, and appeared in New York clubs in the early 50s. Returning to Hollywood she earned a strong showing in the musical film Cruisin' Down the River (1953) alongside Dick Haymes and became a prominent Las Vegas headliner. On the musical stage one of her most popular roles was in 1951's "South Pacific" as Nellie Forbush co-starring Richard Eastham," but hopes for the subsequent film role went down the tubes when the role went to Mitzi Gaynor. A solid recording artist with a jazzy style, her more popular renditions include "That's What a Rainy Day is For" and "You've Changed." Her last films were in This Is My Love (1954), in which she appeared as herself and sang the title tune, and the femme lead in the film noir thriller Nightmare (1956) with Kevin McCarthy and Edward G. Robinson. Marrying agent Mike Zimring, she abandoned her four-decade career after giving birth to her third daughter. She died in 1990 at age 67 of a heart ailment. Eldest daughter Lisa is also a singer.~ IMDb Mini Biography By: Gary Brumburgh / gr-home@pacbell.net  https://www.imdb.com/name/nm0751086/bio

The Very Best Of

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Jimmy Woods Sextet, Elvin Jones - Conflict

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 56:54
Size: 131,2 MB
Art: Front

(5:47)  1. Conflict
(6:01)  2. Coming Home
(7:57)  3. Aim
(6:44)  4. Apart Together
(5:50)  5. Look to Your Heart
(6:32)  6. Pazmuerte
(4:54)  7. Conflict (Alt. Take)
(7:12)  8. Aim (Alt. Take)
(5:53)  9. Look to Your Heart (Alt. Take)

Jimmy Woods was a talented musician who made few recorded appearances before vanishing into obscurity. Conflict is the second of two '60s solo records on Contemporary, the first already reissued in a previous batch of limited edition releases. It’s tempting to judge Woods solely on the company he keeps certainly the likes of Andrew Hill, Elvin Jones, and Harold Land don’t have to be bothered with middling talent. However, Woods proves he can more than handle the responsibilities on a program consisting entirely of forward-thinking, advanced hard bop originals, which also utilize inventive call-and-response riffs. “Conflict” is a lopsided blues with an edgy vamp from Hill which allows the front line to indulge in some grand exploratory work. On the other hand, “Apart Together” features a complicated head and the type of restless chord progressions that serious musicians love to dig in to. Woods demonstrates his ability to handle the changes and aptly deserves the company he keeps. Elvin Jones fits in his usual thunderous moments, and the rest of the sidemen, Hill and Carmell Jones in particular, are models of creative expression. Contemporary signed Woods after Ornette Coleman’s departure to Atlantic. While not quite an equal replacement, Woods proved that he was a talented musician whose time in the spotlight, for whatever reason, was brief. ~ David Rickert https://www.allaboutjazz.com/conflict-jimmy-woods-fantasy-jazz-review-by-david-rickert.php

Personnel: Jimmy Woods-alto sax; Carmell Jones-trumpet; Andrew Hill-piano; George Tucker-bass; Elvin Jones-drums.

Conflict

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Tex Beneke & His Orchestra - Stardust

Styles: Jazz, Big Band
Year: 1956/2010
File: MP3@320K/s
Time: 40:12
Size: 93,0 MB
Art: Front

(4:16)  1. Stardust
(3:15)  2. Georgia On My Mind
(3:09)  3. Lazy River
(3:09)  4. Rockin' Chair
(3:18)  5. Lazy Bones
(3:07)  6. Riverboat Shuffle
(3:17)  7. East Of The Sun
(3:22)  8. Blue Champagne
(3:36)  9. St. Louis Blues March
(2:59) 10. Bye Bye Blues
(3:37) 11. Meadowlands
(3:01) 12. Blues In The Night March

The name Tex Beneke is inevitably linked to that of Glenn Miller, despite the fact that Beneke outlived Miller by over a half-century. As the most popular member of Miller's pre-World War II orchestra, featured on songs such as "Chattanooga Choo Choo" and "Don't Sit Under the Apple Tree," Beneke became a major fixture in the popular culture of the period, and following Miller's death in December of 1944, and the re-formation of the Glenn Miller Orchestra after World War II, he accepted the offer to lead the new band. Beneke, however, had a lot to offer the music world beyond his vocals on some fondly remembered hit songs. He began playing the saxophone at age nine, first the alto and then the tenor, and played in local and regional bands in Oklahoma and Texas during the early and mid-'30s. A gig playing with a band led by Ben Young brought him to Detroit, where he was spotted by Sam Donahue, then a saxman in Gene Krupa's band Krupa was unable to hire Beneke but informed a friend of his in New York of this promising new player. The friend was Glenn Miller, who'd recently begun forming a band of his own, and Beneke was hired, joining the orchestra in the spring of 1938 it was with Miller's band that Beneke picked up the nickname "Tex." The Miller orchestra struggled until the summer of 1939, when an engagement at the Glen Island Casino and a series of radio broadcasts made it a national sensation. Beneke played and sang with the orchestra, and became a star in his own right. He stayed until 1942, when Miller broke up the band to join the U.S. Army Air Force as a bandleader. Beneke was drafted into the navy and led a military dance outfit at a base in Oklahoma.

After the end of the war, when a new Glenn Miller Orchestra was formed, Beneke took on the leadership, debuting in January of 1946 at the Capitol Theater in New York City. The orchestra, formed under the auspices of Miller's widow and his estate, was intended to emulate the sounds of the pre-war Miller band and his Army Air Force band this included the presence of 13 string players in the 31 piece outfit, making it, along with Harry James' orchestra, one of the few big bands to include strings. They were an immediate success, compiling an enviable array of hits for five years. One gig in particular stood out in December of 1947, a year after the near-collapse of the big-band business, at the Hollywood Palladium, Tex Beneke and the Glenn Miller Orchestra played to a record-breaking crowd of 6,750 dancers. Despite this extraordinary popularity, however, Beneke wasn't entirely happy with the restrictions placed by the estate on the band's music they were required to stick entirely to the familiar reed-centered sound that Glenn Miller had practically trademarked. Although a reed player himself, Beneke saw other possibilities, but was never allowed to experiment, despite his protests that Miller himself had always been open to the idea of experimentation, and had expressed his intention to move away from his familiar reed sound after the war, having gone as far with it as he felt he could. Finally, at the end of 1950, Beneke left the band and also parted company with Miller's estate. He later organized his own band which, like similar reconstituted big bands led by '40s music icons such as Harry James, managed to thrive amid the rock & roll, folk-rock, psychedelia, disco, and punk eras, right to the present day. More than 60 years after he became a professional musician, he continued to lead big bands, doing the music that he helped popularized two generations ago. Beneke died May 30, 2000 from respiratory failure at the age of 86. https://www.allmusic.com/artist/tex-beneke-mn0000030664/biography

Stardust

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