Bill Coleman - Hold Tight

Styles: Trumpet Jazz
Year: 2020
File: MP3@320K/s
Time: 89:58
Size: 210,8 MB
Art: Front

(2:54) 1. Lester Leaps In
(5:10) 2. Colemanology
(4:36) 3. From Boogie to Funk
(4:43) 4. St. James Infirmary
(6:32) 5. Afromotive in Blue
(5:11) 6. Baby, Won't You Please Come Home
(4:56) 7. Pound Horn
(5:27) 8. Old Maid Blues
(9:42) 9. Bill, Budd and Butter
(4:06) 10. Mood Indigo
(3:10) 11. Si Jolie
(6:12) 12. Bill Coleman Blues
(3:25) 13. Come on a My House
(5:50) 14. I Surrender, Dear
(9:46) 15. Have Blues Will Play´Em
(2:58) 16. The Blues Jumped up and Got Me
(5:13) 17. In My Solitude

A mellow-toned swing trumpeter with a distinctive sound and a lyrical style, Bill Coleman was a consistent if never particularly famous musician. In 1927, he went to New York with Cecil and Lloyd Scott's band, with whom he made his recording debut. He worked with Luis Russell (1929-1932) and Charlie Johnson, and then in 1933 traveled to France with Lucky Millinder. Coleman recorded with Fats Waller (1934) and played with Teddy Hill's Orchestra (1934-1935), but then moved to France for the first time in 1935.

While overseas, he recorded frequently as a leader (really coming into his own), with Willie Lewis' Orchestra, and on dates with Django Reinhardt. He ventured as far as Bombay, and spent 1938-1940 in Egypt with Herman Chittison. Returning to New York, Coleman played with Benny Carter, Teddy Wilson, Andy Kirk, Mary Lou Williams, and John Kirby during 1940-1945, and recorded with Lester Young and Coleman Hawkins (both in 1943). However, he preferred life in Europe and, after a period with groups led by Sy Oliver and Billy Kyle, in 1948, Coleman moved permanently back to France, staying active and recording fairly regularly up until his death in 1981. By Scott Yanow
https://www.allmusic.com/artist/bill-coleman-mn0000068537/biography

Hold Tight

---

Bill Coleman, Don Byas - Bill Coleman Don Byas Combo

Bitrate: MP3@320K/s
Time: 77:58
Size: 178.5 MB
Styles: Bop
Year: 2011
Art: Front

[2:44] 1. Announcement
[3:29] 2. Idaho
[3:11] 3. Let's Try Again
[5:18] 4. Body & Soul
[3:04] 5. After You've Gone
[3:16] 6. Ain't Misbehavin'
[4:36] 7. Garni Blues
[2:28] 8. Lady Be Good
[4:02] 9. Just You, Just Me
[4:47] 10. Laura
[6:14] 11. Flying Home
[3:47] 12. The Chase
[5:51] 13. Thee O'clock In The Morning
[3:25] 14. St. James Infirmary
[1:44] 15. How High The Moon
[2:26] 16. Dancers In Love
[4:36] 17. Moon Glow
[5:05] 18. Stormy Weather
[3:42] 19. Hey Ba-Ba-Rebop
[4:04] 20. St. Louis Blues

Two fine musicians in an unfortunate poorly recorded performance.

Bill Coleman Don Byas Combo

---

Bill Coleman - Learning How to Disappear

Styles: Trumpet Jazz
Year: 2022
File: MP3@320K/s
Time: 79:19
Size: 182,6 MB
Art: Front

(4:36) 1. From Boogie To Funk
(6:32) 2. Afromotive In Blue
(3:25) 3. Come On A My House
(9:46) 4. Have Blues Will Play 'Em
(2:54) 5. Lester Leaps In
(5:10) 6. Colemanology
(5:13) 7. In My Solitude
(2:58) 8. The Blues Jumped Up And Got Me
(4:56) 9. Pound Horn
(6:12) 10. Bill Coleman Blues
(4:06) 11. Mood Indigo
(9:42) 12. Bill, Budd And Butter
(5:50) 13. I Surrender, Dear
(3:09) 14. Si Jolie
(4:43) 15. St. James Infirmary

A mellow-toned swing trumpeter with a distinctive sound and a lyrical style, Bill Coleman was a consistent if never particularly famous musician. In 1927, he went to New York with Cecil and Lloyd Scott's band, with whom he made his recording debut. He worked with Luis Russell (1929-1932) and Charlie Johnson, and then in 1933 traveled to France with Lucky Millinder. Coleman recorded with Fats Waller (1934) and played with Teddy Hill's Orchestra (1934-1935), but then moved to France for the first time in 1935.

While overseas, he recorded frequently as a leader (really coming into his own), with Willie Lewis' Orchestra, and on dates with Django Reinhardt. He ventured as far as Bombay, and spent 1938-1940 in Egypt with Herman Chittison. Returning to New York, Coleman played with Benny Carter, Teddy Wilson, Andy Kirk, Mary Lou Williams, and John Kirby during 1940-1945, and recorded with Lester Young and Coleman Hawkins (both in 1943). However, he preferred life in Europe and, after a period with groups led by Sy Oliver and Billy Kyle, in 1948, Coleman moved permanently back to France, staying active and recording fairly regularly up until his death in 1981. By Scott Yanow https://www.allmusic.com/artist/bill-coleman-mn0000068537/biography

Learning How to Disappear

---

Bill Coleman - The Complete Philips Recordings (disc 1), (Disc 2)

Album: The Complete Philips Recordings (disc 1)
Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 69:11
Size: 163,2 MB
Art: Front

(2:36) 1. Jumpin' At The Pleyel
(3:07) 2. Si Jolie
(2:55) 3. The Blues Jumped Up And Got Me
(2:59) 4. I'm Coming Virginia
(3:22) 5. Come On A My House
(3:09) 6. Tenderly
(3:53) 7. Knucklehead
(5:23) 8. Baby Won't You Please Come Home
(5:48) 9. One O'Clock Jump
(3:34) 10. Perdido
(3:02) 11. When The Saints Go Marching In
(5:01) 12. Ghost Of A Chance
(5:39) 13. Basin' Street Blues
(3:15) 14. Lover Man
(2:02) 15. Summertime
(2:16) 16. Jumpin' With Symphony Sid
(1:58) 17. Trombone Blues
(5:20) 18. St. James Infirmary
(3:42) 19. Sheik Of Araby

---

Album: The Complete Philips Recordings (disc 2)
Time: 77:53
Size: 183,1 MB

(4:31) 1. Red Top
(4:45) 2. Royal Garden Blues
(5:39) 3. Solitude
(3:31) 4. Tea For Two
(2:11) 5. Chinatown
(5:31) 6. Drum Face
(3:45) 7. Muskrat Ramble
(4:09) 8. Black And Blue
(5:16) 9. Idaho
(4:34) 10. Out Of Nowhere
(3:34) 11. Indiana
(9:05) 12. Saint Louis Blues
(2:37) 13. Jumpin' At The Pleyel
(3:13) 14. Si Jolie
(2:51) 15. The Blues Jumped Up And Got Me
(2:51) 16. The Blues Jumped Up And Got Me
(3:20) 17. Come On A My House
(3:17) 18. Come On A My House
(3:05) 19. Tenderly

Trumpeter Bill Coleman (1904-81) played in a host of orchestras (led by Benny Carter, Teddy Wilson, Luis Russell and Don Redman) in the 1930s, with the same vibrato and finesse as his contemporary, Buck Clayton, but not quite the same bravura and vocabulary. To make an analogy using trumpeters from another jazz era, Coleman is to Clayton as Kenny Dorham is to Clifford Brown. Coleman would eventually settle in France, where these recordings were made and recently reissued, and where he would co-found the Marciac Jazz Festival. A geographical serendipity allowed him to entitle his memoirs De Paris (Kentucky) à Paris (France). The Complete Philips Recordings centers around a somewhat rowdy (on and off-stage) October 1952 concert at the Salle Pleyel in Paris, an apparently totemic event for budding French jazz fans of the era. (At least that's the sense conveyed by veteran critic Michel Boujut's dewy-eyed review of this disc in Jazz Magazine.)

In addition to its sentimental value to listeners of a certain generation, however, the concert recording is of real musical interest as well. It's easy to joyfully submit to the crazy juxtaposition of styles in the set list. 1920s chestnuts are played with rollicking gusto, only to be followed by loping 1930s swing numbers, not to mention urbane 1950s vocal R&B. Similarly, the musicians are a temporal and stylistic grab bag. Drummer Zutty Singleton, having wandered out of the Mezz Mezzrow band, pounds raucously through "When the Saints Go Marching In, "Idaho" and "Drum Face," sounding like a voice speaking to us directly from the New Orleans of another century (which, of course, he is). Trombonist Dicky Wells' playing does nothing to dispel the impression that he was, as he himself admitted, "half-high and half-frozen" during his European sojourn. This condition does not prevent credible, big-hearted solos on "Saints" and "Black and Blue." Saxophonist Guy Lafitte is consistently good, offering easygoing solos in the Ben Webster manner. Randy Downes is a bop pianist Singleton is alleged to have approved his membership in a cannabis-induced haze, only to judge him too modern once the smoke had cleared with a nice feature on "Out of Nowhere." He deftly negotiates the swing numbers, even if Singleton is entirely uninterested in meeting him halfway. Coleman weaves in and out of this vaguely chaotic mise en scène, playing his lovely solos ("St James Infirmary," "Red Top," "Royal Garden Blues"), singing blues affably, joking with the audience in good French with an upbeat but cool composure to which a Zen monk could aspire. The two-CD package is complemented by six 1951 studio numbers. These septet tracks, with a far more coherent band and fine arrangements by trombonist Bill Tamper, present Coleman as a quite serious and forward-looking bandleader.~ Jeff Dayton Johnson https://www.allaboutjazz.com/the-complete-philips-recordings-bill-coleman-universal-music-france-review-by-jeff-dayton-johnson.php

Personnel: Bill Coleman: trumpet, vocal; Bill Tamper: trombone; Jay Cameron: alto saxophone; William Boucaya: baritone saxophone; Art Simmons: piano; Jean-Pierre Sasson: guitar; Guy de Fatto: bass; Gérard "Dave"

The Complete Philips Recordings (disc 1) (disc 2)

---

Bill Coleman - Really I Do

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 67:35
Size: 155,5 MB
Art: Front

(5:22) 1. Tinto Time
(4:12) 2. Hello Babe
(4:35) 3. Crazy Rhythm
(4:59) 4. You've Changed
(5:06) 5. On The Trail
(2:53) 6. Montreux Jump
(4:04) 7. Really I Do
(4:43) 8. I've Got My Love To Keep Me Warm
(5:58) 9. She's Funny That Way
(5:35) 10. Tinto Time (Take 1)
(4:33) 11. Hello Babe (Take 1)
(5:12) 12. I've Got My Love To Keep Me Warm (Take 1)
(6:18) 13. On The Trail (Take 2)
(3:59) 14. Really I Do (Take 2)

A mellow-toned swing trumpeter with a distinctive sound and a lyrical style, Bill Coleman was a consistent if never particularly famous musician. In 1927, he went to New York with Cecil and Lloyd Scott's band, with whom he made his recording debut. He worked with Luis Russell (1929-1932) and Charlie Johnson, and then in 1933 traveled to France with Lucky Millinder. Coleman recorded with Fats Waller (1934) and played with Teddy Hill's Orchestra (1934-1935), but then moved to France for the first time in 1935. While overseas, he recorded frequently as a leader (really coming into his own), with Willie Lewis' Orchestra, and on dates with Django Reinhardt. He ventured as far as Bombay, and spent 1938-1940 in Egypt with Herman Chittison. Returning to New York, Coleman played with Benny Carter, Teddy Wilson, Andy Kirk, Mary Lou Williams, and John Kirby during 1940-1945, and recorded with Lester Young and Coleman Hawkins (both in 1943). However, he preferred life in Europe and, after a period with groups led by Sy Oliver and Billy Kyle, in 1948, Coleman moved permanently back to France, staying active and recording fairly regularly up until his death in 1981.~ Scott Yanow https://www.allmusic.com/artist/bill-coleman-mn0000068537/biography

Featuring: Bill Coleman (trumpet), Guy Lafitte (saxophone), Panama Francis (drums), Bill Pemberton (bass), Red Richards (piano)

Really I Do

---

Bill Coleman - Jazz in Paris: From Boogie to Funk

Styles: Trumpet Jazz 
Year: 1960
File: MP3@320K/s
Time: 47:12
Size: 110,2 MB
Art: Front

(11:35)  1. From Boogie to Funk, Part 1 - The Blues
( 4:32)  2. From Boogie to Funk, Part 2 - The Boogie
( 9:40)  3. Bill, Budd and Butter
( 6:29)  4. Afromotive in Blue
( 5:09)  5. Colemanology
( 9:44)  6. Have Blues, Will Play 'em

From Boogie to Funk finds the somewhat undercelebrated swing trumpeter Bill Coleman at a late period in his career, nailing down this set of blues in Paris with a fine group in 1960. The set begins wonderfully with an extended journey through a 16-minute two-part piece entitled "From Boogie to Funk," with the first part subtitled "The Blues" and the second titled "The Boogie." The subtitles prove fitting as Coleman indeed picks up the pace a bit for the second part, and from there the album never really slows down much. It's this swinging feel that propels the later pieces "Bill, Budd and Butter," "Afromotive in Blue," "Colemanonlogy," and "Have Blues, Will Play 'Em" which were all composed by Coleman, as were the two parts of "From Boogie to Funk." Overall, this set never hits a lull and proves delightful throughout, making one wish Coleman would have recorded a few more sessions such as this while in Paris. Joining him here are Budd Johnson (tenor sax), Les Spann (guitar), Patti Bown (piano), Quentin Jackson (trombone), Buddy Catlett (bass), and Joe Harris (drums). ~ Jason Birchmeier https://www.allmusic.com/album/from-boogie-to-funk-mw0000225352

Personnel:  Bill Coleman - trumpet, composer;  Quentin Jackson - trombone;  Budd Johnson - tenor saxophone;  Patti Bown - piano;  Les Spann - guitar;  Buddy Catlett - bass;  Joe Harris - drums

Jazz in Paris: From Boogie to Funk

---

Lester Young - Kansas City Swing

Styles: Saxophone And Clarinet Jazz
Year: 1999
File: MP3@320K/s
Time: 71:55
Size: 167,3 MB
Art: Front

(3:01)  1. Way Down Yonder In New Orleans
(3:00)  2. Countless Blues
(2:59)  3. Them There Eyes
(2:53)  4. I Want A Little Girl
(2:57)  5. Pagin' The Devil
(4:12)  6. I Got Rhythm
(4:09)  7. I'm Fer It Too
(3:06)  8. Hello Babe
(3:06)  9. Linger Awhile
(3:14) 10. Just You Just Me
(3:11) 11. I Never Knew
(3:10) 12. Afternoon Of A Basie-ite
(3:07) 13. Sometimes I'm Happy
(4:44) 14. After Theatre Jump
(4:12) 15. Six Cats And A Prince
(4:28) 16. Lester Leaps Again
(3:53) 17. Destination KC
(2:55) 18. Three Little Words
(3:20) 19. Jo-Jo
(2:51) 20. Four O'Clock Drag
(3:18) 21. I Got Rhythm

Lester Young was one of the true jazz giants, a tenor saxophonist who came up with a completely different conception in which to play his horn, floating over bar lines with a light tone rather than adopting Coleman Hawkins' then-dominant forceful approach. A non-conformist, Young (nicknamed "Pres" by Billie Holiday) had the ironic experience in the 1950s of hearing many young tenors try to sound exactly like him. Although he spent his earliest days near New Orleans, Lester Young lived in Minneapolis by 1920, playing in a legendary family band. He studied violin, trumpet, and drums, starting on alto at age 13. Because he refused to tour in the South, Young left home in 1927 and instead toured with Art Bronson's Bostonians, switching to tenor. He was back with the family band in 1929 and then freelanced for a few years, playing with Walter Page's Blue Devils (1930), Eddie Barefield in 1931, back with the Blue Devils during 1932-1933, and Bennie Moten and King Oliver (both 1933). He was with Count Basie for the first time in 1934 but left to replace Coleman Hawkins with Fletcher Henderson. Unfortunately, it was expected that Young would try to emulate Hawk, and his laid-back sound angered Henderson's sidemen, resulting in Pres not lasting long. After a tour with Andy Kirk and a few brief jobs, Lester Young was back with Basie in 1936, just in time to star with the band as they headed East. Young made history during his years with Basie, not only participating on Count's record dates but starring with Billie Holiday and Teddy Wilson on a series of classic small-group sessions. In addition, on his rare recordings on clarinet with Basie and the Kansas City Six, Young displayed a very original cool sound that almost sounded like altoist Paul Desmond in the 1950s. After leaving Count in 1940, Young's career became a bit aimless, not capitalizing on his fame in the jazz world. He co-led a low-profile band with his brother, drummer Lee Young, in Los Angeles until re-joining Basie in December 1943. Young had a happy nine months back with the band, recorded a memorable quartet session with bassist Slam Stewart, and starred in the short film Jammin' the Blues before he was drafted. His experiences dealing with racism in the military were horrifying, affecting his mental state of mind for the remainder of his life.

Although many critics have written that Lester Young never sounded as good after getting out of the military, despite erratic health he actually was at his prime in the mid- to late-'40s. He toured (and was well paid by Norman Granz) with Jazz at the Philharmonic on and off through the '40s and '50s, made a wonderful series of recordings for Aladdin, and worked steadily as a single. Young also adopted his style well to bebop (which he had helped pave the way for in the 1930s). But mentally he was suffering, building a wall between himself and the outside world, and inventing his own colorful vocabulary. Although many of his recordings in the 1950s were excellent (showing a greater emotional depth than in his earlier days), Young was bothered by the fact that some of his white imitators were making much more money than he was. He drank huge amounts of liquor and nearly stopped eating, with predictable results. 1956's Jazz Giants album found him in peak form as did a well documented engagement in Washington, D.C., with a quartet and a last reunion with Count Basie at the 1957 Newport Jazz Festival. But, for the 1957 telecast The Sound of Jazz, Young mostly played sitting down (although he stole the show with an emotional one-chorus blues solo played to Billie Holiday). After becoming ill in Paris in early 1959, Lester Young came home and essentially drank himself to death. Many decades after his death, Pres is still considered (along with Coleman Hawkins and John Coltrane) one of the three most important tenor saxophonists of all time. ~ Scott Yanow http://www.allmusic.com/artist/lester-young-mn0000259529/biography

Personnel:  Tenor Saxophone, Clarinet – Lester Young;   Double Bass – Al Hall, John Simmons, Rodney Richardson , Slam Stewart , Walter Page;  Drums – Jo Jones, Sidney Catlett;  Electric Guitar – Eddie Durham; Guitar – Freddie Green;  Piano – Ellis Larkins, Joe Bushkin, Johnny Guarnieri, Prince Charming;
Trombone – Dickie Wells;  Trumpet – Bill Coleman, Buck Clayton

Kansas City Swing

---

Lester Young - The 'Kansas City Sessions'

Styles: Clarinet And Saxophone Jazz

Year: 1997

File: MP3@320K/s

Time: 67:17

Size: 154,6 MB

Art: Front

(3:02)  1. Way Down Yonder in New Orleans (take 2)

(3:00)  2. Way Down Yonder in New Orleans

(3:03)  3. Countless Blues

(3:01)  4. Countless Blues (take 2)

(3:00)  5. Them There Eyes (take 2)

(3:01)  6. Them There Eyes

(2:56)  7. I Want a Little Girl

(2:57)  8. I Want a Little Girl (take 2)

(2:59)  9. Pagin' the Devil

(2:58) 10. Pagin' the Devil (take 2)

(3:22) 11. Three Little Words (take 2)

(2:54) 12. Three Little Words

(3:20) 13. Jo Jo

(3:18) 14. I Got Rhythm (take 3)

(3:18) 15. I Got Rhythm (take 2)

(3:19) 16. I Got Rhythm

(2:53) 17. Four O'Clock Drag

(2:53) 18. Four O'Clock Drag (take 3)

(3:07) 19. Laughing at Life

(2:54) 20. Good Mornin' Blues

(3:06) 21. I Know That You Know

(2:47) 22. Love Me or Leave Me

This is a CD overflowing with classic performances. The great Lester Young is heard with the 1938 version of the Kansas City Six, a group also including trumpeter Buck Clayton (in prime form), Eddie Durham on electric guitar (where he preceded Charlie Christian) and trombone, the rhythm guitar of Freddie Green, bassist Walter Page, and drummer Jo Jones. The four selections (all of which are joined by an alternate take apiece) are most notable for Young's switching to clarinet on some of the pieces. His clarinet solo on "I Want a Little Girl" sounds eerily like Paul Desmond's alto of 15 years later. These classic cool jazz performances have delightful interplay between the two horns. The second part of the reissue features the 1944 Kansas City Six in which Young (sticking to tenor) and trumpeter Bill Coleman are joined by a three-piece rhythm section and trombonist Dickie Wells. Wells, who takes some very colorful and nearly riotous solos, rarely sounded better, and the four selections are highlighted by three equally rewarding versions of "I Got Rhythm" and two of "Three Little Words." The CD concludes with the four titles by 1938's Kansas City Five, which was essentially the early Kansas City Six without Young. Clayton is once again in top form, and Durham's guitar solos were among the first worthwhile examples of the electric guitar on record. This gem is highly recommended for all jazz collections. ~ Scott Yanow http://www.allmusic.com/album/the-kansas-city-sessions-mw0000087654

Personnel: Lester Young (clarinet, tenor saxophone); Freddie Green (vocals, guitar); Eddie Durham (electric guitar, trombone); Bill Coleman , Buck Clayton (trumpet); Dicky Wells (trombone); Joe Bushkin (piano); Jo Jones (drums).

The Kansas City Sessions

---

Benny Carter, Bill Coleman, Henri Chaix Orchestra & Quintet - The Three C's

Bitrate: MP3@320K/s

Time: 72:23

Size: 165.7 MB

Styles: Swing, Saxophone jazz, Piano jazz

Year: 2003

Art: Front

[5:06] 1. Swingin' In November

[6:54] 2. Easy Money

[7:04] 3. I Can't Get Started

[5:53] 4. Titmouse

[6:10] 5. Body And Soul

[8:05] 6. 's Wonderful

[3:46] 7. March Wind

[4:31] 8. Wrap Your Troubles In Dreams

[3:45] 9. N'embrassez Pas Ma Femme

[3:11] 10. Idaho

[3:43] 11. Blue Turning Grey Over You

[3:30] 12. Caravan

[3:03] 13. When My Sugar Walks Down The Street

[3:35] 14. Honeysuckle Rose

[4:00] 15. I've Found A New Baby

Musical archeology is fascinating, especially if you dig what's dug from long-forgotten archives. Thanks to Canadian label Sackville, three sessions that took place in Switzerland in the '50s and '60s shed some enjoyable light on world traveler Benny Carter, expatriate Bill Coleman and Swiss native Henri Chaix (pronounced "shecks"), a first-rate stride pianist who obviously idolized Fats Waller. Behold The Three C's, nearly 73 minutes of nostalgic swing, divided evenly between the two Americans: Chaix's nine-piece band backing Carter's alto sax and Chaix's quintet supporting Coleman's trumpet and vocals.

Notes are sparse and vignettes are few. Considering the material at hand, the album literally cries out for more historical background. Not surprisingly, Carter is the elegant standout in four originals and three standards, the highlight being "'S Wonderful," not only for Chaix's paean to Fats with a wonderful solo, but the organic way an "arrangement" takes shape after Carter exchanges fours with (apparently) tenor Michel Pilet. Coleman flexes his chops (muted trumpet and vocal) most effectively on "Wrap Your Troubles in Dreams" and "I've Found a New Baby." ~Harvey Siders

The Three C's

---