Shorty Rogers & The Giants - You Shorty, Me Tarzan!

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 55:42
Size: 129,4 MB
Art: Front

( 3:25)  1. The Elephant Wail
( 1:40)  2. Los Barbaros
( 3:05)  3. Paradise Found
( 1:55)  4. Trapped
( 2:14)  5. Los Primitivos
( 3:24)  6. Oomgawa
(17:33)  7. Tarzanic Suite
( 3:19)  8. Mountain Greenery
( 4:57)  9. Martian Lullaby
( 4:08) 10. Bluesies
( 2:16) 11. Big Band Blues
( 1:15) 12. I Want To Be Happy
( 6:26) 13. The Three Little Bops

2010 release, the fourth installment in the Giant Steps label's series of classic recordings by legendary modernists Shorty Rogers & the Giants. Assembled is the rare percussive soundtrack to Tarzan the Ape Man that featured the likes of Bud Shank, Bob Cooper, Frank Rosolino and other famed West Coasters. Said Shorty: "At first, I was slightly apprehensive when MGM approached me to write and record the soundtrack for a Tarzan movie, but I needn't have concerned myself. They just said, make it exciting with plenty of drumming, and left me alone to get on with it. So I approached it as if I was really making a new Giants album, which is what it really was. I don't want to sound discourteous, but the album we made was much better that the actual movie". Also included is an equally rare 'live' appearance by the Big Band version of the Giants from an appearance on the TV show the Stars of Jazz. Giant Steps. ~Editorial Reviews https://www.amazon.com/You-Shorty-Tarzan-Rogers-Giants/dp/B0032BVEIG

Personnel:  Trumpet, Conductor, Composed By – Shorty Rogers ;  Bass – Buddy Clark, Joe Mondragon ;  Drums – Carlos Rosario, Chach Gonzales, Chico Guerrero, Frank Capp, Modesto Duran ;  Piano – Pete Jolly ;  Saxophone – Bill Holman, Bill Hood, Bill Perkins, Bob Cooper, Bud Shank, Chuck Gentry;  Trombone – Bob Enevoldsen, Frank Rosolino, Harry Betts, Marshall Cram;  Trumpet – Al Porcino, Buddy Childers, Don Fagerquist, Ollie Mitchell

You Shorty, Me Tarzan!

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Conte Candoli & Lee Morgan - Double Or Nothin'

Styles: Post Bop, Cool Jazz
Year: 1957
File: MP3@320K/s
Time: 46:56
Size: 108,8 MB
Art: Front

(4:38) 1. Reggie Of Chester
(5:11) 2. Stablemates
(4:43) 3. Celedia
(5:44) 4. Moto
(4:43) 5. The Champ
(7:49) 6. Blues After Dark
(5:55) 7. Wildwood
(4:00) 8. Quicksilver
(4:09) 9. Bye Bye Blues

Rare recordings produced by Howard Rumsey with his incredible Howard Rumsey's Lighthouse All Stars and Charles Persip's Jazz Statesmen.

"There was only a short week in which to record, so we made a date for a double session at Liberty's fabulous new studios... Lee Morgan and Frank Rosolino flipped into some original dance steps at the sound of the playbacks. It was a happy date."
https://www.freshsoundrecords.com/conte-candoli-lee-morgan-albums/2427-double-or-nothin-.html

Personnel: Lee Morgan, Conte Candoli (tp), Frank Rosolino (tb), Benny Golson, Bob Cooper (ts), Wynton Kelly, Dick Shreve (p), Red Mitchell, Wilfred Middlebrooks (b), Charles Persip, Stan Levey (d)

Double Or Nothin'

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Terry Gibbs, Bob Cooper, Conte Candoli, Lou Levy - Now's the Time to Groove

Styles: Vibraphone Jazz
File: MP3@320K/s
Time: 49:21
Size: 113,6 MB
Art: Front

(7:29) 1. Little Girls - Live
(6:36) 2. Tippe - Live
(6:12) 3. The Austin Mood - Live
(5:22) 4. No name theme - Live
(4:57) 5. The beautiful people - Live
(6:18) 6. Havin fun - Live
(6:24) 7. Now's the time to groove - Live
(5:59) 8. That Chumley feeling - Live

Terry Gibbs is one of the most legendary musicians in the world. He has seen and done it all. He has played with some of the greatest musicians in jazz history such as: Charlie Parker, Dizzy Gillespie, Benny Goodman, Buddy Rich, Woody Herman, Mel Torme, Buddy DeFranco, Tiny Kahn and many more. He also conducted tv shows for Steve Allen and Regis Philbin.

The Dream Sextet features some of the finest musicians from the West Coast. Conte Candoli was one of the best trumpet players and long time member of the Dream Band. He was one of Terry’s top 5 favorite trumpet players. Lou Levy was also a former member of the Dream Band and was one of the most in demand piano players. Bob Cooper was a heavy weight tenor player at the time who was widely regarded in the same league as Al Cohn or Sal Nistico.

The ensemble is backed up by the swinging rhythm section consisting of Bob Magnusson and Jimmie Smith. All these gentlemen were high in demand musicians at the time, so it was the first time that night that they all shared the stage together. The Dream Sextet recordings are all recorded live at Lord Chumley’s on July 30th 1978 in Playa Del Rey, California.

Terry has a talent of bringing out the best from his musicians. A live recording such as this one is the perfect proof of what happened in that moment.

The other aspect that is so special about these recordings is that all of the tunes are originals written by Terry. Terry’s originals are very melodic and lyrical such as Townhouse 3 or Tippie. You can sing along after hearing the tune only once. Terry wrote these tunes in such a way that the chord changes are fun to play over. You can clearly hear this, because of the way how the musicians are digging into these tunes. https://monsrecords.de/en/terry-gibbs-dream-sextet-nows-the-time-to-groove/

Personnel: Terry Gibbs, vibraphone; Bob Cooper, tenor saxophone; Conte Candoli, trumpet; Lou Levy, piano

Now's the Time to Groove

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Conte Candoli & Max Roach - Jazz Structures

Styles: Trumpet, Cool Jazz, Bop
Year: 1960
File: MP3@320K/s
Time: 72:43
Size: 169,0 MB
Art: Front

(4:45) 1. Facts About Max
(4:56) 2. Milano Blues
(3:48) 3. Swingin' The Blues
(4:36) 4. Bread Line Blues
(4:09) 5. Bye Bye Blues
(5:21) 6. Blues In The Night
(3:50) 7. Royal Garden Blues
(5:08) 8. The Count's Blues
(4:08) 9. Genesis, Part 2
(2:12) 10. Architectonics
(5:27) 11. Directional Suite: Impulse
(1:53) 12. Directional Suite: Automatons
(4:40) 13. Directional Suite: Impulsion, Parts 1 & 2
(3:49) 14. Directional Suite: Complexus
(5:11) 15. The Worker: Rain Blues
(2:10) 16. The Worker: In The Morning
(4:20) 17. The Worker: Quittin' Time
(2:11) 18. Edifice

The inclusion of Max Roach's name on the cover of Jazz Structures is somewhat disingenuous. Upon opening the CD insert, we're informed that Max Roach appears on only four out of eighteen tracks. This information was conspicuously absent from the back cover, where a potential buyer would look to see if a disc's worth spending hard-earned cash on.

Jazz Structures is a reissue of two of Howard Rumsey's "Light House All Stars discs. The first, 1957's Drummin' the Blues, featured Roach on four tracks. Stan Levey is the drummer on the other fourteen.

When present, Roach does what he always does: he knocks it out of the park. The Lighthouse All Stars were the kings of West Coast-style bop and Roach had worked with them as early as 1954. In 1956 alone, Roach played on some of the most important records ever made, like Monk's Brilliant Corners and Sonny Rollins' Saxophone Colossus and several sides with Clifford Brown. By 1957, he was worlds beyond Rumsey and Co. and ready to re-shape the music yet again this time with Booker Little.
The second album tacked on here, the original Jazz Structures (1960), has little in common with the upbeat swing of Drummin' the Blues aside from boasting much of the same lineup. This was the soundtrack to a documentary by filmmaker Les Novros about the construction of LA's Union Oil building. And it feels like a building being constructed: in places it's laborious, rigid, tedious. In others, it's decorous and light. Jazz Structures came just three years after Miles Davis had revolutionized the film soundtrack with his work for L'Ascenseur Pour l'Echafaud. Structures doesn't compare, but Bob Cooper, who scored the work, did a good job, considering the subject matter.

There's some interesting work here by Bud Shank (alto and flutes), Conte Candoli (trumpet), and Red Callender (bass). A playful, circuitous riff pops up on "Architectronics and resurfaces again in the "Directional Suite, where it's reconfigured as "Automatons. Refreshingly untampered-with production helps; it sounds a bit like one of those old quarter-inch-think vinyl jobs. The slightly lo-fi analog production adds a stark, concrete edge. Jazz Structures is a good soundtrack, probably better than the film that inspired it but it's not a Max Roach album.
https://www.allaboutjazz.com/jazz-structures-conte-candoli-lonehill-jazz-review-by-rico-cleffi

Personnel: Conte Candoli: trumpet; Howard Rumsey (leader) with Max Roach: drums (four tracks); Bob Cooper: conductor, tenor saxophone; Bud Shank: alto saxophone, flute; Buddy Collette: baritone saxophone, bass clarinet; Frank Rosilino: trombone; Victor Feldman: piano, vibraphone, conga; Monty Budwig: bass; Stan Levey: drums; Joe Castro: piano; Larry Bunker: vibraphone; Red Callender: bass.

Jazz Structures

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Capp-Pierce Orchestra - Juggernaut Strikes Again

Styles: Big Band, Vocal
Year: 1982
File: MP3@320K/s
Time: 41:36
Size: 96,9 MB
Art: Front

(5:47) 1. Little Pony
(4:19) 2. One For Marshal
(4:22) 3. I Remember Clifford
(3:36) 4. New York Shuffle
(4:42) 5. Chops, Fingers And Sticks
(3:06) 6. You Are So Beautiful
(6:24) 7. Parker's Mood / Word From Bird
(4:20) 8. Charade
(4:56) 9. Things Ain't What They Used To Be

The 1981 edition of the Frank Capp/Nat Pierce Juggernaut sticks to its vision of being Count Basie soundalike big band. The repertoire is a bit farther reaching than on its previous releases including Pierce's "One for Marshal" (featuring altoist Marshall Royal), "I Remember Clifford," Buck Clayton's then-recent "Chops, Fingers and Sticks" and a medley of Charlie Parker tunes. among the key soloists are Royal, pianist Pierce, tenors Pete Christlieb and Bob Cooper, trombonist Buster Cooper and flugelhornist Al Aarons. Ernie Andrews helps out with two vocals. A typically swinging Juggernaut album; all are recommended.~Scott Yanow https://www.allmusic.com/album/juggernaut-strikes-again-mw

Personnel: Vocals – Ernie Andrews; Alto Saxophone – Jackie Kelso, Joe Roccisano, Marshal Royal; Baritone Saxophone, Soprano Saxophone – Bill Green; Bass – Bob Maize; Drums – Frankie Capp; Guitar – Ray Pohlman; Piano – Nat Pierce; Tenor Saxophone – Bob Cooper, Bob Efford, Pete Christlieb; Trombone – Alan Kaplan, Buster Cooper, George Bohanon, Mel Wanzo; Trumpet – Al Aarons, Bill Berry, Frank Szabo, Johnny Audino, Snooky Young, Warren Luening

Juggernaut Strikes Again

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Bud Shank, Bob Cooper - The Swing's to Tv (Remastered)

Styles: Saxophone, Flute, Oboe Jazz
Year: 2012
File: MP3@320K/s
Time: 37:52
Size: 87,7 MB
Art: Front

(4:20) 1. When You Wish Upon a Star (From Disneyland)
(3:09) 2. Put Your Dreams Away (From the Frank Sinatra Show)
(4:31) 3. Thanks for the Memory (From the Bob Hope Show)
(2:55) 4. Tenderly (From the Rosemary Clooney Show)
(4:38) 5. Danny Boy (Londonderry Air) [From the Danny Thomas Show]
(3:22) 6. Dinah (From the Dinah Shore Show)
(3:45) 7. As Long As There's Music (From the Eddie Fisher Show)
(3:39) 8. A Romantic Guy (From the Bob Cummings Show)
(4:12) 9. Steve Allen Theme (From the Steve Allen Show)
(3:16) 10. The Love Nest (From the Burns and Allen Show)

Proof positive that any well-executed idea translates to the jazz idiom snobs and purists be damned The Swing's to TV pairs altoist Bud Shank and tenorist Bob Cooper for a moody, nuanced collection of late-'50s television theme songs. Granted, it's not like the duo is interpreting the opening themes to Gilligan's Island or The Brady Bunch at the time in question, many series employed familiar standards as calling cards but the basic concept behind the session is the kind of populist nod one rarely associates with cool-school jazz. Thing is, The Swing's to TV is great stuff, a cerebral and atmospheric set of ballads performed with sincerity and affection Shank and Cooper always make for a compelling tandem, and songs like "When You Wish Upon a Star" and "Put Your Dreams Away" are well matched to their respective talents.~ Jason Ankeny https://www.allmusic.com/album/the-swings-to-tv-mw0000900673

Personnel: Bud Shank - alto saxophone, flute; Bob Cooper - tenor saxophone, oboe; Claude Williamson - piano; Don Prell - bass; Chuck Flores - drums; Jack Pepper, Eudice Shapiro, Bob Sushel - violin (tracks 1, 2, 4 & 5); Milt Thomas - viola (tracks 1, 2, 4 & 5); Ray Kramer - cello (tracks 1, 2, 4 & 5)

The Swing's to Tv

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Bob Cooper, Bud Shank - In Germany

Styles: Swing,Jazz, Bop
File: MP3@320K/s
Time: 71:28
Size: 164,7 MB
Art: Front

( 7:57) 1. Boop-Boop-Be-Doop
(14:13) 2. I'll Remember April
( 6:42) 3. Indian Summer
( 4:37) 4. Polka Dots and Moonbeams
( 5:43) 5. Yardbird Suite
( 5:26) 6. Vielaf
( 4:24) 7. For Bud
( 6:33) 8. Mademoiselle Butterfly
( 7:29) 9. A Night in Tunisia
( 8:17) 10. Medley: Stairway to the Stars/ That's All/ Easy Living/ Lover Man

One of the great West Coast tenors, Bob Cooper made even the most complex solos sound swinging and accessible. “Coop” joined Stan Kenton's big band in 1945, and he was a fixture with several of the editions (including the Innovations Orchestra) through 1951; in 1947, he married Kenton's singer, June Christy. After leaving Kenton, Cooper settled in Los Angeles, where he was a busy studio musician for the next four decades. He was a regular member of the Lighthouse All-Stars from 1952-1962, sometimes playing oboe and English horn (being the first strong jazz soloist on both of those instruments).

The cool-toned tenor (whose sound fit into the “Four Brothers” style) was on many records in the 1950s (including those of Shorty Rogers, Pete Rugolo, and June Christy), and continued working steadily in Los Angeles-area clubs up until his death. He appears on records with the big bands of Frank Capp/Nat Pierce, Bob Florence, and the '80s version of the Lighthouse All-Stars; and participated in the 1991 Stan Kenton 50th-anniversary celebration. As a leader, Coop recorded for Capitol in the 1950s, Contemporary, Trend, Discovery, and Fresh Sound. https://musicians.allaboutjazz.com/bobcooper

Bud Shank began his career pigeonholed as a cool schooler, but those who listened to the altoist progress over the long haul knew that he became one of the hottest, most original players of the immediate post-Parker generation. Lumped in with the limpid-toned West Coast crowd in the '50s, Shank never ceased to evolve; in his later years, he had more in common with Jackie McLean or Phil Woods than with Paul Desmond or Lee Konitz. Shank's keening, blithely melodic, and tonally expressive style was one of the more genuinely distinctive approaches that grew out of the bebop idiom.

Shank attended the University of North Carolina from 1944-1946. Early on, he played a variety of woodwinds, including flute, clarinet, and alto and tenor saxes; he began to concentrate on alto and flute in the late '40s. After college, Shank moved to California, where he studied with trumpeter/composer Shorty Rogers and played in the big bands of Charlie Barnet (1947-1948) and Stan Kenton (1950-1951). Shank made a name for himself in the '50s as a central member of the West Coast jazz scene. In addition to those named above, he played and recorded with bassist Howard Rumsey's Lighthouse All-Stars, tenor saxophonist Bob Cooper, and Brazilian guitarist Laurindo Almeida, among others. Shank made a series of albums as a leader for World Pacific in the late '50s and early '60s.

Shank ensconced himself in the L.A. studios during the '60s, emerging occasionally to record jazz and bossa nova albums with the likes of Chet Baker and Sergio Mendes. Shank's 1966 album with Baker, Michelle, was something of a popular success, reaching number 56 on the charts. Film scores on which Shank can be heard include The Thomas Crown Affair and The Barefoot Adventure. In the '70s, Shank formed the L.A. Four with Almeida, bassist Ray Brown, and, at various times, drummer Chuck Flores, Shelly Manne, or Jeff Hamilton. Shank had been one of the earliest jazz flutists, but in the mid-'80s he dropped the instrument in order to concentrate on alto full-time. During the last two decades of the 20th century, he recorded small-group albums at a modestly steady pace for the Contemporary, Concord, and Candid labels. Shank's 1997 Milestone album, By Request: Bud Shank Meets the Rhythm Section, presented the altoist in top form, burning down the house with a band of relative youngsters who included neo-bopper pianist Cyrus Chestnut. Three years later, Silver Storm was released.

Shank continued performing and recording after the turn of the millennium, undertaking the challenging task of forming the Los Angeles-based Bud Shank Big Band in 2005 and making his recording debut as a big-band leader with Taking the Long Way Home, released the following year by the Jazzed Media label. In 2007 Jazzed Media issued Beyond the Red Door, a duet recording by Shank and pianist Bill Mays. Shank's passion for jazz remained strong to the very last days of his life; he died at his home in Tucson, AZ on April 2, 2009 of a pulmonary embolism shortly after returning from a recording session in San Diego. Shank's doctors had reportedly warned the saxophonist who had moved to Tucson for health reasons that playing the session could be life-threatening. Bud Shank was 82 years old.By Chris Kelsey https://www.allmusic.com/artist/bud-shank-mn0000636382/biography

In Germany

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Terry Gibbs - Hollywood Swing

Styles: Vibraphone Jazz
Year: 2017
File: MP3@320K/s
Time: 66:36
Size: 153,9 MB
Art: Front

(7:09)  1. Townhouse 3
(5:00)  2. Those Eyes, Those Lips, That Nose, That Face, That Girl
(4:50)  3. Chant Of Love
(6:05)  4. That Chumley Feeling
(6:20)  5. The Austin Mood
(4:21)  6. Nina
(6:14)  7. Blues For Brody
(7:41)  8. Little Girls
(6:44)  9. Tippie
(5:35) 10. No Name Theme
(6:32) 11. Now’s The Time To Groove’Em Up

A stellar sextet led by vibraphonist Terry Gibbs delivers a dozen swing tunes recorded in 1978 for the private Jazz A La Carte label, but never before released. Gibbs fuels the all-star session with his contagiously enthusiastic “Yeah, yeah, yeah,” which is still his mantra when leading his current Dream Band. 

The colossal sound of the late Bob Cooper’s tenor sears a slow-swinging “Those Eyes, Those Lips, That Nose, That Face, That Girl,” adds depth to “Blues for Brody” and burns through “Smoke ‘Em Up.” Conte Candoli’s trumpet is bold and sassy on “Townhouse 3,” punches up “The Austin Mood” and accents the East-Indian flavor of “Chant of Love.” Gibbs is at his best on “Now’s the Time to Groove,” solidly backed throughout by pianist Lou Levy (on a studio piano that’s a bit out of tune), bassist Bob Magnusson and drummer Jimmie Smith. https://jazztimes.com/reviews/albums/terry-gibbs-hollywood-swing/

Personnel:  Terry Gibbs - vibe; Lou Levy - piano; Bob Magnusson - bass; Jimmie Smith - drums; Bob Cooper - tenor sax; Conte Candoli - trumpet

Hollywood Swing

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Vic Lewis, West Coast All Stars - Play Bill Holman

Bitrate: MP3@320K/s
Time: 57:35
Size: 131.8 MB
Styles: West Coast jazz
Year: 1993
Art: Front

[7:12] 1. Oleo (First Version)
[7:26] 2. Yesterdays
[6:54] 3. Sizzler Before Lunch
[3:54] 4. When I Fall In Love
[7:35] 5. Easter Parade
[8:43] 6. As We Speak
[8:21] 7. Sizzler After Lunch
[7:26] 8. Oleo (Second Version)

Alto Saxophone – Bud Shank (tracks: 1 to 6 ,8), Lanny Morgan (tracks: 7), Lennie Niehaus (tracks: 7); Baritone Saxophone, Soprano Saxophone, Flute, Flute [Alto], Bass Clarinet – Bill Perkins; Bass – John Clayton; Drums – Jeff Hamilton; French Horn – Ron Loofbourrow; Piano – Alan Broadbent (tracks: 1, 3 to 6), Dudley Moore (tracks: 7), Mike Lang (tracks: 2,8); Tenor Saxophone, Clarinet, Flute – Bob Cooper; Trombone – Andy Martin (tracks: 7), Rob McConnell; Trumpet – Conte Candoli, Jack Sheldon; Vocals – Ruth Price.

Vic has no hesitation in declaring Bill Holman to be the finest big band jazz arranger in the world and in 1988 he satisfied a long held ambition by asking Bill to write arrangements for a complete album by the West Coast All Stars. As can be seen from the personnel listing, the cream of California's jazzmen were assembled for the date.

Play Bill Holman mc
Play Bill Holman zippy

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Bill Perkins Big Band - Our Man Woody

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 52:11
Size: 122,5 MB
Art: Front

(3:09)  1. I Can't Believe That You're In Love With Me
(5:47)  2. I've Got The World On A String
(4:04)  3. Tenderly
(6:31)  4. I Got It Bad And That Ain't Good
(5:14)  5. 9:20 Special
(5:41)  6. My Funny Valentine
(4:42)  7. Blue Lou
(4:54)  8. I've Got A Lot Of Living To Do
(6:04)  9. Sweet Lorraine
(6:00) 10. Blues For Woody

Bill Perkins pays tribute to former boss Woody Herman on this CD by leading a 14-piece big band through a variety of standards, most of which were featured by Herman. Actually, this is more of a tribute to Herman's spirit than to his original recordings, for the arrangements (by Jim Knight, John La Barbera, Dennis Mackrel, Frank Strazzeri and Mark Taylor) are much newer; not all of the songs (such as "I Can't Believe That You're In Love With Me," "9:20 Special" and "Blue Lou") were that closely connected with Herman's legacy, and his hits ("Four Brothers" and "Early Autumn") are absent. In addition, there is no clarinetist in the band filling in for Herman. Many soloists are heard from, including Perkins (on tenor, alto and soprano), trumpeters Bob Summers and Clay Jenkins, Bob Cooper on tenor, baritonist Jack Nimitz, trombonists Charlie Loper and Andy Martin, and pianist Strazzeri. Among the highlights of the spirited set are Perkins' feature on "I Got It Bad," "Blue Lou," Nimitz on "Sweet Lorraine," and "Blues for Woody." ~ Scott Yanow https://www.allmusic.com/album/our-man-woody-mw0000429155  

Personnel: Bill Perkins (soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone); Bob Cooper, Brian Scanlon (alto saxophone, tenor saxophone); Jack Nimitz (baritone saxophone); Clay Jenkins, Joseph Davis , Rick Babtist, Wayne Bergeron, Bob Summers (trumpet); Andrew Martin , Charles Loper (trombone); Richard Bullock (bass trombone); Frank Strazzeri (piano); Paul Kreibich (drums).

Our Man Woody

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Vic Lewis, West Coast All Stars - Shake Down The Stars: The Music Of Jimmy Van Heusen

Bitrate: MP3@320K/s
Time: 77:20
Size: 177.0 MB
Styles: Bop, West Coast jazz
Year: 1992
Art: Front

[ 5:53] 1. Swinging On A Star
[ 6:28] 2. But Beautiful
[ 5:34] 3. Suddenly It's Spring
[ 7:26] 4. I'll Only Miss Her
[ 7:45] 5. Here's That Rainy Day
[10:06] 6. Polka Dots And Moonbeams
[11:04] 7. I Thought About You
[ 7:51] 8. So Would I
[ 8:50] 9. Shake Down The Stars
[ 6:19] 10. Collar

Bass – Joel DiBartolo; Clarinet, Flute, Soprano Saxophone, Baritone Saxophone – Bill Perkins; Drums – Paul Kreibich; Piano – Mike Lang; Tenor Saxophone – Bob Cooper; Trombone – Andy Martin. Recorded at Good Times Vibes Studio, Woodland Hills, CA on April 5th, 1992.

Vic Lewis gathered together a remarkable all-star group of top Los Angeles-based musicians for this date and had the great Bill Holman contribute some very complex but swinging arrangements. With strong solos from the likes of trumpeters Conte Candoli and Jack Sheldon, valve trombonist Rob McConnell, altoist Bud Shank, Bob Cooper on tenor, Bill Perkins on various reeds, either Mike Lang or Alan Broadbent on piano, bassist John Clayton and drummer Jeff Hamilton along with guest spots for pianist Dudley Moore, trombonist Andy Martin and altoists Lennie Niehaus and Lanny Morgan, it is not surprising that the music is often quite magical. But even with the major individual voices, it is Holman's writing that consistently takes honors for his charts are full of surprises and unusual twists and turns. Performed in 1989 (except for Ruth Price's more recently re-recorded vocal on "When I Fall in Love"), this set is highly recommended and a particularly strong example of the brilliance of Bill Holman's writing. ~Scott Yanow

Shake Down The Stars mc
Shake Down The Stars zippy

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Lighthouse All Stars - Eight Brothers

Bitrate: MP3@320K/s
Time: 69:54
Size: 160.0 MB
Styles: West Coast jazz
Year: 2002
Art: Front

[5:05] 1. Back To The Basie-Ics
[7:56] 2. Yesterday, Today And Forever
[5:24] 3. Unfinished Dream
[6:55] 4. Magic Man
[7:34] 5. Eight Brothers
[4:40] 6. Stray Horns
[6:49] 7. Like It Is
[6:11] 8. Battle Hymn Of The Republic
[4:35] 9. The Essence Of Tenderness
[6:33] 10. Double Trouble
[8:05] 11. No Additives, No Preservatives

Alto Saxophone – Bud Shank; Baritone Saxophone, Tenor Saxophone, Soprano Saxophone – Bill Perkins; Bass – Monty Budwig; Drums – Larance Marable; Piano – Pete Jolly; Tenor Saxophone – Bob Cooper; Trumpet – Conte Candoli; Trumpet, Flugelhorn – Shorty Rogers. Recorded at Entourage Studios, North Hollywood, California 13/14th January 1992.

The title track of this album refers to the members of the Light House All Stars, men who have come through the jazz wars in Los Angeles to emerge at the peak of their abilities. This, one of two great Candid sets, features some of the true giants of West Coast Jazz. Compositions and arrangements by Shorty Rogers and Bud Shank, Conte Candoli, Bob Cooper et al are featured prominently. The Lighthouse was truly a coast jazz beacon, especially during the 1950s. It was one of those special places where the elements were right for creative magic and the memories and the music of the Lighthouse All Stars still hold generations enthralled.

Eight Brothers 

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Bob Florence - State of the Art (Limited Edition)

Styles: Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 55:38
Size: 128,6 MB
Art: Front

(6:22)  1. Just Friends
(5:13)  2. Moonlight Serenade
(6:55)  3. Silky
(7:05)  4. The Crunch
(4:05)  5. Stella by Starlight
(8:46)  6. All the Things You Are
(6:04)  7. Mr. Paddington
(5:42)  8. BBC
(5:23)  9. Auld Lang Syne

The first of two sets by Bob Florence's Limited Edition Orchestra for the USA label breaks from his tradition in that only four of the nine selections are Florence originals. The arranger completely reworks such familiar tunes as "Just Friends," "Moonlight Serenade," "All the Things You Are" and even "Auld Lang Syne." Among the key players are altoist Lanny Morgan, trumpeter Steve Huffsteter, Bob Cooper on tenor, and Kim Richmond on alto and soprano. Modern, swinging and unpredictable music. ~ Scott Yanow https://www.allmusic.com/album/state-of-the-art-mw0000198731    

Personnel: Bob Florence (piano, electric piano, synthesizer); Lanny Morgan (flute, piccolo, clarinet, soprano saxophone, alto saxophone); Kim Richmond (flute, clarinet, soprano saxophone, alto saxophone); Dick Mitchell, Bob Cooper (flute, clarinet, tenor saxophone); Bob Efford (bass clarinet, baritone saxophone); John Lowe (e flat clarinet, baritone saxophone); George Graham, Larry Ford, Steve Huffsteter , Warren Luening (trumpet, flugelhorn); Rick Culper, Herbie Harper, Rick Culver, Charles Loper, Chauncey Welsch (trombone); Donald Waldrop (bass trombone); Tom Warrington (acoustic bass, electric bass); Peter Donald (drums); Alex Acuña (percussion).

State of the Art (Limited Edition)

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Buddy Rich - This One's For Basie

Bitrate: MP3@320K/s
Time: 40:55
Size: 93.7 MB
Styles: Swing
Year: 1957/1990
Art: Front

[4:46] 1. Blue And Sentimental
[4:05] 2. Down For Double
[5:41] 3. Jump For Me
[7:16] 4. Blues For Basie
[6:22] 5. Jumpin' At The Woodside
[2:57] 6. Ain't It The Truth
[5:11] 7. Shorty George
[4:33] 8. 9:20 Special

Drummer Buddy Rich put together an interesting 11-piece group for this tribute to Count Basie. The only Basie alumnus present is trumpeter Harry "Sweets" Edison but the other soloists (trombonist Frank Rosolino and Bob Enevoldsen, Bob Cooper on tenor and pianist Jimmy Rowles) easily fit into the setting. Marty Paich contributed the arrangements, there are plenty of drum solos and the music, if not all that memorable, can easily be enjoyed by straightahead jazz fans. ~Scott Yanow

This One's For Basie

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Ray Brown - Jazz Cello

Styles: Jazz, Post Bop
Year: 1960
File: MP3@320K/s
Time: 37:29
Size: 110,1 MB
Art: Front

(3:17)  1. Tangerine
(4:14)  2. Almost Like Being In Love
(4:38)  3. That Old Feeling
(5:12)  4. Ain't Misbehavin'
(2:40)  5. Alice Blue Gown
(3:06)  6. Rosalie
(4:00)  7. But Beautiful
(3:17)  8. Poor Butterfly
(4:53)  9. Memories Of You
(2:07) 10. Rock A Bye Your Baby

On the last day of August and the first day of September 1960, bassist Ray Brown recorded his third album for the Verve label, focusing most of his attention upon the cello while Joe Mondragon handled the bass. The 11-piece band on this date was conducted by arranger Russ Garcia and included reed players Paul Horn and Bob Cooper as well as pianist Jimmy Rowles. The results were typical of late-'50s West Coast mainstream jazz: familiar ballads and friendly, uplifting standards, tidily performed. Some of the tunes reach back to the 1920s, with "Rock-A-Bye Your Baby with a Dixie Melody" serving as a surprisingly hip link with vaudeville as Brown's pizzicato maneuverings are punctuated with punchy blasts from reeds and brass. If one takes the time to place this recording within an historical context, an impressive evolution reveals itself. The first bassist to cross over to cello on records in modern times is believed to have been Oscar Pettiford, while Fred Katz popularized the warm-toned instrument through his work with drummer Chico Hamilton. 

The progression of jazz cellists since then is impressive, from Ray Brown, Sam Jones, Percy Heath and Ron Carter to Abdul Wadud, David Holland, David Darling, David Eyges and Diedre Murray. By the first decade of the 21st century, an unprecedented number of improvising cellists had appeared, making Ray Brown's 1960 Jazz Cello album seem like a sunny little episode in the foundation of a fascinating modern tradition spanning several generations. ~ arwulf arwulf https://www.allmusic.com/album/jazz-cello-mw0000022965https://www.allmusic.com/album/jazz-cello-mw0000022965

Personnel: Ray Brown (cello, bass); Russ Garcia (arranger, conductor); Don Fagerquist (trumpet); Jack Cave (French horn); Harry Betts (trombone); Bob Cooper, Med Flory, Bill Hood, Paul Horn (reeds); Jimmy Rowles (piano); Joe Mondragon (bass); Dick Shanahan (drums).

Jazz Cello

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June Christy - June's Got Rhythm

Bitrate: MP3@320K/s
Time: 43:06
Size: 98.7 MB
Styles: Jazz vocals
Year: 1958/2006
Art: Front

[2:23] 1. Rock Me To Sleep
[3:16] 2. The Gypsy In My Soul
[2:41] 3. I'm Glad There Is You
[2:43] 4. They Can't Take That Away From Me
[1:55] 5. It Don't Mean A Thing (If It Ain't Got That Swing)
[2:46] 6. My One And Only Love
[2:56] 7. When Lights Are Low
[3:34] 8. I Can Make You Love Me (If You Let Me)
[4:17] 9. Easy Living
[3:15] 10. Blue Moon
[2:16] 11. All God's Chillun Got Rhythm
[2:30] 12. Baubles, Bangles And Beads
[2:22] 13. Aren't You Glad You're You
[2:39] 14. Looking For A Boy
[3:26] 15. Small Fry

Bass – Monty Budwig; Drums – Mel Lewis, Shelly Manne; Flute – George Spelvin; Guitar – Laurindo Almeida; Oboe – Bob Cooper; Piano – Russ Freeman; Trombone – Frank Rosolino; Trumpet – Ed Leddy; Tuba – Red Callender. Recorded in Hollywood, June, 1958.

Many of singer June Christy's popular Capitol albums feature her cool-toned vocals backed by an orchestra. This recording is an exception. Christy excels on a jazz-oriented set with a nonet that includes trumpeter Ed Leddy, trombonist Frank Rosolino and her husband Bob Cooper (who arranged the set) on tenor and oboe. Christy accurately called this music "intimate swing." Her versions of such songs as "I'm Glad There Is You," "My One and Only Love," "When Lights Are Low" and "Blue Moon" are tasteful, sincere and often quite memorable. ~Scott Yanow

June's Got Rhythm

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Ernestine Anderson - I Love Being Here With You Disc 1 And Disc 2

Album: I Love Being Here With You (Disc 1)

Styles: Vocal Jazz
Year: 2002
File: MP3@224K/s
Time: 39:46
Size: 64,0 MB
Art: Front

(3:46)  1. I Love Being Here With You
(7:03)  2. All Blues
(5:30)  3. Down Home Blues
(4:26)  4. As long As I Live
(6:50)  5. Please Send Me Someone To Love
(3:30)  6. I Let A Song Go Out Of My My Heart
(4:00)  7. Spring is Here
(4:37)  8. Street Of Dreams

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Album: I Love Being Here With You (Disk 2)

Time: 55:25
Size: 89,1 MB

( 7:32)  1. Blues In The Closet (instr)
( 4:42)  2. I Let A Song Go Out Of My Heart
(10:21)  3. I Should Care
( 5:22)  4. There Is No Greater Love
( 7:14)  5. Skylark
( 4:57)  6. On My Own
(15:14)  7. Never Make Your Move Too Soon

This nicely packaged, but hard to follow (I'm still not completely sure who's playing what on which CD) two CD set compiles excerpts from four live performances by Ernestine Anderson, mostly as a guest. The album covers three live performances from 1987 and one from 1990, when the singer was doing some very good work. The CD 2 is a complete replication of the Live at the 1990 Jazz Festival album. Since as far as I know, this album is still available, why it is included here is a bit of a mystery to me. CD 1 is the far more engaging of the two. One of the compilations's highlights for me is Anderson's appearance with the Frank Capp/Nat Pierce Juggernaut Band from Live at the Alley Cat. This was the last of that high flying big band's albums due to the death of co-leader Nat Pierce. Anderson did four numbers on that album. The work on the "Street of Dreams" and "I Let a Song Go out of My Heart" is recommendation enough to run out and try and located that Frankie Capp/Nat Pierce CD. At one point during his career, pianist George Shearing seemed determined to record with just about every singer he could get his arms around. He cornered Anderson for two cuts on his 1987 release Dexterity. He and Shearing come together nicely on the cuts on which Anderson appears, "As Long As I Live" and "Please Send Me Someone to Love". The other album on this medley, again from 1987, and this time features the Concord All-Stars with such luminaries as Dave McKenna, Red Holloway and Dan Barrett occupying seats. There are three cuts from this album, with Anderson and McKenna working out on "I Love Being Here with You" the top item. This album will certainly appeal to Anderson's many fans as well as to those who just love a good singer behind a good band especially the Capp/Pierce outfit. ~ Dave Nathan https://www.allaboutjazz.com/i-love-being-here-with-you-ernestine-anderson-concord-music-group-review-by-dave-nathan.php

Personnel: Dan Barrett, Charlie Loper, Garnett Brown, Buster Cooper - Trombone;  Ed Bickert, Ken Pohlman - Guitar;  Scott Hamilton, Bob Cooper,  Frank Wess - Tenor Sax;  Red Holloway - Alto & Tenor Sax;  Dave McKenna, George Shearing, Gene Harris, Nat Pierce - Piano; Jimmie Smith, Frank Capp, Harold Jones - Drums; Warren Vache - Trumpet; Steve Wallace, Neil Swainson, Chuck Berghofer, Lynn Seaton - Bass; Snooky Young, Frank Szabo, Conte Candoli, Bill Berry; Dave Edwards, Joe Romano, Marshal Royal - Alto Sax; Bill Green - Baritone Sax

I Love Being Here With You (Disk 1) And (Disk 2)

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Sue Raney - In Good Company

Styles: Vocal Jazz
Year: 1990
File: MP3@320K/s
Time: 56:41
Size: 129,9 MB
Art: Front

(3:01)  1. After You've Gone
(5:48)  2. Mood Indigo
(5:49)  3. These Foolish Things
(3:18)  4. Love Walked In
(4:15)  5. Poor Butterfly
(3:58)  6. I'm Getting Sentimental over You
(4:08)  7. How Deep Is the Ocean?
(3:23)  8. Indian Summer
(4:51)  9. Ev'ry Time We Say Goodbye
(4:53) 10. My Foolish Heart
(5:13) 11. 'Tis Autumn
(4:06) 12. The Man I Love
(3:51) 13. (Back Home Again In) Indiana/Donna Lee

Vocalist Sue Raney performs an assortment of ballads and standards in conventional singer/big band format. The backing orchestra includes several West Coast session and studio pros: trombonist Bill Watrous, drummer Jake Hanna, trumpeter Conte Candoli, and saxophonist Bob Cooper, plus arranging and piano veteran Alan Broadbent. ~ Ron Wynn http://www.allmusic.com/album/in-good-company-mw0000676537

Personnel: Sue Raney (vocals); Alan Broadbent (piano); Conte Candoli (trumpet); Bill Watrous (trombone); Dick Nash (trombone); Bob Cooper.

In Good Company

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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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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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