Anita O'Day - Hot & Cool Heat - Anita O'Day Sings Buddy Bregman & Jimmy Giuffre Arrangements

Styles: Big Band, Swing, Jazz Vocal
Year: 2011
Time: 60:32
File: MP3 @ 320K/s
Size: 141,9 MB
Art: Front

(2:26) 1. You're The Top
(3:15) 2. Honeysuckle Rose
(2:30) 3. No Moon At All
(2:51) 4. I'll See You In My Dreams
(4:24) 5. I Never Had A Chance
(3:20) 6. Stompin' At The Savoy
(4:14) 7. Sweet Georgia Brown
(3:27) 8. I Won't Dance
(2:22) 9. Let's Begin
(2:16) 10. Come Rain Or Come Shine
(2:33) 11. You're A Clown
(3:13) 12. Easy Come Easy Go
(3:03) 13. A Lover Is Blue
(3:09) 14. Mack The Knife
(2:26) 15. Gone With The Wind
(2:08) 16. Hershey Bar
(2:54) 17. My Heart Belongs To Daddy
(2:03) 18. Orphan Annie
(2:12) 19. The Way You Look Tonight
(3:14) 20. It Had To Be You
(2:22) 21. Hooray For Hollywood

Hot and Cool Heat

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Anita O'Day shows in this set why her over-all feeling and delivery mark her as one of the few women in the field who could ever accurately be called a jazz singer. She was a more imaginative singer than her imitators, not merely because she was original, but also because she was much more inventive. Two talented and utterly dissimilar arrangers contributed the imaginatively varied scores for these sessions, the first two by Buddy Bregman, the last three by Jimmy Giuffre.

Reveling in the settings the difference between hot and cool Anita O'Day has a great time, not only on the swinging tunes, to which she contributes some trademark, zestful, inventive scatting, but also in singing ballads with a sure touch. Backing her, Bregman and Giuffre used some of the finest Hollywood jazzmen, with Stan Getz particularly warm and lyrical on I Never Had a Chance.

These are probably the best jazz sides recorded by Anita O'Day in the Fifties, and if you enjoy vocal records in the slightest bit, do yourself a favor and get this one.

https://www.amazon.com/Anita-Sings-Bregman-Giuffre-Arrangements/dp/B003JZEVIK

Personnel:

Anita O'Day (vcl), Pete Candoli, Conte Candoli, Jack Sheldon, Tom Reeves (tp), Milt Bernhart, Frank Rosolino, Lloyd Ulyate, Joe Howard, Si Zentner (tb), Bud Shank, Art Pepper, Alan Harding, Les Robinson (as), Stan Getz, Richie Kamuca (ts), Jimmy Giuffre (bs), Paul Smith, André Previn (p), Barney Kessel, Jim Hall (g), Joe Mondragon, George Morrow (b), Alvin Stoller, Mel Lewis (d) 

Tracks #1-4, from the album "Anita" (Verve MGV-2000)

Tracks #5-9, from the album "Pick Yourself Up" (Verve MGV-2043)

Tracks #10-21, from the album "Cool Heat" (Verve MGV-8312)

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Bud Shank & Rein de Graaf - Alone Together

Styles: West Coast Jazz, Jazz Instrument, Saxophone Jazz
Year: 2000
Time: 68:42
File: MP3 @ 320K/s
Size: 157,7 MB
Art: Front

(10:20) 1. Alone Together
(13:23) 2. I Can't Get Started
(12:21) 3. On the Trail
(11:39) 4. My Funny Valentine
(10:24) 5. What's New
(10:31) 6. Stella By Starlight

Alone Together

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The six tracks on this record give a quiet, masterful demonstration of how to sing without a rhythm section. Almost of the tunes are ballads,originally. But Rein and Bud decided to change the tempos. This music was recorded before a small, select audience in a living room-like studio with no room for more musicians. When Rein told Bud that the bassist and the drummer had a day off, he was a bit sceptical at first. A duo would that work? But weeks later, while listening to the tapes, he reacted enthusiastically. This is a great stuff, man!-Jeroen de Walk (from the liner-notes)

Personnel:

Bud Shank (as), Rein de Graaf (p)

Recorded at Pinehill Studio, Leersum, Holand, December 12, 2000. 

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Russ Freeman Trio & Quartet

Styles: Bop, Cool Jazz
Year: 2011
Time: 79:47
File: MP3 @ 320K/s
Size: 183,9 MB
Art: Front

(2:22) 1. Lullaby in Rhythm
(4:13) 2. East of the Sun
(3:25) 3. Steeplechase
(2:59) 4. Laugh Cry
(2:45) 5. At Last
(2:43) 6. You Stepped Out of a Dream
(2:38) 7. Yesterday's Gardenias
(2:50) 8. Bock's Tops
(3:08) 9. Don't Worry 'Bout Me
(2:54) 10. Backfield Motion
(3:02) 11. The Eye Opener
(2:42) 12. Bojangles of Harlem
(4:41) 13. It's a New World
(7:24) 14. Blues in the Night
(3:00) 15. The Party's Over
(3:42) 16. Joey, Joey, Joey
(5:07) 17. Woody's Dot
(3:38) 18. Namely You
(3:56) 19. Love in a Home
(3:47) 20. Progress Is the Root of All Evil
(4:00) 21. Independent
(4:41) 22. Invitation to the Blues

Trio & Quartet

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While other West Coast jazz pianists during the Fifties and early Sixties cut their shareand some perhaps more than thatof albums for a variety of recording firms, Russ Freemans output of records under his own name was nowhere near enough to reflect his enormous talent.

Thanks to his involvement in the groups of such standard bearers as Howard McGhee, Dexter Gordon, Art Pepper and Wardell Gray, he developed rapidly and when Chet Baker made his first quartet recordings in December 1952, he chose Freeman as pianist, composer and musical director. Freemans reputation also earned him a place with the Lighthouse All-Stars, Shorty Rogers Giants and, for ten years from 1955, with Shelly Manne and his Men.

This CD is dedicated to the memory of Russ Freeman (1926-2002), an extraordinary but too often underrated jazz pianist who deserves a place among the greatest.

Tracks #1-3, not issued on LP

Tracks #4-11, from Pacific Jazz LP-8 (10")

Track #12, from World Pacific JWC-501 (12")

Track #13, from World Pacific JWC-505 (12")

Track #14, from World Pacific JWC-502 (12")

Tracks #15-21, from World Pacific PJM-404 (12")

Track #22, from World Pacific JWC-511 and Stereo 1031 (12")

Personnel on #1-3: Russ Freeman (piano), Bob Whitlock (bass), Bobby White (drums). Recorded in Hollywood, at Gold Star Studios, December 15, 1952

Personnel on #4-11: Russ Freeman (piano), Joe Mondragon (bass), Shelly Manne (drums). Recorded in Hollywood, at Radio Recorders, December 27 (#4-6) & 28 (#7-11), 1953

Personnel on #12-14: Bud Shank (alto sax & flute), Russ Freeman (piano), Carson Smith (bass), Shelly Manne (drums). Recorded in Hollywood, at Music Box Theater, February 19, 1956

Personnel on #15-21: Russ Freeman (piano), Monty Budwig (assb), Shelly Manne (drums). Stu Williamson (trumpet, added on #18-21). Recorded in Hollywood, at Radio Recorders, August 12, 1957

Personnel on #22: Russ Freeman (piano), Billy Bean (guitar), Monty Budwig (bass), Mel Lewis (drums).  Recorded in Hollywood, at Sound Enterprises, March 26, 1959

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Chet Baker & Bud Shank - Theme Music From "The James Dean Story"

Styles: Cool Jazz
Year: 2016
Time: 42:17
File: MP3 @ 320K/s
Size: 98,1 MB
Art: Front

(2:53) 1. Jimmy's Theme
(4:45) 2. The Search
(3:38) 3. Lost Love
(3:35) 4. People
(3:35) 5. The Movie Star
(4:33) 6. Fairmont, Indiana
(3:43) 7. Rebel at Work
(4:11) 8. Let Me Be Loved
(3:58) 9. Success and Then What?
(5:05) 10. Hollywood
(2:15) 11. Let Me Be Loved (Vocal Version)

Theme Music from the James Dean Story

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Presented here for the first time on CD in full Stereo sound, with detailed recording dates and complete, accurate personnel data, the splendidly varied contributions of soloists and arrangers give the album the jazz qualities that help to make it such a satisfying experience.

The famous television host, actor and jazz pianist, Steve Allen, once said that Chet Baker was, because of his general air, looks and attitude, “the James Dean of Jazz.” Since Chet also shared with Dean a similar reputation as a rebel, it seems fitting that he was chosen as co-leader on this album with Bud Shank. Originally written by Leith Stevens for “The James Dean Story” the music for the film contains that background quality, meant to amplify visual action, which gives it a cohesiveness that, in lesser hands, has the potential to make one track sound a great deal like another. However, the Johnny Mandel and Bill Holman orchestrations here simultaneously reflect the James Dean spirit, while providing a rich instrumental framework for the solo work of Baker and Shank. And if Chet plays with consistent force and lyrical warmth throughout, and sings with emotional involvement on the James Dean theme, Let Me Be Loved, it is Bud who steals the show overall with the authoritative vitality and soulfulness of his alto and flute work.

Music composed by Leith Stevens, except “Let Me Be Loved” by Jay Livingston-Ray Evans

Tracks #1-10, originally issued on the Mono 12” album

“The James Dean Story” (World Pacific P-2005)

Tracks #11 from the 7” single World Pacific X-641

Tracks #1,2,4,5,6,8,9 & 10 issued in Stereo on the

12” album “Swinging Soundtrack” (Kimberly 11016)

Personnel includes:

Chet Baker, trumpet & vocals; Ray Linn, Don Fagerquist, trumpets; Milt Bernhart, trombone; Bud Shank, Charlie Mariano, Bill Holman, Richie Kamuca, Herbie Steward, Pepper Adams, reeds & woodwinds; Claude Williamson, piano; Monty Budwig, bass; Mel Lewis, drums; Mike Pacheco, bongos.

All sessions recorded at Radio Recorders, in Hollywood, August 1957

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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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Bud Shank - New Gold!

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 61:43
Size: 142,0 MB
Art: Front

(5:45)  1. Port Townsend
(4:52)  2. Alternate Root
(5:56)  3. Let Me Tell You Why
(5:41)  4. Straight No Chaser
(6:25)  5. Perkolater
(6:15)  6. Grizzly
(5:13)  7. Finger Therapy For Sherman
(6:35)  8. Linda
(4:58)  9. Killer Joe
(4:59) 10. Funcused Blues
(5:00) 11. Little Rootie Tootie

Bud Shank assembled a pianoless sextet made up of West Coast musicians for this 1993 studio date, including a front line consisting of the alto saxophonist and leader with trumpeter Conte Candoli, tenor and soprano saxophonist Bill Perkins, baritone saxophonist Jack Nimitz, and a rhythm section that includes bassist and composer John Clayton and drummer Sherman Ferguson. The playing is crisp, the ensembles are a joy to hear, and the solos are consistently adventurous. "Port Townsend" is a lively post-bop vehicle that opens the session, featuring a strong solo by Candoli. The leader contributed the somewhat exotic "Perkolator" (a feature for Perkins' soprano sax) and the pretty ballad "Linda." But it is Clayton's charts that threaten to steal the show, including the strutting "Alternate Root," the bittersweet "Let Me Tell You Why," which has some almost mournful solos by Shank, and the funky blues "Funcused Blues." There are also impressive performances of jazz standards by Thelonious Monk and Benny Golson. Unfortunately, this CD was deleted with the demise of the initial revival of the Candid label. ~ Ken Dryden https://www.allmusic.com/album/new-gold-mw0000177457

Personnel:  Bud Shank (alto saxophone);  Conte Candoli (trumpet);  Bill Perkins (tenor saxophone, soprano saxophone);  Jack Nimitz (baritone saxophone);  John Clayton (bass);  Sherman Ferguson (drums)

New Gold!

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Art Pepper - Art Pepper + Eleven

Styles: Saxophone, Clarinet Jazz
Year: 1959
File: MP3@320K/s
Time: 54:36
Size: 125,5 MB
Art: Front

(3:27)  1. Move
(3:24)  2. Groovin' High
(3:13)  3. Opus de Funk
(3:34)  4. 'Round Midnight
(3:00)  5. Four Brothers
(3:00)  6. Shaw 'Nuff
(2:46)  7. Bernie's Tune
(3:32)  8. Walkin' Shoes
(3:20)  9. Anthropology
(3:02) 10. Airegin
(5:17) 11. Walkin'
(3:24) 12. Donna Lee
(5:00) 13. Walkin' (alternate take 1)
(5:02) 14. Walkin' (alternate take 2)
(3:26) 15. Donna Lee (alternate take)

Only a handful of jazz recordings can be described as truly classic. Art Pepper + Eleven: Modern Jazz Classics is a member of that handful. Recorded between March and May 1959, + Eleven has the distinction of being excellent on multiple planes. One is Pepper himself. A journeyman multi-reedist who was already a veteran of big bands lead by Gus Arnheim, Benny Carter, and Stan Kenton, Pepper was reaching his first pinnacle as an artist when + Eleven was recorded. This recording falls chronologically between Art Pepper Meets the Rhythm Section (Contemporary CCD-7532-2) and Gettin' Together (Contemporary OJCCD-169-2) in the Contemporary catalog. This trilogy alone would have established Pepper's reputation as the finest post-Parker alto saxophonists, let alone all of his exceptional comeback recordings of the late '70s and early '80s that followed a decade of incarceration because of Pepper's well known heroin addiction. Pepper's tone during this period was dry ice-cool, very expressive and brilliant. A second source of excellence in this recording is the presence of the late Marty Paich as the arranger. It was a monumental task that Mr. Paich undertook to mold these often craggy bebop tunes into the engaging big band vehicles they became under his pen. 

Denzil Best's "Move" simply jumps from the speakers. It is comparable to Miles Davis 1949 Nonette recording of the same song, except that Paich and Pepper add a hard shine to the soft bop of the song. Paich's French Horns on Monk's "'Round Midnight" recalls both Gil Evans and Claude Thornhill before him, ensuring that lineage of thought remained intact. "Four Brothers," "Bernie's Tune," "Walkin' Shoes," and "Anthropology" are all treated as high art by artist, arranger and band alike. Speaking of the band, this is the third mark of excellence in this recording. A Who's Who of West Coast musicians, it is fairly easy to pick out Pete Condoli's and Smiling Jack Sheldon's trumpets or Bill Perkins's tenor saxophone. Russ Freeman provides the piano as he did on several other Pepper offerings. A Big Band in all but name, this group of musicians was as essential to the historic significance of this recording as the leader and arranger. This release of Art Pepper + Eleven: Modern Jazz Classics is part of Fantasy's effort to release remastered masterpieces from its vaults. All of the alternate takes are released, as they have a several earlier offerings. The sonics of this release are exceptional. The drums and bass are clear and apparent and the space around Pepper and the other soloists is well defined. ~ C.Michael Bailey https://www.allaboutjazz.com/art-pepper--eleven-modern-jazz-classics-art-pepper-contemporary-review-by-c-michael-bailey.php

Personnel: Art Pepper: Alto And Tenor Saxophones, Clarinet; Al Porcino, Jack Sheldon, Pete Candoli: Trumpet; Dick Nash: Trombone; Bob Enevoldsen: Tenor Saxophone, Valve Trombone; Vince De Rosa: French Horn; Charlie Kennedy, Bud Shank, Herb Geller: Alto Saxophone; Richie Kamuca, Bill Perkins: Tenor Saxophone; Med Flory: Baritone Saxophone; Russ Freeman: Piano; Joe Mondragon: Bass; Mel Lewis: Drums.

Art Pepper + Eleven

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Gerald Wilson Big Band - Moment Of Truth

Styles: Jazz, Big Band
Year: 1989
File: MP3@320K/s
Time: 40:32
Size: 93,8 MB
Art: Front

(5:47)  1. Viva Tirado
(4:26)  2. Moment Of Truth
(5:57)  3. Patterns
(2:58)  4. Terri
(2:41)  5. Nancy Jo
(5:40)  6. Milestones
(5:06)  7. Latino
(4:29)  8. Josephina
(3:25)  9. Emerge

Gerald Wilson's Pacific Jazz albums of the 1960s were arguably the most significant of his career. This CD reissues his second record of the period and has among its highlights the original version of "Viva Tirado" (a catchy number made into a surprise pop hit by El Chicano later in the decade) and a driving rendition of "MIlestones"; the other seven songs (six of which are Wilson's originals) are also quite enjoyable. Among the more notable soloists are trumpeter Carmell Jones, both Teddy Edwards and Harold Land on tenor, guitarist Joe Pass, and pianist Jack Wilson. Recommended. ~ Scott Yanow https://www.allmusic.com/album/moment-of-truth-mw0000654233

Personnel: Gerald Wilson - arranger and conductor; John Audino, Jules Chaiken, Freddie Hill, Carmell Jones, Al Porcino  - trumpet; Lou Blackburn, Bob Edmondson, Lester Robertson, Frank Strong - trombone; Bob Knight - bass trombone; Joe Maini - alto saxophone; Bud Shank - alto saxophone, flute; Teddy Edwards, Harold Land - tenor saxophone; Jack Nimitz, Don Raffell - baritone saxophone; Jack Wilson - piano; Joe Pass - guitar; Jimmy Bond - bass; Mel Lewis - drums; Modesto Duran - congas

Moment Of Truth

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Shorty Rogers & Andre Previn - In Collaboration

Styles: Trumpet And Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 60:53
Size: 140,5 MB
Art: Front

(2:37)  1. Heat Wave
(3:35)  2. Everything I’ve Got
(3:00)  3. It Only Happens When I Dance With You
(2:24)  4. You Stepped Out Of A Dream
(3:00)  5. General Cluster
(2:41)  6. 40º Below
(3:23)  7. Claudia
(3:22)  8. Some Antics
(2:26)  9. It’s Delovely
(2:45) 10. Porterhouse
(3:06) 11. You Do Something To Me
(2:16) 12. Call For Cole
(3:00) 13. Lullaby Of Birdland
(2:50) 14. You’re Driving Me Crazy
(3:25) 15. Tomorrow Mountain
(2:47) 16. Treat Me Rough
(2:33) 17. Mountain Greenery
(2:47) 18. You Took Advantage Of Me
(2:30) 19. Sidewalks Of Cuba
(3:23) 20. My Man’s Gone Now
(2:53) 21. Island In The West Indies

This is a really unusual and outstanding album. It presents two of the most celebrated and creative personalities of the Hollywood jazz and studio fields in collaboration. In the early Fifties, trumpeter, bandleader, composer and arranger Shorty Rogers was the head of the flourishing West Coast school of jazz, and André Previn was one of the most gifted pianists, conductors and composers of the scene; he wielded an awesome command of almost every kind of music. In addition to writing the challenging instrumental sides, they also wrote together the scores for André’s wife Betty Bennett, a respected well-known jazz & pop singer who never had had a chance to show how she really sanguntil Shorty’s Giants backed her, that is. 

Featuring: Shorty Rogers (tp), Milt Bernhart, Frank Rosolino (tb), Bud Shank (as, fl), Harry Klee (as), Bob Cooper (ts), Jimmy Giuffre (bars), André Previn (p), Al Hendrickson, Jack Marshall, Barney Kessel (g), Joe Mondragón, Curtis Counce, Ralph Peña (b).

In Collaboration

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Maynard Ferguson - Dimensions

Styles: Trumpet Jazz
Year: 1956
Time: 36:37
Size: 43,6 MB
Art: Front

(3:46) 1. Egad, Marths
(3:55) 2. Breakfast Dance
(2:55) 3. Maiden Voyage
(2:40) 4. Thou Swell
(2:50) 5. The Way You Look Tonight
(2:50) 6. All God's Children Got Rhythm
(2:37) 7. Slow Stroll
(3:24) 8. Wonder Why
(2:59) 9. Willie Nillie
(2:30) 10. Hymn To Her
(3:04) 11. Lonely Town
(3:01) 12. Somewhere Over The Rainbow

This Trip LP is a reissue of an earlier EmArcy album that has not yet appeared on CD. The always-impressive trumpeter Maynard Ferguson is featured with a nonet arranged by Bill Holman in 1955 and a septet from 1954. The concise performances include both standards and originals with all but two four-minute songs clocking in around three minutes; the soloists include Ferguson, trombonists Milt Bernhart and Herbie Harper, altoists Herb Geller and Bud Shank, baritonist Bob Gordon and Bob Cooper on tenor. Although not essential, the bop-oriented music is well-played and gives one a good taste of early Ferguson.~ Scott Yanow https://www.allmusic.com/album/dimensions-mw0000919103

Personnel: Trumpet – Conte Candoli, Maynard Ferguson; Alto Saxophone, Flute – Bud Shank, Herb Geller; Baritone Saxophone – Bob Gordon ; Bass – Curtis Counce, Red Mitchell; Drums – Gary Frommer, Shelly Manne; Piano – Russ Freeman; Tenor Saxophone – Bob Cooper, Nino Tempo; Trombone – Herbie Harper, Milton Bernhart

Dimensions

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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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Herb Ellis - Herb Ellis Meets Jimmy Giuffre

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 38:53
Size: 92,9 MB
Art: Front

(3:05)  1. Goose Grease
(5:57)  2. When Your Lover Has Gone
(7:43)  3. Remember
(4:06)  4. Patricia
(5:06)  5. A Country Boy
(4:32)  6. You Know
(3:32)  7. My Old Flame
(4:49)  8. People Will Say We're In Love

"Herb Ellis Meets Jimmy Giuffre presents an unusual team. It is an album with involved arrangements, as opposed to a jam session format, and the only solo voice heard here is Ellis guitar with the exception of the tune "Remember", on which some short solos by the horns are heard. Not even Giuffre solos, as he contented himself with writing all of the arrangements and playing on the elaborate ensemble passages." https://www.freshsoundrecords.com/herb-ellis-albums/5238-herb-ellis-meets-stan-getz-roy-eldridge-art-pepper-jimmy-giuffre-2-lp-on-1-cd.html

Personnel:  Guitar – Herb Ellis, Jim Hall;  Tenor Saxophone, Baritone Saxophone, Arranged By – Jimmy Giuffre;   Alto Saxophone – Art Pepper, Bud Shank; Bass – Joe Mondragon; Drums – Stan Levey; Piano – Lou Levy; Tenor Saxophone – Richie Kamuca

Herb Ellis Meets Jimmy Giuffre

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Lalo Schifrin - There's A Whole Lalo Schifrin Goin' On

Styles: Piano Jazz
Year: 1968
File: MP3@320K/s
Time: 28:50
Size: 68,5 MB
Art: Front

(2:27)  1. Secret Code
(2:29)  2. Dissolving
(2:41)  3. Machinations
(2:35)  4. Bride of the Wind
(2:07)  5. Life Insurance
(2:59)  6. How to Open at Will
(2:12)  7. Vaccinated Mushrooms
(2:41)  8. Two Petals a Flower and a Young Girl
(2:42)  9. Wheat Germ Landscapes
(3:29) 10. Gentle Earthquake
(2:25) 11. Hawks vs. Doves

Though it may seem unlikely that Frank Zappa had much of an influence on the work of Lalo Schifrin, one can detect some cultural crossover on There's a Whole Lalo Schifrin Goin' On. Schifrin was as much a jazz-pop genius as ever, but on this album rock rhythms, musical satire, sound effects, and exotica are all used as camp in a way that is eerily reminiscent of Zappa's more thoughtful efforts. Schifrin being Schifrin, every cut has a distinct and catchy melody, but there are whimsical and satirical themes embedded in the music. Nowhere is this more obvious than in "Hawks Vs. Doves," in which a cheery carnival-like theme is played in counterpoint to a martial air, each interfering with the other. Elsewhere, Schifrin uses unusual percussion, dissonance, and tense, sonically fragmented piano to create soundscapes that are unlike most of the rest of his work. "Secret Code" integrates tabla drums, not a common instrument in American jazz of the time, with a cold, flute-like synthesizer  probably the first time those two instruments were used together. 

This album was ahead of its time in terms of instrumentation, but was a product of its time in that established ways of doing things were being challenged. Fans of Lalo Schifrin's work will find this to rank with his best, and those not familiar with anything but the Mission Impossible theme will be drawn in further by the eccentric genius displayed here. Note: Like many of Schifrin's albums of the period, there is no listing of musicians on the album cover, so it is difficult to know who is responsible for the marvelous performances here, except for Schifrin's own contributions. ~ Richard Foss https://www.allmusic.com/album/theres-a-whole-lalo-schifrin-goin-on-mw0000771728

Personnel:  Lalo Schifrin - piano, synthesizer, arranger, conductor; Tony Terran, John Audino - trumpet; Lloyd Ulyate, Barrett O'Hara - trombone; John Johnson - tuba; Vincent DeRosa - horn; Bud Shank, Ronnie Lang, Sam Most - reeds; Arnold Kobentz - oboe, English horn; Ralph Grierson, Artie Kane, Roger Kellaway, Mike Lang - keyboards; Paul Beaver - keyboards, synthesizer, stereo harp; Carl Fortina - accordion; Howard Roberts, Dennis Budimer, Bill Pitman, Louis Morell - guitar; James Bond, Ray Brown - bass; Carol Kaye, Max Bennett - electric bass; Shelly Manne - drums, percussion; Earl Palmer, Ken Watson, Joe Porcaro, Emil Richards - percussion; Milt Holland - tabla; Bonnie Douglas, Sam Freed, Anatol Kaminsky, Nathan Kaproff, George Kast, Marvin Limonick, Erno Neufeld, Paul Shure - violin; Myra Kestenbaum, Allan Harshman, Robert Ostrowsky, Virginia Majewski - viola; Raphael Kramer, Edgar Lustgarten, Eleanor Slatkin - cello; Catherine Gotthoffer - harp; Robert Helfer - orchestra manager

There's A Whole Lalo Schifrin Goin' On

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Bud Shank - Bud Shank Plays Tenor

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 46:21
Size: 106,4 MB
Art: Front

(6:42)  1. Thou Swell
(7:53)  2. Tenderly
(4:24)  3. Over The Rainbow
(4:53)  4. Long Ago And Far Away
(6:33)  5. I Never Knew
(4:55)  6. All The Things You Are
(5:12)  7. Body And Soul
(5:45)  8. Blue Lou

"As its title promises, Bud Shank Plays Tenor eschews the jazzman's signature alto and flute, and while the leap to tenor doesn't dramatically impact his overall sound and style, it does add soul and depth to his lyrical solos. Paired with pianist Claude Williamson, bassist Don Prell, and drummer Chuck Flores, Shank crafts a radiant set of standards spanning from "All the Things You Are" to "Long Ago and Far Away," and while none of the performances reinvent the familiar material, the robust approach sets the session apart from his other Pacific Jazz dates."~ Jason Ankeny https://www.allmusic.com/album/bud-shank-plays-tenor-mw0000869407

Personnel:  Bud Shank (tenor sax), Claude Williamson (piano), Don Prell (bass), Chuck Flores (drums).

Bud Shank Plays Tenor

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Bud Shank, Lou Levy - Jazz in Hollywood

Styles: Saxophone, Flute and Piano Jazz
Year: 1954
File: MP3@320K/s
Time: 48:09
Size: 111,0 MB
Art: Front

(5:38)  1. Casa de Luz
(3:23)  2. Lotus Bud
(3:24)  3. Left Bank
(3:17)  4. Shank's Pranks
(4:13)  5. Jasmine
(4:16)  6. Just a Few
(2:17)  7. The Gentleman Is a Dope
(2:41)  8. Serenade in Blue
(3:03)  9. Woody'n You
(3:32) 10. Tres Palabras (Without You)
(3:36) 11. All the Things You Are
(2:26) 12. Tiny's Other Blues
(2:53) 13. Like Someone in Love
(3:23) 14. Bloo Denim

The two sessions included on this 1998 CD (both are also available as part of Fresh Sound's three-CD Complete Nocturne Recordings Vol. One) are unrelated. The first six selections feature one of the best of all the collaborations between altoist Bud Shank (doubling on alto flute) and trumpeter Shorty Rogers, in a quintet with pianist Jimmy Rowles, bassist Harry Babasin and drummer Roy Harte. The musicians play six of Rogers' originals, including "Casa De Luz" and the debut of "Lotus Bud." The second half of the CD is actually a trio set led by pianist Lou Levy and also including Babasin and drummer Larry Bunker. Levy is quite boppish and heard throughout in top form. Well worth picking up by collectors of 1950s straight-ahead jazz.~ Scott Yanow https://www.allmusic.com/album/jazz-in-hollywood-mw0000037062

Personnel:  Alto Saxophone, Flute – Bud Shank (tracks: 1 to 6);  Piano – Jimmy Rowles (tracks: 1 to 6), Lou Levy (tracks: 7 to 14);  Bass – Harry Babasin;  Drums – Larry Bunker (tracks: 7 to 14), Roy Harte (tracks: 1 to 6);  Flugelhorn – Shorty Rogers (tracks: 1 to 6)

Jazz in Hollywood

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Bud Shank - Magical Mystery

Styles: Saxophone Jazz 
Year: 1968
File: MP3@320K/s
Time: 34:54
Size: 84,8 MB
Art: Front

(3:33)  1. Blue Jay Way
(2:54)  2. I Am The Walrus
(3:41)  3. The Fool On The Hill
(4:01)  4. Flying
(3:23)  5. Hello Goodbye
(2:46)  6. Your Mother Should Know
(2:59)  7. Paper Cup
(2:53)  8. Windy
(2:56)  9. Never My Love
(2:19) 10. I Wanna Be Free
(3:25) 11. I Say A Little Prayer

By late 1966, Chet’s playing was in such poor shape he asked Dick Bock to pay for him to have dentures fitted. He struggled to play for several months, and eventually emerged one year later, appearing on a handful of songs on Bud Shank’s ‘Magical Mystery’ album. Chet’s playing still sounds extremely tentative at times the first few bars of his playing on ‘Hello Goodbye’ find him struggling to hold a note and it is probably for this reason that a second recording session was arranged with a new band, this time featuring Gary Barone on flugelhorn. The arrangements, still by Bob Florence, are slightly more interesting than on Bud Shank’s previous ‘pop’ albums, suggesting a move away from the ‘easy listening’ market to a more current,‘psychedelic’ sound.http://www.funnyvalentine.org/funnyvalentine.org/Magical_Mystery.html

Personnel: Bud Shank (as, fl), Chet Baker (flh),Gary Barone (flh), Dennis Budimir (g), Herb Ellis (g), Robert West (b), John Guerin (b), Victor Feldman (perc).

Magical Mystery

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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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Herbie Harper - Jazz In Hollywood

Bitrate: MP3@320K/s
Time: 48:23
Size: 110.8 MB
Styles: Trombone jazz
Year: 1954/1997
Art: Front

[5:10] 1. Jeepers Deepers
[2:52] 2. Dinah
[2:12] 3. Five Brothers
[2:57] 4. Herbstone
[3:00] 5. Summertime
[4:14] 6. Jive At Five
[2:31] 7. Patty
[3:36] 8. The New York City Ghost
[2:53] 9. Julie Is Her Name
[3:12] 10. Sanguine
[3:13] 11. Now Playing
[2:56] 12. 6 4 Mambo
[3:29] 13. Bananera
[2:24] 14. Indian Summer
[3:37] 15. The Happy Clown

Baritone Saxophone – Bob Gordon; Bass – Harry Babasin; Drums – Roy Harte; Guitar – Al Hendrickson; Piano – Jimmy Rowles, Marty Paich; Tenor Saxophone, Baritone Saxophone – Bud Shank; Trombone – Herbie Harper.

Although somewhat forgotten today, Herbie Harper was one of jazz's top trombonists of the 1950s. Even with the time he spent doing studio work, Harper was closely involved in the West Coast jazz movement in Los Angeles. This CD, whose music is also available as part of Fresh Sound's three-CD Complete Nocturne Recordings Vol. 1, has Harper's two Nocturne dates, including the earliest session cut by the label. Harper is heard on a delightfully swinging set with baritonist Bob Gordon, pianist Jimmy Rowles, bassist Harry Babasin and drummer Roy Harte, and on two other sessions with Babasin, Harte and sometimes Bud Shank (on tenor and baritone rather than alto and flute), guitarist Al Hendrickson and/or pianist Marty Paich. The music includes cool renditions of swing-era songs, a few newer originals, and some offbeat material. Recommended. ~Scott Yanow

Jazz In Hollywood mc
Jazz In Hollywood zippy

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Legends & Lions - Swingin'

Bitrate: MP3@320K/s
Time: 57:29
Size: 131.6 MB
Styles: Mainstream jazz
Year: 2006
Art: Front

[6:14] 1. Mighty Burner
[5:53] 2. Blues For Hamp
[5:48] 3. I Am Old Fashioned
[4:28] 4. Comment Allez-Vous
[3:40] 5. Seven Steps To Heaven
[6:06] 6. Nancy Jo
[5:39] 7. Blues For Matt B
[7:55] 8. Old Man Jazz
[6:21] 9. Centerpiece
[5:19] 10. The Masquerade Is Over

Legends & Lions: Swingin' is one of a pair of specially priced compilations simultaneously released by Mack Avenue at a special price to showcase their artists. Unlike typical collections, this CD combines previously issued tracks and music from future projects along with one unissued track that evidently will not appear elsewhere. The selections range from the tasty uptempo blues "Mighty Burner," which showcases trumpeter Rashawn Ross extensively before tenor saxophonist and leader Ron Blake makes his entrance; to vocalist Ilona Knopfler's sensual "Comment Allez-Vous" backed by a fine big band; to a bluesy down-home gospel-flavored treatment of "Centerpiece" that features Kenny Burrell, James Moody, Teddy Edwards, Cedar Walton, and Oscar Brashear. The unissued track, a brisk take of "I'm Old Fashioned" featuring alto saxophonist Bud Shank with pianist Mike Wofford, bassist Bob Magnusson, and drummer Joe La Barbera, may have been set aside due to a few reed squeaks in the opening minute. This excellent sampler showcases a label that is not focused exclusively either on veteran artists or rising stars, but one that simply seeks to record valuable jazz. ~Ken Dryden

Swingin' mc
Swingin' zippy

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