Buck Clayton - A Buck Clayton Jam Session

Styles: Trumpet Jazz
Year: 1975
File: MP3@256K/s
Time: 75:39
Size: 138,9 MB
Art: Front

(17:43)  1. Sidekick
(11:52)  2. Change For A Buck
(12:12)  3. The Duke We Knew
(15:11)  4. Glassboro Blues
( 5:10)  5. Glassboro Blues Rehearsal
(13:29)  6. The Duke We Knew Rehearsal

Jazz suffered a major loss when, in the late 1960s, Buck Clayton had to retire from playing due to problems with his lip. But instead of permanently retiring from jazz altogether, he continued to make his mark as an arranger, bandleader, and educator. Clayton doesn't play at all on A Buck Clayton Jam Session: 1975; instead, this blowing date finds him overseeing and directing a 12-piece band that includes Joe Newman and Money Johnson on trumpet, Vic Dickenson and George Masso on trombone, Buddy Tate, Buddy Johnson, and Sal Nistico on tenor sax, Lee Konitz and Earle Warren on alto sax, Tommy Flanagan on piano, Milt Hinton on bass, and Mel Lewis on drums. To be sure, that's a variety of musicians some have strong swing credentials, others were primarily hard boppers, and you even have a musician who came out of the Cool School (Konitz) and went on to explore post-bop. But they manage to find common ground on this swing-oriented jam, which concentrates on Clayton's own compositions and emphasizes blowing, blowing, and more blowing. Thankfully, the liner notes list the order of the solos. Originally a vinyl LP in the '70s and reissued on CD in 1995 (when Chiaroscuro added two previously unreleased bonus tracks), A Buck Clayton Jam Session is less than essential but is an enjoyable jam that die-hard swing fans will appreciate.~ Alex Henderson 

http://www.allmusic.com/album/a-buck-clayton-jam-session-1975-mw0000076132

Personnel: Buck Clayton (conductor, trumpet); Earle Warren, Lee Konitz (alto saxophone); Budd Johnson, Buddy Tate, Sal Nistico (tenor saxophone); Joe Newman, Money Johnson (trumpet); Vic Dickenson, George Masso (trombone); Tommy Flanagan (piano); Milt Hinton (bass); Mel Lewis (drums).

A Buck Clayton Jam Session 1975

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Buddy Tate & White Label - Tate's Delight - Groovin' at the Jazz Festival

Styles: Saxophone And Clarinet Jazz
Year: 2022
File: MP3@320K/s
Time: 56:33
Size: 130,2 MB
Art: Front

( 8:53) 1. On Green Dolphin Street
( 9:07) 2. In A Mellotone
( 6:41) 3. Mood Indigo
( 7:40) 4. Jumpin' At The Woodside
( 9:29) 5. Now's The Time
(10:17) 6. Lester Leaps In
( 4:22) 7. Tate's Delight

Storyville Records present the legendary American saxophonist Buddy Tate in a meeting with the Danish quintet White Label on the new album Tate’s Delight Groovin’ at the JAZZ Festival.

The meeting took place at the Holstebro JAZZ Festival in September 1982. JAZZ stands for Jutland’s Active Musicians’ Society. For almost 20 years since the foundation in 1975, the society presented an annual jazz festival during the last week of September. The concerts took place at the Holstebro Hall and the nearby Restaurant Laksen.

Tate’s Delight was recorded at Restaurant Laksen with no rehearsals. Some tunes, but not all, were agreed upon, when BT and White Label took the stage. It became one of those spontaneous events, where the music is created on the spot, but one for which the musician has been preparing throughout his career as an improvising jazz musician.

The album is separated into two parts. First, BT is heard with the rhythm section, showcasing his beautiful, but rarely heard clarinet on magnificent renditions of the Duke Ellington tunes In A Mellow Tone and Mood Indigo. On the second part of the album, Jens Søndergaard and Poul Valdemar Pedersen join in on the last three songs, recreating the intense jam session spirit of the golden age of swing.

Buddy Tate was a prominent tenor saxophonist during the swing era who joined Count Basie’s Orchestra in 1939 after the death of Herschel Evans. He remained in the band for 9 years until he moved to New York City, where he led a crowd-pleasing group for 21 years (1953-74) at the prestigious Celebrity Club in Harlem. BT kept busy after the Celebrity Club association ended, playing and recording in a small-group format that included Basie veterans like trumpeter Buck Clayton and trombonist Al Grey.

White Label was a Danish quintet based in the city of Odense, where they performed regularly at a popular venue called Sophus Ferdinand. Three musicians alto saxophonist Jens Søndergaard, pianist Ole Matthiessen and bassist Niels Præstholm were from Copenhagen, while trumpet player Poul Valdemar Pedersen and drummer Ove Rex were from Odense. In March 1982, the group toured the Soviet Union, playing 10 concerts in Tbilisi, Baku and Moscow. The quintet was one of the first bands from the West to play in the USSR in several years. The tour was a success, and was repeated in 1983 and 1985.

This session is an excellent example of the musical encounters that have taken place in Denmark over the years. BT was among the many legendary international stars, who came and played with Danish musicians, thus contributing to the special bond between Danish and American jazz.

So, kick your feet up and enjoy one of the finest American tenor saxophonists from the swing era groove irresistibly with White Label!
https://storyvillerecords.bandcamp.com/album/tates-delight

Personnel: Buddy Tate - tenor saxophone / clarinet; Ole Matthiessen - piano; Niels Præstholm - bass; Ove Rex - drums; Poul Valdemar; Pedersen - trumpet; Jens Søndergaard - alto saxophone

Tate's Delight - Groovin' at the Jazz Festival

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Buddy Tate Feat. Clark Terry - Tate-A-Tate (Remastered Version)

Styles: Saxophone And Trumpet Jazz
Year: 1960/2016
File: MP3@320K/s
Time: 35:40
Size: 82,7 MB
Art: Front

(8:12)  1. Groun' Hog
(4:10)  2. Tate-a-Tate
(5:38)  3. Snatchin' It Back
(6:21)  4. 20 Ladbroke Square
(4:13)  5. All Too Soon
(7:04)  6. Take the "A" Train

For more than seven decades, Texas-bred George “Buddy” Tate graced the American jazz scene with his hard-blowing tenor saxophone style. A resilient tone with high register inflections in the so-called “Texas tenor” sound distinguished Tate among his swing era colleagues. He was a member of the Count Basie Orchestra during the late 1930s and 1940s and later became a bandleader in his own right. By most accounts, Tate was born George Holmes Tate on February 22, 1913, in Sherman, Texas. He began performing in 1925 while still in his teens when his brother handed him an instrument and asked him to play tenor saxophone with the family quartet called McCloud's Night Owls. Tate and the Night Owls learned to play largely by listening to recordings by Louis Armstrong and mimicking the sound. The band toured professionally for the next four years, after which Tate continued to play the horn, performing with a series of territory bands and with circus bands until the early 1930s when he toured the south-western United States with Nathan Towles' band. During those early years, Tate spent time with Terrence Holder's band from 1930-33 and toured with Andy Kirk's Clouds of Joy in 1934-35. In 1934 Tate filled in briefly with Count Basie's Orchestra as a replacement for Lester Young. Young eventually returned to the band, and Tate joined up with Towles for another four years beginning in 1935. Tate worked with Towles until 1939 when Herschel Evans, who was Basie's tenor saxophone player, died. Basie then brought Tate back into the orchestra as a permanent fixture for nearly a decade. Perhaps nowhere was the contention for attention between saxophone players of that era more pronounced than among Basie's sidemen. Among the notables were Illinois Jacquet also one of the so-called Texas tenors, Lucky Thompson, and Young, all of whom along with Tate transformed moments of the orchestra's performances into full-scale dueling sets between horns. Tate was heard on many recordings by the Basie orchestra during that era, including selected recordings where Tate performed on alto saxophone as well as tenor. He emerged from Basie's band as a seasoned professional. After Tate parted ways with Basie in 1949, Tate appeared with Hot Lips Page, Lucky Millinder, and Jimmy Rushing until 1952. He then assembled his own house band at Harlem's Celebrity Club in 1953, marking the start of a gig that lasted for 21 years, until the early 1970s. Tate's European tours brought him largely to France where, in 1967 and 1968, he performed as bandleader in a trio comprised of Milt Buckner on organ and Wallace Bishop on drums. 

Tate and Buckner recorded a series of tenor saxophone and organ duets in 1967 on the Black and Blue label, including “Buddy Tate with Milt Buckner,” which is revered among Tate's best works. He made two earlier European tours as a sideman for Buck Clayton, in 1959 and 1961 respectively. In 1967 Tate also appeared with John Hammond in a concert program called Spirituals to Swing and toured with the Saints and Sinners. Tate spent time in the 1970s as a sideman in the Benny Goodman Orchestra. Tate's 1973 release, “Buddy Tate and His Buddies”, featured his former Basie cohort, Jacquet, pianist Mary Lou Williams, and trumpeter Roy Eldridge. Also numbered among the buddies were guitarist Stan Jordan, drummer Gus Johnson, and Milt Hinton on bass. The album, one of Tate's more popular recordings, was re-issued in 1994. In the 1980s, Tate toured extensively with Jacquet's group called the Texas Tenors. The Tenors followed a festival circuit that took the players to the Newport Jazz Festival in 1980 and to the festival in Cork in 1983 and again in 1985. His festival tours with Jacquet in the 1980s included annual visits to the Grande Parade du Jazz in Nice, France. Additionally, Tate's North American agenda included both live and taped performances with Jay McShann and Jim Galloway in Canada. In 1978 Tate taped a collection of recordings for Muse Records under the bill of Buddy Tate & the Muse All Stars.” Those albums included “Live at Sandy's,” “Hard Blowin',” and “Muse All Stars.” In 1991 Tate joined fellow tenor saxophone player James Moody and a collection of others among his peers on the live recording, “Lionel Hampton and the Golden Men of Jazz.” The 1996 album “Conversin' with the Elders,” by saxophonist James Carter marked what would become Tate's final appearance on record. He remained active and performed with Lionel Hampton and the Statesmen of Jazz in the late 1990s until a bout with cancer left him incapacitated. In January of 2001 Tate moved to Phoenix, Arizona, to live near his daughter. He died in Arizona soon afterward, in a nursing home in Chandler on February 10, 2001. https://musicians.allaboutjazz.com/buddytate

Personnel: Tenor Saxophone – Buddy Tate; Trumpet, Flugelhorn – Clark Terry;   Bass – Larry Gales; Drums – Arthur Taylor; Piano – Tommy Flanagan

Tate-A-Tate (Remastered Version)

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Various Artists - The Kingdom Of Swing And The Republic Of Oop Bob Sh'Bam

Styles: Jazz, Big Band
Year: 1989
File: MP3@320K/s
Time: 59:31
Size: 137,8 MB
Art: Front

(11:52) 1. Lester Leaps In
( 9:40) 2. On Green Dolphin Street
( 6:24) 3. Blue Creek
( 5:28) 4. You'd Be So Nice to Come Home To
( 6:50) 5. When Your Lover Has Gone
( 7:15) 6. Night in Tunisia
( 4:12) 7. Joshua Fit the Battle of Jericho
( 7:46) 8. Moten Swing

This CD, which documents a live concert, has a silly title form. Actually out of the eight selections, only two ("On Green Dolphin Street" and "Night In Tunisia") have anything to do with bop. In reality this is a mainstream date featuring pianist Dick Hyman with some of his favorite players including fellow pianist Derek Smith, cornetist Warren Vache, trumpeter Joe Wilder, trombonist Urbie Green, Buddy Tate on tenor and clarinet, bassist Milt Hinton (featured on "Joshua Fit the Battle of Jericho") and drummer Butch Miles. Tate's clarinet outing on "Blue Creek" and Wilder's lyrical solo on "When Your Lover Has Gone" are excellent, but in general (considering the players involved) the results are average and fairly predictable. ~ Scott Yanow https://www.allmusic.com/album/the-kingdom-of-swing-the-republic-of-oop-bop-shbam-mw0000654020

Personnel: Dick Hyman, piano; Derek Smith, piano; Urbie Green, trombone; Milt Hinton, bass; Butch Miles, drums; Buddy Tate, tenor sax; Warren Vache', Jr., cornet; Joe Wilder, trumpet

The Kingdom Of Swing And The Republic Of Oop Bob Sh'Bam

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Buddy Tate, Claude Hopkins - Buddy & Claude

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 74:29
Size: 171,8 MB
Art: Front

(4:22)  1. Is It So
(7:01)  2. Yes, Indeed
(3:26)  3. What's Your Story Morning Glory
(7:21)  4. Willow Weep For Me
(6:27)  5. Empty Bed Blues
(5:35)  6. It Don't Mean A Thing (If It Ain't Got That Swing)
(4:27)  7. What Is This Thing Called Love
(4:11)  8. Buddy's Tate-A-Tate
(8:14)  9. Groun' Hog
(4:14) 10. All Too Soon
(5:39) 11. Snatchin' It Back
(6:22) 12. #20 Ladbroke Square
(7:04) 13. Take The ''A'' Train

Combining two rare Swingville sessions from the 60’ this disc is an excellent primer for those unfamiliar with the singular sounds of Buddy Tate. Tate served a lengthy tenure in Basie’s band and many other Kansas City collectives before branching out on his own and these sessions visit him in his later years still laying down a voluptuous and sultry swing. His tone on tenor has elements of many of his peers, most noticeably Coleman Hawkins without the bite, but still retains a lilting originality. Hopkins hails from D.C. and his roots in the swing lineage run equally deep. The two men converge on the first session in the company of four other players and work over a highly inviting collection of standards. The emphasis is on maintaining a temperate mood and empathic rapport and the absence of individual bravado is refreshing. It’s also a joy to hear these veterans in their element, doing what they do best under the auspices of modern recording technology. As an added benefit, the technology also allows the players to stretch out past the time limits afforded the recordings of their earlier years. The majority of tunes are taken at a soothing speed and work well off the light interplay between rhythm section and the pairing of Tate and Berry. Berry mainly sticks to muted work on his brass, contributing gently smeared slurs to the ensemble sound on a regular basis. His protracted, but carefully conceived solo on “Empty Bed Blues” is infused with a tasteful discipline that is representative of the entire quintet. 

Over the course of most of the numbers Tate’s solos are usually short and sweet suggesting an admirable economy that many modern players would be advised to take lesson from. Hopkins works magic of the changes of each tune, particularly the bluesy reading of Ellington’s “It Don’t Mean a Thing.” The second date presented here features a completely different group and lacks the effervescent presence of Hopkins. Fortunately his talents are traded in for the equally formidable Flanagan who in concert with Gales and Taylor gives the second half of this disc a decidedly bop-flavored bent. Tate acquaints himself well with the slightly different surroundings and digs into a program comprised of both standards and three pieces derived from Terry’s pen. The tongue-in-cheek piece titled “Buddy’s Tate-A-Tate” wastes no time in giving the saxophonist the chance to test his technique on brisker fare. Terry keeps pace alongside Tate and blows some velvety lines across Taylor’s rollicking drum breaks. On the slower tempo “Groun’ Hog” Terry turns to flugelhorn and the round sound of his larger brass works as an ideal foil for Flanagan’s polished ivories. A lengthy opening bass vamp by Gales sets the mood on “#20 Ladbroke Square” and deposits the players in another easy groove which they explore with the same enthusiastic verve as on the earlier numbers. A faithful run-down of Strayhorn’s “Take the ‘A’ Train” acts as an epilogue for a session imbued with no shortage of swinging grace. Tate and Hopkins are jazz originals and disc’s such as this work as windows into a time when they and their peers were at the top of their art, if not the charts. ~ Derek Taylor https://www.allaboutjazz.com/buddy-and-claude-buddy-tate-prestige-records-review-by-derek-taylor.php

Personnel: Buddy Tate- tenor saxophone; Claude Hopkins- piano; Emmett Barry-trumpet; Wendell Marshall- bass; Osie Johnson- drums. Clark Terry- trumpet, flugelhorn; Tommy Flanagan- piano; Larry Gales- bass; Art Taylor- drums.

Buddy & Claude

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Al Cohn, Scott Hamilton, Buddy Tate - Tour De Force

Styles: Saxophone Jazz
Year: 1981
File: MP3@320K/s
Time: 70:17
Size: 162,2 MB
Art: Front

( 8:57)  1. Blues Up and Down
( 7:31)  2. Tickle Toe
(10:29)  3. Soft Winds
( 5:04)  4. Stella by Starlight
( 7:50)  5. Broadway
( 7:41)  6. Do Nothin' Till You Hear from Me
( 7:38)  7. Jumpin' at the Woodside
( 8:12)  8. Bernie's Tune
( 6:51)  9. Rifftide

Al Cohn gets top billing on this CD (formerly a double-LP) but that was because among the three tenors his name comes first alphabetically. This is a jam session set featuring the tenors of Cohn, Scott Hamilton and Buddy Tate. They battle it out to a draw, mostly jamming on fairly basic material such as "Blues Up and Down," "Tickle Toe," "Soft Winds," "Broadway" and "Jumpin' at the Woodside." With guitarist Cal Collins, pianist Dave McKenna, bassist Bob Maize and drummer Jake Hanna offering swinging support, this is a set easily recommended to fans of Jazz at the Philharmonic and mainstream jazz. ~ Scott Yanow https://www.allmusic.com/album/tour-de-force-mw0000315236

Personnel: Al Cohn - tenor saxophone; Scott Hamilton - tenor saxophone; Buddy Tate - tenor saxophone; Cal Collins - guitar; Jake Hanna - drums; Bob Maize - bass; Dave McKenna - piano

Tour De Force

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Ruby Braff - Linger Awhile

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 69:10
Size: 158,9 MB
Art: Front

( 9:19)  1. Sweet Sue
( 7:25)  2. Ghost of a Chance
( 3:17)  3. Wishing
( 8:29)  4. I Cover the Waterfront
( 5:52)  5. Keeping Out of Mischief Now
( 5:00)  6. Linger Awhile
( 5:50)  7. I'm in the Market for You
( 6:55)  8. Romance in the Dark
( 5:59)  9. When You Wish Upon a Star
(11:00) 10. I Can't Get Started

This compilation combines tracks from three separate early-'50s recording sessions. Braff, heard on trumpet rather than cornet, is in great form, and is joined by Vic Dickenson, Nat Pierce, and now-obscure tenor saxophonist Samuel Margolis on a swinging "Sweet Sue." Two tracks come from a Dickenson-led date; the best is a very relaxed take on "I Cover the Waterfront." Only one selection comes from a meeting of Braff and fellow trumpeter Buck Clayton, but it's a gem an extended look at "I Can't Get Started." As with many Vanguard reissues of recent vintage, the only complaint is that each of the record dates merited a separate re-release instead of this enjoyable but piecemeal anthology CD. ~ Ken Dryden https://www.allmusic.com/album/linger-awhile-mw0000258734

Personnel:  Trumpet – Buck Clayton (tracks: 10), Ruby Braff;  Bass – Aaron Bell (tracks: 10), Walter Page (tracks: 1 to 9);  Clarinet – Edmond Hall (tracks: 4, 5);  Drums – Bobby Donaldson (tracks: 10), Jo Jones (tracks: 1 to 3, 6 to 9), Les Erskine (tracks: 4, 5);  Guitar – Steve Jordan (3) (tracks: 4, 5, 10);  Piano – Jimmy Jones (3) (tracks: 10), Nat Pierce (tracks: 1 to 3, 6 to 9), Sir Charles Thompson (tracks: 4, 5);  Saxophone – Buddy Tate (tracks: 10), Samuel Margolis (tracks: 1 to 3, 6 to 9);  Trombone – Benny Morton (tracks: 10), Vic Dickenson (tracks: 1 to 9)

Linger Awhile

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Buck Clayton - The Golden Days Of Jazz (Swingin' Buck Clayton Jams Count Basie & Benny Goodman)

Styles: Trumpet Jazz
Year: 1974
File: MP3@320K/s
Time: 77:31
Size: 177,6 MB
Art: Front

(25:25)  1. Christopher Columbus
( 9:21)  2. Don't Be That Way
( 8:30)  3. Undecided
( 8:05)  4. Rock-A-Bye Basie
(10:28)  5. Jumpin' At The Woodside
( 6:26)  6. Blue & Sentimental
( 9:12)  7. Broadway

An excellent bandleader and accompanist for many vocalists, including Billie Holiday, Buck Clayton was a valued soloist with Count Basie Orchestra during the '30s and '40s, and later was a celebrated studio and jam session player, writer, and arranger. His tart, striking tone and melodic dexterity were his trademark, and Clayton provided several charts for Basie's orchestra and many other groups. Clayton began his career in California, where he organized a big band that had a residency in China in 1934. When he returned, Clayton led a group and played with other local bands. During a 1936 visit to Kansas City, he was invited to join Basie's orchestra as a replacement for Hot Lips Page. Clayton was also featured on sessions with Lester Young, Teddy Wilson, and Holiday in the late '30s. He remained in the Basie band until 1943, when he left for army service. After leaving the army, Clayton did arrangements for Basie, Benny Goodman, and Harry James before forming a sextet in the late '40s. He toured Europe with this group in 1949 and 1950. Clayton continued heading a combo during the '50s, and worked with Joe Bushkin, Tony Parenti, and Jimmy Rushing, among others. He organized a series of outstanding recordings for Columbia in the mid-'50s under the title Jam Session (compiled and reissued by Mosaic in 1993). There were sessions with Rushing, Ruby Braff, and Nat Pierce. Clayton led a combo with Coleman Hawkins and J.J. Johnson at the 1956 Newport Jazz Festival, then reunited with Goodman in 1957 at the Waldorf Astoria. There was another European tour, this time with Mezz Mezzrow. He appeared in the 1956 film The Benny Goodman Story and played the 1958 Brussels World Fair with Sidney Bechet. Clayton later made another European visit with a Newport Jazz Festival tour. He joined Eddie Condon's band in 1959, a year after appearing in the film Jazz on a Summer's Day. Clayton toured Japan and Australia with Condon's group in 1964, and continued to revisit Europe throughout the '60s, often with Humphrey Lyttelton's band, while playing festivals across the country. But lip and health problems virtually ended his playing career in the late '60s. After a period outside of music, Clayton once again became active in music, this time as a non-playing arranger, touring Africa as part of a State Department series in 1977. He provided arrangements and compositions for a 1974 Lyttleton and Buddy Tate album, and did more jam session albums for Chiaroscuro in 1974 and 1975. He also became an educator, teaching at Hunter College in the early '80s. Clayton led a group of Basie sidemen on a European tour in 1983, then headed his own big band in 1987 that played almost exclusively his compositions and arrangements. That same year Clayton's extensive autobiography Buck Clayton's Jazz World, with Nancy Miller-Elliot, was published.~ Ron Wynn https://www.allmusic.com/artist/buck-clayton-mn0000634674/biography

Personnel: Trumpet, Liner Notes – Buck Clayton;   Alto Saxophone – Lem Davis;  Baritone Saxophone – Charlie Fowlkes;  Bass – Milt Hinton, Walter Page;  Clarinet – Woody Herman, Drums – Jo Jones;  Guitar – Freddie Green, Steve Jordan;  Piano – Al Washlon, Billy Kyle, Jimmy Jones, Charles Thompson;  Tenor Saxophone – Al Cohn, Buddy Tate, Coleman Hawkins, Julian Dash;  Trombone – Bennie Green, Dick Harris, Henderson Chambers, Trummy Young, Urbie Green;  Trumpet – Joe Newman, Joe Thomas, Ruby Braff 

The Golden Days Of Jazz (Swingin' Buck Clayton Jams Count Basie & Benny Goodman)

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Flip Phillips - Claw: Live At The Floating Jazz Festival

Styles: Saxophone Jazz 
Year: 1986
File: MP3@320K/s
Time: 75:16
Size: 173,1 MB
Art: Front

(14:54)  1. Topsy
(13:48)  2. Loose Walk
(14:19)  3. Sm-o-o-o-th One, A
(10:06)  4. Flying Home
(11:27)  5. Claw, The
( 1:28)  6. Closing Comments
( 9:11)  7. Jazzspeak

Veteran tenor Flip Phillips is heard leading a jam session during what was dubbed the 1986 Floating Jazz Festival since the music took place on the S.S. Norway somewhere in the Caribbean Sea. Phillips and his fellow tenors Buddy Tate, Al Cohn and Scott Hamilton (along with pianst John Bunch, guitarist Chris Flory, bassist Major Holley and drummer Chuck Riggs) clearly had a good time stretching out on the five pieces (which all sport fairly basic chord changes); fluegelhornist Clark Terry dropped by and joins in on three of the pieces. Unfortunately the liner notes do not tell who solos when but veteran collectors should be able to tell the tenors apart. 

The only minus to this CD is a surprisingly boring monologue by Phillips (one of Chiaroscuro's few unsuccessful "Jazzspeaks") at the conclusion of this disc. However his nine minutes of talking is preceded by 64 minutes of hot jamming, making this CD easily recommended to fans of Jazz at the Philharmonic and straightahead jazz.~ Scott Yanow https://www.allmusic.com/album/the-claw-live-at-the-floating-jazz-festival-mw0000614349

Personnel:  Flip Phillips, Buddy Tate, Al Korn, Scott Hamilton (ts);  Clark Terry (tp) John Bunch (p) Chris Flory (g);  Major Horley (b) Chuck Riggs (ds)

Claw-Live At The Floating Jazz Festival

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Buddy Tate - Swinging Like Tate

Styles: Saxophone And Clarinet Jazz
Year: 1958
File: MP3@320K/s
Time: 40:48
Size: 94,0 MB
Art: Front

(6:03)  1. Bottle
(8:36)  2. Walk That Walk
(5:59)  3. Miss Sadie Brown
(7:40)  4. Moon Eyes
(7:02)  5. Rockin' Steve
(5:25)  6. Rompin' With Buck

For this CD reissue, which brings back material originally recorded by Stanley Dance for the Felsted label, veteran swing tenor Buddy Tate is heard at the head of two different groups for three obscure songs apiece. The first half has Tate leading his Celebrity Club Orchestra, a four-horn octet that lacked any big names but worked regularly throughout the era. For the second half, Tate is teamed with some of the Count Basie alumni including trumpeter Buck Clayton, trombonist Dicky Wells, altoist Earle Warren and drummer Jo Jones. The music overall is fine mainstream jazz of the 1950's that is easily recommended to straightahead jazz fans although little unexpected or all that memorable occurs. ~ Scott Yanow https://www.allmusic.com/album/swinging-like-tate-mw0000200603 

Personnel: Buddy Tate (tenor sax, clarinet); Pat Jenkins (trumpet); Eli Robinson (trombone); Ben Richardson (alto sax, clarinet); Skip Hall (piano); Everett Barksdale (guitar); Joe Benjamin (bass); Herbie Lovelle (drums); Buck Clayton (trumpet); Dicky Wells (trombone); Earle Warren (alto sax, baritone sax); Lord Westbrook (guitar); Aaron Bell (bass); Jo Jones (drums).

Swinging Like Tate

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Buddy Tate - When I'm Blue

Bitrate: MP3@320K/s
Time: 66:32
Size: 152.3 MB
Styles: Soul jazz, Saxophone jazz
Year: 1967
Art: Front

[10:59] 1. When I'm Blue
[ 8:57] 2. Mack The Knife
[10:55] 3. Them There Eyes
[ 5:06] 4. You've Changed
[10:05] 5. Stompin' At The Savoy
[ 3:02] 6. Too Heavy Blues
[ 6:52] 7. Day By Day
[10:34] 8. Margie

Buddy is always inventive and fresh, tastefully combining the best of swing, bop, and elements of Texas tenor styles. This album stands out because these guys are extra tight with Milt Buckner on organ and Wallace Bishop on drums. When I'm Blue, a beautifully done ballad, and standards like Mack the Knife and Stompin' At The Savor are favorites.

When I'm Blue mc
When I'm Blue zippy

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Buddy Tate - Buddy Tate & His Buddies

Bitrate: MP3@320K/s
Time: 43:25
Size: 99.4 MB
Styles: Bop, Saxophone jazz
Year: 1973/1994
Art: Front

[ 8:16] 1. Rockaway
[ 6:15] 2. Medi 2
[ 7:39] 3. Paris Nights
[10:04] 4. When I'm Blue
[11:10] 5. Sunday

Bass – Milt Hinton; Drums – Gus Johnson; Guitar – Steve Jordan; Piano – Mary Lou Williams; Tenor Saxophone – Buddy Tate, Illinois Jacquet; Trumpet – Roy Eldridge.

Jam sessions featuring swing veterans were not that common an occurence on record during the early '70s, making Hank O'Neal's Chiaroscuro label both ahead of and behind the times. This CD reissue is most notable for having pianist Mary Lou Williams (who rarely was invited to this type of freewheeling session) as one of the key soloists. Also heard from are the tenors of Buddy Tate and Illinois Jacquet and the aging but still exciting trumpeter Roy Eldridge; the backup players are rhythm guitarist Steve Jordan, bassist Milt Hinton and drummer Gus Johnson. Together they jam three group originals, Buck Clayton's "Rockaway" and the standard "Sunday" and, although falling short of being a classic, this infectious and consistently swinging music is worth picking up. ~ Scott Yanow

Buddy Tate & His Buddies

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Nancy Harrow - Wild Women Don't Have The Blues

Bitrate: MP3@320K/s
Time: 41:54
Size: 95.9 MB
Styles: Jazz vocals
Year: 1962/1989
Art: Front

[5:10] 1. Take Me Back Baby
[5:26] 2. All Too Soon
[5:16] 3. Can't We Be Friends
[4:51] 4. On The Sunny Side Of The Street
[5:24] 5. Wild Women Don't Have The Blues
[4:24] 6. I've Got The World On A String
[3:51] 7. I Don't Know What Kind Of Blues I've Got
[7:28] 8. Blues For Yesterday

Baritone Saxophone – Danny Bank; Bass – Milt Hinton; Clarinet, Alto Saxophone – Tom Gwaltney; Drums – Oliver Jackson; Guitar – Kenny Burrell; Piano – Dick Wellstood; Tenor Saxophone – Buddy Tate; Trombone – Dickie Wells; Trumpet, Leader, Arranged By – Buck Clayton; Vocals – Nancy Harrow. Recorded at Nola Penthouse Studios, New York, November 2 and 3, 1960.

Although singer Nancy Harrow made a strong impression with this debut recording (which has been reissued on CD), she did not lead another record date until 1978 other than a lesser-known effort for Atlantic in 1966. Obviously the years of obscurity were not deserved, for this set is a near-classic. Harrow is heard in her early prime singing such veteran songs as "All Too Soon," "On the Sunny Side of the Street," the seven-minute "Blues for Yesterday," and the title cut (originally done by Ida Cox in the 1920s). A more modern stylist (although influenced by Billie Holiday a little) than the material she performed at the time, Harrow is joined by such top mainstream players as trumpeter Buck Clayton (who provided the arrangements), tenorman Buddy Tate, trombonist Dickie Wells, and pianist Dick Wellstood. Highly recommended, Harrow's debut date has plenty of spirit and enthusiasm. ~Scott Yanow

Wild Women Don't Have The Blues

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Vic Dickenson & Joe Thomas & Their All-Star Bands - Mainstream

Styles: Trombone And Trumpet Jazz
Year: 1958
File: MP3@320K/s
Time: 38:23
Size: 88,2 MB
Art: Front

( 4:52)  1. Sweethearts On Parade
( 5:58)  2. I Can't Believe You're In Love With Me
( 4:47)  3. Undecided
( 3:39)  4. Crazy Rhythm
( 6:15)  5. The Lamp Is Low
(12:50)  6. Blues For Baby

Mainstream presents swing masters Joe Thomas and Vic Dickenson fronting all-star bands in a time when swing music was elbowing for attention amidst the world of be-bop, cool, and other modern jazz movements. The year was 1958, and English jazz critic Albert J. McCarthy was in New York City writing a book on swing. Surprised to find how difficult a time even the best swing musicians were having in the homeland of jazz, he approached Atlantic Records to sponsor two recording sessions. The first session featured underrated trumpeter Joe Thomas with a band that included Dickie Wells, Buddy Tate, Buster Bailey, and oddly enough, modernist Herbie Nichols on piano. The second session featured the great trombonist Vic Dickenson, Buck Clayton, and Gene Ramey. Both sessions have been re-mastered; the sound quality is excellent. So are the performances. 

Joe Thomas is still grotesquely underrated, and if anyone needs evidence of his mastery this is the recording to bring home that Thomas was among the best of his instrument. Over the years he played and recorded with Fletcher Henderson, Teddy Wilson, and Art Tatum to mention a few. His clear, assured sound and technical skill makes it obvious why McCarthy felt compelled to document this neglected musician. Two-thirds of the disc features Thomas and his band. The other third features Vic Dickenson who has faired better in the annals of jazz history. He is known for his bluesy-toned trombone of exquisite phrasing. Lauded by the famous French jazz critic Andre Hodeir as one of the best of all early jazz musicians, Dickenson doesn’t disappoint on this disc. Although his solo time is limited in the ensemble focus of the arrangements, his solo on "The Lamp Is Low" is particularly memorable. Actually, with either Dickie Wells or Vic Dickenson playing trombone and either Joe Thomas or Buck Clayton playing lead trumpet this is a brass player’s disc if there ever was one. In short, if you’re interested in a satisfying, swing recording featuring a line-up of outstanding soloists, good rhythm sections, and a selection of solid arrangements, then Mainstream is definitely worth checking out. Recommended. ~ Mike Neely https://www.allaboutjazz.com/mainstream-vic-dickenson-koch-international-jazz-review-by-mike-neely.php

Personnel: Joe Thomas, trumpet; Johnny Letman, 2nd trumpet; Dickie Wells, trombone; Buddy Tate, tenor sax; Buster Bailey, clarinet; Herbie Nichols, piano; Everett Barksdale, guitar; Bill Pemberton, bass; and Jimmy Crawford, drums. Vic Dickenson, trombone; Buck Clayton, trumpet; Hal Singer, tenor sax; Herbie Hall, clarinet; Al Williams, piano; Danny Barker, guitar; Gene Ramey, bass; and Marquis Foster, drums.

Mainstream

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Buddy Tate, Abdullah Ibrahim - Buddy Tate Meets Abdullah Ibrahim: The Lengendary 1977 Encounter

Styles: Piano And Saxophone Jazz
Year: 1977
File: MP3@320K/s
Time: 60:18
Size: 139,0 MB
Art: Front

( 7:14)  1. Goduka Mfundi
( 6:52)  2. Heyt Mazurki
( 8:30)  3. Poor Butterfly
( 7:32)  4. In A Sentimental Mood
( 4:43)  5. Doggin' Around
( 7:25)  6. Just You, Just Me
( 7:24)  7. Shrimp Boats
(10:35)  8. Django

Initially a meeting between swing tenor saxophonist Buddy Tate and post-bop pianist Abdullah Ibrahim (still widely known as Dollar Brand in 1977 when this CD was recorded), this seems like a possible misfire. Instead, it proves to be an inspiration, as each player taught the other new music and they successfully blended their disparate jazz backgrounds into one outstanding album. The first track, "Goduka Mfundi," is particularly interesting; it's an original by Ibrahim that Tate and the rhythm section (drummer Roy Brooks and bassist Cecil McBee) had just learned prior to recording it, and the composer sits out this hypnotic African groove tune. The pianist's other original is the tasty blues "Heyt Mazurki." Tate's quick tutoring of Ibrahim also pays off huge dividends, as "Doggin' Around" is the most smoking performance of the date, while "Just You, Just Me" proves to be a unique mix of swing and African jazz. The remaining two quartet tracks are familiar turf to all parties. Tate's soulful tone recalls Ben Webster in "Poor Butterfly," though Ibrahim clearly steals the show with his well-disguised, dreamy introduction to Duke Ellington's "In a Sentimental Mood." At this point Tate had to leave for a gig, and the date was completed as a trio. "Shrimp Boats," a piece that Ibrahim recorded on several different occasions, is slow to develop but a very infectious chant-like work. The pianist actual chants along with the almost Middle Eastern-sounding introduction that eventually unfolds into John Lewis' well-known "Django"; in fact, this ten-plus minute piece is nearly over by the time they segue into its theme, following McBee's terrific arco bass solo and Brooks' superb drum solo. It's a shame there wasn't an encore meeting between Ibrahim and Tate following the making of this memorable disc. ~ Ken Dryden http://www.allmusic.com/album/buddy-tate-meets-abdullah-ibrahim-the-legendary-encounter-mw0000188790

Personnel: Abdullah Ibrahim (piano); Buddy Tate (saxophone); Roy Brooks (drums).

Buddy Tate Meets Abdullah Ibrahim: The Lengendary 1977 Encounter

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Buddy Tate & Wild Bill Davis - Broadway

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 70:32
Size: 165,8 MB
Art: Front

(3:48)  1. Broadway
(8:20)  2. Blues In My Heart
(2:50)  3. All Of Me
(6:48)  4. Sugar
(4:54)  5. Hello Dolly
(4:28)  6. Memories Of You
(4:34)  7. Peg O' My Heart
(5:12)  8. Jumpin' With Symphony Sid
(6:02)  9. Jenny's Blues
(4:28) 10. Tangerine
(3:12) 11. For All We Know
(5:55) 12. Louise
(5:47) 13. Blue Lou
(4:07) 14. Ooh! Ah! DeeDee

Regardless of the setting, tenor saxophonist Buddy Tate never seemed to fail to deliver swinging performances. The robust reedman is joined by organist Wild Bill Davis, guitarist Floyd Smith, and drummer Chris Columbus (the latter three had worked together on several earlier recordings) for these 1972 sessions recorded in Paris for Black & Blue. Davis, who made numerous records with alto sax great Johnny Hodges, and also worked alongside him in Duke Ellington's band, provides the same strong backing to Tate as his longtime musical partner. Smith, who is best known for his work with Andy Kirk, adds several very bluesy solos. The music runs from old war horses like "Sugar" and the bland "Peg O' My Heart," to timeless jazz compositions ("Blues in My Heart," "Jumpin' With Symphony Sid," and "Blue Lou"), and the modern pop song, "Hello Dolly," which was beginning to wear out its welcome after everyone began recording it following Louis Armstrong's huge success with it. French trumpeter François Biensan is added on five tracks, but never really makes much of an impression. Recommended. ~ Ken Dryden http://www.allmusic.com/album/broadway-mw0000271579

Personnel: Buddy Tate (tenor saxophone), Wild Bill Davis (organ), Francois Biensan (trumpet), Floyd Smith (guitar), Chris Colombo (drums).

Broadway

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Eddie “Lockjaw” Davis, Buddy Tate, Coleman Hawkins, Arnett Cobb - Very Saxy

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 38:47
Size: 90,9 MB
Art: Front

(8:19)  1. Very Saxy
(6:15)  2. Lester Leaps In
(5:22)  3. Fourmost
(8:53)  4. Foot Pattin'
(9:55)  5. Light And Lovely

Tenor saxophonist Eddie "Lockjaw" Davis and his quartet (which includes organist Shirley Scott, bassist George Duvivier and drummer Arthur Edgehill) welcome three immortal tenors (Coleman Hawkins, Arnett Cobb and Buddy Tate) to what became a historic and hard-swinging jam session. On three blues, an original based on the chord changes of "Sweet Georgia Brown" and "Lester Leaps In," the four tenors battle it out and the results are quite exciting. The spirited music on this memorable LP will hopefully be reissued on CD eventually, for the performances live up to their great potential. ~ Scott Yanow http://www.allmusic.com/album/very-saxy-mw0000310467

Personnel: Eddie "Lockjaw" Davis (tenor saxophone); Buddy Tate (tenor saxophone); Coleman Hawkins (tenor saxophone); Arnett Cobb (tenor saxophone); Shirley Scott (Hammond b-3 organ); George Duvivier (bass instrument); Arthur Edgehill (drum).

Very Saxy

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Buddy Tate Quartet & Quintet - Tate A Tete

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 65:10
Size: 149,7 MB
Art: Front

( 7:19)  1. Stompin' At The Savoy
( 9:01)  2. Body And Soul
( 9:35)  3. Buddy's Blues
( 9:18)  4. Broadway
( 8:52)  5. Just You Just Me
(17:34)  6. In A Mellow Tone
( 3:28)  7. I Surrender Dear

Tenor-saxophonist Buddy Tate meets up with pianist Tete Montoliu on this enjoyable blowing date. Other than "Buddy's Blues" (which has a Tate vocal), all of the songs are swing standards with "In A Mellow Tone" clocking in at 17 1/2 minutes. Violinist Finn Ziegler makes worthwhile guest appearances on two of the five selections and the group is completed by bassist Bo Stief and drummer Svend Erik Norregard. Easily recommended for swing fans, this album finds Buddy Tate still very much in prime form. ~ Scott Yanow http://www.allmusic.com/album/tate-a-tete-at-la-fontaine-copenhagen-mw0000668822

Personnel:  Bass – Bo Stief;  Drums – Svend-Erik Nørregaard;  Piano – Tete Montoliu;  Tenor Saxophone – Buddy Tate;  Violin – Finn Ziegler; Vocals – Buddy Tate

Tate A Tete

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Herb Ellis & The All-Stars - The Midnight Roll

Bitrate: MP3@320K/s
Time: 38:46
Size: 88.8 MB
Styles: Bop, Swing, Guitar jazz
Year: 1962/2010
Art: Front

[4:14] 1. Broadway
[3:04] 2. Gravy Waltz
[3:38] 3. Poor Darlin' Nellie
[3:32] 4. Old Folks
[4:44] 5. Roy Showed
[3:56] 6. Things Ain't What They Used to Be
[3:54] 7. Willow Weep for Me
[3:19] 8. Symphony
[3:35] 9. It Makes No Difference Now
[4:45] 10. It Don't Mean a Thing

Bass – Israel Crosby, Jimmy Rowser; Drums – Gus Johnson; Guitar, Leader – Herb Ellis; Piano – Ray Bryant; Tenor Saxophone – Buddy Tate; Trumpet – Frank Assunto, Roy Eldridge.

Herb Ellis is known primarily for playing with small ensembles, so this recording as part of an octet is a departure for the great guitarist. This "all-star" combo includes trumpeter Roy Eldridge in a sublimated role, while tenor saxophonist Buddy Tate is featured a bit more, and pianist Ray Bryant solidifies the nucleus of a very talented band of old pros and unsung heroes. Trumpeter Frank Assunto may not be a common garden-variety name to most, but he asserts himself quite well during this session. Twin bass underpinnings from Israel Crosby and Jimmy Rowser add heft to the rhythm section, while always reliable drummer Gus Johnson shows his mettle as a solidly swinging timekeeper. The fare is split between standards, originals, and favorites, including Duke Ellington's rousing "It Don't Mean a Thing" with the jamming Eldridge leading the charge, and "Things Ain't What They Used to Be" as everyone joins in and Assunto takes a fine, distinctive solo. The classic "Gravy Waltz" of Ray Brown is done here, as Bryant's deft chords with the sax and trumpets form a strolling, impenetrable front line -- one of the very best, fully formed and realized versions of this great song. Ellis contributed the folkish "Poor Darlin' Nellie," derived from the story of banished African-American slave Nellie Gray, a light rural swing with no horns save Assunto's muted trumpet solo. "Roy Showed" is a bouncy bop blues punctuated by Tate's tenor as Ellis further accents with sharp strumming chords. Everybody plays together in sweet agreement on "Broadway," a stock jam tune that shows the band has no issues with grandstanding, egos, or finding enough space to play. The band strips down to a trio on the pristine ballad "Willow Weep for Me" and Tate presents a spare, spacious melody line during "It Makes No Difference Now." The balance of this group should duly receive high marks (especially since it was a one-shot), Ellis sounds right at home with these fellow legends, and the obscure Assunto deserves individual stars on his own. ~Michael G. Nastos

The Midnight Roll

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Count Basie And His Orchestra - Rock-a-Bye Basie [Live in '38 & '39]

Styles: Jazz, Big Band, Swing
Year: 1991
File: MP3@320K/s
Time: 76:40
Size: 177,1 MB
Art: Front

(0:59)  1. One O'Clock Jump (Opening Theme)
(3:00)  2. King Porter Stomp
(3:59)  3. Nagasaki
(4:06)  4. Indiana
(3:01)  5. Doggin' Around
(0:32)  6. One O'Clock Jump (Closing Theme)
(3:54)  7. Haven't Changed A Thing
(2:27)  8. Out The Window
(4:20)  9. Wo-Ta-Ta
(3:27) 10. Love Of My Life
(3:26) 11. John's Idea
(2:59) 12. Yeah Man!
(2:35) 13. Indiana
(3:10) 14. Jump For Me
(4:22) 15. Moten Swing
(3:35) 16. Rock-A-Bye Basie
(4:11) 17. Swingin' The Blues
(2:57) 18. Time Out
(2:09) 19. Roseland Shuffle
(3:01) 20. Don't Worry 'Bout Me
(3:30) 21. Clap Hands! Here Comes Charlie
(2:25) 22. Lousiana
(2:44) 23. Darktown Strutters Ball
(5:39) 24. One O'Clock Jump

These broadcasts (all but one selection from 1938-39) capture Count Basie's orchestra live from the Famous Door. This CD contains 24 performances, a few of which are incomplete or poorly recorded. However, the enthusiastic solos of Lester Young, fellow tenors Herschel Evans and Buddy Tate, trumpeters Buck Clayton and Harry "Sweets" Edison and Basie himself are fresh and creative, and the ensembles are consistently swinging. These are the best pre-World War II live recordings of the Count Basie Orchestra and well worth acquiring. ~ Scott Yanow http://www.allmusic.com/album/rock-a-bye-basie-live-in-38-39-mw0000677896

Rock-a-Bye Basie [Live in '38 & '39]

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