Charlie Barnet - The Capitol Big Band Sessions

Styles: Big Band, Jazz
Year: 1998
Time: 67:38
File: MP3 @ 192K/s
Size: 93,7 MB
Art: Front

(2:28) 1. Redskin Rhumba
(2:30) 2. Eugipelliv
(3:11) 3. Lonely Street
(2:57) 4. Cu-Ba
(3:08) 5. Charlie's Other Aunt (1st Version)
(3:10) 6. Easy Living
(3:07) 7. Charlie's Other Aunt
(2:49) 8. Overtime
(3:02) 9. O'henry
(5:27) 10. Portrait Of Edward Kennedy Ellington
(2:47) 11. Be-Bop Spoken Here
(3:22) 12. Gloomy Sunday
(3:14) 13. Over The Rainbow
(3:11) 14. All The Things You Are
(2:47) 15. Pan Americana
(3:08) 16. Ill Wind
(3:12) 17. Claude Reigns
(2:21) 18. Really?
(2:40) 19. Spain
(3:10) 20. My Crime
(2:53) 21. Theme For Cynthia
(2:55) 22. (I'm A Dreamer) Aren't We All?

Although Charlie Barnet will always be best known for his popular swing band of 1939-1942, he continued leading orchestras throughout the 1940s. In 1949 he temporarily embraced bebop, with his band being full of modernists (some of which were Stan Kenton's sidemen, since Kenton was taking a year off).

At one point his trumpet section had three screamers (Maynard Ferguson, Doc Severinsen, and Ray Wetzel) in addition to the fine bop soloist Rolf Ericson. Other musicians who played with Barnet in 1949 included pianist Claude Williamson, bassist Eddie Safransky, altoist Vinny Dean, Dick Hafer on tenor, and trombonist Herbie Harper, with some of the arrangements provided by Manny Albam, Gil Fuller, and Pete Rugolo.

This CD has all of Barnet's bop recordings, plus a version of "Redskin Rhumba" from mid-1948 and a dance band date with a different orchestra in 1950. Among the highlights are "Cu-Ba," "Charlie's Other Aunt," "Overtime," "Portrait of Edward Kennedy Ellington," "Bebop Spoken Here" (featuring singing from Dave Lambert and Buddy Stewart), "Claude Reigns," and "Really." Particularly highly recommended to bop fans who would never have associated Charlie Barnet with that style.By Scott Yanow https://www.allmusic.com/album/the-capitol-big-band-sessions-mw0000042401#review

Personnel: Soprano Saxophone, Alto Saxophone, Tenor Saxophone – Charlie Barnet; Alto Saxophone – Art Raboy (tracks: 2 to 10), Dick Meldonian (tracks: 19 to 22), Frank Pappalardo (2) (tracks: 1,), Ruben Leon (tracks: 13 to 18), Vinnie Dean (tracks: 2 to 18), Walt Weidler (tracks: 1); Baritone Saxophone – Bob Dawes (tracks: 1, 19 to 22), Danny Bank (tracks: 2 to 12), Manny Albam (tracks: 13 to 18); Bass – Ed Mihelich (tracks: 19 to 22), Eddie Safranski (tracks: 2 to 18), Iggy Shevak (tracks: 1); Bongos – Diego Ibarra (tracks: 4, 5), Diego Iborra (tracks: 2 to 5); Bongos, Congas – Ivar Jaminez (tracks: 6 to 10); Congas – Carlos Vidal (tracks: 2, 3, 11 to 18); Congas, Bongos – Francisco Alvarez (2) (tracks: 4, 5); Drums – Cliff Leeman (tracks: 4 to 12), Dick Shanahan (tracks: 1), John Markham (tracks: 19 to 22), Tiny Kahn (tracks: 13 to 18); Piano – Claude Williamson (tracks: 1 to 18), Donn Trenner (tracks: 19 to 22); Tenor Saxophone – Bill Holman (tracks: 19 to 22), Bud Shank (tracks: 1), Dave Matthews (2) (tracks: 2 to 10), Dick Hafer (tracks: 6 to 18), Jack Laird (tracks: 19 to 22), Kurt Bloom (tracks: 2 to 18); Trombone – Dick Kenney (tracks: 2 to 22), Harry Betts (tracks: 13 to 18), Herb Harper (tracks: 1, 13 to 18), Karl De Karske (tracks: 1), Kenny Martlock (tracks: 2 to 22), Obie Massingill* (tracks: 2 to 12), Phil Washburne (tracks: 1,); Trumpet – Al Del Simone (tracks: 19 to 22), Carlton McBeath (tracks: 19 to 22), Dave Burns (tracks: 2, 3), Dave Nichols (6) (tracks: 1), Doc Severinsen (tracks: 2 to 18), Fern Caron (tracks: 4, 5), Irv Lewis (tracks: 1), Jack Hanson (tracks: 1,), John Coppola (tracks: 19 to 22), John Howell (tracks: 2 to 18), Lamar Wright (2) (tracks: 1 to 10), Ray Wetzel (tracks: 13 to 18), Rolf Ericson (tracks: 6 to 18), Tony Di Nardi (tracks: 2 to 10); Vocals – Buddy Stewart (tracks: 11), Dave Lambert (3) (tracks: 11), Trudy Richards (tracks: 6, 12, 16)

The Capitol Big Band Sessions

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Charlie Barnet and His Orchestra - Drop Me Off In Harlem

Styles: Swing, Big Band
Year: 1992
Time: 59:11
File: MP3 @ 320K/s
Size: 135,5 MB
Art: Front

(3:09) 1.Smiles
(2:57) 2.Shady Lady
(3:21) 3.That Old Black Magic
(3:10) 4.Oh, Miss Jaxson
(2:42) 5.Things Ain't What They Used to Be
(2:45) 6.The Moose
(2:47) 7.Pow W@ow
(3:10) 8.The Great Lie
(2:22) 9.Drop Me Off in Harlem
(3:16) 10.Gulf Coast Blues
(3:05) 11.Skyliner
(2:31) 12.Into Each Life Some Rain Must Fall
(2:35) 13.You Always Hurt the One You Love
(2:48) 14.West End Blues
(3:09) 15.Desert Sands
(2:31) 16.E-Bob-O-Lee-Bob
(3:17) 17.Andy's Boogie
(3:06) 18.Dark Bayou
(2:52) 19.Zanesville Zohio ZZZ
(3:29) 20. Lonesome as the Night Is Long

Among big band leaders of the 1930s and 1940s, saxophonist Charlie Barnet stood out for his unswerving devotion to his values, both social and musical. In 1934 his band was the first white group to play at Harlem's Apollo Theatre, and he was devoted to jazz with few concessions to popular taste, making his ensemble an instrument of his arrangers' creativity.

This compilation spans 1942-46, an important period when the band achieved its distinctive variation of the rich Ellington style (apparent in three Ellington tunes heard here) and then went on to become the first big band of modern jazz. "The Moose," written by Ralph Burns and a feature for the young pianist Dodo Marmorosa, is a brilliantly shifting harbinger of bebop, while Dennis Sandole's elusive "Dark Bayou" still sounds harmonically fresh.

There's much to enjoy here, from the jive and bop vocals by "Peanuts" Holland to the soaring lead trumpet of Al Killian and Barnet's own solo contributions.By Stuart Broomer
By Editorial Reviews https://www.amazon.com/Drop-Off-Harlem-Charlie-Barnet/dp/B000003N3H

Drop Me Off In Harlem

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Charlie Barnet & His Orchestra - Hop On The Skyliner !!

Styles: Jazz
Year: 2009
File: MP3@320K/s
Time: 35:03
Size: 80,6 MB
Art: Front

(2:59)  1. Skyliner
(3:19)  2. Strollin'
(3:01)  3. Xango
(3:03)  4. Smiles
(3:12)  5. Gulf Coast Blues
(2:40)  6. The Moose
(2:37)  7. Things Ain't What They Used To Be
(3:06)  8. Oh! Miss Jaxson
(2:44)  9. Pow-Wow
(2:18) 10. Drop Me Off In Harlem
(2:52) 11. Shady Lady
(3:06) 12. The Great Lie

Charlie Barnet was unusual in several ways. One of the few jazzmen to be born a millionaire, Barnet was a bit of a playboy throughout his life, ending up with a countless number of ex-wives and anecdotes. He was one of the few white big band leaders of the swing era to openly embrace the music of Duke Ellington (he also greatly admired Count Basie). Barnet was a pioneer in leading integrated bands (as early as 1935). And, although chiefly a tenor saxophonist (where he developed an original sound out of the style of Coleman Hawkins), Barnet was an effective emulator of Johnny Hodges on alto in addition to being virtually the only soprano player (other than Sidney Bechet) in the 1930s and '40s. And yet Charlie Barnet was only significant in jazz for about a decade (1939-1949). Although his family wanted him to be a lawyer, he was a professional musician by the time he was 16 and ironically in his career made more money than he would have in business. 

Barnet arrived in New York in 1932 and started leading bands on records the following year, but his career was quite erratic until 1939. Many of Barnet's early records are worthy but some are quite commercial as he attempted to find a niche. Best is a sideman appearance on a 1934 Red Norvo date that also includes Artie Shaw and Teddy Wilson. In 1939, with the hit recording of "Cherokee" and a very successful run at the Famous Door in New York, Charlie Barnet soon became a household name. In addition to the fine trumpeter Bobby Burnet (who soloed on many of Barnet's Bluebird records), such sidemen as guitarist Bus Etri; drummer Cliff Leeman; singers Lena Horne, Francis Wayne, and Kay Starr; pianist Dodo Marmarosa; clarinetist Buddy DeFranco; guitarist Barney Kessel; and even trumpeter Roy Eldridge spent time with Barnet's bands. Although at the height of his popularity during 1939-1942 (when his orchestra could often play a close imitation of Ellington's), Barnet's recordings for Decca during 1942-1946 were also of great interest with "Skyliner" being a best-seller.

By 1947 Barnet was starting to look toward bop. Clark Terry was his star trumpeter that year, and in 1949 his screaming trumpet section included Maynard Ferguson, Doc Severinsen, Rolf Ericson, and Ray Wetzel. Barnet, however, soon lost interest and near the end of 1949 he broke up his band. Semi-retired throughout the remainder of his life, Charlie Barnet occasionally led swing-oriented big bands during short tours and appearances, making his last recording in 1966. Bio ~ Scott Yanow  http://www.allmusic.com/artist/charlie-barnet-mn0000166767/biography

Hop On The Skyliner !!

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Charlie Barnet And His Orchestra - Clap Hands, Here Comes Charlie

Styles: Jazz, Big Band
Year: 1987
File: MP3@320K/s
Time: 63:49
Size: 151,6 MB
Art: Front

(2:59)  1. Knockin' At The Famous Door
(3:22)  2. The Girl From Joe's
(3:20)  3. Cherokee
(3:04)  4. The Duke's Idea
(3:23)  5. The Count's Idea
(3:14)  6. The Right Idea
(2:56)  7. Between 18th And 19th On Chestnut Street
(2:42)  8. Clap Hands, Here Comes Charlie
(2:45)  9. Leapin' At The Lincoln
(3:25) 10. Afternoon Of A Moax
(2:55) 11. Flying Home
(2:53) 12. Six Lessons From Madame La Zonga
(3:09) 13. Rockin' In Rhythm
(3:00) 14. Pompton Turnpike
(3:15) 15. Wild Mab Of The Fish Pond
(3:24) 16. Southern Fried
(2:39) 17. Redskin Rhumba
(2:29) 18. Lumby
(3:15) 19. You're My Thrill
(2:37) 20. Charleston Alley
(2:54) 21. Murder At Peyton Hall

Charlie Barnet was unusual in several ways. One of the few jazzmen to be born a millionaire, Barnet was a bit of a playboy throughout his life, ending up with a countless number of ex-wives and anecdotes. He was one of the few white big band leaders of the swing era to openly embrace the music of Duke Ellington (he also greatly admired Count Basie). Barnet was a pioneer in leading integrated bands (as early as 1935). And, although chiefly a tenor saxophonist (where he developed an original sound out of the style of Coleman Hawkins), Barnet was an effective emulator of Johnny Hodges on alto in addition to being virtually the only soprano player (other than Sidney Bechet) in the 1930s and '40s.  And yet Charlie Barnet was only significant in jazz for about a decade (1939-1949). Although his family wanted him to be a lawyer, he was a professional musician by the time he was 16 and ironically in his career made more money than he would have in business. Barnet arrived in New York in 1932 and started leading bands on records the following year, but his career was quite erratic until 1939. Many of Barnet's early records are worthy but some are quite commercial as he attempted to find a niche. Best is a sideman appearance on a 1934 Red Norvo date that also includes Artie Shaw and Teddy Wilson.

In 1939, with the hit recording of "Cherokee" and a very successful run at the Famous Door in New York, Charlie Barnet soon became a household name. In addition to the fine trumpeter Bobby Burnet (who soloed on many of Barnet's Bluebird records), such sidemen as guitarist Bus Etri; drummer Cliff Leeman; singers Lena Horne, Francis Wayne, and Kay Starr; pianist Dodo Marmarosa; clarinetist Buddy DeFranco; guitarist Barney Kessel; and even trumpeter Roy Eldridge spent time with Barnet's bands. Although at the height of his popularity during 1939-1942 (when his orchestra could often play a close imitation of Ellington's), Barnet's recordings for Decca during 1942-1946 were also of great interest with "Skyliner" being a best-seller.  By 1947 Barnet was starting to look toward bop. Clark Terry was his star trumpeter that year, and in 1949 his screaming trumpet section included Maynard Ferguson, Doc Severinsen, Rolf Ericson, and Ray Wetzel. Barnet, however, soon lost interest and near the end of 1949 he broke up his band. Semi-retired throughout the remainder of his life, Charlie Barnet occasionally led swing-oriented big bands during short tours and appearances, making his last recording in 1966. ~ Scott Yanow http://www.allmusic.com/artist/charlie-barnet-mn0000166767/biography

Clap Hands, Here Comes Charlie

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Charlie Barnet - Giants Of The Big Band Era

Styles: Big Band, Swing
Year: 1990
File: MP3@320K/s
Time: 33:52
Size: 79,8 MB
Art: Front

(2:57)  1. East Side West Side
(3:25)  2. Cherokee
(2:25)  3. Pomton Turnpike
(2:41)  4. Volga Boatmen
(2:46)  5. Castle of Dreams
(3:25)  6. Good for Nothing
(3:21)  7. Barcarolle
(2:13)  8. All I Desire
(2:33)  9. Busy as a Bee
(3:04) 10. Skyliner
(2:56) 11. I Can't Remember to Forget
(2:02) 12. Uptown Blues

Charlie Barnet was unusual in several ways. One of the few jazzmen to be born a millionaire, Barnet was a bit of a playboy throughout his life, ending up with a countless number of ex-wives and anecdotes. He was one of the few white big band leaders of the swing era to openly embrace the music of Duke Ellington (he also greatly admired Count Basie). Barnet was a pioneer in leading integrated bands (as early as 1935). And, although chiefly a tenor saxophonist (where he developed an original sound out of the style of Coleman Hawkins), Barnet was an effective emulator of Johnny Hodges on alto in addition to being virtually the only soprano player (other than Sidney Bechet) in the 1930s and '40s. And yet Charlie Barnet was only significant in jazz for about a decade (1939-1949). Although his family wanted him to be a lawyer, he was a professional musician by the time he was 16 and ironically in his career made more money than he would have in business. Barnet arrived in New York in 1932 and started leading bands on records the following year, but his career was quite erratic until 1939. Many of Barnet's early records are worthy but some are quite commercial as he attempted to find a niche. Best is a sideman appearance on a 1934 Red Norvo date that also includes Artie Shaw and Teddy Wilson. In 1939, with the hit recording of "Cherokee" and a very successful run at the Famous Door in New York, Charlie Barnet soon became a household name. In addition to the fine trumpeter Bobby Burnet (who soloed on many of Barnet's Bluebird records), such sidemen as guitarist Bus Etri; drummer Cliff Leeman; singers Lena Horne, Francis Wayne, and Kay Starr; pianist Dodo Marmarosa; clarinetist Buddy DeFranco; guitarist Barney Kessel; and even trumpeter Roy Eldridge spent time with Barnet's bands. Although at the height of his popularity during 1939-1942 (when his orchestra could often play a close imitation of Ellington's), Barnet's recordings for Decca during 1942-1946 were also of great interest with "Skyliner" being a best-seller. By 1947 Barnet was starting to look toward bop. Clark Terry was his star trumpeter that year, and in 1949 his screaming trumpet section included Maynard Ferguson, Doc Severinsen, Rolf Ericson, and Ray Wetzel. Barnet, however, soon lost interest and near the end of 1949 he broke up his band. Semi-retired throughout the remainder of his life, Charlie Barnet occasionally led swing-oriented big bands during short tours and appearances, making his last recording in 1966. ~ Scott Yanow https://itunes.apple.com/kz/artist/charlie-barnet/id269417

Giants Of The Big Band Era

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Charlie Barnet - Cherokee Revisited

Bitrate: MP3@320K/s
Time: 79:07
Size: 181.1 MB
Styles: Big band, Swing
Year: 2002
Art: Front

[7:03] 1. Cherokee
[3:54] 2. Serenade To May
[3:23] 3. Moten Swing
[2:15] 4. Pompton Turnpike
[2:53] 5. Eastside, Westside
[3:16] 6. Charleston Alley
[3:20] 7. Skyline
[3:34] 8. Blue Juice
[4:02] 9. Southern Fried
[3:36] 10. Smiles
[2:56] 11. Swing & Sweat
[2:49] 12. Stardust
[3:21] 13. Take The A Train
[2:41] 14. Goodbye
[3:19] 15. Early Autumn
[3:25] 16. Flying Home
[3:16] 17. I Can't Get Started
[3:53] 18. Begin The Beguine
[2:53] 19. Darn That Dream
[2:58] 20. Midnight Sun
[2:43] 21. One O'clock Jump
[4:18] 22. Harlem Nocturne
[3:09] 23. Track 23

Charlie Barnet was unusual in several ways. One of the few jazzmen to be born a millionaire, Barnet was a bit of a playboy throughout his life, ending up with a countless number of ex-wives and anecdotes. He was one of the few white big band leaders of the swing era to openly embrace the music of Duke Ellington (he also greatly admired Count Basie). Barnet was a pioneer in leading integrated bands (as early as 1935). And, although chiefly a tenor saxophonist (where he developed an original sound out of the style of Coleman Hawkins), Barnet was an effective emulator of Johnny Hodges on alto in addition to being virtually the only soprano player (other than Sidney Bechet) in the 1930s and '40s.

And yet Charlie Barnet was only significant in jazz for about a decade (1939-1949). Although his family wanted him to be a lawyer, he was a professional musician by the time he was 16 and ironically in his career made more money than he would have in business. Barnet arrived in New York in 1932 and started leading bands on records the following year, but his career was quite erratic until 1939. Many of Barnet's early records are worthy but some are quite commercial as he attempted to find a niche. Best is a sideman appearance on a 1934 Red Norvo date that also includes Artie Shaw and Teddy Wilson.

In 1939, with the hit recording of "Cherokee" and a very successful run at the Famous Door in New York, Charlie Barnet soon became a household name. In addition to the fine trumpeter Bobby Burnet (who soloed on many of Barnet's Bluebird records), such sidemen as guitarist Bus Etri; drummer Cliff Leeman; singers Lena Horne, Francis Wayne, and Kay Starr; pianist Dodo Marmarosa; clarinetist Buddy DeFranco; guitarist Barney Kessel; and even trumpeter Roy Eldridge spent time with Barnet's bands. Although at the height of his popularity during 1939-1942 (when his orchestra could often play a close imitation of Ellington's), Barnet's recordings for Decca during 1942-1946 were also of great interest with "Skyliner" being a best-seller.

By 1947 Barnet was starting to look toward bop. Clark Terry was his star trumpeter that year, and in 1949 his screaming trumpet section included Maynard Ferguson, Doc Severinsen, Rolf Ericson, and Ray Wetzel. Barnet, however, soon lost interest and near the end of 1949 he broke up his band. Semi-retired throughout the remainder of his life, Charlie Barnet occasionally led swing-oriented big bands during short tours and appearances, making his last recording in 1966. ~bio by Scott Yanow

Cherokee Revisited

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Various Artists - Capitol Records From The Vaults: Capitol Jumps

Bitrate: MP3@320K/s

Time: 72:43

Size: 166.5 MB

Styles: Easy Listening, Swing, Big band

Year: 2000

Art: Front

[3:07] 1. Nat King Cole Trio - Sweet Lorraine

[2:41] 2. Martha Tilton - Does Everyone Know About This

[3:00] 3. Coleman Hawkins - Stuffy

[3:00] 4. Benny Carter - Poinciana

[2:56] 5. Ella Mae Morse - Buzz Me

[2:36] 6. Stan Kenton & His Orchestra - Artistry Jumps

[3:06] 7. Cootie Williams And His Orchestra - Juice Head Baby

[2:36] 8. Alvino Rey - Cement Mixer (Put-Ti, Put-Ti)

[2:43] 9. Johnny Mercer - My Sugar Is So Refined

[2:40] 10. Geechie Smith & His Orchestra - T-Town Jump

[2:53] 11. Nellie Lutcher - Fine Brown Frame

[3:01] 12. Sam Donahue & His Orchestra - Robbin's Nest

[2:21] 13. Crown Prince Waterford - Move Your Hand, Baby

[3:14] 14. T-Bone Walker - I Got A Break Baby

[2:42] 15. Julia Lee And Her Boyfriends - King Size Papa

[3:04] 16. Benny Goodman - On A Slow Boat To China

[2:28] 17. Stan Kenton & His Orchestra - How High The Moon

[3:06] 18. Peggy Lee - Don't Smoke In Bed

[2:43] 19. Charlie Barnet - Be-Bop Spoken Here

[3:06] 20. Johnny Mercer - One For My Baby (And One More For The Road)

[3:08] 21. Dizzy Gillespie - You Stole My Wife-You Horse Thief

[3:07] 22. Kay Starr - Evenin'

[3:15] 23. Billy May - Lean, Baby

[3:01] 24. The Four Freshmen - Tuxedo Junction

[2:56] 25. Duke Ellington - Satin Doll

The swing era and pre-bop jazz age of the '40s was a zenith for Capitol Records, which was jumpin' not only on radios and jukeboxes nationwide, but at cash registers as well. This third volume in the venerable label's From the Vaults series is an indispensable guide to Capitol's ever-increasing talent roster, highlighting this unique period in American popular music. Aptly subtitled Capitol Jumps, the album does considerably more, ranging from the erudite cool of the Nat "King" Cole Trio on "Sweet Loraine" to decidedly more "alternative" bop classics such as Dizzy Gillespie's "You Stole My Wife You Horse Thief." On the lighter side are remnants of big-band orchestras led by Benny Goodman ("On a Slow Boat to China") and Johnny Mercer ("One More for My Baby (And One More for the Road)"). The passing of the pop music baton from big band to jazz is reflected in this volume most notably by the Four Freshmen's brilliant interpretation of "Tuxedo Junction" and the intoxicating one-two punch of Ella Mae Morse's "Buzz Me" and "Juice Head Baby by Cootie Williams & His Orchestra, featuring vocalist Eddie "Cleanhead" Vinson. One trend continuing for Capitol was that of hitmaker. Among the seven Top 40 hits on Capitol From the Vaults, Vol. 3 are Alvino Rey's ultra-danceable "Cement Mixer (Put-Ti, Put-Ti)," Benny Carter & His Orchestra with "Poinciana," and the Johnny Mercer conducted orchestra on "My Sugar Is So Refined." This all-star recording also features labelmates the Pied Pipers, accompanied by Paul Weston & His Orchestra. As with other volumes in this collection, the sonic transfer is superior, making it an essential component to any comprehensive overview of American popular music. The 12-page liner notes booklet contains lots of memorabilia wrapped around another installment of Billy Vera's informative essays. ~Lindsay Planer

Capitol Records From The Vaults: Capitol Jumps

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Lena Horne - Love Songs

Styles: Jazz, Vocal
Year: 1999
File: MP3@320K/s
Time: 50:13
Size: 115,9 MB
Art: Front

(2:16)  1. It's Love
(3:12)  2. Love Me Or Leave Me
(3:21)  3. The Man I Love
(3:35)  4. You're The One
(3:25)  5. People Will Say We're In Love
(3:09)  6. Don't Take Your Love From Me
(3:20)  7. Love Is The Thing
(3:15)  8. Someone To Watch Over Me
(2:41)  9. At Long Last Love
(3:27) 10. I'm Confessin' (That I Love You)
(3:05) 11. Love Me A Little Little
(3:19) 12. Let Me Love You
(3:08) 13. Mad About The Boy
(3:00) 14. I'm Through With Love
(2:41) 15. What Is This Thing Called Love?
(3:14) 16. You're My Thrill

Some of the more jazz-oriented highlights of Lena Horne's recording career are on this CD. Unfortunately the full personnel is not given, although the recording dates and the various orchestra leaders are. As one can ascertain from the CD's title, the emphasis is on love songs, but most of the music swings too. Horne is heard with the orchestras of Charlie Barnet in 1941 ("You're My Thrill"), Artie Shaw in 1941 ("Don't Take Your Love From Me" and "Love Me a Little Little" which also include uncredited solos from trumpeter Henry "Red" Allen and altoist Benny Carter), Lou Bring (also 1941), Marty Gold (1961), and her husband, Lennie Hayton (1955 and 1958). Among the highlights are "Love Me or Leave Me," "At Long Last Love," "I'm Confessin'," and "Mad About the Boy." If the packaging was more complete and the music programmed in chronological order, the rating would have been higher, for the music is quite good. ~ Scott Yanow  http://www.allmusic.com/album/love-songs-2000-mw0000673007

Personnel: Lena Horne (vocals); Artie Shaw (clarinet); Benny Carter (alto saxophone); Charlie Barnet (tenor saxophone); Henry "Red" Allen (trumpet).

Love Songs

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Charlie Barnet - The Everest Years

Bitrate: MP3@320K/s
Time: 77:14
Size: 176.8 MB
Styles: Big band, Swing
Year: 2005
Art: Front

[6:58] 1. Cherokee
[3:44] 2. Serenade To May
[3:19] 3. Moten Swing
[2:10] 4. Pompton Turnpike
[2:48] 5. East Side, West Side
[3:05] 6. Charleston Alley
[3:17] 7. Skyliner
[3:28] 8. Blue Juice
[3:55] 9. Wild Man Of The Fish Pond
[3:31] 10. Southern Fried
[2:52] 11. Smiles
[2:46] 12. Evergreens
[3:21] 13. Stardust
[2:39] 14. Take The A Train
[3:18] 15. Goodbye
[3:23] 16. Early Autumn
[3:15] 17. Flying Home
[3:30] 18. I Can't Get Started
[2:50] 19. Begin The Beguine
[2:53] 20. Darn That Dream
[2:42] 21. Midnight Sun
[4:17] 22. One O'clock Jump
[3:03] 23. I Want The Waiter (With The Water)

Charlie Barnet was at his prime as a tenor saxophonist and bandleader during 1939-1949 when his big bands were quite popular. By 1958 he was semi-retired but still enjoying himself, putting together orchestras whenever the mood struck him. He recorded two albums for Everest that year and, to be different, he left his tenor at home, instead playing alto and soprano sax. Although some of the songs are remakes of his earlier hits, they were often rearranged and sound fresh and new, particularly by 1958, with this version of "Pompton Turnpike" topping (and being more humorous) than the original recording. In addition to Barnet, the key soloists are trumpeters Charlie Shavers and Clark Terry. The enthusiasm of the musicians, some of whom were alumni but most at the time were studio musicians, is contagious and Barnet is heard at his most enthusiastic. Recommended. ~Scott Yanow

The Everest Years

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Charlie Barnet & His Orchestra - Swingin' On Nothin'

Bitrate: MP3@320K/s
Time: 47:40
Size: 109.1 MB
Styles: Big band
Year: 2010
Art: Front

[2:37] 1. The Jeep Is Jumpin'
[2:24] 2. Miss Annabelle Lee
[3:00] 3. I Get Along Without You Very Well
[3:05] 4. Tin Roof Blues
[3:31] 5. When The Sun Comes Out
[3:21] 6. West End Blues
[3:05] 7. I Didn't Know Enough About You
[3:05] 8. Commanche War Dance
[2:03] 9. Uptown Blues
[3:10] 10. Swingin' On Nothin'
[3:12] 11. Southland Shuffle
[3:11] 12. Only A Rose
[3:12] 13. Strange Enchantment
[3:22] 14. Casa Manana Stomp
[2:44] 15. Lullaby Of Birdland
[2:32] 16. Song Of The Volga Boatman

Charlie Barnet came from a wealthy family. His parents had hoped that their son would become a lawyer. However the free spirited Barnet, at just 16 years of age, led his own band on a transatlantic ocean liner crossing the ocean 22 times and later went to the South Seas and Latin America.

Barnet first became well known in jazz circles as a leader of a band that played the Paramount Hotel in NYC in 1932. His fame also spread as a soloist on several Red Norvo Octet sides in 1934 including “The Night Is Blue” which also featured Teddy Wilson, Artie Shaw and others.

Swingin' On Nothin'

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