Milt Jackson - The Ballad Artistry of Milt Jackson

Styles: Vibraphone Jazz
Year: 1959
File: MP3@320K/s
Time: 38:18
Size: 88,0 MB
Art: Front

(2:46)  1. The Cylinder
(3:02)  2. Makin' Whoopee
(4:50)  3. Alone Together
(4:29)  4. Tenderly
(4:03)  5. Don't Worry 'Bout Me
(3:38)  6. Nuages
(3:40)  7. Deep in a Dream
(4:39)  8. I'm a Fool to Want You
(3:45)  9. The Midnight Sun Will Never Set
(3:23) 10. Tomorrow

Vibraphonist Milt Jackson's enormous capacity for invention percolates throughout the sumptuous settings on the "with strings" date, The Ballad Artistry of Milt Jackson. Jackson and the large string section, masterfully arranged and conducted by Quincy Jones, mesh beautifully. Equally critical, the rhythm section is superbly integrated in the arrangements, underpinning the billows of violins and cellos with a distinct jazz pulse. 

Above all, Jackson is himself, bringing his consistently flawless phrasing and subtle, but ever-present, blues feeling to his role as featured solist. Bassist Milt Hinton, drummer Connie Kay, guitarist Barry Galbraith, and pianist Jimmy Jones make up the rhythm section for this 1960 session. ~Jim Todd https://www.allmusic.com/album/ballad-artistry-of-milt-jackson-vibrations-mw0000666544

Personnel: Milt Jackson (vibraphone); Quincy Jones (conductor); Don Hammond (flute); Romeo Penque (reeds); Gloria Agostini (harp); Jimmy Jones (piano); Barry Gailbraith, Chuck Wayne (guitar); Bill Crow, Milt Hinton (bass); Connie Kay (drums).

The Ballad Artistry of Milt Jackson

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Dick Katz - Piano & Pen

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 38:06
Size: 88,0 MB
Art: Front

(5:14)  1. Timonium
(4:30)  2. Aurora
(4:34)  3. Duologue No. 1
(4:46)  4. Glad To Be Unhappy
(3:22)  5. Round Trip
(6:56)  6. Afternoon In Paris
(4:07)  7. Ain't Misbehavin'
(4:34)  8. Scrapple From The Apple

A versatile pianist and arranger, Dick Katz was responsible for many stimulating and memorable recordings through the years, often as an important sideman and/or producer. He studied at the Peabody Institute, the Manhattan School of Music, and Juilliard, in addition to taking piano lessons from Teddy Wilson. In the 1950s, he picked up important experience as a member of the house rhythm section of the Café Bohemia, with the groups of Ben Webster and Kenny Dorham, the Oscar Pettiford big band, and later with Carmen McRae. Katz was part of the popular J.J. Johnson/Kai Winding Quintet (1954-1955) and Orchestra USA, and participated on Benny Carter's classic Further Definitions album. He freelanced throughout much of his career and was a guiding force behind some of Helen Merrill's finest recordings. Katz, who played with Roy Eldridge and Lee Konitz starting in the late '60s, co-founded Milestone Records in 1966 with Orrin Keepnews. In the 1990s, Dick Katz worked both as a pianist and an arranger with the American Jazz Orchestra and Loren Schoenberg's big band. Unfortunately, he did not recorded all that frequently as a leader, cutting fairly obscure dates for Atlantic (1957 and 1959), Bee Hive (1984), and Reservoir (1992), but the jazz world was well aware of his talents. Dick Katz died in Manhattan in November 2009 at the age of 85. ~ Scott Yanow https://www.allmusic.com/artist/dick-katz-mn0000821321/biography

Personnel:  Piano – Dick Katz; Bass – Joe Benjamin; Drums – Connie Kay; Guitar – Chuck Wayne, Jimmy Raney

Piano & Pen

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Rolf Kuhn - And His Sound Of Jazz

Styles: Clarinet Jazz
Year: 1960
File: MP3@320K/s
Time: 41:33
Size: 96,4 MB
Art: Front

(4:15)  1. Istambul
(3:58)  2. Waltzing Matilda
(3:44)  3. Lady Of Spain
(5:18)  4. Canadian Sunset
(4:10)  5. South Of The Border
(5:01)  6. Atlanta, GA
(3:08)  7. A Touch Of Berlin
(4:39)  8. Manhattan
(3:21)  9. Chicago
(3:56) 10. Caravan

Rolf Kuhn's style has evolved through the years. The clarinetist started out playing in German dance bands in the late '40s. He worked with radio orchestras starting in 1952 and moved to the U.S. in 1956. Kuhn subbed for Benny Goodman on a few occasions during 1957-1958, played in the Tommy Dorsey ghost band (1958), and worked in a big band led by Urbie Green (1958-1960). In 1962, Kuhn returned to Germany, where he has explored more adventurous styles of jazz (including dates with his younger brother, keyboardist Joachim Kuhn) but still occasionally shows off his ties to swing. Kuhn recorded with an all-star group called Winner's Circle (1957), Toshiko Akiyoshi (1958), and as a leader starting in 1953, including a 1956 New York quartet date for Vanguard. ~ Scott Yanow https://itunes.apple.com/us/album/rolf-kuhn-and-his-sound-of-jazz/462175205

Personnel: Rolf Kuhn (clarinet); Jack Sheldon (trumpet); John Bunch (piano); Jim Hall, Chuck Wayne (guitar); George Duvivier, Henry Grimes (bass); Don Lamond, Ray Mosca (drums).

And His Sound Of Jazz

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Joe Bushkin - In Concert: Town Hall

Styles: Piano Jazz
Year: 1964
File: MP3@320K/s
Time: 39:16
Size: 90,2 MB
Art: Front

( 4:29)  1. Medley: The Man That Got Away/Hallelujah
(10:03)  2. The 'Porgy and Bess' Medley
( 4:32)  3. I Can't Get Started
( 3:00)  4. They Can't Take That Away from Me
( 2:53)  5. The Song Is Ended
( 5:11)  6. The Cole Porter Medley
( 3:04)  7. One for My Baby
( 3:06)  8. I've Got a Crush on You
( 2:54)  9. Just One of Those Things

Piano jazz is a lot like pizza; even when it's terrible, it's still fairly good. Case in point is Joe Bushkin, a fine pianist for Eddie Condon who later watered down his style to appeal to a mass audience in concerts such as this 1963 performance. One can almost hear more passionate pianists shaking their fist at Bushkin because they are far more deserving of the recognition. To be fair, Bushkin is still a terrific pianist who can play as fast and as accurately as anyone out there, but one gets the sense that he is content to please an audience with technical wizardry and never seems to be working all that hard to be inventive. Guitarist Chuck Wayne seems to be the real treat, but is rendered inaudible most of the time except for a few brief solos (he seems to have difficulty finding a role in the context). The program is standard fare for cocktail lounges and cabarets Gershwin, Berlin, Porter all delivered with a sense of importance and sweeping drama. None of this is all that bad, but can you really purchase this album when there's so much other stuff out there that's more accomplished and nuanced? Pick up a Bill Evans record instead. ~ David Rickert https://www.allaboutjazz.com/in-concert-town-hall-joe-bushkin-collectables-review-by-david-rickert.php

Personnel: Joe Bushkin-piano; Chuck Wayne-guitar; Ed Shaughnessy-percussion; Milt Hinton-bass.

In Concert: Town Hall

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Chuck Wayne - Tapestry

Bitrate: MP3@320K/s
Time: 41:49
Size: 95.8 MB
Styles: Guitar jazz
Year: 1964/2013
Art: Front

[2:54] 1. On Green Dolphin Street
[3:27] 2. My Favorite Things
[3:45] 3. Satin Doll
[2:49] 4. Down The Road
[4:19] 5. Loads Of Love
[3:32] 6. Askaterine
[3:09] 7. Lady's Love Song
[6:44] 8. 'round Midnight
[2:59] 9. Greensleeves
[4:51] 10. Softly As In A Morning Sunrise
[3:15] 11. Thank The Lord

Bass – Ernie Furtado; Drums – Jimmy Campbell; Guitar – Chuck Wayne. Recorded in New York City at Nola's Penthouse Studios.

Although he often paid his bills with non-jazz pursuits, native New Yorker Chuck Wayne was an expressive and talented, if underexposed, bebop guitarist along the lines of Barney Kessel, Tal Farlow, Jimmy Raney, and Johnny Smith. Wayne was never a huge name in the jazz world, but he did cross paths with major jazzmen like Dizzy Gillespie, Zoot Sims, and Woody Herman — and improvisers who were familiar with his swinging yet lyrical playing (a relatively small group) swore by him. Wayne was capable of playing more than one style of jazz; he played swing before he played bop, and he could handle Dixieland as well. But bop was his preference, and that's the style that he is best known for in jazz circles.

Tapestry

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Chuck Wayne - Jazz Guitar Essentials

Bitrate: MP3@320K/s
Time: 65:54
Size: 150.9 MB
Styles: Guitar jazz
Year: 2013
Art: Front

[3:04] 1. Lullaby In Rhythm
[2:40] 2. More Than You Know
[3:10] 3. Cool Saturday Night
[4:35] 4. Embraceable You
[5:06] 5. Red Sun Blues
[3:23] 6. What A Difference A Day Made
[5:06] 7. Love For Sale
[3:13] 8. Carmel
[3:27] 9. Body And Soul
[4:25] 10. Lover Man
[2:29] 11. Snuggled On Your Shoulder
[3:15] 12. Along With Me
[3:28] 13. Rockabye Bay
[3:48] 14. How About You
[6:00] 15. Blue Serge
[4:17] 16. Good Old Guy
[2:00] 17. Five O'clock Blues
[2:22] 18. Happiness Is A Thing Called Joe

Although he often paid his bills with non-jazz pursuits, native New Yorker Chuck Wayne was an expressive and talented, if underexposed, bebop guitarist along the lines of Barney Kessel, Tal Farlow, Jimmy Raney, and Johnny Smith. Wayne was never a huge name in the jazz world, but he did cross paths with major jazzmen like Dizzy Gillespie, Zoot Sims, and Woody Herman -- and improvisers who were familiar with his swinging yet lyrical playing (a relatively small group) swore by him. Wayne was capable of playing more than one style of jazz; he played swing before he played bop, and he could handle Dixieland as well. But bop was his preference, and that's the style that he is best known for in jazz circles. Wayne was born Charles Jagelka in the Big Apple on February 27, 1923 -- that's the name that appeared on his birth certificate -- but when he pursued a career in music, he realized it would be easier and more convenient to go by Chuck Wayne. The improviser didn't start out as a guitarist; as a teenager in the late '30s, he played swing on the mandolin. But by the early '40s (when he was hired a sideman by swing pianist Clarence Profit), Wayne had switched to the guitar and made it his primary instrument. After spending some time in the United States Army, Wayne became quite active on midtown Manhattan's legendary 52nd Street scene of the '40s -- and that was where he made the transition from swing to bebop. Wayne, whose early influences included Oscar Moore (of the Nat King Cole Trio) and the seminal Charlie Christian, first heard Charlie Parker around 1944; it didn't take him long to take the bebop plunge. The mid-'40s found Wayne playing with Woody Herman's big band, and 52nd Street was where he played with trumpeter Dizzy Gillespie. Wayne (who played the banjo and the balalaika as secondary instruments) was a sideman for pianist George Shearing from 1949-1952, and in the '50s he recorded some LPs for the Progressive label as a leader. But it was also during the '50s that Wayne had a lot of non-jazz activities, which ranged from writing for Broadway to working as a staff musician for CBS-TV to a stint with singer Tony Bennett (who isn't jazz per se but is a fine example of jazz-influenced traditional pop). However, Wayne never gave up bebop, and he recorded a handful of bop-oriented albums in the '60s and '70s (two more decades that found him dividing his time between jazz and non-jazz pursuits). The '80s found Wayne teaching at the Westchester Conservatory of Music in suburban White Plains, NY (just outside of the Big Apple), and he continued to teach and play in the '90s. On July 29, 1997, Wayne passed away at the age of 74. ~ Alex Henderson

Jazz Guitar Essentials

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Chuck Wayne - The Jazz Guitarist

Styles: Guitar Jazz
Year: 1954
File: MP3@224K/s
Time: 34:31
Size: 55,8 MB
Art: Front

(3:06)  1. You Brought a New Kind of Love To Me
(2:42)  2. S.S. Cool
(2:29)  3. Mary Ann
(3:26)  4. Butterfingers
(2:43)  5. Taking a Chance on Love
(2:58)  6. Sirod
(2:33)  7. While My Lady Sleeps
(3:18)  8. Tasty Pudding
(2:32)  9. Prospecting
(2:54) 10. Sidewalks of Cuba
(2:19) 11. Uncus
(3:26) 12. Stella by Starlight

Chuck Wayne's participation in some of the earliest bebop recordings have lead many to conclude that he was purely a bop-style guitar player. Yet on the recordings he made in the mid-1940s, first with the Billy Eckstine Band and later with Dizzy Gillespie, his swing oriented guitar collides with the "new music" being played by the more modern musicians on the set. It was with George Shearing that Wayne had his greatest success, making a major contribution to the Shearing sound. This particular album reissues two sets cut by Wayne during the 1950s. The first, covering tracks 1-4 and 7-10, is from 1953 sessions with his Quartet featuring Zoot Sims and Brew Moore; the second session, made the following year with the John Mehegan Quartet, comprises the other four tunes. There are some standards along with seven originals, including five by Wayne. Words that can best be used to describe the latter are "innocuous," "pleasant," "nice background music." These arrangements could be heard in a hundred lounges and small clubs throughout the country during the years when this album was made. 

While there is virtually no inventiveness going on, the playing is entertaining. One quality that comes through with the Wayne guitar is its hornlike sound, which adds a dimension to his playing and is especially complementary when either Sims or Moore is soloing, as on "While My Lady Sleeps," "Side Walks of Cuba" and "Uncus." One exception to the ordinariness of the material is the arrangement of the Victor Young/Ned Washington masterpiece, "Stella by Starlight," where John Mehegan's piano and Wayne's guitar engage in interplay which comes close to being avant-garde. Several of the players at these sessions were from the upper echelons of jazz; it's regrettable they were not offered more interesting or challenging music to perform. ~ Dave Nathan  http://www.allmusic.com/album/the-jazz-guitarist-mw0000098308

Personnel: Chuck Wayne (guitar), Zoot Sims, Brew Moore (tenor saxophones), John Mehegan, Harvey Leonard (piano), Vinnie Burke, George Duvivier (bass), Joe Morello, Ed Shaughnessy (drums).

The Jazz Guitarist

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Dizzy Gillespie - Groovin' High

Bitrate: MP3@320K/s
Time: 36:46
Size: 84.2 MB
Styles: Bop
Year: 2009
Art: Front

[2:55] 1. Blue 'n' Boogie
[2:40] 2. Groovin' High
[2:46] 3. Dizzy Atmosphere
[2:47] 4. All The Things You Are
[3:12] 5. Salt Peanuts
[3:09] 6. Hot House
[3:00] 7. Oop Bop Sh'bam
[2:41] 8. That's Earl, Brother
[2:27] 9. Our Delight
[2:52] 10. One Bass Hit, No. 2
[2:44] 11. Things To Come
[2:20] 12. Ray's Idea
[3:06] 13. Emanon

Bass – Curly Russell, Ray Brown, Slam Stewart; Drums – Cozy Cole, Kenny Clarke, Shelly Manne, Sid Catlett; Guitar – Chuck Wayne, Remo Palmieri; Piano – Al Haig, Clyde Hart, Frank Paparelli, John Lewis; Saxophone – Charlie Parker, Dexter Gordon, James Moody, Sonny Stitt; Trumpet – Dizzy Gillespie; Vibraphone – Milt Jackson.

Dizzy Gillespie took a sextet into the studio on February 9, 1945, and recorded two new compositions, “Groovin’ High,” a medium tempo tune based on the chord changes of “Whispering” (written in 1920), and “Blue ‘N’ Boogie.” In his book Dizzy: The Life and Times of John Birks Gillespie, Donald L. Maggin says, “Dizzy created a complex arrangement for ‘Groovin’ High,’ which became one of his most enduring hits; it encompasses a six-bar introduction, three key changes, transition passages between solos, and a half-speed coda as it demonstrates his skill in fashioning interesting textures using only six instruments.”

Groovin' High

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Chuck Wayne, Joe Puma - Interactions

Bitrate: MP3@320K/s
Time: 59:22
Size: 135.9 MB
Styles: Post bop, Guitar jazz
Year: 1974/2012
Art: Front

[5:52] 1. My Favourite Things
[4:28] 2. Fly Me To The Moon (In Other Words)
[4:21] 3. Let's Do It Again
[5:18] 4. Little Joe Waltz
[7:00] 5. Body And Soul
[4:43] 6. Lester Leaps In
[5:43] 7. Here's That Rainy Day
[4:36] 8. Baubles, Bangles And Beads
[4:47] 9. Satin Doll
[5:13] 10. There Will Never Be Another You
[7:16] 11. I'll Get Along

Guitarist Chuck Wayne came to prominence in the 1940's & 50's. He was best known for his work with Woody Herman and George Shearing. He was also Tony Bennett's musical director from 1953-57. Joe Puma was a contemporary of Chuck and fellow guitarists Jimmy Raney and Johnny Smith, winning the Metronome New Star award in 1957. The two guitarists teamed up in 1973 for some duet playing in the tradition of Barnes/Kress and Ellis/Pass and this resulting album is one of the best of the genre.

Interactions

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