Milt Hinton - Old Man Time (2-Disc Set)

Recording Period: March 28, 1989 - March 27, 1990, Englewood, New Jersey. Milt Hinton (bass, vocals), Ralph Sutton, Derek Smith, Red Richards, John Bunch, Norman Simmons (piano), Danny Barker (guitar, vocals), Al Casey (guitar), Bob Rosengarden, Gus Johnson, Gerryck King, Jackie Williams, Jimmy Ford (drums). Additional guest artists: Eddie Barefield (alto & tenor saxophones), Doc Cheatham (trumpet), Al Grey (trombone), Flip Phillips (clarinet).

This double-CD set gave bassist Milt Hinton an opportunity to engage in reunions with many of his old friends from the 1930s. The seven sessions were compiled during a 12-month period and the results are often delightful. The opening "Old Man Time" is sung by Hinton himself, and it is both insightful and humorous. The other highlights include Joe Williams singing "Four or Five Times" (which features some very rare Flip Phillips clarinet), three bass guitar duets with Danny Barker, appearances by Dizzy Gillespie, Lionel Hampton, Clark Terry, Al Grey, Ralph Sutton, and the formation of a group called "The Survivors" that has guitarist Al Casey at age 75 being the youngest member; the latter band also includes 85-year-old trumpeter Doc Cheatham, Eddie Barefield, Buddy Tate and even Cab Calloway. A lot of storytelling takes place during the songs and, in addition to the 92½ minutes of music, there are two "Jazzspeaks." The 13-minute one features Hinton, Calloway, Cheatham and Barefield reminiscing about their experiences in the early days, while a marvelous 45-minute monologue by the bassist covers most of his long and productive life and is consistently fascinating. Highly recommended. ~Scott Yanow

Album: Old Man Time (Disc 1)

Bitrate: MP3@320K/s

Time: 75:37

Size: 173.1 MB

Styles: Contemporary jazz

Year: 1990

[ 4:41] 1. Old Man Time

[ 3:26] 2. Time After Time

[ 4:34] 3. Sometimes I'm Happy

[ 1:55] 4. A Hot Time In The Old Town Tonight

[ 5:09] 5. Four Or Five Times

[ 4:21] 6. Now's The Time

[ 6:20] 7. Time On My Hands

[ 5:18] 8. Heart Of My Heart

[ 2:55] 9. I Ain't Gonna Give Nobody None O' This Jelly Roll

[ 2:40] 10. Mama Don't Allow

[ 7:25] 11. Girl Of My Dreams

[ 9:47] 12. This Time It's Us

[ 3:52] 13. Good Time Charlie

[13:09] 14. Jazzspeak, No. 1

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Album: Old Man Time (Disc 2)

Bitrate: MP3@320K/s

Time: 73:12

Size: 167.6 MB

Styles: Contemporary jazz

Year: 1990

Art: Front

[ 4:23] 1. It Don't Mean A Thing (If It Ain't Got That Swing)

[ 5:06] 2. Blue Skies

[ 3:42] 3. Slap Happy

[ 9:13] 4. The Yellow Front

[ 5:48] 5. Bloody Mary

[ 1:57] 6. Milt's Rap

[43:01] 7. Jazzspeak #2

Old Man Time (Disc 1) (Disc 2)

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Doc Cheatham & Nicholas Payton - S/T

Bitrate: MP3@320K/s
Time: 62:17
Size: 142.6 MB
Styles: Trumpet jazz
Year: 1997
Art: Front

[5:53] 1. How Deep Is The Ocean
[3:35] 2. Jeepers Creepers
[8:40] 3. Stardust
[3:21] 4. I Gotta Right To Sing The Blue
[2:21] 5. Dinah
[4:45] 6. Save It Pretty Mama
[3:26] 7. Do You Believe In Love At Sigh
[3:58] 8. Jada
[4:20] 9. I Cover The Waterfront
[3:16] 10. Maybe
[4:42] 11. Black And Blue
[6:02] 12. Out Of Nowhere
[4:53] 13. She's Funny That Way
[2:59] 14. The World Is Waiting For The S

This matchup between trumpeters Doc Cheatham (91 at the time) and Nicholas Payton (just 23) is quite logical and delightful. Cheatham, one of the few survivors of the 1920s, was still in remarkably fine form, while Payton (a flexible New Orleans player capable of ranging from Dixieland to Freddie Hubbard) is both respectful and inspiring. With Doc contributing occasional vocals and the settings ranging from a quartet to an octet with clarinetist Jack Maheu and pianist Butch Thompson, the brassmen explore a variety of 1920s and '30s standards, including a couple of obscurities ("Do You Believe in Love at Sight?" and "Maybe"). The interplay between the co-leaders, the many subtle tributes to Louis Armstrong, and the consistent enthusiasm of this swinging set make this a historic success and a very enjoyable outing. ~Scott Yanow

Doc Cheatham & Nicholas Payton

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Doc Cheatham, Rosemary Galloway's Swing Sisters - You're a Sweatheart

Styles: Vocal And Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 49:01
Size: 114,1 MB
Art: Front

(2:58) 1. Smokey Mary
(5:26) 2. You're a Sweatheart
(5:59) 3. Under the Moonlight Starlight Blue
(4:11) 4. Two Time Man
(4:08) 5. Quinn & Sonic
(3:21) 6. Eccentric
(5:04) 7. A Shine on Your Shoes
(4:56) 8. Judy
(5:14) 9. Just An Old Manuscript
(3:27) 10. Baby It's Cold Outside
(4:13) 11. Chu Chu Wa Wa

Trumpeter Doc Cheatham (87 at the time) gets top billing and is well-featured on six of this CD's 11 selections but the release from the Canadian label Sackville is more significant for helping to introduce Rosemary Galloway's Swing Sisters. This fine quintet (originally all women but now just three out of five) features the excellent trumpeter Sarah McElcheran and the local legend Jane Fair on tenor and clarinet. The repertoire mostly consists of swing obscurities and Cheatham is delightful during his two vocals (sharing "Baby It's Cold Outside" with the bassist/leader). The performances without Cheatham sound quite a bit more modern, leaning more toward early-'60s hard bop. This well-rounded set has some fine individual moments.~ Scott Yanow https://www.allmusic.com/album/youre-a-sweetheart-mw0000536913

Personnel: Doc Cheatham (vocals, trumpet); Rosemary Galloway (vocals); Jane Fair (clarinet, tenor saxophone); Jim Galloway (soprano saxophone, baritone saxophone); Sarah McElcheran (trumpet); Norman Amadio (piano); Don Vickery (drums).

You're a Sweatheart

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Doc Cheatham & Rosemary Galloway - Chu Chu Wa Wa

Styles: Vocal, Trumpet Jazz
Year: 1993
File: MP3@320K/s
Time: 49:05
Size: 115,1 MB
Art: Front

(2:57)  1. Smokey Mary
(5:26)  2. You're a Sweetheart
(5:58)  3. Under the Moonlight Starlight Blue
(4:11)  4. Two Time Man
(4:09)  5. Quinn And Sonic
(3:23)  6. Eccentric
(5:05)  7. A Shine On Your Shoes
(4:56)  8. Judy
(5:14)  9. Just An Old Manuscript
(3:26) 10. Baby It's Cold Outside
(4:14) 11. Chu Chu Wa Wa

Doc Cheatham was without question the greatest 90-year old trumpeter of all time; in fact, no brass player over the age of 80 had ever played with his power, range, confidence, and melodic creativity. Most trumpeters fade while in their 60s due to the physical difficulty of their instrument, but Cheatham did not truly find himself as a soloist until he was nearly 70. Doc Cheatham's career reaches back to the early '20s, when he played in vaudeville theaters backing such traveling singers as Bessie Smith and Clara Smith. He moved to Chicago, recorded with Ma Rainey (on soprano sax), played with Albert Wynn, subbed for Louis Armstrong (his main idol), and had his own group in 1926. After stints with Wilbur DeParis and Chick Webb, he toured Europe with Sam Wooding. Due to his wide range and pretty tone, Cheatham worked as a non-soloing first trumpeter with McKinney's Cotton Pickers and Cab Calloway throughout the 1930s. 

He spent time with Teddy Wilson's big band, and was with the commercially successful Eddie Heywood Sextet (backing Billie Holiday on some recordings). In the 1950s, Cheatham alternated between Dixieland (Wilbur DeParis, guest spots with Eddie Condon) and Latin bands (Perez Prado, Herbie Mann). He was with Benny Goodman during 1966-1967, but it was not until the mid-'70s that Cheatham felt truly comfortable as a soloist. Duet sets with pianist Sammy Price launched his new career, and until his death in 1997, he recorded fairly prolifically including dates for Sackville, New York Jazz, Parkwood, Stash, GHB, Columbia, and several European labels. Cheatham was also a charming singer whose half-spoken, half-sung vocals took nothing away from his chance-taking trumpet flights. Bio ~ https://itunes.apple.com/us/artist/doc-cheatham/id130548#fullText
 

Personnel: Doc Cheatham (vocals, trumpet); Rosemary Galloway (vocals); Jane Fair (clarinet, tenor saxophone); Jim Galloway (soprano saxophone, baritone saxophone); Sarah McElcheran (trumpet); Norman Amadio (piano); Don Vickery (drums).

Chu Chu Wa Wa

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Lionel Hampton All Star Band - At Newport '78

Styles: Vibraphone Jazz
Year: 1978
File: MP3@320K/s
Time: 37:21
Size: 86,9 MB
Art: Front

( 4:51)  1. Stompin' At The Savoy
( 4:49)  2. On The Sunny Side Of The Street
(10:05)  3. Hamp's The Champ
( 7:18)  4. Carnegie Hall Blues
(10:16)  5. Flying Home

Good / It sounds as a masterpiece symbolizing the swing era, a luxury board that recorded the concerts in '78 in New York, high in the Lionel • Hampton All Star B band! https://www.jetsetrecords.net/lionel-hampton-lionel-hampton-all-star-band-at-newport-78/i/162512626001/

Personnel:  Conductor, Vibraphone – Lionel Hampton;  Alto Saxophone – Charles McPherson;  Alto Saxophone, Clarinet, Flute – Earle Warren;  Baritone Saxophone – Pepper Adams;  Bass – Chubby Jackson;  Clarinet – Bob Wilber;  Drums – Panama Francis;  Guitar – Billy Mackel;  Piano – Ray Bryant; Tenor Saxophone – Arnett Cobb, Paul Moen;  Trombone – Benny Powell, Eddie Bert, John Gordon;  Trumpet – Doc Cheatham;  Trumpet, Flugelhorn – Cat Anderson, Jimmy Maxwell, Joe Newman

At Newport '78

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Dizzy Gillespie - To Diz with Love

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 66:22
Size: 152,2 MB
Art: Front

(14:43)  1. Billie's Bounce
(10:37)  2. Confirmation
(12:52)  3. Mood Indigo
(11:28)  4. Straight No Chaser
(16:40)  5. A Night in Tunisia

Dizzy Gillespie's final recording, taken from a month he spent featured at the Blue Note in New York, matches the aging giant with such fellow trumpeters as Jon Faddis, Wynton Marsalis, Claudio Roditi, Wallace Roney, Red Rodney, Charlie Sepulveda and the ancient but still brilliant Doc Cheatham (who cuts both Diz and Faddis on "Mood Indigo"). Although Gillespie was no longer up to the competition, the love that these fellow trumpeters had for him (and some fine solos) makes this historic CD worth getting. ~Scott Yanow

https://www.allmusic.com/album/to-diz-with-love-diamond-jubilee-recordings-mw0000077323

Personnel:  Dizzy Gillespie - trumpet;  Doc Cheatham (track 3), Jon Faddis (track 3), Wynton Marsalis (tracks 2 & 4), Claudio Roditi (tracks 1 & 5), Wallace Roney (tracks 1 & 5), Charlie Sepulveda (track 4), Lew Soloff (unbilled, track 5) - trumpet;  Red Rodney - flugelhorn (track 2);  Junior Mance - piano;  Peter Washington - bass;  Kenny Washington - drums

To Diz with Love

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Herbie Mann - Our Mann Flute

Styles: Flute Jazz
Year: 1966
File: MP3@320K/s
Time: 32:47
Size: 75,8 MB
Art: Front

(2:34)  1. Scratch
(2:28)  2. Philly Dog
(2:09)  3. Happy Brass
(2:51)  4. Good Lovin'
(5:07)  5. Theme from "This Is My Beloved"
(2:15)  6. Frere Jacques
(2:44)  7. Our Mann Flint
(2:22)  8. Fiddler on the Roof
(2:17)  9. Theme from "Malamondo"
(2:34) 10. Down by the Riverside
(2:58) 11. Monday, Monday
(2:22) 12. Skip to My Lou

Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest. Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews' Quintet (1953-1954) and then started working and recording as a leader. During 1954-1958 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar, and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the '50s who recorded on bass clarinet; he also recorded a full album in 1957 (for Savoy) of unaccompanied flute. After spending time playing and writing music for television, Mann formed his Afro-Jazz Sextet, in 1959, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy, or Dave Pike) and the leader's flute. He toured Africa (1960) and Brazil (1961), had a hit with "Comin' Home Baby," and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire, and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller, and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock. By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the '70s advanced, Mann became much more involved in rock, pop, reggae, and even disco. After leaving Atlantic at the end of the '70s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin, and in the '90s founded the Kokopelli label on which before breaking away in 1996, he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli, and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004's posthumously released Beyond Brooklyn for Telarc. ~ Scott Yanow https://itunes.apple.com/ie/album/our-mann-flute/76152839

Personnel:  Herbie Mann - flute, alto flute, arranger, conductor, writer;  Leo Ball, Doc Cheatham, Al DeRisi, Jerome Kail, Marky Markowitz, Joe Newman, Jimmy Owens, Ernie Royal, Ziggy Schatz, Clark Terry, Snooky Young - trumpet;  Bob Alexander, Quentin Jackson, Jimmy Knepper, Joe Orange, Santo Russo, Chauncey Welsch - trombone;  Tony Studd - bass trombone;  Jerry Dodgion - flute, clarinet, alto saxophone;  Richie Kamuca - clarinet, tenor saxophone;  King Curtis - tenor saxophone, baritone saxophone;  Pepper Adams - baritone saxophone;  Dave Pike, Johnny Rae - vibraphone;  Don Friedman, Jimmy Wisner - piano;  Al Gorgoni, Mundell Lowe, Charles Macey, Attila Zoller - guitar;  Milt Hinton, Jack Six, Knobby Totah, Reggie Workman - bass;  Joe Mack - electric bass;  Bruno Carr, Rudy Collins, Bernard Purdie, Bobby Thomas - drums;  Willie Bobo, Gary Chester - timbales, percussion;  Ray Barretto, Warren Smith, Carlos "Patato" Valdes - congas;  Ray Mantilla - bongos;  Michael Olatunji - percussion, vocals;  George Devens - percussion;  Maya Angela, Dolores Parker - vocals;  Anthony Bambino, Hinda Barnett, Emanuel Green, Harry Katzman, Leo Kruczek, Gene Orloff, Paul Winter - violin;  Charles McCracken, Kermit Moore - cello;  Arif Mardin, Oliver Nelson, Richard Wess, Jimmy Wisner - arranger, conductor

Our Mann Flute

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Benny Carter - All Of Me

Styles: Saxophone, Clarinet And Trumpet Jazz 
Year: 1991
File: MP3@320K/s
Time: 63:16
Size: 147,2 MB
Art: Front

(3:22)  1. All Of Me
(2:46)  2. Cuddle Up
(3:16)  3. Ev'ry Goodbye Ain't Gone
(3:09)  4. Babalu
(3:20)  5. Midnight
(3:08)  6. My Favorite Blues
(3:10)  7. Lullaby To A Dream
(3:04)  8. What A Difference A Day Made
(2:47)  9. Sunday
(3:05) 10. Ill Wind [alt. take]
(2:56) 11. Back Bay Boogie
(2:51) 12. Tree Of Hope
(2:52) 13. 35th And Calumet
(2:56) 14. The Sheik Of Araby
(2:46) 15. Push Out
(3:22) 16. Confessin'
(3:17) 17. Boulevard Bounce
(3:40) 18. The Lonely Beat
(2:05) 19. The Mugger
(2:28) 20. The Jukebox
(2:46) 21. Phantom Raiders

A strong sampling of Benny Carter's music is heard in this hodgepodge CD reissue. Twelve of the altoist's 16 Bluebird big-band recordings of 1940-41 (including a previously unissued version of "Ill Wind") precede nine titles gathered from a wide variety of sessions with one song apiece taken from dates led by Mezz Mezzrow, Willie Bryant, Ethel Waters, Artie Shaw and Lucky Thompson and four performances reissued from Carter's soundtrack album of his score for the M Squad in 1959. Obviously not a set recommended to completists (the European Classics series is much preferred), the high quality of the music ("All of Me" has a classic Carter arrangement) makes this a worthwhile purchase for more casual collectors. ~ Scott Yanow http://www.allmusic.com/album/all-of-me-mw0000674400

Personnel: Benny Carter (alto saxophone, clarinet, trumpet), Ethel Waters (vocals), Bud Freeman, Ben Webster, Lucky Thompson (tenor saxophone), Doc Cheatham, Henry "Red" Allen (trumpet), Teddy Wilson (piano), Barney Kessel (guitar), Red Callender, Milt Hinton (bass), Chick Webb (drums).

All Of Me

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Sammy Price - Fire

Bitrate: MP3@320K/s
Time: 60:46
Size: 139.1 MB
Styles: Blues/Jazz piano
Year: 1975/2008
Art: Front

[2:55] 1. Back Home Again To France
[3:29] 2. Black And Blue Blues
[3:01] 3. Walkin' Down Pigalle
[4:10] 4. Memories Boogie
[4:26] 5. Funky
[2:54] 6. Boogie Woogie For Hugues
[4:33] 7. West End Boogie
[3:48] 8. Whodat Blues
[3:55] 9. Riffin' Boogie
[4:57] 10. Tain't Nobody's Business If I Do
[2:24] 11. Salute To Basie
[3:22] 12. Begin The Beguine
[4:31] 13. West End Boogie (Take 1)
[4:41] 14. Indiana
[3:53] 15. Ain't She Sweet
[3:39] 16. Trombone With Fire

Ted Buckner - Sax (Alto); Doc Cheatham - Trumpet; Gene "Mighty Flea" Conners - Trombone; J.C. Heard - Drums; Sammy Price - Piano; Carl Pruitt - Bass.

This LP by pianist Sammy Price (put out domestically by Classic Jazz) can easily be split into two parts. Seven songs pay tribute in their titles to France and showcase Price mostly playing blues in a trio with bassist Carl Pruitt and drummer J.C. Heard. The remaining four songs add a trio of veteran swing-era horn players (trumpeter Doc Cheatham, trombonist Gene "Mighty Flea" Conners and altoist Ted Buckner) on three blues and the one non-Price standard "Tain't Nobody's Business If I Do." Although the inclusion of the horns gives added interest to the date, there is a certain sameness to much of the material and a predictability to the enjoyable but unsurprising outcome. ~Scott Yanow

Fire

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Doc Cheatham - The Fabulous Doc Cheatham

Styles: Trumpet Jazz

Year: 1983

File: MP3@320K/s

Time: 42:27

Size: 97,8 MB

Art: Front

(5:08)  1. Big Butter & Egg Man

(4:28)  2. Deed I Do

(6:13)  3. Let's Do It (Let's Fall In Love)

(5:11)  4. The Man I Love

(2:31)  5. Swing That Music

(5:25)  6. 'Round Midnight

(5:08)  7. Jeepers Creepers

(3:35)  8. I Double Dare You

(4:44)  9. Flee As A Bird / St. James Infirmary

One of the very last survivors of the early days of jazz, trumpeter Adolphus “Doc” Cheatham attracted attention from the historically- inclined right up to his death in 1997 at the age of 91. His career recapitulated much of the history of jazz as a whole: he came of age hearing and playing with the New Orleans masters of the music's classic period; he participated in the big band movement that defined jazz in the 1930s; after the Second World War he affiliated himself with popular Latin dance orchestras on one hand and appeared with select, connoisseur-oriented small-group jazz combos on the other. As if defying time, his later recordings and performances were his best, and it was toward the end of his life that he allowed himself more often to step into the spotlight as a soloist.

Doc Cheatham was born in Nashville on June 13, 1905. Cheatham took up the cornet and soon after the trumpet as a teenager, taking lessons from two itinerant circus trumpeter brothers named Professor N. C. Davis and Professor C. M. Davis. He landed a job in the pit orchestra at Nashville's Bijou theatre, which played host to great performers of the black touring circuit of the 1920s such as Bessie Smith. He also played in a small band based at Nashville's historically black Meharry Medical College, acquiring the nickname “Doc” as a result. His parents hoped that he would indeed become a doctor, but instead Cheatham headed for Chicago, a city that was just coming into its own as a jazz mecca when he arrived in 1925. Rubbing elbows with already-legendary trumpeters like Louis Armstrong, Freddie Keppard, and “King” Oliver, he took another crucial step forward musically when he learned to read musical notation. “I was in {pianist} Charlie Johnson's band only one night,” he recalled in a Down Beat interview. I was fired that same night. . . .I couldn't read the show music. So that's when I got busy down there. I found a teacher, Viola something.” In 1927 Cheatham made his first recording.

Cheatham moved to the East Coast in 1927 and did stints with several celebrated bands, including McKinney's Cotton Pickers. Stable employment came during an eight-year tenure with bandleader Cab Calloway, from 1932 to 1940. Cheatham had been recommended by jazz musician Benny Carter. Calloway's band, often performing at New York's renowned Cotton Club, was one of the most successful of the era. The rigors of life on the road took a toll on Cheatham's health, and in 1939 he was hospitalized for nine weeks suffering from anemia and exhaustion, this lead to a hiatus and turning point in Cheatham's career. During World War II he essentially put his performing career on hold, opening a teaching studio in New York and taking a job with the U.S. post office. But he would reenter the music world again.

Joining a band led by Eddie Heywood Jr. Cheatham backed vocalist Billie Holiday in performances at the Cafe Society club, and took solos that showed some of the directions in which he would later develop. New popular musical forms also proved suited to his talents; Cheatham found ready employment after the war when trumpet-oriented Latin dance bands began to gain popularity. For a time, Cheatham played in the orchestra of the incredible Cuban-born bandleader Perez Prado. He continued making jazz appearances as well, and backed Holiday again on a widely viewed 1957 CBS television broadcast called “The Sound of Jazz.” Cheatham's big break came at the age of 60, early in 1966, when he was asked by clarinetist Benny Goodman to join his quintet for a series of performances at the Rainbow Room club. “I was honored to play on the same bandstand as him, whether I played good or not,” Cheatham told Down Beat. Later that year Cheatham toured Europe with a Goodman ensemble. The performances ushered in a astonishing period of late-life creativity.

Cheatham embarked on a seven-year regimen of practice and study, aiming to transform himself into a great soloist. Even in 1993 he told Time that “I study my jazz all the time, trying to improve myself.” From the late 1970s onward, he was a fixture of New York's live jazz scene, and recording opportunities often flowed his way. There was “Swingin’ Way Down in New Orleans,” in ’95 where he plays traditional standards brilliantly.He joined 23-year-old Nicholas Payton for a series of duets on his final recording, 1997's “Doc Cheatham & Nicholas Payton.” Doc performed right up until the end of his long and productive life, and left us an inspiring legacy. Cheatham was influenced by legends like Armstrong, but created a style uniquely his own. This courtly, restrained musician lived nearly the entire history of jazz, and ended up being accorded his own chapter in that history. http://musicians.allaboutjazz.com/doccheatham

Personnel:  Bass – Bill Pemberton;  Drums – Jackie Williams;  Piano – Dick Wellstood;  Trumpet, Vocals – Doc Cheatham

The Fabulous Doc Cheatham

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Art Hodes - The Authentic Art Hodes Rhythm Section

Bitrate: MP3@320K/s
Time: 49:47
Size: 114.0 MB
Styles: Jazz-blues, Dixieland
Year: 2010
Art: Front

[3:45] 1. Maybe Not At All (Not On The First Night Baby)
[4:55] 2. Wasted Life Blues
[3:53] 3. Big Butter And Egg Man
[5:32] 4. Jelly Roll Blues
[4:11] 5. There'll Be Some Changes Made
[6:53] 6. Back Water Blues
[3:42] 7. You Rascal You (I'll Be Glad When You're Dead)
[6:10] 8. When It's Sleepy Time Down South
[3:54] 9. What A Friend We Have In Jesus!
[6:48] 10. Silent Night

The title of this Parkwood set is a bit ironic, since pianist Art Hodes is the entire rhythm section. Hodes performs a pair of duets ("Jelly Roll Blues" and "When It's Sleepy Time Down South") with the great trumpeter Doc Cheatham, and joins Doc in accompanying singer Carrie Smith. The feeling throughout is of 1920s classic blues recordings, helped out by Smith's ability to emulate another Smith, Bessie. Among the more memorable vocal selections are "Big Butter and Egg Man," "There'll Be Some Changes Made" and "Backwater Blues." ~Scott Yanow

The Authentic Art Hodes Rhythm Section

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Doc Cheatham - Swinging Down In New Orleans

Bitrate: MP3@320K/s

Time: 69:54

Size: 160.0 MB

Styles: Dixieland, Trumpet jazz

Year: 1994

Art: Front

[4:11] 1. Swinging Down In New Orleans

[4:51] 2. When I Grow Too Old To Dream

[6:18] 3. I Want A Little Girl

[3:27] 4. You're Lucky To Me

[3:06] 5. Never Swat A Fly

[3:32] 6. I Can't Believe That You're In Love With Me

[2:55] 7. Memories Of You

[2:42] 8. Avalon

[2:54] 9. Love Will Find A Way

[3:12] 10. What Can I Say After I Say I'm Sorry

[4:59] 11. Mandy

[4:51] 12. I Would Do Anything For You

[3:16] 13. My Ideal

[3:29] 14. World On A String

[3:28] 15. Swing That Music

[8:30] 16. Orignial Jelly Roll Blues

[4:04] 17. Strutting With Some Barbecue

Although it has not gotten the publicity that his Columbia and Verve CDs received, this is one of the finest of all Doc Cheatham albums. Age 88 at the time, Cheatham had not lost a thing and plays miraculously well. He is teamed up with clarinetist Brian O'Connell, pianist Butch Thompson, Les Muscutt (doubling on guitar and banjo), Bill Huntington (on bass and guitar), bassist Peter Badie and drummer Ernest Elly. Cheatham plays melodic, swinging and frequently exciting solos, taking personable and whispery vocals on such likeable numbers as "When I Grow Too Old to Dream," "You're Lucky to Me," "Never Swat a Fly," "I Would Do Anything for You" and "I've Got the World on a String." This somewhat overlooked CD is highly recommended. ~Scott Yanow

Swinging Down In New Orleans

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Alberta Hunter - Amtrak Blues

Styles: Vocal
Year: 1980
File: MP3@320K/s
Time: 39:30
Size: 90,8 MB
Art: Front

(5:23)  1. The Darktown Strutters Ball
(3:50)  2. Nobody Knows You When You're Down & Out
(2:38)  3. I'm Having A Good Time
(3:44)  4. Always
(3:49)  5. My Handy Man Ain't Handy No More
(3:24)  6. Amtrak Blues
(4:14)  7. Old Fashioned Blues
(4:12)  8. Sweet Georgia Brown
(3:59)  9. A Good Man Is Hard To FInd
(4:13) 10. I've Got A Mind To Ramble

Alberta Hunter's second recording since launching her remarkable comeback (she was 83 when this album was cut) finds the veteran blues singer (a survivor of the 1920s) still in surprisingly strong form and full of spirit. Such songs as "Darktown Strutters' Ball," "My Handy Man," "Old Fashioned Love" and "I've Got a Mind to Ramble" are given fine treatment by Hunter, who is joined by the Gerald Cook quartet, trombonist Vic Dickenson, trumpeter Doc Cheatham and tenorman Frank Wess on various tracks. 

~ Scott Yanow  http://www.allmusic.com/album/amtrak-blues-mw0000193668

Amtrak Blues

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Doc Cheatham - Wishing You Were Here

Bitrate: MP3@320K/s
Time: 77:00
Size: 176.3 MB
Styles: Trumpet jazz
Year: 2012
Art: Front

[6:29] 1. There's No You
[5:13] 2. I Didn't Know What Time It Was
[4:45] 3. Dinah
[2:58] 4. I Got It Bad And That Ain't Good
[5:11] 5. Georgia On My Mind
[4:55] 6. The Little Things That Mean So Much
[6:39] 7. Night Train
[1:52] 8. How Much Is Too Much
[5:06] 9. Jadah
[5:58] 10. Tin Roof Blues
[6:06] 11. That's My Home
[4:52] 12. 'round Midnight
[7:39] 13. Drop Me Off In Harlem
[4:22] 14. Where Are You
[4:50] 15. Was It A Dream

One of the very last survivors of the early days of jazz, trumpeter Adolphus “Doc” Cheatham attracted attention from the historically- inclined right up to his death in 1997 at the age of 91. His career recapitulated much of the history of jazz as a whole: he came of age hearing and playing with the New Orleans masters of the music's classic period; he participated in the big band movement that defined jazz in the 1930s; after the Second World War he affiliated himself with popular Latin dance orchestras on one hand and appeared with select, connoisseur-oriented small-group jazz combos on the other. As if defying time, his later recordings and performances were his best, and it was toward the end of his life that he allowed himself more often to step into the spotlight as a soloist.

Wishing You Were Here

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Doc Cheatham & Nicholas Payton - S/T

Bitrate: MP3@320K/s
Time: 62:09
Size: 142.3 MB
Styles: Trumpet jazz
Year: 1997
Art: Front

[5:53] 1. How Deep Is The Ocean
[3:34] 2. Jeepers Creepers
[8:40] 3. Stardust
[3:18] 4. I Gotta Right To Sing The Blues
[2:21] 5. Dinah
[4:44] 6. Save It Pretty Mama
[3:26] 7. Do You Believe In Love At Sight
[3:58] 8. Jada
[4:17] 9. I Cover The Waterfront
[3:16] 10. Maybe
[4:42] 11. Black And Blue
[6:02] 12. Out Of Nowhere
[4:53] 13. She's Funny That Way
[2:58] 14. The World Is Waiting For The Sunrise

Despite their immense age difference, Cheatham and Payton find common ground in their shared affection for Louis Armstrong. Cheatham used to sub for Armstrong in Chicago in 1926, while Payton grew up in Armstrong's hometown of New Orleans and resembles the jazz giant physically as well as musically. Many of the Tin Pan Alley standards on this project are associated with Satchmo, and the two trumpeters focus on his buttery tone and precision phrasing rather than his pyrotechnics. Like his old friend, Cheatham is a singer as well as a trumpeter, and his graceful, romantic vocals on numbers such as "I Gotta Right to Sing the Blues" and "Save It Pretty Mama" show the way for the trumpet solos, which closely resemble the human voice. It bodes well for Payton's future that he adapts so instinctively to the past. ~Geoffrey Himes

Doc Cheatham & Nicholas Payton

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Doc Cheatham - Hey Doc!

Styles: Trumpet Jazz
Year: 1975
File: MP3@320K/s
Time: 58:51
Size: 138,1 MB
Art: Front

(5:59)  1. Rosetta
(3:42)  2. I Cover The Waterfront
(6:19)  3. Blues In My Heart
(4:19)  4. What Can I Say After I Say I'm Sorry
(4:49)  5. Saint James Infirmary
(6:42)  6. Sugar
(3:55)  7. If I Could Be With You
(6:01)  8. Rose Room
(3:38)  9. I Want A little Girl
(4:16) 10. Ain't Misbehavin'
(5:20) 11. Sugar (alt. take)
(3:45) 12. I Cover The Waterfront (alt. take)

Doc Cheatham maintained a strong sound on trumpet into his nineties; this series of French studio sessions dates from May 1975, just prior to his 70th birthday. The veteran is accompanied by veteran drummer J.C. Heard and pianist Sammy Price, while the rest of the supporting cast, including trombonist Gene Conners, alto saxophonist Ted Buckner, and bassist Carl Pruitt are less widely known but solid performers. The group's superb interplay is fascinating within the swinging opener, "Rosetta," while the mediocre quality of the piano tuning somewhat mars an otherwise enjoyable "Blues in My Heart." In addition to his fine trumpet playing throughout the CD, he sings in a warm, friendly during the tender ballad "If I Could Be With You" and a sprightly "What Can I Say After I Say I'm Sorry?" Fans of swing trumpet will definitely want to search for this rewarding CD. ~ Ken Dryden  http://www.allmusic.com/album/hey-doc!-mw0000675349

Hey Doc!

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Sammy Price & Doc Cheatham - Play George Gershwin

Bitrate: 320K/s
Time: 66:37
Size: 152.5 MB
Styles: Boogie woogie, Piano blues
Year: 2003
Art: Front

[1:45] 1. I Can't Give You Anything But Love
[3:19] 2. Can't Help 'lovin That Man
[1:07] 3. Keeping Out Of Mischief Now
[1:42] 4. Rosetta
[3:04] 5. Someone To Watch Over Me
[2:20] 6. Baby Won't You Please Come Home
[3:07] 7. Blues On My Heart
[3:15] 8. Saint Louis Blues
[4:16] 9. Tata's Blues
[2:17] 10. Tea For Two
[2:16] 11. Cinema's Boogie
[2:24] 12. Willow Weep For Me
[2:49] 13. Pinetop's Boogie Booogie
[2:39] 14. Valetta
[2:33] 15. On The Sunny Side Of The Street
[0:42] 16. Adieu
[3:18] 17. Lady Be Good
[3:18] 18. The Man I Love
[3:13] 19. I Got Rythm
[2:55] 20. Summertime
[2:47] 21. Somebody Loves Me
[4:47] 22. Embraceable You
[3:23] 23. S'wonderful
[3:10] 24. Rhapsodie In Blue

This compilation in Verve's Jazz in Paris reissue series contains two separate sessions led by Sammy Price. The first, from 1956, features 14 piano solos by Price, exploring standards, classic jazz compositions, and some originals as well, so the title of this reissue is a bit misleading. The influence of Fats Waller, Earl Hines, and Teddy Wilson is evident in several of the selections, though Price is clearly his own man. The miniature performances of "Ain't Misbehavin'" and "Rosetta" are joyous, while the loping midtempo arrangement of "Willow Weep for Me" is both elegant and entertaining. His compositions are hardly throwaway filler material, especially the fascinating "Tata's Blues." Two years later, Price was touring Europe while leading a band, but brought only one member into the studio, trumpeter Doc Cheatham. The eight-song set from this session focuses exclusively on George Gershwin's songbook, though Cheatham sits out three numbers. Although "Oh, Lady Be Good" and "Summertime" are laudable, it is their inspired condensed arrangement of "Rhapsody in Blue" (which is barely over three minutes) that proves to be the highlight of their duo session. Since Price and Cheatham were active professionally for six and seven decades respectively, this disc catches each of them roughly in the middle of their careers. While Cheatham was probably more widely known at the end of his long life, the music by both men within this CD is well worth acquiring. ~Ken Dryden

Play George Gershwin

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