Silky Denims: Eddie Bert

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Wednesday, May 3, 2023

Ken Peplowski - Last Swing Of The Century

Styles: Clarinet Jazz, Big Band
Year: 1998
File: MP3@320K/s
Time: 65:28
Size: 150,5 MB
Art: Front

(2:20) 1. Let's Dance
(3:27) 2. Hunkadola
(3:12) 3. Between The Devil And The Deep
(6:59) 4. King Porter Stomp
(5:17) 5. Moon Glow
(6:08) 6. Stealin' Apples
(2:32) 7. You Turned The Tables On Me
(3:07) 8. Bugle Call Rag
(3:19) 9. Don't Be That Way
(4:00) 10. Memories Of You
(4:11) 11. Restless
(3:16) 12. Get Happy
(5:14) 13. Sometimes I'm Happy
(4:56) 14. China Boy
(3:29) 15. Down South Camp Meetin'
(3:53) 16. Good-Bye

Last Swing Of The Century - Big Band Music of Benny Goodman released on Concord Jazz in 1999 by Benny Goodman Orchestra alumnus, Ken Peplowski, is a heartfelt tribute to The King of Swing and the wonderful arrangements he commissioned in the 1930s and 1940s. Recorded the last night of a 15-concert tour, the CD is the perfect collection of swing standards for those who dance or those that spectate. Ken Peplowski takes 16 essentials, long associated with one of the greatest names in jazz and reinteprets it with veterans of various Benny Goodman orchestras including Randy Sandke, Eddie Bert, Bobby Pring, Ben Aronov, Frank Capp and Jack Stuckey along with other brilliant musicians as Conte Candoli, Frank Vignola, Bob Milikan, Scott Robinson, Joe Romano, Rickey Woodard, and Richard Simon.

Although the cliche that big bands will never come back is somewhat true, Ken Peplowski is the closest that some listeners near the end of this century will remember as bringing the music back to the ‘90s with taste, drive and creativity. Peplowski doesn’t compromise the artistic integrity of his mentor even though each soloist is playing in their own style, with no re-creations of solos from old records! Popular standards such as “Let’s Dance,” “Moon Glow,” “Bugle Call Rag,” “Don’t Be That Way,” and the “King Porter Stomp,” receive some of the very best arrangements they’ve ever had. On “Memories Of You,” Ken spotlights Bobby Pring’s trombone and the young, Frank Vignola’s mellow guitar. He duets with Vignola on one of Goodman’s favorites, “China Boy,” originally recorded with Teddy Wilson and Gene Krupa in 1936.

The clarinet of Ken Peplowski, taken up in honor of Goodman, is brilliant on this hard-swinging set of performances by his orchestra and serves as an excellent example of what can be done and has been done to the keep the music of the Big Band Era fresh and vital. Last Swing Of The Century - Big Band Music of Benny Goodman captures the brilliant essence of Benny Goodman and is ever so essential.
By Paula Edelstein http://www.allaboutjazz.com/last-swing-of-the-century-big-band-music-of-benny-goodman-ken-peplowski-concord-music-group-review-by-paula-edelstein.php

Musicians: Ken Peplowski, clarinet; trumpets; Conte Candoli, Bob Milikan, Randy Sandke; trombones, Eddie Bert, Bobby Pring; saxophones, Jack Stuckey - lead alto, Scott Robinson - tenor, Joe Romano - alto, Rickey Woodard - tenor; rhythm section, Ben Aronov-piano, Frank Vignola - guitar, Richard Simon - bass, Frank Capp - drums.

Last Swing Of The Century

Monday, April 22, 2019

Charles Mingus Quintet - Chazz

Styles: Jazz, Post Bop
Year: 2014
File: MP3@320K/s
Time: 42:26
Size: 97,9 MB
Art: Front

(6:56) 1. Jump Monk
(6:04) 2. Serenade In Blue
(8:44) 3. Percussion Discussion
(6:34) 4. Work Song
(7:06) 5. Septemberley
(7:00) 6. All the Things You Are In C Sharp

The Jazz Workshop of 1955 is in superb form, caught in performance at the Caf Bohemia in New York. Max Roach only appears for a "Percussion Discussion" with Mingus, but the forgotten Willie Jones is no slouch either. A typically adventurous set of tunes includes two montages. ("Septemberly" combines "September in the Rain" and "Tenderly", while "All the Things You Can C-Sharp" is a blend of "All the Things You Are," Rachmaninoff's "Prelude in C-Sharp" and "Clair de Lune.") It's a very spirited date, ranking with his best work in the period.

A further disc, Charles Mingus Quintet Plus Max Roach (Fantasy 86009), derives from the same date; these were combined as Prestige P-24010. And the boxed set of the Complete Debut Recordings (Debut 12-CDC-4402-2) includes an additional hour of previously unissued material. ~ Stuart Kremsky https://www.allmusic.com/album/chazz-mw0000901355

Personnel: Bass – Charlie Mingus; Drums – Max Roach, Willie Jones; Piano – Mal Waldron; Tenor Saxophone – George Barrow; Trombone – Eddie Bert

Chazz

Sunday, September 24, 2017

Stan Kenton - Easy Go

Styles: Piano Jazz, Big Band
Year: 2001
File: MP3@320K/s
Time: 60:17
Size: 142,3 MB
Art: Front

(3:09) 1. Easy Go
(3:15) 2. Love For Sale
(3:19) 3. Viva Prado
(2:56) 4. Something New (Sunset Tower)
(2:39) 5. Theme For Alto
(3:15) 6. Riff Rhapsody
(3:08) 7. Dynaflow
(3:13) 8. What's New
(3:04) 9. Jump For Joe
(2:42) 10. Night Watch
(2:44) 11. Francesca
(2:46) 12. Soliloquy
(2:50) 13. Lazy Daisy
(2:33) 14. Mambo Rhapsody
(3:10) 15. Riff Raff
(2:57) 16. Star Dust
(3:06) 17. Bags And Baggage
(2:54) 18. Bill's Blues
(3:26) 19. Cool Eyes
(3:04) 20. Beehive

Easy Go is a compilation of straight ahead charts recorded by the Kenton band in the years 1950-52 between tours of the Innovations Orchestra. While an artistic triumph, the Innovations Orchestra was not so successful financially, and Kenton had to record a number of albums devoted to just dance and swing tunes to recuperate his losses. Nevertheless, these recordings feature the Kenton band at its most swinging and most relaxed. And all the critics who have said that Kenton never swung need only listen to this CD to hear how wrong they've been over the years. What a collection of sidemen and arrangers. Stan Kenton, Pete Rugolo, Shorty Rogers, Gene Roland, Johnny Richards and Bill Russo all contributed charts. As an example of the range of jazz greats on this album, the trumpet section included Ray Wetzel, Buddy Childers, both Candoli brothers, Shorty Rogers, Al Porcino, and a young kid from Montreal named Maynard Ferguson. Most of the tunes included on Easy Go are long familiar to Kenton fans. Of all the great arrangers whose works appear on this CD, Shorty Roger's original tune "Viva Prado" and his rendition of the standard "What's New" stand out among the crowd. Another chart of special interest is William Russo's "Bill's Blues," one of the most swinging compositions ever penned by the most cerebral of the Kenton stable of composer/arrangers. Easy Go is a must for all Kenton fans and a good starting point for those who are new to the Creative World of Stan Kenton. ~ William Grinnm https://www.allaboutjazz.com/easy-go-stan-kenton-capitol-records-review-by-william-grim.php

Personnel: Stan Kenton, piano, arranger; Ruban McFall, trumpet; Dick Meldonian, sax; Clyde Reasinger,trumpet; George Roberts, trombone; Jimmy Salko, trumpet; Ray Wetzel, trumpet; Ralph Blaze, guitar; Al Porcino, trumpet; Johnny Halliburton, trombone; Dick Kenney, trombone; Paul Weigand, trombone; Don Dennis, trumpet; Bart Caldarell, sax; Jack Millman, trumpet; Mike Pacheco, timbales; Johnny Richards, arranger; Shorty Rogers, arranger, trumpet; Herbie Steward, sax; Milt Bernhart, trombone; Harry Betts, trombone; Bob Fitzpatrick, trombone; Bob Gioga, Sax; John Howell, trumpet; Laurindo Almeida, guitar; Eddie Bert, trombone; Conte Candoli, trumpet; Frank Capp, drums; Buddy Childers, trumpet; Eddie Gomez, maraccas; Herbie Harper, trombone; Bill Holman, Sax; Shelly Manne, drums; Art Pepper, sax; Bud Shank, sax; Don Bagley, bass; Pete Candoli, trumpet; John Graas, French horn; Lennie Niehaus, Sax; Gene Roland, arranger; Pete Rugolo, arranger; Bill Russo, arranger, trombone

Easy Go

Sunday, August 13, 2017

Gil Mellé - Patterns In Jazz

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 37:00
Size: 84,9 MB
Art: Front

(4:50) 1. The Set Break
(5:15) 2. Weird Valley
(9:07) 3. The Arab Barber Blues
(8:18) 4. Nice Question
(4:55) 5. Moonlight In Vermont
(4:33) 6. Long Ago And Far Away

Like the modern art that stormed the art world in the '50s, Patterns in Jazz is filled with bright, bold colors and identifiable patterns that camouflage how adventurous the work actually is. On the surface, the music is cool and laid-back, but close listening reveals the invention in Melle's compositions and arrangements of the standards "Moonlight in Vermont" and "Long Ago and Far Away." Part of the charm of Patterns in Jazz is the unusual instrumental balance of Melle's bari sax, Eddie Bert's trombone, Joe Cinderella's guitar, and Oscar Pettiford's bass. These low, throaty instruments sound surprisingly light and swinging. Compared to the two standards, Melle's original compositions are a little short on melody, but they give the musicians room to improvise, resulting in some dynamic music. Ultimately, Patterns in Jazz is cerebral music that swings it's entertaining, but stimulating. ~ Stephen Thomas Erlewine http://www.allmusic.com/album/patterns-in-jazz-mw0000463220

Personnel: Gil Mellé - tenor saxophone, baritone saxophone; Eddie Bert – trombone; Joe Cinderella – guitar; Oscar Pettiford – bass; Ed Thigpen - drums

Patterns In Jazz

Wednesday, December 7, 2016

Bobby Scott - The Compositions Of Bobby Scott

Styles: Piano Jazz
Year: 1955
File: MP3@320K/s
Time: 45:21
Size: 105,2 MB
Art: Front

(3:38) 1. Dot
(2:57) 2. Kwan Youen
(3:49) 3. Moon Tan
(4:16) 4. Betty
(4:10) 5. Aunt Sarah
(4:09) 6. Cerebellum
(2:19) 7. Wigwam
(4:03) 8. The Creed
(2:59) 9. Table Cloth Stomp
(2:59) 10. A Parable
(2:35) 11. The Wig
(2:45) 12. Count Bill
(4:36) 13. Makin' Whoopee (bonus track)

29 January 1937, New York City, New York, USA, d. 5 November 1990, New York City, New York, USA. Scott was a pianist, singer, composer, arranger, teacher and record producer. He also played several other instruments such as cello, bass, vibraphone, accordion and clarinet, but was mainly known for his jazz piano work and vocals. He attended Dorothea Anderson Follette’s School of Music, and then in 1949 studied composition with Edward Moritz, a former pupil of Claude Debussy. Despite his early classical training, Scott turned to jazz in his teens, and played with small bands led by the likes of Louis Prima, Tony Scott and Gene Krupa, with whom he cut some sides for Verve Records. From 1954, he recorded under his own name for labels such as Bethlehem, Savoy, Atlantic and ABC, and in 1956 had a US Top 20 hit with ‘Chain Gang’, written by Sol Quasha and Hank Yakus (not the Sam Cooke song). In 1960, Scott wrote the title theme for Shelagh Delaney’s play A Taste Of Honey, which became popular for pianist Martin Denny and, when Ric Marlow added a lyric, for Tony Bennett. It was also included on the Beatles’ first UK album. The song won a Grammy in 1962, and three more when Herb Alpert took it into the US Top 10 in 1965. In the early 60s Scott was the musical director for Dick Haymes for a time, and, as a pianist, arranger and record producer for Mercury Records, also maintained a close working relationship with Quincy Jones. Scott played piano on most of Jones’ Mercury albums, and accompanied Tania Vega and John Lee Hooker on Jones’ soundtrack music for the film The Color Purple (1986). As a producer, Scott supervised sessions for important artists such as Aretha Franklin, Marvin Gaye, Bobby Darin, Harry Belafonte and Sarah Vaughan. He discovered and recorded guitarist/vocalist Perry Miller, who changed his name to Jesse Colin Young, and he is also credited with taking singer Bobby Hebb back to Mercury, although Scott left the label before Hebb released his biggest hit, ‘Sunny’, in 1966.

Scott’s compositions included ‘He Ain’t Heavy, He’s My Brother’ (lyrics by Bob Russell), a hit for Neil Diamond (in 1970) and for the Hollies a year earlier and again in 1988, when it featured impressively in a UK television commercial for Miller Lite Lager; ‘Where Are You Going?’ (with Danny Meehan), sung by Joe Butler in the film Joe (1970); and ‘Slaves (Don’t You Know My Name?)’, performed by Dionne Warwick in the movie Slaves (1969). Scott also composed incidental music for the play Dinny And The Witches, and several pieces for harp and string trios, including ‘The Giacometti Variations’, so-called because it was part-used as a radio advertisement for the Giacometti Exhibition held at the New York Museum of Modern Art. His compositions for guitar included ‘Solitude Book’ and ‘The Book Of Hours’, the latter recorded with Brazilian guitarist Carlos Barbosa-Lima. For Sentimental Reasons displayed Scott simply as an accomplished pianist, who also sang. He died of lung cancer in the year of its release. http://www.oldies.com/artist-biography/Bobby-Scott.html

Personnel: Bobby Scott (arranger, piano); Hal McKusick, Charlie Mariano (alto saxophone); Bill Holman (tenor saxophone); Al Epstein, Jimmy Giuffre (baritone saxophone); Ronnie Woellmer, Conte Candoli (trumpet); Eddie Bert, Frank Rosolino (trombone); Milt Hinton, Max Bennett (bass); Osie Johnson, Stan Levey (drums).

The Compositions Of Bobby Scott

Tuesday, December 22, 2015

Al Cohn & Shorty Rogers - East Coast - West Coast Scene

Styles: Saxophone And Trumpet Jazz
Year: 1954
File: MP3@320K/s
Time: 47:06
Size: 108,1 MB
Art: Front

( 6:48) 1. Inside Out
( 6:10) 2. Autumn Leaves
( 6:59) 3. Serenade For Kathy
(10:33) 4. Cool Sunshine
( 6:48) 5. Loki
( 9:44) 6. Elaine's lullaby

A classic session in the tried and true marketing style of "East Coast vs West Coast" jazz, with one side of tracks by a group led by Al Cohn, and featuring Gene Quill, Hal McKusick, and Joe Newman. The other side's got Shorty Rogers representin' on the West Coast, with Jimmy Giuffre, Zoot Sims, Bud Shank, and Shelly Manne. The album's a nice batch of tracks, in the tightly arranged style that characterizes many of these mid-50's RCA jazz sessions. However, since Cohn's measured playing could never really be taken for New York Hot, and since his longtime partner Zoot Sims is part of Rogers' West Coast group, it's hard to say that these sides are really any sort of true battle between the coasts. Instead, though, the tracks are nice and long, with more room for solos than usual, and titles that include "Loki", "Cool Sunshine", and "Inside Out". (Original pressing – in really nice shape overall! Cover is great, too – save for a tiny bit of laminate peeling near the opening.) https://www.dustygroove.com/item/506057

Personnel: Alto Saxophone – Gene Quill, Hal McKusick; Baritone Saxophone – Sol Schlinger; Bass – Milt Hinton; Drums – Osie Johnson; Guitar – Billy Bauer; Piano – Sanford Gold; Saxophone – Al Cohn; Trombone – Billy Byers, Eddie Bert; Trumpet – Joe Newman, Shorty Rogers

East Coast - West Coast Scene

Monday, August 31, 2015

J.J. Johnson & Kai Winding - Jay & Kay + 6

Styles: Trombone Jazz
Year: 2010
File: MP3@320K/s
Time: 34:28
Size: 80,6 MB
Art: Front

(2:57) 1. Night In Tunisia
(2:38) 2. Piece For Two Tromboniums
(2:18) 3. Rise 'N' Shine
(2:34) 4. All At Once You Love Her
(3:26) 5. No Moon At All
(2:04) 6. Surrey With The Fringe On Top
(2:28) 7. The Peanut Vendor
(3:00) 8. You're My Thrill
(2:35) 9. Jeanne
(3:58) 10. Four Plus Four
(3:30) 11. You Don't Know What Love Is
(2:53) 12. The Continental

It was around the years when this recording was made that trombone groups, whether they be choirs, quartets, septets, or some other configuration, were in vogue. Kai Winding recorded several during the 1950s with his own group and with his oftentimes playing partner, J.J. Johnson. This album is the product of one of those occasions. Recorded over a three-day period in 1956 and originally issued on a Columbia LP, Johnson and Winding are joined by fellow slide instrumentalists Bob Alexander, Eddie Bert, Urbie Green, Jimmy Cleveland, Tom Mitchell, and Bart Varsalona, the latter two on bass trombone, plus an all-star rhythm section of Hank Jones, Milt Hinton, and Osie Johnson. Also somewhat of an item during this period was the trombonium, an upright valve trombone resembling a euphonium. Johnson and Winding use this instrument on some of the cuts, including "A Night in Tunisia" and "Piece for Two Tromboniums."

The playing here is simply terrific, as one would expect from this eminent cast of trombonists. The only problem is that after a while, one begins to yearn for some other horns, especially the sax, to get a change in the harmonics and voicings. Nonetheless, the playing, both solo and in ensemble, is brilliant and is a prime example of how the trombone had evolved from essentially a tailgate to an instrument that could execute fast-moving bop tunes and use a controlled vibrato and enveloping tone on slower numbers. There's plenty to choose from both categories on this session. The players on this album were in the vanguard of that metamorphosis. This LP richly deserved to be reissued on CD.~ Dave Nathan http://www.allmusic.com/album/jay-and-kai-6-the-jay-and-kai-trombone-octet-mw0000965548

Personnel: J.J. Johnson - Trombone, Trombonium; Kai Winding - Trombone, Trombonium; Urbie Green – Trombone; Bob Alexander – Trombone; Eddie Bert – Trombone; Jimmy Cleveland - Trombone; Tom Mitchell - Bass Trombone; Bart Varsalona - Bass Trombone; Hank Jones – Piano; Milt Hinton – Bass; Ray Brown – Bass; Osie Johnson – Drums; Candido Camero - Conga, Bongo

Jay & Kay + 6

Monday, March 30, 2015

Dakota Staton - Congratulations To Someone

Bitrate: MP3@320K/s
Time: 48:33
Size: 111.2 MB
Styles: Vocal jazz
Year: 2005
Art: Front

[4:01] 1. Country Man
[6:24] 2. I Love You More Than You'll Ever Know
[3:26] 3. Girl Talk
[4:05] 4. Cry Me A River
[4:25] 5. Heartbreak
[4:59] 6. It's The Talk Of The Town
[4:26] 7. Make It Easy On Yourself
[4:15] 8. How Did He Look
[4:47] 9. Congratulations To Someone
[4:06] 10. Blues For Tasty
[3:36] 11. A Losing Battle

Dakota Staton (vocals); Cornell Dupree, Lloyd Davis (guitar); Eddie Daniels, Frank Wess (tenor saxophone); Pepper Adams (baritone saxophone); Joe Newman , Lew Soloff, Marvin Stamm, Burt Collins, Cecil Bridgewater (trumpet); Eddie Bert, Garnett Brown, Bill Watrous (trombone); Horace Ott (electric piano); Richard "Groove" Holmes (organ); Bernard "Pretty" Purdie (drums); Kwasi Jayourba (congas, bongos).

Dakota Staton was born in Pittsburgh, Pennsylvania on June 3, 1931. Although hers was not a musical family, Dakota claims to have known from early on that performing was her destiny. “When I was four years old, I started singing and dancing like Shirley Temple,” she recalled in an interview. Staton further developed these budding abilities at Pittsburgh’s Filion School of Music. “When I was sixteen, I was in a stage show called Fantastic Rhythm. From that show, I was chosen to be a vocalist with the top band in the Pittsburgh area, Joe Wespray and his orchestra. "I sang with him for two years. Then I went to Detroit, Michigan, and worked in all the show bars there…” While in Detroit, Staton made a particularly strong impression at The Flame Show Bar. From there, she followed a nightclub circuit that led as far afield as Toronto and Montreal in Canada before returning stateside and passing through Indianapolis; Minneapolis; Cleveland and St. Louis before eventually winding it’s way to New York. It was while singing in a Harlem nightclub called the Baby Grand that Staton was discovered by Capitol producer Dave Cavanaugh and signed to the label.

Congratulations To Someone

Thursday, March 19, 2015

Hal McKusick, Eddie Bert, Ronnie Woellmer, Milt Hinton, Frank Rosolino, Conte Candoli, Charlie Mariano, Jimmy Giuffre, Bill Holman, Stay Levey, John Murtaugh & Marly Flax - The Compositions Of Bobby Scott

Bitrate: MP3@320K/s
Time: 75:48
Size: 173.6 MB
Styles: Piano jazz
Year: 2011
Art: Front

[4:12] 1. Betty
[3:45] 2. Moon Tan
[4:05] 3. Aunt Sarah
[4:04] 4. Cerebellum
[3:33] 5. Dot
[3:59] 6. The Creed
[2:55] 7. The Tablecloth Stomp
[2:55] 8. A Parable
[2:52] 9. Kwan Youen
[2:31] 10. The Wig
[2:37] 11. Count Bill
[2:14] 12. Wigwam
[3:35] 13. Sally's Pound Cake
[4:20] 14. Every Woman
[5:11] 15. Woodville
[4:16] 16. Myrt
[4:10] 17. Box Car Blues
[5:01] 18. The Good Ship Linda
[3:00] 19. The Old Man
[6:24] 20. Theme Iii

After an impressive debut as a pianist in 1953, Bobby Scott was 17 when, a year later, he conducted the first of a series of three genuinely creative albums dedicated to his own works, all now compiled on this CD. A man of many moods, bursting with creativity, his compositions are full of a fine feel for harmonic textures and melodically interesting lines.

But also among the outstanding aspects of these sessions are the soloists given ample scope by the writing; Hal McKusick, Eddie Bert, Conte Candoli, Frank Rosolino, Charlie Mariano, Bill Holman, Jimmy Giuffre, Marty Flax and the little known Ronnie Woellmer and John Murtaugh are prime examples of the best of the East and West Coast jazzmen of the era. With Scott also shining as pianist on the second and third dates, this collection is a unique portrait of his precocious talent.

Personnel on #1-5: Bobby Scott, conductor; Ronnie Woellmer, trumpet; Eddie Bert, trombone; Hal McKusick, alto sax; Al Epstein, baritone sax; Milt Hinton, bass; Osie Johnson, drums. Recorded in New York City, November 1954

Personnel on #6-12: Bobby Scott, piano & conductor; Conte Candoli, trumpet; Frank Rosolino, trombone; Charlie Mariano, alto sax; Bill Holman, tenor sax; Jimmy Giuffre, baritone sax; Max Bennett, bass; Stan Levey, drums. Recorded in Hollywood, January 1955

Personnel on #13-20: Bobby Scott, piano; John Murtaugh, tenor sax; Marty Flax, baritone sax; Whitey Mitchell, bass; Howie Mann, drums. Recorded in New York City, October 1956

The Compositions Of Bobby Scott

Sunday, March 8, 2015

Eddie Bert Quartet & Quintet - Crosstown (2-Disc Set)

When trombonist Eddie Bert made these recordings he was at a point in his career where his playing was illustrative of all the eloquence that is representative of that many-dimensioned individual. Eddie had emerged as a major voice on his horn in 1954, when the Metronome Yearbook awarded him as one of the four “Musicians of the Year.” Eddie was one of those musicians on the Jazz scene who had been able to participate in some of the most advanced musical experiments and yet retain a healthy, creative and swinging style of playing.

The primary reason: his roots run deep into the varied streams of Jazz. As a composer, his tunes are an evidence of Eddie’s unpretentiously imaginative, well constructed, and melodically attractive writing.

Eddie Bert (tb), JR. Monterose (ts), Joe Puma (g), Hank Jones (p), Wendell Marshall or Clyde Lombardi (b) and Kenny Clarke (d).

Recorded at Rudy Van Gelder Studio in Hackensack, N.J., 1955.

Album: Eddie Bert Quartet - Crosstown (Disc 1)

Bitrate: MP3@320K/s

Time: 50:22

Size: 115.3 MB

Styles: Trombone jazz

Year: 2011

[5:29] 1. Fragile

[3:20] 2. Stompin' At The Savoy

[4:32] 3. I Should 'a' Said

[5:00] 4. See You Later

[7:35] 5. Three Bass Hit

[5:45] 6. What D'ya Say

[3:35] 7. Billie's Bounce

[3:04] 8. Bert Tram

[5:23] 9. One For Tubby

[3:12] 10. Opicana

[3:23] 11. It's Only Sunshine

Album: Eddie Bert Quintet - Crosstown (Disc 2)

Bitrate: MP3@320K/s

Time: 47:54

Size: 109.7 MB

Styles: Trombone jazz

Year: 2011

Art: Front

[7:09] 1. Crosstown

[6:32] 2. Wishbone

[6:53] 3. Bronx Line

[6:40] 4. Conversation

[5:37] 5. Manhattan Suite

[5:24] 6. Steady Eddie

[9:36] 7. Slow Crosstown

Crosstown (Disc 1),(Disc 2)

Tuesday, June 17, 2014

Al Cohn - Al Cohn & His Charlie's Tavern Ensemble

Styles: Saxophone Jazz
Year: 1954
File: MP3@320K/s
Time: 60:51
Size: 153,6 MB
Art: Front

(6:48) 1. Inside Out
(6:09) 2. Autumn Leaves
(6:58) 3. Serenade For Kathy
(7:16) 4. Move
(5:29) 5. Never Never Land
(6:26) 6. Something For Lisa
(3:08) 7. Count Every Star
(2:47) 8. La Ronde
(4:07) 9. Breakfast With Joe
(3:15) 10. This Reminds Me Of You
(3:05) 11. Cabin In The Sky
(2:22) 12. Lullaby Of Birdland
(2:54) 13. Cohn My Way

Al Cohn was something special, a gem among musicians. Writer, arranger, performer, leader he was one of those rare creative artists gifted with unlimited imagination and technical resources, with magnificent taste and an unerring insight into the expressiveness of East Coast jazz. In the 50s, the personnel he assembled for the four sessions that make up this CD often relaxed in Charlie’s Tavern, a congenial watering hole on Broadway across from Birdland, “the jazz corner of the world”. Despite slight personnel changes, each group was power-packed and, unlike many such outfits, married outstanding individuality to collective cohesiveness. With them, Cohn emphatically demonstrated the allembracing brilliance of the many-faceted talents that earned him the title “Mr. Music”.

http://www.freshsoundrecords.com/and_his_charlies_tavern_ensemble-cd-4924.html

Featuring: Al Cohn (ts), Joe Newman (tp), Billy Byers, Eddie Bert (tb), Hal McKusick, Gene Quill (as), Sol Schlinger (bars), Sanford Gold (p), Billy Bauer, Jimmy Raney (g), Milt Hinton (b), Osie Johnson (d). Al Cohn, Johnny Carisi, Ralph Burns (arrangers)

Al Cohn & His Charlie's Tavern Ensemble