Dizzy Gillespie - Dizzy In Greece

Styles: Trumpet Jazz
Year: 1957
File: MP3@320K/s
Time: 41:54
Size: 97,1 MB
Art: Front

(5:40) 1. Hey Pete
(3:47) 2. Yesterdays
(4:18) 3. Tin Tin Deo
(3:22) 4. Groovin' for Nat
(4:06) 5. Annie's Dance
(4:56) 6. Cool Breeze
(4:22) 7. School Days
(3:14) 8. That's All
(4:14) 9. Stable Mates
(3:52) 10. Groovin' High

Dizzy's in Greece, looking very cool in a fez on the cover and really wailing hard with a larger group that includes Billy Mitchell, Charlie Persip, Lee Morgan, Wynton Kelly, and Phil Woods! The mode here is still quite boppish, despite the larger size of the ensemble but Dizzy also manages to bring in some of those wonderfully rich colors that were coming into his later work a tonal depth that's completely amazing, and which pushed Gillespie way past his simple roots of the 40s, into a space that made him one of the most expressive jazz leaders of the 50s. The horn charts alone are totally great and Dizzy's got a wonderful talent for letting the key soloists step out with a really strong voice in the set and although short, the tunes have an incredible reach overall. Titles include "Tin Tin Deo", "Yesterdays", "Groovin' High", "Hey Pete", "Arnnie's Dance", and "Groovin' for Nat". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/1776/Dizzy-Gillespie:Dizzy-In-Greece

Personnel: Dizzy Gillespie, trumpet and leader; Joe Gordon, trumpet; Quincy Jones, trumpet; E.V. Perry, trumpet; Carl Warwick, trumpet; Melba Liston, trombone; Frank Rehak, trombone; Rod Levitt, bass trombone; Jimmy Powell, alto saxophone; Phil Woods, alto saxophone; Billy Mitchell, tenor saxophone; Ernie Wilkins, tenor saxophone; Marty Flax, baritone saxophone; Walter Davis, Jr., piano; Nelson Boyd, bass; Charli Persip, drums

Dizzy In Greece

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Ernie Wilkins - The Everest Years

Styles: Jazz, Swing
Year: 2006
File: MP3@320K/s
Time: 67:45
Size: 157,7 MB
Art: Front

(2:35)  1. Broadway
(2:49)  2. Surrey With The Fringe On Top
(3:13)  3. Falling In Love With Love
(2:26)  4. The Continental
(2:35)  5. Makin' Whoopee!
(3:09)  6. Stompin' At The Savoy
(3:14)  7. You're Driving Me Crazy
(2:17)  8. Baubles, Bangles And Beads
(2:34)  9. Somebody Loves Me
(2:25) 10. All Of You
(2:38) 11. Gone With The Wind
(1:55) 12. It Don't Mean A Thing
(3:33) 13. Ernie's Blues
(3:28) 14. Satin Doll
(1:56) 15. Fascinating Rhythm
(2:28) 16. Canadian Sunset
(2:29) 17. Very Much In Love
(2:45) 18. Undecided
(3:30) 19. Fresh Flute
(3:07) 20. I'll Get By
(3:50) 21. A Swinging Serenade
(3:31) 22. Lover Man
(1:58) 23. Everything's Coming Up Roses
(3:10) 24. Speak Low

Arranger Ernie Wilkins' two Everest LPs, Here Comes the Swingin' Mr. Wilkins and The Big New Band of the '60s, are reissued in full on this single CD. Recording during 1959-1960, Wilkins used an overlapping personnel of Count Basie members (both past and of the time), some of the top jazz-oriented studio players, and various miscellaneous jazz musicians. There is no way that this could have been a full-time big band, not with such soloists as Duke Ellington's tenor saxophonist Paul Gonsalves, trumpeters Clark Terry and Thad Jones, and the Basie players, but Wilkins' swinging arrangements gave his short-lived orchestra its own sound. The weak point to the program is that all of the selections clock in around three minutes apiece, which was unnecessary by the late '50s, resulting in all of the solos being very brief. However, the music is easily enjoyable, making this set recommended to fans of swinging big bands. 

~ Scott Yanow https://www.allmusic.com/album/the-everest-years-mw0000704087

The Everest Years: Ernie Wilkins

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Joe Newman - Soft Swingin' Jazz

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 74:25
Size: 173,8 MB
Art: Front

(3:18)  1. Makin' Whoppee
(2:38)  2. Three Little Words
(4:29)  3. Scotty
(2:37)  4. There's A Small Hotel
(3:19)  5. I Let A Song Go Out Of My Heart
(3:39)  6. Moonglow
(3:01)  7. Organ Grinder's Swing
(3:35)  8. Rosetta
(3:07)  9. Too Marvellous For Words
(2:59) 10. The Farmer's Daughter
(3:56) 11. Save Your Love For Me
(3:08) 12. The Happy Cats
(2:53) 13. Cocktails For Two
(3:40) 14. Later For The Happenings
(4:04) 15. Buttercup
(4:26) 16. Robbin's Nest
(2:18) 17. They Can't Take That Away From Me
(3:47) 18. Feather's Nest
(3:01) 19. Mean To Me
(3:34) 20. Between The Devil And The Deep Blue Sea
(3:19) 21. Joe's Tune
(3:31) 22. I Never Knew

The title says it all. Soft Swinging Jazz pairs Joe Newman with organist Shirley Scott, bassist Eddie Jones, and Charlie Persip for a mellow, lovely session unique within the trumpeter's catalog. For starters, Newman assumes vocal duties on a handful of cuts, proving himself a fine crooner. Moreover, the spacious, nuanced arrangements afford him the room to summon some of his most intimate but impassioned solos. Not to mention that Scott's an uncommonly sympathetic collaborator, shaping and underlining the melodies to create rolling, contoured grooves with the texture of velvet. The album was reissued in 2007 on the Lonehill label alongside the subsequent The Happy Cats. 

~ Jason Ankeny https://www.allmusic.com/album/soft-swinging-jazz-mw0000350883

Personnel:  Joe Newman - trumpet, vocals; Shirley Scott - organ; Eddie Jones - bass; Charlie Persip - drums; Ernie Wilkins - piano

Soft Swingin' Jazz

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Ernie Wilkins - Top Brass and Trumpets All Out

Styles: Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 71:36
Size: 165,2 MB
Art: Front

(4:25)  1. 58 Market St.
(5:21)  2. Trick or Treat
(4:42)  3. Speeway
(5:39)  4. Dot's What
(3:21)  5. Top Brass
(2:17)  6. Willow Weep for Me
(2:42)  7. Imagination
(1:51)  8. It Might as Well Be Spring
(2:37)  9. The Nearness of You
(4:48) 10. Taking a Chance on Love
(8:28) 11. Five Cats Swingin'
(5:06) 12. Blues in 6/4
(3:19) 13. Trumpets All Out
(5:27) 14. She's Just My Size
(1:51) 15. Love Is Here To Stay
(1:49) 16. Time On My Hands
(1:51) 17. When Your Lover Has Gone
(2:00) 18. All Of Me
(3:53) 19. Low Life

Hard-swingin tracks from Ernie Wilkins one of the most soulful arrangers of his time, working here in a wonderful all-star session from the 50s! The album's definitely got the "top brass" promised in the title a lineup that features Donald Byrd, Ray Copeland, Idrees Sulieman, and Joe Wilder on trumpets all working at a level that allows plenty of space for well-blown solos, but tied up in tighter ensemble formation overall  all with that Wilkins sense of swing that really set Ernie apart at the time. Rhythm is from a trip that includes Hank Jones on piano, Wendell Marshall on bass, and Kelly Clarke on drums and titles include "58 Market Street", "Trick Or Treat", "Speedway", "Dot's What", "Top Brass", "Imagination", and "Willow Weep For Me". Also features the album Trumpets All Out an all-trumpet affair, one that features 5 different players on the instrument Art Farmer, Emmet Berry, Charlie Shavers, Ernie Royal, and Harold Baker supported by spare rhythm from the trio of Don Abney on piano, Wendell Marshall on bass, and Bobby Donaldson on drums. 

There's a definite swing-based approach here different than usual for some of Farmer's outings of the time but the differences between the players are nicely pronounced, and the amazing thing about the album is how it manages to pack so much solo energy in such a relatively small space, in a way that still lets you hear the different voices clearly. Titles include "She's Just My Size", "Five Cats Swingin", "Blues In 6/4", "Trumpets All Out", and "Low Life".  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/540512

Personnel:  Art Farmer, Emmett Berry, Charlie Shavers, Ernie Royal, Shorty Baker, Donald Byrd, Ray Copeland, Idrees Sulieman, Joe Wilder (trumpete),  Hank Jones, Don Abney (piano),  Wendell Marshall (bass),  Kenny Clarke, Bobby Donaldson (drums)

Top Brass and Trumpets All Out

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Cat Anderson - Cat's In The Alley

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 62:23
Size: 144,4 MB
Art: Front

(7:40)  1. Little Man
(2:26)  2. Cat's In The Alley
(4:00)  3. Blue Jean Beguine
(2:48)  4. My Adorable "D"
(3:23)  5. June Bug
(2:37)  6. Don't Get Around Much Anymore
(3:24)  7. Birth Of The Blues
(3:12)  8. You're The Cream In My Coffee
(2:37)  9. Nina
(4:20) 10. Chelsea Bridge
(2:46) 11. The Mexican Bandit
(4:18) 12. Loveinnessence
(4:36) 13. A Flower Is A Lovesome Thing
(3:41) 14. Between Some Place, Goin' No Place
(3:04) 15. Ac-cent-tchu-ate The Positive
(3:45) 16. Summertime
(3:39) 17. Like Dig

As the lead soloist for the Duke Ellington Orchestra and recognized in smaller circles as one of the all-time great jazz trumpet improvisers, Cat Anderson did not have much time for fronting a band of his own. Up until his passing in 1981, Anderson still took many a backseat for listeners, critics, and the general public who knew virtually nothing about him. This single CD should change all of that, a reissue of his first two dates as a leader, with a 15-piece big band Cat on a Hot Tin Horn for Mercury records, and Ellingtonia, for octet, originally on the obscure Wynne label. Both have been out of print on vinyl for decades, making this release more than merely long awaited. Anderson, a proprietor of the upper octave high note solos that bent notes and challenged air traffic lanes, surprisingly takes a backseat for the greater good of the ensemble on most of this, and also finds him an adept composer of original swing to bop music. Of course the bands are fully loaded with great soloists, Ellingtonians or not, most notably fellow trumpeters Clark Terry and Ernie Royal, trombonist Jimmy Cleveland, tenor saxophonists Jimmy Forrest and Ernie Wilkins (also arranger,) and drummer Panama Francis. Of the nine big band charts from 1958, the opener and longest jam, "Little Man," gets the ball rolling with standout solos from the wailin' Forrest, baritone saxophonist Sahib Shihab, Cleveland, and a free-for-all from the trumpet section. 

The rest of the tunes are short, ranging from Anderson's supremely confident low octave, vocal-like lead on "Birth of the Blues," the dramatic, Latin "Besame Mucho" flavored, light lavender colored "Blue Jean Beguine," and the jumpier "Mexican Bandit." Earle Warren's bravissimo vibrato on alto sax is featured during "My Adorable D," while the rocking drums of Francis set off the sparks of a "Blues for Sale" spin-off "Cat's in the Alley," and the skittering and even slightly irritating but big themed "June Bug." The large group pieces from 1959, with legendary Elllington trombonist Quentin "Butter" Jackson and different (than Francis for sure) drummer Sam Woodyard, sports an entirely different lineup, with two features, the sensual "Lovelinnessence" and the classic ballad "A Flower Is a Lovesome Thing," for the immortal violinist Ray Nance. Budd Johnson and Rudy Powell split sax and clarinet chores. Johnson is backing Nance, and Powell adds to the advanced modern swinger "Between Some Place, Goin' No Place" the bouncy, fun "Ac-Cent-Tchu-Ate the Positive," and the bright, happy "Like Dig." Throughout the disc you hear many typical Ellington phrases, as if the master is looking over Anderson's shoulder, but they are snippets and not clichés. Besides "Flower," the big band with Anderson upfront does a muted trumpet wah wah plunger-accented "Don't Get Around Much Anymore," while the octet performs a perfect "Chelsea Bridge" and a lush, Ellington-like, hot, slow, and sultry "Summertime," but those are the few and far between covers. This one should, by definition, be impossible to nit-pick, for the recording sound is excellent, the players beyond reproach, and the variety of (then) modern jazz fits the progressive aesthetic of Ellington and the then expanding Anderson to a T. This comes highly recommended; it's nearly essential, and is one of the best mainstream jazz reissues in recent years. ~ Michael G.Nastos https://www.allmusic.com/album/cats-in-the-alley-mw0001161028

Personnel:  Cat Anderson, Ernie Royal, Clark Terry (tp), Jimmy Cleveland, Henderson Chambers (tb), Earl Warren, Jimmy Forrest, Ernie Wilkins, Budd Johnson (reeds), Ray Nance (vln), Jimmy Jones (p), George Duvivier, Jimmy Woode (b), Panama Francis, Sam Woodyard (d)

Cat's In The Alley

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Kenny Drew - Moonlit Desert

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 38:27
Size: 88,1 MB
Art: Front

(5:46)  1.Moonlit Desert
(4:35)  2 Solveig's Song
(4:15)  3 Kay-Dee
(4:41)  4 Stardust
(4:03)  5 Roselil
(4:24)  6 Prelude To A Kiss
(6:11)  7 Blues Wail
(4:29)  8 Star Crossed Lovers

Kenny Drew is joined by bassist Niels Pedersen and drummer Ed Thigpen, along with members of the Royal Danish Chamber Orchestra on this 1982 recording made originally for the Japanese label Baystate. Drew's playing is surprising laid-back and someone introspective for the most part. His arrangement of classical composer Edvard Grieg's "Solveig's Song" is masterful, with the addition of strings and a solo flute. Ernie Wilkins, who wrote the arrangements for the remaining tracks, also composed the boisterous "Kay-Dee," which adds a brass section to augment the trio. Alto flute plays a prominent role in the scoring of the standard "Stardust," showcasing Drew's ability to interpret ballads. Pedersen's prominent bass is a key component of the string-laden scoring of "Prelude to a Kiss," while another piece from the Duke Ellington songbook, "The Star-Crossed Lovers," is at first nearly overcome by overly sweet strings, but Pedersen's marvelous solo helps overcome this liability. While this CD may not appeal to fans of Drew's typical trio recordings in a hard bop setting, those with open minds will enjoy it.~ Ken Dryden https://www.allmusic.com/album/moonlit-desert-mw0000346012 

Personnel:  Kenny Drew  piano;  Niels-Henning Ørsted Pedersen  bass;  Ed Thigpen  drums;  Ernie Wilkins  conductor, arranger

Moonlit Desert

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Philip Catherine, Neils-Henning Orsted-Pedersen - Spanish Nights

Styles: Guitar Jazz
Year: 1989
File: MP3@320K/s
Time: 55:47
Size: 128,0 MB
Art: Front

(3:49)  1. Spanish Nights
(5:10)  2. Aranjuez
(6:27)  3. Django
(5:37)  4. My Favorite Things
(6:58)  5. Leaving
(4:59)  6. Esmeralda
(4:12)  7. Armando's Rhumba
(5:55)  8. Black Orpheus
(3:31)  9. Little Anna
(4:11) 10. Que Pasa
(4:52) 11. Rene Thomas

An immensely gifted Belgian guitarist, Philip Catherine is a highly regarded performer known for his harmonically nuanced, deeply lyrical playing and crisply rounded fretboard touch. Born in London in 1942 to an English mother and Belgian father, Catherine moved to Brussels with his family at a young age. As a teenager, he became interested in the guitar, influenced at the time by French singer/songwriter and poet George Brassens. By age 14 he was taking lessons, and learning the basic elements of jazz improvisation when he discovered Django Reinhardt. He quickly absorbed the jazz legend's distinctive style, and eventually picked up other influences, including Belgian guitarist René Thomas. He also immersed himself in albums by such luminaries as Art Blakey, Clifford Brown, Max Roach, and others. Catherine began playing gigs while in his teens, working in a trio with American Hammond B-3 specialist Lou Bennett and drummer Oliver Jackson. There were also stints with Belgian saxophonist Jack Sels and Philadelphia-born/Brussels-based drummer Edgar Bateman. In 1970, violinist Jean-Luc Ponty asked him to join his band and, inspired by contemporaries like John McLaughlin and Larry Coryell, Catherine stayed with Ponty for a year, dedicating himself to the progressive fusion sound. Also during this period, he attended formal music classes at Berklee College of Music in Boston. After returning to Belgium, Catherine found himself in high demand and developed a bevy of connections, including playing with Klaus Weiss, Les McCann, Karin Krog, Dexter Gordon, and others. As a solo artist, he made his debut with 1971's Stream, a funky, inventive mix of acoustic and electric jazz. He followed up in 1975 with Guitars and September Man, both also highly inventive, fusion-influenced albums. Sessions with Herb Geller, Niels-Henning Ørsted Pedersen, and Charles Mingus followed, as did a duo tour with guitarist Coryell. 

Also during the '70s, he paired with close associate saxophonist Charlie Mariano for a handful of sessions, and rounded out the decade with his own Nairam, which also featured Mariano, along with trumpeter Palle Mikkelborg and others.  During the '80s, Catherine's profile continued to rise as he released several more well-regarded efforts, including Babel, End of August, and Trio with guitarist Christian Escoude and violinist Didier Lockwood. There also were dates with Aldo Romano, Stéphane Grappelli, and Kenny Drew. Also in the '80s, he gained attention for his work with legendary West Coast trumpeter/vocalist Chet Baker, touring and appearing on such albums as 1983's Mr. B and 1985's Strollin'. Although his 1986 album, Transparence, layered keyboards into his atmospheric sound, his work with Baker pointed toward a more acoustic-leaning aesthetic. It was a sound he further embraced on 1990's I Remember You. Dedicated to Baker (who died in 1989), the album also featured trumpeter/flügelhornist Tom Harrell. Throughout the '90s, Catherine released a steady stream of albums for smaller jazz labels like Enja, Criss Cross, and Dreyfus, including albums like Moods, Vol. 1, Spanish Nights, and 1999's Guitar Groove. In 2001, he returned with Blue Prince, which found him balancing his love of acoustic jazz and electric fusion. Joining him were trumpeter Bert Joris, bassist Hein van de Geyn, and drummer Hans Van Oosterhout. Joris was also on board for 2002's Summer Night. The orchestral album Meeting Colours followed three years later. The more intimate Guitars Two appeared in 2008. He then joined bassist van de Geyn, pianist Enrico Pieranunzi, and drummer Joe La Barbera for the 2010 live album Concert in Capbreton. A year later, he delivered the trio date Plays Cole Porter, followed by 2013's warmly sophisticated Côté Jardin. The duo album New Folks with bassist Martin Wind followed a year later. He then joined the Orchestre Royal de Chambre de Wallonie for 2015's The String Project: Live in Brussels. ~ Matt Collar https://www.allmusic.com/artist/philip-catherine-mn0000287463/biography             

Philip Catherine (guitar);  Niels-Henning Ørsted Pedersen (bass);  The Royal Copenhagen Chamber Orchestra (orchestra);  Ernie Wilkins (arranger);  Kenny Drew (arranger); Ole Kock Hansen (arranger).

Spanish Nights

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Dinah Washington - I Wanna Be Loved

Bitrate: MP3@320K/s
Time: 32:12
Size: 73.7 MB
Styles: Jazz vocals
Year: 1962/2005
Art: Front

[2:42] 1. I Wanna Be Loved
[2:29] 2. Don't Explain
[2:28] 3. Everybody's Somebody's Fool
[3:01] 4. Invitation
[3:28] 5. You're Crying
[2:06] 6. Let's Fall In Love
[2:09] 7. When Your Lover Has Gone
[2:15] 8. A Stranger In Town
[2:44] 9. God Bless The Child
[3:19] 10. Blue Gardenia
[3:22] 11. I Can't Face The Music (Without Singing The Blues)
[2:04] 12. Sometimes I'm Happy

Hal Mooney (arranger) Joe Newman, Clark Terry (trumpet) Ernie Wilkins (trumpet, arranger) Jimmy Cleveland, Kai Winding (trombone) Billy Byers (trombone, arranger) Al Cohn (tenor saxophone, arranger) Patti Bown (piano) George Barnes (guitar) Art Davis (bass) Stu Martin (drums) Dinah Washington (vocals) The Dells (doo wop group) and others unidentified in orchestra, Quincy Jones (conductor). Recorded: in NYC, August 15th 1961 and NYC, September 13th 1961 and Chicago, IL, December 4th 1961.

A torch song date recorded between Dinah Washington's commercial breakthrough in 1959 and her death in 1963, I Wanna Be Loved flaunts a large cast of talented collaborators -- plus, to be sure, Washington's regal readings of 12 great songs -- but, unfortunately, the musical side is overwhelmed by the heavy strings in attendance. Working with Quincy Jones, Washington found her studio cast to include Joe Newman and Clark Terry on trumpet, Jimmy Cleveland and Kai Winding on trombone, and Al Cohn on tenor. However, the arrangements (from Ernie Wilkins and Quincy Jones) rarely leave room for the musicians -- and, in fact, rarely feature them at all -- preferring instead to concentrate on strings and the occasional wordless vocal chorus. As usually happened in these circumstances, Washington appears unfazed by the treacle surrounding her; although she doesn't improvise, her performances of "Blue Gardenia," "Don't Explain," and the title track (originally an R&B hit for her 12 years earlier) are elegant and bewitching. The larger big band makes its presence felt on the two side-closers, both of them ("Let's Fall in Love," "Sometimes I'm Happy") more uptempo material. Although Washington's latter-day Mercury material is often derided, she always succeeded despite her surroundings, and this date is no different. ~John Bush

I Wanna Be Loved

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Ernie Wilkins & His Orchestra - Hard Mother Blues

Bitrate: MP3@320K/s
Time: 34:20
Size: 78.6 MB
Styles: Jazz/Funk/Soul
Year: 1970/2007
Art: Front

[3:19] 1. Evil Ways
[2:33] 2. Midnight Hour
[3:04] 3. Dock Of The Bay
[2:55] 4. Funky Broadway
[4:14] 5. I Can T Make It
[3:58] 6. Big Foot Country
[2:38] 7. Next Year S Blues
[2:12] 8. Respect
[3:20] 9. Thank You
[3:25] 10. No Money Blues
[2:37] 11. Spoonful

Bass – Chuck Rainey; Drums – Grady Tate; Guitar – Arthur Bitker, Billy Butler, Dave Spinosa, Lionel Chamberland; Piano – Frank Owens; Saxophone – Billy Mitchell, Chris Woods, Hubert Laws, Joseph Temperley; Trombone – Benny Powell, David Bargeron, J. Billy Ver Planck, Jack Jeffers, John Gordon; Trumpet – Snookie Young, Joe Newman, Lloyd Michaels, Ray Copeland.

A fine, slippery bop tenor sax player, and a creator of sharp-edged arrangements for bop and swing big bands who helped define the Count Basie Mk. II style of the 1950s, Ernie Wilkins had been a regular fixture on the American jazz scene until 1979, when he pulled up stakes and moved to Europe. He first learned piano and violin, then studied music at Wilberforce University before going into the Navy during the war. He caught on with the Earl Hines band in 1948 and worked around the St. Louis area before joining the Basie band in 1952. He remained in the Basie fold until 1955, but continued to freelance arrangements to the Count, as well as arrange for and perform with the Dizzy Gillespie band that toured the Middle East and South America in 1956. Also in 1956, he wrote three of the six movements of the exciting Wilkins/Manny Albam The Drum Suite (RCA Victor) -- reputedly the first time anyone had tried to integrate four drummers into one band -- and led big band albums under his own name for Savoy and Everest in the 1950s. He was the staff composer for the Harry James orchestra from 1958 to 1960 and served as musical director for albums by Nat Adderley, Sarah Vaughan, Buddy Rich, Oscar Peterson, and Dinah Washington, among others. In 1968, he joined Clark Terry's Big B-A-D Band, serving as a composer and music director, after which he assembled his own band and became head of A&R for the Mainstream label (1971-1973). He would continue to provide Basie with arrangements and toured Europe with Terry in the late '70s, ultimately settling in Copenhagen in 1979, where he formed the Almost Big Band. Most of the recorded examples of Wilkins' work on sax are as a sideman with Basie and Terry. ~bio by Richard S. Ginnell

Hard Mother Blues

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Ernie Wilkins & His Orchestra - Here Comes The Swingin' Mr. Wilkins

Bitrate: MP3@320K/s
Time: 31:29
Size: 72.1 MB
Styles: Swing
Year: 1960/2009
Art: Front

[2:32] 1. Broadway
[2:46] 2. Surrey With The Fringe On Top
[3:10] 3. Falling In Love With Love
[2:22] 4. The Continental
[2:31] 5. Makin' Whoopee
[3:05] 6. Stompin' At The Savoy
[3:19] 7. You're Driving Me Crazy
[2:15] 8. Baubles, Bangles And Beads
[2:32] 9. Somebody Loves Me
[2:22] 10. All Of You
[2:37] 11. Gone With The Wind
[1:53] 12. It Don't Mean A Thing

Thad Jones (tp), Joe Newman (tp), Ernie Royal (tp), Snooky Young (tp), Paul Felice (tb), Al Grey (tb), Mickey Graume (tb), Jack Rains (tb), Marshall Royal (cl, as), Frank Wess (fl, as, ts), Benny Golson (ts), Zoot Sims (ts), Charlie Fowlkes (bs).

One of the most consistently rewarding arranger-writers in jazz history, it was with the great Count Basie band of the 50's that Ernie Wilkins first established his reputation as a skillful, unpretentious arranger with a particularly strong feeling for the blues. His masterful arrangements for Sarah Vaughan, Carmen McRae, Dinah Washington and many others has resulted in some of the greatest classic jazz albums of all time. These special sessions recorded at the dawning of the sixties featured an all star line up, hand picked by Mr. Wilkins to showcase his superb arrangements.

Here Comes The Swingin' Mr. Wilkins

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