Shorty Rogers & The Giants - You Shorty, Me Tarzan!

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 55:42
Size: 129,4 MB
Art: Front

( 3:25)  1. The Elephant Wail
( 1:40)  2. Los Barbaros
( 3:05)  3. Paradise Found
( 1:55)  4. Trapped
( 2:14)  5. Los Primitivos
( 3:24)  6. Oomgawa
(17:33)  7. Tarzanic Suite
( 3:19)  8. Mountain Greenery
( 4:57)  9. Martian Lullaby
( 4:08) 10. Bluesies
( 2:16) 11. Big Band Blues
( 1:15) 12. I Want To Be Happy
( 6:26) 13. The Three Little Bops

2010 release, the fourth installment in the Giant Steps label's series of classic recordings by legendary modernists Shorty Rogers & the Giants. Assembled is the rare percussive soundtrack to Tarzan the Ape Man that featured the likes of Bud Shank, Bob Cooper, Frank Rosolino and other famed West Coasters. Said Shorty: "At first, I was slightly apprehensive when MGM approached me to write and record the soundtrack for a Tarzan movie, but I needn't have concerned myself. They just said, make it exciting with plenty of drumming, and left me alone to get on with it. So I approached it as if I was really making a new Giants album, which is what it really was. I don't want to sound discourteous, but the album we made was much better that the actual movie". Also included is an equally rare 'live' appearance by the Big Band version of the Giants from an appearance on the TV show the Stars of Jazz. Giant Steps. ~Editorial Reviews https://www.amazon.com/You-Shorty-Tarzan-Rogers-Giants/dp/B0032BVEIG

Personnel:  Trumpet, Conductor, Composed By – Shorty Rogers ;  Bass – Buddy Clark, Joe Mondragon ;  Drums – Carlos Rosario, Chach Gonzales, Chico Guerrero, Frank Capp, Modesto Duran ;  Piano – Pete Jolly ;  Saxophone – Bill Holman, Bill Hood, Bill Perkins, Bob Cooper, Bud Shank, Chuck Gentry;  Trombone – Bob Enevoldsen, Frank Rosolino, Harry Betts, Marshall Cram;  Trumpet – Al Porcino, Buddy Childers, Don Fagerquist, Ollie Mitchell

You Shorty, Me Tarzan!

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Conte Candoli & Lee Morgan - Double Or Nothin'

Styles: Post Bop, Cool Jazz
Year: 1957
File: MP3@320K/s
Time: 46:56
Size: 108,8 MB
Art: Front

(4:38) 1. Reggie Of Chester
(5:11) 2. Stablemates
(4:43) 3. Celedia
(5:44) 4. Moto
(4:43) 5. The Champ
(7:49) 6. Blues After Dark
(5:55) 7. Wildwood
(4:00) 8. Quicksilver
(4:09) 9. Bye Bye Blues

Rare recordings produced by Howard Rumsey with his incredible Howard Rumsey's Lighthouse All Stars and Charles Persip's Jazz Statesmen.

"There was only a short week in which to record, so we made a date for a double session at Liberty's fabulous new studios... Lee Morgan and Frank Rosolino flipped into some original dance steps at the sound of the playbacks. It was a happy date."
https://www.freshsoundrecords.com/conte-candoli-lee-morgan-albums/2427-double-or-nothin-.html

Personnel: Lee Morgan, Conte Candoli (tp), Frank Rosolino (tb), Benny Golson, Bob Cooper (ts), Wynton Kelly, Dick Shreve (p), Red Mitchell, Wilfred Middlebrooks (b), Charles Persip, Stan Levey (d)

Double Or Nothin'

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Shorty Rogers & Andre Previn - In Collaboration

Styles: Trumpet And Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 60:53
Size: 140,5 MB
Art: Front

(2:37)  1. Heat Wave
(3:35)  2. Everything I’ve Got
(3:00)  3. It Only Happens When I Dance With You
(2:24)  4. You Stepped Out Of A Dream
(3:00)  5. General Cluster
(2:41)  6. 40º Below
(3:23)  7. Claudia
(3:22)  8. Some Antics
(2:26)  9. It’s Delovely
(2:45) 10. Porterhouse
(3:06) 11. You Do Something To Me
(2:16) 12. Call For Cole
(3:00) 13. Lullaby Of Birdland
(2:50) 14. You’re Driving Me Crazy
(3:25) 15. Tomorrow Mountain
(2:47) 16. Treat Me Rough
(2:33) 17. Mountain Greenery
(2:47) 18. You Took Advantage Of Me
(2:30) 19. Sidewalks Of Cuba
(3:23) 20. My Man’s Gone Now
(2:53) 21. Island In The West Indies

This is a really unusual and outstanding album. It presents two of the most celebrated and creative personalities of the Hollywood jazz and studio fields in collaboration. In the early Fifties, trumpeter, bandleader, composer and arranger Shorty Rogers was the head of the flourishing West Coast school of jazz, and André Previn was one of the most gifted pianists, conductors and composers of the scene; he wielded an awesome command of almost every kind of music. In addition to writing the challenging instrumental sides, they also wrote together the scores for André’s wife Betty Bennett, a respected well-known jazz & pop singer who never had had a chance to show how she really sanguntil Shorty’s Giants backed her, that is. 

Featuring: Shorty Rogers (tp), Milt Bernhart, Frank Rosolino (tb), Bud Shank (as, fl), Harry Klee (as), Bob Cooper (ts), Jimmy Giuffre (bars), André Previn (p), Al Hendrickson, Jack Marshall, Barney Kessel (g), Joe Mondragón, Curtis Counce, Ralph Peña (b).

In Collaboration

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Ralph Marterie - Music for a Private Eye

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 26:11
Size: 61,0 MB
Art: Front

(2:52)  1. M Squad
(3:03)  2. Perry Mason
(1:43)  3. Richard diamond
(2:36)  4. Alfred Hitchcock Presents
(1:52)  5. Thin Man
(2:44)  6. 77 Sunset Strip
(3:30)  7. Private Eyeball
(2:03)  8. The D.A.'s Man
(3:15)  9. Riff Blues
(2:30) 10. Peter Gunn

If you haven’t been collecting Fresh Sound Records’ series of soundtracks from B movies and TV shows from the 50s and 60s, you’re missing out on some of the hippest and swingingest sounds to ever filter through your malleus, incus and stapes.This single disc has Ralph Marterie and his All Star Men, which includes Buddy DeFranco/cl, Pete Candoli/tp, Bud Shank/as, Bob Cooper/ts, Jimmy Rowles/p, Al Viola/g, Frank Rosolino/tb and Gus BIvona/ts for starters, and the team is conducted by Pete Rugulo, with arrangements by Rugulo, Johnny Mandel, Bill Holman and other studio studs.The Music for A Private Eye includes music made for Bass Weejuns; themes from “ M Squad”, “Perry Mason”, “77 Sunset Street” and, of course “Peter Gunn” mix Basie-like velvety saxes and irresistibly swinging rhythm. There’s a second album, Big Band Man, and it’s from the same date with an almost exact same band. These guys hit like a heavyweight on pieces like “Diga Diga Doo” while getting as smooth as silk on “Where Are You” and “Don’t Blame Me.” This material sounds amazingly fresh and alive; all of the charts have more angles than an English garden and the solos are concise with lots to say. When did big band music start becoming sterile? It was some time after this one! https://www.jazzweekly.com/2016/12/trench-coat-not-includedralph-marterie-music-for-a-private-eye/

Personnel: Ray Linn-trumpet; Uan Rasey-trumpet;Don Fagerquist-trumpet;Joe Triscari-trumpet;  Frank Rosolino-trombone;  Bob Fitzpatrick- trombone; Tommy Pederson-trombone;George Roberts-bass trombone; Frank Rosolino-alto saxophone; Paul Horn-alto saxophone;  Bob Cooper-tenor saxophone; Gus Bivona-tenor saxophone;  Dale Issenhuth-baritone saxophone;  Jimmy Rowles-piano;  Al Viola-guitar;  Joe Mondragon-bass; Irv Kluger-drums.

Music for a Private Eye

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Zoot Sims Quartet - Tenorly

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 65:18
Size: 160,5 MB
Art: Front

(2:58)  1. Night And Day, Take 1
(2:58)  2. Night And Day, Take 2
(2:58)  3. Night And Day, Take 3
(3:20)  4. Slingin' Hasch, Take 1
(3:30)  5. Slingin' Hasch, Take 2
(2:48)  6. Tenorly, Take 1
(2:50)  7. Tenorly, Take 2
(2:47)  8. Tenorly, Take 3
(3:21)  9. Zoot And Zoot
(3:41) 10. I Understand, Take 1
(3:33) 11. I Understand, Take 2
(3:08) 12. Don't Worry About Me
(3:13) 13. Crystal
(5:52) 14. Toot's Suite
(4:27) 15. The Late Tiny Kahn
(3:18) 16. Call It Anything
(4:12) 17. Zoot's Suite
(3:32) 18. Once A While
(2:42) 19. Great Drums

Throughout his career, Zoot Sims was famous for epitomizing the swinging musician, never playing an inappropriate phrase. He always sounded inspired, and although his style did not change much after the early 1950s, Zoot's enthusiasm and creativity never wavered. Zoot's family was involved in vaudeville, and he played drums and clarinet as a youth. His older brother, Ray Sims, developed into a fine trombonist who sounded like Bill Harris. At age 13, Sims switched permanently to the tenor, and his initial inspiration was Lester Young, although he soon developed his own cool-toned sound. Sims was a professional by the age of 15, landing his first important job with Bobby Sherwood's Orchestra, and he joined Benny Goodman's big band for the first time in 1943; he would be one of BG's favorite tenormen for the next 30 years. He recorded with Joe Bushkin in 1944, and even at that early stage, his style was largely set. After a period in the Army, Sims was with Goodman from 1946-1947. He gained his initial fame as one of Woody Herman's "Four Brothers" during his time with the Second Herd (1947-1949). Zoot had brief stints with Buddy Rich's short-lived big band, Artie Shaw, Goodman (1950), Chubby Jackson, and Elliot Lawrence. He toured and recorded with Stan Kenton (1953) and Gerry Mulligan (1954-1956). Sims was also a star soloist with Mulligan's Concert Jazz Band of the early '60s and visited the Soviet Union with Benny Goodman in 1962. A freelancer throughout most of his career, Sims often led his own combos or co-led bands with his friend Al Cohn; the two tenors had very similar sounds and styles. Zoot started doubling on soprano quite effectively in the '70s. Through the years, he appeared in countless situations, and always seemed to come out ahead. Fortunately, Zoot Sims recorded frequently, leading sessions for Prestige, Metronome, Vogue, Dawn, Storyville, Argo, ABC-Paramount, Riverside, United Artists, Pacific Jazz, Bethlehem, Colpix, Impulse, Groove Merchant, Famous Door, Choice, Sonet, and a wonderful series for Pablo. ~ Scott Yanow https://www.allmusic.com/artist/zoot-sims-mn0000228087/biography

Personnel: Tenor Saxophone – Zoot Sims; Bass – Don Bagley (tracks: 14 to 19), Pierre Michelot (tracks: 1 to 13); Drums – Jean-Louis Viale (tracks: 14 to 19), Kenny Clarke (tracks: 1 to 13); Guitar – Jimmy Gourley (tracks: 14 to 19); Piano – Gerry Wiggins (tracks: 1 to 13), Henri Renaud (tracks: 14 to 19); Trombone – Frank Rosolino (tracks: 14 to 19)

Tenorly

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Buddy Collette - Jazz Loves Paris

Styles: Saxophone, Flute And Clarinet Jazz 
Year: 1958/2006
File: MP3@320K/s
Time: 42:26
Size: 98,0 MB
Art: Front

(2:22)  1. I Love Paris
(2:26)  2. Pigalle
(3:56)  3. La Vie en Rose
(2:52)  4. Darling, Je Vous Aime Beaucoup
(1:25)  5. Mam'selle
(3:12)  6. C'est Si Bon
(2:22)  7. Domino
(2:39)  8. Song from 'Moulin Rouge' (Where Is Your Heart)
(4:43)  9. The Last Time I Saw Paris
(2:33) 10. Under Paris Skies
(3:27) 11. Darling, Je Vous Aime Beaucoup (take 1 - alternate)
(1:30) 12. Mam'selle (take 2 - alternate)
(5:16) 13. The Last Time I Saw Paris (take 3 - alternate)
(3:38) 14. La Vie en Rose (take 1 - alternate)

Buddy Collette (switching between alto, tenor, flute and clarinet) performs ten songs associated with Paris on this 1958 session originally cut for Specialty. The CD reissue adds four alternate takes to what is still a brief program. Collette utilizes the tuba of Red Callender in some of the ensembles quite colorfully and there is solo space for trombonist Frank Rosolino, guitarist Howard Roberts and bassist Red Mitchell; Bill Douglass or Bill Richmond contribute tasteful support on drums. Such melodies as "I Love Paris," "La Vie En Rose," "C'est Si Bon" and the "Song from 'Moulin Rouge" are given concise but swinging treatment on this likable date. ~ Scott Yanow https://www.allmusic.com/album/jazz-loves-paris-mw0000269780

Personnel: Buddy Collette - alto saxophone, tenor saxophone, flute, clarinet; Frank Rosolino - trombone; Howard Roberts - guitar; Red Mitchell - bass; Red Callender - tuba, bass; Bill Douglas, Bill Richmond, - drums

Jazz Loves Paris

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Johnny Richards & His Orchestra - Softly... Wild... And Something Else!

Styles: Jazz, Big Band
Year: 2013
File: MP3@320K/s
Time: 79:57
Size: 185,6 MB
Art: Front

(6:04)  1. Waltz, Anyone?
(3:17)  2. For All We Know
(7:12)  3. Dimples
(5:06)  4. Band Aide
(6:27)  5. Turn Aboot
(4:12)  6. Burrito Borracho
(2:56)  7. Long Ago and Far Away
(5:46)  8. Aijalon
(2:42)  9. Walk Softly
(3:57) 10. Run Wild
(3:47) 11. The Way You Look Tonight
(4:01) 12. Laura
(4:53) 13. Tempest on the Charles
(3:06) 14. Sunday's Child
(2:17) 15. Alone Together
(4:06) 16. Three Cornered Cat
(3:42) 17. You Go to My Head
(6:18) 18. Yemaya

Johnny Richards was a man of convictions. Hearing the Richards aggregation, one can feel the leader's expansive expressiveness working. His main goal was the creation of interesting, stimulating music, not music of any particular kind. "We are an ORCHESTRA, not a band of sections; an organized orchestra of interested and interesting musicians who play a music of many dimensions and feelings." Richards once said: "Our music is ambitious. That explains why our instrumentation is not exactly standard. Although we are a jazz orchestra, this does not mean that other musical forms and rhythms cannot be incorporated into our music. After all, music is expressed in many languages. We should be aware and learn from that." https://www.freshsoundrecords.com/johnny-richards-albums/4073-softly-wild-and-something-else.html

Maynard Ferguson, Buddy Childers, Pete Candoli, Stu Williamson, Ray Copeland, Shorty Rogers (tp), Milt Bernhart, Frank Rosolino, Don Nelly, Jimmy Cleveland (tb), Julius Watkins, Vince De Rosa (Frh), Charlie Mariano, Gene Quill, Dave Schildkraut (as), Richie Kamuca, Frank Socolow (ts), Ronny Lang (bs), Marty Paich, John Knapp (p), Buddy Clark (b), Stan Levey, Ed Shaughnessy (d)

Softly... Wild... And Something Else!

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Benny Carter - Aspects

Styles: Saxophone Jazz
Year: 1958
File: MP3@320K/s
Time: 47:19
Size: 112,8 MB
Art: Front

(3:13)  1. June In January
(1:56)  2. February Fiesta
(3:18)  3. March Wind
(3:22)  4. I'll Remenber April
(2:51)  5. One Morning In May
(3:01)  6. June Is Busting Out All Over
(2:52)  7. Sleigh Ride In July
(3:42)  8. August Moon
(2:41)  9. September Song
(2:55) 10. Something For October
(3:03) 11. Swingin In November
(2:38) 12. Roses In December
(1:57) 13. February Fiesta (Mono Take)
(3:01) 14. June Is Busting Out All Over (Mono Take)
(3:36) 15. August Moon (Mono Take)
(3:05) 16. Swingin In November (Mono Take)

This CD reissues an enjoyable obscurity. Although originally associated with big bands, the set has what was Benny Carter's only big-band recording as a playing leader during 1947-86. While the song titles are a bit gimmicky, saluting the 12 months of the year (including "June in January," "I'll Remember April," "June Is Busting Out All Over," etc.), the music (which includes four alternate takes) is solid, mainstream big-band swing. The less familiar titles include four Carter originals written for the date, plus Hal Schaefer's "February Fiesta." 

The leader/altoist solos on every selection, and among the other top West Coast studio players featured are trumpeters Shorty Sherock, Pete Candoli and Joe Gordon, trombonists Frank Rosolino and Herbie Harper, vibraphonist Larry Bunker, pianists Arnold Ross and Gerry Wiggins, and guitarist Barney Kessel. Two overlapping big bands were utilized, and the music alternates between being forceful and lyrical. ~ Scott Yanow https://www.allmusic.com/album/aspects-mw0000613039

Personnel:  Alto Saxophone – Benny Carter;  Bass – Joe Comfort;  Drums – Shelly Manne;  Guitar – Barney Kessel, Bobby Gibbons Leader – Benny Carter;  Piano – Arnold Ross, Gerry Wiggins;  Saxophone – Buddy Collette, Chuck Gentry, Jewell Grant, Justin Gordon, Plas Johnson, Bill Green;  Trombone – Frank Rosolino, George Roberts, Herbie Harper, Russ Brown), Tommy Pederson;  Trumpet – Al Porcino, Conrad Gozzo, Joe Gordon, Pete Candoli, Ray Triscari, Shorty Sherock, Stu Williamson, Uan Rasey;  Vibraphone [Vibes] – Larry Bunker 

Aspects

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Quincy Jones - Mellow Madness

Bitrate: MP3@320K/s
Time: 44:11
Size: 101.2 MB
Styles: Jazz/Funk/Soul
Year: 1975
Art: Front

[3:52] 1. Is It Love That We're Missin'
[2:55] 2. Paranoid
[3:27] 3. Mellow Madness
[6:12] 4. Beautiful Black Girl
[4:16] 5. Listen (What It Is)
[3:28] 6. Just A Little Taste Of Me
[5:25] 7. My Cherie Amour
[3:02] 8. Tryin' To Find Out About You
[4:29] 9. Cry Baby
[7:00] 10. Bluesette

Backing Vocals – Carolyn Willis, Jesse Kirkland, Jim Gilstrap, Joe Greene, Leon Ware, Myrna Matthews, Paulette McWilliams, Quincy Jones, Tom Bahler; Bass – Louis Johnson; Congas, Percussion – Ralph MacDonald; Drums – Harvey Mason; Featuring [Introducing] – Brothers Johnson, Paulette McWilliams; Guitar – George Johnson, Wah Wah Watson, Toots Thielemans; Keyboards – Dave Grusin, Don Grusin, Jerry Peters, Quincy Jones; Saxophone – Ernie Krivda, Jerome Richardson, Sahib Shihab; Trombone – Frank Rosolino, George Bohanon; Trumpet – Bill Lamb, Chuck Findley, Quincy Jones, Tom Bahler. Recorded at The Record Plant, Los Angeles, Westlake Audio, Los Angeles.

Released not long after Quincy Jones was operated upon for life-threatening brain aneurysms, the music community was glad to have this album around (you can almost sense Q's own relief as he holds his forehead on the cover). Basically, though, it continues the polished, percolating soul direction that Q initiated with Body Heat, alienating purists but entertaining R&B audiences that rushed to buy it. The album is given its commercial edge by two new Jones discoveries, George Johnson (guitar, vocals) and Louis Johnson (bass), who would leap to fame the following year on their own as the Brothers Johnson. One attraction for jazz listeners is Toots Thielemans' "Bluesette," in which the Belgian virtuoso does a nice guitar/whistle cameo and Frank Rosolino blows some fine trombone, but the track is not helped by the overdubbed soul voices. ~Richard S. Ginnell

Mellow Madness mc
Mellow Madness zippy

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Benny Carter - Jazz Giant (Remastered)

Bitrate: MP3@320K/s
Time: 39:09
Size: 89.6 MB
Styles: Bop, Swing, Saxophone jazz
Year: 1957/1987
Art: Front

[7:50] 1. Old Fashioned Love
[5:48] 2. I'm Coming Virginia
[6:00] 3. A Walkin' Thing
[4:58] 4. Blue Lou
[3:40] 5. Ain't She Sweet
[6:13] 6. How Can You Lose
[4:38] 7. Blues My Naughty Sweetie Gives To Me

Alto Saxophone – Benny Carter (tracks: 1, 3 to 7); Bass – Leroy Vinnegar; Drums – Shelly Manne; Guitar – Barney Kessel; Piano – André Previn (tracks: 1, 4 to 7), Jimmy Rowles (tracks: 2, 3); Tenor Saxophone – Ben Webster (tracks: 1 to 4, 6); Trombone – Frank Rosolino (tracks: 1 to 4, 6); Trumpet – Benny Carter (tracks: 2, 6). Recorded at Contemporary's Studio in Los Angeles; June 11 (#1, 4), July 22 (#2, 3), October 7, 1957 (#6) and April 21, 1958 (#5, 7).

Benny Carter was one of the top-admired original major alto saxophonists and perhaps one of the top world class jazz ensemble leaders up until the late-1950’s, where he was undoubtfully, as the title of this album suggests, a “Jazz Giant”, but this time this landmark project sounds even better in it’s own digitally-remastered complete format. Released in 1958 to critical success, Jazz Giant presents an all star session where it gradually showcase a lyrical and original form of fresh music that is unpretentious: bright, relaxed and buoyant placed along with a full dash of of infectious swing as each musician on the album get a chance to show off there worthy solos while Carter played with characteristic lyricism, technical faculty and a bounty of sounds on alto and- and on two tracks- flawlessly on trumpet, his first love. The track set proceed with exclusive style on other memorable reinditions of classic standards including Old-Fashioned Love, Blue Lou, A Walkin’ Thing, How Could You Lose?, Ain’t She Sweet, for whom Carter and the all-stars performs quintessential style and exquisite integrity. The last two tracks even comes to life in a fortuitous manner where Carter had been set out on the session, but became ill towards the last minute, and with noted jazz guitarist Barney Kessel taking over the musicians had decided to use some of there congenial informal playing where included some of the finest work recorded in the saxophone section. Remastered in its proud complete edition, what made Jazz Giant a time-honoured success can be owed to the band members who gratefully participated where they consisted of Kessel on the guitar, tenor saxophonist Ben Webster, both Andre Previn or Jimmy Knowles at the piano, session trombonist Frank Roselino and Shelly Manne at the drums, who help made this one of Carter’s finest and most beloved masterpieces. ~RH

Jazz Giant (Remastered) mc
Jazz Giant (Remastered) zippy

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Georgie Auld - Swingin' In The Land Of Hi-Fi

Styles: Saxophone Jazz
Year: 1955
File: MP3@320K/s
Time: 68:18
Size: 158,6 MB
Art: Front

(4:17)  1. In The Land Of Hi-Fi
(2:27)  2. For You
(2:24)  3. Until The Real Thing Come Along
(3:12)  4. Tippin' In
(2:27)  5. Sunday Kind Of Love
(3:56)  6. I May Be Wrong
(3:07)  7. Swingin' In Moore Park
(2:49)  8. If I Loved You
(2:37)  9. Dinah
(2:49) 10. They Can't Take That Away From Me
(3:00) 11. My Blue Heaven
(3:00) 12. Love Is Just Around The Corner
(2:55) 13. (Back Home Again In) Indiana
(2:29) 14. Blue Lou
(2:47) 15. Too Marvelous For Words
(2:47) 16. Sweet Sue
(2:29) 17. Laura
(2:14) 18. I Get A Kick Out Of You
(2:54) 19. Rosetta
(2:31) 20. Sweet Lorraine
(2:27) 21. Old Rockin' Chair
(2:33) 22. Got A Date With An Angel
(3:06) 23. Prisoner's Song
(2:51) 24. Frankie And Johnny

Georgie Auld was an accomplished saxophonist, who cut his musical teeth with Bunny Berigan's band in 1937 then moving on to The Artie Shaw Orchestra in 1939, he also served with Jan Savitt & The Benny Goodman sextet. Musicians in the Georgie Auld orchestra & on this disc include Maynard Ferguson, Skeets Herfurt, Frank Rosolino, Si Zentner & Barney Kessel to name a few. When 'In The Land Of Hi-Fi' was originally issued which makes up the first half of this disc, it was described as a jazz classic.~ Editorial Reviews https://www.amazon.com/Swingin-Hi-Fi-ORIGINAL-RECORDINGS-REMASTERED/dp/B000FEBVXQ 

Personnel:  Georgie Auld - tenor saxophone, bandleader;  Maynard Ferguson, Conrad Gozzo, Mannie Klein, Ray Linn - trumpet;  Tommy Pederson, Frank Rosolino, Si Zentner - trombone;  Skeets Herfurt, Willie Schwartz - alto saxophone;  Ted Nash, Babe Russin - tenor saxophone;  Chuck Gentry - baritone saxophone;  Arnold Ross - piano;  Al Hendrickson, Barney Kessel - guitar;  Joe Mondragon, Joe Comfort - bass;  Alvin Stoller, Irv Kottler - drums.

Swingin' In The Land Of Hi-Fi

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Terry Gibbs & His Dream Band - Swing Is Here

Bitrate: MP3@320K/s
Time: 34:30
Size: 79.0 MB
Styles: Bop, Vibraphone jazz
Year: 1960/2009
Art: Front

[2:33] 1. The Song Is You
[3:10] 2. It Might As Well Be Swing
[3:05] 3. Dancing In The Dark
[2:44] 4. Moonglow
[5:03] 5. Bright Eyes
[3:04] 6. The Fat Man
[2:57] 7. My Reverie
[3:42] 8. Softly As In A Morning Sunrise
[5:22] 9. Evil Eyes
[2:44] 10. Back Bay Shuffle

Alto Saxophone – Charlie Kennedy; Alto Saxophone [Lead] – Joe Maini; Baritone Saxophone – Jack Schwartz; Bass – Buddy Clark; Drums – Mel Lewis; Piano – Lou Levy; Tenor Saxophone – Bill Perkins, Med Flory; Trombone – Bob Edmondson, Frank Rosolino, Bobby Pring, Tommy Sheppard; Trumpet – Conte Candoli, John Audino, Ray Triscari, Stu Williamson; Trumpet [Lead] – Al Porcino; Vibraphone – Terry Gibbs. Recorded in Los Angeles, CA, February 23-24, 1960.

The title Swing Is Here would have been more appropriate for the 1930s instead of 1960 when this album was originally issued, and the big-band era had long since waned. Yet vibraphonist Terry Gibbs kept the home fires burning out in California with this exceptional orchestra of cool jazz giants playing a stack of standards and modern compositions by Bill Holman or Gibbs, and one look back with an Artie Shaw number. What is most interesting about these arrangements is that they are always different in emphasizing the fleet, dampened sound of Gibbs in contrast, apart from, or in tandem with the woodwinds and brass instruments. They also never get in each other's way, making for some delightful tonic music-making that reflects both the dance tradition and more modernized precepts of big-band music. Reflecting the style of the Count Basie band with a big helping of Woody Herman or Stan Kenton, the band leaps into "The Song Is You" as Gibbs plays the first melody line, then the band takes over, while the opposite ploy is utilized during "Dancing in the Dark." Holman's originals "Bright Eyes" and "Evil Eyes" are different from the rest and each other, the former a lively bop chart with jumping counterpoint saxes and brass, the latter led out by pianist Lou Levy and the horns, with Gibbs holding up the rear guard of the band. A 12-bar blues, "The Fat Man" has, over time, become a favorite Gibbs composition covered repeatedly by his bands, and here is the original recording. "It Might as Well Be Swing" is a cleverly modified title from the standard "It Might as Well Be Spring" but is closer to Duke Ellington's "Satin Doll" in its elegant, sophisticated imagery. Claude Debussy's "My Reverie," on the other hand, dismisses its composers early morning visage for a classic jazz sound that is truly the epitome signature style Gibbs portrays. The Artie Shaw tribute to Boston "Back Bay Shuffle" has drummer Mel Lewis codifying and extending Gene Krupa's bompity bomp rhythmic dance remarks in a danceable yet enlivened manner. There are some extraordinary musicians in the band, such as trumpeter and ostensible leader Al Porcino, "second" trumpeters Conte Candoli and Stu Williamson, trombonist Frank Rosolino (listed third on the depth chart), lead alto saxophonist Joe Maini, and Bill Perkins, and Med Flory on tenor saxes. Gibbs plays a lot on this album, a testament to his tenacity as a unique voice on his instrument, and a good example of how this well-defined music refused to die even though it fell out of favor due to sheer economics. Clocking in at under 35 minutes with no alternate takes or extra tracks, and out of print for decades prior to this CD reissue, it's a short, sweet item recommended at a bargain price. ~Michael G. Nastos

Swing Is Here mc
Swing Is Here zippy

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Buddy Rich - This One's For Basie

Bitrate: MP3@320K/s
Time: 40:55
Size: 93.7 MB
Styles: Swing
Year: 1957/1990
Art: Front

[4:46] 1. Blue And Sentimental
[4:05] 2. Down For Double
[5:41] 3. Jump For Me
[7:16] 4. Blues For Basie
[6:22] 5. Jumpin' At The Woodside
[2:57] 6. Ain't It The Truth
[5:11] 7. Shorty George
[4:33] 8. 9:20 Special

Drummer Buddy Rich put together an interesting 11-piece group for this tribute to Count Basie. The only Basie alumnus present is trumpeter Harry "Sweets" Edison but the other soloists (trombonist Frank Rosolino and Bob Enevoldsen, Bob Cooper on tenor and pianist Jimmy Rowles) easily fit into the setting. Marty Paich contributed the arrangements, there are plenty of drum solos and the music, if not all that memorable, can easily be enjoyed by straightahead jazz fans. ~Scott Yanow

This One's For Basie

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Buddy Bregman And His Dance Band - Swinging Standards / Gypsy (Feat. Annie Ross)

Bitrate: MP3@320K/s

Time: 65:16

Size: 149.4 MB

Styles:

Year: 2012

Art: Front

[2:36] 1. My Buddy

[3:03] 2. All Of You

[4:37] 3. In A Mellotone

[4:03] 4. I Love Paris

[3:44] 5. It's All Right With Me

[2:35] 6. Too Close For Comfort

[2:24] 7. Baubles, Bangles, And Beads

[3:06] 8. Imagination

[4:08] 9. My Heart Stood Still

[3:39] 10. Just In Time

[3:43] 11. Gypsy Overture

[3:44] 12. Everything's Coming Up Roses

[3:29] 13. You'll Never Get Away

[4:09] 14. Some People

[3:00] 15. All I Need Is A Boy

[2:39] 16. Small World

[4:36] 17. Together Where You Go

[3:37] 18. Let Me Entertain You

[2:15] 19. Roses

Twofer: Tracks #1-10 from the 12" LP "Swingin' Standards" (World Pacific STEREO-1024). Tracks #11-19 from the 12" LP "Gypsy" (World Pacific STEREO-1028).

Personnel on "Swingin' Standards": Al Porcino, Stu Williamson, Ray Triscari, Conte Candoli, John Audino (tp); Frank Rosolino, Joe Howard, Lloyd Ulyate, Marshall Cram (tb); George Roberts (b-tb); Richie Kamuca, Bob Cooper, Bill Holman (ts); Bill Perkins (bs); Russ Freeman (p); Jim Hall (g); Monty Budwig (b) and Mel Lewis (d). Recorded at United recording Studios, Hollywood, on April 21 (#6-10), 22 (#1-5), 1959. Personnel on "Gypsy": Annie Ross (vcl); Pete Candoli, Al Porcino (tp); Frank Rosolino (tb); Bud Shank (as); Richie Kamuca, Bill Perkins (ts); Russ Freeman (p); Jim Hall (g); Monty Budwig (b) and Mel Lewis (d). Recorded at Radio Recorders, Hollywood, on July 7 & 8 (#11,13,14,15), 1959.

Not yet 30 and dubbed Hollywood's wonder-boy of music when he recorded these sessions, Buddy Bregman had already amassed an incredible list of radio, television and motion picture credits, and had done backgrounds for everybody from Ella to Bing Crosby.

In 1959, he had a show every Sunday on NBC titled Buddy Bregmans Music Shop, where he appeared leading the powerful dance band with which he recorded the album Swingin Standards. The band featured the best of front rank Hollywood musicians, with fine soloing from brass and reeds and an excellent rhythm section authoritatively driven by Mel Lewis and the tasteful beat of guitarist Jim Hall. That same year, Buddy assembled a reduced version of his band to accompany Annie Rossone of the most versatile, brilliant and the swingingnest female jazz singer of the momentto record an album dedicated to the Broadway show Gypsy, with music composed by Buddys uncle Jule Styne, and lyrics written by Stephen Sondheim. Miss Ross has never been more hip, sultry and just plain enjoyable. Listening to the ripe, full sound the band gets suggests awesome power carefully under control. This is the flamboyant swing of Buddy Bregmans band.

Swinging Standards  Gypsy 

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Toni Harper - Night Mood

Styles: Vocal Jazz
Year: 1960
File: MP3@320K/s
Time: 35:47
Size: 82,1 MB
Art: Front

(2:41)  1. In The Still Of The Night
(2:53)  2. Paradise
(3:38)  3. 'Round Midnight
(3:10)  4. The Meaning Of The Blues
(3:00)  5. Saturday Night (Is The Loneliest Night In The Week)
(3:06)  6. Night After Night
(2:49)  7. Just Go
(2:43)  8. A Sleepin' Bee
(3:21)  9. My Ship
(2:11) 10. You And The Night And The Music
(2:57) 11. Petals on the Pond
(3:14) 12. Where Flamingos Fly

Toni Harper's final Rca session pairs the singer with arranger Marty Paich to create the richly atmospheric after-hours album that she was born to make. By alternating between pop standards and jazz originals, Night Mood underscores the complete breadth of Harper's talents. Even better than her sophisticated and poignant interpretations of chestnuts like "Round Midnight" and "My Ship" is a swinging rendition of "Saturday Night Is the Loneliest Night of the Week" that deserves serious consideration as the song's definitive treatment. Paich's soulful arrangements further enhance the dusky beauty of Harper's vocals, even making room for some lovely alto saxophone solos courtesy of the great Art Pepper. ~ Jason Ankeny http://www.allmusic.com/album/night-mood-mw0000477334

Personnel:  Toni Harper (vcl), Marty Paich (dir, arr), Jack Sheldon, Conte Candoli, Stu Williamson (tp), Vince De Rosa (frh), Frank Rosolino (tb), Bob Enevoldsen (v-tb), Art Pepper, Bud Shank, Bill Perkins, Jack Montrose, Jack Nimitz (saxes), Eddie Beal, Jimmy Rowles (p), Joe mondragon (b), Mel Lewis (d)

Night Mood

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Bud Shank - Girl In Love

Styles: Saxophone Jazz
Year: 1966
File: MP3@320K/s
Time: 32:49
Size: 75,3 MB
Art: Front

(3:08)  1. Lady Jane
(2:30)  2. Summer Wind
(2:35)  3. The Sun Ain't Gonna Shine (Anymore)
(2:49)  4. Strangers In The Night
(2:25)  5. When A Man Loves A Woman
(2:38)  6. Girl In Love
(2:37)  7. Don't Go Breaking My Heart
(2:46)  8. Everybody Loves Somebody Sometime
(3:20)  9. Time
(2:42) 10. The Shining Sea
(2:13) 11. Lara's Theme From Dr. Zhivago
(3:01) 12. Solitary Man

Bud Shank began his career pigeonholed as a cool schooler, but those who listened to the altoist progress over the long haul knew that he became one of the hottest, most original players of the immediate post-Parker generation. Lumped in with the limpid-toned West Coast crowd in the '50s, Shank never ceased to evolve; in his later years, he had more in common with Jackie McLean or Phil Woods than with Paul Desmond or Lee Konitz. Shank's keening, blithely melodic, and tonally expressive style was one of the more genuinely distinctive approaches that grew out of the bebop idiom. Shank attended the University of North Carolina from 1944-1946. Early on, he played a variety of woodwinds, including flute, clarinet, and alto and tenor saxes; he began to concentrate on alto and flute in the late '40s. After college, Shank moved to California, where he studied with trumpeter/composer Shorty Rogers and played in the big bands of Charlie Barnet (1947-1948) and Stan Kenton (1950-1951). Shank made a name for himself in the '50s as a central member of the West Coast jazz scene. In addition to those named above, he played and recorded with bassist Howard Rumsey's Lighthouse All-Stars, tenor saxophonist Bob Cooper, and Brazilian guitarist Laurindo Almeida, among others. Shank made a series of albums as a leader for World Pacific in the late '50s and early '60s.  Shank ensconced himself in the L.A. studios during the '60s, emerging occasionally to record jazz and bossa nova albums with the likes of Chet Baker and Sergio Mendes. Shank's 1966 album with Baker, Michelle, was something of a popular success, reaching number 56 on the charts. Film scores on which Shank can be heard include The Thomas Crown Affair and The Barefoot Adventure. In the '70s, Shank formed the L.A. Four with Almeida, bassist Ray Brown, and, at various times, drummer Chuck Flores, Shelly Manne, or Jeff Hamilton. Shank had been one of the earliest jazz flutists, but in the mid-'80s he dropped the instrument in order to concentrate on alto full-time. During the last two decades of the 20th century, he recorded small-group albums at a modestly steady pace for the Contemporary, Concord, and Candid labels. Shank's 1997 Milestone album, By Request: Bud Shank Meets the Rhythm Section, presented the altoist in top form, burning down the house with a band of relative youngsters who included neo-bopper pianist Cyrus Chestnut. Three years later, Silver Storm was released.  Shank continued performing and recording after the turn of the millennium, undertaking the challenging task of forming the Los Angeles-based Bud Shank Big Band in 2005 and making his recording debut as a big-band leader with Taking the Long Way Home, released the following year by the Jazzed Media label. In 2007 Jazzed Media issued Beyond the Red Door, a duet recording by Shank and pianist Bill Mays. Shank's passion for jazz remained strong to the very last days of his life; he died at his home in Tucson, AZ on April 2, 2009 of a pulmonary embolism shortly after returning from a recording session in San Diego. Shank's doctors had reportedly warned the saxophonist who had moved to Tucson for health reasons  that playing the session could be life-threatening. Bud Shank was 82 years old. ~ Chris Kelsey http://www.allmusic.com/artist/bud-shank-mn0000636382/biography

Personnel:  Bud Shank - alto saxophone;  Frank Rosolino – trombone;  Bob Florence – piano;  Dennis Budimir, Herb Ellis, John Pisano – guitar;  Bob West – bass;  Frank Capp – drums;  Victor Feldman - percussion

Girl In Love

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Frank Rosolino - Fond Memories Of...

Bitrate: MP3@320K/s
Time: 63:19
Size: 144.9 MB
Styles: Trombone jazz
Year: 1996
Art: Front

[13:18] 1. All The Things You Are
[10:15] 2. My Funny Valentine
[10:35] 3. I Love You
[ 7:20] 4. Violets
[ 6:58] 5. Corcovado
[ 8:08] 6. Autumn Leaves
[ 6:42] 7. Free For All

Bass – Jaques Schols; Drums – John Engels; Orchestra – Metropole Orchestra; Piano – Louis Van Dyke. Recorded June 1973 and May 1975 at Radio NOS Studios, Hilversum, Netherlands.

This album brings together two Rosolino recording sessions made in the Netherlands during 1973 and 1975 which sat somewhere for 20 years. One of jazz's premier players, this album displays Rosolino's unique facility with the trombone. Although he died tragically in 1978, he remains a major influence on the way the slide instrument is played. The opening cut sets the tone with a 13 minute plus exploration of all the nooks and crannies of "All the Things You Are." This is followed by a similar in-depth improvisional probe of "My Funny Valentine." Although the Metropole Orchestra is highlighted on the album cover, it is present on just 2 of the 7 tracks . One of them, "Violets," was written especially for Rosolino by Jerry Van Rooyen. On this track, and on the other backed by the Metropole Orch., Rosolino plays with long, clean, melodic lines, putting out the mellow sound unique to the trombone. For the remaining cuts, Rosolino is backed by the Louis Van Dyke Trio collaborating on Jerry Van Rooyen's arrangements. Rosolino uses strong staccato attack on all of these tunes, spurred on by Van Dyke's driving piano. Van Dyke does not permit any lapse into a softer playing style. ~Dave Nathan

Fond Memories Of...

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June Christy - June's Got Rhythm

Bitrate: MP3@320K/s
Time: 43:06
Size: 98.7 MB
Styles: Jazz vocals
Year: 1958/2006
Art: Front

[2:23] 1. Rock Me To Sleep
[3:16] 2. The Gypsy In My Soul
[2:41] 3. I'm Glad There Is You
[2:43] 4. They Can't Take That Away From Me
[1:55] 5. It Don't Mean A Thing (If It Ain't Got That Swing)
[2:46] 6. My One And Only Love
[2:56] 7. When Lights Are Low
[3:34] 8. I Can Make You Love Me (If You Let Me)
[4:17] 9. Easy Living
[3:15] 10. Blue Moon
[2:16] 11. All God's Chillun Got Rhythm
[2:30] 12. Baubles, Bangles And Beads
[2:22] 13. Aren't You Glad You're You
[2:39] 14. Looking For A Boy
[3:26] 15. Small Fry

Bass – Monty Budwig; Drums – Mel Lewis, Shelly Manne; Flute – George Spelvin; Guitar – Laurindo Almeida; Oboe – Bob Cooper; Piano – Russ Freeman; Trombone – Frank Rosolino; Trumpet – Ed Leddy; Tuba – Red Callender. Recorded in Hollywood, June, 1958.

Many of singer June Christy's popular Capitol albums feature her cool-toned vocals backed by an orchestra. This recording is an exception. Christy excels on a jazz-oriented set with a nonet that includes trumpeter Ed Leddy, trombonist Frank Rosolino and her husband Bob Cooper (who arranged the set) on tenor and oboe. Christy accurately called this music "intimate swing." Her versions of such songs as "I'm Glad There Is You," "My One and Only Love," "When Lights Are Low" and "Blue Moon" are tasteful, sincere and often quite memorable. ~Scott Yanow

June's Got Rhythm

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Cybill Shepherd - Mad About The Boy

Styles: Jazz, Vocal
Year: 1976
File: MP3@320K/s
Time: 34:52
Size: 80,4 MB
Art: Front

(3:40)  1. Triste
(3:33)  2. I Can't Get Started
(2:15)  3. Please Don't Talk About Me When I'm Gone
(3:51)  4. This Masquerade
(3:24)  5. Mad About The Boy
(3:04)  6. I'm Old Fashioned
(4:41)  7. It Never Entered My Mind
(3:00)  8. Speak Low
(3:07)  9. I'm Falling In Love Again
(4:13) 10. Do It Again

In contrast to most actor/actresses-turned-vocalists, there's nothing to joke about on this album no Golden Throats candidates, except maybe the title track. For starters, Shepherd has a solid jazz ensemble backing her up, led by Stan Getz and arranged by Oscar Neves, and gives us a very enjoyable jazz-flavored record. She takes the Fred Astaire approach to singing, not denying that she has a limited range but working carefully within that range and even using those limitations to her advantage. Getz's solos perfectly complement Shepherd's voice, and she stretches out ravishingly on "This Masquerade," "I'm Old Fashioned" is a sexy torch number in her hands, without a trace of campiness, "Speak Low" soars subtly and elegantly, and the opening number, Ginastera's "Triste," is a sophisticated piece of concert music and a triumph for her as well. Peculiarly enough, the title track doesn't hold up as well as the rest, the weakness in her voice coming through at various points in its length, and is the only second-rate number here, although it is fun. Frank Rosolino (trombone), Terry Trotter (piano), and Monty Budwig (upright bass) make up the rest of the core of the band. ~ Bruce Eder http://www.allmusic.com/album/mad-about-the-boy-mw0000227663

Personnel:  Vocals, Producer – Cybill Shepherd;  Acoustic Bass – Monty Budwig;  Arranged By, Acoustic Guitar, Electric Piano [Fender Rhodes] – Oscar Neves;  Bass [Fender] – Octavio Bailly;  Drums – Claudio Slon, Joe Baron;  Flute – Andreas Kostelas, Arthur Smith (3), Mike Altschul, Richard Spencer;  Percussion – Paulinho Da Costa;  Piano – Terry Trotter;  Producer – Frank Marshall;  Tenor Saxophone – Stan Getz;  Trombone – Frank Rosolino. 

Mad About The Boy

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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

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