Teri Thornton - Devil May Care

Styles: Vocal
Year: 2011
Time: 81:20
File: MP3 @ 320K/s
Size: 187,3 MB
Art: Front

(2:47) 1. Lullaby of the Leaves
(3:29) 2. My Old Flame
(2:35) 3. Blue Skies
(3:10) 4. Detour Ahead
(5:58) 5. Dancing in the Dark
(5:52) 6. Blue Champagne
(3:47) 7. What's Your Story, Morning Glory
(2:46) 8. Devil May Care
(3:26) 9. Left Alone
(2:41) 10. I Feel a Song Comin' On
(4:09) 11. What's New?
(2:32) 12. The Song Is You
(2:59) 13. Somewhere In The Night
(2:51) 14. I've Got Your Number
(3:33) 15. There's A Boat Dat's Leavin Soon For New York
(2:52) 16. Lonely One
(2:29) 17. You've Got To Have Heart
(4:14) 18. Stormy Weather
(2:51) 19. I Believe In You
(4:33) 20. Mood Indigo
(2:26) 21. Quizas, Quizas, Quizas
(2:33) 22. I've Got The World On A String
(2:47) 23. Clap Yo' Hands
(3:49) 24. Serenade In Blue

Dubbed by Cannonball Adderley “the greatest voice since Ella Fitzgerald” Detroit-born Teri Thornton (1934-2000) moved to the Big Apple in 1960, where she was an immediate hit with the city’s seasoned jazz musicians and sophisti- cated audiences. It led to her first album, Devil May Care, for Riverside, where she was backed by some of New York’s brightest jazzmen, including Clark Terry, Britt Woodman, Seldon Powell and a rhythm section that boasted, among others, Wynton Kelly, Sam Jones, Jimmy Cobb and Freddie Green. A sagacious venture into the Great American Songbook allowed her to display a fine feel for the lyrics and a voice like nobody else’s.

In 1961 Chicago deejays gave her the “Coming Star of the Year” Award and the following year she signed for Dauntless. Hailed as “one of the most exciting voices of her generation”, she had a hit single with Somewhere in the Night, which became the name of her 1963 album. Again front-rank jazzmen were involved, among them Charlie Mariano, Joe Farrell, Nick Brignola, Eddie Bert and Dave Frishberg. Well-chosen material allowed her to make the most of her contralto-rich, distinctive vocal quality and decided individuality of delivery, and both albums add up to a fitting memorial to a singular jazz vocal talent of whom Freddie Green once said: “This girl has got to make it. If she doesn’t, something’s very wrong.” He was right.
https://www.freshsoundrecords.com/teri-thornton-albums/6520-lullaby-of-the-leaves-the-voice-of-teri-thornton-2-lp-on-1-cd.html

Album details: Teri Thornton, vocals in all tracks. Clark Terry, trumpet; Britt Woodman, trombone; Earl Warren, alto sax; Seldon Powell, tenor sax; Wynton Kelly, piano; Freddie Green (#1-6) or Sam Herman (#7-12), guitar; Sam Jones, bass; Jimmy Cobb, drums.

Devil May Care

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Count Basie - Basie Meets Bond

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 40:35
Size: 94,5 MB
Art: Front

(3:01)  1. 007
(3:45)  2. The Golden Horn
(3:37)  3. Girl Trouble
(2:26)  4. Kingston Calypso
(4:06)  5. Goldfinger
(4:02)  6. Thunderball
(4:15)  7. From Russia With Love
(3:58)  8. Dr. No's Fantasy
(3:38)  9. Underneath The Mango Tree
(3:49) 10. The James Bond Theme
(3:54) 11. Dr. No's Fantasy - First Version

Leave it to one of the most swinging big bands of its time to make a silk purse out of a cow’s ear. Visiting themes from James Bond movies, arrangers Chico O’Farrill and George Williams craft hip and bristling versions of what might appear to be less than complimentary pieces for jazz exploration. But then O’Farrill was a master writer and he proved that this Bond thing wasn’t just a fluke when a year later in 1966 he helped to develop the catchy Basie's Beatles Bag. With its low sputtering bones and lively cowbell taps, “Kingston Calypso” is typical of the transformation with strains of “Three Blind Mice” worked in just for fun. “Dr. No’s Fantasy” gets things blaring from the git-go as drummer Sonny Payne’s swaggering backbeat pushes further and further, Basie injecting those sparse few notes here and there with characteristic élan.

And those are just two highlights among many, not to mention the boisterous and characteristic statements of tenor man Eddie “Lockjaw” Davis. Originally issued on the United Artists label, Basie Meets Bond can be recommended without reservation despite what might seem like the misguided intentions of some marketing exec. ~ C.Andrew Hovan https://www.allaboutjazz.com/basie-meets-bond-count-basie-capitol-records-review-by-c-andrew-hovan.php?width=1920

Personnel: Count Basie (piano); Al Aarons, Sonny Cohn, Wallace Davenport, Phil Guilbeau (trumpets); Henderson Chambers, Al Grey, Grover Mitchell (trombones); Bill Hughes (bass trombone); Marshall Royal (alto saxophone); Bobby Plater (alto saxophone & flute); Eric Dixon (tenor saxophone & flute); Eddie "Lockjaw" Davis (tenor saxophone);Charlie Fowlkes (baritone saxophone & bass clarinet); Freddie Green (guitar); Norman Keenen(bass); Sonny Page (drums) 

Basie Meets Bond

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Jo Jones - The Essential Jo Jones

Styles: Jazz, Post Bop
Year: 1990
File: MP3@320K/s
Time: 78:28
Size: 180,0 MB
Art: Front

(5:55)  1. Shoe Shine Boy (first take)
(6:33)  2. Lover Man (Oh, Where Can You Be?)
(4:50)  3. Georgia Mae
(4:01)  4. Caravan
(7:50)  5. Lincoln Heights
(6:44)  6. Embraceable You
(5:54)  7. Satin Doll
(5:22)  8. Little Susie
(4:48)  9. Spider Kelly's Blues
(4:03) 10. Cubano Chant
(4:55) 11. Splittin'
(4:42) 12. Sweet Lorraine
(2:40) 13. Bicycle for Two
(6:44) 14. Old Man River
(3:26) 15. Sometimes I'm Happy

Jo Jones, one of the most influential drummers of the swing era, did not lead that many recording sessions of his own during his career. Producer John Hammond gave him his first two dates when he was working for Vanguard and, with the exception of a second take of "Shoe Shine Boy," all of the music from the two LPs is on this single-CD reissue. The first session is very much in the spirit of Count Basie's band; in fact, Basie himself makes a guest appearance on "Shoe Shine Boy." The other swing-oriented players include trumpeter Emmett Berry, guitarist Freddie Green, tenor saxophonist Lucky Thompson, and (on one song apiece) trombonist Lawrence Brown and clarinetist Rudy Powell. The later date is quite a bit different: a trio session with pianist Ray Bryant and bassist Tommy Bryant. There is a liberal amount of drum soloing but the early versions of Ray Bryant's "Cubano Chant" and "Little Susie" are of greatest interest. ~ Scott Yanow https://www.allmusic.com/album/the-essential-jo-jones-mw0000644547

Personnel:  Drums – Jo Jones;  Bass – Tommy Bryant, Walter Page;  Clarinet – Rudy Powell;  Guitar – Freddie Green;  Piano – Count Basie, Nat Pierce, Ray Bryant;  Tenor Saxophone – Lucky Thompson;  Trombone – Benny Green, Lawrence Brown;  Trumpet – Emmett Berry    

The Essential Jo Jones

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Buck Clayton - Junpin' At The Woodside

Styles: Trumpet Jazz
Year: 1955
File: MP3@320K/s
Time: 34:54
Size: 80,3 MB
Art: Front

( 8:02)  1. Rock-A-Bye Basie
(10:37)  2. Junpin' At The Woodside
( 6:36)  3. Blue And Sentimental
( 9:37)  4. Broaway

The Buck Clayton jam sessions of the mid-'50s led to writer Stanley Dance coining the term "mainstream" to describe swing-oriented veterans of the era. This out-of-print LP, whose contents have been reissued by Mosaic in their six-CD Buck Clayton box set, has a variety of top mainstream all-stars jamming on four songs associated with Count Basie. 

The music is taken from three different sessions, with this version of "Jumpin' at the Woodside" splicing together the best of two completely different performances. The lineup of top players (including trumpeters Clayton, Joe Newman and Ruby Braff, trombonists Trummy Young, Urbie Green and Benny Green, clarinetist Woody Herman and tenors Coleman Hawkins, Al Cohn, Buddy Tate and Lem Davis among others) gives one a good idea as to the high quality of the music.~ Scott Yanow https://www.allmusic.com/album/jumpin-at-the-woodside-mw0000871165

Personnel:  Buck Clayton – trumpet;  Joe Newman (tracks 2 & 3), Joe Thomas (track 2) – trumpet;  Ruby Braff – cornet (tracks 1 & 4);  Bennie Green (tracks 1 & 4), Urbie Green (tracks 2 & 3), Dicky Harris (tracks 1 & 4), Trummy Young (track 2) – trombone;  Woody Herman – clarinet (track 2);  Lem Davis – alto saxophone (tracks 2 & 3);  Al Cohn (track 2), Julian Dash (track 2), Coleman Hawkins (tracks 1–4), Buddy Tate (tracks 1 & 4) – tenor saxophone;  Charles Fowlkes – baritone saxophone (tracks 2 & 3);  Jimmy Jones (track 2), Billy Kyle (tracks 2 & 3) – piano, celeste;  Al Waslohn – piano (tracks 1 & 4);  Steve Jordan (tracks 1, 2 & 4), Freddie Green (tracks 2 & 3) – guitar;  Milt Hinton (tracks 1–4), Walter Page (track 2) – bass;  Jo Jones – drums;  Jack Ackerman – tap dancing (track 1).

Junpin' At The Woodside

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Buck Clayton Jam Session - How Hi The Fi

Styles: Trumpet Jazz
Year: 1955
File: MP3@320K/s
Time: 54:35
Size: 125,3 MB
Art: Front

(13:50)  1. How hi the fi
(14:10)  2. Blue moon
(13:47)  3. Sentimental journey
(12:46)  4. Moten swing

The first of the famous Buck Clayton jam sessions, the exciting music on this long out-of-print LP has been reissued as part of a Mosaic box set. Two songs ("Sentimental Journey" and "Moten Swing") are from a December 1953 session in which the trumpeter/leader is teamed with trumpeter Joe Newman, trombonists Urbie Green and Benny Powell, altoist Lem Davis, Julian Dash on tenor, baritonist Charlie Fowlkes, pianist Sir Charles Thompson, guitarist Freddie Green, bassist Walter Page and drummer Jo Jones. However it is "How Hi the Fi" (cut along with "Blue Moon" on March 31, 1954) that is most memorable. Buck and fellow trumpeter Joe Thomas, trombonists Urbie Green and Trummy Young, clarinetist Woody Herman, Davis and Dash, Al Cohn on second tenor, pianist Jimmy Jones, guitarist Steve Jordan, bassist Walter Page and drummer Jo Jones are all in inspired form. The most memorable soloists are the rambunctious Trummy Young, the harmonically advanced chordings of Jimmy Jones and an exuberant Woody Herman who was rarely heard in this type of jam session setting. 

With Clayton having worked out some ensemble riffs for the horns beforehand and plenty of space left for spontaneity, this music has plenty of magic.~ Scott Yanow https://www.allmusic.com/album/how-hi-the-fi-mw0000868476

Personnel:  Buck Clayton – trumpet;  Joe Newman (tracks 3 & 4), Joe Thomas (tracks 1 & 2) – trumpet;  Urbie Green, Benny Powell (tracks 3 & 4), Trummy Young (tracks 1 & 2) – trombone;  Woody Herman – clarinet (tracks 1 & 2);  Lem Davis – alto saxophone;  Al Cohn (tracks 1 & 2), Julian Dash – tenor saxophone;  Charles Fowlkes – baritone saxophone (tracks 3 & 4);  Jimmy Jones (tracks 1 & 2), Sir Charles Thompson (tracks 3 & 4) – piano;  Steve Jordan (tracks 1 & 2), Freddie Green (tracks 3 & 4) – guitar;  Walter Page – bass;  Jo Jones – drums.

How Hi The Fi

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Buck Clayton - The Golden Days Of Jazz (Swingin' Buck Clayton Jams Count Basie & Benny Goodman)

Styles: Trumpet Jazz
Year: 1974
File: MP3@320K/s
Time: 77:31
Size: 177,6 MB
Art: Front

(25:25)  1. Christopher Columbus
( 9:21)  2. Don't Be That Way
( 8:30)  3. Undecided
( 8:05)  4. Rock-A-Bye Basie
(10:28)  5. Jumpin' At The Woodside
( 6:26)  6. Blue & Sentimental
( 9:12)  7. Broadway

An excellent bandleader and accompanist for many vocalists, including Billie Holiday, Buck Clayton was a valued soloist with Count Basie Orchestra during the '30s and '40s, and later was a celebrated studio and jam session player, writer, and arranger. His tart, striking tone and melodic dexterity were his trademark, and Clayton provided several charts for Basie's orchestra and many other groups. Clayton began his career in California, where he organized a big band that had a residency in China in 1934. When he returned, Clayton led a group and played with other local bands. During a 1936 visit to Kansas City, he was invited to join Basie's orchestra as a replacement for Hot Lips Page. Clayton was also featured on sessions with Lester Young, Teddy Wilson, and Holiday in the late '30s. He remained in the Basie band until 1943, when he left for army service. After leaving the army, Clayton did arrangements for Basie, Benny Goodman, and Harry James before forming a sextet in the late '40s. He toured Europe with this group in 1949 and 1950. Clayton continued heading a combo during the '50s, and worked with Joe Bushkin, Tony Parenti, and Jimmy Rushing, among others. He organized a series of outstanding recordings for Columbia in the mid-'50s under the title Jam Session (compiled and reissued by Mosaic in 1993). There were sessions with Rushing, Ruby Braff, and Nat Pierce. Clayton led a combo with Coleman Hawkins and J.J. Johnson at the 1956 Newport Jazz Festival, then reunited with Goodman in 1957 at the Waldorf Astoria. There was another European tour, this time with Mezz Mezzrow. He appeared in the 1956 film The Benny Goodman Story and played the 1958 Brussels World Fair with Sidney Bechet. Clayton later made another European visit with a Newport Jazz Festival tour. He joined Eddie Condon's band in 1959, a year after appearing in the film Jazz on a Summer's Day. Clayton toured Japan and Australia with Condon's group in 1964, and continued to revisit Europe throughout the '60s, often with Humphrey Lyttelton's band, while playing festivals across the country. But lip and health problems virtually ended his playing career in the late '60s. After a period outside of music, Clayton once again became active in music, this time as a non-playing arranger, touring Africa as part of a State Department series in 1977. He provided arrangements and compositions for a 1974 Lyttleton and Buddy Tate album, and did more jam session albums for Chiaroscuro in 1974 and 1975. He also became an educator, teaching at Hunter College in the early '80s. Clayton led a group of Basie sidemen on a European tour in 1983, then headed his own big band in 1987 that played almost exclusively his compositions and arrangements. That same year Clayton's extensive autobiography Buck Clayton's Jazz World, with Nancy Miller-Elliot, was published.~ Ron Wynn https://www.allmusic.com/artist/buck-clayton-mn0000634674/biography

Personnel: Trumpet, Liner Notes – Buck Clayton;   Alto Saxophone – Lem Davis;  Baritone Saxophone – Charlie Fowlkes;  Bass – Milt Hinton, Walter Page;  Clarinet – Woody Herman, Drums – Jo Jones;  Guitar – Freddie Green, Steve Jordan;  Piano – Al Washlon, Billy Kyle, Jimmy Jones, Charles Thompson;  Tenor Saxophone – Al Cohn, Buddy Tate, Coleman Hawkins, Julian Dash;  Trombone – Bennie Green, Dick Harris, Henderson Chambers, Trummy Young, Urbie Green;  Trumpet – Joe Newman, Joe Thomas, Ruby Braff 

The Golden Days Of Jazz (Swingin' Buck Clayton Jams Count Basie & Benny Goodman)

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Lester Young - The Jazz Giants

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 42:31
Size: 100,9 MB
Art: Front

( 9:35)  1. I Guess I'll Have To Change My Plan
(10:06)  2. I Didn't Know What Time It Was
( 6:54)  3. Gigantic Blues
( 6:49)  4. This Year's Kisses
( 9:06)  5. You Can Depend On Me

Even critics who feel (against the recorded evidence to the contrary) that little of tenor saxophonist Lester Young's postwar playing is at the level of his earlier performances make an exception for this session. Young was clearly inspired by the other musicians (trumpeter Roy Eldridge, trombonist Vic Dickenson, pianist Teddy Wilson, guitarist Freddie Green, bassist Gene Ramey, and drummer Jo Jones), who together made for a very potent band of swing all-stars. The five songs on this album include some memorable renditions of ballads and a fine version of "You Can Depend on Me," but it is the explosive joy of the fiery "Gigantic Blues" that takes honors. This set, a real gem, is highly recommended. ~ Scott Yanow http://www.allmusic.com/album/the-jazz-giants-56-mw0000192693

Personnel: Lester Young (tenor saxophone); Freddie Green, Herb Ellis (guitar); Buddy DeFranco (clarinet); Flip Phillips (tenor saxophone); Dizzy Gillespie, Roy Eldridge (trumpet); Vic Dickenson, Bill Harris (trombone); Oscar Peterson, Teddy Wilson (piano); Jo Jones All Stars , Jo Jones , Louie Bellson (drums).

The Jazz Giants

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Lester Young - Kansas City Swing

Styles: Saxophone And Clarinet Jazz
Year: 1999
File: MP3@320K/s
Time: 71:55
Size: 167,3 MB
Art: Front

(3:01)  1. Way Down Yonder In New Orleans
(3:00)  2. Countless Blues
(2:59)  3. Them There Eyes
(2:53)  4. I Want A Little Girl
(2:57)  5. Pagin' The Devil
(4:12)  6. I Got Rhythm
(4:09)  7. I'm Fer It Too
(3:06)  8. Hello Babe
(3:06)  9. Linger Awhile
(3:14) 10. Just You Just Me
(3:11) 11. I Never Knew
(3:10) 12. Afternoon Of A Basie-ite
(3:07) 13. Sometimes I'm Happy
(4:44) 14. After Theatre Jump
(4:12) 15. Six Cats And A Prince
(4:28) 16. Lester Leaps Again
(3:53) 17. Destination KC
(2:55) 18. Three Little Words
(3:20) 19. Jo-Jo
(2:51) 20. Four O'Clock Drag
(3:18) 21. I Got Rhythm

Lester Young was one of the true jazz giants, a tenor saxophonist who came up with a completely different conception in which to play his horn, floating over bar lines with a light tone rather than adopting Coleman Hawkins' then-dominant forceful approach. A non-conformist, Young (nicknamed "Pres" by Billie Holiday) had the ironic experience in the 1950s of hearing many young tenors try to sound exactly like him. Although he spent his earliest days near New Orleans, Lester Young lived in Minneapolis by 1920, playing in a legendary family band. He studied violin, trumpet, and drums, starting on alto at age 13. Because he refused to tour in the South, Young left home in 1927 and instead toured with Art Bronson's Bostonians, switching to tenor. He was back with the family band in 1929 and then freelanced for a few years, playing with Walter Page's Blue Devils (1930), Eddie Barefield in 1931, back with the Blue Devils during 1932-1933, and Bennie Moten and King Oliver (both 1933). He was with Count Basie for the first time in 1934 but left to replace Coleman Hawkins with Fletcher Henderson. Unfortunately, it was expected that Young would try to emulate Hawk, and his laid-back sound angered Henderson's sidemen, resulting in Pres not lasting long. After a tour with Andy Kirk and a few brief jobs, Lester Young was back with Basie in 1936, just in time to star with the band as they headed East. Young made history during his years with Basie, not only participating on Count's record dates but starring with Billie Holiday and Teddy Wilson on a series of classic small-group sessions. In addition, on his rare recordings on clarinet with Basie and the Kansas City Six, Young displayed a very original cool sound that almost sounded like altoist Paul Desmond in the 1950s. After leaving Count in 1940, Young's career became a bit aimless, not capitalizing on his fame in the jazz world. He co-led a low-profile band with his brother, drummer Lee Young, in Los Angeles until re-joining Basie in December 1943. Young had a happy nine months back with the band, recorded a memorable quartet session with bassist Slam Stewart, and starred in the short film Jammin' the Blues before he was drafted. His experiences dealing with racism in the military were horrifying, affecting his mental state of mind for the remainder of his life.

Although many critics have written that Lester Young never sounded as good after getting out of the military, despite erratic health he actually was at his prime in the mid- to late-'40s. He toured (and was well paid by Norman Granz) with Jazz at the Philharmonic on and off through the '40s and '50s, made a wonderful series of recordings for Aladdin, and worked steadily as a single. Young also adopted his style well to bebop (which he had helped pave the way for in the 1930s). But mentally he was suffering, building a wall between himself and the outside world, and inventing his own colorful vocabulary. Although many of his recordings in the 1950s were excellent (showing a greater emotional depth than in his earlier days), Young was bothered by the fact that some of his white imitators were making much more money than he was. He drank huge amounts of liquor and nearly stopped eating, with predictable results. 1956's Jazz Giants album found him in peak form as did a well documented engagement in Washington, D.C., with a quartet and a last reunion with Count Basie at the 1957 Newport Jazz Festival. But, for the 1957 telecast The Sound of Jazz, Young mostly played sitting down (although he stole the show with an emotional one-chorus blues solo played to Billie Holiday). After becoming ill in Paris in early 1959, Lester Young came home and essentially drank himself to death. Many decades after his death, Pres is still considered (along with Coleman Hawkins and John Coltrane) one of the three most important tenor saxophonists of all time. ~ Scott Yanow http://www.allmusic.com/artist/lester-young-mn0000259529/biography

Personnel:  Tenor Saxophone, Clarinet – Lester Young;   Double Bass – Al Hall, John Simmons, Rodney Richardson , Slam Stewart , Walter Page;  Drums – Jo Jones, Sidney Catlett;  Electric Guitar – Eddie Durham; Guitar – Freddie Green;  Piano – Ellis Larkins, Joe Bushkin, Johnny Guarnieri, Prince Charming;
Trombone – Dickie Wells;  Trumpet – Bill Coleman, Buck Clayton

Kansas City Swing

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Gene Krupa, Buddy Rich - Krupa And Rich

Styles: Jazz, Swing
Year: 1955
File: MP3@320K/s
Time: 71:59
Size: 166,9 MB
Art: Front

(10:30)  1. Buddy's Blues
(13:57)  2. Bernie's Tune
( 7:47)  3. Gene's Blues
( 8:50)  4. Sweethearts On Parade
( 8:54)  5. I Never Knew
(10:51)  6. Sunday
(11:06)  7. The Monster

On this CD reissue, drummers Gene Krupa and Buddy Rich only actually play together on one of the seven songs, a lengthy rendition of "Bernie's Tune" that has a six-minute "drum battle." Krupa and Rich do perform two songs apiece with a remarkable all-star band consisting of trumpeters Dizzy Gillespie and Roy Eldridge, tenors Illinois Jacquet and Flip Phillips, pianist Oscar Peterson, guitarist Herb Ellis, and bassist Ray Brown. Each of the principals get some solo space, giving this release more variety than one might expect. In addition there are two bonus cuts from a Buddy Rich date that feature the drummer with trumpeters Thad Jones and Joe Newman, tenors Ben Webster and Frank Wess, Oscar Peterson, Ray Brown, and rhythm guitarist Freddie Green. Excellent music overall if not quite essential. ~ Scott Yanow http://www.allmusic.com/album/krupa-and-rich-mw0000111452

Personnel: Gene Krupa, Buddy Rich (drums); Dizzy Gillespie, Roy Eldridge, Thad Jones, Joe Newman (trumpet); Illinois Jacquet, Flip Phillips, Ben Webster, Frank Wess (tenor saxophone); Oscar Peterson (piano); Freddie Green, Herb Ellis (guitar); Ray Brown (bass).

Krupa And Rich

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Count Basie - Kansas City Shout

Bitrate: MP3@320K/s

Time: 42:02

Size: 96.2 MB

Styles: Swing, Piano blues

Year: 1980/1995

Art: Front

[3:40] 1. Just A Dream On My Mind

[5:57] 2. Blues For Joe Turner

[4:05] 3. Blues For Joel

[4:02] 4. Everyday I Have The Blues

[2:56] 5. Blues Au Four

[3:27] 6. My Jug And I

[4:08] 7. Cherry Red

[3:49] 8. Apollo Daze

[3:19] 9. Standing On The Corner

[3:34] 10. Stormy Monday

[3:00] 11. Signifying

Bass – Duffy Jackson; Guitar – Freddie Green; Piano – Count Basie; Saxophone – Bobby Plater, Danny Turner, Eric Dixon, Johnny Williams, Kenny Hing; Trombone – Bill Hughes, Mitchell 'Bootie' Wood, Dennis Rowland, Dennis Wilson, Grover Mitchell; Trumpet – Dale Carley, David Stahl, Pete Minger, Sonny Cohn; Vocals – Joe Turner (tracks: 2, 4, 10); Vocals, Alto Saxophone – Eddie "Cleanhead" Vinson (tracks: 1, 6, 7). Recorded in Hollywood, CA, April 7, 1980.

This session from 1980 helps to recreate the atmosphere of '30s Kansas City. Featured are the great blues singer Joe Turner and the strong singer and altoist Eddie "Cleanhead" Vinson, along with the Count Basie Orchestra. "Just a Dream," "Everyday I Have the Blues," "Cherry Red" and "Stormy Monday" receive very spirited renditions, as do some newer blues. Since all of the principals are no longer with us, Norman Granz deserves special thanks for organizing this special session. ~Scott Yanow

Kansas City Shout

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Frank Wess - Jazz for Playboys

Styles: Flute And Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 47:18
Size: 108,5 MB
Art: Front

( 5:27)  1. Playboy
( 9:40)  2. Miss Blues
( 4:16)  3. Baubles, Bangles and Beads
( 5:02)  4. Low Life
( 4:07)  5. Pin Up
(11:01)  6. Blues For A Playmate
( 7:42)  7. Southern Exposure

This CD reissue has three songs apiece from two similar sessions. One half of the set features Frank Wess (doubling on flute and tenor) accompanied by both Kenny Burrell and Freddy Green on guitars, bassist Eddie Jones and drummer Gus Johnson; the other three titles add trumpeter Joe Newman and have Ed Thigpen in Johnson's place. The music is essentially cool-toned swing/bop very much in a Count Basie vein and is easily recommended to straightahead jazz fans despite the so-so packaging and LP-length playing time. ~ Scott Yanow http://www.allmusic.com/album/jazz-for-playboys-mw0000100271

Personnel:  Frank Wess (flute, saxophone), Joe Newman (trumpet), Kenny Burrell, Freddie Green (guitar), Eddie Jones (bass), Ed Thigpen, Gus Johnson (drums).

Jazz for Playboys

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Herb Ellis, Freddie Green - Rhythm Willie

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 37:15
Size: 86,3 MB
Art: Front

(4:10)  1. It Had to Be You
(5:56)  2. Rhythm Willie
(3:39)  3. Gee Baby, Ain't I Good to You
(5:08)  4. A Smooth One
(4:24)  5. When My Dream Boat Comes Home
(4:08)  6. Conversations
(4:26)  7. I Want a Little Girl
(5:21)  8. Orange, Brown and Green

Guitarist Herb Ellis is joined by rhythm guitarist Freddie Green, pianist Ross Tompkins, bassist Ray Brown and drummer Jake Hanna for this lightly swinging but uneventful program which has been reissued on CD. Since Green as usual does not solo, his contribution is purely as a background player. Ellis, Tompkins and Brown are the lead voices on a variety of swing tunes; best are "It Had To Be You," "A Smooth One" and "When My Dream Boat Comes Home." ~ Scott Yanow http://www.allmusic.com/album/rhythm-willie-mw0000197167

Personnel:  Herb Ellis, Freddie Green (guitar);  Ross Tompkins (piano);  Ray Brown (bass);  Jake Hanna (drums).

Rhythm Willie

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Harry 'Sweets' Edison - The Swinger (2-Disc Set)

Harry Edison, Buck Clayton (tp), Jimmy Forrest (ts), Jimmy Jones, Kenny Drew (p), Eddie Costa (vib), Freddie Green (g), Joe Benjamin, John Simmons (b), Charlie Persip (d)

Harry Sweets Edison was widely recognized as a master of the muted blues trumpet sound, both when he was with Basies band during the swing era, and from 1953 on, as a freelance on many of the jazz and pop recordings that emanated from Hollywood. In the fall of 1958, Sweets moved back to New York to start a third phase in his career. He put together the swinging sextet showcased in these recordings produced by Verves Norman Granz. The group featured tenorist Jimmy Forrest, who contributed with his great taste and tonal strength, and a first class rhythm section, blessedly boosted by Freddie Green's punching guitar, pianist Jimmy Jones, a crisp-toned and flexible delight, the tasteful Joe Benjamin on bass, and the controlling force of Charlie Persip on drums. This was the kind of straightforward, utterly groovy small group jazz with consistently clear-thinking and strong voices. Trumpeter Buck Clayton joined the second date, playing back to back with Sweets, and guitarist Steve Jordan replaced Green in most of the tracks. Harry Edison the swinger, playing standards or originals or just the blues, glows in these warm sessions with incandescence. He neatly swings through standards and a few of his own tunes.

On the last three tracks of CD-2, coming from a Roulette session, the contribution of the sidemen can easily be overlooked, for it is the Edison personality, open or muted, that lends the tunes its character.

Album: The Swinger (Disc 1)

Bitrate: MP3@320K/s

Time: 77:01

Size: 176.3 MB

Styles: Trumpet jazz, Mainstream jazz

Year: 2011

[7:31] 1. Pussy Willow

[6:05] 2. The Very Thought Of You

[5:18] 3. Nasty

[6:54] 4. The Strollers

[6:54] 5. Sunday

[9:54] 6. Love Is Here To Stay

[4:54] 7. Fair Ground

[5:43] 8. Ill Wind

[8:46] 9. Impressario

[9:50] 10. Short Coat

[5:07] 11. Baby Won't You Please Come Home

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Album: The Swinger (Disc 2)

Bitrate: MP3@320K/s

Time: 76:59

Size: 176.2 MB

Styles: Trumpet jazz, Mainstream jazz

Year: 2011

Art: Front

[7:24] 1. How Am I To Know

[9:14] 2. Blues In The Closet

[6:37] 3. Memories For The Count (Alternate)

[5:51] 4. Come With Me

[6:46] 5. Critics' Delight

[8:57] 6. All Depends On You/Charmaine/How Long Has This Been Going On /Makin' Whoopie

[9:09] 7. Oh! How I Hate To Get Up In The Afternoon

[8:55] 8. Memories For The Count

[5:21] 9. Come With Me (Alt. Take)

[1:57] 10. Indiana

[4:01] 11. Pussy Willow

[2:40] 12. Sweetenings

The Swinger and Mr Swing Disc1,Disc2 

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Lambert, Hendricks & Ross - The Swingers

Styles: Vocal
Year: 1958
File: MP3@320K/s
Time: 41:50
Size: 96,1 MB
Art: Front

(3:32)  1. Airegin
(3:16)  2. Babe's Blues
(3:32)  3. Dark Cloud
(2:04)  4. Jackie
(5:07)  5. Swingin' 'Til the Girls Come Home
(4:13)  6. Four
(3:30)  7. Little Niles
(2:57)  8. Where
(2:58)  9. Now's the Time
(3:46) 10. Love Makes the World Go Around
(6:49) 11. Clap Hands! Here Somes Charley

One of the lesser-known sets by the classic jazz vocal group Lambert, Hendricks & Ross, this LP holds its own with their more famous recordings. Assisted by tenor saxophonist Zoot Sims, pianist Russ Freeman, and guitarist Jim Hall, among others, Dave Lambert, Jon Hendricks, and Annie Ross sound at their best on such numbers as "Airegin," "Jackie" (a feature for Ross), "Swingin' 'Til the Girls Come Home," "Four," and "Now's the Time." 

This album is recommended to fans of this unique and influential vocal trio. ~ Scott Yanow http://www.allmusic.com/album/the-swingers!-mw0000194210

Personnel:  Vocals – Annie Ross, Dave Lambert, Jon Hendricks;  Bass – Ed Jones;  Drums – Sonny Payne;  Guitar – Freddie Green;  Piano – Russ Freeman;  Tenor Saxophone – Zoot Sims

The Swingers

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Teri Thornton - Devil May Care

Styles: Vocal
Year: 1961
File: MP3@320K/s
Time: 37:16
Size: 85,7 MB
Art: Front

(2:48)  1. Lullaby of the Leaves
(2:47)  2. Devil May Care
(3:10)  3. Detour Ahead
(2:33)  4. The Song Is You
(3:29)  5. My Old Flame
(3:48)  6. What's Your Story, Morning Glory
(2:31)  7. Dancing in the Dark
(3:27)  8. Left Alone
(3:11)  9. Blue Champagne
(2:42) 10. I Feel a Song Comin' On
(4:11) 11. What's New?
(2:33) 12. Blue Skies

This is the first (of three) long out of print recordings by Teri Thornton, finally available to the general public. It would not be a stretch to say she is perhaps the most talented, distinctive, clean, out-of-sight singer listeners have never heard....until now. Thornton's powerful, almost chilling voice compares favorably to the pristine tones and vibrato of Sarah Vaughan, the blues sassiness of Dinah Washington, and some of the more soulful refrains of Abbey Lincoln. Simply put, you have to hear her once to believe her. Whether on doleful ballads or raucous swingers, Thornton is totally confident and in control  of her emotions and yours. From the best version of the Bob Dorough-written title track you are likely to hear, to the regretful ballad "My Old Flame" or the ultimate heart-melter "Left Alone," to an interesting arrangement on a pleading "What's Your Story, Morning Glory?," Thornton charges through the bar lines. Check her forcefulness on "Dancing in the Dark" and "I Feel a Song Coming On." Sometimes she purposefully staggers behind measures to grand effect. Every track is a showstopper, thanks to her uniquely soulful, drama-laden approach. 

Potent, unobtrusive horn charts feature legends like trumpeter Clark Terry, trombonist Britt Woodman, and saxophonists Earle Warren and Seldon Powell. The rhythm section of guitarist Freddie Green (half the tracks, Sam Herman on the others), pianist Wynton Kelly, bassist Sam Jones, and drummer Jimmy Cobb can do no wrong. Arranger par excellence Norman Simmons provided the perfect charts. This is an important document of a truly great jazz singer, and is essential in the collection of every serious aficionado. The only one regret is that it can't be given several handfuls of *****. ~ Michael G.Nastos http://www.allmusic.com/album/devil-may-care-mw0000237135

Personnel: Teri Thornton (vocals); Freddie Green, Sam Herman (guitar); Seldon Powell (saxophone); Earle Warren (alto saxophone); Clark Terry (trumpet, flugelhorn); Britt Woodman (trombone); Wynton Kelly (piano); Jimmy Cobb (drums).

Devil May Care

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Jackie Wilson & Count Basie - Manufactureres Of Soul

Styles: Vocal, Piano, Soul
Year: 1968
File: MP3@320K/s
Time: 30:44
Size: 75,1 MB
Art: Front

(2:37)  1. Funky Broadway
(2:37)  2. For Your Precious Love
(2:43)  3. In The Midnight Hour
(4:09)  4. Ode To Billy Joe
(2:42)  5. Chain Gang
(2:45)  6. I Was Made To Love Her
(2:43)  7. Uptight (Everything's Alright)
(2:37)  8. I Never Loved A Woman (The Way I Love You)
(2:29)  9. Respect
(2:36) 10. Even When You Cry
(2:41) 11. My Girl

A really wonderful collaboration between two very unlikely partners  and a great album that really stands out as some of the best work from both artists in the 60s! Count Basie's group gets hard and soulful on the record and even a little funky on the best cuts and Jackie Wilson is in a raw bluesy vocal style that recalls the best moments of his earlier Brunswick singles a great edge that makes the whole Basie groove sound even more hard-hitting than ever. 

Benny Carter arranged, but the groove is more a hard-edged Count Basie mode mixed with Brunswick soul styles and Jackie blows it out over the top on great versions of "Funky Broadway", "Ode To Billie Joe", "I Was Made To Love Her", "Even When You Cry", and "Respect". Also features a version of "For Your Precious Love" that was a bit of a hit for the pair! (Original stereo pressing. Cover has a cut corner & light wear.) © 1996-2016, Dusty Groove, Inc. https://www.dustygroove.com/item/38045

Personnel:  Jackie Wilson – vocals;  Count Basie – piano;  Al Aarons, Oscar Brashear, Gene Coe, Sonny Cohn – trumpet;  Richard Boone, Steve Galloway, Grover Mitchell – trombone;  Bill Hughes - bass trombone;  Bobby Plater, Marshal Royal - alto saxophone;  Eric Dixon, Eddie "Lockjaw" Davis - tenor saxophone;  Charlie Fowlkes - baritone saxophone;  Freddie Green – guitar;  Uncredited – bass;  Harold Jones – drums;  Benny Carter – arranger.

Manufactureres Of Soul

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Lester Young - The 'Kansas City Sessions'

Styles: Clarinet And Saxophone Jazz

Year: 1997

File: MP3@320K/s

Time: 67:17

Size: 154,6 MB

Art: Front

(3:02)  1. Way Down Yonder in New Orleans (take 2)

(3:00)  2. Way Down Yonder in New Orleans

(3:03)  3. Countless Blues

(3:01)  4. Countless Blues (take 2)

(3:00)  5. Them There Eyes (take 2)

(3:01)  6. Them There Eyes

(2:56)  7. I Want a Little Girl

(2:57)  8. I Want a Little Girl (take 2)

(2:59)  9. Pagin' the Devil

(2:58) 10. Pagin' the Devil (take 2)

(3:22) 11. Three Little Words (take 2)

(2:54) 12. Three Little Words

(3:20) 13. Jo Jo

(3:18) 14. I Got Rhythm (take 3)

(3:18) 15. I Got Rhythm (take 2)

(3:19) 16. I Got Rhythm

(2:53) 17. Four O'Clock Drag

(2:53) 18. Four O'Clock Drag (take 3)

(3:07) 19. Laughing at Life

(2:54) 20. Good Mornin' Blues

(3:06) 21. I Know That You Know

(2:47) 22. Love Me or Leave Me

This is a CD overflowing with classic performances. The great Lester Young is heard with the 1938 version of the Kansas City Six, a group also including trumpeter Buck Clayton (in prime form), Eddie Durham on electric guitar (where he preceded Charlie Christian) and trombone, the rhythm guitar of Freddie Green, bassist Walter Page, and drummer Jo Jones. The four selections (all of which are joined by an alternate take apiece) are most notable for Young's switching to clarinet on some of the pieces. His clarinet solo on "I Want a Little Girl" sounds eerily like Paul Desmond's alto of 15 years later. These classic cool jazz performances have delightful interplay between the two horns. The second part of the reissue features the 1944 Kansas City Six in which Young (sticking to tenor) and trumpeter Bill Coleman are joined by a three-piece rhythm section and trombonist Dickie Wells. Wells, who takes some very colorful and nearly riotous solos, rarely sounded better, and the four selections are highlighted by three equally rewarding versions of "I Got Rhythm" and two of "Three Little Words." The CD concludes with the four titles by 1938's Kansas City Five, which was essentially the early Kansas City Six without Young. Clayton is once again in top form, and Durham's guitar solos were among the first worthwhile examples of the electric guitar on record. This gem is highly recommended for all jazz collections. ~ Scott Yanow http://www.allmusic.com/album/the-kansas-city-sessions-mw0000087654

Personnel: Lester Young (clarinet, tenor saxophone); Freddie Green (vocals, guitar); Eddie Durham (electric guitar, trombone); Bill Coleman , Buck Clayton (trumpet); Dicky Wells (trombone); Joe Bushkin (piano); Jo Jones (drums).

The Kansas City Sessions

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Count Basie & Joe Williams - Count Basie Swings, Joe Williams Sings

Styles: Vocal And Piano Jazz, Big Band

Year: 1955

File: MP3@320K/s

Time: 42:57

Size: 98,5 MB

Art: Front

(5:29)  1. Every Day I Have The Blues

(5:28)  2. The Comeback

(3:05)  3. All Right, Ok, You Win

(3:39)  4. In The Evening (When The Sun Goes Down)

(3:12)  5. Roll 'Em Pete

(3:05)  6. Teach Me Tonight

(2:58)  7. My Baby Upsets Me

(3:33)  8. Please Send Me Someone To Love

(3:48)  9. Ev'ry Day (I Fall In Love)

(3:07) 10. As I Love You

(2:37) 11. Stop! Don't!

(2:53) 12. Too Close For Comfort

Joe Williams' debut as the featured vocalist in Count Basie's band was one of those landmark moments that even savvy observers don't fully appreciate when it occurs, then realize years later how momentous an event they witnessed. Williams brought a different presence to the great Basie orchestra than the one Jimmy Rushing provided; he couldn't shout like Rushing, but he was more effective on romantic and sentimental material, while he was almost as spectacular on surging blues, up-tempo wailers, and stomping standards. Basie's band maintained an incredible groove behind Williams, who moved from authoritative statements on "Every Day I Have the Blues" and "Please Send Me Someone to Love" to brisk workouts on "Roll 'Em Pete" and his definitive hit, "All Right, OK, You Win." ~ Ron Wynn http://www.allmusic.com/album/count-basie-swings-joe-williams-sings-mw0000691298

Personnel: Count Basie (piano); Joe Williams (vocals); Marshall Royal (alto saxophone, clarinet); Bill Graham (alto saxophone); Frank Wess (tenor saxophone, flute); Frank Foster (tenor saxophone); Charlie Fowlkes (baritone saxophone); Wendell Culley, Reunald Jones, Thad Jones, Joe Newman (trumpet); Henry Coker, Bill Hughes, Benny Powell (trombone); Freddie Green (guitar); Eddie Jones (bass); Sonny Payne (drums).

Count Basie Swings, Joe Williams Sings

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Ella Fitzgerald, Count Basie, Joe Williams - One O'Clock Jump

Styles: Vocal And Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 47:06
Size: 108,0 MB
Art: Front

(3:02)  1. Too Close for Comfort
(3:35)  2. Smack Dab in the Middle
(3:27)  3. Amazing Love
(3:33)  4. Only Forever
(3:00)  5. Don't Worry 'Bout Me
(3:03)  6. Stop, Pretty Baby
(4:27)  7. One O'Clock Jump
(1:55)  8. Jamboree
(2:37)  9. I Don't Like You No More
(8:30) 10. From Coast To Coast
(3:00) 11. Too Close for Comfort ( Alternative Take)
(2:20) 12. One O'Clock Jump  (EP version)
(4:33) 13. One O'Clock Jump (Alternative Take)

This recording could be considered a near-sibling to April In Paris, since several of its tracks date from sessions out of the same month. Others overlap with material cut for The Greatest! Count Basie Plays . . . Joe Williams Sings Standards, and it isn't as compelling a record, either as a Joe Williams vehicle or a Basie showcase, as either of those, though it does have its moments, most notably the original finale, Arranger Ernie Wilkins' "From Coast to Coast," an 8½-minute blow-out; the Ella Fitzgerald-Joe Williams duet on "Too Close For Comfort," and the title track, rearranged by Wilkins but close to the classic rendering, which features lively solos by Frank Wess, Benny Powell, Frank Foster, and (especially)Joe Newman and Henry Coker. 

Williams is the dominant presence on the album, singing on seven of the original 10 tracks, and his presence is a bit of a drag on some of the proceedings, especially "Only Forever." His work with Basie from this era is better represented on Count Basie Swings, Joe Williams Sings, although he and the band acquit themselves very well here on "Stop, Pretty Baby, Stop," where all hands are firing on all cylinders at once for a change. The bonus tracks include a heavier, punchier outtake of "One O'Clock Jump" featuring the same soloists, plus a Williams-solo version of "Too Close For Comfort." The CD is a good package, with superb sound, though some historical notes would've been nice to put the sessions in perspective. A handy mid-priced reissue. ~ Bruce Eder  http://www.allmusic.com/album/one-oclock-jump-mw0000245828

Personnel: Count Basie (piano); Ella Fitzgerald (vocals); Joe Williams (vocals); Freddie Green (guitar); Frank Wess (flute, tenor saxophone); Marshall Royal (clarinet, alto saxophone); Bill Graham (alto saxophone); Frank Foster (tenor saxophone); Charlie Fowlkes (baritone saxophone); Reunald Jones, Joe Newman , Thad Jones, Wendell Culley (trumpet); Henry Coker, Benny Powell, Bill Hughes (trombone); Sonny Payne (drums).

One O'Clock Jump

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Joe Williams, Count Basie - Greatest! Count Basie Plays, Joe Williams Sings Standards

Styles: Vocal And Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 34:46
Size: 80,1 MB
Art: Front

(2:18)  1. Thou Swell
(2:49)  2. There Will Never Be Another You
(3:37)  3. Our Love Is Here To Stay
(2:35)  4. 'S Wonderful
(2:24)  5. My Baby Just Cares for Me
(3:54)  6. Nevertheless
(2:25)  7. Singin' in the Rain
(3:05)  8. I'm Beginning to See the Light
(2:27)  9. A Fine Romance
(3:58) 10. Come Rain Or Come Shine
(2:37) 11. I Can't Believe That You're In Love With Me
(2:32) 12. This Can't Be Love

When it comes to accompanying a singer, there is probably no better jazz orchestra than the Count Basie Band. They swing so hard, that no matter who is singing with them, they seem to find a way to prop up even the best of jazz stylists. Such is the case with Joe Williams, a singer who should need no formal introduction to jazz fans. Williams' deep and rich tone is immediately recognizable and is, indeed, one of the great voices the idiom has produced. On THE GREATEST!!, Buddy Bregman's arrangements can often be angular and edgy. Other times, especially on the ballads, his arrangements are soft, mellow and lush. For example, on "My Baby Just Cares For Me," the brass shoots razor-sharp notes against a canvas of swingin' reeds. 

In contrast, on "Nevertheless," the music is serene and romantic, wistful and sentimental. Highlights on this album include the diverse and familiar "Singin' In the Rain," "A Fine Romance," and "I Can't Believe That You're In Love With Me." http://www.cduniverse.com/productinfo.asp?pid=1177317&style=music&fulldesc=T

Personnel: Count Basie (piano, organ); Joe Williams (vocals); Buddy Bregman (arranger); Marshall Royal (alto saxophone, clarinet); Bill Graham (alto saxophone); Frank Foster (tenor saxophone); Charlie Fowlkes (baritone saxophone); Thad Jones, Reunald Jones, Wendell Culley (trumpet); Henry Coker, Bill Hughes, Ben Powell (trombone); Freddie Green (guitar); Eddie Jones (bass); Sonny Payne (drums).

Greatest! Count Basie Plays, Joe Williams Sings Standards

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