The Brothers Candoli Sextet - 2 For The Money

Styles: Trumpet Jazz
Year: 1959
File: MP3@320K/s
Time: 34:23
Size: 80,1 MB
Art: Front

(3:41) 1. Splanky
(2:59) 2. Soak Yo' Sally
(3:43) 3. Ah-Lue-Cha
(2:37) 4. Riffs For Rosie
(4:42) 5. Caravan
(2:34) 6. Take The ''A'' Train
(3:18) 7. Doodlin'
(4:32) 8. Willow Weep For Me
(3:09) 9. Blueing Boogie
(3:04) 10. Richard Diamond's Blues

One of the harder to find 50s sessions from LA jazz brothers Pete & Conte Candoli a twin-trumpet album with rhythm from Jimmy Rowles on piano, Howard Roberts on guitar, Max Bennett on bass, and Frank Capp on drums! The tracks are a clean extension of mid 50s LA cool jazz blown with a bit more edge, and perhaps a looser feel than some of the brothers' earlier work and nicely swinging overall.

Titles include "Splanky", "Riffs For Rosie", "Doodlin", "Blueing Boogie", and "Richard Diamond's Blues". © 1996-2023, Dusty Groove, Inc.
https://www.dustygroove.com/item/365385/Brothers-Candoli-Pete-Conte-Candoli-:2-For-The-Money?filterfield=veryrecent&sort_order=date_added

Personnel: Trumpet – Conte Candoli, Pete Candoli; Bass – Max Bennett; Drums – Frank Capp; Guitar – Howard Roberts; Piano – Jimmy Rowles

2 For The Money

---

Conte Candoli - Modern Sounds From The West

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 60:34
Size: 141,4 MB
Art: Front

(3:29) 1. The Blindfold Test No. 1
(3:42) 2. Culver City
(2:54) 3. Van Nuys Indeed
(3:56) 4. Burbank Bounce
(4:47) 5. Santa Monica
(4:07) 6. The Blindfold Test No. 2
(4:03) 7. Here's Pete
(3:59) 8. No Love, No Nothin'
(3:17) 9. I'm Getting Sentimental Over You
(2:42) 10. Come Love
(2:55) 11. T.N.T.
(3:31) 12. Thank You, Judge
(4:32) 13. Santa Anita
(3:34) 14. Hooray For Hollywood
(4:30) 15. The Blindfold Test No. 3
(4:27) 16. Arcadia

Best-known as the trumpet section leader in Doc Severinsen's Tonight Show Band, Conte Candoli was a fine all-around jazz stylist most at home in the worlds of bop and West Coast cool jazz. Younger by four years than his similarly accomplished trumpet-playing brother Pete, Conte was born Secondo Candoli in Mishawaka, IN, on July 12, 1927. He first patterned himself after players like Harry James, Roy Eldridge, and Dizzy Gillespie, later discovering Miles Davis and Clifford Brown.

His first job came at age 16, when brother Pete recommended him for a summer gig with Woody Herman's Thundering Herd; after graduating high school, he joined full-time. He went on to play with several other bands, including Stan Kenton, whom he left in 1954 to form his own band. After leading some recording dates, he soon found a more comfortable existence, moving to Los Angeles and taking session jobs in between gigs with Howard Rumsey's Lighthouse All-Stars.

After about four years, he left in 1960 to work with drummer Shelly Manne, while he and Pete both enjoyed top-dog status in the L.A. session community. In 1968, Candoli took a part-time gig with the Tonight Show Band and joined permanently in 1972, when the show officially moved to Burbank.

During the '70s, he was also a member of Supersax, among other L.A. all-star outfits, and also continued his periodic collaborations with his brother. Candoli retired from the Tonight Show along with Johnny Carson in 1992, and continued to play until a battle with cancer slowed his activities. Candoli died in a convalescent home on December 14, 2001.By Steve Huey https://www.allmusic.com/artist/conte-candoli-mn0000100990/biography

Personnel: Conte Candoli / trumpet; John Graas / flute; Charlie Mariano / alto sax; Marty Paich / piano; Monty Budwig / bass; Stan Levey / drums; Buddy Collette / alto sax, flute; Jimmy Giuffre / clarinet, tenor sax,bass sax; Gerald Wiggins / piano; Howard Roberts / guitar; Curtis Counce / bass; Hank Jones / piano; Barry Galbraith / guitar; Milt Hinton / bass; Osie Johnson / drums; Harry Edison / trumpet; Herb Geller / alto sax; Bob Enevoldsen / valve trombone, tenor sax; Lorraine Geller / piano; Joe Mondragon / bass

Modern Sounds From The West

---

Art Pepper - Winter Moon

Styles: Saxophone Jazz
Year: 1980
File: MP3@320K/s
Time: 57:41
Size: 132,2 MB
Art: Front

(5:32)  1. Our Song
(5:21)  2. Here's That Rainy Day
(4:52)  3. That's Love
(5:33)  4. Winter Moon
(5:48)  5. When The Sun Comes Out
(7:00)  6. Blues In The Night
(6:48)  7. The Prisoner (Love theme from 'The Eyes of Laura Mars')
(5:34)  8. Our Song (alternate)
(4:57)  9. The Prisoner (alternate)
(6:13) 10. Ol' Man River

Ever since Artie Shaw and Charlie Parker, most jazz musicians have had a desire to record at least once in their lives with strings, often considering it a prestigious honor. Altoist Art Pepper finally had his chance on this album and fortunately the string arrangements (by Bill Holman and Jimmy Bond) do not weigh down the proceedings. Pepper sounds quite inspired performing seven strong compositions highlighted by Hoagy Carmichael's "Winter Moon," "When the Sun Comes Out" and a clarinet feature on "Blues in the Night." This material (plus four alternate takes and two other songs from the same sessions) is included in the massive Art Pepper Galaxy box set. ~ Scott Yanow  http://www.allmusic.com/album/winter-moon-mw0000188534

Personnel: Art Pepper (alto saxophone); Howard Roberts (guitar); Stanley Cowell (piano); Cecil McBee (acoustic bass guitar); Carl Burnett (drums).

Winter Moon

---

Pat Healy - Sings Just Before Dawn · Her Complete Recordings

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 58:45
Size: 136,3 MB
Art: Front

(0:28) 1. Bobby Troup Introduces Pat Healy
(1:33) 2. I Wish I Were In Love Again
(2:38) 3. Bobby Troup Interviews Pat Healy
(1:42) 4. The Siren Song
(3:47) 5. Don't Ever Leave Me
(3:54) 6. The Siren Song
(3:38) 7. I'm A Dreamer, Aren't We All?
(1:39) 8. Boys And Girls
(2:47) 9. Naughty But Nice
(3:35) 10. Isn't It A Pity
(4:09) 11. When I Fall In Love
(4:07) 12. Nobody Else But Me
(2:21) 13. Easy Come 
(3:13) 14. Every Time
(3:26) 15. You Never Knew About Me 
(0:22) 16. Bobby Troup Introduces Pat Healy
(2:24) 17. Blue Moon
(3:51) 18. I've Got It Again
(0:55) 19. Bobby Troup Introduces Pat Healy
(1:38) 20. They All Laughed
(0:17) 21. Bobby Troup Introduces The Next Song
(1:40) 22. The Siren Song
(2:00) 23. Ever Since You Went Away (Bonus Track)
(2:30) 24. Bill Bailey Won't You Please Come Home (Bonus Track)

Miss Pat Healy (1927-2020) was born in Cleveland but at age 22 she settled in Los Angeles. She spent years filling various jobs before having the courage to make impromptu appearances at some local nightclubs. Finally in 1957 spirited by pianist Joe Marino, she quit her job and soon emerged as a praised and applauded singer by the audiences, winning soon her first professional contract as a guest vocalist on the television show Stars of Jazz, backed by the Paul Bley trio. As a consequence of her performance, she was offered to record for World Pacific Records.

On Just Before Dawn, her debut album, Pat sang eleven standard songs, some of them quite unusual, backed by cellist Fred Katz’s intimate approach to arranging and conducting, and by Joe Marino’s quartet. In both settings, she revealed herself as a vocalist with clarity of sound, style, sensitivity, and the ability to sing difficult songs, with the right accompaniment, resulting in this distinctive album, the first and only she recorded.The remaining recordings come from two later appearances of Pat in Stars of Jazz, where she can be heard with the backing of the Keith Williams orchestra, and finally, alone with her favorite accompanist, Joe Marino.By Jordi Pujol
https://www.amazon.com/Sings-Just-Before-Dawn-Recordings/dp/B0BXFSTGF4

Personnel: Pat Healy (vcl), Fred Katz (arr, dir), Paul Horn (as, bcl, fl), Paul Bley, Gerald Wiggins, Joe Marino (p), John Pisano, Howard Roberts (g), Charlie Haden, Hal Gaylor, Richard Von Holberg (b), Lenny McBrowne, Chico Hamilton, Shelly Manne (d)

Sings Just Before Dawn · Her Complete Recordings

---

Plas Johnson - This Must Be The Plas!

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 37:13
Size: 85,6 MB
Art: Front

(3:00)  1. Too Close For Comfort
(3:32)  2. I Hadn't Anyone Till You
(2:38)  3. Heart And Soul
(3:36)  4. Poor Butterfly
(3:13)  5. Memories Of You
(2:15)  6. Just One Of Those Things
(2:57)  7. There Is No Greater Love
(3:11)  8. If I Had You
(3:09)  9. My Silent Love
(3:18) 10. Day In - Day Out
(2:53) 11. My Old Flame
(3:26) 12. S'il Vous Plait

This Must Be the Plas is a 1959 album by saxophonist Plas Johnson. The initial Billboard magazine review from November 30, 1959 chose the album as one of its "Special Merit Spotlights" and commented that "Eye-catching photo of curvaceous red-head gives package solid display value. Johnson's tasteful, warm sax solo work is heard to advantage on a group of oldies...Spinnable wax for jazz jocks and hip pop deejays". https://en.wikipedia.org/wiki/This_Must_Be_the_Plas

Personnel: Plas Johnson - tenor saxophone; Larry Bunker - vibraphone; Victor Feldman - vibraphone; Gene Estes - vibraphone; Paul Smith - piano; Ernie Freeman - Hammond organ; Howard Roberts - guitar;  Bill Pitman - guitar;  Red Callender - bass;  Earl Palmer - drums

This Must Be The Plas!

---

Diane Schuur - Diane Schuur Collection

Styles: Vocal Jazz
Year: 1989
File: MP3@320K/s
Time: 50:12
Size: 115,1 MB
Art: Front

(5:35)  1. Love Dance
(2:57)  2. Easy To Love
(3:54)  3. By Design
(4:46)  4. The Very Thought Of You
(3:16)  5. Caught A Touch Of Your Love
(4:23)  6. How Long Has This Been Going On?
(4:53)  7. Louisana Sunday Afternoon
(4:56)  8. Come Rain Or Come Shine
(3:17)  9. Sure Thing
(3:54) 10. Teach Me Tonight
(3:53) 11. Funny (But I Still Love You)
(4:21) 12. I'll Close My Eyes

Released in 1989, Collection sums up Diane Schuur's first five GRP albums, a period when she achieved a level of acclaim that tailed off somewhat in the '90s. What has been gathered together here is often very impressive, her rich, full voice keening over carefully wrought, beautifully recorded lush backdrops (with real or electronic strings), swinging over some fine big bands, or coming to terms with '80s jazz funksters. Strangely, there is only one selection from her live-in-the-studio collaboration Diane Schuur & the Count Basie Orchestra, which is the best overall album from this period (it features guitarist Freddie Green's last recorded performance) while the other albums (Deedles, Schuur Thing, Timeless, Talkin' 'Bout You) get multiple representation. It's quite possible that Schuur has never topped the leadoff track, Ivan Lins' beguiling "Love Dance" with her sponsor Stan Getz weaving a magic spell, this is a great example of the right material meeting the right singer and the right backing. Dave Grusin, Johnny Mandel, Billy May, Pat Williams, and Jeremy Lubbock are the arrangers whose tracks were chosen and everything has the brilliant sonic sheen that turned on the audiophile crowd early in the CD era. ~ Richard S.Ginell https://www.allmusic.com/album/collection-mw0000200577

Personnel: Diane Schuur (vocals); Jose Feliciano (vocals); Howard Roberts , Steve Khan (electric guitar); Tom Scott (alto saxophone); Stan Getz (tenor saxophone); Dave Grusin (piano, Fender Rhodes piano, keyboards, synthesizer, percussion); Mitchel Forman (piano, synthesizer); Richard Tee (Fender Rhodes piano); Larry Williams (synthesizer); Dan Dean (electric bass); Carlos Vega (drums, percussion); Moyes Lucas, Steve Gadd (drums).

Diane Schuur Collection

---

Diane Schuur - Deedles

Styles: Vocal Jazz
Year: 1984
File: MP3@320K/s
Time: 41:37
Size: 95,9 MB
Art: Front

(4:47)  1. The Very Thought Of You
(5:20)  2. New York State Of Mind
(3:54)  3. Teach me Tonight
(2:35)  4. I'm Beginning To See The Light
(4:20)  5. I'll Close My Eyes
(4:13)  6. Reverend Lee
(3:22)  7. I'm Just Foolin' Myself
(4:59)  8. Rock Me On The Water
(4:41)  9. Can't Stop A Woman In Love
(3:20) 10. Amazing Grace

On her 1984 debut album, vocalist/pianist Diane “Deedles” Schuur triumphs from the start (a fluid, assured vocal delivery on the standard “The Very Thought of You”) to the end (a duo version of “Amazing Grace” with her on piano and coproducer Dave Grusin on keyboards). Deedles is both traditional, with a 20-piece string section, and contemporary-sounding, with electric bass throughout. Schuur’s career-long penchant for tackling the contemporary songbook is established here with a pair of numbers from the '70s: Billy Joel’s “New York State of Mind” (one of two tracks to feature her mentor, tenor saxophonist Stan Getz) and Jackson Browne’s “Rock Me on the Water.” It’s definitely an album of its time, with Yamaha DX-7 synthesizer and occasional Simmons electronic drums. But her effortless scat interpolating of the circus favorite “Entrance of the Gladiators” into Ellington’s “I’m Beginning to See the Light” is evergreen. ~ Editors' Note https://itunes.apple.com/us/album/deedles/29085

Personnel: Vocals – Diane Schuur; Drums – Moyes Lucas (tracks: 1 to 9); Electric Bass – Dan Dean (tracks: 1 to 9); Electric Guitar – Howard Roberts (tracks: 1 to 9); Electric Piano [Fender Rhodes] – Dave Grusin (tracks: 5, 6, 10);  Harp – Gloria Agostini;  Percussion – Dave Grusin (tracks: 2, 3, 6,);   Piano [Acoustic Piano] – Dave Grusin;  Strings – Barry Finclair, Charles Libove, Charles McCracken, Elena Barere, Gerald Tarack, Harry Lookofsky, Jan Mullen, Jean Ingraham, John Pintavalle, Julien C. Barber, LaMar Alsop, Lewis Eley, Regis Iandiorio, Richard Locker, Richard Sortomme, Sue Pray, Theodore Israel;  Strings, Concertmaster – David Nadien;  Synthesizer [OBX-a] – Dave Grusin (tracks: 2, 3, 6, 8, 9, 10);  Synthesizer [Yamaha DX-7] – Don Grusin (tracks: 1 to 5, 7 to 9)

Deedles

---

The Howard Roberts Quartet - Whatever's Fair

Bitrate: MP3@320K/s
Time: 28:02
Size: 64.2 MB
Styles: Easy Listening, Guitar jazz
Year: 1966/2014
Art: Front

[2:33] 1. The Shadow Of Your Smile
[2:34] 2. Sweet September
[2:33] 3. Pussy Cat
[2:25] 4. Whatever's Fair
[2:01] 5. This Is The Life
[2:36] 6. On A Clear Day You Can See Forever
[2:33] 7. I'll Only Miss Her When I Think Of Her
[2:40] 8. Manha De Carnaval
[2:57] 9. Michelle
[2:38] 10. A Taste Of Honey
[2:27] 11. Bye Bye Blues

Bass Guitar – Chuck Berghofer; Drums – Earl Palmer; Guitar – Bill Pitman, Howard Roberts; Organ – Henry Cain; Percussion – Jill Roberts.

We're still in the wild '60s when Howard Roberts was on a roll producing some very fine pop-oriented guitar jazz as was the fad these days, a fact easily witnessed by this magnificent Capitol LP. Forget rock 'n roll for a moment, this is expertly crafted Daiquiris-by-the-pool music by the top session men.

Whatever's Fair mc
Whatever's Fair zippy

---

Helen Carr - Why Do I Love You (Remastered)

Bitrate: MP3@320K/s
Time: 31:23
Size: 71.9 MB
Styles: Vocal, Easy Listening
Year: 1955/2014
Art: Front

[1:53] 1. Be Careful, It's My Heart
[3:52] 2. My Kind Of Trouble Is You
[2:21] 3. Lonely Street
[2:20] 4. Symphony
[3:31] 5. You're Getting To Be A Habit With Me
[2:27] 6. Bye Bye Baby
[2:18] 7. Then You've Never Been Blue
[1:57] 8. Summer Night
[3:39] 9. Got A Date With An Angel
[2:33] 10. Can't Help Lovin' Dat Man/Why Do I Love You
[2:24] 11. Do I Worry
[2:02] 12. I've Got A Feelin' You're Foolin'

Acoustic Bass – Red Mitchell; Guitar – Howard Roberts; Lead Vocals – Helen Carr; Trumpet – Cappy Lewis.

Standards and pre-rock singer who recorded in mid-'50s for Bethlehem. What might have been some interesting late '50s material for Atlantic with King Curtis, Al Casey and the Cumming Sisters never was released. ~ Ron Wynn

Why Do I Love You

---

Buddy DeFranco - Plays Artie Shaw

Bitrate: MP3@320K/s
Time: 45:47
Size: 104.8 MB
Styles: Bop, Clarinet jazz
Year: 1957/2005
Art: Front

[5:08] 1. Frenesi
[3:31] 2. Medley Dancing In The Dark Moonglow Time On My Hands
[2:44] 3. Keepin' Myself For You
[4:44] 4. Stardust
[4:31] 5. Summit Ridge Drive
[4:10] 6. My Heart Stood Still
[5:37] 7. Medley It Could Happen To You I Cover The Waterfront Someone To Watch
[4:47] 8. Cross Your Heart
[3:30] 9. Indian Love Call
[7:01] 10. Concerto For Clarinet

Bass – Joe Mondragon; Clarinet – Buddy DeFranco; Drums – Alvin Stoller, Milt Holland; Guitar – Barney Kessel, Howard Roberts; Piano, Harpsichord – Irving Garner, Jimmy Rowles; Trumpet – Ray Linn.

Buddy DeFranco is one of the great clarinetists of all time and, until the rise of Eddie Daniels, he was indisputably the top clarinetist to emerge since 1940. It was DeFranco's misfortune to be the best on an instrument that after the swing era dropped drastically in popularity and, unlike Benny Goodman and Artie Shaw, he has never been a household name for the general public.

When he was 14, DeFranco won an amateur swing contest sponsored by Tommy Dorsey. After working with the big bands of Gene Krupa (1941-1942) and Charlie Barnet (1943-1944), he was with TD on and off during 1944-1948. DeFranco, other than spending part of 1950 with Count Basie's septet, was mostly a bandleader from then on. Among the few clarinetists to transfer the language of Charlie Parker onto his instrument, DeFranco has won a countless number of polls and appeared with the Metronome All-Stars in the late '40s. He recorded frequently in the '50s (among his sidemen were Art Blakey, Kenny Drew, and Sonny Clark) and participated in some of Norman Granz's Verve jam session. During 1960-1963 DeFranco led a quartet that also featured the accordion of Tommy Gumina and he recorded an album with Art Blakey's Jazz Messengers on which he played bass clarinet. Work, however, was difficult to find in the '60s, leading DeFranco to accept the assignment of leading the Glenn Miller ghost band (1966-1974). He has found more artistic success co-leading a quintet with Terry Gibbs off and on since the early '80s and has recorded throughout the decades for many labels. ~bio by Scott Yanow

Plays Artie Shaw

---

Gerry Mulligan - The Age Of Steam

Styles: Saxophone Jazz
Year: 1971
File: MP3@320K/s
Time: 38:31
Size: 89,2 MB
Art: Front

(4:15)  1. One to Ten In Ohio
(5:10)  2. K-4 Pacific
(4:25)  3. Grand Tour
(8:38)  4. Over the Hill and Out of the Woods
(3:10)  5. Country Beaver
(4:16)  6. A Weed In Disneyland
(4:16)  7. Golden Notebooks
(4:17)  8. Maytag

During the 1952-65 period baritonist Gerry Mulligan was one of the most famous musicians in jazz but he spent the following five years at a lower profile, recording relatively little and not leading any significant bands. Age of Steam was a comeback record of sorts (although he had never declined), giving Jeru the opportunity to lead a big band again. The ensemble performs eight of his recent originals (the best known is "K4 Pacific"), featuring solos by Mulligan (who was now doubling on soprano), Tom Scott on tenor and soprano, Bud Shank on alto and flute, valve trombonist Bob Brookmeyer and trumpeter Harry "Sweets" Edison. The highly enjoyable music (last available on this A&M CD in 1988) still sounds fresh and spirited.~Scott Yanow http://www.allmusic.com/album/the-age-of-steam-mw0000201568

Personnel:  Gerry Mulligan (baritone saxophone, soprano saxophone, piano); Harry “Sweets” Edison, Roger Bobo (trumpet); Bob Brookmeyer (valve trombone); Jimmy Cleveland (trombone); Ken Shroyer (bass trombone); Bud Shank (alto saxophone, flute); Tom Scott (tenor & soprano saxophone); Ernie Watts (tenor saxophone); Roger Kellaway (electric piano); Howard Roberts (guitar); Emil Richards (vibraphone); Chuck Domanico (bass); John Guerin (drums); Joe Porcaro (percussion, drums)

The Age Of Steam

---

Bud Shank & Bob Cooper - Blowin' Country

Styles: Saxophone Jazz
Year: 1958
File: MP3@320K/s
Time: 55:45
Size: 128,2 MB
Art: Front

(3:21)  1. Dinah
(3:48)  2. Mutual Admiration Society
(4:12)  3. Steve Allen Theme
(2:45)  4. I've Grown Accustomed To Her Face
(6:18)  5. Blowin' Country
(3:17)  6. Love Nest
(3:45)  7. As Long As There's Music
(3:45)  8. Just In Time
(3:47)  9. Two Lost Souls
(4:33) 10. Thanks For The Memory
(3:38) 11. A Romantic Guy
(3:44) 12. Sweet Georgia Brown
(3:26) 13. Gypsy In My Soul
(2:34) 14. I Want To Be Happy
(2:46) 15. What'll I Do

If ever a series lived up to its promise and its name, this one surely does. These two discs are part of a set of reissues on Pacific Jazz labeled West Coast Classics which indeed they are. Also among the early releases (not reviewed here) are memorable sessions by Chet Baker/Russ Freeman, the Jack Montrose Sextet, the Jack Sheldon and Shank/Bill Perkins quintets, and octets led by Perkins and bass trumpeter Cy Touff. So far at least, there’s not a lemon in the orchard. Blowin’ Country, recorded in 1956–58, includes all selections from the original LP of that name plus five bonus tracks, on all of which Bud and Coop show that there was much more to the West Coast scene than cool. Backed by a topnotch rhythm section (with guitarist Roberts replacing pianist Williamson on the last four tracks), these two masters offer a comprehensive clinic in good old–fashioned swinging. The West Coast did have a certain “sound” of its own, which is evident throughout but the rap that it somehow didn’t swing simply doesn’t hold up under close scrutiny. 

Multi–instrumentalists Shank and Cooper let it all hang out, skipping comfortably through a colorful program that consists mostly of standards with a few not–so–standards (Steve Allen’s theme song and Shank’s “Blowin’ Country,” on which Bob and Bud frame a remarkable impression of Al and Zoot) tossed in for added flavor. Also on the menu are several lesser–known but no less convincing pieces including “Mutual Admiration Society,” “Two Lost Souls,” “As Long As There’s Music,” “The Gypsy in My Soul” and themes used by film/TV stars George Burns and Gracie Allen (“Love Nest”), Bob Hope (“Thanks for the Memory“) and Bob Cummings (“A Romantic Guy, I”). If there’s a downside, it lies in the fact that 15 tunes are crammed into the 55:37 playing time, leaving scant room to stretch. But Shank and Cooper know how to make every note count, and their solos, while perhaps briefer than one might wish, are always inspiring. Neither Shank nor Cooper was ever satisfied treading water, and both continued to refine and develop their styles. Shank is playing today as well as he ever has, while Cooper remained one of the West Coast's premier tenors until his passing in August 1995 (on the way to a rehearsal with the Bill Holman band). Mid-'50s monaural sound, but nevertheless highly recommended. 

While I can’t say I understand completely the title of valve trombonist Brookmeyer’s reissue from 1957, that’s irrelevant, really, as this is another clear–cut winner from way out west. Sound isn’t quite as sharp as on Blowin’ Country (with some slight distortion in places), but that’s a minor complaint when one hears the way Brookmeyer, Jimmy Giuffre and colleagues carve up these eight oldies from Tin Pan Alley and Brookmeyer’s “Slow Freight.” Despite the addition of two bonus tracks (“Freight,” “The Sheik of Araby”) the session still clocks in at only 49:35, which may be a consideration for those on a fixed income. But it’s good to hear Brookmeyer, one of a handful of masters on his axe, and especially the versatile Giuffre, whose more recent work lies in the realm of the avant–garde, playing sturdy straight–ahead Jazz with a well–defined kick. Brookmeyer’s a pretty fair bar–room pianist too, as he shows on “Don’t Be That Way,” “Honeysuckle Rose,” “Slow Freight” and Truckin’.” Another highlight is his muted work on “Sheik of Araby.” Another admirable session, but if forced to choose between Traditionalism and Blowin’ Country, the Shank/Cooper pairing would earn the nod by virtue of its better sound quality, running time and choice of material. ~ Jack Boewrs  http://www.allaboutjazz.com/blowin-country-traditionalism-revisited-bud-shank-capitol-records-review-by-jack-bowers.php

Personnel: Bud Shank (alto & tenor saxophones, flute); Bob Cooper (tenor saxophone); Claude Williamson (piano); Howard Roberts (guitar).

Blowin' Country

---

Bob Enevoldsen - Smorgasbord

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 60:23
Size: 138,9 MB
Art: Front

(3:52)  1. Iron Works
(5:00)  2. Loaded With Bass
(5:24)  3. Topsy
(8:27)  4. Blues & Rhythm
(5:35)  5. Don't Be That Way
(2:37)  6. Ding Dong, The Witch Is Dead
(2:16)  7. Swingin' On A Star
(3:19)  8. Swinger's Dream
(2:46)  9. My Ideal
(2:27) 10. How Low The Tune
(2:39) 11. John's Jumble
(2:17) 12. You're In Love
(2:50) 13. Thinking Of You
(2:18) 14. No Time For Love
(2:34) 15. Mr. Know-It-All
(2:51) 16. Oh, Look At Me Now
(3:00) 17. Bob's Boy

Back in the early 1950s, jazz musicians were impossibly gifted. A good number not only could play their primary instrument with enormous skill and flair, they often could play quite a few others. This was particularly true on the West Coast, where studio work was abundant but your share depended largely on how many axes you could grind. If you played only the tenor sax, your odds of being called consistently for a job were slim given the competition. But if you played three or more instruments, you could find yourself recording on several sessions a day. One of these highly versatile West Coast jazz musicians was Bob Enevoldsen, who played valve trombone, tenor sax and upright bass. Born in Montana, Enevoldsen (pronounced EE-na-vold-sin) studied music in Montana, served in the army, taught music in  Salt Lake City, and moved to Los Angeles in 1951.

There, he played valve trombone and tenor saxophone with Gerry Mulligan, Shorty Rogers, Shelly Manne and Marty Paich. Soon after he arrived, he learned the bass, perhaps as a way to play with the Harry Babasin Quartet and free up bassist Babasin [pictured] to play the jazz cello.

Enevoldsen also played bass in pianist and singer Bobby Troup's groups from 1954 onward. In 1959, Enevoldsen began working in Las Vegas show bands, and became a staff and studio musician for Steve Allen's TV show from 1962-64. In the decades that followed Enevoldsen remained a steady session and freelance musician on the West Coast. Among Enevoldsen's key recordings of the 1950s are dates with the Gerry Mulligan Tentet (starting in 1953); Shorty Rogers' Shorty Courts the Count (1954); and Bud Shank and Three Trombones (1954), on which he's joined by valve-trombonists Maynard Ferguson and Stu Williamson. Enevoldsen appears on Kenton Presents Jazz: Bill Holman (1954), Russ Garcia's challenging Wigville (1955) and the Marty Paich Dek-tette studio session with Mel Torme (1956). There were singer dates with Anita O'Day and Peggy Lee (1958), as well as swinging ensemble sessions, such as Art Pepper + Eleven (1959). From 1960 onward, Enevoldsen worked on movie soundtracks and TV show themes, and recorded jazz sessions up until his death in 2005.

Perhaps Enevoldsen's finest leadership date from the mid-1950s is Smorgasbord. The album demonstrates his versatility and humor as well as his spirited arranging skills. In addition to being a highly swinging session, it's notable for the musicians who were there and the instruments they played. The recording features Enevoldsen on valve trombone and tenor sax; Marty Paich [pictured] on piano, organ and accordion; Larry Bunker on vibes and drums; Howard Roberts on guitar; Red Mitchell on bass and piano; and Don Heath on drums. Besides the terrific small-group charts by Enevoldsen [pictured], you get to hear Paich play the squeezebox, and he does quite a fabulous job (Swinging on a Star, for example). 

Also spectacular is Larry Bunker on vibes and guitarist Howard Roberts, who too often is overlooked among the crowd of jazz session guitarists in California during this period. As one of jazz's early valve-trombonists, Enevoldsen cannot be compared with Bob Brookmeyer. Bob was and continues to be spectacular, and the two artists weren't in the same league. But Enevoldsen was a solid player and arranger who found steady work playing three different instruments. And he played them with ease and grace. ~ Marc Myers http://www.jazzwax.com/2009/06/bob-enevoldsen-jazz-octopus.html

Personnel:  Bob Enevoldsen - tenor saxophone, valve trombone; Marty Paich - p, accordion, organ; Larry Bunker - vib, p, dr; Howard Roberts – g; Red Mitchell – b; Don Heath - dr

Smorgasbord

---

Various - A Tribute To Charlie Parker

Bitrate: MP3@320K/s
Time: 88:12
Size: 201.9 MB
Styles: Assorted jazz styles
Year: 2013
Art: Front

[ 2:06] 1. Charlie Parker - Scrapple From The Apple
[ 7:55] 2. Grant Green - Cool Blues
[ 6:30] 3. Louis Smith - Au Privave
[ 6:15] 4. Paul Chambers - Chasin' The Bird
[ 5:25] 5. Stanley Turrentine - The Jumpin' Blues
[15:14] 6. Art Blakey - Moose The Mooche
[ 9:32] 7. Clifford Jordan - Billie's Bounce
[ 4:39] 8. Buddy Rich - Now's The Time
[ 3:08] 9. Roy Ayers - Donna Lee
[ 1:56] 10. Carmen Mcrae - Yardbird Suite
[ 4:10] 11. Elvin Jones - Anthropology
[ 4:10] 12. Ernie Andrews - Parker's Mood
[ 5:46] 13. Howard Roberts - Relaxin' At Camarillo
[ 3:48] 14. Michel Camilo - My Little Suede Shoes
[ 7:32] 15. Jim Hall - Scrapple From The Apple

In terms of his global influence and enduring legacy, alto saxophonist Charlie Parker was unquestionably one of the most important artistic figures of the 20th century. Almost sixty years after his premature demise Parker's musical DNA can be detected almost everywhere jazz is played. Parker's music—and in no small measure his myth—has inspired countless jazz musicians but it has also inspired authors, painters, film makers and a surprising number of poets.

A Tribute To Charlie Parker

---

Howard Roberts - Guilty

Bitrate: MP3@320K/s
Time: 25:14
Size: 57.8 MB
Styles: Cool jazz, Easy Listening
Year: 1967/2014
Art: Front

[1:59] 1. Watch What Happens
[2:14] 2. Ode To Billie Joe
[2:01] 3. Triste
[2:13] 4. Can't Take My Eyes Off You
[2:46] 5. The Look Of Love
[2:16] 6. Yellow Days
[2:13] 7. Walk Tall
[1:56] 8. You And I (Voce E Eu)
[2:19] 9. O Barquinho (Little Boat)
[2:47] 10. Wait Until Dark
[2:27] 11. Up, Up And Away

Dave Grusin - Organ, Chuck Berghofer - Bass, Al Hendrickson, Jack Marshall - Guitar, John Guerin - Drums, Paulo Fernando de Magalhaes, Larry Bunker - Drums and Percussion, Claudio Miranda - Drums and Percussion, Vic Feldman - Electric Piano and Percussion.

"Despite being locked away in the Hollywood studios for almost 3 decades, Howard Roberts remained a true giant of jazz guitar. His early albums for Verve (Good Pickins and Plays Guitar) showed his heavy debt to Tal Farlow and Barney Kessel. The series of recordings he made for Capitol some 5 years later, however, revealed a fully rounded, complete player with his own , unique, identity. True, the Capitol sessions were, taken collectively, rather more commercially biased with shorter tracks and less improvisation. At the same time, however, Roberts had learned the art of saying more with less, and notched up the intensity of his playing several degrees. Other influences had also crept in, noticeably blues, which now characterized his work.

Guilty

---

The Chico Hamilton Trio - The Chico Hamilton Trio

Styles: Jazz, Hard Bop
Year: 2011
File: MP3@320K/s
Time: 40:11
Size: 92,2 MB
Art: Front

(3:02)  1. Broadway
(3:58)  2. Porch Light
(3:04)  3. Blues On The Rocks
(5:12)  4. Skynned Strings
(3:16)  5. Street Of Drums
(2:51)  6. What Is There To Say
(2:29)  7. Nuttye
(2:41)  8. Buddy Boo
(4:41)  9. Uganda
(2:16) 10. Lollypop
(2:55) 11. We'll Be Together Again
(3:41) 12. Autumn Landscape

Chico Hamilton's earliest bands in a trio setting featured two fine rising stars of jazz guitar in Howard Roberts and Jim Hall. With the always exceptional George Duvivier playing bass throughout, these three-piece bands laid a foundation for many of Hamilton's more famous groups in the '60s that sported sidemen Larry Coryell and Gabor Szabo. There are hints of the hardcore jazz swing and Latin boogaloo amalgam that Hamilton would perfect, but for this compilation of recordings originally for the Pacific Jazz label, you hear his immaculate work on brushes, more prevalent than his sticks, although many tunes combine the two as he switches off. The eight tracks with the refined playing of Roberts moves from a delicate, tasteful version of "Broadway," through the slow, somewhat abstract "Street of Drums," and the ballad "What Is There to Say?" But then the pace picks up with the quick "Nuttye" reinforced by backdrop scat, and the bass led bop-to-funk "Buddy Boo" where Hamilton's developing style is emerging. 

Rumbling and tribal drums for the late-night "Uganda" buoys the patient guitar of Roberts, while the two minute shortie "Lollypop" is a delicious call and response bopper. As polished as the playing of Roberts is, the sessions with the brilliant Jim Hall are the gems of the set, with all of the compositions penned by Duvivier. "Autumn Landscape" is a bit somber and regretful, while "Porch Light" reads angular à la Thelonious Monk with the guitarist stepping up. A unique, fluid, and dynamic voice at this stage of his career, Hall holds sway in a consistent mezzo piano volume for the bop tinged "Blues on the Rocks" before Hamilton's deft solo on brushes, but with the wire flanges plays his tom-toms in ultra melodic and inventive fashion for "Skynned Strings." 

An entry point recording for Chico Hamilton, it displays his savory good common sense well before being more trend and fashion conscious, as psychedelia and fusion took over commercialized jazz. What needs to be recognized is that Hamilton did not so much assimilate the trends, but modified and adapted his music to the sign of the times and his own unique talents. This CD represents him at a more innocent time when jazz was not so adulterated by more popular forms, and is a fine West Coast style time capsule for the era. [Fresh Sound reissued the CD in 2008.] ~ Michael G. Nastos, Rovi  https://itunes.apple.com/us/album/the-chico-hamilton-trio/id538201364

Personnel: Chico Hamilton (drums); George Duvivier (bass);  Howard Roberts (guitar); Jim Hall (guitar).

The Chico Hamilton Trio

---

Howard Roberts - Good Pickin's

Bitrate: MP3@320K/s
Time: 43:07
Size: 98.7 MB
Styles: Guitar jazz, Mainstream jazz
Year: 1959
Art: Front

[4:21] 1. Will You Still Be Mine
[4:15] 2. When The Sun Comes Out
[2:41] 3. All The Things You Are
[4:26] 4. Lover Man
[5:46] 5. Relaxin' At Camarillo
[4:46] 6. Godchild
[4:06] 7. Easy Living
[2:41] 8. Between The Devil And The Deep Blue Sea
[4:13] 9. The More I See You
[5:48] 10. Terpsichore

Whatever you may think of guitarist Howard Roberts, Good Pickin's will likely change your mind. Prior to this release, most knowledgeable listeners would probably associate Roberts with his studio work in popular music and easy listening jazz. Good Pickin's will change that perspective forever. On this reissued 1959 session, Roberts plays straight-ahead jazz at a level that suggests that had he made different choices, he could have been known as one of the great jazz guitarists of his day.

This music is set in the West Coast jazz world of tight arrangements and incisive solos. This is ensemble jazz, and Roberts proves to be a master. Bill Holman and Marty Paich are responsible for the arrangements, making this an unusually intricate and well-planned guitar recording. The wonderful thing about the session is that it caught this band on an inspired day. The rhythm section of Red Mitchell and Stan Levey is superb, providing a drive and snap to the music that ably supports the primary soloists: Bill Holman (saxophone), Pete Jolly (piano) and Roberts (guitar).

Unison sax and guitar lines intertwine with Jolly's piano accompaniment in a complex exchange that is consistently intriguing. Jolly's piano work is a lesson for all; each track displays his subtlety and intelligence in support of others, while his concisely developed solos arise out of a style that is uniquely delicate and bold. This is as good as Holman has ever sounded to this reviewer, but the star of the show is undoubtedly Howard Roberts.

Good Pickin's presents strikingly sophisticated guitar work played with a fine-honed intensity. With these sleek arrangements and this inspired band, Roberts rises to the occasion, demonstrating his mastery of a wide range of jazz styles and tempos; ultimately it is his feel for the music that is brought home track after track. This guitar master may be more widely known for his other musical accomplishments, but fortunately Good Pickin's documents him with a hot band, playing mainstream jazz. Highly recommended. ~Mike Neely

Howard Roberts: guitar; Bill Holman: tenor sax, arranger; Pete Jolly: piano; Red Mitchell: bass; Stan Levey: drums; Marty Paich: arranger.

Good Pickin's

---