Friedrich Gulda & His Sextet - At Birdland

Bitrate: MP3@320K/s
Time: 77:00
Size: 176.3 MB
Styles: Bop, Piano jazz
Year: 2012
Art: Front

[ 0:38] 1. Theme Song Vienna Discussion
[ 0:49] 2. Pee Wee Marquette Introduces Friedrich Gulda And His Sextet
[ 5:21] 3. Scruby
[ 4:29] 4. Dark Glow
[ 4:23] 5. A Night In Tunisia
[ 3:03] 6. Dodo
[ 5:13] 7. Air From Other Planets
[ 3:25] 8. New Shoes
[10:07] 9. Bernie's Tune
[ 3:04] 10. Quintet
[ 3:55] 11. Introvert
[ 8:25] 12. Out Of Nowhere
[ 4:46] 13. Teheran
[ 7:38] 14. All The Things You Are
[ 5:34] 15. Cool Hill
[ 6:01] 16. Lullaby Of Birdland

Alto Saxophone – Phil Woods; Bass – Aaron Bell; Drums – Nick Stabulas; Piano – Friedrich Gulda; Tenor Saxophone – Seldon Powell; Trombone – Jimmy Cleveland; Trumpet – Idrees Sulieman. Live at "Birdland", New York City, June 28 (tracks 1-5, 7, 8, 15 & 16) and 29 (tracks 6, 9 & 14), 1956. Tracks 1-9 from the RCA Victor album "Friedrich Gulda At Birdland" (LPM 1398) Tracks 10-16 from the Decca album "A Man of Letters (LK 4189).

Friedrich Gulda was a classical pianist of international stature who, following a meeting with Dizzy Gillespie in 1951, embarked on an attachment with jazz. This eventually led to his first regular American appearance at Birdland in New York City in 1956 which has been captured in this Fresh Sounds reissue. The impresario John Hammond was the driving force behind this Birdland session which was originally released on two 12" albums, the first by RCA Victor entitled Friedrich Gulda At Birdland and the second by Decca called A Man Of Letters. Hammond was fully aware that, while there might be some curiosity value in such an appearance by a classically trained pianist, he needed to ensure that Gulda had the opportunity to succeed and thus he put together a front line that was supportive and collaborative. The bassist and drummer were also known for their swing and steady timekeeping. The song set was a combination of Gulda original compositions and "head" arrangements of popular and jazz standards designed to engage the audience.

Now while it is accurate to say that all the tracks were recorded at Birdland, not all of them were performed live. All nine Gulda compositions were recorded in the afternoon without an audience, much like a recording studio, and the other five jazz-oriented tunes were done with an audience during the evening sessions. The Gulda compositions are intricately constructed with a chamber jazz feel but allow space for solos by the members of the band. Dark Glow is a sensuous ballad designed to showcase the creative alto sax of Phil Woods. Another piece in the same vein is Cool Hill which has a modelled structure for Woods to shine. Seldon Powell's cool tenor sax is prominently featured on Air From Other Planets. The real goodies on this disc are the live tracks from Birdland and all are swingers. The first substantive taste of Gulda's pianistic style shows up on a trio version of A Night In Tunisia. With Aaron Bell on bass and Nick Stabulas on drums, Gulda romps through the tune with strong single-note phrasing in a Bud Powell mode, but with a percussive note-striking style reminiscent of Eddie Costa. An extended version of Bernie's Tune has all the elements of a jam session, with strong choruses from all members of the band. Out Of Nowhere becomes a vehicle for trombonist Jimmy Cleveland where his creative and enthusiastic offerings are fully evident. Idrees Sulieman, a somewhat under-appreciated trumpeter, shows that he deserves more attention with some fine soloing on All The Things You Are. Finally the George Shearing classic Lullaby Of Birdland allows Gulda to take a block-chord Shearingesque attack on this signature tune. This is an interesting and noteworthy addition to any record collection. ~Pierre Giroux

At Birdland

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Helen Merrill - Dream Of You

Styles: Vocal
Year: 1956
File: MP3@320K/s
Time: 39:41
Size: 92,8 MB
Art: Front

(2:35)  1. People Will Say We're In Love
(3:24)  2. By Myself
(4:11)  3. Any Place I Hang My Hat Is My Home
(3:34)  4. I've Never Seen
(3:02)  5. He Was Too Good To Me
(3:10)  6. A New Town Is A Blue Town
(3:26)  7. You're Lucky To Me
(2:46)  8. Where Flamingos Fly
(2:55)  9. Dream Of You
(4:08) 10. I'm A Fool To Want You
(3:09) 11. I'm Just A Lucky So And So
(3:16) 12. Troubled Waters

One thing that set Helen Merrill apart from other '50s jazz singers was her acutely dramatic vocal style. Her earnest phrasing, elongated notes, and incandescent tone might even strike the contemporary listener as qualities more appropriate for the Broadway stage than a jazz club. On 1955's Dream of You, though, Merrill found reconciliation, sounding both melodramatic and swinging within Gil Evans' darkly spacious, yet economical arrangements. Suitably, torchy ballads are prominent. On the somewhat grandiose side there's "Where Flamingos Fly" and "I'm a Fool to Want You," which find Merrill in a pensive mood amidst a variety of tempo and timbre shifts. More subdued ground is covered on "I've Never Seen" and "He Was Too Good to Me." Briskly swinging numbers like "People Will Say We're in Love," "By Myself," and "You're Lucky to Me" balance the program and feature the demure, yet fluid delivery Merrill favored on fast numbers. What is most impressive on this date is a group of sultry, medium tempo numbers including "Anyplace I Lay My Hat Is Home," "Just a Lucky So and So," and in particular "A New Town Is a Blue Town." The programmatic quality of Merrill's coyly sensual voice and Evans' slightly askew, bubbling reeds and languid rhythm conjure up dramatic, balmy southern scenes á la Tennessee Williams. In the picturesque arrangements one also hears the seeds of Evans' own future collaborations with Miles Davis. Even though her collaborations with Clifford Brown and others are great recordings, this one with Gil Evans shows off more of Merrill's expressive vocal talents, due in no small part to the sympathetic and urbane arrangements. ~ Stephen Cook https://www.allmusic.com/album/dream-of-you-mw0000090446

Personnel: Helen Merrill - vocals;  Gil Evans - arranger, conductor;  John LaPorta - clarinet, alto saxophone;  Jerome Richardson - flute, alto saxophone, tenor saxophone;  Danny Bank - baritone saxophone;  Art Farmer, Louis Mucci - trumpet;  Jimmy Cleveland, Joe Bennett - trombone;  Hank Jones - piano;  Janet Putnam - harp; Barry Galbraith - guitar; Oscar Pettiford - double bass;  Joe Morello - drums

Dream Of You

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Tadd Dameron - The Magic Touch

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 36:37
Size: 85,0 MB
Art: Front

(2:59)  1. On A Misty Night
(4:11)  2. Fontainebleau
(4:54)  3. Just Plain Talking
(3:18)  4. If You Could See Me Now
(2:51)  5. Our Delight
(3:01)  6. Dial B For Beauty
(4:56)  7. Look, Stop And Listen
(3:31)  8. Bevan's Birthday
(3:42)  9. You're A Joy
(3:12) 10. Swift As The Wind

Tadd Dameron is known to proclaim that he became an arranger rather than stay an exclusive instrumentalist because it was the only way he could get his music played. In retrospect, considering his best-known works are widely revered, few of them are frequently played by other bands, and only the finest musicians are able to properly interpret them. Dameron's charts had an ebb and flow that superseded the basic approach of Count Basie, yet were never as quite complicated as Duke Ellington. Coming up in the bop movement, Dameron's music had to have been by definition holding broader artistic harmonics, while allowing for the individuality of his bandmembers. The Magic Touch includes a handful of Dameron's most beloved compositions, as well as those that were more obscure, and have still never been covered. When you look at the sheer talent level of the players on this recording Clark Terry, Charlie Shavers, Joe Wilder, Jimmy Cleveland, Britt Woodman, Julius Watkins, Jerry Dodgion, Jerome Richardson, Johnny Griffin, Bill Evans, Ron Carter, George Duvivier, et al.one has to be in awe of them, and that only Dameron was able to convene such a band of extraordinary jazz performers in their prime. To effectively rein them all in was the trick, keeping solos at a bare minimum, and blending their personalized sounds together so harmoniously. "If You Could See Me Now" is the most famous, the immortal ballad of regret featuring the Sarah Vaughan styled vocal of Barbara Winfield. She also appears on the restrained and serene "You're a Joy." Dameron was known for his wonderfully piquant flute arrangements, with Dodgion, Richardson, and Leo Wright doing the honors, sounding chirpy during "If You Could See Me Now," in wonderfully supple Japanese style trills during "Dial B for Beauty," in staccato bop trim for "Swift as the Wind," or in heightened dramatic, evocative romantic nuances on the classic "Fontainebleau." The other classic standards include the definitive, spirited, cohesive rock 'em sock 'em horn punctuations and the great drumming of Philly Joe Jones for "On a Misty Night," and the direct, simple, hard swinging bop of "Our Delight" charts in most every big band's repertoire. The blues infused "Just Plain Talkin'" take the flutes and alto saxophonist Dodgion to a higher atmospheric level, "Look, Stop & Listen" is a quirky bop managed in choppy horn layers, while "Bevan's Birthday" is a Latin to easy swing and back inversion, triggered by the flutes to go back to the spicy beats. This CD version features several shorter alternate takes, thus increasing the value of the original sessions, not with longer solos, but different improvisational nuances. As close to a definitive recording as Dameron issued, and considering his very small discography, The Magic Touch is a recording that all modern jazz lovers need to own and take further lessons from. ~ Michael G.Nastos https://www.allmusic.com/album/the-magic-touch-of-tadd-dameron-mw0000378367

Personnel: Tadd Dameron - Piano, Arranger, Conductor; Clark Terry - Trumpet; Ernie Royal - Trumpet; Charlie Shavers - Trumpet; Joe Wilder - Trumpet; Jimmy Cleveland - Trombone; Britt Woodman - Trombone; Julius Watkins - French Horn; Jerry Dodgion - Alto Sax, Flute; Leo Wright - Alto Sax, Flute; Jerome Richardson - Tenor Sax, Flute; Johnny Griffin - Tenor Sax; Tate Houston - Baritone Sax; Bill Evans - Piano; Ron Carter - Bass; George Duvivier - Bass; Philly Joe Jones - Drums; Barbara Winfield - Vocals

The Magic Touch

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Johnny Richards Orquestra - Kiss Her Goodbye

Styles: Jazz, Big Band
Year: 2011
File: MP3@320K/s
Time: 77:27
Size: 179,9 MB
Art: Front

(1:22)  1. Intro & Theme
(1:55)  2. Kiss Her Goodbye
(2:28)  3. On the Wagon
(2:05)  4. Juke Jumps
(2:19)  5. Shutters
(3:04)  6. Nightmare
(1:40)  7. Playground
(3:27)  8. The Baby's Missing
(1:35)  9. At the Beach
(3:35) 10. Another Chance
(3:48) 11. Grown Up
(3:20) 12. Special Friends
(1:02) 13. Emily
(1:53) 14. Confession
(2:51) 15. End Title
(3:13) 16. The Moon Was Yellow
(0:50) 17. Theme
(4:13) 18. Ochun
(3:42) 19. Estoy Cansado
(7:31) 20. Dimples
(4:21) 21. Laura
(1:19) 22. Theme
(6:41) 23. Dimples
(4:56) 24. Band Aide
(4:06) 25. Laura

Johnny Richards was a forward-thinking arranger who incorporated Latin rhythms and dissonance, spending the early decades of his career working on Hollywood soundtracks before moving to New York City to contribute charts to Stan Kenton and leading his own band. Yet Richards has been badly neglected in the CD era, with few of his albums being reissued. This compilation is an important addition to his legacy, for it centers around an important, never-before-released soundtrack to the film Kiss Her Goodbye, shelved by Warner Bros. after the film (shot in Cuba) was seized following Fidel Castro's 1959 takeover. The source material came from a test pressing given to Richards by the label, which was tracked down by Uptown owner Bob Sunenblick, MD, with substantial help from discographers Michael Sparke and Jack Hartley in the identification of the musicians and song titles. The first 15 selections were recorded for the soundtrack, though they were likely only excerpted in the movie, as is typically the case, even though all of them are under four minutes. Some of the highlights include the breezy "Juke Jumps" (with fine solos by Phil Woods, Jimmy Cleveland, Burt Collins, and Ray Copeland), the mellow ballad "Shutters" featuring the trombone section and muted trumpet, and the suspenseful "The Baby's Missing" (showcasing Gene Quill's explosive alto). It is a shame that the movie was never completed, but at least Johnny Richards impressive soundtrack is finally available. The only previously issued track is "The Moon Is Yellow" from an LP by the Luis Tiramani Orchestra, with the arrangement credited to Tiramani but very likely ghost written by Richards. The final nine songs come from a pair of 1959 NBC radio broadcasts, with his mellow, playful original "Dimples" and lush, richly textured setting of "Laura" (both heard in two separate performances), which best display the arranger's gifts. The detailed liner notes and period photographs add value of this valuable, long lost music. ~ Ken Dryden https://www.allmusic.com/album/kiss-her-goodbye-new-york-city-1958-1959-mw0002146822

Johnny Richards - composer;  Ray Copeland, Clyde Reasinger, Burt Collins, Jerry Kail - trumpet;  Jimmy Cleveland, Jim Dahl, Billy Byers - trombone;  Al Antonucci - French horn;  Phil Woods - alto sax;  Frank Socolow - tenor sax;  Billy Slapin - baritone sax;  Shelly Gold - bas sax;  Bobby Pancoast - piano; Chet Amsterdam - acoustic double bass;  Charlie Persip, drums.

Kiss Her Goodbye

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Cat Anderson - Cat's In The Alley

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

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

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

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

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

Cat's In The Alley

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Hank Crawford - Mr. Blues Plays Lady Soul

Bitrate: MP3@320K/s
Time: 36:46
Size: 84.2 MB
Styles: Jazz/Funk/Soul
Year: 2005
Art: Front

[2:37] 1. Groovin'
[3:34] 2. I Can't See Myself Leaving You
[3:26] 3. Never Let Me Go
[3:38] 4. Baby, I Love You
[3:11] 5. Lady Soul
[3:32] 6. Soul Serenade
[3:54] 7. Ain't No Way
[2:13] 8. Since You've Been Gone (Sweet Sweet Baby)
[3:12] 9. Take A Look
[7:24] 10. Going Down Slow

Alto Saxophone – Frank Wess, Hank Crawford; Baritone Saxophone – Pepper Adams; Bass – Charles Rainey, Jerry Jemmott; , Ron Carter; Drums – Bernard Purdie; Guitar – Eric Gale; Organ, Piano – Paul Griffin; Tenor Saxophone – Seldon Powell; Tenor Saxophone, Flute – David Newman; Trombone – Benny Powell, Jimmy Cleveland; Trumpet – Bernie Glow, Ernie Royal, Snookie Young, Joe Newman.

With an unmistakable blues wail, full of emotion and poignancy, altoist Hank Crawford bridges the gap between that tradition and that of jazz more completely than any other living horn player. Born in Memphis, Crawford was steeped in the blues tradition from an early age. He began playing piano but switched to alto when his father brought one home from the army. He claims his early influences as Louis Jordan, Earl Bostic, and Johnny Hodges. Crawford hung out with Phineas Newborn, Jr., Booker Little, and George Coleman in high school. Upon graduating, Crawford played in bands fronted by Ike Turner, B.B. King, Junior Parker, and Bobby "Blue" Bland at Memphis' Palace Theater and Club Paradise. In 1958 Crawford went to college in Nashville where he met Ray Charles. Charles hired Crawford originally as a baritone saxophonist. Crawford switched to alto in 1959 and remained with Charles' band -- becoming its musical director -- until 1963. The phrasing and voicings he learned there proved invaluable to him as the hallmark of his own sound. He also wrote and arranged a tune for Charles. The cut, "Sherry," his first for the band, was put on the Live at Newport album. Crawford cut a slew solo albums for Atlantic while with the band, and when he formed his group, he remained with the label until 1970. He signed with Creed Taylor's Kudu in 1971 and cut a series of fusion-y groove jazz dates through 1982. In 1983 he moved to Milestone and returned to form as a premier arranger, soloist, and composer, writing for small bands -- that included guitarist Melvin Sparks, organist Jimmy McGriff, and Dr. John -- as well as large. Crawford has been constantly active since then, as a leader and sideman, recording the best music of his long career. ~ Thom Jurek

Mr. Blues Plays Lady Soul mc
Mr. Blues Plays Lady Soul zippy

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Hank Jones, Oliver Nelson - Happenings

Bitrate: MP3@320K/s
Time: 33:44
Size: 77.2 MB
Styles: Soul-jazz, Bop
Year: 1966/2001
Art: Front

[2:55] 1. Broadwalk Samba
[2:23] 2. Winchester Cathedral
[2:35] 3. Mas Que Nada (Pow, Pow Pow)
[2:31] 4. Lullaby Of Jazzland
[2:18] 5. Jazztime, U.S.A
[3:03] 6. Cul-De-Sac
[3:09] 7. Happenings
[4:21] 8. Lou's Good Dues Blues
[4:24] 9. Fugue Tune
[3:10] 10. Spy With A Cold Nose
[2:50] 11. Funky But Blues

Bass – George Duvivier, Ron Carter; Drums – Ed Shaugnessy, Grady Tate; Harpsichord [Electric] – Hank Jones; Percussion – Joe Venuto; Piano – Hank Jones; Trombone – Britt Woodman, J.J. Johnson, Jimmy Cleveland, Tom Mitchell; Trumpet – Clark Terry, Ernie Royal, Snooky Young, Joe Newman; Woodwind – Danny Bank, Jerome Richardson, Jerry Dodgion, Phil Woods, Robert Ashton, Romeo Penque. Recorded October 19, 1966 - October 21, 1966.

The combination of Hank Jones and Oliver Nelson, along with sidemen such as Clark Terry, Ernie Royal, and Jerry Dodgion, would normally have one expecting a great release. Unfortunately, Jones plays an electric harpsichord on seven of the 11 tracks from this mid-1960s LP, plus there are several dated pop numbers from the era, including "Winchester Cathedral" (though it has a campy pesudo-Satchmo vocal by Terry) and the bland "Mas Que Nada (Pow Pow Pow)," which has long since worn out its welcome. Jones' playing, Nelson's arrangements and his originals (including "Happenings" and "Lou's Good Due Blues"), and the work of the various sidemen is all first rate. But the forgettable sound of the electric harpsichord (an instrument that thankfully didn't catch on, contrary to liner note writer Stanley Dance's prediction that it was here to stay along with earlier electronic instruments) keeps this release from achieving the heights it would have if Jones had only stuck to the piano throughout the sessions. This disc will be sought only by those fans who must have everything Hank Jones has recorded. ~Ken Dryden

Happenings mc
Happenings zippy

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Clifford Brown - Clifford Brown Big Band in Paris

Styles: Trumpet Jazz
Year: 1953
File: MP3@320K/s
Time: 48:13
Size: 110,5 MB
Art: Front

(6:06)  1. Brown Skins (take 1)
(6:09)  2. Brown Skins (take 2)
(7:06)  3. Keeping Up with Jonesy (take 1)
(6:29)  4. Keeping Up with Jonesy (take 2)
(3:12)  5. Bum's Rush
(7:52)  6. Chez Moi
(5:20)  7. All Weird (take 1)
(1:58)  8. All Weird (take 2)
(3:56)  9. No Start, No End

Although Lionel Hampton forbid his sidemen from recording during their trip to France in 1953, many of the musicians fortunately ignored his orders; the band broke up soon anyway. Trumpeter Clifford Brown is heard on this LP mostly with a big band actually put together by Gigi Gryce. A few of these tracks are excerpts but the two takes of "Brownskins" and "Keeping up with Jonesy" are fairly long as is a nearly eight-minute "Chez Moi." The music is not essential but Brownie did not live long enough to record anything less than excellent. ~ Scott Yanow https://www.allmusic.com/album/clifford-brown-big-band-in-paris-mw0000199986

Personnel:  Trumpet – Art Farmer, Clifford Brown, Quincy Jones, Walter Williams;  Alto Saxophone – Anthony Ortega, Gigi Gryce;  Baritone Saxophone – William Boucaya;  Bass – Pierre Michelot;  Drums – Jean-Louis Viale;  Piano – Henri Renaud;  Tenor Saxophone – Andre Dabonneville, Clifford Solomon;  Trombone – Al Hayes, Benny Vasseur, Jimmy Cleveland

Clifford Brown Big Band in Paris

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Don Byrd, Gigi Gryce - Jazz Lab

Bitrate: MP3@320K/s
Time: 41:29
Size: 95.0 MB
Styles: Bop
Year: 1957/2011
Art: Front

[3:39] 1. Speculation
[8:17] 2. Over The Rainbow
[5:28] 3. Nica's Tempo
[4:59] 4. Blue Concept
[6:59] 5. Little Niles
[7:13] 6. San Souci
[4:52] 7. I Remember Clifford

Alto Saxophone – Gigi Gryce; Baritone Saxophone – Sahib Shibab; Bass – Wendell Marshall; Drums – Art Taylor; Horn – Julius Watkins; Piano – Tommy Flanagan, Wade Legge; Trombone – Benny Powell, Jimmy Cleveland; Trumpet – Don Byrd; Tuba – Don Butterfield.

Alto saxophonist arranger Gigi Gryce and trumpeter Donald Byrd's innovative, but unfortunately short lived Jazz Lab Quintet recorded several sides during 1957, seven of which were released on this excellent Columbia album a handful of other titles were collectively made for Riverside, Verve, and RCA. The nucleus band of Gryce, Byrd, pianist Tommy Flanagan a spot also filled by Wade Legge and Hank Jones, bassis and drummer Art Taylor are augmented on four cuts here by trombonists Benny Powell and Jimmy Cleveland, French horn player Julius Watkins, baritone saxophonist Sahib Shihab, and tuba player Don Butterfield. The expanded ensemble turn in fleetly swinging renditions of Horace Silver's "Speculation" and Gryce's "Nica's Tempo" while varying the mood a bit with a ballad reading of Benny Golson's "I Remember Clifford" and a Far East-tinged waltz take on Randy Weston's "Little Niles" shades of Miles Davis' Birth of the Cool group are heard in the complex, yet featherweight arrangements by Gryce. The quintet tracks include Gryce's "Sans Souci" and a provocative version of "Over the Rainbow." With some of the best arrangements heard in jazz and excellent solos by Gryce, Byrd, and Flanagan, Jazz Lab makes for an excellent introduction to the hard bop catalog.

Jazz Lab mc
Jazz Lab zippy

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Jimmy Cleveland - Crazy Rhythm (Remastered)

Bitrate: MP3@320K/s
Time: 30:47
Size: 70.5 MB
Styles: Bop
Year: 1959/2012
Art: Front

[4:28] 1. Our Delight
[7:56] 2. Tricotism
[4:13] 3. Old Reliable
[3:44] 4. We Never Kissed
[3:31] 5. Tom-Kattin
[3:52] 6. Crazy Rhythm
[3:00] 7. Reminiscing

Bass – Milt Hinton; Drums – Osie Johnson; Piano – Hank Jones; Reeds – Benny Golson, Jerome Richardson; Trombone – Jimmy Cleveland; Trumpet – Art Farmer.

Trombonist Jimmy Cleveland was a heavily in-demand session player, yet he led only a handful of record dates of his own, none after 1959. Leading an all-star septet with arrangements by either Benny Golson or Gigi Gryce, Cleveland primarily focuses on compositions by his peers, with the exception of Gryce's bop arrangement of "Crazy Rhythm," which showcases the leader's fluid yet mellow style. The band includes Jerome Richardson, Art Farmer, Benny Golson, Hank Jones, Milt Hinton and Osie Johnson. Golson's charts of two Oscar Pettiford tunes, the obscure blues "Old Reliable" (featuring Richardson on flute) and the well known "Tricrotism" (which surprisingly has no bass solo, instead featuring Richardson's baritone sax and the arranger's tenor sax), are very stimulating. Gryce scored Melba Liston's ballad "We Never Kissed" and his own "Reminiscing" to feature the leader to good effect. Long out of print, this Emarcy LP was long overdue to be reissued on CD. ~Ken Dryden

Crazy Rhythm (Remastered) mc
Crazy Rhythm (Remastered) zippy

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Jimmy Smith - The Cat

Styles: Jazz, Post Bop
Year: 1964
File: MP3@320K/s
Time: 33:20
Size: 77,1 MB
Art: Front

(4:44)  1. Theme from Joy House
(3:29)  2. The Cat
(4:05)  3. Basin Street Blues
(3:59)  4. Main Title from The Carpetbaggers
(4:01)  5. Chicago Serenade
(3:22)  6. St. Louis Blues
(4:52)  7. Delon's Blues
(4:45)  8. Blues in the Night

Compared to his earlier Blue Note recordings, organist Jimmy Smith's outings for Verve are not as strong from a jazz standpoint. Certainly his renditions of the "Theme from Joy House," "The Cat," and the "Main Title from The Carpetbaggers" are not all that significant. However, this set has some tasteful arrangements for the big band by Lalo Schifrin, and some good playing by the great organist on a variety of other blues-oriented material. Also, the combination of organ with a big band is sometimes quite appealing, making this album worth picking up despite its commercial focus. ~ Scott Yanow https://www.allmusic.com/album/the-cat-mw0000188691

Personnel: Jimmy Smith (organ); Lalo Schifrin (conductor); Bernie Glow, Jimmy Maxwell, Marky Markowitz, Thad Jones, Ernie Royal, Snooky Young (trumpet); Jimmy Cleveland, Urbie Green (trombone); Tony Studd (bass trombone); Ray Alonge, Earl Chapin, Bill Correa, Jimmy Buffington (French horn); Don Butterfield (tuba); Kenny Burrell (guitar); George Duvivier (bass); Grady Tate (drums); Phil Kraus (percussion)

The Cat

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Quincy Jones - Sounds & Stuff Like That

Styles: Swing, Big Band
Year: 1990
File: MP3@320K/s
Time: 35:45
Size: 82,9 MB
Art: Front

(6:16)  1. Stuff Like That
(3:31)  2. I'm Gonna Miss You In The Morning
(5:13)  3. Love, I Never Had It So Good
(6:45)  4. Tell Me A Bedtime Story
(4:08)  5. Love Me By Name
(5:25)  6. Superwoman (Where Were You When I Needed You)
(4:24)  7. Takin' It To The Streets

With ears dead set on the trends of the moment but still drawing now and then on his jazz past, Quincy Jones came up with another classy-sounding pop album loaded with his ever-growing circle of musician friends. Disco was king in 1978 and Jones bows low with the ebullient dance hit "Stuff Like That" which is several cuts above the norm for that genre  along with a healthy quota of elegantly produced soul ballads. Yet amidst the pop stuff, Jones still manages to do something fresh and memorable within the jazz sphere with a gorgeous chart of Herbie Hancock's "Tell Me a Bedtime Story." Hancock himself sits in impeccably on electric piano, and violinist Harry Lookofsky painstakingly overdubs one of Hancock's transcribed solos on 15 violins. Despite the cast of hundreds that is now de rigueur for Quincy Jones, the record does not sound over-produced due to the silken engineering and careful deployment of forces. ~ Richard S.Ginell https://www.allmusic.com/album/soundsand-stuff-like-that%21%21-mw0000649592

Personnel: Nickolas Ashford (vocals, percussion); Yolanda McCullough (vocals, background vocals); Gwen Guthrie, Luther Vandross, Patti Austin, Tom Bahler, Valerie Simpson, Vivian Cherry, Chaka Khan, Charles May (vocals); David T Sounds; Walker, Eric Gale , Melvin Watson, Wah-Wah Watson (guitar); Gayle Levant (harp); Tom Scott (lyre, flute, soprano saxophone, alto saxophone, tenor saxophone, lyricon); Jerome Reisler, John Wittenberg, Wilbert Nuttycombe, Carl LaMagna, Marvin Limonick, Betty LaMagna, Connie Kupka, Israel Baker, Arnold Belnick, Nathan Ross, Sheldon Sanov, Harry Bluestone, Harry Lookofsky (violin); Meyer Bello, David Schwartz , Leonard Selic, Samuel Boghossian (viola); Gloria Strassner, Dennis Karmazyn (cello); George Young (flute, saxophone, alto saxophone, tenor saxophone); Hubert Laws, Jerome Richardson, Bill Perkins, Bud Shank, Buddy Collette (flute, saxophone, tenor saxophone); Harold Vick (saxophone, trumpet, flugelhorn); Howard Johnson (saxophone, tuba); David Tofani, Harold Fick (saxophone); Michael Brecker (tenor saxophone); Jon Faddis, Virgil Jones (trumpet, flugelhorn); Chuck Findley, Bill Lamb, Oscar Brashear, Snooky Young (trumpet); Arthur Maebe, David Duke , Sidney Muldrow, Aubrey Bouck, Henry Sigismonti (French horn); Donald Waldrop, Jimmy Cleveland, Robert Payne, Bill Watrous, Charles Loper, Chauncey Welsch (trombone); Alan Raph (bass trombone); Roger Bobo, Tommy Johnson (tuba); Herbie Hancock (piano, electric piano, keyboards); Richard Tee (piano, organ, keyboards); Clark Spangler (synthesizer, programming); Michael Boddicker (synthesizer); Anthony Jackson (bass guitar); Steve Gadd (drums); Ralph MacDonald (percussion); Zachary Sanders, Bill Eaton, Frank Floyd (background vocals)

Sounds & Stuff Like That

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Ray Brown, Milt Jackson - Ray Brown, Milt Jackson

Bitrate: MP3@320K/s
Time: 40:13
Size: 92.1 MB
Styles: Bop, Big band
Year: 1965/1982
Art: Front

[5:30] 1. Lined With A Groove
[4:33] 2. For Someone I Love
[4:15] 3. Dew And Mud
[6:15] 4. I Just Can't Fool Myself
[4:49] 5. Lazy Theme
[5:12] 6. Now Hear My Meaning
[6:01] 7. In A Crowd
[3:35] 8. Monterey Mist

Bass, Leader – Ray Brown; Drums – Al Heath, Grady Tate; French Horn – Ray Alonge; Piano – Hank Jones; Saxophone – Danny Bank, Jerome Richardson, Jimmy Heath, Phil Woods, Bob Ashton, Romeo Penque; Trombone – Jimmy Cleveland, Tom McIntosh, Tony Studd, Urbie Green; Trumpet – Ernie Royal, Eugene Young; Trumpet, Flugelhorn – Clark Terry; Vibraphone [Vibes], Leader – Milt Jackson.

Ray Brown, Milt Jackson mc
Ray Brown, Milt Jackson zippy

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Jimmy Cleveland - Introducing Jimmy Cleveland & His All Stars

Bitrate: MP3@320K/s
Time: 55:30
Size: 127.1 MB
Styles: Bop, Swing
Year: 1955/2007
Art: Front

[5:46] 1. Hear Ye! Hear Ye!
[4:59] 2. You Don't Know What Love Is
[4:25] 3. Vixen
[4:00] 4. My One And Only Love
[7:39] 5. Little Beaver
[3:29] 6. Love Is Here To Stay
[6:33] 7. Count 'em
[5:38] 8. Bone Brother
[4:11] 9. I Hadn't Anyone Till You
[5:15] 10. See Minor
[3:29] 11. Love Is Here To Stay (Alternate Version)

Baritone Saxophone – Cecil Payne; Bass – Oscar Pettiford, Paul Chambers (3); Drums – Max Roach, Osie Johnson; Guitar – Barry Galbraith; Piano – Hank Jones, John Williams; Tenor Saxophone – Lucky Thompson; Trombone – Jimmy Cleveland; Trumpet – Ernie Royal. First session August 4, 1955; Second session August 12, 1955; Third session November 22, 1955.

The first of five albums headed by trombonist Jimmy Cleveland during 1955-1959 (he has not led any since), this out of print LP (which was reissued by Trip in the 1970s) features Cleveland in medium-size groups with trumpeter Ernie Royal; either Lucky Thompson or Jerome Richardson on tenor; baritonist Cecil Payne; Hank Jones, John Williams, or Wade Legge on piano; Barry Galbraith, Paul Chambers, or Oscar Pettiford on bass; and either Max Roach, Osie Johnson, or Joe Harris on drums. The all-star cast interprets a variety of Quincy Jones arrangements, alternating standards with lesser-known originals, and although many of his sidemen get fine spots, Cleveland generally wins solo honors. ~Scott Yanow

Introducing Jimmy Cleveland & His All Stars mc
Introducing Jimmy Cleveland & His All Stars zippy

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George Russell - New York, New York

Styles: Big Band, Bop
Year: 1959
File: MP3@320K/s
Time: 45:26
Size: 104,3 MB
Art: Front

(10:33)  1. Manhatten
(11:41)  2. Big City Blues
(10:10)  3. Manhatten - Rico
( 8:00)  4. East Side Medley
( 5:00)  5. A Helluva town

George Russell was one of the most forward-thinking composers and arrangers on the jazz scene during the 1950s, but his work was generally more appreciated by musicians than the jazz-buying public. New York, New York represents one of many high points in his career. He assembled an all-star orchestra, including pianist Bill Evans (a frequent participant on Russell's recordings), Art Farmer, Bob Brookmeyer, John Coltrane, and Milt Hinton, among others.

In Rodgers & Hart's "Manhattan," Russell has the soloists playing over the orchestra's vamp, while he also creates an imaginative "East Side Medley" combining the standards "Autumn in New York" and "How About You." His original material is just as striking as his arrangements, while vocalist Jon Hendricks serves as narrator between orchestra segments. While this release has been reissued several times, it rarely remains in print for long, so don't miss the opportunity to acquire this elusive CD. ~ Ken Dryden https://www.allmusic.com/album/new-york-ny-mw0000309054 

Personnel: George Russell (leader, arranger, chromatic drums); Jon Hendricks (spoken vocals); Hal McKusick, Phil Woods (alto saxophone, flute, clarinet); John Coltrane, Benny Golson, Al Cohn (tenor saxophone); Gene Allen, Sol Schlinger (baritone saxophone); Art Farmer, Doc Severinsen, Ernie Royal, Joe Wilder, Joe Ferrante (trumpet); Bob Brookmeyer, Frank Rehak, Tom Mitchell, Jimmy Cleveland (trombone); Bill Evans (piano); Barry Galbraith (guitar); Milt Hinton, George Duvivier (bass); Charlie Persip, Max Roach, Don Lamond (drums); Al Epstein (bongos).             

New York, New York

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Eddie 'Lockjaw' Davis - Trane Whistle

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 33:03
Size: 76,8 MB
Art: Front

(6:19)  1. Trane Whistle
(3:35)  2. Whole Nelson
(5:11)  3. You Are Too Beautiful
(7:54)  4. The Stolen Moment
(5:27)  5. Walk Away
(4:36)  6. Jaws

This CD reissue brings back an Eddie "Lockjaw" Davis session in which the distinctive tenor saxophonist is joined by a 13-piece big band arranged by Oliver Nelson. Most significant is the inclusion of the original version of "Stolen Moments" (here called "The Stolen Moment" and predating the more famous Oliver Nelson recording by several months). Eric Dolphy is in the backup group but is not heard from in a solo capacity. There are some spots for trumpeters Richard Williams, Clark Terry and Bobby Bryant along with Nelson on alto but this is primarily Davis' showcase. On a set comprised of four Oliver Nelson originals, the ballad "You Are Too Beautiful" and the leader's "Jaws," Lockjaw as usual shows plenty of emotion during his driving solos. ~ Scott Yanow http://www.allmusic.com/album/trane-whistle-mw0000207360

Personnel: Eddie "Lockjaw" Davis (tenor saxophone); Clark Terry, Richard Williams, Bob Bryant (trumpet); Melba Liston, Jimmy Cleveland (trombone); Jerome Richardson, Oliver Nelson, Eric Dolphy, George Barrow, Bob Ashton (reeds); Richard Wyands (piano); Wendell Marshall (bass); Roy Haynes (drums).

Trane Whistle

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Gene Krupa - Krupa Plays Mulligan Arrangements

Styles: Jazz, Big Band
Year: 1958
File: MP3@320K/s
Time: 43:54
Size: 101,1 MB
Art: Front

(3:04)  1. Bird House
(3:16)  2. Margie
(4:02)  3. Mulligan Stew
(3:50)  4. Begin The Beguine
(2:47)  5. Sugar
(2:52)  6. The Way Of All Flesh
(3:10)  7. Disc Jockey Jump
(3:22)  8. Birds Of A Feather
(3:39)  9. Sometimes I'm Happy
(3:19) 10. How High The Moon
(4:50) 11. If You Were The Only Girl In The World
(5:37) 12. Yardbird Suite

Gerry Mulligan was only 19 in 1946 when he joined Gene Krupa's band, playing a bit of alto and tenor sax, but primarily serving as an arranger. But the Verve LP Gene Krupa Plays Gerry Mulligan Arrangements wasn't made until 1958, long after Mulligan went out on his own. Although there are solo features built into the framework of each piece, Mulligan was quite confident in his ability to showcase the entire band as well. Mulligan's "Disc Jockey Jump" became a hit for Krupa, though it wasn't recorded until after he left the band. The vague liner notes fail to identify any of the musicians in Krupa's big band, which includes Jimmy Cleveland, Hank Jones, Barry Galbraith, Kai Winding, and Phil Woods, though Woods' alto sax solos are easily identifiable to his fans. Baritone saxophonist Danny Bank is a bit disappointing compared to what Mulligan could have recorded on the instrument, though it would have been unlikely that the composer would have been interested in rejoining Krupa, even for one record date, at the time it was recorded. It's surprising that this excellent LP remained out of print for so long, particularly with the strong resurgence of interest in all aspects of Mulligan's work since his death in 1996. ~ Ken Dryden http://www.allmusic.com/album/plays-gerry-mulligan-arrangements-mw0000205730

Personnel:  Alto Saxophone – Phil Woods, Sam Marowitz;  Arranged By, Conductor – Gerry Mulligan;  Baritone Saxophone – Danny Bank;  Bass – James Gannon;  Drums – Gene Krupa;  Guitar – Barry Galbraith;  Piano – Hank Jones;  Tenor Saxophone – Ed Wasserman, Frank Socolow;  Trombone – Billy Byers, Eddie Bert, Jimmy Cleveland, Kai Winding, Urbie Green , Willie Dennis;  Trumpet – Al De Risi, Al Stewart, Doc Severinsen, Ernie Royal, Marky Markowitz

Krupa Plays Mulligan Arrangements

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Bill Potts - The Jazz Soul of Porgy and Bess

Styles: Jazz, Post-Bop 

Year: 1959

File: MP3@256K/s

Time: 47:36

Size: 87,6 MB

Art: Front

(3:08)  1. Summertime

(2:23)  2. A Woman Is A Sometimes Thing

(4:10)  3. My Man's Gone Now

(2:45)  4. It Takes A Long Pull To Get There

(3:27)  5. I Got Plenty O' Nuttin'

(5:18)  6. Bess, You Is My Woman

(3:16)  7. It Ain't Necessarily So

(5:15)  8. Medley

(3:04)  9. I Loves You Porgy

(3:15) 10. Clara, Clara

(3:25) 11. There's A Boat Dat's Leavin' Soon For New York

(4:41) 12. Oh Bess, Oh Where's My Bess

(3:22) 13. Oh Lawd, I'm On My Way

Music that will endure, played with all the skill, passion and imagination that great jazz musicians can bring to bear on it. These are but two of the basic factors which make The Jazz Soul of Porgy and Bess one of the finest jazz albums ever made. Just as crucial was a third the superb work of arranger Bill Potts, which established him as a major figure in the field of arranging for jazz orchestra. Add to all that a score that includes the top songs written by George and Ira Gershwin for this classic musical. The result was itself a multifaceted classic, a faithful translation to the language of big band jazz of the emotional rollercoaster of love and tragedy set to music by the Gershwins, brought to dramatic life by one of the finest groups of jazz ever assembled under one roof for a recording session. ~ Editorial Reviews https://www.amazon.com/Porgy-Bess-Arranged-Conducted-Potts/dp/B005Y0QXD4

Personnel: BIll Potts (arr, cond), Charlie Shavers, Harry Edison, Art Farmer, Bernie Glow (tp), Bob Brookmeyer (v-tb), Jimmy Cleveland, Frank Rehak (tb), Phil Woods, Gene Quill, Zoot Sims, Al Cohn, Sol Schlinger (saxes), Bill Evans (p), Herbie Powell (g), George Duvivier (b), Charles Persip (d)

The Jazz Soul of Porgy and Bess

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Stanley Turrentine - Joyride

Styles: Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 43:00
Size: 98,8 MB
Art: Front

(6:18)  1. River's Invitation
(4:25)  2. I Wonder Where Our Love Has Gone
(6:29)  3. Little Sheri
(5:59)  4. Mattie T.
(6:18)  5. Bayou
(3:57)  6. A Taste Of Honey
(4:38)  7. Gravy Train
(4:53)  8. A Kettle Of Fish

Stanley Turrentine is the featured artist in this big band session with an all-star orchestra arranged and conducted by Oliver Nelson. While Nelson's charts are funky and easygoing (without providing any solo space for the likes of Phil Woods, Clark Terry, and Jay Jay Johnson), they serve the purpose to inspire the tenor saxophonist. Turrentine is quite soulful on Percy Mayfield's "River's Invitation," and his huge tone carries the day in a waltzing chart of the 1960s hit "A Taste of Honey." The artist also contributed some originals to the date, including the easygoing "Little Sheri," which features the unison flutes of Danny Bank and Jerry Dodgion, and "Mattie T," a gospel-like song that almost seems like a march. ~ Ken Dryden http://www.allmusic.com/album/joyride-mw0000649759

Personnel:  Tenor Saxophone – Stanley Turrentine;  Alto Saxophone, Clarinet – Phil Woods;  Alto Saxophone, Flute, Flute [Alto Flute], Clarinet, Piccolo Flute – Jerry Dodgion;  Baritone Saxophone, Clarinet, Bass Clarinet, Flute, Flute [Alto Flute] – Danny Bank;  Bass – Bob Cranshaw;  Drums – Grady Tate;  Guitar – Kenny Burrell;  Piano – Herbie Hancock;  Tenor Saxophone, Clarinet – Robert Ashton;  Tenor Saxophone, Soprano Saxophone, Clarinet, Bass Clarinet – Albert J. Johnson;  Trombone – Henry Coker, Jay Jay Johnson, Jimmy Cleveland;  Trumpet – Clark Terry, Ernie Royal, Snooky Young

Joyride

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Lucky Thompson - Tricotism

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 66:00
Size: 151,5 MB
Art: Front

(3:57)  1. Bo-Bi My Boy
(3:51)  2. OP Meets LT
(4:34)  3. Tricotism
(4:31)  4. Deep Passion
(4:03)  5. Old Reliable
(4:02)  6. Translation
(5:01)  7. Tom-Kattin'
(5:11)  8. A Lady's Vanity
(3:09)  9. Dancing Sunbeam
(3:32) 10. Mister Man
(4:45) 11. The Plain But the Simple Truth
(2:49) 12. Little Tenderfoot
(4:03) 13. Once There Was
(4:38) 14. N R #1
(3:11) 15. N R #2
(4:33) 16. Good Luck

Lucky Thompson creates a host of spectacular improvisations on the 16 songs on this wonderful CD reissue. It is comprised of two 1956 sessions; one features Thompson heading a trio backed by bassist Oscar Pettiford and guitarist Skeeter Best, and the other has him heading either a quartet or quintet including the great trombonist Jimmy Cleveland. Cleveland's smooth, superbly articulated phrases and statements rank alongside Thompson's gliding lines in their brilliance, and pianist Hank Jones (on three cuts) also sparkles with some marvelous solos. 

But Thompson is the star on this date, his elegant yet robust and exuberant playing demonstrating again what a loss his voluntary departure from the scene has constituted. ~ Ron Wynn http://www.allmusic.com/album/tricotism-mw0000105728

Personnel:  Lucky Thompson - tenor sax;  Jimmy Cleveland – trombone;  Hank Jones, Don Abney – piano;  Skeeter Best – guitar;  Oscar Pettiford – bass;  Osie Johnson - drums

Tricotism

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