Betty Roché - Singin' & Swingin'

Styles: Vocal
Year: 1960
File: MP3@320K/s
Time: 30:35
Size: 71,5 MB
Art: Front

(3:52)  1. Come Rain or Come Shine
(3:40)  2. A Foggy Day
(3:57)  3. Day by Day
(3:21)  4. When I Fall in Love
(3:04)  5. Blue Moon
(2:59)  6. Where or When
(2:12)  7. September Song
(4:14)  8. Until the Real Thing Comes Along
(3:13)  9. Billie's Bounce

Betty Roché should have been much more famous. She had two barely documented periods with Duke Ellington's orchestra and recorded three excellent albums as a leader from 1956-1961 (all of which are available on Cd), but then faded away into complete obscurity. This reissue (which is mistakenly given the incorrect date of January 24, 1961, which was actually Roché's following release) matches the singer with tenor saxophonist Jimmy Forrest, organist Jack McDuff (near the beginning of his career), guitarist Bill Jennings, bassist Wendell Marshall, and drummer Roy Haynes. Roché performs nine famous standards, coming up with fresh variations in her phrasing to such numbers as "Come Rain or Come Shine," "When I Fall in Love," "Blue Moon," and "Billie's Bounce." Recommended, as are all of the other recordings in her slim discography.

~Scott Yanow http://www.allmusic.com/album/singin-swingin-mw0000615285

Personnel: Betty Roché (vocals); Bill Jennings (guitar); Jimmy Forrest (tenor saxophone); Jack McDuff (organ); Roy Haynes (drums).

Singin' & Swingin' 

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Jimmy Forrest - Out Of The Forrest

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 37:16
Size: 85,5 MB
Art: Front

(4:09)  1. Bolo Blues
(5:08)  2. I Cried for You (Now It's Your Turn to Cry over Me)
(4:23)  3. I've Got a Right to Cry
(4:05)  4. This Can't Be Love
(5:17)  5. By the River Sainte Marie
(5:12)  6. Yesterdays
(4:04)  7. Crash Program
(4:54)  8. That's All

This CD reissue is an excellent example of tenor saxophonist Jimmy Forrest in a soulful but fairly straight-ahead setting. Accompanied by pianist Joe Zawinul, bassist Tommy Potter and drummer Clarence Johnston, Forrest revives his "Bolo Blues," and plays his basic "Crash Program," and otherwise sticks to melodic standards. His highly expressive powers and ability to say a lot with a few notes is very much in evidence on this excellent set. 

~ Scott Yanow  http://www.allmusic.com/album/out-of-the-forrest-mw0000234092

Personnel: Jimmy Forrest (tenor saxophone); Joe Zawinul (piano); Tommy Potter (bass); Clarence Johnston (drums).

Out Of The Forrest

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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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Jack McDuff - The Prestige Years (Remastered)

Bitrate: MP3@320K/s
Time: 78:40
Size: 180.1 MB
Styles: Soul jazz
Year: 2004
Art: Front

[8:13] 1. The Honeydripper
[2:59] 2. Brother Jack
[4:49] 3. Sanctified Waltz
[8:55] 4. Yeah, Baby
[5:00] 5. Mellow Gravy
[6:01] 6. He's A Real Gone Guy
[6:22] 7. Candy
[7:00] 8. Tough 'Duff
[2:23] 9. Grease Monkey
[6:46] 10. Jive Samba
[2:59] 11. Organ Grinder's Swing
[7:18] 12. Screamin'
[2:56] 13. Hot Barbeque
[6:54] 14. Opus De Funk

Alto Saxophone – Leo Wright; Bass – Wendell Marshall; Drums – Bill Elliot, Joe Dukes; Guitar – Bill Jennings, Eddie Diehl, George Benson, Grant Green, Kenny Burrell; Organ – Brother Jack McDuff; Tenor Saxophone – Gene Ammons, Harold Vick, Jimmy Forrest, Red Holloway; Vibraphone – Lem Winchester.

The history of jazz is full of great musicians who died tragically young; Clifford Brown, Bix Beiderbecke, Eric Dolphy, Fats Navarro, Charlie Christian, Booker Little, and the seminal Charlie Parker were among the many legendary improvisers who died in their twenties or thirties. But when Jack McDuff passed away on January 23, 2001, at the age of 74, his fans could take some comfort in knowing that he had lived a long and productive life. The soul-jazz/hard bop organist left behind a huge catalog, which is why best-of releases like The Prestige Years and The Best of the Concord Years are sorely needed. While the latter is devoted to McDuff's Concord Jazz recordings of the '90s and early 2000s, this 79-minute CD focuses on his Prestige output of 1960-1965. Although McDuff only spent a fraction of his career at Prestige and was still keeping busy 35 years after leaving the label, Prestige was the company that put him on the map as a recording artist -- and most soul-jazz enthusiasts would agree that he recorded some of his most essential work there. The Prestige Years bears that out; "Rock Candy," "Yeah, Baby," and McDuff's 1960 version of Joe Liggins' "The Honeydripper" are required listening for anyone with even a casual interest in gritty, down-home organ combos. The list of musicians who join McDuff on these recordings reads like a who's who of '60s soul-jazz; Gene Ammons, George Benson, Red Holloway, Jimmy Forrest, and Grant Green are among the major names appearing in the credits. The Prestige Years is far from the last word on McDuff's long recording career -- for that matter, it's far from the last word on his Prestige output. But if one is seeking an introductory overview of McDuff's five years at that label, The Prestige Years wouldn't be a bad investment at all. ~Alex Henderson

The Prestige Years (Remastered)

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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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Miles Davis, Jimmy Forrest - Our Delight

Bitrate: MP3@320K/s
Time: 73:05
Size: 167.3 MB
Styles: Bop, Trumpet jazz
Year: 1992
Art: Front

[ 8:35] 1. Ray's Idea
[ 8:22] 2. A Night In Tunisia
[10:49] 3. Wee Dot
[ 7:27] 4. What's New
[ 9:22] 5. Perdido
[10:04] 6. All The Things You Are
[ 7:23] 7. Our Delight
[ 6:42] 8. Lady Bird
[ 4:17] 9. Oh, Lady Be Good

Bass – Johnny Mixon; Drums – Oscar Oldham; Piano – Charles Fox; Tenor Saxophone – Jimmy Forrest; Trumpet – Miles Davis. Recorded in performance at 'The Barrel', St. Louis, c. 1952.

In 1992, Prestige/Fantasy combined both of Miles Davis' Live at the Barrel LPs on a 74-minute CD titled Our Delight. For hardcore collectors, the release of Our Delight was very good news. However, there are various reasons why this CD can hardly be called essential. The performances, which find Davis and tenor saxman Jimmy Forrest joining forces in a St. Louis club called the Barrel, are competent and likable but not mind-blowing. And the sound quality, although listenable, is not great (by early-'50s hi-fi standards). So when you add those things up, there is no way that Our Delight should be recommended to anyone who isn't a serious collector. Nonetheless, these performances are not without historic value. Davis and Forrest (who are joined by a St. Louis rhythm section that consists of pianist Charles Fox, bassist John Mixon, drummer Oscar Oldham, and an unknown percussionist) did not play together very much, and Our Delight gives listeners a rare chance to hear them playing side by side on familiar standards like "All the Things You Are," Tadd Dameron's "Our Delight," and Dizzy Gillespie's "A Night in Tunisia." The CD also contains a dusky performance of the ballad "What's New," although ballads are not a high priority. And the type of funky, groove-oriented soul-jazz and honker music that Forrest was famous for is excluded; the musicians don't perform "Night Train" (the saxman's biggest hit), and they stick to a bop/standards program. Our Delight certainly isn't bad, but it doesn't deserve five-star praise either (unlike much of the bop and cool work that Davis offered in the '50s). Even so, collectors will find Our Delight to be interesting -- shortcomings, flaws, and all. ~Alex Henderson

Our Delight

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Al Grey-Jimmy Forrest Quintet - Night Train Revisited

Bitrate: MP3@320K/s
Time: 61:41
Size: 141.2 MB
Styles: Bop, Trombone jazz
Year: 1999
Art: Front

[6:36] 1. Jumpin' The Blues
[5:30] 2. Truly Wonderful
[6:15] 3. I Can't Get Started
[8:41] 4. Salty Papa
[5:54] 5. Blues Everywhere
[5:04] 6. Night Train
[6:45] 7. Things Ain't What They Used To Be
[7:31] 8. Body And Soul
[4:17] 9. C.B. And Me
[5:02] 10. Milestones

The Al Grey-Jimmy Forrest Quintet lived a short, somewhat cantankerous, though fruitful life, leaving a small legacy of some outstanding small group jazz. This recording captures the group live at the Chicago club, Rick's, in the late 1970s. Thankfully, the quality of the recording is superb, and the selections from the three-night stand fairly represent the sound and repertoire of the group. Both veterans, Grey and Forrest have rarely been as well documented on disc. The tunes are ones that both of these war horses could play in their sleep, yet there is a visceral excitement to it all that makes this recording so entertaining. Both horns stretch at length, and swing effortlessly. Al Grey sits out on "Body and Soul," while Forrest gives an emotionally charged classic rendition of the tune. The signature title piece, "Night Train," is performed with the sort of gritty down-home punch to be expected from these masters. The trombonist goes all out with his plunger on "Things What Ain't They Used to be," while "Milestones" (the Miles Davis tune) is played with a slight Latin beat. The rhythm section, especially including the talented Shirley Scott, swings solidly. Grey and Forrest have seldom sounded better, and this recording captures them at peak performance. ~Steve Loewy

Night Train Revisited

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Jimmy Forrest - Most Much!

Styles: Hard Bop, Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 49:13
Size: 113,1 MB
Art: Front

(4:46)  1. Matilda
(7:43)  2. Annie Laurie
(4:25)  3. Autumn Leaves
(2:40)  4. My Buddy
(5:13)  5. I Love You
(5:37)  6. Soft Winds
(8:48)  7. Robbins' Nest
(6:37)  8. Most Much
(3:19)  9. Sonny Boy

Jimmy Forrest was a very consistent tenor, able to infuse bop and swing standards with soul and his distinctive tone. With the assistance of pianist Hugh Lawson, bassist Tommy Potter, drummer Clarendon Johnson and Ray Barretto on congas, Forrest explores mostly veteran tunes, such as a jumping "Annie Laurie," and the calypso "Matilda," a sentimental "My Buddy," "Robbins Nest," and even "Sonny Boy." Enjoyable music from the warm tenor. ~ Scott Yanow  http://www.allmusic.com/album/most-much-mw0000204074

Personnel: Jimmy Forrest (tenor saxophone); Hugh Lawson (piano); Tommy Potter (bass); Clarendon Johnson (drums); Ray Barretto (congas).

Most Much!

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Oliver Nelson - Soul Battle

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 47:03
Size: 108,0 MB
Art: Front

(5:43)  1. Blues at the Five Spot
(9:37)  2. Blues for M.F. (Mort Fega)
(5:42)  3. Anacruses
(9:22)  4. Perdido
(7:30)  5. In Passing
(9:07)  6. Soul Street

This intriguing session matches together three powerful tenor players: Oliver Nelson, King Curtis (in a rare jazz outing) and Jimmy Forrest. With fine backup work by pianist Gene Casey, bassist George Duvivier and drummer Roy Haynes, the tenors battle to a draw on a set of blues and basic material (including a fine version of "Perdido"). This CD reissue adds one selection ("Soul Street") from the same date to the original LP program and is easily recommended to fans of big-toned tenors and straightahead swinging. ~ Scott Yanow  http://www.allmusic.com/album/soul-battle-mw0000612736

Soul Battle

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Jimmy Forrest - All the Gin Is Gone

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 41:32
Size: 95,5 MB
Art: Front + Back

(4:50)  1. All the Gin Is Gone
(6:45)  2. Laura
(6:35)  3. You Go to My Head
(5:34)  4. Myra
(9:27)  5. Caravan
(3:01)  6. What's New
(5:18)  7. Sunkenfoal

This was the first album that tenor saxophonist Jimmy Forrest made after his R&B phase ended. Particularly notable is that the set served as the recording debut of guitarist Grant Green; completing the band are pianist Harold Mabern, bassist Gene Ramey and drummer Elvin Jones. The top-notch group performs two ballads, "Caravan" and three basic Forrest originals, including the title cut. The music is essentially melodic and blues-based hard bop that looks toward soul-jazz. Everyone sounds in fine form. ~ Scott Yanow   http://www.allmusic.com/album/all-the-gin-is-gone-mw0000676760

All the Gin Is Gone

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