Billy Strayhorn & Johnny Hodges - The Stanley Dance Sessions

Styles: Piano And Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 77:42
Size: 180,3 MB
Art: Front

(10:03)  1. Cue's Blue Now
( 4:19)  2. Gone With The Wind
( 5:54)  3. Cherry
( 3:11)  4. Watch Your Cue
( 7:23)  5. You Brought A New Kind Of Love To Me
( 3:33)  6. When I Dream Of You
( 6:09)  7. Rose Room
( 3:00)  8. Don't Get Around Much Anymore
( 3:39)  9. I Got It Bad
( 2:30) 10. Gal From Joe's
( 3:02) 11. Your Love Has Faded
( 3:23) 12. I'm Just A Lucky So And So
( 3:22) 13. Jeep's Blues
( 4:00) 14. Day Dream
( 3:22) 15. Juice-A-Plenty
( 2:36) 16. Azure
( 3:38) 17. Tailor Made
( 4:30) 18. Star Dust

For yet more Strayhorn pleasures and with himself on piano, there are the eight 1959 sides of The Stanley Dance Sessions (originally released on Felsted, London and Verve). Johnny Hodges' growling alto sax on the opener "Cue's Blue Now is the something for which the repeat button must have been invented. On "Rose Room clarinetist Russell Procope juicily works the melody while Hodges & Co. get behind him and even offer some impromptu vocal appreciation. A second session from 1961 includes much of the then-Ellington band with Strayhorn arranging and conducting. Hodges shines again on Ellington's jaunty "Gal From Joe's and for a sampling of big band blazing brass ensemble in peak form there's "Tailor Made . Totally in the groove and devilishly insouciant, this is all perfect, just perfect. ~ Andrew Velez https://www.allaboutjazz.com/billy-strayhorn-lush-life-and-the-stanley-dance-sessions-by-andrew-velez.php

Personnel: Billy Strayhorn: piano; Johnny Hodges: alto saxophone; 1-7 Harold "Shorty" Baker: trumpet; Quentin Jackson: trombone; Johnny Hodges: alto saxophone; Russell Procope: clarinet; Al Hall: bass; Oliver Jackson: drums 8-18 Cat Anderson, Harold "Shorty" Baker, Bill Berry, Howard McGhee, Ed Mullens: trumpet; Lawrence Brown, Quentin Jackson: trombone; Chuck Connors: bass, trombone; Russell Procope: clarinet, alto saxophone; Jimmy Hamilton: clarinet, tenor saxophone; Paul Gonsalves: tenor saxophone; Harry Carney: baritone, bass clarinet; Jimmy Jones: piano; Aaron Bell: bass; Sam Woodward: drums.

The Stanley Dance Sessions

---

Jimmy Hamilton - In A Sentimental Mood

Styles: Clarinet Jazz
Year: 2000
File: MP3@320K/s
Time: 35:49
Size: 83,1 MB
Art: Front

(3:26)  1. I've Got The World On A String
(2:49)  2. Do Nothing Till You Hear From Me
(2:17)  3. Tempo De Brazilia
(4:23)  4. The Nearness Of You
(5:11)  5. Blue Room
(2:32)  6. Ain't She Sweet
(2:55)  7. I Didn't Know About You
(3:35)  8. Taj Mahal
(5:15)  9. In A Sentimental Mood
(3:24) 10. After You've Gone

Jimmy Hamilton was for a quarter-century a mainstay of jazz's most important large ensemble, the Duke Ellington Orchestra. On clarinet, Hamilton was a model of polished, cool style and substance, while his less often featured work on tenor saxophone allowed him to reveal funkier inclinations. Hamilton was hired by Ellington as the replacement for Barney Brigard in 1943, and he stayed on with the Duke until 1968. Prior to joining Ellington, he had worked with Lucky Millinder, Jimmy Mundy, and most noticeably Teddy Wilson's sextet (1940-1942) and Eddie Heywood; Hamilton also recorded “Gloomy Sunday” with Billie Holiday. While he was featured primarily as a clarinetist, where he employed a cool smooth tone, he sometimes turned to the tenor on which he was a little rougher and raucous. When Jimmy took the job with Duke he actually had another offer on the table from Count Basie. Basie wanted him to perform only on tenor sax, however, and Jimmy wanted the chance to perform on clarinet, as well. Jimmy also commented that he was a great fan of Ellington's compositions and that Duke was sure to challenge him with new material. He was certainly right about that! Duke and Billy Strayhorn wrote many featured parts for Jimmy's clarinet and tenor sax improvisations (Air-conditioned Jungle, Deep Purple, and Bluebird of Delphi; to name a few). After leaving Ellington, Hamilton moved to St. Croix in the Virgin Islands, where he taught music in public schools. Jimmy and his Quartet (with his wife, Vivian on piano) had a weekly radio show (WSTX AM radio station) from1971 to ‘77 which broadcast their Friday night gig, live from the Holger Danske Hotel in Christiansted, St. Croix. 

That broadcast made them fans all throughout the Caribbean. He did return to the U.S. to play with John Carter’s Clarinet Summit in 1981 and 1985, and gigged a bit in New York during 1989-1990, but was otherwise little heard from in his later years. Hamilton did not record much as a leader, but did put together some fine sessions as his two sessions recorded two weeks apart in 1961 for Swingville (Prestige's mainstream offshoot), they spotlight Hamilton on both clarinet and tenor. “It's About Time!” offers a host of tuneful, loose blues, some of whose titles indicate the participants' collective sense of humor (”Stupid But Not Crazy,” “Nits and Wits”), while “Can't Help Swinging” balances four bluesy originals with an equal number of top-notch standards. The sextet finds Hamilton joined on the front line by fellow distinguished Ellingtonians Clark Terry and Britt Woodman, and both dates are graced by Tommy Flanagan's piano. Hamilton went on to do a live recording in 1985 from the Virgin Islands. This date “Rediscovered at the Buccaneer,” finds Hamilton playing clarinet and alto in prime form with a quartet also including pianist Gary Mayone, bassist Joe Straws and drummer Delroy Thomas. Hamilton performs five lazy love songs and five tunes associated with Duke Ellington. These would be his last recordings. Jimmy Hamilton passed in Sept. 1994. https://musicians.allaboutjazz.com/jimmyhamilton

Personnel:  Clarinet – Jimmy Hamilton; Bass – Aaron Bell; Drums – Sam Woodyard; Horns [Baritone] – Britt Woodman, Dave Wells, Mitchell Wood; Piano – Jimmy Rowles; Tenor Saxophone – Paul Gonsalves; Trumpet – John Anderson

In A Sentimental Mood

---

Johnny Hodges - Triple Play

Bitrate: MP3@320K/s
Time: 47:47
Size: 109.4 MB
Styles: Saxophone jazz
Year: 1967/2015
Art: Front

[3:38] 1. Take 'em Off, Take 'em Off, Pt. 1
[2:55] 2. Take 'em Off, Take 'em Off, Pt. 2
[3:45] 3. The Nearness Of You
[3:52] 4. Monkey On A Limb
[4:53] 5. A Tiny Bit Of Blues
[3:01] 6. For Jammers Only (A.K.A. Wild Onions)
[2:51] 7. On The Way Up
[3:19] 8. Big Boy Blues
[2:48] 9. The Very Thought Of You
[6:21] 10. Fur Piece
[3:18] 11. Sir John
[2:38] 12. Figurine
[4:20] 13. C-Jam Blues

Baritone Saxophone – Harry Carney; Bass – Aaron Bell, Joe Benjamin, Milt Hinton; Cornet – Ray Nance; Drums – Gus Johnson, Oliver Jackson, Rufus Jones; Guitar – Billy Butler, Les Spann, Tiny Grimes; Leader, Alto Saxophone – Johnny Hodges; Piano – Hank Jones, Jimmy Jones, Nat Pierce; Piano – Jimmy Jones; Tenor Saxophone – Jimmy Hamilton, Paul Gonsalves; Trombone – Benny Powell, Buster Cooper, Lawrence Brown; Trumpet – Cat Anderson, Roy Eldridge; Vibraphone – Bill Berry.

Altoist Johnny Hodges is heard in three different settings on this reissue CD. Such top swing stars as trumpeters Ray Nance, Cat Anderson and Roy Eldridge, trombonists Buster Cooper, Lawrence Brown and Benny Powell, tenors Paul Gonsalves and Jimmy Hamilton, baritonist Harry Carney, pianists Hank Jones and Jimmy Jones (the latter two sometimes together), guitarists Tiny Grimes, Les Spann and Billy Butler, bassists Milt Hinton, Aaron Bell and Joe Benjamin and drummers Gus Johnson, Rufus Jones and Oliver Jackson are heard in nonets with the great altoist. Despite the many changes in personnel, the music is pretty consistent, with basic swinging originals, blues and ballads all heard in equal proportion. As usual, Johnny Hodges ends up as the main star. ~Scott Yanow

Triple Play mc
Triple Play zippy

---

Lucky Thompson - Accent on Tenor Sax

Styles: Saxophone Jazz
Year: 1954
File: MP3@320K/s
Time: 58:00
Size: 132,9 MB
Art: Front

( 6:25)  1. Tune For Tex
( 6:24)  2. Where Or When
( 8:05)  3. Mr. E-Z
(13:13)  4. Kamman's A'Comin'
( 7:33)  5. Ever So Easy
( 3:20)  6. Salute To Charlie Parker
( 4:18)  7. Mood Indigo
( 5:02)  8. Easy To Love
( 3:35)  9. Prelude To A Mood

Born in Columbia, SC, on June 16, 1924, tenor saxophonist Lucky Thompson bridged the gap between the physical dynamism of swing and the cerebral intricacies of bebop, emerging as one of his instrument's foremost practitioners and a stylist par excellence. Eli Thompson's lifelong nickname the byproduct of a jersey, given him by his father, with the word "lucky" stitched across the chest -- would prove bitterly inappropriate: when he was five, his mother died, and the remainder of his childhood, spent largely in Detroit, was devoted to helping raise his younger siblings. Thompson loved music, but without hope of acquiring an instrument of his own, he ran errands to earn enough money to purchase an instructional book on the saxophone, complete with fingering chart. He then carved imitation lines and keys into a broom handle, teaching himself to read music years before he ever played an actual sax. According to legend, Thompson finally received his own saxophone by accident a delivery company mistakenly dropped one off at his home along with some furniture, and after graduating high school and working briefly as a barber, he signed on with Erskine Hawkins' 'Bama State Collegians, touring with the group until 1943, when he joined Lionel Hampton and settled in New York City. Soon after his arrival in the Big Apple, Thompson was tapped to replace Ben Webster during his regular gig at the 52nd Street club the Three Deuces Webster, Coleman Hawkins, Lester Young, and Art Tatum were all in attendance at Thompson's debut gig, and while he deemed the performance a disaster (a notorious perfectionist, he was rarely if ever pleased with his work), he nevertheless quickly earned the respect of his peers and became a club fixture. 

After a stint with bassist Slam Stewart, Thompson again toured with Hampton before joining singer Billy Eckstine's short-lived big band that included Charlie Parker, Dizzy Gillespie, and Art Blakey in other words, the crucible of bebop. But although he played on some of the earliest and most influential bop dates, Thompson never fit squarely within the movement's paradigm his playing boasted an elegance and formal power all his own, with an emotional depth rare among the tenor greats of his generation. He joined the Count Basie Orchestra in late 1944, exiting the following year while in Los Angeles and remaining there until 1946, in the interim playing on and arranging a series of dates for the Exclusive label. Thompson returned to the road when Gillespie hired him to replace Parker in their epochal combo he also played on Parker's landmark March 28, 1946, session for Dial, and that same year was a member of the Charles Mingus and Buddy Collette-led Stars of Swing which, sadly, never recorded. More...Jason Ankeny https://www.allmusic.com/artist/lucky-thompson-mn0000302799/biography             

Personnel: Lucky Thompson (tenor sax), Jimmy Hamilton (clarinet), Billy Taylor (piano), Sidney Gross (guitar on #1-3), Oscar Pettiford (bass), Osie Johnson (drums).

Accent on Tenor Sax

---

Johnny Hodges - Storyville Masters Of Jazz

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 75:02
Size: 173,4 MB
Art: Front

(3:50)  1. Don't Get Around Much Anymore
(4:13)  2. Passion Flower
(2:56)  3. Perdido
(1:55)  4. All Of Me
(2:30)  5. C Jam Blues
(2:23)  6. I Got It Bad And That Ain't Good
(7:10)  7. In A Mellotone
(3:42)  8. Cambridge Blues
(4:37)  9. Brute's Roots
(2:51) 10. Bouncing With Ben
(5:16) 11. One For The Duke
(5:49) 12. Walkin' The Frog
(4:52) 13. Rabbit Pie
(4:17) 14. On The Sunny Side Of The Street
(3:36) 15. Good Queen Bess
(2:53) 16. The Jeep Is Jumpin'
(5:22) 17. Things Ain't What They Used To Be
(2:34) 18. Jeep's Blues
(4:05) 19. Dooji Wooji

Johnny Hodges is forever associated with Duke Ellington as one of his principle soloists, though he recorded extensively as a bandleader himself beginning in the '50s. This compilation draws from earlier Storyville releases, including a number of features for the alto saxophonist with Ellington, highlighted by "All of Me" and "Jeep's Blues." But the bulk of this CD contains all ten tracks of Hodges' earlier disc, Masters of Jazz, Vol. 9, which features the saxophonist leading two separate groups of all-stars in club settings. Six tracks come from a 1960 set at The Cellar in San Francisco, with Ben Webster providing a perfect foil for Hodges, all originals by the leader. Four selections come from a Norman Granz-sponsored European tour in 1961, where Hodges led a group of fellow Ellington veterans (Harry Carney, Ray Nance, Lawrence Brown, Aaron Bell and Sam Woodyard, with pianist Al Williams). Hodges' swinging take of "On the Sunny Side of the Street" is brilliant, with the other horn providing lush background and soft rifts for the soloist. In addition to Hodges, Brown also solos in both "Good Queen Bess" and a rousing "Things Ain't What They Used to Be." Highly recommended! ~ Ken Dryden https://www.allmusic.com/album/masters-of-jazz-mw0000547336      

Personnel: Johnny Hodges (alto saxophone); Herb Ellis, Fred Guy (guitar); Russell Procope (clarinet, alto saxophone); Harry Carney (bass clarinet, baritone saxophone); Oett "Sax" Mallard (alto saxophone); Jimmy Hamilton, John Coltrane, Paul Gonsalves, Ben Webster (tenor saxophone); Harold Baker, Al Killian, Ray Nance, Rex Stewart, Shelton Hemphill, Francis Williams , Wallace Jones, Cat Anderson (trumpet); Joseph Nanton, Lawrence D. Brown, Juan Tizol, Quentin Jackson, Tyree Glenn (trombone); Victor Feldman, Duke Ellington, Lou Levy, Billy Strayhorn (piano); Gus Johnson , Sam Woodyard, Sonny Greer (drums).

Storyville Masters Of Jazz

---

Duke Ellington - The Cosmic Scene

Styles: Piano Jazz
Year: 1958
File: MP3@256K/s
Time: 43:58
Size: 81,7 MB
Art: Front

(3:22)  1. Avalon
(4:57)  2. Body and Soul
(3:03)  3. Bass-Ment
(3:10)  4. Early Autumn
(2:55)  5. Jones
(2:49)  6. Perdido
(5:07)  7. St. Louis Blues
(2:33)  8. Spacemen
(3:38)  9. Midnight Sun
(4:59) 10. Take the "A" Train
(4:46) 11. Body and Soul (alternate take)
(2:35) 12. Jones (alternate take)

Still riding the success of his triumphant concert at the 1956 Newport Jazz Festival, Duke Ellington in 1958 decided to reduce his touring orchestra to a nonet dubbed "the Spacemen" in 1958, and recorded this lone project with them for the Columbia label. Perhaps inspired by the first orbiting satellites, Ellington is not taking cues from George Russell or Sun Ra, whose extraterrestrial inspirations led them down even more progressive paths. This large ensemble is playing mostly standards, but the arrangements and solos carve an integrated yet elasticized concept that allows for a more expanded role for the ensemble's trombonists Quentin "Butter" Jackson, John Sanders, and Britt Woodman, and select soloists. One in the solo spotlight is Clark Terry on flugelhorn exclusively, putting his fabled trumpet aside. The classic material presented includes clarinetist Jimmy Hamilton's features "Avalon" and "Early Autumn," the slinky stripper pole blues version of "St. Louis Blues" with Ellington's piano taking the lead, and two versions of "Body & Soul," with tenor saxophonist Paul Gonsalves completely extrapolating and re-harmonizing the main take, while faithfully playing the original melody on the alternate selection. There's a modified "Perdido," an animated and perky "Midnight Sun" that deviates from any other slow and lugubrious version of the ballad, and two attempts of "Jones" the first a real good swinger, the second with a more unified horn chart accented by a New Orleans shuffle provided by drummer Sam Woodyard. There are two originals; the blues bass of Jimmy Woode and the 'bones with plentiful piano from Duke infusing "Bass-Ment," and one of the more delightful of all of Ellington's book, the poppin' and boppin' "Spacemen," a bright happy horn chart led by Terry that is one of the more distinctive Ellington numbers of this time period. ~ Michael G.Nastos http://www.allmusic.com/album/the-cosmic-scene-duke-ellingtons-spacemen-mw0000752803

Personnel:  Duke Ellington – piano;  Clark Terry – trumpet;  Quentin Jackson, Britt Woodman – trombone;  John Sanders - valve trombone;  Jimmy Hamilton – clarinet;  Paul Gonsalves - tenor saxophone;  Jimmy Woode – bass;  Sam Woodyard - drums

The Cosmic Scene

---

Duke Ellington - The Popular Duke Ellington

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 51:37
Size: 122,4 MB
Art: Front

(4:40)  1. Take The 'A' Train
(2:36)  2. I Got It Bad (And That Ain't Good)
(3:14)  3. Perdido
(5:10)  4. Mood Indigo
(5:12)  5. Black And Tan Fantasy
(3:11)  6. The Twitch
(3:37)  7. Solitude
(1:55)  8. Do Nothin' Till You Hear From Me
(5:36)  9. The Mooche
(3:02) 10. Sophisticated Lady
(3:56) 11. Creole Love Call
(5:27) 12. Caravan
(1:59) 13. Wings And Things
(1:56) 14. Do Nothin' Till You Hear From Me

This CD reissue from 1997 features Duke Ellington and His Orchestra running through 11 of the leader's hits and a lesser-known blues tune, "The Twitch." The 1966 version of his big band still had all of its main stars, including such major voices as trumpeters Cootie Williams and Cat Anderson, trombonists Lawrence Brown and Buster Cooper, altoist Johnny Hodges, Paul Gonsalves on tenor, and clarinista Jimmy Hamilton. 

All are featured on The Popular Duke Ellington. Since the material is all very familiar, and mostly quite concise (nothing over six minutes long, and a version of "Do Nothin' Till You Hear From Me" that is under two minutes), few surprises occur. But Ellington fans will enjoy this well-played effort. ~ Scott Yanow http://www.allmusic.com/album/the-popular-duke-ellington-mw0000529326

Personnel: Duke Ellington (piano); Harry Carney, Russell Procope, Johnny Hodges, Jimmy Hamilton, Paul Gonsalves (reeds); Cootie Williams, William "Cat" Anderson, Mercer Ellington, Herbie Jones (trumpets); Lawrence Brown, Buster Cooper, Chuck Connors (trombone); John Lamb (bass); Sam Woodyard (drums).

The Popular Duke Ellington

---

Frank Sinatra - Francis A. & Edward K.

Styles: Vocal
Year: 1967
File: MP3@320K/s
Time: 35:10
Size: 81,0 MB
Art: Front

(3:55)  1. Follow Me
(4:12)  2. Sunny
(5:00)  3. All I Need Is the Girl
(4:12)  4. Indian Summer
(5:00)  5. I Like the Sunrise
(4:57)  6. Yellow Days
(4:27)  7. Poor Butterfly
(3:23)  8. Come Back to Me

The much-anticipated collaboration between Frank Sinatra and Duke Ellington, Francis A. & Edward K., didn't quite match its high expectations. At the time of recording, the Ellington band was no longer at its peak, and Sinatra was concentrating on contemporary pop material, not standards. It was decided that the record would be a mixture of standards and new material; as it happened, only one Ellington number, "I Like the Sunrise," was included. Due to a mild cold, Sinatra was not at his best during the sessions, and his performance is consequently uneven on the record, varying between robust, expressive performances and thin singing. Similarly, Ellington and his band are hot and cold, occasionally turning in inspired performances and just as frequently walking through the numbers. But that doesn't mean there is nothing to recommend on Francis A. & Edward K. On the contrary, the best moments on the album fulfill all of the duo's promise. All eight songs are slow numbers, which brings out Sinatra's romantic side. "Indian Summer" is a particular standout, with a sensual vocal and a breathtaking solo from saxophonist Johnny Hodges. Much of the material on the album doesn't gel quite as well, but devoted Sinatra and Ellington fans will find enough to treasure on the record to make it a worthwhile listen.~Stephen Thomas Erlewine http://www.allmusic.com/album/francis-a-edward-k-mw0000198867

Personnel : Frank Sinatra (vocals); Duke Ellington (piano); Jimmy Hamilton (clarinet); Russell Procope, Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Harry Carney (baritone saxophone); Rev. Francis A. & Edward K.; Cootie Williams, Cat Anderson (trumpet); Lawrence Brown (trombone); Sam Woodyard (drums, percussion).

Francis A. & Edward K.

---

Jimmy Hamilton - Can't Help Swingin'

Bitrate: MP3@320K/s

Time: 76:44

Size: 175.7 MB

Styles: Clarinet jazz

Year: 1993/2009

Art: Front

[6:39] 1. Mr. Good Blues

[5:12] 2. Peanut Head

[9:44] 3. Nits And Wits

[5:17] 4. Stupid But Not Crazy

[5:48] 5. Two For One

[4:53] 6. Gone With The Blues

[3:12] 7. Definite Difference

[7:07] 8. Panfried

[4:35] 9. Lullaby Of The Leaves

[4:38] 10. Baby Won't You Please Come Home

[6:00] 11. There Is No Greater Love

[6:32] 12. Dancing On The Ceiling

[3:47] 13. Route 9w

[3:14] 14. Town Tavern Rag

Jimmy Hamilton spent 25 years (1943-68) with Duke Ellington's Orchestra, gaining recognition as a technically skilled cool-toned clarinetist and an occasional (but underused) booting tenor player. His own recording projects were very infrequent and his two Swingville LPs (reissued in full on this 1999 CD) were formerly very scarce. For one of the dates (originally called It's About Time), Hamilton is matched in a sextet with flugelhornist Clark Terry, trombonist Britt Woodman, pianist Tommy Flanagan, bassist Wendell Marshall and drummer Mel Lewis for a set of mostly blues. Terry and Woodman are quite exuberant throughout. The Can't Help Swingin' album showcases Hamilton with pianist Tommy Flanagan, bassist Wendell Marshall and drummer Earl Williams in a quartet. Although Hamilton plays some clarinet (most notably on the atmospheric "Dancing on the Ceiling"), the emphasis throughout both sets is on his rarely heard tenor. He is less bop-oriented and more basic on the bigger horn than on his usual ax, swinging hard and showing just how strong a tenor player he could be. Worth exploring. ~Scott Yanow

Can't Help Swingin'

---