Mitzi Gaynor - Sings The Lyrics of Ira Gershwin

Styles: Vocal
Year: 1959
File: MP3@320K/s
Time: 34:48
Size: 80,9 MB
Art: Front

(2:05)  1. Soon
(3:52)  2. Half of It Dearie Blues
(3:31)  3. Spring Again
(2:35)  4. Gotta Have Me Go With You
(2:29)  5. Here's What I'm Here For
(3:42)  6. I Can't Get Started
(2:26)  7. Treat Me Rough
(2:19)  8. That Certain Feeling
(3:23)  9. My Ship
(2:06) 10. There's A Boat Dat's Leavin' Soon For New York
(2:48) 11. Island In The West Indies
(3:27) 12. Isn't It A Pity

With her delicate, fluttery voice (which can also go into overdrive with a very satisfactory belt when required), Gaynor tackles two numbers closely identified with Judy Garland "Gotta Have Me A Go With You" and "Here's What I'm Here For" as well as a lullaby-esque "My Ship" intimately scored with soft, hesitant strings and just the right amount of brass and a gangbusters "Soon" amongst others.By Editorial Reviews https://www.amazon.com/Sings-Lyrics-Gershwin-Mitzi-Gaynor/dp/B002D1GND2

Personnel: Pete Candoli, Don Fagerquist, Cappy Lewis, Uan Rasey, Manny Klein (tp); Dave Wells, Ed Kusby, Tommy Pederson, Lloyd Ulyate, Joe Howard, Hoyt Bohanon (tb); George Roberts, Kenny Shroyer (b-tb); Paul Horn (as); Paul Smith (p, celeste); Jimmy Rowles (p); Barney Kessel, Jack Marshall, Al Hendrickson (g); Max Bennett, Joe Mondragon (b); Jack Sperling, Mel Lewis (d); Ralph Hensell (perc); plus 8 violins.

Sings The Lyrics of Ira Gershwin

---

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

---

Buster Williams - Crystal Reflections

Styles: Jazz, Post Bop
Year: 1976
File: MP3@320K/s
Time: 49:45
Size: 114,2 MB
Art: Front

( 7:20)  1. Prism
( 9:30)  2. The Enchanted Flower
( 5:21)  3. I Love You
( 5:38)  4. I Dream Too Much
(11:47)  5. Vibrations
( 3:29)  6. My Funny Valentine
( 6:38)  7. I Dream Too Much

Bassist Buster Williams is well featured here on this pretty, interesting set from 1976, his second disc as a leader. Crystal Reflections concentrates on exploratory duets with keyboardist Kenny Barron (the exceptional Barron original, "The Enchanted Flower"), pianist Jimmy Rowles (two versions of "I Dream Too Much") and vibraphonist Roy Ayers ("My Funny Valentine"). Elsewhere, Williams combines with Barron, Ayers and drummer Billy Hart for three impressionistic pieces: William's sensitive "Prism," Cole Porter's "I Love You" and Roy Ayers's Spyro Gyra-like "Vibrations." Even when Williams overdubs synthesizer and female voices overtop "Prism" or when Roy Ayers doubles up on sythn for "Virgo," the effect is sensitively considered and the result is quite a positive contribution to the success of each piece. This set is much more likely to appeal to fans of Kenny Barron, Jimmy Rowles or Roy Ayers. But bassist Williams proves himself a worthy leader here. He's a sympathetic, melodic player whose perceptive and intuitive string work is often simple and effective, never showy and very much a beneficial part of the whole. Like the title suggests, this is music that is as pretty as it is intelligent. Recommended. ~ Douglas Payne https://www.allaboutjazz.com/crystal-reflections-buster-williams-32-records-review-by-douglas-payne.php

Personnel: Buster Williams: bass, synthesizer; Kenny Barron: piano, electric piano; Jimmy Rowles: piano; Roy Ayers: vibes, synthesizer; Billy Hart: drums; Nobu Urushiyama: percussion; Suzanne Klewan: voice.

Crystal Reflections

---

Peggy Connelly - Hollywood Sessions

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 46:56
Size: 108,4 MB
Art: Front

(3:03)  1. You Make Me Feel So Young
(2:42)  2. Trouble Is a Man
(3:08)  3. Where Did the Gentleman Go
(2:26)  4. I Have Said Goodbye to Spring
(2:54)  5. What Is There to Say
(2:30)  6. Trav'lin' Light
(3:18)  7. Ev'rytime We Say Goodbye
(3:17)  8. Alone Together
(2:42)  9. I Got Plenty o' Nuttin'
(2:25) 10. Fools Rush In
(2:10) 11. Ev'rytime
(2:47) 12. Gentleman Friend
(4:27) 13. It Never Entered My Mind
(2:59) 14. Why Shouldn't I
(3:14) 15. That Old Black Magic
(2:45) 16. He Was Too Good to Me

By the time she was 15, Peggy Connelly (1931-2007) had a lovely voice that won her jobs singing with competitive big bands in her hometown of Fort Worth, Texas. At 18, she went in search of work as a model and singer, and after a difficult start, she moved to Hollywood. Once there, she landed two significant opportunities. The first involved her appearance in motion pictures and TV shows. The second and more important opportunity was the start of her career as a single recording artist. When she sang, Connelly put to good use her beautiful, round tone and commendable lack of artifice to project the intent of any song with lucidity. She was Frank Sinatra’s girlfriend for over two years, and their relationship opened many doors for her with musicians and the Hollywood studios. Even though Connelly had few significant opportunities in her career to show off her talent as a singer, the times she did resulted in these magnificent recordings. Sinatra, not very fond of praising his colleagues, had no qualms about praising Connelly. When he first heard her sing Ev’ry Time We Say Goodbye, he said: “Hi, beautiful lady, you are wonderful.” https://www.freshsoundrecords.com/peggy-connelly/6707-hollywood-sessions.html

Personnel:  Peggy Connelly (vcl), Marty Paich, Russell Garcia (dir), Conte Candoli, Pete Candoli, Stu Williamson (tp), Russ Cheever (ss), Charlie Mariano (as), Bill Holman (ts), Jimmy Giuffre (bs), Al Hendrickson (g), Jimmy Rowles (p), Harry Babasin, Max Bennett (b), Roy Harte, Stan Levey (d), Jack Costanzo, Ramón Rivera, Willy Gallardo (perc)

Hollywood Sessions

---

Carmen McRae - The Great American Songbook

Styles: Vocal
Year: 1972
File: MP3@320K/s
Time: 71:20
Size: 164,3 MB
Art: Front

(4:34) 1. Satin Doll
(2:27) 2. At Long Last Love
(4:22) 3. If the Moon Turns Green
(2:22) 4. Day by Day
(4:14) 5. What Are You Doing the Rest of Your Life
(4:12) 6. I Only Have Eyes for You
(9:13) 7. Medley: Easy Living, the Days of Wine and Roses, It's Impossible
(4:09) 8. Sunday
(4:46) 9. A Song for You
(2:20) 10. I Cried for You
(2:44) 11. Behind the Face
(3:28) 12. The Ballad of Thelonius Monk
(5:00) 13. There's No Such Thing as Love
(4:37) 14. They Long to Be Close to You
(1:58) 15. Three Little Words
(3:59) 16. Mr. Ugly
(2:52) 17. It's Like Reaching for the Moon
(3:54) 18. I Thought About You

On this popular two-LP set, singer Carmen McRae interprets songs by Duke Ellington, Cole Porter, Michel Legrand, Warren & Dubin, Henry Mancini, and Jimmy Van Heusen, among others, but it is her rendition of a humorous Jimmy Rowles novelty ("The Ballad of Thelonious Monk") that is best remembered. Joined by pianist Rowles, guitarist Joe Pass, bassist Chuck Domanico, and drummer Chuck Flores, McRae had what was at the time a rare opportunity to record a live, spontaneous, jazz-oriented set. She sounds quite enthusiastic about both her accompaniment and the strong repertoire, which includes "At Long Last Love," "I Only Have Eyes for You," "Sunday," "I Cried for You," and "I Thought About You." By Scott Yanow https://www.allmusic.com/album/the-great-american-songbook-vol-1-mw0000197138

Personnel: Carmen McRae - vocals, piano on "If the Moon Turns Green" and "Mr Ugly"; Jimmy Rowles - piano; Joe Pass - guitar; Chuck Domanico - double bass; Chuck Flores - drums

The Great American Songbook

---

Bob Brookmeyer Quartet - The Blues Hot And Cold + 7X Wilder

Styles: Trombone And Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 72:31
Size: 174,8 MB
Art: Front

(6:04) 1. On the Sunny Side of the Street
(5:54) 2. Stoppin' at the Savoy
(7:21) 3. Languid Blues
(4:53) 4. I Got Rhythm
(5:48) 5. Smoke Gets in Your Eyes
(7:57) 6. Hot and Cold Blues
(6:09) 7. While Were Young (4:42) 8. That s The Way It Goes
(4:32) 9. The Wrong Blues
(4:04) 10. It s So Peaceful In The Country
(6:07) 11. Blues For Alec
(4:28) 12. I ll Be Around
(4:26) 13. Who Can I Turn To?

Bob Brookmeyer pioneered playing jazz on the valve trombone, and employed an open-ended approach that embraced both cool and chamber jazz elements. This CD combines two of his finest early period albums from 1960 and 1961, playing standards and originals alongside a stock backup piano/bass/drums trio with Jimmy Rowles, and interpreting the music of Alec Wilder in tandem with guitarist Jim Hall. For the latter date, Brookmeyer goes back and forth between trombone and piano, with drummer Mel Lewis on both sessions.

The first group is more sedate on songs like the polite "On the Sunny Side of the Street" and "Languid Blues," but hop it up for the happy swinger "I Got Rhythm," or up and down title track. Brookmeyer has a delicate touch on piano for the waltz "While We're Young" and "The Wrong Blues," but on the trombone bops along for the fun tune "That's The Way It Goes," and epitomizes California cool for classics like the immortal "It's so Peaceful in the Country," paired beautifully with Hall on "Who Can I Turn To?" or on the muted trombone during "I'll Be Around." As you listen, you notice Brookmeyer gets around on his brass instrument as a trumpeter, not with the acumen of J.J. Johnson's slide trombone, but with an attack that combines the subtleties of Chet Baker with the alacrity of Shorty Rogers, who must be a telling influence. These albums were highly rated when they came out, and stand the test of time as excellent early examples of Brookmeyer's performance prowess.
~Michael G. Nastos https://www.allmusic.com/album/blues-hot-cold-7-x-wilder-mw0001359682

Personnel: Valve Trombone, Piano – Bob Brookmeyer; Bass – Bill Crow (tracks: 7 to 13), Buddy Clark (tracks: 1 to 6); Drums – Mel Lewis; Guitar – Jim Hall (tracks: 7 to 13); Piano – Jimmy Rowles (tracks: 1 to 6)

The Blues Hot And Cold + 7X Wilder

---

Buddy DeFranco - I Hear Benny Goodman & Artie Shaw Disc 1 And Disc 2

Album: I Hear Benny Goodman & Artie Shaw  Disc 1

Styles: Clarinet Jazz
Year: 2007
File: MP3@320K/s
Time: 53:39
Size: 126,9 MB
Art: Front

(3:16)  1. Don't Be That Way
(3:31)  2. After You've Gone
(4:51)  3. The Sheik Of Araby
(7:51)  4. Flying Home
(5:40)  5. Soft Winds
(5:59)  6. Medley: Sweet Lorraine / Body And Soul / Memories Of You
(4:53)  7. Limehouse Blues
(5:53)  8. Medley: Poor Butterfly / Where Or When / These Foolish Things
(3:58)  9. Rose Room
(7:44) 10. Oh, Lady Be Good

---

Album: I Hear Benny Goodman & Artie Shaw  Disc 2

Time: 52:38

Size: 125,4 MB

(4:05)  1. 'S Wonderful

(4:09)  2. My Heart Stood Still

(2:32)  3. Temptation

(3:43)  4. Night And Day

(2:44)  5. Keepin' Myself For You

(5:38)  6. Medley: It Could Happen to You / I Cover the Waterfront / Someone to Watch Over Me

(7:00)  7. Concerto For Clarinet

(3:45)  8. All The Things You Are

(5:01)  9. Softly as in a Morning Sunrise

(3:24) 10. Smoke Gets In Your Eyes

(3:27) 11. I Surrender Dear

(7:04) 12. Tin Reed Blues

Two CD set. Subtitled: The Complete 'Plays Benny Goodman And Artie Shaw' Sessions, Vol. Two. Second of two volumes from the Jazz clarinet player paying tribute to two influential Jazz greats. 

Both volumes combined feature five complete albums originally released by DeFranco: I Hear Benny Goodman & Artie Shaw, Buddy DeFranco Plays Benny Goodman, Buddy DeFranco Plays Artie Shaw, Wholly Cats and Closed Session. This double disc volume features 22 tracks including ''S Wonderful, 'Flying Home', 'After You've Gone' and more. Lonehill Jazz. 2007. ~ Editorial Reviews https://www.amazon.com/Hear-Benny-Goodman-Artie-Shaw/dp/B000OLHFDK

Personnel:  Buddy DeFranco (cl), Don Fagerquist (tp), Georgie Auld (ts), Victor Feldman (vib), Carl Perkins (p), Barney Kessel (g), Leroy Vinnegar (b), Stan Levey (d), Larry Bunker (vb), Bob Neal (d),Ray Linn (tp), Jimmy Rowles (p), Barney Kessel (g), Joe Mondragon (d)

I Hear Benny Goodman & Artie Shaw Disc 1, Disc 2

---

Ben Webster - At The Renaissance

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 67:51
Size: 156,1 MB
Art: Front

( 9:30)  1. Gone With The Wind
(11:22)  2. Stardust
(10:16)  3. Caravan
( 6:59)  4. Georgia On My Mind
( 7:14)  5. Ole Miss Blues
( 8:24)  6. Mop Mop
( 7:47)  7. What Is This Thing Called Love
( 6:15)  8. Renaissance Blues

This live set features tenor great Ben Webster playing with pianist Jimmy Rowles, guitarist Jim Hall, bassist Red Mitchell, and drummer Frank Butler in a club, and the music is consistently wonderful. Whether showing warmth and sentimentality on "Georgia on My Mind" and "Stardust" or growling and roaring on "Caravan" and "Ole Miss Blues," Webster (who was then somewhat taken for granted) is in superior and creative form. Recommended. ~ Scott Yanow https://www.allmusic.com/album/at-the-renaissance-mw0000006477

Personnel: Ben Webster - tenor saxophone; Jim Hall - guitar; Jimmy Rowles - piano; Red Mitchell - bass; Frank Butler - drums

At The Renaissance

---

Ralph Marterie - Music for a Private Eye

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 26:11
Size: 61,0 MB
Art: Front

(2:52)  1. M Squad
(3:03)  2. Perry Mason
(1:43)  3. Richard diamond
(2:36)  4. Alfred Hitchcock Presents
(1:52)  5. Thin Man
(2:44)  6. 77 Sunset Strip
(3:30)  7. Private Eyeball
(2:03)  8. The D.A.'s Man
(3:15)  9. Riff Blues
(2:30) 10. Peter Gunn

If you haven’t been collecting Fresh Sound Records’ series of soundtracks from B movies and TV shows from the 50s and 60s, you’re missing out on some of the hippest and swingingest sounds to ever filter through your malleus, incus and stapes.This single disc has Ralph Marterie and his All Star Men, which includes Buddy DeFranco/cl, Pete Candoli/tp, Bud Shank/as, Bob Cooper/ts, Jimmy Rowles/p, Al Viola/g, Frank Rosolino/tb and Gus BIvona/ts for starters, and the team is conducted by Pete Rugulo, with arrangements by Rugulo, Johnny Mandel, Bill Holman and other studio studs.The Music for A Private Eye includes music made for Bass Weejuns; themes from “ M Squad”, “Perry Mason”, “77 Sunset Street” and, of course “Peter Gunn” mix Basie-like velvety saxes and irresistibly swinging rhythm. There’s a second album, Big Band Man, and it’s from the same date with an almost exact same band. These guys hit like a heavyweight on pieces like “Diga Diga Doo” while getting as smooth as silk on “Where Are You” and “Don’t Blame Me.” This material sounds amazingly fresh and alive; all of the charts have more angles than an English garden and the solos are concise with lots to say. When did big band music start becoming sterile? It was some time after this one! https://www.jazzweekly.com/2016/12/trench-coat-not-includedralph-marterie-music-for-a-private-eye/

Personnel: Ray Linn-trumpet; Uan Rasey-trumpet;Don Fagerquist-trumpet;Joe Triscari-trumpet;  Frank Rosolino-trombone;  Bob Fitzpatrick- trombone; Tommy Pederson-trombone;George Roberts-bass trombone; Frank Rosolino-alto saxophone; Paul Horn-alto saxophone;  Bob Cooper-tenor saxophone; Gus Bivona-tenor saxophone;  Dale Issenhuth-baritone saxophone;  Jimmy Rowles-piano;  Al Viola-guitar;  Joe Mondragon-bass; Irv Kluger-drums.

Music for a Private Eye

---

Zoot Sims - I Wish I Were Twins

Styles: Saxophone Jazz
Year: 1981
File: MP3@320K/s
Time: 43:02
Size: 101,0 MB
Art: Front

(5:13)  1. I Wish I Were Twins
(5:41)  2. Georgia On My Mind
(5:16)  3. Changes
(5:33)  4. The Touch Of Your Lips
(7:58)  5. The Fish Horn
(5:39)  6. Come Closer To Me
(7:39)  7. You Go Your Way

Zoot Sims (doubling on tenor and soprano) teams up once again with pianist Jimmy Rowles; this time bassist Frank Tate and drummer Akira Tana are the supporting cast. Rowles is a master not only at accompanying soloists (he always seems to come up with the perfect chord) but in picking up superior obscurities to perform. In addition to "Georgia on My Mind" and "The Touch of Your Lips," this album contains such tunes as "I Wish I Were Twins," "Changes" and Johnny Mercer's "You Go Your Way"; Sims contributed "The Fish Horn" to feature his soprano. A fine swinging date filled with thoughtful improvisations. ~ Scott Yanow https://www.allmusic.com/album/i-wish-i-were-twins-mw0000674755

Personnel: Tenor Saxophone, Sopranino Saxophone – Zoot Sims; Bass – Frank Tate; Drums – Akira Tana; Piano – Jimmy Rowles

I Wish I Were Twins

---

Pepper Adams - Urban Dreams

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 39:21
Size: 91,0 MB
Art: Front

(6:27)  1. Dexter Rides Again
(4:44)  2. Urban Dreams
(7:18)  3. Three Little Words
(6:55)  4. Time on My Hands
(7:04)  5. Pent Up House
(6:51)  6. Trentino

Musicians frequently become associated with the attributes of their instruments. Charles Mingus was hulking and imposing, just like his bass. Art Blakey had the propulsive, authoritative personality of his drums. Paul Desmond was urbane and laidback, just like the sound of his sweet-toned alto. There are, of course, exceptions to these sorts of correlations. Take Pepper Adams for instance. Slight of frame, particularly in his later years, Adams physical presence was the apotheosis of his chosen axe. Hefting his baritone horn with rail-thin arms, he coaxed out growling guttural lines seemingly at odds with his stature and appearance. Like a lion tamer subjugating a savage beast, he made the weighty sax a complete instrument of his bidding. His tone and phrasing, muscular and blues-based, were far removed from his generation's other skinny guy with a big horn, Gerry Mulligan. Sadly, for whatever reason, Adams' opportunities to record as a leader were far less frequent than those afforded Mulligan. The situation likely has a lot to do his willingness to lend his talents to the causes of other colleagues. Even the quintet he co-led with Donald Byrd at the dawn of the '60s found him taking a second slot on the marquee. The '70s and '80s weren't much better, but Adams did find the occasional resources to record. This reissued Palo Alto date comes from relatively late in his career, but his abilities are hardly diminished. A blue chip rhythm section fronted by pianist Jimmy Rowles, an Adams associate since the '50s, does more than simply supply support, and each member of the quartet has room to solo. The six chosen tunes are all fine blowing vehicles and Adams makes certain that there's space for amicable improvisation. "Dexter Rides Again" finds the band at rollicking gallop with clocking a brisk pace through the changes beside Rowles' light comping and the steady bobbing bass line of George Mraz. Billy Hart stokes the aggressive beat further with steady snare accents. "Urban Dreams," the brief original ballad of the set, rolls out the leader's romantic side. His throaty tone braids through the melody as Hart's brushes further embellish on the amorous implications. Two standards arrive next "Three Little Words" voiced velociously and "Time is on My Hands" taken at another slow drawl tempo each one showing off the band's consummate skill with repertory material. Adams can't resist packing an ample amount of blues punch into both. Rollins' racetrack worthy "Pent Up House" proves even better terrain for the band's high-speed inclinations. Adams once again burns through the changes leaving a smoldering melodic trail in his wake. His lush Latin burner "Trentino" takes the session out. No alternate takes or unreleased tunes, just the original album served up with warm 24 bit mastering. Pepper Adams' memory lives on in this immensely enjoyable and easily recommendable album. ~ Derek Taylor https://www.allaboutjazz.com/urban-dreams-pepper-adams-palo-alto-review-by-derek-taylor.php

Personnel: Pepper Adams: baritone saxophone; Jimmy Rowles: piano; George Mraz: bass; Billy Hart: drums.

Urban Dreams

---

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

---

Ted And Dick Nash - The Brothers Nash

Styles: Saxophone And Trombone Jazz
Year: 2000
File: MP3@320K/s
Time: 30:18
Size: 70,8 MB
Art: Front

(2:47)  1. I Remember You
(2:38)  2. We'll Be Together Again
(2:54)  3. Juntos
(2:26)  4. Prelude To A Kiss
(2:39)  5. Bad And The Beautiful
(2:01)  6. I Could Write A Book
(2:09)  7. Back In Your Own Backyard
(2:27)  8. For Heaven's Sake
(2:34)  9. Cuban Verandah
(2:25) 10. The Nearness Of You
(3:05) 11. Night Soliloquoy
(2:08) 12. You Are Too Beautiful

Features Ted Nash on a variety of saxes, and Dick on trombone plus a group with Tony Rizzi on guitar, Jimmy Rowles on piano, Harry Babasin on bass, and Roy Harte on drums. Tracks are mostly familiar numbers, but inventively arranged by Frank Comstock and others and Ted really increases his range of reed work here, blowing on tenor, alto, and soprano sax plus flute, alto flute, piccolo, clarinet, and bass clarinet! Titles include "Juntos", "We'll Be Together Again", "I Remember You", "Cuban Veranda", "You Are Too Beautiful", "For Heaven's Sake", and "The Nearness Of You. ©1996-2019, Dusty Groove Inc .https://www.dustygroove.com

Personnel: Alto Saxophone, Tenor Saxophone, Soprano Saxophone, Baritone Saxophone, Flute, Alto Flute, Piccolo Flute, Clarinet, Bass Clarinet – Ted Nash ; Trombone – Dick Nash; Bass – Harry Babasin; Drums – Roy Harte; Guitar – Tony Rizzi; Piano – Jimmy Rowles

The Brothers Nash

---

Peggy King, Pam Garner - Lazy Afternoon + Sings Ballads For Broken Hearts

Styles: Vocal
Year: 1959
File: MP3@320K/s
Time: 70:46
Size: 165,1 MB
Art: Front

(2:41)  1. Rain (Peggy King)
(3:11)  2. You'll Never Know (Peggy King)
(2:36)  3. Lazy Afternoon (Peggy King)
(2:21)  4. 'till There Was You (Peggy King)
(3:00)  5. Sure Thing (Peggy King)
(3:06)  6. I Remember You (Peggy King)
(2:11)  7. Love And The Weather (Peggy King)
(3:33)  8. Imagination (Peggy King)
(3:12)  9. Love Walked In (Peggy King)
(3:00) 10. Hi-Lili, Hi-Lo (Peggy King)
(2:59) 11. Nobody Else But Me (Peggy King)
(2:49) 12. Littleboy Heart (Peggy King)
(2:36) 13. Can't Get Out Of This Mood (Pam Garner)
(3:02) 14. Angel Eyes (Pam Garner)
(2:52) 15. It's The Talk Of The Town (Pam Garner)
(2:51) 16. The Thirteenth Month (Pam Garner)
(2:46) 17. Once In A While (Pam Garner)
(3:12) 18. Willow Weep For Me (Pam Garner)
(3:08) 19. Solitude (Pam Garner)
(2:35) 20. Blame It On My Youth (Pam Garner)
(3:16) 21. Lilac Wine (Pam Garner)
(2:55) 22. Lost In A Fog (Pam Garner)
(2:43) 23. (I Don't Stand) A Ghost Of A Chance (With You) (Pam Garner)
(4:00) 24. Lush Life (Pam Garner)

Lazy Afternoon:  Peggy’s singing is warmly intimate and sophisticated. All her charms are sheathed in highly imaginative and brilliant orchestral settings, by such gifted arrangers as Henri René, Jack Marshall, and Pete King.

Sings Ballads For Broken hearts:  Pam’s creamy voice is as expressive and surprising as a jazz solo. The accompaniment Johnny Williams devised for Pam expresses her style exactly. Interwoven with strings is the excitement of a first-class rhythm section, and along with the freewheeling improvisation provided by Jack Sheldon’s trumpet, the beat and the lightness of jazz are always present. https://www.freshsoundrecords.com/peggy-king-pam-garner-albums/46592-lazy-afternoon-sings-ballads-for-broken-hearts-2-lp-on-1-cd.html

Personnel:  Peggy King, Pam Garner (vcl), Henri René, Pete King, Jack Marshall, Johnny Williams (arr, cond), Jack Sheldon (tp), Jimmy Rowles (p, celeste), Red Mitchell (b), Larry Bunker (d)
 

Thank you Flyingfinger!

Lazy Afternoon

---

Jimmy Rowles, Stacy Rowles - Looking Back

Styles: Saxophone And Trumpet Jazz
Year: 1989
File: MP3@320K/s
Time: 64:54
Size: 149,5 MB
Art: Front

(7:00)  1. Good Bait
(5:26)  2. You Don't Know What Love Is
(6:23)  3. Dirty Butt Blues
(5:29)  4. Lady in the Corner
(6:02)  5. I Fall In Love Too Easily
(6:34)  6. East of the Sun (West of the Moon)
(6:06)  7. Lullaby of the Leaves
(8:23)  8. Emily
(8:13)  9. Take the A Train
(5:15) 10. Looking Back

This CD is filled with the type of music one would expect from pianist Jimmy Rowles and his daughter Stacy Rowles: tasteful and melodic renditions of standards. Stacy, who gives "Looking Back" an effective vocal, is a warm-toned and lyrical flugelhornist and is featured in a quartet with her father, bassist Eric Von Essen and drummer Donald Bailey. However the music is too safe and predictable, making one wish that a fire had been lit under the soloists. Jimmy Rowles' reworking of "Take The 'A' Train" is the closest that this uneventful session comes to the sound of surprise. Otherwise, little memorable or special occurs. ~ Scott Yanow https://www.allmusic.com/album/looking-back-mw0000201867

Personnel: Piano – Jimmy Rowles; Trumpet, Flugelhorn – Stacy Rowles; Vocals (Track 10) – Stacy Rowles; Bass – Eric von Essen; Drums,Percussion – Donald Bailey

Looking Back

---

Tadd Dameron - The Compositions Of Tadd Dameron

Styles: Bop, Post Bop, Hard Bop, Cool Jazz 
Year: 2011
File: MP3@320K/s
Time: 42:15
Size: 98,0 MB
Art: Front

(4:09)  1. Fontainebleau
(3:10)  2. The Dream Is You
(6:30)  3. If You Could See Me Now
(7:42)  4. Good Bait
(5:13)  5. Smooth As The Wind
(4:43)  6. Our Delight
(4:09)  7. Hot House
(6:36)  8. Lady Bird

The definitive arranger/composer of the bop era, Tadd Dameron wrote such standards as "Good Bait," "Our Delight," "Hot House," "Lady Bird," and "If You Could See Me Now." Not only did he write melody lines, but full arrangements, and he was an influential force from the mid-'40s on even though he never financially prospered. Dameron started out in the swing era touring with the Zack Whyte and Blanche Calloway bands, he wrote for Vido Musso in New York and most importantly, contributed arrangements for Harlan Leonard's Kansas City Orchestra, some of which were recorded. Soon Dameron was writing charts for such bands as Jimmie Lunceford, Count Basie, Billy Eckstine, and Dizzy Gillespie (1945-1947) in addition to Sarah Vaughan. Dameron was always very modest about his own piano playing but he did gig with Babs Gonzales' Three Bips & a Bop in 1947 and led a sextet featuring Fats Navarro (and later Miles Davis) at the Royal Roost during 1948-1949. Dameron co-led a group with Davis at the 1949 Paris Jazz Festival, stayed in Europe for a few months (writing for Ted Heath), and then returned to New York. He wrote for Artie Shaw's last orchestra that year, played and arranged R&B for Bull Moose Jackson (1951-1952) and in 1953 led a nonet featuring Clifford Brown and Philly Joe Jones. Drug problems, however, started to get in the way of his music. After recording a couple of albums (including 1958's Mating Call with John Coltrane) he spent much of 1959-1961 in jail. After he was released, Dameron wrote for Sonny Stitt, Blue Mitchell, Milt Jackson, Benny Goodman and his last record but was less active in the years before his death from cancer. Tadd Dameron's classic Blue Note recordings of 1947-48, his 1949 Capitol sides and Prestige/Riverside sets of 1953, 1956, 1958, and 1962 are all currently in print on CD. ~ Scott Yanow https://www.allmusic.com/artist/tadd-dameron-mn0000016759/biography

Personnel:  Arranged By, Conductor [Orchestra] – Tadd Dameron; Vibraphone [Soloist] – Milt Jackson; Bass – Larry Gales, Sam Jones, Buddy Clark; Drums – Ben Riley, Jimmy Cobb, Mel Lewis; Piano – Junior Mance, Bobby Timmons, Bill Evans, Jimmy Rowles; Tenor Saxophone – Eddie "Lockjaw" Davis, Johnny Griffin; Trumpet [Soloist] – Blue Mitchell, Jack Sheldon; Vibraphone – Dave Pike: Bass Clarinet – Herbie Mann; Bass Clarinet – Herbie Mann;

The Compositions Of Tadd Dameron

---

Don Bagley - The Soft Sell

Styles: Jazz, Post Bop
Year: 2012
File: MP3@320K/s
Time: 39:53
Size: 92,1 MB
Art: Front

(8:03)  1. The Soft Sell
(2:55)  2. Manitou
(2:31)  3. Dot-Cats
(3:20)  4. For Heaven's Sake
(3:38)  5. It's Cooler Inside
(4:50)  6. Paul's Blues
(3:52)  7. The Boy Next Door
(3:25)  8. Never Let Me Go
(3:40)  9. Pitchin' Easy
(3:37) 10. Say Si Si

Formally trained in bass, composition and arranging, Don Bagley made his early reputation touring and recording with Stan Kenton from 1950-1953. He subsequently would work with Kenton again at different times, but in 1954 Bagley began heading his own bands. He was quite busy as a session musician as well; Bagley recorded in Los Angeles with Nat "King" Cole, Maynard Ferguson and Dexter Gordon from 1950-52, then did overseas dates with Zoot Sims, Lars Gullin and a sextet led by Frank Rosolino and Ake Persson in Paris and Sweden in 1953. Bagley worked extensively with Kenton again and with Les Brown between 1956 and 1967, but still found the time to record in 1957 and 1958 with bands whose rosters included at times Jimmie Rowles, Shelly Manne and Phil Woods. There were also engagements with Pete Fountain in 1959 and Ben Webster in 1961. The lucrative world of television and films beckoned, with Bagley doing many arrangements and compositions in the '70s and '80s, plus working from 1976-1984 for noted pop songwriter Burt Bacharach. ~ Ron Wynn https://www.allmusic.com/artist/don-bagley-mn0000794713/biography

Personnel:  Don Bagley (bass), Paul Horn (flute), Shelly Manne (drums), Jimmy Rowles (piano), Tommy Loy (trumpet)

The Soft Sell

---

Herbie Mann & Buddy Collette - Flute Fraternity

Styles: Flute Jazz
Year: 1957
File: MP3@320K/s
Time: 32:19
Size: 75,2 MB
Art: Front

(4:08)  1. Herbie's Buddy
(4:14)  2. Perdido
(4:20)  3. Baubles, Bangles and Beads
(3:35)  4. Give A Little Whistle
(2:40)  5. Here's Pete
(6:44)  6. Theme From 'Theme From'
(3:58)  7. Nancy With The Laughing Face
(2:38)  8. Morning After

In the 1950s, Herbie Mann frequently shared the spotlight on record dates with other flutists. This V.S.O.P. LP, a reissue of a set originally for Mode and also out for awhile on Premier, matches Mann (who here also plays piccolo, clarinet and tenor) with Buddy Collette (switching between flute, clarinet, tenor and alto) in a quintet with pianist Jimmy Rowles, bassist Buddy Clark and drummer Mel Lewis. The results are generally pleasing, if somewhat lightweight, with such obscure tunes as "Here's Buddy," Rowles' "Pop Melody," "Here's Pete" and Mann's "Theme from 'Theme From'" alternating with three standards and Chico Hamilton's "Morning After." The most interesting aspect to this lightly swinging music is the constant switching around of the lead voices on their various horns.~ Scott Yanow https://www.allmusic.com/album/flute-fraternity-mw0000037566

Personnel:  Herbie Mann - flute, alto flute, clarinet, tenor saxophone;  Buddy Collette - flute, alto flute, clarinet, alto saxophone, tenor saxophone;  Jimmy Rowles - piano, celesta;  Buddy Clark - bass;  Mel Lewis - drums

Flute Fraternity

---

Bud Shank, Lou Levy - Jazz in Hollywood

Styles: Saxophone, Flute and Piano Jazz
Year: 1954
File: MP3@320K/s
Time: 48:09
Size: 111,0 MB
Art: Front

(5:38)  1. Casa de Luz
(3:23)  2. Lotus Bud
(3:24)  3. Left Bank
(3:17)  4. Shank's Pranks
(4:13)  5. Jasmine
(4:16)  6. Just a Few
(2:17)  7. The Gentleman Is a Dope
(2:41)  8. Serenade in Blue
(3:03)  9. Woody'n You
(3:32) 10. Tres Palabras (Without You)
(3:36) 11. All the Things You Are
(2:26) 12. Tiny's Other Blues
(2:53) 13. Like Someone in Love
(3:23) 14. Bloo Denim

The two sessions included on this 1998 CD (both are also available as part of Fresh Sound's three-CD Complete Nocturne Recordings Vol. One) are unrelated. The first six selections feature one of the best of all the collaborations between altoist Bud Shank (doubling on alto flute) and trumpeter Shorty Rogers, in a quintet with pianist Jimmy Rowles, bassist Harry Babasin and drummer Roy Harte. The musicians play six of Rogers' originals, including "Casa De Luz" and the debut of "Lotus Bud." The second half of the CD is actually a trio set led by pianist Lou Levy and also including Babasin and drummer Larry Bunker. Levy is quite boppish and heard throughout in top form. Well worth picking up by collectors of 1950s straight-ahead jazz.~ Scott Yanow https://www.allmusic.com/album/jazz-in-hollywood-mw0000037062

Personnel:  Alto Saxophone, Flute – Bud Shank (tracks: 1 to 6);  Piano – Jimmy Rowles (tracks: 1 to 6), Lou Levy (tracks: 7 to 14);  Bass – Harry Babasin;  Drums – Larry Bunker (tracks: 7 to 14), Roy Harte (tracks: 1 to 6);  Flugelhorn – Shorty Rogers (tracks: 1 to 6)

Jazz in Hollywood

---

Bill Perkins - Just Friends

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 38:59
Size: 92,4 MB
Art: Front

(5:12)  1. Just Friends
(3:57)  2. A Foggy Day
(4:34)  3. All Of Me
(3:09)  4. Diane-A-Flow
(3:19)  5. Limehouse Blues
(5:22)  6. What Is This Thing Called Love
(4:32)  7. Solid Desylva
(5:06)  8. Sweet And Lovely
(3:43)  9. Zenobia

Tremendous work from tenor saxophonist Bill Perkins  easily one of our favorite talents of the LA scene of the 50s, heard here on material from 2 rare albums! On these 50s recordings, Bill's got a great tone that really deserves to be heard  as lean and cool as fellow LA scenester Bud Shank, but also with a soulful quality that recalls some of the alto work coming out of Boston at the same time. Half the CD features titles from the Pacific Jazz album Just Friends  and Perkins plays tenor on most of the album, plus a bit of flute and bass clarinet  in the company of Art Pepper, Richie Kamuca, Jimmy Rowles, and Hampton Hawes. Tracks include "Solid De Sylva", "Zenobia", "Diane A Flow", and "Just Friends". The remaining tracks are from the even more obscure Liberty album Tenors Head On  a tight small group session that matches the horns of Perkins and Richie Kamuca, alongside rhythm from Pete Jolly on piano, Red Mitchell on bass, and Stan Levey on drums. https://www.freshsoundrecords.com/bill-perkins-albums/4380-just-friends-tenors-head-on.html

Personnel:  Art Pepper (as) Bill Perkins (ts,bclar,f) Richie Kamuca (ts) Jimmy Rowles/ Hampton Hawes (p) Ben Tucker/ Red Mitchell (b) Mel Lewis (d)

Just Friends

---