Charles Mingus - Incarnations

Styles: Post Bop, Jazz
Year: 2023
Time: 42:49
File: MP3 @ 320K/s
Size: 98,3 MB
Art: Front

( 8:27) 1. Bugs (Take 3)
(11:50) 2. R&R (Take 1)
( 4:50) 3. All The Things You Are (All)
( 6:58) 4. Reincarnation of a Love Bird (2nd Version Take 1)
(10:41) 5. Body And Soul (Take 6)

A collection of recordings culled from Charles Mingus' 1960 sessions on the Candid label, 2024's Incarnations is a swinging yet still heady album that finds the bassist bridging the mainstream jazz of the '40s and '50s with the avant-garde post-bop and third-stream explorations he would pursue just a few years later.
https://www.allmusic.com/album/incarnations-mw0004165948

Personnel: Bass – Charles Mingus; Alto Saxophone – Charles McPherson, Eric Dolphy; Bass Clarinet – Eric Dolphy; Drums – Dannie Richmond, Jo Jones; Piano – Nino Bunick, Paul Bley, Tommy Flanagan; Tenor Saxophone – Booker Ervin ; Trombone – Britt Woodman, Jimmy Knepper; Trumpet – Lonnie Hillyer, Roy Eldridge, Ted Curson

Incarnations

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Lee Wiley - Music of Manhattan, 1951

Styles: Vocal
Year: 1998
File: MP3@320K/s
Time: 67:06
Size: 155,6 MB
Art: Front

(3:36) 1. Street of Dreams
(3:11) 2. Oh, Look at Me Now
(1:49) 3. Hallelujah
(4:38) 4. Manhattan
(2:58) 5. Manhattan
(4:18) 6. Ghost of a Chance
(3:02) 7. Sugar
(3:07) 8. I've Got a Crush on You
(3:48) 9. Sugar
(2:23) 10. Anytime, Anyday, Anywhere
(3:04) 11. Oh, Look at Me Now
(2:26) 12. Deed I Do
(3:24) 13. That's for Sure
(1:42) 14. 'S Wonderful
(2:08) 15. I've Got a Crush on You
(1:26) 16. Anytime, Anyday, Anywhere
(2:30) 17. Street of Dreams
(2:52) 18. Manhattan
(1:48) 19. Deed I Do
(3:13) 20. I've Got a Crush on You
(4:02) 21. I'm Comin' Virginia
(3:47) 22. Down to Steamboat Tennessee
(1:45) 23. Baby, Won't You Please Come Home

These 1951 selections come from transcription discs and live appearances at Storyville, a Town Hall Concert, and the Rustic Lodge. Wiley was a great vocalist, often associated with Chicago Dixieland musicians. Her primary influence was Ethel Waters, and she had much in common with Billie Holiday as well.

Both had rather raw, “whiskey soaked” timbres and laid-back attacks, and made up for limited ranges and power with excellent taste, sensitivity and the ability to freshen melodies by improvising on them. She was known for her sensitive ballad performances, but sang blues convincingly as well. Her accompanists here include some fine trumpeters, Billy Butterfield, Buck Clayton, Muggsy Spanier, and Red Allen, and pianist Joe Bushkin.

She’s very relaxed and sure of herself. And she’s wonderfully unpretentious. Pianist Stan Freeman, who worked with her, said Wiley “didn’t know what she was singing half the time.” Maybe, but she interprets lyrics meaningfully, accenting words and syllables astutely. Though her vocals have a weary quality, she never gets maudlin, and there are times when she’s buoyant. By Harvey Pekar
https://jazztimes.com/archives/lee-wiley-music-of-manhattan-1951/

Personnel: Vocals – Lee Wiley; Bass – John Field (tracks: 7 to 13), Milt Hinton (tracks: 16 to 20), Mort Stuhlmaker (tracks: 1 to 5); Cornet – Jack Honeywell (tracks: 21 to 23), Muggsy Spanier (tracks: 7 to 13); Drums – Barrett Deems (tracks: 7 to 13), George Wettling (tracks: 1 to 5), Jo Jones (tracks: 16 to 20); Orchestra – Ray Bloch And His Orchestra (tracks: 15); Piano – Dave Bowman (tracks: 6), George Wein (tracks: 7 to 13), Joe Bushkin (tracks: 1 to 5 16 to 20); Trumpet – Billy Butterfield (tracks: 1 to 6), Buck Clayton (tracks: 16 to 20), Henry "Red" Allen (tracks: 21 to 23)

Music of Manhattan, 1951

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Jo Jones - The Essential Jo Jones

Styles: Jazz, Post Bop
Year: 1990
File: MP3@320K/s
Time: 78:28
Size: 180,0 MB
Art: Front

(5:55)  1. Shoe Shine Boy (first take)
(6:33)  2. Lover Man (Oh, Where Can You Be?)
(4:50)  3. Georgia Mae
(4:01)  4. Caravan
(7:50)  5. Lincoln Heights
(6:44)  6. Embraceable You
(5:54)  7. Satin Doll
(5:22)  8. Little Susie
(4:48)  9. Spider Kelly's Blues
(4:03) 10. Cubano Chant
(4:55) 11. Splittin'
(4:42) 12. Sweet Lorraine
(2:40) 13. Bicycle for Two
(6:44) 14. Old Man River
(3:26) 15. Sometimes I'm Happy

Jo Jones, one of the most influential drummers of the swing era, did not lead that many recording sessions of his own during his career. Producer John Hammond gave him his first two dates when he was working for Vanguard and, with the exception of a second take of "Shoe Shine Boy," all of the music from the two LPs is on this single-CD reissue. The first session is very much in the spirit of Count Basie's band; in fact, Basie himself makes a guest appearance on "Shoe Shine Boy." The other swing-oriented players include trumpeter Emmett Berry, guitarist Freddie Green, tenor saxophonist Lucky Thompson, and (on one song apiece) trombonist Lawrence Brown and clarinetist Rudy Powell. The later date is quite a bit different: a trio session with pianist Ray Bryant and bassist Tommy Bryant. There is a liberal amount of drum soloing but the early versions of Ray Bryant's "Cubano Chant" and "Little Susie" are of greatest interest. ~ Scott Yanow https://www.allmusic.com/album/the-essential-jo-jones-mw0000644547

Personnel:  Drums – Jo Jones;  Bass – Tommy Bryant, Walter Page;  Clarinet – Rudy Powell;  Guitar – Freddie Green;  Piano – Count Basie, Nat Pierce, Ray Bryant;  Tenor Saxophone – Lucky Thompson;  Trombone – Benny Green, Lawrence Brown;  Trumpet – Emmett Berry    

The Essential Jo Jones

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Jo Jones - Smiles (1969-1975)

Bitrate: MP3@320K/s
Time: 68:47
Size: 157.5 MB
Styles: Mainstream jazz
Year: 2004
Art: Front

[ 4:07] 1. Love Is Just Around The Corner
[ 5:55] 2. I Cried For You
[ 3:17] 3. A Wig On The Bold Headed Mountain
[ 2:40] 4. I Found A New Set Of Drums
[ 3:15] 5. Dinah
[ 2:34] 6. In A Little Spanish Town
[ 3:10] 7. Slide Jimmy Slide
[ 3:06] 8. The Way You Look Tonight
[ 2:49] 9. Smiles
[15:44] 10. Caravan
[ 4:04] 11. On The Sunny Side Of The Street
[ 4:57] 12. Pennies From Heaven
[ 3:51] 13. Little Miss Maudlin
[ 9:10] 14. I Found A New Chapeau

Papa Jo performed regularly in Europe and especially in France during the late 1960s through a large part of the 1970s. This album captures some of those performances as recorded by Disques Black & Blue (hence, 'The Definitive Black & Blue Sessions'.) The first ten tracks were released as Jo Jones - Caravan in 1974 by Disques Black & Blue, and dominate the album. Those tracks were recorded on 28 February 1974 at Barclay Studios in Paris, except Slide Jimmy Slide, which was recorded on 26 February in the studio, and Caravan was recorded live in Paris on January 13th 1974. Personnel on the first ten tracks are: Papa Jo Jones on drums, Major Holley on bass (except for Caravan), Gerry Wiggins on piano on all tracks except for Slide Jimmy Slide, which has Milt Buckner on piano, and Caravan, which has Milt Buckner on organ. Illinois Jacquet is on tenor saxophone on Caravan. The remaining four tracks, taken from other Paris performances between 1969 and 1975, have basically Papa Jo Jones on drums and Milt Buckner on organ.

To my ears the music is excellent and Papa Jo's drumming in superb form. If you are a drummer this album is one to study (along with Papa Jo's other work). If you are a pianist or organist, Gerry Wiggins and Milt Buckner both are worth studying especially Buckner who is credited as a pioneer of parallel chord playing.~Mike Tarrani

Smiles (1969-1975)

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Oscar Peterson And Ella Fitzgerald - Jazz at the Philharmonic - Festhalle A, Hamburg

Styles: Vocal And Piano Jazz
Year: 1957
File: MP3@320K/s
Time: 69:44
Size: 173,6 MB
Art: Front

(1:43) 1. Intro - Norman Granz
(8:01) 2. How High The Moon
(5:56) 3. Joy Spring
(7:04) 4. Gypsy In My Soul
(0:18) 5. Talk - Norman Granz
(4:27) 6. Pete Pet Pick
(4:22) 7. Undecided
(6:46) 8. Reunion Blues
(0:08) 9. Intro - Norman Granz
(2:35) 10. You Got Me Singing The Blues
(3:29) 11. Angel Eyes
(2:26) 12. Lullaby Of Birdland
(4:17) 13. Love For Sale
(2:51) 14. Tenderly
(3:56) 15. April In Paris
(3:34) 16. Dancing On The Ceiling
(3:44) 17. I Can't Give You Anything But Love
(4:00) 18. Airmail Special

Canadian jazz pianist and composer Oscar Peterson was called the “Maharaja of the keyboard” by Duke Ellington, but simply “OP” by his friends. He released over 200 recordings, won eight Grammy Awards, and received numerous other awards and honours. He is considered one of the greatest jazz pianists, and played thousands of concerts worldwide in a career lasting more than 60 years. He passed away in 2007 at the age of 82.

Ella Fitzgerald was sometimes referred to as the “First Lady of Song”, “Queen of Jazz”, and “Lady Ella”. She was noted for her purity of tone, impeccable diction, phrasing, timing, intonation, and a “horn-like” improvisational ability, particularly in her scat singing. She passed away in 1996 at the age of 79.http://bigozine2.com/roio/?p=5655

Personnel: Ella Fitzgerald - vocals; Oscar Peterson - piano; Don Abney - piano; Herb Ellis - guitar; Ray Brown - bass; Jo Jones - drums

Jazz at the Philharmonic - Festhalle A, Hambrug

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The Jimmy Rushing Allstars - Gee, Baby, Ain't I Good To You

Bitrate: MP3@320K/s
Time: 57:20
Size: 131.3 MB
Styles: Jazz/blues vocals
Year: 1997
Art: Front

[5:45] 1. Gee, Baby, Ain't I Good To You
[6:34] 2. Mjr Blues
[3:29] 3. Tricks Ain't Walkin' No More
[5:37] 4. St. James Infirmary
[9:48] 5. One O'clock Jump
[5:09] 6. Who's Sorry Now
[7:31] 7. These Foolish Things
[5:48] 8. I Ain't Got Nobody
[7:35] 9. Good Morning Blues

Bass – Gene Ramey; Drums – Jo Jones; Piano – Sir Charles Thompson; Tenor Saxophone – Julian Dash; Trombone – Dickie Wells; Trumpet – Buck Clayton; Vocals – Jimmy Rushing.

An informal "Jazz party" situation taped in the studio in front of one-hundred invited guests, Jumbo Jimmy Rushing fronts an all-star group of New York Jazzmen and romps his way through a handful of standards. Joining Rushing are Buck Clayton-trumpet, Dickie Wells-trombone, Julian Dash-tenor sax, Sir Charles Thompson-piano, Gene Ramey-bass and Jo Jones on drums. Recorded and engineered by George Piros of Mercury Living Presence fame at Fine Studios in New York City. Originally released in 1967 on the MJR label.

Gee, Baby, Ain't I Good To You

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Jo Jones - Jo Jones Trio

Bitrate: MP3@320K/s
Time: 40:02
Size: 91.7 MB
Styles: Contemporary jazz
Year: 1959/2009
Art: Front

[2:37] 1. Sweet Georgia Brown
[2:49] 2. My Blue Heaven
[3:46] 3. Jive At Five
[2:51] 4. Greensleeves
[3:17] 5. When Your Lover Has Gone
[3:20] 6. Philadelphia Bound
[3:24] 7. Close Your Eyes
[3:12] 8. I Got Rhythm (Part I)
[3:01] 9. I Got Rhythm (Part Ii)
[3:46] 10. Embraceable You
[3:53] 11. Bebop Irishman
[4:01] 12. Little Susie

Jo Jones on drums, Ray Bryant on piano, and Tommy Bryant on bass.

Jo Jones is probably best known for his work with Count Basie, but his small-group dates as a leader, though overlooked, are also very rewarding. The veteran drummer is joined by pianist Ray Bryant and his brother, bassist Tommy Bryant, who both worked with Jones between 1957 and 1960. The trio is effortlessly swinging through two contrasting interpretations of "I Got Rhythm," and a version of "Jive at Five" features Jones drumming with just his hands. Equally enjoyable are the trio's treatments of "Greensleeves" and standards like "Sweet Georgia Brown" and "Embraceable You," which they could have likely played in their sleep. The pulsating closing blues "Little Susie" is a collaborative effort. While Everest developed a reputation as a budget label in the 1970s due to poor packaging and its frequent omission credits for the musicians and composers, this 1959 LP treats the musicians with the respect they deserve, adding warm liner notes by Nat Hentoff. This long-unavailable album will be somewhat difficult to find. ~Ken Dryden

Jo Jones Trio

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Bud Freeman - Chicago

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 38:04
Size: 87,6 MB
Art: Front

(5:54)  1. Saturday Night Fish Fry
(4:06)  2. Meet As In San Juan
(6:11)  3. Basin Street Blues
(2:05)  4. Chicago
(5:02)  5. Schooldays
(3:20)  6. All By Myself
(5:35)  7. Loveless Love
(5:48)  8. One For The Money

Three of the selections on this LP are taken from a January 15, 1962 session reissued in full on a Black Lion CD. The great veteran tenor Bud Freeman is in fine form fronting a quartet also including pianist Dave Frishberg, bassist Bob Haggart and drummer Don Lamond. The other five numbers are part of a lesser date actually led by guitarist Elmer Snowden and featuring trumpeter Roy Eldridge, who takes a couple of vocals. Freeman is actually a bit out of place on the spirited if erratic set, which also includes pianist Ray Bryant, bassist Tommy Bryant and drummer Jo Jones. Get the Black Lion CD instead. ~ Scott Yanow https://www.allmusic.com/album/chicago-mw0000913151

Personnel:  Tenor Saxophone – Bud Freeman,  Trumpet, Vocals – Roy Eldridge;  Bass – Bob Haggart, Tommy Bryant ; Drums – Don Lamond, Jo Jones; Guitar – Elmer Snowden; Piano – Dave Frishberg, Ray Bryant .

Chicago

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Buck Clayton - Junpin' At The Woodside

Styles: Trumpet Jazz
Year: 1955
File: MP3@320K/s
Time: 34:54
Size: 80,3 MB
Art: Front

( 8:02)  1. Rock-A-Bye Basie
(10:37)  2. Junpin' At The Woodside
( 6:36)  3. Blue And Sentimental
( 9:37)  4. Broaway

The Buck Clayton jam sessions of the mid-'50s led to writer Stanley Dance coining the term "mainstream" to describe swing-oriented veterans of the era. This out-of-print LP, whose contents have been reissued by Mosaic in their six-CD Buck Clayton box set, has a variety of top mainstream all-stars jamming on four songs associated with Count Basie. 

The music is taken from three different sessions, with this version of "Jumpin' at the Woodside" splicing together the best of two completely different performances. The lineup of top players (including trumpeters Clayton, Joe Newman and Ruby Braff, trombonists Trummy Young, Urbie Green and Benny Green, clarinetist Woody Herman and tenors Coleman Hawkins, Al Cohn, Buddy Tate and Lem Davis among others) gives one a good idea as to the high quality of the music.~ Scott Yanow https://www.allmusic.com/album/jumpin-at-the-woodside-mw0000871165

Personnel:  Buck Clayton – trumpet;  Joe Newman (tracks 2 & 3), Joe Thomas (track 2) – trumpet;  Ruby Braff – cornet (tracks 1 & 4);  Bennie Green (tracks 1 & 4), Urbie Green (tracks 2 & 3), Dicky Harris (tracks 1 & 4), Trummy Young (track 2) – trombone;  Woody Herman – clarinet (track 2);  Lem Davis – alto saxophone (tracks 2 & 3);  Al Cohn (track 2), Julian Dash (track 2), Coleman Hawkins (tracks 1–4), Buddy Tate (tracks 1 & 4) – tenor saxophone;  Charles Fowlkes – baritone saxophone (tracks 2 & 3);  Jimmy Jones (track 2), Billy Kyle (tracks 2 & 3) – piano, celeste;  Al Waslohn – piano (tracks 1 & 4);  Steve Jordan (tracks 1, 2 & 4), Freddie Green (tracks 2 & 3) – guitar;  Milt Hinton (tracks 1–4), Walter Page (track 2) – bass;  Jo Jones – drums;  Jack Ackerman – tap dancing (track 1).

Junpin' At The Woodside

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Buck Clayton Jam Session - How Hi The Fi

Styles: Trumpet Jazz
Year: 1955
File: MP3@320K/s
Time: 54:35
Size: 125,3 MB
Art: Front

(13:50)  1. How hi the fi
(14:10)  2. Blue moon
(13:47)  3. Sentimental journey
(12:46)  4. Moten swing

The first of the famous Buck Clayton jam sessions, the exciting music on this long out-of-print LP has been reissued as part of a Mosaic box set. Two songs ("Sentimental Journey" and "Moten Swing") are from a December 1953 session in which the trumpeter/leader is teamed with trumpeter Joe Newman, trombonists Urbie Green and Benny Powell, altoist Lem Davis, Julian Dash on tenor, baritonist Charlie Fowlkes, pianist Sir Charles Thompson, guitarist Freddie Green, bassist Walter Page and drummer Jo Jones. However it is "How Hi the Fi" (cut along with "Blue Moon" on March 31, 1954) that is most memorable. Buck and fellow trumpeter Joe Thomas, trombonists Urbie Green and Trummy Young, clarinetist Woody Herman, Davis and Dash, Al Cohn on second tenor, pianist Jimmy Jones, guitarist Steve Jordan, bassist Walter Page and drummer Jo Jones are all in inspired form. The most memorable soloists are the rambunctious Trummy Young, the harmonically advanced chordings of Jimmy Jones and an exuberant Woody Herman who was rarely heard in this type of jam session setting. 

With Clayton having worked out some ensemble riffs for the horns beforehand and plenty of space left for spontaneity, this music has plenty of magic.~ Scott Yanow https://www.allmusic.com/album/how-hi-the-fi-mw0000868476

Personnel:  Buck Clayton – trumpet;  Joe Newman (tracks 3 & 4), Joe Thomas (tracks 1 & 2) – trumpet;  Urbie Green, Benny Powell (tracks 3 & 4), Trummy Young (tracks 1 & 2) – trombone;  Woody Herman – clarinet (tracks 1 & 2);  Lem Davis – alto saxophone;  Al Cohn (tracks 1 & 2), Julian Dash – tenor saxophone;  Charles Fowlkes – baritone saxophone (tracks 3 & 4);  Jimmy Jones (tracks 1 & 2), Sir Charles Thompson (tracks 3 & 4) – piano;  Steve Jordan (tracks 1 & 2), Freddie Green (tracks 3 & 4) – guitar;  Walter Page – bass;  Jo Jones – drums.

How Hi The Fi

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Buck Clayton - The Golden Days Of Jazz (Swingin' Buck Clayton Jams Count Basie & Benny Goodman)

Styles: Trumpet Jazz
Year: 1974
File: MP3@320K/s
Time: 77:31
Size: 177,6 MB
Art: Front

(25:25)  1. Christopher Columbus
( 9:21)  2. Don't Be That Way
( 8:30)  3. Undecided
( 8:05)  4. Rock-A-Bye Basie
(10:28)  5. Jumpin' At The Woodside
( 6:26)  6. Blue & Sentimental
( 9:12)  7. Broadway

An excellent bandleader and accompanist for many vocalists, including Billie Holiday, Buck Clayton was a valued soloist with Count Basie Orchestra during the '30s and '40s, and later was a celebrated studio and jam session player, writer, and arranger. His tart, striking tone and melodic dexterity were his trademark, and Clayton provided several charts for Basie's orchestra and many other groups. Clayton began his career in California, where he organized a big band that had a residency in China in 1934. When he returned, Clayton led a group and played with other local bands. During a 1936 visit to Kansas City, he was invited to join Basie's orchestra as a replacement for Hot Lips Page. Clayton was also featured on sessions with Lester Young, Teddy Wilson, and Holiday in the late '30s. He remained in the Basie band until 1943, when he left for army service. After leaving the army, Clayton did arrangements for Basie, Benny Goodman, and Harry James before forming a sextet in the late '40s. He toured Europe with this group in 1949 and 1950. Clayton continued heading a combo during the '50s, and worked with Joe Bushkin, Tony Parenti, and Jimmy Rushing, among others. He organized a series of outstanding recordings for Columbia in the mid-'50s under the title Jam Session (compiled and reissued by Mosaic in 1993). There were sessions with Rushing, Ruby Braff, and Nat Pierce. Clayton led a combo with Coleman Hawkins and J.J. Johnson at the 1956 Newport Jazz Festival, then reunited with Goodman in 1957 at the Waldorf Astoria. There was another European tour, this time with Mezz Mezzrow. He appeared in the 1956 film The Benny Goodman Story and played the 1958 Brussels World Fair with Sidney Bechet. Clayton later made another European visit with a Newport Jazz Festival tour. He joined Eddie Condon's band in 1959, a year after appearing in the film Jazz on a Summer's Day. Clayton toured Japan and Australia with Condon's group in 1964, and continued to revisit Europe throughout the '60s, often with Humphrey Lyttelton's band, while playing festivals across the country. But lip and health problems virtually ended his playing career in the late '60s. After a period outside of music, Clayton once again became active in music, this time as a non-playing arranger, touring Africa as part of a State Department series in 1977. He provided arrangements and compositions for a 1974 Lyttleton and Buddy Tate album, and did more jam session albums for Chiaroscuro in 1974 and 1975. He also became an educator, teaching at Hunter College in the early '80s. Clayton led a group of Basie sidemen on a European tour in 1983, then headed his own big band in 1987 that played almost exclusively his compositions and arrangements. That same year Clayton's extensive autobiography Buck Clayton's Jazz World, with Nancy Miller-Elliot, was published.~ Ron Wynn https://www.allmusic.com/artist/buck-clayton-mn0000634674/biography

Personnel: Trumpet, Liner Notes – Buck Clayton;   Alto Saxophone – Lem Davis;  Baritone Saxophone – Charlie Fowlkes;  Bass – Milt Hinton, Walter Page;  Clarinet – Woody Herman, Drums – Jo Jones;  Guitar – Freddie Green, Steve Jordan;  Piano – Al Washlon, Billy Kyle, Jimmy Jones, Charles Thompson;  Tenor Saxophone – Al Cohn, Buddy Tate, Coleman Hawkins, Julian Dash;  Trombone – Bennie Green, Dick Harris, Henderson Chambers, Trummy Young, Urbie Green;  Trumpet – Joe Newman, Joe Thomas, Ruby Braff 

The Golden Days Of Jazz (Swingin' Buck Clayton Jams Count Basie & Benny Goodman)

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Slam Stewart - Fish Scales

Styles: Jazz, Post Bop 
Year: 2005
File: MP3@320K/s
Time: 62:05
Size: 142,9 MB
Art: Front

(3:27)  1. I Want To Be Happy
(5:34)  2. The One I Love Belongs To Somebody Else
(3:34)  3. Fish Scales
(5:12)  4. At Sundown
(5:35)  5. Memories Of You
(3:53)  6. Bye Bye Blackbird
(4:59)  7. Undecided
(4:49)  8. Sleep
(3:01)  9. Runnin' Wild
(4:47) 10. St.James Infirmary
(4:26) 11. I'm Just Wild About Harry
(3:36) 12. Fish Scales (Take 1)
(5:07) 13. Undecided (Take 1)
(3:57) 14. Bye Bye Blackbird (Take 1)

The late bassist Slam Stewart had relatively few opportunities to record as a leader, and most of them took place in the last 15 years of his life. Noted for playing bass while simultaneously scat singing an octave above it, he is, of course, the primary soloist on nearly every track of Fish Scales. This CD compiles portions of three studio dates which originally appeared on two Black & Blue LPs, adding a pair of previously unreleased tracks. Most the music comes from a quartet date with pianist Johnny Guarnieri, guitarist Jimmy Shirley, and drummer Jackie Williams, all of whom acquit themselves during their brief solos. Unfortunately, the tempos for many of the songs are rather turgid compared to other versions recorded elsewhere by Stewart, whether as a leader or sideman. A turbocharged duet with drummer Jo Jones, "Foolin' Around" eventually adds pianist Gene Rodgers to its swinging conclusion, while "Indiana" pales in comparison to Stewart's famous 1945 Town Hall performance with tenor saxophonist Don Byas. A rather subdued but extended "Willow Weep for Me" features Al Casey's bluesy guitar along with Wild Bill Davis (on piano rather than his customary organ) and drummer Joe Marshall; this track feels more like a warm-up to a session or something that would have normally been rejected by most producers. Overall, this is an enjoyable but hardly essential CD for fans of Slam Stewart. ~ Ken Dryden https://www.allmusic.com/album/fish-scales-mw0000267708

Personnel includes: Slam Stewart (bass), Jo Jones (drums) Johnny Guarnieri, Wild Bill Davis, Al Casey.

Fish Scales

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Art Tatum - The Best Of The Pablo Group Masterpieces (Remastered)

Bitrate: MP3@320K/s
Time: 69:57
Size: 160.1 MB
Styles: Piano jazz
Year: 2003/2006
Art: Front

[5:03] 1. Perdido
[7:07] 2. Memories Of You
[3:34] 3. You Took Advantage Of Me
[7:12] 4. All The Things You Are
[5:22] 5. Body And Soul
[6:13] 6. Under A Blanket Of Blue
[4:11] 7. The Moon Is Low
[7:11] 8. Just One Of Those Things
[3:49] 9. Street Of Dreams
[7:11] 10. Somebody Loves Me
[7:14] 11. My Ideal
[5:45] 12. Deep Night

Alto Saxophone – Benny Carter (tracks: 6, 9); Bass – John Simmons (tracks: 3, 7), Red Callender (tracks: 2, 4, 8, 11, 12); Drums – Alvin Stoller (tracks: 3, 7), Bill Douglass (2) (tracks: 2, 4, 11, 12), Buddy Rich (tracks: 1, 5, 10), Jo Jones (tracks: 8), Louis Bellson (tracks: 6, 9); Guitar – Barney Kessel (tracks: 10); Piano – Art Tatum; Tenor Saxophone – Ben Webster (tracks: 4, 11); Trumpet – Harry "Sweets" Edison (tracks: 10), Roy Eldridge (tracks: 3, 7); Vibraphone [Vibes] – Lionel Hampton (tracks: 1, 5, 10).

A rich and rewarding core sample, selected from one of Norman Granz's deepest gold mines. The full set of Tatum ensemble master takes was released on eight vinyl records in 1975, appearing with alternate takes as a box of seven compact discs in 1990. Since then, each separate session has been issued on a single, affordable CD. With the release of this best-of, the only remaining untried reissue format stratagem could almost be conducted according to the laws of chance. If someone were to divide up the existing 59 master takes (saving the alternate takes for a "Best of the Tatum Alternates" compilation), the entire body of work could be issued as a numbered best-of series, the titles carefully shuffled at random. But each volume would possibly still omit something that could be considered essential. This is the insoluble problem with anything calling itself a best-of. Fortunately, the Tatum group recordings produced by Norman Granz during the years 1954, 1955, and 1956 actually deserve the word "masterpieces." While Tatum himself is honored as one of the very most gifted and influential of all jazz musicians, without exception every musician who participated in these sessions was adept, inspired, and, in many cases, masterful. (There are those who would suggest that the Art Tatum/Ben Webster date could stand by itself as the best of the group masterpieces.) Here, for once, is a package worthy of its title. A bit of the best of some of the very best jazz ever recorded. ~arwulf arwulf

The Best Of The Pablo Group Masterpieces (Remastered) mc
The Best Of The Pablo Group Masterpieces (Remastered) zippy

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Lester Young - Collates No. 2

Bitrate: MP3@320K/s
Time: 23:42
Size: 54.3 MB
Styles: Saxophone jazz
Year: 1951/2005
Art: Front

[2:49] 1. A Foggy Day
[2:53] 2. Down 'n' Adam
[3:11] 3. In A Little Spanish Town
[3:14] 4. 'deed I Do
[2:54] 5. Let's Fall In Love
[2:38] 6. Little Pee Blues
[2:55] 7. Thou Swell
[3:04] 8. Jeepers, Creepers

Bass – Gene Ramey, Ray Brown; Drums – Buddy Rich, Jo Jones; Tenor Saxophone – Lester Young.

Lester Young was one of the true jazz giants, a tenor saxophonist who came up with a completely different conception in which to play his horn, floating over bar lines with a light tone rather than adopting Coleman Hawkins' then-dominant forceful approach. A non-conformist, Young (nicknamed "Pres" by Billie Holiday) had the ironic experience in the 1950s of hearing many young tenors try to sound exactly like him.

Although he spent his earliest days near New Orleans, Lester Young lived in Minneapolis by 1920, playing in a legendary family band. He studied violin, trumpet, and drums, starting on alto at age 13. Because he refused to tour in the South, Young left home in 1927 and instead toured with Art Bronson's Bostonians, switching to tenor. He was back with the family band in 1929 and then freelanced for a few years, playing with Walter Page's Blue Devils (1930), Eddie Barefield in 1931, back with the Blue Devils during 1932-1933, and Bennie Moten and King Oliver (both 1933). He was with Count Basie for the first time in 1934 but left to replace Coleman Hawkins with Fletcher Henderson. Unfortunately, it was expected that Young would try to emulate Hawk, and his laid-back sound angered Henderson's sidemen, resulting in Pres not lasting long. After a tour with Andy Kirk and a few brief jobs, Lester Young was back with Basie in 1936, just in time to star with the band as they headed East. Young made history during his years with Basie, not only participating on Count's record dates but starring with Billie Holiday and Teddy Wilson on a series of classic small-group sessions. In addition, on his rare recordings on clarinet with Basie and the Kansas City Six, Young displayed a very original cool sound that almost sounded like altoist Paul Desmond in the 1950s. After leaving Count in 1940, Young's career became a bit aimless, not capitalizing on his fame in the jazz world. He co-led a low-profile band with his brother, drummer Lee Young, in Los Angeles until re-joining Basie in December 1943. Young had a happy nine months back with the band, recorded a memorable quartet session with bassist Slam Stewart, and starred in the short film Jammin' the Blues before he was drafted. His experiences dealing with racism in the military were horrifying, affecting his mental state of mind for the remainder of his life.

Although many critics have written that Lester Young never sounded as good after getting out of the military, despite erratic health he actually was at his prime in the mid- to late-'40s. He toured (and was well paid by Norman Granz) with Jazz at the Philharmonic on and off through the '40s and '50s, made a wonderful series of recordings for Aladdin, and worked steadily as a single. Young also adopted his style well to bebop (which he had helped pave the way for in the 1930s). But mentally he was suffering, building a wall between himself and the outside world, and inventing his own colorful vocabulary. Although many of his recordings in the 1950s were excellent (showing a greater emotional depth than in his earlier days), Young was bothered by the fact that some of his white imitators were making much more money than he was. He drank huge amounts of liquor and nearly stopped eating, with predictable results. 1956's Jazz Giants album found him in peak form as did a well documented engagement in Washington, D.C., with a quartet and a last reunion with Count Basie at the 1957 Newport Jazz Festival. But, for the 1957 telecast The Sound of Jazz, Young mostly played sitting down (although he stole the show with an emotional one-chorus blues solo played to Billie Holiday). After becoming ill in Paris in early 1959, Lester Young came home and essentially drank himself to death. Many decades after his death, Pres is still considered (along with Coleman Hawkins and John Coltrane) one of the three most important tenor saxophonists of all time. ~ bio by Scott Yanow

Collates No. 2                

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Buddy Tate - Swinging Like Tate

Styles: Saxophone And Clarinet Jazz
Year: 1958
File: MP3@320K/s
Time: 40:48
Size: 94,0 MB
Art: Front

(6:03)  1. Bottle
(8:36)  2. Walk That Walk
(5:59)  3. Miss Sadie Brown
(7:40)  4. Moon Eyes
(7:02)  5. Rockin' Steve
(5:25)  6. Rompin' With Buck

For this CD reissue, which brings back material originally recorded by Stanley Dance for the Felsted label, veteran swing tenor Buddy Tate is heard at the head of two different groups for three obscure songs apiece. The first half has Tate leading his Celebrity Club Orchestra, a four-horn octet that lacked any big names but worked regularly throughout the era. For the second half, Tate is teamed with some of the Count Basie alumni including trumpeter Buck Clayton, trombonist Dicky Wells, altoist Earle Warren and drummer Jo Jones. The music overall is fine mainstream jazz of the 1950's that is easily recommended to straightahead jazz fans although little unexpected or all that memorable occurs. ~ Scott Yanow https://www.allmusic.com/album/swinging-like-tate-mw0000200603 

Personnel: Buddy Tate (tenor sax, clarinet); Pat Jenkins (trumpet); Eli Robinson (trombone); Ben Richardson (alto sax, clarinet); Skip Hall (piano); Everett Barksdale (guitar); Joe Benjamin (bass); Herbie Lovelle (drums); Buck Clayton (trumpet); Dicky Wells (trombone); Earle Warren (alto sax, baritone sax); Lord Westbrook (guitar); Aaron Bell (bass); Jo Jones (drums).

Swinging Like Tate

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Duke Ellington, Johnny Hodges - Back To Back

Styles: Piano And Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 47:43
Size: 109,6 MB
Art: Front

(6:30)  1. Wabash Blues
(8:05)  2. Basin Street Blues
(7:39)  3. Beale Street Blues
(6:58)  4. Weary Blues
(5:51)  5. The St. Louis Blues
(7:13)  6. Loveless Love
(5:23)  7. Royal Garden Blues

Here we have an oddity in the Duke Ellington collection, a small-band record that includes not a single Ellington composition and only one Ellington musician, co-leader and alto sax king Johnny Hodges. The repertoire consists of seven classic blues, including three from the pen of W.C. Handy, and the results of this informal 1959 session are nothing short of remarkable. The other major solo voice is Harry "Sweets" Edison, a Count Basie-band veteran who seems particularly inspired on this day. His embrace of the melody on "Basin Street Blues" shows great tenderness laced with simply perfect blues-based accents. Hodges offers a virtual lesson throughout in how to build solos from the ground up, nuzzling the nostalgic melodies at first before adding colorful embellishments. Meanwhile, Ellington's spare improvisations and clever comping offer bold chord choices and typically idiosyncratic timing without overwhelming the basic structure and feeling of the blues. No question, a record of old standards and easygoing statements can be just as powerful as any. ~ Marc Greilsamer https://www.amazon.com/Play-Blues-Back-VME-Remastered/dp/B0000047CU

Personnel: Duke Ellington (piano); Johnny Hodges (alto saxophone); Les Spann (guitar); Harry "Sweets" Edison (trumpet); Jo Jones (drums). 

Back To Back

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Pee Wee Russell & Coleman Hawkins - Jazz Reunion

Styles: Clarinet Jazz
Year: 2002
File: MP3@320K/s
Time: 45:36
Size: 105,9 MB
Art: Front

(6:29)  1. If I Could Be With You One Hour
(8:56)  2. Tin Tin Deo
(7:18)  3. Mariooch
(7:33)  4. All Too Soon
(7:26)  5. 28th And 8th
(7:52)  6. What Am I Here For

This LP (whose contents have been reissued on CD) features a reunion between tenor-saxophonist Coleman Hawkins and clarinetist Pee Wee Russell; they revisit "If I Could Be with You," a song they had recorded together in a classic version back in 1929. Russell was beginning to perform much more modern material than the Dixieland music associated with the Eddie Condon players and on this set (which also features trumpeter Emmett Berry, valve trombonist Bob Brookmeyer, pianist Nat Pierce, bassist Milt Hinton and drummer Jo Jones), he plays a couple of Duke Ellington tunes, two originals and "Tin Tin Deo." Hawkins is also in fine form and this somewhat surprising program is quite successful. ~ Scott Yanow https://www.allmusic.com/album/jazz-reunion-mw0000195279

Personnel: Pee Wee Russell (clarinet); Coleman Hawkins (tenor saxophone); Emmett Berry (trumpet); Bob Brookmeyer (trombone); Nat Pierce (piano); Milt Hinton (bass); Jo Jones (drums).          

Jazz Reunion

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Lester Young, Teddy Wilson Quartet - Pres & Teddy

Bitrate: MP3@320K/s
Time: 43:09
Size: 98.8 MB
Styles: Standards, Saxophone jazz
Year: 2010
Art: Front

[5:11] 1. All Of Me
[7:39] 2. Prisoner Of Love
[5:20] 3. Louise
[6:52] 4. Love Me Or Leave Me
[5:12] 5. Taking A Chance On Love
[6:32] 6. Our Love Is Here To Stay
[6:21] 7. Prez Returns

Bass – Gene Ramey; Drums – Jo Jones; Piano – Teddy Wilson; Tenor Saxophone – Lester Young.

Although it has been written much too often that Lester Young declined rapidly from the mid-'40s on, the truth is that when he was healthy, Young played at his very best during the '50s, adding an emotional intensity to his sound that had not been present during the more carefree days of the '30s. This classic session, a reunion with pianist Teddy Wilson and drummer Jo Jones (bassist Gene Ramey completes the quartet), finds the great tenor in particularly expressive form. His rendition of "Prisoner of Love" is quite haunting, the version of "All of Me" is also memorable, and all of the swing standards (which are joined by his original "Pres Returns") are well worth hearing. This date (which has been reissued on CD) was recorded the day after Young's other classic from his late period, Jazz Giants '56. ~Scott Yanow

Pres & Teddy

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Jo Jones - Our Man, Papa Jo!

Styles: Jazz, Post Bop, Swing
Year: 1977
File: MP3@320K/s
Time: 66:03
Size: 151,6 MB
Art: Front

(5:43)  1. Take the 'A' Train
(5:41)  2. My Last Affair
(7:09)  3. Stompin' at the Savoy
(6:18)  4. Broadway
(3:00)  5. As Time Goes By
(3:29)  6. Wrap Your Troubles in Dreams
(4:24)  7. Solitude
(4:39)  8. It Don't Mean a Thing
(6:49)  9. I've Found a New Baby
(5:35) 10. All of Me
(6:50) 11. The Days of Wine and Roses
(6:22) 12. Dissertation

The final session for a jazz legend. Drummer Jo Jones was nearing the end when he got together with his old friends, pianist Hank Jones and bassist Major Holley, for this 1982 session. He still managed to play with some degree of authority and anchor the rhythm section, while saxophonist Jimmy Oliver and Jones took care of solo responsibilites. This has been reissued on CD. ~ Ron Wynn https://www.allmusic.com/album/our-man-papa-jo%21-mw0000649591

?Personnel: Jo Jones (drums), Jimmy Oliver (tenor saxophone), Hank Jones (piano), Major Holley (acoustic bass).      

Our Man, Papa Jo!

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Illinois Jacquet - Swing's The Thing

Bitrate: MP3@320K/s
Time: 34:19
Size: 78.6 MB
Styles: Bop, Jump blues, Saxophone jazz
Year: 1957/2012
Art: Front

[6:16] 1. Las Vegas Blues
[4:31] 2. Harlem Nocturne
[6:43] 3. Can't We Be Friends
[5:06] 4. Achtung
[5:56] 5. Have You Met Miss Jones
[5:44] 6. Lullaby Of The Leaves

Illinois Jacquet (ts), Roy Eldridge (tp), Jimmy Jones (p), Herb Ellis (g), Ray Brown (b), Jo Jones (d). Recorded in Los Angeles, October 16, 1956

This collection includes Jacquet's complete October 16, 1956 album 'Swings The Thing,' with Roy Eldridge, Jimmy Jones, Herb Ellis, Ray Brown and Jo Jones. This is essential Jacquet.

Swing's The Thing

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