Count Basie and His Orchestra - April in Paris

Styles: Piano Jazz, Big Band
Year: 1955
File: MP3@320K/s
Time: 69:02
Size: 159,0 MB
Art: Front

(3:51) 1. April in Paris
(5:18) 2. Corner Pocket
(4:46) 3. Didn't You?
(4:01) 4. Sweetie Cakes
(3:09) 5. Magic
(5:17) 6. Shiny Stockings
(3:24) 7. What Am I Here For?
(3:16) 8. Midgets
(3:26) 9. Mambo Inn
(3:17) 10. Dinner with Friends
(3:55) 11. April In Paris (Alternate Take)
(5:07) 12. Corner Pocket (Alternate Take)
(4:58) 13. Didn't You? (Alternate Take)
(3:50) 14. Magic (Alternate Take 1)
(3:55) 15. Magic (Alternate Take 2)
(4:12) 16. What Am I Here For? (Alternate Take)
(3:11) 17. Midgets (Alternate Take)

One of the staples in the Count Basie discography, April in Paris is one of those rare albums that makes its mark as an almost instant classic in the jazz pantheon. April in Paris represents the reassembly of the original Count Basie orchestra that define swing in the 1930s and 1940s. The title track has come to define elegance in orchestral jazz.

Though only ten tracks in its original release, seven alternate takes have now been incorporated into Verve's re-release of the original session tapes. Other key tracks include "Corner Pocket" and "Magic," both of which are also featured in the alternate takes. Recorded in 1955 and 1956, April in Paris proved Count Basie's ability to grow through modern jazz changes while keeping the traditional jazz orchestra vital and alive. By Christopher Fielder https://www.allmusic.com/album/april-in-paris-mw0000191459

Personnel: Count Basie - piano; Wendell Culley (tracks 1-7 & 9–16), Reunald Jones (tracks 1-7 & 9–16), Thad Jones (tracks 1-7 & 9–16), Joe Newman - trumpet; Henry Coker, Bill Hughes, Benny Powell - trombone (tracks 1-7 & 9–16); Marshall Royal - alto saxophone, clarinet (tracks 1-7 & 9–16); Bill Graham - alto saxophone (tracks 1-7 & 9–16); Frank Wess - alto saxophone, tenor saxophone, flute, clarinet; Frank Foster - tenor saxophone, clarinet (tracks 1-7 & 9–16); Charlie Fowlkes - baritone saxophone, bass clarinet (tracks 1-7 & 9–16); Freddie Green - guitar; Eddie Jones - bass; Sonny Payne - drums; José Mangual, Sr., Ubaldo Nieto - percussion (track 9); William "Wild Bill" Davis (tracks 1 & 11), Neal Hefti (track 10), Frank Foster (tracks 3, 6, 7, 9, 13 & 16), Joe Newman (tracks 8 & 17), Ernie Wilkins (track 2, 4, 12) - arranger

April in Paris

---

Joe Newman - The Definitive Black & Blue Sessions: I Love My Woman

Styles: Trumpet Jazz 
Year: 1979
File: MP3@320K/s
Time: 53:35
Size: 122,8 MB
Art: Front

(6:02)  1. It's Only A Paper Moon
(9:14)  2. Summertime
(6:00)  3. Prelude To A Kiss
(5:21)  4. Fiddy's Mood
(8:18)  5. Softly As A Morning Sunrise
(8:42)  6. I Love My Woman
(5:47)  7. Fiddy's Mood (altern.)
(4:06)  8. Softly As A Morning Sunrise (altern.)

Also made available on the Italian budget label I Ganti Del Jazz, this little-known effort finds veteran trumpeter Joe Newman (55 at the time) stretching out quite effectively on four standards and two originals. In what was his first opportunity to lead a recording session since 1962, Newman and his top-notch rhythm section (pianist Hank Jones, bassist George Duvivier and drummer Alan Dawson) swing their way through such songs as "Softly As In a Morning Sunrise," "Paper Moon" and "Fiddy's Moods." ~ Scott Yanow https://www.allmusic.com/album/i-love-my-woman-mw0000713220

The Definitive Black & Blue Sessions: I Love My Woman

---

Grant Green - Shades Of Green

Styles: Guitar Jazz
Year: 1972
File: MP3@320K/s
Time: 39:46
Size: 92,5 MB
Art: Front

(5:55)  1. I Don't Want Nobody To Give Me Nothing (Open Up The Door I'll Get It Myself)/Cold Sweat - Medley
(4:12)  2. Sunrise, Sunset
(4:34)  3. Never My Love
(4:24)  4. Got To Be There
(6:22)  5. California Green
(4:30)  6. If You Really Love Me
(4:50)  7. Cast Your Fate To The Wind
(4:56)  8. In The Middle

A stellar album from Grant Green very different than most of his other work for Blue Note, and a sly electric groover recorded with vibist Billy Wooten! The sound here is a bit more spacious than some of Grant's earlier albums, yet no less funky thanks to a hip undercurrent of soul in the drums, and arrangements from Wade Marcus that keep things fluid throughout. Wooten's vibes are wonderful, a ringing counterpoint to Green's great lines on guitar and even the more familiar tunes on the record turn out to be really unique readings here thanks to the arrangements and overall conception. Mellow moments are dripping with plenty of soul, and the funky ones are pretty great too and titles include a killer medley of James Brown's "I Don't Want Nobody To Give Me Nothing" and "Cold Sweat", a heavy version of his instrumental groover "In The Middle", and a great original called "California Green"plus "Never My Love", "Sunrise Sunset", "Got To Be There", and "If You Really Love Me".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/5369/Grant-Green:Shades-Of-Green

Personnel: Grant Green - guitar; Billy Wooten - vibes; Emmanuel Riggins - electric piano, clavinet; Wilton Felder - electric bass; Nesbert "Stix" Hooper - drums; King Errisson - conga; Harold Caldwell - percussion; Joe Newman, Joe Wilder, Victor Paz, Jimmy Sedlar - trumpet; Harry DiVito - trombone; Dick Hickson - bass trombone; Jim Buffington - french horn; Phil Bodner, Romeo Penque, George Marge, John Leone - woodwinds

Shades Of Green

---

Joe Newman - Soft Swingin' Jazz

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 74:25
Size: 173,8 MB
Art: Front

(3:18)  1. Makin' Whoppee
(2:38)  2. Three Little Words
(4:29)  3. Scotty
(2:37)  4. There's A Small Hotel
(3:19)  5. I Let A Song Go Out Of My Heart
(3:39)  6. Moonglow
(3:01)  7. Organ Grinder's Swing
(3:35)  8. Rosetta
(3:07)  9. Too Marvellous For Words
(2:59) 10. The Farmer's Daughter
(3:56) 11. Save Your Love For Me
(3:08) 12. The Happy Cats
(2:53) 13. Cocktails For Two
(3:40) 14. Later For The Happenings
(4:04) 15. Buttercup
(4:26) 16. Robbin's Nest
(2:18) 17. They Can't Take That Away From Me
(3:47) 18. Feather's Nest
(3:01) 19. Mean To Me
(3:34) 20. Between The Devil And The Deep Blue Sea
(3:19) 21. Joe's Tune
(3:31) 22. I Never Knew

The title says it all. Soft Swinging Jazz pairs Joe Newman with organist Shirley Scott, bassist Eddie Jones, and Charlie Persip for a mellow, lovely session unique within the trumpeter's catalog. For starters, Newman assumes vocal duties on a handful of cuts, proving himself a fine crooner. Moreover, the spacious, nuanced arrangements afford him the room to summon some of his most intimate but impassioned solos. Not to mention that Scott's an uncommonly sympathetic collaborator, shaping and underlining the melodies to create rolling, contoured grooves with the texture of velvet. The album was reissued in 2007 on the Lonehill label alongside the subsequent The Happy Cats. 

~ Jason Ankeny https://www.allmusic.com/album/soft-swinging-jazz-mw0000350883

Personnel:  Joe Newman - trumpet, vocals; Shirley Scott - organ; Eddie Jones - bass; Charlie Persip - drums; Ernie Wilkins - piano

Soft Swingin' Jazz

---

Jimmy Smith - Talkin' Verve: Roots Of Acid Jazz

Styles: Jazz, Post Bop
Year: 1996
File: MP3@320K/s
Time: 73:06
Size: 169,7 MB
Art: Front

(4:49)  1. Blues 3+1
(6:24)  2. Ode To Billie Joe
(2:16)  3. The Organ Grinder's Swing
(3:21)  4. The Ape Woman
(4:26)  5. Satisfaction
(6:42)  6. Funky Broadway
(8:42)  7. Mellow Mood
(3:57)  8. Burning Spear
(5:31)  9. One Mint Julep
(4:46) 10. Hobo Flats
(4:15) 11. Groove Drops
(5:27) 12. TNT
(4:46) 13. Blues In The Night
(7:40) 14. The Sermon

Designed to appeal to hip-hop and acid jazz fans, not jazz purists, Talkin' Verve: Roots of Acid Jazz collects 14 tracks Jimmy Smith cut for Verve during the late '60s. Comprised of pop covers and funky workouts, the music is "jazzy," not jazz there's little improvisation on the record, but there is a lot of hot vamping, with Smith creating dense, funky chord clusters and bluesy leads. 

It's music that is devoted to the groove, and while a few of these cuts fall flat "Ode to Billie Joe" has no funk in it, no matter how hard you try but for the most part Talkin' Verve is soulful fun. Not much of this sounds like acid jazz, especially since the rhythms are a little stiff, but it's enjoyable lite funk, and it's more palatable in the compilation than it is on their original albums. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/talkin-verve-roots-of-acid-jazz-mw0000646824

Personnel:  James Oscar "Jimmy" Smith - vocals, organ; Johnny Pate, Oliver Nelson, Lalo Schifrin - arranger, conductor; Jerry Dodgion - alto saxophone, reeds; George Dorsey - alto saxophone; Budd Johnson, Zoot Sims - tenor saxophone; Marvin Halladay - baritone saxophone; Snooky Young - trumpet, flugelhorn; Jimmy Maxwell, Joe Newman, Clark Terry – trumpet; Bill Berry – flugelhorn; Wayne Andre, Bernie Powell, Billy Byers, Ernie Tack, Quentin Jackson, Urbie Green – trombone; Paul Faulise - bass trombone; Donald Corrado, Earl Chapin, Bill Correa - French horn; Don Butterfield – tuba;  Jerome Richardson, Plas Johnson – reeds; Billy Butler, Kenny Burrell, Thornell Schwartz, Wes Montgomery, Bill Suyker – guitar; Bob Bushnell, Ben Tucker, Carol Kaye – bass; Donald Dean, Grady Tate, Herbie Lovelle, Bernard "Pretty" Purdie, Larry Bunker, Mel Lewis, Bill Rodriguez – drums; Victor Pantoja, Ray Barretto – congas; George Devens, Bobby Rosengarden, Phil Kraus - percussion

Talkin' Verve: Roots Of Acid Jazz

---

Lionel Hampton All Star Band - At Newport '78

Styles: Vibraphone Jazz
Year: 1978
File: MP3@320K/s
Time: 37:21
Size: 86,9 MB
Art: Front

( 4:51)  1. Stompin' At The Savoy
( 4:49)  2. On The Sunny Side Of The Street
(10:05)  3. Hamp's The Champ
( 7:18)  4. Carnegie Hall Blues
(10:16)  5. Flying Home

Good / It sounds as a masterpiece symbolizing the swing era, a luxury board that recorded the concerts in '78 in New York, high in the Lionel • Hampton All Star B band! https://www.jetsetrecords.net/lionel-hampton-lionel-hampton-all-star-band-at-newport-78/i/162512626001/

Personnel:  Conductor, Vibraphone – Lionel Hampton;  Alto Saxophone – Charles McPherson;  Alto Saxophone, Clarinet, Flute – Earle Warren;  Baritone Saxophone – Pepper Adams;  Bass – Chubby Jackson;  Clarinet – Bob Wilber;  Drums – Panama Francis;  Guitar – Billy Mackel;  Piano – Ray Bryant; Tenor Saxophone – Arnett Cobb, Paul Moen;  Trombone – Benny Powell, Eddie Bert, John Gordon;  Trumpet – Doc Cheatham;  Trumpet, Flugelhorn – Cat Anderson, Jimmy Maxwell, Joe Newman

At Newport '78

---

Illinois Jacquet - Birthday Party

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 38:57
Size: 89,5 MB
Art: Front

( 4:06)  1. Ebb Tide
(10:37)  2. Birthday Party Blues
( 5:24)  3. The Shadow Of Your Smile
(12:59)  4. On The Beach
( 5:48)  5. Polka Dots & Moon Beams

Recorded to celebrate Jacquet's 50th birthday, this date is an all-star collaboration with some of the greatest names in jazz: Kenny Burrell, James Moody, Joe Newman, Art Farmer, Jimmy Smith (on piano,) Gerry Mulligan, Jack Six, and Roy Haynes. It comes off loose and free, as if no charts were thrown at the musicians and they simply went at these three standards (two being movie-theme ballads), along with two of Jacquet's numbers, completely off the cuff. Moody leads on flute for the sultry bossa "Ebb Tide," with Farmer playing flugelhorn and Jacquet only getting his feet wet later in the bridge; all three counter jab near the end. "The Shadow of Your Smile" is more typical, with Burrell leading, Jacquet's mushy, blues-drenched tenor playing the melody, and Moody's flute filling whatever cracks crop up. The low-down "Birthday Party Blues" ballad is set up by Burrell and Six; Mulligan and Newman traipse through the midsection of this ten-minute jam, while Illinois' woodwind howls and the others chime in a bit. "Polka Dots & Moonbeams" is all Jacquet's, and he takes the baton, although Six goes it alone twice, and Burrell takes the rhythm section on solos. The cover of "On the Beach" is a hard, rip-roaring swinger that runs over 13 minutes, with the birthday boy leading and others to follow. Moody's smoother tenor provides a fine contrast to Jacquet's signature Texas edge; Newman's great muted trumpet with the rhythm trio is only further evidence that he should not continue being an uncrowned king. As short as it is (36 minutes), it's a shame there isn't more material  too bad, for this was an incredible band. ~ Michael G.Nastos https://www.allmusic.com/album/birthday-party-mw0000667247

Personnel: Illinois Jacquet - tenor saxophone; Joe Newman - trumpet; Art Farmer - flugelhorn; Jimmie Smith - piano; Kenny Burrell - guitar; Jack Six - bass; Roy Haynes - drums;  Gerry Mulligan - baritone saxophone;  James Moody - tenor saxophone, flute.

Birthday Party

---

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

---

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

---

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)

---

Illinois Jacquet - The Soul Explosion

Styles: Saxophone Jazz
Year: 1969
File: MP3@320K/s
Time: 36:41
Size: 85,5 MB
Art: Front

(9:19)  1. The Soul Explosion
(7:35)  2. After Hours
(3:09)  3. St. Louis Blues
(8:54)  4. I'm A Fool To Want You
(3:33)  5. The Eighteenth Hole
(4:09)  6. Still King

The great tenor Illinois Jacquet is joined by a ten-piece group that includes trumpeter Joe Newman and Milt Buckner on piano and organ for this 1969 Prestige studio session which has been reissued on CD by the OJC series.

Jacquet is in prime form, particularly on "The Soul Explosion" (which benefits from a Jimmy Mundy arrangement), a definitive "After Hours" and a previously unissued version of "Still King." This blues-based set is full of soul but often swings quite hard with the focus on Jacquet's exciting tenor throughout.~Scott Yanow https://www.allmusic.com/album/the-soul-explosion-mw0000276486

Personnel:  Illinois Jacquet – tenor saxophone;  Russell Jacquet, Joe Newman, Ernie Royal – trumpet;  Matthew Gee – trombone;  Frank Foster – tenor saxophone;  Cecil Payne – baritone saxophone;  Milt Buckner – organ, piano, arranger;  Wally Richardson – guitar;  Al Lucas – bass, electric bass;  Al Foster – drums;  Jimmy Mundy – arranger.

The Soul Explosion

---

Hank Crawford - Mr. Blues Plays Lady Soul

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

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

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

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

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

---

Herbie Mann - Our Mann Flute

Styles: Flute Jazz
Year: 1966
File: MP3@320K/s
Time: 32:47
Size: 75,8 MB
Art: Front

(2:34)  1. Scratch
(2:28)  2. Philly Dog
(2:09)  3. Happy Brass
(2:51)  4. Good Lovin'
(5:07)  5. Theme from "This Is My Beloved"
(2:15)  6. Frere Jacques
(2:44)  7. Our Mann Flint
(2:22)  8. Fiddler on the Roof
(2:17)  9. Theme from "Malamondo"
(2:34) 10. Down by the Riverside
(2:58) 11. Monday, Monday
(2:22) 12. Skip to My Lou

Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest. Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews' Quintet (1953-1954) and then started working and recording as a leader. During 1954-1958 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar, and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the '50s who recorded on bass clarinet; he also recorded a full album in 1957 (for Savoy) of unaccompanied flute. After spending time playing and writing music for television, Mann formed his Afro-Jazz Sextet, in 1959, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy, or Dave Pike) and the leader's flute. He toured Africa (1960) and Brazil (1961), had a hit with "Comin' Home Baby," and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire, and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller, and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock. By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the '70s advanced, Mann became much more involved in rock, pop, reggae, and even disco. After leaving Atlantic at the end of the '70s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin, and in the '90s founded the Kokopelli label on which before breaking away in 1996, he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli, and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004's posthumously released Beyond Brooklyn for Telarc. ~ Scott Yanow https://itunes.apple.com/ie/album/our-mann-flute/76152839

Personnel:  Herbie Mann - flute, alto flute, arranger, conductor, writer;  Leo Ball, Doc Cheatham, Al DeRisi, Jerome Kail, Marky Markowitz, Joe Newman, Jimmy Owens, Ernie Royal, Ziggy Schatz, Clark Terry, Snooky Young - trumpet;  Bob Alexander, Quentin Jackson, Jimmy Knepper, Joe Orange, Santo Russo, Chauncey Welsch - trombone;  Tony Studd - bass trombone;  Jerry Dodgion - flute, clarinet, alto saxophone;  Richie Kamuca - clarinet, tenor saxophone;  King Curtis - tenor saxophone, baritone saxophone;  Pepper Adams - baritone saxophone;  Dave Pike, Johnny Rae - vibraphone;  Don Friedman, Jimmy Wisner - piano;  Al Gorgoni, Mundell Lowe, Charles Macey, Attila Zoller - guitar;  Milt Hinton, Jack Six, Knobby Totah, Reggie Workman - bass;  Joe Mack - electric bass;  Bruno Carr, Rudy Collins, Bernard Purdie, Bobby Thomas - drums;  Willie Bobo, Gary Chester - timbales, percussion;  Ray Barretto, Warren Smith, Carlos "Patato" Valdes - congas;  Ray Mantilla - bongos;  Michael Olatunji - percussion, vocals;  George Devens - percussion;  Maya Angela, Dolores Parker - vocals;  Anthony Bambino, Hinda Barnett, Emanuel Green, Harry Katzman, Leo Kruczek, Gene Orloff, Paul Winter - violin;  Charles McCracken, Kermit Moore - cello;  Arif Mardin, Oliver Nelson, Richard Wess, Jimmy Wisner - arranger, conductor

Our Mann Flute

---

Gene Krupa, Buddy Rich - Krupa And Rich

Styles: Jazz, Swing
Year: 1955
File: MP3@320K/s
Time: 71:59
Size: 166,9 MB
Art: Front

(10:30)  1. Buddy's Blues
(13:57)  2. Bernie's Tune
( 7:47)  3. Gene's Blues
( 8:50)  4. Sweethearts On Parade
( 8:54)  5. I Never Knew
(10:51)  6. Sunday
(11:06)  7. The Monster

On this CD reissue, drummers Gene Krupa and Buddy Rich only actually play together on one of the seven songs, a lengthy rendition of "Bernie's Tune" that has a six-minute "drum battle." Krupa and Rich do perform two songs apiece with a remarkable all-star band consisting of trumpeters Dizzy Gillespie and Roy Eldridge, tenors Illinois Jacquet and Flip Phillips, pianist Oscar Peterson, guitarist Herb Ellis, and bassist Ray Brown. Each of the principals get some solo space, giving this release more variety than one might expect. In addition there are two bonus cuts from a Buddy Rich date that feature the drummer with trumpeters Thad Jones and Joe Newman, tenors Ben Webster and Frank Wess, Oscar Peterson, Ray Brown, and rhythm guitarist Freddie Green. Excellent music overall if not quite essential. ~ Scott Yanow http://www.allmusic.com/album/krupa-and-rich-mw0000111452

Personnel: Gene Krupa, Buddy Rich (drums); Dizzy Gillespie, Roy Eldridge, Thad Jones, Joe Newman (trumpet); Illinois Jacquet, Flip Phillips, Ben Webster, Frank Wess (tenor saxophone); Oscar Peterson (piano); Freddie Green, Herb Ellis (guitar); Ray Brown (bass).

Krupa And Rich

---

Joe Newman & Henry "Red" Allen - The Hot Trumpets

Styles: Trumpet Jazz 
Year: 1999
File: MP3@320K/s
Time: 66:14
Size: 156,2 MB
Art: Front

(4:11)  1. Oh Gee
(5:00)  2. Dacquiri
(6:40)  3. Blues For Slim
(6:38)  4. The Very Though Of You
(8:11)  5. For You
(3:20)  6. The Continental
(3:01)  7. Strike Up The Band
(3:05)  8. Nice Work If You Can Get It
(3:47)  9. There's A House In Harlem For Sale
(4:15) 10. St. Louis Blues
(3:21) 11. Just In Time
(4:54) 12. Biffly Blues
(3:35) 13. Sleepytime Gal
(3:07) 14. I Ain't Got Nobody
(3:02) 15. Cherry

Though waxed less than a month apart the sessions coupled on this disc spotlight the talents of two stylistically divergent trumpeters. Newman was a Basie Band alum and firmly grounded in the pleasures and politics of swing. Allen’s sound was derived from older New Orleans traditions and his youthful tenure with Louis Armstrong’s big band. The fact that these two players and their Swingville albums presented here work so well together points to the primacy of jazz and it’s ability to ultimately transcend the provincialism of self-imposed boundaries. Swing and New Orleans Ragtime are just appellations for the deeper, all-inclusive tradition, one which both of these men take heavy and audible stock in. Newman’s up to bat first leading a sophisticated quartet through baker’s half dozen of tunes. “Oh Gee,” written by the obscure trombonist Matthew Gee serves as an effective opener. Newman’s punchy brass works over the opening choruses with a clean, ringing tone before Flanagan’s keys finesse the melody with an amiable touch. “Dacquiri” shifts things south of the border with some Latinized traps work from English and gentle interplay between trumpet and piano. On “Blues for Slim” the four players lock into a seductive union of ideas that has Newman at his most lyrical. “The Very Thought of You” takes their relaxed rapport even further and is almost hypnotic in its mollifying beauty. “For You” moves across similar terrain with English’s fragile cymbals mirroring the sounds of gently snapping fingers. In contrast the brief version of “Strike Up the Band” cooks and shows Newman’s more ebullient side. 

Allen’s sound was of a different era than Newman’s and listing to his unique stylings he reminds me a lot of Pee Wee Russell in both his originality and unpredictability. The back-up band, though populated by obscure players, weaves a supportive fabric for Allen to solo against. Potter is especially effective and incorporates a host of percussive effects with woodblocks and other devices that were important in the arsenals of most New Orleans drummers. Tune lengths are substantially shorter than on Newman’s date and paint in bold relief Allen’s economy of presentation. He’s not one to wax loquacious and often says what he has to say in the space of a few short choruses. Fortunately his brevity is matched with an abiding inclination for growling, guttural effects which he employs on numerous occasions. The truncated nature of the pieces also may be a nostalgic nod to the 78’ era during which his first recordings were documented. There’s also the opportunity to here Allen’s gruff vocals on “I Ain’t Got Nobody” and he belts out the lyrics with the same zest he applies to his horn on the instrumental breaks. If you dig brass this disc has your name on it! ~ Derek Taylor https://www.allaboutjazz.com/hot-trumpets-of-joe-newman-prestige-records-review-by-derek-taylor.php

Personnel: Joe Newman- trumpet; Tommy Flanagan- piano; Wendell Marshall- bass; Billy English- drums.

The Hot Trumpets

---

Dinah Washington - I Wanna Be Loved

Bitrate: MP3@320K/s
Time: 32:12
Size: 73.7 MB
Styles: Jazz vocals
Year: 1962/2005
Art: Front

[2:42] 1. I Wanna Be Loved
[2:29] 2. Don't Explain
[2:28] 3. Everybody's Somebody's Fool
[3:01] 4. Invitation
[3:28] 5. You're Crying
[2:06] 6. Let's Fall In Love
[2:09] 7. When Your Lover Has Gone
[2:15] 8. A Stranger In Town
[2:44] 9. God Bless The Child
[3:19] 10. Blue Gardenia
[3:22] 11. I Can't Face The Music (Without Singing The Blues)
[2:04] 12. Sometimes I'm Happy

Hal Mooney (arranger) Joe Newman, Clark Terry (trumpet) Ernie Wilkins (trumpet, arranger) Jimmy Cleveland, Kai Winding (trombone) Billy Byers (trombone, arranger) Al Cohn (tenor saxophone, arranger) Patti Bown (piano) George Barnes (guitar) Art Davis (bass) Stu Martin (drums) Dinah Washington (vocals) The Dells (doo wop group) and others unidentified in orchestra, Quincy Jones (conductor). Recorded: in NYC, August 15th 1961 and NYC, September 13th 1961 and Chicago, IL, December 4th 1961.

A torch song date recorded between Dinah Washington's commercial breakthrough in 1959 and her death in 1963, I Wanna Be Loved flaunts a large cast of talented collaborators -- plus, to be sure, Washington's regal readings of 12 great songs -- but, unfortunately, the musical side is overwhelmed by the heavy strings in attendance. Working with Quincy Jones, Washington found her studio cast to include Joe Newman and Clark Terry on trumpet, Jimmy Cleveland and Kai Winding on trombone, and Al Cohn on tenor. However, the arrangements (from Ernie Wilkins and Quincy Jones) rarely leave room for the musicians -- and, in fact, rarely feature them at all -- preferring instead to concentrate on strings and the occasional wordless vocal chorus. As usually happened in these circumstances, Washington appears unfazed by the treacle surrounding her; although she doesn't improvise, her performances of "Blue Gardenia," "Don't Explain," and the title track (originally an R&B hit for her 12 years earlier) are elegant and bewitching. The larger big band makes its presence felt on the two side-closers, both of them ("Let's Fall in Love," "Sometimes I'm Happy") more uptempo material. Although Washington's latter-day Mercury material is often derided, she always succeeded despite her surroundings, and this date is no different. ~John Bush

I Wanna Be Loved

---

Sonny Stitt - Kaleidoscope

Styles: Saxophone Jazz
Year: 1950
File: MP3@320K/s
Time: 44:38
Size: 104,0 MB
Art: Front

(2:35)  1. Stitt's It
(2:38)  2. Cool Mambo
(2:25)  3. Blue Mambo
(2:28)  4. Sonny Sounds
(3:03)  5. Ain't Misbehavin'
(3:01)  6. Later
(3:01)  7. P.S. I Love You
(2:48)  8. This Can't Be Love
(3:26)  9. Imagination
(2:33) 10. Cherokee
(2:41) 11. Can't We Be Friends
(2:47) 12. Liza
(3:00) 13. To Think You've Chosen Me
(2:29) 14. After You've Gone
(3:09) 15. Our Very Own
(2:26) 16. S'wonderful

Deftly handling the alto, tenor, and baritone saxophone, bebop giant Sonny Stitt is heard to perfection here on a variety of early-'50s dates. Stitt not only shows off his patented speed throughout, but he goes a long way in dispelling criticisms of him being all fire and no grace. The 16-track disc kicks off with four tight, Latin-tinged swingers featuring an octet that includes trumpeter Joe Newman and timbales player Humberto Morales. Switching to piano quartet mode for the bulk of the disc, Stitt ranges effortlessly from frenetic blasts ("Cherokee") to golden-hued ballads ("Imagination"). Capping off the set with four bonus cuts featuring the likes of Gene Ammons and Junior Mance, Stitt delivers one of the top sets of performances from the late bebop era. ~ Stephen Cook http://www.allmusic.com/album/kaleidoscope-mw0000272732

Personnel: Sonny Stitt (alto saxophone, tenor saxophone, baritone saxophone); Larry Townsend (vocals); Gene Ammons (baritone saxophone); Joe Newman , John Hunt , Bill Massey (trumpet); Matthew Gee (trombone); John Houston, Charles Bateman, Junior Mance, Kenny Drew (piano); Wesley Landers, Art Blakey, Shadow Wilson, Teddy Stewart (drums); Humberto Morales (timbales).

Kaleidoscope

---

Joe Newman With Frank Foster - Good 'n' Groovy

Styles: Trumpet And Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 38:12
Size: 89,6 MB
Art: Front

(6:56)  1. A.M. Romp
(5:39)  2. Li'l Darlin'
(6:26)  3. Mo-Lasses
(5:15)  4. To Rigmor
(7:03)  5. Just Squeeze Me
(6:51)  6. Loop-D-Loop

This was the second of Joe Newman's three dates he led under the Swingville banner. For this session he was in the very fine company of Frank Foster (tenor sax), Tommy Flanagan (piano), Eddie Jones (bass) and Bill English (drums). ~ Bob Rush http://www.allmusic.com/album/good-n-groovy-mw0000110218
 

Personnel:  Bass – Eddie Jones;  Drums – Billy English; Piano – Tommy Flanagan;  Tenor Saxophone – Frank Foster;  Trumpet – Joe Newman

Good 'n' Groovy

---

Joe Newman - Quintet At Count Basies

Styles: Trumpet Jazz
Year: 1961
File: MP3@320K/s
Time: 39:02
Size: 90,4 MB
Art: Front

(9:51)  1. Caravan
(4:38)  2. Love Is Here To Stay
(5:52)  3. Someone To Love
(4:28)  4. The Midgets
(5:58)  5. On Green Dolphin Street
(8:13)  6. Wednesday's Blues

After two long stints with Count Basie's band, esteemed trumpeter Joe Newman put together his own quintet. And where did his new group choose to unveil itself? At Joe's famous ex-boss's New York City nightclub! Joe, Oliver Nelson, Ed Shaughnessy and the band play Caravan; On Green Dolphin Street; Please Send Me Someone to Love , and more. 1961 recording. ~ Editorial Reviews https://www.amazon.com/Joe-Newman-Quintet-Count-Basies/dp/B0007KVAKM

Personnel: Oliver Nelson (tenor saxophone); Joe Newman (trumpet); Lloyd Mayers (piano); Ed Shaughnessy (drums).

Quintet At Count Basies

---

Frank Wess - Jazz for Playboys

Styles: Flute And Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 47:18
Size: 108,5 MB
Art: Front

( 5:27)  1. Playboy
( 9:40)  2. Miss Blues
( 4:16)  3. Baubles, Bangles and Beads
( 5:02)  4. Low Life
( 4:07)  5. Pin Up
(11:01)  6. Blues For A Playmate
( 7:42)  7. Southern Exposure

This CD reissue has three songs apiece from two similar sessions. One half of the set features Frank Wess (doubling on flute and tenor) accompanied by both Kenny Burrell and Freddy Green on guitars, bassist Eddie Jones and drummer Gus Johnson; the other three titles add trumpeter Joe Newman and have Ed Thigpen in Johnson's place. The music is essentially cool-toned swing/bop very much in a Count Basie vein and is easily recommended to straightahead jazz fans despite the so-so packaging and LP-length playing time. ~ Scott Yanow http://www.allmusic.com/album/jazz-for-playboys-mw0000100271

Personnel:  Frank Wess (flute, saxophone), Joe Newman (trumpet), Kenny Burrell, Freddie Green (guitar), Eddie Jones (bass), Ed Thigpen, Gus Johnson (drums).

Jazz for Playboys

---