Art Blakey - Dizzy Gillespie... - The Giants Of Jazz Disc 1, Disc 2

Album: The Giants Of Jazz Disc 1
Styles: Bop, Cool Jazz
Year: 1971
File: MP3@320K/s
Time: 44:16
Size: 101,8 MB
Art: Front

(11:49) 1. Tin Tin Deo
(10:25) 2. Night in Tunisia
( 8:36) 3. Woody 'n' You
(13:24) 4. Tour de Force

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Album: The Giants Of Jazz Disc 2
Time: 46:40
Size: 107,5 MB

( 8:42) 1. Allen's Alley (Be Bop Tune)
(13:52) 2. Blue 'n'Boogie
( 4:52) 3. Everything Happens to Me
( 1:28) 4. Dizzy's Rap
( 9:25) 5. Blue Monk
( 8:19) 6. 'Round Midnight

This two-LP set, Giants of Jazz, (which should be reissued on CD) features a dream band comprised of trumpeter Dizzy Gillespie, Sonny Stitt on alto and tenor, trombonist Kai Winding, pianist Thelonious Monk (in a very rare stint as a sideman), bassist Al McKibbon, and drummer Art Blakey.

In general, the all-stars perform up to their usual standards on such standards as "Night in Tunisia," "Woody 'N' You," "Tour de Force," "Allen's Alley," and "Blue 'N' Boogie." Monk is well-featured on "Blue Monk" and "'Round Midnight" but Stitt steals honors on "Everything Happens to Me." A historic and superlative set. By Scott Yanow
https://www.allmusic.com/album/the-giants-of-jazz-mw0000346843

Personnel: Art Blakey – drums; Dizzy Gillespie – trumpet; Kai Winding – trombone; Sonny Stitt – saxophone; Al McKibbon – double bass; Thelonious Monk – piano

The Giants Of Jazz Disc 1, Disc 2

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Charlie Ventura - East Of Suez

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 35:41
Size: 83,9 MB
Art: Front

(2:51) 1. Synthesis
(3:02) 2. Blue Champagne
(2:43) 3. Stop 'n' Go
(3:03) 4. Soothe Me
(3:13) 5. Pennies From Heaven
(2:47) 6. Eleven-Sixty
(2:50) 7. East Of Suez
(3:12) 8. Baby, Baby All The Time
(2:43) 9. Let's Jump For Rita
(3:01) 10. Out You Go
(3:09) 11. Sweet Georgia Brown
(3:01) 12. C.V. Jam

Tenor man Charlie Ventura was was a prominent fixture on the jazz scene during his era. Born Charles Venturo he was one of thirteen children from a musical family who went on to become a jazz legend, and was named “Number One Tenor Saxophonist” by Down Beat Magazine in 1945. In the summer of 1942, Charlie got a call at his day job at the Philadelphia Navy yard to join Gene Krupa's band. Unwilling to relinquish the security of a paycheck, he turned them down. Then came the second phone call and before long, Charlie was on the road with the band becoming a featured soloist, along with trumpet star, Roy Eldridge and singer Anita O'Day. Throughout the forties, fifties and sixties, Charlie Ventura and Gene Krupa made music history together as America's leading jazz greats.

Ventura was one of the first jazz musicians to make the transition from swing to be-bop. In 1946, he formed his own “Bop for the People” band, playing a commercially-oriented form of be-bop. Continuing to play with The Gene Krupa Trio, he cut “Dark Eyes,” which led to over a dozen released albums, including “Charlie Ventura With Special Guest Charlie Parker”(1949) “Bop For The People”(1949-53) and “Charlie Ventura And His Orchestra.”(1954-55) Many fans will remember the succession of great jazz groups, fronted by Charlie, that appeared at The Open House nightclub he owned in Lindenwold, New Jersey. Playing Las Vegas with Jackie Gleason, and Atlantic City, New York and Philadelphia, Charlie Ventura was the consummate jazzman. “Jazz is maturing and maturity carries responsibilities. I feel that I'm supposed to make people laugh, make them cry, make them day dream and give them some excitement,” Charlie explained. His lifetime of musical achievement ended in January, 1992, but his legacy to the world of jazz lives on. https://www.allaboutjazz.com/musicians/charlie-ventura

Personnel: Tenor Saxophone – Charlie Ventura; Bass – Al Hall, Chubby Jackson, Gus Cole; Drums – Dave Tough , Shelly Manne , Specs Powell; Guitar – Bill DeArango , Eddie Yance; Piano – Bill Rowland, Lou Stein, Ralph Burns; Tenor Saxophone – Charlie Ventura; Trombone – Bill Harris, Kai Winding; Trumpet – Buck Clayton, Charlie Shavers ; Vocals – Buddy Stewart

East Of Suez

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Kai Winding - Stay Around

Styles: Trombone Jazz
Year: 2019
File: MP3@320K/s
Time: 75:48
Size: 174,9 MB
Art: Front

(3:19)  1. Just for a Thrill
(2:28)  2. Hearse Ride
(1:55)  3. Python
(3:12)  4. This Could Be the Start of Something
(3:51)  5. Georgia on My Mind
(1:40)  6. Gravy Waltz
(2:08)  7. Warm
(3:35)  8. Alone Together
(2:21)  9. Hero
(3:08) 10. Going, Going, Gone
(1:53) 11. China Nights
(4:03) 12. Theme from "Picnic"
(2:22) 13. Now and Forever
(2:56) 14. Tube Wail
(4:01) 15. I Concentrate on You
(3:54) 16. Soul Surfin'
(3:05) 17. Side by Side
(2:25) 18. Pipeline
(2:15) 19. Comin' Home, Baby
(2:07) 20. Till (Priere Sans Espoir)
(2:20) 21. The Gospel Truth
(5:09) 22. Trixie
(2:30) 23. Sukiyaki Song
(2:08) 24. Spinner
(2:18) 25. Blue Star (Theme from "The Medic")
(2:25) 26. Surf Bird
(2:07) 27. The Struggle

One of the finest trombonists to emerge from the bebop era, Kai Winding was always to an extent overshadowed by J.J. Johnson, although they co-led one of the most popular jazz groups of the mid-'50s. Born in Denmark, Winding emigrated to the U.S. with his family when he was 12. He had short stints with the orchestras of Alvino Rey and Sonny Dunham, and played in a service band in the Coast Guard for three years. Winding's first burst of fame occurred during his year with Stan Kenton's Orchestra (1946-1947), during which his phrasing influenced and was adopted by the other trombonists, leading to a permanent change in the Kenton sound. He also participated in some early bop sessions, played with Tadd Dameron (1948-1949), and was on one of the Miles Davis' nonet's famous recording sessions. After playing with the big bands of Charlie Ventura and Benny Goodman, he formed a quintet with J.J. Johnson (1954-1956); the two trombonists (who sounded nearly identical at the time) had occasional reunions after going their separate ways. Winding led a four-trombone septet off and on through the latter half of the 1950s and into the '60s, was music director for the Playboy clubs in New York, and during 1971-1972 worked with the Giants of Jazz (an all-star group with Dizzy Gillespie, Sonny Stitt, and Thelonious Monk).

Stay Around

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Kai Winding - More! Theme From Mondo Cane

Styles: Trombone Jazz
Year: 2019
File: MP3@320K/s
Time: 28:53
Size: 67,6 MB
Art: Front

(2:01)  1. More
(2:21)  2. Hero
(1:38)  3. Gravy Waltz
(1:52)  4. China Nights
(2:24)  5. Surf Bird
(2:23)  6. Pipeline
(2:28)  7. Sukiyaki
(3:54)  8. Soul Surfin'
(2:54)  9. Tube Wail
(2:09) 10. Spinner
(2:26) 11. Hearse Ride
(2:16) 12. Comin' Home Baby

A strict surf album this is not, despite the packaging and a few titles. More is really the classic, best-selling album launching Kai Winding's mod sound. Actually, it is Claus Ogerman and Winding's sound, helped out in no small part by Kenny Burrell on guitar. Except when obviously imitating standard surf guitar, Burrell provides texture, specifically the "water sound" popularized by Vinnie Bell. Within this warm bath, as it were, the piercing electronic ondioline shimmers icily. The rhythm is basic "big beat" rock, and melody never really has a chance to escape blues figures, which is just as well. "Soul Surfin'" (also the reissue title of the album) is the longest track at 3:50, and with the others at around the two minute mark, the whole thing splashes by like a breaker. But just as a quick dip in the Pacific elicits an appetite, More leaves you hungry for, well, Mondo Cane #2. ~ Tony Wilds https://www.allmusic.com/album/more%21%21%21-the-theme-from-mondo-cane-mw0001882462

More!

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Coleman Hawkins - Hollywood Stampede

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 48:42
Size: 114,2 MB
Art: Front

(2:57)  1. April In Paris
(2:56)  2. Rifftide
(3:16)  3. Stardust
(3:03)  4. Stuffy
(3:11)  5. Hollywood Stampede
(3:15)  6. I'm Thru With Love
(3:21)  7. What Is There To Say?
(3:08)  8. Wrap Your Troubles In Dreams
(2:54)  9. Too Much Of A Good Thing
(3:07) 10. Bean Soup
(2:51) 11. Someone To Watch Over Me
(3:07) 12. It's The Talk Of The Town
(3:06) 13. Isn't It Romantic?
(2:36) 14. Bean-A-Re-Bop
(2:50) 15. The Way You Look Tonight
(2:56) 16. Phantomesque

Hawkins led one of his finest bands in 1945, a sextet with the fiery trumpeter Howard McGhee that fell somewhere between small-group swing and bebop. This CD contains all of that group's 12 recordings, including memorable versions of "Rifftide" and "Stuffy"; trombonist Vic Dickenson guests on four tracks. 

This CD concludes with one of Hawkins' rarest sessions, an Aladdin date from 1947 that finds the veteran tenor leading a septet that includes 20-year-old trumpeter Miles Davis. ~ Scott Yanow https://www.allmusic.com/album/hollywood-stampede-mw0000203302

Personnel:  Tenor Saxophone – Coleman Hawkins; Alto Saxophone – Howard Johnson (6) (tracks: 13 to 16); Bass – John Simmons (tracks: 9 to 12), Oscar Pettiford (tracks: 1 to 8); Bass [Probably] – Curley Russell (tracks: 13 to 16); Drums – Denzil Best (tracks: 1 to 12); Drums [Probably] – Max Roach (tracks: 13 to 16); Guitar – Allan Reuss (tracks: 1 to 12); Piano – Hank Jones (tracks: 13 to 16), Sir Charles Thompson (tracks: 1 to 12); Trombone – Kai Winding (tracks: 13 to 16), Vic Dickenson (tracks: 5 to 8); Trumpet – Howard McGhee (tracks: 1 to 12), Miles Davis (tracks: 13 to 16)

Hollywood Stampede

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J.J. Johnson, Kai Winding - The Great Kai And J.J.

Bitrate: MP3@320K/s
Time: 41:43
Size: 95.5 MB
Styles: Bop, Trombone jazz
Year: 1960/1997
Art: Front

[3:09] 1. This Could Be The Start Of Something Big
[3:48] 2. Georgia On My Mind
[4:28] 3. Blue Monk
[4:03] 4. Judy
[3:34] 5. Alone Together
[3:02] 6. Side By Side
[3:59] 7. I Concentrate On You
[4:01] 8. Theme From Picnic
[5:07] 9. Trixie
[3:08] 10. Going Going Gong
[3:18] 11. Just For A Thrill

Bass – Paul Chambers (3) (tracks: 1, 3 ,6, 7), Tommy Williams (3) (tracks: 2, 4, 5, 8 to 11); Drums – Art Taylor (tracks: 2, 4, 5, 8 to 11), Roy Haynes (tracks: 1, 3 ,6, 7); Piano – Bill Evans; Trombone – J.J. Johnson, Kai Winding. Recorded in 1961. Digitally remastered at MCA Music Media Studios, using 20-Bit Super Mapping.

This lively Impulse! set was the first recorded reunion of trombonists J.J. Johnson and Kai Winding. With pianist Bill Evans, either Paul Chambers or Tommy Williams on bass, and Roy Haynes or Art Taylor on drums, the two trombonists are in melodic and witty form on such tunes as "This Could Be the Start of Something Big," "Blue Monk," "Side by Side," and "Theme from Picnic." Recommended. ~Scott Yanow

The Great Kai And J.J. mc
The Great Kai And J.J. zippy

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Oscar Pettiford Sextet - S/T

Bitrate: MP3@320K/s
Time: 39:58
Size: 91.5 MB
Styles: Bop
Year: 1954/2016
Art: Front

[9:43] 1. Burt's Pad
[5:58] 2. Marcel The Furrier
[3:07] 3. Ondine
[5:08] 4. Stardust
[2:32] 5. E-Lag
[4:26] 6. Rhumblues
[6:25] 7. Burt's Pad (Alternate Take)
[2:36] 8. E-Lag (Alternate Take)

Bass – Oscar Pettiford; Cello [In Re-recording] – Oscar Pettiford (tracks: 6); Drum – Max Roach; Guitar – Tal Farlow; Piano – Henri Renaud; Tenor Saxophone – Al Cohn; Trombone – Kai Winding. Recorded in New York City by Vogue Records, March 13th, 1954. Digitally remastered from original master tapes in 24-bit (Le Source Mastering, Paris, France).

The six main selections on this CD were last released as part of a Prestige LP titled The Oscar Pettiford Memorial Album, also including four tunes from a Serge Chaloff set. The CD reissue adds two alternate takes to the excellent session which features Pettiford on occasional bass solos and (on "Rhumblues") overdubbed on cello. The superior set also features tenor saxophonist Al Cohn, trombonist Kai Winding, guitarist Tal Farlow, French pianist Henri Renaud and drummer Max Roach -- quite an all-star group. Renaud contributed two of the songs which also include numbers by Hoagy Carmichael ("Stardust"), Gerry Mulligan and both Leonard and Jane Feather. The music is straight-ahead, with "Burt's Pad" (heard in two versions) going on for over 9½ minutes. A fine CD that is easily recommended to bop collectors. ~Scott Yanow

Oscar Pettiford Sextet mc
Oscar Pettiford Sextet zippy

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Gene Krupa - Krupa Plays Mulligan Arrangements

Styles: Jazz, Big Band
Year: 1958
File: MP3@320K/s
Time: 43:54
Size: 101,1 MB
Art: Front

(3:04)  1. Bird House
(3:16)  2. Margie
(4:02)  3. Mulligan Stew
(3:50)  4. Begin The Beguine
(2:47)  5. Sugar
(2:52)  6. The Way Of All Flesh
(3:10)  7. Disc Jockey Jump
(3:22)  8. Birds Of A Feather
(3:39)  9. Sometimes I'm Happy
(3:19) 10. How High The Moon
(4:50) 11. If You Were The Only Girl In The World
(5:37) 12. Yardbird Suite

Gerry Mulligan was only 19 in 1946 when he joined Gene Krupa's band, playing a bit of alto and tenor sax, but primarily serving as an arranger. But the Verve LP Gene Krupa Plays Gerry Mulligan Arrangements wasn't made until 1958, long after Mulligan went out on his own. Although there are solo features built into the framework of each piece, Mulligan was quite confident in his ability to showcase the entire band as well. Mulligan's "Disc Jockey Jump" became a hit for Krupa, though it wasn't recorded until after he left the band. The vague liner notes fail to identify any of the musicians in Krupa's big band, which includes Jimmy Cleveland, Hank Jones, Barry Galbraith, Kai Winding, and Phil Woods, though Woods' alto sax solos are easily identifiable to his fans. Baritone saxophonist Danny Bank is a bit disappointing compared to what Mulligan could have recorded on the instrument, though it would have been unlikely that the composer would have been interested in rejoining Krupa, even for one record date, at the time it was recorded. It's surprising that this excellent LP remained out of print for so long, particularly with the strong resurgence of interest in all aspects of Mulligan's work since his death in 1996. ~ Ken Dryden http://www.allmusic.com/album/plays-gerry-mulligan-arrangements-mw0000205730

Personnel:  Alto Saxophone – Phil Woods, Sam Marowitz;  Arranged By, Conductor – Gerry Mulligan;  Baritone Saxophone – Danny Bank;  Bass – James Gannon;  Drums – Gene Krupa;  Guitar – Barry Galbraith;  Piano – Hank Jones;  Tenor Saxophone – Ed Wasserman, Frank Socolow;  Trombone – Billy Byers, Eddie Bert, Jimmy Cleveland, Kai Winding, Urbie Green , Willie Dennis;  Trumpet – Al De Risi, Al Stewart, Doc Severinsen, Ernie Royal, Marky Markowitz

Krupa Plays Mulligan Arrangements

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Fats Navarro - Fats Blows 1946-1949

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 70:54
Size: 166,1 MB
Art: Front

(2:53)  1. Dance Of The Infidels
(2:49)  2. 52nd St. Theme
(5:34)  3. Double Talk
(2:35)  4. Move
(2:41)  5. Hollerin' And Screamin'
(2:54)  6. The Tadd Walk
(3:09)  7. Jumpin' For Jane
(2:50)  8. Lady Bird
(2:53)  9. Goin' To Minton's
(2:45) 10. Nostalgia
(2:25) 11. Eb Pob
(2:59) 12. Our Delight
(3:16) 13. Bouncing With Bud
(3:04) 14. Wail
(3:05) 15. Symphonette
(3:07) 16. Boperation
(2:49) 17. Fats Blows
(4:02) 18. Stop
(2:52) 19. Sid's Delight
(2:53) 20. Jahbero
(2:57) 21. The Skink
(2:59) 22. The Squirrel
(3:13) 23. Groovin' High

A 23-track overview of Fats' brief moments of brilliance in the jazz skyline. The groups are varied, as was Navarro's wont, featuring such luminaries as Eddie "Lockjaw" Davis, Tadd Dameron, Leo Parker, Art Blakey, Howard McGhee, Bud Powell, Sonny Rollins, Kenny Clarke, Milt Jackson, and Fats' idol, Charlie Parker. Navarro was a brilliant musician, done in by drugs and tuberculosis. This disc gives you an idea of how tragic his loss was to the jazz world. ~ Cub Koda http://www.allmusic.com/album/fats-blows-1946-1949-mw0000051021

Personnel includes: Fats Navarro (trumpet); Leo Parker (alto & baritone saxophones); Charlie Parker, Ernie Henry, Budd Johson, Sahib Shihab, Ernie Henry (alto saxophone); Eddie Davis, Charlie Rouse, Don Lamphere, Allen Eager, Coleman Hawkins, Dexter Gordon, Sonny Rollins, Wardell Gray (tenor saxophone); Cecil Payne, Marion De Veta (baritone saxophone); Howard McGhee (trumpet); Kai Winding (trombone); Milt Jackson (vibraphone); Al Haig, Tadd Dameron, Lennie Tristano, Linton Garner, Bud Powell (piano); Huey Long, Billy Bauer, Chuck Wayne (guitar); Gene Ramey, Curley Russell, Nelson Boyd, Tommy Potter, Jimmy Johnson, Jack Lesberg (bass); Denzil Best, Kenny Clarke, Art Blakey, Shadow Wilson, Buddy Rich, Max Roach, Roy Haynes (drums); Chano Pozo, Diego Ibarra (bongos); Vidal Bolado (conga).

Fats Blows 1946-1949

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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

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Stan Getz - Opus De Bop

Bitrate: MP3@320K/s
Time: 32:26
Size: 74.3 MB
Styles: Bop, Cool jazz
Year: 1977/2009
Art: Front

[2:33] 1. Opus De Bop
[2:46] 2. Running Water
[2:40] 3. Don't Worry 'bout Me
[2:45] 4. And The Angels Swing
[2:36] 5. Fool's Fancy
[2:59] 6. Bebop In Pastel
[2:56] 7. Bombay
[2:47] 8. Ray's Idea
[2:25] 9. Eb-Pob
[2:53] 10. Goin' To Minton's
[2:21] 11. Fat Girl
[2:38] 12. Ice Freezes Red

Some of tenor-saxophonist Stan Getz's earliest recordings are included on this well-conceived LP. Getz displays a harder sound than one might expect on sextet sides with trombonist Kai Winding and trumpeter Shorty Rogers from late 1945 and on four selections with a quartet from mid-1946. The final four selections (from May 1949) are more typical as Getz (along with fellow tenors Al Cohn and Zoot Sims) plays hard-swinging cool bop; the three tenors can barely be told apart. Bop collectors will want this interesting music. ~Scott Yanow

Opus De Bop

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Various - Timeless: Savoy 60th Anniversary (2-Disc Set)

Savoy Jazz marks its 60th anniversary with this double-disc compilation of the early pioneers of bebop. This classic collection features some of the first recordings by such bebop masters as Charlie Parker, Dexter Gordon, Miles Davis, and Stan Getz, among others, playing their classic repertoire of the '40s and '50s. These 32 compositions are also among those that helped to establish and solidify this newly introduced style of jazz in the hearts and souls of many swing and big-band followers around the globe, despite the early thumbs-down given by jazz purists of that decade. Titled Savoy 60th Anniversary: Timeless, the CDs feature state-of-the-art transfers from the actual acetate and tape masters created by these legendary artists at the original historic recording sessions. Listeners can now fully realize such great songs as "Parker's Mood," "Bohemia After Dark," and Little Jimmy Scott's first big record, "When Did You Leave Heaven?," in their finest quality available to date. A best buy for jazz history buffs. ~Paula Edelstein

Album: Timeless: Savoy 60th Anniversary (Disc 1)

Bitrate: MP3@320K/s

Time: 60:38

Size: 138.8 MB

Styles: Jazz/ZBlues/R&B/Vocal

Year: 2002/2010

[3:01] 1. Charlie Parker - Parker's Mood [original Take 3]

[3:04] 2. Dexter Gordon - Long Tall Dexter

[2:20] 3. Charlie Parker - Sipping At Bells [original Take 2]

[5:38] 4. Dizzy Gillespie - The Champ

[2:35] 5. Stan Getz - Don't Worry 'bout Me

[2:51] 6. The Be Bop Boys - Bebop In Pastel [take 3]

[2:17] 7. Stan Getz - Fat Girl

[3:16] 8. 8. Lennie Tristano - Master

[2:37] 9. Art Pepper - These Foolish Things

[3:53] 10. Kai Winding - Bernie's Tune

[6:17] 11. Charles Mingus - Tea For Two

[6:03] 12. Adderley Brothers - Bohemia After Dark

[7:46] 13. Donald Byrd - Star Eyes

[4:24] 14. Lee Morgan - P.S. I Love You

[4:30] 15. John Coltrane - B.J

Timeless: Savoy 60th Anniversary (Disc 1)

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Album: Timeless: Savoy 60th Anniversary (Disc 2)

Bitrate: MP3@320K/s

Time: 50:18

Size: 115.2 MB

Styles: Jazz/Blues/R&B/Vocal

Year: 2010

Art: Front

[3:14] 1. Lester Young - Jump Lester Jump

[3:14] 2. Charlie Parker - Now's The Time

[3:05] 3. Billy Eckstine - Oop Bop Sh'bam

[3:02] 4. Ben Webster - I Surrender, Dear

[2:58] 5. Illinois Jacquet - Illinois Goes To Chicago

[2:47] 6. Big Jay Mcneely - Deacon's Hop

[3:07] 7. Paul Hucklebuck Williams - The Hucklebuck

[2:57] 8. Hal Singer - Cornbread

[3:10] 9. George Shearing - Moon Over Miami

[2:29] 10. Erroll Garner - The Goodbye

[2:50] 11. Marian Mcpartland - Love Is Here To Stay

[2:54] 12. Milt Jackson - 'round Midnight

[3:15] 13. Eddie Jefferson - Body And Soul

[2:36] 14. Joe Williams - Every Day I Have The Blues

[2:54] 15. Gene Ammons - Trav'lin' Light

[3:15] 16. Little Jimmy Scott - When Did You Leave Heaven

[2:25] 17. Big Maybelle - Say It Isn't So

Timeless: Savoy 60th Anniversary (Disc 2)

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Kai Winding & J.J. Johnson - Nuf Said

Styles: Trombone Jazz
Year: 1959
File: MP3@320K/s
Time: 69:37
Size: 160,1 MB
Art: Front

(2:24)  1. Out of This World
(2:58)  2. Thou Swell
(5:38)  3. Lover
(3:34)  4. Lope City
(2:59)  5. Stolen Bass
(5:08)  6. It's Alright with Me
(3:34)  7. Mad about the Boy
(4:09)  8. Yes Sir, That's My Baby
(4:02)  9. That's How I Feel about You
(3:25) 10. Gong Rock
(5:34) 11. It's Alright with Me (Alt. Take 15)
(5:42) 12. Lover (Alt. Take 13
(3:29) 13. Gong Rock (Alt. Take 1)
(3:47) 14. Lope City (Alt. Take 11)
(6:28) 15. It's Alright with Me (Alt. Take 11)
(2:30) 16. Out of This World (Alt. Take 8)
(4:07) 17. That's How I Feel about You (Alt. Take 7)

At times sounding indistinguishable soloing side by side, trombonists Kai Winding and J.J. Johnson gained unexpected fame from a series of collaborative efforts cut during the mid-'50s. Sandwiched between their initial Savoy outing and several Columbia releases (and a later reunion session for Impulse), 1955's Nuf Said features the soloists in a buoyant West Coast mood on several medium- to fast-tempo swingers. Winding and Johnson both turn in fluid, tonally rounded statements, while pianist Dick Katz, bassists Milt Hinton and Wendell Marshall, and drummer Al Harewood (using brushes most of the time) provide plush rhythmic support. In addition to impressively arranged covers like "Mad About the Boy" and "Out of This World," Johnson and Winding each contribute two attractive originals  Winding's "Gong Rock" gets special note not only for its then-exotic incorporation of gong sounds, but also for the title's evocation of a time-travel meeting between the trombonist and glam rocker T. Rex. 

Musical fantasy aside, this Bethlehem reissue by Avenue Jazz pads the original set with seven worthwhile alternate takes and tops things off with superb sound and helpful liner notes. And though some might find the music here a bit thin (a common criticism of the West Coast sound which, ironically, gets turned on its ear this time around since all the musicians involved are from the East Coast), the arrangements and playing are so engaging and of such high quality that categorization dilemmas disappear. A fine disc. ~ Stephen Cook  http://www.allmusic.com/album/nuf-said-mw0001881976

Personnel: Kai Winding, J.J. Johnson (trombone); Dick Katz (piano); Milt Hinton, Wendell Marshall (bass); Al Harewood (drums).

Nuf Said

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J.J. Johnson & Kai Winding - Jay & Kay + 6

Styles: Trombone Jazz
Year: 2010
File: MP3@320K/s
Time: 34:28
Size: 80,6 MB
Art: Front

(2:57)  1. Night In Tunisia
(2:38)  2. Piece For Two Tromboniums
(2:18)  3. Rise 'N' Shine
(2:34)  4. All At Once You Love Her
(3:26)  5. No Moon At All
(2:04)  6. Surrey With The Fringe On Top
(2:28)  7. The Peanut Vendor
(3:00)  8. You're My Thrill
(2:35)  9. Jeanne
(3:58) 10. Four Plus Four
(3:30) 11. You Don't Know What Love Is
(2:53) 12. The Continental

It was around the years when this recording was made that trombone groups, whether they be choirs, quartets, septets, or some other configuration, were in vogue. Kai Winding recorded several during the 1950s with his own group and with his oftentimes playing partner, J.J. Johnson. This album is the product of one of those occasions. Recorded over a three-day period in 1956 and originally issued on a Columbia LP, Johnson and Winding are joined by fellow slide instrumentalists Bob Alexander, Eddie Bert, Urbie Green, Jimmy Cleveland, Tom Mitchell, and Bart Varsalona, the latter two on bass trombone, plus an all-star rhythm section of Hank Jones, Milt Hinton, and Osie Johnson. Also somewhat of an item during this period was the trombonium, an upright valve trombone resembling a euphonium. Johnson and Winding use this instrument on some of the cuts, including "A Night in Tunisia" and "Piece for Two Tromboniums." 

The playing here is simply terrific, as one would expect from this eminent cast of trombonists. The only problem is that after a while, one begins to yearn for some other horns, especially the sax, to get a change in the harmonics and voicings. Nonetheless, the playing, both solo and in ensemble, is brilliant and is a prime example of how the trombone had evolved from essentially a tailgate to an instrument that could execute fast-moving bop tunes and use a controlled vibrato and enveloping tone on slower numbers. There's plenty to choose from both categories on this session. The players on this album were in the vanguard of that metamorphosis. This LP richly deserved to be reissued on CD.~ Dave Nathan http://www.allmusic.com/album/jay-and-kai-6-the-jay-and-kai-trombone-octet-mw0000965548

Personnel:  J.J. Johnson - Trombone, Trombonium;  Kai Winding - Trombone, Trombonium;  Urbie Green – Trombone;  Bob Alexander – Trombone;  Eddie Bert – Trombone;  Jimmy Cleveland - Trombone; Tom Mitchell - Bass Trombone;  Bart Varsalona - Bass Trombone;  Hank Jones – Piano;  Milt Hinton – Bass;  Ray Brown – Bass;  Osie Johnson – Drums;  Candido Camero - Conga, Bongo

Jay & Kay + 6

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The Kai Winding Quartet - Lazy Moments

Bitrate: MP3@320K/s
Time: 65:03
Size: 148.9 MB
Styles: Trombone jazz
Year: 2003
Art: Front

[3:33] 1. At The Moment
[3:50] 2. Morning Of The Carnival
[3:44] 3. Don't Scuffle, Just Shuffle
[4:14] 4. If You Could See Me Now
[4:03] 5. Surrey With The Fringe On The Top
[4:05] 6. Never Let Me Go
[4:10] 7. Epistrophy
[5:28] 8. It Might As Well Be Spring
[3:48] 9. Crazy She Calls Me
[3:41] 10. The Boy Next Door
[5:04] 11. That's Him
[3:11] 12. Mono Bone
[4:10] 13. Yardbird Suite
[4:18] 14. Lonely Town
[3:40] 15. Lazy Moments
[3:56] 16. If I Didn't Care

Winding was born in Aarhus, Denmark. In 1934 his family emigrated to the United States. He graduated in 1940 from Stuyvesant High School in New York City, plus that same year he began his career as a professional trombonist with Shorty Allen's band. Subsequently, he played with Sonny Dunham and Alvino Rey until he entered the United States Coast Guard during World War II.

After the war, Winding joined Benny Goodman's band, and later moved on to Stan Kenton's orchestra. Winding participated in the first of the Birth of the Cool sessions in 1949, appearing on 4 of the 12 tracks (while J. J. Johnson appears on the other eight, having participated on the other two sessions). In 1954, at the urging of producer Ozzie Cadena, he joined forces with Johnson to produce a highly successful series of trombone duet recordings, which were initially on Savoy Records and then on the Columbia Records label. While at Columbia, Winding experimented with different instrumentation in brass ensembles: the 1956 album Jay & Kai + 6 features a trombone octet, as well as Winding and Johnson performing on the trombone-like valved horn called the trombonium. Winding also arranged and/or composed many of the tracks he and Johnson recorded. Unlike most players who absorbed the "bebop" style, Winding notably used more overtly trombonistic slide and mute effects from the earlier eras of jazz, as had another former Goodman trombonist Bill Harris, sounds which Johnson studiously avoided.

During the 1960s, Winding had a long stint at Verve Records and under producer Creed Taylor made some of his most memorable jazz-pop albums. His best-known recording from this period is More, the theme from the movie Mondo Cane. Arranged and conducted by Claus Ogerman, "More" featured what is probably the first appearance of the French electronic music instrument the Ondioline on an American recording. Though Winding himself was credited with playing the Ondioline, guitarist Vinnie Bell, who worked on the session, has said he remembers distinctly that the French electronic-music pioneer Jean-Jacques Perrey was the actual player. He served as Musical Director for the Playboy Club, in mid-sixties New York, when rock was beginning to edge out jazz as the fashionable club music.

While at Verve, Winding further experimented with various ensembles, made solo albums, and even an album of country music with the Anita Kerr Singers. In the late 1960s, Winding followed Creed Taylor to his new recording label at A&M/CTI and made at least two more albums with Johnson. In the 1970s and early 1980s, Winding recorded for a number of independent record labels. During this time, he continued to give clinics, play jazz concerts and even reunited with Johnson for a live concert in Japan. He was a member of the all-star jazz group Giants of Jazz in 1971-2. He also wrote instructional jazz trombone books that included transcribed solos.

Winding died of a brain tumor in New York City in 1983. He was survived at the time by his wife, the accomplished painter Ezshwan Winding, and his son, the session keyboardist Jai Winding.

Lazy Moments

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Kai Winding - Swingin' States

Styles: Trombone Jazz
Year: 1959
File: MP3@320K/s
Time: 34:19
Size: 79,2 MB
Art: Front

(2:15)  1. Indiana
(2:47)  2. Carry Me Back To Old Virginny
(2:37)  3. California, Here I Come
(2:32)  4. Louisiana
(2:34)  5. Moonlight in Vermont
(3:02)  6. Georgia on My Mind
(2:22)  7. Jersey Bounce
(3:22)  8. Stars Fell on Alabama
(3:29)  9. Idaho
(3:22) 10. At Last Alaska
(3:15) 11. Mississippi Mud
(2:36) 12. Oklahoma

The gimmick of this out-of-print LP by trombonist Kai Winding is that all dozen songs have a state in their title including "Jersey Bounce," "Carry Me Back to Old Virginia," "California Here I Come" and "Oklahoma." Only "At Last Alaska" (named after the recently admitted 49th state) is an original. At the time Winding was leading a four-trombone septet (which included two bass trombones).

Winding and fellow trombonist Frank Rehak along with pianist Hank Jones split up all of the solo space on the spirited if somewhat lightweight music. https://itunes.apple.com/us/album/the-swingin-states/id709135405

Swingin' States

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Kai Winding, Curtis Fuller - Bone Appétit

Styles: Trombone Jazz
Year: 1980
File: MP3@320K/s
Time: 65:58
Size: 151,6 MB
Art: Front

(5:55)  1. Niçoise (Take 2)
(6:05)  2. Bone Appetit (Take 2)
(6:02)  3. Baja Iberia (Take 2)
(4:02)  4. Entonces
(7:29)  5. Bone Appetit
(6:57)  6. La Valse Bonita
(6:09)  7. A Minor Doodle (Take 1)
(6:04)  8. Niçoise (Take 1)
(6:03)  9. Baja Iberia (Take 1)
(6:17) 10. A Minor Doodle (Take 2)
(4:51) 11. Bone Appetit (Take 1)

One of the finest trombonists to emerge from the bebop era, Kai Winding was always to an extent overshadowed by J.J. Johnson, although they co-led one of the most popular jazz groups of the mid-'50s. Born in Denmark, Winding emigrated to the U.S. with his family when he was 12. He had short stints with the orchestras of Alvino Rey and Sonny Dunham, and played in a service band in the Coast Guard for three years. Winding's first burst of fame occurred during his year with Stan Kenton's Orchestra (1946-1947), during which his phrasing influenced and was adopted by the other trombonists, leading to a permanent change in the Kenton sound. He also participated in some early bop sessions, played with Tadd Dameron (1948-1949), and was on one of the Miles Davis' nonet's famous recording sessions.

After playing with the big bands of Charlie Ventura and Benny Goodman, he formed a quintet with J.J. Johnson (1954-1956); the two trombonists (who sounded nearly identical at the time) had occasional reunions after going their separate ways. Winding led a four-trombone septet off and on through the latter half of the 1950s and into the '60s, was music director for the Playboy clubs in New York, and during 1971-1972 worked with the Giants of Jazz (an all-star group with Dizzy Gillespie, Sonny Stitt, and Thelonious Monk). Although he recorded frequently both as a leader and a sideman throughout his career, most of Winding's sessions are not currently available on CD. 

~ Bio  https://itunes.apple.com/gb/artist/kai-winding/id72717#fullText

Personnel: Kai Winding (trombone); Curtis Fuller (trombone); Hank Jones (piano); Jimmy Cobb (drums)

Bone Appétit

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Sarah Vaughan - The Rodgers & Hart Songbook

Styles: Vocal Jazz
Year: 1985
File: MP3@320K/s
Time: 37:40
Size: 86,7 MB
Art: Front

(3:01)  1. My Funny Valentine
(3:53)  2. Little Girl Blue
(2:42)  3. A Tree In The Park
(2:27)  4. It's Got To Be Love
(3:27)  5. A Ship Without A Sail
(3:33)  6. Bewitched
(2:49)  7. Thou Swell
(3:42)  8. It Never Entered My Mind
(2:47)  9. It's Easy To Remember
(2:58) 10. Why Can't I
(3:16) 11. My Romance
(3:00) 12. My Heart Stood Still

Possessor of one of the most wondrous voices of the 20th century, Sarah Vaughan ranked with Ella Fitzgerald and Billie Holiday in the very top echelon of female jazz singers. She often gave the impression that with her wide range, perfectly controlled vibrato, and wide expressive abilities, she could do anything she wanted with her voice. Although not all of her many recordings are essential (give Vaughan a weak song and she might strangle it to death), Sarah Vaughan's legacy as a performer and a recording artist will be very difficult to match in the future.

Vaughan sang in church as a child and had extensive piano lessons from 1931-39; she developed into a capable keyboardist. After she won an amateur contest at the Apollo Theater, she was hired for the Earl Hines big band as a singer and second vocalist. Unfortunately, the musicians' recording strike kept her off record during this period (1943-44). When lifelong friend Billy Eckstine broke away to form his own orchestra, Vaughan joined him, making her recording debut. She loved being with Eckstine's orchestra, where she became influenced by a couple of his sidemen, Charlie Parker and Dizzy Gillespie, both of whom had also been with Hines during her stint. Vaughan was one of the first singers to fully incorporate bop phrasing in her singing, and to have the vocal chops to pull it off on the level of a Parker and Gillespie.

Other than a few months with John Kirby from 1945-46, Sarah Vaughan spent the remainder of her career as a solo star. Although she looked a bit awkward in 1945 (her first husband George Treadwell would greatly assist her with her appearance), there was no denying her incredible voice. She made several early sessions for Continental: a December 31, 1944 date highlighted by her vocal version of "A Night in Tunisia," which was called "Interlude," and a May 25, 1945 session for that label that had Gillespie and Parker as sidemen. However, it was her 1946-48 selections for Musicraft (which included "If You Could See Me Now," "Tenderly" and "It's Magic") that found her rapidly gaining maturity and adding bop-oriented phrasing to popular songs. Signed to Columbia where she recorded during 1949-53, "Sassy" continued to build on her popularity. Although some of those sessions were quite commercial, eight classic selections cut with Jimmy Jones' band during May 18-19, 1950 (an octet including Miles Davis) showed that she could sing jazz with the best.

During the 1950s, Vaughan recorded middle-of-the-road pop material with orchestras for Mercury, and jazz dates (including Sarah Vaughan, a memorable collaboration with Clifford Brown) for the label's subsidiary, EmArcy. Later record label associations included Roulette (1960-64), back with Mercury (1963-67), and after a surprising four years off records, Mainstream (1971-74). Through the years, Vaughan's voice deepened a bit, but never lost its power, flexibility or range. She was a masterful scat singer and was able to out-swing nearly everyone (except for Ella). Vaughan was with Norman Granz's Pablo label from 1977-82, and only during her last few years did her recording career falter a bit, with only two forgettable efforts after 1982. However, up until near the end, Vaughan remained a world traveler, singing and partying into all hours of the night with her miraculous voice staying in prime form. The majority of her recordings are currently available, including complete sets of the Mercury/Emarcy years, and Sarah Vaughan is as famous today as she was during her most active years. Bio ~ https://itunes.apple.com/us/artist/sarah-vaughan/id79995#fullText

1954-1958. This is the reissued version to get. ~ Ron Wynn  http://www.allmusic.com/album/the-rodgers-hart-songbook-mw0000314416

Personnel: Sarah Vaughan (vocals); Turk VanLake (guitar); Jerome Richardson (reeds); Sam Marowitz, Cannonball Adderley (alto saxophone); Ernie Royal, Bernie Glow (trumpet); J.J. Johnson , Kai Winding (trombone); Jimmy Jones , Ronnell Bright (piano); Roy Haynes (drums).

The Rodgers & Hart Songbook

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Kai Winding & Carl Fontana's Cleveland Express - The Complete Ohio Sessions

Styles: Trombone Jazz
Year: 1957
File: MP3@320K/s
Time: 74:41
Size: 171,4 MB
Art: Front

(7:12)  1. Blue Lou
(4:25)  2. The Party's Over
(6:47)  3. The Preacher
(3:33)  4. The Surrey With the Fringe on Top
(4:34)  5. Jive at Five
(7:19)  6. The Blues
(3:07)  7. Whistle While You Work
(5:10)  8. You Don't Know What Love Is
(4:51)  9. Mole Hill
(6:43) 10. There'll Never Be Another You
(8:04) 11. Jim and Andy's
(5:14) 12. In a Sentimental Mood
(7:36) 13. I Want to Be Happy

Of all the legendary trombone innovators, no one deserves more recognition for the development of the instrument than the great Kai Winding and Carl Fontana. Peerless soloists, band leaders, section players, arrangers and composers, the two trombonists' legendary collaboration began in August 1956, when Winding decided to form a septet consisting of four trombones and a rhythm section. The band's most impressive recording consists of an excellent June, 1957 live performance in Cleveland, Ohio. The minimal amount of background noise and ample applause is a testament to the high musical quality and audience chemistry. 

Winding expertly weaves moods, tempos, and textures on an array of show tunes, movie songs, classic jazz and several originals that showcase his superb arrangements and virtuoso group of musicians. all the legendary trombone innovators, no one deserves more recognition for the development of the instrument than the great Kai Winding and Carl Fontana. Peerless soloists, band leaders, section players, arrangers and composers, the two trombonists' legendary collaboration began in August 1956, when Winding decided to form a septet consisting of four trombones and a rhythm section. The band's most impressive recording consists of an excellent June, 1957 live performance in Cleveland, Ohio. The minimal amount of background noise and ample applause is a testament to the high musical quality and audience chemistry. Winding expertly weaves moods, tempos, and textures on an array of show tunes, movie songs, classic jazz and several originals that showcase his superb arrangements and virtuoso group of musicians.

"This 1957 concert in Cleveland seems to be Winding's earliest date with four trombones in a generally well-recorded nightclub date that has a bare minimum of clinking dishes and audience conversations. The rich harmonies are a delight as Winding blends with trombonists Carl Fontana, Wayne André and Dick Lieb." ~ Ken Dryden http://www.freshsoundrecords.com/the_complete_ohio_sessions-cd-3519.html

The Complete Ohio Sessions

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