Duke Ellington - Never No Lament: The Blanton-Webster Band, 1940-1942 Disc 1, Disc 2, Disc 3

Duke Ellington - Never No Lament: The Blanton-Webster Band, 1940-1942 Disc 1
Styles: Piano Jazz, Big Band
Year: 1940-1942
Time: 79:41
File: MP3 @ 320K/s
Size: 209,0 MB
Art: Front

(3:20) 1. You, You Darlin'
(3:19) 2. Never No Lament
(3:21) 3. Dusk (Take 1)
(2:54) 4. Bojangles
(3:10) 5. A Portrait Of Bert Williams
(3:23) 6. Blue Goose
(3:00) 7. Harlem Air-Shaft
(2:50) 8. At A Dixie Roadside Diner
(3:31) 9. All Too Soon
(2:50) 10. Rumpus In Richmond
(3:27) 11. My Greatest Mistake
(3:17) 12. Jack The Bear
(3:25) 13. Sepia Panorama (Take 1)
(3:13) 14. There Shall Be No Night
(3:17) 15. In A Mellotone
(3:19) 16. Five O'Clock Whistle
(3:09) 17. The Flaming Sword (Take 2)
(3:21) 18. Warm Valley (Take 3)
(2:43) 19. Ko-Ko (Take 2)
(3:18) 20. Morning Glory
(2:54) 21. So Far, So Good
(2:59) 22. Conga Brava
(3:20) 23. Concerto For Cootie
(2:55) 24. Me And You
(3:13) 25. Cotton Tail

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Duke Ellington - Never No Lament: The Blanton-Webster Band, 1940-1942 Disc 2
Time: 78:19
File: MP3 @ 320K/s
Size: 204,8 MB

(3:01) 1. Across The Track Blues (Take 1)
(3:27) 2. Chloe (Song Of The Swamp)
(3:33) 3. I Never Felt This Way Before (Take 1)
(3:15) 4. The Sidewalks Of New York
(3:24) 5. Flamingo
(3:20) 6. The Girl In My Dreams Tries To Look Like You (Take 1)
(2:57) 7. Take The "A" Train
(3:34) 8. Jumpin' Punkins (Take 2)
(3:30) 9. John Hardy's Wife
(3:23) 10. Blue Serge
(3:23) 11. After All
(3:26) 12. Bakiff
(3:06) 13. Are You Stickin'? (Take 1)
(3:36) 14. Just A-Sittin' And A-Rockin'
(3:36) 15. The Giddybug Gallop
(3:03) 16. Pitter Panther Patter (Take 2)
(3:11) 17. Body And Soul (Take 3)
(2:47) 18. Sophisticated Lady (Take 2)
(3:09) 19. Mr. J.B. Blues (Take 1)
(2:40) 20. Ko-Ko (Take 1)
(2:46) 21. Bojangles
(3:24) 22. Sepia Panorama (Take 2)
(3:42) 23. Jumpin' Punkins (Take 1)
(2:56) 24. Jump For Joy (Take 2)

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Duke Ellington - Never No Lament: The Blanton-Webster Band, 1940-1942 Disc 3
Time: 78:16
File: MP3 @ 320K/s
Size: 206,8 MB

(2:56) 1. Chocolate Shake
(3:21) 2. I Got It Bad (And That Ain't Good) (Take 1)
(3:01) 3. Clementine
(3:11) 4. The Brownskin Gal (In The Calico Gown)
(2:54) 5. Jump For Joy (Take 1)
(3:15) 6. Moon Over Cuba
(3:14) 7. Five O'Clock Drag
(3:09) 8. Rocks In My Bed
(3:07) 9. Bli-Blip
(2:32) 10. Raincheck
(2:48) 11. What Good Would It Do?
(3:17) 12. I Don't Know What Kind Of Blues I Got (Take 1)
(2:56) 13. Chelsea Bridge
(3:10) 14. Perdido (Take 1)
(2:39) 15. The "C" Jam Blues
(3:00) 16. Moon Mist (Take 2)
(3:27) 17. What Am I Here For?
(2:51) 18. I Don't Mind (Take 2)
(3:10) 19. Someone
(3:14) 20. My Little Brown Book
(2:51) 21. Main Stem
(2:43) 22. Johnny Come Lately
(2:36) 23. Hayfoot, Strawfoot (Take 1)
(3:04) 24. Sentimental Lady (Take 1)
(2:58) 25. A Slip Of The Lip (Can Sink A Ship)
(2:38) 26. Sherman Shuffle

Never No Lament: The Blanton-Webster Band is a 2003 three-disc compilation combining the master takes of all the recordings by Duke Ellington's Orchestra during the years of 1940 to 1942 with an additional nine tracks, including five alternative takes and four additional masters. An expanded version of The Blanton–Webster Band, this reissue, according to Allmusic, "truly worth either an initial investment or reinvestment". All About Jazz: New York observed that these performances, from what is often considered "the band in its prime", "not only set the standard for big bands and jazz orchestras, but created an ideal near insurmountable to improve upon". The Penguin Guide to Jazz selected this compilation as part of its suggested "Core Collection."

An earlier collection of recordings from this period was first issued in 1986 by RCA Bluebird containing 66 tracks. This 2003 version draws on the 1999 transfers first issued in The Duke Ellington Centennial Edition: The Complete RCA Victor Recordings (1927-1973) with an additional nine tracks over the 1986 edition, including the Blanton Ellington duos "Pitter Panther Patter" and "Body and Soul".

Ellington put Blanton front-and-center on the bandstand nightly, unheard of for a bassist at the time, together with tenor saxophonist Ben Webster, thus this era of Ellington's ensemble is referred to the Blanton–Webster band.

Bassist Jimmy Blanton was only with the Ellington orchestra for two years, leaving in 1941 due to tuberculosis, and dying the following year at the age of 23. Blanton does not appear on the final 17 tracks of the 2003 collection (CD3 tracks 10-26), having been replaced on bass by Alvin "Junior" Raglin.https://en.wikipedia.org/wiki/Never_No_Lament:_The_Blanton-Webster_Band

Performance: Duke Ellington – piano, celeste (on track 3.2); Rex Stewart – cornet; Cootie Williams – trumpet; Ray Nance – trumpet, violin, vocals; Wallace Jones - trumpet; Juan Tizol – valve trombone; Joe Nanton – trombone; Lawrence Brown – trombone; Barney Bigard – clarinet, tenor saxophone; Johnny Hodges – alto & soprano saxophone, clarinet; Otto Hardwick – alto saxophone; Ben Webster – tenor saxophone; Chauncey Haughton – clarinet, tenor sax; Harry Carney – clarinet, alto & baritone saxophone; Duke Ellington – piano, celeste (on track 3.2); Billy Strayhorn – piano (on tracks 2.5 & 11, 3.8 & 10–12, 22), celeste (3.20); Fred Guy – guitar; Jimmy Blanton – bass; Sonny Greer – drums; Ivie Anderson – vocals; Herb Jeffries – vocals

Never No Lament: The Blanton-Webster Band, 1940-1942 Disc 1, Disc 2
Never No Lament: The Blanton-Webster Band, 1940-1942 Disc 3

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Johnny Hodges - In Concert

Styles: Saxophone Jazz, Swing
Year: 2023
File: MP3@320K/s
Time: 70:42
Size: 163,3 MB
Art: Front

(4:56) 1. C Jam Blues
(2:27) 2. The Jeep Is Jumpin'
(3:50) 3. Good Queen Bess
(5:50) 4. Things Ain't What They Used To Be
(4:13) 5. Sophisticated Lady
(1:11) 6. I Let A Song Go Out Of My Heart
(2:38) 7. Don't Get Around Anymore
(2:47) 8. Just Squeeze Me
(2:42) 9. Do Nothin' Till You Hear From Me
(2:48) 10. Rose Of Rio Grande
(2:22) 11. All Of Me
(3:55) 12. On The Sunny Side Of The Street
(9:36) 13. Perdido
(2:45) 14. Take The A Train
(2:20) 15. Mood Indigo
(2:28) 16. Solitude
(2:33) 17. Satin Doll
(2:52) 18. I Got It Bad And That Ain't Good
(4:15) 19. Rocking In Rhythm
(4:04) 20. Autumn Leaves

Well-honed musicians schooled in Ellington texts. There are twenty pieces in the seventy minutes of playing time by this group. Duke Ellington was in Paris, writing the score for the film ‘Paris Blues’. There was free time for the band, so impresario Norman Granz pulled some of them together, under the leadership of Johnny Hodges, and set up a tour. One of the concerts was held at the Sportpalast in Berlin and eventually a 2CD recording was issued by the Pablo label. Another concert took place in Paris and was issued on the Fremaux label. This, the Copenhagen concert, is a new issue.

Ellington devotees shuddered at Ellington concerts when the dreaded medley was signalled. Ellington explained that many in his audience expected to hear some his popular pieces, so he assembled the hits together to get them out of the way before presenting some new work.

This album is like an extended medley: most of the pieces are around three or four minutes, only ‘Perdido’ is longer. The individual musicians go through what they longer. normally played on Ellington concerts. Johnny Hodges graces ‘Things Ain’t What They Used To Be’. Lawrence Brown slides through ’Rose Of The Rio Grande’. Harry Carney brings out ‘Sophisticated Lady’ and finishes with the long note and the circular breathing that he performed on every Ellington concert. Ray Nance, an excellent trumpet player also sings ‘Don’t Get Around Much Anymore’ and ‘Just Squeeze Me’.

Al Williams has the unenviable task of playing the Ellington role. He has the long introduction to ‘Perdido’ and that is his main contribution to the evening.

It is always good to hear these musicians. They all had their own individual sound, the sound as important as the content they played. Hodges was the most important alto player in the pre-Parker era. Strayhorn’s writing brought out his romanticism. Harry Carney’s sound was as mature and satisfying as black tobacco, always worth listening to even when he is on auto pilot. Many in the audience would leave the concert hall with a warm feeling knowing that they had seen legends: Hodges, Nance, Carney, Lawrence Brown, Sam Woodyard.

There are no surprises here and little improvisation. The absence of Ellington means that there is no one to challenge them. The main players are the spine of an Ellington band that was about to embark in the sixties on a journey that would produce the ‘New Orleans Suite’, the ‘Far East Suite’, The Afro Eurasian Eclipse’, ‘The Latin American Suite’, ‘Suite Thursday, the ‘Goutelas Suite,’,’ The Uwis Suite’, ‘The River Suite’, , ‘TheTogo Brava Suite’. Here they are relaxing on a well-paid European holiday playing pieces that they could negotiate in their sleep. You really do have to treasure them. We didn’t realise how lucky we were.

Personnel: Johnny Hodges (saxophone); Ray Nance (trumpet, violin, vocal); Lawrence Brown (trombone); Harry Carney (baritone); Al Williams (piano); Aaron Bell (bass); Sam Woodyard (drums)

In Concert

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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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Billy Strayhorn & Johnny Hodges - The Stanley Dance Sessions

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

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

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

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

The Stanley Dance Sessions

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Johnny Hodges & His Orchestra - In a Tender Mood (Remastered)

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 37:13
Size: 86,7 MB
Art: Front

(3:06)  1. Who's Excited
(3:22)  2. Sweepin' the Blues Away
(2:50)  3. Standing Room Only
(3:07)  4. Below the Azores
(6:04)  5. Sweet Georgia Brown
(6:08)  6. Duke's Blues
(3:21)  7. Tenderly
(3:03)  8. Tea for Two
(3:26)  9. What's I'm Gotchere
(2:43) 10. Nothin' Yet

Johnny certainly is in a tender mood here playing soulful ballads and mellow tunes with a small combo that includes Flip Phillips on tenor, Lawrence Brown on trombone, Leroy Lovett on piano, and Ray Brown on bass. The sound is laidback and easily swinging with a real focus on Johnny's warm and fluid alto work and the set features some nice original tunes that include "Who's Excited", "Sweepin The Blues Away", "Standing Room Only", "Below The Azores", and "Duke's Blues" plus "Tenderly" and "Nothin Yet".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/366492

Personnel:   Johnny Hodges - alto saxophone; Emmett Berry - trumpet;  Lawrence Brown - trombone;  Leroy Lovett - piano

In a Tender Mood

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Rex Stewart - Rex Meets Horn

Styles: Cornet Jazz
Year: 1955
File: MP3@320K/s
Time: 41:07
Size: 94,5 MB
Art: Front

(3:20)  1. Boy Meets Horn
(3:04)  2. Mood Indigo
(3:12)  3. I Let A Song Go Out Of My Heart
(2:47)  4. Don't Get Around Much Anymore
(3:26)  5. Solitude
(2:52)  6. Take The "A" Train
(3:42)  7. Sweethearts On Parade
(3:03)  8. My Blue Heaven
(4:42)  9. Perdido
(3:37) 10. Honeysuckle Rose
(3:09) 11. Organ Grinder's Swing
(4:07) 12. Caravan

Rex Stewart achieved his greatest glory in a subsidiary role, playing cornet 11 years in the Duke Ellington Orchestra. His famous "talking" style and half-valve effects were exploited brilliantly by countless Ellington pieces containing perfect passages tailored to showcase Stewart's sound. He played in a forceful, gripping manner that reflected the influences of Louis Armstrong, Bubber Miley, and Bix Beiderbecke, whose solos he once reproduced on record. Stewart played on Potomac riverboats before moving to Philadelphia. He went to New York in 1921. Stewart worked with Elmer Snowden in 1925, then joined Fletcher Henderson a year later. But he felt his talents were not at the necessary level, and departed Henderson's band, joining his brother Horace's band at Wilberforce College. Stewart returned in 1928. He remained five years and contributed many memorable solos. There was also a brief period in McKinney's Cotton Pickers in 1931, a stint heading his own band, and another short stay with Luis Russell before Stewart joined the Ellington Orchestra in 1934.

He was a star throughout his tenure, co-writing classics "Boy Meets Horn" and "Morning Glory." He also supervised many outside recording sessions using Ellingtonians. After leaving, Stewart led various combos and performed throughout Europe and Australia on an extensive Jazz at the Philharmonic tour from 1947-1951. He lectured at the Paris Conservatory in 1948. Stewart settled in New Jersey to run a farm in the early '50s. He was semi-retired, but found new success in the media. He worked in local radio and television, while leading a band part-time in Boston. Stewart led the Fletcher Henderson reunion band in 1957 and 1958, and recorded with them. He played at Eddie Condon's club in 1958 and 1959, then moved to the West Coast. Stewart again worked as a disc jockey and became a critic. While he published many excellent pieces, a collection containing many of his best reviews, Jazz Masters of the Thirties, came out posthumously. There's also a Stewart autobiography available. ~ Ron Wynn http://www.allmusic.com/artist/rex-stewart-mn0000888838/biography

Personnel:  Alto Saxophone – Hilton Jefferson (tracks: 1 to 6);  Baritone Saxophone – Danny Bank (tracks: 1 to 6);  Cello – Claude Hopkins (tracks: 11);  Clarinet – Danny Bank (tracks: 1 to 6);  Cornet – Rex Stewart;  Double Bass – Arvell Shaw (tracks: 7 to 12), Milt Hinton (tracks: 1 to 6);  Drums – Cozy Cole (tracks: 7 to 12), Osie Johnson (tracks: 1 to 6);  Guitar – Billy Bauer (tracks: 7 to 12);  Piano – Claude Hopkins (tracks: 7 to 12), Hank Jones (tracks: 1 to 6);  Tenor Saxophone – Coleman Hawkins (tracks: 7 to 12);  Trombone – Lawrence Brown (tracks: 1 to 6), Tyree Glenn (tracks: 7 to 12)

Rex Meets Horn

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Duke Ellington - The Popular Duke Ellington

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

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

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

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

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

The Popular Duke Ellington

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Frank Sinatra - Francis A. & Edward K.

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

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

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

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

Francis A. & Edward K.

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Duke Ellington And Johnny Hodges - Side By Side

Styles: Piano Jazz

Year: 2014

File: MP3@320K/s

Time: 46:13

Size: 107,6 MB

Art: Front

(6:41)  1. Stompy Jones

(4:38)  2. Squeeze Me

(5:39)  3. Big Shoe

(4:54)  4. Going Up

(5:55)  5. Just A Memory

(6:50)  6. Let's Fall In Love

(2:35)  7. Ruint

(3:01)  8. Bend One

(5:57)  9. You Need To Rock

Topping off a wealth of full-band recordings, the various stars of Ellington's great outfit recorded many combo sides under their own names. And while not on the same sophisticated level of classic Ellingtonia, the late-'30s material cut by Johnny Hodges, Cootie Williams, and Rex Stewart is packed with tasty solo work and some of the finest examples of early small-group swing. These later examples from 1958-1959 feature Hodges backed by both Ellington and Billy Strayhorn on piano and such non-Duke luminaries as Ben Webster, Roy Eldridge, Harry "Sweets" Edison, and Jo Jones. Like its companion album, Back to Back, Side by Side has a loose, jam session feel, with all the soloists stretching out. Hodges is in top form throughout, while Edison and Webster man their spots just fine. Highlights include the sveltely swinging "Going Up" and Hodges' bluesy closer, "You Need to Rock." A must for fans of vintage combo swing. ~ Stephen Cook  http://www.allmusic.com/album/side-by-side-mw0000191768

Personnel:  Duke Ellington – p;  Johnny Hodges – as;  Harry "Sweets" Edison - tp (1, 2, 4);  Lawrence Brown - tb (3, 5, 7-9);  Ben Webster - ts (3, 5-9);  Billy Strayhorn - p (3, 5-9);  Les Spann - g (1, 2), fl (4);  Al Hall - b (1, 2, 4);  Wendell Marshall - b (3, 5-9);  Jo Jones - d

Side By Side

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Lawrence Brown - Slide Trombone

Bitrate: MP3@320K/s
Time: 54:45
Size: 125.3 MB
Styles: Mainstream jazz, Trombone jazz
Year: 1955/1999
Art: Front

[3:52] 1. Rose Of The Rio Grande
[5:56] 2. Caravan
[4:16] 3. Down The Street, 'round The Corner Blues
[3:17] 4. Where Or When
[5:35] 5. Just One Of Those Things
[3:53] 6. Ill Wind
[3:03] 7. You Took Advantage Of Me
[7:14] 8. Blues For Duke
[3:45] 9. Just As Though You Were Here
[4:36] 10. Autumn In New York
[4:51] 11. Time After Time
[4:21] 12. For All We Know

Lawrence Brown played trombone off and on with Duke Ellington's orchestra for nearly 40 years. Surprisingly, he only led two albums of his own in his entire career, a set for Impulse in 1965, and this album for Clef (now Verve). Heard either as part of a quintet with tenor saxophonist Sam "The Man" Taylor or with a nonet that includes tenor saxophonist Al Cohn and pianist Hank Jones, Brown is in excellent form on the reissue. The music (not too shockingly) often sounds as if it were an Ellington small group, including such numbers as Brown's longtime feature "Rose of the Rio Grande," "Caravan," "You Took Advantage of Me," and "Blues for Duke." The original LP program is joined by two previously unreleased performances ("Time After Time" and "For All We Know"). Excellent mainstream swing of the 1950s. ~Scott Yanow

Slide Trombone

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