Conte Candoli - Powerhouse Trumpet

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 34:07
Size: 79,0 MB
Art: Front

(5:26)  1. Toots Sweet
(4:12)  2. Jazz City Blues
(5:43)  3. My Old Flame
(6:25)  4. Full Count
(3:09)  5. I'm Getting Sentimental Over You
(3:58)  6. Four
(5:11)  7. Groovin' Higher

Powerhouse Trumpet, which was also previously issued under the title Groovin' Higher, is an immaculately performed set of straight-ahead bop finding trumpeter Conte Candoli in fine form. 

The 1999 Rhino reissue has been digitally remastered from the original tapes.~ Steve Suey https://www.allmusic.com/album/powerhouse-trumpet-mw0000255948

Personnel:  Conte Candoli - trumpet;  Lou Levy - piano;  Bill Holman - tenor saxophone;  Leroy Vinnegar - bass;  Lawrence Marable - drums

Powerhouse Trumpet

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Conte Candoli & Lou Levy - West Coast Wailers

Styles: Trumpet And Piano Jazz
Year: 1955
File: MP3@320K/s
Time: 41:04
Size: 94,9 MB
Art: Front

(8:19) 1. Love Come Back To Me
(4:19) 2. Comes Love
(3:39) 3. Lover Man
(3:29) 4. Pete's Alibi
(5:54) 5. Cheremoya
(5:00) 6. Jordu
(5:28) 7. Flamingo
(4:52) 8. Marcia Lee

Trumpeter Conte Candoli and pianist Lou Levy had only occasional opportunities to work as leaders before this 1955 session they recorded together for Atlantic Records. Both made the most of the chance, fronting a quintet that also included tenor saxophonist Bill Holman, bassist Leroy Vinnegar, and drummer Lawrence Marable.

The group got out of the gate quickly (following a contemplative piano intro, that is) on a quickstep bop reading of the Sigmund Romberg operetta tune "Lover Come Back to Me," which quickly established that a commonplace of jazz ensembles would hold no matter whose name is in large print on the cover, it's the group that's performing, and other people will get their chance to shine, too.

While the rhythm section contented itself with supporting (though Marable often made his drums noticeable), Holman got more solo time than his sideman credit would indicate, at least on this track. Levy and Candoli got to make their statements up front, of course, but this was really a five-headed beast and, from the sound of forceful bop compositions like Candoli's "Pete's Alibi," it's one that should have been given more of a hearing than just one album. By William Ruhlmann
https://www.allmusic.com/album/west-coast-wailers-mw0000558663

Personnel: Conte Candoli - trumpet; Lou Levy - piano; Bill Holman - tenor saxophone; Leroy Vinnegar - bass; Lawrence Marable - drums

West Coast Wailers

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Helen Humes - Swingin' With Humes

Styles: Vocal, Swing
Year: 1961
File: MP3@320K/s
Time: 41:37
Size: 96,8 MB
Art: Front

(3:29)  1. When Day Is Done
(3:55)  2. Home (When Shadows Fall)
(2:53)  3. There'll Be Some Changes Made
(3:36)  4. Some Day My Prince Will Come
(3:48)  5. I'm Confessin'
(3:09)  6. S'posin'
(3:19)  7. Pennies From Heaven
(3:17)  8. The Very Thought Of You
(3:27)  9. Baby Won't You Please Come Home
(4:01) 10. Solitude
(4:01) 11. I Surrender Dear
(2:35) 12. My Blue Heaven

The third of Helen Humes' three memorable Contemporary releases, all of which are out on CD, features the distinctive singer on a dozen standards that she had missed documenting thus far. With fine backup work by trumpeter Joe Gordon, tenor saxophonist Teddy Edwards, pianist Wynton Kelly, guitarist Al Viola, bassist Leroy Vinnegar and drummer Frank Butler, Humes is in top form on such tunes as "When Day Is Done," "There'll Be Some Changes Made," "Pennies From Heaven" and "The Very Thought of You." One of her better albums.
By Scott Yanow  https://www.allmusic.com/album/swingin-with-humes-mw0000691152

Personnel:  Vocals – Helen Humes;  Tenor Saxophone – Teddy Edwards;  Trumpet – Joe Gordon;   Bass – Leroy Vinnegar;  Drums – Frank Butler;  Guitar – Al Viola;  Piano – Wynton Kelly

Swingin' With Humes

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

Album: I Hear Benny Goodman & Artie Shaw  Disc 1

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

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

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Album: I Hear Benny Goodman & Artie Shaw  Disc 2

Time: 52:38

Size: 125,4 MB

(4:05)  1. 'S Wonderful

(4:09)  2. My Heart Stood Still

(2:32)  3. Temptation

(3:43)  4. Night And Day

(2:44)  5. Keepin' Myself For You

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

(7:00)  7. Concerto For Clarinet

(3:45)  8. All The Things You Are

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

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

(3:27) 11. I Surrender Dear

(7:04) 12. Tin Reed Blues

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

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

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

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

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Lou Rawls, The Les McCann Trio - Stormy Monday

Styles: Vocal And Piano Jazz
Year: 1962
File: MP3@320K/s
Time: 43:18
Size: 100,8 MB
Art: Front

(3:45)  1. (They Call It) Stormy Monday
(4:30)  2. God Bless the Child
(3:11)  3. See See Rider
(5:57)  4. Willow Weep for Me
(4:00)  5. I'm Gonna Move to the Outskirts of Town
(3:28)  6. In the Evening (When the Sun Goes Down)
(2:46)  7. 'Tain't Nobody's Biz-Ness If I Do
(3:12)  8. Lost and Lookin'
(3:55)  9. I'd Rather Drink Muddy Water
(3:08) 10. Sweet Lover
(2:58) 11. Blues Is a Woman
(2:23) 12. A Little Les of Lou's Blues

Lou Rawls has had a long and commercially successful career mostly singing soul, R&B, and pop music. Originally a gospel singer, Rawls' first album as a leader features him performing soulful standards backed by the Les McCann Trio. Few of the songs have been under-recorded through the years, but they sound fresh and lively when sung by Rawls; highlights include "Stormy Monday," "In the Evening," and "I'd Rather Drink Muddy Water." Pianist McCann gets a generous amount of solo space, and the reissue has three bonus tracks. This is still Rawls' definitive recording in the jazz idiom, cut before he went on to more lucrative areas. ~ Scott Yanow https://www.allmusic.com/album/stormy-monday-mw0000203592

Personnel: Lou Rawls - vocals; Les McCann - piano; Leroy Vinnegar - bass; Ron Jefferson - drums

Stormy Monday

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Shelly Manne - Li'l Abner

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 40:24
Size: 93,5 MB
Art: Front

(3:13)  1. Jubilation T Cornpone
(4:35)  2. The Country's In The Very Best of Hands
(2:48)  3. If I Had My Druthers
(5:01)  4. Unnecessary Town
(4:35)  5. Matrimonial Stomp
(3:30)  6. Progress Is the Root of All Evil
(4:25)  7. Oh Happy Day
(5:43)  8. Namely You
(6:29)  9. Past My Prime

Breaking stride with many of his jazz contemporaries, Shelly Manne always had an ear attuned toward popular entertainment. In the 1950s, Broadway musicals, film scores and television shows were the fodder of the day and the drummer regularly mined these sources for material. The Contemporary label was ready and willing to release the results of these jazz commercial music hybrids. Just reference the clutch of Manne-led dates that yielded albums such as My Fair Lady, Peter Gunn and the recently reissued Checkmate. The former session marked the first meeting of trio dubbed The Friends with Previn, an in-demand Hollywood composer, and Vinnegar, a first-string walking bassist, rounding out the ranks. For their sophomore musical effort The Friends chose the Mercer and Paul musical Li’l Abner, based loosely on the Al Capp comic strip of the same name. The album’s cover revels in the classic kitsch of the period, picturing Manne in Abneresque overalls and ill-fitting Izod shirt, awkwardly lugging his drums and being chased by an especially buxom Daisy Mae. The musical itself updated the simple story of bumpkin Abner and the other residents of Dogpatch, USA with ominous Atomic Age overtones. Manne affects a similar modernistic touch on the trite at times songbook. 

Funky syncopations infuse the opener “Jubilation T. Cornpone,” as Previn builds with near gospel-like block chords. Manne’s whispering brushes are a blur and Vinnegar speed walks right down the center creating a solid harmonic anchor. Forwarding the rustic feel further, “The Country’s in the Very Best of Hands” builds from a ballad tempo on the sparse cymbal play from of the leader. Conversely, the trio tackles “If I Had My Druthers” at a sprinter’s pace, lighting a fire from crackling rhythmic tinder. Manne’s brushes are again a wonder, but it’s really Vinnegar’s chance to show how fast his fingers can race across the strings. The bassist’s throbbing, sparsely voiced notes on the mellow “Unnecessary Town” contrast beautifully with his earlier enthusiasm. Previn turns to delicate celeste after a stately piano prelude, and it’s a move that adds music box color to the trio sound. Rolling funk returns for the robust “Matrimonial Stomp” with Previn leaping from the dark to light poles of his keyboard and in the process summoning a startling range of emotional hues. “Oh, Happy Day” offers the biggest surprise of the date as Manne and the pianist suddenly shift gears from chordal to free improvisation. Jockeying through the brisk theme advanced by the drummer’s Latin beat, the trio suddenly disperses and its sticks and ivories in a darkly-tinged matching of wits that sounds far more like modern-day Jarrett and DeJohnette than something from an obscure '50s musical soundtrack. Beat and theme return abruptly, and it’s as if the fleeting leap forward into the future was only a figment of the imagination. Tipping their hats in a farewell to Dogpatch, the Friends hit the trail out of town on the laidback lope of “Past My Prime.” Manne had an uncanny knack for wedding the modern to the popular and making it pleasing to the palate, in a manner akin to Sonny Rollins. His Contemporary albums are littered with these kinds of experiments and this one is no exception. Li’l Abner the musical may not have performed well at the box office, but in Manne’s capable hands its credentials as a vehicle for jazz improvisation are convincingly proven. ~ Derek Taylor https://www.allaboutjazz.com/lil-abner-shelly-manne-contemporary-review-by-derek-taylor.php

Personnel:  Shelly Manne - drums; André Previn - piano; Leroy Vinnegar - bass

Li'l Abner

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Sonny Criss - Go Man

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 39:47
Size: 92,4 MB
Art: Front

(4:04)  1. Summertime
(3:49)  2. Memories Of You
(2:45)  3. Whalin' With Joe
(3:01)  4. How Deep Is The Ocean
(2:33)  5. The Blues For Rose
(3:20)  6. The Man I Love
(4:03)  7. Until The Real Thing Comes Along
(2:38)  8. Blue Prelude
(3:42)  9. After You've Gone
(3:52) 10. Come Rain Or Come Shine
(3:10) 11. How High The Moon
(2:44) 12. If I Had You

By the mid-'50s, William "Sonny" Criss was maturing as a significant voice on the alto saxophone. Heavily influenced by Charlie Parker, much of Criss' earlier output was plagued by a hurried time feel, awkward phrasing and an uncomfortably tense vibrato. Go Man!, one of three dates he did for the Imperial label, showcases a confident, energetic Criss on ten standard tunes and two original lines. This hard-to-find collection is a must-have for fans of pianist Sonny Clark, heard in fine form (a bit more aggresive and "on top of the beat" than usual) along with the very coherent team of bassist Leroy Vinnegar and drummer Lawrence Marable. Only 24 years old at the time of recording, Clark had recently settled in California and was establishing himself as an inspired accompanist and soloist with the groups of Buddy DeFranco and Howard Rumsey. Clark's piano introduces nearly every cut on this recording, and his crisp, inventive soloing is a perfect compliment for Criss' brightly expressive, lightening quick lines. Overall, a lively assortment of concisely rendered, boppish treatments. ~ Lee Bloom https://www.allmusic.com/album/go-man%21-mw0000471629

Personnel: Saxophone [Alto] – Sonny Criss; Bass – Leroy Vinnegar; Drums – Lawrence Marable; Piano – Sonny Clark

Go Man

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Howard McGhee, Teddy Edwards - Wise In Time

Styles: Trumpet And Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 73:57
Size: 170,6 MB
Art: Front

(6:04)  1. I Want To Talk About You
(6:05)  2. If You Could See Me Now
(7:04)  3. Crescent
(7:42)  4. Ruby My Dear
(5:06)  5. Time Waits
(7:46)  6. Relaxing At Camarillo
(6:53)  7. Reflections
(7:35)  8. Blues In The Closet
(4:38)  9. On A Misty Night
(4:08) 10. In Walked Bud
(4:14) 11. Yardbird Suite
(6:36) 12. Moose The Mooche

Originating from the same recording sessions (trumpeter Howard McGhee's last) that resulted in its superior companion Young at Heart, this set is a bit of a disappointment. McGhee, tenor saxophonist Teddy Edwards, pianist Art Hillery, bassist Leroy Vinnegar and drummer Billy Higgins all sounded fine on the other record but this album sticks exclusively to ballads and the results are dragging and a bit dreary. The renditions of such songs as "I Want to Talk About You," "I Remember Clifford" and John Coltrane's "Crescent" do not even come close to comparing with more definitive earlier versions and the musicians sound a bit tired. Skip this set and get Young at Heart (and some of Howard McGhee's earlier albums) instead. ~ Scott Yanow https://www.allmusic.com/album/wise-in-time-mw0000428357

Personnel: Howard McGhee – trumpet; Teddy Edwards – tenor saxophone; Art Hillery – piano; Leroy Vinnegar – bass; Billy Higgins – drums

Wise In Time

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Joy Bryan – Make The Man Love Me

Styles: Vocal
Year: 1962
File: MP3@320K/s 
Art: Front

(2:59)  1. My Romance.mp3
(4:57)  2. Make the Man Love Me.mp3
(3:30)  3. Almost Like Being in Love.mp3
(4:03)  4. It Never Entered My Mind.mp3
(3:40)  5. East of the Sun.mp3
(3:37)  6. Aren't You Glad You're You.mp3
(3:56)  7. My Funny Valentine.mp3
(4:07)  8. Old Devil Moon.mp3
(3:32)  9. These Foolish Things.mp3
(3:15) 10. Everything's Coming Up Roses.mp3

Pre-rock pop, ballads and standards vocalist who cut albums in late '50s, early 60s on West Coast. She was not hugely successful, nor attained widespread notoriety, but her 1961 release with Wynton Kelly and Leroy Vinnegar was good effort. ~ Ron Wynn https://www.allmusic.com/artist/joy-bryan-mn0001193072

Personnel: Vocal - Joy Bryan;  Bass – Leroy Vinnegar; Drums – Frank Butler; Guitar – Al Viola; Piano – Wynton Kelly

Make The Man Love Me

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Les McCann Ltd. - "On Time"

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 51:25
Size: 119,0 MB
Art: Front

(4:17)  1. On Time
(4:50)  2. Yours Is My Heart Alone
(5:39)  3. This for Doug
(5:14)  4. Fondue
(3:04)  5. Bernie's Tune
(4:37)  6. Maichen
(5:02)  7. It Could Happen to You
(5:00)  8. You're Driving Me Crazy
(3:04)  9. So What
(3:32) 10. Direct South
(4:31) 11. Drifftin' Blues
(2:31) 12. Midnight Special

Les McCann's On Time was the eighth album of this talented and popular jazz pianists leader career. Always a consummately swinging and distinctively soulful communicator, he displays the full extent of his honest preaching, warmth and creativity in a range embracing the impressionistic on the introduction to On Time, and an expansive chordal approach on It Could Happen to You. In the pieces here, including four excellent originals by the groups members, he is engagingly melodic over the opening of Fondue, a fine vehicle for improvisation, while Jeffersons This for Doug is a lovely piece; and Maichen, by bassist Leroy Vinnegar, has a pretty, infectious melody, warmly embraced by McCann and the featured guest, Joe Pass, whose lucid solos are among the highlights of the album, particularly his theme statement on Yours Is My Heart Alone. Ron Jefferson and Vinnegar are ideal accompanists. 

The last three tracks feature the veteran blues singer and guitarist Bumble Bee Slim (a.k.a. Amos Easton), one of the best loved bluesmen during the 30s. Accompanied by the Les McCann Ltd., these were part of an album titled Back in Town!, recorded by Slim in 1962, after a long period out of the studios, and they make a nice addition to this collection. https://www.freshsoundrecords.com/les-mccann-albums/5821-les-mccann-ltd-on-time-bonus-tracks.html

Personnel:  Les McCann (p), Joe Pass (g), Leroy Vinnegar (b), Ron Jefferson (d), Bumble Bee Slim (added vcl).

"On Time"

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Buddy DeFranco - Wholly Cats: The Complete 'Plays Benny Goodman And Artie Shaw' Sessions, Vol. One

Styles: Clarinet Jazz
Year: 2007
File: MP3@320K/s
Time: 71:53
Size: 164,6 MB
Art: Front

( 5:55)  1. Benny's Bugle
( 6:39)  2. A Smooth One
( 4:37)  3. Air Mail Special
( 5:23)  4. More Than You Know
(11:49)  5. Wholly Cats
( 2:28)  6. Goodbye
( 4:45)  7. Seven Come Eleven
( 3:55)  8. My Blue Heaven
( 4:45)  9. Stardust
( 4:48) 10. Cross Your Heart
( 5:09) 11. Frenesi
( 3:31) 12. Medley: Dancing In The Dark / Moonglow / Time On My Hands
( 3:31) 13. Indian Love Call
( 4:31) 14. Summit Ridge Drive

5 complete LPs presented on 2 companion volumes! Featuring Carl Perkins, Jimmy Rowles, Barney Kessel and Don Fagerquist! Benny Goodman and Artie Shaw were among the most famous and beloved figures in swing music both as clarinet soloists and orchestra conductors. Th ey were still very active musically in 1957, when Buddy De Franco decided to record a series of sessions paying homage to them. Thirty-five performances were recorded (including four medleys containing three songs each) in four extended sessions made on four consecutive days and with two different groups (guitarist Barney Kessel, however, is present on most of the tracks). 

The first two sessions included trumpeter Don Fagerquist, tenor saxophonist Georgie Auld and pianist Carl Perkins. The second group includes trumpeter Ray Linn and another modern jazz pianist: Jimmy Rowles. These two companion volumes include the complete LPs FOR THE FIRST TIME EVER ON CD!: "I Hear Benny Goodman & Artie Shaw", "Buddy De Franco plays Benny Goodman", "Buddy De Franco plays Artie Shaw", "Wholly Cats" and "Closed Session". https://www.freshsoundrecords.com/buddy-defranco-albums/4708-wholly-cats.html

Personnel:  Buddy DeFranco (cl), Don Fagerquist (tp), Georgie Auld (ts), Victor Feldman (vib), Carl Perkins (p), Barney Kessel (g), Leroy Vinnegar (b), Stan Levey (d)

Wholly Cats

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Ron Jefferson, Tricky Lofton & Carmell Jones - Love Lifted Me & Brass Bag

Styles: Jazz, Post Bop
Year: 2013
File: MP3@320K/s
Time: 79:24
Size: 182,3 MB
Art: Front

( 5:52)  1. Ivy League Blues (Newborn)
( 4:42)  2. Love Lifted Me (Trad.)
(10:26)  3. For Carl Perkins (Vinnegar)
( 5:31)  4. Little One (Jefferson)
( 5:57)  5. Flamingo (Grouya-Anderson)
( 6:53)  6. Georges Dilemma (Powell)
( 5:27)  7. Moten Swing (Moten-Moten)
( 5:21)  8. Mood Indigo (Ellington-Bigard-Mills)
( 4:13)  9. Angel Eyes (Dennis-Brent)
( 5:22) 10. Celery Stacks at Midnight (Bradley-Harris)
( 3:48) 11. Brass Bag (Wilson)
( 6:51) 12. Ow! (Gillespie)
( 3:17) 13. Bluer Than That (Wilson)
( 5:39) 14. Canadian Sunset (Heywood-Gimbel)

Ron Jefferson, the sensitive jazz drummer, was something of a paradox: a jazzman who, for several years, labored just below the level of general public recognition in the East, only to find, as a founding member of pianist Les McCanns successful trio, an enthusiastic audience and wholehearted recognition of his talents on the West Coast jazz scene. And with his album Love Lifted Me he also shone as the fine leader of a persuasively swinging and remarkably consistent quintet in which Bobby Hutcherson plays with a joie de vivre that harks back to a young Milt Jackson. Aside from the driving lines of Wilbur Browns tenor, the most provocative soloist is Tricky Lofton, whose blithe, lusty trombone is a refreshing updating of the earthy style of an earlier jazz day. Tricky is also co-leader, with trumpeter Carmell Jones, of the second album here, Brass Bag, on half of which he features with some fullbodied, four-trombone ensemble support, and in the other half shares solos with Lou Blackburn. Jones adds his consistent and lyrical solo voice, and Frank Strazzeris piano contributions are bright and lively, while Gerald Wilsons deft arrangements make effective use of the trombone choirs rich, dark ensemble sound. https://www.freshsoundrecords.com/ron-jefferson-lawrence-tricky-lofton-albums/5829-love-lifted-me-brass-bag-2-lps-on-1-cd.html

Personnel:  Carmell Jones (tp), Lawrence 'Tricky' Lofton, Bob Edmondson, Wayne Henderson, Frank Strong, Lou Blackburn (tb), Wilbur Brown (ts), Bobby Hutcherson (vib), Frank Strazzeri (p), Leroy Vinnegar (b), Ron Jefferson (d), Gerald Wilson (arr)

Love Lifted Me & Brass Bag

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Les McCann Ltd - Plays The Shout

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 42:07
Size: 96,8 MB
Art: Front

(7:55)  1. But Not For Me
(8:18)  2. A Foggy Day
(4:08)  3. The Shout
(2:03)  4. Set Call (Sonar)
(7:14)  5. C Jam Blues
(3:43)  6. Jubilation
(6:00)  7. Night In Tunisia
(2:43)  8. Set Call (Cute)

Les McCann Ltd. Plays the Shout (also referred to as The Shout) is a live album by pianist Les McCann recorded in 1960 and released on the Pacific Jazz label. https://en.wikipedia.org/wiki/Les_McCann_Ltd._Plays_the_Shout

Personnel:  Les McCann (piano), Leroy Vinnegar (bass), Ron Jefferson (drums)

Plays The Shout

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Les McCann - Les McCann Ltd. Plays The Truth

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 73:21
Size: 177,2 MB
Art: Front

(3:13)  1. Vacushna
(4:31)  2. A Little 3.4 For God And Co.
(7:45)  3. I'll Remember April
(3:15)  4. Fish This Week But Next Week Chitlings
(6:03)  5. How High The Moon
(3:21)  6. This Can't Be Love
(5:43)  7. For Carl Perkins
(5:55)  8. The Truth
(2:49)  9. Little Girl From Casper
(2:44) 10. They Can't Take That Away From Me
(3:26) 11. Gone On And Get That Church
(3:51) 12. We'll See Yaw'll After While Ya Heah
(6:51) 13. The Truth
(4:56) 14. Oat Meal
(8:51) 15. One More Ham Hock Please

Born in Lexington, KY, in 1935, pianist Leslie Coleman McCann settled in Los Angeles in 1956. He emerged from obscurity after cutting 'The Truth' his first trio record, in February 1960, in which the walking bass of Leroy Vinnegar and direct swing of drummer Ron Jefferson were the perfect esthetic compliment to McCanns music. During the next few years he was the focus of widespread controversy as an exponent of a brand of piano jazz variously called Gospel, funk, soul, blues, back-to-the-roots, etc. While McCann acknowledged that almost all his relatives had sung in the church choir in Lexington, he said his music was a product of his early environment and no gimmick. The way we play just fitted together as soon as Leroy and Ron and I first got together. 

We just started playing together, and it all made sense.  This release also includes two rare tracks by the original trio, only issued on a Pacific Jazz single, plus a complete session recorded that same year, with bassist Herbie Lewiswho replaced Vinnegar that summerand featuring two newcomers, vibist Bobby Hutcherson and tenor Curtis Amy. This is all solid root material that lends itself to the unique McCann treatment. https://www.freshsoundrecords.com/les-mccann-albums/5580-plays-the-truth-complete-sessions.html

Personnel:  Les McCann (p), Leroy Vinnegar, Herbie Lewis (b), Ron Jefferson (d), Bobby Hutcherson (vib), Curtis Amy (ts)

Les McCann Ltd. Plays The Truth

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Les McCann - From The Top Of The Barrel

Styles: Piano Jazz
Year: 1967
File: MP3@320K/s
Time: 36:59
Size: 86,0 MB
Art: Front

(6:18)  1. Frankie and Johnny
(7:50)  2. Medley: But Beautiful/It Could Happen To You
(4:27)  3. Taking A Chance On Love
(4:14)  4. Love Letters
(7:08)  5. Three Slaves
(5:05)  6. On Green Dolphin Street
(1:52)  7. Set Call

Les McCann reached the peak of his career at the 1969 Montreux Jazz Festival, recording "Compared to What" and "Cold Duck Time" for Atlantic (Swiss Movement) with Eddie Harris and Benny Bailey. Although he has done some worthwhile work since then, much of it has been anticlimactic. McCann first gained some fame in 1956 when he won a talent contest in the Navy as a singer that resulted in an appearance on television on The Ed Sullivan Show. After being discharged, he formed a trio in Los Angeles. McCann turned down an invitation to join the Cannonball Adderley Quintet so he could work on his own music. He signed a contract with Pacific Jazz and in 1960 gained some fame with his albums Les McCann Plays the Truth and The Shout. His soulful, funk style on piano was influential and McCann's singing was largely secondary until the mid-'60s. He recorded many albums for Pacific Jazz during 1960-1964, mostly with his trio but also featuring Ben Webster, Richard "Groove" Holmes, Blue Mitchell, Stanley Turrentine, Joe Pass, the Jazz Crusaders, and the Gerald Wilson Orchestra. McCann switched to Limelight during 1965-1967 and then signed with Atlantic in 1968. After the success of Swiss Movement, McCann emphasized his singing at the expense of his playing and he began to utilize electric keyboards, notably on 1972's Layers. 

His recordings became less interesting to traditional jazz fans from that point on, and after his Atlantic contract ran out in 1976, McCann appeared on records much less often. However, he stayed popular and a 1994 reunion tour with Eddie Harris was quite successful. A mid-'90s stroke put him out of action for a time and weakened his keyboard playing (his band began carrying an additional keyboardist) but Les McCann returned to a more active schedule during 1996 and was still a powerful singer. His comeback was solidified by 2002's Pump It Up, a guest-heavy celebration of funk and jazz released on ESC Records. ~ Scott Yanow https://itunes.apple.com/us/album/from-the-top-of-the-barrel-live/1332224684

Personnel:  Les McCann - piano;  Herbie Lewis, Leroy Vinnegar - bass;  Ron Jefferson - drums

From The Top Of The Barrel

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Teddy Edwards - Teddy's Ready

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 40:08
Size: 92,5 MB
Art: Front

(6:53)  1. Blues in G
(5:51)  2. Scrapple from the Apple
(4:01)  3. What's New?
(4:19)  4. You Name It
(7:24)  5. Take The "A" Train
(7:06)  6. The Sermon
(4:30)  7. Higgins' Hideaway

Tenor saxophonist Teddy Edwards' debut for Contemporary (which has been reissued on CD in the OJC series) gives listeners a strong sampling of the underrated tenor's talents. Edwards, a contemporary of Dexter Gordon and Wardell Gray but sometimes overlooked due to his decision to spend most of his life living in Los Angeles, is showcased on a quartet set with the obscure but talented pianist Joe Castro, bassist Leroy Vinnegar, and drummer Billy Higgins. Performing three standards, three originals (of which "Higgins' Hideaway" is most memorable), and Hampton Hawes' "The Sermon," Edwards has a chance to stretch out and he makes the most of the opportunity, creating some excellent straight-ahead music.~ Scott Yanow https://www.allmusic.com/album/teddys-ready-mw0000617292

Personnel:  Teddy Edwards - tenor saxophone;  Joe Castro - piano;  Leroy Vinnegar - bass;  Billy Higgins - drums

Teddy's Ready

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Teddy Edwards - Sunset Eyes

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 46:46
Size: 107,4 MB
Art: Front

(4:46)  1. Tempo de Blues
(7:12)  2. Vintage '57
(3:32)  3. I Hear a Rhapsody
(3:06)  4. Up in Teddy's New Flat
(5:27)  5. Sunset Eyes
(6:11)  6. Teddy's Tune
(6:32)  7. Takin' Off
(2:16)  8. The New Symphony Sid
(5:11)  9. My Kinda Blues
(2:28) 10. Takin' Off (first version)

Teddy Edwards, who took part in classic tenor battles with Dexter Gordon and Wardell Gray in Los Angeles during the mid- to late '40s, remained a major tenorman for more than half a century. However, his decision to live in L.A. resulted in him being greatly underrated through the years. Fortunately, the superior hard bop tenor (who showed that there was more than just cool jazz being played on the West Coast in the 1950s) recorded on a fairly frequent basis throughout his career. This set features music from 1959-1960 with Edwards joined by either Amos Trice, Joe Castro or Ronnie Ball on piano, Leroy Vinnegar or Ben Tucker on bass, and Billy Higgins or Al Levitt on drums. Edwards, an underrated composer, performs six of his originals (including his most famous composition, "Sunset Eyes," and two versions of "Takin' Off"), Vinnegar's "Vintage '57," and a pair of standards. Although there are short solos for Castro and Vinnegar, the focus throughout is on the leader's distinctive and likable tenor. Since the great Teddy Edwards never recorded an uninspiring record, this date is easily recommended to fans of straight-ahead jazz. ~ Scott Yanow https://www.allmusic.com/album/sunset-eyes-mw0000599920

Personnel:  Teddy Edwards - tenor saxophone;  Ronnie Ball, Joe Castro , Amos Trice - piano;  Leroy Vinnegar, Ben Tucker  - bass;  Billy Higgins, Al Levitt - drums

Sunset Eyes

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Benny Carter - Jazz Giant (Remastered)

Bitrate: MP3@320K/s
Time: 39:09
Size: 89.6 MB
Styles: Bop, Swing, Saxophone jazz
Year: 1957/1987
Art: Front

[7:50] 1. Old Fashioned Love
[5:48] 2. I'm Coming Virginia
[6:00] 3. A Walkin' Thing
[4:58] 4. Blue Lou
[3:40] 5. Ain't She Sweet
[6:13] 6. How Can You Lose
[4:38] 7. Blues My Naughty Sweetie Gives To Me

Alto Saxophone – Benny Carter (tracks: 1, 3 to 7); Bass – Leroy Vinnegar; Drums – Shelly Manne; Guitar – Barney Kessel; Piano – André Previn (tracks: 1, 4 to 7), Jimmy Rowles (tracks: 2, 3); Tenor Saxophone – Ben Webster (tracks: 1 to 4, 6); Trombone – Frank Rosolino (tracks: 1 to 4, 6); Trumpet – Benny Carter (tracks: 2, 6). Recorded at Contemporary's Studio in Los Angeles; June 11 (#1, 4), July 22 (#2, 3), October 7, 1957 (#6) and April 21, 1958 (#5, 7).

Benny Carter was one of the top-admired original major alto saxophonists and perhaps one of the top world class jazz ensemble leaders up until the late-1950’s, where he was undoubtfully, as the title of this album suggests, a “Jazz Giant”, but this time this landmark project sounds even better in it’s own digitally-remastered complete format. Released in 1958 to critical success, Jazz Giant presents an all star session where it gradually showcase a lyrical and original form of fresh music that is unpretentious: bright, relaxed and buoyant placed along with a full dash of of infectious swing as each musician on the album get a chance to show off there worthy solos while Carter played with characteristic lyricism, technical faculty and a bounty of sounds on alto and- and on two tracks- flawlessly on trumpet, his first love. The track set proceed with exclusive style on other memorable reinditions of classic standards including Old-Fashioned Love, Blue Lou, A Walkin’ Thing, How Could You Lose?, Ain’t She Sweet, for whom Carter and the all-stars performs quintessential style and exquisite integrity. The last two tracks even comes to life in a fortuitous manner where Carter had been set out on the session, but became ill towards the last minute, and with noted jazz guitarist Barney Kessel taking over the musicians had decided to use some of there congenial informal playing where included some of the finest work recorded in the saxophone section. Remastered in its proud complete edition, what made Jazz Giant a time-honoured success can be owed to the band members who gratefully participated where they consisted of Kessel on the guitar, tenor saxophonist Ben Webster, both Andre Previn or Jimmy Knowles at the piano, session trombonist Frank Roselino and Shelly Manne at the drums, who help made this one of Carter’s finest and most beloved masterpieces. ~RH

Jazz Giant (Remastered) mc
Jazz Giant (Remastered) zippy

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Andre Previn - Tangerine

Bitrate: MP3@320K/s
Time: 71:31
Size: 163.7 MB
Styles: Piano jazz
Year: 2018
Art: Front

[4:24] 1. Tangerine
[6:06] 2. I Cover The Waterfront
[7:52] 3. Squatty Roo
[7:53] 4. Collard Greens And Black Eyed Peas
[5:17] 5. The Girl Friend
[4:41] 6. Stars Fell On Alabama
[4:09] 7. Get Me To The Church On Time
[5:32] 8. On The Street Where I Live
[3:23] 9. I've Grown Accustomed To Her Face
[5:28] 10. Wouldn't It Be Loverley
[4:13] 11. Ascot Gavotte
[3:35] 12. Show Me
[5:55] 13. With A Little Bit Of Luck
[2:57] 14. I Could Have Danced All Night

Bass – Leroy Vinnegar; Drums – Shelly Manne; Piano – André Previn.

One of the most versatile musicians on the planet, André Previn has amassed considerable credentials as a jazz pianist, despite carving out separate lives first as a Hollywood arranger and composer, and then as a world-class classical conductor, pianist, and composer. Always fluid, melodic, and swinging, with elements of Bud Powell, Oscar Peterson, and Horace Silver mixed with a faultless technique, Previn didn't change much over the decades but could always be counted upon for polished, reliable performances at the drop of a hat.

He started piano lessons in his native Berlin before the Nazi threat forced his family to move to Paris in 1938 and the U.S. the following year. Settling in Los Angeles, the wunderkind Previn began working as a jazz pianist, an arranger for MGM, and a recording artist for Sunset Records while still in high school -- and by his 18th year, his first recordings for RCA Victor had racked up substantial sales. Originally swing-oriented, Previn discovered bop in 1950 just before his induction into the Army. Upon returning to Los Angeles, Previn went into overdrive, gigging as a jazz pianist, scoring films, and playing chamber music. Forming a smooth boppish trio with Shelly Manne and Leroy Vinnegar, Previn scored a huge crossover hit with an album of jazz interpretations of My Fair Lady, which in turn led to a series of likeminded albums of Broadway scores and kicked off an industry trend.

Tangerine mc
Tangerine zippy

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Roy Ayers - West Coast Vibes

Styles: Vibraphone Jazz
Year: 1963
File: MP3@320K/s
Time: 41:58
Size: 97,3 MB
Art: Front

(6:41)  1. Sound And Sense
(3:34)  2. Days Of Wine And Roses
(3:47)  3. Reggie Of Chester
(3:14)  4. It Could Happen To You
(3:12)  5. Donna Lee
(5:02)  6. Ricardo's Dilemma
(3:02)  7. Romeo
(6:25)  8. Out Of Sight
(3:44)  9. Young And Foolish
(3:13) 10. Well You Needn't

Roy Ayers had a career before he had hit records, and this reissue proves the vibraphonist was both well-versed and eloquent within the realm of post-bop jazz. In the company largely of a cast including pianist Jack Wilson and Curtis Amy on tenor and soprano saxophones, Ayers works his way through the kind of programme of standards and originals that was pretty much the order of the day back in the early 1960s. This does not, however, alter the fact that a lot of the musicians here were probably not big names at the time. The passing of time has not changed that situation a great deal, and it's tempting to put this down to the fact that they were not based in New York.Comparison between this reading of Benny Golson's "Reggie Of Chester" and the one on Lee Morgan's Blue Note debut from a few years earlier reveals no great difference in approach, and the way Ayers plays what for the vibes might not have been the easiest of lines is nothing other than joyful listening. The Ayers original "Ricardo's Dilemma" is similar in spirit to the theme for "The Odd Couple," and Curtis Amy's soprano sax playing on it is every bit as distinctive as the soprano work Sonny Criss would commit to posterity a few years after this piece was recorded. If the documentation of underappreciated musicians can be considered as an integral part of this disc, then the presence of alto saxophonist and vocalist Vi Redd on the two bonus tracks is a joy in itself. The same is true of trumpeter Carmell Jones (on the same tracks), who is perhaps the musician who gets close enough to some East Coast ideal to satisfy the pedants. At the same time Redd perhaps inevitably evokes the spirit of Charlie Parker on two of his lines, she also has a sound and conception all her own. Which brings us nicely back to Ayers, for whom that old standby about being his own man might have been invented. On a more profound level, West Coast Vibes is further recorded evidence of the fact that there was a whole lot more to West Coast jazz in its heyday than the stereotypes which came to be associated with it.~ Nic Jones https://www.allaboutjazz.com/west-coast-vibes-roy-ayers-mighty-quinn-productions-review-by-nic-jones.php

Personnel: Roy Ayers: vibes; Curtis Amy: tenor and soprano saxophonees (1,3,6,8,9); Vi Redd: alto saxophone (11,12), vocals (11); Carmell Jones: trumpet (11,12); Jack Wilson: piano (1-10); Russ Freeman: piano (11,12); Bill Plummer: bass (1,3,6,8,9); Vic Gaskin: bass (2,4,5,7,10); Leroy Vinnegar: bass (11, 12); Tony Bazley: drums (1,3,6,8,9); Kenny Dennis: drums (2,4,5,7,10); Richie Goldberg: drums (11,12).

West Coast Vibes

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