Peggy Connelly - Hollywood Sessions

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 46:56
Size: 108,4 MB
Art: Front

(3:03)  1. You Make Me Feel So Young
(2:42)  2. Trouble Is a Man
(3:08)  3. Where Did the Gentleman Go
(2:26)  4. I Have Said Goodbye to Spring
(2:54)  5. What Is There to Say
(2:30)  6. Trav'lin' Light
(3:18)  7. Ev'rytime We Say Goodbye
(3:17)  8. Alone Together
(2:42)  9. I Got Plenty o' Nuttin'
(2:25) 10. Fools Rush In
(2:10) 11. Ev'rytime
(2:47) 12. Gentleman Friend
(4:27) 13. It Never Entered My Mind
(2:59) 14. Why Shouldn't I
(3:14) 15. That Old Black Magic
(2:45) 16. He Was Too Good to Me

By the time she was 15, Peggy Connelly (1931-2007) had a lovely voice that won her jobs singing with competitive big bands in her hometown of Fort Worth, Texas. At 18, she went in search of work as a model and singer, and after a difficult start, she moved to Hollywood. Once there, she landed two significant opportunities. The first involved her appearance in motion pictures and TV shows. The second and more important opportunity was the start of her career as a single recording artist. When she sang, Connelly put to good use her beautiful, round tone and commendable lack of artifice to project the intent of any song with lucidity. She was Frank Sinatra’s girlfriend for over two years, and their relationship opened many doors for her with musicians and the Hollywood studios. Even though Connelly had few significant opportunities in her career to show off her talent as a singer, the times she did resulted in these magnificent recordings. Sinatra, not very fond of praising his colleagues, had no qualms about praising Connelly. When he first heard her sing Ev’ry Time We Say Goodbye, he said: “Hi, beautiful lady, you are wonderful.” https://www.freshsoundrecords.com/peggy-connelly/6707-hollywood-sessions.html

Personnel:  Peggy Connelly (vcl), Marty Paich, Russell Garcia (dir), Conte Candoli, Pete Candoli, Stu Williamson (tp), Russ Cheever (ss), Charlie Mariano (as), Bill Holman (ts), Jimmy Giuffre (bs), Al Hendrickson (g), Jimmy Rowles (p), Harry Babasin, Max Bennett (b), Roy Harte, Stan Levey (d), Jack Costanzo, Ramón Rivera, Willy Gallardo (perc)

Hollywood Sessions

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Dave Pell - A Pell Of A Time

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 44:41
Size: 103,4 MB
Art: Front

(4:31)  1. Jazz Goes To Siwash
(3:07)  2. Suze Blues
(6:41)  3. Grey Flannel
(5:38)  4. Angel Eyes
(2:42)  5. G Tune
(5:18)  6. Sandy Shoes
(4:11)  7. Cameo
(7:14)  8. Love Me Or Leave Me
(5:19)  9. Them There Eyes

The Dave Pell Octet was one of the great cool jazz bands of the mid- to late '50s. This fairly rare LP found Pell altering the personnel greatly, with Pell and pianist/arranger Marty Paich being the only holdovers. In addition, the arrangements of Paich, Bill Holman, Paul Moer (who, like trombonist Ray Sims, is a substitute on three songs), and Jack Montrose are opened up, and the musicians take much longer solos than on Pell's earlier albums. With trumpeter Jack Sheldon often starring and there being some excellent spots for baritonist Pepper Adams, this is a rather different album by the Dave Pell Octet, a bit harder-charging and more hard bop-oriented while still retaining the identity of the original group. Worth searching for. ~ Scott Yanow http://www.allmusic.com/album/a-pell-of-a-time-mw0000314352

Personnel:  Tenor Saxophone, Leader – Dave Pell;   Baritone Saxophone – Pepper Adams;  Bass – Tom Kelly;  Drums – Mel Lewis;  Guitar – Tommy Tedesco;  Piano – Marty Paich, Paul Moer;  Trombone – Bobby Burgess, Ray Sims;  Trumpet – Jack Sheldon

R.I.P.
Born: February 26, 1925
Died:  May 8, 2017

A Pell Of A Time

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Johnny Richards & His Orchestra - Softly... Wild... And Something Else!

Styles: Jazz, Big Band
Year: 2013
File: MP3@320K/s
Time: 79:57
Size: 185,6 MB
Art: Front

(6:04)  1. Waltz, Anyone?
(3:17)  2. For All We Know
(7:12)  3. Dimples
(5:06)  4. Band Aide
(6:27)  5. Turn Aboot
(4:12)  6. Burrito Borracho
(2:56)  7. Long Ago and Far Away
(5:46)  8. Aijalon
(2:42)  9. Walk Softly
(3:57) 10. Run Wild
(3:47) 11. The Way You Look Tonight
(4:01) 12. Laura
(4:53) 13. Tempest on the Charles
(3:06) 14. Sunday's Child
(2:17) 15. Alone Together
(4:06) 16. Three Cornered Cat
(3:42) 17. You Go to My Head
(6:18) 18. Yemaya

Johnny Richards was a man of convictions. Hearing the Richards aggregation, one can feel the leader's expansive expressiveness working. His main goal was the creation of interesting, stimulating music, not music of any particular kind. "We are an ORCHESTRA, not a band of sections; an organized orchestra of interested and interesting musicians who play a music of many dimensions and feelings." Richards once said: "Our music is ambitious. That explains why our instrumentation is not exactly standard. Although we are a jazz orchestra, this does not mean that other musical forms and rhythms cannot be incorporated into our music. After all, music is expressed in many languages. We should be aware and learn from that." https://www.freshsoundrecords.com/johnny-richards-albums/4073-softly-wild-and-something-else.html

Maynard Ferguson, Buddy Childers, Pete Candoli, Stu Williamson, Ray Copeland, Shorty Rogers (tp), Milt Bernhart, Frank Rosolino, Don Nelly, Jimmy Cleveland (tb), Julius Watkins, Vince De Rosa (Frh), Charlie Mariano, Gene Quill, Dave Schildkraut (as), Richie Kamuca, Frank Socolow (ts), Ronny Lang (bs), Marty Paich, John Knapp (p), Buddy Clark (b), Stan Levey, Ed Shaughnessy (d)

Softly... Wild... And Something Else!

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Mel Torme & The Marty Paich Dek-Tette - In Concert Tokyo

Styles: Vocal, Post Bop 
Year: 1988
File: MP3@320K/s
Time: 51:09
Size: 121,8 MB
Art: Front

(3:30)  1. It Don't Mean A Thing (If It Ain't Got That Swing)
(3:56)  2. Sweet Georgia Brown
(3:12)  3. Just In Time
(4:11)  4. When The Sun Comes Out
(3:23)  5. The Carioca
(4:41)  6. More Than You Know
(4:16)  7. Too Close For Comfort
(3:38)  8. The City
(5:35)  9. Bossa Nova Potpourri
(3:02) 10. On The Street Where You Live
(6:58) 11. Cotton Tail
(3:42) 12. The Christmas Song
(0:59) 13. It Don't Mean A Thing (reprise)

Mel Tormé and arranger Marty Paich (leading his ten-piece "Dek-tette") recorded several classic albums in the late '50s. On Reunion earlier in 1988 they had an enjoyable collaboration and this live set was a follow-up. In general these in-concert performances are livelier with Tormé sounding quite exuberant at times. Highlights include "Just in Time," "When the Sun Comes Out," "The Carioca," "The Christmas Song" and an instrumental version of "Cotton Tail" featuring clarinetist Ken Peplowski and Tormé on drums. A joyful outing. ~ Scott Yanow https://www.allmusic.com/album/in-concert-tokyo-mw0000076461

Personnel:  Mel Tormé - vocals, drums;  Warren Luening - trumpet;  Dan Barrett - trombone;  Chuck Berghofer - double bass;  Bob Efford - baritone saxophone;  Bob Enevoldsen - valve trombone;  Allen Farnham - piano;  Gary Foster - alto saxophone;  Marty Paich - arranger, conductor;  Ken Peplowski - clarinet, tenor saxophone;  Jim Self - tuba;  John Von Ohlen - drums

In Concert Tokyo

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Lucy Ann Polk - Lucky Lucy Ann

Bitrate: MP3@320K/s
Time: 34:04
Size: 78.0 MB
Styles: Vocal jazz
Year: 1957/1985
Art: Front

[2:50] 1. Sitting In The Sun
[1:46] 2. How About You
[3:54] 3. I'm Just A Lucky So And So
[2:52] 4. Squeeze Me
[3:03] 5. When The Sun Comes Out
[2:54] 6. Makin' Whoopee
[2:29] 7. Don Cha Go Way Mad
[3:20] 8. Sittin' And A'rockin'
[2:37] 9. Memphis In June
[2:16] 10. Time After Time
[3:21] 11. Easy Living
[2:38] 12. Looking At You

Bass – Buddy Clark; Drums – Mel Lewis; Guitar – Tony Rizzi; Piano – Marty Paich; Tenor Saxophone – Bob Hardaway; Valve Trombone – Dick Noel. Recorded on July 1957, Hollywood, California.

Lucy Ann Polk's lone Mode/VSOP session pairs the singer with a sextet led by pianist and arranger Marty Paich, whose nuanced, spacious orchestrations perfectly complement Polk's sultry yet supremely controlled style. The strength of Lucky Lucy Ann is its subtlety -- not a note is wasted or extraneous, and for all the modernist elements converging in Paich's arrangements, he never obscures the clarity of perennials like "Makin' Whoopee" and "Time After Time." Polk likewise shades the universal themes of the lyrics with a style and fierce intelligence all her own -- for all the power of her voice, it's her restraint that rings loudest and clearest. ~Jason Ankeny

Lucky Lucy Ann                

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Herbie Harper - Jazz In Hollywood

Bitrate: MP3@320K/s
Time: 48:23
Size: 110.8 MB
Styles: Trombone jazz
Year: 1954/1997
Art: Front

[5:10] 1. Jeepers Deepers
[2:52] 2. Dinah
[2:12] 3. Five Brothers
[2:57] 4. Herbstone
[3:00] 5. Summertime
[4:14] 6. Jive At Five
[2:31] 7. Patty
[3:36] 8. The New York City Ghost
[2:53] 9. Julie Is Her Name
[3:12] 10. Sanguine
[3:13] 11. Now Playing
[2:56] 12. 6 4 Mambo
[3:29] 13. Bananera
[2:24] 14. Indian Summer
[3:37] 15. The Happy Clown

Baritone Saxophone – Bob Gordon; Bass – Harry Babasin; Drums – Roy Harte; Guitar – Al Hendrickson; Piano – Jimmy Rowles, Marty Paich; Tenor Saxophone, Baritone Saxophone – Bud Shank; Trombone – Herbie Harper.

Although somewhat forgotten today, Herbie Harper was one of jazz's top trombonists of the 1950s. Even with the time he spent doing studio work, Harper was closely involved in the West Coast jazz movement in Los Angeles. This CD, whose music is also available as part of Fresh Sound's three-CD Complete Nocturne Recordings Vol. 1, has Harper's two Nocturne dates, including the earliest session cut by the label. Harper is heard on a delightfully swinging set with baritonist Bob Gordon, pianist Jimmy Rowles, bassist Harry Babasin and drummer Roy Harte, and on two other sessions with Babasin, Harte and sometimes Bud Shank (on tenor and baritone rather than alto and flute), guitarist Al Hendrickson and/or pianist Marty Paich. The music includes cool renditions of swing-era songs, a few newer originals, and some offbeat material. Recommended. ~Scott Yanow

Jazz In Hollywood mc
Jazz In Hollywood zippy

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Buddy Rich - This One's For Basie

Bitrate: MP3@320K/s
Time: 40:55
Size: 93.7 MB
Styles: Swing
Year: 1957/1990
Art: Front

[4:46] 1. Blue And Sentimental
[4:05] 2. Down For Double
[5:41] 3. Jump For Me
[7:16] 4. Blues For Basie
[6:22] 5. Jumpin' At The Woodside
[2:57] 6. Ain't It The Truth
[5:11] 7. Shorty George
[4:33] 8. 9:20 Special

Drummer Buddy Rich put together an interesting 11-piece group for this tribute to Count Basie. The only Basie alumnus present is trumpeter Harry "Sweets" Edison but the other soloists (trombonist Frank Rosolino and Bob Enevoldsen, Bob Cooper on tenor and pianist Jimmy Rowles) easily fit into the setting. Marty Paich contributed the arrangements, there are plenty of drum solos and the music, if not all that memorable, can easily be enjoyed by straightahead jazz fans. ~Scott Yanow

This One's For Basie

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Marty Paich - Jazz For Relaxation

Styles: Piano Jazz
Year: 1956
File: MP3@320K/s
Time: 22:55
Size: 64,4 MB
Art: Front

(3:40)  1. Dool's Blues
(3:01)  2. Jump for Me
(3:00)  3. There'll Never be Another You
(2:50)  4. The Lamp is Low
(2:14)  5. What's New
(1:04)  6. Theme from Lighthouse
(3:15)  7. Lullaby of the Leaves
(3:47)  8. I'll Remember April

This V.S.O.P CD, a straight reissue of a Marty Paich date for Tampa, repeats the packaging faults of the original LP. Although it is a quintet date, the only personnel listed are the pianist/leader, bassist Joe Mondragon, and vibraphonist Larry Bunker; guitarist Howard Roberts and drummer Frank Capp go unacknowledged, but certainly not unheard. The scanty liner notes claim that this is music to relax by, and that all of the tunes are up-tempo; actually the first tune, "Dool's Blues" is quite slow! But overlooking those discrepancies, the unfortunately brief program is actually quite enjoyable, showcasing Paich the pianist (rather than the arranger) in prime form. Roberts and Bunker also have plenty of solos, and the boppish repertoire (five standards, two originals, and Count Basie's obscure "Jump for Me") continually holds one's interest. ~ Scott Yanow https://www.allmusic.com/album/jazz-for-relaxation-mw0000646135

Personnel: Marty Paich (piano); Joe Mondragon (Bass); Larry Bunker (Drums).

Jazz For Relaxation

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Ray Brown - Bass Hit!

Styles: Jazz, Bop
Year: 1999
File: MP3@320K/s
Time: 52:38
Size: 124,5 MB
Art: Front

(5:04)  1. Blues For Sylvia
(4:00)  2. All Of You
(4:28)  3. Everything I Have Is Yours
(3:42)  4. Will You Still Be Mine
(4:52)  5. Little Toe
(4:46)  6. Alone Together
(2:30)  7. Solo For Unaccompanied Bass
(4:09)  8. My Foolish Heart
(5:36)  9. Blues For Lorraine
(2:50) 10. After You've Gone
(4:49) 11. After You've Gone (Complete Takle)
(3:01) 12. After You've Gone
(2:44) 13. After You've Gone (Complete Takle)

Since he played on some of the earliest Dizzy Gillespie and Charlie Parker records in 1945, Brown is regarded as the father of modern bass playing. He made his name at that time with the groundbreaking role he played on Gillespie's One Bass Hit. He has been a leading virtuoso for half a century and his tone and dexterity are still something to wonder at, as was shown in an unforgettable master class that he gave to students for a BBC television broadcast. His "Solo for Unaccompanied Bass" here is another dazzling performance. Elsewhere, he's in an unusual setting before an all-star West Coast big band playing a set of arrangements by Marty Paich. Brown bites powerfully into his featured role, notably in an incredibly fast "After You've Gone," and he's helped by key soloists like trumpeter Harry "Sweets" Edison (reprising his role on Sinatra's albums) and clarinetist Jimmy Giuffre. If you're a bass player, be careful with this album. It might make you want to give up. ~ Steve Voce https://www.amazon.com/Bass-Hit-Ray-Brown/dp/B00000JNP2

Personnel: Ray Brown (bass); Marty Paich (arranger, conductor); Jack Dulong, Herb Geller (alto saxophone); Jimmy Giuffre (tenor saxophone, clarinet); Bill Holman (tenor saxophone); Harry "Sweets" Edison, Conrad Gozzo, Ray Linn, Pete Candoli (trumpet); Herbie Harper (trombone); Jimmie Rowles (piano); Herb Ellis (guitar); Mel Lewis, Alvin Stoller (drums).

Bass Hit!

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Tony Perkins - Tony Perkins

Styles: Vocal
Year: 1957
File: MP3@256K/s
Time: 52:20
Size: 96,2 MB
Art: Front

(3:06)  1. April Fool
(1:53)  2. Just Friends
(2:49)  3. Hit the Road to Dreamland
(2:08)  4. This Time the Dream's on Me
(2:53)  5. How Long Has This Been Going On
(2:50)  6. But Beautiful
(2:11)  7. Whi Shouldn't I
(4:03)  8. I Wish I Knew
(2:28)  9. Accidents Will Happen
(2:29) 10. Gone With the Wind
(3:08) 11. Better Luck Next Time
(2:36) 12. How About You
(3:02) 13. A Little Love Can Go a Long, Long Way
(2:46) 14. If You'll Be Mine
(2:48) 15. If You Were the Only Girl
(2:21) 16. Fool in Love
(2:57) 17. Melody for Lovers
(2:56) 18. If You Were the Only Girl
(2:47) 19. Friendly Persauasion (Thee I Love)

Tony Perkins will undoubtedly be best remembered for his considerable cinematic contributions rather than musical ones. However during the late '50s, Perkins demonstrated remarkable versatility as a sensitive vocalist on a series of pop recordings. By the time the entertainer issued this platter in 1957, he had already become an Academy Award nominee for his role in the Civil War era drama Friendly Persuasion (1956). Under the orchestration and scoring of arranger/conductor Marty Paich, Perkins reveals a real flair for the cool and easygoing approach of the West Coast post-bop jazz movement. In fact the song selection as well as darker vocal inflections recall a striking similarity to that of Chet Baker. Paich's contributions are tasteful and never overpower Perkins' warm and supple tones and are highlighted by an equally engaging choice of material. Among the more notable performances are "Just Friends," "This Time The Dream's On Me" and the hipster's lullaby "Hit The Road To Dreamland"." These sides, although his first to be released, were not Perkins' initial foray as a vocalist. At his suggestion, "A Little Love Can Go A Long, Long Way" was incorporated into the Goodyear Playhouse television adaptation of the screenplay Joey. The success and enthusiasm generated by the telecast led to an offer by Epic Records. Even before this album, Perkins had recorded half-a-dozen sides that eventually filled out the respective A and B sides of three 7" singles. Chief among these was his reading of the afore mentioned "A Little Love Can Go A Long, Long Way" as well as the title song from his concurrent motion picture Friendly Persuasion which was also known by its parenthetical title "Thee I Love." In 2003 Collectors' Choice Music issued Tony Perkins on CD and included not only these 45's, but also a previously unreleased reading of "If You Were The Only Girl" among the supplementary materials. Although Paich was not involved with the singles, Perkins' was in the respective company of Buddy Cole, jazz arranger Obie Masingill and Buddy Bergman. Jazz vocal enthusiasts might find themselves pleasantly surprised at the emotive range and style of Tony Perkins. Followers of the West Coast cool scene are highly encouraged to investigate this title as well. ~ Lindsay Planer http://www.allmusic.com/album/tony-perkins-mw0000595433

Personnel: Tony Perkins (vocals); Marty Paich (arranger).

Tony Perkins

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Toni Harper - Night Mood

Styles: Vocal Jazz
Year: 1960
File: MP3@320K/s
Time: 35:47
Size: 82,1 MB
Art: Front

(2:41)  1. In The Still Of The Night
(2:53)  2. Paradise
(3:38)  3. 'Round Midnight
(3:10)  4. The Meaning Of The Blues
(3:00)  5. Saturday Night (Is The Loneliest Night In The Week)
(3:06)  6. Night After Night
(2:49)  7. Just Go
(2:43)  8. A Sleepin' Bee
(3:21)  9. My Ship
(2:11) 10. You And The Night And The Music
(2:57) 11. Petals on the Pond
(3:14) 12. Where Flamingos Fly

Toni Harper's final Rca session pairs the singer with arranger Marty Paich to create the richly atmospheric after-hours album that she was born to make. By alternating between pop standards and jazz originals, Night Mood underscores the complete breadth of Harper's talents. Even better than her sophisticated and poignant interpretations of chestnuts like "Round Midnight" and "My Ship" is a swinging rendition of "Saturday Night Is the Loneliest Night of the Week" that deserves serious consideration as the song's definitive treatment. Paich's soulful arrangements further enhance the dusky beauty of Harper's vocals, even making room for some lovely alto saxophone solos courtesy of the great Art Pepper. ~ Jason Ankeny http://www.allmusic.com/album/night-mood-mw0000477334

Personnel:  Toni Harper (vcl), Marty Paich (dir, arr), Jack Sheldon, Conte Candoli, Stu Williamson (tp), Vince De Rosa (frh), Frank Rosolino (tb), Bob Enevoldsen (v-tb), Art Pepper, Bud Shank, Bill Perkins, Jack Montrose, Jack Nimitz (saxes), Eddie Beal, Jimmy Rowles (p), Joe mondragon (b), Mel Lewis (d)

Night Mood

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Mel Tormé - Songs For Any Taste (Remastered)

Bitrate: MP3@320K/s
Time: 26:21
Size: 60.4 MB
Styles: Vocal
Year: 2013
Art: Front

[4:28] 1. It's All Right With Me
[3:13] 2. Manhattan
[1:59] 3. Taking A Chance On Love
[1:53] 4. Home By The Sea
[3:13] 5. I Got Plenty O' Nuttin'
[2:42] 6. It's De-Lovely
[2:20] 7. Tenderly
[2:29] 8. I Wish I Were In Love Again
[1:31] 9. Autumn Leaves
[2:29] 10. Nobody's Heart

Bass – Max Bennett; Drums – Mel Lewis; Leader, Piano – Marty Paich; Trumpet – Don Fagerquist; Vibraphone, Accordion, Bongos – Larry Bunker; Vocals – Mel Tormé.

Mel Tormé recorded a number of lovely albums for Bethlehem during the '50s, including It's a Blue World and Sings Fred Astaire. Consisting of a few studio sides interspersed with material recorded live at the Crescendo in February of 1957, Songs for Any Taste finds Tormé asserting himself with confidence and style. Pianist/leader Marty Paich offers beautifully understated arrangements, featuring trumpeter Don Fagerquist and accordion player Larry Bunker. The set is heavy with lesser-known standards from Cole Porter, Rodgers and Hart, and the Gershwins. Tormé begins the set with a "French" version of "Autumn Leaves," complete with a fake accent that serves to warm up the audience. "I Wish I Were in Love Again" and "It's Delovely" are two upbeat knockouts, while "Tenderly" proceeds at a more languorous pace. The background singing and formal arrangements of "I Got Plenty O' Nuttin'" mark it as a studio track, but quality-wise, it fits in well with the other material. The quiet "Nobody's Heart" closes the set, a moody late-night piece with piano accompaniment. This is a beautiful set, with great songs, in-between chatter, and sympathetic backing.

Songs For Any Taste

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André Previn - The Popular Previn: André Previn Play's Today's Big Hits

Styles: Piano Jazz 
Year: 1965
File: MP3@320K/s
Time: 32:42
Size: 80,3 MB
Art: Front

(2:58)  1. One Note Samba
(2:50)  2. People (from 'Funny Girl')
(2:26)  3. Bluesette
(2:34)  4. Call Me Irresponsible
(3:02)  5. Quiet Nights Of Quiet Stars (Corcovado)
(2:23)  6. Kiss Me, Stupid
(2:11)  7. Never You Mind
(3:23)  8. The Girl from Impanema
(3:01)  9. Gravy Waltz
(2:24) 10. Sunrise, Sunset (from 'Fiddler On The Roof')
(2:55) 11. Manha de Carnaval
(2:30) 12. Goodbye Charlie (from 'Goodbye Charlie')

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. By 1962, Previn started to make the transition away from Hollywood toward becoming a full-time classical conductor, dropping his jazz activities entirely. He stayed away from jazz for 27 years, with the exceptions of a handful of sessions with Ella Fitzgerald and classical violinist/dabbler Itzhak Perlman. Indeed, in 1984, he was quoted as saying that jazz was "an expendable art form" for him. But in March 1989, shortly before resigning from the Los Angeles Philharmonic in a dispute with management, Previn returned to jazz with a trio album for Telarc with Ray Brown and Joe Pass, showing that he had not lost an iota of his abilities. Subsequently, he returned frequently to the studio as a jazz pianist for Telarc, Angel, Deutsche Grammophon, and DRG when not freelancing as a conductor or composing classical scores. ~ Richard S. Ginell  https://itunes.apple.com/us/artist/andre-previn/id702496#fullText

Personnel:  André Previn, piano;  Marty Paich, conductor

The Popular Previn: André Previn Play's Today's Big Hits

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Lena Horne - Lena Goes Latin & Sings Your Requests

Styles: Vocal Jazz
Year: 1964
File: MP3@320K/s
Time: 52:08
Size: 119,9 MB
Art: Front

(1:54)  1. From This Moment On
(2:27)  2. Take Me
(2:44)  3. Night And Day
(2:43)  4. Old Devil Moon
(1:47)  5. More
(2:28)  6. My Blue Heaven
(3:37)  7. Cuckoo In The Clock
(2:23)  8. Meditation
(2:47)  9. By Myself
(2:24) 10. Island In The West Indies
(2:49) 11. Ours
(2:03) 12. Falling In Love With Love
(1:52) 13. He Loves Me
(2:44) 14. Every Little Bit Hurts
(3:22) 15. Stormy Weather
(2:25) 16. Poppa Don't Preach To Me
(2:58) 17. Honeysuckle Rose
(2:22) 18. The Lady Is A Tramp
(3:27) 19. Lover Man
(2:44) 20. Can't Help Lovin' That Man

In 1963, Lena Horne left a long association with RCA Victor Records and signed to the smaller Charter label, for which she recorded two albums, Goes Latin and Sings Your Requests. Those two albums are combined on this two-fer compilation. The first ten tracks, which comprised the original Goes Latin LP, were arranged by Shorty Rogers and conducted by Horne's husband, Lennie Hayton. In keeping with the title, the arrangements feature Latin percussion, with punchy big-band horn charts on top. Horne was no stranger to such material, at least in the diluted form heard here, having performed Latin-style arrangements in the movies and on Broadway, and in fact her lively, take-charge interpretations are well-suited to Rogers' arrangements, whether applied to a Cole Porter show tune or a more contemporary song such as the Mondo Cane movie theme "More" or Antonio Carlos Jobim's "Meditation." Sings Your Requests earned its title by featuring re-recordings of several songs long associated with Horne, including "Stormy Weather," "Honeysuckle Rose," "The Lady Is a Tramp," and "Can't Help Lovin' That Man." (All are songs she sang in the movies.) But the combination of the two albums onto one disc is justified by their similarity. The first four tracks of the second LP (tracks 11-14 here) are also Rogers arrangements conducted by Hayton, some of them with more Latin percussion, suggesting they came from the same sessions as those for the first LP. (The rest were arranged and conducted by Marty Paich.) Horne remains masterful on the familiar material, and she gives an excellent reading to the newly minted show tune "He Loves Me," a gender-switched version of the title song from the Broadway musical She Loves Me. Lena Horne may have fallen out of commercial favor on records by 1963, but these recordings demonstrate that she hadn't lost her appeal. ~ William Ruhlmann  http://www.allmusic.com/album/lena-goes-latin-sings-your-requests-mw0000649569

Personnel:  Lena Horne – vocals;  Lennie Hayton - arranger, conductor (#1-14);  Shorty Rogers - arranger (#1-14);  Marty Paich - arranger (#15-20)

Lena Goes Latin & Sings Your Requests

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Mel Tormé, The Marty Paich Orchestra - Mel Tormé Swings Shubert Alley

Styles: Vocal and Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 39:15
Size: 90,0 MB
Art: Front

(4:04)  1. Too Close For Comfort
(3:13)  2. Once In Love With Amy
(3:35)  3. A Sleepin Bee
(2:55)  4. On The Street Where You Live
(3:06)  5. All I Need Is A Girl
(3:29)  6. Just In Time
(3:09)  7. Hello Young Lovers
(3:01)  8. Surrey With The Fringe On Top
(2:47)  9. Old Devil Moon
(3:22) 10. Whatever Lola Wants
(2:47) 11. Too Darn Hot
(3:42) 12. Lonely Town

Though the nominal concept for Mel Tormé's Swings Shubert Alley is Broadway standards, this last moment of pure Tormé brilliance moves much too fast and hard for the concept to be anything but pure swing. Of course it starts out with a bang with the punchy "Too Close for Comfort." Tormé sounds like he's racing the band to the finish of the song on this one (and a few others, like "Too Darn Hot" and "Surrey with the Fringe on Top"), on the latter he repeats the title over and over again with that exuberant voice. As with his other classic swing albums, Tormé does insert a few slower songs; here, "Once in Love with Amy," "A Sleepin' Bee" and "Old Devil Moon" are downtempo, with a smile. The overall mood, however, is unrestrained enthusiasm, and it makes for an excellent record. ~ John Bush  http://www.allmusic.com/album/release/swings-shubert-alley-mr0003746515

The Marty Paich Orchestra includes: Marty Paich (arranger, piano); Art Pepper (alto saxophone) Bill Perkins (tenor saxophone); Bill Hood (baritone saxophone); Al Porcino, Stu Williamson (trumpet); Vince DeRosa (French horn); Frank Rosolino (trombone); Ray Callender (tuba); Joe Mondragon (bass); Mel Lewis (drums).

Mel Tormé Swings Shubert Alley

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Frances Faye - Swingin' All The Way

Bitrate: MP3@320K/s
Time: 37:59
Size: 87.0 MB
Styles: Jazz vocals
Year: 1962/2013
Art: Front

[3:12] 1. Do Nothin' Till You Hear From Me
[3:40] 2. It's All Right With Me
[3:15] 3. Love For Sale
[3:13] 4. So In Love
[2:27] 5. Should I
[2:39] 6. Them Who Has Gets
[2:20] 7. There Will Never Be Another You
[2:27] 8. Miss Otis Regrets (She's Unable To Lunch Today)
[3:53] 9. Everything Hapens To Me
[3:53] 10. More Than You Know
[3:53] 11. That's All
[3:03] 12. Don't Worry 'bout Me

Alto Saxophone – Bud Shank; Arranged By – Marty Paich; Guitar – Al Hendrickson; Trumpet – Stu Williamson.

Fans of female vocalists of the '50s inevitably bemoan the lack of respect given to one of the true greats. Frances Faye, like Peggy Lee, was a dishy, somewhat off-kilter blonde who could scribble out a mean tune when the mood hit her. She was actually a recording presence in the decades prior, writing and co-writing songs that were recorded by herself and other artists such as the Andrews Sisters all through the late '30s and '40s. Faye started her professional career at 16, filling in for a local pianist on an amateur show when some misfortune befell him. She made her first stage appearance in Brooklyn two years later, and spent the next few years on the vaudeville and nightclub circuit, as an accompanist for singers. When one of these singers was canned by a nightclub owner right before the downbeat, Faye took over. An extensive career as a nightclub performer followed and, by 1934, her schedule had her working 11 months a year, much of that out on the road. In 1936, she had her first hit record, the thoughtful "No Regrets," in 1936. "Well, All Right" primed the jukeboxes across the nation after the Andrews Sisters cut the song. She made her last major recordings in 1964, but continued club gigs all the way into the '80s. Well into the 1970s, she was still headlining in New York, Los Angeles, Las Vegas, Chicago, Miami, as well as England and Australia. In 1977, Frances Faye played a wise-cracking madam in the French film director Louis Malle's controversial film Pretty Baby, which, in the words, of Faye, "opens with me in bed smoking an opium pipe with a wig half off my head." After a series of strokes, perhaps brought on by so much excitement, she died in the early '90s. It was only near the end of that decade that any of her previously out of print material began to see the light of day in reissue form. Bethlehem led the charge with Frances Faye Sings Folk Songs, which manages to be simultaneously marvelous and a completely misleading example of her style. Fans surely sang their own chorus of "Well, All Right" when the artist's two volumes of live recordings were repackaged on a single CD, entitled Frances Faye: Caught in the Act. Her career was one of the subjects of the interesting documentary film Chop Suey, directed by Bruce Weber. ~Excerpts from bio by Eugene Chadbourne

Swingin' All The Way

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Marty Paich - Arranger, Conductor, Piano

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 70:52
Size: 167,2 MB
Art: Front

(3:13)  1. It Don't Mean A Thing
(3:12)  2. Just In Time
(5:03)  3. Moanin'
(3:45)  4. I've Grown Accustomed To Her Face
(3:34)  5. It's All Right With Me
(4:16)  6. Things Ain't Want They Used To Be
(3:28)  7. Move
(6:13)  8. I Love Paris
(4:26)  9. No More
(4:29) 10. Love For Sale
(4:27) 11. Warm Valley
(3:25) 12. Groovin' High
(3:01) 13. Four Brothers
(5:18) 14. Walkin'
(2:37) 15. Doggin' Around
(4:28) 16. Swingin' The Blues
(3:24) 17. All The Things You Are
(2:24) 18. Marty's Blues

Marty Paich was a pianist, composer, arranger, producer, music director, and conductor. In a career which spanned half a century, he worked in these capacities for such artists as Frank Sinatra, Barbra Streisand, Sarah Vaughan, Stan Kenton, Ella Fitzgerald, Mel Tormé, Ray Charles, Aretha Franklin, Linda Ronstadt, Stan Getz, Sammy Davis Jr, Michael Jackson, Art Pepper, and a hundred others. However, his name is essentially unknown outside professional circles. He took little interest in self-promotion, never acquired a personal agent, happily saw his business affairs managed by his capable first wife Huddy, and as soon as finances permitted decamped Los Angeles for a ranch in the Santa Ynez Valley north of Santa Barbara. There he engaged his twin fantasies of riding horses and operating a private museum devoted to the saddles, books, rifles and guns of the American west. For a boy raised in urban Oakland California, this was a charmed leap.He was born Martin Louis Paich on 23 January 1925. His earliest music lessons were on the accordion, and thereafter on the piano. By age 10 he had formed the first of numerous bands, and by age 12 was regularly playing at weddings and similar affairs. Marty first attended Cole Elementary School in Oakland. After graduating from McClymonds High School he attended a series of professional schools in music, including Chapman College, San Francisco State University, the University of Southern California, and the Los Angeles Conservatory of Music where he graduated (1951) magna cum laude with a Master's degree in composition.

His private teachers included Mario Castelnuevo-Tedesco (studying in his home at 269 South Clark, in Beverly Hills) and Arnold Schoenberg. The Gary Nottingham Orchestra provided his earliest paying work as arranger; together with Pete Rugulo he wrote some of that band's best-known charts. Paich served in the US Air Corps during World War II, there leading various bands and orchestras and helping build troop morale.From the beginning of his professional career, he also learned music in the time-honored ways: he transcribed countless tunes and charts from recordings, he attended innumerable concerts, and he sat-in on a thousand jams. And from the beginning Paich had an extraordinary ear for style, and tremendously eclectic taste. These gifts would serve him well in his career and provide the opportunity to work in an amazingly large circle of musicians.

After finishing his formal studies, Paich took a series of jobs in the Los Angeles music and recording industry. These included arranging (and playing) the score for the Disney Studio's full length cartoon film The Lady and The Tramp, working as accompanist for vocalist Peggy Lee, playing piano for the Shorty Rogers' Giants, touring with Dorothy Dandridge, and providing arrangements for many local bands in Los Angeles.During the 1950's, Paich was active in West Coast Jazz performance while also working intensively in the studios. He not only played on, but arranged and produced, numerous West Coast jazz recordings, including albums by Ray Brown, Ella Fitzgerald, Terry Gibbs, Stan Kenton, Shelley Manne, Anita O'Day, Dave Pell, Art Pepper, Buddy Rich, Shorty Rogers, and Mel Tormé. His professional and personal association with Tormé, though occasionally a difficult one, would last decades. Many jazz critics feel their work with the Marty Paich Dektette to be the high point of their respective careers.

In the 1960s, he became more active in commercial music, and extended his talents to include work for such pop musicians as Andy Williams, Al Hirt, Dinah Shore, Jack Jones, and others of that style. From the late 1960s into the mid-1970s, Paich was the studio orchestra leader for such television variety shows as The Glen Campbell Good-Time Hour, The Smothers Brothers Comedy Hour (where he replaced Nelson Riddle), and The Sonny and Cher Show. He also scored such television programs as Ironside, for which he won an Emmy Award. At this time he began serving as teacher and life-long mentor to his son David, soon to make his own reputation with the band Toto, and to become a distinguished musician in his own right. Marty Paich's work in the 1980s to 1990s built on his long-standing reputation as an artist of wide stylistic gifts, particularly in scoring for strings (he was often hired to 'sweeten' the work of other arrangers), and he received calls to work for musicians ranging from Barbra Streisand to Michael Jackson. During the same period he became active in film, often working as conductor (and on-site arranger) in a number of well-received studio projects. These films, usually scored by his student James Newton Howard, included Flatliners, For The Boys, Grand Canyon, The Package, Pretty Woman, and Prince of Tides.

In 1991 he was honored at the Dorothy Chandler Pavilion by Singers' Salute to the Songwriter, Inc., and there received the title 'Songwriter of the Year'. He also led the Los Angeles Philharmonic at the Hollywood Bowl in what would be one of Sarah Vaughan's last public appearances. In this latter period he announced a semi-retirement to his beloved ranch on Baseline Road in Santa Ynez. From this domain he worked on occasional projects, the last of which was with Aretha Franklin. He died of colon cancer on 12 August 1995, at home, surrounded by his family. Those with him at the end included his brother Tom, second wife Linda, children David and Lorrie, their children, and friends Bea, Ruth, Neal and Charles. http://www.martypaich.com/biography.html

Arranger, Conductor, Piano

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Marty Paich - The Broadway Bit

Bitrate: MP3@320K/s

Time: 35:56

Size: 82.3 MB

Styles: West Coast jazz, Piano jazz

Year: 1959/2014

Art: Front

[3:32] 1. It's All Right With Me

[3:43] 2. I've Grown Accustomed To Her Face

[4:14] 3. I've Never Been In Love Before

[6:12] 4. I Love Paris

[3:49] 5. Too Close For Comfort

[4:05] 6. Younger Than Springtime/The Surrey With The Fringe On Top

[3:38] 7. If I Were A Bell

[3:28] 8. Lazy Afternoon

[3:10] 9. Just In Time

Marty Paich (p, arr), with Frank Beach, Stu Williamson (tp), George Roberts (tb), Bob Enevoldsen (ts, v-tb), Art Pepper (as), Bill Perkins (ts), Jimmy Giuffre (bs, cl), Vince DeRosa (Frh), Victor Feldman (vib), Scott LaFaro (b), Mel Lewis (d). Recorded in Hollywood, Los Angels, on May 13, 1959.

Recorded in 1959, the mixture of show tunes with jazz standards is logical; this is a very unified set. Paich's arrangements always swing, altoist Art Pepper is well showcased, and among the other key players are Jimmy Giuffre (clarinet and baritone), vibraphonist Victor Feldman, trumpeter Stu Williamson, and Marty Paich on piano. This is fun if slightly conservative music that fits the modern mainstream of the era." ~Scott Yanow

The Broadway Bit

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Marty Paich - The Picasso Of Big-Band Jazz

Bitrate: MP3@320K/s

Time: 39:01

Size: 89.3 MB

Styles: West Coast jazz, Piano jazz

Year: 1957/1989

Art: Front

[5:54] 1. From Now On

[4:24] 2. Walkin' On Home

[5:07] 3. Black Rose

[3:59] 4. Tommy's Toon

[3:08] 5. New Soft Shoe

[3:32] 6. What's New

[5:07] 7. Easy Listenin'

[3:05] 8. Martyni Time

[4:42] 9. Nice And Easy

Marty Paich was a pianist, composer, arranger, producer, music director, and conductor. In a career which spanned half a century, he worked in these capacities for such artists as Frank Sinatra, Barbra Streisand, Sarah Vaughan, Stan Kenton, Ella Fitzgerald, Mel Tormé, Ray Charles, Aretha Franklin, Linda Ronstadt, Stan Getz, Sammy Davis Jr, Michael Jackson, Art Pepper, and a hundred others.

However, his name is essentially unknown outside professional circles. He took little interest in self-promotion, never acquired a personal agent, happily saw his business affairs managed by his capable first wife Huddy, and as soon as finances permitted decamped Los Angeles for a ranch in the Santa Ynez Valley north of Santa Barbara. There he engaged his twin fantasies of riding horses and operating a private museum devoted to the saddles, books, rifles and guns of the American west. For a boy raised in urban Oakland California, this was a charmed leap.

He was born Martin Louis Paich on 23 January 1925. His earliest music lessons were on the accordion, and thereafter on the piano. By age 10 he had formed the first of numerous bands, and by age 12 was regularly playing at weddings and similar affairs. Marty first attended Cole Elementary School in Oakland. After graduating from McClymonds High School he attended a series of professional schools in music, including Chapman College, San Francisco State University, the University of Southern California, and the Los Angeles Conservatory of Music where he graduated (1951) magna cum laude with a Master's degree in composition.

The Picasso Of Big Band Jazz

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Bob Enevoldsen - Smorgasbord

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 60:23
Size: 138,9 MB
Art: Front

(3:52)  1. Iron Works
(5:00)  2. Loaded With Bass
(5:24)  3. Topsy
(8:27)  4. Blues & Rhythm
(5:35)  5. Don't Be That Way
(2:37)  6. Ding Dong, The Witch Is Dead
(2:16)  7. Swingin' On A Star
(3:19)  8. Swinger's Dream
(2:46)  9. My Ideal
(2:27) 10. How Low The Tune
(2:39) 11. John's Jumble
(2:17) 12. You're In Love
(2:50) 13. Thinking Of You
(2:18) 14. No Time For Love
(2:34) 15. Mr. Know-It-All
(2:51) 16. Oh, Look At Me Now
(3:00) 17. Bob's Boy

Back in the early 1950s, jazz musicians were impossibly gifted. A good number not only could play their primary instrument with enormous skill and flair, they often could play quite a few others. This was particularly true on the West Coast, where studio work was abundant but your share depended largely on how many axes you could grind. If you played only the tenor sax, your odds of being called consistently for a job were slim given the competition. But if you played three or more instruments, you could find yourself recording on several sessions a day. One of these highly versatile West Coast jazz musicians was Bob Enevoldsen, who played valve trombone, tenor sax and upright bass. Born in Montana, Enevoldsen (pronounced EE-na-vold-sin) studied music in Montana, served in the army, taught music in  Salt Lake City, and moved to Los Angeles in 1951.

There, he played valve trombone and tenor saxophone with Gerry Mulligan, Shorty Rogers, Shelly Manne and Marty Paich. Soon after he arrived, he learned the bass, perhaps as a way to play with the Harry Babasin Quartet and free up bassist Babasin [pictured] to play the jazz cello.

Enevoldsen also played bass in pianist and singer Bobby Troup's groups from 1954 onward. In 1959, Enevoldsen began working in Las Vegas show bands, and became a staff and studio musician for Steve Allen's TV show from 1962-64. In the decades that followed Enevoldsen remained a steady session and freelance musician on the West Coast. Among Enevoldsen's key recordings of the 1950s are dates with the Gerry Mulligan Tentet (starting in 1953); Shorty Rogers' Shorty Courts the Count (1954); and Bud Shank and Three Trombones (1954), on which he's joined by valve-trombonists Maynard Ferguson and Stu Williamson. Enevoldsen appears on Kenton Presents Jazz: Bill Holman (1954), Russ Garcia's challenging Wigville (1955) and the Marty Paich Dek-tette studio session with Mel Torme (1956). There were singer dates with Anita O'Day and Peggy Lee (1958), as well as swinging ensemble sessions, such as Art Pepper + Eleven (1959). From 1960 onward, Enevoldsen worked on movie soundtracks and TV show themes, and recorded jazz sessions up until his death in 2005.

Perhaps Enevoldsen's finest leadership date from the mid-1950s is Smorgasbord. The album demonstrates his versatility and humor as well as his spirited arranging skills. In addition to being a highly swinging session, it's notable for the musicians who were there and the instruments they played. The recording features Enevoldsen on valve trombone and tenor sax; Marty Paich [pictured] on piano, organ and accordion; Larry Bunker on vibes and drums; Howard Roberts on guitar; Red Mitchell on bass and piano; and Don Heath on drums. Besides the terrific small-group charts by Enevoldsen [pictured], you get to hear Paich play the squeezebox, and he does quite a fabulous job (Swinging on a Star, for example). 

Also spectacular is Larry Bunker on vibes and guitarist Howard Roberts, who too often is overlooked among the crowd of jazz session guitarists in California during this period. As one of jazz's early valve-trombonists, Enevoldsen cannot be compared with Bob Brookmeyer. Bob was and continues to be spectacular, and the two artists weren't in the same league. But Enevoldsen was a solid player and arranger who found steady work playing three different instruments. And he played them with ease and grace. ~ Marc Myers http://www.jazzwax.com/2009/06/bob-enevoldsen-jazz-octopus.html

Personnel:  Bob Enevoldsen - tenor saxophone, valve trombone; Marty Paich - p, accordion, organ; Larry Bunker - vib, p, dr; Howard Roberts – g; Red Mitchell – b; Don Heath - dr

Smorgasbord

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