Illinois Jacquet - Go Power

Styles: Saxophone Jazz
Year: 1966
File: MP3@320K/s
Time: 58:12
Size: 145,2 MB
Art: Front

(7:54) 1. On A Clear Day
(6:50) 2. Illinois Jacquet Flies Again
(5:59) 3. Robbin's Nest
(5:40) 4. Watermelon Man
(6:12) 5. I Want A Little Girl
(5:08) 6. Pamela's Blues
(5:13) 7. Jan
(4:13) 8. Satin Doll(Bonus Track)
(2:21) 9. Ydeen-O (Bonus Track)
(3:07) 10. How Now? (Bonus Track)
(2:28) 11. Frantic Fanny (Bonus Track)
(3:01) 12. Stella by Starlight(Bonus Track)

Tenor-saxophonist Illinois Jacquet teams up with organist Milt Buckner and drummer Alan Dawson for this live LP that has not yet been reissued on CD. The distinctive tenor roars through "Illinois Jacquet Flies Again" and "On A Clear Day," sounds warm on "Robbin's Nest" and "I Want A Little Girl" and is heard throughout in prime form. Buckner's heavy organ sound takes a bit of getting used to (this set would have been much better if he had been on piano) but he does push Jacquet to some fiery playing. By Scott Yanow
https://www.allmusic.com/album/go-power%21-mw0000366197

Personnel: Illinois Jacquet - tenor saxophone; Milt Buckner - organ; Alan Dawson - drums

Go Power

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Jo Jones - Smiles (1969-1975)

Bitrate: MP3@320K/s
Time: 68:47
Size: 157.5 MB
Styles: Mainstream jazz
Year: 2004
Art: Front

[ 4:07] 1. Love Is Just Around The Corner
[ 5:55] 2. I Cried For You
[ 3:17] 3. A Wig On The Bold Headed Mountain
[ 2:40] 4. I Found A New Set Of Drums
[ 3:15] 5. Dinah
[ 2:34] 6. In A Little Spanish Town
[ 3:10] 7. Slide Jimmy Slide
[ 3:06] 8. The Way You Look Tonight
[ 2:49] 9. Smiles
[15:44] 10. Caravan
[ 4:04] 11. On The Sunny Side Of The Street
[ 4:57] 12. Pennies From Heaven
[ 3:51] 13. Little Miss Maudlin
[ 9:10] 14. I Found A New Chapeau

Papa Jo performed regularly in Europe and especially in France during the late 1960s through a large part of the 1970s. This album captures some of those performances as recorded by Disques Black & Blue (hence, 'The Definitive Black & Blue Sessions'.) The first ten tracks were released as Jo Jones - Caravan in 1974 by Disques Black & Blue, and dominate the album. Those tracks were recorded on 28 February 1974 at Barclay Studios in Paris, except Slide Jimmy Slide, which was recorded on 26 February in the studio, and Caravan was recorded live in Paris on January 13th 1974. Personnel on the first ten tracks are: Papa Jo Jones on drums, Major Holley on bass (except for Caravan), Gerry Wiggins on piano on all tracks except for Slide Jimmy Slide, which has Milt Buckner on piano, and Caravan, which has Milt Buckner on organ. Illinois Jacquet is on tenor saxophone on Caravan. The remaining four tracks, taken from other Paris performances between 1969 and 1975, have basically Papa Jo Jones on drums and Milt Buckner on organ.

To my ears the music is excellent and Papa Jo's drumming in superb form. If you are a drummer this album is one to study (along with Papa Jo's other work). If you are a pianist or organist, Gerry Wiggins and Milt Buckner both are worth studying especially Buckner who is credited as a pioneer of parallel chord playing.~Mike Tarrani

Smiles (1969-1975)

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Candy Johnson - Candy's Mood

Styles: Saxophone Jazz, Swing
Year: 1973
File: MP3@320K/s
Time: 65:46
Size: 152,3 MB
Art: Front

(3:23)  1. Candy's Mood
(5:57)  2. Frankie and Johnny
(4:43)  3. Freight Train
(4:30)  4. Manhattan
(6:55)  5. The Girl From Ipanema
(5:10)  6. Jersey Bounce
(5:36)  7. Cottontail
(5:18)  8. Until The Real Thing Comes Along
(4:50)  9. C.J. Blues
(5:09) 10. Tuxedo Junction (previously unreleased)
(3:22) 11. Candy's Mood (alternate takes previously unreleased)
(6:07) 12. Jersey Bounce (alternate takes previously unreleased)
(4:41) 13. Freight Train (alternate takes previously unreleased)

Ironically, this go-go dancing scenemaker of the '60s is sometimes confused with a veteran jazz saxophonist who earned the nickname "Candy" the honest way: by chewing on the stuff. Floyd "Candy" Johnson played a lot of different styles of jazz, but at the height of his career was honking out the type of material that Candy Johnson probably boogied to, including the stripper's number one favorite, the immortal "Night Train." So perhaps there was some kind of psychic connection, furthermore linked by the concept of the extended "Johnson" family in frontier legend. One might assume that the go-go dancer would have caused more trouble for the saxophonist's career than the other way around, but there were also disadvantages for the dancer. While females in general would be horrified at having their date of birth published incorrectly and a good 15 years too early, few are actually subjected to such torture. Candy Johnson the dancer was, as most career biographies state, born May 1, 1922 the day the jazz saxophonist was born. Film scholars who have seen her onscreen in any of the four Beach Party movies would handily dismiss the notion that she would have been in her forties at the time these masterpieces of cinema were shot. She had studied dance as a child and continued her studies while going to San Gabriel High in Los Angeles. The Candy Johnson Show first opened in the Safari Lounge of the El Mirador Hotel in Palm Springs, CA, in 1962, attracting standing-room only crowds for two years straight. The 1,500th show of this series was the one that was recorded live and released as Johnson's first disc, but if there was ever an example of recording technology failing to capture the full glory of the moment, then this is it. "Is there a video?" would be the inevitable question, but this was the '60s, unfortunately. Johnson took it on the road anyway, as one element of the era that worked in her favor was the repressive recording industry. Independently released "adult" vinyl on indie labels that appeared risqué was a hot property, selling quickly no matter how racy the material actually was. Backed by her Exciters, Johnson sang and danced at many resorts and nightclubs throughout the Southwest, including the Thunderbird Hotel in Las Vegas, NV. Critics tended to use the majority of their column inches to describe her movements on-stage rather than whatever it was she was doing with her vocal pipes. 

A Las Vegas newsie compared her non-stop wiggling to perpetual movement, leading to the nickname of "Miss Perpetual Motion." To nobody's surprise, the sleazy but constantly enjoyable American International Pictures came to think of her as a sizzling property, maybe to give their aging horror stars such as Vincent Price and Boris Karloff someone to ogle. Conceptually, things were coming together as she released her second album, The Candy Johnson Show at Bikini Beach, which again could never really hope to capture what went on, even if it were to come covered in sand. The movie studios were looking at the beaches, too, as settings for new films in which teenagers would cavort in their suits, interrupted by songs from popular rock bands. Plots could also be devised, if deemed necessary. The third film in the Beach Party was where Johnson made her cinematic debut, prompting one of this artist's websites to describe the resulting activity thusly: "...she actually speaks." The film also features some of the songs from her two albums, both of which were released on the artist's own label, a project that was apparently rather short-lived. The company released only the two albums and a half-dozen singles. She started the label with her agent and manager, Red Gilson, credited also as a co-writer on many songs that The Candy Johnson Show released. While her original material did not, the songs she chose to cover actually did have some range. She did a spiritual, "Swing Low," perhaps to shock or excite the sanctimonious in the crowd. She also did jazzy material, such as "Yes Sir, That's My Baby," and obvious choices such as a cover of the torrid Peggy Lee number "Fever." Based on box office receipts of the Beach Party pictures, however, some recording artists felt it was their civic duty to record cover versions of the material, including Johnson's numbers. Was there a post-Beach Party film career for this actress? Some databases credit her as appearing in the 1972 X-rated Behind the Green Door, but followers of the go-go dancer say the actress was actually Kandi Johnson. There have been reports that Johnson has joined the gaggle of exhausted country & western troupers in Branson, MO, working as a choreographer. ~ Eugene Chadbourne https://www.allmusic.com/artist/candy-johnson-mn0001850980

Personnel:  Tenor Saxophone – Candy Johnson; Drums – Michael Silva; Guitar – Clarence Brown; Organ – Milt Buckner

Candy's Mood

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Illinois Jacquet - The Soul Explosion

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

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

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

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

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

The Soul Explosion

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Buddy Tate - When I'm Blue

Bitrate: MP3@320K/s
Time: 66:32
Size: 152.3 MB
Styles: Soul jazz, Saxophone jazz
Year: 1967
Art: Front

[10:59] 1. When I'm Blue
[ 8:57] 2. Mack The Knife
[10:55] 3. Them There Eyes
[ 5:06] 4. You've Changed
[10:05] 5. Stompin' At The Savoy
[ 3:02] 6. Too Heavy Blues
[ 6:52] 7. Day By Day
[10:34] 8. Margie

Buddy is always inventive and fresh, tastefully combining the best of swing, bop, and elements of Texas tenor styles. This album stands out because these guys are extra tight with Milt Buckner on organ and Wallace Bishop on drums. When I'm Blue, a beautifully done ballad, and standards like Mack the Knife and Stompin' At The Savor are favorites.

When I'm Blue mc
When I'm Blue zippy

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Milt Buckner - New World Of Milt Buckner

Styles: Jazz, Post Bop
Year: 1963
File: MP3@320K/s
Time: 39:25
Size: 91,1 MB
Art: Front

(3:50)  1. Misty
(4:04)  2. All Blues
(4:10)  3. I Left My Heart In San Francisco
(4:22)  4. Fever
(2:40)  5. Why Don't You Do Right
(4:07)  6. Moon River
(3:57)  7. Fly Me To The Moon
(3:29)  8. Pick Yourself Up
(3:26)  9. Kansas City
(5:17) 10. Take Five

Milt Buckner, the "St. Louis Fireball," is generally credited with having popularized the Hammond organ during the early 1950s. First introduced in 1934, the instrument was immediately seized upon by Thomas "Fats" Waller, whose syncopated pipe organ records of 1926-1929 form the primal bedrock of the jazz organ tradition. Although the Hammond was also used periodically by Waller's friend Count Basie, Buckner rekindled interest in the organ some seven years after Waller's demise as his exuberant, boogie-based approach to the instrument added exciting new textures to the burgeoning R&B scene, inspiring a whole new generation of organists and ultimately endearing him to mainstream jazz audiences everywhere. Buckner, who also played vibraphone and valve trombone, enjoyed unprecedented success during the final phase of his career, which consisted of mostly European adventures that began in 1966 and ended abruptly with his death in 1977 at the age of 62. Milton Brent Buckner was born in St. Louis on July 19, 1915. His little brother Ted, who should not be confused with their distant relative, Texas born trumpeter Teddy Buckner, was destined to become a saxophonist with the Jimmie Lunceford Orchestra (where he actually recorded with Teddy in 1939) and an R&B and Motown sessionman. Milt's parents, who encouraged him to learn to play piano, both died when he was nine years old. The two orphans were sent to Detroit where they were adopted by members of the Earl Walton Orchestra; Milt studied piano from age ten to thirteen with his uncle John Tobias (Walton's trombonist), and began writing arrangements for the band at the age of fifteen. While studying at the Detroit Institute of Arts he performed with Mose Burke & the Dixie Whangdoodles and the Harlem Aristocrats. After drummer and bandleader Don Cox hired him in 1932, Buckner began to develop a uniquely percussive technique employing parallel tonal patterns, later referred to as "block chords," a style now associated with Oscar Peterson and George Shearing. During the '30s Buckner also worked in groups led by Jimmy Raschelle, Lanky Bowman, and Howard Bunts. His first big break came in 1941 when he became Lionel Hampton's staff arranger and assistant director. His predilection for rocking rhythms and boogie-woogie fit nicely with Hamp's approach to entertainment. Buckner worked with Hampton during the years 1941-1948 and 1950-1952.

Buckner's earliest recordings survive as a set of piano solos etched into Presto transcription acetates cut on the last day of August 1941. His next appearance in a studio was as a member of a small group led by Lionel Hampton backing young Dinah Washington on her recording debut in December 1943; these feisty, blues based performances were made available to the public on Harry Lim's Keynote label. In 1945 Buckner made records with saxophonist Herbie Fields, Ellington crooner Herb Jeffries and R&B shouter Wynonie Harris, including Harris' smash hit, a cover of Lionel Hampton and Curley Hamner's highly successful "Hey! Ba-Ba-Re-Bop." In 1946 he made the first of a series of recordings with a group variously billed as the Beale Street Boys, the Beale Street Gang, and the Hot Shots. Over the next three years Buckner led a series of dates for the Savoy label. In 1949 he made records with a big band for MGM, sat in on an Eddie Condon Floorshow with drummer Buddy Rich and tap-dancer Baby Laurence on NBC TV, and conducted Teddy Stewart's Orchestra behind Dinah Washington on a date for Mercury records. In 1950 Buckner recorded with the Three Flames for MGM, with singer Florence Wright for National, with Wynonie Harris for Vogue records, with Rufus Thomas ("Mr. Swing") for the Bullet label in Memphis, and with vocalist Mabel Scott and saxophonists Eddie "Cleanhead" Vinson, Buddy Tate and Wild Bill Moore for King. It was during the Moore session that Buckner first switched from piano to organ. He trundled it out again in Houston TX during the spring of 1952 while backing vocalist Sonny Parker with Gladys Hampton's Blue Boys for Peacock records. Milt recorded for the Scooter, Regent and Brunswick labels, and jammed with saxophonist Charlie Parker in 1953 at the bandbox in New York City. He sat piano for the Imperials (with Willie Dixon playing bass) on a Great Lakes session that took place in Detroit during the spring of 1954. Buckner also visited Philadelphia over the summer to record a few tunes with guitarist Big Ham Williams and drummer Sam Woodyard which were issued on 20th Century records, a subsidiary of the Gotham label.

Milt Buckner was a Capitol recording artist from April 1955 through July 1957, sharing the studio with saxophonists Earle Warren and Sam Taylor, guitarists Everett Barksdale and Skeeter Best, bassist Milt Hinton and drummers Osie Johnson and Shadow Wilson. He taped his first Argo LP in New York in December 1959 with guitarist Kenny Burrell and bassist Joe Benjamin. More Argo sessions came together in Chicago in 1960 and 1961, and he had dealings with the Bethlehem label in Cincinnati in 1962 and 1963. In March 1966 a performance with saxophonist Illinois Jacquet was taped live at Lennie's on the turnpike in West Peabody, MA and subsequently released on the Cadet label. Like many U.S. jazz musicians who struggled at home and did better abroad, Milt Buckner clearly preferred the cultural and vocational climate in Europe. Over the 11 years that remained in his life, he only returned to North America for brief concert and club bookings -- five times to the U.S. and twice to Canada. Beginning in 1966 with his first Parisian session in the company of Illinois Jacquet and trumpeter Roy Eldridge, Buckner's discography indicates a more stable working environment involving skilled musicians and appreciative audiences. Milt Buckner's final decade of professional activity is mostly measured in recordings issued on the Black & Blue label, with the exception of a few Prestige, Jazz Odyssey and Riff releases.

Buckner made music in Paris, Villingen, Boulogne, Cologne, Antwerpen, Lausanne, Biarritz, Barcelona, Toulouse, London, Herouville, Valauris, Besancon, Geneva, Salon, Yverdon, Nice, Scheveningen and Leiden. His session mates included multi-instrumentalist Clarence "Gatemouth" Brown, trumpeters Buck Clayton, Joe Newman, Johnny Letman and Bill Coleman; trombonist Gene "Mighty Flea" Connors; saxophonists Ben Webster, Candy Johnson, Eddie Chamblee, Hal Singer, Lucky Thompson, Big Nick Nicholas, Marcel Zanini, Guy Lafitte, Arnett Cobb, Buddy Tate, Eddie "Lockjaw" Davis and Illinois Jacquet; pianists André Persiany, Jean-Paul Amouroux and Jay McShann; guitarist Al Casey; bassists Milt Hinton, Major Holley and Roland Lobligeois as well as vocalists Jodie Drake, Little Mary Anglade and Big Joe Turner. Buckner's last studio session took place in Paris on July 4, 1977. Three weeks later, on Wednesday July 27, he collapsed and died after setting up his Hammond organ in preparation for a performance with Illinois Jacquet at the Jazz Showcase in Chicago. ~ arwulf arwulf https://www.allmusic.com/artist/milt-buckner-mn0000489843/biography

Personnel:  Gene Redd vibraphone;  Milt Buckner organ;  Bill Willis bass;  Phil Paul drums

New World Of Milt Buckner

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Milt Buckner - Mighty High

Styles: Jazz, Post Bop

Year: 1960

File: MP3@320K/s

Time: 58:33

Size: 134,1 MB

Art: Front

( 2:45)  1. Mighty  High

( 2:24)  2. Teach Me Tonight

( 7:07)  3. Abstraction

( 4:37)  4. Two Flights Up

( 3:41)  5. After Hours

( 3:18)  6. D.T.'s

( 1:41)  7. Organ Grinder's Swing

( 2:47)  8. Willow Weep For Me

( 4:52)  9. Burnt Out

( 2:40) 10. Syncopated Clock

( 3:08) 11. Castle Rock

( 2:47) 12. Haunting Me

Understatement was always Milt Buckner's strong suit, and Mighty High plays beautifully to those strengths, pairing the organist with guitarist Kenny Burrell, bassist Joe Benjamin, alto saxophonist Jimmy Campbell, and drummer Maurice Sinclair to create a collection of short, simple, and sweet jazz tunes energized by the wonderful rapport of the assembled players. Unlike fellow Hammond B-3 maestros like Jimmy Smith, Buckner clearly savors the group dynamic, eschewing theatrics in favor of brief yet effective solos that never attract attention away from the groove. The music crackles with collaborative energy, drawing its strength from numbers. ~ Jason Ankeny https://www.allmusic.com/album/mighty-high-mw0000878741

Personnel:  Organ – Milt Buckner;  Guitar – Kenny Burrell;  Alto Saxophone – Jimmy Campbell;  Bass – Joe Benjamin;  Drums – Maurice Sinclair

Mighty  High

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Illinois Jacquet - The Comeback

Styles: Saxophone Jazz
Year: 1971
File: MP3@320K/s
Time: 42:26
Size: 97,4 MB
Art: Front

( 5:38)  1. The King
( 4:26)  2. Easy Living
( 8:03)  3. C Jam Blues
( 5:25)  4. The Comeback
(10:19)  5. Take The Train
( 8:33)  6. I Wanna Blow Now

This is a particularly interesting if not essential set by tenor saxophonist Illinois Jacquet. While Jacquet is in superior form (and does a suprisingly effective imitation of Ella Fitzgerald singing on the humorous "I Wanna Blow Now") and drummer Tony Crombie is fine in suport, the most dominant member of the trio is organist Milt Buckner. His "accompaniment" of Jacquet is often roaring and thunderous, sounding like two big bands at once. The trio, which also explores "The King" (Jacquet's feature in the 1940s with Count Basie), "Easy Living," "C Jam Blues," Jacquet's "The Comeback" and "Take the 'A' Train," is a bit out-of-balance and it is a pity that Buckner could not have played a bit of piano or at least let up a little.~Scott Yanow http://www.allmusic.com/album/the-comeback-mw0000075924

Personnel: Illinois Jacquet (tenor saxophone, vocals), Milt Buckner (organ), Tony Crombie (drums).

The Comeback

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Milt Buckner - Rockin' With Milt (2-Disc Set)

Milt Buckner's Hammond organ sound is quite different than others who followed in his footsteps. His choppy two-hand chord approach, thorny and biting sound, and his regular usage of a bass player identified him as a raw industrialist, coming from the Midwest hearths of St. Louis and Detroit. Buckner has largely been ignored as a pioneer of the organ in the '50s, so this reissue of his recordings for the Capitol label -- Rockin' with Milt, Rockin' Hammond, and Send Me Softly, plus five tracks from 7" EPs -- should reinforce why he was an important purveyor of the primordial soul-jazz movement. Buckner came out of the swing era as a pianist and sometimes cocktail lounge performer who was able to straddle the line between popular sounds of the day and more riveting and substantive jazz. The title Rockin' with Milt is apropos, as these tunes establish the rhythm & blues based beat that Elvis Presley, Bill Haley, and Chuck Berry turned into the seminal rock & roll that took over popular and dancehall music. The saxophonists who work with Buckner on these individual sessions are interesting picks, considering where their careers eventually landed. Danny Turner was a New York based alto and tenor saxophonist and a favorite of Sarah Vaughan and Count Basie, ex-Basie sax section stalwart Earle Warren's vibrato flavored alto was favorably compared to Earl Bostic, while tenor saxophone honker "Sam "The Man" Taylor" was well known in blues circles, also accompanying Cab Calloway, Louis Jordan, and Ray Charles, but could swing with the best. Tracks from the Rockin' with Milt sessions feature bassist Wendell Marshall and Duke Ellington drummer Sam Woodyard, including four Buckner originals like the R&B based "Movin' with Mitch," the fleet "Slaughter on 125th Street," and the cute unison organ/sax tune "Little Miss Maudlin." Boppers like the speedy "Bernie's Tune" and the easygoing "Robbins Nest" are hardcore classics. Overdubbing piano and organ, Buckner uses only guitarists and bass/drums rhythm mates for the stomping "Hey Now, Zorina!," and originals like the keyboards calling back and forth to each other on "Count's Basement," the shuffling "Wild Scene" and well after midnight "Mighty Low." Warren enters with pronounced, bent, flatted notes on Ahmad Jamal's "Night Mist" and the lovely, romantic "Dinner Date." Sam "The Man" Taylor and plucky guitarist Skeeter Best drench champagne and chocolate respectively over the bluesy melodies of "Good Time Express" and the jive "Second Section." The sessions from the Send Me Softly LP are distinctly more cocktail or martini induced than ale or stout, with some light calypso, cha cha, nonchalant background music, and themes of regret or loneliness. "All or Nothing at All" is a mysterious and unique Latin treatment of this standard, while Warren's somber reading of "Lullaby of the Leaves" will leave you breathless. "Our Engagement Day" is a sentimental theme that nuptials should discover.

Master bassist Milt Hinton is all over the second CD, and provides a good study in supportive rhythm and swing for those learning the idiom. Aside from the contrasts of tinkling piano as opposed to stabbing organ chords on "One O'Clock Jump," or the slow and slinky "Blue & Sentimental," Buckner is regular and predictable for those who know his work. If you are unfamiliar with Buckner's style, surprises abound, especially considering how his Hammond sound would preclude the more legato Wurlitzer or Farfisa sonic palate that was too slow for jazz improvisation in the '60s. As there are too few Milt Buckner recordings in contemporary catalogs, this is as close to his essential period as is available. ~Michael G. Nastos

Album: Rockin' With Milt (Disc 1)
Bitrate: MP3@320K/s
Time: 50:14
Size: 115.0 MB
Styles: Hammond B3 jazz
Year: 1955/2011

[2:46] 1. Movin' With Mitch
[5:10] 2. Lean Baby
[2:52] 3. Bernie's Tune
[2:16] 4. Easy To Love
[2:56] 5. Rockin' With Milt
[2:47] 6. Blues For Me
[5:34] 7. Robbin's Nest
[2:02] 8. Slaughter On 125th Street
[2:23] 9. Little Miss Maudlin
[2:42] 10. Take The 'A' Train
[2:15] 11. Hey Now, Zorina!
[2:02] 12. Deep Purple
[3:06] 13. Count's Basement
[2:50] 14. Wild Scene
[2:24] 15. We'll Be Together Again
[3:33] 16. The Late, Late Show
[2:28] 17. The Beast

Rockin' With Milt (Disc 1)

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Album: Rockin' With Milt (Disc 2)
Bitrate: MP3@320K/s
Time: 55:32
Size: 127.1 MB
Styles: Hammond B3 jazz
Year: 1955/2011
Art: Front

[2:26] 1. Jumpin' At The Woodside
[2:21] 2. Blue And Sentimental
[2:49] 3. Mighty Low
[2:38] 4. One O'clock Jump
[2:23] 5. Jumpin' At The Zanzibar
[2:32] 6. When You Wish Upon A Star
[2:14] 7. Night Mist
[2:38] 8. Good Time Express
[2:21] 9. Dinner Date
[2:11] 10. Second Section
[3:04] 11. Lullaby Of The Leaves
[2:37] 12. Easy Come, Easy Go Lover
[2:06] 13. Turquoise
[2:23] 14. Our Engagement Day
[2:19] 15. Let Me Love You
[2:55] 16. When Sunny Gets Blue
[2:33] 17. All Or Nothing At All
[3:09] 18. You're My Girl
[2:52] 19. Someone Else's Love
[2:07] 20. Irresistible You
[2:37] 21. Idle Gossip
[2:05] 22. You Are My Love

Rockin' With Milt (Disc 2)

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Illinois Jacquet - Jacquet's Street

Bitrate: MP3@320K/s
Time: 51:33
Size: 118.0 MB
Styles: Bop, Saxophone jazz
Year: 1976/2008
Art: Front

[ 7:43] 1. Rock A Bye Basie
[ 3:57] 2. Don't Blame Me
[ 7:02] 3. Baptiste Blues
[ 4:39] 4. Jacquet's Street
[10:01] 5. Broadway
[ 4:01] 6. Don't Blame Me
[ 6:17] 7. (Back Home Again In) Indiana
[ 7:50] 8. Taps Miller

This is a consistently inspired sextet date featuring the great tenor Illinois Jacquet. Released by the French Black & Blue label and made available in the U.S. by the now-defunct Classic Jazz on an LP, the set teams Jacquet with complementary mainstream players: trumpeter Francis Williams, trombonist Al Cobbs, pianist Milt Buckner, bassist George Duvivier and drummer Oliver Jackson. Jacquet and his sidemen put plenty of spirit into basic jam tunes including "Rock A Bye Basie," "Broadway' and "Taps Miller," coming across like a small-group from Count Basie's Orchestra. Fun and swinging music. ~Scott Yanow

Jacquet's Street

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Jay McShann, Milt Buckner - Kansas City Memories

Bitrate: MP3@320K/s
Time: 55:28
Size: 127.0 MB
Styles: Piano blues-jazz
Year: 1973/2008
Art: Front

[5:54] 1. Vine Street Boogie
[4:00] 2. Cherry Red
[4:32] 3. Milt Jay Bird
[5:52] 4. Yardbird Waltz
[5:37] 5. My Chile
[4:31] 6. Hot Biscuits
[4:23] 7. 'tain't Nobody's Bizness If I Do
[4:16] 8. Doo Wah Doo
[4:35] 9. Funky K.C
[6:20] 10. Please Mister Mcshann
[5:23] 11. Honeysuckle Rose

Jay McShann and Milt Buckner join forces for this CD compilation of two earlier Black & Blue LPs recorded in the early 1970s. While McShann is indelibly associated with both blues and boogie-woogie, Buckner is better known as the swing pianist and organist who popularized the locked-hands style of playing adopted by many later keyboardists. Unfortunately, these sessions aren't nearly as successful, since the two players don't really complement one another's playing all that well. That's not to say the music (which primarily consists of originals by McShann) isn't enjoyable. Buckner seems more at home on organ in the up-tempo blues "My Chile," which also adds guitarist Clarence "Gatemouth" Brown, and tenor saxophonist Arnett Cobb. Buckner returns to piano for the soulful "T'ain't Nobody's Business If I Do," with Al Casey taking over on guitar. But the sessions clearly would have worked even better had McShann been the sole pianist. ~Ken Dryden

Kansas City Memories

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Al Casey - Jumpin' With Al

Bitrate: MP3@320K/s
Time: 57:40
Size: 132.0 MB
Styles: Guitar jazz
Year: 1974/2007
Art: Front

[5:41] 1. Rosetta
[7:13] 2. Willow Weep For Me
[5:39] 3. One Woman's Man
[4:20] 4. I'm Beginning To See The Light
[3:47] 5. Pousse-Café
[6:52] 6. Just You, Just Me
[9:42] 7. If You Ain't K
[6:33] 8. I Wish I Knew
[4:13] 9. I'm Beginning To See The Light
[3:36] 10. Pousse-Café (Take 2)

Best known as Fats Waller's guitarist in the 1930s, Al Casey has played for many decades since that time. On this reissue CD, Casey had his first opportunity to lead his own record date in 13 years. Seven performances (including a previously unreleased number and two new alternate takes) match Casey in a quartet with pianist Jay McShann, bassist Roland Lobligeois, and drummer Paul Gunther; "Rosetta" and two versions of "I'm Beginning to See the Light" are most memorable. The other three numbers (which include "Just You, Just Me" and "I Wish I Knew") have Casey, tenor saxophonist Arnett Cobb, pianist Milt Buckner, Lobligeois, and drummer Michael Silva joined by the tap dancing of Jimmy Slide. All in all, this set does jump a lot and is a fine example of 1940s-style small group swing that looks toward early R&B. ~Scott Yanow

Jumpin' With Al

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Milt Buckner - Locked Hands

Size: 100,9 MB
Time: 42:06
File: MP3 @ 320K/s
Released: 1968/2015
Styles: Jazz
Art: Front

01. Glady's Dance (4:28)
02. Jersey Bounce (5:48)
03. Blues For Anita (4:00)
04. Willi's Blues (5:10)
05. Sunny (4:51)
06. Jitterbug Waltz (5:32)
07. Lil' Darlin' (6:10)
08. Honeysuckle Rose (6:03)

Personnel:
Bass – Jimmy Woode Jr.
Drums – Kenny Clare
Organ – Milt Buckner
Piano – Milt Buckner

Pianist-organist Milt Buckner originated the “locked hands” technique in which parallel lines are played as two-handed “block” chords. The style has been emulated by his and future generations from George Shearing to Oscar Peterson and beyond. From 1941-1948, then again in the early 50’s, Buckner worked as arranger and director for jazz giant Lionel Hampton’s band. He was also instrumental in bringing the Hammond organ into modern popular music. From 1966 until his death in 1977 Bruckner spent most of his time in Europe. For French critic André Hodeir, “Bruckner must surely belong to the front line of pianists along with Earl Hines, Fats Waller, and Teddy Wilson.”

Locked Hands is the second of the MPS Milt Buckner trio albums. Ellington bassist Jimmy Woode is back, and English drummer Kenny Clare takes over Jo Jones’ seat. This set has the particular pleasure of Buckner playing four pieces on piano and four on organ. Glady’s Dance displays Buckner’s inimitable “locked hands” technique, with piano bass and drums trading fours and eights on the way back to the theme. Jersey Bounce, the WWII hit that Benny Goodman brought to #1 on the charts, is taken on in like manner. The Bruckner original Blues for Anita, a slow blues with a swinging 3/4 feel to the beat, is a real crowd pleaser replete with wolf whistles and lots of ahs and ohs, whereas Willi’s Blues is taken at a medium tempo. Buckner plays the bluesy classic Sunny with a relaxed swing on organ, and takes stride master Fats Waller’s Jitterbug Waltz at a fast clip, with a hip organ solo on this surprisingly modern-sounding piece. After a theme-driven organ solo on the popular ballad Lil’ Darlin’, Buckner takes on another Waller classic, Honeysuckle Rose, at the perfect bouncy tempo. It’s clear they’re having fun by their background exclamations; it’s big fun for the listener too.

Locked Hands

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Arnett Cobb - Deep Purple: The Definitive Black & Blue Sessions, Toulouse, France 1973

Size: 117,3 MB
Time: 50:35
File: MP3 @ 320K/s
Released: 2002
Styles: Jazz
Art: Front

01. Deep Purple (8:12)
02. Claude Of Mine (6:34)
03. Cobb's Blues (9:09)
04. Swannee River (7:42)
05. Cobb's Boogie (5:57)
06. Willow Weep For Me (8:12)
07. Light Like That (4:45)

Featuring Milt Buckner, Clarence 'Gatemouth' Brown and Michael Silva.

Cobb was born Arnette Cleophus Cobbs in Houston, Texas. His musical career began with the local bands of Chester Boone, from 1934 to 1936, and Milt Larkin, from 1936 to 1942 (which included a period on the West Coast with Floyd Ray). He replaced Illinois Jacquet in Lionel Hampton’s band in 1942, staying with Hampton until 1947.

Cobb then started his own seven-piece band, but suffered a serious illness in 1950, which necessitated spinal surgery. Although he re-formed the band on his recovery, in 1956 its success was again interrupted, this time by a car crash. This had long term effects on his health, involving periods in hospital, and making him permanently reliant on crutches; nevertheless, Cobb worked as a soloist through the 1970s and 1980s in the U.S. and Europe.

Deep Purple

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Milt Buckner, Hal Singer - Milt & Hal

Bitrate: MP3@320K/s
Time: 62:08
Size: 142.2 MB
Styles: R&B-Jazz
Year: 2008
Art: Front

[7:00] 1. Milt & Hal
[6:14] 2. Time For Dreams
[3:52] 3. Ghost Of A Chance
[7:12] 4. There's A Small Hotel
[4:28] 5. Nancy With The Laughing Face
[8:19] 6. The Blues Is Mine
[7:57] 7. Milt & Hal (Take 3)
[4:33] 8. Pick Yourself Up
[4:26] 9. Little Miss Maudlin
[8:02] 10. There's A Small Hotel (Take 1)

This is really an album led by tenor saxophonist Hal Singer, which accounts for the generous amount of R&B in the music. Not that Milt Buckner was moving it in the other direction because Buckner was comfortable in a number of musical settings including jazz, jump blues, and R&B. The pairing of Singer and Buckner gives this album a nice flavor as evidenced by the sound samples.

Other members of the ensemble are John Letman on trumpet and Tiny Grimes on guitar. Letman was also a session leader because his album, A Funky Day In Paris, was also being recorded during the same sessions and the entire ensemble appears on both. Having the great Tiny Grimes on guitar is pure icing on a rather delicious cake. ~Mike Tarrani

Milt & Hal

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Milt Buckner & His Alumni - Paris & Toulouse 1976

Bitrate: 320K/s
Time: 64:30
Size: 147.7 MB
Styles: Piano/Organ jazz
Year: 1976/2008
Art: Front

[5:30] 1. Hamp's Boogie Woogie
[4:13] 2. Hey Ba Be Re Bop
[6:24] 3. Where Or When
[4:33] 4. Pour Toutes Mes Soeurs
[5:56] 5. Encore Flying Home
[2:58] 6. Sleep
[2:56] 7. Million Dollar Smile
[6:33] 8. King Porter Stomp
[5:22] 9. A Ghost Of A Chance
[3:26] 10. Milt's Boogie Woogie
[4:16] 11. Bill Bailey, Won't You Please Come Home
[4:45] 12. Margie
[7:29] 13. Green Onions

Milt Buckner , Wallace Davenport , Earl Warren , Arnett Cobb , Eddie Chamblee , Francis Panama.

A colorful and versatile musician who was comfortable while on the piano, or stretching out on the Hammond organ. Milt Buckner was also quite the character and very much the jovial entertainer. Orphaned as a child, Buckner was taught music by an uncle in Detroit. He started playing piano and arranging for local bands such as The Harlem Aristocrats and The Dixie Whangdoodles - by the late 1920s. After joining drummer Don Cox's band in 1932, Buckner began experimenting with patterned parallel chords, becoming famous as the earliest purveyor of what came to be known as “block chords” or “locked hands” style;, he then attracted the attention of McKinney's Cotton Pickers in 1934 for whom he wrote arrangements.

Buckner continued working with the local Detroit groups of Don Cox and Jimmy Raschel, until he joined Lionel Hampton's big band as pianist and arranger in November 1941, acting as pianist and staff arranger, and remained there for seven years, where his recorded arrangements included “Tempo's Birthday,” “Slide Hamp Slide,” “Overtime,” “Rockin' In Rhythm,” and the perennial “Hey! Ba-Ba-Re-Bop,” and “Hamp's Boogie Woogie.” Hamp's free-wheeling orchestra suited Milt admirably; the on-stage histrionics, the jump and swing repertoire and the musical and visual appeal of the band fit his charact er like a glove. While with Hampton, Milt broke away sporadically to pursue his own career on Savoy Records from 1946 to 1948, after getting an early taste recording a lone side under his own name for Hamp's Hamp-Tone label. Recording with a small quartet or quintet, he achieved sufficient success to quit Hamp's band in 1948 at which time Milt quickly formed his own orchestra which recorded for MGM Records. Around this time that Buckner began to concentrate on playing organ, and he worked as a solo or in harness with Jo Jones, Sam Woodyard and Illinois Jacquet, frequently returning to Hampton for record and concert dates.

Milt returned to Hampton in 1950 for another two years during which time he switched from piano to organ - after being influenced by Wild Bill Davis' playing on Louis Jordan's “Tamburitza Boogie” - an instrument he was largely to stick with for the rest of his life. As a jazz organist he recorded for Regent (1952), Scooter (1952-53), Brunswick (1953), Capitol (1955-57), Argo (1959-61) and Bethlehem (1962-63) before recording extensively in Europe throughout the 1960s and 1970s for the likes of Black & Blue, whe re he was the resident session man for visiting musicians. He also did recordings for MPS and Jazz Odyssey. With the rise of the international jazz festival scene in the 1960s, he began to tour extensively. He died in 1977 shortly after setting up his organ for a live performance with his old buddy Illinois Jacquet at Jazz Showcase. He was just 62. ~James Nadal

Paris & Toulouse 1976

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Illinois Jacquet - Bottoms Up

Bitrate: 320K/s
Time: 72:07
Size: 165.1 MB
Styles: Saxophone jazz
Year: 1974/2007
Art: Front

[ 5:13] 1. Bottoms Up
[ 5:46] 2. One O'clock Jump
[ 5:54] 3. One O'clock Jump (alt)
[ 4:52] 4. If You Knew What It Does To My Heart
[ 5:21] 5. On The Sunny Side Of The Street
[ 4:32] 6. On The Sunny Side Of The Street (alt 1)
[ 7:15] 7. Africa Now
[ 6:20] 8. Jacquet's Boogie Woogie
[ 5:21] 9. Jammin For D. S
[10:09] 10. Blues Funk For Bill Marlowe
[ 6:00] 11. All The Things You Are
[ 5:20] 12. On The Sunny Side Of The Street (Alt 2)

There are two albums called Bottoms Up and they are frequently confused including on Allmusic and Amazon. Jacquet recorded an album called Bottoms Up for Prestige in 1968. On The Sunny Side Of The Street isn't on that album. This Bottoms Up was recorded for the French label Black & Blue in 1974 with Milt Buckner on organ, Roland Lobligeois on bass and Jo Jones on drums. Black & Blue re-released it on CD in 2000 with bonus alternate take. Illinois Jacquet continued to tour and record occasionally until his death on July 22, 2004 at age 81.

Bottoms Up

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