Wild Bill Davis, Johnny Hodges - Con-Soul and Sax

Styles: Post Bop, Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 36:59
Size: 85,3 MB
Art: Front

(3:47)  1. On the Sunny Side of the Street
(3:15)  2. On Green Dolphin Street
(4:10)  3. Lil' Darlin'
(4:52)  4. Con-Soul and Sax
(2:30)  5. The Jeep Is Jumpin'
(3:25)  6. I'm Beginning to See the Light
(4:01)  7. Sophisticated Lady
(4:25)  8. Drop Me Off In Harlem
(3:21)  9. No One
(3:09) 10. Johnny Come Lately

Con-Soul & Sax is an album by American jazz saxophonist Johnny Hodges and organist Wild Bill Davis featuring performances recorded in 1965 and released on the RCA Victor label. The title is a play on words based on the term "console organ", a term used by the Hammond organ company to describe the type of organs favored by Davis. https://en.wikipedia.org/wiki/Con-Soul_%26_Sax

Personnel:  Wild Bill Davis - organ; Johnny Hodges - alto saxophone; Dickie Thompson, Mundell Lowe - guitar; Milt Hinton, George Duvivier - double bass; Osie Johnson - drums

Con-Soul and Sax

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Mundell Lowe - Blues for a Stripper

Styles: Guitar Jazz
Year: 2021
File: MP3@320K/s
Time: 31:18
Size: 73,6 MB
Art: Front

(3:30) 1. Blues for a Stripper
(3:25) 2. From Mundy On
(2:15) 3. Montage
(3:33) 4. Coffee, Coffee
(3:41) 5. The Lost and the Lonely
(2:28) 6. Pattern of Evil
(3:30) 7. Satan in High Heels
(2:54) 8. East Side Drive
(3:33) 9. Lake in the Woods
(2:25) 10. The Long Knife

The music on this big-band date led by guitarist Mundell Lowe has a somewhat confusing history, since it was initially released as the soundtrack to the low-budget film Satan in High Heels and later reissued as Blues for a Stripper. The ten originals are written, arranged, and conducted by Lowe, with a formidable all-star big band that includes Phil Woods, Clark Terry, Jimmy Cleveland, Joe Newman, Al Cohn, Oliver Nelson, and Eddie Costa.

His brief sketches are enjoyable, running the gamut of bop, hard bop, cool, and swing, though none of them makes a lasting impression. Sadly, none of the soloists is identified and the solos are too brief to make it obvious who is playing, though Costa takes several excellent solos on vibes. This LP, issued on the Charlie Parker label, is a bit of an obscurity that is worth searching for. By Ken Dryden
https://www.allmusic.com/album/blues-for-a-stripper-mw0000350724

Personnel: Alto Saxophone – Phil Woods; Baritone Saxophone – Gene Allen, Sol Schlinger; Bass – George Duvivier; Drums – Ed Shaughnessy; Guitar – Mundell Lowe; Piano, Vibraphone – Eddie Costa; Saxophone – Al Cohn, Al Klink, Ray Beckenstein, Walter Levinsky; Saxophone, Flute – Walter Levinsky; Tenor Saxophone – Al Cohn, Oliver Nelson; Trombone – George "Buster" Cooper*, Jimmy Cleveland, Urbie Green; Trumpet – Bernie Glow, Clark Terry, Carl Severinsen*, Ernie Royal, Joe Newman

Blues for a Stripper

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Mundell Lowe - Guitar Moods

Styles: Guitar Jazz
Year: 1956
File: MP3@320K/s
Time: 33:14
Size: 77,4 MB
Art: Front

(2:39) 1. Speak Low
(2:07) 2. We'll Be Together Again
(3:48) 3. Memories Of You
(3:02) 4. Ill Wind
(3:08) 5. You Don't Know What Love Is
(2:18) 6. I Dream Too Much
(2:54) 7. June In January
(1:53) 8. I'll Take Romance
(4:11) 9. It's So Peaceful In The Country
(1:54) 10. Our Waltz
(2:09) 11. I'm Old Fashioned
(3:06) 12. Goodbye

This is very much a chamber jazz set. Mundell Lowe plays "Our Waltz" as an unaccompanied guitar solo and his trio with bassist Trigger Alpert and drummer Ed Shaughnessy is joined by either Al Klink or Phil Bodner on various woodwinds during seven of the 11 other selections.

The bass clarinet, flute, oboe, and English horn are quite atmospheric, adding to the beauty of the ballads. The brevity of the individual selections is understandable but it is unfortunate that this CD reissue is only 32 and a half minutes long, for what is here is quite memorable. Guitar Moods, which lives up to its name, is recommended anyway. By Scott Yanow
https://www.allmusic.com/album/guitar-moods-mw0000655549

Personnel: Mundell Lowe - guitar; Al Klink - bass clarinet, flute (tracks 1, 4, 9); Phil Bodner - oboe, English horn (tracks 3, 6, 7, 12); Trigger Alpert - bass; Ed Shaughnessy - drums

Guitar Moods

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Chris Connor - Chris Craft

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 37:42
Size: 88,4 MB
Art: Front

(3:18)  1. Moonlight in Vermont
(2:15)  2. Blow, Gabriel, Blow
(3:40)  3. Here Lies Love
(3:05)  4. Be a Clown
(3:57)  5. Good for Nothin' (But Love)
(2:45)  6. On the First Warm Day
(2:11)  7. Chinatown My Chinatown
(2:44)  8. One Love Affair
(3:25)  9. The Night We Called It a Day
(2:02) 10. Johnny One Note
(3:54) 11. Lover Man
(4:20) 12. Be My All

Along with June Christy, Helen O'Connell, and Julie London, Chris Connor epitomized cool jazz singing in the 1950s. Influenced by Anita O'Day, the torchy, smoky singer wasn't one for aggression. Like Chet Baker on the trumpet or Paul Desmond and Lee Konitz on alto sax, she used subtlety and restraint to their maximum advantage. At the University of Missouri, Connor (who had studied clarinet at an early age) sang with a Stan Kentonish big band led by trombonist Bob Brookmeyer before leaving her native Kansas City for New York in 1947. Quite appropriately, she was featured in the lyrical pianist Claude Thornhill's orchestra in the early '50s. After leaving Thornhill, Connor was hired by Kenton at Christy's recommendation, and her ten-month association with him in 1952-1953 resulted in the hit "All About Ronnie." Connor debuted as a solo artist in 1953, recording three albums for Bethlehem before moving to Atlantic in 1955 and recording 12.

Connor reached the height of her popularity in the 1950s, when she delivered her celebrated versions of Billy Strayhorn's "Lush Life" and George Shearing's "Lullaby of Broadway," and recorded such excellent albums as The Rich Sound of Chris Connor and Lullabies of Birdland for Bethlehem and Chris Craft and Ballads of the Sad Cafe for Atlantic. Connor made a poor career move in 1962, the year she left Atlantic and signed with a label her manager was starting, FM Records  Connor had recorded only two albums for FM when they folded. Connor's recording career was rejuvenated in the 1970s, and she went on to record for Progressive, Stash, and Contemporary in the '70s and '80s. Connor maintained a devoted following in the 1990s and continued to tour internationally.By Alex Henderson
https://www.allmusic.com/artist/chris-connor-mn0000776337/biography

Personnel:  Chris Connor - vocals; Stan Free - piano, arranger;  Mundell Lowe - guitar;  Ed Shaughnessy - drums

Chris Craft

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Mundell Lowe - A Grand Night For Swinging

Styles: Guitar Jazz
Year: 1957
File: MP3@320K/s
Time: 37:59
Size: 88,0 MB
Art: Front

(4:22) 1. It's A Grand Night For Swingin'
(7:18) 2. Blues Before Freud
(7:19) 3. Easy To Love
(2:53) 4. It Could Happen To You
(3:35) 5. Love Me Or Leave Me
(5:37) 6. You Turned The Tables On Me
(6:52) 7. Crazy Rhythm

At one time a listener could place a CD like guitarist Mundell Lowe's A Grand Night for Swinging in the disc player and immediately date it to the 1950s. But the revival of many older styles by younger musicians like guitarist Howard Alden in the '80s and '90s has led to an overlapping of styles. This may make it difficult to match an album to a particular date, but it does help to make older styles more familiar and, thus, accessible. A Grand Night for Swinging is a nice set, featuring Lowe and a good supporting cast including pianist Billy Taylor, bassist Les Grinage, drummer Ed Thigpen, and, on three cuts, alto saxophonist Gene Quill. Known for his cooler tone and lighter touch at the time, Lowe had decided to record an album that proved he could swing a little harder.

The set kicks off with the upbeat title track, a Taylor original, that finds Lowe bopping along with clean flowing lines, similar to Barney Kessel. The up-tempo pieces, like "Love Me or Leave Me" and "Crazy Rhythm," work best, pushing the band into fervent workouts. The addition of Quill on several selections adds depth and drive to cuts like "Blues Before Freud," creating something akin to Kenny Burrell's early '60s work. That this recording should be re-released soon after 2000's Mundell's Mood is fitting; it's a reminder of a distinguished bop/cool tone guitarist who has recorded a number of fine albums since the 1950s. A Grand Night for Swinging will be a real treat for fans unfamiliar with Lowe's earlier work, and a satisfying selection for fans of good jazz guitar.~ Ronnie D. Lankford, Jr. https://www.allmusic.com/album/a-grand-night-for-swinging-mw0000116708

Personnel: Mundell Lowe - guitar; Billy Taylor - piano; Les Grinage - bass; Ed Thigpen - drums; Gene Quill - alto saxophone (tracks 2, 5 & 6)

A Grand Night For Swinging

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Urbie Green - A Cool Yuletide

Styles: Trombone Jazz, Christmas
Year: 1954
File: MP3@320K/s
Time: 23:31
Size: 55,9 MB
Art: Front

(3:20)  1. Jingle Bells
(2:53)  2. All I Want For Christmas Is My Two Front Teeth
(2:34)  3. White Christmas
(2:58)  4. Winter Wonderland
(2:36)  5. I Saw Mommy Kissing Santa Claus
(3:11)  6. Santa Claus Is Comin' to Town
(2:49)  7. The Christmas Song
(3:05)  8. Rudolph, The Red-Nosed Reindeer

A fine jazz player with a beautiful tone who has spent most of his career in the studios, Urbie Green is highly respected by his fellow trombonists. He started playing when he was 12; was with the big bands of Tommy Reynolds, Bob Strong, and Frankie Carle as a teenager; and worked with Gene Krupa during 1947-1950. Green had a stint with Woody Herman's Third Herd, appeared on some of the famous Buck Clayton jam sessions (1953-1954), and was with Benny Goodman off and on during 1955-1957. He played with Count Basie in 1963, and spent a period in the 1960s fronting the Tommy Dorsey ghost band (1966-1967), but has mostly stuck to studio work. Urbie Green recorded frequently as a leader in the 1950s up to 1963 (for Blue Note, Vanguard, Bethlehem, ABC-Paramount, and dance band-oriented records for RCA and Command). He has appeared much less often in jazz settings since then, but did make two albums for CTI in 1976-1977. ~ Scott Yanow https://www.allmusic.com/artist/urbie-green-mn0000300013/biography

Personnel: Trombone – Urbie Green; Bass – Milton Hinton; Drums – Don Lamond, Jimmie Crawford; Guitar – Mundell Lowe; Piano – Buddy Weed; Tenor Saxophone – Al Cohn, Al Epstein; Trumpet – Joe Wilder

A Cool Yuletide

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Don Elliott - Double Trumpet Doings

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 40:34
Size: 94,6 MB
Art: Front

(3:06)  1. Mine
(5:03)  2. Vampire Till Ready
(4:59)  3. Your Own Iron
(4:55)  4. Easy To Remember
(3:19)  5. The Bull Speaks
(5:07)  6. Dominick Seventh
(4:40)  7. Gargantuan Chant
(5:06)  8. When Your Lover Has Gone
(2:14)  9. Henry's Mambo
(2:00) 10. Theme And Inner Tube

Originally issued under the slightly more esoteric title “New Counterpoint for Six Valves” this is a disc dominated mainly by the frequent dialogues between its two principle soloists. Elliott and Dedrick make a disparate pair and their contrasting sounds are prime reason for the program’s more interesting outcomes. Elliott was a follower of bebop and renowned more for his talents as a vibraphonist than as a brassman. A collaborator at various times with the likes of George Shearing, Benny Goodman and Buddy Rich his artistic enterprises also moved beyond the realms of jazz into Broadway musicals and novelty tunes. Dedrick was more the product of a swing upbringing and his tone is shaped by a mellower, less overtly complicated approach. In spite of Elliott’s positioning as leader of the session it is Hyman who crafts all arrangements for the tunes and pens the creatively titled original compositions that dominate the disc. In fact it’s these originals that often prove more intriguing harmonically and melodically than the three time-worn standards that round out the group’s songbook. The pianist makes excellent use of the two-trumpet front line and also writes a variety of interesting passages for Lowe’s guitar strings. To aid listeners in distinguishing between the two trumpeters Dedrick affixes a mute to the bell of his horn on the majority of his solos. With mute in place his already sonorous sound takes on an even more euphonious dimensions. Expectedly the rhythm team of Safranski and Lamond usually play the wallflowers in the sextet only stepping up to take a crack at solos on rare occasions such as Safranski’s brief break on “Dominick Seventh.” Hyman however doesn’t relegate himself to the backdrop and submits comely statements on several of the numbers including an attractive solo on “Easy to Remember.” In the final analysis this disc is far from essential and sometimes strays into the schmaltzy side as on the Herb Alpert-tinged “The Bull Speaks.” But it does offer an intriguing diversion and listeners looking for a session where the focus is planted firmly on trumpet will probably be pleased by what they find here. ~ Derek Taylor https://www.allaboutjazz.com/double-trumpet-doings-don-elliott-jazzland-recordings-review-by-derek-taylor.php

Personnel: Don Elliott- trumpet; Rusty Dedrick- trumpet; Mundell Lowe- electric guitar; Dick Hyman- piano; Eddie Safranski- double bass; Don Lamond- drums.

Double Trumpet Doings

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Herbie Mann - Our Mann Flute

Styles: Flute Jazz
Year: 1966
File: MP3@320K/s
Time: 32:47
Size: 75,8 MB
Art: Front

(2:34)  1. Scratch
(2:28)  2. Philly Dog
(2:09)  3. Happy Brass
(2:51)  4. Good Lovin'
(5:07)  5. Theme from "This Is My Beloved"
(2:15)  6. Frere Jacques
(2:44)  7. Our Mann Flint
(2:22)  8. Fiddler on the Roof
(2:17)  9. Theme from "Malamondo"
(2:34) 10. Down by the Riverside
(2:58) 11. Monday, Monday
(2:22) 12. Skip to My Lou

Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest. Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews' Quintet (1953-1954) and then started working and recording as a leader. During 1954-1958 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar, and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the '50s who recorded on bass clarinet; he also recorded a full album in 1957 (for Savoy) of unaccompanied flute. After spending time playing and writing music for television, Mann formed his Afro-Jazz Sextet, in 1959, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy, or Dave Pike) and the leader's flute. He toured Africa (1960) and Brazil (1961), had a hit with "Comin' Home Baby," and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire, and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller, and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock. By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the '70s advanced, Mann became much more involved in rock, pop, reggae, and even disco. After leaving Atlantic at the end of the '70s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin, and in the '90s founded the Kokopelli label on which before breaking away in 1996, he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli, and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004's posthumously released Beyond Brooklyn for Telarc. ~ Scott Yanow https://itunes.apple.com/ie/album/our-mann-flute/76152839

Personnel:  Herbie Mann - flute, alto flute, arranger, conductor, writer;  Leo Ball, Doc Cheatham, Al DeRisi, Jerome Kail, Marky Markowitz, Joe Newman, Jimmy Owens, Ernie Royal, Ziggy Schatz, Clark Terry, Snooky Young - trumpet;  Bob Alexander, Quentin Jackson, Jimmy Knepper, Joe Orange, Santo Russo, Chauncey Welsch - trombone;  Tony Studd - bass trombone;  Jerry Dodgion - flute, clarinet, alto saxophone;  Richie Kamuca - clarinet, tenor saxophone;  King Curtis - tenor saxophone, baritone saxophone;  Pepper Adams - baritone saxophone;  Dave Pike, Johnny Rae - vibraphone;  Don Friedman, Jimmy Wisner - piano;  Al Gorgoni, Mundell Lowe, Charles Macey, Attila Zoller - guitar;  Milt Hinton, Jack Six, Knobby Totah, Reggie Workman - bass;  Joe Mack - electric bass;  Bruno Carr, Rudy Collins, Bernard Purdie, Bobby Thomas - drums;  Willie Bobo, Gary Chester - timbales, percussion;  Ray Barretto, Warren Smith, Carlos "Patato" Valdes - congas;  Ray Mantilla - bongos;  Michael Olatunji - percussion, vocals;  George Devens - percussion;  Maya Angela, Dolores Parker - vocals;  Anthony Bambino, Hinda Barnett, Emanuel Green, Harry Katzman, Leo Kruczek, Gene Orloff, Paul Winter - violin;  Charles McCracken, Kermit Moore - cello;  Arif Mardin, Oliver Nelson, Richard Wess, Jimmy Wisner - arranger, conductor

Our Mann Flute

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Wild Bill Davis - Free, Frantic & Funky

Bitrate: MP3@320K/s
Time: 38:14
Size: 87.5 MB
Styles: Soul-jazz, B3 Organ jazz
Year: 1965/2016
Art: Front

[2:35] 1. C Jam Blues
[3:45] 2. C.C. Rider
[2:28] 3. Hit The Road Jack
[4:36] 4. Just Squeeze Me (But Don't Tease Me)
[2:49] 5. I Can't Stop Loving You
[2:32] 6. Sent For You Yesterday (And Here You Come Today)
[2:45] 7. Well, Git It
[3:32] 8. Azure-Te (Paris Blues)
[3:44] 9. Free, Frantic And Funky
[2:11] 10. Don't Cry Baby
[3:16] 11. Tippin' In
[3:55] 12. Make Love To Me

Bass – George Duvivier; Drums – Jimmy Hopps, Osie Johnson; Guitar – Dicky Thompson, Mundell Lowe; Organ – Wild Bill Davis; Tenor Saxophone, Flute – Bob Brown, Jerome Richardson, Seldon Powell. Recorded in 1965 in RCA Victor's Studio B, New York City.

With the dynamic, swirling sounds of his Hammond B-3 organ, Wild Bill Davis provided a bridge from the big band swing of the 1930s and '40s to the organ-driven R&B of the 1950s and early '60s. Together with guitarist Floyd Smith and drummer Chris Columbus, Davis set the framework for the jazz organ combo sound. Initially a guitarist, Davis made his debut with Milt Larkin's band in 1939. The group is remembered for the double-saxophone attack of Eddie "Cleanhead" Vinson and Arnett Cobb. Davis, who was inspired by the guitar playing of Freddie Green, remained with the band until 1942. Moving to the piano, Davis joined Louis Jordan & His Tympany 5 in 1945. By then, he had already attracted attention as a skilled writer and arranger. He later furnished original material and arrangements for both Duke Ellington and Count Basie. He was scheduled to record his arrangement of "April in Paris" with the Count Basie Orchestra in 1955, but was unable to make it to the recording sessions. Recorded without his participation, the tune went on to be a Top 30 pop hit. Intrigued by the organ playing of Fats Waller and Count Basie, Davis began to experiment with the Hammond B-3. He soon developed his unique approach. "I thought of (the organ) as a replacement in clubs for a big band," he said during a late-'80s interview. Although he left Jordan's band after five years to form his own trio, Davis periodically returned to play special engagements. Although eclipsed by succeeding jazz organists, including Jimmy Smith and Bill Doggett in the late '50s, and Booker T. Jones in the '60s, Davis remained active until his death from a heart attack in August 1995. His summer appearances in Atlantic City, New Jersey were an annual treat for almost three decades.

A native of Moorestown, New Jersey, Davis studied music at Tuskegee University and Wiley College in Texas. ~ Craig Harris

Free, Frantic & Funky mc
Free, Frantic & Funky zippy

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Ben Webster - The Soul Of Ben Webster (2-Disc Set)

Bass – Jimmy Woode (tracks: CD2: 4-14), Milt Hinton (tracks: CD1: 1-7), Ray Brown (tracks: CD1: 8-12; CD2: 1-3); Drums – Alvin Stoller (tracks: CD1: 8-12; CD2: 1-3), Dave Bailey (tracks: CD1: 1-7), Sam Woodyard (tracks: CD2: 4-14); Guitar – Barney Kessel (tracks: CD1: 8, 9, 12; CD2: 1, 3), Herb Ellis (tracks: CD1: 10, 11; CD2: 2), Mundell Lowe (tracks: CD1: 1-7); Piano – Billy Strayhorn (tracks: CD2: 4-14), Jimmy Jones (3) (tracks: CD1: 1-7), Oscar Peterson (tracks: CD1: 8-12; CD2: 1-3); Saxophone [Alto] – Johnny Hodges (tracks: CD2: 4-14); Saxophone [Tenor] – Ben Webster (tracks: CD1: 2, 5, 8, 9, 10, 11, 12; CD2: 1, 2, 3, 5, 7, 8, 10, 12, 13), Harold Ashby (tracks: CD1: 1, 3, 4, 6, 7); Trombone – Vic Dickenson (tracks: CD2: 5, 7, 8, 10, 12, 13); Trumpet – Art Farmer (tracks: CD1: 1, 3, 4, 6, 7), Harry Edison (tracks: CD1: 8-12; CD2: 1-3), Roy Eldridge (tracks: CD2: 5, 7, 8, 10, 12, 13).

How can you go wrong with this 2 CD set that combines three late 1950's Verve recordings by Ben Webster, Harry "Sweets" Edison and Johnny Hodges into one set. Roy Eldridge comes along for the ride as well as a few other notables from the Norman Granz stable. This collection of music includes a lot of swing renditions of classic standards and some blues, and a few ballads. Each leader shines on his respective set, especially Edison who's selection of 8 tunes is heavily swing/blues oriented in a very Basie-esque style. Highly recommended if you're a small ensemble swing fan. ~William Faust

Album: The Soul Of Ben Webster (Disc 1)
Bitrate: MP3@320K/s
Time: 74:28
Size:  172,3MB
Styles: Mainstream jazz, Jazz instrument, Saxophone jazz
Year: 1995

( 3:48)  1. Fajista
( 3:40)  2. Chelsea Bridge
(15:31)  3. Charlotte's Piccolo
( 4:10)  4. Coal Train
( 4:53)  5. When I Fall In Love
( 4:23)  6. Ev's Mad
( 8:24)  7. Ash
( 4:51)  8. Blues For The Blues
( 7:40)  9. Blues For Piney Brown
( 3:58) 10. Moonlight In Vermont
( 7:11) 11. Taste On The Place
( 5:52) 12. Blues For The Blues

The Soul Of Ben Webster (Disc 1)

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Album: The Soul Of Ben Webster (Disc 2)
Bitrate: MP3@320K/s
Time: 78:16
Size:  181,4MB
Styles: Mainstream jazz, Jazz instrument, Saxophone jazz
Year: 1995
Art: Front

(3:39)  1. Gee, Baby, Ain't I Good To You?
(9:33)  2. Blues For Bill Basie
(6:53)  3. You're Getting To Be A Habit With Me
(3:34)  4. I Didn't Know About You
(9:39)  5. Reelin' And Rockin'
(3:20)  6. Gone With The Wind
(4:04)  7. Honey Hill
(3:24)  8. Blues-A-Plenty
(3:43)  9. Don't Take Your Love From Me
(6:01) 10. Saturday Afternoon Blues
(5:04) 11. Satin Doll
(3:46) 12. Cool Your Motor
(9:44) 13. Reelin' And Rockin'
(5:45) 14. Don't Take Your Love From Me

The Soul Of Ben Webster (Disc 2)

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Carmen McRae - Carmen McRae

Styles: Vocal Jazz
Year: 1954
File: MP3@320K/s
Time: 36:18
Size: 85,4 MB
Art: Front

(2:26)  1. You'd Be So Easy To Love
(3:17)  2. If I'm Lucky
(2:40)  3. Old Devil Moon
(2:40)  4. Tip Toe Gently
(2:09)  5. You Made Me Care
(3:05)  6. Last Time For Love
(3:53)  7. Misery
(2:33)  8. Too Much In Love To Care
(3:19)  9. Too Much In Love To Care (alt. take)
(2:37) 10. Old Devil Moon (alt. stereo)
(2:09) 11. You Made Me Care (alt. stereo)
(2:20) 12. Too Much In Love To Care (alt. stereo)
(3:03) 13. Last Time For Love (alt. stereo)

This is Carmen McRae's first recording as a leader. She's heard on four songs apiece with the Mat Mathews Quintet (a group including Herbie Mann on flute and tenor, and guitarist Mundell Lowe) and clarinetist Tony Scott's Quartet. On the emotional "Misery," Scott switches to piano and is the only accompanist to the singer. 

Five alternate takes augment this set, which emphasizes ballads. Overall the music is pleasing but not too memorable and one wishes there were more variety. ~ Scott Yanow http://www.allmusic.com/album/carmen-mcrae-bethlehem-mw0000178616

Personnel:  Carmen McRae - vocals
Tracks 1-4:  Herbie Mann - flute, tenor saxophone;  Mat Mathews – accordion;  Mundell Lowe – guitar;  Wendell Marshall - double bass;  Kenny Clarke - drums
Tracks 5-8:  Tony Scott - clarinet, piano (on "Misery");  Dick Katz – piano;  Skip Fawcett - double bass;  Osie Johnson - drums

Carmen McRae

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Charlie Byrd, Herb Ellis, Mundell Lowe - The Return Of The Great Guitars

Bitrate: MP3@320K/s
Time: 59:12
Size: 135.5 MB
Styles: Guitar jazz
Year: 1996
Art: Front

[4:51] 1. Things Ain't What They Used To Be
[4:17] 2. When Lights Are Low
[4:28] 3. A Smooth One
[5:13] 4. My Funny Valentine
[4:23] 5. The Lady In Red
[3:50] 6. Soft Winds
[4:25] 7. Bernie's Tune
[4:44] 8. I Remember You
[4:30] 9. Waltz For Wes
[4:35] 10. Seven Come Eleven
[4:28] 11. Billy Bean!
[4:33] 12. Night Roby Get-A-Way
[4:48] 13. On The Trail

The first recording by the Great Guitars in over a decade has a change in personnel. A serious stroke had ended Barney Kessel's career, but Herb Ellis and Charlie Byrd were still very much active. Fellow veteran guitarist Mundell Lowe took Kessel's place, and as a wild card, on eight of the 13 selections the versatile Larry Coryell is heard on fourth guitar. With fine backup by bassist John Goldsby and drummer Tim Horner, the guitarists swing hard on a variety of bop and swing-oriented tunes including "Things Ain't What They Used to Be," "A Smooth One," "The Lady in Red," and "Seven Come Eleven," in addition to some more recent originals. ~Scott Yanow

The Return Of The Great Guitars

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Ben Webster - Jazz 'Round Midnight

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 64:58
Size: 152,9 MB
Art: Front

(3:10)  1. In The Wee Small Hours Of The Morning
(4:15)  2. Time On My Hands
(4:48)  3. Early Autumn
(4:12)  4. Prisoner Of Love
(4:56)  5. When I Fall In Love
(4:37)  6. Willow Weep For Me
(4:44)  7. Prelude To A Kiss
(3:37)  8. Chelsea Bridge
(3:22)  9. My Funny Valentine
(6:50) 10. You're Getting To Be A Habit With Me
(4:40) 11. Where Are You
(3:29) 12. Ill Wind
(4:42) 13. All Too Soon
(3:00) 14. Tenderly
(4:30) 15. We'll Be Together Again

Ben Webster is probably best known for his eloquent ballad playing. On Jazz 'Round Midnight, we are treated to no less than 15 ballads, all of which are performed superbly. Webster is one of the great jazz romantics, and his sultry ballad style stirs the heart and soul with every phrase. It's not just the way he caresses each note, or the thick airy sound he gets on his tenor sax; it's the lyrical, almost voice-like character of his playing that makes all of these songs so memorable. Backed by such notables as Oscar Peterson and Ray Brown, Webster's renditions of "You're Getting To Be a Habit With Me," "In the Wee Small Hours of the Morning," "We'll Be Together Again," and others, sparkle with vitality, romance, and warmth. Finally, Webster's idol, Coleman Hawkins, sits in on "Prisoner of Love" making this CD sparkle even that much more. One of the great jazz ballad albums, Jazz 'Round Midnight is a must for any candlelight dinner. http://www.allmusic.com/album/jazz-round-midnight-ben-webster-mw0000093614

Personnel: Ben Webster (tenor saxophone); Herb Ellis, Barney Kessel, Mundell Lowe (guitar); Al Young (flute, alto saxophone); Jimmy Hamilton, Tony Scott (clarinet); Coleman Hawkins (tenor saxophone); Danny Bank (baritone saxophone); Harry "Sweets" Edison (trumpet); Hank Jones , Jimmy Jones , Oscar Peterson, Teddy Wilson, Billy Strayhorn (piano); Dave Bailey , Ed Thigpen, Jo Jones , Louie Bellson, Alvin Stoller, Osie Johnson, Stan Levey (drums).

Jazz 'Round Midnight

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Jerri Winters - Winters Again

Bitrate: MP3@320K/s
Time: 27:30
Size: 63.0 MB
Styles: Jazz vocals
Year: 1955/2012
Art: Front

[3:02] 1. The Lost And The Lonely
[1:57] 2. I'm Afraid To Love You
[2:15] 3. Elmer's Tune
[2:42] 4. This Is Our Song Of Love
[2:04] 5. Gal In Calico
[2:26] 6. It's A Wonderful World
[3:40] 7. I'm Gonna Laugh You Out Of My Life
[2:50] 8. Through Again
[2:55] 9. In The Wee Small Hours
[3:35] 10. Did I Remember

Romeo Penque (ww), Anthony Miranda (frh), Eddie Costa (vib, p), Howard Collins (g), Mundell Lowe (g, dir), George Duvivier (b), Ed Shaughnessy (d), Felix Giglio, Leo Kruczek, Charles Libove, Gene Orloff, Frank Siegfried (vn), Sid Brucher, Morris 'Lefty' Lefkowitz (vl), Seymour Barab (vc), Abe Rosen (hrp), Jerri Winters (v).

A true alto, with a lovely rich, yet light touch. Wonderful tasteful arrangements on not-so-well-known standards. I'd check her out. Another forgotten voice, and she shouldn't be. ~Mia

Winters Again

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Betty Bennett - The Song Is You

Bitrate: MP3@320K/s
Time: 52:38
Size: 120.5 MB
Styles: Jazz vocals
Year: 1990
Art: Front

[3:02] 1. I Thought About You
[3:20] 2. Everytime
[2:25] 3. The Eagle And Me
[4:54] 4. Some Other Spring
[2:37] 5. Wished On The Moon
[2:39] 6. Dusty Springfield
[2:21] 7. Oh You Crazy Moon
[4:29] 8. The Song Is You
[4:14] 9. You Must Believe In Spring
[3:11] 10. No More Blues
[5:38] 11. Humpty Dumpty Heart/Do You Know Why
[2:38] 12. They Say It's Spring
[4:23] 13. Young Folks/Two For The Road
[3:41] 14. Wonder Why
[2:58] 15. Just Because We're Kids

Betty Bennett (vcl), Mundell Lowe (g), Bob Cooper (ts), George Cables (p), Monty Budwig (b), Roy McCurdy (d).

"It's easy to be a fan of Betty Bennett, she sings impeccably in tune, she keeps wonderful time, she invariably chooses good tunes and she is backed by first-rate musicians. On this album, Bob Cooper really gets some steam going in his solos, and Mundell Lowe is not only a fine soloist but as expert and sensitive accompanist as you will find anywhere." ~Andre Previn (From the inside liner-notes).

"On her first album in almost 40 years, Betty Bennett is joined by a sterling, veteran group of musicians (including her husband, guitarist Mundell Lowe). Her voice is a bit huskier than it was when she was singing with Alvino Rey, Charlie Barnet, and Claude Thornhill, and there's a bit of a quiver from time to time, but those minor flaws won't prevent the listener from enjoying this session.

The album starts off with "I Thought About You," which is done in a fast tempo, with the venerable Bob Cooper's tenor featured along with Lowe's guitar. A winsome "Everytime" follows, again with Lowe and Cooper sharing the spotlight. In addition to better-known standards, Bennett includes some rare material, such as the Harold Arlen/Yip Harburg song "The Eagle and Me" (which Dooley Wilson sang in the 1944 movie Bloomer Girl) and "Just Because We're Kids." The title tune, "The Song Is You," is the album's barnburner, featuring an excellent Cooper solo. "Some Other Spring" is done with a quirky but interesting beat. On the other lyrical paeans to spring, "You Must Believe in Spring" and Bob Haymes' "They Say It's Spring," Bennett shows that even after almost 40 years, she has not lost her ability to thoroughly explore and express the emotional value of the songs she sings. If anything, the emotional value has become richer and more mature with time. Nor has she lost her ability to swing, which she does admirably on such uptempo songs as "No More Blues." Big-band days are recalled with a medley of "Humpty Dumpty Heart" and "Do You Know Why," which were Glenn Miller and Tommy Dorsey favorites, respectively.

All in all, a very satisfying outing by a singer who has been away from the recording studio for far too long."

The Song Is You

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Carmen McRae - Bittersweet

Styles: Jazz, Vocal
Year: 2005
File: MP3@320K/s
Time: 42:34
Size: 97,9 MB
Art: Front

(3:46)  1. When Sunny Gets Blue
(3:05)  2. How Did He Look?
(3:32)  3. Guess I'll Hang My Tears Out To Dry
(2:46)  4. Meaning of the Blues
(2:05)  5. If You Could Love Me
(6:18)  6. Spring Can Really Hang You Up the Most
(3:35)  7. Second Chance
(2:48)  8. If You Could See Me Now
(2:41)  9. Here's That Rainy Day
(3:19) 10. I'm Gonna Laugh You Right Out of My Life
(3:05) 11. Ghost of Yesterday
(2:50) 12. I'm Lost
(2:38) 13. Come Sunday

Carmen McRae made many worthwhile albums during her long career, but this session of mostly melancholy ballads never received the exposure it deserved, possibly because it was done for Mort Fega's small independent label, Focus. But the singer, who is in top form throughout the date, responds beautifully to pianist Norman Simmons' well-crafted charts; the rest of the cast includes drummer Curtis Boyd; bassist Victor Sproles; and a last minute but valuable substitute, guitarist Mundell Lowe. 

Her dramatic lagging behind the beat in "The Meaning of the Blues" adds to its appeal. "Spring Can Really Hang You Up the Most" is the only extended piece and was already a regular part of her repertoire by the time of this recording, so her effortless take is no surprise. McRae was an excellent pianist and accompanies herself on the defiant "I'm Gonna Laugh You Right Out of My Life." Duke Ellington's meditative "Come Sunday" provides a ray of hope among the otherwise bittersweet songs on this CD. Fortunately, Koch had the wisdom to reissue this lost treasure, and it easily ranks among Carmen McRae's best recordings. ~ Ken Dryden  http://www.allmusic.com/album/bittersweet-mw0000215902

Personnel:  Curtis Boyd - Drums;  Mundell Lowe - Guitar;  Carmen McRae - Piano, Vocals;  Norman Simmons - Piano;  Victor Sproles - Bass

Bittersweet

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Mundell Lowe - Guitar Player (Remastered)

Bitrate: MP3@320K/s
Time: 32:53
Size: 75.3 MB
Styles: Guitar jazz
Year: 2011
Art: Front

[5:45] 1. Scrapple From The Apple
[2:41] 2. Beach Time
[4:13] 3. Violets For Your Furs
[3:44] 4. Early Morning Soft Shoe
[6:50] 5. Satin Doll
[2:48] 6. Prelude To A Kiss
[6:49] 7. Angel Eyes

"Some years ago I recorded an album for RCA RECORDS. A nice little album...went nowhere in terms of sales though. I thought at the time, one of the problems was the recording (engineering), it was not very good. My friend Eric Van der Wyk has remastered that record...what a difference! This recording has never sounded as good! I wish Eric had been there when it was first recorded! Thank you Eric....GOOD JOB...." ~Mundell Lowe

Guitar Player (Remastered)

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Barry Manilow - 2:00 AM Paradise Café

Styles: Vocal And Piano Jazz
Year: 1984
File: MP3@320K/s
Time: 49:04
Size: 112,9 MB
Art: Front

(5:22)  1. Paradise Cafe
(4:33)  2. Where Have You Gone
(4:05)  3. Say No More
(4:18)  4. Blue (with Sarah Vaughan)
(3:58)  5. When October Goes
(3:15)  6. What Am I Doin' Here
(4:24)  7. Good-Bye My Love
(4:13)  8. Big City Blues (with Mel Torme)
(4:16)  9. When Love Is Gone
(4:25) 10. I've Never Been So Low On Love
(6:10) 11. Night Song

In the liner notes to 2:00 AM Paradise Café, Barry Manilow confessed that the record's concept came to him in a dream and that it's the album for which he'd most like to be remembered. That's some top-shelf comment about an album that seems like a pretty calculated move toward long-term success as a vocal talent, like Mel Tormé or Sarah Vaughan, both of whom duet with him on 2:00 AM. That said, the album does lay down a dusty, late-night groove. Vocally, Manilow is able to sell the concept that this is all taking place in the wee hours inside a half-empty basement cabaret. The shuffling percussion of Shelly Manne is spot on, as are the cool tones of baritone sax man Gerry Mulligan you can just picture the blinking neon from the hotel across the street reflecting in the gold of his horn. Mundell Lowe's electric guitar adds a burst of attitude to the otherwise straightforward "Big City Blues," and Manilow and Bill Mays' piano playing is solid throughout. There's a bit of a problem though, since most every arrangement sounds essentially the same. After about half the record, it begins to seem like it's all happening in slow motion, or at least someone's just going through them. It's refreshing to hear stripped-down arrangements and Manilow experimenting a bit with his delivery to suggest he's singing after the streets have rolled up. All of this means that, while 2:00 AM Paradise Café is as pleasant as a nightcap, it's not the fine wine Manilow's dreams told him it would be. ~ Johnny Loftus  http://www.allmusic.com/album/200-am-paradise-caf%C3%A9-mw0000190888

Personnel: Barry Manilow (vocals, piano); Mundell Lowe (guitar); Gerry Mulligan (baritone saxophone); Billy Mays (piano, Fender Rhodes); George Duviver (bass); Shelly Manne (drums).

2:00 AM Paradise Café

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Donna Hightower - Take One!

Bitrate: 320K/s
Time: 59:12
Size: 135.6 MB
Styles: Jazz vocals
Year: 2011
Art: Front

[2:26] 1. Perfidia
[2:47] 2. Maybe You'll Be There
[1:56] 3. Lover Come Back To Me
[2:14] 4. There, I've Said It Again
[2:29] 5. Because Of You
[2:52] 6. Please Don't Take Your Love Away From Me
[2:33] 7. C'est La Vie
[2:31] 8. Too Young
[2:38] 9. Baby, Get Lost
[2:26] 10. I Get A Kick Out Of You
[2:31] 11. Anytime, Anyday, Anywhere
[2:33] 12. Trouble In Mind
[2:46] 13. Every Day I Have The Blues
[3:06] 14. Gee, Baby, Ain't I Good To You
[1:45] 15. All Or Nothing At All
[2:20] 16. I Laughed To Keep From Crying
[1:37] 17. Lonesome And Sorry
[2:31] 18. The First To Know
[2:54] 19. The Blues Don't Care
[2:04] 20. Can't Help It
[2:25] 21. Born To Be Blue
[2:03] 22. I'll Be Around
[3:04] 23. A Cottage For Sale
[2:30] 24. I'm Alone Because I Love You

2 LPs in 1 CD: Tracks #1-12 from "Take One!" (Capitol T 1133). Tracks #13-24 from "Gee, Baby, Ain't I Good To You?" (Capitol ST 1273).

One of the highest tributes to any musician in a recording session is that he or she is a “Take One” artist. Donna Hightower is just that, a singer who delivers perfectly the first time she steps to the mike. In these late Fifties sides she demonstrated the phrasing, taste and skill which marked her as one the brightest new vocalist stars of the time. Backing her are two all-star groups conducted by Sid Feller and featuring some of the greatest soloists of the New York jazz scene, including Joe Wilder, Ben Webster, Hank Jones, Georgie Auld, Mundell Lowe, George Duvivier and Don Lamond.

Donna Hightower (vcl), Joe Wilder (tp), Ben Webster (ts), Mundell Lowe (g), Hank Jones (p), George Duvivier (b), Don Lamond (d), Sid Feller (cond).

Take One!

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Andre Previn, Mundell Lowe, Ray Brown - Old Friends

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 66:52
Size: 153,7 MB
Art: Front

(6:06)  1. But Not For Me
(5:31)  2. Stars Fell on Alabama
(6:18)  3. Stompin' at the Savoy
(8:55)  4. Medley  Darn That Dream   Here's That Rainy Day   Polka Dots and Moonbeams
(6:05)  5. One O'Clock Jump
(4:48)  6. Topsy
(5:26)  7. Medley  The Bad and the Beautiful   Laura
(8:24)  8. Moonsweeper Blues
(5:01)  9. Over The Rainbow
(6:08) 10. Satin Doll
(4:06) 11. Sweet Georgia Brown

Andre Previn's "jazz comeback" has been a welcome event even though he clearly regards his jazz playing as an occasional affair. It is to Previn's great credit that when he plays improvised music he sounds like a fulltime jazz pianist. This trio outing with guitarist Mundell Lowe and bassist Ray Brown was his third jazz date of the period and features the veteran players swinging standards lightly but with passion. A medley has unaccompanied solos by each of the musicians; other highlights include cooking versions of "Stompin' at the Savoy," "One O'Clock Jump," "Topsy" and "Sweet Georgia Brown" in addition to some heartfelt ballad renditions. ~ Scott Yanow   http://www.allmusic.com/album/old-friends-mw0000278460

Personnel: André Previn (piano); Mundell Lowe (guitar); Ray Brown (Bass).

Old Friends

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