Paul Gonsalves, Harry Carney, Mitchell Wood - Stanley Dance Presents The Music Of The Great Ellingtonians (2-Disc Set)

Spanning over five decades (1923-1974), the Duke Ellington orchestra was nursery, proving ground and finishing school for dozens of jazzmen. Three of the greatest, Harry Carney, Mitchell “Booty” Wood, and Paul Gonsalves, here front all-star groups on three albums produced by celebrated jazz critic Stanley Dance. They add up to an engaging example of the unpretentious kind of jazz these musicians liked to play when they were “stretching out”: adventurous but not avant-garde, traditional but not old-fashioned, free-ranging in its moods and full of that sound of surprise which is the lifeblood of jazz—the kind of timeless music, beyond fad and fashion, forever associated with the Great Ellingtonians.

All sessions recorded in New York between September, 1960 and January 1961.

Album: Stanley Dance Presents The Music Of The Great Ellingtonians (disc 1)
Bitrate: MP3@320K/s
Time: 55:13
Size: 126.4 MB
Styles: Big band
Year: 2011

[4:52] 1. Tree Of Hope
[3:43] 2. Blues For Blokes
[4:17] 3. Baby Blue
[3:48] 4. Jeepers Creepers
[4:03] 5. Rock Me Gently
[5:13] 6. Hand Me Down Love
[3:29] 7. Mabulala
[3:57] 8. Five O'clock Drag
[5:47] 9. Hang In There
[7:11] 10. New Cambridge Blues
[4:03] 11. Easin' On Down Piccadilly
[4:45] 12. Ohso

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Album: Stanley Dance Presents The Music Of The Great Ellingtonians (disc 2)
Bitrate: MP3@320K/s
Time: 66:37
Size: 152.5 MB
Styles: Big band
Year: 2011
Art: Front

[4:17] 1. Snowstorm
[4:32] 2. Blues In Bones
[3:49] 3. Sunday
[5:06] 4. Our Delight
[4:09] 5. Out Of Nowhere
[8:24] 6. Swallowing The Blues
[5:32] 7. London Broil
[4:46] 8. Midnight Sun
[6:17] 9. Just Squeeze Me
[5:51] 10. Blue Skies
[5:28] 11. Jeeps Blues
[8:22] 12. You Can Depend On Me

Stanley Dance Presents The Music Of The Great Ellingtonians (Disc 1) (Disc 2)

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Jimmy Hamilton - In A Sentimental Mood

Styles: Clarinet Jazz
Year: 2000
File: MP3@320K/s
Time: 35:49
Size: 83,1 MB
Art: Front

(3:26)  1. I've Got The World On A String
(2:49)  2. Do Nothing Till You Hear From Me
(2:17)  3. Tempo De Brazilia
(4:23)  4. The Nearness Of You
(5:11)  5. Blue Room
(2:32)  6. Ain't She Sweet
(2:55)  7. I Didn't Know About You
(3:35)  8. Taj Mahal
(5:15)  9. In A Sentimental Mood
(3:24) 10. After You've Gone

Jimmy Hamilton was for a quarter-century a mainstay of jazz's most important large ensemble, the Duke Ellington Orchestra. On clarinet, Hamilton was a model of polished, cool style and substance, while his less often featured work on tenor saxophone allowed him to reveal funkier inclinations. Hamilton was hired by Ellington as the replacement for Barney Brigard in 1943, and he stayed on with the Duke until 1968. Prior to joining Ellington, he had worked with Lucky Millinder, Jimmy Mundy, and most noticeably Teddy Wilson's sextet (1940-1942) and Eddie Heywood; Hamilton also recorded “Gloomy Sunday” with Billie Holiday. While he was featured primarily as a clarinetist, where he employed a cool smooth tone, he sometimes turned to the tenor on which he was a little rougher and raucous. When Jimmy took the job with Duke he actually had another offer on the table from Count Basie. Basie wanted him to perform only on tenor sax, however, and Jimmy wanted the chance to perform on clarinet, as well. Jimmy also commented that he was a great fan of Ellington's compositions and that Duke was sure to challenge him with new material. He was certainly right about that! Duke and Billy Strayhorn wrote many featured parts for Jimmy's clarinet and tenor sax improvisations (Air-conditioned Jungle, Deep Purple, and Bluebird of Delphi; to name a few). After leaving Ellington, Hamilton moved to St. Croix in the Virgin Islands, where he taught music in public schools. Jimmy and his Quartet (with his wife, Vivian on piano) had a weekly radio show (WSTX AM radio station) from1971 to ‘77 which broadcast their Friday night gig, live from the Holger Danske Hotel in Christiansted, St. Croix. 

That broadcast made them fans all throughout the Caribbean. He did return to the U.S. to play with John Carter’s Clarinet Summit in 1981 and 1985, and gigged a bit in New York during 1989-1990, but was otherwise little heard from in his later years. Hamilton did not record much as a leader, but did put together some fine sessions as his two sessions recorded two weeks apart in 1961 for Swingville (Prestige's mainstream offshoot), they spotlight Hamilton on both clarinet and tenor. “It's About Time!” offers a host of tuneful, loose blues, some of whose titles indicate the participants' collective sense of humor (”Stupid But Not Crazy,” “Nits and Wits”), while “Can't Help Swinging” balances four bluesy originals with an equal number of top-notch standards. The sextet finds Hamilton joined on the front line by fellow distinguished Ellingtonians Clark Terry and Britt Woodman, and both dates are graced by Tommy Flanagan's piano. Hamilton went on to do a live recording in 1985 from the Virgin Islands. This date “Rediscovered at the Buccaneer,” finds Hamilton playing clarinet and alto in prime form with a quartet also including pianist Gary Mayone, bassist Joe Straws and drummer Delroy Thomas. Hamilton performs five lazy love songs and five tunes associated with Duke Ellington. These would be his last recordings. Jimmy Hamilton passed in Sept. 1994. https://musicians.allaboutjazz.com/jimmyhamilton

Personnel:  Clarinet – Jimmy Hamilton; Bass – Aaron Bell; Drums – Sam Woodyard; Horns [Baritone] – Britt Woodman, Dave Wells, Mitchell Wood; Piano – Jimmy Rowles; Tenor Saxophone – Paul Gonsalves; Trumpet – John Anderson

In A Sentimental Mood

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Johnny Hodges - Triple Play

Bitrate: MP3@320K/s
Time: 47:47
Size: 109.4 MB
Styles: Saxophone jazz
Year: 1967/2015
Art: Front

[3:38] 1. Take 'em Off, Take 'em Off, Pt. 1
[2:55] 2. Take 'em Off, Take 'em Off, Pt. 2
[3:45] 3. The Nearness Of You
[3:52] 4. Monkey On A Limb
[4:53] 5. A Tiny Bit Of Blues
[3:01] 6. For Jammers Only (A.K.A. Wild Onions)
[2:51] 7. On The Way Up
[3:19] 8. Big Boy Blues
[2:48] 9. The Very Thought Of You
[6:21] 10. Fur Piece
[3:18] 11. Sir John
[2:38] 12. Figurine
[4:20] 13. C-Jam Blues

Baritone Saxophone – Harry Carney; Bass – Aaron Bell, Joe Benjamin, Milt Hinton; Cornet – Ray Nance; Drums – Gus Johnson, Oliver Jackson, Rufus Jones; Guitar – Billy Butler, Les Spann, Tiny Grimes; Leader, Alto Saxophone – Johnny Hodges; Piano – Hank Jones, Jimmy Jones, Nat Pierce; Piano – Jimmy Jones; Tenor Saxophone – Jimmy Hamilton, Paul Gonsalves; Trombone – Benny Powell, Buster Cooper, Lawrence Brown; Trumpet – Cat Anderson, Roy Eldridge; Vibraphone – Bill Berry.

Altoist Johnny Hodges is heard in three different settings on this reissue CD. Such top swing stars as trumpeters Ray Nance, Cat Anderson and Roy Eldridge, trombonists Buster Cooper, Lawrence Brown and Benny Powell, tenors Paul Gonsalves and Jimmy Hamilton, baritonist Harry Carney, pianists Hank Jones and Jimmy Jones (the latter two sometimes together), guitarists Tiny Grimes, Les Spann and Billy Butler, bassists Milt Hinton, Aaron Bell and Joe Benjamin and drummers Gus Johnson, Rufus Jones and Oliver Jackson are heard in nonets with the great altoist. Despite the many changes in personnel, the music is pretty consistent, with basic swinging originals, blues and ballads all heard in equal proportion. As usual, Johnny Hodges ends up as the main star. ~Scott Yanow

Triple Play mc
Triple Play zippy

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Eddie 'Lockjaw' Davis With Paul Gonsalves - Love Calls

Styles: Saxophone Jazz
Year: 1967
File: MP3@320K/s
Time: 35:53
Size: 84,7 MB
Art: Front

(2:09)  1. Love Is Here To Stay
(2:55)  2. When Sunny Gets Blue
(3:06)  3. If I Ruled The World
(2:23)  4. Time After Time
(5:11)  5. Just Friends
(2:35)  6. Don't Blame Me
(2:10)  7. I Should Care
(5:00)  8. The Man With The Horn
(4:06)  9. We'll Be Together Again
(3:14) 10. A Weaver Of Dreams
(2:59) 11. If I Should Lose You

Love Calls is an album by saxophonist Eddie "Lockjaw" Davis with Paul Gonsalves recorded in 1968 for the RCA Victor label. Think of "Lockjaw" Davis and ten to one you think of Count Basie. Think of Paul Gonsalves and same thing, you think of Duke Ellington. The top tenors, in other words, of the top big bands; musicians from the top league where the competition is toughest. Yet there is no battle here, no contest, no vying to outdo the other in terms of velocity. If you know these two men only by hearsay, you may have reservations about them as balladeers. They both have reputations for derring-do of a different kind. Davis has never hesitated to do battle with the most frenetic performers, with those who would stick at nothing to win, and lost - to him. And Gonsalves was the hero of one of the great nights in jazz history, when he blew twenty-seven romping, stomping choruses on Duke Ellington's Dimuendo and Crescendo In Blue at Newport 1956. It is easy for jazzmen to become typed, so that the public demands the repeated display of just one particular facet of his talent. This has happened to the two men showcased in this album, where the other side of their musical personalities is brought into focus. Although they have both developed highly individual styles, their original sources of inspiration were masters of the ballad Ben Webster in Davis' case, Coleman Hawkins in that of Gonsalves.  

Their different approaches to the ballad make this recording consistently interesting and surprising. Both are soulful, both are rhapsodical. But Davis plays with clear, confident articulation, a buzz in his tone, and a bite in his phraseology. Generally he is the more driving and passionate of the two. The Gonsalves style is, on the other hand, sinuous, insinuating and less direct. His imaginative lyricism is more tender and often melancholy, his tone well-produced and finely rounded. The breathy sub-tone, which Gonsalves uses so well, adds a curiously confidential and intimate dimension. It is like the musical equivalent of a whispered aside or a delicate suggestion. But both men alternate very adroitly between the discreet and the bold. Their mutual understanding is, in fact, positively uncanny at times, for they had never previously recorded together, and preparation before the sessions was minimal. In the studio their long term professionalism stood them in good stead, as did that of their accompanists, whose taste and sensitivity contribute so much to the recording's appeal. Never obtrusive, they remain in close, listening support, Hanna and Barksdale being quick to prolong or emphasize the thoughts of the two soloists.

Personnel:  Eddie "Lockjaw" Davis, tenor sax;  Paul Gonsalves, tenor sax;  Roland Hanna, piano;  Ben Tucker, bass;  Grady Tate, drums;  Everett Barksdale, guitar

Love Calls

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Johnny Hodges - Storyville Masters Of Jazz

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 75:02
Size: 173,4 MB
Art: Front

(3:50)  1. Don't Get Around Much Anymore
(4:13)  2. Passion Flower
(2:56)  3. Perdido
(1:55)  4. All Of Me
(2:30)  5. C Jam Blues
(2:23)  6. I Got It Bad And That Ain't Good
(7:10)  7. In A Mellotone
(3:42)  8. Cambridge Blues
(4:37)  9. Brute's Roots
(2:51) 10. Bouncing With Ben
(5:16) 11. One For The Duke
(5:49) 12. Walkin' The Frog
(4:52) 13. Rabbit Pie
(4:17) 14. On The Sunny Side Of The Street
(3:36) 15. Good Queen Bess
(2:53) 16. The Jeep Is Jumpin'
(5:22) 17. Things Ain't What They Used To Be
(2:34) 18. Jeep's Blues
(4:05) 19. Dooji Wooji

Johnny Hodges is forever associated with Duke Ellington as one of his principle soloists, though he recorded extensively as a bandleader himself beginning in the '50s. This compilation draws from earlier Storyville releases, including a number of features for the alto saxophonist with Ellington, highlighted by "All of Me" and "Jeep's Blues." But the bulk of this CD contains all ten tracks of Hodges' earlier disc, Masters of Jazz, Vol. 9, which features the saxophonist leading two separate groups of all-stars in club settings. Six tracks come from a 1960 set at The Cellar in San Francisco, with Ben Webster providing a perfect foil for Hodges, all originals by the leader. Four selections come from a Norman Granz-sponsored European tour in 1961, where Hodges led a group of fellow Ellington veterans (Harry Carney, Ray Nance, Lawrence Brown, Aaron Bell and Sam Woodyard, with pianist Al Williams). Hodges' swinging take of "On the Sunny Side of the Street" is brilliant, with the other horn providing lush background and soft rifts for the soloist. In addition to Hodges, Brown also solos in both "Good Queen Bess" and a rousing "Things Ain't What They Used to Be." Highly recommended! ~ Ken Dryden https://www.allmusic.com/album/masters-of-jazz-mw0000547336      

Personnel: Johnny Hodges (alto saxophone); Herb Ellis, Fred Guy (guitar); Russell Procope (clarinet, alto saxophone); Harry Carney (bass clarinet, baritone saxophone); Oett "Sax" Mallard (alto saxophone); Jimmy Hamilton, John Coltrane, Paul Gonsalves, Ben Webster (tenor saxophone); Harold Baker, Al Killian, Ray Nance, Rex Stewart, Shelton Hemphill, Francis Williams , Wallace Jones, Cat Anderson (trumpet); Joseph Nanton, Lawrence D. Brown, Juan Tizol, Quentin Jackson, Tyree Glenn (trombone); Victor Feldman, Duke Ellington, Lou Levy, Billy Strayhorn (piano); Gus Johnson , Sam Woodyard, Sonny Greer (drums).

Storyville Masters Of Jazz

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Gerald Wilson - Big Band Modern

Styles: Jazz, Big Band
Year: 1954
File: MP3@320K/s
Time: 67:06
Size: 153,8 MB
Art: Front

( 6:03)  1. Algerian Fantasy
( 2:49)  2. Bull Fighter
( 5:49)  3. Lotus Land
( 2:41)  4. Theme
( 4:19)  5. Mambo Mexicano
( 3:23)  6. Black Rose
( 3:12)  7. Romance
( 2:54)  8. Since We Said Goodbye
( 5:46)  9. Hollywood Freeway
( 4:08) 10. Sea Breeze
( 2:58) 11. Nice Work If You Can Get It
( 4:03) 12. Indiana
( 1:53) 13. It Had to Be You
( 4:29) 14. Out of Nowhere
(12:33) 15. Hollywood Freeway

First time on CD for this ultra-rare album by the Gerald Wilson Orchestra, the only studio session recorded by Wilson under his own name between 1947 and 1961 and features seven bonus tracks. Includes never before heard solos by tenor stars Wardell Gray, Zoot Sims and Stan Getz and one of a kind arrangements by Wilson! 

The bonus tracks are from a 1950 concert recorded in San Francisco which is, without a doubt, an essential addition to Wilson's recorded legacy, and an extremely important discographic discovery. In fact, this concert has never been previously released on any format. It was originally recorded in Stereo, which was a completely new technology in 1950. ~ Editorial Reviews https://www.amazon.com/Big-Band-Modern-Gerald-Wilson/dp/B000FTW2M0

Personnel:  Arranged By, Conductor – Gerald Wilson;  Alto Saxophone – Jerry Dodgion, Sonny Criss, Willie Smith; Baritone Saxophone – Bill Green; Bass – Addison Farmer , Red Callender;  Drums – Gus Gustafson, Lee Young;  Piano – Cedric Haywood, Gerald Wiggins; Tenor Saxophone – Frank Haynes , Paul Gonsalves , Teddy Edwards;  Tenor Saxophone [Guest] – Stan Getz , Wardell Gray, Zoot Sims;  Trombone – Atlee Chapman, Britt Woodman, Henry Coker, Isaac Bell , John Ewing , Melba Liston , Robert Wagner, Trummy Young;  Trumpet – Allen Smith, Clark Terry, Ernie Royal, Gerald Wilson, John Anderson , Louis Grey , Walter Williams

Big Band Modern

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Duke Ellington - The Cosmic Scene

Styles: Piano Jazz
Year: 1958
File: MP3@256K/s
Time: 43:58
Size: 81,7 MB
Art: Front

(3:22)  1. Avalon
(4:57)  2. Body and Soul
(3:03)  3. Bass-Ment
(3:10)  4. Early Autumn
(2:55)  5. Jones
(2:49)  6. Perdido
(5:07)  7. St. Louis Blues
(2:33)  8. Spacemen
(3:38)  9. Midnight Sun
(4:59) 10. Take the "A" Train
(4:46) 11. Body and Soul (alternate take)
(2:35) 12. Jones (alternate take)

Still riding the success of his triumphant concert at the 1956 Newport Jazz Festival, Duke Ellington in 1958 decided to reduce his touring orchestra to a nonet dubbed "the Spacemen" in 1958, and recorded this lone project with them for the Columbia label. Perhaps inspired by the first orbiting satellites, Ellington is not taking cues from George Russell or Sun Ra, whose extraterrestrial inspirations led them down even more progressive paths. This large ensemble is playing mostly standards, but the arrangements and solos carve an integrated yet elasticized concept that allows for a more expanded role for the ensemble's trombonists Quentin "Butter" Jackson, John Sanders, and Britt Woodman, and select soloists. One in the solo spotlight is Clark Terry on flugelhorn exclusively, putting his fabled trumpet aside. The classic material presented includes clarinetist Jimmy Hamilton's features "Avalon" and "Early Autumn," the slinky stripper pole blues version of "St. Louis Blues" with Ellington's piano taking the lead, and two versions of "Body & Soul," with tenor saxophonist Paul Gonsalves completely extrapolating and re-harmonizing the main take, while faithfully playing the original melody on the alternate selection. There's a modified "Perdido," an animated and perky "Midnight Sun" that deviates from any other slow and lugubrious version of the ballad, and two attempts of "Jones" the first a real good swinger, the second with a more unified horn chart accented by a New Orleans shuffle provided by drummer Sam Woodyard. There are two originals; the blues bass of Jimmy Woode and the 'bones with plentiful piano from Duke infusing "Bass-Ment," and one of the more delightful of all of Ellington's book, the poppin' and boppin' "Spacemen," a bright happy horn chart led by Terry that is one of the more distinctive Ellington numbers of this time period. ~ Michael G.Nastos http://www.allmusic.com/album/the-cosmic-scene-duke-ellingtons-spacemen-mw0000752803

Personnel:  Duke Ellington – piano;  Clark Terry – trumpet;  Quentin Jackson, Britt Woodman – trombone;  John Sanders - valve trombone;  Jimmy Hamilton – clarinet;  Paul Gonsalves - tenor saxophone;  Jimmy Woode – bass;  Sam Woodyard - drums

The Cosmic Scene

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Paul Gonsalves - Ellingtonia Moods And Blues

Bitrate: MP3@320K/s
Time: 35:51
Size: 82.1 MB
Styles: Bop, Saxophone jazz
Year: 1990
Art: Front

[4:13] 1. It's Something That You Ought To Know
[7:21] 2. Chocataw
[5:24] 3. The Lineup
[5:04] 4. Way, Way Back
[3:23] 5. Daydreams
[4:00] 6. I'm Beginning To See The Light
[6:23] 7. D.A. Blues

Paul Gonsalves was considered some kind of new genius of the tenor saxophone after he blew an astounding 27 choruses with Duke Ellington's Orchestra on the Duke's "Diminuendo and Crescendo in Blue" at the 1956 Newport Jazz Festival. As part of RCA's reissue series to celebrate Ellington's 100th birthday, Ellingtonia Moods & Blues brings back a 1960 date featuring Gonsalves and other Ellington soloists. Although nominally credited to Gonsalves, this, in fact, is a co-chaired date with Johnny Hodges. Hodges shares the composing, arranging and -- as always -- swinging soloing. Add the fine trumpet work of Ray Nance and the swinging trombone work of Booty Wood -- both contributing just the right blend to offset the two saxophonists -- and this makes for one potent date. The rhythm section is solid and supportive, with great playing from Jimmy Jones on piano, Al Hall on bass, and Oliver Jackson on drums. Gonsalves plays his usual breathy tenor, full of warmth and depth, caressing his notes in much the same time-honored manner as Hodges, making their solos on the Duke's "Daydream" a study in both similarities and contrasts. The set also features three seldom-heard Gonsalves tunes ("Chocataw" and "The Line-Up") and a Hodges tune ("D.A. Blues"), along with songs that Hodges co-wrote for the Ellington band, like "I'm Beginning to See the Light." This is jazz from the days when albums were recorded in one day, and that was a good thing. ~Cub Koda

Ellingtonia Moods And Blues

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Duke Ellington - The Popular Duke Ellington

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

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

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

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

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

The Popular Duke Ellington

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Clark Terry - Daylight Express

Bitrate: MP3@320K/s
Time: 63:52
Size: 146.2 MB
Styles: Bop, Trumpet jazz
Year: 1998
Art: Front

[2:00] 1. Caravan
[2:20] 2. Candy
[2:28] 3. Clark's Expedition
[4:04] 4. Trumpet Mouthpiece Blues
[3:01] 5. Phalanges
[4:31] 6. Blues For Daddy-O's Jazz Patio Blues
[2:43] 7. Basin Street Blues
[2:15] 8. Daylight Express
[2:18] 9. Taking A Chance On Love
[6:52] 10. Festival
[3:36] 11. Clark's Bars
[2:14] 12. Daddy-O's Patrio
[4:58] 13. Blues
[4:18] 14. Impeccable
[2:46] 15. Paul's Idea
[3:16] 16. Phat Bach
[2:31] 17. Milli Terry
[4:00] 18. Funky
[3:31] 19. The Girl I Call Baby

Bass – Jimmy Woode; Drums – Sam Woodyard; Flute, Saxophone – Mike Simpson (5) (tracks: 1 to 9); Guitar – Remo Biondi (tracks: 1 to 9); Piano – Willie Jones (7); Tenor Saxophone – Paul Gonsalves (tracks: 10 to 19); Trumpet – Clark Terry.

Two obscure but very enjoyable and complementary former Lps are reissued in full on this generous CD. The first half of the disc is primarily a showcase for trumpeter Clark Terry who is joined by Mike Simpson (on tenor and flute) in a sextet. C.T. sounds a bit more influenced by Dizzy Gillespie at this time than he would but he was already quite distinctive on such numbers as "Candy," "Blues For Daddy O's Jazz Patio Blues" and "Basin Street Blues." "Phalanges" is a hot bop line (by Louie Bellson) that deserves to be revived while "Trumpet Mouthpiece Blues" sounds like an ancestor of "Mumbles." The second half of the album matches Terry with tenor-saxophonist Paul Gonsalves (who is actually the leader) and a rhythm section that features some surprisingly advanced piano from Willie Jones that sometimes hints strongly at both Cecil Taylor and Sun Ra! Terry and Gonsalves (who were both with Duke Ellington at the time) always made for a good team. The tenor revisits the 1956 Newport Jazz Festival with his long solo on "Festival" and other tunes (all originals by one of the horn players) are basic and swinging; a previously unissued ballad, "The Girl I Call Baby" closes the rewarding and memorable set. Highly recommended. ~Scott Yanow

Daylight Express

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Frank Sinatra - Francis A. & Edward K.

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

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

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

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

Francis A. & Edward K.

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Clark Terry - Duke With A Difference

Styles: Trumpet Jazz
Year: 1957
File: MP3@320K/s
Time: 38:25
Size: 88,3 MB
Art: Front

(3:02)  1. C Jam Blues
(3:00)  2. In a Sentimental Mood
(6:54)  3. Cotton Tail
(6:14)  4. Just Squeeze Me (But Don't Tease Me)
(6:55)  5. Mood Indigo
(3:29)  6. Take the A Train
(5:11)  7. In a Mellow Tone
(3:35)  8. Come Sunday

For this CD reissue of a Riverside set, trumpeter Clark Terry and some of the top Ellington sidemen of the period (trombonist Britt Woodman, altoist Johnny Hodges, tenor saxophonist Paul Gonsalves, Tyree Glenn on vibes, bassist Jimmy Woode, and drummer Sam Woodyard) perform eight songs associated with Duke, but with fresh arrangements. There is plenty of solo space for Terry, Gonsalves, and Hodges, and the arrangements by Terry and Mercer Ellington cast a new light on some of the warhorses; highlights include "C Jam Blues," "Cotton Tail," "Mood Indigo," and "Come Sunday." 

~ Scott Yanow  http://www.allmusic.com/album/duke-with-a-difference-mw0000315033

Personnel: Clark Terry (trumpet); Marian Bruce (vocals); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Britt Woodman, Quentin Jackson (trombone); Billy Strayhorn (piano); Tyree Glenn (vibraphone); Jimmy Woode (bass); Sam Woodyard (drums).

Duke With A Difference

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Jimmy Woode - The Colorful Strings Of Jimmy Woode

Styles: Jazz, Bop

Year: 1957

File: MP3@224K/s

Time: 26:32

Size: 42,8 MB

Art: Front

(3:05)  1. Falmouth Recollections

(4:41)  2. The Way You Look Tonite

(6:39)  3. Foofy For President

(4:20)  4. The Man From Potter's Crossing

(4:21)  5. Dance Of The Reluctant Drag

(3:22)  6. Empathy, For Ruth

Jimmy Woode is best known for his extensive work as a sideman, so this rare opportunity to record as a leader, which first appeared as an Argo LP in 1958, is a welcome look into his abilities as a composer and arranger as well. Recruiting several fellow sidemen from Duke Ellington's band, including Clark Terry, Paul Gonsalves, and Sam Woodyard, along with pianist Ramsey Lewis and the lesser known Porter Kilbert (alto sax) and flutist Mike Simpson, Woode composed five originals for the date. The breezy blues "Foofy for President" has a spirited exchange between Terry and Simpson. "The Man from Potter's Cottage" is a sauntering blues that is dedicated to Woodyard, the leader's roommate while touring with Ellington. "The Dance of the Reluctant Drag" is a challenging piece, with odd twists both harmonically and rhythmically. Finally, Woode adds a warm vocal to the one standard, "The Way You Look Tonight." Long out of print, this enjoyable album was finally reissued in Japan by Universal, though with no bonus tracks, resulting in a brief session of under 28 minutes. ~ Ken Dryden  http://www.allmusic.com/album/the-colorful-strings-of-jimmy-woode-mw0001880533

Personnel: Jimmy Woode - bass, vocals (2);  Mike Simpson – flute;  Clark Terry – trumpet;  Britt Woodman – trombone;  Porter Kilbert - alto saxophone;  Paul Gonsalves - tenor saxophone;  Ramsey Lewis – piano;  Sam Woodyard - drums

The Colorful Strings Of Jimmy Woode

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Paul Gonsalves - Gettin' Together

Bitrate: MP3@320K/s
Time: 39:36
Size: 90.6 MB
Styles: Bop, Saxophone jazz
Year: 1967/1991/2007
Art: Front

[3:32] 1. Yesterdays
[4:58] 2. J And B Blues
[4:22] 3. I Surrendear Dear
[4:58] 4. Hard Groove
[7:52] 5. Low Gravy
[4:06] 6. I Cover The Waterfront
[4:55] 7. Gettin' Together
[4:47] 8. Walkin'

The most easily available of tenor saxophonist Paul Gonsalves' in frequent sessions as a leader, this CD is a straight reissue of his original Jazzland LP. Three songs (including two ballads) showcase Gonsalves in a quartet with pianist Wynton Kelly, bassist Sam Jones and drummer Jimmy Cobb, while five other pieces add cornetist Nat Adderley (in his prime during the era) to the band. The music is straight-ahead and shows that Gonsalves was quite capable of playing with younger "modernists." ~Scott Yanow

Gettin' Together

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Joya Sherrill - Joya Sherrill Sings Duke

Styles: Jazz, Vocal
Year: 1999
File: MP3@320K/s
Time: 33:34
Size: 77,4 MB
Art: Front

(2:15)  1. Mood Indigo
(3:48)  2. Prelude To a Kiss
(1:55)  3. I'm Beginning to See the Light
(2:49)  4. Sophisticated Lady
(1:48)  5. Kissing Bug
(2:22)  6. In A Sentimental Mood
(2:35)  7. Duke's Place
(2:50)  8. I'm Just a Lucky So and So
(3:53)  9. Day Dream
(3:32) 10. Things Ain'T What They Used To Be
(2:48) 11. Just Squeeze Me (But Don't Tease Me)
(2:52) 12. A Flower Is a Lovesome Thing

One of the best singers who toured with Duke Ellington, she seemed to be a natural choice for a feature album, only this release was produced by Mercer Ellington with a number of Ellington veterans in the supporting cast and Billy Strayhorn at the piano. Sherrill's confidence singing the twelve gems from the band repertoire allows her to let the timelessness of the music and lyrics speak for itself rather than overembelish the songs. 

Her superb diction and warm sound are complemented by brief accents by alto saxophonist Johnny Hodges on "Prelude To A Kiss," the muted cornet of Ray Nance on a sassy "I'm Beginning To See The Night," and Nance's violin on her moving take of "Day Dream." This rare outing away from the full band, now available on CD, is worth acquiring. ~ Ken Dryden  

http://www.allmusic.com/album/joya-sherrill-sings-duke-mw0000239630

Personnel: Joya Sherrill (vocals); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Cootie Williams (trumpet); Ray Nance (violin, cornet); Ernie Harper, Billy Strayhorn (piano); Joe Benjamin, John Lamb (bass); Shep Shepard, Sam Woodyard (drums).

Joya Sherrill Sings Duke

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Sonny Stitt & Paul Gonsalves - Salt And Pepper

Bitrate: MP3@320K/s
Time: 72:01
Size: 164.9 MB
Styles: Bop, Saxophone jazz
Year: 1963/1997
Art: Front

[ 7:48] 1. Salt And Pepper
[ 6:18] 2. S'posin'
[ 2:24] 3. Theme From Lord Of The Flies
[12:36] 4. Perdido
[ 6:05] 5. Stardust
[ 4:08] 6. Surfin'
[ 6:20] 7. Lester Leaps In
[ 3:13] 8. Estralita
[ 4:31] 9. Please Don't Talk About Me When I'm Gone
[ 5:10] 10. Touchy
[ 5:03] 11. Never ---Sh!
[ 4:05] 12. My Mother's Eyes
[ 4:14] 13. I'm Getting Sentimental Over You

Recording Date: June 10, 1963 & September 5, 1963. Bass – Milt Hinton; Drums – Osie Johnson; Piano – Hank Jones; Tenor Saxophone – Paul Gonsalves, Sonny Stitt.

This 72-minute CD starts off with one of the underrated gems of the 1960s, an exciting matchup by tenors Sonny Stitt and Paul Gonsalves. Other than the brief throwaway "Theme from Lord of the Flies" (producer Bob Thiele's idea), this is very much a jam session set, with "Salt and Pepper" being a heated medium-tempo blues and the two competitive tenors stretching out on "S'posin'" and a lengthy "Perdido." Actually, the most memorable selection from the date is the one on which Stitt switches to alto, "Stardust." His beautiful playing behind Gonsalves' warm melody statement raises the session to the classic level. Also included on this consistently exciting CD is a Sonny Stitt quartet set originally titled Now! Although Stitt (doubling on alto and tenor) recorded scores of quartet sessions, he sounds particularly inspired here, especially on such offbeat material as "Estralita," the Dixieland standard "Please Don't Talk About Me When I'm Gone," and "My Mother's Eyes." Highly recommended to bebop and straight-ahead jazz fans. ~Scott Yanow

Salt And Pepper

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Paul Gonsalves - Tell It The Way It Is

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 77:22
Size: 180,7 MB
Art: Front

(11:37)  1. Tell it the way it is
( 4:43)  2. Things ain't what they used to be
( 5:28)  3. Duke's place
( 5:01)  4. Impulsive
( 3:46)  5. Rapscallion in rab's canyon
( 5:35)  6. Body and soul
( 4:13)  7. Caesar and Cleopatra Theme
( 3:09)  8. Antony and Cleopatra Theme
( 5:40)  9. Bluz for liz
( 4:25) 10. Cleo's blues
( 5:10) 11. Action in alexandria
( 6:46) 12. Cleo's asp
( 6:43) 13. Cleopatra's Lament
( 4:59) 14. Second chance

When Duke Ellington's sidemen recorded on their own, the Duke's influence often had a way of asserting itself even if he was nowhere near the studio. This was true in the 1930s and 1940s, and it was true on some of Paul Gonsalves' recordings of the 1960s. Nonetheless, Gonsalves was his own man, and this excellent CD points to the fact that the breathy tenor saxophonist wasn't afraid to enter a variety of musical situations. This reissue combines two excellent 1963 dates Cleopatra Feelin' Jazzy and Tell It the Way It Is on a single CD. Tell It the Way It Is unites Gonsalves with the great Swedish trumpeter Rolf Ericson and pianist Walter Bishop, Jr. as well as such Ellington alumni as Johnny Hodges (alto sax) and Ray Nance (cornet, violin). The strong Ellington influence asserts itself on pieces that range from Hodges' "Rapscallion in Rab's Canyon" to "Things Ain't What They Used to Be" and "Duke's Place." 

Meanwhile, Cleopatra Feelin' Jazzy is an interesting session that finds Gonsalves painting a musical picture of the Egyptian queen Cleopatra. Joined by guitarist Kenny Burrell, pianist Hank Jones, bassist George Duvivier, and drummer Roy Haynes, Gonsalves salutes Cleopatra with music that is generally moody and evocative yet swinging. Cleopatra Feelin' Jazzy is an example of a jazz concept album that really works, and this CD is highly recommended to anyone who has appreciated Gonsalves' soulful tenor playing. ~ Alex Henderson   http://www.allmusic.com/album/tell-it-the-way-it-is!-mw0000764567

Personnel: Paul Gonsalves (tenor saxophone); Ernie Shepard (vocals); Kenny Burrell (guitar); Ray Nance (violin, cornet); Johnny Hodges (alto saxophone); Rolf Ericson (trumpet); Hank Jones , Walter Bishop, Sr., Walter Bishop, Jr. (piano); Dick Hyman (organ); Osie Johnson, Roy Haynes (drums).

Tell It The Way It Is

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Paul Gonsalves - Cookin': Complete 1956-1957 Sessions

Bitrate: 320K/s
Time: 77:51
Size: 178.2 MB
Styles: Mainstream jazz
Year: 1957/2011
Art: Front

[3:13] 1. It Don't Mean A Thing
[2:55] 2. Take Nine
[3:05] 3. Everything Happens To Me
[3:17] 4. Don't Blame Me
[6:52] 5. Festival
[3:36] 6. Clark's Bars
[2:14] 7. Daddy's Patio
[4:59] 8. Blues
[4:18] 9. Impeccable
[2:46] 10. Paul's Idea
[3:16] 11. Phat Bach
[2:31] 12. Mili Terry
[4:01] 13. Funky
[3:31] 14. The Girl I Call Baby
[3:11] 15. Falmouth Recollections
[4:54] 16. The Way You Look Tonight
[6:58] 17. Foofy For President
[4:20] 18. The Man From Potter's Crossing
[4:22] 19. Dance Of The Reluctant Drag
[3:23] 20. Empathy For Ruth

This compilation includes the contents of two LPs and part of a third, all featuring Paul Gonsalves and Clark Terry, though only one of them, Cookin', was originally issued under the tenor saxophonist's name. The CD opens with four songs from The Jazz School, one side of a 1956 recording featuring the two Ellingtonians with pianist Junior Mance, bassist Chubby Jackson, the little known baritonist Porter Kilbert, and drummer Gene Miller. Gonsalves contributed "Take Nine" with the other tracks being enjoyable, if unremarkable arrangements of familiar standards. The ten tracks from Cookin' include fellow Duke Ellington bandmembers Jimmy Woode on bass and Sam Woodyard on drums, with Willie Jones on piano. The date consists of originals by either Gonsalves or Terry, with the tenorist taking lots of long solos, as was typical for him. None of the compositions ended up becoming lasting vehicles in either man's repertoire. The final six tracks actually represent the entire contents of Jimmy Woode's sole recording as a leader, with fellow Ellington sidemen Gonsalves, Terry, and Woodyard, in addition to Kilbert (on alto sax) and flautist Mike Simpson. This session was a rare opportunity for Woode to showcase his songwriting abilities, with one standard, "The Way You Look Tonight," becoming a vocal feature for the bassist. ~Ken Dryden

Cookin': Complete 1956-1957 Sessions

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