Shorty Rogers & The Giants - You Shorty, Me Tarzan!

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 55:42
Size: 129,4 MB
Art: Front

( 3:25)  1. The Elephant Wail
( 1:40)  2. Los Barbaros
( 3:05)  3. Paradise Found
( 1:55)  4. Trapped
( 2:14)  5. Los Primitivos
( 3:24)  6. Oomgawa
(17:33)  7. Tarzanic Suite
( 3:19)  8. Mountain Greenery
( 4:57)  9. Martian Lullaby
( 4:08) 10. Bluesies
( 2:16) 11. Big Band Blues
( 1:15) 12. I Want To Be Happy
( 6:26) 13. The Three Little Bops

2010 release, the fourth installment in the Giant Steps label's series of classic recordings by legendary modernists Shorty Rogers & the Giants. Assembled is the rare percussive soundtrack to Tarzan the Ape Man that featured the likes of Bud Shank, Bob Cooper, Frank Rosolino and other famed West Coasters. Said Shorty: "At first, I was slightly apprehensive when MGM approached me to write and record the soundtrack for a Tarzan movie, but I needn't have concerned myself. They just said, make it exciting with plenty of drumming, and left me alone to get on with it. So I approached it as if I was really making a new Giants album, which is what it really was. I don't want to sound discourteous, but the album we made was much better that the actual movie". Also included is an equally rare 'live' appearance by the Big Band version of the Giants from an appearance on the TV show the Stars of Jazz. Giant Steps. ~Editorial Reviews https://www.amazon.com/You-Shorty-Tarzan-Rogers-Giants/dp/B0032BVEIG

Personnel:  Trumpet, Conductor, Composed By – Shorty Rogers ;  Bass – Buddy Clark, Joe Mondragon ;  Drums – Carlos Rosario, Chach Gonzales, Chico Guerrero, Frank Capp, Modesto Duran ;  Piano – Pete Jolly ;  Saxophone – Bill Holman, Bill Hood, Bill Perkins, Bob Cooper, Bud Shank, Chuck Gentry;  Trombone – Bob Enevoldsen, Frank Rosolino, Harry Betts, Marshall Cram;  Trumpet – Al Porcino, Buddy Childers, Don Fagerquist, Ollie Mitchell

You Shorty, Me Tarzan!

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Art Pepper - Presents “West Coast Sessions!” Volume 2: Pete Jolly

Styles: Saxophone And Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 56:28
Size: 131,2 MB
Art: Front

(5:07)  1. Strike Up The Band
(4:36)  2. You Go To My Head
(7:35)  3. I Surrender Dear
(6:04)  4. Y.I. Blues
(9:57)  5. Night And Day
(5:59)  6. Everything Happens To Me
(6:49)  7. Out Of Nowhere
(4:46)  8. Y.I. Blues (Alternate Take)
(5:32)  9. Y.I. Blues (Take 3)

The story goes that in 1977, Japanese label Atlas approached saxophonist and erstwhile cool jazz star Art Pepper about possibly doing some recording. Notoriously, Pepper had spent the better part of the prior 20 years in and out of prison and toiling with drug addiction. By the late '70s however, with his wife and then manager Laurie Pepper's help, he had resurrected his career. Subsequently, labels like Atlas were once again hoping to recapture Pepper's distinctive sound on record. To avoid violating his contract with Fantasy/Galaxy, Pepper decided to appear as a sideman on the recordings, bringing on various "headliners" to release under. For his third Atlas date, 1980's Strike Up the Band: Pete Jolly & His West Coast Friends, Pepper hired longtime West Coast pianist Jolly, with whom he had previously recorded the classic 1956 Chet Baker album Playboys. Joining them were bassist Bob Magnusson and drummer Roy McCurdy. The 2017 Omnivore compilation, Art Pepper Presents West Coast Sessions, Vol. 2: Pete Jolly, brings together all of the tracks recorded at the session.

Also included are liner notes from compilation producer Laurie Pepper. Primarily, this is a brightly swinging affair that balances the cool lyricism of the saxophonist's early years with the bluesy, post-John Coltrane harmonic maturity that marked his latter career. Here, we get a handful of lyrical, if sanguinely delivered standards, including a sprightly take on the George Gershwin title track, a soulful, Latin-tinged rendition of Cole Porter's "Night and Day," and a jaggedly buoyant version of Harry Barris' "I Surrender Dear," with Pepper gritting into the melody like he's brushing a cavity. Similarly engaging is the ensemble's soulful, delicately funky version of Pepper's "Y.I. Blues," of which we also get two worthy alternate versions accented by some candid, between-take studio chatter. However, it's their dusky, bittersweet reading of Matt Dennis' "Everything Happens to Me" that sticks with you. Played at the tempo of a slow tide with Pepper's mournfully sweet alto at the crest, it evokes a noir-ish West Coast romanticism. It's almost as if Pepper is looking back through the hazy corridor of sex, drugs, and smoky late-night gigs that stretch back to the '50s. ~ Matt Collar https://www.allmusic.com/album/art-pepper-presents-west-coast-sessions-vol-2-pete-jolly-mw0003009535

Personnel: Art Pepper (alto saxophone); Pete Jolly (piano); Roy McCurdy (drums).              

Presents “West Coast Sessions!” Volume 2 Pete Jolly 

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Pete Jolly & Ralph Pena - The Duo

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 64:49
Size: 149,4 MB
Art: Front

(6:15)  1. Easy To Love
(4:51)  2. We'll Be Together Again
(7:43)  3. Celia
(7:15)  4. Friday The Thirteenth
(6:28)  5. I Love You
(4:49)  6. Variations
(4:44)  7. Bulja Bass
(5:03)  8. On Green Dolphin Street
(3:17)  9. Whistle While You Work
(7:44) 10. Walkin'
(6:37) 11. I Don't Wanna Be Kissed

When pianist Pete Jolly passed away in 2004, he was one of the last major survivors of the West Coast jazz scene of the 1950s. A powerful two-handed pianist influenced by Bud Powell but having his own style within straight-ahead jazz, Jolly worked in Los Angeles for decades, which led to him being underrated and often overlooked by the rest of the jazz world. Jolly had a trio with bassist Chuck Berghofer and drummer Nick Martinis that lasted over 40 years. However just prior to the formation of that group, Jolly often worked in a duo with bassist Ralph Pena. The music on this CD, of which originally only a dozen LPs were pressed, is rare in the extreme. It is taken from a 1960 tour of New Zealand and features Jolly and Pena digging into a variety of jazz standards and originals. Most unusual are the fairly early covers of Bud Powell's "Celia," George Wallington's obscure "Variations," and Thelonious Monk's "Friday the Thirteenth." Pete Jolly and straight-ahead jazz piano collectors will definitely want this rare item. ~ Scott Yanow https://www.allmusic.com/album/the-duo-mw0000486668

Personnel: Pete Jolly, piano; Ralph Pena, bass

The Duo

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Pete Jolly - Too Much, Baby!

Styles: Piano Jazz
Year: 1965
File: MP3@320K/s
Time: 30:42
Size: 71,6 MB
Art: Front

(2:48)  1. I'm All Smiles
(3:20)  2. One Morning In May
(3:03)  3. If I Ruled the World
(2:10)  4. Telephone Song
(3:53)  5. Some Time Ago
(2:23)  6. Same Ol' Huckleberry Finn
(2:24)  7. Do I Hear a Waltz?
(3:55)  8. I'm Getting Sentimental Over You
(3:07)  9. Favela
(3:34) 10. On a Wonderful Day Like Today

The heyday of pianist Pete Jolly's jazz career was during the 1950s and early 1960s, when he made the bulk of his recordings as a leader. He had previously focused mainly on studio work in Hollywood for television and films, although he performed regularly in a jazz setting up until his death in 2004. This circa-1965 studio date, Too Much, Baby, is a trio session with bassist Chuck Berghofer and drummer Nick Martinis, concentrating on then-current pop songs and Broadway fare. Unfortunately, there is little room for the group to stretch out, as the songs all run under four minutes and are, for the most part, promptly faded out not long after Jolly completes his solos. His lively interpretation of "Sometime Ago," which includes a solo feature for Berghofer, is easily the album's highlight, though standards such as "One Morning in May" and his take of "I'm Getting Sentimental Over You" are also enjoyable. But even long-since forgotten material like "Same Ol' Huckleberry Finn (Up Cherry Street)," made popular by Herb Alpert & the Tijuana Brass (with whom Jolly worked briefly as a sideman) and written by Julius Wechter of the Baja Marimba Band, becomes an unlikely jazz vehicle in Jolly's hands, adding some humorous ragtime into the mix. ~ Ken Dryden https://www.allmusic.com/album/too-much-baby-mw0000904836

Personnel:  Piano – Pete Jolly; Bass – Chuck Berghoffer; Drums – Nicholas Martinis

Too Much, Baby!

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Art Pepper - Smack Up

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 51:03
Size: 117,3 MB
Art: Front

(4:18)  1. Smack Up
(7:11)  2. Las Cuevas de Mario
(7:24)  3. A bit of Basie
(6:56)  4. How can you lose
(4:24)  5. Maybe next year
(7:44)  6. Tears inside
(6:32)  7. Solid Citizens (Take 33) (Bonus Track)
(6:29)  8. Solid Citizens (Take 37) (Bonus Track)

Art Pepper's reckless lifestyle tended to overshadow his superb musicianship, and the circumstances surrounding Smack Up are certainly no exception. Shortly after recording it in 1960, he spent three years in jail for heroin possession, and one can only wonder if the title of the record is a play on words. Nevertheless, Pepper is in good form, as he usually was despite his troubles, darting over the changes and stitching together sharp, boppish lines without hesitation. Featuring a crack rhythm section and a subtle accompanist in trumpeter Jack Sheldon, one can easily expect a set of expertly played jazz. However, this album is different from the usual West Coast program of standards and show tunes, in that it features songs composed by other saxophonists associated with the Contemporary label, from the famous (Carter) to the infamous (Coleman) to the downright obscure (Duane Tatro and Jack Montrose). Most of these songs are inspired originals that never would have been recorded again had Pepper not resuscitated them, and the varied selection of artists and styles gives the album a wider reach than Pepper's other records, or most West Coast records for that matter. The end result is a set that runs through various directions of music from the high-powered swing of Buddy Collette's "A Bit of Basie" to the hard bop of "Smack Up" to the edgy leanings of the Tatro tune "Maybe Next Year." 

The quintet even explores a soulful groove more commonly found on Blue Note releases with Pepper's own "Las Cuevas de Mario" (in 5/4) and Montrose's "Solid Citizens." Appropriately Jolly sits out for the Coleman tune while Pepper and Sheldon wander over the changes, a little more tentatively than Ornette did. But the strength of the album, other than the terrific playing, is just that it sounds different, an unexpected foray into little known songs that features energy and swing in equal doses. Perhaps the novelty of the music forced the musicians to approach the material more creatively or purposefully, but whatever the reason, Smack Up is one of the highlights of Pepper's career, a record that shows that despite his sordid life, he was a master on his instrument. ~ David Rickert https://www.allaboutjazz.com/smack-up-art-pepper-contemporary-review-by-david-rickert.php

Personnel:  Art Pepper — alto saxophone; Jack Sheldon — trumpet; Pete Jolly — piano; Jimmy Bond — bass; Frank Butler — drums

Smack Up

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Ray Conniff - Always in My Heart

Styles: Vocal, Trumpet

Year: 1988
File: MP3@320K/s
Time: 28:28
Size: 66,2 MB
Art: Front

(2:10)  1. Maria Elena (Always in My Heart)
(3:04)  2. Ramona
(3:20)  3. Don't Cry for Me Argentina (From "Evita")
(2:33)  4. La Violetera (Who Will Buy My Violets)
(3:27)  5. La Vie En Rose
(3:26)  6. Fernando
(2:12)  7. Theme from "A Summer Place" (A Tribute to Percy Faith)
(2:47)  8. Valencia
(2:44)  9. Blowin' in the Wind
(2:39) 10. Adios Muchachos

The kitsch enthusiast or novelty seeker will get a kick out of Ray Conniff's 1988 album Always in My Heart. Known primarily for orchestral versions of contemporary pop songs, his recordings during the late-1960s and early 1970s as Ray Conniff and the Singers included many straightforward recordings of current pop hits. 

This 1988 collection, sans singers, includes songs by Edith Piaf, Bob Dylan, Percy Faith, and from Andrew Lloyd Webber and Tim Rice's Evita! This fun easy listening album has decent track listing, but, at barely over 20 minutes, will be worthwhile only if you want to hear a specific song in the set. ~ JT Griffith https://www.allmusic.com/album/always-in-my-heart-mw0000198812

Personnel:  Ray Conniff - vocals, trumpet; Pete Jolly - piano, electric piano; Gene Merlino - vocals; Zeke Zarchy - trumpet

Always in My Heart

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Cy Touff & Richie Kamuca - Primitive Cats

Styles: Trumpet And Saxophone Jazz 
Year: 1956
File: MP3@320K/s
Time: 51:34
Size: 118,7 MB
Art: Front

(5:41)  1. Primitive Cats
(5:27)  2. It's Sand, Man
(5:27)  3. Prez-Ence
(3:53)  4. Half Past Jumping Time
(7:01)  5. A Smooth One
(7:53)  6. Keenster Parade
(4:58)  7. TNT
(4:25)  8. What Am I Here For
(4:13)  9. Groovin' Wailin'
(2:32) 10. A Smooth One

When these recordings were made, Cy Touff had been sitting in the Woody Herman trombone section for almost two years. His ungainly looking instrument seldom has been heard in the Jazz field. It sounds much like a valve trombone, but seems to be more flexible and more personal than the bone. Richie Kamuca, who co-featured with Cy on these sessions, was also a member of the Herman Herd. Both men have Lester Youngs spirit in their playing. They typify the mainstream school of Jazz. The groups on this CD achieve a compulsive swing and joy that is practically guaranteed to make you pat a hole in the floor with your foot. The quintet sides are marked by lengthier solos from Cy and Richie, and presented them with an auspicious bow as recorded leaders. Johnny Mandel and Ernie Wilkins charts provide ample chance for the octet to get a walking, pulsing, Basie-ish beat going behind all the soloists. https://www.freshsoundrecords.com/cy-touff-richie-kamuca-albums/4582-primitive-cats.html

Personnel:  Cy Touff (bass trumpet), Richie Kamuca (tenor sax), Matt Utal (alto sax, baritone sax), Pete Jolly (piano), Leroy Vinnegar (bass), and Chuck Flores (drums).

Primitive Cats

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Jack Sheldon - Jack Sheldon & His All Stars

Bitrate: MP3@320K/s
Time: 35:03
Size: 80.3 MB
Styles: West Coast jazz
Year: 1976/2001
Art: Front

[3:04] 1. Green Dolphin Street
[4:42] 2. I'm Also A Person
[3:30] 3. I Had The Craziest Dream
[3:43] 4. Arrivederci
[2:56] 5. Brown Cow
[3:21] 6. Anyhow
[3:24] 7. Julie Is Her Name
[3:44] 8. Aplomb
[2:56] 9. Sunset Eyes
[3:38] 10. J.S

Alto Saxophone – Art Pepper, Herb Geller, Lennie Niehaus; Piano – Paul Moer; Baritone Saxophone – Billy Root; Bass – Buddy Clark; Drums – Mel Lewis; French Horn – Vince De Rosa; Piano – Pete Jolly; Tenor Saxophone – Harold Land; Trumpet – Chet Baker, Conte Candoli, Jack Sheldon; Tuba – Red Callender; Valve Trombone – Stu Williamson.

Although the liner notes to this album state that these two sessions were Jack Sheldon's first as a leader, he actually led two full sets for Jazz West during 1954 and 1956, plus three titles for Pacific Jazz in '55. However, this was the initial album to gain wide recognition and helped to introduce the L.A.-based trumpeter's talents to the East Coast. Five selections feature Sheldon with a ten-piece band arranged by Lennie Niehaus and some have spots for valve trombonist Stu Williamson, pianist Pete Jolly and baritonist Billy Root. The later session features the writing of Paul Moer and such fine soloists as trumpeter Chet Baker (in a rare sideman outing for another trumpeter), altoists Art Pepper and Herb Geller, tenorman Harold Land and valve trombonist Williamson. High-quality and consistently swinging West Coast jazz. ~Scott Yanow

Jack Sheldon & His All Stars mc
Jack Sheldon & His All Stars zippy

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Lighthouse All Stars - Eight Brothers

Bitrate: MP3@320K/s
Time: 69:54
Size: 160.0 MB
Styles: West Coast jazz
Year: 2002
Art: Front

[5:05] 1. Back To The Basie-Ics
[7:56] 2. Yesterday, Today And Forever
[5:24] 3. Unfinished Dream
[6:55] 4. Magic Man
[7:34] 5. Eight Brothers
[4:40] 6. Stray Horns
[6:49] 7. Like It Is
[6:11] 8. Battle Hymn Of The Republic
[4:35] 9. The Essence Of Tenderness
[6:33] 10. Double Trouble
[8:05] 11. No Additives, No Preservatives

Alto Saxophone – Bud Shank; Baritone Saxophone, Tenor Saxophone, Soprano Saxophone – Bill Perkins; Bass – Monty Budwig; Drums – Larance Marable; Piano – Pete Jolly; Tenor Saxophone – Bob Cooper; Trumpet – Conte Candoli; Trumpet, Flugelhorn – Shorty Rogers. Recorded at Entourage Studios, North Hollywood, California 13/14th January 1992.

The title track of this album refers to the members of the Light House All Stars, men who have come through the jazz wars in Los Angeles to emerge at the peak of their abilities. This, one of two great Candid sets, features some of the true giants of West Coast Jazz. Compositions and arrangements by Shorty Rogers and Bud Shank, Conte Candoli, Bob Cooper et al are featured prominently. The Lighthouse was truly a coast jazz beacon, especially during the 1950s. It was one of those special places where the elements were right for creative magic and the memories and the music of the Lighthouse All Stars still hold generations enthralled.

Eight Brothers 

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Shorty Rogers - The Fourth Dimension In Sound

Bitrate: MP3@320K/s
Time: 37:21
Size: 85.5 MB
Styles: Trumpet jazz
Year: 1961/2006
Art: Front

[3:38] 1. One O'clock Jump
[3:32] 2. Speak Low
[2:56] 3. Tonight
[4:49] 4. Lover
[4:07] 5. Marie
[2:51] 6. Kook-A-Ra-Cha Waltz
[3:16] 7. You're Just In Love
[2:42] 8. I'm Gettin Sentimental Over You
[3:04] 9. Stompin' At The Savoy
[3:08] 10. Baubles, Bangles & Beads
[3:14] 11. Taboo

As was true of many records from the early 1960's, the emphasis on this out-of-print Lp (especially in the lengthy liner notes) is on the stereophonic sound rather than the music. Rogers (sticking to flugelhorn) leads a group that includes three reeds, trombonist Ken Shroyer, vibraphonist Emil Richards, pianist Pete Jolly, bassist Red Mitchell or Joe Mondragon on bass and drummer Shelly Manne. The music is better than the liner notes (which spend most of their time describing the sound) lets on but is not all that significant, emphasizing swing standards along with an occasional Latin novelty. ~Scott Yanow

The Fourth Dimension In Sound mc
The Fourth Dimension In Sound zippy

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Pete Jolly Trio - When Lights Are Low

Styles: Piano Jazz
Year: 1956
File: MP3@320K/s
Time: 46:21
Size: 107,8 MB
Art: Front

(4:25)  1. Skating
(5:29)  2. Ah-Moore
(3:59)  3. When Lights Are Low
(3:09)  4. Groovin' With Gus
(4:09)  5. Unconcerned
(2:54)  6. Whistle While You Work
(3:19)  7. Broadway
(4:02)  8. My Old Flame
(3:41)  9. Jordu
(3:37) 10. That Old Feeling
(4:09) 11. Five Brothers
(3:23) 12. Thou Well

This Hollywood piano man is well known among jazz musicians-but his recordings are few and rare. This 1956 RCA Victor gem features his trio's lights-down-low interpretations of songs by Al Cohn, Rodgers & Hart and Gerry Mulligan, plus some of Pete's originals and his appropriately Jolly version of Whistle While You Work ! ~ Editorial Reviews https://www.amazon.com/When-Lights-Are-Pete-Jolly/dp/B000027S40      

Personnel:  Bass – Jules Berteaux;  Drums – Robert Neal;  Piano – Pete Jolly

When Lights Are Low

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Buddy De Franco - Generalissimo/Live Date !

Styles: Clarinet Jazz
Year: 1958
File: MP3@320K/s
Time: 75:22
Size: 173,8 MB
Art: Front

( 5:45)  1. Sunday
( 9:21)  2. Between the Devil & the Deep Blue Sea
( 4:57)  3. Tea for Two
( 4:30)  4. Blue Lou
( 9:04)  5. Funky's Uncle
(11:24)  6. Ballad Medley - 'Round Midnght
( 4:06)  7. Oh, Lady Be Good !
( 6:11)  8. Satin Doll
( 3:05)  9. My Funny Valentine
( 4:49) 10. Blues for Space Travellers
( 5:27) 11. Crazy Rhythm
( 6:37) 12. Ballad Medley - I'm Glad there is You

In 2007, the Lone Hill Jazz label reissued two Verve albums by clarinetist Buddy DeFranco: Generalissimo and Live Date!, which despite the title was a studio recording. In a producer's note, Morton James verbally winces at the pun on the name of the notoriously genocidal Spanish dictator Generalissimo Francisco Franco, and speculates that this grossly insensitive gimmick, thought up by some clueless A&R director or advertising agent, might actually have delayed the album's appearance on CD until 2007. Boniface Ferdinand Leonardo de Franco was born in Camden, NJ, in 1923. The son of a piano tuner, he excelled on several instruments before settling into his role as one of the premier clarinetists in early modern jazz. Recorded on Wednesday, April 2, 1958, Generalissimo turns out to be a solid little blowing session involving trumpeter Harry "Sweets" Edison and Milwaukee-born tenor saxophonist Bob Hardaway, with an awesome rhythm section in Jimmy Rowles, Curtis Counce, Barney Kessel, and Alvin Stoller. On Friday, April 4, 1958, DeFranco brought Kessel and Hardaway back to the studio, this time with drummer Stan Levey, bassist Scott LaFaro, pianist/accordionist Pete Jolly, vibraphonist Victor Feldman, and multi-instrumentalist Herbie Mann, who played flute, tenor sax, and (on "These Foolish Things") bass clarinet. This double reissue is composed mainly of jazz standards with a couple of originals and two sumptuous ballad medleys. Unfortunately, the combined running time for both albums exceeded the 80-minute mark by about 120 seconds. For this reason, "Tin Reed Blues" from the Live Date! album was omitted, but may be enjoyed on the equally excellent double CD I Hear Benny Goodman and Artie Shaw [Lone Hill Jazz 10281]. ~ arwulf arwulf https://www.allmusic.com/album/generalissmo-live-date%21-mw0001907306

Personnel:  Buddy DeFranco (cl), Harry Edison (tp), Bob Hardaway (ts), Herbie Mann (fl), Jimmy Rowles, Pete Jolly (p), Victor Feldman (vib), Barney Kessel (g), Curtis Counce, Scott LaFaro (b), Alvin Stoller, Stan Levey (d)    

Generalissimo/Live Date !

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Benny Goodman - Hello Benny/ Made In Japan

Album: Hello Benny
 

Styles: Clarinet Jazz
Year: 1964
File: MP3@256K/s
Time: 28:16
Size: 53,4 MB
Art: Front

(1:56)  1. Great Day
(3:54)  2. La Boheme
(2:54)  3. Call Me Irresponsible
(2:52)  4. People
(2:32)  5. Hello Dolly
(2:59)  6. The Girl From Ipanema
(3:29)  7. The Pink Panther Theme
(2:03)  8. The Lamp Is Low
(2:07)  9. Hallelujah, I Love Her So
(3:26) 10. Them There Eyes

Album: Made In Japan
 
Year: 1965
File: MP3@256K/s
Time: 33:01
Size: 62,3 MB

(4:48)  1. Cheek To Cheek
(2:43)  2. Like Someone In Love
(3:04)  3. Close Your Eyes
(2:37)  4. As Long As I Live
(4:12)  5. Stompin' At The Savoy
(1:41)  6. My Melancholy Baby
(1:53)  7. Memories Of You
(3:19)  8. I've Got The World On A String
(3:02)  9. You're Blasé
(3:44) 10. Dinah
(1:54) 11. Goodbye

In 2003, EMI released Hello, Benny/Made in Japan, which contained two complete albums Hello, Benny and Made in Japan (both originally released on Capitol in 1964) by Benny Goodman on one compact disc. ~ John Bush http://www.allmusic.com/album/hello-benny-made-in-japan-mw0000459419

Personnel: Benny Goodman (clarinet); Benny Garcia (guitar); Herbie Steward, Arthur "Skeets" Herfurt (alto saxophone); Bob Hardaway, Teddy Edwards (tenor saxophone); Tay Triscari, Jimmy Zito, Tony Terran (trumpet); Vern Friley, Bob Edmondson (trombone); Pete Jolly (piano); Colin Bailey (drums).

Hello Benny

Made In Japan

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The Pete Jolly Trio - Timeless

Bitrate: MP3@320K/s

Time: 62:58

Size: 144.2 MB

Styles: Piano jazz

Year: 2000

Art: Front

[11:52] 1. Milestones

[ 4:40] 2. Tea For Two

[12:35] 3. That Old Devil Moon

[10:11] 4. Don't Worry About Me

[ 7:25] 5. Stars And Stripes Forever

[ 7:02] 6. I Should Care

[ 9:11] 7. Hey Jude

Pete Jolly has been one of the most active & talented pianists working in the Los Angeles area for the past 40 years. This version of his trio is a little different than his regular trio, as it features Nick Ceroli on drums. Recorded at Donte's by George Jerman in July of 1969, this fine program is another of the great live sets captured by George during the mid to late 1960s. Jolly's playing is energetic & inventive; the trio is well-rehearsed & tight.

Timeless 2000

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Bill Perkins & Richie Kamuca - Tenors Head On

Styles: Saxophone, Clarinet And Flute Jazz
Year: 1956
File: MP3@320K/s
Time: 62:34
Size: 143,6 MB
Art:

(4:37)  1. Cotton Tail
(5:57)  2. I Want A Little Girl
(4:30)  3. Blues For Two
(4:40)  4. Indian Summer
(5:06)  5. Don't Be That Way
(5:38)  6. Oh! Look At Me Now
(5:02)  7. Spain
(4:25)  8. Pick A Dilly
(4:32)  9. Solid De Sylva
(5:10) 10. Just Friends
(4:32) 11. All Of Me
(3:19) 12. Limehouse Blues
(5:02) 13. Sweet And Lovely

The Lester Young-influenced tenors of Bill Perkins (who later developed a more Coltrane-oriented style) and Richie Kamuca are matched on this 1956 set. The music comprises hard-swinging but light-toned run-throughs on standards with the two complementary tenors both in excellent form. The material is taken from two former LPs and feature a pair of all-star rhythm sections (pianist Pete Jolly, bassist Red Mitchell, drummer Stan Levey, or pianist Hampton Hawes, Mitchell, and drummer Mel Lewis). Lovers of bebop and solidly swinging music will find much to enjoy on the set including some rare (if conventional) bass clarinet and flute from Perkins on a colorful version of "Sweet and Lovely." ~ Scott Yanow http://www.allmusic.com/album/tenors-head-on-mw0000277343

Personnel:  Tenor Saxophone, Bass Clarinet, Flute – Bill Perkins;  Tenor Saxophone – Richie Kamuca;  Bass – Red Mitchell;  Drums – Mel Lewis (tracks: 9 to 13), Stan Levey (tracks: 1 to 8);  Piano – Hampton Hawes (tracks: 9 to 13), Pete Jolly (tracks: 1 to 8)

Tenors Head On

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Barney Kessel - Live At The Jazz Mill 1954

Bitrate: MP3@320K/s
Time: 44:03
Size: 100.8 MB
Styles: Guitar jazz
Year: 2016
Art: Front

[5:34] 1. Strike Up The Band
[6:40] 2. How About You
[4:44] 3. Get Happy
[3:51] 4. Stardust
[5:36] 5. Seven Come Eleven
[7:44] 6. Rose Room
[3:50] 7. Somebody Loves Me
[6:00] 8. Embraceable You

Bass – Gene Stoffell; Drums – Art Kile; Guitar – Barney Kessel; Piano – Pete Jolly.

Unearthed tape from a jazz icon. Thanks to a 21-year-old with a tape machine, we can all experience the majesty of guitar legend Barney Kessel at his 1954 best! Even if you don't know Barney Kessel, you know Barney Kessel -- as a first-string member of the group of LA session musicians nicknamed "The Wrecking Crew," Kessel's guitar is heard on just about every LA-based hit you'd care to name from the 60s, including songs by the Monkees and The Beach Boys' legendary Smile LP. And that's Kessel's playing on the famous "fight music" from the Star Trek TV series. He was regarded as the very best of the session guitarists by just about everyone around, and guitarists everywhere site him as an influence.

But before he played rock and roll, Kessel was a jazz pioneer -- as one of the leading lights of the hard-bop movement, his jazz guitar was legendary, and he was ranked the No. 1 guitarist in Down Beat and Playboy for numerous years. He played with Sonny Rollins and Oscar Peterson (and Chico Marx -- yes, that Chico Marx!) as well as leading his own super-tight group. On albums such as The Poll Winners, Kessel defined the bop style with a jazz "power trio," creating a body of work that made him a legend.

Live At The Jazz Mill is a unique artifact -- recorded on a tape recorder by young jazz fan Jack Miller, this live recording catches Barney Kessel in the middle of his run at the Jazz Mill with a great four-piece band. The collection, gleaned from a couple of nights' best recordings, features Kessel's spirited take on such Songbook classics as "Get Happy" and "Stardust," not to mention the Gershwin great "Embraceable You." It’s pressed on red vinyl, and on compact disc and wrapped in a sleeve which captures the unique vibe of jazz graphics of the 1950s. Get with Barney Kessel, and get with a true pioneer of the jazz form!

Live At The Jazz Mill 1954

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Jon Eardley - From Hollywood to New York

Styles: Trumpet Jazz
Year: 1955
File: MP3@320K/s
Time: 40:31
Size: 93,1 MB
Art: Front

(5:01)  1. Late Leader
(5:29)  2. Indian Spring
(4:08)  3. Black
(4:38)  4. Gloss
(5:52)  5. Hey There
(4:38)  6. Demanton
(4:19)  7. Sid's Delight
(6:23)  8. If You Could See Me Now

Trumpeter Jon Eardley's first two sessions as a leader (he would only lead two others during the next 20 years) are combined on this reissue CD. A fine boppish player who mostly stuck to the middle register of his horn, Eardley would soon be joining Gerry Mulligan's group. He is heard on four selections heading a quartet with pianist Pete Jolly (who was just starting his career), bassist Red Mitchell, and drummer Larry Bunker, and on four other numbers with tenor saxophonist J.R. Monterose, pianist George Syran, bassist Teddy Kotick, and drummer Nick Stabulas. The music (five originals and three standards) is essentially cool-toned bop and was quite modern for the period. ~ Scott Yanow http://www.allmusic.com/album/from-hollywood-to-new-york-mw0000690506

Personnel: Jon Eardley (trumpet); J.R. Montrose (tenor saxophone); Pete Jolly, George Syran (piano); Red Mitchell, Teddy Kotick (bass); Nick Stabulas (drums)

From Hollywood to New York

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The Pete Jolly Trio - Yours Truly

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 60:38
Size: 141,9 MB
Art: Front

(5:48)  1. Speak Low
(5:17)  2. While My Lady Sleeps
(6:41)  3. You Stepped Out Of A Dream
(6:37)  4. Like Someone In Love
(4:34)  5. On Green Dolphin Street
(7:02)  6. Dear Old Stockholm
(5:06)  7. Darn That Dream
(2:49)  8. Little Bird
(5:49)  9. A Gal In Calico
(5:37) 10. Old Folks
(3:58) 11. You And The Night And The Music
(1:16) 12. Stardust

Pete Jolly and his longtime sidemen (Chuck Berghofer has been his regular bassist since the late '50s while drummer Nick Martinis joined up in 1964) perform 11 standards plus his old hit "Little Bird" on this fine outing. The virtuosic pianist dominates the ensembles but the contributions of Berghofer and Martinis (who have to think fast to keep up with him) should not be overlooked. Jolly's total command of the piano and infectious enthusiasm, which can result in some explosive outbursts, do not overshadow his good taste and the self-restraint that he shows on the ballads. ~ Scott Yanow http://www.allmusic.com/album/yours-truly-mw0000108591

Personnel: Pete Jolly (piano); Nick Martinis (drums); Chuck Berghofer (bass).

Yours Truly

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Chet Baker & Art Pepper - The Route

Styles: Trumpet And Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 53:08
Size: 122,0 MB
Art: Front

(6:20)  1. Tynan Time
(5:06)  2. The Route
(3:58)  3. Sonny Boy
(7:15)  4. Minor Yours
(4:18)  5. Little Girl
(5:30)  6. Ol' Croix
(4:11)  7. I Can't Give You Anything But Love
(4:19)  8. The Great Lie
(3:12)  9. Sweet Lorraine
(4:21) 10. If I Should Lose You
(4:32) 11. Younger Than Springtime [#]

This 1989 CD issue compiles all known sides cut during a July 26, 1956, session led by Chet Baker (trumpet) and Art Pepper (alto sax). Keen-eyed enthusiasts will note that this particular date occurred during a remarkable week July 23 through July 31of sessions held at the behest of Pacific Jazz label owner and session producer Dick Bock at the Forum Theater in Los Angeles. The recordings made during this week not only inform The Route, but three other long-players as well: Lets Get Lost (The Best of Chet Baker Sings), Chet Baker and Crew, and Chet Baker Quintet at the Forum Theatre. Likewise, these were the first sides cut by Baker since returning from his triumphant and extended stay in Europe. The Route compiles all 11 tracks by the sextet featuring Richie Kamuca (tenor sax), Pete Jolly (piano), Leroy Vinnegar (bass), and Stan Levey (drums) in support of Baker and Pepper. Bock had no immediate plans to use these recordings for any one album; that is to say he incorporated the tracks throughout various compilations released on Pacific Jazz. 

Three months later, however, Baker and Pepper did record with completely different personnel for the expressed purpose of issuing what would become known as Playboys and alternately Picture of Heath. Perhaps encouraged by the swinging interaction on Pepper's "Tynan Time" and "Minor Yours," both tracks were featured at this session as well as during the Picture of Heath collaboration. There are a few unexpected moments of sheer brilliance spread throughout, such as the Baker-penned title track, which contains supple and nicely contrasting solos from Kamuca and Vinnegar whose solid pendulum accuracy swings all through this collection. The Route is recommended for completists as well as curious consumers wishing to expand their knowledge of the light and airy rhythms that typify the cool West Coast jazz scene of the mid-'50s.~Lindsay Planer http://www.allmusic.com/album/the-route-mw0000201940

Personnel: Chet Baker (trumpet); Art Pepper (alto saxophone); Richie Kamuca (tenor saxophone); Pete Jolly (piano); Leroy Vinnegar (bass); Stan Levey (drums).

The Route

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Gerry Mulligan, Shelly Manne, Art Farmer - The Jazz Combo From 'I Want To Live!'

Styles: Jazz, Stage & Screen
Year: 1958
File: MP3@320K/s
Time: 29:23
Size: 81,6 MB
Art: Front

(3:39)  1. Black Nightgown
(4:44)  2. Theme From I Want To Live
(3:57)  3. Night Watch
(4:49)  4. Frisco Club
(6:59)  5. Barbara's Theme
(5:15)  6. Life's A Funny Thing

The most famous and probably greatest jazz baritonist of all time, Gerry Mulligan was a giant. A flexible soloist who was always ready to jam with anyone from Dixielanders to the most advanced boppers, Mulligan brought a somewhat revolutionary light sound to his potentially awkward and brutal horn and played with the speed and dexterity of an altoist. Mulligan started on the piano before learning clarinet and the various saxophones. His initial reputation was as an arranger. In 1944 he wrote charts for Johnny Warrington's radio band and soon was making contributions to the books of Tommy Tucker and George Paxton. He moved to New York in 1946 and joined Gene Krupa's Orchestra as a staff arranger; his most notable chart was "Disc Jockey Jump." The rare times he played with Krupa's band was on alto and the same situation existed when he was with Claude Thornhill in 1948. Gerry Mulligan's first notable recorded work on baritone was with Miles Davis' Birth of the Cool nonet (1948-50) but once again his arrangements ("Godchild," "Darn That Dream" and three of his originals "Jeru," "Rocker" and "Venus de Milo") were more significant than his short solos. Mulligan spent much of 1949 writing for Elliot Lawrence's orchestra and playing anonymously in the saxophone section. It was not until 1951 that he began to get a bit of attention for his work on baritone. Mulligan recorded with his own nonet for Prestige, displaying an already recognizable sound. After he traveled to Los Angeles, he wrote some arrangements for Stan Kenton (including "Youngblood," "Swing House" and "Walking Shoes"), worked at the Lighthouse and then gained a regular Monday night engagement at the Haig. Around this time Mulligan realized that he enjoyed the extra freedom of soloing without a pianist. He jammed with trumpeter Chet Baker and soon their magical rapport was featured in his piano-less quartet. The group caught on quickly in 1952 and made both Mulligan and Baker into stars. A drug bust put Mulligan out of action and ended that quartet but, when he was released from jail in 1954, Mulligan began a new musical partnership with valve trombonist Bob Brookmeyer that was just as successful. Trumpeter Jon Eardley and Zoot Sims on tenor occasionally made the group a sextet and in 1958 trumpeter Art Farmer was featured in Mulligan's Quartet. 

Being a very flexible player with respect for other stylists, Mulligan went out of his way to record with some of the great musicians he admired. At the 1958 Newport Jazz Festival he traded off with baritonist Harry Carney on "Prima Bara Dubla" while backed by the Duke Ellington Orchestra, and during 1957-60 he recorded separate albums with Thelonious Monk, Paul Desmond, Stan Getz, Ben Webster and Johnny Hodges. Mulligan played on the classic Sound of Jazz television special in 1958 and appeared in the movies I Want to Live and The Subterraneans. During 1960-64 Mulligan led his Concert Jazz Band which gave him an opportunity to write, play baritone and occasionally double on piano. The orchestra at times included Brookmeyer, Sims, Clark Terry and Mel Lewis. Mulligan was a little less active after the big band broke up but he toured extensively with the Dave Brubeck Quartet (1968-72), had a part-time big band in the 1970s (the Age of Steam), doubled on soprano for a period, led a mid-'70s sextet that included vibraphonist Dave Samuels, and in 1986 jammed on a record with Scott Hamilton. In the 1990s he toured the world with his excellent "no-name" quartet and led a "Rebirth of the Cool Band" that performed and recorded remakes of the Miles Davis Nonet classics. Up until the end, Gerry Mulligan was always eager to play. Among Mulligan's compositions were "Walkin' Shoes," "Line for Lyons," "Bark for Barksdale," "Nights at the Turntable," "Utter Chaos," "Soft Shoe," "Blueport," "Song for Strayhorn," "Song for an Unfinished Woman" and "I Never Was a Young Man" (which he often sang). He recorded extensively through the years for such labels as Prestige, Pacific Jazz, Capitol, Vogue, EmArcy, Columbia, Verve, Milestone, United Artists, Philips, Limelight, A&M, CTI, Chiaroscuro, Who's Who, DRG, Concord and GRP. ~ Scott Yanow https://itunes.apple.com/gb/artist/gerry-mulligan/id117287#fullText

Personnel:  Alto Saxophone, Flute – Bud Shank;  Baritone Saxophone – Gerry Mulligan;  Bass – Red Mitchell;  Drums – Shelly Manne;  Piano – Pete Jolly;  Trombone – Frank Rosolino;  Trumpet – Art Farmer

The Jazz Combo From 'I Want To Live!     

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