Art Pepper - Art Pepper + Eleven

Styles: Saxophone, Clarinet Jazz
Year: 1959
File: MP3@320K/s
Time: 54:36
Size: 125,5 MB
Art: Front

(3:27)  1. Move
(3:24)  2. Groovin' High
(3:13)  3. Opus de Funk
(3:34)  4. 'Round Midnight
(3:00)  5. Four Brothers
(3:00)  6. Shaw 'Nuff
(2:46)  7. Bernie's Tune
(3:32)  8. Walkin' Shoes
(3:20)  9. Anthropology
(3:02) 10. Airegin
(5:17) 11. Walkin'
(3:24) 12. Donna Lee
(5:00) 13. Walkin' (alternate take 1)
(5:02) 14. Walkin' (alternate take 2)
(3:26) 15. Donna Lee (alternate take)

Only a handful of jazz recordings can be described as truly classic. Art Pepper + Eleven: Modern Jazz Classics is a member of that handful. Recorded between March and May 1959, + Eleven has the distinction of being excellent on multiple planes. One is Pepper himself. A journeyman multi-reedist who was already a veteran of big bands lead by Gus Arnheim, Benny Carter, and Stan Kenton, Pepper was reaching his first pinnacle as an artist when + Eleven was recorded. This recording falls chronologically between Art Pepper Meets the Rhythm Section (Contemporary CCD-7532-2) and Gettin' Together (Contemporary OJCCD-169-2) in the Contemporary catalog. This trilogy alone would have established Pepper's reputation as the finest post-Parker alto saxophonists, let alone all of his exceptional comeback recordings of the late '70s and early '80s that followed a decade of incarceration because of Pepper's well known heroin addiction. Pepper's tone during this period was dry ice-cool, very expressive and brilliant. A second source of excellence in this recording is the presence of the late Marty Paich as the arranger. It was a monumental task that Mr. Paich undertook to mold these often craggy bebop tunes into the engaging big band vehicles they became under his pen. 

Denzil Best's "Move" simply jumps from the speakers. It is comparable to Miles Davis 1949 Nonette recording of the same song, except that Paich and Pepper add a hard shine to the soft bop of the song. Paich's French Horns on Monk's "'Round Midnight" recalls both Gil Evans and Claude Thornhill before him, ensuring that lineage of thought remained intact. "Four Brothers," "Bernie's Tune," "Walkin' Shoes," and "Anthropology" are all treated as high art by artist, arranger and band alike. Speaking of the band, this is the third mark of excellence in this recording. A Who's Who of West Coast musicians, it is fairly easy to pick out Pete Condoli's and Smiling Jack Sheldon's trumpets or Bill Perkins's tenor saxophone. Russ Freeman provides the piano as he did on several other Pepper offerings. A Big Band in all but name, this group of musicians was as essential to the historic significance of this recording as the leader and arranger. This release of Art Pepper + Eleven: Modern Jazz Classics is part of Fantasy's effort to release remastered masterpieces from its vaults. All of the alternate takes are released, as they have a several earlier offerings. The sonics of this release are exceptional. The drums and bass are clear and apparent and the space around Pepper and the other soloists is well defined. ~ C.Michael Bailey https://www.allaboutjazz.com/art-pepper--eleven-modern-jazz-classics-art-pepper-contemporary-review-by-c-michael-bailey.php

Personnel: Art Pepper: Alto And Tenor Saxophones, Clarinet; Al Porcino, Jack Sheldon, Pete Candoli: Trumpet; Dick Nash: Trombone; Bob Enevoldsen: Tenor Saxophone, Valve Trombone; Vince De Rosa: French Horn; Charlie Kennedy, Bud Shank, Herb Geller: Alto Saxophone; Richie Kamuca, Bill Perkins: Tenor Saxophone; Med Flory: Baritone Saxophone; Russ Freeman: Piano; Joe Mondragon: Bass; Mel Lewis: Drums.

Art Pepper + Eleven

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Richie Kamuca - Drop Me Off In Harlem

Styles: Saxophone Jazz
Year: 1977
File: MP3@320K/s
Time: 32:08
Size: 75,0 MB
Art: Front

(3:55)  1. Drop Me Off In Harlem
(4:35)  2. I Didn't Know About You
(3:15)  3. All Alone
(4:45)  4. Dear Bix
(3:36)  5. Three Little Words
(5:05)  6. It Must Be True
(3:06)  7. With The Wind And The Rain In Your Hair
(3:50)  8. Harlem Butterfly

Richie Kamuca's three Concord albums, all recorded within a year of his death, are each highly recommended. This set has inspired instrumentation. Three songs feature the cool-toned tenor in a trio with Herb Ellis (playing acoustic guitar) and bassist Ray Brown, while the remaining five are duets with pianist Dave Frishberg. Kamuca takes a surprising and effective vocal on "Dear Bix" and alternates light romps with lyrical ballads. Highlights of the consistently memorable set include "Drop Me Off In Harlem," "Three Little Words" and "Harlem Butterfly."~ Scott Yanow https://www.allmusic.com/album/drop-me-off-in-harlem-mw0000919853

Personnel: Richie Kamuca - tenor saxophone; Dave Frishberg - piano; Ray Brown - bass; - Herb Ellis - guitar

Drop Me Off In Harlem

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Thad Jones & Mel Lewis Jazz Orchestra - Consummation

Styles: Flugelhorn Jazz
Year: 1970
File: MP3@320K/s
Time: 46:36
Size: 107,7 MB
Art: Front

( 5:13)  1. Dedication
( 3:07)  2. It Only Happens Every Time
( 6:42)  3. Tiptoe
( 4:09)  4. A Child Is Born
( 3:37)  5. Us
( 7:57)  6. Ahunk Ahunk
(10:38)  7. Fingers
( 5:09)  8. Consummation

Of the many albums recorded by the Thad Jones/Mel Lewis Orchestra, this was the greatest. Reissued on CD as part of a large Mosaic box set, this set introduced Jones' best-known composition, "A Child Is Born," and also has a colorful rendition of his sly "Tiptoe," and finds the big band ripping the roof off during the lengthy and very exciting "Fingers." The all-star cast (which includes flugelhornist Jones, drummer Lewis, trumpeter Marvin Stamm, trombonist Jimmy Knepper, tenor great Billy Harper, the reeds of Jerome Richardson, Jerry Dodgion and Eddie Daniels, keyboardist Roland Hanna, and bassist Richard Davis, among others) is well served by Thad Jones' inventive and swinging arrangements. A classic. ~ Scott Yanow https://www.allmusic.com/album/consummation-mw0000221310

Personnel:  Thad Jones – flugelhorn; Snooky Young – trumpet; Danny Moore – trumpet; Al Porcino – trumpet; Marvin Stamm – trumpet; Eddie Bert – trombone; Benny Powell – trombone; Jimmy Knepper – trombone; Cliff Heather – bass trombone; Jerome Richardson – soprano saxophone, alto saxophone, flute, alto flute; Jerry Dodgion – alto saxophone, clarinet, flute, alto flute; Billy Harper – tenor saxophone, flute; Eddie Daniels – tenor saxophone, clarinet, flute; Richie Kamuca – baritone saxophone, clarinet; Pepper Adams – baritone saxophone; Joe Farrell – baritone saxophone; Roland Hanna – acoustic piano, electric piano; Richard Davis – acoustic bass, electric bass; Mel Lewis – drums; Jimmy Buffington, Earl Chapin, Julius Watkins  - French horn; Howard Johnson - tuba; David Spinozza - guitar

Consummation

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Herb Ellis - Herb Ellis Meets Jimmy Giuffre

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 38:53
Size: 92,9 MB
Art: Front

(3:05)  1. Goose Grease
(5:57)  2. When Your Lover Has Gone
(7:43)  3. Remember
(4:06)  4. Patricia
(5:06)  5. A Country Boy
(4:32)  6. You Know
(3:32)  7. My Old Flame
(4:49)  8. People Will Say We're In Love

"Herb Ellis Meets Jimmy Giuffre presents an unusual team. It is an album with involved arrangements, as opposed to a jam session format, and the only solo voice heard here is Ellis guitar with the exception of the tune "Remember", on which some short solos by the horns are heard. Not even Giuffre solos, as he contented himself with writing all of the arrangements and playing on the elaborate ensemble passages." https://www.freshsoundrecords.com/herb-ellis-albums/5238-herb-ellis-meets-stan-getz-roy-eldridge-art-pepper-jimmy-giuffre-2-lp-on-1-cd.html

Personnel:  Guitar – Herb Ellis, Jim Hall;  Tenor Saxophone, Baritone Saxophone, Arranged By – Jimmy Giuffre;   Alto Saxophone – Art Pepper, Bud Shank; Bass – Joe Mondragon; Drums – Stan Levey; Piano – Lou Levy; Tenor Saxophone – Richie Kamuca

Herb Ellis Meets Jimmy Giuffre

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

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

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

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

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

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

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Shelly Manne and His Men - Yesterdays

Styles: Jazz, Post Bop
Year: 1960
File: MP3@320K/s
Time: 44:49
Size: 103,5 MB
Art: Front

( 6:38)  1. Cabu
(13:33)  2. Bag's Groove
( 7:48)  3. Poinciana
( 8:28)  4. Straight, No Chaser
( 8:21)  5. Yesterdays

Shelly Manne, who died suddenly of a heart attack on September 26, 1984, left behind an impressive body of recorded work as a leader and sideman. Like Dave Tough, one of his formative influences, Manne was a musician first and drummer second. Evincing an unusually nuanced approach to the trap set, he had no interest in technique for its own sake, instead tailoring his sticking and footwork to the demands of bands of varying sizes and instrumentation sometimes even working without a bassist. Every stroke was true and had a purpose. Moreover, Manne thought and played in melodic as well as rhythmic terms, often adapting accompaniment to a composition’s melody, and singing along with his own solos. An uncommonly versatile performer who was equally at home in a number of jazz styles (from Art Hodes to Ornette Coleman, as he once proudly declared), Manne had an extraordinary talent for getting to the heart of the music, and making an ensemble swing in a natural, unforced manner. Aside from the selfless nature of his musicianship, Manne’s playing is filled with unusual sounds such as drumming with his fingers and hands, dropping a coin on a drumhead, damping drums with a hand in order to bend the pitch of strokes, or simply not playing at all. These were not circus tricks, but rather integral parts of his vocabulary that functioned as part of the music. Consisting of previously unreleased tracks from Jazz At The Philharmonic concerts in Europe during February and March of 1960, Yesterdays is another first-rate addition to Manne’s discography. The antithesis of the crowd-pleasing antics that frequently characterized the JATP tours, his superb quintet shuns excess and radiates a joyful enthusiasm. Firmly lodged in the swing-to-bebop stylistic continuum, the band’s excellent musicianship, attention to detail, and willingness to consistently make changes within certain parameters, make the music lively and interesting. There’s a sense of balance between carefully arranged ensemble passages and solos which are usually kept to 3 to 5 choruses; background riffs are often used for color as well as to spur the soloist; the rhythm section is steadfast, responsive, and always finds ways to add something fresh to the presentation; moreover, the band displays a wide dynamic range. While all of the recording’s three primary soloists develop themes logically, each of them makes an impact in a different way. On the title track, pianist Russ Freeman, a cautious almost polite bebopper, begins his solo unhurriedly; at first playing lines that fit with bassist Monty Budwig’s pulse on beats 1 and 3 of each measure, then gradually becomes more expansive. Expertly riding Manne and Budwig’s foursquare swing, his melodically inventive themes continue to build in strength as the choruses mount; yet, Freeman doesn’t reach for a rousing climax. Instead, he simply yields to tenor saxophonist Richie Kamuca.

Not unlike Freeman, Joe Gordon’s five choruses on Milt Jackson’s “Bag’s Groove” are thoughtful and measured; nonetheless he manages to generate considerable heat. Gordon and Freeman bounce variations of triplet figures off one another on the first chorus; then the trumpeter settles in for some impassioned blues playing for the next two, showing off his fine, full tone, and well-ordered phrasing. When the band accents beats 1,2 and 3 in unison for the next 12 bars, Gordon brings down the volume and becomes a little subdued before rising again with some powerful bebop lines, then eases his way to the finish line. There’s something unrelentingly efficient in the way Richie Kamuca keeps on churning out variations of eighth-note lines during his solo on an up-tempo version of the standard “Poinciana.” The tenor saxophonist is in constant motion, sustaining a four-chorus improvisation almost without interruption, and feeding off of everything that’s going on around him. During this incessant, albeit calculated burst of energy, he displays a heightened awareness of where the pulse is, without feeling the need to always begin and end sequences on top of the beat. He flies over a Gordon riff that sounds like an abbreviated version of one of his phrases, and when Freeman lays out for the last two choruses, Kamuca isn’t thrown by Manne’s choppy, ground-shifting hits to the bass and snare drums. In addition to his customary reliable accompaniment, Manne serves as a catalyst for some of the record’s most exciting moments. Toward the end of “Bags' Groove,” he executes a continuous buzz roll over Budwig and Freeman’s laid-back, 12-measure promenade. Beginning at just a whisper and gradually working up to a roar, Manne creates an incredible amount of tension, setting the stage for a shout chorus by the whole band that explodes like a bomb. Manne, the anti-virtuoso, shapes a short, rubato introduction out of portions from the melody of Thelonious Monk’s “Straight, No Chaser.” Interspersing clusters of strokes (particularly the opening five-note phrase) to different combinations of drums (and a partially opened hi-hat cymbal) with brief silences, he brilliantly captures the spirit of the composition, and sounds nothing like a traditional, go for broke drum soloist. Almost before you can grasp the logic of what he’s doing it’s over. The band enters to play the melody in its original, fully recognizable form, and Manne reverts to his normal, crisply swinging ways. ~ David A.Orthmann https://www.allaboutjazz.com/shelly-manne-and-his-men-yesterdays-by-david-a-orthmann.php

Personnel: Shelly Manne—drums; Joe Gordon—trumpet; Richie Kamuca—tenor saxophone; Russ Freeman—piano; Monty Budwig—bass

Yesterdays

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Bill Perkins - Just Friends

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 38:59
Size: 92,4 MB
Art: Front

(5:12)  1. Just Friends
(3:57)  2. A Foggy Day
(4:34)  3. All Of Me
(3:09)  4. Diane-A-Flow
(3:19)  5. Limehouse Blues
(5:22)  6. What Is This Thing Called Love
(4:32)  7. Solid Desylva
(5:06)  8. Sweet And Lovely
(3:43)  9. Zenobia

Tremendous work from tenor saxophonist Bill Perkins  easily one of our favorite talents of the LA scene of the 50s, heard here on material from 2 rare albums! On these 50s recordings, Bill's got a great tone that really deserves to be heard  as lean and cool as fellow LA scenester Bud Shank, but also with a soulful quality that recalls some of the alto work coming out of Boston at the same time. Half the CD features titles from the Pacific Jazz album Just Friends  and Perkins plays tenor on most of the album, plus a bit of flute and bass clarinet  in the company of Art Pepper, Richie Kamuca, Jimmy Rowles, and Hampton Hawes. Tracks include "Solid De Sylva", "Zenobia", "Diane A Flow", and "Just Friends". The remaining tracks are from the even more obscure Liberty album Tenors Head On  a tight small group session that matches the horns of Perkins and Richie Kamuca, alongside rhythm from Pete Jolly on piano, Red Mitchell on bass, and Stan Levey on drums. https://www.freshsoundrecords.com/bill-perkins-albums/4380-just-friends-tenors-head-on.html

Personnel:  Art Pepper (as) Bill Perkins (ts,bclar,f) Richie Kamuca (ts) Jimmy Rowles/ Hampton Hawes (p) Ben Tucker/ Red Mitchell (b) Mel Lewis (d)

Just Friends

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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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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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Stan Kenton - Live From The Las Vegas Tropicana

Styles: Piano Jazz, Big Band
Year: 1959
File: MP3@320K/s
Time: 72:21
Size: 170,1 MB
Art: Front

(5:33)  1. Artistry In Rhythm
(3:41)  2. Bernie's Tune
(3:25)  3. Tuxedo Junction
(4:31)  4. Street Scene
(3:44)  5. Puck's Blues
(5:25)  6. This Is Always
(3:23)  7. Don't Get Around Much Anymore
(4:49)  8. Design For Blue
(4:24)  9. Home Journey
(3:32) 10. A String Of Pearls
(4:32) 11. It's All Right With Me
(6:00) 12. Intermission Riff
(3:36) 13. I Concentrate On You
(5:47) 14. The End Of A Love Affair
(1:21) 15. You And I And George
(4:43) 16. Sentimental Riff
(3:47) 17. Random Riff

The 1959 Stan Kenton Orchestra, which boasted such soloists as trumpeter Jack Sheldon, altoist Lennie Niehaus, Richie Kamuca and Bill Trujillo on tenors and trombonist Ken Larsen, is heard in spirited form on this live LP. Performing arrangements mostly by Gene Roland along with one apiece by Johnny Richards, Niehaus and Kenton, the band plays some surprising material (such as "Tuxedo Junction" and "Street Scene") but mostly comes up with creative, fresh and concise statements. This is admittedly not one of the classic Stan Kenton recordings but is generally superior to his studio recordings of the period. ~ Scott Yanow http://www.allmusic.com/album/kenton-live-from-the-las-vegas-tropicana-mw0000879812

Personnel: Stan Kenton (arranger, piano); Lennie Niehaus (arranger, alto saxophone); Gene Roland, Bill Mathieu, Johnny Richards (arranger); Bill Trujillo, Richie Kamuca (tenor saxophone); Billy Root, Sture Swenson (baritone saxophone); Frank Huggins, Bud Brisbois, Jack Sheldon, Joe Burnett, Roger Middleton (trumpet); Archie Lecoque, Kent Larsen, Jim Amolette (trombone); Bob Olson, Bill Smiley (bass trombone); Red Kelly (bass); Jerry McKenzie (drums)

Live From The Las Vegas Tropicana

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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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Al Cohn, Bill Perkins, Richie Kamuca - The Brothers!

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 74:51
Size: 174,5 MB
Art: Front

(3:48)  1. Blixed
(3:13)  2. Kim's Kaper
(3:08)  3. Rolling Stone
(3:08)  4. Sioux Zan
(2:48)  5. The Walrus
(3:12)  6. Blue Skies
(3:17)  7. Gay Blade
(3:13)  8. Three Of A Kind
(3:19)  9. Hags!
(3:04) 10. Pro-Ex
(3:19) 11. Strange Again
(3:39) 12. Cap Snapper
(3:02) 13. Memories Of You
(3:22) 14. Saw Buck
(3:22) 15. Chorus For Morris
(3:15) 16. Slightly Salty
(5:09) 17. Just Friends
(4:32) 18. All Of Me
(3:18) 19. Limehouse Blues
(4:31) 20. Solid De Sylva
(5:02) 21. Sweet And Lovely

This release presents the complete original 1955 album The Brothers! (RCA Victor LPM1162), featuring the wonderful West Coast frontline of Al Cohn, Bill Perkins and Richie Kamuca. In addition to the complete original album, this CD also includes all of the tunes recorded during those sessions that were originally excluded from the LP, as well as a splendid complete quintet session that also features Perkins and Kamuca. http://www.jazzmessengers.com/en/9356/al-cohn/the-brothers

Personnel:  Al Cohn, Bill Perkins, Richie Kamuca, tenor saxes,  Hank Jones, piano;  Barry Galbraith, guitar (on 2-3, 6-8, 10, 13 & 16);  Jimmy Raney, guitar (on 1, 4-5, 9, 11-12 & 14-15); John Beal, bass;  Chuck Flores, drums

The Brothers!

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Woody Herman - Road Band!

Styles: Clarinet And Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 36:41
Size: 84,3 MB
Art: Front

(5:33)  1. Opus De-Funk
(2:57)  2. Gina
(3:32)  3. I Remember Duke
(6:13)  4. Sentimental Journey
(3:30)  5. Cool Cat On A Hot Tin Roof
(3:21)  6. Where Or When
(5:13)  7. Captain Ahab
(2:49)  8. I'll Never Be The Same
(3:30)  9. Pimlico

This out-of-print LP finds Herman's Third Herd in its prime. Rather than just revisiting his celebrated past, he and his orchestra primarily perform then-recent material, much of it arranged by Ralph Burns. Highlights include a big-band version of Horace Silver's "Opus De Funk," Burns's "Cool Cat on a Hot Tin Roof," "I Remember Duke" and Bill Holman's reworking of "Where or When." With tenors Richie Kamuca and Dick Hafer, trumpeter Dick Collins and bass trumpeter Cy Touff as the main soloists, The Third Herd had developed into a particularly strong unit by the mid-'50s. ~ Scott Yanow http://www.allmusic.com/album/road-band-mw0000874164

Personnel:  Woody Herman (clarinet, soprano saxophone, alto saxophone);  Richie Kamuca (tenor saxophone).

Road Band!

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Ruth Price, Shelly Manne - Ruth Price With Shelly Manne & His Men At The Manne Hole

Bitrate: MP3@320K/s
Time: 43:05
Size: 98.6 MB
Styles: Standards, Vocal jazz
Year: 1961/2009
Art: Front

[2:47] 1. I Love You
[3:35] 2. They Say It's Spring
[4:41] 3. Listen Little Girl
[2:38] 4. Dearly Beloved
[3:57] 5. I Know Why
[3:30] 6. Shadrack
[4:29] 7. Crazy He Calls Me
[2:55] 8. Nobody Else But Me
[4:33] 9. Nobody's Heart
[2:06] 10. All I Do Is Dream Of You
[4:19] 11. Who Am I
[3:31] 12. Till The Clouds Roll By

Bass – Chuck Berghofer; Drums – Shelly Manne; Piano – Russ Freeman; Tenor Saxophone – Richie Kamuca; Trumpet – Conte Candoli; Vocals – Ruth Price. Recorded in "live" performance at Shelly Manne's famous jazz club in Hollywood (The Manne Hole), March 3-5, 1961

Singer Ruth Price on this early set falls somewhere between swinging jazz, middle-of-the-road pop, and cabaret. She does not improvise much, but her strong and very appealing voice uplifts the diverse material that she interprets (including "Dearly Beloved," "Shadrack," "Crazy He Calls Me," and "Look for the Silver Lining"), and she brings great sincerity to Leonard Bernstein's "Who Am I." Backed by Shelly Manne's quintet (with plenty heard from pianist Russ Freeman, but just guest spots by Richie Kamuca on tenor and one lone appearance by trumpeter Conte Candoli), Price is in fine form for her debut recording as a leader, which has been reissued on CD in the OJC series. ~Scott Yanow

Ruth Price With Shelly Manne & His Men At The Manne Hole

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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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Shelly Manne And His Men - Checkmate

Styles: Jazz, Straight-ahead/Mainstream
Year: 1961
File: MP3@320K/s
Time: 43:53
Size: 102,0 MB
Art: Front

(8:04)  1. Checkmate
(6:10)  2. The Isolated Pawn
(7:47)  3. Cyanide Touch
(5:34)  4. The King Swings
(5:46)  5. En Passant
(3:52)  6. Fireside Eyes
(6:37)  7. The Black Knight

Jazz and television were an easy match in the Sixties, especially in the context of the cop, spy and detective shows that were Hollywood’s bread and butter of the era. Noirish blues and angular tempoed chase themes fit the action on these shows perfectly, as did the Cool connotations of West Coast Jazz. Among the more successful composers for the studios was John Williams, a jazz pianist who would later become one of the industry’s big names scoring soundtracks to blockbusters like Star Wars and Jaws. Shelly Manne crossed paths with Williams while working on several productions and hatched upon the idea of adapting his selections from his score for the show Checkmate to his working quintet. 

Many of the pieces make innovative use of modal structures and Manne’s band relishes in the rhythmic freedom. Such is particularly true of the leader whose signature style of emphasizing finesse over bombast is given ample opportunity to shine. Check out his crisp cymbal accents on the undulating tempo of the title track opener as the horns riff the unison theme. Kamuca charges out of the starting gate soon after blowing a furious spate of choruses that never shirk their underlying swing. Candoli’s card comes up next as a series of cleanly articulated brass phrases skate across the sound floor. Berghofer and Freeman engage in a breakneck race of walking bass and comping keys goaded even further by Manne’s bustling brushes. Freeman lays out leaving drummer and bassist to a floating, almost free form exchange of ideas. Then it’s Manne alone on the toms making elastic use of time and pitch before the requisite return to theme. All this in the first cut alone. “The Isolated Pawn” treads more modal waters on the buoyancy of Berghofer’s highly melodic bass, Freeman’s lush piano chords and Candoli’s tightly muted trumpet. “En Passant” builds from a similar winning formula ripe for modal invention with Kamuca taking the lead as stand out soloist. Other tracks prove equally effective, shaping the album into one that demands to be replayed over and over, if only to fully capture the wealth of nuance and creativity that went into its conception. Manne’s Men were arguably the most accomplished small group plying the jazz trade in Los Angeles and this record adds plenty of credence to the claim.~Derek Taylor http://www.allaboutjazz.com/checkmate-contemporary-review-by-derek-taylor.php

Personnel: Shelly Manne- drums; Conte Candoli- trumpet; Richie Kamuca- tenor saxophone; Russ Freeman- piano; Chuck Berghofer- bass.

Checkmate

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Shelly Manne And His Men - At The Manne-Hole Vol. 1 And Vol. 2

Styles: Jazz, Hard Bop
Year: 1961
File: MP3@320K/s
Time: 38:00
Size: 87,2 MB
Art: Front

(10:37)  1. Love For Sale
( 7:00)  2. How Could It Happen To A Dream
( 9:16)  3. Softly, As In A Morning Sunrise
(11:06)  4. The Champ

On the first of two albums, Shelly Manne & His Men are heard in prime form performing live at their home base, Shelly's Manne-Hole. Trumpeter Conte Candoli was in particularly strong form throughout the stint, showing self-restraint yet playing with power. Tenor saxophonist Richie Kamuca made for a complementary partner, while pianist Russ Freeman and bassist Chuck Berghofer formed an excellent rhythm section with the leader/drummer. For Vol. 1 they play "Love for Sale," Duke Ellington's fairly obscure "How Could It Happen to a Dream," "Softly as in a Morning Sunrise," and Dizzy Gillespie's uptempo blues "The Champ." This classic music falls between cool jazz and hard bop. ~ Scott Yanow  http://www.allmusic.com/album/at-the-manne-hole-vol-1-mw0000087788

Personnel: Shelly Manne (Drums), Conte Candoli (Trumpet), Richie Kamuca (Saxophone), Russ Freeman (Piano), Chuck Berghofer (Bass)

At The Manne-Hole Vol. 1

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Shelly Manne And His Men - At The Manne-Hole Vol 2

Styles: Jazz, Hard Bop
Year: 1961
File: MP3@320K/s
Time: 40:10
Size: 92,2 MB
Art: Front

(13:11)  1. On Green Dolphin Street
( 6:56)  2. What's New
(12:31)  3. If I Were A Bell
( 4:29)  4. Ev'ry Time We Say Goodbye
( 3:01)  5. A Gem From Tiffany

At the Manne-Hole, Vol. 2 is the second of two CDs featuring Shelly Manne Quintet in superior form at the legendary Shelly's Manne-Hole club in Hollywood. Trumpeter Conte Candoli (in top form) and the cool-toned tenor Richie Kamuca work together very well, while the contributions of the rhythm section (pianist Russ Freeman, bassist Chuck Berghofer and the drummer/leader) should not be overlooked. 

Together they perform four standards (highlighted by "On Green Dolphin Street" and "If I Were a Bell") plus their closing theme "A Gem from Tiffany." Both of the volumes are easily recommended. ~ Scott Yanow  http://www.allmusic.com/album/at-the-manne-hole-vol-2-mw0000087789

Personnel: Shelly Manne (drums); Richie Kamuca (tenor saxophone); Conte Candoli (trumpet); Russ Freeman (piano); Chuck Berghofer (bass).

At The Manne-Hole Vol 2

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Richie Kamuca - The Richie Kamuca Quartet

Styles: Saxophone Jazz
Year: 1985
File: MP3@320K/s
Time: 30:36
Size: 70,4 MB
Art: Front

(5:22)  1. Just Friends
(3:34)  2. Rain Drain
(2:27)  3. What's New
(4:12)  4. Early Bird
(6:15)  5. Nevertheless
(3:33)  6. My One And Only Love
(2:10)  7. Fire One
(3:00)  8. Cherokee

Considering his talent, it is very surprising that tenor saxophonist Richie Kamuca led so few record dates throughout his career just three during 1956-58 and three for Concord in 1977. This quartet set (a MOD LP reissued by V.S.O.P. on CD) features the excellent cool-toned tenor in a quartet with pianist Carl Perkins, bassist Leroy Vinnegar and drummer Stan Levey. Only the brief playing time (just over 30 minutes) keeps this set from getting a higher rating, for Kamuca is in prime form. Highlights include "Just Friends," "What's New" and "Cherokee." 

~ Scott Yanow  http://www.allmusic.com/album/richie-kamuca-quartet-mw0000201037

Personnel: Richie Kamuca (tenor saxophone), Carl Perkins (piano), Leroy Vinnegar (bass), Stan Levey (drums).

The Richie Kamuca Quartet

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