Ruby Braff, Scott Hamilton - For The Last Time

Album: For The Last Time Disc 1

Styles: Cornet And Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 59:32
Size: 137,1 MB
Art: Front

(12:15)  1. Sometimes I'm Happy
( 4:57)  2. Why Shouldn't I'
(12:24)  3. Just You, Just Me
(15:58)  4. I Want a Little Girl
(13:56)  5. Rockin' Chair

Ruby Braff's discographer Thomas P. Hustad addresses the concern posed by this album in his liner notes when he speaks of the "trepidation" with which "we tend to approach any musician's final recording." Tenor saxophonist Scott Hamilton, whose contribution approaches Braff's own, had his own hesitations, based on his unhappy memories of the gig, at the Nairn Jazz Festival in Scotland, as Braff, suffering from the emphysema that would kill him six months later, required a fan on-stage to help his breathing. But Hamilton withdrew his objections when he actually heard the recording, which shows little evidence of the leader's infirmity. It gives plenty of evidence of a group of sympathetic musicians accustomed to playing together, taking their orders from Braff, who seems to call for the solos and also decide when they're finished.

Everybody in the six-piece band takes those solos, as the tunes extend out to ten or even 15 minutes each. Probably, that allows time for Braff to gather himself for his own playing, but when he steps in, he is his usual self, coming up with interesting variations on the melodies of familiar standards. The best moments, though, are when Braff and Hamilton, his longtime protégé, play together at the openings of such songs as "Dinah," "Yesterdays," and "The Man I Love," with Hamilton coming up with counter-melodies. At such times, this doesn't come off as Braff's last night on-stage; it seems like just another great show in a storied career. By William Ruhlmann https://www.allmusic.com/album/for-the-last-time-mw0000801881

Musicians: Ruby Braff-cornet, Scott Hamilton-tenor saxophone, Jon Wheatley-guitar, John Bunch-piano, Dave Green-bass, Steve Brown-drums

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Album: For The Last Time Disc 2

Time: 55:41

Size: 128,3 MB

(10:29)  1. Dinah

(13:08)  2. Yesterdays

(15:42)  3. The Man I Love

( 6:31)  4. The Man With a Horn

( 9:49)  5. Indiana

For The Last Time Disc 1, Disc 2

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Ruby Braff - I'm Shooting High CD1 And CD2

Album: I'm Shooting High CD1

Styles: Trumpet Jazz
Size: 137,8 MB
Time: 59:58
File: MP3 @ 320K/s
Released: 2000
Art: Front

1. Liza (4:42)
2. Love Walked In (5:04)
3. You Took Advantage of Me (4:23)
4. The Lady Is a Tramp (3:12)
5. Romance in the Dark (6:03)
6. All My Life (5:39)
7. Where Are You? (4:25)
8. Jeepers Creepers (6:24)
9. You've Changed (4:09)
10. Dream Dancing (4:50)
11. Wouldn't It Be Loverly? (5:52)
12. Get Me to the Church on Time (5:09)

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Album: I'm Shooting High CD2

Size: 143,3 MB
Time: 62:22

1. I'm Shooting High (3:21)
2. Trav'lin' Light (3:57)
3. Happy Talk (3:43)
4. Younger Than Springtime (5:01)
5. I'm Crazy 'Bout My Baby (And My Baby's Crazy 'Bout Me) (4:29)
6. My Shining Hour (5:43)
7. Indian Summer (5:49)
8. You're a Sweetheart (4:03)
9. Dickie's Dream/Love Me or Leave Me (4:53)
10. Shoe Shine Boy (6:22)
11. Memories of You (6:04)
12. I Got Rhythm (8:51)

Ruby Braff began his jazz career as an out-of-time traditionalist playing with veteran jazzmen of an earlier age, and rose to establish his own standing as one of the handful of leading artists playing in traditional and mainstream idioms.

He did so on the back of one of the most beautiful instrumental sounds in jazz, a prodigious gift for phrasing melody, and an acute harmonic sense which revealed his awareness of more modernist developments in jazz. Louis Armstrong remained his touchstone and only avowed master, but his playing also reflected the influence of musicians like Bix Beiderbecke and Bobby Hackett. His musical voice, though, was always very much his own.

He was born Reuben Braff in Boston, and was self-taught on his instrument. He said that he wanted to play saxophone, but his father bought him a cornet instead. His trumpet style, which largely eschewed high-note pyrotechnics in favour of a softer exploration of the middle and bottom registers of the instrument, reflected that original love of reed rather than brass sonorities.

He began working in local clubs in the Forties, and was recruited for the band led by the veteran clarinettist Edmond Hall at the Savoy Cafe in Boston in 1949. He made the move to New York in 1953, and was soon in demand for gigs and recording sessions in a traditional and mainstream vein.

His loyalty to traditional jazz at a time when the focus had shifted to more modern styles starved him of work for a time in the Fifties, but he returned to prominence with an All-Star touring band created by pianist and jazz impresario George Wein. Wein remained a loyal backer of the cornetist, and featured him regularly on his international tour and festival circuit.

He worked with major band leaders like Buck Clayton, Benny Goodman and Bud Freeman as a young man, and in turn became something of a musical mentor to a new generation of young mainstream musicians in the Seventies, including saxophonist Scott Hamilton and guitarist Howard Alden.

In the Eighties and Nineties he made a series of recordings for the major mainstream jazz labels Concord Jazz and Arbors, and formed highly-regarded duo partnerships with pianists like Mel Powell, Ralph Sutton, Dick Hyman, Ellis Larkins and Roger Kellaway.

Braff worked with singer Tony Bennett for two years from 1971-73, then formed a very popular and artistically successful band with guitarist George Barnes. The relationship ground to a halt in 1975 in characteristic fashion when Braff fell out with his collaborator.

That pattern of alienating those around him was repeated on many occasions. Braff may have made some of the most beautiful music in jazz, but his own character was precisely the opposite. He was notorious for his abrasive and insulting behaviour to other musicians, promoters and even fans, a tendency made all the worse by his failing health over many years (he suffered from emphysema, glaucoma and heart problems).

He was the headline artist at the first Nairn Jazz Festival in northern Scotland in 1990, and his appearance at the 2002 event was to be the last performance of his life. He cancelled a subsequent scheduled concert at the Brecon Jazz Festival in Wales and returned home. He was never fit enough to perform in public again.https://www.allaboutjazz.com/musicians/ruby-braff/

I'm Shooting High CD1, CD2

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Ruby Braff - Braff Plays Wimbledon (Second Set)

Album: Braff Plays Wimbledon (Second Set)

Styles: Cornet Jazz
Size: 146,8 MB
Time: 63:54
File: MP3 @ 320K/s
Year: 2007
Art: Front

1. Rockin' Chair ( 4:29)
2. When A Woman Loves A Man ( 5:09)
3. I Cried For You ( 9:26)
4. Pennies From Heaven ( 6:03)
5. Jive At Five (13:30)
6. I'm Pullin' Through ( 5:54)
7. Miss Brown To You ( 5:59)
8. I Know That You Know ( 8:44)
9. Save It, Pretty Mama ( 4:35)

Although cornetist Ruby Braff is joined on this set by flügelhornist Warren Vaché, trombonist Roy Williams, guitarist Howard Alden, pianist Brian Lemon, bassist Dave Green, and drummer Allan Ganley, Vaché's role is, in reality, minor (mostly just ensemble parts with a few short solos), and Williams is only on a few numbers, although he plays very well.

Fortunately, Braff is in prime form throughout, even better here than on The First Set; the phrase "adoration of the melody" (which he coined a few decades ago) perfectly fits his lyrical improvisations. The repertoire consists of veteran standards and the highlights include "I Cried for You," "Pennies from Heaven," and "I Know That You Know," although all nine selections are quite enjoyable.

Braff, a master at utilizing his lower register, sometimes has a musical conversation with himself, jumping between registers. Swing pianist Lemon sounds inspired throughout, while guitarist Alden has a few good spots. A typically rewarding Ruby Braff session. By Scott Yanow
https://www.allmusic.com/album/braff-plays-wimbledon-the-second-set-mw0000441662

Personnel: Ruby Braff - cornet; Brian Lemon - piano; Warren Vaché - flugelhorn; Roy Williams - trombone; Howard Alden - guitar; Dave Green - bass; Allan Ganley - drums

Braff Plays Wimbledon (Second Set)

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Ruby Braff - Braff Plays Wimbledon (First Set)

Album: Braff Plays Wimbledon (First Set)

Styles: Cornet Jazz
Size: 132,2 MB
Time: 57:30
File: MP3 @ 320K/s
Year: 2007
Art: Front

1. Someday Sweetheart ( 4:20)
2. The Very Thought Of You ( 7:42)
3. Wouldn't It Be Loverly ( 5:10)
4. I've Got A Feeling I'm Falling ( 5:14)
5. Take The A Train (14:45)
6. This Is All I Ask ( 5:30)
7. It's The Same Old South ( 3:30)
8. When I Fall In Love ( 5:37)
9. China Boy ( 5:40)

Cornetist Ruby Braff sound fine on this set for the British label Zephyr. Most of the selections find him taking passionate and typically lyrical solos on swing standards in a quintet with pianist Brian Lemon, guitarist Howard Alden, bassist Dave Green and drummer Allan Ganley.

A few numbers add Warren Vache on flugelhorn and trombonist Roy Williams, but perhaps due to too much mutual respect, few fireworks fly. One would hope that Braff and Vache would match wits against each other, but this is largely Braff's show.

Still, the music overall (which is highlighted by "Someday Sweetheart," "I've Got a Feeling I'm Falling" and "China Boy") should please trad jazz and mainstream collectors. By Scott Yanow https://www.allmusic.com/album/braff-plays-wimbledon-the-first-set-mw0000434487#review

Personnel: Ruby Braff - cornet; Brian Lemon - piano; Warren Vaché - flugelhorn; Roy Williams - trombone; Howard Alden - guitar; Dave Green - bass; Allan Ganley - drums

Braff Plays Wimbledon (First Set)

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Ruby Braff - Ad Lib Blues

Styles: Cornet Jazz, Swing
Year: 2002
Time: 44:25
File: MP3 @ 320K/s
Size: 101,7 MB
Art: Front

(4:29) 1. Ad Lib Blues
(4:11) 2. I Wish I Could Shimmy Like My Sister Kate
(5:56) 3. 'S Wonderful
(3:49) 4. Hustlin' and Bustlin'
(2:48) 5. There's a Small Hotel
(4:58) 6. What's the Reason (I'm Not Pleasing You)
(3:12) 7. Flaky
(2:35) 8. Shoe Shine Boy
(7:05) 9. Fine and Mellow
(5:17) 10. When It's Sleepy Time Down South

Ruby Braff began his jazz career as an out-of-time traditionalist playing with veteran jazzmen of an earlier age, and rose to establish his own standing as one of the handful of leading artists playing in traditional and mainstream idioms.

He did so on the back of one of the most beautiful instrumental sounds in jazz, a prodigious gift for phrasing melody, and an acute harmonic sense which revealed his awareness of more modernist developments in jazz. Louis Armstrong remained his touchstone and only avowed master, but his playing also reflected the influence of musicians like Bix Beiderbecke and Bobby Hackett. His musical voice, though, was always very much his own.

He was born Reuben Braff in Boston, and was self-taught on his instrument. He said that he wanted to play saxophone, but his father bought him a cornet instead. His trumpet style, which largely eschewed high-note pyrotechnics in favour of a softer exploration of the middle and bottom registers of the instrument, reflected that original love of reed rather than brass sonorities.

He began working in local clubs in the Forties, and was recruited for the band led by the veteran clarinettist Edmond Hall at the Savoy Cafe in Boston in 1949. He made the move to New York in 1953, and was soon in demand for gigs and recording sessions in a traditional and mainstream vein.

His loyalty to traditional jazz at a time when the focus had shifted to more modern styles starved him of work for a time in the Fifties, but he returned to prominence with an All-Star touring band created by pianist and jazz impresario George Wein. Wein remained a loyal backer of the cornetist, and featured him regularly on his international tour and festival circuit.

He worked with major band leaders like Buck Clayton, Benny Goodman and Bud Freeman as a young man, and in turn became something of a musical mentor to a new generation of young mainstream musicians in the Seventies, including saxophonist Scott Hamilton and guitarist Howard Alden.

In the Eighties and Nineties he made a series of recordings for the major mainstream jazz labels Concord Jazz and Arbors, and formed highly-regarded duo partnerships with pianists like Mel Powell, Ralph Sutton, Dick Hyman, Ellis Larkins and Roger Kellaway.

Braff worked with singer Tony Bennett for two years from 1971-73, then formed a very popular and artistically successful band with guitarist George Barnes. The relationship ground to a halt in 1975 in characteristic fashion when Braff fell out with his collaborator.

That pattern of alienating those around him was repeated on many occasions. Braff may have made some of the most beautiful music in jazz, but his own character was precisely the opposite. He was notorious for his abrasive and insulting behaviour to other musicians, promoters and even fans, a tendency made all the worse by his failing health over many years (he suffered from emphysema, glaucoma and heart problems).

He was the headline artist at the first Nairn Jazz Festival in northern Scotland in 1990, and his appearance at the 2002 event was to be the last performance of his life. He cancelled a subsequent scheduled concert at the Brecon Jazz Festival in Wales and returned home. He was never fit enough to perform in public again.https://www.allaboutjazz.com/musicians/ruby-braff/

Ad Lib Blues

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Ruby Braff - Hear Me Talkin'

Styles: Cornet Jazz
Year: 1971
Time: 66:35
File: MP3 @ 320K/s
Size: 152,8 MB
Art: Front

( 4:34) 1. You've Changed
( 5:54) 2. Hear Me Talkin' To Ya
( 4:23) 3. Don't Blame Me
( 5:44) 4. No One Else But You
( 6:11) 5. Nobody Knows You (When You're Down And Out) Buddy Bolden's Blues
( 6:28) 6. Mean To Me
( 6:26) 7. Where's Freddy
( 4:56) 8. When My Sugar Walks Down The Street
(10:26) 9. Between The Devil And The Deep Blue Sea
( 5:42) 10. Smart Alex Blues
( 5:47) 11. Hear Me Talkin' To Ya

This is a fun Dixieland/swing date featuring cornetist Ruby Braff with an octet led by the fine English trumpeter Alex Welsh. In addition to the two leads, trombonist Roy Williams, tenor-saxophonist Al Gay and baritonist Johnny Barnes get some solo space on the mixture of standards, 1920s obscurities (including Don Redman's "No One Else but You") and basic originals. Everyone sounds in a good mood and is heard swinging in prime form throughout this recommended CD reissue. By Scott Yanow https://www.allmusic.com/album/hear-me-talkin-mw0000614141#trackListing

Hear Me Talkin'

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Ruby Braff - The Mighty Braff

Styles: Cornet Jazz
Year: 1989
Time: 61:28
File: MP3 @ 320K/s
Size: 142,1 MB
Art: Front

(2:40) 1. Blue And Sentimental
(2:38) 2. This Can't Be Love
(3:02) 3. Mean To Me
(2:27) 4. Ellie
(2:50) 5. Blue Room
(3:14) 6. I Can't Get Started
(2:58) 7. You're A Sweetheart
(2:45) 8. Struttin' With Some Barbecue
(7:48) 9. Sometimes I'm Happy
(5:42) 10. Auld Lang Syne
(3:44) 11. Easy Livin'
(4:27) 12. Flowers For A Lady
(3:54) 13. Foolin' Myself
(3:59) 14. I'll Be Around
(2:23) 15. It's Easy To Blame The Weather
(3:52) 16. Pullin' Through
(2:58) 17. You're A Lucky Guy

Ruby Braff began his jazz career as an out-of-time traditionalist playing with veteran jazzmen of an earlier age, and rose to establish his own standing as one of the handful of leading artists playing in traditional and mainstream idioms.

He did so on the back of one of the most beautiful instrumental sounds in jazz, a prodigious gift for phrasing melody, and an acute harmonic sense which revealed his awareness of more modernist developments in jazz. Louis Armstrong remained his touchstone and only avowed master, but his playing also reflected the influence of musicians like Bix Beiderbecke and Bobby Hackett. His musical voice, though, was always very much his own.

He was born Reuben Braff in Boston, and was self-taught on his instrument. He said that he wanted to play saxophone, but his father bought him a cornet instead. His trumpet style, which largely eschewed high-note pyrotechnics in favour of a softer exploration of the middle and bottom registers of the instrument, reflected that original love of reed rather than brass sonorities.

He began working in local clubs in the Forties, and was recruited for the band led by the veteran clarinettist Edmond Hall at the Savoy Cafe in Boston in 1949. He made the move to New York in 1953, and was soon in demand for gigs and recording sessions in a traditional and mainstream vein.

His loyalty to traditional jazz at a time when the focus had shifted to more modern styles starved him of work for a time in the Fifties, but he returned to prominence with an All-Star touring band created by pianist and jazz impresario George Wein. Wein remained a loyal backer of the cornetist, and featured him regularly on his international tour and festival circuit.

He worked with major band leaders like Buck Clayton, Benny Goodman and Bud Freeman as a young man, and in turn became something of a musical mentor to a new generation of young mainstream musicians in the Seventies, including saxophonist Scott Hamilton and guitarist Howard Alden.

In the Eighties and Nineties he made a series of recordings for the major mainstream jazz labels Concord Jazz and Arbors, and formed highly-regarded duo partnerships with pianists like Mel Powell, Ralph Sutton, Dick Hyman, Ellis Larkins and Roger Kellaway.

Braff worked with singer Tony Bennett for two years from 1971-73, then formed a very popular and artistically successful band with guitarist George Barnes. The relationship ground to a halt in 1975 in characteristic fashion when Braff fell out with his collaborator.

That pattern of alienating those around him was repeated on many occasions. Braff may have made some of the most beautiful music in jazz, but his own character was precisely the opposite. He was notorious for his abrasive and insulting behaviour to other musicians, promoters and even fans, a tendency made all the worse by his failing health over many years (he suffered from emphysema, glaucoma and heart problems).

He was the headline artist at the first Nairn Jazz Festival in northern Scotland in 1990, and his appearance at the 2002 event was to be the last performance of his life. He cancelled a subsequent scheduled concert at the Brecon Jazz Festival in Wales and returned home. He was never fit enough to perform in public again.https://www.allaboutjazz.com/musicians/ruby-braff/

The Mighty Braff

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Ruby Braff - I Hear Music

Styles: Cornet Jazz
Year: 2001
Time: 60:58
File: MP3 @ 320K/s
Size: 140,1 MB
Art: Front

(11:12) 1. I Hear Music
(13:44) 2. Medley Chicago/My Kind of Town (Chicago Is)
( 7:45) 3. Baby Won't You Please Come Home
( 8:42) 4. Wouldn't It Be Loverly?
( 8:37) 5. Yesterdays
( 6:48) 6. (I Would Do) Anything For You
( 4:07) 7. We're All Through

Ruby Braff has compiled an album of sheer pleasure in quintet work. His well shaped cornet sound, and the interplay of the instruments through each cut is a shining example of mastery of pacing and a sense of timing. Within each of the cuts is a conversation between the instruments where each one says their version of the melody in turn. Cut 2, a medley of “Chicago” and “My Kind of Town” also has hints of Loesser’s “Baby, It’s Cold Outside.” Other fascinating takes on classic tunes include “Baby, Won’t You Please Come Home,” “Wouldn’t it be Loverly” and “I Hear Music.”

Through.” Guest Soloist Daryl Sherman makes the song with a vocal that conveys the message that is laced through this beautiful piece. Braff says in a quote from the liner notes that the lyrics were written the way you hear them because the song had the feel of the final piece for a club band. The result is a lyrically simple, yet elegant piece of work... an album that is well worth th time, particularly for those who favor smooth cornet work.By AAJ Staff

Personnel: Cornet – Ruby Braff; Bass – John Beal; Drums – Tony Denicola; Guitar – Bucky Pizzarelli; Piano – Bill Charlap; Vocals – Daryl Sherman (tracks: 7)
Recorded July 28, 2000.

I Hear Music

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Ruby Braff - Ruby Braff Goes “Girl Crazy”

Styles: Trumpet Jazz, Post Bop
Year: 2009
Time: 39:20
File: MP3 @ 320K/s
Size: 92,5 MB
Art: Front

(4:56) 1. Embraceable You
(4:18) 2. Treat Me Rough
(6:28) 3. But Not For Me
(3:07) 4. Boy! What Love Has Done For Me
(5:39) 5. I Got Rhythm
(5:27) 6. Bidin' My Time
(6:18) 7. Could You Use Me
(3:03) 8. Barbary Coast

The then-32-year-old trumpeter Ruby Braff was fond of show tunes, and took for his concept the songs from the Gershwin brothers' Broadway stage play Girl Crazy for this album, his sixth as a leader. The music played by this band under the moniker of the Shubert Alley Cats is fairly predictable within the swing style, but this recording at times leans more toward bop with the inclusion of pianist Hank Jones, guitarist Jim Hall, and especially Al Cohn, who plays his trusty tenor sax and a lot of clarinet.

The musicianship is solid enough, the songs a bit stretched with solos, and the jazz fairly interesting within the conservative, mainstream, straight-ahead idiom. The hottest tune is the last, "Barbary Coast," as bassists Bob Haggart and George Duvivier go to town while the horns jam, while the slowest "Embraceable You" is the opener, a ballad where Braff plays in a style akin to Louis Armstrong.

In the middle you get a contradictory easy blues in "Treat Me Rough," and the uncharacteristically down-home "I Got Rhythm," accented by Jones and Hall, which merges into swing via Cohn's tenor. Hall's role as a rhythm guitarist seems untoward in what he would be as a leader, but his feature during the old-fashioned "Could You Use Me?" sets up the horns counterpoint, and is particularly pronounced on "But Not for Me."

While Cohn's clarinet might not settle into familiar territory for those who know him as a bop tenor, he's especially sweet with Braff on "Treat Me Rough," and repentant for the poignant, lovely, melancholy, no-frills take of "But Not for Me." There's one more ballad, "Bidin' My Time," which is as basic as it gets, while a more vocal sound from Braff's muted trumpet comes forth on "Boy! What Love Has Done for Me."

While the music is sophisticated, the heat of this music barely sparks any real flames, excepting the fine drumming of Buzzy Drootin and the always exceptional Jones when he chooses to turn it up a notch. It would have been nice to hear a follow-up recording from this clearly talented ensemble, for this instance captured in the early years of their lengthy and successful careers.By Michael G.Nastos
https://www.allmusic.com/album/ruby-braff-goes-girl-crazy-mw0000819868

Personnel: Trumpet – Ruby Braff; Tenor Saxophone – Al Cohn; Piano – Hank Jones; Guitar – Jim Hall; Drums – Buzzy Drootin; Bass – Bob Haggart, George Duvivier

Ruby Braff Goes “Girl Crazy”

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Ruby Braff & Dave McKenna - Complete Original Quartet/Quintet Recordings

Styles: Trumpet And Pianno Jazz
Year: 2007
Time: 64:54
File: MP3 @ 320K/s
Size: 149,7 MB
Art: Front

(2:08) 1. Dancing in the Dark
(3:52) 2. Blue Prelude
(2:50) 3. Why Was I Born?
(2:58) 4. Blue (And Broken-Hearted)
(3:01) 5. If I Could Be with You
(3:13) 6. I'm Crazy About My Baby
(2:27) 7. Louisiana
(4:00) 8. It's Wonderful
(2:21) 9. Almost Like Being in Love
(3:21) 10. Lover Come Back to Me
(4:07) 11. I Must Have That Man
(3:07) 12. As Long as I Live
(2:56) 13. Blue, Turning Gray over You
(3:07) 14. If I Had You
(3:13) 15. It's Been So Long
(1:57) 16. I'm Shooting High
(3:09) 17. Stardust
(3:34) 18. How Long Has This Been Going On?
(3:59) 19. Soft Lights and Sweet Music
(5:26) 20. The Song Is Ended But the Melody Lingers On

Although Ruby Braff and Dave McKenna played together on several occasions during their long careers, these two sessions best represent their collective legacy for a number of reasons. It must be said that their recorded collaborations were not as abundant as one might expect.

Their two initial sessions together were as sidemen for other musicians: A 1955 date as part of the Benny Goodman septet, and a February 1956 session backing singer Milli Vernon's recording debut. These dates were followed by the two incredible sessions included here. After that, the only known recordings of the Hackett-McKenna partnership are a 1961 live recording at Eddie Condon's with Bobby Hackett and Peanuts Hucko, and two 1991-93 double albums with a band including tenor saxophonist Scott Hamilton.

The sessions featured on this edition are, thus, their only true small group quartet/quintet) recordings and the only instrumental sessions they made at the peak of their careers, in which both musicians can be considered, in a way, session leaders. Gambit.By Editorial Reviews
https://www.amazon.com/Complete-Original-Quartet-Quintet-Sessions/dp/B000JVSWLY

Original Quartet/Quintet Recordings

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Ruby Braff & Dick Hyman - America, The Beautiful

Styles: Swing
Year: 2002
Time: 68:29
File: MP3 @ 320K/s
Size: 157,7 MB
Art: Front

(4:31) 1. When It's Sleepy Time Down South
(3:18) 2. When My Sugar Walks Down the Street
(3:44) 3. When I Fall in Love
(5:36) 4. As Long as I Live
(3:52) 5. America The Beautiful
(4:43) 6. Louisiana
(4:18) 7. High Society
(2:44) 8. I'll Be with You in Apple Blossom Time
(5:10) 9. I Ain't Got Nobody
(2:41) 10. This Is All I Ask
(3:13) 11. The Yankee Doodle Boy
(3:41) 12. If Dreams Come True
(3:18) 13. I'm Confessin' That I Love You
(2:47) 14. I've Grown Accustomed to Her Face
(5:01) 15. Dinah
(4:52) 16. Duke Ellington Medley: Don't Get Around Much Anymore/I Let a Song Go Out of My Heart
(4:51) 17. Muskrat Ramble

"Ruby is one of those few people who could solo with a pipe organ, who could improvise with such an unusual instrumental background. It requires a very special ability flexibility, ingenuity, and invention. Ruby, of course, is his own man. Like his idol, Louis Armstrong, he commands the center of attention, even if the background is something as odd as a theatre organ. The tonal colors of a pipe organ are its great glory.

Above all, I'm stimulated by being able to orchestrate on the spot. And once you launch into a bright swinging tempo with the instrument sounding perhaps a beat behind the fingers, the sensation is like leading a herd of galloping elephants. You don't dare look back." By Dick Hyman, Organist who also performs on this release By Editorial Review https://www.amazon.com/America-Beautiful-Braff/dp/B00008GQCL

Personnel: Ruby Braff - cornet, Dick Hyman - Wurlitzer Theatre Organ

America, The Beautiful

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Ruby Braff and The Flying Pizzarellis - C'est Magnifique!

Styles: Cornet Jazz
Year: 2007
File: MP3@320K/s
Time: 74:23
Size: 171,2 MB
Art: Front

(7:49) 1. Lulu's Back in Town
(4:55) 2. Was I to Blame for Falling in Love with You?
(9:47) 3. You're a Lucky Guy
(6:03) 4. When a Woman Loves a Man
(7:03) 5. C'est Magnifique
(9:52) 6. My Honey's Lovin' Arms
(4:38) 7. I Didn't Know What Time It Was
(5:59) 8. They Can't Take That Away from Me
(4:28) 9. As Time Goes By
(8:37) 10. Sometimes I'm Happy
(5:06) 11. Dancing on the Ceiling

Ruby Braff's final studio recording sessions took place with musicians who played with the fire and inspiration required by the demanding cornetist, including familiar faces like guitarist Bucky Pizzarelli and drummer Jim Gwinn, though guitarist John Pizzarelli, bassist Martin Pizzarelli, and pianist Ray Kennedy had never before worked with him. Braff's battle with emphysema during the last few years of his life required him to use a wheelchair to get around airports to save his breath for performing, but he is still a powerful presence on this session, around two months before his illness progressed to the point that he could no longer perform.

Like any Braff-led recording, these dates include a selection of tried and true standards that he had played many times throughout his career, all played in swinging fashion and a timeless manner. The opener, "Lulu's Back in Town," is notable as he plays in short bursts, keeping the solos moving through the group to keep all the musicians on their toes, a pattern that follows in most of the selections.

Braff had a knack for reviving forgotten chestnuts like "My Honey's Loving Arms" and "You're a Lucky Guy." "C'est Magnifique" is not one of Cole Porter's best-known works, but Braff's sassy cornet and the campy vocal chorus (which includes a mix of recording session attendees, vocalist/pianist Daryl Sherman, jazz critic Dan Morgenstern, jazz author Ross Firestone, and producer Rachel Domber among them the last three likely making their recording debuts!) add to its appeal. John Pizzarelli's warm, friendly vocals are featured in both "They Can't Take That Away from Me" and "As Time Goes By," which brings up another Braff mandate: when the composer wrote an opening verse to set up a song, it shouldn't be omitted.

This rewarding session closes the career of a marvelous cornetist who kept high standards throughout his career rather than bowing to the demands of record labels, casual jazz fans, or promoters; he is missed but will not be forgotten.By Ken Dryden
https://www.allmusic.com/album/cest-magnifique%21-mw0000581925#review

Personnel: Ruby Braff - cornet; Bucky Pizzarelli - guitar; John Pizzarelli - guitar, vocal (tracks 8 and 9); Ray Kennedy - piano; Martin Pizzarelli - bass; Jim Gwinn - drums
The Oo-La-La Singers (track 5): Rachel Domber, Daryl Sherman, Adam and Dan Morgenstern, Al Lipsky, Gail and Ross Firestone

C'est Magnifique!

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Ruby Braff - Cornet Chop Suey

Styles: Cornet Jazz, Swing
Year: 1994
File: MP3@320K/s

Time: 59:31
Size: 137,0 MB
Art: Front

(5:09) 1. Cornet Chop Suey
(4:29) 2. Nancy with the Laughing Face
(5:12) 3. Ooh, That Kiss
(4:33) 4. Do It Again
(4:55) 5. Love Me or Leave Me
(4:38) 6. It’s the Same Old South
(4:31) 7. It Had to Be You
(3:45) 8. I Must Have That Man
(4:14) 9. Sweet and Slow
(6:24) 10. Shoe Shine Boy
(4:34) 11. High Society Medley
(7:03) 12. Lover, Come Back to Me

For this Concord CD, the great veteran cornetist Ruby Braff is joined by guitarist Howard Alden, bassist Frank Tate and (on five of the twelve numbers) clarinetist Ken Peplowski and drummer Ronald Zito. Braff has never recorded a dull album and his highly expressive playing is the main reason to acquire this disc although Alden is also in particularly good form. Highlights include a rapid rendition of "Cornet Chop Suey," "Do It Again," an unusual instrumental version of "It's the Same Old South," an emotional "It Had to Be You" and a medley of songs from the film High Society. By Scott Yanow
https://www.allmusic.com/album/cornet-chop-suey-mw0000116513#review

Personnel: Cornet – Ruby Braff; Bass – Frank Tate (2); Clarinet – Ken Peplowski (tracks: 3, 6, 7, 10, 12); Drums – Ronald Zito* (tracks: 3, 6, 7, 10, 12) Guitar – Howard Alden

Cornet Chop Suey

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The Ruby Braff, George Barney Quartet - To Fred Astaire, With Love

Styles: Trumpet And Guitar Jazz

Year: 1975

File: MP3@320K/s

Time: 24:59

Size: 60,1 MB

Art: Front

(2:22)  1. Cheek To Cheek

(3:46)  2. They Can't Take That Away From Me

(2:16)  3. Easter Parade

(2:04)  4. A Shine On Your Shoes

(2:25)  5. I'm Putting All My Eggs In One Basket

(2:26)  6. They All Laughed

(2:25)  7. Be Careful, It's My Heart

(2:22)  8. I'm Old Fashioned

(2:37)  9. Isn't It A Lovely Day To Be Caught In The Rain?

(2:12) 10. Top Hat, White Tie And Tails

The final recorded collaboration between cornetist Ruby Braff and guitarist George Barnes (in a quartet with rhythm guitarist Wayne Wright and bassist Michael Moore) features concise versions of ten songs (all but one is under three minutes) introduced in the 1930s by Fred Astaire. Although this LP is not essential, the arrangements make the veteran standards (which include "Cheek to Cheek," "They Can't Take That Away from Me," "A Shine on Your Shoes" and "They All Laughed") sound fresh and lively. Astaire himself approved of the project. ~ Scott Yanow  http://www.allmusic.com/album/to-fred-astaire-with-love-mw0000873193

Personnel: George Barnes (guitar); Ruby Braff (trumpet); Wayne Wright (guitar).

To Fred Astaire, With Love

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Ruby Braff, George Barnes Quartet - Live At The New School

Bitrate: MP3@320K/s
Time: 79:24
Size: 181.8 MB
Styles: Mainstream jazz
Year: 1974/1994
Art: Front

[5:19] 1. This Can't Be Love
[4:51] 2. With Time For Love
[4:15] 3. There Will Never Be Another You
[3:10] 4. Solitude
[3:55] 5. Struttin' With Some Barbeque
[3:08] 6. On The Sunny Side Of The Street
[4:47] 7. Thou Swell
[4:26] 8. Body And Soul
[4:04] 9. Squeeze Me
[3:56] 10. It Don't Mean A Thing If It Ain't Got That Swing
[2:36] 11. Rockin' In Rhythm
[4:53] 12. Sugar
[4:05] 13. Liza
[3:52] 14. You're A Lucky Guy
[3:10] 15. Don't Blame Me
[2:49] 16. Cheek To Cheek
[4:14] 17. Mean To Me
[2:17] 18. Here There And Everywhere
[4:23] 19. Goose Pimples
[5:03] 20. Nobody Else But You

Bass – Michael Moore; Cornet – Ruby Braff; Lead Guitar – George Barnes; Rhythm Guitar – Wayne Wright. Concert recorded 22 April 1974 in New York City.

This is the best album by far that the Braff/Barnes quartet ever made,which is not to say that their other records are bad, they weren't, but this one is an absolute treasure, made better by including all the music recorded that night, unlike the original LP. Ruby Braff must be the best cornet player in jazz, and George Barnes amongst the best swing guitarists of his time. They play so wonderfully together that it is difficult to single out any tracks as being the best, but my favourite numbers are "There will never be another you","Solitude", "Rockin' in rhythm" ,"Struttin' with some barbecue", and "It don't mean a thing".

But really the whole record is great, with the highest standards of musicianship from both the principals and Michael Moore and Wayne Wright on bass and rhythm guitar. Interestingly, the lack of a drummer doesn't stop the group swinging like crazy! The recording is excellent too, it does a great job in capturing the beautiful tone that both Ruby and George coax from their instruments. This is the most enjoyable jazz album I bought during 2000, and in my opinion the Braff/Barnes quartet was one of the outstanding groups of the seventies. Anyone with an appreciation for good music making cannot fail to be inspired and uplifted by this tasteful, humourous and sublime recording. ~William J. Churchman

Live At The New School

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Ruby Braff, Pee Wee Russell, Bud Freeman - Gold Rush

Styles: Jazz Instrumentals
File: MP3@320K/s
Time: 68:36
Size: 157,7 MB
Art: Front

(4:24) 1. On The Sunny Side Of The Street
(2:32) 2. Crazy Rhythm
(4:36) 3. Slowly
(7:53) 4. Lulu's Back In Town
(5:09) 5. Struttin' With Some Barbecue
(4:47) 6. The Bends Blues
(3:44) 7. Dippermouth Blues
(7:19) 8. Keepin' Out Of Mischief Now
(4:32) 9. Loveless Love
(2:55) 10. Ja-da
(4:32) 11. At The Jazz Band Ball
(5:10) 12. Monday Date
(6:56) 13. Squeeze Me
(4:01) 14. Blue Turning Grey Over You

Ruby Braff began his jazz career as an out-of-time traditionalist playing with veteran jazzmen of an earlier age, and rose to establish his own standing as one of the handful of leading artists playing in traditional and mainstream idioms.

He did so on the back of one of the most beautiful instrumental sounds in jazz, a prodigious gift for phrasing melody, and an acute harmonic sense which revealed his awareness of more modernist developments in jazz. Louis Armstrong remained his touchstone and only avowed master, but his playing also reflected the influence of musicians like Bix Beiderbecke and Bobby Hackett. His musical voice, though, was always very much his own.

He was born Reuben Braff in Boston, and was self-taught on his instrument. He said that he wanted to play saxophone, but his father bought him a cornet instead. His trumpet style, which largely eschewed high-note pyrotechnics in favour of a softer exploration of the middle and bottom registers of the instrument, reflected that original love of reed rather than brass sonorities.

He began working in local clubs in the Forties, and was recruited for the band led by the veteran clarinettist Edmond Hall at the Savoy Cafe in Boston in 1949. He made the move to New York in 1953, and was soon in demand for gigs and recording sessions in a traditional and mainstream vein.

His loyalty to traditional jazz at a time when the focus had shifted to more modern styles starved him of work for a time in the Fifties, but he returned to prominence with an All-Star touring band created by pianist and jazz impresario George Wein. Wein remained a loyal backer of the cornetist, and featured him regularly on his international tour and festival circuit.

He worked with major band leaders like Buck Clayton, Benny Goodman and Bud Freeman as a young man, and in turn became something of a musical mentor to a new generation of young mainstream musicians in the Seventies, including saxophonist Scott Hamilton and guitarist Howard Alden.

In the Eighties and Nineties he made a series of recordings for the major mainstream jazz labels Concord Jazz and Arbors, and formed highly-regarded duo partnerships with pianists like Mel Powell, Ralph Sutton, Dick Hyman, Ellis Larkins and Roger Kellaway.

Braff worked with singer Tony Bennett for two years from 1971-73, then formed a very popular and artistically successful band with guitarist George Barnes. The relationship ground to a halt in 1975 in characteristic fashion when Braff fell out with his collaborator.

That pattern of alienating those around him was repeated on many occasions. Braff may have made some of the most beautiful music in jazz, but his own character was precisely the opposite. He was notorious for his abrasive and insulting behaviour to other musicians, promoters and even fans, a tendency made all the worse by his failing health over many years (he suffered from emphysema, glaucoma and heart problems).

He was the headline artist at the first Nairn Jazz Festival in northern Scotland in 1990, and his appearance at the 2002 event was to be the last performance of his life. He cancelled a subsequent scheduled concert at the Brecon Jazz Festival in Wales and returned home. He was never fit enough to perform in public again. https://www.allaboutjazz.com/musicians/ruby-braff

Gold Rush

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Ruby Braff Trio - Me, Myself And I

Styles: Cornet Jazz
Year: 1988
File: MP3@224K/s
Time: 51:28
Size: 83,1 MB
Art: Front

(4:39) 1. Muskrat Ramble
(3:34) 2. Let Me Sing And I'm Happy
(4:10) 3. You've Changed
(4:10) 4. You're A Lucky Guy
(5:01) 5. Honey
(2:43) 6. No One Else But You
(3:21) 7. Me, Myself And I
(4:52) 8. Dream Dancing
(3:20) 9. When You're Smiling
(4:12) 10. When I Fall In Love
(4:32) 11. Swan Lake
(3:16) 12. That's My Home
(3:34) 13. Jubilee

Although often overlooked in popularity polls, cornetist Ruby Braff during the 1980s and '90s recorded many classics and near-classics. For this trio set with guitarist Howard Alden and bassist Jack Lesberg, Braff's repertoire ranges from the dixieland tunes "Muskrat Ramble" and "When You're Smiling" to superior popular numbers such as "You've Changed," "When I Fall in Love" and "You're a Lucky Guy." As usual he brings an individual sound, swing, melodic creativity and passion to each of his improvisations.~ Scott Yanow https://www.allmusic.com/album/me-myself-i-mw0000204639

Personnel: Cornet – Ruby Braff; Bass – Jack Lesberg; Guitar – Howard Alden

Me, Myself And I

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Ruby Braff - Just for Fun

Styles: Cornet Jazz
File: MP3@320K/s
Time: 78:19
Size: 180,5 MB
Art: Front

(4:52) 1. Out of Nowhere
(4:24) 2. Don't Blame Me
(5:05) 3. I Used to Love You
(4:19) 4. That Old Feeling
(6:30) 5. Mean to Me
(4:10) 6. I'll Do Most Anything for You
(4:02) 7. It All Depends on You
(3:58) 8. St. Louis Blues
(4:27) 9. I've Got the World on a String
(4:30) 10. Coquette
(8:05) 11. Sentimental Journey
(4:52) 12. Oh, No
(5:59) 13. Love Is Just Around the Corner
(4:17) 14. Squeeze Me
(4:12) 15. Struttin' with Some Barbecue
(4:33) 16. St. James Infirmary

Ruby Braff began his jazz career as an out-of-time traditionalist playing with veteran jazzmen of an earlier age, and rose to establish his own standing as one of the handful of leading artists playing in traditional and mainstream idioms. He did so on the back of one of the most beautiful instrumental sounds in jazz, a prodigious gift for phrasing melody, and an acute harmonic sense which revealed his awareness of more modernist developments in jazz. Louis Armstrong remained his touchstone and only avowed master, but his playing also reflected the influence of musicians like Bix Beiderbecke and Bobby Hackett. His musical voice, though, was always very much his own.

He was born Reuben Braff in Boston, and was self-taught on his instrument. He said that he wanted to play saxophone, but his father bought him a cornet instead. His trumpet style, which largely eschewed high-note pyrotechnics in favour of a softer exploration of the middle and bottom registers of the instrument, reflected that original love of reed rather than brass sonorities. He began working in local clubs in the Forties, and was recruited for the band led by the veteran clarinettist Edmond Hall at the Savoy Cafe in Boston in 1949. He made the move to New York in 1953, and was soon in demand for gigs and recording sessions in a traditional and mainstream vein.

His loyalty to traditional jazz at a time when the focus had shifted to more modern styles starved him of work for a time in the Fifties, but he returned to prominence with an All-Star touring band created by pianist and jazz impresario George Wein. Wein remained a loyal backer of the cornetist, and featured him regularly on his international tour and festival circuit. He worked with major band leaders like Buck Clayton, Benny Goodman and Bud Freeman as a young man, and in turn became something of a musical mentor to a new generation of young mainstream musicians in the Seventies, including saxophonist Scott Hamilton and guitarist Howard Alden. In the Eighties and Nineties he made a series of recordings for the major mainstream jazz labels Concord Jazz and Arbors, and formed highly-regarded duo partnerships with pianists like Mel Powell, Ralph Sutton, Dick Hyman, Ellis Larkins and Roger Kellaway.

Braff worked with singer Tony Bennett for two years from 1971-73, then formed a very popular and artistically successful band with guitarist George Barnes. The relationship ground to a halt in 1975 in characteristic fashion when Braff fell out with his collaborator. That pattern of alienating those around him was repeated on many occasions. Braff may have made some of the most beautiful music in jazz, but his own character was precisely the opposite. He was notorious for his abrasive and insulting behaviour to other musicians, promoters and even fans, a tendency made all the worse by his failing health over many years (he suffered from emphysema, glaucoma and heart problems). He was the headline artist at the first Nairn Jazz Festival in northern Scotland in 1990, and his appearance at the 2002 event was to be the last performance of his life. He cancelled a subsequent scheduled concert at the Brecon Jazz Festival in Wales and returned home. He was never fit enough to perform in public again. https://musicians.allaboutjazz.com/rubybraff

Just for Fun

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Ruby Braff - This Is My Lucky Day

Styles: Trumpet Jazz
Year: 1957
File: MP3@320K/s
Time: 64:09
Size: 148,1 MB
Art: Front

(7:23) 1. It's Been So Long
(6:04) 2. I'm Comin' Virginia
(6:11) 3. I Can't Get Started
(4:45) 4. Marie
(4:20) 5. I Got It Bad And That Ain't Good
(6:29) 6. There's Something In My Mind
(5:17) 7. Did I Remember
(4:03) 8. Give My Regards To Broadway
(5:05) 9. Willow Weep For Me
(2:26) 10. This Is My Lucky Day
(3:03) 11. Someday You'll Be Sorry
(3:34) 12. Yesterdays
(5:23) 13. The Song Is Ended But The Melody Lingers On

This Bluebird CD reissue brings back seven of the nine selections that trumpeter Ruby Braff recorded with an impressive octet that also included trombonist Benny Morton, clarinetist Pee Wee Russell, tenor-saxophonist Dick Hafer and a rhythm section led by pianist Nat Pierce. The material, superior swing standards highlighted by "It's Been So Long," "I'm Comin' Virginia" and "Did I Remember," features several tributes to the great Bunny Berigan, putting the emphasis on Braff's passionate horn although Russell gets in some of his unique licks. The remainder of this CD reissues half of an earlier LP, the complete session of Aug. 19, 1957. Braff is matched with fellow trumpeter Roy Eldridge for an interesting but slightly inhibited affair; there are few of the expected fireworks between these normally fiery players. Despite the excess of mutual respect, there are quite a few strong moments, particularly on "Give My Regards to Broadway," "This Is My Lucky Day" and "The Song Is Ended."~Scott Yanow https://www.allmusic.com/album/this-is-my-lucky-day-mw0000195234

This Is My Lucky Day

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Ruby Braff & Ellis Larkins - The Complete Duets

Styles: Cornet, Trumpet And Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 160:05
Size: 370,9 MB
Scans: Front & Back

(5:39) 1. Love For Sale
(3:46) 2. I've Got A Pocketful Of Dreams
(4:36) 3. Blues For Ruby
(3:47) 4. I've Got The World On A String
(5:37) 5. Please
(5:31) 6. Old Folks
(3:28) 7. Blues For Ellis
(4:32) 8. What Is There To Say
(5:07) 9. When A Woman Loves A Man
(5:39) 10. You Are Too Beautiful
(5:16) 11. Skylark
(4:47) 12. Sailboat In The Moonlight
(2:54) 13. A City Called Heaven
(5:38) 14. My Funny Valentine
(4:59) 15. Where Or When
(3:30) 16. I Could Write A Book
(4:59) 17. Little Girl Blue
(3:56) 18. Thou Swell
(3:29) 19. My Romance
(4:50) 20. The Girl Friend
(3:18) 21. Mountain Greenery
(4:16) 22. Blue Moon
(3:34) 23. You Took Advantage Of Me
(4:04) 24. I Married An Angel
(4:19) 25. I Didn't Know What Time It Was
(6:55) 26. Romance in the Dark
(5:58) 27. When You Wish Upon a Star
(7:24) 28. (I Don't Stand A) Ghost of a Chance
(4:44) 29. Where's Freddie
(3:16) 30. Wishing (Will Make It So)
(5:49) 31. I'm in the Market for You
(9:17) 32. Sweet Sue, Just You
(5:00) 33. Linger Awhile

A unique collection of laidback jazz recordings recorded in a very spare setting that has trumpeter Ruby Braff playing with pianist Ellis Larkins, and no other accompaniment! The setting's quite unusual for the time, and it makes for a relaxed intimate meeting between two strong talents that really differs from the work that either of them were recording elsewhere. But even more incredible is the way that the two players come together without additional support working beautifully in a format that would have others faltering always swinging the tunes despite the lack of bass or drums, and clearly very at home here with the extra space that lets both of them open up creatively!

2-CD set features 25 titles that are exclusively Larkins/Braff duets recorded for Vanguard in 1955, plus an additional 8 numbers from a sextet session that features Braff with Vick Dickenson, Sam Margolis, and Nat Pierce. Titles include "Love For Sale", "Skylark", "Blue Moon", "Blues For Ellis", "Please", "Sailboat In The Moonlight", "Linger Awhile", "I'm In The Market For You", "Where Or When", "I Could Write A Book", "The Girl Friend", "Little Girl Blue", and "Thou Swell".https://www.freshsoundrecords.com/ruby-braff-ellis-larkins-albums/4309-the-complete-duets-2-cd-set.html
".
Personnel: Cornet, Trumpet – Ruby Braff; Piano – Ellis LarkinsDrums – Jo Jones, Nat Pierce Tenor Saxophone, Clarinet –Trombone – Vic Dickenson; : Bass – Walter Page".

The Complete Duets