Peggy Connelly - Peggy Connelly

Styles: Vocal
Year: 1956
File: MP3@320K/s
Time: 35:37
Size: 85,5 MB
Art: Front

(3:15) 1. That Old Black Magic
(3:19) 2. Ev'ry Time We Say Goodbye
(2:30) 3. Trav'lin' Light
(2:11) 4. Ev'ry Time
(4:27) 5. It Never Entered My Mind
(3:00) 6. Why Shouldn't I
(2:47) 7. Gentleman Friend
(2:55) 8. What Is There To Say
(2:44) 9. He Was Too Good To Me
(2:41) 10. I Got Plenty O' Nuttin'
(2:26) 11. Fools Rush In
(3:16) 12. Alone Together

Peggy Connelly (September 25, 1931 – June 11, 2007) was a singer and actress. Connelly was born in Shreveport, Louisiana and raised in Fort Worth, Texas. She had a career as a singer and actress, starting with local dance bands (the first Harvey Anderson's) in the Fort Worth-Dallas area. In 1956 she recorded an album of standards, Peggy Connelly with Rusell Garcia – That Old Black Magic, for Bethlehem Records, reissued by Fresh Sound on Russell Garcia's Wigville Band. She also recorded two albums with The New Christy Minstrels. In 1957 she married Dick Martin. They divorced in the early 1960s. Connelly appeared in The Girl in the Red Velvet Swing (1955), Houseboat (1958), and the television show Take a Good Look with Ernie Kovacs. She moved to Europe in the early 1970s and worked as a single act until the mid-1990s, when she, Sarah Tullamore and Wendy Taylor formed a trio called The Jazzberries. The Jazzberries played extensively in Paris and throughout Europe until they disbanded in 2000.
https://en.wikipedia.org/wiki/Peggy_Connelly

Personnel: Alto Saxophone – Charlie Mariano; Baritone Saxophone – Jimmy Giuffre; Bass – Max Bennett; Drums – Stan Levey; Guitar – Al Hendrickson; Soprano Saxophone – Russ Cheever; Tenor Saxophone – Bill Holman; Trumpet – Pete Candoli, Stu Williamson

Peggy Connelly

---

Peggy Connelly - Hollywood Sessions

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 46:56
Size: 108,4 MB
Art: Front

(3:03)  1. You Make Me Feel So Young
(2:42)  2. Trouble Is a Man
(3:08)  3. Where Did the Gentleman Go
(2:26)  4. I Have Said Goodbye to Spring
(2:54)  5. What Is There to Say
(2:30)  6. Trav'lin' Light
(3:18)  7. Ev'rytime We Say Goodbye
(3:17)  8. Alone Together
(2:42)  9. I Got Plenty o' Nuttin'
(2:25) 10. Fools Rush In
(2:10) 11. Ev'rytime
(2:47) 12. Gentleman Friend
(4:27) 13. It Never Entered My Mind
(2:59) 14. Why Shouldn't I
(3:14) 15. That Old Black Magic
(2:45) 16. He Was Too Good to Me

By the time she was 15, Peggy Connelly (1931-2007) had a lovely voice that won her jobs singing with competitive big bands in her hometown of Fort Worth, Texas. At 18, she went in search of work as a model and singer, and after a difficult start, she moved to Hollywood. Once there, she landed two significant opportunities. The first involved her appearance in motion pictures and TV shows. The second and more important opportunity was the start of her career as a single recording artist. When she sang, Connelly put to good use her beautiful, round tone and commendable lack of artifice to project the intent of any song with lucidity. She was Frank Sinatra’s girlfriend for over two years, and their relationship opened many doors for her with musicians and the Hollywood studios. Even though Connelly had few significant opportunities in her career to show off her talent as a singer, the times she did resulted in these magnificent recordings. Sinatra, not very fond of praising his colleagues, had no qualms about praising Connelly. When he first heard her sing Ev’ry Time We Say Goodbye, he said: “Hi, beautiful lady, you are wonderful.” https://www.freshsoundrecords.com/peggy-connelly/6707-hollywood-sessions.html

Personnel:  Peggy Connelly (vcl), Marty Paich, Russell Garcia (dir), Conte Candoli, Pete Candoli, Stu Williamson (tp), Russ Cheever (ss), Charlie Mariano (as), Bill Holman (ts), Jimmy Giuffre (bs), Al Hendrickson (g), Jimmy Rowles (p), Harry Babasin, Max Bennett (b), Roy Harte, Stan Levey (d), Jack Costanzo, Ramón Rivera, Willy Gallardo (perc)

Hollywood Sessions

---

Stu Williamson - Stu Williamson Plays

Styles: Trumpet Jazz
Year: 1955
File: MP3@320K/s
Time: 79:41
Size: 183,9 MB
Art: Front

(3:20)  1. Slugger
(3:10)  2. Ther'll Never Be Another You
(2:39)  3. Autumn In New York
(3:16)  4. Sunday
(4:17)  5. The Lady Is A Tramp
(3:51)  6. Yardbird Suite
(3:23)  7. Sapphire
(2:51)  8. The Things We Did Last Summer
(3:54)  9. Strike Up The Band
(3:30) 10. Don't Get Around Much Anymore
(5:40) 11. Stu's Dues Blues
(3:29) 12. Pee Jay
(4:25) 13. Just Friends
(3:48) 14. Darn That Dream
(6:09) 15. Hongry Child
(4:30) 16. Big Red
(5:05) 17. Red Cross
(3:20) 18. Talk Of The Town
(3:58) 19. Dom's Tune
(4:57) 20. Rose Bud

The younger brother of pianist Claude Williamson, Stu Williamson was a fixture on West Coast jazz dates of the 1950s. He moved to Los Angeles in 1949 and spent periods playing with Stan Kenton (1951), Woody Herman (1952-1953), and Kenton again (1954-1955), in addition to shorter stints with Billy May and Charlie Barnet. The mellow-toned Williamson, best-known for his association with Shelly Manne (off and on during 1954-1958), was on a countless number of sessions up until 1968 when he dropped out of the music scene. A drug addict, Stu Williamson spent most of his last two decades struggling outside of music. ~ Scott Yanow http://www.allmusic.com/artist/stu-williamson-mn0000526195/biography

Personnel:  Stu Williamson on trumpet, Charlie Mariano on alto sax, Claude Williamson on piano, Max Bennett on bass and Stan Levey on drums.

Stu Williamson - Plays

---

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!

---

Benny Carter - Aspects

Styles: Saxophone Jazz
Year: 1958
File: MP3@320K/s
Time: 47:19
Size: 112,8 MB
Art: Front

(3:13)  1. June In January
(1:56)  2. February Fiesta
(3:18)  3. March Wind
(3:22)  4. I'll Remenber April
(2:51)  5. One Morning In May
(3:01)  6. June Is Busting Out All Over
(2:52)  7. Sleigh Ride In July
(3:42)  8. August Moon
(2:41)  9. September Song
(2:55) 10. Something For October
(3:03) 11. Swingin In November
(2:38) 12. Roses In December
(1:57) 13. February Fiesta (Mono Take)
(3:01) 14. June Is Busting Out All Over (Mono Take)
(3:36) 15. August Moon (Mono Take)
(3:05) 16. Swingin In November (Mono Take)

This CD reissues an enjoyable obscurity. Although originally associated with big bands, the set has what was Benny Carter's only big-band recording as a playing leader during 1947-86. While the song titles are a bit gimmicky, saluting the 12 months of the year (including "June in January," "I'll Remember April," "June Is Busting Out All Over," etc.), the music (which includes four alternate takes) is solid, mainstream big-band swing. The less familiar titles include four Carter originals written for the date, plus Hal Schaefer's "February Fiesta." 

The leader/altoist solos on every selection, and among the other top West Coast studio players featured are trumpeters Shorty Sherock, Pete Candoli and Joe Gordon, trombonists Frank Rosolino and Herbie Harper, vibraphonist Larry Bunker, pianists Arnold Ross and Gerry Wiggins, and guitarist Barney Kessel. Two overlapping big bands were utilized, and the music alternates between being forceful and lyrical. ~ Scott Yanow https://www.allmusic.com/album/aspects-mw0000613039

Personnel:  Alto Saxophone – Benny Carter;  Bass – Joe Comfort;  Drums – Shelly Manne;  Guitar – Barney Kessel, Bobby Gibbons Leader – Benny Carter;  Piano – Arnold Ross, Gerry Wiggins;  Saxophone – Buddy Collette, Chuck Gentry, Jewell Grant, Justin Gordon, Plas Johnson, Bill Green;  Trombone – Frank Rosolino, George Roberts, Herbie Harper, Russ Brown), Tommy Pederson;  Trumpet – Al Porcino, Conrad Gozzo, Joe Gordon, Pete Candoli, Ray Triscari, Shorty Sherock, Stu Williamson, Uan Rasey;  Vibraphone [Vibes] – Larry Bunker 

Aspects

---

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

---

Terry Gibbs & His Dream Band - Swing Is Here

Bitrate: MP3@320K/s
Time: 34:30
Size: 79.0 MB
Styles: Bop, Vibraphone jazz
Year: 1960/2009
Art: Front

[2:33] 1. The Song Is You
[3:10] 2. It Might As Well Be Swing
[3:05] 3. Dancing In The Dark
[2:44] 4. Moonglow
[5:03] 5. Bright Eyes
[3:04] 6. The Fat Man
[2:57] 7. My Reverie
[3:42] 8. Softly As In A Morning Sunrise
[5:22] 9. Evil Eyes
[2:44] 10. Back Bay Shuffle

Alto Saxophone – Charlie Kennedy; Alto Saxophone [Lead] – Joe Maini; Baritone Saxophone – Jack Schwartz; Bass – Buddy Clark; Drums – Mel Lewis; Piano – Lou Levy; Tenor Saxophone – Bill Perkins, Med Flory; Trombone – Bob Edmondson, Frank Rosolino, Bobby Pring, Tommy Sheppard; Trumpet – Conte Candoli, John Audino, Ray Triscari, Stu Williamson; Trumpet [Lead] – Al Porcino; Vibraphone – Terry Gibbs. Recorded in Los Angeles, CA, February 23-24, 1960.

The title Swing Is Here would have been more appropriate for the 1930s instead of 1960 when this album was originally issued, and the big-band era had long since waned. Yet vibraphonist Terry Gibbs kept the home fires burning out in California with this exceptional orchestra of cool jazz giants playing a stack of standards and modern compositions by Bill Holman or Gibbs, and one look back with an Artie Shaw number. What is most interesting about these arrangements is that they are always different in emphasizing the fleet, dampened sound of Gibbs in contrast, apart from, or in tandem with the woodwinds and brass instruments. They also never get in each other's way, making for some delightful tonic music-making that reflects both the dance tradition and more modernized precepts of big-band music. Reflecting the style of the Count Basie band with a big helping of Woody Herman or Stan Kenton, the band leaps into "The Song Is You" as Gibbs plays the first melody line, then the band takes over, while the opposite ploy is utilized during "Dancing in the Dark." Holman's originals "Bright Eyes" and "Evil Eyes" are different from the rest and each other, the former a lively bop chart with jumping counterpoint saxes and brass, the latter led out by pianist Lou Levy and the horns, with Gibbs holding up the rear guard of the band. A 12-bar blues, "The Fat Man" has, over time, become a favorite Gibbs composition covered repeatedly by his bands, and here is the original recording. "It Might as Well Be Swing" is a cleverly modified title from the standard "It Might as Well Be Spring" but is closer to Duke Ellington's "Satin Doll" in its elegant, sophisticated imagery. Claude Debussy's "My Reverie," on the other hand, dismisses its composers early morning visage for a classic jazz sound that is truly the epitome signature style Gibbs portrays. The Artie Shaw tribute to Boston "Back Bay Shuffle" has drummer Mel Lewis codifying and extending Gene Krupa's bompity bomp rhythmic dance remarks in a danceable yet enlivened manner. There are some extraordinary musicians in the band, such as trumpeter and ostensible leader Al Porcino, "second" trumpeters Conte Candoli and Stu Williamson, trombonist Frank Rosolino (listed third on the depth chart), lead alto saxophonist Joe Maini, and Bill Perkins, and Med Flory on tenor saxes. Gibbs plays a lot on this album, a testament to his tenacity as a unique voice on his instrument, and a good example of how this well-defined music refused to die even though it fell out of favor due to sheer economics. Clocking in at under 35 minutes with no alternate takes or extra tracks, and out of print for decades prior to this CD reissue, it's a short, sweet item recommended at a bargain price. ~Michael G. Nastos

Swing Is Here mc
Swing Is Here zippy

---

Anita O'Day - Jazz Round Midnight

Styles: Jazz, Vocal
Year: 1997
File: MP3@224K/s
Time: 55:27
Size: 92,5 MB
Art: Front

(3:40)  1. Angel Eyes
(4:03)  2. A nightingale sang in Berkeley Square
(3:38)  3. We'll be together again
(3:49)  4. I cover the waterfront
(2:56)  5. If the moon turns green
(3:10)  6. Early autumn
(3:06)  7. I'm not lonely
(3:02)  8. A lover is blue
(3:22)  9. Tenderly
(2:29) 10. I'm not supposed to be blue blues
(4:15) 11. You came a long way from St'Louis
(3:36) 12. Trac'lin light
(3:57) 13. Man with a horn
(3:55) 14. I can't get started
(2:57) 15. You don't know what love is
(3:24) 16. Crazy, he calls me

In keeping with the Jazz 'Round Midnight theme, this Anita O'Day sampler errs on the mellow side of things with 16 after-hours gems from the lady of bop vocal rhythm. For fans more interested in sampling all of O'Day's talents, though, there's such well-balanced Verve collection as Jazz Masters and Compact Jazz to check out. But, if your optimal inroad to jazz vocals is a smooth one, this disc with ballad highlights like "Man With a Horn," "I'm Not Lonely," and "Early Autumn" will make for ideal listening. And while O'Day is not the first word in jazz ballads (think June Christy or Ella Fitzgerald), her beguiling delivery along with the disc's wealth of top-notch charts and amazing cast of sidemen makes up for any lack of rarefied mood moments. Packed with gems from the singer's '50s and early-'60s prime, Jazz 'Round Midnight: Anita O'Day will make the familiarizing process as easy as sipping a glass of French red. ~ Stephen Cook http://www.allmusic.com/album/jazz-round-midnight-anita-oday-mw0000024656

Personnel: Anita O'Day (vocals); Herb Ellis, Howard Roberts , Al Hendrickson, Al Viola, Tal Farlow, Barney Kessel, Barry Galbraith (guitar); Corky Hale (harp); Lou Raderman, Dan Lube (violin); Virginia Majewski (viola); Walter Levinsky (clarinet, alto saxophone); Bud Shank (woodwinds, alto saxophone); Jimmy Giuffre (woodwinds, baritone saxophone); Alex Harding (woodwinds); Joe Maini (alto saxophone, tenor saxophone); Herb Geller, Lennie Niehaus, Phil Woods (alto saxophone); Georgie Auld, Jerome Richardson, Richie Kamuca, Zoot Sims, Bill Perkins, Bob Cooper (tenor saxophone); Chuck Gentry, Jack DuLong (baritone saxophone); Stu Williamson (trumpet, trombone); Conrad Gozzo , Conte Candoli, Phil Gilbert, Bill Catalano, John Anderson , Herb Pomeroy, Jack Sheldon, Jules Chaiken, Al Porcino, Pete Candoli, Ray Linn, Ray Triscari, Sam Noto, Lee Katzman (trumpet); Milt Bernhart, Richard Taylor "Dick" Nash , Lou McCreary, Frank Rosolino, George Roberts , Kent Larsen, Willie Dennis , Kenny Shroyer, Bob Enevoldsen, Archie LeCoque, Jim Amlotte, Lloyd Ulyate (trombone); Paul Smith (piano, celesta); Bud Lavin, Robert Corwin , Hank Jones , Jimmy Rowles, Lonnie Hewitt, Marty Paich, Oscar Peterson, Russ Freeman (piano); Larry Bunker (vibraphone, drums); Bob Brookmeyer, Cal Tjader (vibraphone); Johnny Rae, Mel Lewis, Alvin Stoller, John Poole (drums).

Jazz Round Midnight

---

Toni Harper - Night Mood

Styles: Vocal Jazz
Year: 1960
File: MP3@320K/s
Time: 35:47
Size: 82,1 MB
Art: Front

(2:41)  1. In The Still Of The Night
(2:53)  2. Paradise
(3:38)  3. 'Round Midnight
(3:10)  4. The Meaning Of The Blues
(3:00)  5. Saturday Night (Is The Loneliest Night In The Week)
(3:06)  6. Night After Night
(2:49)  7. Just Go
(2:43)  8. A Sleepin' Bee
(3:21)  9. My Ship
(2:11) 10. You And The Night And The Music
(2:57) 11. Petals on the Pond
(3:14) 12. Where Flamingos Fly

Toni Harper's final Rca session pairs the singer with arranger Marty Paich to create the richly atmospheric after-hours album that she was born to make. By alternating between pop standards and jazz originals, Night Mood underscores the complete breadth of Harper's talents. Even better than her sophisticated and poignant interpretations of chestnuts like "Round Midnight" and "My Ship" is a swinging rendition of "Saturday Night Is the Loneliest Night of the Week" that deserves serious consideration as the song's definitive treatment. Paich's soulful arrangements further enhance the dusky beauty of Harper's vocals, even making room for some lovely alto saxophone solos courtesy of the great Art Pepper. ~ Jason Ankeny http://www.allmusic.com/album/night-mood-mw0000477334

Personnel:  Toni Harper (vcl), Marty Paich (dir, arr), Jack Sheldon, Conte Candoli, Stu Williamson (tp), Vince De Rosa (frh), Frank Rosolino (tb), Bob Enevoldsen (v-tb), Art Pepper, Bud Shank, Bill Perkins, Jack Montrose, Jack Nimitz (saxes), Eddie Beal, Jimmy Rowles (p), Joe mondragon (b), Mel Lewis (d)

Night Mood

---

Pepper Adams - Hollywood Quintet Sessions

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 76:07
Size: 177,1 MB
Art: Front

(5:53)  1. Muezzin'
(6:20)  2. Unforgettable
(8:26)  3. Baubles, Bangles and Beads
(3:50)  4. My One and Only Love
(6:00)  5. Freddie Froo
(6:26)  6. Minor Mishap
(4:57)  7. Blackout Blues
(8:41)  8. High Step
(6:32)  9. Zec
(5:48) 10. Alone Together
(8:10) 11. 5021
(4:58) 12. Four Funky Folk

Music in general, jazz in particular, and notably baritone saxophonist Pepper Adams all had a breakthrough year in 1957. Given his New Star award in Down Beat magazine's critics poll and much acclaim working with the Stan Kenton Orchestra, Adams left Detroit that year for important recording sessions on both the East and West Coasts. Teamed here with musicians based in the Los Angeles area, Adams proved as adept at hard bop as with the cool school sound the California jazzmen had established. Two dates from the summer of 1957 (Pepper Adams Quintet for the Mode label and Critics' Choice from Pacific Jazz) feature drummer Mel Lewis on all the cuts, with help from pianists Carl Perkins or Jimmy Rowles, Kenton trumpeters Stu Williamson or Lee Katzman, bassist Leroy Vinnegar, and on the second assemblage fellow Detroiter bassist Doug Watkins. The result is a solid collection of standards and compositions from emerging Motor City jazzmen Tommy Flanagan, Barry Harris, Thad Jones, and Adams. The distinguished sound of the baritone makes for an intriguing partnership alongside the brass of Williamson or Katzman. Five tracks with the Perkins/Williamson combine produced the calypso to hard bop "Muezzin'," with a singing trumpet followed by baritone, and "Freddie Froo," a hard bopper based on the same batting order, both originals by the leader. A spry version of the usually mundane "Unforgettable," a frantic, wow factor-saturated take of "Baubles, Bangles and Beads," and the tender, deep, and mellow "My One and Only Love" round out the first session. 

Katzman plays very well, trumping his relatively little-known status on three of the next eight tracks. He's excellent taking the lead on Flanagan's now legendary "Minor Mishap," adds to the breezy cool of "High Step" from the pen of Harris, and assists the band in bright, inventive, and adroit 4/4 to 3/4 time changes during the Thad Jones number "5021." Rowles in particular consistently stands out for his inserted solo segments on "5021," and manhandles the other Thad Jones contribution, a furious flyer titled "Zec," in a way original boppers Charlie Parker and Miles Davis would be envious of. His piano leads are simply elegant and refined on two more originals written by Adams: on the bluesy "Four Funky Folk" (originally on the World Pacific LP Blowin' the Blues) and especially during his feature on "Blackout Blues." Of course, Mel Lewis is the consummate professional with every swinging note. But the star here is Adams, emerging with brimming confidence and a solid concept beyond his peers and influences, and exhibiting a style that perfectly reflects his highly intelligent, dry, quick-witted, and fluid personality. For fans and students of the big horn, this is a homework project, and a testament to one of the greatest players of all time on his instrument. ~ Michael G.Nastos http://www.allmusic.com/album/hollywood-quintet-sessions-mw0001219041

Personnel:  Pepper Adams - baritone saxophone;  Stu Williamson, Lee Katzman – trumpet;  Carl Perkins , Jimmy Rowles  - piano;  Leroy Vinnegar, Doug Watkins – bass;  Mel Lewis - drums

Hollywood Quintet Sessions

---

Mel Tormé - Songs Of New York

Styles: Vocal Jazz
Year: 1963
File: MP3@320K/s
Time: 33:40
Size: 79,3 MB
Art: Front

(2:31)  1. Sunday In New York
(3:23)  2. Autumn In New York
(2:28)  3. Lullaby Of Birdland
(2:15)  4. Broadway
(2:42)  5. The Brooklyn Bridge
(2:35)  6. Let Me Off Uptown
(2:23)  7. 42nd Street
(2:16)  8. Sidewalks Of New York
(3:53)  9. Harlem Nocturne (Nocturne For The Blues)
(2:19) 10. New York, New York
(2:20) 11. There's A Broken Heart For Every Light On Broadway
(3:12) 12. Manhattan
(1:19) 13. My Time Of Day

This thematic recording, with songs all relating to New York City, has vocalist Mel Tormé singing in fine fashion. Some of the familiar numbers are swingy, some stringy, but all are done with the heartfelt passion of a man who has lived in the Big Apple and has many tales to tell. Among some of the favorites are "Autumn in New York" with its ever poignant and heartbreaking lyric, the jumping "Let Me Off Uptown," a classic rendition of "Harlem Nocturne," and the obligatory "New York, New York." 

These sessions, reissued from Atlantic label recordings of 1963, have a disclaimer regarding the transfer from analog to digital, in that quality may be lost in spots. Don't let that dissuade you, as any dropouts are minimal. These are well done and worthwhile offerings from Tormé and friends. ~ Michael G.Nastos http://www.allmusic.com/album/songs-of-new-york-mw0000649757

Personnel: Mel Tormé (vocals); Dave Barbour (guitar); Dorothy Remsen (harp); Gerald Vinci, James Getzoff, Marvin Limonick, Lou Raderman, Henry Roth, Israel Baker, Paul Shure, Harry Bluestone (violin); Alvin Dinkin, Allan Harshman (viola); Margaret Aue, Edgar Lustgarten (cello); Arnold Koblentz (oboe); Gene Cipriano, John Lowe, Paul Horn, Ronnie Lang, Buddy Collette (woodwinds); Frank Beach, Al Porcino, Ray Triscari, Stu Williamson (trumpet); Richard Taylor "Dick" Nash , Lew McCreary, Lloyd Ulyate (trombone); John Kitzmiller (tuba); Jimmy Rowles (piano); Shelly Manne (drums).

Songs Of New York

---

Stu Williamson - Stu Williamson Plays

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 59:16
Size: 136,2 MB
Art: Front

(4:16)  1. The Lady Is a Tramp
(5:41)  2. Stu's Due Blues
(2:52)  3. The Things We Did Last Summer
(3:52)  4. Yardbird Suite
(2:39)  5. Autumn in New York
(4:26)  6. Just Friends
(3:30)  7. Pee Jay
(3:50)  8. Darn That Dream
(6:11)  9. Hongry Child
(4:31) 10. Big Red
(5:07) 11. Red Cross
(3:21) 12. Talk of the Town
(3:59) 13. Oom's Tune
(4:56) 14. Rose Bud

Stu Williamson led relatively few sessions in his career and over half of them are on this excellent Fresh Sound CD. The cool-toned trumpeter is mostly heard in a quintet with altoist Charlie Mariano, pianist Claude Williamson (his brother), either Max Bennett or Leroy Vinnegar on bass, and Stan Levey or Mel Lewis on drums. The remaining four songs (all Bill Holman compositions) feature a sextet with Holman on tenor, baritonist Jimmy Giuffre, Claude, Vinnegar, and Lewis. The music swings lightly but firmly with excellent solos from all concerned, making this CD a prime example of West Coast jazz from the 1950s. Recommended. ~ Scott Yanow http://www.allmusic.com/album/stu-williamson-plays-mw0000875069

Personnel: Stu Williamson (Trumpet) , Charlie Mariano (Saxophone),  Claude Williamson (Piano), Max Bennett (Bass), Stan Levey (Drums).

Stu Williamson Plays

---

Mel Tormé, The Marty Paich Orchestra - Mel Tormé Swings Shubert Alley

Styles: Vocal and Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 39:15
Size: 90,0 MB
Art: Front

(4:04)  1. Too Close For Comfort
(3:13)  2. Once In Love With Amy
(3:35)  3. A Sleepin Bee
(2:55)  4. On The Street Where You Live
(3:06)  5. All I Need Is A Girl
(3:29)  6. Just In Time
(3:09)  7. Hello Young Lovers
(3:01)  8. Surrey With The Fringe On Top
(2:47)  9. Old Devil Moon
(3:22) 10. Whatever Lola Wants
(2:47) 11. Too Darn Hot
(3:42) 12. Lonely Town

Though the nominal concept for Mel Tormé's Swings Shubert Alley is Broadway standards, this last moment of pure Tormé brilliance moves much too fast and hard for the concept to be anything but pure swing. Of course it starts out with a bang with the punchy "Too Close for Comfort." Tormé sounds like he's racing the band to the finish of the song on this one (and a few others, like "Too Darn Hot" and "Surrey with the Fringe on Top"), on the latter he repeats the title over and over again with that exuberant voice. As with his other classic swing albums, Tormé does insert a few slower songs; here, "Once in Love with Amy," "A Sleepin' Bee" and "Old Devil Moon" are downtempo, with a smile. The overall mood, however, is unrestrained enthusiasm, and it makes for an excellent record. ~ John Bush  http://www.allmusic.com/album/release/swings-shubert-alley-mr0003746515

The Marty Paich Orchestra includes: Marty Paich (arranger, piano); Art Pepper (alto saxophone) Bill Perkins (tenor saxophone); Bill Hood (baritone saxophone); Al Porcino, Stu Williamson (trumpet); Vince DeRosa (French horn); Frank Rosolino (trombone); Ray Callender (tuba); Joe Mondragon (bass); Mel Lewis (drums).

Mel Tormé Swings Shubert Alley

---

Frances Faye - Swingin' All The Way

Bitrate: MP3@320K/s
Time: 37:59
Size: 87.0 MB
Styles: Jazz vocals
Year: 1962/2013
Art: Front

[3:12] 1. Do Nothin' Till You Hear From Me
[3:40] 2. It's All Right With Me
[3:15] 3. Love For Sale
[3:13] 4. So In Love
[2:27] 5. Should I
[2:39] 6. Them Who Has Gets
[2:20] 7. There Will Never Be Another You
[2:27] 8. Miss Otis Regrets (She's Unable To Lunch Today)
[3:53] 9. Everything Hapens To Me
[3:53] 10. More Than You Know
[3:53] 11. That's All
[3:03] 12. Don't Worry 'bout Me

Alto Saxophone – Bud Shank; Arranged By – Marty Paich; Guitar – Al Hendrickson; Trumpet – Stu Williamson.

Fans of female vocalists of the '50s inevitably bemoan the lack of respect given to one of the true greats. Frances Faye, like Peggy Lee, was a dishy, somewhat off-kilter blonde who could scribble out a mean tune when the mood hit her. She was actually a recording presence in the decades prior, writing and co-writing songs that were recorded by herself and other artists such as the Andrews Sisters all through the late '30s and '40s. Faye started her professional career at 16, filling in for a local pianist on an amateur show when some misfortune befell him. She made her first stage appearance in Brooklyn two years later, and spent the next few years on the vaudeville and nightclub circuit, as an accompanist for singers. When one of these singers was canned by a nightclub owner right before the downbeat, Faye took over. An extensive career as a nightclub performer followed and, by 1934, her schedule had her working 11 months a year, much of that out on the road. In 1936, she had her first hit record, the thoughtful "No Regrets," in 1936. "Well, All Right" primed the jukeboxes across the nation after the Andrews Sisters cut the song. She made her last major recordings in 1964, but continued club gigs all the way into the '80s. Well into the 1970s, she was still headlining in New York, Los Angeles, Las Vegas, Chicago, Miami, as well as England and Australia. In 1977, Frances Faye played a wise-cracking madam in the French film director Louis Malle's controversial film Pretty Baby, which, in the words, of Faye, "opens with me in bed smoking an opium pipe with a wig half off my head." After a series of strokes, perhaps brought on by so much excitement, she died in the early '90s. It was only near the end of that decade that any of her previously out of print material began to see the light of day in reissue form. Bethlehem led the charge with Frances Faye Sings Folk Songs, which manages to be simultaneously marvelous and a completely misleading example of her style. Fans surely sang their own chorus of "Well, All Right" when the artist's two volumes of live recordings were repackaged on a single CD, entitled Frances Faye: Caught in the Act. Her career was one of the subjects of the interesting documentary film Chop Suey, directed by Bruce Weber. ~Excerpts from bio by Eugene Chadbourne

Swingin' All The Way

---

Clifford Brown - Jazz Immortal

Bitrate: MP3@320K/s
Time: 32:19
Size: 74.0 MB
Styles: Bop, Trumpet jazz
Year: 1954/1990/2011
Art: Front

[4:09] 1. Daahoud
[3:48] 2. Finders Keepers
[3:13] 3. Joy Spring
[3:37] 4. Gone With The Wind
[4:12] 5. Bones For Jones
[3:13] 6. Blueberry Hill
[4:12] 7. Tiny Capers
[2:56] 8. Tiny Capers
[2:55] 9. Gone With The Wind

Baritone Saxophone – Bob Gordon; Bass – Carson Smith (tracks: 4 to 8), Joe Mondragon (tracks: 1 to 3); Drums – Shelly Manne; Piano – Russ Freeman; Tenor Saxophone – Zoot Sims; Trumpet – Clifford Brown; Valve Trombone – Stu Williamson. Recorded at Capitol Recording Studios, Los Angeles in July (#1-3) and August (#4-8) 1954. #8 does not appear on LP configuration and was originally issued on Pacific Jazz (JWC 500). #1-7 were originally issued on 10" LP - PJ19 and later 12" LP - PJ3.

Clifford Brown recorded this album in 1954 in California with a great band, including Zoot Sims on Tenor Sax and Russ Freeman on Piano. Clifford Brown was a masterful trumpet player at a very young age and soon achieved a high stature in the jazz world in the early 50's. He played with Charlie Parker and Tadd Dameron, as well as leading his own bands. I think this recording is one of his best, with original songs and arrangements done by Jack Montrose. Clifford Brown's alternatively sweet, tough and complex trumpet playing integrates wonderfully with Zoot Sims saxophone. The song 'Tiny Capers' is a brilliant excursion in jazz improvisation and playfulness, while retaining a beautiful melody. ~Jostein Berntsen

Jazz Immortal

---

Stu Williamson - The Trumpet Artistry Of Stu Williamson

Styles: Trumpet Jazz
Year: 2012
File: MP3@320K/s
Time: 58:22
Size: 134,5 MB
Art: Front

(4:11)  1. Lady Is A Tramp
(5:37)  2. Stu's Due Blues
(2:48)  3. Things We Did Last Summer
(3:47)  4. Yardbird Suite
(2:35)  5. Autumn In New York
(3:26)  6. Pee Jay
(6:07)  7. Hongry Child
(3:46)  8. Darn That Dream
(4:27)  9. Big Red
(4:55) 10. Rose Bud
(3:16) 11. Talk Of The Town
(5:02) 12. Red Cross
(4:22) 13. Just Friends
(3:55) 14. Oom's Tune

Cherry-picking highlights from his mid-'50s dates for the Bethlehem label, The Trumpet Artistry of Stu Williamson represents a superb introduction to this underappreciated West Coast jazz great. A remarkably supple, nuanced trumpeter, Williamson captures the absolute essence of the left-coast sound. His solos are expansive yet efficient, speaking volumes in a minimum of phrases. Brother Claude plays piano on all 14 cuts, while Charlie Mariano, Jimmy Giuffre, and Bill Holman rotate guitar duties. All are in top form, crafting soulful renditions of "Yardbird Suite," "Red Cross," and "Darn That Dream." ~ Jason Ankeny  http://www.allmusic.com/album/the-trumpet-artistry-of-stu-williamson-mw0000704063

Featuring: Stu Williamson (tp), Charlie Mariano (as), Bill Holman (ts), Jimmy Giuffre (bs), Claude Williamson (p), Max Bennett (b), Leroy Vinnegar (b), Mel Lewis (d), Stan Levey (d)

The Trumpet Artistry Of Stu Williamson

---

Stu Williamson - Stu Williamson

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 39:08
Size: 89,8 MB
Art: Front

(3:24)  1. Pee Jay
(4:21)  2. Just Friends
(3:45)  3. Darn That Dream
(6:05)  4. Hungry Child
(4:26)  5. Big Red
(5:01)  6. Red Cross
(3:15)  7. Talk Of The Town
(3:53)  8. Oom's Tune
(4:54)  9. Rose Bud

The younger brother of pianist Claude Williamson, Stu Williamson was a fixture on West Coast jazz dates of the 1950s. He moved to Los Angeles in 1949 and spent periods playing with Stan Kenton (1951), Woody Herman (1952-1953), and Kenton again (1954-1955), in addition to shorter stints with Billy May and Charlie Barnet. The mellow-toned Williamson, best-known for his association with Shelly Manne (off and on during 1954-1958), was on a countless number of sessions up until 1968 when he dropped out of the music scene. A drug addict, Stu Williamson spent most of his last two decades struggling outside of music. ~ Scott Yanow  http://www.allmusic.com/artist/stu-williamson-mn0000526195/biography

Personnel:  Alto Saxophone – Charlie Mariano;  Baritone Saxophone – Jimmy Giuffre;  Bass – Leroy Vinnegar;  Drums – Mel Lewis;  Piano – Claude Williamson;  Tenor Saxophone – Bill Holman;  Trumpet – Stu Williamson

Stu Williamson

---

Various - Modern Sounds From California: Historic Recordings 1954-1957 (2-Disc Set)

In January 1952, Capitol released the Rogers album with the title "Modern Sounds by Shorty Rogers and His Giants". The album demonstrates the harmonic progress being made in Modern Sounds and soon attracted much favorable attention to Rogers, Giuffre and Manne, all of whom were regular members of Rumsey's Lighthouse All Stars Maynard Ferguson, Art Pepper and Milt Bernhart also shared the Sunday stints, when the club was the scene of marathon jam sessions. Thereafter, the Lighthouse became the showcase for West Coast Jazz. In the mid-Fifties modern jazz enjoyed tremendous popularity in California, and these two volumes contain a collection of interesting sessions -most of them never before on CD- made during this prolific and creative period.

Album: Modern Sounds From California: Historic Recordings 1954-1957 (Disc 1)
Bitrate: MP3@320K/s
Time: 72:55
Size: 166.9 MB
Styles: West Coast jazz
Year: 2012

[3:31] 1. Shorty Rogers - Scarf Dance
[2:43] 2. Shorty Rogers - Ballade
[3:09] 3. Shorty Rogers - Lover Man
[2:25] 4. Shorty Rogers - Safari
[4:22] 5. Harry 'Sweets' Edison - Arcadia
[3:27] 6. Harry 'Sweets' Edison - Hooray For Hollywood
[4:24] 7. Harry 'Sweets' Edison - Santa Anita
[3:23] 8. Harry 'Sweets' Edison - The Blindfold Test No 1
[3:56] 9. Conte Candoli - Here's Pete
[4:40] 10. Conte Candoli - Santa Monica
[3:52] 11. Conte Candoli - No Love, No Nothin'
[4:00] 12. Conte Candoli - The Blindfold Test No 2
[3:49] 13. Conte Candoli - Burbank Bounce
[2:49] 14. Conte Candoli - Van Nuys Indeed
[3:36] 15. Conte Candoli - Culver City
[4:23] 16. Conte Candoli - The Blindfold Test No 3
[3:29] 17. Conte Candoli - Tempo De Sylva
[3:58] 18. Conte Candoli - Tomjean
[3:42] 19. Conte Candoli - Stranger In The Rain
[3:10] 20. Conte Candoli - Kentucky Blue Grass

Modern Sounds From California: Historic Recordings 1954-1957 (Disc 1)

---

Album: Modern Sounds From California: Historic Recordings 1954-1957 (Disc 2)
Bitrate: MP3@320K/s
Time: 75:18
Size: 172.4 MB
Styles: West Coast jazz
Year: 2012
Art: Front

[2:44] 1. Stu Williamson - Skip To Me Loot
[6:31] 2. Stu Williamson - Speak Easy
[2:50] 3. Stu Williamson - I'm Forever Counting Geigers
[5:40] 4. Stu Williamson - Id
[5:58] 5. Don Gagerquist - The Goof
[4:46] 6. Don Gagerquist - Here;s Pete
[4:01] 7. Don Gagerquist - Beverly Hills
[3:17] 8. Don Gagerquist - The Sidewalks Of New York
[2:43] 9. Bud Shanrk - Blue Moon
[5:04] 10. Bud Shanrk - I May Be Wrong
[5:36] 11. Bud Shanrk - Smog A La Mode
[2:58] 12. Bob Cooper - California Zephyr
[3:53] 13. Bob Cooper - Lady Like
[3:01] 14. Bob Cooper - Midnight Sun
[3:43] 15. Bob Cooper - Two Part Contention
[4:28] 16. Conte Candoli - I'll Never Say 'never Again' Goodbye
[4:04] 17. Conte Candoli - Larrisa
[3:52] 18. Conte Candoli - Jazz For Gene

Modern Sounds From California: Historic Recordings 1954-1957 (Disc 2)

---