Gene Harris & The Three Sounds - Yesterday, Today & Tomorrow

Styles: Piano Jazz 
Year: 1973
File: MP3@320K/s
Time: 83:20
Size: 191,4 MB
Art: Front

( 5:04)  1. On Green Dolphin Street
( 5:38)  2. Hymn To Freedom
( 9:04)  3. Trieste
( 9:09)  4. Love For Sale
( 8:46)  5. Something
(16:30)  6. How Insensitive
( 4:55)  7. Judy, Judy, Judy
( 5:31)  8. After Hours
( 6:08)  9. Sawin' Wood
( 6:22) 10. Lil' Darling
( 6:07) 11. Monk's Tune

Gene Harris in three different periods the past, present, and future served up here in a record issued under Gene's name as a leader, but which still continues the vibe of the later records by the Three Sounds! Most of the work is trio material with just Gene on acoustic piano, John Halton on acoustic and electric bass, and Carl Burnett on drums and percussion but there's a fluid, reaching sort of feel that definitely echoes some of the larger productions that Harris was recording at the time not full strings or heavy electrics, but a really complex approach to the material nonetheless! 

Tracks include "Judy Judy Judy", "Trieste", "How Insensitive", "Love For Sale", "Sawin Wood", "Something", and "Monk's Tune".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/4647/Gene-Harris:Yesterday-Today-Tomorrow

Personnel:  Gene Harris - piano, arranger; Johnny Hatton - bass, electric bass; Carl Burnett - drums, percussion

Yesterday, Today & Tomorrow

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Nancy Wilson & The Three Sounds - Sittin' In At Jorgie's Jazz Club

Styles: Vocal
Year: 1961
Time: 19:56 + 25:14
Size: 46,8 MB + 58,6 MB
Art: Front

Album: The Nancy Wilson Side

(1:41)  1. Intro
(7:11)  2. Since I Fell For You
(0:48)  3. Intro
(4:56)  4. Time After Time
(5:19)  5. The Theme

Album: The Three Sounds Side

(9:03)  1. On Green Dolphin Street
(9:44)  2. The Spirit Is Here
(3:53)  3. Time After Time
(2:32)  4. Salt Peanuts

Diva Nancy Wilson was among contemporary music's most stylish and sultry vocalists; while often crossing over into the pop and R&B markets and even hosting her own television variety program she remained best known as a jazz performer, renowned for her work alongside figures including Cannonball Adderley and George Shearing. Born February 20, 1937, in Chillicothe, Ohio, Wilson first attracted notice performing the club circuit in nearby Columbus; she quickly earned a growing reputation among jazz players and fans, and she was recording regularly by the late '50s, eventually signing to Capitol and issuing LPs including 1959's Like in Love and Nancy Wilson with Billy May's Orchestra. Her dates with Shearing, including 1960's The Swingin's Mutual, solidified her standing as a talent on the rise, and her subsequent work with Adderley arguably her finest recordings further cemented her growing fame and reputation. In the years to follow, however, Wilson often moved away from jazz, much to the chagrin of purists; she made numerous albums, many of them properly categorized as pop and R&B outings, and toured extensively, appearing with everyone from Nat King Cole and Sarah Vaughan to Ruth Brown and LaVern Baker. She even hosted her own Emmy-winning variety series for NBC, The Nancy Wilson Show, and was a frequent guest performer on other programs; hits of the period included "Tell Me the Truth," "How Glad I Am," "Peace of Mind," and "Now, I'm a Woman." Regardless of how far afield she traveled, Wilson always maintained her connections to the jazz world, and in the '80s, she returned to the music with a vengeance, working closely with performers including Hank Jones, Art Farmer, Ramsey Lewis, and Benny Golson. By the 1990s, she was a favorite among the "new adult contemporary" market, her style ideally suited to the format's penchant for lush, romantic ballads; she also hosted the Jazz Profiles series on National Public Radio. In the early 2000s, Wilson recorded two albums with Ramsey Lewis for Narada (2002's Meant to Be and 2003's Simple Pleasures). Her 2004 album R.S.V.P. (Rare Songs, Very Personal) was a blend of straight-ahead jazz and ballads, similar to her next record, 2006's Turned to Blue, which, like R.S.V.P., used a different instrumentalist for each track. In 2005, Capitol released a three-part series to pay tribute to Wilson's contributions to music in the '50s and '60s: Guess Who I Saw Today: Nancy Wilson Sings Songs of Lost Love, Save Your Love for Me: Nancy Wilson Sings the Great Blues Ballads, and The Great American Songbook. Nancy Wilson died at her home on December 13, 2018 after a long illness. ~ Jason Ankeny https://www.allmusic.com/artist/nancy-wilson-mn0000368367/biography

Personnel: Nancy Wilson, vocals ; The Three Sounds (Gene Harris, piano ; Andrew Simpkins, bass ; Bill Dowdy, drums).

Sittin'In At Jorgie's Jazz Club

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The Three Sounds - Bottoms Up!

Bitrate: MP3@320K/s
Time: 39:28
Size: 90.4 MB
Styles: Bop
Year: 1959/2009
Art: Front

[3:59] 1. Besame Mucho
[5:07] 2. Angel Eyes
[4:48] 3. Time After Time
[6:01] 4. Love Walked In
[4:49] 5. I Could Write A Book
[4:51] 6. Jinne Lou
[3:07] 7. Nothing Ever Changes My Love For You
[6:43] 8. Falling In Love With Love

Bass – Andrew Simpkins; Drums – Bill Dowdy; Piano, Celesta – Gene Harris. Recorded At – Van Gelder Studio, Hackensack, New Jersey.

The second record by the Three Sounds (which, like too many of their recordings, has yet to be reissued on CD in the U.S.) features the increasingly popular group in prime form. Pianist Gene Harris, bassist Andy Simpkins and drummer Bill Dowdy are in top form performing their brand of funky jazz, which left plenty of room for inventive solos along with the percolating grooves. On this set, the trio plays seven standards (including "Besame Mucho," "Love Walked In" and "I Could Write a Book"), plus the original "Jinne Lou." Well worth searching for. ~Scott Yanow

Bottoms Up! mc
Bottoms Up! zippy

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The Three Sounds - Blue Genes

Bitrate: MP3@320K/s
Time: 35:06
Size: 80.4 MB
Styles: Bop, Soul-jazz, Piano jazz
Year: 1962/2006
Art: Front

[5:28] 1. Mr. Wonderful
[5:44] 2. Autumn In New York
[4:09] 3. Love Somebody
[4:08] 4. Blue Genes
[3:40] 5. Red Sails In The Sunset
[4:55] 6. In A Mellow Tone
[3:03] 7. Gina, My Love
[3:55] 8. Whims Of Chamberland

Bass – Bill Dowdy; Drums – Andrew Simpkins; Piano – Gene Harris. Recorded Oct. 13, 1962.

Although the 3 Sounds initially recorded for Riverside, then switching to Blue Note for a solid run of recordings, this one is their first album for Verve. It was recorded in Rudy Van Gelder's Englewood Cliffs, NJ studio over a four day period (12 through 15 October 1962.) I have no idea why this album took so long, but it's interesting to note that Blue Gene was recorded in two parts, and one track during that session - Let Me Off Uptown - never made it into the album.

It was also their fifteenth album in four years, which shows how prolific and popular they were. They were also popular on the jazz club circuit and the tracks on this album reflect what they were playing to those audiences. Like their other albums, this one is a swinging, blues-infused collection of jazz piano trio tracks that have this group's distinctive sound. If you are a fan you are sure to love it. ~Moke Tarrano

Blue Genes mc
Blue Genes zippy

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The 3 sounds - Moods

Styles: Soul Jazz, Post Bop
Year: 1960
File: MP3@320K/s
Time: 42:13
Size: 99,0 MB
Art: Front

(6:37)  1. Love for Sale
(8:54)  2. Things Ain't What They Used To Be
(5:36)  3. On Green Dolphin Street
(4:55)  4. Loose Walk
(4:50)  5. Li'l Darlin'
(2:29)  6. I'm Beginning To See The Light
(4:27)  7. Tammy's Breeze
(4:21)  8. Sandu

The Three Sounds open their signature sound a bit on the romantic Moods. They retain the same light touch that made their early albums so enjoyable, but they add more textures to the mix. Light Latin rhythms permeate Moods, from the inventive reworking of Cole Porter's "Love for Sale" to Harris' original "Tammy's Breeze." Like its predecessor, Feelin' Good, this record has a bluesy, soulful streak to its personality, as evidenced by the mellow take on "On Green Dolphin Street," the hep swing of "Loose Walk," and the infectious cover of Ellington's "I'm Beginning to See the Light." Occasionally, the Three Sounds play it a little too cool while the slow, relaxed "Things Ain't What They Used to Be" manages to be engaging, "Li'l Darlin'" slows down to a crawl  but on the whole, Moods is an endearing collection of appealing mainstream jazz.~ Stephen Thomas Erlewine https://www.allmusic.com/album/moods-mw0000473161

Personnel:  Gene Harris - piano;  Andrew Simpkins - bass;  Bill Dowdy - drums

Moods

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Gene Harris & The Three Sounds - Live At The 'It Club'

Bitrate: MP3@320K/s
Time: 57:40
Size: 132.0 MB
Styles: Bop, Piano jazz
Year: 1996
Art: Front

[7:42] 1. Funky Pullett
[8:45] 2. I'm Still Sad
[7:19] 3. On Green Dolphin Street
[5:24] 4. Baby Man
[8:15] 5. Love For Sale
[7:31] 6. Sittin' Duck
[4:50] 7. Tammy's Breeze
[7:51] 8. John Brown's Body

Recorded in 1970 but not released until 1996, Live At the "It Club" shows the Three Sounds pulling out funky, gritty rhythms out of their basic bluesy hard-bop sound. The group's funky influences are most noticeable in the rhythm section of drummer Carl Burnette and bassist Henry Franklin, who had been playing with Harris for only a short time when this set was recorded. The rhythm section pushes Harris, making the music loose and swinging -- the groove matters more than anything on the album. Occasionally, the energy of the Three Sounds lags, but Live at the "It Club" is an enjoyable piece of grooving soul-jazz. ~Stephen Thomas Erlewine

Live At The 'It Club'

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Various - Blue Note Plays Ray Charles

Bitrate: MP3@320K/s
Time: 46:58
Size: 107.5 MB
Styles: Jazz/Blues/Soul/R&B
Year: 2005
Art: Front

[3:12] 1. Lou Rawls - That's Where It's At
[4:32] 2. Jimmy McGriff - I Got A Woman
[4:34] 3. Stanley Turrentine - What Would I Do Without You
[6:28] 4. Grant Green - This Little Girl Of Mine
[2:48] 5. Jimmy Smith - Ain't That Love
[7:16] 6. Freddy Roach - (Night Time Is) The Right Time
[2:58] 7. Joe Williams - Hallelujah I Love Her So
[3:32] 8. The Three Sounds - Drown In My Own Tears
[2:56] 9. Lou Rawls - Hide Nor Hair
[3:23] 10. Grant Green - I Can't Stop Loving You
[5:14] 11. Jimmy Smith - I'm Movin' On

Blue Note Plays Ray Charles contains 11 previously released performances by jazz artists associated with the label who dip into the songbook of "Brother Ray." These are enjoyable re-creations courtesy of several Hammond B-3 masters, including Jimmy McGriff's "I Got a Woman," Freddie Roach's "Night Time Is the Right Time," and Jimmy Smith's "I'm Movin' On." Also of note is guitarist Grant Green's lyrical take on "I Can't Stop Loving You," with pianist Herbie Hancock's light, late-night blues touch influenced by The Genius After Hours. On past Blue Note Plays releases, the time line of music has tended to cross several decades, making for an erratic and jarring listening experience. Fortunately, there is a consistency on Blue Note Plays Ray Charles, as nine of the tracks were recorded in the '60s with the exception of two by Lou Rawls: "That's Where It's At," with Charles on vocals, from 1989 and "Hide nor Hair" from 1992. This budget-priced release is recommended to all fans of Ray Charles, whether they are jazz fans or not. ~Al Campbell

Blue Note Plays Ray Charles

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The 3 Sounds - Introducing The 3 Sounds

Bitrate: MP3@320K/s
Time: 37:55
Size: 86.8 MB
Styles: Bop, Soul-jazz
Year: 1958/2011
Art: Front

[4:33] 1. Tenderly
[4:39] 2. Willow Weep For Me
[4:38] 3. Both Sides
[4:23] 4. Blue Bells
[4:37] 5. It's Nice
[3:52] 6. Goin' Home
[7:11] 7. Would'n You
[3:58] 8. O Sole Mio

What's remarkable about Introducing the Three Sounds is how the trio's lightly swinging sound arrived fully intact. From the basis of this album, it sounds as if pianist Gene Harris, bassist Andrew Simpkins, and drummer William Dowdy have been playing together for years. There's empathetic, nearly intuitive interplay between the three musicians, and Harris's deft style already sounds mature and entirely distinctive. There's no question that this music is easy to listen to, but dismissing it because of that would be wrong -- there's genuine style in their light touch and in Harris' bluesy compositions. The Three Sounds never really deviated from the sound they established on Introducing, but that's one of the things that is so remarkable -- they were fully formed on their very first album. Even if it was a peak, it wasn't the only peak in their career. They would often match the heights of this album, but this debut remains a shining jewel in their catalog, and the way to become acquainted with their sound. [The CD reissue of Introducing the Three Sounds contains the five outtakes plus the alternate take of "Goin' Home" that originally comprised the Japanese album, Introducing the Three Sounds, Vol. 2.] ~Stephen Thomas Erlewine

Introducing The 3 Sounds

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Anita O'Day & The Three Sounds - S/T

Bitrate: MP3@320K/s
Time: 55:23
Size: 126.8 MB
Styles: Jazz vocals
Year: 1962/2007
Art: Front

[3:28] 1. When The World Was Young
[4:23] 2. Someday My Prince Will Come
[3:18] 3. All Too Soon
[3:36] 4. My Heart Stood Still
[4:32] 5. My Ship
[4:15] 6. Leave It To Me
[2:56] 7. Whisper Not
[4:39] 8. Blues By Five
[3:52] 9. Fly Me To The Moon
[2:38] 10. You And The Night And The Music
[3:00] 11. Let Me Off Uptown
[3:43] 12. My Heart Stood Still
[6:32] 13. Leave It To Me
[4:26] 14. Blues By Five

This strange (and strangely compelling) album is the most controversial of all O'Day's Verve Records releases, popular among O'Day's hardcore fans for the showcase that the Three Sounds' near-minimalist accompaniment affords her singing. On a lot of levels, however, it wasn't a successful record. The album was a one-shot collaboration that happened in the narrowest possible window-of-opportunity. The Three Sounds, having left Blue Note, were passing through the Verve roster, where they would be active for about a week in October of 1962, cutting two albums in that time including this one with Anita O'Day, who was leaving the label after 10 years there. Anita O'Day & The Three Sounds is as much a Three Sounds record as it is an Anita O'Day recording -- the group is represented by four instrumentals, including "Someday My Prince Will Come," "My Heart Stood Still," and "Blues By Five," cut at the same time as their album Blue Genes, while O'Day sings five songs. She is amazingly restrained and low-key throughout most of her work here; on songs like the sultry "All Too Soon," that works out fine, but elsewhere the fit between singer and group seems uncomfortable. There's very little excitement or tension to give her songs energy, and O'Day never interacts with the trio in any discernable way. Additionally, she seems uninspired in terms of any inventiveness, with long stretches of silence where one would have expected her to improvise. What is here is fine, her husky yet playful voice a wonder to hear on "When The World Was Young" (where Gene Harris's piano does come to life), but there's amazingly little life to the procedings. The one exception is "Whisper Not," which also has the distinction of featuring O'Day's Gene Krupa-era collaborator Roy Eldridge on trumpet and is the most successful cut here, as what one would look for on a more conventional Anita O'Day album. [Some reissues feature a second, previously unissued Eldridge cut from the same sessions, a hot remake of his and O'Day's Gene Krupa-era hit "Let Me Off Uptown," with the two of them in a duet on their old 1940's hit.] ~Bruce Eder

Anita O'Day & The Three Sounds

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