Caterina Valente & Chet Baker - I'll Remember April + Bonus Track

Styles: Lounge, Vocal
Year: 2014
Time: 77:47
File: MP3 @ 320K/s
Size: 179,9 MB
Art: Front

(2:53) 1. I'll Remember April
(3:19) 2. I Get a Kick out of You
(2:14) 3. Baker '56
(3:10) 4. Good Morning Blues
(3:29) 5. Marilyn
(3:10) 6. Don't Worry 'Bout Me
(3:08) 7. Isn't It Romantic?
(2:31) 8. All of Me
(3:07) 9. Lullaby in Rhythm
(2:48) 10. Them There Eyes
(2:39) 11. I Should Care
(3:14) 12. Stairway to the Stars
(2:26) 13. Secret Love
(3:39) 14. Autumn in New York
(3:12) 15. Every Time We Say Goodbye
(3:21) 16. It Never Entered My Mind
(3:44) 17. C'est Si Bon
(4:05) 18. Everything Happens to Me
(2:47) 19. Stormy Weather
(3:55) 20. Polka Dots and Moonbeams
(2:22) 21. Pennies from Heaven
(2:30) 22. They Can't Take That Away from Me
(3:06) 23. Bockhanal
(2:26) 24. You Better Go Now
(4:16) 25. Arrivederci

I'll Remember April

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Combined here is the remarkable voice and singing style of Caterina Valente and the lyrical and intimate trumpet of Chet Baker, in a collection of swinging and romantic performances recorded in Germany during the 50s.

Caterina Valente was a singer who belonged among musicians, and she was enough of a musician herself to understand the nuances of harmonic changes that played a large role in jazz. She played guitar, worked with jazz combos, and liked to indulge occasionally in a spot of vocalese, three aspects of her talent that made her the most popular girl singer in Europe.

Chet Baker was the new American trumpet sensation when he visited Germany for the first time in September 1955 with his quartet. A month later, Valente joined his quartet for a concert in Stuttgart, and their musical feeling generated quite a stir among German jazz fans. They even were offered to make a film together, which unfortunately never happened. The only documented meeting of both artists was resumed on a recording session in March 1956, when they joined-in for two lovely and rewarding duet songsIll Remember April and Every Time We Say Goodbyethat came out on a single on the German Brunswick label, both included in this set.

The other exciting performances here display Caterina Valente in her widest, most colorful range. Her performances, and most of those featuring Chet Baker, are further distinguished by the masterful accompaniment of Kurt Edelhagen and his orchestra and, in the case of Chet Baker, also by the studio orchestra of Rolf-Hans Müller.

The music, both emotionally and melodically interesting, is well served by all concerned.

Tracks #1 & 15: Caterina Valente, vocals & guitar & Chet Baker, trumpet. Recorded in Baden-Baden, March 26, 1956

Tracks #2,4,6,8,10,12,13,17,19,21,22: Caterina Valente, vocals, with Kurt Edelhagens Orchestra. Recorded in Köln and Baden-Baden, 1954-1958

Tracks #3,9,16,18: Chet Baker, trumpet, with Kurt Edelhagens Orchestra. Recorded in Baden-Baden, 1956

Tracks #5,7,11,14,20: Chet Baker with orchestra conducted by Rolf-Hans Müller. Recorded in Baden-Baden, 1959

Track #23: Chet Baker Quartet, with Kurt Edelhagens Orchestra. Recorded at Jazztime Mainz, Kurfürstliches Schloss, September 20, 1955

Track #24: Caterina Valente, vocals, accompanied by Francis Coppieters, piano. Recorded in Köln, May, 1958

Track #25: Chet Baker with orchestra conducted by Piero Umiliani (From the Italian movie Urlatori alla sbarra1960)

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Bud Shank & Rein de Graaf - Alone Together

Styles: West Coast Jazz, Jazz Instrument, Saxophone Jazz
Year: 2000
Time: 68:42
File: MP3 @ 320K/s
Size: 157,7 MB
Art: Front

(10:20) 1. Alone Together
(13:23) 2. I Can't Get Started
(12:21) 3. On the Trail
(11:39) 4. My Funny Valentine
(10:24) 5. What's New
(10:31) 6. Stella By Starlight

Alone Together

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The six tracks on this record give a quiet, masterful demonstration of how to sing without a rhythm section. Almost of the tunes are ballads,originally. But Rein and Bud decided to change the tempos. This music was recorded before a small, select audience in a living room-like studio with no room for more musicians. When Rein told Bud that the bassist and the drummer had a day off, he was a bit sceptical at first. A duo would that work? But weeks later, while listening to the tapes, he reacted enthusiastically. This is a great stuff, man!-Jeroen de Walk (from the liner-notes)

Personnel:

Bud Shank (as), Rein de Graaf (p)

Recorded at Pinehill Studio, Leersum, Holand, December 12, 2000. 

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Ornette Coleman - The Shape of Jazz to Come

The Shape of Jazz to Come CD 1

Styles: Free Jazz
Year: 2021
Time: 73:40
File: MP3 @ 320K/s
Size: 170,1 MB
Art: Front

(5:03) 1. Lonely Woman
(4:25) 2. Eventually
(9:05) 3. Peace
(6:53) 4. Focus on Sanity
(6:49) 5. Congeniality
(6:08) 6. Chronology
(5:59) 7. Monk and the Nun
(3:52) 8. Just for You
(6:40) 9. Ramblin'
(6:24) 10. Free
(7:00) 11. The Face of the Bass
(5:16) 12. Forerunner

The Shape of Jazz to Come CD 1

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The Shape of Jazz to Come CD 2

Styles: Free Jazz
Year: 2021
Time: 75:16
File: MP3 @ 320K/s
Size: 174,1 MB
Art: Front

(5:33) 1. Bird Food
(6:03) 2. Una Muy Bonita
(4:43) 3. Change of the Century
(5:32) 4. Music Always
(4:54) 5. Crossroads
(4:18) 6. Invisible
(4:50) 7. The Blessing
(7:25) 8. Jayne
(5:44) 9. Chippie
(2:53) 10. The Disguise
(4:25) 11. Angel Voice
(4:17) 12. Alpha
(5:05) 13. When Will the Blues Leave?
(4:21) 14. The Sphinx
(5:05) 15. Tears Inside

The Shape of Jazz to Come CD 2

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Presented here are three seminal albums by the great Ornette Coleman (1930-2015): The Shape of Jazz to Come, featuring the debut of the splendid piano-less quartet with Don Cherry, Charlie Haden and Billy Higgins; Change of the Century, with the same personnel, and Something Else!!!!, which marked the debut recording by the Ornette Coleman Quintet, also showcasing Cherry and Higgins.

THE SHAPE OF JAZZ TO COME ****(CROWN AWARD) PENGUIN GUIDE TO JAZZ: Brash as the titles are, the music is surprisingly introspective and thoughtful. Most of the essential Coleman pieces are to be found here, though interestingly only one of them--'Lonely Woman'--has ever come close to repertory status. (Richard Cook & Brian Morton) *****ALL MUSIC: THE SHAPE OF JAZZ TO COME Any understanding of jazz's avant-garde should begin here. (Steve Huey) *****ALL MUSIC: CHANGE OF THE CENTURY An absolutely essential purchase and some of the most brilliant work of Coleman's career. (Steve Huey) ****ALL MUSIC: SOMETHING ELSE!!!!This record swings from the rafters of the human heart with the most unusually gifted, emotional, and lyrical line since Bill Evans first hit the scene. (Thom Jurek)

https://www.amazon.com/Shape-Change-Century-Something-DeluxeDigipak/dp/B07TKNGH71

Personnel:

Ornette Coleman, alto sax

Don Cherry, cornet

Billy Higgins, drums

On all tracks, plus:

CD 1 [1-8]: THE SHAPE OF JAZZ TO COME.

Charlie Haden, bass.

Hollywood, California, May 22, 1959..

Percy Heath (b), Shelly Manne (d). Los Angeles, March 9 & 10, 1959.

CD 1 [9-12] & CD 2[1-5]: CHANGE OF THE CENTURY.

Charlie Haden, bass.

Hollywood, California, October 8, 1959..

CD 2 [6-14]: SOMETHIGN ELSE!!!.

Walter Norris, piano; Don Payne, bass..

Contemporary Studio, Los Angeles, February-March, 1958..

(*) BONUS TRACK: Ornette Coleman (as), Don Cherry (pocket-tp),.

Percy Heath (b), Shelly Manne (d). Los Angeles, March 9 & 10, 1959.

https://www.jazzmessengers.com/en/81611/ornette-coleman/the-shape-of-jazz-to-come

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Dave Lambert/Jon Hendricks/Annie Ross - Sing A Song Of & Along With Basie

Styles: Swing,Vocal
Year: 2012
Time: 75:43
File: MP3 @ 320K/s
Size: 176,1 MB
Art: Front

(5:21) 1. Everyday I Have the Blues
(2:29) 2. It's Sand Man
(2:44) 3. Two For the Blues
(3:04) 4. One O'clock Jump
(2:32) 5. Little Pony
(2:14) 6. Down for Double
(3:18) 7. Fiesta in Blue
(3:01) 8. Down for the Count
(3:01) 9. Blues Backstage
(2:55) 10. Avenue C
(3:22) 11. Jumpin' at the Woodside
(4:14) 12. Going to Chicago Blues
(2:41) 13. Tickle Toe
(3:17) 14. Let Me See
(3:27) 15. Every Tub
(3:10) 16. Shorty George
(3:48) 17. Rusty Dusty Blues
(3:26) 18. The King
(3:06) 19. Swingin' the Blues
(4:38) 20. Lil' Darlin'
(4:12) 21. Doodlin' (Bonus Track)
(5:33) 22. Every Day I Have the Blues (Bonus Track)

Sing A Song Of & Along With Basie

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It is fair to say that Lambert, Hendricks and Ross set standards in style and musical ability. The trio's contribution to jazz vocal cannot be underestimated and their vocal gymnastics dramatically changed the sound of other vocal groups. They were voted best vocal group in downbeats readers poll 5 years in a row.

Two complete albums on one! The first features a rhythm section based on Count Basie's "New Testament" band with the vocalese practitioners Dave Lambert, Jon Hendricks and Annie Ross executing the tricky lead and section work. Annie Ross is astonishing as she hits impossibly high trumpet parts with aplomb. Then on the second you have the thrilling, ultra swinging sound of the full Count Basie Orchestra plus appearances from Joe Williams. In fact there's enough words and music here to make it seem like some sort of crazy jazz opera.

Also including bonus live tracks "Doodlin" and "Everyday I Have The Blues" recorded with Count Basie.

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Russ Freeman Trio & Quartet

Styles: Bop, Cool Jazz
Year: 2011
Time: 79:47
File: MP3 @ 320K/s
Size: 183,9 MB
Art: Front

(2:22) 1. Lullaby in Rhythm
(4:13) 2. East of the Sun
(3:25) 3. Steeplechase
(2:59) 4. Laugh Cry
(2:45) 5. At Last
(2:43) 6. You Stepped Out of a Dream
(2:38) 7. Yesterday's Gardenias
(2:50) 8. Bock's Tops
(3:08) 9. Don't Worry 'Bout Me
(2:54) 10. Backfield Motion
(3:02) 11. The Eye Opener
(2:42) 12. Bojangles of Harlem
(4:41) 13. It's a New World
(7:24) 14. Blues in the Night
(3:00) 15. The Party's Over
(3:42) 16. Joey, Joey, Joey
(5:07) 17. Woody's Dot
(3:38) 18. Namely You
(3:56) 19. Love in a Home
(3:47) 20. Progress Is the Root of All Evil
(4:00) 21. Independent
(4:41) 22. Invitation to the Blues

Trio & Quartet

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While other West Coast jazz pianists during the Fifties and early Sixties cut their shareand some perhaps more than thatof albums for a variety of recording firms, Russ Freemans output of records under his own name was nowhere near enough to reflect his enormous talent.

Thanks to his involvement in the groups of such standard bearers as Howard McGhee, Dexter Gordon, Art Pepper and Wardell Gray, he developed rapidly and when Chet Baker made his first quartet recordings in December 1952, he chose Freeman as pianist, composer and musical director. Freemans reputation also earned him a place with the Lighthouse All-Stars, Shorty Rogers Giants and, for ten years from 1955, with Shelly Manne and his Men.

This CD is dedicated to the memory of Russ Freeman (1926-2002), an extraordinary but too often underrated jazz pianist who deserves a place among the greatest.

Tracks #1-3, not issued on LP

Tracks #4-11, from Pacific Jazz LP-8 (10")

Track #12, from World Pacific JWC-501 (12")

Track #13, from World Pacific JWC-505 (12")

Track #14, from World Pacific JWC-502 (12")

Tracks #15-21, from World Pacific PJM-404 (12")

Track #22, from World Pacific JWC-511 and Stereo 1031 (12")

Personnel on #1-3: Russ Freeman (piano), Bob Whitlock (bass), Bobby White (drums). Recorded in Hollywood, at Gold Star Studios, December 15, 1952

Personnel on #4-11: Russ Freeman (piano), Joe Mondragon (bass), Shelly Manne (drums). Recorded in Hollywood, at Radio Recorders, December 27 (#4-6) & 28 (#7-11), 1953

Personnel on #12-14: Bud Shank (alto sax & flute), Russ Freeman (piano), Carson Smith (bass), Shelly Manne (drums). Recorded in Hollywood, at Music Box Theater, February 19, 1956

Personnel on #15-21: Russ Freeman (piano), Monty Budwig (assb), Shelly Manne (drums). Stu Williamson (trumpet, added on #18-21). Recorded in Hollywood, at Radio Recorders, August 12, 1957

Personnel on #22: Russ Freeman (piano), Billy Bean (guitar), Monty Budwig (bass), Mel Lewis (drums).  Recorded in Hollywood, at Sound Enterprises, March 26, 1959

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Della Reese - Della On Stage

Styles: Vocal
Year: 1962
File: MP3@320K/s
Time: 42:08
Size: 97,8 MB
Art: Front

(2:21)  1. Comes Once In a Lifetime
(3:12)  2. Bye Bye Blackbird
(4:27)  3. Misty
(5:05)  4. Medley: The Lamp Is Low / After the Lights Go Down Low / Fly Me to the Moon
(4:57)  5. You Came a Long Way from St. Louis
(5:35)  6. His Eye Is On the Sparrow
(4:15)  7. Mad About Him, Sad About Him, How Can I Be Glad Without Him Bues
(3:05)  8. Ol' Man River
(4:25)  9. If Ever I Would Leave You
(4:40) 10. Someday (You'll Want Me to Want You)

Renowned as both a television star and a top-flight interpreter of jazz, blues, R&B, gospel, and straight-ahead pop music, Della Reese's many talents ensured a long, varied, and legendary show biz career. In addition to being nominated for both an Emmy and a Grammy and receiving a star on the Hollywood Walk of Fame, Reese was also an ordained minister in the Universal Foundation for Better Living, an association of churches she helped found in the early '80s. Born Deloreese Patricia Early on July 6, 1931, the young Reese began singing in the Baptist church choir in her hometown of Detroit at age six. In 1945, having developed quite rapidly, she caught the ear of legendary gospel queen Mahalia Jackson, who invited Reese to join her touring choir; Reese did so for the next five summers. Upon entering Wayne State University to study psychology, Reese formed a women's gospel group, the Meditation Singers, but her college career was cut short by the death of her mother and her father's serious illness. Reese worked odd jobs to help support the rest of her family; she also continued to perform with the Meditation Singers and various other gospel groups. Encouraged by her pastor, Reese began singing in nightclubs in hopes of getting a singing career off the ground; recently married to a factory worker named Vermont Adolphus Bon Taliaferro, her name was too long to fit on marquees, and she eventually arrived at her performing alias by splitting up her first name. After impressing a New York agent, who promptly signed her, Reese moved to New York and joined the Erskine Hawkins Orchestra in 1953. A year later, she had a recording contract with Jubilee, for whom she scored hits like "And That Reminds Me," a 1957 million-seller. 

Switching to RCA Victor, Reese landed her biggest hit in 1959 with "Don't You Know?," a song adapted from Puccini's La Bohème; this cemented her career, leading not only to plentiful appearances on variety shows, but successful nightclub tours of the country and eventually nine years of performances in Las Vegas, as well as recording contracts with a variety of labels over the next few decades. Building on her previous variety show experience, Reese made a small bit of television history in 1969 when she became the first woman to guest-host The Tonight Show with Johnny Carson. Later that year, she became the first black woman to host her own variety show, the syndicated Della, which ran until 1970. Following its cancellation, Reese returned to her nightclub tours, often putting in guest appearances on television shows like The Mod Squad, Sanford and Son, and Chico and the Man; after three prior failed marriages, Reese also found a lasting relationship with producer Franklin Lett, whom she married in 1978. On October 3, 1980, while taping a song for The Tonight Show, Reese suffered a brain aneurysm that nearly proved fatal; however, thanks to a successful operation, she was able to make a full recovery. She kept up her singing career and appeared on television shows like Designing Women, L.A. Law, and Picket Fences, as well as the Eddie Murphy films Harlem Nights and The Distinguished Gentleman. Reese also starred in the Redd Foxx sitcom The Royal Family from 1991-1992, and garnered what was undoubtedly her highest level of recognition in the inspirational drama series Touched by an Angel, a quite popular program that ran for nine years, between 1994 and 2003, on the CBS network. After Touched by an Angel finished its run, Reese continued to act intermittently on television through to 2014. She died at her home in Encino, California in November 2017 at the age of 86. ~ Steve Huey https://www.allmusic.com/artist/della-reese-mn0000196544/biography

Della On Stage

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OH HAPPY DAY

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