FREDDIE GREEN — Mr. Rhythm (1955-2007) RM | MONO | BMG Prime Jazz Series | FLAC (tracks+.cue), lossless

Freddie Green seldom led sessions and seldom played lead. Instead, he formed part of the classic rhythm section that gave the Count Basie band its steady pulse. This rare date finds Green with tenor Al Cohn, trumpeter Joe Newman, trombonist Henry Coker, pianist Nat Pierce, bassist Milt Hinton, and either Jo Jones or Osie Johnson on drums. Mr. Rhythm, in fact, will remind many of a good Basie set. The steady drums, bass, and guitar on "Back and Forth" and "Something's Gotta Give" push the music forward, swinging ever so lightly. Nat Pierce's minimalist piano work also owes something to Basie. He adds small flourishes to the rhythm of pieces like "Easy Does It," and only a scattering of tastefully chosen notes on his solo. Coker and Cohn deliver nice solos on "When You Wish Upon a Star," with the trombone's lovely tone and the tenor's deep, mellow pitch complimenting the romanticism of the piece. Newman offers a concise, discerning solos on "Free and Easy" and "Learnin' the Blues." He uses a mute for both solos, perfectly capturing a calm, bluesy mood. Of course Green doesn't solo, and while his guitar is often barely audible, his presence is always felt. This album shows him to be a fine leader who is happy to remain in his role as rhythm guitarist. For fans of Green, and for those who enjoy swinging jazz with great soloists, Mr. Rhythm is a fine release. Ronnie D. Lankford, Jr.
Tracklist :
1    Up In The Blues    2:34
 Freddie Green
2    Down For Double    3:58
 Freddie Green
3    Back And Forth    2:17
 Freddie Green
4    Free And Easy    3:25
 Freddie Green
5    Learnin The Blues    3:28
 Freddie Green / Delores Vicki Silvers
6    Feed Bag    2:58
 Freddie Green
7    Something's Gotta Give    2:51
 Freddie Green
8    Easy Does It    3:42
 Freddie Green / Sy Oliver / Trummy Young
9    Little Red    2:08
 Freddie Green
10    Swinging Back     3:21
 Freddie Green
11    A Date With Ray    4:52
 Freddie Green
12    When You Wish Upon A Star    2:38
 Freddie Green / Leigh Harline
Credits
Bass – Milt Hinton
Drums – Jo Jones, Osie Johnson
Guitar – Freddie Green
Piano – Nat Pierce
Tenor Saxophone, Clarinet – Al Cohn
Trombone – Henry Coker
Trumpet – Joe Newman

JOHN COLTRANE — The Prestige Recordings (1991) 16-CD BOX-SET | FLAC (tracks+.cue), lossless

The 16 CDs in this compendium represent nearly everything that John Coltrane recorded for the Prestige label during a 32-month period between May 7, 1956, and December 26, 1958. What's missing are Coltrane's contributions to the mid-'50s Miles Davis band, which are on the equally exhaustive and highly recommended Davis Chronicle box set released in 1990. Otherwise, listeners are treated to the sessions that produced the seminal long-players Coltrane, Cattin' with Coltrane and Quinichette, Traneing In, Soultrane, Lush Life, Settin' the Pace, Standard Coltrane, Stardust, The Believer, Black Pearls, Bahia, and The Last Trane -- all of which highlight the artist as either a leader or co-leader. Not included in that list are an additional 19 albums that boast Coltrane's involvement as a support musician. The music is presented primarily in a chronological fashion -- commencing with a pair of May 1956 outings with pianist Elmo Hope and tenor saxophonist

Sonny Rollins. Wrapping things up are five tunes cut the day after Christmas of 1958 alongside trumpeter Freddie Hubbard. Coltrane's legend is ingrained in the grooves of such indispensable entries as "How Deep Is the Ocean?" flanked by tenor saxophonists Zoot Sims, Hank Mobley, and Al Cohn -- as originally heard on Tenor Conclave. There is also the Tadd Dameron-commanded "Soultrane" and the definitive "The Way You Look Tonight," during one of the many Mal Waldron confabs, plus "Undecided," sporting Red Garland at the helm. And who could forget the Great American Songbook selections "Lush Life," "Come Rain or Come Shine," "Lover," "Russian Lullaby," "Why Was I Born?," "Lover Come Back to Me," "Stardust," and "Time After Time"? Accompanying the music is a 32-page liner notes booklet. Inside are a historical essay from Doug Ramsey, a session-by-session breakdown by Carl Woideck (and the occasional notation from producer Orrin Keepnews), and several different cross-references of the contents. Overall, the audio quality is excellent throughout, especially considering that the original tapes were transferred during the infancy of digital audio technology. Since 1991, the majority of the music has been remastered and issued on the individual album titles with even more astonishing results. Lindsay Planer
All Tracks & Credits :

SHIRLEY HORN — Loads of Love + Shirley Horn with Horns (1990) Serie PolyGram Jazz Vocal Classics | FLAC (tracks+.cue), lossless

Two of pianist/vocalist Shirley Horn's rarest (and earliest) recordings are reissued in full on this single CD. Actually, Horn does not play piano at all, sticking exclusively to vocals, and she had less control over the interpretations (being persuaded to sing some songs at faster-than-usual tempos) than she would later on. The arrangements for the big bands that back Horn were written by Jimmy Jones and Quincy Jones and, although the overall music is enjoyable, Horn would have much preferred to be the pianist behind her own vocals. Since she would only record two other albums during the next 15 years (sticking to playing locally in the Washington, D.C., area while raising her daughter), this CD gives one a valuable look at the early Shirley Horn; her distinctive vocal style was already nearly fully formed. Scott Yanow
Loads Of Love
1 Wild Is Love 1:29
Written-By – Wayne, Rasch
2 Loads Of Love 2:24
Written-By – Richard Rodgers
3 My Future Just Passed 2:40
Written-By – Marion, Jr., Whiting
4 There's A Boat That's Leaving Soon For New York 2:41
Written-By – Ira & George Gershwin
5 Ten Cents A Dance 3:49
Written-By – Rodgers & Hart
6 Only The Lonely 3:05
Written-By – Cahn/Van Heusen
7 The Second Time Around 3:12
Written-By – Van Heusen/Cahn
8 Do It Again 2:56
Written-By – DeSilva, Gershwin
9 It's Love 2:01
Written-By – Comden/Green, Bernstein
10 That's No Joke 2:37
Written-By – Bailey
11 Love For Sale 3:50
Written-By – Porter
12 Who Am I 2:49
Written-By – Stone, Bullock
Shirley Horn With Horns
13 On The Street Where You Live 2:15
Written-By – Lerner/Lowe
14 The Great City 2:02
Written-By – Lewis
15 That Old Black Magic 2:34
Written-By – Mercer/Arlen
16 Mack The Knife 3:01
Written-By – Brecht, Weill, Blitzstein
17 Come Dance With Me 2:13
Written-By – Van Heusen/Cahn
18 Let Me Love You 3:04
Written-By – Howard
19 After You've Gone 2:59
Written-By – Creamer, Layton
20 Wouldn't It Be Loverly 3:42
Written-By – Lerner/Lowe
21 Go Away Little Boy 3:26
Written-By – Goffin/King
22 I'm In The Mood For Love 2:47
Written-By – McHugh/Fields
23 The Good Life 3:11
Written-By – Reardon, Distel
24 Wee Small Hours 3:20
Written-By – Hilliard, Mann
Credits:
Arranged By, Conductor – Jimmy Jones (tracks: 1 to 12)
Baritone Saxophone – Gerry Mulligan (tracks: 1 to 12)
Bass – Milt Hinton (tracks: 1 to 12)
Drums – Osie Johnson (tracks: 1 to 12)
Guitar – Kenny Burrell (tracks: 1 to 12)
Piano – Bobby Scott (tracks: 13, 16, 18, 20), Hank Jones (tracks: 1 to 6, 8 to 10, 12), Jimmy Jones (tracks: 7, 11, 14, 15, 17, 19, 21 to 24)
Producer, Conductor – Quincy Jones (tracks: 13 to 24)
Saxophone – Al Cohn (tracks: 1 to 12)
Saxophone, Flute – Frank Wess (tracks: 1 to 12), Jerome Richardson (tracks: 1 to 12)
Trombone – Jimmy Cleveland (tracks: 13 to 24)
Trumpet – Ernie Royal (tracks: 1 to 12), Joe Newman (tracks: 1 to 12)
Violin – Gene Orloff (tracks: 1 to 12)
Vocals – Shirley Horn

BUDDY DeFRANCO – 1949-1952 | The Classics Chronological Series – 1445 (2007) FLAC (tracks+.cue), lossless

Hep Records' issue of Buddy DeFranco's recordings as a leader of both a quintet and an orchestra between 1949 and 1952 is a welcome one. The material on these 26 cuts is standard fare from the swing era, which was way over by 1949, but it proves that DeFranco knew how to lead a big band and swing hard as a soloist in a quintet setting -- especially with the company he kept. Some of his crew on these sides include Serge Chaloff, Teddy Charles, Teddy Kotick, Lee Konitz, Max Roach, Jimmy Raney, and Al Cohn, just to name a few. Arrangements for these tunes were done by DeFranco, George Russell, and Manny Albam, which gives the listener a taste of the varied sonic interests of the great clarinetist. The sound on these sides is a tiny bit thin, but that's a minor complaint. The material swings no matter the arrangement or the size of the band. This is an intimate look at an often overlooked jazz great.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<-
Tracklist + Credits :

OSCAR PETTIFORD – 1951-1954 | The Classics Chronological Series – 1409 (2005) FLAC (tracks), lossless

In 2006. a survey of recordings made during the years 1951-1954 by groups under the leadership of bassist, cellist, and composer Oscar Pettiford was released as part of the Classics Chronological Series. During this period, Pettiford was making history as one of the very first improvising cellists in jazz. Swingin' ‘Til the Girls Come Home and "Bei Mir Bist du Schon" were recorded under the supervision of Leonard Feather on April 28, 1951 for Mercer Records, the label named for Duke Ellington's son. The sextet, billed as Oscar Pettiford, His Cello and Orkette, included trumpeter Howard McGhee, vibraphonist Joe Roland (whose other specialty was scoring bop charts for string ensembles à la Charlie Parker with Strings); pianist Kenny Drew, bassist Tommy Potter, and drummer Art Taylor. Arrangements were provided by Quincy Jones. During the summer of 1951, Pettiford worked with bands led by Jimmy Mundy, Wynton Kelly, and Budd Johnson. In the autumn he assembled a six-piece unit for a series of USO shows (this was during the Korean War) in New Jersey, New York, Japan, Korea, and various islands in the Pacific. In late 1951/early 1952, the group was recorded live in Guam. Those recordings, which include interpretations of older traditional standards played by the young boppers, were subsequently released under Howard McGhee's name, and are not included here. On February 21, 1952 Pettiford recorded again with his cello, now backed by bassist Charles Mingus, pianist Billy Taylor, and drummer Charlie Smith. As if to signal that this was not Pettiford's maiden voyage using the violoncello, one of the pieces was titled "Cello Again." Over the next several months, Pettiford would operate as a member of the Beryl Booker Trio, the Miles Davis Sextet, the Billy Taylor Quartet, and a unit led by pianist George Wallington. He also engaged in collective improvisations with Mary Lou Williams and Kenny Clarke at the Downbeat, where nobody recorded what must have been a series of remarkable experiments in early modern jazz.

In February 1953, Pettiford joined the Duke Ellington orchestra, replacing Charles Mingus, who was fired after tussling with valve trombonist Juan Tizol in front of a live audience. While swiftly becoming an important ingredient in Duke's ensemble, Pettiford sat in with Bud Powell and Roy Haynes at Birdland. After playing the Apollo Theater with Duke, he toured with the Ellington orchestra to Albuquerque and Pasadena. While in Los Angeles in June of 1953, he recorded his masterpiece "Blues in the Closet" and three other numbers with his All-Stars, a quintet which featured himself and Harry Babasin on celli. After gigging with Wardell Gray in August and September, Pettiford joined a Norman Granz package tour with Ellington. On December 29, 1953 the New Oscar Pettiford Sextet cut five tracks for the Mingus/Roach-owned and operated Debut label, again featuring the leader on cello, with Julius Watkins blowing French horn, Phil Urso on tenor sax, and a rhythm section of Walter Bishop, Charles Mingus, and Percy Brice. Quincy Jones wrote the arrangements for "Tamalpais Love Song" (later shortened to "Tamalpais") which featured Pettiford on the bass, and Quincy's own "Stockholm Sweetnin'." Pettiford began the year 1954 sitting in with a small band led by Illinois Jacquet's big brother, trumpeter Russell Jacquet. On March 21, Pettiford, the trailblazing jazz cellist, recorded six titles (four of which are included here) for the Vogue label with tenor saxophonist Al Cohn, trombonist Kai Winding, guitarist Tal Farlow, bassist Henri Renaud, and drummer Max Roach. The producers of the Classics Chronological Series are to be commended for having assembled these cello-centered recordings of Oscar Pettiford on one album for all to enjoy and learn from.. arwulf arwulf
Tracklist + Credits :

GEORGE AULD – 1940-1945 | The Classics Chronological Series – 1322 (2003) FLAC (tracks+.cue), lossless

Smooth and sometimes flashy tenor saxophonist Georgie Auld was heavily featured with Benny Goodman, Bunny Berigan, and Artie Shaw, whose band Auld attempted to front after Shaw, suffering psychological distress at finding himself mobbed by hyper-appreciative fans, retreated to Mexico in order to obtain some sort of privacy. Eight sides from January and February 1940 sound a lot like the previous Shaw orchestra; Kay Foster's vocals sweeten up five of these, while "This Is Romance," "Juke Box Jump," and "Sweet Sue" are solid, danceable big-band instrumentals. The orchestra was not a success and soon threw in the towel, partly because, unlike Shaw's previous material, these records came out on the little Varsity label rather than Victor's Bluebird imprint. Cut to the spring of 1944, and music of an entirely different sort. A "saxtet" co-led by Auld, Ben Webster, and Coleman Hawkins makes four sides for the progressive Apollo label, with Charlie Shavers, Israel Crosby, and Specs Powell in the band, among others. Hawkins naturally steers, with Webster riding shotgun. "Porgy" and "Uptown Lullaby" are languid ballads, while the exciting "Pick-Up Boys," with its off-mike vocal interjections, is perfectly matched by "Salt Peanuts," which in 1944 placed these musicians on the cutting edge of new jazz. This exquisite session makes the whole package worth having. The rest of the chronological survey shows Auld leading his orchestra in an up-to-date fashion. Five sides were recorded for Apollo only five days after the "saxtet" date, now bolstered with groovin' arrangements by Budd Johnson. The presence of Al Cohn and Howard McGhee doesn't hurt, either. Auld shows off a bit on a luxuriant "Concerto for Tenor" and steams up the place during "Taps Miller." "I Can't Get Started," bifurcated so as to fit on either side of a 10" record, is essentially Auld's homage to Coleman Hawkins. In February and March of 1945, Auld gathered together an exceptionally hot band for a brief spate of recordings issued on the Guild label. Auld's perceptive personnel choices included Dizzy Gillespie, Billy Butterfield, Freddy Webster, Trummy Young, Al Cohn, Manny Albam, Chubby Jackson, Erroll Garner, and Shadow Wilson! Patti Powers had a pretty little voice while Gordon Drake, whose droopy balladeering bordered on the soporific, served as a sort of laudanum poultice on "I Fall in Love Too Easily." Not surprisingly, the instrumentals ("Georgie Porgie," "In the Middle," and "Co-Pilot") provide more excitement and gratification. arwulf arwulf
Tracklist + Credits :

GEORGE AULD – 1945-1946 | The Classics Chronological Series – 1351 (2004) FLAC (tracks+.cue), lossless

This second volume in the Classics Georgie Auld chronology presents all of his studio recordings made between May 24, 1945 and April 30, 1946. Auld's big band shared some stylistic qualities with Billy Eckstine's orchestra; both groups handled the innovations of bop with intelligence and creative precision. The first two tracks on this collection were originally issued on the Guild record label; the rest appeared on Musicraft. Georgie Auld, whose career at times paralleled that of Charlie Barnet, played soprano and alto in addition to his customary tenor saxophone; also like Barnet he was a capable vocalist. There are three examples of Auld's singing voice in this part of the chronology: he delivers a fine rendering of "I Don't Know Why" (once closely associated with Russ Columbo), a tidy take on "Route 66" that closely mimics the version recorded only six weeks earlier by Nat King Cole, and a boppish `big band update of "Honey," an attractive Richard Whiting melody dating from 1928. Nine tracks feature vocalist Lynne Stevens -- she is at her best on Ellington and Strayhorn's "Just A-Settin' and A-Rockin'" -- but the truly substantial element here is the band itself, a 17-piece ensemble working with arrangements penned by Budd Johnson, Tadd Dameron, Al Cohn, Franz Jackson and Neal Hefti. Auld also used Hugo Winterhalter's excellent arrangement of "Time on My Hands," apparently the same chart used by Count Basie in 1942. Note the presence of baritone saxophonist Serge Chaloff alongside Cohn and Auld in the reeds; that's Joe Albany and Stan Levey in the rhythm section. The vocal highlight of the whole album is Sarah Vaughan's lovely interpretation of "100 Years from Today," a Victor Young melody with words by Ned Washington published in 1933. Georgie Auld had a really fine big band from 1943-1946, and led an exceptional group during the year 1949. His early-'50s recordings sometimes involve group vocals or lounge atmosphere; by 1955 and 1956 he fronted a group known as the Hollywood All Stars, using arrangements by Billy May. Most of his music is worth the effort it takes to chase it down and soak it up. arwulf arwulf
Tracklist + Credits :

GEORGE AULD – 1946-1951 | The Classics Chronological Series – 1371 (2004) FLAC (tracks+.cue), lossless

Volume three in the Classics Georgie Auld chronology opens with the last four sides he cut for the Musicraft label on June 14, 1946. The 16-piece big band had Neal Hefti in the trumpet section, Auld, Al Cohn and Serge Chaloff in the reeds, and vocalist Sarah Vaughan featured on "You're Blasé." While Hefti's two original compositions are pleasantly modern sounding, the true gem from this date was Budd Johnson's rock-solid "Canyon Passage." Changes in the postwar entertainment industry resulted in the dissolution and dispersal of many big bands. Auld threw in the towel and waited about two-and-a-half years before resuming his recording career on January 17, 1949. His new band had ten pieces, including trombonist Billy Byers, pianist Jimmy Rowles and drummer Alvin Stoller. Eight sides cut for the Discovery record label on this date and on March 21 used mostly Hal Vernon arrangements; Byers scored the charts for "Hollywood Bazaar" and "Mild and Mellow." (For a 100-percent satisfying example of Auld leading a ten-piece band similar to this one, seek out You Got Me Jumpin' (Sounds of Yesteryear 6680), recorded live at the Empire in Hollywood, CA, 1949.) The next leg of the chronology consists of nine titles recorded for the Royal Roost record label on January 24, 1951 by the Georgie Auld Quintet, with trombonist Frank Rosolino, pianist Lou Levy, bassist Max Bennett and drummer Tiny Kahn, whose eccentric opus "Seh! Seh!" is group participation bop; the band shouts the song's title at regular intervals as part of the melodic line. This little-known session hatched a veritable goldmine of cruising cookers and luscious ballads; "Taps Miller" and "New Airmail Special" are particularly piquant. arwulf arwulf
Tracklist + Credits :

STAN GETZ | ZOOT SIMS — The Brothers (1956-1989) RM | FLAC (tracks+.cue), lossless

The music on this LP recalls the airy "Four Brothers" sound that tenor saxophonists Stan Getz, Zoot Sims and Herbie Steward, and baritone saxophonist Serge Charloff, plied in Woody Herman's band of 1947. For this outing, Steward and Charloff exit, and four become five with the addition of tenor luminaries Al Cohn, Brew Moore, and Allen Eager. The set appropriately kicks off with Gerry Mulligan's "Five Brothers," a tune reminiscent of Jimmy Giuffre's original "Four Brothers" in its fluid and bouncy arrangement. Three other attractive and similarly disposed originals (one more by Mulligan and two by Cohn) complete the saxophone session from 1949, all featuring swinging statements by each soloist. A 1952 sextet date led by Sims and Cohn is also included, offering up another round of original and buoyantly swinging cuts, bolstered by lively contributions from trombonist Kai Winding and solid rhythmic support by pianist George Wallington, bassist Percy Heath, and drummer Art Blakey. A fine release that nicely showcases the cool, proto-West Coast bop forged by both these soloists and Miles Davis. Stephen Cook  

Tracklist :
1 Stan Getz And His Four Brothers- Five Brothers 3:10
Gerry Mulligan    
2 Stan Getz And His Four Brothers- Five Brothers [Alternate Take] 3:34
Gerry Mulligan    
3 Stan Getz And His Four Brothers- Battle of the Saxes 3:52
Al Cohn    
4 Stan Getz And His Four Brothers- Battleground 3:46
Al Cohn    
5 Stan Getz And His Four Brothers- Battleground [Alternate Take] 3:31
Al Cohn    
6 Stan Getz And His Four Brothers- Four and One Moore 3:22
Gerry Mulligan    
7 Stan Getz And His Four Brothers- Four and One Moore [Alternate Take] 3:15
Gerry Mulligan    
8 Zoot Sims And Al Cohn– The Red Door 4:34
Zoot Sims    
9 Zoot Sims And Al Cohn– Zootcase 4:18
Zoot Sims
10 Zoot Sims And Al Cohn– Tangerine 4:24
Victor Schertzinger    
11 Zoot Sims And Al Cohn– Morning Fun 5:37  
Al Cohn
Credits :
1-7
Bass – Gene Ramey
Drums – Charlie Perry
Piano – Walter Bishop
Tenor Saxophone – Brew Moore, Stan Getz, Zoot Sims, Al Cohn, Allen Eager
8-11
Bass – Percy Heath
Drums – Art Blakey
Piano – George Wallington
Tenor Saxophone – Al Cohn, , Zoot Sims
Trombone – Kai Winding
Notas.
#1-7 recorded April 8, 1949. #8-11 recorded September 8, 1952.
#2, 5 and 7 are bonus tracks.
Remastered By [Digital Remastering] – Joe Tarantino
Artwork – Don Martin

ZOOT SIMS - Four Classic Albums (2009) 2xCD | FLAC (tracks+.cue), lossless

DISC ONE
The Four Brothers... Together Again!    
1        Four And One More    4:04
2        So Blue    3:24
3        The Swinging Door    2:45
4        Four In Hand    3:10
5        A Quick One    3:47
6        Four Brothers    3:48
7        Ten Years Later    3:04
8        The Pretty One    3:30
9        Aged In Wood     2:55
10        Here We Go Again    3:46
From A To Z    
11        Mediolistic    3:30
12        Crimea River    3:09
13        A New Moon    3:52
14        A Moment's Notice    3:20
15        My Blues    3:14
16        Sandy's Swing     3:24
17        Somebody Loves Me    2:51
18        More Bread    3:05
19        Sherm's Terms    2:59
20        From A To Z    2:58
21        East Of The Sun    4:19
22        Tenor For Two Please, Jack    4:25
DISC TWO
Zoot   
1        9.20 Special    4:51
2        The Man I Love    5:13
3        55th And State    4:41
4        Blue Room    5:08
5        Gus's Blues    4:27
6        That Old Feeling    5:32
7        Bohemia After Dark    3:33
8        Woody'n You    5:20
Whooeeee     
9        The King    4:38
10        Lullaby Of The Leaves    5:10
11        I Can't Get Started    4:34
12        Snake Eyes    3:58
13        Morning Fun    5:01
14        Whooeee    5:05
15        Medley: Someone To Watch Over Me, My Old Flame    4:10
16        Box Cars    5:20

ZOOT SIMS - Bohemia After Dark (1994) WV (image+.cue), lossless

Tracklist :
1    9:20 Special 4:52
Written-By – Warren, Engvick
2    The Man I Love 5:12
Written-By – Gershwin
3    55th And State 4:40
Written-By – Sims
4    The Blue Room 5:07
Written-By – Rodgers/Hart
5    Gus's Blues 4:16
Written-By – Gus Johnson
6    That Old Feeling 5:31
Written-By – Brown, Fain
7    Bohemia After Dark 3:33
Written-By – Oscar Pettiford
8    Woody 'N You 5:19
Written-By – Dizzy Gillespie
9    I Don't Stand A Ghost Of A Chance With You 6:43
Written-By – Crosby, Washington, Young
10    September In The Rain 5:12
Written-By – Dubin, Warren
11    The Nearness Of You 3:30
Written-By – Carmichael, Washington
12    Skylark 4:03
Written-By – Carmichael, Mercer
13    Two Sleepy People 4:14
Written-By – Loesser, Carmichael
Notas.
Tracks 1-10 recorded New York City, 1956.
Tracks 11-13 recorded New York City, 1957.
Credits :
Alto Saxophone – Zoot Sims (pistas: 1-10)
Baritone Saxophone – Al Cohn (pistas: 11-13)
Bass – Milt Hinton (pistas: 9-13), Knobby Totah (pistas: 1-8)
Drums – Gus Johnson
Piano – Elliot Lawrence (pistas: 11-13)
Tenor Saxophone – Zoot Sims
Trombone – Bob Brookmeyer (pistas: 9-10), Jimmy Cleveland (pistas: 11-13)
Trumpet – Nick Travis (pistas: 11-13)

ZOOT SIMS | BOB BROOKMEYER - Stretching Out + Kansas City Revisited (1958-2007) FLAC (image+.cue), lossless

"Stretching Out". Like many studio sessions recorded for United Artists, this 1958 session co-led by Zoot Sims and Bob Brookmeyer can be a bit tricky to find. Brookmeyer contributed most of the charts, including the easygoing blues which serves as the title track, as well as updated treatments of Jelly Roll Morton's "King Porter Stomp" and "Ain't Misbehavin'." Al Cohn is responsible for a swinging chart of "Pennies from Heaven" during which he switches to baritone sax, while Bill Potts wrote and arranged "Bee Kay." The rest of the superb band includes Harry "Sweets" Edison, Hank Jones, bassist Eddie Jones, guitarist Freddie Green, and drummer Charlie Persip. Aside from a few innocuous reed squeaks, the music is essentially flawless and has stood the test of time very well.

"Kansas City Revisited". Cool jazz meets swing on this valuable LP. Valve trombonist Bob Brookmeyer, tenors Al Cohn and Paul Quinichette, pianist Nat Pierce, guitarist Jim Hall, bassist Addison Farmer and drummer Osie Johnson perform four songs associated with the late-'30s Count Basie Orchestra plus a couple of numbers ("A Blues" and "Travlin' Light") that are sung by the underrated vocalist Big Miller who was making his recording debut at the time. web
Stretching Out
1    Zoot Sims - Bob Brookmeyer Octet–    Stretching Out    6:08
Written-By – Bob Brookmeyer
2    Zoot Sims - Bob Brookmeyer Octet–    Now Will You Be Good 5:27   
Written-By – Terke, Jentes, Pease
3    Zoot Sims - Bob Brookmeyer Octet–    Pennies From Heaven    6:15
Written-By – Johnston, Burke
4    Zoot Sims - Bob Brookmeyer Octet–    King Porter Stomp    4:38
Written-By – Morton, Robbins, Burke
5    Zoot Sims - Bob Brookmeyer Octet–    Ain't Misbehavin'    6:54
Written-By – Razaf, Brooks, Waller
6    Zoot Sims - Bob Brookmeyer Octet–    Bee Kay    6:42
Written-By – Bill Potts
Kansas City Revisited   
7    Bob Brookmeyer's KC Seven–    Jumpin' At The Woodside    8:00
8    Bob Brookmeyer's KC Seven–    A Blues (What's On Your Mind)    5:05
9    Bob Brookmeyer's KC Seven–    Blue And Sentimental    6:53
10    Bob Brookmeyer's KC Seven–    Doggin' Around    8:40
11    Bob Brookmeyer's KC Seven–    Moten Swing    10:12
12    Bob Brookmeyer's KC Seven–    Trav'lin' Light    3:35
Credits :
1-6
Arranged By – Bill Potts
Arranged By, Baritone Saxophone, Tenor Saxophone – Al Cohn
Arranged By, Valve Trombone, Liner Notes – Bob Brookmeyer
Bass – Eddie Jones
Drums – Charlie Persip
Guitar – Freddie Green
Piano – Hank Jones
Tenor Saxophone – Zoot Sims
Trumpet – Harry Edison
7-12
Bass – Addison Farmer
Drums – Osie Johnson
Guitar – Jim Hall
Piano – Nat Pierce
Tenor Saxophone – Al Cohn, Paul Quinichette
Valve Trombone – Bob Brookmeyer

THE ZOOT SIMS, AL COHN SEPTET | CHARLIE SHAVERS, URBIE GREEN - Happy Over Hoagy + We Dig Cole (1988) FLAC (image+.cue), lossless

Happy Over Hoagy    
1    The Nearness Of You    3:28
Hoagy Carmichael / Ned Washington
2    I Get Along Without You Very Well    4:07
Hoagy Carmichael
3    Skylark    4:03
Hoagy Carmichael / Johnny Mercer
4    Up A Lazy River    4:09
Sidney Arodin / Hoagy Carmichael
5    Stardust    2:57
Hoagy Carmichael / Mitchell Parish
6    Old Rockin' Chair    3:16
Hoagy Carmichael
7    Georgia On My Mind    3:21
Hoagy Carmichael / Stuart Gorrell
8    Two Sleepy People    4:14
Hoagy Carmichael / Frank Loesser
Arranged By – Bill Elton
Tenor Saxophone – Zoot Sims
Trombone – Jimmy Cleveland
Piano – Elliot Lawrence
Trumpet – Nick Travis
Drums – Osie Johnson
Baritone Saxophone – Al Cohn
Double Bass – Milt Hinton
We Dig Cole    
9    What Is This Thing Called Love    3:00
Cole Porter
10    It's Delovely    4:02
Cole Porter
11    Begin The Beguine    3:07
Cole Porter
12    It's All Right With Us    3:33
Cole Porter
13    I Love Paris    3:28
Cole Porter
14    My Heart Belongs To Daddy    3:48
Cole Porter
15    Night And Day    4:01
Cole Porter
16    Just One Of Those Things    3:51
Cole Porter
Arranged By – Larry Clinton
Clarinet – Sol Yaged
Drums – Cozy Cole
Guitar – Barry Galbraith
Piano – Buddy Weed
Tenor Saxophone – Sam "The Man" Taylor
Trombone – Urbie Green
Trumpet – Charlie Shavers

ZOOT SIMS | AL COHN | TONY SCOTT - East Coast Sounds (1956-1999) RM | FLAC (tracks+.cue), lossless

Zoot Sims and Al Cohn made many records together in small-group settings, but this isn't one of their better-known dates, though it is a rewarding one. These 1956 sessions recorded for the Jazzland label and reissued under Fantasy's limited-edition OJC imprint feature tenor saxophonist Sims (who doubles on alto sax) and Cohn (playing baritone sax on most of the selections) with clarinetist Tony Scott (who doubles on tenor), trumpeter Joe Wilder, and trombonist Urbie Green rounding out the front line. Either Marty Paich or Dick Hyman (neither of whom play on these pianoless charts) contributed the arrangements, all of which fall into the cool category. Though they include quite a few pieces by well-known composers, most of them are lesser-known works, such as George Gershwin's "Treat Me Rough," Vernon Duke's "I Like the Likes of You," and Richard Rodgers' "Where's That Rainbow?" Bassist Trigger Alpert gets some solo time as well and contributed one original, the loping "Trigger Fantasy." Recommended. Ken Dryden  
Tracklist :
1     Treat Me Rough 2:50
George Gershwin / Ira Gershwin    
2     Looking at You 4:20
Cole Porter    
3     Love Me Tomorrow (But Leave Me Alone Today) 4:51
George Duke / John Latouche    
4     Trigger Happy 2:28
Tony Scott    
5     Tranquilizer 4:28
Dick Hyman    
6     I Like the Likes of You 4:08
Vernon Duke / E.Y. "Yip" Harburg    
7     I Wish I Were in Love Again 3:35
Lorenz Hart / Richard Rodgers    
8     I Don't Want to Be Alone Again 3:28
Johnny Mercer / Jimmie Smith    
9     Trigger Fantasy 5:24
Trigger Alpert    
10     Where's That Rainbow? 3:35
Lorenz Hart / Richard Rodgers
Credits :
Alto Saxophone, Tenor Saxophone – Zoot Sims
Arranged By – Dick Hyman (pistas: 1, 5, 9, 10), Marty Paich (pistas: 2, 3, 6, 7), Tony Scott (pistas: 4, 8)
Bass – Trigger Alpert
Clarinet, Tenor Saxophone – Tony Scott
Drums – Ed Shaughnessy
Producer – Orrin Keepnews
Tenor Saxophone, Baritone Saxophone – Al Cohn
Trombone – Urbie Green
Trumpet – Joe Wilder

AL COHN, JOE NEWMAN & FREDDIE GREEN - Mosaic Select 27 (2007) 3xCD | FLAC (tracks+.cue), lossless

This Mosaic compilation draws from material that comprised five separate RCA Victor LPs of the 1950: Al Cohn's The Natural Seven and The Jazz Workshop: Four Brass, One Tenor, Freddie Green's Mr. Rhythm, plus two Joe Newman records, All I Wanna Do Is Swing and I'm Still Swinging. Cohn, Green, and Newman are the common element to all of the recording sessions, leading bands ranging from septets to nonets.The Natural Seven was inspired by the Kansas City Seven drawn from the Count Basie band of the 1930s, and while the arrangements by Cohn and Manny Albam swing lightly in the style of Basie's septet, the focus is more on originals written for the session rather than simply recreating earlier recordings. Joining them are pianist Nat Pierce, trombonist Frank Rehak, bassist Milt Hinton, and drummer Osie Johnson, highlighted by the upbeat unison horn line in Cohn's "Pick a Dilly" and Albam's swinging "Jump the Blues Away." Johnson even adds a vocal on his fun-filled "Osie's Blues." Cohn's other session as a leader includes Thad Jones with either Joe Wilder, Bernie Glow, or Phil Sunkel on third trumpet, with Dick Katz doubling on valve trombone and trumpet, pianist Dick Katz, and bassist Buddy Jones subbing for the previous personnel. Once more, Cohn and Albam split up the arrangements, with the tenor saxophonist benefiting from the quartet of brass players accompanying him. "Rosetta" and the leader's "Cohn Not Cohen" are among the highlights. Freddie Green was known for his superb timekeeping in the Basie band, a tenure which lasted a half-century until his passing in 1987, just a few years after the leader. Mr. Rhythm marked the first issued under his own name, plus eight of the dozen songs are Green's compositions, with Green sticking to playing rhythm throughout the date. Cohn, Albam, and Ernie Wilkins provide the swinging arrangements of the mostly blues-oriented material, while Cohn doubles on both clarinet and bass clarinet in addition to playing tenor sax. Two dates led by Newman in 1955 also fit in nicely, with either Frank Rehak or Urbie Green on trombone, Wilkins or Gene Quill on alto sax, and Pierce or Dick Katz on piano. Newman, who tended to be overshadowed by many of the other swing and bop trumpeters active at the time, shines on both open and muted horn, while featuring his musicians prominently throughout both dates. Green's "Corner Pocket" and a buoyant treatment of the standard "Exactly Like You" especially stand out. Most of this music was reissued on CD during the '80s and '90s, though none of it remained in print for long. Ken Dryden  
All Tracks & Credits

AL COHN - The Progressive Al Cohn (1953-1994) RM | SJL Collection | FLAC (tracks+.cue), lossless

This CD (reissued by Savoy in 1994) has tenor saxophonist Al Cohn's first two sessions as a leader. Cohn, who was very influenced during the era by Lester Young, is in fine early form with a 1950 quartet that also includes pianist George Wallington, bassist Tommy Potter and drummer Tiny Kahn, and with a 1953 quintet that has trumpeter Nick Travis, pianist Horace Silver, bassist Curley Russell and drummer Max Roach. All but two numbers ("How Long Has This Been Going On" and an excellent version of "Let's Get Away Ffrom It All") are Cohn's inventive originals; best are "Infinity," "That's What You Think" (heard in two versions) and "Ah-Moore."  Scott Yanow

Tracklist :
1 Infinity 2:53
Al Cohn
2 Groovin' With Gus 2:31
Al Cohn / Dizzy Gillespie
3 How Long Has This Been Going On 3:10
George Gershwin / Ira Gershwin
4 Let's Get Away From It All 3:05
Al Cohn / Matt Dennis
5 That's What You Think (Take 1) 4:46
Al Cohn / Margaret Whitfield
6 I'm Tellin' Ya 5:57
Al Cohn
7 Jane Street 4:30
Al Cohn
8 Ah-Moore 4:51
Al Cohn
9 That's What You Think (Master) 4:44
Al Cohn / Margaret Whitfield 

Credits :
Bass – Curly Russell (tracks: 5 to 8), Tommy Potter (tracks: 1 to 4)
Drums – Max Roach (tracks: 5 to 8), Tiny Kahn (tracks: 1 to 4)
Piano – George Wallington (tracks: 1 to 4), Horace Silver (tracks: 5 to 8)
Tenor Saxophone – Al Cohn
Trumpet – Nick Travis (tracks: 5 to 8)

AL COHN - Broadway (1954-1992) RM | MONO | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

This long-lost session was originally cut for the Progressive label in 1954 and was not released until Prestige put it out in 1970. On it, listeners can hear tenor saxophonist Al Cohn and bassist Red Mitchell in fine form, in a quintet with three lesser known players: altoist Hal Stein, pianist Harvey Leonard, and drummer Christy Febbo. The music (Mitchell's "Help Keep Your City Clean Blues," a four-song ballad medley, and two versions apiece of "Broadway" and "Suddenly It's Spring") is fine although there are no surprises. The most interesting aspect to this obscure session is how similar the light-toned Cohn and altoist Stein (who tended to emphasize lower notes) sounded to each other.  Scott Yanow
Tracklist :
1     Help Keep Your City Clean Blues 6:47
Red Mitchell    
2     Broadway (take 1) 9:05
Ray Henderson / Teddy McRae / Henri Woode
3     Broadway (Take 2) 7:51
Ray Henderson / Teddy McRae / Henri Woode
4    Suddenly It's Spring 6:28
Johnny Burke / James Van Heusen    
5     Suddenly It's Spring 6:59
Johnny Burke / James Van Heusen    
6     Ballad Medley: 8:49
6.1    These Foolish Things    
6.2    Everything Happens To Me    
6.3    Sweet Lorraine    
6.4    When It's Sleepy Time Down South
Credits :    
Alto Saxophone – Hal Stein
Bass – Red Mitchell
Drums – Christy Febbo
Piano – Harvey Leonard
Recorded By – Rudy Van Gelder
Remastered By – Phil De Lancie
Tenor Saxophone – Al Cohn

AL COHN - The Sax Section (1956-2010) FLAC (tracks+.cue), lossless

Al Cohn's writing for small groups is always appealing, and this Epic LP is no exception. Leading three separate groups consisting of various reeds (and no brass) plus a rhythm section, Cohn obtains marvelous results from his groups of all-stars and veteran session musicians. The first session concentrates on saxophones, including Cohn and Eddie Wasserman on tenor saxes, Sam Marowitz and Gene Quill on alto saxes, with Sol Schlinger on the baritone sax. Cohn's swinging "Shazam" brings the swing era to mind, while "Tears by Me Out the Heart" is a warm ballad.
The second meeting is more of a mixed bag, with Boomie Richman, Peanuts Hucko, Romeo Penque, Phil Bodner, Charlie O'Kane, and the leader switching out between various reed instruments from one track to the next. Particularly effective is Cohn's exotic arrangement of "While My Lady Sleeps," featuring two flutes in the lead, backed by oboe, clarinet, and bass clarinet. The final date matches three tenor saxophonists (Zoot Sims and Eddie Wasserman joining the leader) and Sol Schlinger again on baritone. The feeling throughout these tracks touches on the work of the big bands of Duke Ellington, Count Basie, and Woody Herman, always swinging, with plenty of hot solos and tight ensembles. This long-unavailable record is worth acquiring, but it will require both a tedious search and a sizable investment. Ken Dryden
Tracklist :
1     Reunion 6:54
Hank Mobley    
2     Ultra Marine 6:38
Hank Mobley    
3     Don't Walk 7:48
Hank Mobley    
4     Lower Stratosphere 10:36
Hank Mobley    
5     Mobley's Musings 6:04
Hank Mobley
Credits :    
Alto Saxophone [Alto Sax] – Gene Quill (tracks: 1, 4, 9, 12)
Alto Saxophone [Lead] [Alto Sax] – Sam Marowitz (tracks: 1, 4, 9, 12)
Baritone Saxophone [Baritone Sax] – Sol Schlinger (tracks: 1, 2, 4, 5, 7, 9, 11, 12)
Bass – Milt Hinton
Bass Clarinet – Boomie Richman (tracks: 3, 4, 8, 10), Charlie O'Kane (tracks: 8, 10)
Clarinet – Charlie O'Kane (tracks: 3), Peanuts Hucko (tracks: 3, 4, 8, 10), Phil Bodner (tracks: 3), Romeo Penque (tracks: 3)
Drums – Don Lamond (tracks: 2, 5, 7, 11), Osie Johnson (tracks: 1, 3 to 5, 8 to 10, 12)
English Horn – Romeo Penque (tracks: 10)
Flute – Charlie O'Kane (tracks: 4), Phil Bodner (tracks: 4, 8, 10)
Oboe – Romeo Penque (tracks: 4, 8)
Piano – Hank Jones (tracks: 2, 5, 7, 11), Johnny Williams (tracks: 1, 3 to 5, 8 to 10, 12)
Tenor Saxophone [Tenor Sax] – Al Cohn (tracks: 1, 2, 4, 5, 7, 9, 11, 12), Eddie Wasserman (tracks: 1, 2, 4, 5, 7, 9, 11, 12), Zoot Sims (tracks: 2, 5, 7, 11)

AL COHN - The Al Cohn Quintet featuring Bob Brookmeyer (1956-2005) RM | Serie LP Reproduction | FLAC (tracks+.cue), lossless

Al Cohn and Bob Brookmeyer appeared on a number of record dates together, each appearing as a sideman with the other, in addition to joint appearances on a number of Manny Albam-led sessions, among others. But this disc, initially issued by Coral on LP in 1957, was one of the hardest to acquire until its 2005 reissue as a limited-edition CD. With the assistance of pianist Mose Allison, bassist Teddy Kotick, and drummer Nick Stabulas in the rhythm section, Cohn and Brookmeyer inspire one another throughout the sessions. Brookmeyer contributed the upbeat "Good Spirits" and breezy "Lazy Man Stomp." Cohn's strong originals include the cool ballad "Winter" and the swinging "Back to Back." They also update a number of standards from earlier decades, including Brookmeyer's exotic setting of "Ill Wind" (a terrific feature for Cohn) and Cohn's surprisingly uptempo setting of the usually hackneyed "Chloe.". Ken Dryden  
Tracklist :
1     The Lady Is a Tramp 3:25
Lorenz Hart / Richard Rodgers    
2     Good Spirits 3:37
Bob Brookmeyer    
3     A Blues Serenade 4:23
Vincent Grande / Jimmy Lytell / Frank Signorelli    
4     Lazy Man Stomp 2:56
Bob Brookmeyer
5     Ill Wind (You're Blowin' Me No Good) 2:50
Harold Arlen / Ted Koehler    
6     Chloe 3:38
Gus Kahn / Neil Moret    
7     S-H-I-N-E 3:45
Lew Brown / Ford Dabney / Cecil Mack    
8     Back to Back 2:37
Al Cohn    
9     So Far So Good 3:50
Al Cohn    
10     Winter 3:54
Al Cohn    
11     I Should Care 2:41
Sammy Cahn / Axel Stordahl / Paul Weston    
12     Bunny Hunch 2:39
Bob Brookmeyer
Credits :
Bass – Teddy Kotick
Drums – Nick Stabulas
Piano – Mose Allison
Tenor Saxophone – Al Cohn
Trombone – Bob Brookmeyer

AL COHN | ZOOT SIMS - From A to Z And Beyond (1956-1987) RM | FLAC (tracks+.cue), lossless

The very complementary tenors Al Cohn and Zoot Sims (whose similar styles often made them sound almost identical) teamed up many times through the years; this reissue brings back their first joint recording. Joined by either Dave McKenna or Hank Jones on piano, bassist Milt Hinton, drummer Osie Johnson, and (on some selections) the forgotten trumpeter Dick Sherman, Al and Zoot avoid obvious material ("Somebody Loves Me" and "East of the Sun" are the only standards) in favor of swinging "modern" originals by Cohn, Sherman, Osie Johnson, Ralph Burns, Manny Albam, Ernie Wilkins, and Milty Gold. Zoot contributed "Tenor for Two Please, Jack," his answer to the song "Dinner for One Please, James." [Some releases add four alternate takes to the original 12-song program, giving one a good example of the occasional Cohn-Sims musical partnership.] Scott Yanow
Tracklist :
1     Mediolistic 3:29
Osie Johnson    
2     Crimea River 3:08
Ralph Burns
3     A New Moan 3:52
Manny Albam    
4     A Moment's Notice 3:19
Ernie Wilkins    
5     My Blues 3:14
Al Cohn    
6     Sandy's Swing 3:23
Milt Gold    
7     Somebody Loves Me 2:51
Buddy DeSylva / George Gershwin / Ballard MacDonald
8     More Bread 3:05
Ernie Wilkins    
9     Sherm's Terms 2:57
Dick Sherman    
10     From A to Z 2:57
Al Cohn    
11     East of the Sun (And West of the Moon) 4:19
Brooks Bowman
12     Tenor for Two Please, Jack 4:25
Zoot Sims    
13     My Blues (Alternate Take) 4:17
Al Cohn   
14     More Bread (Alternate Take) 3:09
Ernie Wilkins   
15     Tenor for Two Please, Jack (Alternate Take) 4:17
Zoot Sims   
16     Somebody Loves Me (Alternate Take) 3:05
Buddy DeSylva / George Gershwin / Ballard MacDonald
Notas.
Recorded in New York City, January 23-24, 1956.