RALPH MOORE — Images (1989) FLAC (tracks+.cue), lossless

The particularly strong material and the all-star lineup (tenor saxophonist Ralph Moore, trumpeter Terence Blanchard, pianist Benny Green, bassist Peter Washington, and drummer Kenny Washington) make this a particularly enjoyable set from the tenorman. Although still displaying the inspiration (soundwise) of early-'60s John Coltrane, Moore had developed an increasingly original style within the modern mainstream throughout the 1980s. Highlights of this excellent set include J.J. Johnson's "Enigma" (a ballad feature for Moore), Hank Mobley's "This I Dig of You," and Moore's "Blues for John" (written in tribute to Coltrane). One of Ralph Moore's more significant recordings to date. Scott Yanow
Tracklist :
1    Freeway    8:04
 Ralph Moore
2    Enigma    5:29
 J.J. Johnson
3    Episode From A Village Dance    7:37
 Donald Brown
4    Morning Star    8:31
 Rodgers Grant
5    This I Dig Of You    5:36
 Hank Mobley
6    Blues For John    5:04
 Ralph Moore
7    Punjab    6:59
 Joe Henderson
8    One Second, Please    5:01
 Elmo Hope
Credits :
Bass – Peter Washington
Congas – Victor See Yuen (tracks: 3)
Drums – Kenny Washington
Piano – Benny Green
Saxophone – Ralph Moore
Trumpet – Terence Blanchard (tracks: 1, 3, 5, 7)

JOHN PIZZARELLI — Dear Mr. Cole (1995) FLAC (image+.cue), lossless

John Pizzarelli's tribute to Nat King Cole features him in a drumless trio with pianist Benny Green and bassist Christian McBride on all but one selection. Pizzarelli is fine as a rhythm guitarist, but since he sings on most of the selections and his voice is merely average, this session (which includes 18 selections, most of which were originally associated with Cole) is of less interest than one might hope. At least Pizzarelli has a cheerful style and does not seem to take himself too seriously; Green has many forceful solos, but the leader's limited vocal abilities keep this recording from being too essential. Scott Yanow
Tracklist :
1    Style Is Coming Back In Style 2:42
Written-By – Leiber/Stoller
2    What Can I Say After I Say I'm Sorry 2:24
Written-By – Lyman, Donaldson
3    Little Girl 2:51
Written-By – Henry, Hyde
4    You Must Be Blind 3:39
Written-By – Cole
5    Sweet Georgia Brown 5:47
Written-By – Bernie, Casey, Pinkard
6    It's Only A Paper Moon 2:33
Written-By – Rose, Harburg, Arlen
7    September Song 3:30
Written-By – Weill, Anderson
8    On The Sunny Side Of The Street 2:54
Written-By – McHugh/Fields
9    Nature Boy 3:44
Written-By – E. Ahbez
10    This Way Out 4:49
Written-By – Cole
11    Too Marvelous For Words 2:05
Written-By – Mercer, Whiting
12    Route 66 6:42
Written-By – Troup
13    Sweet Lorraine 3:29
Written-By – Burwell, Parish
14    Straighten Up And Fly Right 5:08
Written-By – Mills, Cole
15    Honeysuckle Rose 2:54
Written-By – Razaf, Waller
16    L-O-V-E 2:18
Written-By – Kaempfert, Gabler
17    Unforgettable 1:58
Written-By – Gordon
18    Portrait Of Jenny 2:53
Written By – Newman
Credits :
Bass – Christian McBride
Drums – John Guerin (tracks: 1)
Guitar, Vocals – John PIzzarelli
Piano – Benny Green (tracks: 2 to 18), Ray Kennedy (tracks: 1)

RAY BROWN TRIO — Live at Scullers (1997) FLAC (image+.cue), lossless

Staying young by working with the young, Ray Brown and cohorts Benny Green (piano) and Gregory Hutchinson (drums) laid down a set of jazz and pop standards at a club in a Boston Double Tree Hotel. Though Brown is the leader and anchor of the date, quite obviously the pianist is going to dominate the act -- and Green definitely puts on a show, wiping everyone out with the pyrotechnics of "You're My Everything," engaging in a gentle stride opening to "But Not for Me," and coming logically to a bombastic climax. Hutchinson is capable, swinging, and occasionally volatile, and Brown mostly steps back and gives these guys a firm underpinning, with a sly solo now and then ("Bye, Bye Blackbird.") There are few surprises or deviations from the mainstream here, but a good time will be had by anyone who gives this a spin. Richard S. Ginell   Tracklist & Credits :

RAY BROWN TRIO — Don't Get Sassy (1994) FLAC (tracks+.cue), lossless

Bassist Ray Brown, pianist Benny Green, and drummer Jeff Hamilton make for a perfect team on their Telarc CD. The tight yet swinging arrangements are full of subtle surprises and serve as a perfect format for the players, particularly Green. Highlights include Thad Jones' "Don't Get Sassy," Oscar Peterson's "Kelly's Blues," "Tanga," "Brown's New Blues," and a three-song Duke Ellington medley. Recommended. Scott Yanow   Tracklist & Credits :

RAY BROWN WITH JOHN CLAYTON & CHRISTIAN McBRIAN — SuperBass : Recorded Live At Sculler's (1997) FLAC (tracks+.cue), lossless

This live Boston summit meeting between Ray Brown, Christian McBride and John Clayton was the logical outcome of several joint appearances, as well as an extension of a one-off bass troika track that McBride included on his first solo album. The idea of a bass trio on records probably would have been unthinkable in the primitive days of recording when Brown was coming up, but Telarc's fabulously deep yet clear engineering makes it seem like a natural thing to do. Whether pizzicato or bowed, whether taking the melodic solo or plunking down the 4/4 bottom line, all three perform with amazing panache, taste, humor, lack of ego, and the sheer joy of talking to and against each other beneath the musical staff. But if one has to pick out a single star, the choice has to be McBride, whose unshakeable time, solid tone and amazing ability to play his cumbersome bull fiddle like a horn stands out in astonishing fashion on the right speaker. On two tracks, the fleet-fingered Benny Green and drummer Gregory Hutchinson join Brown to form a conventional trio that serves as an effective change of pace. It's a fun set without a doubt, but these guys are also clearly making coherent music, and that is what will hold our interest over the long haul. Richard S. Ginell   Tracklist & Credits :

RAY BROWN — Some of My Best Friends Are ... The Piano Players (1995) FLAC (tracks+.cue), lossless

On his Telarc disc, Ray Brown teams up with five different piano players but, rather than this being a tribute to the veteran bassist (who has solo space on every selection), the CD ends up being a celebration of the great Oscar Peterson because Benny Green, Dado Moroni, and Geoff Keezer have, to various degrees, based their styles on Peterson's, but the indivual standout is actually Ahmad Jamal, who had never previously recorded with Brown. Together with Lewis Nash they perform two blues and "Love Walked In," all renditions that make a liberal use of space and pay close attention to dynamics. Benny Green, who plays his "Ray of Light" along with two standards, had performed regularly with Brown in recent years and his selections offer few surprises. Dodo Moroni is fine on "My Romance" and inserts a bit of Erroll Garner on "Giant Steps," while Geoff Keezer (who had also never played with Brown) swings well on "Close Your Eyes." The CD concludes with a reunion between Oscar Peterson (who had recently recovered from a stroke) and Brown on "St. Tropez" and the upbeat "How Come You Do Me like You Do?" The results overall are pleasing and swinging (serving as a sampler of the pianists' styles), but not all that innovative. Scott Yanow   Tracklist & Credits :

RAY BROWN TRIO — Some of My Best Friends Are ... The Sax Players (1996) FLAC (tracks+.cue), lossless

As a follow-up to bassist Ray Brown's previous record in which he collaborated with several of his favorite pianists, Some of My Best Friends Are...The Sax Players features six major saxophonists (tenors Joe Lovano, Ralph Moore, Joshua Redman and Stanley Turrentine plus altoists Benny Carter and Jesse Davis) on two songs apiece with his regular trio. Although more than 60 years separate the ageless Carter from Redman, each of the saxes originally developed their own voice in the straight-ahead jazz tradition. Highlights of the colorful set include Benny Carter's playful rendition of "Love Walked In," Moore's cooking solo on "Crazeology" (a Benny Harris bop classic which the record mistakenly lists as written by Bud Freeman), Davis ripping through "Moose the Mooche" and Turrentine's romp on the blues "Port of Rico." Pianist Benny Green and drummer Gregory Hutchinson provide suitable accompaniment (Green's solos are consistently excellent) and all dozen of the songs are successful and swinging. As an extra bonus, on the latter part of the CD each of the saxophonists has a brief chat (between 26 seconds and a minute apiece) with Brown about their early influences. There is so much good feeling and obvious mutual respect shown that one wishes these talks were at least twice as long; the Benny Carter segment is most memorable. This well-conceived project is easily recommended. Scott Yanow   Tracklist & Credits :

RAY BROWN — Walk On : The Final Ray Brown Trio Recording (2003) 2CD | FLAC (image+.cue), lossless

What a curious, if delightful, package Walk On is. Comprised of two CDs -- the first is the final Ray Brown trio date from January 2000 with Geoffrey Keezer and Karriem Riggins, and the second is two separate live shows from 1994 and 1996 respectively -- the players range from Keezer to Monty Alexander and Bennie Green, bassists Josh Clayton and Christian McBride, and drummers Lewis Nash and Gregory Hutchinson. Disc one is pure Brown majesty as he and the band literally walk, very sprightly, through a series of classics such as "You Are My Sunshine," "Stella by Starlight," Wes Montgomery's "Fried Pies," and "Sunday." But more importantly, they showcase the delicate intricacy of Brown's own compositions on the three-part "Ray Brown Suite," the illustriously lush "Hello Girls" -- with a stunning interplay dialogue between Keezer and Brown -- and the funky "Lined With a Groove" that reveals the Horace Silver soul touch in its melodic line. Disc two is from gigs that showcase the different sides of Brown as a leader: the driven, intense improviser who found a groove and extrapolated upon it until it turned into something else, with Hutchinson and Green on "F.S.R." and "Stardust"; the loping strolling bassist who can drive a band with his easy, slippery phrasing, with Alexander and Nash on "Woogie Boogie"; and the dialogue artist concerned with dynamics and the intricacy of a melody's separate harmonic elements, with McBride, Keezer, and Clayton on "Down by the Riverside." In each case, Brown is the consummate listener, the very archetype of economic musical wisdom and a supreme lyricist in his phrasing. One of the most revealing things about this set is how Brown's true worth as a composer, bandleader, and improviser is not yet known and probably won't be for decades to come. But make no mistake; it will be. This may not be the finest of Brown's moments on record, but the recordings are fine, shining examples of his artistry, and they are, alas, the final examples.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-    Tracklist & Credits :

JAMES MOODY – 1951-1954 | The Chronogical Classics – 1410 (2006) FLAC (tracks+.cue), lossless

Back in New York after three years spent gigging and recording in Europe, a mature and rejuvenated James Moody resumed the endless North American scuffle to get by as a contemporary jazz musician. Volume five in the Classics James Moody chronology presents 16 rare Mercury recordings made between October 1951 and June 1953, followed by eight Prestige titles from January and April, 1954. The first four tracks feature baritone saxophonist Cecil Payne; high points include the rowdy, bristling "Moody's Home" and "Wiggle Waggle," an R&B rocker that sounds like something right up out of the King record catalog. Beginning with the material recorded on May 21, 1952, Moody is heard leading a group largely composed of players who, like him, had worked in Dizzy Gillespie's big band. Two of these individuals -- trumpeter Dave Burns and baritone saxophonist Numa "Pee Wee" Moore -- show up regularly in the front line of Moody's excellent recording ensembles between 1952 and 1955. Special mention should be made of pianist Sadik Hakim as well as hip vocalists Iona Wade, Babs Gonzales, and the amazing Eddie Jefferson, who also served as Moody's band boss and road manager. If the Mercury titles are uniformly excellent, early modern jazz, James Moody's 1954 Prestige recordings, particularly his gorgeous rendition of "Over the Rainbow" and the breathtakingly vivid, dangerously danceable "Mambo With Moody" are enduring masterworks that warrant repeated listening. arwulf arwulf  
Tracklist + Credits :

EARL HINES – 1949-1952 | The Classics Chronological Series – 1288 (2003) FLAC (tracks+.cue), lossless

This disc begins with five excellent recordings that Earl Hines made for the Royal Jazz label in Paris. These joyous, optimistic trio renderings of "Honeysuckle Rose" and "Fine and Dandy" were part of a sizable bundle of great music recorded on November 4, 1949, the balance of which occupies the final eight tracks of Classics 1120. Two days later, Hines created three interesting piano solos for Royal: a relaxed revisit with Maceo Pinkard's old-fashioned love song "Sugar," a tough and powerful remake of "Boogie Woogie on the St. Louis Blues," and "Singing for My French Brothers," during which the pianist scats amiably. In July of 1950, Hines recorded eight outstanding trio performances to be issued on Columbia's newly developed long-playing 33-and-1/3-rpm format. The combination of Hines with bassist Al McKibbon and the impeccable J.C. Heard was remarkably fruitful. "These Foolish Things" seems to unfold as gradually as the dawn, "Velvet Moon" and "When I Dream of You" are slow and reflective, and the rest of this trio's work swings marvelously. "Diane" develops something like a Cuban rhythm halfway through, then prances the rest of the way home. In December of 1952 Hines was able to wax seven sides for the D'Oro label, which was created especially to record the Earl Hines Sextet, with a front line of trumpeter Jonah Jones, trombonist Bennie Green, and Aaron Sachs, who played clarinet and tenor sax. Vocalists heard here are Helen Merrill (this was her very first appearance on record), Lonnie Sattin (who bellows and croons like an Eckstine caricature), and a soulful Etta Jones (who has a lot of fun hollering "Stop"). Hines himself sings over a rhumba called "Ella's Fella," and "Whirl on a Whirl" also has a bit of that rhythmic Caribbean energy running through it. "Green's Corner" -- which in fact uses the bridge from "Love Is Just Around the Corner" -- is a friendly study for trumpet, tenor sax, and trombone with rhythm accompaniment, including brief solos from bassist Tommy Potter and Earl "Fatha" Hines. arwulf arwulf
Tracklist :

SARAH VAUGHAN – 1949-1950 | The Classics Chronological Series – 1166 (2001) FLAC (tracks+.cue), lossless

This fourth installment in the Classics Sarah Vaughan chronology demonstrates her extraordinary versatility during the first stages of a fully blossoming artistic maturity. Four exquisite sides with the Joe Lipman Orchestra are followed by an MGM session in duet with crooner Billy Eckstine, backed by Lipman's Orchestra and strings. Given the fact that it was Eckstine who gave Vaughan her first break in showbiz, the pairing has a special charm. Aside from this MGM deviation, Vaughan was a Columbia recording artist during this time period. By far the best jazz on this disc was recorded on May 18 and 19, 1950, with accompaniment by pianist Jimmy Jones and his band. The front line of Miles Davis, Benny Golson, Budd Johnson, and Tony Scott, backed by the rhythm section of Jones, bassist Billy Taylor, J.C. Heard, and either Mundell Lowe or Freddie Green, matches the vocalist's every nuance to perfection. The combination of Miles Davis and Sarah Vaughan is a marvel not to be missed. There is some confusion between discographies regarding various brassy big band sides, as some tracks are credited both to the Norman Leyden Orchestra (with Bud Powell at the piano!) and to Mitch Miller & His Orchestra. Miller, of course, was no stranger to modern jazz, having also participated in some of Charlie Parker's With Strings sessions. Whoever actually headed the band, Sarah Vaughan's "Perdido" is delightful and invigorating. This interesting disc closes with a wild surprise in the form of "De Gas Pipe She's Leakin' Joe," a campy calypso spoof on the topic of suicide, so atypical of Sarah Vaughan that it could easily fool almost anyone in a blindfold test. The word again is "versatility." arwulf arwulf  
Tracklist + Credits :

CHARLIE VENTURA – 1947-1949 | The Classics Chronological Series – 1149 (2000) FLAC (tracks+.cue), lossless

The main reasons to investigate the recordings of Charlie Ventura are of course his wonderful handling of the tenor saxophone and the excellent ensembles he led. Ventura's recordings were predominately instrumental in 1945 and 1946. As the decade drew to a close, singers dominated the recording industry and many bandleaders chose to feature more and more of them. The third volume of the complete recordings of Charlie Ventura illustrates this process in high relief. Four sides recorded for the National label in September of 1947 spotlight the vocal talents of Buddy Stewart, an able crooner who sounded best when bop scatting like a third horn alongside Ventura and trombonist Kai Winding on "East of Suez" and the dynamic "Eleven Sixty," a masterpiece of high-energy bop that Ventura had recorded in March of 1947 as "Stop and Go." A stack of sides recorded in Chicago during October of 1948 packs a few surprises. Ventura switches to baritone sax on "If I Had You" and begins to feature vocalist Jackie Cain as a lone balladeer and in bop scat tandem with pianist Roy Kral. Their cutely hip, wordless passages closely emulate a widely imitated style of singing perfected by Babs Gonzales. As nice as the vocals are, one begins to relish the sax and trombone breaks, while the increasingly rare instrumental tracks ("Oh, Lady Be Good," "Sweet Georgia Brown," and a gorgeous treatment of "Once in a While") begin to feel like precious nuggets of unaffected inspiration. Three of the four titles recorded for Victor on January 6, 1949, showcase the increasingly popular Jackie & Roy in highly charged bop scat mode. The instrumental "Body and Soul" was Ventura's second recorded outing on baritone sax. A smoky, apparently live nightclub recording of "Fine and Dandy" captures the sound of Ventura's sextet at its most unrestrained and inspired, including fine solos by Bennie Green and trumpeter Conte Candoli. Contrary to what the enclosed discography says, Jackie & Roy do not sing on "Fine and Dandy." By April of 1949, Ventura's act had practically become the Jackie & Roy show, albeit with excellent instrumentation behind the singers. "Flamingo" achieves an interesting balance as the vocalists are mainly heard in the background during the introduction, as if to pave the way for the leader's passionate, sophisticated saxophone. arwulf arwulf  
Tracklist + Credits :

CHARLIE VENTURA – 1949 | The Classics Chronological Series – 1215 (2000) FLAC (tracks), lossless

The height of tenor saxophonist Charlie Ventura's Bop for the People band is covered in this CD. In April 1949 his band consisted of trumpeter Conte Candoli, trombonist Benny Green, Boots Mussulli on alto and baritone, a rhythm section, and vocals from Jackie Cain and pianist Roy Kral. In addition to two songs from a studio session (including the rather eccentric "Barney Google"), there are eight numbers from the group's notable Pasadena concert of May 9, 1949. The additional titles later released by GNP/Crescendo are not included. This CD concludes with sessions from August and September, after Cain and Kral had departed (and gotten married). Teddy Kaye and (a little later) Dave McKenna are on piano, with vocals taken by Betty Bennett, Beverly Brooks, Jimmy Vanelli, and bandmembers. The boppish music is at times almost a self-parody (particularly the nuttier vocals), but the solos are of high quality, particularly those of Candoli. Scott Yanow
Tracklist + Credits :

CHARLIE VENTURA – 1949-1951 | The Classics Chronological Series – 1309 (2003) FLAC (tracks), lossless

Most of the music on this CD from tenor saxophonist Charlie Ventura was formerly scarce. That is certainly true of his RCA recordings that feature his short-lived big band performing seven Duke Ellington compositions. While some of the solos are conventional, the arrangements of George Williams and particularly George Russell are certainly unusual in spots, quite impressionistic. In 1950 Ventura had another big band that also did not last. Its seven selections (five of which were previously unreleased) often utilize haunting vocals by the Honeydreamers and/or Lucy Reed, including "You've Got a Date With the Blues" and "Lonesome Darling." After that orchestra broke up, Ventura returned to playing with small groups. The final two dates on this CD were recorded for Norman Granz's Clef label; a quintet outing with trumpeter Conte Candoli that features boppish versions of six swing standards, and a quartet set with vocals from Betty Bennett, bassist Chubby Jackson, and the Blentones. Although not quite essential, this collection from Classics is valuable in making former rarities available. Scott Yanow
Tracklist + Credits :

WARDELL GRAY – 1946-1950 | The Classics Chronological Series – 1264 (2002) FLAC (tracks+.cue), lossless

Here you have the first installment in the Classics Wardell Gray chronology. His earliest appearances on record can be found on this label's surveys of Earl Hines and Billy Eckstine. Having this brilliant saxophonist's recordings laid out in exact chronological order is both a treat for the connoisseur and a perfect introduction for those who haven't yet had the pleasure. Wardell Gray's first session as a leader took place in Los Angeles on November 23, 1946, in the excellent company of pianist Dodo Marmarosa, bassist Red Callender, and alternate drummers Harold "Doc" West and Chuck Thompson. These Sunset recordings were not issued commercially and languished for years in obscurity. Here the Lester Young influence is palpable, and Gray was gracious enough to acknowledge his idol with "One for Prez." The next step of the chronology lands listeners in New York during April and May of 1948, whereupon the saxophonist made four brilliant sides for the Sittin' in With record label backed by a rhythm trio featuring pianist Al Haig, and then sat in as a member of a septet led by virtuoso percussionist J.C. Heard. While the quartet date spotlights Gray and Haig, the Heard band glows with a front line of trumpeter Joe Newman, trombonist Benny Green, baritone saxophonist Tate Houston, and Wardell Gray. (Anyone who really loves this kind of music will feel better just contemplating that lineup.) After a smart little study in bop scat singing by Buddy Stewart, the next installment is the justifiably famous New Jazz session of November 11, 1949. Securely supported by Al Haig, Tommy Potter, and Roy Haynes, on that day Wardell Gray blew some of the best jazz of his entire all-too-brief career. The producers of the Classics Chronological Series wisely opted to present only the master takes, although interested parties are encouraged to tap into Wardell Gray Memorial, Vol. 1 on Prestige for multiple takes of both "Southside" and especially "Twisted" for audible proof of this man's wealth of creativity and imagination. Speaking of Prestige, this mind-blowing treasure trove of great vintage bop closes with four sides recorded for that label in Detroit, MI, on April 25, 1950. It's the perfect closer for this potent little package of essential early modern jazz. Every track is strong and solid, tight and righ arwulf arwulf t.
All Tracks & Credits :

SLIM GAILLARD – 1951-1953 | The Classics Chronological Series – 1437 (2007) FLAC (tracks+.cue), lossless

During the early 1950s, producer Norman Granz managed quite a number of seasoned jazz musicians with challenging personalities; these included Charlie Parker, Billie Holiday, Lester Young and Bulee "Slim" Gaillard. Each of these individuals struggled with tendencies, habits and addictions; Gaillard would outlive Bird, Pres and Lady Day but his career was beginning to unravel and he wouldn't fully regain his popularity until his London-based comeback during the '80s. Volume eight in the Classics Slim Gaillard chronology presents 19 recordings made between August 1951 and December 1953, and issued by Granz on the Mercury, Clef and Norgran labels. Although adept as both pianist and vibraphonist, Gaillard excelled primarily as a singing guitarist during the '50s. His wild sense of humor extends even unto the names of the groups represented here. They are Slim Gaillard & His Middle Europeans, Slim Gaillard & His Atomic Engineers, Slim Gaillard & His Southern Fried Orchestra, Slim Gaillard & His Bakers Dozen, Slim Gaillard & His Shintoists and Slim Gaillard & His Musical Aggregation, Wherever He May Be. Although some of the personnel remain anonymous, Granz made sure to include several master musicians in some of Gaillard's groups; these included bassist Ray Brown and trombonist Benny Green as well as Kansas City-trained saxophonists Ben Webster and Buddy Tate. The December 1952 session that resulted in "Gomen Nasai (Forgive Me)" and a cheery paean to snack food titled "Patato Chips" documents a rare occasion when vibraphonist Milt Jackson sat in at the drums. On this compilation, Gaillard presents two distinctive aspects of his public persona: the squirrelly novelty performer who was a borderline surrealist ("Yip Roc Heresy," "The Hip Cowboy," "Chicken Rhythm") and the well-oiled crooner who reinvented Billy Eckstine's romantic chortling aesthetic. Slim Gaillard obviously loved to ladle on the Grenadine, even if Mr. Hyde was invariably present, softly giggling behind a debonair layer of polished veneer. arwulf arwulf  
Tracklist :
1    Slim Gaillard And His Middle Europeans–    For You 2:57
2    Slim Gaillard And His Middle Europeans–    Yip Roc Heresy 2:33
3    Slim Gaillard And His Atomic Engineers–    The Hip Cowboy 2:45
4    Slim Gaillard And His Orchestra–    Chicken Rhythm 2:31
5    Slim Gaillard–    I Only Have Eyes For You 2:36
6    Slim Gaillard–    As You Are 2:31
7    Bulee Gaillard And His Southern Fried Orchestra–    St. Louis Blues 2:21
8    Bulee Gaillard And His Southern Fried Orchestra–    I Know What To Do 2:34
9    Slim Gaillard And His Orchestra–    Taxpayers Blues 2:28
10    Slim Gaillard And His Orchestra–    Eatin' With The Boogie 2:31
11    Slim Gaillard And His Musical Aggregations, Wherever He May Be–    Make It Do 2:51
12    Slim Gaillard And His Musical Aggregations, Wherever He May Be–    You Goofed 2:47
13    Slim Gaillard And His Musical Aggregations, Wherever He May Be–    I Can't Give You Anything But Love 2:40
14    Slim Gaillard And His Musical Aggregations, Wherever He May Be–    This Is My Love 2:34
15    Slim Gaillard And His Shintoists–    Gomen Nasai (Forgive Me) 2:35
16    Slim Gaillard And His Bakers Dozen–    Potato Chips 3:07
17    Slim Gaillard And His Orchestra–    I'm In The Mood For Love 2:41
18    Slim Gaillard And His Orchestra–    Mishugana Mambo 2:22
19    Slim Gaillard And His Orchestra–    Go, Man, Go 2:43
Credits :    
Bass – Clyde Lombardi (tracks: 1 to 4), Ray Brown (tracks: 15, 16), Unknown Artist (tracks: 17 to 19)
Brass – Unknown Artist (tracks: 17 to 19)
Chorus – Unknown Artist (tracks: 5)
Drums – Charlie Smith (tracks: 1 to 4), Milt Jackson (tracks: 15, 16), Unknown Artist (tracks: 17 to 19)
Orchestra – Unknown Artist (tracks: 5 to 14)
Piano – Cyril Haynes (tracks: 15, 16), Maceo Williams (tracks: 1 to 4), Unknown Artist (tracks: 17 to 19)
Strings – Unknown Artist (tracks: 5, 6)
Tenor Saxophone – Ben Webster (tracks: 15, 16), Buddy Tate (tracks: 1 to 4)
Trombone, Alto Saxophone – Benny Green (tracks: 1 to 4)
Vocals, Guitar – Slim Gaillard

GARY BARTZ - Shadows (1991-2015) RM | Timeless Jazz Master Collection 28 | FLAC (tracks+.cue), lossless

Veteran alto and soprano saxophonist Gary Bartz's debut recording for the Dutch Timeless label is one of his finest efforts as he enlisted the services of pianist Benny Green, bassist Christian McBride, drummer Victor Lewis, and tenor saxophonist Willie Williams on three selections to perform an unusual program of one Bartz composition, three jazz classics, two movie themes, and one radio theme. Bartz's strong tone, sense of swing, and improvisational imagination place him within the ranks of jazz's finest saxophonists, and he proves it throughout this recording. Favorites include the title track, which is actually two Bartz compositions, one medium, one up, joined by an excellent McBride bass solo; John Coltrane's "Song of the Underground Railroad," performed up-tempo, in the spirit of Coltrane all the way down to a blistering sax-drums duet; McCoy Tyner's "Peresina," a medium Afro-Latin number with the melody played by the not-heard-enough combination of tenor and alto sax; and Wayne Shorter's "Children of the Night" where the melody is played over a hip groove by McBride and Lewis and features one of the best Bartz solos on record. McBride, who just had turned 19 at the time of this recording, displays a huge tone, solid time, and the improvisational ability of a more experienced musician, while Lewis' dynamic drumming lays down a solid foundation along with McBride's bass, serving as the catalyst for the excellence of this recording. Shadows is an excellent addition to Bartz's extensive discography. Greg Turner  
Tracklist :
1    Marion's Theme 9:45
John Williams   
2     Shadows 12:30
Gary Bartz   
3     Song of the Underground Railroad 10:25
John Coltrane   
4     Peresina 14:35
McCoy Tyner
5     How Do You Keep the Music Playing? 4:50
Alan Bergman / Marilyn Bergman / Michel Legrand
6     Children of the Night 9:32
Wayne Shorter   
7     Holiday for Strings 7:41
David Rose
Credits :
Alto Saxophone, Soprano Saxophone – Gary Bartz
Bass – Christian McBride
Drums – Victor Lewis
Piano – Benny Green
Tenor Saxophone – Willie Williams

RAY BROWN TRIO ft. ULF WAKENIUS — Seven Steps to Heaven (1995) FLAC (image+.cue), lossless

The Ray Brown Trio in 1995 featured pianist Benny Green and drummer Gregory Hutchinson along with the leader/bassist. In the tradition of the mid-'50s Oscar Peterson Trio, the group featured tight arrangements with concise but consistently brilliant solos. For this Telarc session, guitairst Ulf Wakenius (a little reminiscent of Herb Ellis) fits in perfectly. Highlights include "Seven Steps to Heaven" and "Cotton Tail.". Scott Yanow
Tracklist :
1     Two Rbs 6:05
Ray Brown
2     Seven Steps to Heaven 4:03
Miles Davis / Victor Feldman
3     Dejection Blues 6:02
Ray Brown
4     Thumb 4:08
Wes Montgomery
5     My Romance 5:01
Lorenz Hart / Richard Rodgers
6     Cotton Tail 6:48
Duke Ellington
7     Samba de Orfeu 4:49
Luiz Bonfá / Antônio Maria
8     No Greater Love 7:14
Isham Jones / Marty Symes
9     In a Sentimental Mood 5:38
Duke Ellington / Manny Kurtz / Irving Mills
10     Stella by Starlight 9:01
Ned Washington / Victor Young
11     Things Ain't What They Used to Be 4:16
Mercer Ellington / Ted Persons
Credits :
Bass – Ray Brown
Drums – Gregory Hutchinson
Guitar – Ulf Wakenius
Piano – Benny Green