BUD SHANK — Bud Shank Quartet ft. Claude Williamson (1956) Two Version (2003, RM | MONO | Serie Super Bit Jazz Classics ) + (2007, RM | MONO | Serie Pacific Jazz 決定盤 1500 – 5) FLAC (tracks+.cue), lossless

Tracklist :
1    A Night In Tunisia 4:00
Written-By – Gillespie, Paparelli
2    Tertia 8:32
Written-By – Claude Williamson
3    All Of You 6:03
Written-By – Cole Porter
4    Theme 3:55
Written-By – Claude Williamson
5    Jive At Five 4:29
Written-By – Basie, Edison
6    Softly As In A Morning Sunrise 5:18
Written-By – Hammerstein, Romberg
7    Polka Dots And Moonbeams 3:35
Written-By – Van Heusen-Burke
8    Pavane 6:09
Written By – Maurice Ravel
– BONUS TRACK –
9    Tangerine    5:21
Credits :
Alto Saxophone, Flute – Bud Shank
Bass – Don Prell
Drums – Chuck Flores
Piano, Celesta – Claude Williamson

DAVUD FRIESEN — Two for the Show (1993) APE (image+.cue), lossless

David Friesen's Two for the Show is a series of brilliant duets featuring the bassist with six different musicians. Not only does he set an incredibly fast tempo for tenor saxophonist Michael Brecker as he introduces Sonny Rollins' "Airegin," but his complex line inspires Brecker to some of his best playing of his career. The perennial favorite "Old Folks" finds Friesen taking a back seat to the brittle, very personalized guitar of John Scofield. Uwe Kropinski sticks to acoustic guitar for his two tracks, including Friesen's adventurous "On the Road With Jazz" and Kropinski's gypsy-flavored "Pianola." "Alone Together" opens with alto saxophonist Bud Shank unaccompanied before Friesen's imaginative bassline weaves in underneath him in a spellbinding improvisation. Friesen's duets with frequent partner Denny Zeitlin are always magical; their two tracks, taken from a 1992 gig at the Jazz Bakery, include the bassist's lyrical ballad "In Times Past," while the pianist's bittersweet ballad "Maybe in Spring" also packs an emotional punch. Their chemistry together, as always, is perfect. But it is hard for anyone to upstage Clark Terry, whose instantly recognizable sound commands attention. Both Terry (on flugelhorn) and Friesen pull all stops on a brisk take of "I Want to Be Happy"; Terry switches to muted trumpet for the understated swinger "Breeze." It is hard to imagine David Friesen and his guests wanting to stop recording after two tracks during each session, because it's obvious that they were having a great time and it would have been easy to imagine an entire CD by the bassist with any one of the artists. Here's hoping that there are still tracks left in the vault for a follow-up release. Ken Dryden
Tracklist :
1    Airegin 4:56
Written-By – Rollins
2    True Blue 7:48
Written-By – Friesen
3    I Want To Be Happy 2:55
Written-By – Caeser, Youmans
4    In Times Past 7:12
Written-By – Friesen
5    Alone Together 4:46
Written-By – Dietz/Schwartz
6    On The Road With Jazz 4:53
Written-By – Friesen
7    Signs And Wonders 6:04
Written-By – Friesen
8    Old Folks 6:15
Written By – Hill / Robinson
9    Breeze    5:18
10    Maybe In Spring 7:46
Written-By – Zeitlin
11    Double Take 3:14
Written-By – Friesen
12    Pianola 4:10
Written-By – Kropinski
Credits :
Acoustic Guitar – Uwe Kropinski (tracks: 6, 12)
Alto Saxophone – Bud Shank (tracks: 5, 11)
Electric Guitar – John Scofield (tracks: 2, 8)
Flugelhorn, Trumpet – Clark Terry (tracks: 3, 9)
Grand Piano [Acoustic] – Denny Zeitlin (tracks: 4, 10)
Tenor Saxophone – Michael Brecker (tracks: 1, 7)

PEGGY LEE — Black Coffee & Dream Street : The Complete Sessions (2009) FLAC (tracks+.cue), lossless

Black Coffee (1956)
1. Black Coffee (3:09)
Written-By – Paul Francis Webster, Sonny Burke
2. I've Got You Under My Skin (2:32)
Written-By – Cole Porter
3. Easy Living (2:47)
Written-By – Leo Robin, Ralph Rainger
4. My Heart Belongs to Daddy (2:12)
Written-By – Cole Porter
5. It Ain't Necessarily So (3:26)
Written-By – George & Ira Gershwin
6. Gee Baby, Ain't I Good to You? (3:26)
Written-By – Andy Razaf, Don Redman
7. A Woman Alone with the Blues (3:17)
Written-By – Willard Robison
8. I Didn't Know What Time It Was (2:21)
Written-By – Richard Rodgers-Lorenz Hart
9. (Ah, the Apple Trees) When the World Was Young (3:21)
Written-By – Angele Uannier, Johnny Mercer, M. Philippe Gerard
10. Love Me or Leave Me (2:11)
Written-By – Gus Kahn, Walter Donaldson
11. You're My Thrill (3:26)
Written-By – Jay Gorney, Sidney Clare
12. There's a Small Hotel (2:48)
Written-By – Richard Rodgers-Lorenz Hart
13. Do I Love You? (1:37)
Written-By – Cole Porter
14. Guess I'll Go Back Home (This Summer) (3:19)
Written-By – Ray Mayer, Willard Robison
Dream Street (1956)
15. Street of Dreams (3:23)
Written-By – Sam M. Lewis, Victor Young
16. What's New (3:00)
Written-By – Bob Haggart, Johnny Burke
17. You're Blase (2:50)
Written-By – Bruce Sievier, Ord Hamilton
18. It's All Right with Me (2:24)
Written-By – Cole Porter
19. My Old Flame (2:39)
Written-By – Arthur Johnston, Sam Coslow
20. Dancing on the Ceiling (3:41)
Written-By – Richard Rodgers-Lorenz Hart
21. It Never Entered My Mind (3:02)
Written-By – Richard Rodgers-Lorenz Hart
22. Too Late Now (3:49)
Written-By – Alan Jay Lerner, Burton Lane
23. I've Grown Accustomed to His Face (2:47)
Written-By – Alan Jay Lerner-Frederick Loewe
24. Something I Dreamed Last Night (2:30)
Written-By – Herbert Magidson, Jack Yellen, Sammy Fain
25. Last Night When We Were Young (2:57)
Written-By – Yip Harburg, Harold Arlen
26. So Blue (2:14)
Written-By – Buddy G. DeSylva, Lew Brown, Ray Henderson
27. I Still Get a Thrill (Thinking of You) (2:21)
Written-By – Benny Davis, J. Fred Coots
Credits :
Arranged By – Shorty Rogers (tracks: 15 to 27), Sy Oliver (tracks: 15 to 27)
Bass – Buddy Clark (tracks: 5, 6, 11 to 14), Max Wayne (tracks: 1 to 4, 7 to 10)
Drums – Ed Shaughnessy (tracks: 1 to 4, 7 to 10), Nick Fatool (tracks: 15 to 27)
Drums, Vibraphone – Larry Bunker (tracks: 5, 6, 11 to 14)
Flute, Saxophone – Bud Shank (tracks: 15 to 27)
Guitar – Bill Pitman (tracks: 5, 6, 11 to 27)
Harp – Stella Castellucci (tracks: 5, 6, 11 to 27)
Piano – Jimmy Rowles (tracks: 1 to 4, 7 to 10), Lou Levy (tracks: 5, 6, 11 to 14)
Saxophone – Bob Cooper (tracks: 15 to 27)
Trumpet – Pete Candoli (tracks: 1 to 4, 7 to 10)
Vibraphone, Percussion – Larry Bunker (tracks: 15 to 27)
Vocals – Peggy Lee
This cd contains the complete sessions from Peggy Lee's two celebrated albums "Black Coffee" and "Dream Street", marking the first time ever that either of these LPs is released with all of the tracks from its studio dates.

Black Coffee :
1-4 & 7-10: New York, April 30, May 1 & May 4, 1953
5-6 & 11-14: LOs Angeles, April 3, 1956

Dream Street :
15-27: Los Angeles, June 5 & 7, 1956
Bass on these sessions was either played by Max Bennett or Buddy Clark.

Tracks 13, 14, 27: from the same sessions but not issued on the original LPs.

BUD SHANK | BILL PERKINS — Bud Shank and Bill Perkins (1998) MONO | Serie West Coast Classics | FLAC (tracks+.cue), lossless

Two of the stars of cool jazz, Bud Shank and Bill Perkins, are featured to various degrees throughout this session. Shank in the 1950s was practically the epitome of West Coast jazz. His cool tones on alto and his fluid flute were utilized on many dates; the main set here also finds him switching in spots to tenor and baritone. Perkins, always a versatile reed soloist, is best known for his tenor playing but during that date he also plays alto, and (on two versions of "Fluted Columns") there are some rare examples of his flute. Shank and Perkins team up quite effectively with pianist Hampton Hawes, bassist Red Mitchell, and drummer Mel Lewis for the May 2, 1955 session, which includes a trio feature for Hawes ("I Hear Music"). Four numbers from February 19, 1956 (with Shank on flute and alto, pianist Russ Freeman, bassist Carson Smith, drummer Shelly Manne, and, on "Brother, Can You Spare a Dime?," Perkins on tenor) are actually from a session led by Freeman but never completed, and were only put out previously on samplers. "Angel Eyes" (by a quartet with Perkins and pianist Jimmy Rowles) is a leftover track from a later date, as is "Sonny Speaks," which showcases Rowles in a trio without Perkins. This set concludes with the one surviving number ("Ain't Got a Dime to My Name") surviving from a truncated Perkins quartet set from 1958. Taken as a whole, there are many rewarding solos to be heard by Shank, Perkins, and the piano players on these formerly rare selections, even if the collection falls short of being classic. Scott Yanow   Tracklist & Credits

RAY BROWN — The Best Of The Concord Years (2002) 2xCD | FLAC (image+.cue), lossless

Ray Brown was in at the beginning of the Concord Jazz record label in the early '70s, and starting with Brown's Bag in 1975, he recorded a dozen albums as a leader for Concord before departing for Telarc Records in the early '90s. This two-disc compilation, with a running time of almost two hours and 20 minutes, presents 24 selections drawn from 19 Concord Jazz albums recorded between 1973 and 1993, including live performances at the Concord Jazz Festivals, recordings by Brown's trio and the L.A. 4, and a Brown duet with Jimmy Rowles, among other configurations. As a bass player, Brown only rarely solos, so one usually notices the horn players (Harry "Sweets" Edison, Red Holloway, Plas Johnson, Richie Kamuca, Blue Mitchell, Ralph Moore, and Bud Shank), the pianists (Monty Alexander, George Duke, Gene Harris, Art Hillery, and Rowles), or other frontline musicians (guitarists Laurindo Almeida, Herb Ellis, and Joe Pass, violinist John Frigo) before the rhythm section. But even when Brown isn't stepping out, he is maintaining the group's swing, along with drummers John Guerin, Jeff Hamilton, Jake Hanna, Gerryck King, Shelly Manne, Mickey Roker, and Jimmie Smith, and he also wrote a number of the tunes. Brown had done relatively few sessions as a leader in the 30 years of his career prior to his association with Concord, so, while the label owes him a lot, he also was enabled to flourish with the company in a way he had not before, and that is reflected in this well-chosen compilation. William Ruhlmann
Tracklist & Credits :

OLIVER NELSON — Skull Session (1975-2002) RM | RCA Victor Gold Series | FLAC (tracks+.cue), lossless

Skull Session is hardly up to snuff for the talented and overworked Nelson, who was busy scoring TV shows at the time. The title track is a fun little dabble in electronic funk, but the rest seems beneath Nelson's abilities, as it takes his signature sounds, adds disco, dumbs down the themes, and finishes it off with pedestrian solos from L.A. studio musicians. Douglas Payne  Tracklist & Credits :

ART PEPPER — Art Pepper + Eleven (1959-1986) APE (image+.cue), lossless

This is a true classic. Altoist Art Pepper is joined by an 11-piece band playing Marty Paich arrangements of a dozen jazz standards from the bop and cool jazz era. Trumpeter Jack Sheldon has a few solos, but the focus is very much on the altoist who is in peak form for this period. Throughout, Pepper sounds quite inspired by Paich's charts which feature the band as an active part of the music rather than just in the background. Highlights of this highly enjoyable set include "Move," "Four Brothers," "Shaw Nuff," "Anthropology," and "Donna Lee," but there is not a single throwaway track to be heard. Essential music for all serious jazz collections. [Some reissues add two additional versions of "Walkin'" and one of "Donna Lee" to the original program.] Scott Yanow    Tracklist & Credits :

BARNEY KESSEL — Barney Kessel Volume 1 : Easy Like (1956-2006) RM | MONO | APE (image+.cue), lossless

Other than four songs apiece released by Onyx and Verve, the CD reissue of Easy Like, Vol. 1 has guitarist Barney Kessel's first sessions as a leader, performances which launched his longtime association with the Contemporary label. Augmented by two "new" alternate takes, the set features Kessel in boppish form with quintets in 1953 and 1956 featuring, either Bud Shank or Buddy Collette doubling on flute and alto. Kessel shows off the influence of Charlie Christian throughout the performances, with the highlights including "Easy Like," "Lullaby of Birdland," "North of the Border," and the accurately titled "Salute to Charlie Christian." Scott Yanow
Tracklist :
1 Easy Like 4:04
Barney Kessel
2 Tenderly 4:06
Walter Gross / Jack Lawrence
3 Lullaby of Birdland 3:16
George Shearing / George David Weiss
4 What Is There to Say? 3:10
Vernon Duke / E.Y. "Yip" Harburg
5 Bernardo 3:34
Barney Kessel
6 Vicky's Dream 2:37
Barney Kessel
7 Salute to Charlie Christian 2:52
Barney Kessel
8 That's All 3:18
Alan Brandt / Bob Haymes
9 I Let a Song Go Out of My Heart 4:12
Duke Ellington / Irving Mills / Henry Nemo / John Redmond
10 Just Squeeze Me (But Don't Tease Me) 3:41
Duke Ellington / Lee Gaines
11 April in Paris 3:00
Vernon Duke / E.Y. "Yip" Harburg
12 North of the Border 2:46
Barney Kessel
13 Easy Like 2:44
Barney Kessel
14 North of the Border 2:44
Barney Kessel
Credits :
Bass – Harry Babasin (tracks: 3 to 8, 10, 11), Red Mitchell (tracks: 1, 2, 9, 12 to 14 )
Drums – Shelly Manne
Flute, Alto Saxophone – Bud Shank (tracks: 3 to 8, 10, 11), Buddy Collette (tracks: 1, 2, 9, 12 to 14 )
Guitar – Barney Kessel
Piano – Arnold Ross (tracks: 3 to 8, 10, 11), Claude Williamson (tracks: 1, 2, 9, 12 to 14 )

STAN KENTON AND HIS ORCHESTRA – 1950 | The Classics Chronological Series – 1185 (2001) FLAC (tracks), lossless

There is a gap in the Stan Kenton chronology. It begins with the ellipsis caused by the second commercial recording ban mandated by the American Federation of Musicians, which was in effect throughout most of 1948. Unable to continue making studio recordings, Kenton toured with his mammoth orchestra until he wore himself down and disbanded on December 14, only days before AFM president James C. Petrillo lifted the ban. Kenton apparently needed a break; it wasn't until February 1950 that he resumed making records for Capitol. Kenton's Innovations in Modern Music Orchestra consisted of 37 players; he was now straddling a 23-piece big band plus strings. The sessions that took place in Los Angeles on February 3, 4, and 5 1950 resulted in some of Kenton's most theatrical and dramatically charged recordings; more than half of them were issued on 12" 78 rpm platters, which allowed for extended durations of between four and five minutes. Pete Rugolo's suspenseful tone poem titled "Conflict" is one of the weirdest. Scored almost as if intended for a Hollywood sci-fi movie and using elements that seem to lead directly back to Anton Webern's Opus 6, "Conflict" combines oozing, queasy tonalities with unsettling percussion, sudden blasts from startled trumpets, and an eerie wordless vocal by June Christy. Kenton also continued to experiment with Latin American-flavored jazz; Neal Hefti's "In Veradero" and Laurindo Almeida's "Mardi Gras," which tap into Brazilian traditions, feature ensemble vocals generated by members of the band and their families. With players like Art Pepper, Bud Shank and Shorty Rogers on board, 1950 turns out to be one of the better installments in the Classics Stan Kenton chronology. arwulf arwulf  
Tracklist & Credits :

STAN KENTON AND HIS ORCHESTRA – 1950-1951 | The Classics Chronological Series – 1255 (2002) FLAC (tracks+.cue), lossless

Illness, exhaustion and a national recording ban imposed by executives heading the American Federation of Musicians forced Stan Kenton to disband and withdraw from the music scene in December 1948. The hiatus lasted until February 1950, when he resumed making records for the Capitol label (see Classics 1185, Stan Kenton & His Orchestra 1950). Classics 1255, 1950-1951, which is the seventh volume in the Classics Kenton chronology, contains all of the recordings he made with his big band between May 18 1950 and March 20 1951. By and large, Kenton's music sounded better than ever during this period. His 37-piece Innovations Orchestra, which nearly bankrupted him when he took it on a national tour that set him back something like two hundred grand, performed attention-getting music using ambitiously conceived "progressive" arrangements. Kenton shared composing and arranging duties with Laurindo Almeida, Shorty Rogers and the ever-imaginative Pete Rugolo. In addition to dynamic studies focusing upon the brass and string sections, as well as the cello department in particular, a series of pieces were created as portraits of bandmembers June Christy, Art Pepper, Maynard Ferguson and Shelly Manne. Two tracks cut on August 16 1950 feature pianist and vocalist Nat King Cole, who maintained his composure amid blasts from the brass and shouts from the band during "Orange Colored Sky" -- note that the vocal routine used by the band is a precise word-for-word imitation of the famously rowdy version by that "Incendiary Blonde" Betty Hutton. Kenton bowed to convention by employing a resonant crooner and Billy Eckstine impersonator by the name of Jay Johnson; there is also a wistful band vocal on "September Song." Kenton continued to employ Latin American percussionists to spice up his Caribbean-style arrangements; Cole Porter's "Love for Sale" works very nicely under the influence of Miguel Ramon Rivera's conga drumming. Lest anyone should complain that this band didn't play enough melodies that could be whistled or hummed, Kenton's old chum Vido Musso's tenor sax was featured on the familiar "Santa Lucia" and a dramatic rendering of "Vesti la Giubba," the famous aria from Ruggero Leoncavallo's opera Pagliacci. After capping all of this with the delightful "Artistry in Tango" and savoring Bud Shank's graceful solo on Pete Rugolo's "Theme for Alto," one can begin to understand how and why Kenton's early-'50s band enjoyed increasing popularity in its day. Much of what he'd recorded during the previous decade pales by comparison. arwulf arwulf  
Tracklist : 

STAN KENTON AND HIS ORCHESTRA - 1951 | The Classics Chronological Series – 1292 (2003) FLAC (tracks), lossless

The Classics chronological volume 1951 includes the last recordings from Stan Kenton's Innovations Orchestra, which he dissolved by the end of the year. (Carrying a band of 40 pieces on cross-country tours came to a fantastic expense, and the band's heady charts prevented it from becoming a moneymaker). From a late March session, "Dynaflow" became one of the Kenton band's finest charts, though the flip side (a humorous Mexican novelty called "Tortillas and Beans") doesn't wear as well, despite some excellent work from the brass. The next session, from May, brought two bizarre sides: a trad version of "Laura," with the whole band delivering a stoic chorus vocal, and a boogie version of "Stardust" that worked slightly better. "Coop's Solo," for tenor Bob Cooper, is one of the most famous numbers associated with the Innovations Orchestra, and a six-song standards date from September included several excellent features for singer June Christy ("Easy Street," "Come Rain or Come Shine"). Roughly half-a-dozen titles make their CD debut (apart from Mosaic's unapproachable The Complete Capitol Recordings of Stan Kenton), and didn't even appear on Capitol's two-disc Innovations Orchestra set. John Bush  
Tracklist :

STAN KENTON AND HIS ORCHESTRA – 1951-1952 | The Classics Chronological Series – 1428 (2006) FLAC (tracks), lossless

This is volume nine in the Classics Stan Kenton chronology. It opens with the last recordings made by Kenton's Innovations in Modern Music Orchestra, a gigantic ensemble that included quite a number of violins, violas and celli. These fascinating episodes were recorded on December 5 and 7 1951, using ultra-modern compositions by Bob Graettinger, who had earlier made his mark upon Kenton's band with something called "Thermopylae." Many consider "City of Glass" to be Graettinger's magnum opus; it certainly occupies its own plateau within the Kenton chronology and, for that matter, in all of modern music. Gloriously dissonant, wonderfully disorienting and beautifully bizarre, this three-movement work was realized in four sections owing to the temporal limitations of the 12" 78 rpm phonograph record. What makes this particular reissue all the more exciting is the fact that the exacting chronology shuffles the order of the movements; "Third Movement -- Reflections" was recorded (and is therefore heard) first; then comes "Second Movement -- Dance Before the Mirror," and finally the "First Movement" in two parts: "Entrance into the City" and "The Structures." Although this non-linear sequence technically fractures the plot of the piece, it actually works quite well and adds up to a splendid postmodern restructuring of an already convoluted artwork. Graettinger's dystopian film noir metropolis becomes a musicological non-orientable Möbius strip, reverberating with echoes from Arnold Schoenberg tempered by premonitions of Ornette Coleman's "Skies of America." Naturally, most United States citizens who heard this music were terrified and alienated. Kenton's next move was to chuck the string section and scale his band down to 20 pieces for his "New Concepts of Artistry in Rhythm" project. Between January 21 and March 20 1952, Kenton recorded jazzier, more accessible-sounding music that went over okay with audiences interested in dancing and acting stylish. While "progressive" works such as "Modern Opus (Graettinger Moods)" would continue to surface from time to time, Kenton made stylistic concessions in order to remain solvent. In addition to a smoothly sentimental vocal by the band on "Tenderly," this compilation includes six performances by Jerri Winters, a singer who blatantly imitated Sarah Vaughan's every nuance. One of these numbers, simply titled "Yes," was composed by Viviane Greene and initially recorded by Mabel Scott; it is an uncommon example of R&B repertoire making its way into the Kenton discography. arwulf arwulf
Tracklist :

STAN KENTON AND HIS ORCHESTRA - 1952-1953 | The Classics Chronological Series – 1461 (2008) FLAC (tracks), lossless

Volume 10 in the complete works of Stan Kenton as presented in the Classics chronological series opens with more of Kenton's progressive modern jazz recorded in March 1952. Gene Roland's "Beehive" is a well-constructed and smoothly executed piece of work, well among the grooviest tracks in the entire early Kenton discography. Robert Graettinger's "A Cello," on the other hand, uses strings and woodwinds (including a bassoon) to conjure a pleasantly dissonant, five-minute chamber episode that suggests the influence of Arnold Schoenberg or Ernst Krenek. Tracks 3 through 17 represent a reissue of Kenton's New Concepts of Artistry in Rhythm album recorded in September 1952 and released shortly afterwards on the Capitol label. Bill Russo's "Prologue," which is presented here in four parts, is Kenton's attempt to claim dominance over the art of improvisation, almost as if nobody had thought of it before him. His boastful narration outlines the program in these words: "The character of the music to follow is the result of their understanding and adjustment to each other. Some of the music is written, some is improvised. There are times when a musician will express his individuality, and other moments when he will melt with the rest to create an organized sound. This is a cross-section view of this orchestra." It is supremely ironic that Kenton was making a record like this for Capitol only three years after Lennie Tristano had encountered uncomprehending and cynical resistance when he attempted to make records for that label using the principles later outlined so authoritatively by Kenton. With Tristano at that session in early 1949 was alto saxophonist Lee Konitz, and it is quite possible that Konitz actually imparted some of Tristano's teachings through Russo to Kenton, who in turn presented them to the public as more of his New Concepts of Artistry in Rhythm. When Tristano tried it at Capitol, the engineers went so far as to erase some of his work. By September of 1952, the same concept was taken seriously by the people at Capitol because it was being advanced by Kenton, who clearly relished talking it up. Several additional Russo compositions were designed for soloists in the band at that time: "Frank Speaking" spot lights trombonist Frank Rosolino, "Portrait of a Count" features trumpeter Conte Condoli, and Konitz's delivery on "My Lady" is one of the high points of the entire album. Other original compositions are by Gerry Mulligan ("Young Blood" and "Swing House") and Bill Holman, whose "Invention for Guitar and Trumpet" showcases Sal Salvador and Maynard Ferguson. Kenton's band at this point also included saxophonists Richie Kamuca and Bud Shank, as well as vocalist Kay Brown. This segment of the Kenton chronology closes with half a dozen beautifully interpreted standards dating from January 1953. The next phase of his odyssey would find the orchestra embarking on a European tour, during which the band was well received and more excellent recordings were made. arwulf arwulf

L.A. 4 - The L.A. Four Scores! (1975-2014) FLAC (image+.cue), lossless

 Altoist Bud Shank (who doubles on flute) and acoustic guitarist Laurindo Almeida first teamed up in 1954 to make a couple of albums called Brazilliance that hinted at but greatly predated bossa nova. Shank and Almeida came together 20 years later to form the L.A. Four, a quartet also including bassist Ray Brown and drummer Shelly Manne. Their debut recording as a unit was made at the 1974 Concord Jazz Festival, and it finds the appealing musicians blending together well on bossa nova tunes (including "Manha de Carnaval"), Almeida's classical-oriented originals, and some swing. This was a particularly inventive chamber jazz band. by Scott Yanow
Tracklist :
1     Sundancers 7:38
Bud Shank
2     Carioca Hills 3:53
Laurindo Almeida
3     Allemande and the Fox 3:58
Laurindo Almeida
4     Berimbau Carioca 6:29
Laurindo Almeida
5     Cielo 4:51
Laurindo Almeida
6     Prelude, Opus 28, No. 4/How Insensitive 5:17
Norman Gimbel / Antônio Carlos Jobim
7     Old Time Rag 1:47
Laurindo Almeida
8     Manha de Carnaval 8:30
Luiz Bonfá
Credits :
Bass – Ray Brown
Drums – Shelly Manne
Flute – Bud Shank
Guitar – Laurindo Almeida
Saxophone [Alto] – Bud Shank

L.A. 4 - Concierto de Aranjuez (1976-1987) FLAC (tracks+.cue), lossless

The second recording and first studio set by the L.A. Four matched together Bud Shank on alto and flute, guitarist Laurindo Almeida, bassist Ray Brown, and drummer Shelly Manne for a diverse yet consistently enjoyable program. The selections range from "Dindi" and "Manteca" to "St. Thomas" and a 13-minute exploration of "Concierto de Aranjuez." As usual, the band mixes together bossa nova and Brazilian jazz, some touches of classical music, and cool-toned bop. Recommended as a strong example of the group's appealing sound. by Scott Yanow
Tracklist :
1     Dindi 5:55
Ray Gilbert / Antônio Carlos Jobim
2     Rainbows 6:46
Bud Shank
3     Rondo Espressivo 4:44
Emanuel Bach
4     Manteca 7:46
Gil Fuller / Dizzy Gillespie / Chano Pozo
5     St. Thomas 7:30
Sonny Rollins
6     Concierto de Aranjuez: Adagio Movement 13:14
Joaquín Rodrigo
Credits :
Alto Saxophone, Flute – Bud Shank
Bass – Ray Brown
Drums – Shelly Manne
Guitar – Laurindo Almeida

L.A. 4 - Watch What Happens (1978-1990) APE (tracks+.cue), lossless

For their third recording, the L.A. Four had drummer Jeff Hamilton permanently taking Shelly Manne's place but otherwise utilized their original players (altoist-flutist Bud Shank, guitarist Laurindo Almeida, and bassist Ray Brown). Most unusual in their repertoire on this set is Chuck Mangione's "Land of Make Believe," which was a current pop hit. Otherwise, the tunes are the usual mixtures of bossas, classical numbers, and standards, including "Summertime," "Mona Lisa," and "Nuages." Tasteful and lightly swinging music. by Scott Yanow
Tracklist :
1     Watch What Happens 5:24
Norman Gimbel / Michel Legrand
2     Summertime 5:14
George Gershwin / Ira Gershwin / DuBose Heyward
3     Mona Lisa 4:55
Ray Evans / Jay Livingston
4     Williwaw 5:27
Bud Shank / Laurindo Almeida         
5     Land of Make Believe 6:55
Chuck Mangione
6     Nuages 5:48
Django Reinhardt     
7     Misty 7:42
Johnny Burke / Erroll Garner
Credits :
Bass – Ray Brown
Drums – Jeff Hamilton
Guitar – Laurindo Almeida
Saxophone [Alto], Flute – Bud Shank

L.A. 4 - Executive Suite (1983-1995) FLAC (tracks), lossless

Eight years after their debut recording, the L.A. Four (guitarist Laurindo Almeida, Bud Shank on alto and flute, bassist Ray Brown, and drummer Jeff Hamilton) recorded their eighth and final album. The band and its concept had not run out of gas, but Shank was soon to give up the flute altogether and play a more forceful brand of straight-ahead jazz. On this last effort, the L.A. Four as usual mixes cool-toned jazz, Brazilian music, and classical to form an appealing blend. Two group originals, a few classical themes, "My Funny Valentine," and Antonio Carlos Jobim's "Chega de Saudade" comprise the attractive set. Recommended. by Scott Yanow
Tracklist :
1     Blues Wellington 5:42
Jeff Hamilton
2     Amazonia 4:38
Laurindo Almeida
3     Você e Eu (You and I) 4:21
Norman Gimbel / Carlos Lyra / Vinícius de Moraes
4     Simple Invention 6:27
Johann Sebastian Bach
5     Entr'acte 6:55
Jacques Ibert
6     My Funny Valentine 7:35
Lorenz Hart / Richard Rodgers
7     Chega de Saudade (No More Blues) 5:41
Antônio Carlos Jobim / Vinícius de Moraes
Credits :
Alto Saxophone – Bud Shank
Bass – Ray Brown
Drums – Jeff Hamilton
Guitar – Laurindo Almeida

JUNE CHRISTY - Something Cool (The Complete Mono & Stereo Versions) (2001) FLAC (image+.cue), lossless

June Christy's Something Cool, originally released as a 10" LP in 1954, single-handedly inaugurated the cool jazz vocal movement. Christy had been a star vocalist with the Stan Kenton Orchestra in the late '40s, enjoying major hits with "Tampico" and "Shoo Fly Pie & Apple Pan Dowdy." Soon after she left the band, she began working with key Kenton arranger Pete Rugolo and a slew of top West Coast studio musicians (including her husband, tenor saxophonist Bob Cooper) on her first solo album for Capitol Records. The result was Something Cool, which is both a winning showcase for Christy's wistful style and a landmark of cool jazz modernism. From the start, Christy established herself as an artist who strove for the very best in song selection, arrangements, and notably intelligent interpretation. There were perhaps other vocalists with greater vocal equipment, but few could match June Christy's artistic integrity. The celebrated title track is the soliloquy of a female barfly of a certain age, reminiscing (and fantasizing) about better days to a fellow male patron who just might buy her another drink. It immediately became Christy's signature performance, and remained so throughout her career. Other highlights include a swinging "It Could Happen to You," "Midnight Sun," and an ambitious arrangement of Kurt Weill's "Lonely House." by Richard Mortifoglio  
Tracklist:
1 Something Cool 4:17
Bass – Joe Confort 
Drums – Frank Carlson
Flute, Alto Saxophone – Gus Bivona
Guitar – Barney Kessel
Piano – Geoff Clarkson 
Trumpet – Jimmy Zito 
Written-By – Bill Barnes 
2 It Could Happen To You 1:55
Written-By – J. Van Heusen, J. Burke 
3 Lonely House 3:56
Written-By – K. Weill, L. Hughes
4 This Time The Dream's On Me 1:29
Written-By – H. Arlen-J. Mercer 
5 The Night We Called It A Day 4:48
Written-By – M. Dennis*, T. Adair 
6 Midnight Sun 3:13
Alto Saxophone – Skeets Herfurt, Willie Schwartz 
Bass Trombone – Dick Noel  
Drums – Alvin Stoller
Guitar – Tony Rizzi
Piano – Paul Smith  
Tenor Saxophone – Fred Fallensby
Trombone – Dick Reynolds, Nick DiMaio
Trumpet – Ray Linn, Ray Triscari, Uan Rasey
Written-By – Mercer, Hampton, Burke 
7 I'll Take Romance 2:19
Written-By – B. Oakland, O. Hammerstein 
8 A Stranger Called The Blues 3:56
Written-By – M. Torme, R. Wells 
9 I Should Care 2:08
Written-By – Stordahl, Weston, Cahn
10 Softly As In A Morning Sunrise 2:13
Piano – Claude Williamson
Trombone – Bob Fitzpatrick
Written-By – O. Hammerstein, S. Romberg
11 I'm Thrilled 2:39
Written-By – S. Lippman, S. Dee
12 Something Cool 4:57
Written-By – Bill Barnes
13 It Could Happen To You 2:00
Written-By – J. Van Heusen, J. Burke
14 Lonely House 4:03
Written-By – K. Weill, L. Hughes
15 This Time The Dream's On Me 1:36
Written-By – H. Arlen-J. Mercer
16 The Night We Called It A Day 4:53
Written-By – M. Dennis T. Adair
17 Midnight Sun 3:31
Written-By – Mercer, Hampton, Burke
18 I'll Take Romance 2:20
Written-By – B. Oakland, O. Hammerstein
19 A Stranger Called The Blues 4:19
Written-By – M. Torme, R. Wells
20 I Should Care 2:11
Written-By – Stordahl, Weston, Cahn
21 Softly As In A Morning Sunrise 2:14
Written-By – O. Hammerstein, S. Romberg
22 I'm Thrilled 2:47
Written-By – S. Lippman, S. Dee
Credits:
Alto Flute – Bud Shank (tracks: 4, 5, 11), Harry Klee (tracks: 4, 5, 11)
Alto Saxophone [Soloist] – Bud Shank
Alto Saxophone, Flute – Bud Shank (tracks: 1 to 5, 7 to 22), Harry Klee (tracks: 2 to 5, 7 to 9, 11, 12, 14 to 17, 20, 21)
Arranged By, Conductor – Pete Rugolo
Baritone Saxophone – Bob Gordon (tracks: 4, 5, 10, 11), Chuck Gentry (tracks: 1, 6 to 8), Johnny Rotella (tracks: 2, 3, 9)
Bass – Harry Babasin (tracks: 4, 5, 11), Joe Mondragon (tracks: 2, 3, 6 to 10, 12 to 22)
Bass Trombone – George Roberts (tracks: 1, 12 to 22)
Drums – Larry Bunker (tracks: 12 to 22), Shelly Manne (tracks: 2 to 5, 7 to 11)
Flute – Ted Nash (tracks: 1 to 3, 7 to 9)
French Horn – John Graas (tracks: 2, 3, 7 to 9), Vincent DeRosa (tracks: 4, 5, 11, 13 to 16, 18 to 20, 22)
Guitar – Howard Roberts (tracks: 2 to 5, 7 to 11), Jack Marshall (tracks: 12 to 22)
Piano – Claude Williamson (tracks: 4, 5, 11), Joe Castro (tracks: 12 to 22), Russ Freeman (tracks: 2, 3, 7 to 9)
Reeds – Buddy Collette (tracks: 13, 18, 19, 22), Chuck Gentry (tracks: 12 to 22)
Tenor Saxophone – Jimmy Giuffre (tracks: 4, 5, 10, 11), Ted Nash (tracks: 1 to 3, 6 to 9)
Tenor Saxophone, Flute – Bob Cooper (tracks: 1 to 3, 7 to 10, 12 to 22), Paul Horn (tracks: 12 to 22)
Trombone – Frank Rosolino (tracks: 4, 5, 11 to 22), Harry Betts (tracks: 2 to 5, 7 to 9, 11, 12, 17, 21), Herbie Harper (tracks: 1, 10), Milt Bernhart (tracks: 1 to 5, 7 to 22), Tommy Pederson (tracks: 1 to 3, 6 to 9)
Trumpet – Conrad Gozzo, Conte Candoli (tracks: 10, 12 to 22), Frank Beach (tracks: 6, 12 to 22), Maynard Ferguson (tracks: 1 to 5, 7 to 9, 11), Ollie Mitchell (tracks: 12, 17, 21), Shorty Rogers (tracks: 1 to 5, 7 to 11)
Tuba – Paul Sarmento (tracks: 2 to 5, 7 to 9, 11), Phil Stephens (tracks: 13 to 16, 18 to 20, 22)
Vocals – June Christy

LOREZ ALEXANDRIA - Alexandria the Great (1964-2004) FLAC (tracks+.cue), lossless

Lorez Alexandria has not received her due as a jazz singer, probably due in part to her long layoff from recording (11 years) for nationally distributed labels following these 1964 studio sessions for Impulse! But the vocalist is in top form throughout each of these three sessions, each with a different group of musicians. Her soulful singing also hints at her gospel background in places, though her clear enunciation, ability to swing, and touch of charm make her a delight to hear. Most of the arrangements are fairly concise, so the longer tracks shine just a bit brighter. Her swinging take of "Get Me to the Church On Time" is playful, while her soulfulness comes across in the snappy take of "I'm Through With Love," the latter featuring guitarist Ray Crawford. This is an excellent introduction to a fine vocalist worthy of much wider recognition. Ken Dryden
Тracklist :
1. Show Me (4:05)
Alan Jay Lerner / Frederick Loewe
2. I've Never Been In Love Before (2:21)
Frank Loesser
3. Satin Doll (2:48)
Duke Ellington / Johnny Mercer / Billy Strayhorn
4. My One And Only Love (4:31)
Robert Mellin / Guy Wood
Bass – Paul Chambers
5. Over The Rainbow (3:59)
Harold Arlen / E.Y. "Yip" Harburg
6. Get Me To The Church On Time (4:03)
Alan Jay Lerner / Frederick Loewe
Piano – Victor Feldman
7. The Best Is Yet To Come (2:46)
Cy Coleman / Carolyn Leigh
8. I've Grown Accustomed To His Face (4:07)
Alan Jay Lerner / Frederick Loewe
Piano – Victor Feldman
9. Give Me The Simple Life (2:23)
Rube Bloom / Harry Ruby
10. I'm Through With Love (5:24)
Gus Kahn / Fud Livingston / Matty Malneck
Bass – Paul Chambers
Credits :
Arranged By – Billy Marx (faixas: 1, 6, 8)
Bass – Al McKibbon (faixas: 1, 2, 3, 5, 6, 7, 8, 9)
Drums – Jimmy Cobb
Flute – Bud Shank (faixas: 1, 6, 8)
Guitar – Ray Crawford (faixas: 3, 4, 95)
Piano – Wynton Kelly (faixas: 2, 3, 4, 5, 7, 9, 10)
Saxophone – Paul Horn (faixas: 3, 4, 7, 9)
Vocals – Lorez Alexandria

THE CHARLIE BYRD TRIO WITH BUD SHANK - Brazilville (1982) FLAC (tracks), lossless

This Concord release has a logical combination, teaming together guitarist Charlie Byrd's trio (which also includes bassist Joe Byrd and drummer Charles Redd) with the alto of Bud Shank. Shank had recorded an early version of bossa-nova with guitarist Laurindo Almeida in the mid-'50s while Byrd helped to popularize the attractive idiom in the early '60s. Shank and Byrd mix together very well, performing a few standards and some obscurities, mostly with samba rhythms. This music is both accessible and creative; recommended. by Scott Yanow
Tracklist:
1    Brazilville 5:11    
Bill Potts
2    What You Are Doing the Rest of Your Life? 5:39
Alan Bergman / Marilyn Bergman / Michel Legrand
3    Zingaro 4:30
Antônio Carlos Jobim
4    Speak Low 5:48
Ogden Nash / Kurt Weill
5    How Insensitive 6:01
Norman Gimbel / Antônio Carlos Jobim / Vinícius de Moraes
6    Saquarema 5:08
Oscar Castro-Neves
7    Charlotte's Fancy 5:07
Charlie Byrd
8    Yesterdays 6:43
Otto Harbach / Jerome Kern
Credits:
Alto Saxophone – Bud Shank
Bass – Joe Byrd
Drums – Charles Redd
Guitar – Charlie Byrd