OLIVER NELSON — Stolen Moments (1975-2015) RM | Serie East Wind Masters Collection 1000 | FLAC (tracks+.cue), lossless

This LP contains Oliver Nelson's final recording as a leader, cut just seven months before his premature death. Happily Nelson (on alto) is well-featured with a nonet, playing four of his compositions (including "Stolen Moments" and "Yearnin'") along with versions of "St. Thomas," Neal Hefti's "Midnight Blue" and a very brief "Straight No Chaser." In addition to Nelson, the group includes trumpeter Bobby Bryant, Jerome Richardson on soprano and flute, three other saxophonists and keyboardist Mike Wofford. A fine finish to a much-too-brief life. Scott Yanow   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 :

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 )

GERALD WILSON AND HIS ORCHESTRA – 1946-1954 | The Chronogical Classics – 1444 (2007) FLAC (image+.cue), lossless

After leaving Detroit and arriving in Los Angeles, Gerald Wilson formed his first big band in 1944. By 1946 he was firmly established as a fine trumpet player, arranger, and composer, and was developing a style fit not only for modern jazz, but also eventually film scores. The dramatics apropos for both formats is evident on this second installment of Wilson's chronological recordings for the Classics reissue label, culled from recordings originally on the Black & White, United Artists, Excelsior, Federal, King, and Audio Lab labels. There are five different mid-sized orchestras with musicians from L.A., all quite literate and displaying different areas of expertise, and Wilson writes with each player's individual sound in mind. Of course they work as a unified whole, and you get to hear a lot of Wilson's trumpet work. The Black & White sessions from 1946 have the band swinging very hard on the happy bop-bop "Et-ta," while hoppin' and barkin' for "The Saint." The opposite slow side is shown on "Pensive Mood" and the sad, dreary "The Moors." These tracks feature then-young trombonist, composer, and arranger Melba Liston, who of course would go on to great acclaim. Recordings from 1947 for United Artists and Excelsior feature vocalist Dan Grissom and there's a finger-snappin' group vocal with Grissom, Liston, and Trummy Young, "Va-ance," that approaches the territory of the Modernaires. Four more for Excelsior in 1949 reveal Wilson moving into film noir, hinted at by the spy movie piece "Dissonance in Blues" from the 1947 cuts, but more pronounced here. Wilson is assertive on his horn, and ramps up the dramatic tension on the stairstep motif of "The Black Rose" while also offering an expanded version of "Guarachi-Guaro," the second section infusing expansive oboe and flute. Here the outstanding West Coast alto saxophonist Buddy Collette also enters the fray. Jumping up to 1954, Wilson offers up three two-part pieces all prominently showcasing the exotic vibrato flute sound of Bill Green -- the hot and spicy "Mambo Mexicano," dynamic up-and-down desert dune caravan-ish "Algerian Fantasy," and slow-as-sunset "Lotus Land." These are much more provocative, but in addition, the band is loaded with all-stars like trumpeter Clark Terry, trombonist Britt Woodman, tenor saxophonists Paul Gonsalves and Teddy Edwards, and a very young Jerry Dodgion on alto sax. These cuts use pronounced world music elements in a way that Duke Ellington hinted at, and all are exuberant and levitating. The remaining pieces are the contradictory titled hard bopper "Romance," Khachaturian's famous Spanish classical ballad "Bull Fighter," and a different "Black Rose" (unknown author) than the one written by Wilson heard earlier on the CD. This collection really drives home how this group, unique unto itself, was able to stretch stereotypical big-band jazz and take it into a new arena, fueled by the vast imagination of Gerald Wilson. The only unsolved mystery: unattributed credits about various clearly audible Latin percussionists who are never identified. Michael G. Nastos  
Tracklist + Credits :

ZOOT SIMS - Passion Flower : Zoot Sims Plays Duke Ellington (1980-1997) RM | WAV (tracks), lossless

Benny Carter provided the arrangements for the 16-piece band that accompanies the great tenor Zoot Sims on this set of Duke Ellington songs. The album is highlighted by "In a Mellow Tone," "I Got It Bad," "Passion Flower" and "Bojangles," but all nine selections are enjoyable and Sims is in top form. In fact it can easily be argued that Zoot Sims never made an indifferent or unswinging album, so it is not much of a surprise that this date is quite successful and should greatly appeal to straightahead jazz fans. Scott Yanow
Tracklist :
1     It Don't Mean a Thing (If It Ain't Got That Swing) 5:02
Duke Ellington / Irving Mills
2     In a Mellow Tone 2:58
Duke Ellington / Milt Gabler    
3     I Got It Bad (And That Ain't Good) 4:47
Duke Ellington / Paul Francis Webster    
4     I Let a Song Go Out of My Heart 2:58
Duke Ellington / Irving Mills / Henry Nemo / John Redmond
5     Black Butterfly 3:51
Duke Ellington / Irving Mills
6     Do Nothin' Till You Hear from Me 6:46
Duke Ellington / Bob Russell    
7     Your Love Has Faded 4:45
Duke Ellington / Billy Strayhorn    
8     Bojangles 4:46
Duke Ellington / Jerome Kern    
9     Passion Flower 4:11
Milt Raskin / Billy Strayhorn
Credits :
Alto Saxophone – Marshall Royal
Alto Saxophone, Flute – Frank Wess
Bass – Andy Simpkins, John Heard, Michael Moore
Conductor, Arranged By – Benny Carter
Drums – Grady Tate, John Clay, Shelly Manne
Guitar – John Collins
Leader – Zoot Sims
Piano – Jimmy Rowles
Producer – Norman Granz
Tenor Saxophone – Buddy Collette, Plas Johnson
Trombone – Benny Powell, Britt Woodman, Grover Mitchell, J.J. Johnson
Trumpet – Al Aarons, Bobby Bryant, Earl Gardner, Oscar Brashear

BENNY CARTER - Aspects (1958-1996) FLAC (tracks+.cue), lossless

This CD reissues an enjoyable obscurity. Although originally associated with big bands, the set has what was Benny Carter's only big-band recording as a playing leader during 1947-86. While the song titles are a bit gimmicky, saluting the 12 months of the year (including "June in January," "I'll Remember April," "June Is Busting Out All Over," etc.), the music (which includes four alternate takes) is solid, mainstream big-band swing. The less familiar titles include four Carter originals written for the date, plus Hal Schaefer's "February Fiesta." The leader/altoist solos on every selection, and among the other top West Coast studio players featured are trumpeters Shorty Sherock, Pete Candoli and Joe Gordon, trombonists Frank Rosolino and Herbie Harper, vibraphonist Larry Bunker, pianists Arnold Ross and Gerry Wiggins, and guitarist Barney Kessel. Two overlapping big bands were utilized, and the music alternates between being forceful and lyrical. Scott Yanow
Tracklist :
1     June in January 3:12
Ralph Rainger / Leo Robin    
2     February Fiesta 1:54
Hal Schaefer    
3     March Wind 3:16
Benny Carter    
4     I'll Remember April 3:21
Gene DePaul / Pat Johnston / Patricia Johnston / Don Raye
5     One Morning in May 2:49
Hoagy Carmichael / Mitchell Parish    
6     June Is Bustin' Out All Over 2:59
Oscar Hammerstein II / Richard Rodgers
7     Sleigh Ride in July 2:50
Johnny Burke / James Van Heusen    
8     August Moon 3:39
Benny Carter / Ottmar Liebert    
9     September Song 2:39
Maxwell Anderson / Kurt Weill    
10     Something for October 2:52
Benny Carter    
11     Swingin' in November 3:02
Benny Carter    
12     Roses in December 2:36
George Jessel / Herbert Magidson / Ben Oakland
13     February Fiesta 1:55
Hal Schaefer    
14     June Is Bustin' Out All Over 3:00
Oscar Hammerstein II / Richard Rodgers    
15     August Moon 3:33
Benny Carter / Ottmar Liebert    
16     Swingin' in November 3:05
Benny Carter
Credits :
Alto Saxophone, Leader, Arranged By – Benny Carter
Bass – Joe Comfort
Drums – Shelly Manne
Guitar – Barney Kessel (pistas: 3, 6, 7, 10 to 12), Bobby Gibbons (pistas: 1, 2, 4, 5, 8, 9)
Mastered By – Ron McMaster
Piano – Arnold Ross (pistas: 1, 2, 4, 5, 8, 9), Gerry Wiggins (pistas: 3, 6, 7, 10 to 12)
Reeds – Buddy Collette, Chuck Gentry (pistas: 1, 2, 4, 5, 8, 9), Jewell Grant (pistas: 3, 6, 7, 10 to 12), Justin Gordon (pistas: 1, 2, 4, 5, 8, 9), Plas Johnson (pistas: 3, 6, 7, 10 to 12), Bill Green
Trombone – Frank Rosolino (pistas: 3, 6, 7, 10 to 12), George Roberts (pistas: 1, 2, 4, 5, 8, 9), Herbie Harper (pistas: 1, 2, 4, 5, 8, 9), Russ Brown (pistas: 3, 6, 7, 10 to 12), Tommy Pederson
Trumpet – Al Porcino (pistas: 3, 6, 7, 10 to 12), Conrad Gozzo (pistas: 1, 2, 4, 5, 8, 9), Joe Gordon (pistas: 3, 6, 7, 10 to 12), Pete Candoli (pistas: 1, 2, 4, 5, 8, 9), Ray Triscari (pistas: 3, 6, 7, 10 to 12), Shorty Sherock (pistas: 1, 2, 4, 5, 8, 9), Stu Williamson (pistas: 3, 6, 7, 10 to 12), Uan Rasey (pistas: 1, 2, 4, 5, 8, 9)
Vibraphone [Vibes] – Larry Bunker (pistas: 1, 2, 4, 5, 8, 9)

JON HENDRICKS - ¡Salud! João Gilberto [1963] FLAC (image+.cue), lossless

 Jon Hendricks idolizes João Gilberto -- he has spoken fondly of their first meeting where they scatted to each other before ever speaking a word -- and he wasted little time putting together a tribute album at the height of the first bossa nova wave. It ought to come as no surprise that he would display total sympathy with the bossa nova manner here, singing softly and smoothly -- and Hendricks' English wordplay is quite faithful to the original tunes and meanings of the Portuguese lyrics, in contrast to his usual whimsical work with jazz improvisations. Hendricks is particularly winning, and irresistibly swinging on the rare occasions ("Voce E Eu," "Samba Da Minha Terra") when he scats to the Brazilian rhythm; he should have done more of that here. But then, his versions of Gilberto's repertoire are carefully based on Gilberto's early EMI/Odeon recordings (now available on The Legendary João Gilberto); even Antonio Carlos Jobim's string and wind charts for the originals are preserved by adapter Johnny Mandel. Alas, the only Hendricks lyric that has become a universal standard is Jobim's "Chega de Saudade" ("No More Blues"). As Hendricks' only album-length encounter with bossa nova, Salud! João Gilberto Originator of the Bossa Nova is essential. by Richard S. Ginell   
Tracklist:
1     The Duck (O Pato)    1:55
Jon Hendricks / Jayme Silva / Neuza Teixeira
2     Quiet Nights (Corcovado)    2:06
Antônio Carlos Jobim / Gene Lees
3     You and I (Voce E Eu)    3:06
Jon Hendricks / Carlos Lyra
4     Love in Peace (O Amor Em Paz)    2:34
Jon Hendricks / Antônio Carlos Jobim
5     Little Paper Ball    1:16
Jon Hendricks
6     Longing for Bahia    2:26
Dorival Caymmi / Jon Hendricks
7     Little Train of Iron (Trem de Ferro)        1:55
Jon Hendricks
8     No More Blues (Chega de Saudade)    2:06
Jesse Cavanaugh / Jon Hendricks / Antônio Carlos Jobim / Vinícius de Moraes
9     Rosa Morena    2:11
Dorival Caymmi / Jon Hendricks
10     The Most Beautiful Thing (Coisa Mais Linda)    3:06
Jon Hendricks / Carlos Lyra / Jimmy Eat World
11     Samba of My Land (Samba da Minha Terra)    2:29
Dorival Caymmi / Jon Hendricks
12     Once Again (Outra Vez)    1:57
Jon Hendricks / Antônio Carlos Jobim
13    Jive Samba      2:18
Nat Adderley / Jon Hendricks
 Credits:
Milt Bernhart     Trombone
Pete Candoli     Trumpet
Buddy Collette     Flute
Conte     Trumpet
Jon Hendricks     Vocals
Antônio Carlos Jobim     String Arrangements
Gildo Mahones     Piano
Frank Messina     Accordion
Ray Sherman     Organ
Jimmie Smith     Drums  

JON HENDRICKS - ¡Salud! João Gilberto [1963] 

[2002] Collectables / FLAC (image+.cue), lossless

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