DICK KATZ — Piano & Pen (1959- 2012) RM Limited Edition | Serie Jazz Best Collection 1000 – 4 | FLAC (tracks+.cue), lossless

Tracklist :
1    Timonium 5:08
Written-By – Dick Katz
2    Aurora 4:29
Written-By – Dick Katz
3    Duologue No.1 4:32
Written-By – Dick Katz
4    Glad To Be Unhappy 4:44
Written-By – Richard Rodgers & Lorenz Hart
5    Round Trip 3:20
Written-By – Dick Katz
6    Afternoon In Paris 6:53
Written-By – John Lewis
7    Ain't Misbehavin' 4:03
Written-By – Andy Razaf, Thomas Waller, Harry Brooks
8    Scrapple From The Apple 4:34
Written-By – Charlie Parker
Credits :
Bass – Joe Benjamin
Drums – Connie Kay
Guitar – Chuck Wayne (tracks: 1,3,4,8), Jimmy Raney (tracks: 2,5,6,7)
Piano – Dick Katz

GEORGE SHEARING QUINTET | RED NORVO TRIO – Midnight on Cloud 69 (1956-1993) RM | MONOAURAL | FLAC (tracks+.cue), lossless

Tracklist :
1. Sorry Wrong Rumba (George Shearing Quintet) (3:22)
2. Cotton Top (George Shearing Quintet) (2:50)
3. Be Bop's Fables (George Shearing Quintet) (3:05)
4. Midnight On Cloud 69 (George Shearing Quintet) (3:10)
5. Little White Lies (Red Norvo Trio) (3:50)
6. I'm Yours (Red Norvo Trio) (4:11)
7. Moon Over Miami (George Shearing Quintet) (3:13)
8. Cherokee (George Shearing Quintet) (2:44)
9. Life With Feather (George Shearing Quintet) (3:11)
10. Four Bars Short (George Shearing Quintet) (2:25)
11. Time And Tide (Red Norvo Trio) (2:38)
12. Night And Day (Red Norvo Trio) (4:09)

George Shearing Quintet (tracks #1-4, 7-10)
George Shearing - p
Marjorie Hyams - vib
Chuck Wayne - g
John Levy - b
Denzil Best - d

Red Norvo Trio (tracks #5, 6, 11, 12)
Red Norvo - vib
Tal Farlow - g
Charles Mingus - b
Note
1 to 4 & 7 to 10 recorded January 31, 1949
5 recorded October 13, 1950
6 recorded April 13, 1951
11 & 12 recorded May 3, 1950

GIL EVANS — The Complete Pacific Jazz Sessions (2006) Blue Note Connoisseur Series | APE (tracks+.cue), lossless

Gil Evans released two records on World Pacific in 1958 and 1959. They were among his earliest dates as a leader. Gil Evans & Ten was issued by Prestige in 1957, but these dates stand out more. New Bottle, Old Wine was the first of the pair and the band included four trumpets, a trio of trombones, French horn (played by Julius Watkins), a pair of tubas, Cannonball Adderley as the lone saxophonist, and a rhythm section that included either Philly Joe Jones or Art Blakey on drums, Paul Chambers on bass, and Chuck Wayne on guitar. The reading of "King Porter Stomp" is the stunner here, with Adderley's solo being a prized moment. There isn't a weak cut in the whole mess, though. Other standouts include Fats Waller's "Willow Tree," "Lester Leaps In," with great solos by Wayne and Adderley, the burning finale of Dizzy Gillespie's "Manteca," and Charlie Parker's "Bird Feathers" closing it out.

The second of these albums, Great Jazz Standards, featured a similar band with some notable differences. For one, the inclusion of soprano saxophonist Steve Lacy as a soloist and rhythm sections that included either Dennis Charles or Elvin Jones on drums, Curtis Fuller on trombone, and Budd Johnson on tenor for about half the set. The finer moments here include "Ballad of the Sad Young Men" (a newish tune at the time with a fine piano solo by Evans) and John Lewis' "Django," with a truly brilliant and understated solo by Lacy, who also does a commendable job on "Straight No Chaser." Johnson wails on Gil Evans' "La Nevada (Theme)." Evans' arrangement of Clifford Brown's "Joy Spring" is also a killer, with his and guitarist Ray Crawford's solos. The Complete Pacific Jazz Sessions is a fine collection issued by Blue Note, which, as part of the Connoisseur Series, is limited and will be out of print again soon. Don't wait.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-    Tracklist & Credits :

GIL EVANS ft. CANNONBALL ADDERLEY — New Bottle, Old Wine (1958-1988) FLAC (tracks+.cue), lossless

Gil Evans' second album as a leader (a World Pacific set that has been reissued by Blue Note) features his reworking of eight jazz classics including "St. Louis Blues," "Lester Leaps In" and "Struttin' with Some Barbecue." Evans' charts utilize three trumpets, three trombones, a french horn, a prominent tuba, one reed player, altoist Cannonball Adderley and a four-piece rhythm section. Most memorable is a classic rendition of "King Porter Stomp" featuring the exuberant altoist Cannonball Adderley, who is the main soloist on most of the selections. Other key voices include Evans' piano, guitarist Chuck Wayne and trumpeter Johnny Coles. This is near-classic music that showed that Gil Evans did not need Miles Davis as a soloist to inspire him to greatness. Scott Yanow    Tracklist & Credits :

GIL EVANS ORCHESTRA — Great Jazz Standards (1959-1988) Pacific Jazz Series | FLAC (tracks+.cue), lossless

A follow-up to New Bottle, Old Wine, this Gil Evans set has colorful arrangements of five jazz standards plus "Ballad of the Sad Young Men" and Evans' "Theme." Using a band consisting of three trumpets, three trombones, a French horn, Bill Barber's tuba, soprano-saxophonist Steve Lacy (the first important post-swing player on his instrument), tenor saxophonist Budd Johnson (on half of the program), and a four-piece rhythm section (including the leader's piano), Evans contributes some very memorable written ensemble passages, most notably on "Straight No Chaser." In addition to Lacy and Johnson, the main soloists are trumpeter Johnny Coles, trombonists Curtis Fuller and Jimmy Cleveland, and guitarist Ray Crawford. Highly recommended. Scott Yanow    Tracklist & Credits :

BILLY TAYLOR – 1950-1952 | The Classics Chronological Series – 1344 (2004) FLAC (tracks), lossless

This second volume covering Billy Taylor's pre-Prestige recordings opens with four sides cut for Brunswick Records in 1950, followed by eight tracks done for Atlantic, and concluding with an early LP of Cuban-inspired jazz, all of which will be of interest to collectors. Taylor's bop-inflected piano style remains elegant throughout, always with a veneer of swinging brightness, and two of the best pieces here, the self-penned "Double Duty" and "Good Groove," show an acute awareness of both time and space, areas Taylor would go on to explore with his subsequent trios. Steve Leggett
Tracklist + Credits :

JOE MARSALA – 1944-1945 | The Classics Chronological Series – 902 (1996) FLAC (tracks+.cue), lossless

This is the story of a man who got his start with traditionally oriented musicians like Wingy Manone and Eddie Condon, then gradually evolved into a "modern" sounding artist who never completely turned his back on the old-fashioned music that had spawned him. Beginning with a typical Chicago jam formula blowing session, Joe's All-Timers -- essentially the Condon band with Joe as leader -- present the slow blues/fast blues pairing, sandwiched between two standard New Orleans stomps. A striking contrast occurs when we encounter the session of November 29, 1944 as Joe's wife Adele Girard opens several of the tunes with arpeggios from her harp. Sounding a bit like her contemporary Robert Maxwell, she swings a bit but also sends flurries of almost Harpo Marx-like effervescence into the air. This combines strangely with Chuck Wayne's amplified guitar and the mingling of trumpet and clarinet. The melodies themselves demonstrate a very modernized swing, with an unmistakable bop edge, right on the money for the mid-1940s, if not somewhat ahead of their time. The tempi are very quick, hasty enough to have given Eddie Condon a headache if he'd even listen to such stuff. During the dynamic "Joe-Joe Jump" Adele plays virtuosic swing harp, showing off her amazing technique. This must have been a very exciting act in person. On the second half of the date Adele takes a break while Linda Keene sings two interpersonal relationship blues, very slow and sultry, obviously inspired by Billie Holiday. Joe was an exceptionally sensitive bluesman, working in wonderfully understated ways with trumpeter Joe Thomas. Sitting in at the piano behind the singer was Leonard Feather, who also wrote the material for her. Leonard composed topical blues for a lot of musicians, most notably Hot Lips Page. "Don't Let It End" is Joe's own piece of blues, deep and clear, powerfully effective as an instrumental. The Joe Marsala Sextet had Dizzy Gillespie sitting in on January 12,1945. It's interesting to compare these sides with the other recordings Gillespie participated in during that same month (see Classics 888). "Perdido" is a creative delight and "Melancholy Baby" becomes a feisty swing-to-bop outing. Chuck Wayne is very plugged in and Diz enjoys himself, working up wild solos over these familiar melodies, signing his name all over "On the Alamo." Joe of course takes this in stride, sounding as comfortable as ever with the music evolving so rapidly all around him. "Cherokee" inevitably exudes bop juice, running rapid and sailing through frantic changes as Diz rips it up. On May 4, 1945 Adele Girard got feature billing with her husband's septet, integrating her swing harp into the ensemble as if it were the most natural thing in the world to do. "Southern Comfort" is a suave line, as cool as cukes. There's a spry run through Rodgers & Hart's "Lover," a welcome reinterpretation of "Don't Let It End" (sounding really nice with the addition of the harp), and a sassy version of "Gotta Be This or That," with vocal by Marsala himself. "East of the Sun" is all lavender and lace and "Slightly Dizzy" pours on the bop, showcasing the inventive piano of young Gene DiNovi. "I Would Do Anything for You" comes out elegant, sophisticated and calm. A marvelous finale for this fascinating portrait of a remarkable clarinetist and the unique bands that he led at the stylistic crossroads of 1944 and 1945. arwulf arwulf
Tracklist + Credits :

SLAM STEWART – 1945-1946 | The Classics Chronological Series – 939 (1997) FLAC (tracks+.cue), lossless

For all the appearances Slam Stewart made on other people's records, there weren't a whole lot of recordings issued under his name. What you get in this package are five different bands, each operating with one foot in the swing tradition and the other firmly planted on the new ground that critics and journalists called "be-bop." The Savoy session of January 30, 1945, is precious for the presence of Erroll Garner. "Play Fiddle Play" closely resembles "Bassology," recorded a few years earlier with Slim Gaillard. The resemblance comes during the last minute or so, as Stewart gradually works his way into the highest notes obtainable on the instrument until he has it sounding like a viola. "Laff Slam Slam" grows out of a simple set of variations on "Volga Boat Men." A quintet recording for the Continental label in May and July of 1945 featured Johnny Guarnieri and Red Norvo. The pianist sings "Honeysuckle Rose" in close imitation of Fats Waller, saying "Yaz!" so much that it almost becomes irritating. This mimetic act was probably entertaining at cocktail parties, but like most Waller impersonations, it probably won't feel right to anyone who really knows and loves Fats Waller. Still and all, Guarnieri was one hell of a piano player. Leonard Feather composed quite a number of the tunes heard here. His "Mood to Be Stewed" is a wistful walk, while "The Voice of the Turtle" moves boldly over modern bop terrain, something with which Norvo was quite comfortable at the time. "On the Upside Looking Down" is remarkably cool and magnetically charged. "A Bell for Norvo" is quite an excursion -- they really cook! "Haw Haw" sounds like it was based on "Paper Moon," "Dozin'" is an ethereal reverie, and "The One That Got Away" is fast and frisky, with Guarnieri demonstrating his ability to produce first-rate stride piano. Garner returned for a trio session with Harold "Doc" West in September of 1945, creating four sides that fit in nicely with everything else being recorded for the tiny Manor record label (see Dizzy Gillespie 1945, Classics 888). "Blue, Brown and Beige" feels a little bit like "Satin Doll" and the eccentric "Three Blind Micesky" is pure delight. The last four tracks on this wonderful collection were recorded in April of 1946 for the Musicraft label, with young Billy Taylor at the piano. The bop element is stronger than ever. "Doctor Foo" seems only circumstantially related to Coleman Hawkins' "Meet Doctor Foo," although a closer comparison of the two compositions is probably in order. "Coppin' Out" shares many modern characteristics with Dizzy Gillespie's "Be Bop" and with certain ideas then being developed by Bud Powell. "Oh Me, Oh My, Oh Gosh," with a vocal by Stewart and the band, is a rare example of Stewart taking a vocal without simultaneously bowing the bass. It comes as a pleasant surprise and a tasteful conclusion to this most enjoyable portrait of Leroy Elliott "Slam" Stewart. arwulf arwulf
Tracklist + Credits :

BARNEY BIGARD – 1944-1945 | The Classics Chronological Series – 930 (1997) FLAC (tracks+.cue), lossless

1944-1945 collects Bigard's output after the clarinetist left the Duke Ellington Orchestra. Although his brief time with a band fronted by Joe Thomas is not as consistently rewarding as his stint with Ellington (what could be?), it's still historically valuable and enjoyable for fans of the clarinetist. Bigard had certainly lost none of the virtuosity of his earlier years, but the material is patchier. Nevertheless, this release will be appealing to Bigard's fans, and the Classics label has done an admirable job with the remastering and liner notes. Thomas Ward
Tracklist + Credits :

WINGY MANONE – 1944-1946 | The Classics Chronological Series – 1412 (2006) FLAC (tracks+.cue), lossless

Volume eight in the Classics complete chronologically reissued recordings of Wingy Manone documents the singing trumpeter's recording activity during a time period extending from July 1944 to March 1946. Manone, a hard-swinging, husky voiced hipster with New Orleans roots, is at his best on a very funny rendition of "O Sole Mio," the rather libidinous "Where Can I Find a Cherry (For My Banana Split)?" and Slim Gaillard's "Cement Mixer," which Wingy makes sound like it was written expressly for him. Of all the instrumentalists who participated in these recordings, it is the clarinetists who seem to be pointing in a futuristic direction; not so much the merry Matty Matlock but rather Joe Marsala and Hank D'Amico, traditionally based individuals who were in the process of branching out onto adventuresome and distinctly modern stylistic turf. In addition to Wingy (and certain rather overbearing bandmembers whose chatty outbursts clutter up an otherwise enjoyable "Salt Pork West Virginia"), vocals are by Kay Starr and Kay Kyser's Gloria Wood. arwulf arwulf
Tracklist & Credits :

JACK TEAGARDEN AND HIS ORCHESTRA – 1944-1947 | The Classics Chronological Series – 1032 (1998) FLAC (tracks+.cue), lossless

Minute by minute and track for track, this disc contains an invigoratingly high concentration of Jack Teagarden's best music. Nearly half of the performances are instrumental and, with the exception of a pretty torch song sung by Christine Martin and a gruffly cheerful duet with Wingy Manone, the primary vocalist is Big Tea. After three marvelous V-Discs, including a six-minute version of "If I Could Be With You (One Hour Tonight)," a Commodore session erupts with a smokin' run through "Chinatown, My Chinatown" and a deeply steeped "Big T Blues," introduced by Jack's sister Norma Teagarden at the piano. While singing his homespun lyrics to this bluesy slow drag, Jack introduces Norma by name, then pays tribute to trumpeter Max Kaminsky. Norma proves that she was an exceptionally fine stride pianist as she sets up "Pitchin' a Bit Short" and Detroiter Bob Zurke's lively theme song, "Hobson Street Blues," which sounds a bit like a Broadway show tune. Back in Chicago on April 11, 1946, Mr. T's orchestra waxed half a dozen sides for the Teagarden Presents record label. Bobby Fischer delivers some Gene Krupa-styled drumming during the quirky "Martian Madness," the band smokes the tar out of "Way Down Yonder in New Orleans," and there is a grandiose rendition -- minus Rudyard Kipling's lyrics -- of "On the Road to Mandalay." On the first day of March 1947, Teagarden created one of his all-time greatest vocal and trombone ballad testimonials in the form of an intoxicating version of "Body and Soul." This precious live V-Disc recording begins with a spoken introduction by Bob Bach of Metronome magazine. Nine days later, master percussionist Davey Tough provided propulsive persuasion for Jack Teagarden's Big Eight, an ensemble including Max Kaminsky, clarinetist Peanuts Hucko, butter-toned tenor saxman Cliff Strickland, and one of Eddie Condon's most trusted pianists, Gene Schroeder. After a couple of expertly rendered blues, a tasty stomp with modern overtones simply called "Jam Session at Victor" sails in like a steam locomotive. As a surprise for dessert, the producers of this series have tacked on a pair of leftover big-band sides dating from November of 1939, issued in 1947 on V-Disc. This provides an example of how Dave Tough sounded as part of Teagarden's 16-piece big band. Their two-minute version of Jelly Roll Morton's "Wolverine Blues" is the perfect coda for this solidly satisfying album of rare and exciting traditional jazz. arwulf arwulf
Tracklist
1    Jack Teagarden And His Orchestra–    Beale Street Blues     3:53
2    Jack Teagarden And Band–    I Swung The Election     2:13
3    Jack Teagarden And The V-Disc All Stars–    If I Could Be With You One Hour Tonight     5:50
4    Jack Teagarden And His Swingin' Gates–    Chinatown My Chinatown     2:49
5    Jack Teagarden And His Swingin' Gates–    Big "T" Blues     3:13
6    Jack Teagarden And His Swingin' Gates–    Rockin' Chair     4:09
7    Jack Teagarden And His Swingin' Gates–    Pitchin' A Bit Short     4:09
8    Jack Teagarden And Band–    Hobson Street Blues     1:58
9    Jack Teagarden And His Dixieland Jazz Orchestra–    Muskrat Ramble    2:56
10    Jack Teagarden And His Dixieland Jazz Orchestra–    Way Down Yonder In New Orleans     2:57
11    Jack Teagarden And His Orchestra–    Basin Street Blues     3:06
12    Jack Teagarden And His Orchestra–    Martian Madness     2:38
13    Jack Teagarden And His Orchestra–    On The Road To Mandalay     2:33
14    Jack Teagarden And His Orchestra–    Sabino You For Me     2:55
15    Jack Teagarden And His Trombone–    Body And Soul     4:19
16    Jack Teagarden's Big Eight–    St. Louis Blues     3:05
17    Jack Teagarden's Big Eight–    Blues After Hours     3:15
18    Jack Teagarden's Big Eight–    Jam Session At Victor     3:14
19    Jack Teagarden's Big Eight–    Say It Simple     3:11
20    Jack Teagarden And His Orchestra–    On Revival Day     1:40
21    Jack Teagarden And His Orchestra–    Wolverine Blues     2:06
All Credits : 

COLEMAN HAWKINS - April In Paris (1992) RM | FLAC (tracks), lossless

Tracklist :
1    Body And Soul 3'00
Alto Saxophone – Eustice Moore, Jackie Fields
Bass – Oscar Smith
Drums – Art Herbert
Piano – Gene Rodgers
Tenor Saxophone – Coleman Hawkins
Trumpet – Joe Guy, Tommy Lindsay
Vocals – Thelma Carpenter
Written-By – Edward Heyman, John W. Green, Robert Sour
2    When Day Is Done 3'13
Bass – Johnny Williams
Clarinet – Danny Polo
Drums – Walter Johnson
Guitar – Lawrence Lucie
Piano – Gene Rodgers
Tenor Saxophone – Coleman Hawkins
Trombone – J.C. Higginbotham
Trumpet – Benny Carter
Written-By – Buddy DeSylva, Robert Katscher
3    Bouncing With Bean 3'02
Bass – Johnny Williams
Clarinet – Danny Polo
Drums – Walter Johnson
Guitar – Lawrence Lucie
Piano – Gene Rodgers
Tenor Saxophone – Coleman Hawkins
Trombone – J.C. Higginbotham
Trumpet – Benny Carter
Written-By – Coleman Hawkins' All-Star Octet
4    April In Paris 3'00
Alto Saxophone – Budd Johnson
Baritone Saxophone – Marion DeVeta
Bass – Jack Lesberg
Drums – Max Roach
Guitar – Chuck Wayne
Piano – Hank Jones
Tenor Saxophone – Coleman Hawkins
Trombone – J.J. Johnson
Trumpet – Fats Navarro
Written-By – E.Y. Harburg, Vernon Duke
5    Angel Face 3'10
Alto Saxophone – Budd Johnson
Baritone Saxophone – Marion DeVeta
Bass – Jack Lesberg
Drums – Max Roach
Guitar – Chuck Wayne
Piano – Hank Jones
Tenor Saxophone – Coleman Hawkins
Trombone – J.J. Johnson
Trumpet – Fats Navarro
Written-By – Coleman Hawkins, Hank Jones
6    I Love You 2'48
Alto Saxophone – Budd Johnson
Baritone Saxophone – Marion DeVeta
Bass – Jack Lesberg
Drums – Max Roach
Guitar – Chuck Wayne
Piano – Hank Jones
Tenor Saxophone – Coleman Hawkins
Trombone – J.J. Johnson
Trumpet – Fats Navarro
Written-By – Harlan Thompson, Harry Archer
7    There Will Never Be Another You 2'52
Bass – Milt Hinton
Cello – Alan Schulman
Drums – Osie Johnson
Flute – Julius Baker, Sid Jekowsky
Guitar – Barry Galbraith
Oboe – Phil Bodner
Piano – Hank Jones
Tenor Saxophone – Coleman Hawkins
Trombone – Fred Ohms, Jack Satterfield, Tom Mitchell, Urbie Green
Trumpet – Jimmy Nottingham
Vibraphone – Marty Wilson
Viola – Izzy Zir
Violin – Gene Orloff, Harry Lookofsky, Leo Kruczek, Paul Gershman, Tasha Samaroff*
Written-By – Irving Berlin
8    Little Girl Blue 2'58
Bass – Milt Hinton
Cello – Alan Schulman
Drums – Osie Johnson
Flute – Julius Baker, Sid Jekowsky
Guitar – Barry Galbraith
Oboe – Phil Bodner
Piano – Hank Jones
Tenor Saxophone – Coleman Hawkins
Trombone – Fred Ohms, Jack Satterfield, Tom Mitchell, Urbie Green
Trumpet – Jimmy Nottingham
Vibraphone – Marty Wilson
Viola – Izzy Zir
Violin – Gene Orloff, Harry Lookofsky, Leo Kruczek, Paul Gershman, Tasha Samaroff
Written-By – Richard Rodgers/Lorenz Hart
9    The Bean Stalks Again 3'23
Bass – Milt Jackson
Drums – Osie Johnson
Guitar – Barry Galbraith
Piano – Hank Jones
Reeds – Al Cohn, Hal McKusick, Sam Marowitz, Sol Schlinger, Zoot Sims
Trombone – Chauncey Welsh, Fred Ohms, Jack Satterfield, Urbie Green
Trumpet – Bernie Glow, Charles Shavers, Ernie Royal, Lou Oles, Nick Travis
Vibraphone – Marty Wilson
Written-By, Tenor Saxophone – Coleman Hawkins
10    Have You Met Miss Jones? 3'00
Bells – Phil Kraus
Clarinet – Sid Jekowsky
Flute – Julius Baker
French Horn – Jimmy Buffington
Oboe – Phil Bodner
Tenor Saxophone – Coleman Hawkins
Vibraphone – Marty Wilson
Viola – Bert Fisch
Violin – Alvin Rudnitsky, Arnold Eidus, Dave Newman, Dave Sarser, Gene Orloff, Max Cahn, Max Hollander, Paul Gershman, Stan Kraft, Cy Miroff*, Tosha Samaroff
Written-By – Richard Rodgers/Lorenz Hart

BEVERLY KENNEY - Like Yesterday (1959-1999) RM / FLAC (image+.cue), lossless

With Like Yesterday Beverly Kenney updates a series of pop standards with a formula rooted in the archly modern sound of Eisenhower-era jazz—experienced decades after the fact, the album boasts a timelessness that renders its basic conceits of time and place moot, especially given that the fierce intelligence of Kenney's phrasing and the sultry depth of her vocals contrast so sharply with the Doris Day stereotypes associated with the period in question. Backed by a small but exemplary supporting cast including guitarist Chuck Wayne and reedist Jerome Richardson, Kenney eschews embellishment and excess in favor of lean, taut arrangements that emphasize emotional context—her readings of familiar songs like "More Than You Know" and "A Sunday Kind of Love" possess a startling intimacy. by Jason Ankeny
Tracklist :
1.  Undecided 2:11
Bass – Bill Pemberton
Drums – Ed Shaughnessy
Guitar – Chuck Wayne
Piano – Stan Free
Tenor Saxophone – Al Klink
Trombone – Eddie Bert
2. Sentimental Journey 2:05
Bass – Bill Pemberton
Drums – Ed Shaughnessy
Guitar – Chuck Wayne
Percussion – Johnny Rae
Piano – Stan Free
Vibraphone – Johnny Rae
3. I Had The Craziest Dream 2:21
Bass – Bill Pemberton
Drums – Ed Shaughnessy
Guitar – Chuck Wayne
Piano – Stan Free
Tenor Saxophone – Al Klink
Trombone – Eddie Bert
4. And The Angels Sing 1:44
Bass – Bill Pemberton
Drums – Ed Shaughnessy
Guitar – Chuck Wayne
Piano – Stan Free
Trumpet – Stan Free
Woodwind – Jerome Richardson
5. More Than You Know 2:39
Bass – Bill Pemberton
Drums – Ed Shaughnessy
Guitar – Chuck Wayne
Piano – Stan Free
Woodwind – Jerome Richardson
6. The Dipsy Doodle 1:44
Bass – Bill Pemberton
Drums – Ed Shaughnessy
Guitar – Chuck Wayne
Piano – Stan Free
Woodwind – Jerome Richardson
7. What A Difference A Day Made 2:17
Bass – Bill Pemberton
Drums – Ed Shaughnessy
Guitar – Chuck Wayne
Percussion – Johnny Rae
Piano – Stan Free
Vibraphone – Johnny Rae
8. Somebody Else Is Taking My Place 2:01
Bass – Bill Pemberton
Drums – Ed Shaughnessy
Guitar – Chuck Wayne
Piano – Stan Free
Tenor Saxophone – Al Klink
Trombone – Eddie Bert
9. A Sunday Kind Of Love 2:30
Bass – Bill Pemberton
Drums – Ed Shaughnessy
Guitar – Chuck Wayne
Piano – Stan Free
Tenor Saxophone – Al Klink
Trombone – Eddie Bert
10.  Any Old Time 1:34
Bass – Bill Pemberton
Drums – Ed Shaughnessy
Guitar – Chuck Wayne
Piano – Stan Free
Woodwind – Jerome Richardson
11. Happiness Is A Thing Called Joe 2:18
Bass – Bill Pemberton
Drums – Ed Shaughnessy
Guitar – Chuck Wayne
Percussion – Johnny Rae
Piano – Stan Free
Vibraphone – Johnny Rae
12. Tampico 2:00
Bass – Bill Pemberton
Drums – Ed Shaughnessy
Guitar – Chuck Wayne
Percussion – Johnny Rae
Piano – Stan Free
Vibraphone – Johnny Rae 

LESTER YOUNG – The Complete Aladdin Recordings of Lester Young (1995) 2CD | MONO | FLAC (tracks+.cue), lossless

Although it has often been written that cool-toned tenor saxophonist Lester Young's experiences with racism in the military during 1944-1945 so scarred him that he never played at the same musical level as he had previously, the music on this essential two-CD reissue disproves that theory. It is true that his attitude toward life was affected and Young became somewhat self-destructive, but his postwar solos rank with the greatest work of his career. This two-fer, which has four selections from 1942 in which Young is heard in a trio with pianist Nat King Cole and bassist Red Callender and a rare 1945 session headed by singer Helen Humes (including a previously unknown instrumental "Riffin' Without Helen"), is mostly taken up with Young's very enjoyable 1945-1948 small-group dates. Highlights include "D.B. Blues," "Jumpin' with Symphony Sid" (which was a minor hit), "Sunday," and "New Lester Leaps In," among many others. Minor errors aside (trumpeter Snooky Young is left out of the personnel listing for the Humes date and Young's final Aladdin session is from 1948, not 1947), this is a well-conceived and brilliant set filled with exciting performances by one of the true greats of jazz. Scott Yanow
Tracklist + Credits :

TONY PERKINS - On a Rainy Afternoon (1958-1996) FLAC (tracks), lossless

"This was the third, and last, album recorded by actor Anthony Perkins. There was an effort in the late 1950s to turn him into a recording star, which was largely unsuccessful, although he did have a Top 30 hit with "Moonlight Swim". While Tony's singles were typical "teen pop" songs of the era, his albums were more "adult pop". I guess record companies at the time thought "kids buy singles, adults buy albums" (which was more or less true). This particular album by Tony has a "jazzier" feel to it than his other albums.
Tracklist:

1. The World is Your Balloon

2. I Remember You

3. Why Was I Born

4. Miss Otis Regrets

5. I've Got Sand in My Shoes

6. Long Ago and Far Away

7. You'd Be So Nice to Come Home to

8. Have You Met Miss Jones?

9. You Came Along

10. It Could Happen to You

11. Darn That Dream

12. Back in Your Own Backyard
Credits 
Bass – Eddie Safranski
Flute – Jerome Richardson
Guitar – Chuck Wayne
Anthony Perkins - Vocals
Saxophone – Hal McKusick
Trombone – Jimmy Cleveland 

MORGANA KING - Let Me Love You [1960] LP / FLAC

Tracklist

A1 All Or Nothing At All

A2 Let Me Love You

A3 I Love You Much Too Much

A4 I'll Never Smile Again

A5 I'll Remember April

A6 You Always Hurt The One You Love

A7 The End Of A Love Affair

B1 Mad About Him, Sad Without Him, How Can I Be Glad Without Him Blues

B2 The Ole Devil Called Love

B3 Undecided

B4 You Don't Know What Love Is

B5 I've Found A New Baby (Slow Version)

B6 I've Found A New Baby (Fast Version)

Credits

Morgana King, vocals

Jimmy Jones, piano

Chuck Wayne, guitar

Johnny Cresci, drums

Ernie Furtado, bass

Sam Most, flute

Chauncey Welsch, trombone

Willis Schafer, arrangements

MORGANA KING - Let Me Love You 

[1960] UAR / LP / FLAC / scans

O Púbis da Rosa