BOBBY SCOTT — The Compositions Of Bobby Scott (1955-2014) RM | Serie Bethlehem Album Collection 1000 – 126 | FLAC (tracks+.cue), lossless

Tracklist :

1    Dot    3:38
2    Kwan Youen    2:57
3    Moon Tan    3:49
4    Betty    4:16
5    Aunt Sarah    4:10
6    Cerebellum    4:09
7    Wigwam    2:19
8    The Creed    4:03
9    Table Cloth Stomp    2:58
10    A Parable    2:59
11    The Wig    2:35
12    Count Bill    2:45
– BONUS TRACK –
13    Makin' Whoopee    4:36
Credits :
Alto Saxophone – Charlie Mariano (tracks: 2, 7 to 12), Hal McKusick (tracks: 1, 3, 4, 5, 6)
Baritone Saxophone – Al Epstein (tracks: 1, 3, 4, 5, 6), Jimmy Giuffre (tracks: 2, 7 to 12)
Bass – Max Bennett (tracks: 2, 7 to 12), Milt Hinton (tracks: 1, 3, 4, 5, 6)
Conductor – Bobby Scott (tracks: 1, 3, 4, 5, 6)
Drums – Osie Johnson (tracks: 1, 3, 4, 5, 6), Stan Levey (tracks: 2, 7 to 12)
Piano – Bobby Scott (tracks: 2, 7 to 12)
Tenor Saxophone – Bill Holman (tracks: 2, 7 to 12)
Trombone – Eddie Bert (tracks: 1, 3, 4, 5, 6), Frank Rosolino (tracks: 2, 7 to 12)
Trumpet – Conte Candoli (tracks: 2, 7 to 12), Ronnie Woellmer (tracks: 1, 3, 4, 5, 6)

RAY BROWN AND HIS WEST COAST ALL-STAR GIANTS — I'm Walking (1998) Serie XRCD | FLAC (tracks+.cue), lossless

Tracklist & Credits :

OLIVER NELSON — Sound Pieces (1966-1991) RM | GRP Presents The Legendary Masters Of Jazz | FLAC (image+.cue), lossless

Sound Pieces features Oliver Nelson in two very different settings. Although best-known as an altoist and a tenor saxophonist, Nelson sticks exclusively to soprano throughout the set. He leads a 20-piece big band on three of his compositions which, although interesting, are not overly memorable. Best are five other numbers (two of which were originally issued on the record Three Dimensions) that showcase Nelson's soprano playing with a quartet that includes pianist Steve Kuhn, bassist Ron Carter, and drummer Grady Tate. Although one would not think of Nelson as a soprano stylist, his strong playing actually put him near the top of his field on such numbers as "The Shadow of Your Smile," "Straight No Chaser," and his own "Patterns."  Scott Yanow
Tracklist & Credits :

THE THREE SOUNDS AND THE OLIVER NELSON ORCHESTRA — Coldwater Flat (1968-2014) RM | SHM-CD | Serie Blue Note, The Masterworks | FLAC (tracks+.cue), lossless

Live at the Lighthouse captured the Three Sounds at their jazziest, but Coldwater Flat, the first studio session pianist Gene Harris and bassist Andrew Simpkins recorded with new drummer Donald Bailey, takes a different path. For this date, the group decided to emphasize its pop side, recording the record with the lush Oliver Nelson Orchestra and choosing to cover such pop hits as "The Look of Love" and "Last Train to Clarksville." The closing number, "Star Trek," is actually an original by Harris, unrelated to the TV show. One of the primary attractions of the Three Sounds' sound was its simplicity and their ability to find so much variation within the trio format. That magic is somewhat lost with the orchestra, which tends to overwhelm the trio. More than anything, that is what prevents Coldwater Flat from ranking among the group's finest efforts, but the glossy production has its appealing moments as well, and the record does function well as pleasant background music, even if it veers too close to easy listening to be true jazz. Stephen Thomas Erlewine   Tracklist & Credits :

OLIVER NELSON'S BIG BAND — Live from Los Angeles (1968-2005) RM | Serie LP Reproduction | FLAC (tracks+.cue), lossless

Oliver Nelson's live recordings don't seem as sharp as his studio stuff. Good playing, though, from a good group of West Coasters, but nothing exciting happens. Douglas Payne   Tracklist & Credits :

ART PEPPER — Gettin' Together! (1960) Two Version | 1994, DCC Jazz – GZS-1054 | 24K Gold CD + 1997, Contemporary Records – VICJ-41170 | FLAC (tracks+.cue), lossless

As a sort of follow-up to Art Pepper's matchup with Miles Davis' trio in the 1957 classic Art Pepper Meets the Rhythm Section, Pepper utilizes Davis' sidemen on this 1960 near-classic. In addition to pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb, trumpeter Conte Candoli makes the group a quintet on four of the eight numbers. This time around, rather than emphasizing standards, Pepper performs just three ("Softly, As in a Morning Sunrise," Thelonious Monk's "Rhythm-A-Ning," and "The Way You Look Tonight") and includes three originals of his own: "Diane," "Bijou the Poodle," and "Gettin' Together." The music is all very straight-ahead and bop-oriented, but as usual, Pepper brings something very personal and unique to his playing; he sounds like no one else. [Some reissues add "The Way You Look Tonight" (formerly only available on another LP) and an alternate take of the title cut to the original repertoire.] Scott Yanow    Tracklist & Credits :  

DEXTER GORDON – 1947-1952 | The Chronogical Classics – 1295 (2003) FLAC (tracks+.cue), lossless

A Classics collection of tenor saxophonist Dexter Gordon, 1947-1952 features some of the mellow jazzman's most identifiable recordings from that period. Beginning with an extended version of "The Duel," the disc also includes Gordon's epic tenor battle with Wardell Gray on "The Chase." Matt Collar
Tracklist :

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 :

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

MARTY PAICH - Four Classic Albums (2015) 2CD / FLAC (tracks+.cue), lossless

Tracklist 1 :
Tenors West (1955)
1. Tenors West (3:22)
2. There's No You (3:06)
3. The Dragon (4:14)
4. Shorty George (3:22)
5. Paichence (4:06)
6. At the Mardi Gras (3:25)
7. Take the "A" Train (3:09)
8. Ballet du Bongo (8:27)
9. Line for Lyons (3:10)
10. Jacqueline (3:34)
11. Con-Spirito (3:04)
Take Me Along (1959)
12. Overture-Take Me Along (4:46)
13. Nine O'Clock (3:09)
14. Little Green Snake (3:01)
15. Promise Me a Rose (3:22)
16. But Yours (3:32)
17. Sid, Ol' Kid (5:04)
18. Patience of a Saint (4:08)
19. Staying Young (2:49)
20. Thinkin' Things (3:45)
21. We're Home (2:47)
Tracklist 2 :
The Picasso of Big Band Jazz (1957)
1. From Now On (5:58)
2. Walkin' on Home (4:27)
3. Black Rose (5:11)
4. Tommy's Toon (4:03)
5. New Soft Shoe (3:13)
6. What's New (3:35)
7. Easy Listnin' (5:11)
8. Martyni Time (3:09)
9. Nice and Easy (4:44)
Lush, Latin & Cool (1960)
10. Honky Tonk Train (2:49)
11. Invitation (2:41)
12. Autumn Leaves (4:07)
13. Honeysuckle Rose (2:30)
14. Stella by Starlight (2:38)
15. Cumana (2:39)
16. Sabre Dance (2:13)
17. Canadian Sunset (3:39)
18. St. Louis Blues Boogie Woogie (3:36)
19. Little Rock Getaway (2:26)
20. Misirlou (3:19)
21. One O'Clock Jump (3:20) 

 All credits

RUTH PRICE - Ruth Price with Shelly Manne & His Menn at the Manne-Hole (1961-1991) RM / FLAC (image+.cue), lossless

Singer Ruth Price on this early set falls somewhere between swinging jazz, middle-of-the-road pop, and cabaret. She does not improvise much, but her strong and very appealing voice uplifts the diverse material that she interprets (including "Dearly Beloved," "Shadrack," "Crazy He Calls Me," and "Look for the Silver Lining"), and she brings great sincerity to Leonard Bernstein's "Who Am I." Backed by Shelly Manne's quintet (with plenty heard from pianist Russ Freeman, but just guest spots by Richie Kamuca on tenor and one lone appearance by trumpeter Conte Candoli), Price is in fine form for her debut recording as a leader, which has been reissued on CD in the OJC series. by Scott Yanow
Tracklist:
1 I Love You 2:47
Cole Porter
2 They Say It's Spring 3:35
Marty Clark / Bob Haymes
3 Listen Little Girl 4:41
Fran Landesman / Tommy Wolf
4 Dearly Beloved 2:38
Jerome Kern / Johnny Mercer
5 I Know Why 3:57
Harry Warren
6 Shadrack 3:31
Robert MacGimsey
7 Crazy He Calls Me 4:29
Bob Russell / Carl Sigman
8 Nobody Else But Me 2:55
Oscar Hammerstein II / Jerome Kern
9 Nobody's Heart 4:32
Lorenz Hart / Richard Rodgers
10 All I Do Is Dream of You 2:06
Nacio Herb Brown / Arthur Freed
11 Who Am I 4:19
Leonard Bernstein
12 Till the Clouds Roll By / Look for the Silver Lining 3:30
Buddy DeSylva / Jerome Kern / P.G. Wodehouse
Credits
Bass – Chuck Berghofer
Drums – Shelly Manne
Piano – Russ Freeman
Tenor Saxophone – Richie Kamuca (tracks: 1 to 4, 10, 12)
Trumpet – Conte Candoli (tracks: 7)
Vocals – Ruth Price

BETTY ROCHÉ - Take the "A" Train (1956-1994) Bethlehem Classic Jazz Series / RM / APE (image+.cue), lossless

This CD (put out by Evidence) brings back singer Betty Roché's definitive session. Although she had sung briefly with Duke Ellington on two occasions in 1943 and the early '50s, fame had eluded Roché. After this album she would record two more records (available in the Original Jazz Classics series) over the next few years and then disappear back into obscurity. Assisted by vibraphonist Eddie Costa, trumpeter Conte Candoli, pianist Donn Trenner, bassist Whitey Mitchell, and drummer Davey Williams, Roché is heard at her best on this set of standards. Highlights include a remake of "Take the 'A' Train" (she had previously recorded a classic version with Ellington), "Something to Live For," "Route 66," and "September in the Rain." Two additional versions of "Go Away Blues" round out the excellent release. by Scott Yanow
Tracklist :
1. Take the "A" Train 3:13
Billy Strayhorn
2. Something to Live For 4:04
Duke Ellington / Billy Strayhorn
3. In a Mellow Tone 2:29
Duke Ellington / Milt Gabler
4. Time After Time 3:05
Sammy Cahn / Jule Styne
5. Go Away Blues 3:18
Duke Ellington
6. Can't Help Lovin' Dat Man 3:42
Oscar Hammerstein II / Jerome Kern
7. Route 66 4:34
Bobby Troup
8. All My Life 3:48
Harry Akst / Benny Davis
9. I Just Got the Message, Baby 2:39
Carr
10. All Too Soon 4:07
Duke Ellington / Carl Sigman
11. You Don't Love Me No More 3:17
Duke Ellington
12. September in the Rain 3:50
Al Dubin / Harry Warren
13. Go Away Blues 3:51
Duke Ellington
14. Go Away Blues 3:00
Duke Ellington
Credits :
Bass – Whitey Mitchell
Piano – Donn Trenner
Trumpet – Conte Candoli
Vibraphone – Eddie Costa
Vocals – Betty Roché