Mostrando postagens com marcador Jimmy Rowles. Mostrar todas as postagens
Mostrando postagens com marcador Jimmy Rowles. Mostrar todas as postagens

7.4.24

BEN WEBSTER — At The Renaissance (1985-1993) RM | 24 Karat Gold | FLAC (image+.cue), lossless

This live set features tenor great Ben Webster playing with pianist Jimmy Rowles, guitarist Jim Hall, bassist Red Mitchell, and drummer Frank Butler in a club, and the music is consistently wonderful. Whether showing warmth and sentimentality on "Georgia on My Mind" and "Stardust" or growling and roaring on "Caravan" and "Ole Miss Blues," Webster (who was then somewhat taken for granted) is in superior and creative form. Recommended. Scott Yanow
Tracklist :
1    Caravan 10:15
Written-By – Ellington, Mills, Tizol
2    Georgia On My Mind 6:41
Written-By – Carmichael, Gorell
3    Ole Miss Blues 6:45
Written-By – W.C. Handy
4    What Is This Thing Called Love 7:49
Written-By – Cole Porter
5    Stardust 11:09
Written-By – Hoagy Carmichael
6    Gone With The Wind 9:01
Written-By – Wrubel, Magidson
7    Renaissance Blues 5:49
Written-By – Webster, Butler, Hall, Rowles, Mitchell
8    Mop Mop 8:27
Written-By – Heard, Wilson
Credits :
Bass – Red Mitchell
Drums – Frank Butler
Guitar – Jim Hall
Piano – Jimmy Rowles
Tenor Saxophone – Ben Webster

5.4.24

BARNEY KESSEL – Let's Cook! (1957-1999) RM | FLAC (tracks+cue) lossless

This is an excellent session from guitarist Barney Kessel. Kessel is matched with vibraphonist Victor Feldman, pianist Hampton Hawes, bassist Leroy Vinnegar, and drummer Shelly Manne for a blues-with-a-bridge (the 11-minute "Let's Cook"), Vernon Duke's ballad "Time Remembered," and "Just in Time." The second half of the album has modernized versions of "Tiger Rag" and "Jersey Bounce" as played by the guitarist, tenor saxophonist Ben Webster, trombonist Frank Rosolino, pianist Jimmie Rowles, Vinnegar, and Manne. Throughout, Kessel keeps with the other all-stars, swinging hard while paying tribute to the legacy of Charlie Christian. Scott Yanow
Tracklist  :
1 Let's Cook 11:18
Written-By – Barney Kessel
2 Time Remembered 4:15
Written-By – Vernon Duke
3 Just In Time 4:57
Written-By – Adolph Green, Betty Comden, Jule Styne
4 Tiger Rag 9:45
Written-By – Original Dixieland Jazz Band
5 Jersey Bounce 9:30
Written-By – Bobby Plater, Buddy Feyne, Tiny Bradshaw

# 1-3 :
Bass – Leroy Vinnegar
Drums – Shelly Manne
Guitar – Barney Kessel
Piano – Hampton Hawes
Victor Feldman Vibraphone
# 4-5 :
Piano – Jimmy Rowles
Saxophone – Ben Webster
Trombone – Frank Rosolino
Guitar – Barney Kessel
Bass – Leroy Vinnegar
Drums – Shelly Manne

28.3.24

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.

27.3.24

CARMEN McRAE — The Great American Songbook (1972) FLAC (tracks+.cue), lossless

On this popular two-LP set, singer Carmen McRae interprets songs by Duke Ellington, Cole Porter, Michel Legrand, Warren & Dubin, Henry Mancini, and Jimmy Van Heusen, among others, but it is her rendition of a humorous Jimmy Rowles novelty ("The Ballad of Thelonious Monk") that is best remembered. Joined by pianist Rowles, guitarist Joe Pass, bassist Chuck Domanico, and drummer Chuck Flores, McRae had what was at the time a rare opportunity to record a live, spontaneous, jazz-oriented set. She sounds quite enthusiastic about both her accompaniment and the strong repertoire, which includes "At Long Last Love," "I Only Have Eyes for You," "Sunday," "I Cried for You," and "I Thought About You." Scott Yanow
Tracklist :
1     Satin Doll 4'34
Duke Ellington / Johnny Mercer / Billy Strayhorn
2     At Long Last Love 2'27
Cole Porter
3     If the Moon Turns Green 4'22
Paul Coates / Bernie Hanighen
4     Day by Day 2'22
Sammy Cahn / Axel Stordahl / Paul Weston
5     What Are You Doing the Rest of Your Life? 4'14
Alan Bergman / Marilyn Bergman / Michel Legrand
6     I Only Have Eyes for You 4'12
Al Dubin / Harry Warren
7     Medley: Easy Living/The Days of Wine and Roses/It's Impossible 9'14
Henry Mancini / Armando Manzanero / Johnny Mercer / Ralph Rainger / Leo Robin / Sid Wayne
8     Sunday 4'10
Chester Conn / Benny Krueger / Ned Miller / Jule Styne
9     A Song for You 4'46
Leon Russell
10     I Cried for You 2'21
Gus Arnheim / Arthur Freed / Abe Lyman
11     Behind the Face 2'44
Jimmy Rowles
12     The Ballad of Thelonious Monk 3'29
Jimmy Rowles
13     There's No Such Thing as Love 5'00
Ian Fraser / Anthony Newley
14     (They Long to Be) Close to You 4'37
Burt Bacharach / Hal David
15     Three Little Words 1'58
Bert Kalmar / Harry Ruby
16     Mr. Ugly 4'00
Norman Mapp
17     It's Like Reaching for the Moon 2'53
Al Lewis / Gerald Marqusee / Al Sherman
18     I Thought About You 3'54
James Van Heusen / Johnny Mercer
Credits :
Bass – Chuck Domanico
Drums – Chuck Flores
Guitar – Joe Pass
Piano – Jimmy Rowles

25.2.24

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

10.1.24

RAY BROWN — Bass Hit! (1958-1998) RM | Serie Verve Elite Edition | FLAC (tracks+.cue), lossless

Ray Brown's earliest date as a leader features him prominently in the solo spotlight with arrangements by Marty Paich. They collaborated on a swinging original blues, "Blues for Sylvia," and the snappy "Blues for Lorraine." The rest of the release concentrates on familiar standards, with the addition to the reissue of several complete and incomplete takes of "After You've Gone," which didn't appear on the original release. The supporting cast includes the cream of the crop of musicians living on the West Coast at the time: Jimmy Rowles, Harry "Sweets" Edison, and Jimmy Giuffre among them. Out-of-print for a long time, this record was reissued in 1999, though as a limited-edition title in the Verve Elite series, so it will not remain available for long. Ken Dryden
Tracklist & Credits :

8.1.24

RAY BROWN • JIMMY ROWLES — As Good As It Gets (1977-1992) APE (image+.cue), lossless

Although the title of this CD reissue has a bit of bragging, this is an excellent duet set which features bassist Ray Brown and pianist Jimmy Rowles. There are many subtle surprises on the set including Rowles' striding on "Like Someone in Love" and Brown's melodic lead on "Honey." Other highlights include "Sophisticated Lady," Rowles' "Looking Back," a playful version of "Love" and "Rosalie." Delightful music. Scott Yanow
Tracklist & Credits :

RAY BROWN | JIMMY ROWLES — "Tasty!" (1983-1995) RM | APE (image+.cue), lossless

The second of two duet albums by bassist Ray Brown and pianist Jimmy Rowles, this subtle and delightful CD reissue is the equal of the first. Rowles, who plays some surprising stride on "I'm Gonna Sit Right Down and Write Myself a Letter," shows his sly wit in several spots along with harmonic sophistication. Brown's huge tone is well displayed in the sparse setting. Highlights include "A Sleepin' Bee," "My Ideal" and "Nancy (With the Laughing Face)."  Scott Yanow  Tracklist & Credits :

28.11.23

PEPPER ADAMS — Critics' Choice (1958-2005) RM | FLAC (tracks+.cue), lossless

Pepper Adams was one of the greatest jazz baritone saxophonists of all time. During a time when Gerry Mulligan's cool-toned baritone was very influential, Adams rose to prominence with a harder and bigger sound, much more hard bop than cool. This relatively obscure release, originally an LP for the World Pacific label, finds the baritonist in Los Angeles matching his hard-driving style with several players identified with West Coast cool jazz. Trumpeter Lee Katzman, who is on every selection but "Blackout Blues" and "Four Funky People," has a tone closer to Chet Baker than to Donald Byrd, but fits in well with Adams. The rhythm section is mostly laid-back and quiet but swinging. A joy of this CD reissue is the repertoire, which contains catchy originals by Adams, Barry Harris (the memorable "High Step"), Tommy Flanagan, and Thad Jones in addition to a lone standard in "Alone Together." Adams was one of the most consistent of all jazzmen; he never seemed to make an unworthy record, so he is in typically fine form throughout this freewheeling hard bop set. "Four Funky People," not originally on the LP but from the same sessions, is included as a bonus cut. Scott Yanow  
Tracklist :
1  Minor Mishap  6:28
Tommy Flanagan
2  Blackout Blues 4:58
Pepper Adams
3  High Step 8:44
Barry Harris
4  Zec  6:35
Thad Jones
5  Alone Together 5:51
Schwartz-Dietz
6  50-21 8:12
Thad Jones
– BONUS TRACKS –
7  Four Funky People 4:56
Pepper Adams
Credits :
    Baritone Saxophone – Pepper Adams
    Bass – Doug Watkins
    Drums – Mel Lewis
    Piano – Jimmy Rowles
   Trumpet – Lee Katzman (tracks: 1, 3 To 6)

11.10.23

STAN GETZ – 1954 | The Classics Chronological Series – 1435 (2007) FLAC (tracks), lossless

Stan Getz was one of Lester Young's very best students. From Pres he learned the fine arts of inspired improvisation and smooth, intimate tonality. Every chapter in the Classics Stan Getz chronology is guaranteed to please. The eighth installment contains about an hour's worth of excellent jazz that was preserved for posterity by producer Norman Granz. Tracks one through four were recorded in Los Angeles on January 23, 1954, with Getz supported by pianist Jimmy Rowles, bassist Bob Whitlock, and drummer Max Roach. On November 8, 1954, Granz presented Getz in concert within the Shrine Auditorium at 649 W. Jefferson Boulevard in Los Angeles. Released on a long-playing album entitled Stan Getz at the Shrine, the superb live jazz heard on this disc also featured valve trombonist Bob Brookmeyer, who was one of Getz's close collaborators. These recordings, some of them marvelous stretched-out jams lasting more than eight minutes, are still cherished for the profound empathy that existed between the two men. The rhythm section was composed of pianist Johnny Williams, bassist Bill Anthony, and drummer Art Mardigan. The MC was none other than Duke Ellington! arwulf arwulf     Tracklist :

13.9.23

DEXTER GORDON – 1943-1947 | The Chronogical Classics – 999 (1998) FLAC (tracks+.cue), lossless

This magnificent album of progressive jazz from the mid-'40s contains the earliest recordings released under Dexter Gordon's name. The opening session finds him in the company of Nat King Cole and Harry "Sweets" Edison. While Cole based much of his piano style on the creative accomplishments of Earl Hines, Gordon named Roy Eldridge and Lester Young as primary influences. The inspiration to emulate Prez, said Dex, "...came like a bolt out of the blue to me...I readily identified with his ideas and concepts...." This is superbly demonstrated in the relaxed jamming atmosphere of the first four tracks, particularly "I Blowed and Gone." Gordon said that by the time he joined the Lionel Hampton band in December of 1940, he'd been listening carefully to Prez "for three or four years." By 1943 Gordon's saxophone voice had ripened under that influence to the point where he was beginning to tell his own story. Then one night in 1944 at Minton's Playhouse, Gordon sat in literally between Lester Young and Ben Webster. Recording for Savoy in October of 1945, Gordon was teamed with adventurous pianist Sadik Hakim, backed by Gene Ramey and Ed Nicholson. These performances resemble Lester Young's Aladdin and early Clef recordings. The second Savoy session from January 1946 has Leonard Hawkins blowing trumpet and a wicked rhythm section in Bud Powell, Curly Russell, and Max Roach. As is the case with most of the groups heard on this collection, the combination of creative minds is stunning. And here Gordon establishes his wonderful personal regimen of delivering slow, full-feature tenor ballads. Back in 1943, "Sweet Lorraine" was shared with Nat Cole, who soon became closely identified with that melody. "I Can't Escape from You" is the first real example listeners have of Gordon the three-minute balladeer. Other forthcoming offerings in this vein are "Talk of the Town" and "I Don't Stand a Ghost of a Chance with You." His next session as a leader took place in Hollywood on June 5, 1947, with trombonist Melba Liston, who was soloing with and writing arrangements for Gerald Wilson's orchestra during this period (see Classics 976, the 1945-1946 volume of the label's Wilson chronology). "Mischievous Lady" and "Lullabye in Rhythm" contain what seem to be Liston's first solos recorded in a small-band environment. It's a shame that this group didn't cut a dozen more sides together. One week later, Gordon and Wardell Gray cut their famous two-part tenor blowout, "The Chase." Since Charlie Parker's "Klactoveedsedstene," with its distinctive opening clause, was recorded on October 28, 1947, it is interesting to hear the same lick used to open and close "The Chase," recorded nearly five months earlier. Which came first, the Bird or the egg? As "The Chase" proceeds, another riff emerges, forming the basis for the theme and the beginning of the first solo. It is based on Alphonse Picou's famous clarinet passage from "High Society," the old New Orleans jazz anthem. Here is the great multi-generational span dance, the new thing firmly grounded in the old. Every single record reissued here is worth its weight in gold. Gordon's Dial recordings, especially "Chromatic Aberration" and "Bikini," are full-blooded mature statements from a 24-year-old master improviser wise beyond his years. Even in the face of all the great records he would make in the years to come, this stash of Dexter Gordon's early work should be cherished among his very best. arwulf arwulf               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 :

5.9.23

BUDDY RICH – 1950-1955 | The Chronogical Classics – 1419 (2006) FLAC (tracks+.cue), lossless

 As the Classics Chronological Series works its way into the early and mid-'50s, the magnitude of producer Norman Granz's achievement becomes increasingly apparent. Some of the greatest jazz musicians of all time -- Oscar Peterson, Charlie Parker, Dizzy Gillespie, Billie Holiday, Johnny Hodges, Lester Young -- were signed by Granz at a time when many Afro-American jazz musicians were struggling to get steady work, and jazz in general was beginning to take a back seat to pop vocals, R&B and rock & roll. Drummer and bandleader Buddy Rich had only just begun to lead a big band when the post-WWII restructuring of the entertainment industry edged him out (see Volume one in Rich's complete chronological recordings, 1946-1948 [Classics 1099]). He was able to continue making records by working with smaller groups, oftentimes at recording sessions supervised by Norman Granz. As the mastermind behind Jazz at the Philharmonic, Granz was adept at documenting live jam sessions. Fortunately the recording equipment was plugged in and running when Buddy Rich, Ray Brown and Hank Jones cooked up a frantic seven-minute version of "Air Mail Special" in front of a rowdy audience at Carnegie Hall on September 16, 1950. This explosive jam, which consists mainly of an extended crowd-pleasing drum solo, serves as a fiery prologue to the first of the Buddy Rich/Norman Granz studio sessions, all of which resulted in collectively swung jazz of the highest order. Granz had a knack for bringing together uncommonly gifted musicians, and Rich was very lucky to find himself recording with pianist Oscar Peterson and guitarist Herb Ellis; with trumpeters Harry "Sweets" Edison, Thad Jones and Joe Newman; and with saxophonists Benny Carter, Georgie Auld, Willie Smith, Ben Webster and Frank Wess. Buddy Rich is also heard exercising his tonsils. Sometimes compared with Frank Sinatra (his rival for the attentions of vocalist Edythe Wright during the Dorsey days), Rich was capable of crooning with convincing suavity, as could Woody Herman. Aside from his quasi-hip vocal on the novelty titled "Bongo, Bass and Guitar," this compilation contains four tracks with Rich standing away from the drums (Louie Bellson was brought in to man the kit) and concentrating upon the art of emitting songs through the mouth, accompanied by a small jazz combo sweetly augmented with strings under the direction of Howard Gibeling. Much more in line with Buddy Rich's regular modus operandi, this segment of his chronology concludes with two extended instrumental jams, each exceeding ten minutes in duration, recorded in New York on May 16, 1955. Arrogant, selfish, cruel and egotistical to the point of megalomania, Buddy Rich was an able percussionist capable of generating a lot of excitement with his drums and cymbals; he could drive an ensemble with plenty of steam, but most of his showy extended solos, which rely a lot on convulsive bouts of press rolling and restless parade ground paradiddling, lack the substance, depth and organic coherence of expanded improvisations created by Art Blakey, Max Roach and Elvin Jones. To call Buddy Rich the world's greatest drummer is just blarney. The person who made that claim most often was Buddy Rich himself. arwulf arwulf 

2.6.23

GEORGE AULD – 1946-1951 | The Classics Chronological Series – 1371 (2004) FLAC (tracks+.cue), lossless

Volume three in the Classics Georgie Auld chronology opens with the last four sides he cut for the Musicraft label on June 14, 1946. The 16-piece big band had Neal Hefti in the trumpet section, Auld, Al Cohn and Serge Chaloff in the reeds, and vocalist Sarah Vaughan featured on "You're Blasé." While Hefti's two original compositions are pleasantly modern sounding, the true gem from this date was Budd Johnson's rock-solid "Canyon Passage." Changes in the postwar entertainment industry resulted in the dissolution and dispersal of many big bands. Auld threw in the towel and waited about two-and-a-half years before resuming his recording career on January 17, 1949. His new band had ten pieces, including trombonist Billy Byers, pianist Jimmy Rowles and drummer Alvin Stoller. Eight sides cut for the Discovery record label on this date and on March 21 used mostly Hal Vernon arrangements; Byers scored the charts for "Hollywood Bazaar" and "Mild and Mellow." (For a 100-percent satisfying example of Auld leading a ten-piece band similar to this one, seek out You Got Me Jumpin' (Sounds of Yesteryear 6680), recorded live at the Empire in Hollywood, CA, 1949.) The next leg of the chronology consists of nine titles recorded for the Royal Roost record label on January 24, 1951 by the Georgie Auld Quintet, with trombonist Frank Rosolino, pianist Lou Levy, bassist Max Bennett and drummer Tiny Kahn, whose eccentric opus "Seh! Seh!" is group participation bop; the band shouts the song's title at regular intervals as part of the melodic line. This little-known session hatched a veritable goldmine of cruising cookers and luscious ballads; "Taps Miller" and "New Airmail Special" are particularly piquant. arwulf arwulf
Tracklist + Credits :

2.5.23

SLIM GAILLARD – 1940-1942 | The Classics Chronological Series – 753 (1994) FLAC (tracks+.cue), lossless

Volume three in the complete chronological recordings of Slim Gaillard chronicles the further adventures of Okeh recording artists the Flat Foot Floogee Boys. Garvin Bushell blows clarinet on four titles waxed in September 1940. Bushell's long career as a multi-instrumentalist included a date with Fats Waller and James P. Johnson in 1928 and a fiery residency at the Village Vanguard with John Coltrane and Eric Dolphy in 1961. As a member of the Flat Foot Floogee Boys, Bushell sounds best on the upbeat numbers, interacting warmly with trumpeter Henry Goodwin and engaging in a bit of call and response on "Hit That Mess." Two sessions from 1941 scale the band down to a quartet and signal the return of singing bassist Slam Stewart, Gaillard's original partner in crime. Four titles from March 11 are classic Slim & Slam. "Bassology" is among Stewart's most amazing performances on record and one of the great jazz bass recordings of all time. This session is also notable for the presence of pianist Loumell Morgan and percussionist Kenny Clarke. Moving his act to Hollywood during the summer of 1941, Gaillard began to appear in motion pictures, including an appearance with Slam Stewart, Rex Stewart, and Cee Pee Johnson in a wild flick bearing the title Hellzapoppin'. Unfortunately, this compilation does not contain any portion of that film's soundtrack. What you do get to hear are four swingin' sides that constitute 20-year-old drummer Forrest "Chico" Hamilton's first appearance on record. Still in Hollywood on April 4, 1942, Gaillard and Stewart made three amazing sides with tenor sax heavyweight Ben Webster, pianist Jimmy Rowles, and drummer Leo "Scat" Watson, who couldn't restrain an occasional outburst of his own brand of scat singing. Someone appears to be tapdancing during "Groove Juice Special." If this was Watson then he managed to drum and dance at the same time. Why these three incredible recordings were rejected by Okeh and left unreleased is anybody's guess. This session was certainly a high point in the career of each participant. Gaillard's own progress was interrupted first by the 1942 AFM recording ban and then by the draft board. Gaillard would resume making records in 1945 with a decidedly different cast of characters. As a sort of dessert the folks at Classics have amended the package with four rare recordings by the Royal Rhythm Boys from 1939. This almost forgotten little band consisted of Jimmy Prince at the piano, guitarist Billy Moore, and the mighty Slam Stewart, who sings hip duets with Moore in a manner anticipating the Cats & the Fiddle and the King Cole Trio. Although the Classics discography implies that Moore composed "Peace Brother Peace," this song was written by Clarence Williams and introduced in the mid-'30s by Willie "The Lion" Smith & His Cubs. arwulf arwulf  
Tracklist :
1    Slim Gaillard & His Flat Foot Floogee Boys–    Put Your Arms Around Me, Baby    2:55
2    Slim Gaillard & His Flat Foot Floogee Boys–    Lookin' For A Place To Park    3:00
3    Slim Gaillard & His Flat Foot Floogee Boys–    Hit That Mess    2:38
4    Slim Gaillard & His Flat Foot Floogee Boys–    Hey! Chef    2:40
5    Slim Gaillard & His Flat Foot Floogee Boys–    Ah Now    2:54
6    Slim Gaillard & His Flat Foot Floogee Boys–    A Tip On The Numbers    3:06
7    Slim Gaillard & His Flat Foot Floogee Boys–    Slim Slam Boogie    2:32
8    Slim Gaillard & His Flat Foot Floogee Boys–    Bassology    2:37
9    Slim Gaillard & His Flat Foot Floogee Boys–    Bingie-Bingie-Scootie    2:55
10    Slim Gaillard & His Flat Foot Floogee Boys–    B-19    3:01
11    Slim Gaillard & His Flat Foot Floogee Boys–    Champagne Lullaby    2:53
12    Slim Gaillard & His Flat Foot Floogee Boys–    African Jive    2:34
13    Slim Gaillard & His Flat Foot Floogee Boys–    Palm Springs Jump    2:36
14    Slim Gaillard & His Flat Foot Floogee Boys–    Ra-Da-Da-Da    2:36
15    Slim Gaillard & His Flat Foot Floogee Boys–    Groove Juice Special    2:40
16    Royal Rhythm Boys–    In A Shanty In Old Shanty Town    2:37
17    Royal Rhythm Boys–    Blue Skies    3:03
18    Royal Rhythm Boys–    Beat It Out, Bumpin' Boy    2:29
19    Royal Rhythm Boys–    Peace, Brother, Peace    3:06
Credits :    
Clarinet – Garvin Bushell (tracks: 1 to 4)
Double Bass [Acoustic Bass] – Nick Fenton (tracks: 1 to 4), Slam Stewart (tracks: 5 to 19)
Drums – Forrest "Chico" Hamilton (tracks: 9 to 12), Hubert Pettaway (tracks: 1 to 4), Kenny Clarke (tracks: 5 to 8), Leo Watson (tracks: 13 to 15)
Guitar – Billy Moore (tracks: 16 to 19)
Piano – Jimmy Prince (tracks: 16 to 19), Jimmy Rowles (tracks: 13 to 15), Loumell Morgan (tracks: 1 to 8), Tommy Fulford (tracks: 9 to 12)
Tenor Saxophone – Ben Webster (tracks: 13 to 15)
Trumpet – Henry Goodwin (tracks: 1 to 4)
Vocals, Guitar – Slim Gaillard (tracks: 1 to 15)

17.3.23

LENNIE TRISTANO | LEE KONITZ | WARNE MARSH - The Complete Atlantic Recordings of Lennie Tristano, Lee Konitz & Warne Marsh (1997) 6CD | FLAC (tracks+.cue), lossless

Pianist Lennie Tristano was an early inspiration and a major influence on the playing of altoist Lee Konitz and tenor saxophonist Warne Marsh. Their very notable and highly original Capitol recordings of 1949 -- with the quiet metronomic rhythm section, advanced melodic improvising, and reharmonizations -- stood apart from the typical bop of the period. By 1955, when the earliest performances on this 1997 limited-edition, six-CD set were recorded, the trio was not working together very often; in fact, Tristano was mostly functioning as a teacher, only surfacing for occasional records and club dates. Despite the title of the box, Tristano, Konitz, and Marsh never all appeared on the same Atlantic record. However, their individual projects and collaborations during the era were of consistently high quality. Included on the set are a live quartet date with Konitz and Tristano, a couple of the pianist's solo and trio sessions (including a few controversial items where he overdubbed and even sped up piano parts), several Konitz quartet sets (with such sidemen as pianists Sal Mosca and Jimmy Rowles, and guitarist Billy Bauer), a Marsh trio/quartet album, and a stimulating meeting between Konitz and Marsh (with Mosca and Bauer) in a sextet. Four of the performances were previously unreleased, and one of the Konitz albums was formerly only available in Japan. Although the inventive music often utilizes familiar chord changes, there are plenty of surprises in the cool-toned solos, and this is well worth acquiring by bop collectors. Scott Yanow
All Tracks & Credits :

13.3.23

LEE KONITZ - Tenorlee (1978-2002) FLAC (tracks+.cue), lossless

Tenorlee is a bit unusual in that altoist Lee Konitz exclusively plays tenor. Featured in an intimate trio with pianist Jimmy Rowles and bassist Michael Moore, Konitz explores ten superior standards from the swing era plus a brief unaccompanied workout on "Tenorlee." On "Lady Be Good," both Konitz and Rowles quote liberally from the famous 1936 recording by Lester Young and Count Basie. The relaxed, often lyrical, and slightly unpredictable interpretations are quite enjoyable. Scott Yanow
Tracklist :
1     I Remember You 6:33
Johnny Mercer / Victor Schertzinger     
2     Skylark 3:35
Hoagy Carmichael / Johnny Mercer
3     Thanks for the Memory 4:11
Ralph Rainger / Leo Robin
4     You Are Too Beautiful 4:26
Lorenz Hart / Richard Rodgers
5     Handful of Stars 5:20
Jack Lawrence / Ted Shapiro
6     Autumn Nocturne 3:28
Kim Gannon / Josef Myrow
7     Tangerine 3:54
Johnny Mercer / Victor Schertzinger
8     Tenorlee/Oh, Lady Be Good 8:12
George Gershwin / Ira Gershwin / Lee Konitz
9     The Gypsy 3:22
Billy Reid
10     'Tis Autumn 3:58
Henry Nemo
Credits :    
Bass – Michael Moore
Piano – Jimmy Rowles
Tenor Saxophone – Lee Konitz

7.3.23

LEE KONITZ - From Newport to Nice (1992) FLAC (tracks+.cue), lossless

This compilation consists of live tracks from various sources, including festivals, television and radio broadcasts over a quarter century. While the playing of Konitz and his various band mates is first rate, the sound quality ranges from excellent to poor, probably due to the condition of the tapes and the fact that some of the songs likely come from audience tapes. Highlights include "All The Things You Are," heard in a swinging quintet that included guitarist Rene Thomas and pianist Misha Mengleberg; Lennie Tristano's "At Twilight," by a quartet that featured the late guitarist Atilla Zoller; and the lengthy but delightful second version of "Lover Man," in a quartet with Shelly Manne, Red Mitchell and Jimmy Rowles. Konitz fans should not let the sometimes dismal sound quality keep them from acquiring this excellent CD. Ken Dryden
Tracklist :
1     Two Not One 5:41
Lennie Tristano
2     My Melancholy Baby 3:09
Ernie Burnett / George Norton
3     I'm Getting Sentimental over You 3:38
George Bassman / Ned Washington
4     Easy Living 3:53
Ralph Rainger / Leo Robin
5     Some of These Days 4:14
Shelton Brooks
6     Lover Man 4:19
Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
7     Will You Still Be Mine? 4:05
Tom Adair / Matt Dennis
8     'Round Midnight 5:10
Bernie Hanighen / Thelonious Monk / Cootie Williams
9     All the Things You Are 9:20
Oscar Hammerstein II / Jerome Kern
10     317 East 32nd Street 6:17
Lennie Tristano
11     At Twilight 7:59
Maceo Pinkard
12     Lover Man 10:05
Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
13     Body and Soul 5:54
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
Credits :
Alto Saxophone – Lee Konitz
Contrabass – Barre Phillips (pistas: 10, 11), Bob Carter (pistas: 1), Frank Carroll (pistas: 2), Henry Grimes (pistas: 5 to 7), Johnny Fischer (pistas: 3, 4), Red Mitchell (pistas: 12), Rob Langereis (pistas: 8, 9)
Drums – Buzzy Drootin (pistas: 1), Don Lamond (pistas: 2), Ed Levinson (pistas: 5 to 7), Han Bennink (pistas: 8, 9), Rudi Sehring (pistas: 3), Shelly Manne (pistas: 12), Stu Martin (pistas: 10, 11)
Guitar – Attila Zoller (pistas: 10, 11), Jimmy Raney (pistas: 13), Johnny Smith (pistas: 2), René Thomas (pistas: 8, 9)
Piano – Jimmy Rowles (pistas: 12), Misha Mengelberg (pistas: 8, 9), Roland Kovac (pistas: 3), Russ Freeman (pistas: 1)
Tenor Saxophone – Warne Marsh (pistas: 1)

14.10.22

ZOOT SIMS MEETS JIMMY ROWLES - If I'm Lucky (1977-1992) RM | FLAC (tracks+.cue), lossless

Tenor saxophonist Zoot Sims recorded quite a few albums with pianist Jimmy Rowles during his Pablo years; all are recommended. Rowles assisted Sims in coming up with obscurities to interpret, and this CD reissue is highlighted by such little-performed songs as "If I'm Lucky," "Shadow Waltz," "Gypsy Sweetheart" and "I Wonder Where Our Love Has Gone." The lead voices are backed ably by bassist George Mraz and drummer Mousey Alexander on this enjoyable straight-ahead date. Scott Yanow
Tracklist :
1     (I Wonder) Where Our Love Has Gone 4:54
Buddy Johnson    
2     Legs 6:31
Neal Hefti    
3     If I'm Lucky 5:29
Eddie DeLange / Josef Myrow    
4     Shadow Waltz 5:34
Al Dubin / Harry Warren    
5     You're My Everything 5:26
Mort Dixon / Harry Warren / Joe Young    
6     It's All Right With Me 6:54
Cole Porter    
7     Gypsy Sweetheart 4:18
Mitchell Parish
8     I Hear a Rhapsody 6:28
Jack Baker / George Fragos / Dick Gasparre
Credits :
Bass – George Mraz
Drums – Mousie Alexander
Piano – Jimmy Rowles
Producer, Liner Notes [Producers Note] – Norman Granz
Remastered By [Digital Remastering, 1992] – Phil De Lancie
Tenor Saxophone – Zoot Sims

e.s.t. — Retrospective 'The Very Best Of e.s.t. (2009) FLAC (tracks+.cue), lossless

"Retrospective - The Very Best Of e.s.t." is a retrospective of the unique work of e.s.t. and a tribute to the late mastermind Esb...