MAYNARD FERGUSON & BIG BOP NOUVEAU — One More Trip to Birdland (1996-2003) SACD, Hybrid | FLAC (image + .cue), lossless

Even at the age of 67, Maynard Ferguson shows on this CD that he could still belt out the high notes. His "Big Bop Noveau" band consists of four trumpets, trombonist Tom Garling (who takes a rockish guitar solo on "Birdland"), Matt Wallace and Chris Farr on saxophones, and a rhythm section. With the exception of "Birdland," the music is strictly bebop, with plenty of screaming trumpet and heated playing; Wallace's alto outbursts often take honors. Highlights include "Manteca," "Cajun Cookin'," "Milestones" and a hyper "It Don't Mean a Thing." Scott Yanow
Tracklist :
1    You Got It 4:09
Composed By – Tom Garling
2    Manteca 6:21
Arranged By – Marko Marcinko
Composed By – Dizzy Gillespie, Walter Fuller, Luciano Gonzales
3    The Vibe 7:12
Composed By – Tom Garling
4    Cajun Cookin' 7:07
Composed By – Denis DiBlasio
5    Milestones 5:31
Arranged By – Tom Garling
Composed By – Miles Davis
6    She Was Too Good To Me 6:23
Arranged By – Tom Garling
Composed By – Lorenz Hart, Richard Rodgers
7    Birdland 4:11
Arranged By – Chip McNeill
Composed By – Josef Zawinul
8    Blues From Around Here 7:34
Composed By – Alan Baylock
9    It Don't Mean A Thing If It Ain't Got That Swing 4:20
Arranged By – Chip McNeill
Composed By – Duke Ellington, Irving Mills
Credits :
Alto Saxophone – Matt Wallace, Vocals (tracks: 6)
Bass – Phil Palombi
Drums – Marko Marcinko, Percussion, (tracks: 4)
Keyboards – Dan Zank
Soprano Saxophone – Chris Farr
Tenor Saxophone – Chris Farr, Matt Wallace
Trombone – Tom Garling, Guitar, (tracks: 7)
Trumpet – Carl Fischer, Larry Foyen, Maynard Ferguson, Scott Englebright

FRANK ROSOLINO — Four Horns and a Lush Life (1956-2000) RM | MONO | Serie ベツレヘムCDコレクション – 52 | FLAC (image+.cue), lossless

Russ Garcia was a popular arranger in the mid-'50s, often working with some of the best jazz artists of the day. On this session for Bethlehem, he conducts an octet with four trombonists (including Maynard Ferguson, Frank Rosolino, Herbie Harper and Tommy Pederson), plus baritone saxophonist Dick Houlgate, pianist Marty Paich, bassist Red Mitchell and drummer Stan Levey. Most of Garcia's cool arrangements are of standards, while his "I'll Never Forget What's Her Name (The Lo-est)" is a barely disguised reworking of the chord changes to "Fine and Dandy." Obviously, the trombonists are the primary focus of the solos, though Paich, Houlgate and Mitchell get a chance to get in a few licks of their own. Garcia's use of a trombone choir is very effective in the warm treatment of "Lush Life" and a cooking "What Is This Thing Called Love." Ken Dryden
Tracklist :
1 I'll Never Forget What's Her Name 3:20
Russell Garcia
2 But Beautiful 2:17
Johnny Burke / James Van Heusen
3 Dancing on the Ceiling 3:09
Lorenz Hart / Richard Rodgers
4 The Boy Next Door 2:37
Hugh Martin
5 Just One of Those Things 4:06
Cole Porter
6 Zigeuner 2:55
Noël Coward
7 Limehouse Blues 3:04
Philip Braham / Douglas Furber
8 Lush Life 2:07
Billy Strayhorn
9 Lover, Come Back to Me 5:36
Oscar Hammerstein II / Sigmund Romberg
10 Ramona 2:40
Louis Wolfe Gilbert / Mabel Wayne
11 Someone to Watch over Me 2:31
George Gershwin / Ira Gershwin
12 What Is This Thing Called Love? 3:04
Cole Porter
Credits :
Baritone Saxophone – Dick Houlgate
Bass – Red Mitchell
Drums – Stan Levey
Piano – Marty Paich
Trombone – Frank Rosolino, Herb Harper, Maynard Ferguson, Tommy Pederson

BEN WEBSTER – 1946-1951 | The Chronogical Classics – 1253 (2002) FLAC (tracks+.cue), lossless

This volume in the Chronological Classics Ben Webster series is a fascinating slice during a wildly transitional period for the saxophonist. In the years between 1946-1951, Webster made numerous jumps as evidenced by these tracks, from the glorious jumping big swing of "The Jeep Is Jumpin'" while he was with Bill De Arango to the searing bebop of "Dark Corners" (with some blazing guitar work by De Arango) to the small-combo hard bop of "Randle's Island" to the bluesy, near soul-jazz balladry of "You're My Thrill." In Webster's company are some masters to be sure, including Maynard Ferguson, Al Haig, Big Sid Catlett, Bill Coleman, Benny Carter, Tony Scott, Buster Moten, and Gerald Wiggins, to name a few. This is varied set in terms of style, but these performances (and sound) are consistently fine.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<-
Tracklist :
1 The Jeep Is Jumpin'  2:57
Duke Ellington / Johnny Hodges
2 I Got It Bad (And That Ain't Good)  2:56
Duke Ellington / Paul Francis Webster
3 Dark Corners 3:02
Ben Webster
 4 Mister Brim 3:15
Bill DeArango
 5 Frog and Mule 3:09
Ben Webster
 6 Spang 2:41
Ben Webster
7 Doctor Keets 3:16
Ben Webster
8 Park and Tilford Blues 3:18
Ben Webster
9 As Long As I Live 2:25
Harold Arlen / Ted Koehler
10 All Alone 2:57
Irving Berlin
11 Blue Belles of Harlem 2:57
Duke Ellington
12 Turn It Over 2:38
Bennie Moten
13 That Dit It 2:47
Bennie Moten
14 Best Friend Blues 3:08
Bennie Moten / Bessie Smith
15 Baby You Messed Up 2:20
Bessie Smith
16 Randle's Island 3:16
Ben Webster
17 Old Folks 2:55
Dedette Lee Hill / Willard Robison
18 King's Riff 3:14
Ben Webster
19 You're My Thrill 3:06
Sidney Clare / Jay Gorney

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

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

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

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

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

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

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

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

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

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

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

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

MAYNARD FERGUSON - Primal Scream (1976-2004) FLAC (tracks+.cue), lossless

An all-star cast assists Maynard Ferguson in this disco-tinged big-band outing. Ferguson's trademark trumpet playing is featured in all its screaming glory, and Mark Colby contributes a couple of high-energy sax solos. "Primal Scream" and "Invitation" sound as though they were lifted right off the mid-'70s disco dancefloor, complete with T.S.O.P.-type strings and pulsing rhythms. "Pagliacci," too, has the disco beat pounding underneath a Jay Chattaway adaptation of an operatic melody, with Bobby Militello featured on an energetic, overblown flute solo. Chick Corea's "The Cheshire Cat Walk" sounds like latter-day Return to Forever, as Corea's synth trades licks with Ferguson's horn over a familiar RTF rhythmic/chordal bassline sequence. The final cut, Eric Gale's "Swamp," stands out because of its reggae beat. This album was an obvious attempt to jump on the disco-funk bandwagon, and serves as a well-played, though dated, document of that era. by Jim Newsom
Tracklist :
1     Primal Scream 7:09
Jay Chattaway / Maynard Ferguson
2     The Cheshire Cat Walk 10:09
Chick Corea
3     Invitation 5:32
Bronislaw Kaper
4     Pagliacci 5:55
Jay Chattaway / Ruggero Leoncavallo
5     Swamp 7:24
Eric Gale
Credits :
Alto Saxophone – Dave Sanborn
Bass – Gary King
Bass Trombone – David Taylor, Paul Faulise
Cello – Alan Shulman, Charles McCracken
Drums – Steve Gadd
Flute, Baritone Saxophone – Bobby Militello
French Horn – Brooks Tillotson, Earl Chapin
Guitar – Eric Gale, Jeff Mirenov, Jerry Friedman
Percussion – Ralph MacDonald
Piano, Synthesizer [Arp], Clavinet – Bob James
Producer – Bob James
Soprano Saxophone, Tenor Saxophone – Mark Colby
Tenor Saxophone – Joe Farrell
Trombone – Tony Studd
Trumpet – Marvin Stamm
Trumpet [All Solos] – Maynard Ferguson
Trumpet, Flugelhorn – Bernie Glow, Jon Faddis, Stan Mark
Viola – Emanuel Vardi, Theodore Israel
Violin – Charles Libove, David Nadien, Emanuel Green, Frederick Buldivini, Harry Cykman, Joseph Malin, Max Ellen, Paul Gershman
Vocals – Hilda Harris, Lani Groves, Patti Austin 

HOWARD RUMSEY'S LIGHTHOUSE ALL STARS - Sunday Jazz a La Lighthouse (1953) OJC / FLAC (tracks+.cue), lossless

For quite a few years in the 1950s, it was a tradition at the Lighthouse for music to be presented on Sundays from 2 p.m. until 2 a.m. The Lighthouse All-Stars formed the core of the all-star group, but quite often other notable players would sit in. This CD reissue presents live performances from one such Sunday. In addition to the usual bandmembers of the time (trumpeter Shorty Rogers, trombonist Milt Bernhart, Bob Cooper and Jimmy Giuffre on tenors, pianist Frank Patchen, bassist Howard Rumsey, and drummer Shelly Manne), trumpeter Maynard Ferguson, pianist Hampton Hawes, and Carlos Vidal on conga have opportunities to be heard. The music is straight-ahead, generally cool-toned, but with plenty of heat; "Viva Zapata" is a Latin romp. Virtually everyone is featured. Highlights include "Four Others," and Rogers' playing on "All the Things You Are" and "Bernie's Tune."  by Scott Yanow
Tracklist:
1 Four Others 6:01
Jimmy Giuffre
2 All the Things You Are 5:16
Oscar Hammerstein II / Jerome Kern
3 Creme de Menthe 4:30
Erroll Garner / Jimmy Giuffre
4 Viva Zapata! 8:14
Shorty Rogers
5 Bernie's Tune 5:18
Jerry Leiber / Bernard Miller / Mike Stoller
6 Solitaire 4:24
Bill Russo
7 Morgan Davis 6:03
Shorty Rogers
8 La Soncailli 9:55
Jimmy Giuffre
Credits:
Bass, Liner Notes – Howard Rumsey
Congas – Carlos Vidal
Drums – Shelly Manne
Piano – Frank Patchen, Hampton Hawes
Tenor Saxophone – Bob Cooper, Jimmy Giuffre
Trombone – Milt Bernhart
Trumpet – Maynard Ferguson, Shorty Rogers

HOWARD RUMSEY'S LIGHTHOUSE ALL STARS - Sunday Jazz a La Lighthouse

 (1953-1991) Contemporary / OJC / FLAC (tracks+.cue), lossless

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