QUINCY JONES AND HIS ORCHESTRA — Big Band Bossa Nova (1962-2007) RM | SHM-CD | FLAC (image+.cue), lossless

A byproduct of the bossa nova fad that followed the success of "Desafinado" (and preceded the famous recording Getz/Gilberto), this set finds Quincy Jones utilizing and exploiting bossa nova rhythms in his arrangements for a big band. The personnel includes flügelhornist Clark Terry, altoist Phil Woods, pianist Lalo Schifrin, guitarist Jim Hall, and (on "Soul Bossa Nova") the remarkable Rahsaan Roland Kirk. However, since the selections are all quite brief, and some of the charts are a bit cheesy and inappropriate for the gentle rhythms, this disc (although pleasant enough) is of lesser interest. Scott Yanow
Tracklist :
1. Soul Bossa Nova (2:48)
 Quincy Jones
2. Boogie Bossa Nova (2:45)
 Charles Mingus
3. Desafinado (2:57)
 Antônio Carlos Jobim / Newton Mendonça
4. Black Orpheus (Manha De Carnaval) (2:58)
 Luiz Bonfá / Antônio Maria
5. Se E Tarde Me Pardoa (Forgive Me If I'm Late) (4:25)
 Ronaldo Bôscoli / Carlos Lyra
6. On The Street Where You Live (2:36)
 Alan Jay Lerner / Frederick Loewe
7. Samba De Uma Nota So (One Note Samba) (2:05)
 Jon Hendricks / Antônio Carlos Jobim / Newton Mendonça
8. Lalo Bossa Nova (3:13)
 Lalo Schifrin
9. Serenata (3:22)
 Leroy Anderson
10. Chega De Saudade (No More Blues) (5:39)
 Antônio Carlos Jobim
Credits :
Bass – Chris White
Drums – Rudy Collins
Flugelhorn – Clark Terry
Flute – Jerome Richardson, Rahsaan Roland Kirk (tracks: 1)
Flute [Alto] – Jerome Richardson
Guitar – Jim Hall (tracks: 3, 8-10)
Percussion – Carlos Gomez, Jack Del Rio, José Paula
Piano – Lalo Schifrin
Producer – Quincy Jones
Saxophone [Alto] – Phil Woods (tracks: 6-9)
Saxophone [Tenor] – Paul Gonsalves (tracks: 2, 4 & 7)
Trumpet – Clark Terry (tracks: 2 & 10)
Woodwind – Jerome Richardson

DIZZY GILLESPIE — Sittin' In (1958-1997) RM | Serie LP Reproduction | FLAC (tracks+.cue), lossless

SITTIN' IN is a jazz lover's dream come true. On this historic session, recorded in the summer of 1957, Dizzy Gillespie, Stan Getz, Coleman Hawkins, and Paul Gonsalves got together to create one of the most formidable frontlines ever captured on tape. The program, which includes "Dizzy Atmosphere," the chestnut "The Way You Look Tonight," and two lengthy ballad medleys, lets each horn player take a turn in the spotlight.

The music blends West Coast cool, swing, bop, and hard-bop styles in a manner befitting each of the monumental leaders, and the whole is driven by a spry rhythm section consisting of bassist Wendell Marshall, drummer J.C. Heard, and pianist Wynton Kelly. Aficionados will relish the opportunity to identify the solos and styles of each player--Getz's cool complexity, Gillespie's athleticism, Gonsalves's unique lyricism, and Hawkins's pioneering technique and tone. SITTIN' IN is a superb slice of bop history, starring some of the most influential figures in the evolution of jazz. AllMusic    Tracklist + Credits :

COUNT BASIE AND HIS ORCHESTRA – 1946-1947 | The Classics Chronological Series – 988 (1998) FLAC (tracks), lossless

Here's a crash course in the flashy post-WWII big band sound of Count Basie's Orchestra. This was a much different act from the Basie band of 1944-45. The entire presentation had changed considerably in just a couple of years. Arrangers had a lot to do with such rapid transformation, along with creative young players like J.J. Johnson, Paul Gonsalves and Illinois Jacquet. Basie himself was maturing already into that famously glib, tinkling pianist who could and did occasionally play his ass off. A number of stylistic modes are clearly at work during the summer of 1946. Two sentimental pop vocals, one lightweight novelty tune and a solid Jimmy Rushing blues are interspersed with several exciting instrumentals. Buster Harding cooked up a few heavy-handed boogies, Tadd Dameron contributed the stimulating, modern composition "Stay On It," and Harry "Sweets" Edison composed and arranged "Mutton Leg," a sizzling feature for Illinois Jacquet. This would be the saxophonist's last extroverted studio recording with this band, and the eight selections from 1946 were the last of Basie's mid-'40s Columbia sides. Signing up with Victor for the next three years, Basie continued to move in step with rapidly evolving developments in pop, bebop and rhythm and blues. The Victor sides have not been reissued very often, and have proved much more difficult to obtain than Basie's earlier recordings from the Columbia and Decca catalogs. The people in charge of the Classics chronological series are to be commended for making these historical recordings available. The Victor material is markedly varied, revealing an orchestra searching for its next stylistic identity. "Open the Door, Richard" is one of the coolest versions of this silly piece of neo-vaudeville ever recorded, mainly because of Harry "Sweets" Edison's very hip, high-voiced spoken delivery. "One O'Clock Boogie" is recognizable Basie, but two lush ballads, arranged by Hugo Winterhalter, of all people, are atypical for this band. "Futile Frustration," though nominally co-composed by Basie, is a jaggedly futuristic Raymond Scott-styled experiment by Jimmy Mundy. Two live V-Disc jams, each exceeding the four-minute mark, feature Basie and rhythm with a snappy front line of Roy Eldridge and Illinois Jacquet. Art Ford, square peg in a round universe, introduces "Lady Be Good." "Jammin' on a V-Disc," which has a line that sounds uncannily like Sun Ra's "Space is the Place," runs at a brisk clip with wonderful solos from both of the horns. Illinois bites the reed to make his sax squeal and everybody rocks. Buddy Rich is in his element here, as the assignment calls for furious drumming. This segment of the chronology ends with three excellent instrumentals including smart remakes of "St. Louis Boogie" and "Swingin' the Blues." The pianist switches over to Hammond organ in the middle of "Basie's Basement," an authentically low-down blues graced with echoes of Fats Waller's personality. The rest of the fine music recorded by Basie and his men during the month of May 1947 appears at the beginning of the next volume of the complete recordings of Count Basie in chronological order. arwulf arwulf   Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1950 | The Classics Chronological Series – 1217 (2001) FLAC (tracks+.cue), lossless

Eight of the selections on this interesting CD feature Duke Ellington and Billy Strayhorn on pianos, with backup work by either Wendell Marshall or Joe Shulman on bass plus an unidentified drummer on a few numbers. Among the more notable selections are "Cotton Tail," "C Jam Blues," "Johnny Come Lately," and particularly a wild version of "Tonk." These performances are easily available on Prestige, while the other numbers have mostly been put out by Columbia. The latter's big-band selections include the initial studio recording of "The Tattooed Bride" and a lengthy exploration (utilizing Yvonne Lanauze's wordless vocals) of "Mood Indigo." This is rewarding music, but one might want to acquire these numbers through Prestige and Sony/Columbia instead, where they fit more into specific concepts. Scott Yanow  Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1950-1951 | The Classics Chronological Series – 1258 (2002) FLAC (tracks+.cue), lossless

Volume 40 in the complete sequential recordings of Duke Ellington, as compiled and reissued in 2002 as part of the Classics Chronological Series, covers about a half-year's time from December 18, 1950 to May 24, 1951, beginning with two extended tracks initially issued on the Columbia LP Masterpieces by Ellington. With Sophisticated Lady and Solitude, Ellington took advantage of the new long-playing format to allow the band to stretch out as they'd been doing in live performance for many years. The vocalist on Sophisticated Lady was Yvonne Lanauze. In addition to the usual rich palette of Ellington and Strayhorn compositions, this portion of the chronology contains original works by trumpeters Charlie Shavers and William "Cat" Anderson; by valve trombonist and arranger Juan Tizol, tenor saxophonist Paul Gonsalves, and Luigi Paulino Alfredo Francesco Antonio Balassoni, commonly known as drummer Louie Bellson, who had recently migrated from the Harry James Orchestra with Tizol and alto saxophonist Willie Smith. The music heard on this disc was recorded at a time when all of the big bands -- even those led by Count Basie and Duke Ellington -- were struggling to keep their heads above water. This explains the inclusion of seven selections that were released on Mercer records -- a short-lived independent label managed by Mercer Ellington, and Leonard Feather -- featuring a scaled down group known as Duke Ellington's Coronets. The titles credited to the Coronets are "Night Walk (Cat Walk)," "Moonlight Fiesta," "She (Sensuous)," "Swamp Drum," "Sultry Serenade," "Indian Summer," and the "Britt and Butter Blues" which referred to a pair of master trombonists, Britt Woodman and Quentin "Butter" Jackson. arwulf arwulf        Tracklist + Credits : 

DUKE ELLINGTON AND HIS ORCHESTRA – 1951 | The Classics Chronological Series – 1282 (2003) FLAC (tracks+.cue), lossless

Volume 41 in the complete chronological recordings of Duke Ellington as reissued by the Classics label contains 16 master takes that came together during the second half of 1951, the year that saw the release of Duke's marvelous Uptown album. Although big bands were struggling to stay together during this period and Johnny Hodges was off making records with producer Norman Granz, the Ellington Orchestra sounds exceptionally fine throughout. Billy Strayhorn had a lot to do with the elegance that characterizes the 1951 recordings, and the soloists are in extraordinarily good form. "Deep Night" features trombonists Juan Tizol, Quentin "Butter" Jackson, and Britt Woodman. "Please Be Kind" belongs to alto saxophonist Willie Smith, an alumnus of the Jimmie Lunceford Orchestra. The "Duet" between bassist Wendell Marshall and clarinetist Jimmy Hamilton is mostly an orchestral number that ends as a duo. Hamilton also plays tenor sax on "Bensonality." "Jumpin' with Symphony Sid," a tune rarely associated with Ellington, here becomes a solid steady groove that you'll want to slip into more than once. "Before My Time" from the "Controversial Suite" was Duke's whimsical response to the language of music critics who used up a lot of energy defining Tradition and Modernity; the Suite's title also referred to the flashy progressivism of Stan Kenton. The vocalist on "Blues at Sundown" is Jimmy Grissom, a steady customer who also handles Strayhorn's "Something to Live For" and "Azalea," a love song that Ellington claimed to have designed for Louis Armstrong, who subsequently recorded it with Duke about ten years later on that utterly essential Roulette album, The Great Summit. arwulf arwulf       Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1952 | The Classics Chronological Series – 1320 (2003) FLAC (tracks+.cue), lossless

Here's a treat. Vol. 42 of the chronologically reissued recordings of Duke Ellington opens with some 56 minutes of music recorded live at the Civic Auditorium in Seattle, WA, on March 25, 1952. This document fully conveys the excitement of hearing Duke's orchestra in person, on tour in the great Northwest. Ellington enthusiasts have cherished these recordings for years, and this concert is particularly satisfying. "Skin Deep" is an extroverted exercise for drum kit by Louie Bellson. After this percussive fireworks display the leader provides eloquent spoken introductions, acknowledging the musician chosen as soloist on each selection. Conservatory-trained trombonist Britt Woodman -- a favorite of Charles Mingus -- expresses himself beautifully throughout "Sultry Serenade." "Sophisticated Lady" spotlights "internationally celebrated alto saxophonist" Willie Smith. Clark Terry is the star soloist on a smoky ride through Juan Tizol's "Perdido," after which that valve trombonist elucidates another of his marvelous compositions, "Caravan." Ellington composed his majestic "Harlem Suite" for the NBC Symphony Orchestra. He briefly explains the concept of the piece and reminds his audience that Harlem has "more churches than cabarets." This was in keeping with Duke's lifelong dedication to improving the public's understanding and appreciation of Afro-American culture. Louie Bellson's zippy offering, "The Hawk Talks," has a rowdy piano introduction, whereupon the band generates quite a head of steam. There is a very showy crowd-pleasing medley of Ellington hits and lastly the famous "Jam With Sam," during which Ellington briefly introduces each soloist. This may serve as a listening lexicon of more than half of the wind players in the band at that time, enabling the listener to become better acquainted with the specific sounds of Willie Cook, Russell Procope, and Quentin "Butter" Jackson, as well as the familiar tones of Paul Gonsalves and Cat Anderson. On the cusp of June and July 1952, the Ellington orchestra concentrated its energies on the art of making extended LP recordings. Betty Roche added her scat singing to eight glorious minutes of "Take the 'A' Train" and did up "I Love My Lovin' Lover" in what at times seems a fairly close imitation of Dinah Washington. Jimmy Grissom goes out of his way to sound like Al Hibbler during "Come On Home." This full helping of Ellington jazz closes with an exquisitely expanded rendition of Duke's hit of 1928, "The Mooche," with breathtaking solos by Jimmy Hamilton, Quentin Jackson, Willie Smith, Ray Nance, and the mighty Harry Carney. arwulf arwulf    Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1952-1953 | The Classics Chronological Series – 1350 (2004) FLAC (tracks+.cue), lossless

You've got to hand it to the folks at Classics. This is Vol. 43 in their meticulous chronological survey of the recorded works of Duke Ellington. Opening with eight and a half glorious minutes of Juan Tizol's "Perdido," this disc provides a glimpse of Duke's orchestra at a time when the music industry was allowing a lot of big bands to dry up and blow away. How sweet -- and hot -- it is to hear this particular ensemble, bristling with a brass menagerie including Clark Terry, Cat Anderson, Butter Jackson, and Britt Woodman. Drummer Louie Bellson is prominently featured on his nearly seven-minute percussion showcase, "Skin Deep." These two extended LP tracks are followed by a series of lesser-known three-minute recordings. "Ballin' the Blues," with shout vocal by Jimmy Grissom, sounds almost like Wynonie Harris. A second version from 1953 provides a rare example of Ellington the boogie-woogie pianist. "Body and Soul," eloquently sung by Betty Roche, comes across majestically cool. "Primpin' for the Prom" turns on the magical Ellington light show, evoking a breathtaking sunset over any large city's skyline. Grissom grinds out a rather neurotic-sounding "Vulture Song," most memorable for Jimmy Hamilton's clarinet runs. "Satin Doll" is charming in this early incarnation. Grissom keeps returning with fairly gruesome existential offerings that make one wish for the stylistic exaggerations of Al Hibbler. But the instrumentals are exquisitely rendered. "Cocktails for Two" unfolds beautifully, and Paul Gonsalves shares "My Old Flame" with Hamilton's clarinet. Duke lays down a few delightfully eccentric chords at the piano during the opening of a marvelous rendition of "I Can't Give You Anything But Love." "Three Little Words" is particularly handsome. "Orson," apparently a portrait of a certain Hollywood director, has an appropriately film noir flavor. "Boo-Dah" features Billy Strayhorn at the piano. "Blossom," an Ellington/Strayhorn collaboration, breathes with beatific calm. The disc ends with an updated "Warm Valley," featuring the milky tenor saxophone of Paul Gonsalves. arwulf arwulf    Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1953 | The Classics Chronological Series – 1398 (2005) FLAC (tracks+.cue), lossless

Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1953, Vol. 2 | The Classics Chronological Series – 1434 (2007) FLAC (tracks+.cue), lossless

During the month of December 1953, Duke Ellington made records for the Capitol label in Chicago and New York with a trio, a quartet, and the full-sized orchestra. Volume 45 in the Ellington stratum of the Classics Chronological Series makes available 21 selections from this wonderfully creative chapter in the lives of the Duke and his men. Seldom, if ever, have the big band and small group recordings from this segment of Ellington's career been reissued in chronological sequence. Over the years, for some reason, the titles "Montevideo" and "Night Time" have both been applied to the thrilling piece of work heard on track two. Inspired by the largest city in the country of Uruguay, this passionate Latin jazz workout is enlivened by the conga drumming of Ralph Collier. Track 20, accurately titled "Night Time," is a gorgeous nocturne written in collaboration with Billy Strayhorn. Tracks four, five, six, eleven and sixteen feature vocals by Jimmy Grissom, and trumpeter/violinist Ray Nance sings "Just A-Settin' and A-Rockin'." Those who desire the complete 1953 trio recordings of Duke Ellington (including the conga-driven quartet recording of "Montevideo") should most definitely seek out the Capitol album Piano Reflections. arwulf arwulf     Tracklist + Credits :

DIZZY GILLESPIE AND HIS ORCHESTRA – 1949-1950 | The Classics Chronological Series – 1168 (2003) FLAC (tracks+.cue), lossless

This entry in the Classics label Chronological series features the final recordings by Dizzy Gillespie's 1940s big band, a few jump jazz titles geared toward the R&B market, and a session in which Dizzy's trumpet is backed by a string section arranged by Johnny Richards. It is definitely a mixed bag. The big band titles are generally weak ("You Stole My Wife, You Horsethief" would never be considered a classic), as Gillespie tried hard to come up with a hit to save his orchestra. The jump titles are more fun, with "She's Gone Again" being particularly catchy. Richards' string arrangements are not very creative, although Gillespie plays well throughout. This set is not without interest overall, but is mostly for Dizzy completists and is far from essential. Scott Yanow  Tracklist :

JOHNNY HODGES AND THE ELLINGTON MEN - The Big Sound (1957-2010) FLAC (tracks), lossless

Tracklist :
1    Don't Call Me, I'll Call You 3:31
Composed By – Anderson
2    An Ordinary Thing 3:32
Composed By – Anderson
3    Waiting For Duke 3:54
Composed By – Anderson
4    Dust Bowl 4:26
Composed By – Hodges
5    Little Rabbit Blues 9:23
Composed By – Hodges
6    Viscount 2:30
Composed By – Hodges, M. Ellington
7    Johnny Come Lately 2:26
Composed By – Strayhorn
8    Bouquet Of Roses 3:24
Composed By – Hodges, M. Ellington
9    Gone And Crazy 3:13
Composed By – Hodges
10    Digits 4:19
Composed By – Terry
11    Segdoh 3:27
Composed By – Hodges
12    Early Morning Rock 3:36
Composed By – Hodges
- BONUS TRACKS -        
13    Hi ´Ya    3:11
14    Snibor    7:17
15    I´m Gonna Sit Right Down And Write Myself A Letter    3:30
16    Texas Blues    11:47
Tracks 1-4 :
Bass – Jimmy Woode
Drums – Sam Woodyard
Piano – Billy Strayhorn
Reeds – Harry Carney, Jimmy Hamilton, Johnny Hodges, Paul Gonsalves, Russell Procope
Trombone – Britt Woodman, John Sanders, Quentin Jackson
Trumpet – Cat Anderson, Clark Terry,  Harold Baker, Ray Nance, Willie Cook
Tracks 6, 8, 10 & 12 : Same session as above. Omit Cook, Anderson, Woodman & Sanders
Tracks 5, 7, 9 & 11 : Clark Terry (tp), Ray Nance (tp, vln), Quentin Jackson, Britt Woodman, John Sanders (tb), Russel Procope (cl, as), Jimmy Hamilton (ts, cl), Harry Carney (bar), Billy Strayhorn (p), Jimmy Woode (b), Sam Woodyard (d), New York, June 26, 1957.
* Bonus Tracks 13-16 : Ray Nance (tp), Lawrence Brown (tb), Jimmy Hamilton (cl, as), Harry Carney (bar), Billy Stayhorn (p), Jimmy Woode (b), Sam Woodyard (d), New York, January 11, 1956.

JOHNNY HODGES — Everybody Knows Johnny Hodges (1992) GRP Presents The Legendary Masters Of Jazz | FLAC (tracks+.cue), lossless

The solo projects of Johnny Hodges were not so much individualistic divergences away from his duties with the Duke Ellington Orchestra, but served more as extensions of the vintage, classic style of jazz tailored to his personalized sound away from what he had to compete with sitting next to the raft of talent in Duke's big band. Working here in the mid-'60s with groups ranging from an octet to a 12-member (featuring nine extra tracks not included on the original 33 1/3 LP) or 15-piece group, Hodges showcases many of his original compositions. He primarily employs Ellington personnel, with the exception being the quite able Jimmy Jones at the piano on the majority of these selections. His son Johnny Hodges, Jr. plays drums on two tracks when Grady Tate or Gus Johnson sits out, while bass players chosen by the legendary alto saxophonist include the formidable Ernie Shepard and a young Richard Davis. These quite famous numbers are loaded with pungent solos by cream of the crop jazzmen such as trumpeter Cat Anderson, woodwind specialists Russell Procope and Jimmy Hamilton, the deeply soulful tenor saxophonist Paul Gonsalves, and nimble trombonist Lawrence Brown. If you are a devout fan, you'll easily recognize favorites like the harmony-strewn evergreen "Main Stem" with fluttering clarinet and a patented Anderson solo, the Billy Strayhorn ballad "A Flower Is a Lovesome Thing" where Hodges is fully featured, "Mood Indigo" where the group is stripped down to four horns in guarded repast, and the very slow "Jeep's Blue" as the piano of Jones takes center stage. Brown's introduction and theme for "Do Nothin' Till You Hear From Me" sweetly showcases the underappreciated trombonist. Hodges wrote or co-wrote several of these tracks, including the lesser-known spiky-accented and vibrato-laden "Papa Knows" as offshoots of its precedent, "Mama Knows," and the two-note bass-heavy title track, delivered quicker than the established 4/4 rhythm. "Good Queen Bess" is a basic Count Basie-type bluesy theme, and there's the distinctly Ellingtonian blues "Little Brother" and the always rousing "Stompy Jones," where Procope and the gang trade lines profusely. It would be difficult to pick a favorite or a clunker, and you'd be hard-pressed to find anything more inspired or another project loaded with this much talent. Everybody knows Johnny Hodges and this stellar collection of all-stars, because they are absolutely the best at what they do. Michael G. Nastos
Tracklist :
1     Everybody Knows 7'25
Johnny Hodges    
2     A Flower Is a Lovesome Thing 3'04
Billy Strayhorn    
3     Papa Knows 6'52
Johnny Hodges    
4     310 Blues 4'34
Billy Strayhorn    
5     The Jeep Is Jumpin' 2'45
Duke Ellington / Johnny Hodges / Billy Strayhorn
6     Main Stem 3'28
Duke Ellington    
7     Medley : I Let a Song Go Out of My Heart / Don't Get Around Much Anymore 4'44
Duke Ellington / Irving Mills / Henry Nemo / John Redmond / Bob Russell
8     Open Mike 3:09
Cat Anderson    
9     Stompy Jones 4'00
Duke Ellington    
10     Mood Indigo 4'25
Barney Bigard / Duke Ellington / Irving Mills
11     Good Queen Bess 3'07
Johnny Hodges    
12     Little Brother 5'11
Cue Hodges / Johnny Hodges    
13     Jeep's Blues 5:43
Duke Ellington / Johnny Hodges
14     Do Nothin' Till You Hear from Me 2'34
Duke Ellington / Bob Russell
15     Ruint 3'21
Mercer Ellington / Johnny Hodges
16     Sassy Cue 3'42
Cue Hodges / Johnny Hodges
Credits :
Alto Saxophone – Johnny Hodges (pistas: 1 to 4, 9 to 16), Russell Procope (pistas: 5 to 16)
Baritone Saxophone – Harry Carney (pistas: 5 to 8)
Bass – Ernie Shepard (pistas: 1 to 4), Richard Davis (pistas: 9 to 16)
Drums – Grady Tate (pistas: 1 to 4), Gus Johnson (pistas: 9, 11, 13 to 16), Johnny Hodges, Jr. (pistas: 10, 12)
Engineer – Bob Simpson (pistas: 1 to 8), Rudy Van Gelder (pistas: 9 to 16)
Piano – Jimmy Jones (pistas: 1 to 4, 9 to 16)
Tenor Saxophone – Jimmy Hamilton (pistas: 5 to 8), Paul Gonsalves (pistas: 1 to 4, 9 to 16)
Trombone – Britt Woodman (pistas: 5 to 8), Buster Cooper (pistas: 5 to 16), Lawrence Brown (pistas: 1 to 4, 9 to 16)
Trumpet – Cat Anderson (pistas: 1 to 4, 9 to 16), Herb Jones (pistas: 5 to 8), Ray Nance (pistas: 1 to 4, 9 to 16), Rolf Ericson (pistas: 5 to 8)
Notas.
Tracks 1-8 Recorded On February 6, 1964 At Capitol Studios, New York City.
Tracks 9-16 Recorded On March 8, 1965 At The Van Gelder Studio In Englewood Cliffs,New Jersey.
Tracks 1-8 from "Johnny Hodges - Everybody Knows Johnny Hodges"
Tracks 9-16 from "Lawrence Brown's All-Stars With Johnny Hodges ‎– Inspired Abandon"

JOHNNY HODGES - Triple Play (1967-1996) RM | FLAC (tracks+.cue), lossless

Altoist Johnny Hodges is heard in three different settings on this reissue CD. Such top swing stars as trumpeters Ray Nance, Cat Anderson and Roy Eldridge, trombonists Buster Cooper, Lawrence Brown and Benny Powell, tenors Paul Gonsalves and Jimmy Hamilton, baritonist Harry Carney, pianists Hank Jones and Jimmy Jones (the latter two sometimes together), guitarists Tiny Grimes, Les Spann and Billy Butler, bassists Milt Hinton, Aaron Bell and Joe Benjamin and drummers Gus Johnson, Rufus Jones and Oliver Jackson are heard in nonets with the great altoist. Despite the many changes in personnel, the music is pretty consistent, with basic swinging originals, blues and ballads all heard in equal proportion. As usual, Johnny Hodges ends up as the main star. Scott Yanow
Tracklist :
1     Take 'Em off, Take 'Em off, Pt. 1 3:39
(Johnny Hodges)
Piano – Hank Jones
Piano [2nd] – Jimmy Jones
Guitar – Tiny Grimes    
Cornet – Ray Nance
Bass –  Milt Hinton
Drums – Gus Johnson
Alto Saxophone – Johnny Hodges
Tenor Saxophone – Paul Gonsalves
Trombone – Buster Cooper
2     Take 'Em off, Take 'Em off, Pt. 2 2:56
(Johnny Hodges)
Piano – Hank Jones
Piano [2nd] – Jimmy Jones
Cornet – Ray Nance    
Bass –  Milt Hinton
Drums – Gus Johnson
Guitar – Tiny Grimes
Tenor Saxophone – Paul Gonsalves
Trombone – Buster Cooper
Alto Saxophone – Johnny Hodges    
3     The Nearness of You 3:46
(Hoagy Carmichael / Ned Washington)
Piano – Hank Jones
Piano [2nd] – Jimmy Jones
Cornet – Ray Nance
Bass –  Milt Hinton
Drums – Gus Johnson
Guitar – Tiny Grimes
Tenor Saxophone – Paul Gonsalves
Trombone – Buster Cooper
Alto Saxophone – Johnny Hodges    
4     Monkey on a Limb 3:53
(Johnny Hodges)
Piano – Hank Jones
Piano [2nd] – Jimmy Jones
Cornet – Ray Nance
Bass –  Milt Hinton
Drums – Gus Johnson
Guitar – Tiny Grimes
Tenor Saxophone – Paul Gonsalves
Trombone – Buster Cooper
Alto Saxophone – Johnny Hodges
5     A Tiny Bit of Blues 4:53
(Johnny Hodges)
Piano – Hank Jones
Piano [2nd] – Jimmy Jones
Cornet – Ray Nance
Bass –  Milt Hinton
Drums – Gus Johnson
Guitar – Tiny Grimes
Tenor Saxophone – Paul Gonsalves
Trombone – Buster Cooper
Alto Saxophone – Johnny Hodges
6     For Jammers Only 3:02
(Claude Bolling)
Piano – Jimmy Jones    
Bass – Aaron Bell
Drums – Rufus Jones
Guitar – Les Spann
Tenor Saxophone – Jimmy Hamilton
Trombone – Lawrence Brown
Trumpet – Cat Anderson
Vibraphone – Bill Berry    
7     On the Way Up 2:52
(Johnny Hodges)
Piano – Jimmy Jones
Bass – Aaron Bell
Drums – Rufus Jones
Guitar – Les Spann
Tenor Saxophone – Jimmy Hamilton
Trombone – Lawrence Brown
Trumpet – Cat Anderson
Vibraphone – Bill Berry    
8     Big Boy Blues 3:20
(Johnny Hodges)
Baritone Saxophone – Harry Carney
Bass – Joe Benjamin
Drums – Oliver Jackson
Guitar – Billy Butler
Piano – Nat Pierce
Piano [2nd] – Jimmy Jones
Trombone – Benny Powell
Trumpet – Roy Eldridge
Alto Saxophone – Johnny Hodges    
9     The Very Thought of You 2:49
(Ray Noble)
Piano – Jimmy Jones
Guitar – Les Spann
Bass – Aaron Bell      
Drums – Rufus Jones    
Tenor Saxophone – Jimmy Hamilton
Trombone – Lawrence Brown
Trumpet – Cat Anderson
Vibraphone – Bill Berry
Alto Saxophone – Johnny Hodges
10     Fur Piece 6:22
(Johnny Hodges)
Baritone Saxophone – Harry Carney
Bass – Joe Benjamin
Drums – Oliver Jackson
Guitar – Billy Butler
Piano – Nat Pierce
Piano [2nd] – Jimmy Jones
Trombone – Benny Powell
Trumpet – Roy Eldridge
Alto Saxophone – Johnny Hodges
11     Sir John 3:19
(Johnny Hodges)
Piano – Jimmy Jones
Drums – Rufus Jones
Bass – Aaron Bell
Guitar – Les Spann
Tenor Saxophone – Jimmy Hamilton
Trombone – Lawrence Brown
Trumpet – Cat Anderson
Vibraphone – Bill Berry    
Alto Saxophone – Johnny Hodges
12     Figurine 2:39
(Johnny Hodges)
Piano – Jimmy Jones
Bass – Aaron Bell
Drums – Rufus Jones
Guitar – Les Spann
Tenor Saxophone – Jimmy Hamilton
Trombone – Lawrence Brown
Trumpet – Cat Anderson
Vibraphone – Bill Berry    
Alto Saxophone – Johnny Hodges
13     C Jam Blues 4:21
(Barney Bigard / Duke Ellington)
Baritone Saxophone – Harry Carney
Bass – Joe Benjamin
Drums – Oliver Jackson
Guitar – Billy Butler
Piano – Nat Pierce
Piano [2nd] – Jimmy Jones
Trombone – Benny Powell
Trumpet – Roy Eldridge
Alto Saxophone – Johnny Hodges

BILLY STRAYHORN & JOHNNY HODGES - The Stanley Dance Sessions (2005) FLAC (tracks), lossless

Tracklist :
1    Cue's Blue Now 10:03
Written By – Strayhorn, Hodges
2    Gone With The Wind 4:19
Written By – Wrubel, Magidson
3    Cherry 5:54
Written By – Redman, Gilbert
4    Watch Your Cue 3:11
Written By – Strayhorn, Hodges
5    You Brought A New Kind Of Love To Me 7:23
Written By – Kahal, Norman, Fain
6    When I Dream Of You 3:33
Written By – Carpenter, Hines
7    Rose Room 6:08
Written By – Hickman, Williams
8    Don't Get Around Much Anymore 3:00
Written By – Ellington, Hodges
9    I Got It Bad (And That Ain't Good) 3:39
Written By – Ellington, Webster
10    Gal From Joe's 2:30
Written By – Ellington
11    Your Love Has Faded 3:02
Written By – Strayhorn, Ellington
12    I'm Just A Lucky So-And-So 3:23
Written By – Ellington, David
13    Jeep's Blues 3:22
Written By – Ellington, Hodges
14    Day Dream 4:00
Written By – Strayhorn, Ellington
15    Juice A-Plenty 3:22
Written By – Hodges
16    Azure 2:35
Written By – Ellington
17    Tailor Made 3:38
Written By – Mullens, Hodges
18    Star Dust 4:30
Written By – Carmichael
Credits 1-7
Trumpet – Harold "Shorty" Baker
Alto Saxophone – Johnny Hodges
Trombone – Quentin Jackson
Bass –  Al Hall
Clarinet – Russell Procope
Drums – Oliver Jackson
Piano – Billy Strayhorn
Credits 8-18
Alto Saxophone – Johnny Hodges
Arranged By, Conductor – Billy Strayhorn
Baritone Saxophone, Bass Clarinet – Harry Carney
Bass – Aaron Bell
Bass Trombone – Chuck Connors
Clarinet, Alto Saxophone – Russell Procope
Clarinet, Tenor Saxophone – Jimmy Hamilton
Drums – Sam Woodyard
Piano – Jimmy Jones
Tenor Saxophone – Paul Gonsalves
Trombone – Lawrence Brown,
Trumpet – Bill Berry, Cat Anderson, Ed Mullens, Harold "Shorty" Baker, Howard McGhee
Notas.
Reissue of two albums originally released as Cue For Saxophone and Johnny Hodges With Billy Strayhorn And The Orchestra.
Tracks 1 to 7 recorded in New York, April 14, 1959.
Tracks 8 to 18 recorded in Englewood Cliffs, New Jersey, December 11 & 12, 1961.

EDDIE 'LOCKJAW' DAVIS WITH PAUL GONSALVES - Love Calls (1967) lp | 24bits-96hz | FLAC (tracks), lossless

Paul Gonsalves (ts) matches fours and spirit with Davis. Ron Wynn
Side A
A1    Love Is Here To Stay
A2    When Sunny Gets Blue
A3    If I Ruled The World
A4    Time After Time
A5    Just Friends
A6    Don't Blame Me
Side B
B1    I Should Care
B2    The Man With The Horn
B3    We'll Be Together Again
B4    A Weaver Of Dreams
B5    If I Should Lose You
Credits:
Double Bass – Ben Tucker
Drums – Grady Tate
Guitar – Everett Barksdale
Piano – Roland Hanna
Tenor Saxophone – Eddie "Lockjaw" Davis, Paul Gonsalves

CLARK TERRY ft. PAUL GONSALVES - Daylight Express (1957-1998) FLAC (tracks), lossless

Two obscure but very enjoyable and complementary former Lps are reissued in full on this generous CD. The first half of the disc is primarily a showcase for trumpeter Clark Terry who is joined by Mike Simpson (on tenor and flute) in a sextet. C.T. sounds a bit more influenced by Dizzy Gillespie at this time than he would but he was already quite distinctive on such numbers as "Candy," "Blues For Daddy O's Jazz Patio Blues" and "Basin Street Blues." "Phalanges" is a hot bop line (by Louie Bellson) that deserves to be revived while "Trumpet Mouthpiece Blues" sounds like an ancestor of "Mumbles." The second half of the album matches Terry with tenor-saxophonist Paul Gonsalves (who is actually the leader) and a rhythm section that features some surprisingly advanced piano from Willie Jones that sometimes hints strongly at both Cecil Taylor and Sun Ra! Terry and Gonsalves (who were both with Duke Ellington at the time) always made for a good team. The tenor revisits the 1956 Newport Jazz Festival with his long solo on "Festival" and other tunes (all originals by one of the horn players) are basic and swinging; a previously unissued ballad, "The Girl I Call Baby" closes the rewarding and memorable set. Highly recommended. Scott Yanow
Tracklist :
1     Caravan 2'01
Duke Ellington / Irving Mills / Juan Tizol
2     Candy 2'21
Mack David / Alex Kramer / Joan Whitney
3     Clark's Expedition 2'29
Mike Simpson / Clark Terry
4     Trumpet Mouthpiece Blues 4'45
Clark Terry
5     Phalanges 3'02
Louie Bellson
6     Blues for Daddy-O's Jazz Patio Blues 4'32
Clark Terry
7     Basin Street Blues 2'44
Spencer Williams
8     Daylight Express 2'16
Clark Terry
9     Taking a Chance on Love 2'18
Vernon Duke / Ted Fetter / John Latouche
10     Festival 6'53
Paul Gonsalves
11     Clark's Bars 3'36
Clark Terry
12     Daddy-O's Patrio 2'15
Clark Terry
13     Blues 4'59
Paul Gonsalves
14     Impeccable 4'19
Marion Michaels / Clark Terry
15     Paul's Idea 2'47
Paul Gonsalves
16     Phat Bach 3'17
Sykes Smith / Clark Terry
17     Milli Terry 2'32
Clark Terry
18     Funky 4'02
Clark Terry
19     The Girl I Call Baby 3'02
Clark Terry     
Credits :
Bass – Jimmy Woode
Drums – Sam Woodyard
Flute, Saxophone – Mike Simpson (pistas: 1 to 9)
Guitar – Remo Biondi (pistas: 1 to 9)
Piano – Willie Jones
Reissue Producer – Orrin Keepnews
Tenor Saxophone – Paul Gonsalves (pistas: 10 to 19)
Trumpet – Clark Terry

CLARK TERRY - Duke With A Difference (1957-1990) RM | FLAC (tracks), lossless

Trumpeter Clark Terry and some of the top Ellington sidemen of the period (trombonist Britt Woodman, altoist Johnny Hodges, tenor saxophonist Paul Gonsalves, Tyree Glenn on vibes, bassist Jimmy Woode, and drummer Sam Woodyard) perform eight songs associated with Duke, but with fresh arrangements. There is plenty of solo space for Terry, Gonsalves, and Hodges, and the arrangements by Terry and Mercer Ellington cast a new light on some of the warhorses; highlights include "C Jam Blues," "Cotton Tail," "Mood Indigo," and "Come Sunday." Scott Yanow
Tracklist :
1    C-Jam Blues    3:03
Barney Bigard / Duke Ellington
2    In A Sentimental Mood    2:55
Duke Ellington / Manny Kurtz / Irving Mills
3    Cottontail    6:54
Duke Ellington
4    Just Squeeze Me    6:15
Duke Ellington / Lee Gaines / Fats Waller / Clarence Williams
5    Mood Indigo    6:55
Barney Bigard / Duke Ellington / Irving Mills
6    Take The A Train    3:27
Billy Strayhorn
7    In A Mellotone    5:08
Duke Ellington / Milt Gabler            
8    Come Sunday    3:32
Duke Ellington
Credits :
Alto Saxophone – Johnny Hodges
Arranged By – Clark Terry (tracks: 1, 3 to 7), Mercer Ellington (tracks: 2, 8)
Bass – Jimmy Woode
Celesta – Luther Henderson (tracks: 2)
Drums – Sam Woodyard
Piano – Billy Strayhorn (tracks: 2, 8), Tyree Glenn (tracks: 1, 3 to 7)
Tenor Saxophone – Paul Gonsalves
Trombone – Britt Woodman (tracks: 1, 3 to 7), Quentin Jackson (tracks: 2, 8)
Trumpet – Clark Terry
Vocals – Marian Bruce (tracks: 2)

CLARK TERRY - Clark Terry and His Orchestra featuring Paul Gonsalves (2001) FLAC (tracks), lossless

Critics often complain that small-group sessions comprised of members of the Duke Ellington Orchestra are somewhat disappointing; this is definitely not the case with this session led by Clark Terry, recorded during a 1959 tour of Europe in the final month of the trumpeter's almost eight-year tenure with the band. Fellow Ellington sidemen Paul Gonsalves, Jimmy Woode, and Sam Woodyard are present, along with Raymond Fol at the piano. Terry was one of the most gifted trumpeters to grace the Ellington band and he blossoms when he has more opportunities to solo in a small group setting like this one. Gonsalves proves to be the perfect foil for Terry as they trade lines on several of the numbers. Unlike many dates led by Ellington veterans, this one doesn't rely heavily on songs from the vast Ellington songbook; instead, Terry includes only "Satin Doll," while choosing one standard ("Mean to Me"), a pair of Monk tunes, and five of his own compositions, with "Serenade to a Bus Seat" (a remake of his upbeat instrumental interpretation of the hectic life of a touring musician) proving to be the most memorable. This studio date was recorded for French Decca and has been almost impossible to find prior to the appearance of this Storyville CD, so it should be of great interest to fans of Clark Terry, with the added bonus of a previously unissued alternate take of "Pannonica." Ken Dryden
Tracklist :
1     Serenade to a Bus Seat 4'02
Clark Terry
2     Pannonica 5'39
Thelonious Monk
3     Pea-Eye 5'04
Clark Terry
4     Satin Doll 4'55
Duke Ellington / Johnny Mercer / Billy Strayhorn
5     Daniel's Blues 4'50
Clark Terry
6     Mean to Me 5'16
Fred E. Ahlert / Roy Turk
7     Blues for the Champ of Champs 11'04
Clark Terry
8     Circeo 4'14
Raymond Fol
9     Clark Bars 6'56
Clark Terry
10     Pannonica, No. 2 6'22
Thelonious Monk
11     Lonely One 3'21
Babs Gonzales
Credits :
Bass – Jimmy Woods
Drums – Sam Woodyard
Piano – Raymond Fol
Tenor Saxophone – Paul Gonsalves
Trumpet, Arranged By – Clark Terry

ROSEMARY CLOONEY & DUKE ELLINGTON AND HIS ORCHESTRA - Blue Rose (1956-2008) RM / FLAC (image+.cue), lossless

Rosemary Clooney may have seemed to be a surprising choice to be featured with Duke Ellington & His Orchestra, but this collaboration is extremely successful in spite of the fact that Clooney was unable to join the band in the studio due to complications of a very difficult pregnancy. The solution was for the band to record the music (after Billy Strayhorn made the first of several trips to Los Angeles to consult with her). The results are stunning and not in the least bit canned, due to the professionalism of all parties involved and a stellar engineering of the separately recorded tracks. Clooney swings throughout "Me and You" and "It Don't Mean a Thing" without excess, her wordless vocal on "Blue Rose," and a captivating "Mood Indigo" are among the many highlights. The sound on this Legacy series reissue is greatly improved over the earlier Mobile Fidelity CD, plus there are two tracks added, the obscure but appealing "If You Were in My Place (What Would You Do?)" and "Just a-Sittin' and a-Rockin'," that were only issued as a single and omitted from the original release. It's a pity that the collaboration of Rosemary Clooney and Duke Ellington was only a one-shot deal, as she easily ranks as one of the greatest vocalists to appear on record with the maestro. by Ken Dryden 
Tracklist:
1    Hey Baby 3:53
Soloist, Baritone Saxophone – Harry Carney
Written-By – D. Ellington
2    Sophisticated Lady 2:57
Written-By – D. Ellington, I. Mills, M. Parish
3    Me And You 2:28
Soloist, Trumpet – Ray Nance
Written-By – D. Ellington
4    Passion Flower 4:33
Soloist, Reeds – Johnny Hodges
Written-By – B. Strayhorn
5    I Let A Song Go Out Of My Heart 2:37
Written-By – D. Ellington, H. Nemo, I. Mills, J. Redmond
6    It Don't Mean A Thing (If It Ain't Got That Swing) 2:48
Soloist, Reeds – Harry Carney, Johnny Hodges
Soloist, Tenor Saxophone – Jimmy Hamilton
Soloist, Trumpet – Clark Terry
Written-By – D. Ellington, I. Mills
7    Grievin' 4:10
Soloist, Reeds – Harry Carney, Johnny Hodges, Paul Gonsalves
Soloist, Trumpet – "Cat" Anderson
Written-By – B. Strayhorn, D. Ellington
8    Blue Rose 2:21
Written-By – D. Ellington
9    I'm Checkin' Out, Goombye 3:09
Soloist, Clarinet – Jimmy Hamilton
Soloist, Trumpet – Ray Nance
Written-By – B. Strayhorn, D. Ellington
10    I Got It Bad (And That Ain't Good) 3:07
Written-By – D. Ellington, P.F. Webster
11    Mood Indigo 6:28
Bass Clarinet – Harry Carney
Soloist, Trumpet – Willie Cook
Written-By – A. Bigard, D. Ellington, I. Mills
- Bonus Tracks -
12    If You Were In My Place (What Would You Do?) 3:01
Soloist, Piano – Billy Strayhorn
Soloist, Trumpet – Clark Terry
Written-By – D. Ellington, H. Nemo, I. Mills
13    Just A-Sittin' And A-Rockin' 2:40
Soloist, Trumpet – Clark Terry
Written-By – B. Strayhorn, D. Ellington, L. Gaines
Credits:
Arranged By – Billy Strayhorn
Arranged By, Piano – Duke Ellington
Double Bass [Bass] – Jimmy Woode
Drums – Sam Woodyard
Recording Supervisor [Rosemary Clooney Vocals] – Billy Strayhorn
Reeds – Harry Carney, Jimmy Hamilton, Johnny Hodges, Paul Gonsalves, Russell Procope
Trombone – Britt Woodman, John Sanders, Quentin Jackson
Trumpet – "Cat" Anderson, Clark Terry, Ray Nance, Willie Cook
Vocals – Rosemary Clooney