CAROL STEVENS WITH PHIL MOORE'S MUSIC — That Satin Doll (1957-1991) Mono | Ladies Sing Jazz Series | APE (image+.cue), lossless

That Satin Doll pairs Carol Stevens with arranger Phil Moore to create one of the more unique and evocative major-label LPs of its era. Stevens' breathy, often haunting voice largely eschews conventional vocal approaches in favor of ethereal, wordless humming that perfectly complements Moore's exotic settings -- there's something profoundly otherworldly yet curiously sexy about the record, and you just know Captain Kirk kept a copy handy to set the mood while banging green-skinned alien chicks aboard the U.S.S. Enterprise. Flautist Herbie Mann, guitarist Barry Galbraith and trumpeter Don Elliott further underscore That Satin Doll's moonlit beauty, contributing wonderfully nuanced performances that lend the music its distinctly jazzy appeal. Jason Ankeny
Tracklist :
1        In A Mellotone 2:22
Written-By – Duke Ellington, Milt Gabler
2        Satin Doll 2:47
Written-By – Duke Ellington
3        Saved It All For You 3:09
Written-By – Phil Moore
4        Everywhere 3:10
Written-By – Bill Harris
5        Mood For You 2:30
Written-By – Phil Moore
6        Lurelei (F. H. C.) 2:38
Written-By – Phil Moore
7        Romance In The Dark 2:57
Written-By – Willie Broonzy, Lil Green
8        Lying In The Hay 2:57
Written-By – Pepper, Roberts, Jean Franc-Nohain, Mireille
9        I'm Playing With Fire 1:33
Written-By – Irving Berlin
10        Tender As A Rose 3:19
Written-By – Phil Moore
11        Keep On Doin' What You're Doin' 2:15
Written-By – Bert Kalmar, Harry Ruby
12        At Last 2:10
Written-By – Harry Warren, Mark Gordon
Credits :
Bass – Milt Hinton
Bass Clarinet – Bernard Kaufman (tracks: 2, 4 to 7, 9 to 12), Sol Schlinger (tracks: 1, 3, 8)
Drums – Osie Johnson
English Horn, Clarinet – Phil Bodner (tracks: 1, 3, 8)
Flute – Bernard Kaufman (tracks: 2, 4 to 7, 9 to 12)
Flute [Alto] – Herbie Mann (tracks: 1, 3, 8)
Guitar – Barry Galbraith
Percussion – Phil Kraus (tracks: 1, 3, 8)
Piano – Frank Berry
Piano, Directed By [Musical Director] – Phil Moore
Trombone – Eddie Bert (tracks: 1, 3, 8), Warren Covington (tracks: 2, 4 to 7, 9 to 12)
Trumpet – Nick Travis (tracks: 1, 3, 8)
Trumpet, Mellophone – Don Elliott (tracks: 2, 4 to 7, 9 to 12)
Vibraphone – Bobby Rosengarden (tracks: 2, 4 to 7, 9 to 12)
Vocals – Carol Stevens
Woodwind – Romeo Penque (tracks: 2, 4 to 7, 9 to 12)

CHARLIE BARNET AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 1266 (2002) FLAC (tracks+.cue), lossless

So inspired was Charlie Barnet by two of the all-time greatest Afro-American jazz orchestras that he acknowledged their influence with instrumental works conceived and rendered in honorary emulation of their respective styles. "The Duke's Idea" sounds a lot like an Ellington opus, as Barnet delivers a credible imitation of Johnny Hodges with his alto saxophone and Bob Burnet growls through his trumpet in the manner of Cootie Williams. "Count's Idea" carefully re-creates the Kansas City swing style of William Basie's formidable big band. The remaining tracks from the same date have chirping vocals by Judy Ellington and one prescription tranquilizer of a tune sung by a syrupy fellow calling himself Del Casino. This session -- and its successor conducted one month later in October of 1939 -- took place in Los Angeles. "Ogoun Badagris" is the name of a Haitian voodoo Loa. The Loas are powerful ancestral mystery spirits, directly traceable to the deities of the West African pantheon. How interesting that Barnet concocted this exciting rhythmic exercise bearing the name of a particularly fierce and awesome spiritual entity. One can only wonder how aware he was of the power inherent in the name. This is certainly one of Barnet's all-time hottest recordings, with exuberant drumming by Ray Michaels. The melody itself bears more than a passing resemblance to Buster Harding's "Lady Day." On a much sillier level, "The Wrong Idea" sends up every existing stylistic gimmick then current in popular big-band music: cute licks, steel guitar (an apparent jab at Alvino Rey), gargling Clyde McCoy-styled trumpet, even raucous "bad" notes amid wavering Guy Lombardo reeds. After a goofy spoken introduction over the strains of "Make Believe Ballroom," Billy May (as "Slappy Happy") sings about bands that "bring you down," altering Sammy Kaye's slogan as he urges listeners to "swing and sweat with Charlie Barnet." As if to assert the primacy of what he considered authentic jazz, Barnet's next selection was called "The Right Idea." This is straight-up big-band swing with no tricks or frills, followed by "Night Glow," an attractive opus for alto sax and big band. Judy Ellington made 21 records with Charlie Barnet, and "Two Hearts Are Better Than One" was to be her last. Mary Ann McCall was the new vocalist when the band returned to the studio in New York on December 11, 1939. McCall sounds sweet and slightly timid on her first half-dozen sides, even when trying to sound hip on "Between 18th and 19th on Chestnut Street." Four remaining instrumentals round off the package nicely. "Clap Hands! Here Comes Charlie," yet another vintage tune from the 1925 repertoire of the California Ramblers, gets a red-hot treatment that almost outdoes a similar version of this song recorded by Count Basie's orchestra on August 4, 1939. Three hot jams recorded in January of 1940 demonstrate exactly why this band was so popular among dancers and fans of undiluted big-band jazz. arwulf arwulf
Tracklist + Credits :