SARAH VAUGHAN & QUINCY JONES — You're Mine You (1962-2016) RM | Serie The Jean-Pierre Leloir Collection | FLAC (tracks+.cue), lossless

This LP finds Sarah Vaughan backed by big-band and string arrangements from Quincy Jones that could easily have been used for a Frank Sinatra date. Vaughan's voice is typically wondrous and sometimes a bit excessive on the ballads (some may find her slightly overblown version of "Maria" a bit difficult to sit through), but in top form on the more swinging numbers. In the repertoire are such tunes as "The Best Is Yet to Come," "The Second Time Around" and "Baubles, Bangles and Beads." More of a middle-of-the-road pop date than a creative jazz session (the personnel is not given), the set is not essential but should please those who love the sound of Vaughan's remarkable voice. The final two "bonus" numbers ("One Mint Julep" and "Mama, He Treats Your Daughter Mean") were originally released as a single. Scott Yanow
Tracklist :
1. You're Mine You (4:03)
2. The Best Is Yet to Come (2:55)
3. Witchcraft (3:01)
4. So Long (2:57)
5. The Second Time Around (3:45)
6. I Could Write a Book (2:26)
7. Maria (3:16)
8. Baubles, Bangles and Beads (3:40)
9. Fly Me to the Moon (2:59)
10. Moonglow (2:33)
11. Invitation (2:21)
12. On Green Dolphin Street (3:07)
13. One Mint Julep (2:51)
14. Mama, He Treats Your Daughter Mean (2:45)
15. Gone with the Wind (3:30)
16. Day by Day (3:12)
17. Please Be Kind (3:17)
18. Live for Love (3:26)
19. I'll Close My Eyes (3:42)
20. Misty (3:05)
21. The Midnight Sun Will Never Set (2:53)
22. That's All (3:33)
23. I'm Lost (3:42)
24. Love Me (3:15)
25. The Thrill Is Gone (2:30)
Credits :
Arranged By, Conductor – Quincy Jones
Orchestra – Quincy Jones And His Orchestra
Vocals – Sarah Vaughan
Notas :
Sarah Vaughan (vocals) Orchestra arranged & conducted by Quincy Jones
New York, early January 1962. Original sessions produced by Teddy Reig.

*Bonus tracks (13-14): Same personnel and date, but not included on the original LP. Originally issued in 1962 on the 45rpm single Roulette 4413

**Bonus Album (15-25): Vaughan and Violins
Sarah Vaughan (vocals). Orchestra & Strings conducted & arranged by Quincy Jones
Paris, France, July 7, 8 & 12, 1958. Original sessions produced by Jack Tracy

On the cover: Sarah Vaughan and Quincy Jones at Jone's Paris home, July 27, 1958
Photos © by Jean-Pierre Leloir

SHIRLEY HORN — Loads of Love + Shirley Horn with Horns (1990) Serie PolyGram Jazz Vocal Classics | FLAC (tracks+.cue), lossless

Two of pianist/vocalist Shirley Horn's rarest (and earliest) recordings are reissued in full on this single CD. Actually, Horn does not play piano at all, sticking exclusively to vocals, and she had less control over the interpretations (being persuaded to sing some songs at faster-than-usual tempos) than she would later on. The arrangements for the big bands that back Horn were written by Jimmy Jones and Quincy Jones and, although the overall music is enjoyable, Horn would have much preferred to be the pianist behind her own vocals. Since she would only record two other albums during the next 15 years (sticking to playing locally in the Washington, D.C., area while raising her daughter), this CD gives one a valuable look at the early Shirley Horn; her distinctive vocal style was already nearly fully formed. Scott Yanow
Loads Of Love
1 Wild Is Love 1:29
Written-By – Wayne, Rasch
2 Loads Of Love 2:24
Written-By – Richard Rodgers
3 My Future Just Passed 2:40
Written-By – Marion, Jr., Whiting
4 There's A Boat That's Leaving Soon For New York 2:41
Written-By – Ira & George Gershwin
5 Ten Cents A Dance 3:49
Written-By – Rodgers & Hart
6 Only The Lonely 3:05
Written-By – Cahn/Van Heusen
7 The Second Time Around 3:12
Written-By – Van Heusen/Cahn
8 Do It Again 2:56
Written-By – DeSilva, Gershwin
9 It's Love 2:01
Written-By – Comden/Green, Bernstein
10 That's No Joke 2:37
Written-By – Bailey
11 Love For Sale 3:50
Written-By – Porter
12 Who Am I 2:49
Written-By – Stone, Bullock
Shirley Horn With Horns
13 On The Street Where You Live 2:15
Written-By – Lerner/Lowe
14 The Great City 2:02
Written-By – Lewis
15 That Old Black Magic 2:34
Written-By – Mercer/Arlen
16 Mack The Knife 3:01
Written-By – Brecht, Weill, Blitzstein
17 Come Dance With Me 2:13
Written-By – Van Heusen/Cahn
18 Let Me Love You 3:04
Written-By – Howard
19 After You've Gone 2:59
Written-By – Creamer, Layton
20 Wouldn't It Be Loverly 3:42
Written-By – Lerner/Lowe
21 Go Away Little Boy 3:26
Written-By – Goffin/King
22 I'm In The Mood For Love 2:47
Written-By – McHugh/Fields
23 The Good Life 3:11
Written-By – Reardon, Distel
24 Wee Small Hours 3:20
Written-By – Hilliard, Mann
Credits:
Arranged By, Conductor – Jimmy Jones (tracks: 1 to 12)
Baritone Saxophone – Gerry Mulligan (tracks: 1 to 12)
Bass – Milt Hinton (tracks: 1 to 12)
Drums – Osie Johnson (tracks: 1 to 12)
Guitar – Kenny Burrell (tracks: 1 to 12)
Piano – Bobby Scott (tracks: 13, 16, 18, 20), Hank Jones (tracks: 1 to 6, 8 to 10, 12), Jimmy Jones (tracks: 7, 11, 14, 15, 17, 19, 21 to 24)
Producer, Conductor – Quincy Jones (tracks: 13 to 24)
Saxophone – Al Cohn (tracks: 1 to 12)
Saxophone, Flute – Frank Wess (tracks: 1 to 12), Jerome Richardson (tracks: 1 to 12)
Trombone – Jimmy Cleveland (tracks: 13 to 24)
Trumpet – Ernie Royal (tracks: 1 to 12), Joe Newman (tracks: 1 to 12)
Violin – Gene Orloff (tracks: 1 to 12)
Vocals – Shirley Horn

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 — Birks Works : The Verve Big Band Sessions (1995) 2CD | FLAC (tracks+.cue), lossless

Tracklist + Credits :

DIZZY GILLESPIE — Afro (1955-2002) RM | Serie LP Reproduction | FLAC (tracks+.cue), lossless

Pairing Dizzy Gillespie with Cuban arranger/composer Chico O'Farrill produced a stunning session which originally made up the first half of a Norgran LP. O'Farrill conducts an expanded orchestra which combines a jazz band with a Latin rhythm section; among the participants in the four-part "Manteca Suite" are trumpeters Quincy Jones and Ernie Royal, trombonist J.J. Johnson, tenor saxophonists Hank Mobley and Lucky Thompson, and conga player Mongo Santamaria. "Manteca," written during the previous decade, serves as an exciting opening movement, while the next two segments build upon this famous theme, though they are jointly credited to O'Farrill as well. "Rhumba-Finale" is straight-ahead jazz with some delicious solo work by Gillespie. A later small-group session features the trumpeter with an all-Latin rhythm section and flutist Gilberto Valdes, who is heard on "A Night in Tunisia" and "Caravan." Both of the Latin versions of these pieces are far more interesting than "Con Alma," as the excessive percussion and dull piano accompaniment add little to this normally captivating theme. Long out of print, this 2002 CD reissue will only be available until May 2005; it is well worth acquiring. Ken Dryden 
Tracklist :
1 Manteca Theme 4:11
2 Contrastes 2:46
3 Jungla 4:44
4 Rhumba-Finale 4:39
5 A Night In Tunisia 4:15
6 Con Alma 5:01
7 Caravan 7:20
Credits :
Alto Saxophone – George Dorsey (tracks: 1 to 4), Hilton Jefferson (tracks: 1 to 4)
Arranged By, Conductor – Chico O'Farrill (tracks: 1 to 4)
Baritone Saxophone – Danny Bank (tracks: 1 to 4)
Bass – Roberto Rodriguez, Lou Hackney (tracks: 1 to 4)
Bongos – José Manguel
Congas – Candido Camero, Mongo Santamaria (tracks: 1 to 4)
Drums – Charlie Persip (tracks: 1 to 4)
Flute – Gilberto Valdez (tracks: 5, 7)
Percussion – Rafael Miranda (tracks: 5 to 7)
Piano – Ray Concepcion (tracks: 1 to 4), Rene Hernandez (tracks: 5 to 7), Wade Legge (tracks: 1 to 4)
Tenor Saxophone – Hank Mobley (tracks: 1 to 4), Lucky Thompson (tracks: 1 to 4)
Timbales – Ubaldo Nieto
Trombone – George Matthews (tracks: 1 to 4), J.J. Johnson (tracks: 1 to 4), Leon Comegys (tracks: 1 to 4)
Trumpet – Dizzy Gillespie, Ernie Royal (tracks: 1 to 4), Jimmy Nottingham (tracks: 1 to 4), Quincy Jones (tracks: 1 to 4)
Notes
Tracks 1-4: Recorded May 24, 1954 at Fine Sound, New York City
Tracks 5-7: Recorded June 3, 1954 at Fine Sound, New York City

DIZZY GILLESPIE – 1953-1954 | The Classics Chronological Series – 1424 (2006) FLAC (image+.cue), lossless

Volume ten in the Classics Dizzy Gillespie chronology documents this trumpeter's recording activities from December 9, 1953 to June 8, 1954. As one of producer Norman Granz's many star players, Diz was able to organize both hard bop and Cuban-styled bop bands comprised of able improvisers. The opening track, "Impromptu," is a nearly-eight-minute jam taken at 75mph by the "Dizzy Gillespie-Stan Getz Sextet" with lightning-fingered pianist Oscar Peterson, guitarist Herb Ellis (heard here in an unusually rambunctious mood); bassist Ray Brown, and drummer Max Roach. The 20-piece big band assembled on May 24, 1954 recorded a piquant 16-and-a-half-minute "Manteca" suite in five movements using arrangements by Chico O'Farrill. The personnel listing is extraordinary, with J.J. Johnson, Ernie Royal and Quincy Jones in the brass section with Diz; Hilton Jefferson, Hank Mobley, Lucky Thompson and Danny Bank in the reed department, as well as two bassists and four expert Latin American percussionists augmenting the kit drumming of Charlie Persip. On the following day, four members of this mammoth ensemble returned to form a quintet; in addition to pianist Wade Legge and bassist Lou Hackney, Hank Mobley was the designated saxophonist for this assignment, a relaxed blowing session with two vocals by the leader. Gillespie put together an octet for the next date, which took place on June 3, 1954, using flautist Gilbert Valdez and a lively Latino rhythm section including conga master Candido Camero. Four titles cut on June 8, 1954 by the Dizzy Gillespie Sextet featured trombonist Jimmy Cleveland in addition to the five men who comprised the Quintet from two weeks earlier. (Although a note in the enclosed discography claims that Cleveland is omitted on "Rumbola," he is clearly audible throughout). This last session, and indeed this entire segment of Gillespie's career, resulted in substantial music of great passion and depth. "Blue Mood" is particularly satisfying because Gillespie, like Charlie Parker, was an adept bluesman. arwulf arwulf    Tracklist :

LIONEL HAMPTON AND HIS ORCHESTRA – 1950-1951 | The Chronogical Classics – 1262 (2002) FLAC (tracks), lossless

The 11th installment in the complete chronological works of Lionel Hampton opens with a series of recordings made for the Decca label in Los Angeles during October of 1950. With flashy arrangements and topical vocals, these records have more than a little in common with what Johnny Otis was cooking up in L.A. during this same time period. The big difference lies in Hampton's occasional use of smooth crooners and instrumentation that shone with a Hollywood sheen. By the time he commenced recording for MGM in New York on April 17, 1951, Hamp was ready to slip into a much hipper groove with "Air Mail Special" and several scintillating originals: "Cool Train," "Gates Steps Out," and "Gladysee Bounce." Hampton's band also backed vocalist Irma Curry on "A Kiss Was Just a Kiss," with a melodramatic speech delivered by Eve Lynn in shameless imitation of R&B heartthrob Larry Darnell's famous recitation during his 1949 masterpiece "I'll Get Along Somehow." The instrumental "Alone" is a fine example of Hampton's ability to play a slow ballad on the vibraphone in front of a lacquered big band. The session of May 21, 1951, stands among the most unusual episodes in Hampton's entire career. Here the big band is yoked into service behind a very white choir that sings the Jewish folk melodies "Hannah, Hannah" and "Shalom, Shalom." This creates a wholesome if slightly cheesy atmosphere that one would expect to find in a Broadway musical. The session finishes off with a much stronger instrumental interpretation of a traditional Jewish melody, "Eli, Eli." The closing tracks come from a session that took place on October 16, 1951, using a smaller band, electric guitarist Chuck Norris, and R&B vocalist Sonny Parker. Jazz heads will best appreciate this compilation for the presence of many fine instrumentalists, including trumpeters Idrees Sulieman and Benny Bailey, trombonists Al Grey and Jimmy Cleveland, saxophonist Jerome Richardson, organist Milt Buckner, and R&B piano legend Floyd Dixon. arwulf arwulf
Tracklist + Credits :

LIONEL HAMPTON AND HIS ORCHESTRA – 1951-1953 | The Chronogical Classics – 1429 (2006) FLAC (tracks+.cue), lossless

Here is the 12th volume in the complete chronological recordings of Lionel Hampton as reissued by the Classics label. It opens with Hamp's final five recordings for the MGM label, waxed in Los Angeles on October 17, 1951. This was a 20-piece big band using charts written by Quincy Jones, and the music it made feels much different from what's to be heard in the next leg of Lionel Hampton's odyssey, a Norman Granz-produced quartet session with Oscar Peterson, Ray Brown and Buddy Rich, recorded in New York on September 2, 1953. While the big band sides are exciting and fun, with a hip vocal by Sonny Parker on "Don't Flee the Scene Salty" and a singalong routine led by Hamp on "Oh Rock," the quartet swings cohesively, stretching out for six, seven or nearly eleven minutes, for the LP era had begun and Norman Granz encouraged extended improvisations. The combination of Oscar Peterson and Lionel Hampton, whether cooking together on "Air Mail Special" or savoring the changes of a ballad like "The Nearness of You" made spirits to soar and sparks to fly. arwulf arwulf  
Tracklist :

HAROLD NICHOLAS - Harold Nicholas, June Richmond, Andy Bey (2000) Jazz In Paris 20 / RM / FLAC (tracks+.cue), lossless

Tracklist :
1    Harold Nicholas Et Son Orchestre–    On The Sunny Side Of The Street 4:00
Written-By – Jimmy McHugh & Dorothy Fields
2    Harold Nicholas Et Son Orchestre–    Que Reste-t-il De Nos Amours? 2:33
Written-By – Charles Trénet, Léo Chauliac
3    Harold Nicholas Et Son Orchestre–    Saint Louis Blues 3:50
Written-By – William Christopher Handy
4    Harold Nicholas Et Son Orchestre–    That Old Black Magic 3:20
Written-By – Harold Arlen, Johnny Mercer
5    Harold Nicholas Et Son Orchestre–    Teach Me Tonight 4:06
Written-By – Gene De Paul, Sammy Cahn
6    Harold Nicholas Et Son Orchestre–    Smoke Gets In Your Eyes 4:18
Written-By – Jerome Kern, Otto Harbach
7    Harold Nicholas Et Son Orchestre–    Over The Rainbow 2:02
Written-By – E. Y. Harburg
8    Harold Nicholas Et Son Orchestre–    I Only Have Eyes For You 3:09
Written-By – Al Dubin, Harry Warren
9    June Richmond & The Quincy Jones Orchestra–    I've Gotta Right To Sing The Blues 2:12
Written-By – Harold Arlen, Ted Koehler
10    June Richmond & The Quincy Jones Orchestra–    Sleep 2:44
Written-By – Earl Lebieg
11    June Richmond & The Quincy Jones Orchestra–    Everybody's Doing It 2:19
Written-By – Irving Berlin
12    June Richmond & The Quincy Jones Orchestra–    Between The Devil And The Deep Blue Sea 2:30
Written-By – Harold Arlen, Ted Koehler
13    Andy And The Bey Sisters–    Scoubidou 2:45
Written-By – Lewis Allan, Maurice Tézé, Sacha Distel
14    Andy And The Bey Sisters–    Smooth Sailin' 2:46
Written-By – Arnett Cobb
Credits :
Clarinet, Alto Saxophone – Jo Hrasko (faixas: 9 to 12)
Double Bass – Guy Pedersen (faixas: 9 to 12), Paul Rovere (faixas: 13, 14)
Drums – Kenny Clarke (faixas: 9 to 14)
Piano – Henri Renaud (faixas: 9 to 12)
Producer, Conductor, Arranged By – Quincy Jones (faixas: 9 to 12)
Tenor Saxophone – Barney Wilen (faixas: 13, 14)
Trombone – Billy Byers (faixas: 9 to 12)
Trumpet – Kenny Dorham (faixas: 13, 14), Roger Guérin (faixas: 9 to 12)
Vocals – Geraldine Bey (faixas: 13, 14), Harold Nicholas (faixas: 1 to 8), June Richmond (faixas: 9 to 12), Salomé Bey (faixas: 13, 14)
Vocals, Piano, Arranged By – Andy Bey (faixas: 13, 14)
Nota :
Recorded in Paris in 1959 (1-8) and April 1959 (13-14) and at the Hoche Studio, Paris on September 16, 1957 (9-12)
Reissue of the Fontana 10" LP 882 101 (1-8) and of the Barclay EP 70 105 (9-12)
Partial reissue of the Fontana EP 464 451 (13-14) (the titles "Bye bye blackbird" and "Fascinatin' rhythm", which were present on the original release, came from a session recorded in London, which explains their non-appearance here).

QUINCY JONES - Gula Matari (1970-1999) RM / FLAC (image+.cue), lossless

With his second and last album under the Creed Taylor aegis, the complexities of Quincy Jones' catholic, evolving tastes start to reveal themselves. We hear signs of his gradual gravitation toward pop right off the bat with the churchy R&B cover of Paul Simon's mega-hit "Bridge Over Troubled Water," dominated by Valerie Simpson's florid soul vocal and a gospel choir. His roots fixation surfaces in the spell-like African groove of the title track, a dramatic tone poem that ebbs and flows masterfully over its 13-minute length. From this point on, it's all jazz; the roaring big band comes back with a vengeance in "Walkin'," where Milt Jackson, Herbie Hancock, Hubert Laws, and other jazzers take fine solo turns, and things really get rocking on Nat Adderley's "Hummin'." Major Holley is a riot with his grumble-scat routine on bass. The whole record sounds like they must have had a ball recording it.  by Richard S. Ginell
Tracklist 
1 Bridge Over Troubled Water 6:10
Composed By – Simon & Garfunkel
2 Gula Matari 13:05
Composed By – Quincy Jones
3 Walkin' 7:55
Composed By – Richard Carpenter

4 Hummin' 8:05
Composed By – Nat Adderley
Credits
Arranged By, Conductor – Quincy Jones
Baritone Saxophone – Danny Bank, Pepper Adams
Bass – Ray Brown, Richard Davis (tracks: 2), Ron Carter (tracks: 2)
Bass Saxophone – Danny Bank
Bass, Soloist – Major Holley
Cello – Alan Shulman, Kermit Moore, Lucien Schmit, Seymour Barab
 Drums – Grady Tate
Engineer – Rudy Van Gelder
Flute, Soloist – Hubert Laws
Guitar, Soloist – Eric Gale
Guitar, Whistle, Soloist – Toots Thielemans
Keyboards – Bob James, Bobby Scott, Herbie Hancock
Marimba [Bass] – Don Elliott (tracks: A2)
Percussion – Don Elliott, Jimmy Johnson, Warren Smith
 Producer – Creed Taylor
Soprano Saxophone, Soloist – Jerome Richardson
Trombone – Benny Powell, Tony Studd, Wayne Andre
Trombone, Soloist – Al Grey
Trumpet – Danny Moore, Ernie Royal, Gene Young, Freddie Hubbard, Marvin Stamm
Vibraphone – Milt Jackson
Vocals – Barbara Massey, Hilda Harris, Maretha Stewart, Marilyn Jackson
Vocals, Soloist – Valerie Simpson
Voice, Soloist – Major Holley

JIMMY CLEVELAND - Introducing Jimmy Cleveland and His All Stars (1956-2000) RM / FLAC (image+.cue), lossless

The first of five albums headed by trombonist Jimmy Cleveland during 1955-1959 (he has not led any since), this out of print LP (which was reissued by Trip in the 1970s) features Cleveland in medium-size groups with trumpeter Ernie Royal; either Lucky Thompson or Jerome Richardson on tenor; baritonist Cecil Payne; Hank Jones, John Williams, or Wade Legge on piano; Barry Galbraith, Paul Chambers, or Oscar Pettiford on bass; and either Max Roach, Osie Johnson, or Joe Harris on drums. The all-star cast interprets a variety of Quincy Jones arrangements, alternating standards with lesser-known originals, and although many of his sidemen get fine spots, Cleveland generally wins solo honors.  by Scott Yanow
Tracklist:
1 Hear Ye! Hear Ye! 5:47
Written-By – Jimmy Cleveland, Quincy Jones
2 You Don't Know What Love Is 4:57
Written-By – Don Raye, Gene DePaul
3 Vixen 4:26
Written-By – Leonard Feather
4 My One And Only Love 4:01
Written-By – Guy Wood, Robert Mellin
5 Little Beaver 7:40
Written-By – Jimmy Cleveland, Quincy Jones
6 Love Is Here To Stay 3:29
Written-By – George And Ira Gershwin 
7 Count 'Em 6:33
Written-By – Quincy Jones
8 Bone Brother 5:36
Written-By – Jimmy Cleveland, Quincy Jones
9 I Hadn't Anyone Till You 4:12
Written-By – Ray Noble
10 See Minor 4:48
Written-By – Jimmy Cleveland, Quincy Jones
11 Love Is Here To Stay - Alternative Version 3:30
Written-By – George And Ira Gershwin 
Credits:
Arranged By – Quincy Jones
Baritone Saxophone – Cecil Payne
Bass – Oscar Pettiford (tracks: 3, 4, 6 to 8), Paul Chambers (tracks: 1, 2, 5, 9 to 11)
Drums – Joe Harris (tracks: 9 to 11), Max Roach (tracks: 1, 2, 5), Osie Johnson (tracks: 3, 4, 6 to 8)
Guitar – Barry Galbraith
Piano – Hank Jones (tracks: 3, 4, 6 to 8), John Williams (tracks: 1, 2, 5), Wade Legge (tracks: 9 to 11)
Tenor Saxophone – Jerome Richardson (tracks: 9 to 11), Lucky Thompson (tracks: 1 to 8)
Trombone – Jimmy Cleveland
Trumpet – Ernie Royal

BILLY TAYLOR TRIO - My Fair Lady Loves Jazz (1957-1994) FLAC (image+.cue), lossless

Recorded at a time when My Fair Lady was a big Broadway hit (but a few years before it became a film), this CD reissue brings back one of the very best jazz interpretations of the classic score. The focus throughout is on the Billy Taylor trio (which included bassist Earl May and drummer Ed Thigpen), but Quincy Jones' arrangements for the seven horns are quite memorable. There is room for short solos from such players as trumpeter Ernie Royal, trombonist Jimmy Cleveland, altoist Anthony Ortega, and baritonist Gerry Mulligan, and their presence clearly inspires pianist Taylor to some of his finest playing. Highly recommended. by Scott Yanow
Tracklist:
1. Show Me    4:49
2. I've Grown Accustomed To Her Face    3:45
3. With A Little Bit Of Luck    4:34
4. The Rain In Spain    3:06
5. Get Me To The Church On Time    4:19
6. Wouldn't It Be Loverly ?    5:03
7. I Could Have Danced All Night    4:04
8. On The Street Where You Live    3:44

Credits:

Baritone Saxophone – Gerry Mulligan

Baritone Saxophone, Bass Clarinet – Charlie Fowlkes (tracks: 2, 6, 8)

Bass – Earl May

Drums – Ed Thigpen

Mastered By – Bob Thiele, Rudy Van Gelder

Piano – Billy Taylor

Producer – Creed Taylor

Tenor Saxophone, Alto Saxophone – Anthony Ortega

Trombone – Jimmy Cleveland

Trumpet – Ernie Royal

Tuba – Don Butterfield (tracks: 2), Jay McAllister

Vibraphone, Bongos, Mellophone, Trumpet – Don Elliott