SHELLY MANNE & HIS FRIENDS — Bells Are Ringing (1958-1996) RM | Two Version | FLAC (image+.tracks+.cue), lossless

When Shelly Manne and His Friends (a trio starring pianist André Previn) had a surprise hit with their interpretations of melodies from My Fair Lady, it started a trend toward recording jazz versions of scores from plays. For this LP, Manne's trio (with Previn and bassist Red Mitchell) perform nine songs from the play Bells Are Ringing. Although seven of the pieces remained obscure, "The Party's Over" (which is heard twice) and particularly "Just in Time" caught on. As is always the case with this group, Previn's piano is the lead voice and his virtuosity, good taste, melodic improvising, and solid sense of swing are chiefly responsible for the music's success. Scott Yanow
Tracklist :
1.    I Met A Girl    3:18
 Betty Comden / Adolph Green / Jule Styne 
2.    Just In Time    3:34
 Betty Comden / Adolph Green / Jule Styne 
3.    Independent (On My Own)    5:11
 Betty Comden / Adolph Green / Jule Styne 
4.    The Party's Over (Ballad Version)    5:46
 Betty Comden / Adolph Green / Jule Styne 
5.    It's A Perfect Relationship    3:43
 Betty Comden / Adolph Green / Jule Styne 
6.    Is It A Crime?    3:06
 Betty Comden / Adolph Green / Jule Styne 
7.    Better Than A Dream     5:54
 Betty Comden / Adolph Green / Jule Styne 
8.    Mu-Cha-Cha    4:23
 Betty Comden / Adolph Green / Jule Styne 
9.    Long Before I Knew You    4:10
 Betty Comden / Adolph Green / Jule Styne 
10.    The Party's Over (Up Tempo Version)    4:00
 Betty Comden / Adolph Green / Jule Styne 
Credits :
Bass – Red Mitchell
Drums – Shelly Manne
Piano – André Previn
Producer, Liner Notes – Lester Koenig 

HAMPTON HAWES QUARTET — All Night Session! 1 (1958-1991) FLAC (tracks+.cue), lossless

On the night of November 12 and into the morning of November 13, 1956, a quartet led by pianist Hampton Hawes recorded enough material to fill three long-playing phonograph record albums. This studio session contained many elements associated with a live gig: the work took place during regular nightclub performing hours, the improvisations were mostly extended, and there were no alternate takes. A remarkable freshness and spontaneity prevailed throughout the session. Although controversy continues regarding the original sequence of titles, Duke Jordan's "Jordu" and Dizzy Gillespie's "Groovin' High" are superb openers for this first of three volumes. In addition to an invigorating run down "Broadway," Hawes improvised two original themes: "Takin' Care" and a bluesy walk entitled "Hampton's Pulpit" that stretched out for more than 11 minutes, making it the longest track of the entire all-night session. Collaborating with the pianist on this historic date were guitarist Jim Hall, bassist Red Mitchell, and drummer Eldridge "Bruz" Freeman. The interplay between these four men is marvelous, particularly when heard with headphones or through a sound system allowing for a full appreciation of the stereophonic balance achieved by the recording engineers. arwulf arwulf
Tracklist :
1.    Jordu  7:05
Written-By – Duke Jordan
2.    Groovin' High  5:44
Written-By – Dizzy Gillespie
3.    Takin' Care  8:07
Written-By – Hampton Hawes
4.    Broadway  6:50
Written-By – Bill Bird, Henri Woode, Teddy McRae
5.    Hampton's Pulpit  11:14
Written-By – Hampton Hawes
Credits :
Bass – Red Mitchell
Drums – Bruz Freeman
Guitar – Jim Hall
Piano – Hampton Hawes 

HAMPTON HAWES QUARTET — All Night Session ! 2 (1958-1991) FLAC (tracks+.cue), lossless

This is the second of three albums that came about as the result of an all-night recording session that took place in Los Angeles on November 12 and 13, 1956. Although Hampton Hawes spontaneously created five original tunes at this extraordinarily inspired date, everything on Vol. 2 comes directly out of the standard bop musician's working repertoire. The quartet, with bassist Red Mitchell, guitarist Jim Hall, and drummer Eldridge "Bruz" Freeman, collectively improvise their way through four attractive standards ("I Should Care" turned out to be the only slow ballad of the entire session) and three of Dizzy Gillespie's most refreshing creations. In 1958 Hawes was quoted as saying "It's hard to put into words how good it feels to play jazz when it's really swinging...I've reached a point where the music fills you up so much emotionally that you feel like shouting hallelujah -- like people do in church when they're converted to God. That's the way I was feeling the night we recorded All Night Session!". arwulf arwulf
Tracklist :
1.    I'll Remember April    7:05
 Gene DePaul / Patricia Johnston / Don Raye 
2.    I Should Care    4:28
 Sammy Cahn / Axel Stordahl / Paul Weston 
3.    Woody'n You    5:45
 Dizzy Gillespie 
4.    Two Bass Hit    2:54
 Dizzy Gillespie / John Lewis
5.    Will You Still Be Mine    6:59
 Tom Adair / Matt Dennis 
6.    April In Paris    7:34
 Vernon Duke / E.Y. "Yip" Harburg 
7.    Blue 'N' Boogie    8:10
 Dizzy Gillespie / Frank Paparelli 
Credits :
Bass – Red Mitchell
Drums – Bruz Freeman
Guitar – Jim Hall
Piano – Hampton Hawes 

HAMPTON HAWES QUARTET — All Night Session! 3 (1958-1991) FLAC (tracks+.cue), lossless

Vol. 3 of the Hampton Hawes Quartet's All Night Session contains three spontaneously improvised variations on the blues, one very cool extended rendition of Duke Ellington's "Do Nothin' 'Till You Hear from Me" and a strikingly handsome treatment of Harold Arlen's "Between the Devil and the Deep Blue Sea." The briskly paced "Blues #4" is especially progressive and exciting. Apparently "Blues of a Sort" was a warm-up performance, as voices are audible (discussing a football game!) in the background during the bass solo. For this one-take marathon late-night session of November 12 and 13, 1956, Hawes chose to share the studio with guitarist Jim Hall, bassist Red Mitchell and drummer Eldridge "Bruz" Freeman, who had replaced Chuck Thompson following that musician's sudden inability to continue touring with the group earlier that year. "We gave Chuck what money we could and left him sitting on a hospital cot in a white bathrobe." This grim image, like much of Hawes' autobiography Raise Up Off Me, paints a stark picture of the narcotics epidemic among jazz musicians during the '50s. Although this was the first peak of his career, Hawes later admitted that "during the fall of 1956 I was messing up consistently -- showing late on gigs or missing them altogether." He had lots of offers for work, including the possibility of providing music for a film soundtrack: "Wanted to do it, would have paid good, but at the time I didn't even have the bread to get high enough to get to the studio to see what they had in mind." One of the great incongruities of bop is the fact that Charlie Parker and the musicians who were most directly influenced by him were able to be so creative and prolific while grappling with addictions that confounded, immobilized, and eventually slew them. All of these insights quietly swarm beneath the surface of what added up to more than two hours of exceptionally fine quartet jazz. The complete All Night Session was issued in 2007 by the Definitive label and is emphatically recommended for listeners of every persuasion. arwulf arwulf
Tracklist :
1.    Do Nothin' Till You Hear From Me  11:03
Written-By – Bob Russell, Duke Ellington
2.    Blues #3  7:38
Composed By – Hampton Hawes
3.    Between The Devil And The Deep Blue Sea  11:00
Written-By – Harold Arlen, Ted Koehler
4.    Blues #4  6:17
Composed By – Hampton Hawes
5.    Blues Of A Sort  5:37
Composed By – Hampton Hawes
Credits :
Bass – Red Mitchell
Drums – Bruz Freeman
Guitar – Jim Hall
Piano – Hampton Hawes

ITZHAK PERLMAN · ANDRÉ PREVIN — A Different Kind of Blues + It's a Breeze (1995) 2CD | Serie : Perlman Complete Warner Recordings – Vol. 24 | FLAC (tracks+.cue), lossless

This looked like a debacle in the making on first glance -- Andre Previn, out of jazz for nearly two decades as of this session, indulging classical violin virtuoso Itzhak Perlman, who had never played jazz before in his life -- but the two classical partners actually made a really charming album the first time around. Of course, Perlman had a lot of expert help as he waded into the jazz pool, for Previn wrote out all of the tunes and solos for him and populated the rhythm section with can't-miss stalwarts Shelly Manne on drums, Red Mitchell on bass, and Jim Hall on guitar. That wouldn't guarantee a great record all by itself (see the It's a Breeze review) but in this case, the results are swinging, musical, lyrical and inordinately entertaining. Like the proverbial bicyclist who took a long sabbatical but never forgot how to ride, Previn still had plenty of keyboard invention in his fingers, and his tunes are consistently witty. The catchiest tune of the lot also has the funniest title, "Who Reads Reviews" -- aimed no doubt at the anticipated pack of jackals who were expected to eat this album for breakfast. But Perlman gives an attractive account of himself, not quite swinging but creating an alluring illusion of jazz feeling; in the ballads, he sounds as if he had been definitely listening to a lot of Stephane Grappelli. A historical note: this record, now on CD, actually anticipated the rash of "crossover" albums by classical artists that didn't take hold until late in the 1980s. And it remains more enjoyable than the vast majority of its successors. Different Kind of Blues Review by Richard S. Ginell

Perhaps Previn and Perlman figured that it would be a breeze to turn out a sequel to the surprisingly successful A Different Kind of Blues, but the bloom was definitely off the rose the second time around. The same ingredients are in place -- eight new Previn compositions with written-out solos for Perlman, and the rhythm section of Jim Hall, Red Mitchell and Shelly Manne. But the freshness of the earlier album is largely missing; the tunes aren't as good, the tempos often drag, the playing in general sounds routine and even arch. Even Perlman himself seems bored at times with his lines, his holiday drawing to a close and perhaps anxious to get back to playing concertos and encores. This would be, in any case, the final roundup for the Previn/Perlman jazz act and also, sadly, the last time that Previn would play with his old buddies Mitchell and Manne.  It's a Breeze Review by Richard S. Ginell
A Different Kind of Blues (1980)
1.  Look at Him Go 3:54 
André Previn
2.  Little Face 4:16
André Previn
3.  Who Reads Reviews 4:15
André Previn
4.  Night Thoughts 6:22
André Previn
5. A Different Kind of Blues 6:24
André Previn
6. Chocolate Apricot 5:04
André Previn
7. The Five of Us 2:55
André Previn
8. Make up Your Mind 3:51
André Previn
It's A Breeze (1981)    
1.    It's A Breeze    3:32
André Previn
2.    Rain In My Head    6:34
André Previn
3.    Catgut Your Tongue    6:10
André Previn
4.    It's About Time 3:12
André Previn
5.    Quiet Diddling    5:04
André Previn
6.    A Tune For Heather    7:40
André Previn
7.    Bowing And Scraping    5:00
André Previn
8.    The Red Bar    5:23
André Previn
Credits :
Bass – Red Mitchell
Drums – Shelly Manne
Guitar – Jim Hall
Piano – André Previn
Violin – Itzhak Perlman

HAMPTON HAWES · BARNEY KESSEL · SHELLY MANNE · RED MITCHELL — Four! Hampton Hawes!!!! (1958-1988) RM | FLAC (tracks+.cue), lossless

Pianist Hampton Hawes' 1950s recordings for the Contemporary label are at such a high level that they could all be given five stars. This outing with bassist Red Mitchell, drummer Shelly Manne, and guitarist Barney Kessel (who is a slight wild card) is also quite successful. Two previously unreleased numbers ("Thou Swell" and "The Awful Truth") have been added to the CD reissue. Highlights of the exciting bop date include "Yardbird Suite," "There Will Never Be Another You," and "Love Is Just Around the Corner."  Scott Yanow
Tracklist :
1    Yardbird Suite 6:37
Written-By – Charlie Parker
2    There Will Never Be Another You 6:58
Written-By – Harry Warren, Mack Gordon
3    Bow Jest 6:30
Written-By – Red Mitchell
4    Sweet Sue 5:35
Written-By – Victor Young, Will Harris
5    Up Blues 5:10
Written-By – Hampton Hawes
6    Like Someone In Love 3:14
Written-By – Johnny Burke & Jimmy Van Heusen
7    Love Is Around The Corner 5:40
Written-By – Leo Robin, Lewis E. Gensler
– BONUS TRACKS –
8    Thou Swell    4:54
 Written-By – Lorenz Hart / Richard Rodgers 
9    The Awful Truth    8:09
 Written-By – Hampton Hawes 
Credits :
Bass – Red Mitchell
Drums – Shelly Manne
Guitar – Barney Kessel
Piano – Hampton Hawes
Notes. 
Recorded January 27, 1958 in Los Angeles.
Technical data: 30-15,000 cycles. Multiple microphone technique featuring AKG C-12 condenser microphones. Ampex stereo tape recorder. Reeves Soundcraft tape. Reissued and digitally re-mastered for CD, at Fantasy Studios, Berkeley 1988
tracks 8, 9 additional not on original LP

CONTE CANDOLI & LEE MORGAN — Howard Rumsey Presents ... Double or Nothin' (1957-2003) Two Version | FLAC (image+.tracks+.cue), lossless

Rare recordings produced by Howard Rumsey with his incredible Howard Rumsey's Lighthouse All Stars and Charles Persip's Jazz Statesmen.
"There was only a short week in which to record, so we made a date for a double session at Liberty's fabulous new studios... Lee Morgan and Frank Rosolino flipped into some original dance steps at the sound of the playbacks. It was a happy date." -Howard Rumsey
Tracklist :
1. Reggie Or Chester 4:36
Bass – Wilfred Middlebrooks
Drums – Charlie Persip
Piano – Wynton Kelly
Tenor Saxophone, Written-By – Benny Golson
2. Stabelmates 5:08
Bass – Red Mitchell
Drums – Stan Levey
Piano – Dick Shreve
Tenor Saxophone, Written-By – Benny Golson
Trombone – Frank Rosolino
Trumpet – Lee Morgan
3. Celedia 4:40
Bass – Wilfred Middlebrooks
Drums – Charlie Persip
Piano – Wynton Kelly
Tenor Saxophone, Written-By – Bob Cooper
Trombone – Frank Rosolino
Trumpet – Conte Candoli
4. Moto 5:43
Bass – Red Mitchell
Drums – Stan Levey
Piano – Dick Shreve
Tenor Saxophone – Benny Golson
Tenor Saxophone, Written-By – Bob Cooper
Trombone – Frank Rosolino
Trumpet – Conte Candoli, Lee Morgan
5. The Champ 4:40
Bass – Red Mitchell
Drums – Stan Levey
Piano – Dick Shreve
Tenor Saxophone – Bob Cooper
Trombone – Frank Rosolino
Trumpet – Conte Candoli
Written-By – Dizzy Gillespie
6. Blues After Dark 7:45
Bass – Red Mitchell
Drums – Charlie Persip
Piano – Wynton Kelly
Tenor Saxophone, Written-By – Benny Golson
Trumpet – Lee Morgan
 7. Wildwood 5:52
Bass – Wilfred Middlebrooks
Drums – Charlie Persip
Piano – Wynton Kelly
Tenor Saxophone – Benny Golson, Bob Cooper
Trombone – Frank Rosolino
Trumpet – Conte Candoli, Lee Morgan
Written-By – Gigi Gryce
8. Quicksilver 3:56
Bass – Red Mitchell
Drums – Stan Levey
Piano – Dick Shreve
Tenor Saxophone – Bob Cooper
Trombone – Frank Rosolino
Trumpet – Conte Candoli
Written-By – Horace Silver
9. Bye Bye Blues 4:05
Bass – Red Mitchell
Drums – Stan Levey
Piano – Dick Shreve
Tenor Saxophone – Bob Cooper
Trombone – Frank Rosolino
Trumpet – Conte Candoli

BARNEY KESSEL — Vol. 3 "To Swing or Not to Swing" (1955-1987) Two Version | APE (image+.cue), lossless + FLAC (tracks+.cue), lossless

Guitarist Barney Kessel's string of recordings for Contemporary in the 1950s included some of the finest work of his career. The unusual repertoire on this set -- which includes "Louisiana," "Indiana," and "12th Street Rag," along with four Kessel originals and more usual standards -- would by itself make this bop/cool set noteworthy. Add to that a very interesting lineup of players (trumpeter Harry "Sweets" Edison, Georgie Auld or Bill Perkins on tenor, pianist Jimmy Rowles, the rhythm guitar of Al Hendrickson, bassist Red Mitchell, and Shelly Manne or Irv Cottler on drums) and some excellent showcases for Kessel, and the overall result is a recording highly recommended to fans of straight-ahead jazz. Scott Yanow
Tracklist :
1. Begin The Blues 4:21
Written-By – Barney Kessel
2. Louisiana 3:55
Written-By – Andy Razaf, Bob Schaefer, J.C. Johnson
3. Happy Feeling 3:55
Written-By – Barney Kessel
4. Embraceable You 3:21
Written-By – Ira And George Gershwin
5. Wail Street 4:21
Written-By – Barney Kessel
6. Indiana 3:08
Written-By – Ballard MacDonald, James F. Hanley
7. Moten Swing 3:56
Written-By – Bennie Moten, Buster Moten
8. Midnight Sun 3:05
Written-By – Lionel Hampton, Sonny Burke
9. Contemporary Blues 4:05
Written-By – Barney Kessel
10. Don't Blame Me 2:54
Written-By – Dorothy Fields And Jimmy McHugh
11. 12th Street Rag 2:56
Written-By – Euday L. Bowman
Credits :
Bass – Red Mitchell
Drums – Irv Cottler, Shelly Manne
Guitar – Barney Kessel
Piano – Jimmy Rowles
Rhythm Guitar – Al Hendrickson
Tenor Saxophone – Bill Perkins, Georgie Auld
Trumpet – Harry Edison

BILLIE HOLIDAY — Billie's Blues (1988) FLAC (tracks+.cue), lossless

Most of this excellent CD features one of Billie Holiday's finest concert recordings of the 1950s. Recorded in Europe before an admiring audience, this enjoyable set finds Lady Day performing seven of her standards with her trio and joining in for jam session versions of "Billie's Blues" and "Lover Come Back to Me" with an all-star group starring clarinetist Buddy DeFranco, vibraphonist Red Norvo and guitarist Jimmy Raney. These performances (which find Holiday in stronger voice than on her studio recordings of the period) have also been included in Verve's massive CD box set. This program concludes with Holiday's four rare sides for Aladdin in 1951 (between her Decca and Verve periods) which are highlighted by two blues and "Detour Ahead," and her 1942 studio recording of "Trav'lin' Light" with Paul Whiteman's Orchestra.
Tracklist :
1.    Announcement By Leonard Feather 0:27
Presenter – Leonard Feather
2.    Blue Moon    2:15
Written-By – Rodgers/Hart
3.    All Of Me    1:43
Written-By – G. Marks, S. Simons
4.    My Man    2:51
Written-By – Willametz, Pollock, Charles, Yvain
5.    Them Their Eyes    1:40
Written-By – Tauber, Pinkard, Tracey
6.    I Cried For You    3:22
Written-By – Lyman, Freed, Arnheim
7.    What A Little Moonlight Can Do    2:45
Written-By – H. Woods
8.    I Cover The Waterfront    3:10
Written-By – Heyman, Green
9.    Announcement    0:20
10.    Billie's Blues    11:35
Written-By – Billie Holiday
11.    Lover Come Back To Me    6:39
Written-By – Hammerstein, Romberg
12.    Blue Turning Grey Over You    2:01
Written-By – Razaf, Waller
13.    Be Fair With Me Baby    2:36
Written-By – Mesner, Darnell
14.    Rocky Mountain Blues    3:04
Written-By – Tucker, Heywood
15.    Detour Ahead    3:03
16.     Trav'lin' Light 3:17
Arranged By – Jimmy Mundy
Bass – Artie Shapiro
Directed By – Paul Whiteman
Drums – Willie Rodriguez
Guitar – Mike Pingitore
Other [Unknown], Reeds – Alvy West, Dan D'Andre, Lennie Hartman
Other [Unknown], Trombone – Murray McEachern, Skip Layton
Piano – Buddy Weed
Trumpet – Don Waddilove, Larry Neill, Monty Kelly
Credits :
Bass – Red Mitchell (tracks: 2 to 11), Unknown (tracks: 12 to 15)
Clarinet – Buddy DeFranco (tracks: 10, 11)
Drums – Elaine Leighton (tracks: 2 to 11), Unknown (tracks: 12 to 15)
Guitar – Jimmy Raney (tracks: 10, 11), Tiny Grimes (tracks: 12 to 15)
Piano – Bobby Tucker (tracks: 12 to 15), Carl Drinkard (tracks: 2 to 8)
Piano [First Solo] – Sonny Clark (tracks: 10, 11)
Piano [Second Solo] – Beryl Booker (tracks: 10, 11)
Tenor Saxophone, Baritone Saxophone – Heywood Henry (tracks: 12 to 15)
Vibraphone [Vibes] – Red Norvo (tracks: 10, 11)
Vocals – Billie Holiday
Notes :
Tracks 2 to 11 recorded live in Köln, Germany on January 5, 1954
Tracks 12 to 15 recorded in New York City on April 29, 1951 for Aladdin Records
Track 16 recorded in Los Angeles on June 12, 1942 for Capitol Records

DEBORAH BROWN — Jazz 4 Jazz (1988-2015) RM | Serie Timeless Jazz Master Collection – 27 | FLAC (tracks+.cue), lossless

A pleasing and swinging singer who has not become famous in the United States despite her talents, Deborah Brown is in top form on this 1993 reissue of a set recorded in 1988 for the tiny Reaction label. Accompanied by a top-notch trio of American expatriates (pianist Horace Parlan, bassist Red Mitchell, and drummer Ed Thigpen), Brown swings her way through such songs as "It Don't Mean a Thing," "I Thought About You," "My Romance," and Dizzy Gillespie's "Bebop." This CD starts out a little unusual with one song apiece by Parlan, Thigpen, and Mitchell, tunes that give Deborah Brown an opportunity to show how creative a singer she is, before she tackles the well-known standards. Happily, Brown has remained active in Europe into the 21st century. Recommended. Scott Yanow
Tracklist :
1    Little Esther 5:08
Horace Parlan
2    Denise 4:26
Ed Thigpen
3    Finally 6:34
Red Mitchell
4    It Don't Mean a Thing (If It Ain't Got That Swing) 4:58
Duke Ellington / Irving Mills
5    Embraceable You 8:09
George Gershwin / Ira Gershwin
6    Since I Fell for You 7:45
Buddy Johnson
7    I Thought About You 7:34
James Van Heusen / Johnny Mercer
8    My Romance 3:08
Lorenz Hart / Richard Rodgers
9    What Is This Thing Called Love? 3:30
Cole Porter
10    When We Were One 5:12
Mike Hennessey
11    Bebop 2:59
Dizzy Gillespie
12    When I Fall in Love 7:06
Edward Heyman / Victor Young
Credits :
Deborah Brown - Vocals
Red Mitchell – Bass (acoustic)
Horace Parlan - Piano
Ed Thigpen - Drums

HAMPTON HAWES — I'm All Smiles (1966-1993) RM | FLAC (tracks+.cue), lossless

 Pianist Hampton Hawes led a trio during the 1960s and '70s that remained popular without compromising its sound or musical integrity. His phrasing and voicings could entice or amaze, and he displays great range, rhythmic vitality, and harmonic excellence during the five selections featured on this 1966 live date now reissued on CD. Hawes moves from the Afro-Latin feel of "Manha de Carnaval" to the brilliant chordal exposition on "Spring Is Here" and "The Shadow of Your Smile," before concluding with a flourish on "Searchin." Hawes is backed by wonderful bassist Red Mitchell and steady drummer Donald Bailey, who had both been with him for over a decade. They are not just a cohesive unit, but an intuitive team, maintaining a communication with him that is amazing even within a genre that demands it. Ron Wynn
Tracklist :
1. I'm All Smiles (7:39)
 Michael Leonard / Herbert Martin
2. Manha De Carnaval (5:36)
 Luiz Bonfá / Antônio Maria
3. Spring Is Here (5:14)
 Lorenz Hart / Richard Rodgers
4. The Shadow Of Your Smile (10:07)
 Johnny Mandel / Paul Francis Webster
5. Searchin' (10:31)
 Hampton Hawes
Credits :
Bass – Red Mitchell
Drums – Donald Bailey
Piano, Liner Notes – Hampton Hawes

ANDRÉ PREVIN'S TRIO JAZZ — King Size! (1958-2001) RM | Serie Heritage Of Jazz By Digital K2 Contemporary 40 – 40 | FLAC (tracks+.cue), lossless

The multi-talented Andre Previn is heard on this recording as the leader of a trio with bassist Red Mitchell and drummer Frankie Capp. Previn always had his own swing/bop piano style, and he is in top form on two of his originals (including the bluish "Much Too Late") and four superior standards. This fine release gives one an excellent example of Previn's skills as a jazz pianist. Scott Yanow

Tracklist
1. I'll Remember April - 6:25
(Raye-DePaul-Johnston)
2. Much Too Late - 9:31
(André Previn)
3. You'd Be So Nice to Come Home To - 7:04
(Cole Porter)
4. It Could Happen to You - 5:57
(Van Heusen-Burke)
5. Low and Inside - 9:00
(André Previn)
6. I'm Beginning to See the Light - 8:02
(George-Hodges-James-Ellington)
Credits:
André Previn - Piano
Red Mitchell - Bass
Frankie Capp - Drums

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

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

BUD SHANK | BILL PERKINS — Bud Shank and Bill Perkins (1998) MONO | Serie West Coast Classics | FLAC (tracks+.cue), lossless

Two of the stars of cool jazz, Bud Shank and Bill Perkins, are featured to various degrees throughout this session. Shank in the 1950s was practically the epitome of West Coast jazz. His cool tones on alto and his fluid flute were utilized on many dates; the main set here also finds him switching in spots to tenor and baritone. Perkins, always a versatile reed soloist, is best known for his tenor playing but during that date he also plays alto, and (on two versions of "Fluted Columns") there are some rare examples of his flute. Shank and Perkins team up quite effectively with pianist Hampton Hawes, bassist Red Mitchell, and drummer Mel Lewis for the May 2, 1955 session, which includes a trio feature for Hawes ("I Hear Music"). Four numbers from February 19, 1956 (with Shank on flute and alto, pianist Russ Freeman, bassist Carson Smith, drummer Shelly Manne, and, on "Brother, Can You Spare a Dime?," Perkins on tenor) are actually from a session led by Freeman but never completed, and were only put out previously on samplers. "Angel Eyes" (by a quartet with Perkins and pianist Jimmy Rowles) is a leftover track from a later date, as is "Sonny Speaks," which showcases Rowles in a trio without Perkins. This set concludes with the one surviving number ("Ain't Got a Dime to My Name") surviving from a truncated Perkins quartet set from 1958. Taken as a whole, there are many rewarding solos to be heard by Shank, Perkins, and the piano players on these formerly rare selections, even if the collection falls short of being classic. Scott Yanow   Tracklist & Credits

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

JOE SAMPLE — Fancy Dance (1969-1991) FLAC (tracks+.cue), lossless

This recording (a reissue of a project for Sonet) was pianist Joe Sample's first solo set, although he was already well-known for his nine high-profile years with the Jazz Crusaders. Teamed with bassist Red Mitchell and drummer J.C. Moses, Sample plays mostly adventurous straight-ahead jazz on his date. There are some funky moments (particularly on the two blues), but all six of his originals have their challenging moments and Sample is heard stretching himself way beyond the predictable. Scott Yanow

BARNEY KESSEL — Barney Kessel Volume 1 : Easy Like (1956-2006) RM | MONO | APE (image+.cue), lossless

Other than four songs apiece released by Onyx and Verve, the CD reissue of Easy Like, Vol. 1 has guitarist Barney Kessel's first sessions as a leader, performances which launched his longtime association with the Contemporary label. Augmented by two "new" alternate takes, the set features Kessel in boppish form with quintets in 1953 and 1956 featuring, either Bud Shank or Buddy Collette doubling on flute and alto. Kessel shows off the influence of Charlie Christian throughout the performances, with the highlights including "Easy Like," "Lullaby of Birdland," "North of the Border," and the accurately titled "Salute to Charlie Christian." Scott Yanow
Tracklist :
1 Easy Like 4:04
Barney Kessel
2 Tenderly 4:06
Walter Gross / Jack Lawrence
3 Lullaby of Birdland 3:16
George Shearing / George David Weiss
4 What Is There to Say? 3:10
Vernon Duke / E.Y. "Yip" Harburg
5 Bernardo 3:34
Barney Kessel
6 Vicky's Dream 2:37
Barney Kessel
7 Salute to Charlie Christian 2:52
Barney Kessel
8 That's All 3:18
Alan Brandt / Bob Haymes
9 I Let a Song Go Out of My Heart 4:12
Duke Ellington / Irving Mills / Henry Nemo / John Redmond
10 Just Squeeze Me (But Don't Tease Me) 3:41
Duke Ellington / Lee Gaines
11 April in Paris 3:00
Vernon Duke / E.Y. "Yip" Harburg
12 North of the Border 2:46
Barney Kessel
13 Easy Like 2:44
Barney Kessel
14 North of the Border 2:44
Barney Kessel
Credits :
Bass – Harry Babasin (tracks: 3 to 8, 10, 11), Red Mitchell (tracks: 1, 2, 9, 12 to 14 )
Drums – Shelly Manne
Flute, Alto Saxophone – Bud Shank (tracks: 3 to 8, 10, 11), Buddy Collette (tracks: 1, 2, 9, 12 to 14 )
Guitar – Barney Kessel
Piano – Arnold Ross (tracks: 3 to 8, 10, 11), Claude Williamson (tracks: 1, 2, 9, 12 to 14 )

STAN GETZ – 1952-1953 | The Classics Chronological Series – 1379 (2003) FLAC (tracks), lossless

This fifth installment in the Classics Stan Getz chronology opens with a 60-mph workout on Sigmund Romberg's "Lover, Come Back to Me." Accompanied by pianist Duke Jordan, guitarist Jimmy Raney, bassist Bill Crow, and drummer Frank Isola, and using everything he learned about saxophones from Lester Young and Charlie Parker, Getz also sounds at times a tiny bit like his contemporaries John LaPorta and Lee Konitz. Several of these 12 sides recorded for the Mercury, Norgran, and Royal Roost labels during December 1952 are slow luxurious ballads, a treat for anyone enamored of Getz's intoxicating suede-toned manner. "Lullaby of Birdland," "Fools Rush In," "How Deep Is the Ocean?," and especially this band's spirited rendition of Gigi Gryce's "Hymn to the Orient" are invigorating examples of what Getz could accomplish at higher velocities. Four Mercury/Clef sides recorded on April 16, 1953, are infused with composer and valve trombonist Bob Brookmeyer's smooth ideas and cool textures. "Erudition" is a particularly rewarding dose of hot modernity. The rhythm section of Bill Crow, drummer Al Levitt, and pianist John Williams works wonders here behind the pleasantly paired horns. The four tracks closing this excellent compilation were recorded for Prestige on April 23, 1953, with Frank Isola behind the drums, pianist Hall Overton, bassist Red Mitchell, and heavily featured guitarist Jimmy Raney, who composed three of the four tunes rendered on that day. Note also that a few years later, some of the players heard on this disc -- Brookmeyer, Mitchell, and Isola -- would show up gigging with Lee Konitz in Paris. arwulf arwulf 

LEE KONITZ & RED MITCHELL - "I Concentrate on You" A Tribute To Cole Porter (1974-1987) FLAC (image+.cue), lossless

Lee Konitz has been a constant explorer throughout most of his career, never satisfied with a standard approach or falling into a rut with a particular instrumentation. This 1974 duo session with bassist Red Mitchell, which focuses exclusively on the works of Cole Porter, is one great example. With an inventive accompanist like Mitchell spurring him on, the alto saxophonist is able to work magical variations of the familiar Porter works, while Konitz retains his remarkable dry signature tone. "Easy to Love" has a bit of a bittersweet air in his hands, as does the more deliberate "Ev'rytime We Say Goodbye." Mitchell is a bit more subdued in the hip treatment of "'You'd Be So Nice to Come Home To," as Konitz's intricate improvisation works its magic. The usually over the top "Love for Sale" features an understated arrangement here. Mitchell switches to piano for "Night and Day," playing a soft bop line behind the leader. Ken Dryden
Tracklist :
1     Just One of Those Things 5:09
Cole Porter
2     Just One of Those Things 3:05
Cole Porter
3     Easy to Love 3:15
Cole Porter
4     It's All Right with Me 3:00
Cole Porter
5     Ev'ry Time We Say Goodbye 2:49
Cole Porter
6     Ev'ry Time We Say Goodbye 2:50
Cole Porter
7     You'd Be So Nice to Come Home To 3:46
Cole Porter
8     Love for Sale 5:16
Cole Porter
9     In the Still of the Night 2:11
Cole Porter
10     Night and Day 5:14
Cole Porter
11     Night and Day 3:56
Cole Porter
12     I Love You 3:36
Cole Porter
13     I Love Paris 3:23
Cole Porter
14     I Concentrate on You 9:12
Cole Porter
Credits :    
Alto Saxophone – Lee Konitz
Bass – Red Mitchell
Piano – Red Mitchell (tracks: 10, 11)

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

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