GEORGE GERSHWIN : The Complete George Gershwin Porgy And Bess (1956-1996) RM | 2CD MONO | Serie Mastersonic, ベツレヘム名盤マスター・トランスファー・コレクション – 11 | FLAC (image+.cue), lossless

The Bethlehem label didn't make it out of the '50s before folding, and one of the reasons why is the ambitious yet misguided George Gershwin's Porgy and Bess, a three-LP box set that represents a complete recording of the Gershwin classic (with narration and sound effects). Bethlehem certainly had the talent to pull it off -- appearing on the label, and this production, are Mel Tormé, Duke Ellington & His Orchestra, Johnny Hartman, Bob Dorough, Betty Roche, Frances Faye, and minor period stars including vocalist Frank Rosolino, bandleader Stan Levey, and arranger Russ Garcia. And long-playing versions of theatrical productions were huge in the mid-'50s (a few sold millions of copies). The most popular of these, however, were simply easy-to-digest highlights LPs that never attempted to present the complete production. This version is a gargantuan two hours long, difficult to sit through even if every performance was stellar (and, unfortunately, that's far from the case). The recording makes a virtue of being hip, primarily through the narration of Al "Jazzbo" Collins, a radio DJ who may have been hip for the times but whose counterfeit excitement and perfect diction make the proceedings sound like a period newsreel. ("Watch out, Porgy, here comes that mean Sportin' Life!") Tormé, as the most popular vocalist on the label, was a shoe-in for the role of Porgy, despite Johnny Hartman's clear superiority, and Frances Faye received the role of Bess despite Betty Roche's ability to handle the role much better. Those mistakes are compounded by Russ Garcia's period arrangements (the Ellington group makes only one appearance) and some decidedly subpar performances from Frank Rosolino early in the program. Still, it has to be admitted that a highlights compilation of this record would sparkle very brightly, driven by Mel Tormé's swinging "I've Got Plenty o' Nuttin'" with a super-enthused backing chorus, George Kirby's "It Ain't Necessarily So," and Betty Roche's reprise of "Summertime" during the second half. John Bush  
Tracklist 1
Porgy and Bess, opera
1 Part 1. Introduction / Summertime 01:25
George Gershwin
Frances Faye / Mel Tormé
feat: Duke Ellington / Duke Ellington & His Orchestra / The Russell Garcia Orchestra
2 Part 1. Narration 1:24
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
3 Part 1. Summertime 3:48
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Betty Roché
4 Part 1. Narration 0:12
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
5 Part 1. A Woman Is A Sometime Thing 2:39
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Frank Rosolino
6 Part 1. Narration / Here come de honey man... 1:20
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins / Joe Derise
7 Part 1. Narration 0:24
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
8 Part 1. Evenin' ladies, hello boys... 0:43
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé
9 Part 1. Narration 0:15
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
10 Part 1. No, no, brother, Porgy ain't soft on no woman... 1:33
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé
11 Part 1. Narration (Scene: crap game and murder) 4:31
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: The Russell Garcia Orchestra
12 Part 1. Narration 0:51
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
13 Part 1. Gone, Gone, Gone 2:20
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
14 Part 1. Overflow, overflow 2:08
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé
15 Part 1. Narration 0:28
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
16 Part 1. I can't puzzle this thing out... 1:18
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé
17 Part 1. Narration 0:11
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
18 Part 1. My Man's Gone Now 3:49
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Sallie Blair
19 Part 1. Narration 0:35
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
20 Part 1. Oh the train is at the station... 2:43
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
21 Part 1. Narration 0:37
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
22 Part 1. Oh I'm agoin' out to the Blackfish banks... 2:17
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Frank Rosolino
23 Part 1. Narration 0:34
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
24 Part 1. I Got Plenty o' Nuttin' 3:13
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: The Pat Moran Quartet
25 Part 1. Mornin', Lawyer. Looking for somebody?... 4:23
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: George Kirby / The Pat Moran Quartet
26 Part 1. Buzzard Song 2:43
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé
27 Part 1. Narration 0:28
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
28 Part 1. Bess, You Is My Woman Now 4:57
George Gershwin / Ira Gershwin 
Frances Faye / Mel Tormé
29 Part 1. Oh, I can't sit down (picnic music) 1:55
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Don Fagerquist / Don Fagerquist Group / Betty Roché
30 Part 1. Porgy, I hates to go... 1:00
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé
31 Part 1. I Got Plenty o Nuttin' (reprise) 0:37
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé
32 Part 1. It Ain't Necessarily So (instrumental) 1:52
George Gershwin
Frances Faye / Mel Tormé feat: Russell Garcia / Betty Roché
33 Part 1. Narration 0:34
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
34 Part 1. It Ain't Necessarily So 4:28
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: George Kirby
35 Part 1. Narration 0:53
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
36 Part 1. What you want wid Bess?... 2:12
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Johnny Hartman
37 Part 1. Narration 00:33
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
38 Part 1. Oh I'm agoin' out to the Blackfish banks... (reprise) 1:27
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Frank Rosolino
39 Part 1. Narration 0:30
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
40 Part 1. Oh, doctor Jesus...
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Sallie Blair
41 Part 1. Here come de honey man... / Oh dey's so fresh and fine... / I'm talkin' about devil crabs.. 3:31
George Gershwin
Frances Faye / Mel Tormé feat: Joe Derise / Bob Dorough / Loulie Jean Norman
Tracklist 2
Porgy and Bess, opera
1 Part 2. Narration 0:38
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
2 Part 2. I Loves You, Porgy 3:17
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé
3 Part 2. Narration (Scene: storm) 3:04
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Chorus / The Russell Garcia Orchestra
4 Part 2. Summertime (reprise) 1:22
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Betty Roché
5 Part 2. Narration 0:11
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
6 Part 2. Oh, dere's somebody knockin' at de do'... 1:03
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
7 Part 2. Narration 1:20
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
8 Part 2. If God want to kill me... 2:05
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Johnny Hartman
9 Part 2. Narration  0:06
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
10 Part 2. A red-headed woman... 1:48
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Chorus / Johnny Hartman
11 Part 2. Narration 0:59
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
12 Part 2. Oh, doctor Jesus (reprise) 0:38
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
13 Part 2. Narration 00:55
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
14 Part 2. Clara, Clara, don't you be downhearted... 1:36
George Gershwin
Frances Faye / Mel Tormé feat: The Pat Moran Quartet
15 Part 2. Narration 0:10
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
16 Part 2. Summertime (reprise) 1:12
George Gershwin
Frances Faye / Mel Tormé feat: Betty Roché
17 Part 2. Narration 1:50
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
18 Part 2. Oh, Lawd, what I goin' do?... 1:21
George Gershwin
Frances Faye / Mel Tormé
19 Part 2. Narration 0:09
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
20 Part 2. There's a Boat Dat's Leavin' Soon for New York 1:28
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: George Kirby
21 Part 2. Narration 1:18
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins / The Russell Garcia Orchestra
22 Part 2. Narration 0:24
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
23 Part 2. How are you dis mornin'?... 1:41
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
24 Part 2. Narration 0:39
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
25 Part 2. Oh, Bess, Oh, Where's My Bess 2:19
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Sallie Blair
26 Part 2. Oh Lawd, I'm on My Way 1:57
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Chorus
27 Suite (editied instrumental suite from Russ Garcia's orchestration) 29:12
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: The Russell Garcia Orchestra

BOBBY SCOTT — The Compositions Of Bobby Scott (1955-2014) RM | Serie Bethlehem Album Collection 1000 – 126 | FLAC (tracks+.cue), lossless

Tracklist :

1    Dot    3:38
2    Kwan Youen    2:57
3    Moon Tan    3:49
4    Betty    4:16
5    Aunt Sarah    4:10
6    Cerebellum    4:09
7    Wigwam    2:19
8    The Creed    4:03
9    Table Cloth Stomp    2:58
10    A Parable    2:59
11    The Wig    2:35
12    Count Bill    2:45
– BONUS TRACK –
13    Makin' Whoopee    4:36
Credits :
Alto Saxophone – Charlie Mariano (tracks: 2, 7 to 12), Hal McKusick (tracks: 1, 3, 4, 5, 6)
Baritone Saxophone – Al Epstein (tracks: 1, 3, 4, 5, 6), Jimmy Giuffre (tracks: 2, 7 to 12)
Bass – Max Bennett (tracks: 2, 7 to 12), Milt Hinton (tracks: 1, 3, 4, 5, 6)
Conductor – Bobby Scott (tracks: 1, 3, 4, 5, 6)
Drums – Osie Johnson (tracks: 1, 3, 4, 5, 6), Stan Levey (tracks: 2, 7 to 12)
Piano – Bobby Scott (tracks: 2, 7 to 12)
Tenor Saxophone – Bill Holman (tracks: 2, 7 to 12)
Trombone – Eddie Bert (tracks: 1, 3, 4, 5, 6), Frank Rosolino (tracks: 2, 7 to 12)
Trumpet – Conte Candoli (tracks: 2, 7 to 12), Ronnie Woellmer (tracks: 1, 3, 4, 5, 6)

STAN GETZ | DIZZY GILLESPIE | SONNY STITT — For Musicians Only (1957-1989) RM | FLAC (tracks+.cue), lossless

Often in the early days of the modern jazz movement, players would come up with the most dazzling tempos, complex chord changes, intricate melodies, and tricky rhythmic breaks imaginable, as much to challenge themselves as to keep the squares from trying to get on the bandstand and jam. For Musicians Only is just that, and then some. Gillespie, the great virtuoso trumpeter, is joined on the front line by Stan Getz and Sonny Stitt for a blowing session of phenomenal proportions. Gillespie's demanding tune "Bebop," and Denzil Best's "Wee (Allen's Alley)" (based on "I Got Rhythm") are given brisk, wailing treatments. Both tunes highlight Stitt's scampering alto, Getz's dancing, mentholated tenor (very much in his Lester Young mode), and Gillespie's coiled, tempestuous trumpet. The tough, swinging rhythm section really distinguishes itself on the standards "Dark Eyes" and "Lover Come Back to Me" (particularly bassist Ray Brown). They always manage to keep a hint of the basic tune in the foreground, no matter how free the soloists get. Gillespie is inspired throughout, and For Musicians Only contains some of his spunkiest, most pugnacious solos. AllMusic   Tracklist + Credits :

TADD DAMERON – 1947-1949 | The Classics Chronological Series – 1106 (2000) FLAC (tracks+.cue), lossless

Although Tadd Dameron was a talented pianist, he never considered piano playing his strong point -- the bebopper was best known for his writing and arranging, and when he recorded as a leader (which wasn't all that often), Dameron was quite happy to let his sidemen take most of the solos. Dameron can hardly be accused of hogging the solo space on 1947-1949, a collection of small-group and big-band sides he recorded as a leader for Blue Note and Savoy, among others, from August 1947-April 1949. The material, most of it superb, falls into two main categories: hard-swinging bop instrumentals and romantic ballads featuring vocalists. On the instrumentals (which include "Our Delight," "Dameronia," "The Squirrel," "Lady Bird," and other Dameron originals), he features some of early bop's heavy-hitting soloists, including trumpeter Fats Navarro (a major influence on Clifford Brown), tenor saxman Wardell Gray, and alto saxman Ernie Henry (who, like Sonny Stitt, was a Charlie Parker disciple but not a clone). And Dameron's romantic side takes over when he features Kay Penton (a delightful though underexposed vocalist) on several ballads (including "What's New" and "Gone With the Wind") and employs the Billy Eckstine-influenced Kenny Hagood on "I Think I'll Go Away." Meanwhile, singer Rae Pearl (who later went by Rae Harrison) provides a wordless vocal on Dameron's dreamy "Casbah." Boasting some of Dameron's most essential work, this French release is recommended without hesitation to lovers of early bop. Alex Henderson  
Tracklist + Credits :

GEORGE AULD – 1945-1946 | The Classics Chronological Series – 1351 (2004) FLAC (tracks+.cue), lossless

This second volume in the Classics Georgie Auld chronology presents all of his studio recordings made between May 24, 1945 and April 30, 1946. Auld's big band shared some stylistic qualities with Billy Eckstine's orchestra; both groups handled the innovations of bop with intelligence and creative precision. The first two tracks on this collection were originally issued on the Guild record label; the rest appeared on Musicraft. Georgie Auld, whose career at times paralleled that of Charlie Barnet, played soprano and alto in addition to his customary tenor saxophone; also like Barnet he was a capable vocalist. There are three examples of Auld's singing voice in this part of the chronology: he delivers a fine rendering of "I Don't Know Why" (once closely associated with Russ Columbo), a tidy take on "Route 66" that closely mimics the version recorded only six weeks earlier by Nat King Cole, and a boppish `big band update of "Honey," an attractive Richard Whiting melody dating from 1928. Nine tracks feature vocalist Lynne Stevens -- she is at her best on Ellington and Strayhorn's "Just A-Settin' and A-Rockin'" -- but the truly substantial element here is the band itself, a 17-piece ensemble working with arrangements penned by Budd Johnson, Tadd Dameron, Al Cohn, Franz Jackson and Neal Hefti. Auld also used Hugo Winterhalter's excellent arrangement of "Time on My Hands," apparently the same chart used by Count Basie in 1942. Note the presence of baritone saxophonist Serge Chaloff alongside Cohn and Auld in the reeds; that's Joe Albany and Stan Levey in the rhythm section. The vocal highlight of the whole album is Sarah Vaughan's lovely interpretation of "100 Years from Today," a Victor Young melody with words by Ned Washington published in 1933. Georgie Auld had a really fine big band from 1943-1946, and led an exceptional group during the year 1949. His early-'50s recordings sometimes involve group vocals or lounge atmosphere; by 1955 and 1956 he fronted a group known as the Hollywood All Stars, using arrangements by Billy May. Most of his music is worth the effort it takes to chase it down and soak it up. arwulf arwulf
Tracklist + Credits :

BARNEY BIGARD – 1944-1945 | The Classics Chronological Series – 930 (1997) FLAC (tracks+.cue), lossless

1944-1945 collects Bigard's output after the clarinetist left the Duke Ellington Orchestra. Although his brief time with a band fronted by Joe Thomas is not as consistently rewarding as his stint with Ellington (what could be?), it's still historically valuable and enjoyable for fans of the clarinetist. Bigard had certainly lost none of the virtuosity of his earlier years, but the material is patchier. Nevertheless, this release will be appealing to Bigard's fans, and the Classics label has done an admirable job with the remastering and liner notes. Thomas Ward
Tracklist + Credits :

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

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

STAN GETZ / GERRY MULLIGAN - Getz Meets Mulligan in Hi-Fi (1957-1991) FLAC (image+.cue), lossless

This release presents the complete album Getz Meets Mulligan on HI-FI, including the two last tunes from the session, originally issued on another LP Getz and Mulliogan's only collaboration ever in a quintet format. The trade horns on the album's first three tracks, allowing the listener the rare opportunuty to hear Getz on baritone and Mulligan on tenor.
In the original liner notes, producer Norman Granz states that he was interested in the results of a front-line collaboration between saxophonists Stan Getz and Gerry Mulligan.
He also commented that this was the first time they recorded together as the primary horns of a session. Even though this project proved very successful musically and both musicians had known each other long before it was recorded, they would never again play together in this format (at least on records). web
Tracklist :
1     Let's Fall in Love 6:25
Harold Arlen / Ted Koehler
2     Anything Goes 3:35
Cole Porter
3     Too Close for Comfort 6:54
Jerry Block / Jerry Bock / Larry Holofcener / George David Weiss
4     That Old Feeling 5:55
Lew Brown / Sammy Fain
5     This Can't Be Love 8:44
Lorenz Hart / Richard Rodgers
6     A Ballad 5:41
Gerry Mulligan
7     Scrapple from the Apple 8:05
Charlie Parker
8     I Didn't Know What Time It Was 8:59
Lorenz Hart / Richard Rodgers
Credits :
Stan Getz - tenor sax (baritone sax on 1-3)
Gerry Mulligan - baritone sax (tenor sax on 1-3)
Lou Levy - piano
Ray Brown - bass
Stan Levey - drums

BEN WEBSTER QUINTET - Soulville (1957-2013) RM / SACD / MONO / FLAC (tracks+.cue), lossless

The by turns grizzled and vaporous-toned Webster really hit his stride on the Verve label. During a stretch from roughly 1953-1959, the Ellington alumnus showcased his supreme playing with both combos and string sections, swingers and ballads -- and lurking beneath his blustery and hulking sound were solo lines brimming with sophistication and wit. This 1957 date with the Oscar Peterson Trio is one of the highlights of that golden '50s run. After starting off with two bluesy originals -- the slow burning title track and gutsy "Late Date" -- Webster gets to the heart of things on five wistful ballads: Here, his exquisitely sly "Makin' Whoopee" is only outdone by an incredibly nuanced "Where Are You." Providing sympathetic counterpoint, Peterson forgoes his usual pyrotechnics for some leisurely compact solos; his cohorts -- guitarist Herb Ellis, bassist Ray Brown, and drummer Stan Levey -- are equally assured and splendid. And ending the set with flair, Webster takes over the piano for three somewhat middling yet still impressive stride and boogie-woogie-styled numbers (these are his only piano recordings). Newcomers shouldn't hesitate to start here. by Stephen Cook  
Tracklist :
1     Soulville 8:04
Ben Webster
2     Late Date 7:15
Ben Webster
3     Time on My Hands 4:20
Harold Adamson / Mack Gordon / Vincent Youmans
4     Lover, Come Back to Me 8:29
Oscar Hammerstein II / Sigmund Romberg
5     Where Are You? 4:44
Harold Adamson / Jimmy McHugh
6     Makin' Whoopee 4:32
Walter Donaldson / Gus Kahn
7     Ill Wind 3:38
Harold Arlen / Ted Koehler
8     Who? 2:58
Otto Harbach / Oscar Hammerstein II / Jerome Kern
9     Boogie-Woogie 3:10
Ben Webster
10     Roses of Picardy 2:08
Frederick Edward Weatherly / Hayden Wood
Credits :
Bass – Ray Brown
Drums – Stan Levey
Guitar – Herb Ellis
Piano – Oscar Peterson
Tenor Saxophone – Ben Webster

PEGGY CONNELLY - That Old Black Magic (1956-2014) [24bits-96khz] RM / FLAC (tracks), lossless

Tracklist :
1     That Old Black Magic 3:15
Harold Arlen / Johnny Mercer
2     Ev'ry Time We Say Goodbye 3:19
Cole Porter
3     Trav'lin' Light 2:30
Johnny Mercer
4     Ev'ry Time 2:11
Blane, Martin   
5     It Never Entered My Mind 4:27
Lorenz Hart / Richard Rodgers
6     Why Shouldn't I 3:00
Cole Porter
7     Gentlemen Friend 2:47
Horwitt, Lewine
8     What is There to Say 2:55
E.Y. "Yip" Harburg
9     He Was Too Good to Me 2:43
Lorenz Hart / Richard Rodgers
10     I Got Plenty O' Nuttin' 2:41
George Gershwin / Ira Gershwin / DuBose Heyward
11     Fools Rush in 2:25
Johnny Mercer
12     Alone Together 3:17
Schwartz-Dietz
Credits :
Accompanied By – Russ Garcia "Wigville" Band
Alto Saxophone – Charlie Mariano
Baritone Saxophone – Jimmy Giuffre
Bass – Max Bennett
Drums – Stan Levey
Guitar – Al Hendrickson
Leader – Russ Garcia
Soprano Saxophone – Russ Cheever
Tenor Saxophone – Bill Holman
Trumpet – Pete Candoli, Stu Williamson

WARNE MARSH QUARTET - Music for Prancing (1957-1992) FLAC (tracks), lossless

 With a reputation as one of the originators of cool jazz, it's ironic that over the years tenor saxophonist Warne Marsh gained a following of musicians mainly associated with the avant-garde, spearheaded by multi-reedist Anthony Braxton. These musicians heard what this disc demonstrates: that cool didn't always mean smoothed out. Originally issued in 1957, Music for Prancing is Marsh's second session as a leader with pianist Ronnie Ball, Red Mitchell on bass, and Stan Levey on drums. The quartet performs four standards such as the usually subdued Rodgers & Hart ballad "You Are Too Beautiful," which they make swing, and two originals: Ball's "Ad Libido" and Marsh's "Playa del Ray." A strong CD reissue on the budget label VSOP. by Al Campbell
Tracklist :
1     You Are Too Beautiful 5:30
Lorenz Hart / Richard Rodgers
2     Autum in New York 4:58
Vernon Duke
3     Playa del Ray 4:59
Warne Marsh
4     Ad Libido 4:24
Ronnie Ball
5     Everything Happens to Me 6:41
Tom Adair / Matt Dennis
6     It's All Right With Me 4:15
Cole Porter
Credits :
Bass – Red Mitchell
Drums – Stan Levey
Piano – Ronnie Ball
Tenor Saxophone – Warne Marsh

JACK WILSON — Song for my Daughter (1968-2014) RM | SHM-CD | Blue Note, Masterworks Series | FLAC (tracks+.cue), lossless

On Song for My Daughter, his third record for Blue Note, Jack Wilson "changed with the times," to paraphrase one of the record's songs. Like many of his peers on the label, Wilson pursued a pop direction as the '60s drew to a close, which meant he covered pop hits like "Scarborough Fair/Canticle" and "Stormy," and that he recorded the album with a large band augmented by a string section. It is a testament to Wilson's strengths as a pianist that he doesn't get lost in this heavy-handed setting and manages to contribute some typically graceful moments, including the lovely title song. Nevertheless, the song selection is a little uneven, and there isn't much room for the band to improvise, which makes the album of marginal interest to serious jazz listeners. Audience that aren't quite so concerned such matters will find this an engaging pop-jazz album. Although the production has dated somewhat, it remains a pleasant artifact of its time, and fans of that sound should search for it. Stephen Thomas Erlewine
Tracklist:
1    Imagine 4:24
Written-By – Francis Lai, Sammy Cahn
2    Herman's Helmet 4:33
Written-By – Jack Wilson
3    Changing With The Times 3:02
Written-By – George Shearing
4    Night Creature 3:55
Written-By – Duke Ellington
5    Scarborough Fair / Canticle (From The Motion Picture "The Graduate") 5:09
Written-By – Paul Simon - Art Garfunkel
6    Song For My Daughter 3:02
Written-By – Jack Wilson
7    Eighty-One 6:26
Written-By – Ron Carter
8    Se Todas Fossem Iguais A Voce 2:19
Written-By – Antonio Carlos Jobim, Vinicius DeMoraes
9    Stormy 5:29
Written-By – Buddy Buie, James Barney Cobb Jr.
10    Soft Summer Rain 5:56
Written-By – David N. Baker
Credits:
Bass – Andy Simpkins (tracks: 2, 4, 7), Ike Issacs (tracks: 5, 9), Ray Brown (tracks: 1, 3, 8, 10)
Cello – Jesse Ehrlich (tracks: 6, 9), Kurt Reher (tracks: 6, 9)
Conductor, Arranged By [Strings] – Billy Byers (tracks: 1 to 4, 6 to 9)
Drums – Donald Bailey (tracks: 5, 9, 10), Jimmie Smith (tracks: 2, 4, 7), Varney Barlow (tracks: 1, 3, 8)
Guitar – Howard Roberts (tracks: 2, 4, 7, 10), John Gray (tracks: 1, 3, 8)
Piano – Jack Wilson
Shaker – Stan Levey (tracks: 1, 8)
Timpani [Tympani] – Victor Feldman (tracks: 4)
Vibraphone – Stan Levey (tracks: 3), Victor Feldman (tracks: 2)
Vibraphone [Vibraharp] – Tommy Vig (tracks: 10)
Viola – Dave Burk (tracks: 6, 9), Myer Bellow (tracks: 6, 9)
Violin – Betty Marks (tracks: 6, 9), Israel Baker (tracks: 6, 9)

WARNE MARSH QUARTET - Music for Prancing (1957-1992) FLAC (tracks), lossless

With a reputation as one of the originators of cool jazz, it's ironic that over the years tenor saxophonist Warne Marsh gained a following of musicians mainly associated with the avant-garde, spearheaded by multi-reedist Anthony Braxton. These musicians heard what this disc demonstrates: that cool didn't always mean smoothed out. Originally issued in 1957, Music for Prancing is Marsh's second session as a leader with pianist Ronnie Ball, Red Mitchell on bass, and Stan Levey on drums. The quartet performs four standards such as the usually subdued Rodgers & Hart ballad "You Are Too Beautiful," which they make swing, and two originals: Ball's "Ad Libido" and Marsh's "Playa del Ray." A strong CD reissue on the budget label VSOP.  by Al Campbell
Tracklist
1 You Are Too Beautiful 5:30
Written-By – Hart, Rodgers
2 Autumn In New York 4:58
Written-By – Vernon Duke
3 Playa Del Ray 5:00
Written-By – Warne Marsh
4 Ad Libido 4:25
Written-By – Ronnie Ball
5 Everything Happens To Me 6:42
Written-By – Matt Dennis
6 It's All Right With Me 4:16
Written-By – Cole Porter
Credits
Bass – Red Mitchell
Drums – Stan Levey
Piano – Ronnie Ball
Tenor Saxophone – Warne Marsh

VICTOR FELDMAN - The Arrival of Victor Feldman (1958-1998) RM / FLAC (tracks+.cue), lossless

Victor Feldman had first recorded as a leader when he was 13 and a swing-based drummer. In 1957, he moved from his native London to the United States, and by early 1958 (when he was 23) was in great demand as a pianist and vibraphonist. For his second American release and debut for the Contemporary label, Feldman is completely in the spotlight. Joined by the brilliant bassist Scott La Faro (whose playing is a strong reason to acquire the album) and drummer Stan Levey, Feldman performs a mostly boppish set including "Serpent's Tooth," "There Is No Greater Love," Dizzy Gillespie's "Bebop," a Chopin waltz and three of his diverse originals. An excellent showcase for the still-developing Victor Feldman. by Scott Yanow
Tracklist:
1 Serpent's Tooth 3:24
Written-By – Miles Davis
2 Waltz  5:00
Arranged By – Victor Feldman
Written-By – Frederic Chopin
3 Chasing Shadows 3:15
Written-By – Victor Feldman
4 Flamingo 3:15
Written-By – Edmund Anderson, Theodore Grouya
5 S' Posin 4:25
Written-By – Andy Razaf, Paul Denniker
6 Bebop 2:43
Written-By – Dizzy Gillespie
7 There Is No Greater Love 4:20
Written-By – Isham Jones, Marty Symes
8 Too Blue 4:10
Written-By – Victor Feldman
9 Minor Lament 3:55
Written-By – Victor Feldman
10 Satin Doll 4:53
Written-By – Duke Ellington
Credits:
Bass – Scott LaFaro
Drums, Cover [photograph] – Stan Levey
Vibraphone, Piano – Victor Feldman

HELEN CARR - The Complete Bethlehem Collection (1993) RM / FLAC (tracks+.cue), lossless

With the exception of one song cut with Charles Mingus in 1946 and two with King Curtis later in the 1950s, this single CD (which consists of Helen Carr's two Bethlehem albums) has the complete output of the talented but short-lived singer who died in 1960 at age 36. Carr's interpretations fall between jazz and middle-of-the-road pop, yet her treatments of the standards consistently swing and uplift the material. On one occasion she is joined by a quintet with husband/pianist Donn Trenner, trumpeter Don Fagerquist and altoist Charlie Mariano, while the other session finds Carr interacting quite winningly with a trio consisting of guitarist Howard Roberts, bassist Red Mitchell and the muted (but fiery) trumpet of Cappy Lewis. Recommended. by Scott Yanow
Credits:
Alto Saxophone – Charlie Mariano
Bass – Max Bennett, Red Mitchell
Drums – Stan Levey
Guitar – Howard Roberts
Piano – Donn Trenner
Trumpet – Cappy Lewis, Don Fagerquist
Vocals – Helen Carr

HERB ELLIS – Nothing But the Blues (1957-2010) FLAC (tracks+.cue), lossless

Guitarist Herb Ellis considers this is his favorite personal album and it is easy to see why. With trumpeter Roy Eldridge and tenor saxophonist Stan Getz contributing contrasting but equally rewarding solos and lots of inspired riffing while bassist Ray Brown and drummer Stan Levey join Ellis in the pianoless rhythm section, these performances have plenty of color and drive. Ellis does indeed stick to the blues during the original eight selections yet there is also a surprising amount of variety. This CD reissue has been augmented by four numbers from 1958 originally recorded for a European soundtrack. Getz, Eldridge, and Coleman Hawkins all have their features but Dizzy Gillespie fares best. Scott Yanow
Tracklist :
1 Pap's Blues 7:06
Ray Brown / Raymond Matthews "Ray" Brown
2 Big Red's Boogie Woogie 5:39
George Clarence Brunies / Herb Ellis
3 Tin Roof Blues 3:00
George Brunies / Georg Brunis / Paul Mares / Ben Pollack / Leon Roppolo / Mel Stitzel / Melville Stitzel
4 Soft Winds 6:02
Benny Goodman
5 Royal Garden Blues 4:46
Clarence Williams / Spencer Williams
6 Patti Cake 6:02
Herb Ellis
7 Blues for Janet 7:13
Ray Brown / Herb Ellis / Stuff Smith
8 Blues for Junior 4:51
Ray Brown
9 Les Tricheurs 3:12
Roy Eldridge / Stan Getz
10 Clo's Blues 3:20
Coleman Hawkins
11 Phil's Tune 4:20
Roy Eldridge
12 Mic's Jump 2:16
Dizzy Gillespie
Credits :
Bass – Ray Brown
Drums – Gus Johnson (tracks: 9 to 12), Stan Levey (tracks: 1 to 8)
Guitar – Herb Ellis
Performer – JATP All-Stars (tracks: 9 to 12)
Piano – Oscar Peterson (tracks: 9 to 12)
Tenor Saxophone – Coleman Hawkins (tracks: 10), Stan Getz
Trumpet – Dizzy Gillespie (tracks: 12), Roy Eldridge (tracks: 1 to 8, 11)

HELEN CARR - ... Down in the Depths on the 90th Floor (1955-2013) 24bits-96hz / FLAC (tracks), lossless

Tracklist 
1  Not Mine
Alto Saxophone – Charlie Mariano
Bass – Max Bennett
Drums – Stan Levy
Piano – Donn Trenner
Trumpet – Don Fagerquist
Written By – Mercer-Schertzinger
2  I Don't Want To Cry Anymore
Alto Saxophone – Charlie Mariano
Bass – Max Bennett
Drums – Stan Levy
Piano – Donn Trenner
Trumpet – Don Fagerquist
Written By – Schertzinger
3  Tulip Or Turnip
Alto Saxophone – Charlie Mariano
Bass – Max Bennett
Drums – Stan Levy
Piano – Donn Trenner
Trumpet – Don Fagerquist
Written By – George-Ellington
4  Memory Of The Rain
Alto Saxophone – Charlie Mariano
Bass – Max Bennett
Drums – Stan Levy
Piano – Donn Trenner
Trumpet – Don Fagerquist
Written By – Carr-Trenner
5  Down In The Depths On The 90th Floor
Alto Saxophone – Charlie Mariano
Bass – Max Bennett
Drums – Stan Levy
Piano – Donn Trenner
Trumpet – Don Fagerquist
Written By – Porter
6  You're Driving Me Crazy
Alto Saxophone – Charlie Mariano
Bass – Max Bennett
Drums – Stan Levy
Piano – Donn Trenner
Trumpet – Don Fagerquist
Written-By – Donaldson
7  I'm Glad There Is You
Alto Saxophone – Charlie Mariano
Bass – Max Bennett
Drums – Stan Levy
Piano – Donn Trenner
Trumpet – Don Fagerquist
Written By – Madeira-Dorsey
8  Moments Like This
Alto Saxophone – Charlie Mariano
Bass – Max Bennett
Drums – Max Bennett
Piano – Donn Trenner
Trumpet – Don Fagerquist
Written By – Loesser-Lne
Credits :
Max Bennett  -  Bass
Helen Carr  -  Vocals
Don Fagerquist  -  Trumpet
Stan Levey  -  Drums
Charlie Mariano  -  Sax (Alto)
Donn Trenner  -  Piano