BASIE | BENNETT — Count Basie And His Orchestra Swings, Tony Bennett Sings (1959-1990) FLAC (tracks+.cue), lossless

The Roulette half of the two Bennett/Basie sessions is a band singer's paradise, with the Basie band caught at a robust and swinging peak and Bennett never sounding happier or looser in front of a microphone. The Count himself, alas, appears on piano only on two numbers ("Life Is a Song" and "Jeepers Creepers"), while Bennett's perennial pianist Ralph Sharon takes over on the remaining ten tracks and does all the charts. Yet Sharon writes idiomatically for the Count's style, whether on frantic rave-ups like "With Plenty of Money and You" and "Strike Up the Band" or relaxed swingers like "Chicago." Though not a jazz singer per se, the flavor of jazz is everywhere in Bennett's voice, which in those days soared like a trumpet. The 1990 CD included an atmospheric unissued Neal Hefti ballad "After Supper," but even this bonus track does little to extend the skimpy playing time (about 31 minutes) of what is still a great, desirable snapshot from American showbiz of the late 1950s. Richard S. Ginell
Tracklist :
1    Life Is A Song 2:55
Written By – Fred Ahlert, Joe Young
2    Plenty Of Money 1:35
Written By – Al Dubin, Harry Warren
3    Jeepers Creepers 2:09
Written By – Harry Warren, Johnny Mercer
4    Are You Havin' Any Fun 2:48
Written By – Jack Yellen, Sammy Fain
5    Anything Goes 2:21
Written By – Cole Porter
6    Strike Up The Band 1:34
Written By – George Gershwin, Ira Gershwin
7    Chicago 2:08
Written By – Fred Fisher
8    I've Grown Accustomed To Her Face 3:04
Written By – Alan Jay Lerner, Frederick Lowe
9    Poor Little Rich Girl 3:33
Written By – Noel Coward
10    Growing Pains 3:36
Written By – Arthur Schwartz, Dorothy Fields
11    I Guess I'll Have To Change My Plans 1:45
Written By – Arthur Schwartz, Howard Dietz
12    After Supper 3:36
Written By – Neil Hefti
Credits :
Arranged By – Ralph Sharon
Baritone Saxophone – Charlie Fowlkes
Bass – Eddie Jones
Drums – Sonny Payne
Guitar – Freddie Green
Piano – Count Basie (tracks: 1, 3), Ralph Sharon (tracks: 2, 4 to 12)
Tenor Saxophone – Billy Mitchell
Trombone – Al Grey, Benny Powell, Henry Coker
Trumpet – Joe Newman, Snooky Young, Thad Jones, Wendell Culley
Vocals – Tony Bennett

ELVIN JONES — Elvin! (1962-1995) RM | FLAC (tracks+.cue), lossless

Drummer Elvin Jones' first full-length album as a leader is different than one would expect when it is taken into consideration that he was a member of the fiery John Coltrane Quartet at the time. This sextet session, which also includes his brothers Thad and Hank on cornet and piano in addition to flutist Frank Wess, Frank Foster on tenor, and bassist Art Davis, is straight-ahead with a strong Count Basie feel. Jones is still recognizable on the fairly obscure material (only "You Are Too Beautiful" qualifies as a standard) and shows that he can cook in the fairly conventional setting. All of the musicians are in fine form, and two selections feature the rhythm section as a trio.  Scott Yanow
Tracklist :
1    Lady Luck 6:19
Written-By – Wess, Jones
2    Buzz-At 6:31
Written-By – Thad Jones
3    Shadowland 4:06
Written-By – Sara Cassey
4    Pretty Brown 3:30
Written-By – Ernie Wilkins
5    Ray-El 8:03
Written-By – Thad Jones
6    Four And Six 5:01
Written-By – Oliver Nelson
7    You Are Too Beautiful 4:20
Written-By – Rodgers-Hart
Credits :
Bass – Art Davis
Cornet – Thad Jones (tracks: 1 to 3, 5, 7)
Drums – Elvin Jones
Flute – Frank Wess (tracks: 1 to 3, 5, 7)
Piano – Hank Jones
Tenor Saxophone – Frank Foster (tracks: 1 to 3, 5)

ELVIN JONES — And Then Again (1965-2017) RM | SHM-CD Limited Edition | Serie Jazz Masters Collection 1200 – 10 | FLAC (tracks+.cue), lossless

Tracklist :
1    Azan 3:38
Charles Davis / Arranged By, Conductor – Melba Liston
2    All Deliberate Speed 7:35
Arranged By, Conductor – Melba Liston
3    Elvin Elpus 5:52
Arranged By, Conductor – Melba Liston
4    Soon After 3:35
Arranged By, Conductor – Melba Liston
5    Forever Summer 4:04
Thad Jones / Arranged By, Conductor – Melba Liston
6    Len Sirrah 3:42
Arranged By, Conductor – Melba Liston
7    And Then Again 6:21
Elvin Jones / Arranged By, Conductor – Melba Liston
Credits :
Baritone Saxophone – Charles Davis
Bass – Art Davis, Paul Chambers
Cornet – Thad Jones
Drums – Elvin Jones
Piano – Don Friedman, Hank Jones
Flute, Tenor Saxophone – Frank Wess
Trombone – Hunt Peters
Arranged By, Conductor – Melba Liston

ELVIN JONES — Midnight Walk (1966-2012) RM | Limited Edition | Serie Jazz Best Collection 1000 – 3 | FLAC (tracks+.cue), lossless

Tracklist :
1    Midnight Walk 3:30
Composed By – Arif Mardin
2    Lycra Too ? 4:50
Composed By – Stephen James
3    Tintiyana 5:45
Composed By – Dollar Brand
4    H.M. On F.M. 5:00
Composed By – Hank Mobley
5    Cross Purpose 6:00
Composed By – Thad Jones
6    All Of Us 6:25
Composed By – Thad Jones
7    The Juggler 4:30
Composed By – Elvin Jones
Credits :
Bass – Donald Moore
Drums – Elvin Jones
Electric Piano – Steve James (tracks: 2 to 4, 7)
Percussion – George Abend (tracks: 1, 5, 6)
Piano – Dollar Brand
Tenor Saxophone – Hank Mobley
Trumpet – Thad Jones

ELVIN JONES — Mr. Jones (1973-2013) RM | Serie BNLA 999 Encore | FLAC (tracks+.cue), lossless

Tracklist :
1    One's Native Place 6:17
Written-By – Keiko Jones
2    Gee Gee 5:45
Written-By – Gene Perla
3    Mr. Jones 7:35
Written-By – Keiko Jones
4    What's Up-That's It 5:40
Written-By – Gene Perla
5    Soultrane 6:12
Written-By – Tadd Dameron
6    New Breed 6:55
Written-By – David Liebman
Credits :
Acoustic Bass – Gene Perla (tracks: 1, 4 to 6)
Baritone Saxophone – Pepper Adams (tracks: 3)
Bass – Wilbur Little (tracks: 3)
Congas – Carlos "Patato" Valdes (tracks: 1, 2, 4 to 6)
Drums – Elvin Jones
Electric Bass – Gene Perla (tracks: 2)
Engineer – Rudy Van Gelder
Flugelhorn – Thad Jones (tracks: 1, 2)
Flute – David Liebman (tracks: 1)
Percussion – Candido Camero* (tracks: 3), Frank Ippolito (tracks: 1, 4, 5)
Piano – Jan Hammer (tracks: 1, 2, 4)
Soprano Saxophone – David Liebman (tracks: 4), Steve Grossman (tracks: 1)
Tenor Saxophone – David Liebman (tracks: 2, 6), George Coleman (tracks: 3), Joe Farrell (tracks: 3), Steve Grossman (tracks: 2, 4 to 6)
Timpani – Albert Duffy (tracks: 1, 5)

THE CURTIS FULLER SEXTETTE — Imagination (1959-1991) RM | MONOAURAL | FLAC (tracks+.cue), lossless

Prior to the official formation of the Jazztet with trumpeter Art Farmer, trombonist Curtis Fuller and tenorman Benny Golson made several albums together, usually with other trumpeters. This somewhat rare date has trumpeter Thad Jones, bassist Jimmy Garrison, drummer Dave Bailey, and, most significantly, pianist McCoy Tyner in his recording debut completing the sextet. Fuller arranged all five of the songs, four of which were his originals. Although the material (other than the lone standard "Imagination") is unfamiliar, the chord changes inspire the players to create some fine solos. Easily recommended to hard bop fans lucky enough to find this album. Scott Yanow   Tracklist & Credits :

OLIVER NELSON — More Blues and the Abstract Truth (1964-2015) RM | Serie Impulse! Classics 50 – 25 | APE (tracks+.cue), lossless

Unlike the original classic Blues and the Abstract Truth set from three years earlier, Oliver Nelson does not play on this album. He did contribute three of the eight originals and all of the arrangements but his decision not to play is disappointing. However there are some strong moments from such all-stars as trumpeter Thad Jones, altoist Phil Woods, baritonist Pepper Adams, pianist Roger Kellaway and guest tenor Ben Webster (who is on two songs). The emphasis is on blues-based pieces and there are some strong moments even if the date falls short of its predecessor.  Scott Yanow   Tracklist & Credits :

GIL EVANS — The Individualism of Gil Evans (1964-2003) RM | Serie Jazz The Best | FLAC (tracks+.cue), lossless

Although Gil Evans had gained a lot of acclaim for his three collaborations with Miles Davis in the 1950s and his own albums, this CD contains (with the exception of two tracks purposely left off), Evans's only dates as a leader during 1961-68. The personnel varies on the six sessions that comprise the CD (which adds five numbers including two previously unreleased to the original Lp) with such major soloists featured as tenorman Wayne Shorter, trombonist Jimmy Cleveland, trumpeter Johnny Coles and guitarist Kenny Burrell. Highlights include "Time of the Barracudas," "The Barbara Song," "Las Vegas Tango" and "Spoonful." Highly recommended to Gil Evans fans; it is a pity he did not record more during this era. Scott Yanow
Tracklist :
1 Time Of The Barracudas 7:26
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Tuba – Bill Barber
Written-By – Gil Evans, Miles Davis
2 The Barbara Song 9:59
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Tuba – Bill Barber
Written-By – Bertolt Brecht, Kurt Weill
3 Las Vegas Tango 6:35
Bass – Paul Chambers, Ron Carter
Drums – Elvin Jones
Engineer – Bob Simpson
French Horn – Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Bob Tricarico, Eric Dolphy, Garvin Bushell, Steve Lacy
Trombone – Jimmy Cleveland, Tony Studd
Trumpet – Bernie Glow, Johnny Coles
Tuba – Bill Barber
Written-By – Gil Evans
Flute Song / Hotel Me (12:29)
4a Flute Song
Bass – Ben Tucker, Paul Chambers, Richard Davis 
Drums – Elvin Jones
Engineer – Phil Ramone
French Horn – Don Corado, Gil Cohen, Julius Watkins
Guitar – Barry Galbraith
Harp – Margret Ross
Reeds, Woodwind – Al Block, Bob Tricarico, Eric Dolphy, Steve Lacy
Trombone – Jimmy Cleveland
Written-By – Gil Evans
4b Hotel Me
Bass – Paul Chambers, Ron Carter
Drums – Elvin Jones
Engineer – Bob Simpson, Phil Ramone
French Horn – Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Bob Tricarico, Eric Dolphy, Garvin Bushell, Steve Lacy
Trombone – Jimmy Cleveland, Tony Studd
Trumpet – Bernie Glow, Johnny Coles
Tuba – Bill Barber
Written-By – Gil Evans, Miles Davis
5 El Toreador 3:26
Bass – Milt Hinton, Paul Chambers, Richard Davis 
Drums – Osie Johnson
Engineer – Phil Ramone
French Horn – Jim Buffington, Bob Northern
Reeds, Woodwind – Bob Tricarico, Eric Dolphy, Jerome Richardson, Steve Lacy
Trombone – Jimmy Cleveland, Tony Studd
Trumpet – Ernie Royal, Johnny Coles, Louis Mucci
Written-By – Gil Evans
– BONUS TRACKS –
6 Proclamation 3:55
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Trumpet – Johnny Coles
Tuba – Bill Barber
Written-By – Gil Evans
7 Nothing Like You 2:36
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Trumpet – Johnny Coles
Tuba – Bill Barber
Written-By – Bob Dorough
8 Concorde 7:39
Bass – Paul Chambers  
Drums – Elvin Jones
Engineer – Bob Simpson
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Andy Fitzgerald, Bob Tricarico, George Marge, Phil Woods
Trombone – Jimmy Cleveland, Jimmy Knepper
Trumpet – Bernie Glow, Louis Mucci, Thad Jones
Tuba – Bill Barber
Violin [Tenor] – Harry Lookofsky
Written-By – John Lewis 
9 Spoonful 13:46
Bass – Paul Chambers  
Drums – Elvin Jones
Engineer – Bob Simpson
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Andy Fitzgerald, Bob Tricarico, George Marge, Phil Woods
Trombone – Jimmy Cleveland, Jimmy Knepper
Trumpet – Bernie Glow, Louis Mucci, Thad Jones
Tuba – Bill Barber
Violin [Tenor] – Harry Lookofsky
Written-By – Willie Dixon
Credits : Arranged By, Conductor, Piano – Gil Evans

BUDDY RICH – 1950-1955 | The Chronogical Classics – 1419 (2006) FLAC (tracks+.cue), lossless

 As the Classics Chronological Series works its way into the early and mid-'50s, the magnitude of producer Norman Granz's achievement becomes increasingly apparent. Some of the greatest jazz musicians of all time -- Oscar Peterson, Charlie Parker, Dizzy Gillespie, Billie Holiday, Johnny Hodges, Lester Young -- were signed by Granz at a time when many Afro-American jazz musicians were struggling to get steady work, and jazz in general was beginning to take a back seat to pop vocals, R&B and rock & roll. Drummer and bandleader Buddy Rich had only just begun to lead a big band when the post-WWII restructuring of the entertainment industry edged him out (see Volume one in Rich's complete chronological recordings, 1946-1948 [Classics 1099]). He was able to continue making records by working with smaller groups, oftentimes at recording sessions supervised by Norman Granz. As the mastermind behind Jazz at the Philharmonic, Granz was adept at documenting live jam sessions. Fortunately the recording equipment was plugged in and running when Buddy Rich, Ray Brown and Hank Jones cooked up a frantic seven-minute version of "Air Mail Special" in front of a rowdy audience at Carnegie Hall on September 16, 1950. This explosive jam, which consists mainly of an extended crowd-pleasing drum solo, serves as a fiery prologue to the first of the Buddy Rich/Norman Granz studio sessions, all of which resulted in collectively swung jazz of the highest order. Granz had a knack for bringing together uncommonly gifted musicians, and Rich was very lucky to find himself recording with pianist Oscar Peterson and guitarist Herb Ellis; with trumpeters Harry "Sweets" Edison, Thad Jones and Joe Newman; and with saxophonists Benny Carter, Georgie Auld, Willie Smith, Ben Webster and Frank Wess. Buddy Rich is also heard exercising his tonsils. Sometimes compared with Frank Sinatra (his rival for the attentions of vocalist Edythe Wright during the Dorsey days), Rich was capable of crooning with convincing suavity, as could Woody Herman. Aside from his quasi-hip vocal on the novelty titled "Bongo, Bass and Guitar," this compilation contains four tracks with Rich standing away from the drums (Louie Bellson was brought in to man the kit) and concentrating upon the art of emitting songs through the mouth, accompanied by a small jazz combo sweetly augmented with strings under the direction of Howard Gibeling. Much more in line with Buddy Rich's regular modus operandi, this segment of his chronology concludes with two extended instrumental jams, each exceeding ten minutes in duration, recorded in New York on May 16, 1955. Arrogant, selfish, cruel and egotistical to the point of megalomania, Buddy Rich was an able percussionist capable of generating a lot of excitement with his drums and cymbals; he could drive an ensemble with plenty of steam, but most of his showy extended solos, which rely a lot on convulsive bouts of press rolling and restless parade ground paradiddling, lack the substance, depth and organic coherence of expanded improvisations created by Art Blakey, Max Roach and Elvin Jones. To call Buddy Rich the world's greatest drummer is just blarney. The person who made that claim most often was Buddy Rich himself. arwulf arwulf 

SONNY STITT & ZOOT SIMS — Complete Recordings (1965-2008) FLAC (tracks+.cue), lossless

A surprisingly great pairing - Sonny Stitt and Zoot Sims - heard here on 2 albums recorded in early 1965! "Inter-Action" begins the CD - a nice little set by Stitt and Sims - recorded in Chicago. "Broadway Soul" is an obscure album of Broadway tunes played jazz-wise from Sonny Stitt. Features a great set of players that include Zoot Sims, Jerome Richardson, Budd Johnson, Phil Woods, Walter Bishop Jr, Thad Jones and Osie Johnson.
INTER-ACTION (1965)
1. My Blue Heaven 8'03
Walter Donaldson
2. The Saber 3'05
Sonny Stitt
3. Katea 6'53
Sonny Stitt
4. Fools Rush In 5'33
Rube Bloom
5. Look Down That Lonesome Road 7'19
Traditional
6. I Want To Go Home 4'29
Sonny Stitt
Credits :
Sonny Stitt (Alto Sax & Tenor Sax)
Zoot Sims (Tenor Sax)
John Young (Piano)
Sam Kidd (Bass),
Philip Thomas (Drums)
BROADWAY SOUL (1965)
7. Hello Dolly 2'59
Jerry Herman
8. Better All The Time 3'35
Fain-A & M. Bergman
9. You'd Better Love Me 3'23
Gray / Martin
10. Night Song 5'09
Adams / Strouse
11. A Room Without Windows 3'27
Ervin Drake
12. Gimme Some 5'11
Adams / Strouse
13. Loads Of Love 2'15
Richard Rodgers
14. If I Gave You 5'05
Gray / Martin
Credits :
Sonny Stitt (Alto Sax & Tenor Sax)
Zoot Sims (Tenor Sax)
Thad Jones (Trumpet),
Jimmy Cleveland (Trombone),
Phil Woods (Alto Sax),
Budd Johnson, Jerome Richardson (Tenor Sax),
Roger Kellaway, Walter Bishop, Jr (Piano),
Milt Hinton (Bass),
Osie Johnson (Drums).

BEN WEBSTER AND JOE ZAWINUL — Soulmates (1963-1991) RM | FLAC (image+.cue), lossless

What initially seems like an unlikely pairing for this session delivers on its unique pedigree with performances that do full justice to tenor legend Ben Webster and to the then up and coming pianist Joe Zawinul. Recorded in 1963 while the pianist was a member of the Cannonball Adderley Sextet, the session came about as a result of Webster's and Zawinul's sharing a New York apartment for several months. It's actually billed as Zawinul's first session as leader and Webster's last in the U.S. before his move to Europe. The tunes generally keep to mid-tempos, a pace that affords Webster the opportunity to wield the gentler side of his legendary sound. His rich, nuanced tone and magnificent phrasing are superbly in evidence. Listeners only familiar with Zawinul's soul-jazz side with Adderley and later his pioneering synthesizer work with Weather Report may be surprised at his eloquent playing here in a classic style right out of Tommy Flanagan or Red Garland. The presence of Thad Jones -- a legend in his own right -- on cornet for four tacks is a bonus. With a rhythm section rounded out by the slightly lesser legends of drummer Philly Joe Jones and bassist Sam Jones, alternating with Richard Davis, there isn't one false step on this set. It may tend to the mellower side of things, but that simply means there's more opportunity to luxuriate in Webster's peerless sound. Jim Todd  
Tracklist :
1     Too Late Now 6:26
Burton Lane / Alan Jay Lerner
2     Soulmates 6:32
Ben Webster
3     Come Sunday 5:10
Duke Ellington
4     The Governor 3:13
Ben Webster
5     Frog Legs 5:29
Joe Zawinul
6     Trav'lin' Light 6:08
Johnny Mercer / Jimmy Mundy / Trummy Young
7     Like Someone in Love 3:45
Johnny Burke / James Van Heusen
8     Evol Deklaw Ni 5:20
Thad Jones
Credits :
Bass – Richard Davis (faixas: 1, 3, 6, 7), Sam Jones (faixas: 2, 4, 5, 8)
Cornet – Thad Jones (faixas: 2, 4, 5, 8)
Drums – Philly Joe Jones
Piano – Joe Zawinul
Tenor Saxophone – Ben Webster

THAD JONES - Thad Jones (1956-1991) RM / APE (image+.cue), lossless

Trumpeter Thad Jones made his debut as a leader for Charles Mingus' Debut label during 1954-55, music that has been reissued as a single CD in the OJC series and as part of a huge 12-CD Mingus Debut box set. The 12 performances (which include two alternate takes) really put the focus on Jones' accessible yet unpredictable style. Half of the music showcases Jones in a quartet with pianist John Dennis, bassist Mingus and drummer Max Roach. while the other six numbers are more in a Count Basie groove with Frank Wess on tenor and flute, pianist Hank Jones, Mingus and drummer Kenny Clarke. The originals tend to be tricky, and even such standards as "I'll Remember April," "You Don't Know What Love Is" and "Get Out of Town" have their surprising moments. by Scott Yanow
Tracklist:
1 Get Out of Town 8:43
Cole Porter
2 One More 7:28
Thad Jones
3 Bitty Ditty 4:53
Thad Jones
4 More of the Same 5:12
Thad Jones
5 Elusize 5:12
Thad Jones
6 Sombre Intrusion 2:46
Thad Jones
7 I Can't Get Started 6:06
Vernon Duke / Ira Gershwin
8 I'll Remember April 3:48
Gene DePaul / Patricia Johnston / Don Raye
9 You Don't Know What Love Is 3:29
Gene DePaul / Don Raye
10 Chazzanova 3:41
Charles Mingus
11 Get Out of Town 8:43
Cole Porter
12 One More 7:28
Thad Jones
Credits:
Bass – Charlie Mingus
Drums – Kenny Clarke (tracks: 3, 5 to 6, 8 to 10), Max Roach (tracks: 1, 2, 4, 7, 11, 12)
Piano – Hank Jones (tracks: 3, 5 to 6, 8 to 10), John Dennis (tracks: 1, 2, 4, 7, 11, 12)
Tenor Saxophone, Flute – Frank Wess (tracks: 3, 5 to 6, 8 to 10)
Trumpet – Thad Jones

CHARLES MINGUS - The Jazz Experiments Of Charlie Mingus (1954-2014) FLAC (tracks+.cue), lossless

Originally released on two 10" records called Jazzical Moods, The Jazz Experiments of Charles Mingus makes its first appearance in CD. These 1954 Period Records sessions include the work of Thad Jones on trumpet and John LaPorta on clarinet and alto sax, combine old and new forms of classical and jazz for a cool jazz sound. Tracks like "Minor Intrusion" and "Thrice Upon a Time" demonstrate the synergy between Mingus and his players, and display his compositional skills. by Heather Phares

[Japanese Bethlehem Album Collection 1000]

Tracklist:

1 - What Is This Thing Called Love
2 - Minor Intrusion
3 - Stormy Weather
4 - Four Hands
5 - Thrice Upon A Theme
6 - The Spur Of The Moment
Personnel:
Charlie Mingus - bass, piano, leader
John LaPorta - clarinet, alto saxophone
Teo Macero - tenor saxophone, baritone saxophone
Thad Jones - trumpet
Jackson Wiley - cello
Clem De Rosa - drums

COUNT BASIE AND HIS ORCHESTRA – 1953-1954 | The Classics Chronological Series – 1446 (2007) FLAC (image+.cue), lossless

The 15th installment in the complete commercially issued studio recordings of Count Basie was released as a new segment of the Classics Chronological Series in 2007. The time line represented here begins on December 12, 1953, and ends either in June or August 1954, depending upon which discographical session index you opt for. The bright, snappy Basie big-band sound of the mid-'50s was largely the result of compositions and arrangements by Frank Foster, Frank Wess, Freddie Green, Ernie Wilkins, Neal Hefti, and Manny Albam. Four of these men also operated as crucial performers in the band, along with Joe Newman, Thad Jones, Benny Powell, and Marshall Royal. In addition to Green's "Right On" (a title that anticipates that phrase's rhetorical ubiquity among young Afro-Americans by at least ten years), noteworthy numbers include Hefti's "Two for the Blues," Foster's "Blues Backstage" and "Down for the Count," and Wilkins' "Sixteen Men Swinging," "Stereophonic," "The Blues Done Come Back," and "She's Just My Size." The Basie orchestra's rendition of Juan Tizol's "Perdido" comes as a pleasant surprise and registers as a tip of the hat to that other decisively influential bandleader who with Basie essentially defined the idiom during the 1950s, Duke Ellington. arwulf arwulf  

THAD JONES / FRANK WESS / TEDDY CHARLES / MAL WALDRON / DOUG WATKINS, ELVIN JONES - Olio [1957] PRESTIGE / OJC / FLAC

Before I begin, let me assure vou that we have not spelled oho incorrectly, that it has nothing to do with oleomargarine or Sonny Rollins's "Oleo" recorded by Miles Davis and Sonny. An olio is a mixture. As the dictionary explains it: (1) a dish of many ingredients; (1) any mixture of heterogeneous elements; (3) a medley or potpourri {musical, literary, or the like); a miscellany.
Here the mixture is more in the musicians than in the music. In the persons of Teddy Charles, Thad Jones, Frank Wess, and Mal Waldron, four different conceptions are embodied; heterogeneous elements which are brought together under the roof of the music of Charles, Waldron, and George Gershwin.
Charles derives from the Parke r-Gillespie-Monk-Powell idiom with the influence of modern classical music showing itself in his compositional techniques and subsequently in his playing. Teddy is not only a soloist, composer, and arranger. He is also an organizer, a coordinator of ideas and personalities who possesses a flame of ambition and energy that can be touched to his cohorts' wicks at many given moments.
This is Teddy's first session for Prestige since his New Directions quartet of January 6, 1955 which, incidentally, can be heard on Evolution (LP 7078). In his return, he has taken on another duty, that of recording director for certain sessions. Needless to say, these include any in which he appears as an instrumentalist,
Thaddeus Joseph Jones, like his older brother Hank and younger brother Elvin, was born in Pontiac, Michigan. Until the Fifties, he didn't do much playing outside Michigan but from the time he joined Count Basie in 1954 and started recording in small combos on the various independent jazz labels, Thad has had his name associated with highly complimentary adjectives by all of the important observers on today's jazz scene. His horn is a biting, brilliant, brassy instrument linked to Gillespie but by the most personal of bridges.
Many people have noted that Thad is wasted in the Basie band and if this were his only outlet of expression, he would be known solely as "the guy who blows 'Pop Goes the Weasel' on 'April in Paris.'" Thad's conception is not especially peculiar to the Basie band but this does not prevent him from playing well within that context when he is given the chance.
One whose ideas seem to fit better in the same setting is tenorman-flutist Frank Wess who reflects the band's swing with more modern overtones outlook. That he has absorbed the lessons of Coleman Hawkins, Ben Webster, and Lester Young is clear but Charlie Parker and Sonnv Stitt have not failed to leave
an impression. Frank's flute is more influenced by post-1945 jazz than is his tenor. As a perceptive musician he reacts to the material in this LP by playing within its spirit on both instruments and. as a result, sounding more "modern" than ever before.
Mal Waldron, ever increasing his facility of expression, is a pianist out of Bud Powell, Thelonious Monk, and Horace Silver who is always thinking, both harmonically and rhythmically, and producing provocative new patterns as a result. The rest of the rhythm section is handled in more than competent style by the aforementioned F.hin Jones, an inventive drummer who knows how to swing without monotony and inject accents with integrity; and bassist Doug Watkins, strong and steady if unspectacular.
Trumpet, flute, and vibes in the front line gives this outing a live and cracking sound that is metallic but never cold. Even on the numbers where Frank plays tenor, the unique tonal mood is continued.
"Potpourri," a sprightly, happy Mal Waldron original, opens the proceedings. Thad and Frank (flute) play one theme as Teddy carries another hue against them. Solos by Frank. Thad, Teddy, and Mal.
"Touche," Mal's other contribution to the date, makes use of interludes at the end of each chorus. Solos bv Frank (flute), Thad, Teddy, and Mal; four-bar chases between Frank and Thad for sixteen bars before the ensemble closes it out. "Blues Without Woe," a simple but powerful blues line, is stated once and then Thad rips off an exciting solo followed by Teddy, Frank (lenor), and Mal. Then Elvin Jones comes in for exchanges with Teddy and the horns.
The exoticism of the West African port is captured in Teddy Charles's "Dakar." Solos are by Frank (flute), Teddy, Thad, and Mal. Mystery and intrigue abound.
On "Embraceable You" Thad and Frank (tenor) demonstrate how to give proper feeling to a ballad, keeping it a jazz performance and avoiding the saccharine.
The acrid, foggy "Hello Frisco," Teddy's follow-up title to his "So Long Broadway," is delineated in solo by Mal, Thad, Teddy, and Frank (tenor).
An incident concerning this album perhaps would be of interest to Robert Ripley's Believe It or Not. Before the title "Olio" was ever suggested, cover designer Reid Miles had in mind a certain abstract painting for use on the front cover. Later, after the title had been arrived at, Miles brought the design in. To everyone's amazement, a word took form as the abstraction was viewed. It was olio.   
   - IRA GITLER These notes appeared on the original album liner.

It was not unusual in the 1950s for record companies to assemble a cast of musicians in a studio, beat them into the shape of a jam session, roll the tape, and hope. Sometimes superior music resulted, sometimes boredom. Any reliance on chance was doomed on the day Olio was made because the musicians included men of intelligence, imagination, and organizational ability, as well as superior musicianship. Teddy Charles was in charge, and he was known to encourage order in ways that made sense to advanced players such as Thad Jones, Elvin Jones, Frank Wess, Mal Waldron, and Doug Watkins. With three compositions of his own, a couple by Waldron, and one by that reliable provider of great melodies and harmonies, George Gershwin, Charles banished the specter of the slapdash. What might have been three soloists and a rhythm section coalesced into a sextet that produced music of permanent value, interest, and charm.  wrote on booklet

Trumpeter Thad Jones receives first billing on this all-star outing, but vibraphonist Teddy Charles, who contributed three of the six selections (two of the other songs are by pianist Mal Waldron, while the lone standard is "Embraceable You") was really the musical director. Jones, Charles, and Waldron are joined by Frank Wess (doubling on tenor and flute), bassist Doug Watkins, and drummer Elvin Jones for a set of modern hard bop. Although this was not a regular group and there is not an obvious leader, the music is on a higher level than that of a routine jam session. The challenging material and the high quality playing of the young greats makes this fairly obscure modern mainstream set (reissued on CD in 1998) well worth exploring.  by Scott Yanow 
Tracklist
1.  POTPOURRI   6:04
Mai Waldron 
2.  BLUES WITHOUT WOE 7:58
Teddy Charles 
3. TOUCHE  6:25
Waldron
4.  DAKAR 6:58
Charles 
5. EMBRACEABLE YOU 4:17
Gershwin-Gershwin
6.  HELLO FRISCO 6:23
Charles
Total Time: 38:05
Personel
THAD JONES - trumpet
FRANK WESS - tenor saxophone, flute (1, 3, 4)
TEDDY CHARLES - vibes
MAL WALDRON - piano
DOUG WATKINS - bass
ELVIN JONES - drums
Releases
Prestige PRLP 7084.

THAD JONES / FRANK WESS / TEDDY CHARLES 

 MAL WALDRON / DOUG WATKINS, ELVIN JONES - Olio [1957] 

RE [1999, Fantasy] PRESTIGE / OJC / FLAC / scans

O Púbis da Rosa

THAD JONES | KENNY BURRELL | FRANK WESS | MAL WALDRON | PAUL CHAMBERS | ARTHUR TAYLOR — After Hours (1957-1991) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

A leaderless sextet jams on four of pianist Mal Waldron's originals. The performances range from eight to 12 minutes apiece. The all-star lineup -- trumpeter Thad Jones, Frank Wess on tenor and flute, guitarist Kenny Burrell, Waldron, bassist Paul Chambers, and drummer Art Taylor -- is in fine form on the straight-ahead material. Bop fans will want to pick this up. Scott Yanow
Tracklist :
1 Steamin' 9:20
Mal Waldron
2 Blue Jelly 11:20
Mal Waldron
3 Count One 7:52
Mal Waldron
4 Empty Street 12:35
Mal Waldron
Credits
Bass – Paul Chambers
Drums – Arthur Taylor
Engineer [Recording Engineer] – Rudy Van Gelder
Flute, Tenor Saxophone – Frank Wess
Guitar – Kenny Burrell
Piano, Composed By – Mal Waldron
Trumpet – Thad Jones