LALO SCHIFRIN — Towering Toccata (1977-2017) RM | HQC | Serie CTI+RVG Ultimate Remastering Series, CTI PS | FLAC (tracks+.cue), lossless

After scoring an unexpected high-profile success with the disco/jazz fusion of Black Widow, Lalo Schifrin quickly recorded a follow-up album in a similar vein. 1977's Towering Toccata replicates the elegant yet dance-friendly style of Black Widow to the tee, right down to the unconventional cover choices. The best of these is the title track, an insistently rhythmic piece that transforms Bach's gothic-organ extravaganza "Toccata and Prelude in F Minor" into a mid-tempo disco workout that backs up Schifrin's jazzy explorations on the electric piano and synthesizer with scratching rhythm guitar and a pronounced dance beat. Other notable moments on this album include "Most Wanted Theme," which is transformed from action-show theme music into a symphonic funk workout, and "Rollercoaster," a funky vamp from the Schifrin soundtrack of the same name that is ideally suited for Towering Toccata's disco/jazz mindset. There is even another monster-movie theme cover in the vein of the previous album's "Jaws"; this time, it's a disco-friendly treatment of John Barry's "Theme From King Kong" that layers atmospheric horn and flute lines over a bottom-heavy rhythm section fueled by wah-wah guitar and synth bass. However, other tracks on Towering Toccata fail to be as distinctive or adventurous as these highlights. For instance, the original tunes ("Macumba," "Midnight Woman") fit the album's mood but are lacking strong hooks and memorable twists in their arrangements that distinguished the originals on Black Widow. This problem of inconsistent material, combined with the fact that the album is basically a stylistic carbon copy of its predecessor, means that it isn't the ideal follow-up to Black Widow that Schifrin fans might have hoped for. That said, the album has enough strong tunes and enough of a consistent sound to please hardcore Lalo Schifrin fans and anyone who loved Black Widow. Donald A. Guarisco  
Tracklist :
1 Towering Toccata 5:02
Soloist, Flute – Jeremy Steig
2 Frances' Theme 4:19
Flute – Jeremy Steig
3 Macumba 6:31
Drums [Dahka-de-bello] – Steve Gadd
Flute – Jeremy Steig
Soloist, Guitar – Eric Gale
4 Eagles In Love 2:49
Lalo Schifrin
5 Theme From King Kong 4:12
Soloist, Guitar – Eric Gale, John Tropea
6 Most Wanted Theme 2:42
Bass – Will Lee
Soloist, Violin [Vitar] – John Blair
7 Midnight Woman 6:09
Bass – Will Lee
Soloist, Flute – Joe Farrell
Soloist, Piano – Lalo Schifrin
8 Roller Coaster 4:48
Drums – Andrew Smith
Credits:
Alto Saxophone – Gerry Niewood
Baritone Saxophone – Ronnie Cuber
Bass – Anthony Jackson
Cello – Alan Shulman, Charles McCracken
Conductor, Arranged By  – Lalo Schifrin
Drums – Steve Gadd
Flute – Dave Tofani, Lou Marini
Keyboards – Clark Spangler
Percussion – Don Armando Bonilla, Ralph MacDonald, Sue Evans
Producer – Creed Taylor
Saxophone – Dave Tofani
Tenor Saxophone – Lou Marini
Trombone – Urbie Green
Trumpet – Burt Collins, John Frosk, John Gatchell
Viola – Manny Vardi, Lamar Alsop
Violin – Charles Libove, David Nadien, Emanuel Green, Marvin Morgenstern, Matthew Raimondi, Max Ellen, Max Pollikoff, Paul Gershman

BILL EVANS – Symbiosis (1974-1994) RM | FLAC (tracks+.cue), lossless

Legendary jazz pianist Bill Evans is most often thought of as a "trio" player, as most of his albums have been piano/bass/drums, with the occasional solo or duo album. But he did record a select few albums with orchestras, and that's what makes SYMBIOSIS a special and unique entry in Evans' hugh catalog. Recorded in 1974, it was released in 1994 on CD for the first time. Further, this albums contains no standards or Evans originals--the title piece is a multi-part suite composed, arranged and conducted by Claus Ogerman (who also collaborated with Stan Getz and Frank Sinatra, among many others).

The album runs the stylistic gamut: there are moments of Philip Glass-like minimalism (!), samba-flavored big-band passages, echoes of the early 20th century Russian composers, Third Stream jazz, lush yet slightly ominous string arrangements and '70s film music. Throughout, Evans, alternating between acoustic and electric pianos, shimmers and entrances with his inventively lyrical solos. Not your "typical" Bill Evans album--but that's what makes SYMBIOSIS such a fine, gently challenging listen. AllMusic
Tracklist  :
1st Movement (Moderato, Various Tempi)
1. (a) (7:55)
2. (b) (5:18)
3. (c) (11:55)
2nd Movement (Largo, Andante, Maestoso, Largo)
4. (a) (9:14)
5. (b) (6:47)

The Bill Evans Trio
Bill Evans - Steinway grand piano, Fender Rhodes electric piano
Eddie Gomez - Bass
Marty Morell - Drums

Orchestra conducted by Claus Ogerman
Phil Woods, Jerry Dodgion, Walt Levinsky, Harvey Estrin - Alto Saxophone
Bill Slapin, Don Hammond, Hubert Laws - Flute
George Marge, Phil Bodner - Oboe
Danny Bank, Ron Janelly - Clarinet, Bass Clarinet
Wally Kane - Bassoon
Don MacCourt - Contra Bassoon
Brooks Tillotson, James Buffington, Earl Chapin, Ray Alonge, Al Richmond, Pete Gordon - French Horn
Marvin Stamm, John Frosk, Bernie Glow, Marky Markowitz, Victor Paz, Mel Davis - Trumpet
Urbie Green - Tenor Trombone
Paul Faulise, Tommy Mitchell - Bass Trombone
Don Butterfield - Tuba
George Devens, Dave Carey, Doug Allen - Percussion
Ralph McDonald - Congas
David Nadien - Concertmaster

OLIVER NELSON — The Argo, Verve And Impulse Big Band Studio Sessions (2006) RM | 6xCD BOX-SET | FLAC (tracks+.cue), lossless

Oliver Nelson was one of the more distinctive arrangers to be active in jazz, the studios, and popular music of the '60s. While most Nelson reissues focus on his always-excellent saxophone playing (whether on tenor or alto), this six-CD set, Argo, Verve and Impulse Big Band Studio Sessions, focuses on Oliver Nelson the arranger-composer-bandleader. He does take solos on some of these dates on tenor, alto,and soprano (his only recorded solos on that instrument), but it his writing that takes center stage. Included are his albums Full Nelson, Fantabulous, Jazzhattan Suite (which finds the ensemble called the Jazz Interactions Orchestra), Sound Pieces, and his unusual and reverent tribute set Musical Tribute to JFK: The Kennedy Dream. In addition, Nelson's writing for Leonard Feather's Encyclopedia of Jazz All Stars is here, plus his contributions (usually just part of each record) for sets by organist Shirley Scott (Roll 'Em), a group co-led by Ray Brown and Milt Jackson, and clarinetist Pee Wee Russell (The Spirit of '67). Topping off this well-conceived box are all of the music for organist Jimmy Smith's Hobo Flats, Peter and the Wolf (a classic jazz version), and Smith's first collaboration with guitarist Wes Montgomery, plus a few numbers from Smith's Bashin', Who's Afraid of Virginia Woolf, and Hootchie Coochie Man. In addition to the playing of Jimmy Smith (who was really at his peak during this period), Wes Montgomery, Shirley Scott, and Pee Wee Russell, the most memorable soloists are altoist Phil Woods, cornetist Nat Adderley (on the Feather date), and flugelhornist Clark Terry plus Nelson himself. There is plenty of classic material here (such as the Smith/Montgomery blues jamming on "Down by the Riverside") which, even when the big-band writing is secondary, serves as a superior tribute to the underrated Oliver Nelson. Scott Yanow   Tracklist & Credits :

OLIVER NELSON — Verve Jazz Masters 48 (1995) FLAC (tracks+.cue), lossless

 Considering that he was the equal of such heralded arrangers as Quincy Jones, Gil Evans, and Tadd Dameron, it's a shame Oliver Nelson has, for the most part, gone unsung. Maybe Nelson's eventual TV and film work tainted him in the eyes of critics and purists; but, then again, most jazz arrangers made that move, often out of sheer financial necessity -- and let's not scold them if it was simply a matter of wanting to expand their horizons. Before his Hollywood switch, though, Nelson used several '60s dates to not only display those pen skills, but to reveal his considerable saxophone chops (tenor, alto, and soprano!), as well. The fruits can be found on many dates for OJC, Impulse (the classic Blues and the Abstract Truth), and Verve. It's his work for the latter label that is nicely showcased on this collection. Covering the years 1962-1967 and culled to a large extent from his Full Nelson album and various Leonard Feather-sponsored releases, the 16 tracks here find Nelson at the helm of various big band lineups, plying his always swinging yet often complex and distinct sound. The mix contains a dazzling array of treats, including some of the most sophisticated jazz charts ("Patterns for Orchestra"), a taste of his later soundtrack work ("A Typical Day in New York"), beautiful ballads ("Penthouse Dawn"), and even some contemporary R&B-tinged fare ("Full Nelson"). Along with these and several other original pieces, Nelson also does fine by Ellington ("Paris Blues") and W.C. Handy ("St. Louis Blues"). And it's Joe Newman's fine solo on this last cut that ably demonstrates how Nelson, like Mingus, had a knack for bringing out the best in his players. With an all-star cast of players and plenty of fine sides to go, this Nelson roundup offers the perfect way to familiarize yourself with one of the great jazz architects of the '60s. Stephen Cook   Tracklist & Credits :

OLIVER NELSON ORCHESTRA — Afro-American Sketches (1961-1993) RM | Original Jazz Classics Limited Edition Series | APE (image+.cue), lossless

Oliver Nelson merged the rhythmic fervor of Africa and Black America with the organizational flair of Europe on this release. The often spectacular work features the orchestra sometimes whooping and clashing in the backdrop and other times giving soulful statements or converging in a blues setting. While Nelson combined Afro-Latin rhythmic support from Ray Barretto with crisp jazz drumming from Ed Shaughnessy, he also contributed his own soaring alto and tenor sax solos and conducted the orchestra. It was a monumental job, and Nelson exceeded it. Ron Wynn   Tracklist & Credits :

THE OLIVER NELSON ORCHESTRA ft. PHIL WOODS — Impressions Of Phaedra (1962) Vinyl, LP MONOAURAL | FLAC (tracks), lossless

Moody and long-forgotten, like the film it was inspired by, Phaedra interchanges film-like cues with some torrid jazz content (mostly courtesy of Phil Woods). Makes an interesting case for "Greek Jazz."  Douglas Payne
Tracklist & Credits :

THE GIL EVANS ORCHESTRA — Into the Hot (1962-1988) FLAC (image+.cue), lossless

Although this album (reissued on CD) proudly states that it is by the Gil Evans Orchestra and has Evans' picture on the cover, the arranger actually had nothing to do with the music. Three songs have the nucleus of his big band performing numbers composed, arranged, and conducted by John Carisi (who also plays one of the trumpets). Those selections by the composer of "Israel" are disappointingly forgettable. The other three performances are even further away from Evans for they are actually selections by avant-garde pianist Cecil Taylor's septet! Taylor's music features trumpeter Ted Curson, trombonist Roswell Rudd, altoist Jimmy Lyons, tenor saxophonist Archie Shepp, bassist Henry Grimes, and drummer Sunny Murray and is quite adventurous and exciting, the main reason to acquire this somewhat misleading set. Scott Yanow    Tracklist & Credits :

GENE KRUPA AND HIS ORCHESTRA – 1947-1949 | The Chronogical Classics – 1319 (2003) FLAC (tracks+.cue), lossless

After Anita O'Day suddenly quit his band in 1946, Gene Krupa went out looking for a replacement female vocalist. He discovered Carolyn Grey performing with a no-name intermission band and hired her at once. Grey, who also sang with Woody Herman and Sonny Dunham, had a pleasant voice and may be heard at her best on "Old Devil Moon," the opening track of this 14th installment in the complete chronologically reissued works of Gene Krupa on Classics. These recordings, made in New York and Los Angeles between January 1947 and January 1949, all originally appeared on 78-rpm 10" red label Columbia records. During this portion of Krupa's career, stylistic adjustments were made to modernize the overall sound of the band. Gerry Mulligan's arrangement of his and Krupa's collaborative opus "Disc Jockey Jump" meets all the requirements of big-band bop. "By the River St. Marie" was the marvelously solid flip side of Columbia 38590. It's worth noting that some of the best solos on this compilation come from the saxophone section. As popular tastes demanded increasingly large quantities of sentimental vocals, Krupa employed Tom Berry and Buddy Hughes, a couple of standard-issue male crooners. Yet by the end of 1947, Krupa's band was sounding positively progressive, with flashy original compositions and arrangements by Eddie Finckel. Carolyn Grey had been replaced by Delores Hawkins, a comparatively deep-voiced individual who sounds much better here than on a horribly overbearing remake of "Let Me Off Uptown," where she carries on with all the subtlety of Cass Daley. The recordings made on January 26, 1949, feature Hawkins at her best during "Bop Boogie," excellent bop scat vocals from trombonist Frank Rosolino, deep tones from the timpani, and a bongo handler worthy of Machito's Orquesta. On the "exotic" "Similau," Bill Black's conventional crooning is strafed with lightning-quick bop scat runs sung in duet by Rosolino and Hawkins. This music, so emblematic of Krupa's (and Woody Herman's and Charlie Barnet's) passing involvement with bop during the late '40s, adds yet another dimension to the already diverse life and works of Gene Krupa. arwulf arwulf          Tracklist + Credits :

GENE KRUPA – 1949-1951 | The Chronogical Classics – 1359 (2004) FLAC (tracks+.cue), lossless

 The 15th installment in the Classics Gene Krupa chronology opens with a big-band arrangement of a "madcap" melody by Soviet composer Dmitri Kabalevsky. The last of Krupa's Columbia records were cut in Los Angeles on May 9, 1949, with sanguine spoken outbursts and wild trumpet solos by Roy Eldridge. There's creamy singing from Bill Black and a stilted group vocal -- a routine borrowed from Tommy Dorsey -- during "Why Fall in Love with a Stranger." Delores Hawkins, heard at her sultriest on "Watch Out!," appears to be emulating Ella Fitzgerald. After more than ten years as a Columbia recording artist, Krupa switched over to Victor in March of 1950. Bassist Don Simpson wrote the arrangements for new versions of six melodies composed by Fats Waller, and for some strange reason known only to arranger George Williams, a big-band adaptation of Gene Autrey's "Dust" opens with a quote from Richard Strauss' tone poem Also Sprach Zarathustra. During the spring of 1950, Krupa began alternating his big-band dates with tight little blowing sessions featuring an old-fashioned Eddie Condon-type jazz band. Both bands featured vocalist Bobby Scoots, a lively specimen most appropriately chosen to sing the lyrics to that immortal discourse on the human condition, "Cincinnati Dancing Pig." The only antidote for this is a solid instrumental rendering of "I'm Forever Blowing Bubbles," one of the most popular hits of 1919, here given the ham-and-eggs treatment by a band assisting Krupa in returning to his Chicago-style roots. arwulf arwulf
Tracklist + Credits :

BUCK CLAYTON – 1953, Vol. 2 | The Chronogical Classics – 1427 (2006) FLAC (tracks+.cue), lossless

This fourth volume in the Classics Buck Clayton chronology is mainly devoted to the excellent music he recorded in Paris during the first two weeks of November 1953. Much different from the old-fashioned jazz he blew with Mezz Mezzrow during the same tour, this material represents a fresh, modern approach to the traditions Clayton had helped to establish with (and without) Count Basie during the 1930s and '40s. Tracks one through five showcase informal jam bands co-led by Clayton and drummer Gerard Pochonet. There are several fine soloists featured here, including electrically amplified guitarist Jean-Pierre Sasson, clarinetist and baritone saxophonist Michel de Villers, trombonist Benny Vasseur, and pianist Andre Persiani. That's a short list -- these pleasantly loose blowing sessions involved some of the top jazz musicians available in Paris at that time. Back in New York and recording for Columbia on December 14 and December 16, 1953, Clayton led a ten-piece group that was essentially the Count Basie Orchestra with Sir Charles Thompson at the piano. Three extended romps close out this highly rewarding segment of the Buck Clayton story: "Lean Baby," a sultry blues by Billy May, cruises at a relaxed lope for eight-and-a-half minutes; the great Kansas City swing anthem "Moten Swing" rolls for twelve-and-a-half minutes, and a cool "Sentimental Journey" stretches out for nearly 14 minutes. Excellent music, superbly rendered. arwulf arwulf  
Tracklist :

THE ZOOT SIMS, AL COHN SEPTET | CHARLIE SHAVERS, URBIE GREEN - Happy Over Hoagy + We Dig Cole (1988) FLAC (image+.cue), lossless

Happy Over Hoagy    
1    The Nearness Of You    3:28
Hoagy Carmichael / Ned Washington
2    I Get Along Without You Very Well    4:07
Hoagy Carmichael
3    Skylark    4:03
Hoagy Carmichael / Johnny Mercer
4    Up A Lazy River    4:09
Sidney Arodin / Hoagy Carmichael
5    Stardust    2:57
Hoagy Carmichael / Mitchell Parish
6    Old Rockin' Chair    3:16
Hoagy Carmichael
7    Georgia On My Mind    3:21
Hoagy Carmichael / Stuart Gorrell
8    Two Sleepy People    4:14
Hoagy Carmichael / Frank Loesser
Arranged By – Bill Elton
Tenor Saxophone – Zoot Sims
Trombone – Jimmy Cleveland
Piano – Elliot Lawrence
Trumpet – Nick Travis
Drums – Osie Johnson
Baritone Saxophone – Al Cohn
Double Bass – Milt Hinton
We Dig Cole    
9    What Is This Thing Called Love    3:00
Cole Porter
10    It's Delovely    4:02
Cole Porter
11    Begin The Beguine    3:07
Cole Porter
12    It's All Right With Us    3:33
Cole Porter
13    I Love Paris    3:28
Cole Porter
14    My Heart Belongs To Daddy    3:48
Cole Porter
15    Night And Day    4:01
Cole Porter
16    Just One Of Those Things    3:51
Cole Porter
Arranged By – Larry Clinton
Clarinet – Sol Yaged
Drums – Cozy Cole
Guitar – Barry Galbraith
Piano – Buddy Weed
Tenor Saxophone – Sam "The Man" Taylor
Trombone – Urbie Green
Trumpet – Charlie Shavers

ZOOT SIMS | AL COHN | TONY SCOTT - East Coast Sounds (1956-1999) RM | FLAC (tracks+.cue), lossless

Zoot Sims and Al Cohn made many records together in small-group settings, but this isn't one of their better-known dates, though it is a rewarding one. These 1956 sessions recorded for the Jazzland label and reissued under Fantasy's limited-edition OJC imprint feature tenor saxophonist Sims (who doubles on alto sax) and Cohn (playing baritone sax on most of the selections) with clarinetist Tony Scott (who doubles on tenor), trumpeter Joe Wilder, and trombonist Urbie Green rounding out the front line. Either Marty Paich or Dick Hyman (neither of whom play on these pianoless charts) contributed the arrangements, all of which fall into the cool category. Though they include quite a few pieces by well-known composers, most of them are lesser-known works, such as George Gershwin's "Treat Me Rough," Vernon Duke's "I Like the Likes of You," and Richard Rodgers' "Where's That Rainbow?" Bassist Trigger Alpert gets some solo time as well and contributed one original, the loping "Trigger Fantasy." Recommended. Ken Dryden  
Tracklist :
1     Treat Me Rough 2:50
George Gershwin / Ira Gershwin    
2     Looking at You 4:20
Cole Porter    
3     Love Me Tomorrow (But Leave Me Alone Today) 4:51
George Duke / John Latouche    
4     Trigger Happy 2:28
Tony Scott    
5     Tranquilizer 4:28
Dick Hyman    
6     I Like the Likes of You 4:08
Vernon Duke / E.Y. "Yip" Harburg    
7     I Wish I Were in Love Again 3:35
Lorenz Hart / Richard Rodgers    
8     I Don't Want to Be Alone Again 3:28
Johnny Mercer / Jimmie Smith    
9     Trigger Fantasy 5:24
Trigger Alpert    
10     Where's That Rainbow? 3:35
Lorenz Hart / Richard Rodgers
Credits :
Alto Saxophone, Tenor Saxophone – Zoot Sims
Arranged By – Dick Hyman (pistas: 1, 5, 9, 10), Marty Paich (pistas: 2, 3, 6, 7), Tony Scott (pistas: 4, 8)
Bass – Trigger Alpert
Clarinet, Tenor Saxophone – Tony Scott
Drums – Ed Shaughnessy
Producer – Orrin Keepnews
Tenor Saxophone, Baritone Saxophone – Al Cohn
Trombone – Urbie Green
Trumpet – Joe Wilder

AL COHN, JOE NEWMAN & FREDDIE GREEN - Mosaic Select 27 (2007) 3xCD | FLAC (tracks+.cue), lossless

This Mosaic compilation draws from material that comprised five separate RCA Victor LPs of the 1950: Al Cohn's The Natural Seven and The Jazz Workshop: Four Brass, One Tenor, Freddie Green's Mr. Rhythm, plus two Joe Newman records, All I Wanna Do Is Swing and I'm Still Swinging. Cohn, Green, and Newman are the common element to all of the recording sessions, leading bands ranging from septets to nonets.The Natural Seven was inspired by the Kansas City Seven drawn from the Count Basie band of the 1930s, and while the arrangements by Cohn and Manny Albam swing lightly in the style of Basie's septet, the focus is more on originals written for the session rather than simply recreating earlier recordings. Joining them are pianist Nat Pierce, trombonist Frank Rehak, bassist Milt Hinton, and drummer Osie Johnson, highlighted by the upbeat unison horn line in Cohn's "Pick a Dilly" and Albam's swinging "Jump the Blues Away." Johnson even adds a vocal on his fun-filled "Osie's Blues." Cohn's other session as a leader includes Thad Jones with either Joe Wilder, Bernie Glow, or Phil Sunkel on third trumpet, with Dick Katz doubling on valve trombone and trumpet, pianist Dick Katz, and bassist Buddy Jones subbing for the previous personnel. Once more, Cohn and Albam split up the arrangements, with the tenor saxophonist benefiting from the quartet of brass players accompanying him. "Rosetta" and the leader's "Cohn Not Cohen" are among the highlights. Freddie Green was known for his superb timekeeping in the Basie band, a tenure which lasted a half-century until his passing in 1987, just a few years after the leader. Mr. Rhythm marked the first issued under his own name, plus eight of the dozen songs are Green's compositions, with Green sticking to playing rhythm throughout the date. Cohn, Albam, and Ernie Wilkins provide the swinging arrangements of the mostly blues-oriented material, while Cohn doubles on both clarinet and bass clarinet in addition to playing tenor sax. Two dates led by Newman in 1955 also fit in nicely, with either Frank Rehak or Urbie Green on trombone, Wilkins or Gene Quill on alto sax, and Pierce or Dick Katz on piano. Newman, who tended to be overshadowed by many of the other swing and bop trumpeters active at the time, shines on both open and muted horn, while featuring his musicians prominently throughout both dates. Green's "Corner Pocket" and a buoyant treatment of the standard "Exactly Like You" especially stand out. Most of this music was reissued on CD during the '80s and '90s, though none of it remained in print for long. Ken Dryden  
All Tracks & Credits

COLEMAN HAWKINS WITH BILLY BYERS AND HIS ORCHESTRA - The Hawk in Hi-Fi (1956-2001) RM | FLAC (tracks), lossless

 In January 1956, veteran tenor saxophonist Coleman Hawkins recorded a dozen songs, eight with a string orchestra and four accompanied by a big band, all arranged by Billy Byers. Hawkins is the main soloist throughout, and he was still very much in his prime 33 years after he first joined Fletcher Henderson's orchestra; in fact, the upcoming year of 1957 would be one of his finest. However, Byers' arrangements are more functional than inspired, and some of these selections are more easy listening than they are swinging. Still, there are some strong moments (particularly on "The Bean Stalks Again" and "His Very Own Blues") and, although not classic, this is a pleasing release. Scott Yanow

Tracklist :
1     Body and Soul 5:00
Frank Eyton / John Green / Edward Heyman / Robert Sour
2     Little Girl Blue [Take 3] 3:04
Lorenz Hart / Richard Rodgers
3     I Never Knew [Take 5] 3:07
Raymond B. Egan / Roy Marsh / Tom Pitts
4     Dinner for One Please, James [Take 3] 3:12     
Michael Carr
5    The Bean Stalks Again 3:25
Coleman Hawkins
6     His Very Own Blues 3:03
Coleman Hawkins    
7     The Day You Came Along 4:10
Sam Coslow / Arthur Johnson
8     Have You Met Miss Jones [Take 7] 3:06
Lorenz Hart / Richard Rodgers
9     The Essence of You 3:30
Coleman Hawkins
10     There Will Never Be Another You 3:00
Mack Gordon / Harry Warren
11     I'm Shooting High 2:36
Ted Koehler / Jimmy McHugh
12     Bean and the Boys [Issued As "39-25-39"] 2:52
Coleman Hawkins
13     There Will Never Be Another You 3:23
Mack Gordon / Harry Warren
14     There Will Never Be Another You 3:26
Mack Gordon / Harry Warren
15     Little Girl Blue [Take 1] 3:09
Lorenz Hart / Richard Rodgers
16     Dinner for One Please, James [Take 2] 3:17
Lorenz Hart / Richard Rodgers
17     I Never Knew [Take 2] 3:18
Raymond B. Egan / Roy Marsh / Tom Pitts
18    Have You Met Miss Jones [Take 1] 3:10
Lorenz Hart / Richard Rodgers
19     Have You Met Miss Jones? 3:20
Lorenz Hart / Richard Rodgers
20     Have You Met Miss Jones? 2:38
Lorenz Hart / Richard Rodgers
21     The Day You Came Along 3:15
Sam Coslow / Arthur Johnson
All Credits

COLEMAN HAWKINS - Wrapped Tight (1966-1991) RM | FLAC (tracks+.cue), lossless

Hawkins's last strong recording finds the veteran, 43 years after his recording debut with Mamie Smith's Jazz Hounds, improvising creatively on a wide variety of material on this CD, ranging from "Intermezzo" and "Here's That Rainy Day" to "Red Roses for a Blue Lady" and "Indian Summer." Best is an adventurous version of "Out of Nowhere" that shows that the tenor-saxophonist was still coming up with new ideas in 1965. Scott Yanow
Tracklist :
1 Wrapped Tight 3:30
Written-By – Albam
2 Intermezzo 3:38
Written-By – Mascagni
3 Out Of Nowhere 3:44
Written-By – Heyman, Green
4 Indian Summer 5:04
Written-By – Dubin, Herbert
5 Red Roses For A Blue Lady 2:27
Written-By – Brodsky, Tepper
6 Marcheta 3:08
Written-By – Schartzinger
7 Beautiful Girl 4:29
Written-By – Freed, Brown
8 She's Fit 2:45
Written-By – Hawkins
9 And I Still Love You 3:14
Written-By – Rivelli, Roberts, Clayton
10 Bean's Place 2:54
Written-By – Hammer, Clayton
Credits :
Bass – Buddy Catlett
Drums – Eddie Locke
Piano – Barry Harris
Tenor Saxophone – Coleman Hawkins
Trombone – Urbie Green (tracks: 1, 8)
Trumpet – Bill Berry (tracks: 1, 2, 3, 7, 8), Snooky Young (tracks: 4, 5, 6)

JOHNNY GRIFFIN - White Gardenia (1961-1995) RM | Original Jazz Classics Limited Edition Series | APE (image+.cue), lossless

Tenor saxophonist Johnny Griffin pays tribute to Billie Holiday, who had died exactly two years earlier, on this ballad-oriented set, which has been reissued on CD. Griffin is joined by a brass section (either five or seven pieces), plus a rhythm section and strings (the latter dominated by cellos), for his warm interpretations of nine songs associated with Billie Holiday, plus his original "White Gardenia." The arrangements, provided by Melba Liston and Norman Simmons, are tasteful, and the lyrical music is well-performed, if not overly memorable. Worth checking out. Scott Yanow
Tracklist :
1     Gloomy Sunday 4'06
Sam M. Lewis / Rezsö Seress
2     That Old Devil Called Love 3'50
Doris Fisher / Allan Roberts
3     White Gardenia 3'18
Johnny Griffin
4     God Bless the Child 3'17
Billie Holiday / Arthur Herzog, Jr.
5     Detour Ahead 4'33
Lou Carter / Herb Ellis / John Freigo / Johnny Frigo
6     Good Morning Heartache 4'10
Ervin Drake / Dan Fisher / Irene Higginbotham
7     Don't Explain 4'43
Billie Holiday / Arthur Herzog, Jr.
8     Travelin' Light 4'06
Harry Akst / Sidney Clare
9     No More 3'57
Tutti Camarata / Bob Russell
10     Left Alone 2'54
Eric Dolphy / Billie Holiday / Mal Waldron
Credits :
Arranged By – Melba Liston (pistas: 1 to 3, 7, 9, 10), Norman Simmons (pistas: 4 to 6, 8)
Bass – Ron Carter
Drums – Ben Riley
French Horn – Ray Alonge
Guitar – Barry Galbraith
Piano – Barry Harris (pistas: 2, 5, 8), Jimmy Jones (pistas: 1, 3, 4, 6, 7, 9, 10)
Producer – Orrin Keepnews
Remastered By – Phil De Lancie
Tenor Saxophone – Johnny Griffin
Trombone – Jimmy Cleveland, Paul Faulice, Urbie Green
Trumpet – Ernie Royal, Nat Adderley
Trumpet, Flugelhorn – Clark Terry

THE CLARK TERRY QUARTET | THE COLEMAN HAWKINS SEXTET - Eddie Costa : Memorial Concert (1963) lp | FLAC (tracks), lossless

A memorial concert was held in 1962 not long after the death of pianist and vibraphonist Eddie Costa in a car wreck; evidently, many musicians volunteered to perform at this Village Gate event but only parts of two sets were recorded and issued. Clark Terry, joined by Dick Hyman, Art Davis, and Osie Johnson, perform on the first side following comments by Willis Conover and Terry. The flügelhornist starts with his delightful "Simple Waltz," showcasing his fat lyrical tone, although the rhythm section is not well-recorded and is a little too much in the background. Trombonist Willie Dennis joins the quartet for a down-and-dirty arrangement of "Things Ain't What They Used to Be," which is highlighted by Terry's final solo where he alternates between a flügelhorn in one hand and a muted trumpet in the other. Coleman Hawkins leads off the second side; he's joined by Urbie Green, Markie Markowitz, Sonny Clark, Roy Haynes, and Chuck Israels. Like Terry, he starts off his first number, "I'm Confessin' That I Love You," with just the rhythm section. Hawkins is bursting with energy and imagination in his rendition, ranking this effort equal to or exceeding anything else he recorded in the 1960s; unfortunately, the song is suddenly faded out just after the six-minute mark. The interplay with the added horns on an extended take of "Just You, Just Me" is quite enjoyable, though Markowitz's trumpet seems somewhat off-mike at times. This long unavailable LP will be difficult to find. Ken Dryden  
Tracklist :
1    The Clark Terry Quartet–    Introduction    1:40
2    The Clark Terry Quartet–    The Simple Waltz    6:32
3    The Clark Terry Quartet–    Things Ain't What They Used To Be    11:24
4    The Coleman Hawkins Sextet–    I'm Confessin' That I Love You    6:09
5    The Coleman Hawkins Sextet–    Just You, Just Me    15:45
Credits :
The Clark Terry Quartet :
Trumpet, Flugelhorn – Clark Terry
Bass – Art Davis
Drums – Osie Johnson
Piano – Dick Hyman
The Coleman Hawkins Sextet :
Bass – Chuck Israels
Drums – Roy Haynes
Piano – Sonny Clark
Tenor Saxophone – Coleman Hawkins
Trombone – Urbie Green
Trumpet – Marky Markowitz

CLARK TERRY & HIS FRIENDS - What Makes Sammy Swing! (1964) lp | MONO | FLAC (tracks), lossless

This obscure 1963 studio session led by Clark Terry features the music from Ervin Drake's Broadway show What Makes Sammy Run, with arrangements by Pat Williams, but the real attraction to it is the cast of musicians. In addition to the always enjoyable trumpeter, Phil Woods, Urbie Green, Seldon Powell, Dave McKenna, George Duvivier, and Mel Lewis are present. "The Friendliest Thing" is a rare opportunity to hear Woods on flute, joining Terry's muted horn for this easygoing reworking of the chord changes to "Tea for Two." The swinging "Humble" showcases the leader on open horn, while Woods' matchless alto sax is center stage in the bossa nova "Maybe Some Other Time." While the music on this disc may be unfamiliar to the vast majority of jazz fans, the strong melodies and outstanding efforts of the players make this long out of print record, which was last available as a French import LP in the 1970s, worth acquiring. Ken Dryden
Tracklist:
1     A Room Without Windows 2'36
Ervin Drake
2     You're No Good 2'54
Ervin Drake
3     My Home Town 2'34
Ervin Drake
4     A New Pair of Shoes 2'21
Ervin Drake
5     The Friendliest Thing 3'16
Ervin Drake
6     Humble 3'05
Ervin Drake
7     Maybe Some Other Time 3'24
Ervin Drake
8     Something to Live For 4'02
Duke Ellington / Billy Strayhorn
9     Bachelor Gal 2'20
Ervin Drake
10     Some Days Everything Goes Wrong 3'28
Ervin Drake
Credits  
Alto Saxophone [Alto Sax], Clarinet, Flute – Phil Woods
Arranged By – Pat Williams
Bass – George Duvivier
Bass Clarinet, Baritone Saxophone [Tenor Baritone] – Seldon Powell
Drums – Mel Lewis
Piano – Dave McKenna
Trombone – Urbie Green
Trumpet – Clark Terry

RON CARTER - Parade (1979-2000) RM / FLAC (image+.cue), lossless

Bassist Carter heads a sterling mid-sized band with three trumpeters and saxophonists and two trombones. He handles the job of being both the primary and secondary rhythm support, while guests Joe Henderson, Jon Faddis, and Frank Wess, among others, provide some standout solos. The ensemble interaction clicks as well. by Ron Wynn
Tracklist :
1     Parade 9:01
Ron Carter
2     A Theme in 3/4 5:54
Ron Carter
3     Sometimes I Feel Like a Motherless Child 2:46
Traditional
4     Tinderbox 5:07
Ron Carter
5     Gypsy 8:41
Ron Carter
6     G.J.T. 4:48
Ron Carter
Credits :
Arranged By [Horns], Conductor [Horns] – Wade Marcus
Bass Trombone – Tom Malone
Bass, Bass [Piccolo], Producer, Written-By – Ron Carter
Drums – Tony Williams
Flute, Clarinet, Alto Saxophone – Jerry Dodgion
Flute, Clarinet, Tenor Saxophone – Frank Wess
Piano – Chick Corea
Recorded By, Mixed By – Rudy Van Gelder
Tenor Saxophone – Joe Henderson
Trombone – Urbie Green
Trumpet, Flugelhorn – Joe Shepley, John Frosk, Jon Faddis

BEVERLY KENNEY - Come Swing with Me (1956-2003) RM / FLAC (tracks+.cue), lossless

Though a singer of uncommon emotional depth, Beverly Kenney could also cut loose with the best of them, and Come Swing with Me captures an effervescence and playfulness often absent from her later, more renowned sessions. Paired with arranger Ralph Burns, who likewise sidesteps his usual subtle refinement for a lighter, more lively approach, Kenney retains the thoughtful phrasing and sultry demeanor that are her signatures, but it's a pleasure to hear her tackle material like "You Make Me Feel So Young" and "You Go to My Head". by Jason Ankeny
Tracklist :
1    Give Me The Simple Life 2:19
Written By – Bloom-Ruby
2    I Guess I'll Hang My Tears Out To Dry 2:58
Written By – Cahn-Styne
3    The Trolley Song 1:52
Written By – Martin-Blane
4    Violets For My Furs 2:53
Written By – Adair-Dennis
5    This Can't Be Love 1:46
Written By – Rodgers-Hart
6    Scarlet Ribbons 1:57
Written By – Segal-Danzig
7    If I Were A Bell 2:07
Written By – F.Loesser
8    Why Try To Change Me Now 3:33
Written By – Coleman-McCarthy
9    Swinging On A Star 3:00
Written By – Burke-Van Heusen
10    You Go To My Head 2:37
Written By – Gillespie-Coots
11    It Ain't Necessarily So 1:31
Written By – I.Gershwin-G.Gershwin
12    You Make Me Feel So Young 2:09
Written By – Gordon-Myrow
Credits :
Bass – Milt Hinton
Clarinet – Al Epstein
Drums – Don Lamond, Teddy Sommer
French Horn – Julius Watkins
Guitar – Barry Galbraith, Billy Bauer
Harp – Janet Putnam
Piano – Moe Wechsler
Saxophone – Danny Banks, George Berg, Sam Marowitz
Trombone – Urbie Green
Trumpet – Nick Travis