The Best Of Enoch Light (1978)

This is my one and only Enoch Light album. It turned up in a sale bin recently. Nice cover and quite good Lew Davies arrangements. According to the promo the two discs "contain selections personally chosen by Enoch to represent what he considers to be the best recordings he has made". Doubt that. This is "Project 3" his third label. First two were "Grand Award" with which he cut his sonic teeth so to speak, and "Command", his audio spectacular label. Biggest innovation on Command was his use of 35mm film for recording. Tape hiss was greatly lessened, print-through reduced and wow and flutter "virtually eliminated" (because the film was driven by sprocket holes while conventional tape was just pulled through by the friction of a rubber roller). In 1965 Light sold Command to ABC and moved on to his latest creation, "Project 3". He brought with him his arranger, Lew Davies, and a group of his Command musicians. Guitarist Tony Mottola was one of these. According to some critics few of the Project 3 albums equalled the best of his work on Command. But this is Enoch Light/Lew Davies without all the Command tricky bits and as such I like it, especially the Beethoven/Ravel-sounding arrangements of Beatles songs. Doc Severinsen, Tony Mottola and Stan Freeman always good value of course.

Side 1:
01) April In Portugal [Tony Mottola]
02) Without You [Doc Severinsen]
03) Light My Fire
04) Autumn Leaves [Stan Freeman]
05) Marrakesh Express
06) Eleanor Rigby

Side 2:
01) With A Little Help From My Friends
02) The Night Is Young And You're So Beautiful [Stan Freeman]
03) What A Difference A Day Makes [Tony Motolla]
04) I Say A little Prayer
05) Alfie [Doc Severinsen]

Side 3:
01) Someone To Light Up My Life [Doc Severinsen]
02) Windmills Of Your Mind [Tony Mottola]
03) I've Got A Crush On You [Stan Freeman]
04) Hey, Jude
05) This Guy's In Love With You

Side 4:
01) Come On, Come On
02) People Got To Be Free
03) Theme From M*A*S*H
04) My Foolish Heart [Stan Freeman]
05) Fiddler On The Roof [violinist Max Pollikoff]
06) Help Yourself

Disc 1

Disc 2

Boyd Raeburn: Boyd Meets Stravinski (1946)

The Boyd Raeburn Orchestra never achieved much popularity with the general public, but it was admired by many top musicians of the bebop era as one of the most innovative large ensembles on a par with the more well-known Stan Kenton band. Among the prominent musicians to have played with Raeburn were trumpeters Dizzy Gillespie and Benny Harris; saxophonists Johnny Bothwell, Al Cohn, and Serge Chaloff; drummers Don Lamond and Shelly Manne; and bassist Oscar Pettiford. This superb album comprises tracks recorded by the band at its creative peak in the mid-'40s. The arrangements and original compositions by pianist George Handy acknowledge developments in 20th-century classical music up to that time, melding poly-tonality, shifting meters, and irregular rhythms with bebop and contemporary big band techniques. The musicianship is absolutely top-notch. In terms of ensemble execution, the Raeburn band was almost unsurpassed and the solos -- while often taking a backseat to the compositions themselves -- are frequently excellent. Of particular note is the work of the Johnny Hodges-inspired alto saxophonist Johnny Bothwell. Handy's fanciful arrangements occasionally go off the deep end, but the extent of his creativity was considerable and the balance of artistry and kitsch usually weighs in favor of the former. ~ Chris Kelsey

Tracks:

01) Boyd Meets Stravinski

02) Temptation

03) Dalvatore Sally

04) I Only Have Eyes For You

05) Over The Rainbow

06) Body And Soul

07) Interlude (Night In Tunisia)

08) Summertime

09) March Of The Boyds

10) Blue Prelude

11) Boyds Nest

12) You've Got Me Crying Again

13) Hep Boyds

14) Rip Van Winkle

Download

Kenny Burrell & Frank Wess: Monday Stroll (1957)

Although the original LP was reissued under guitarist Kenny Burrell's name, it was originally led by Frank Wess who is heard doubling on flute and tenor. With the assistance of Burrell, rhythm guitarist Freddie Green, bassist Eddie Jones and either Kenny Clarke or Gus Johnson on drums, Wess is in excellent form on a set very reminiscent (not too surprisingly considering the personnel) of the Count Basie band. Wess contributed four of the songs, Burrell brought in "Southern Exposure" and the quintet also plays "Over the Rainbow" and the obscure "Woolafunt's Lament". This is a fine straightahead date with Wess's flute taking solo honors. ~ Scott Yanow

Tracks:

01) Monday Stroll

02) East Wind

03) Wess Side

04) Southern Exposure

05) Woolafunt's Lament

06) Over The Rainbow

07) Kansas City Life

Download

Keely Smith: Essential Capitol Collection

There's no way Keely Smith will ever be able to escape the long shadow of Louis Prima whose fourth wife she was and who led the band where she found her greatest fame. Heard apart from Prima she was a fantastic vocalist, almost the equal of more respected singers like Chris Connor or Helen Merrill who were working a much different circuit than Smith during the late '50s and early '60s. This album is an excellent way to survey Keely Smith's early career. It includes 27 songs from her several LPs for the label as well as her most popular duets with Prima and two with Frank Sinatra. ~ John Bush

Download

Shorty Rogers, His Orchestra & The Giants: Short Stops (1953)

Having fallen from grace rather badly after submitting my last share I feel I must attempt redemption, which is just a wise-guy way of preparing you for something quite special. Thanks to this blog's friend, Keith Horner, I'm able to share this out-of-print, double LP which offers the trumpet playing and arrangements of Shorty Rogers. The 32 selections feature six different groups headed by Rogers during 1953-1954 ranging from an octet to a big band. All the bands feature sidemen who essentially formed a who's who of West Coast jazz. Among the soloists are altoist Art Pepper; tenors Bill Holman, Bill Perkins, Zoot Sims, Bob Cooper and Jimmy Giuffre; trumpeter Harry "Sweets" Edison; pianist Hampton Hawes and altoists Herb Geller and Bud Shank. Just click on the back cover image to bring up full production details and personnel. The majority of the selections are Rogers originals. There is music from the Marlon Brando film "The Wild One" and a Count Basie tribute set. Here's some original, swinging and sometimes fiery cool jazz just for you. Enjoy.

Side 1:

01) Powder Puff

02) The Pesky Serpent

03) Bunny

04) Pirouette

05) Morpo

06) Diablo's Dance

07) Mambo del Crow

08) Indian Club

Side 2:

01) Coop de Graas

02) Infinity Promenade

03) Short Stop

04) Boar-Jibu

05) Contours

06) Tale Of An African Lobster

07) Chiquito Loco

08) Sweetheart Of Sigmund Freud

Side 3:

01) Blues For Brando

02) Chino

03) The Wild One [Hot Blood]

04) Windswept

05) Topsy

06) Basie Eyes

07) It's Sand, Man

08) Doggin' Around

Side 4:

01) Jump For Me

02) Over And Out

03) Down For Double

04) Swingin' The Blues

05) H&J

06) Tickletoe

07) Taps Miller

08) Walk Don't Run

Disc 1

Disc 2

Eydie Gorme: Eydie In Love (1958)

This is Eydie in love AND uncut and I'm not referring to the singer's coiffure. It's a 51-year-old vinyl. What's more it sounds like a 51-year-old vinyl. I'm posting it "as is" partly because I haven't the time to do a cleanup and partly because I get bored with having to present these old vinyls in pristine condition ALL the time. Of course I don't. Some are quite clean and others are pretty rough. Well here's one of the latter. Eydie recorded this in the earlier days of her career at age 27 just after she married Steve Lawrence whom she met on the original "Tonight Show" hosted then by Steve Allen.

The songs here capture all the facets of love and loss from "Love Letters" to "Wee Small Hours" -- from girlish infatuation to world-weary resignation. As usual the backings from Don Costa are impeccable.

Side 1:

01) When The World Was Young

02) In Love In Vain

03) Here I Am In Love Again

04) Why Shouldn't I

05) In The Wee Small Hours Of The Morning

06) Love Letters

Side 2:

01) Fly Me To The Moon

02) When I Fall In Love

03) Idle Conversation

04) Why Try To Change Me Now

05) Impossible

06) It Could Happen To You

Download

Michel Legrand: Legrand Jazz (1958)

Michel Legrand has spent most of his life as a composer in the studios and for films, but this release is a jazz classic. Legrand took 11 famous jazz compositions and arranged them for three different groups. Tenor great Ben Webster, flutist Herbie Mann, four trombonists, and a rhythm section perform pieces by Duke Ellington, Earl Hines, Django Reinhardt ("Nuages"), and the Count Basie-associated "Blue and Sentimental". A big band with trumpeters Art Farmer and Donald Byrd and altoist Phil Woods plays "Stompin' at the Savoy", "A Night in Tunisia", and Bix Beiderbecke's "In a Mist". The most famous session has Miles Davis, John Coltrane, Phil Woods, Herbie Mann, pianist Bill Evans, harp, vibes, baritone, and a rhythm section performing music by Thelonious Monk, John Lewis, Jelly Roll Morton ("Wild Man Blues"), and Fats Waller's "Jitterbug Waltz". Throughout this superlative album the arrangements are colorful and unusual making one wish that Legrand had recorded more jazz albums through the years. ~ Scott Yanow

Tracks:
01) The Jitterbug Waltz
02) Nuages
03) A Night In Tunisia
04) Blue And Sentimental
05) Stompin' At The Savoy
06) Django
07) Wild Man Blues
08) Rosetta
09) 'Round Midnight
10) Don't Get Around Much Anymore
11) In A Mist

Download

Dinah Washington: Dinah Sings Standards (1952/58)

Creating yet another series to justify reissuing material from its vaults, this Jazz Masters entry raids albums Dinah Washington recorded for the Mercury label from 1952 through 1958. This is the second Dinah Washington compilation in this series. Although advertised as an album of standards Washington avoids making these tunes come across as the romantic warhorses most of them are. Rather, her gospel-inspired voice conveys the song's message with a blues, funky tinge that always distinguished her from the rest of the crowd since she began her career at the age of 15. On these tracks Washington is joined by the crème de la crème of jazz musicians who were part of the Mercury stable during these years. While some of the arrangements were not all that creative Washington's inimitable style and the playing of her fellow musicians make up for any shortcomings. "I'll Remember April" is an 11-plus minute jam session spotlighting solos by Clifford Brown, Harold Land, Herb Geller, and Junior Mance (or Richie Powell). Washington swings hard on "They Didn't Believe Me" in front of a big band led by Quincy Jones and then goes sentimental on "You Go to My Head" before seguing into a second chorus behind a Latin beat. On the latter track Washington and the unknown group backing her is energized by the urging of a live audience. There's more Latin on "I've Got You Under My Skin" built around the

trumpet trio of Clifford Brown, Clark Terry, and Maynard Ferguson. (The liner notes listing of personnel for this track are incorrect). While the album has several excellent instrumental solos none is better than Rick Henderson's extended alto sax work on "Blue Skies". There's a relaxed traditional jazz atmosphere underlying "All of Me" with Washington chatting away in the background during solos by vibist Terry Gibbs and trombonist Urbie Green. Whatever style or beat, each tune is delivered by Washington's instantly recognizable penetrating but tender voice, buttressed by her consistently precise enunciation. This more than an hour long album is a worthy tribute to the one of a kind vocal skills of Dinah Washington. ~ Dave Nathan

Tracks:

01) Trouble In Mind

02) I'll Remember April

03) Teach Me Tonight

04) Love For Sale

05) They Didn't Believe Me

06) You Go To My Head

07) After You've Gone

08) I've Got You Under My Skin

09) Blue Skies

10) Never Let Me Go

11) All Of Me

12) Crazy He Calls Me

Download

Ted Heath And His Music: 100th London Palladium Concert (1954)

Ted Heath's first orchestra was brought together in 1944 for BBC broadcasts. In 1946 they played for "London Town", a British musical film. It was an unmitigated disaster but Heath's career took off including many hit records ("Swingin' Shepherd Blues" being his biggest success reaching No. 3 in the charts in 1958), regular work for the BBC and especially a series – started in 1945 – of Sunday-night concerts at the London Palladium.

These fortnightly sessions gave him a chance to introduce new members of the band (vocalists Lita Roza and Dickie Valentine were first heard at these Sunday night bashes), try out new material and play concert music not appropriate for dancing. In particular these evenings were a way to showcase his soloists and such musicians as tombonist Don Lusher, drummer Ronnie Verrell, clarinetist Henry MacKenzie and bassist Johnny Hawkesworth were regularly featured.

Every fortnightly session became a sold-out affair. They ran to well over 100 concerts and thus became a memorable part of British big-band folklore.

This blog is privileged to be able to share the milestone 100th concert taped on Feb 14, 1954, by English Decca. Taking a bow on this occasion were Don Lusher ("Lush Side"), Johnny Hawksworth ("Fascinating Rhythm"), Frank Horrox ("Our Waltz"), Ronnie Verrell ("Viva Verrell") and Henry MacKenzie ("Henry IX").

Personnel were: Bobby Pratt, Duncan Campbell, Stan Reynolds, Ronnie Hughes (trumpets), Wally Smith, Don Lusher, Jimmy Coombes, Ric Kennedy (trombones), Les Gilbert, Roy Willox (alto
saxes), Henry Mackenzie (clarinet, tenor sax), Danny Moss (tenor sax), George Hunter (baritone sax), Frank Horrox (piano), Johnny Hawksworth (bass) and Ronnie Verrell (drums).

Tracks:

01) Lush Side

02) Birth Of The Blues

03) Fascinating Rhythm

04) Our Waltz

05) Moulin Rouge

06) Viva Verrell

07) Henry IX

08) Mood Indigo

09) Sheik Of Araby

10) Holiday For Strings
11) How High The Moon

Many thanks to Keith Horner for supplying this rare album.

Download

Monica Zetterlund: The Lost Tapes (1960/96)

This is in response to a request for more Zetterlund shares. This lovely Swedish lady was one of the hippest, coolest jazz vocalists on the European scene in the '60s and '70s. As a young woman in her 20s she toured the US. In a meeting with Thad Jones, Zoot Sims, Jimmy Jones and Milt Hinton in New York City she taped a selection of mostly standards at the Bell Sound Studios in 1960. For some reason the session remained "lost" for 36 years and was "rediscovered" and published as a CD in 1996. Thus the album title.

Tracks:

01) What Can I Say After I Say I'm Sorry

02) There'll Be Another Spring

03) Nothing At All

04) He's My Guy

05) You Look Like Someone

06) Nature Boy

o7) Come Rain Or Come Shine

08) I Can't Give You Anything But Love

09) Ack Vaemeland Du Skona

10) One For My Baby

11) Sounds Of Spring

12) I'm A Fool To Want You

13) There'll Be Another Spring (alternate)

14) He's My Guy (alternate)

15) You Look Like Someone (false start)

16) You Look Like Someone (alternate)

Download

The Hi-Lo's: And All That Jazz (1958)

What made the Hi-Lo's so appealing in the 1950s was their high-energy attack and seemingly effortless way in which they handled perilous vocal arrangements. They weren't as well produced as the Four Freshmen who recorded for Capitol. Song choices and band arrangements for the Hi-Lo's could be spotty and flat leaving both pop and jazz listeners less than satisfied. You always got the feeling the group had more potential than the people and material surrounding them. But the Hi-Lo's remained more swingy and vocally daring than the predictable Four Freshmen. The Hi-Lo's were hyperactive and eager to please, which boosted their appeal.

One of their albums, "The Hi-Lo's and All That Jazz", has long been out of print and is currently going for about $20 used at Amazon. Recorded on June 30, 1958, the album has long been hailed by critics for its jazzy warmth and vocal tension.

One reason "And All That Jazz" sounds so good is that the album was arranged and conducted by Marty Paich using his famed Dek-Tette. As a result the instrumental support was smarter and cooler than the arrangements normally scored for the group's recording sessions by Frank Comstock. The Paich Dek-Tette also gave the vocal group a huge jazz lift: Frank Beach and Jack Sheldon (trumpets), Bob Enevoldsen (trombone), Vince DeRosa (French horn), John Kitzmiller (tuba), Herb Geller (alto sax), Bill Perkins (tenor sax), Bud Shank (baritone sax), Clare Fischer (piano), Joe Mondragon (bass), Mel Lewis (drums) and Alvin Stoller (bongo). ~ Marc Myers

Side 1:
01) Fascinating Rhythm
02) Small Fry
03) Yesterdays
04) Love Locked Out
05) Lady In Red
06) Agogically So

Side 2:
01) Some Minor Changes
02) Then I'll Be Tired Of You
03) Mayforth
04) Moon-Faced, Starry-Eyed
05) Summer Sketch
06) Of Thee I Sing

Download

Bing Crosby & Rosemary Clooney: Anything You Can Do

Crosby's American network radio show ran for more than twenty years. It was a weekly showcase for the world's then favourite crooner and regularly featured invited guests such as Frank Sinatra, Nat King Cole, The Andrews Sisters and many more. None was more affectionately remembered than Rosemary Clooney. This album features the best of her several guest appearances dating back to the early 1950s.

Tracks:

01) Introduction

02) Isn't This A Lovely Day

03) Anything You Can Do

04) They say It's Wonderful

05) Ain't We Got Fun

06) Let's Take A Walk Around The Block

07) Summertime

08) Let's Call The Whole Thing Off

09) People Will Say We're In Love

10) Lover

11) Hey Look Me Over

12) Let's Put Out The Lights And Go To Sleep

13) They Can't Take That Away From Me

14) Every Time I See You

15) Paris Medley

Download

Barney Kessel: Kessel Plays Standards (1954)

Kessel teams up with Bob Cooper (mostly on oboe but also doubling a bit on tenor), either Claude Williamson or Hampton Hawes on piano, Monty Budwig or Red Mitchell on bass, and Shelly Manne or Chuck Thompson on drums. Other than his own "64 Bars on Wilshire" and "Barney's Blues" the repertoire on this CD reissue is comprised of jazz standards. Inventive frameworks and the utilization of Cooper's jazz oboe (a real rarity in jazz at the time) give the otherwise boppish reissue its own personality.

Tracks:

01) Speak Low

02) Love Is Here To Stay

03) Slow Boat To China

04) How Long Has This Been Going On

05) My Old Flame

06) Jeepers Kreepers

07) Barney's Blues

08) Prelude To A Kiss

09) A Foggy Day

10) You Stepped Out Of A Dream

11) I Didn't Know What Time it Was

12) 64 Bars On Wilshire

Download

Rosemary Clooney & Woody Herman: My Buddy (1983)

Really wanted to add this relatively rare vinyl to my library for years so there were "wows!" of delight from me when I finally tracked a copy down recently. My pleasure to share it with you. Hope you dig it as much as I do. It's obvious by the cover shot that Herman was nearing the end of his great career when contracted to do this set with Clooney. So am grateful that Concord took the initiative. If you enjoyed the Ellington/Brewer pairing you'll appreciate this one even more. The band is in fine form reading from excellent arrangements and Rosemary is in great voice also.

Side 1:

01) I Believe In Love

02) Summer Knows

03) The Glory Of Love

04) You're Gonna Hear From Me

Side 2:

01) Don't Let Me Be Lonely Tonight

02) I'm Beginning To See The Light

03) My Buddy

04) You've Made Me So Very Happy

Download

Shorty Rogers & His Giants: Shorty Rogers Plays Richard Rodgers (1957)

A fine middle-register trumpeter whose style seemed to practically define "Cool Jazz", Shorty Rogers was significant for his arranging both in jazz and in the movie studios. After gaining early experience with Will Bradley and Red Norvo and serving in the military Rogers rose to fame as a member of Woody Herman's First and Second Herds (1945-1946 and 1947-1949) and somehow he managed to bring some swing to the Stan Kenton Innovations Orchestra (1950-1951) clearly enjoying writing for the stratospheric flights of Maynard Ferguson. After that association ran its course Rogers settled in Los Angeles where he led his Giants (which ranged from a quintet to a big band) on a series of rewarding West Coast jazz-styled recordings and wrote for the studios helping greatly to bring jazz into the movies. His scores for "The Wild One" and "The Man With the Golden Arm" are particularly memorable. After 1962 Rogers stuck almost exclusively to writing for television and films but in 1982 he began a comeback in jazz. He reorganized and headed the Lighthouse All-Stars and, although his own playing was not quite as strong as previously, he remained a welcome presence both in clubs and recordings.

In 1957 he recorded this classic album for RCA Victor and it ended up featuring some of his finest big band writing of that period. He is joined by a who's who of '50s/'60s West Coast jazz! Conte Candoli and Pete Candoli, Maynard Ferguson and Al Porcino (trumpets), Milt Bernhart and Frank Rosolino (trombones), Sam Rice (tuba), Jack Montrose, Bill Perkins, Bill Holman (tenors), Herb Geller (alto), Pepper Adams (baritone), Red Mitchell (bass), Pete Jolly (piano) and Stan Levy (drums).

Side 1:

01) I've Got Five Dollars

02) Ten Cents A Dance

03) Mountan Greenery

04) A Ship Without Sail

05) Mimi

Side 2:

01) It's Got To Be Love

02) I Could Write A Book

03) The Girl Friend

04) On A Desert Island With Thee

05) Thou Swell

Download

Dean Martin: Live At The Sands Hotel (1964)

This live recording of a performance by Dean Martin at the Sands Hotel in Las Vegas on February 8, 1964, gives a good sense of Martin's stage act at a time just before he made a major comeback on records with the release of his chart-topping hit "Everybody Loves Somebody". That song, in its soon-to-be-written rock 'n' roll-inflected arrangement, is missing from the set which otherwise features some of Martin's biggest hits: "Memories Are Made of This", "That's Amore", and "Volare (Nel Blu Dipinto De Blu)". But the show is not to be understood as a conventional musical set by any means. Since Martin split from comedian Jerry Lewis in 1956 he had been developing an act that incorporated nearly as much comedy as a Martin & Lewis show. As part of the act he played the part of a charming drunk who weaved from song to song often altering the lyrics to create jokes. Numerous songs were begun and never finished as Martin kibbutzed with his piano player and bandleader and harangued the audience. If you attended only one of these performances you might think it was all spontaneous but watching several (or hearing a few of the live recordings that began appearing after Martin's death) demonstrated that the act was performed much the same way time after time. Those special lyrics had been penned for Martin by songwriter Sammy Cahn and drunk as he might have appeared to be his timing was never off and much of the same material was repeated in the same way from one show to another. In other words, the act really was an act. The performance captured here is typical full of bawdy humor and references to Martin's celebrity friends, the songs mostly tossed off. If you want to hear him sing straight, Martin says (as he did often in his shows), buy an album (carefully mispronouncing "album" the same way every time). This is an album too but it is really a record of a unique musical/comedic persona, Martin's most brilliant creation. ~William Ruhlmann

Tracks:
01) Introduction/Medley
02) Memories Are Made Of This
03) That's Amore
04) Monologue
05) June In January
06) You Must Have Been A Beautiful Baby
07) More Laughs With Dean
08) Comedy Medley
09) Dino's 'Pretty Songs' Medley
10) Slow Boat To China
11) Medley
12) Closing Monologue
13) Celebrity Intros
14) Mr Wonderful/ Closing Theme

Download

Percy Faith Orch: Subways Are For Sleeping (1961)

It has been observed that good Broadway scores can go to waste for no better reason than that they were written for shows that failed on other grounds and one may say that of Jule Styne's music to "Subways Are for Sleeping". The show had a book and lyrics by Betty Comden and Adolph Green who had worked with Styne previously on "Two On The Aisle", "Peter Pan", "Bells Are Ringing", "Say, Darling", and "Do Re Mi", all of which, as it turned out, were more successful than "Subways". Columbia Records, contracted to record the original cast album, had a lot riding on the show which was why Percy Faith and Dave Grusin (on the Epic subsidiary) were deputized to record ancillary albums of its music. Faith couldn't have known of course when he spent three days in the recording studio in October 1961 cutting his instrumental versions of a set of typically sprightly Styne tunes, that disaster was ahead. But when the musical, which concerned a bunch of urban oddballs, opened on December 27 it was savaged by the critics. It ended up being most memorable for a publicity stunt in which producer David Merrick rounded up a group of people with the same names as the critics, got them to say positive things about it, and then took out an ad featuring their quotes. The ensuing uproar may have kept it running a few months but it was still a flop. Yet Styne's melodies are as good as ever particularly "When You Help a Friend Out" and "Getting Married", while "Be a Santa" should have gone on to be a seasonal perennial. It's harder to appreciate an album like this when the music is not familiar but there are touches of characteristic Styne all over making this a distinct, if minor, pleasure. ~ All Music

Side 1:
01) Ride Through The Night
02) I'm Just Taking My Time
03) When You Help A Friend Out
04) Who Knows What Might Have Been
05) I Just Can't Wait
06) Getting Married

Side 2:
01) Be A Santa
02) How Can You Describe A Face
03) Comes Once In A Lifetime
04) Now I Have Someone
05) Said It And I'm Glad
06) What Is This Feeling In The Air

Download

Lee Wiley: Night In Manhattan (1951)

When this 10" album was initially issued in 1951, Wiley had already experienced significant success as a traditional pop and torch singer circa the '30s. During this era she was supported by such notables as Jimmy Dorsey, Tommy Dorsey, and the Johnny Green-led Casa Loma Orchestra. Due to its thematic nature this project could rightly be considered as an early "Songbook" or concept album in that it perhaps most accurately exemplifies the moods, sounds and auras of the Big Apple of the '50s after hours. Wiley's unmistakable voice yields a distinct, organic, and otherwise full-bodied timbre. She unleashes varying degrees of that charm bringing to life the classics "Street Of Dreams", "Manhattan", "Any Time, Any Day, Anywhere" and "(I Don't Stand) A Ghost of a Chance" with her trademark sense of a distant and at times flawed vulnerability. Truman Capote, that tiny terror who wore brass knuckles on his tongue was quoted as saying about Wiley that "she never got the credit she deserved". Coming from Capote that was praise indeed.

Side 1:
01) Street Of Dreams
02) A Woman's Intuition
03) Sugar
04) Any Time, Any Day, Anywhere

Side 2:
01) Manhattan
02) I've Got A Crush On You
03) A Ghost Of A Chance
04) Oh! Look At Me Now

Download

Herbie Mann: Latin Mann (1965)

An album of Latin material from Herbie Mann proof that he was equally at home in just about any setting. This was a rare Columbia Records outing from Herbie. It was easily one of his best of the '60s thanks to some really smoking arrangements from Oliver Nelson plus an all-star cast of players that included Carmell Jones, Dave Pike, Jimmy Heath, Patato Valdez, Willie Bobo, Charlie Palmieri and a young Chick Corea. Tracks are short, tight, rhythmic and groovy filled with plenty of soul but featuring some jazzy touches as well. A few familiar tunes but given new treatment by Herbie and Oliver.

Tracks:
01) Let's Boom Chitty Boom
02) What'd I Say
03) Senor Blues
04) Bijou
05) Jungle Fantasy
06) Watermelon Man
07) Interlude
08) The Jive Samba
09) Ave Maria Morena
10) Manteca

Download

Shirley Bassey: This Is My Life (1968)

Found this 1968 vinyl in mint condition a few days ago. Online search convinced me that there are very few copies still offered for sale these days. Some of the tracks have appeared on reissue CD compilations and it appears as a UK two-fer with "Does Anyone Miss Me". But that's not quite the same as this original United Artists release. Producer was Dave Pell and arranger/conductor Sid Feller.

Side 1:
01) Now You Want To Be Loved
02) Goin' Out Of My Head/You Go To My Head
03) Softly As I Leave You
04) A Time For Us
05) The Joker
06) I Must Know

Side 2:
01) This Is My Life [LaVita]
02) Who Am I
03) Funny Girl
04) Sunny
05) I've Been Loved
06) Where Is Tomorrow

Download

Billy Taylor Trio & Quincy Jones: My Fair Lady Loves Jazz (1957)

Recorded at a time when "My Fair Lady" was a big Broadway hit (but a few years before it became a film), this album brings us one of the very best jazz interpretations of the classic score. The focus throughout is on the Billy Taylor Trio (which included bassist Earl May and drummer Ed Thigpen), but Quincy Jones' arrangements for the seven horns are memorable. There is room for short solos from trumpeter Ernie Royal, trombonist Jimmy Cleveland, altoist Anthony Ortega, and baritonist Gerry Mulligan and their presence clearly inspires pianist Taylor to some of his finest playing. Highly recommended. ~ Scott Yanow

Tracks:

01) Show Me

02) I've Grown Accustomed To Her Face

03) With A Little Bit Of Luck

04) The Rain In Spain

05) Get Me To The Church On Time

06) Wouldn't It Be Loverly

07) I Could've Danced All Night

08) On The Street Where You Live

Download

Sue Raney & Bob Florence Group: Ridin' High (1984)

For her second Discovery album, Sue Raney teams with a quartet headed by arranger/pianist Bob Florence. Raney has a marvelous, sparkling voice that she applies to a playlist of both familiar and unfamiliar up-tempo material and ballads. This singer is equipped with outstanding range and excellent diction along with an ability to make subtle adjustments in the spacing and timing of lyrical phrases giving each tune a unique interpretation. With her flexibility and knowledge of the relevant forms of the pop/jazz songbook Raney can go from a tender knowing rendition of the classic "Stardust" to Michael Franks' modern, slightly fantastical "Baseball" and then right over to a lilting "I Let a Song Go Out of My Heart" without losing any vocal credibility. She handles each with equal facility. Raney is fortunate to have high-caliber partners on this undertaking. "Pure Imagination" features Florence's keyboards as he inserts a quote from "Brazil", and the flügelhorn of Carmen Fanzone. The dulcet bass timbre of Bob Magnusson is highlighted on such cuts as "Tea for Two" and especially on "No More Blues". "Ridin' High" is an auspicious follow-up to her maiden album, "Breathless". ~ Dave Nathan

Side 1:

01) How's That For Openers

02) This Happy Madness

03) Stardust

04) Baseball

05) I Let A Song Go Out Of My Heart

Side 2:

01) Pure Imagination

02) Tea For Two

03) Ridin' High

04) Body And Soul

05) No More Blues

Download

Billy May Orchestra: Big Fat Brass (1958)

This is not only Billy May's best album but is also one of the finest if not THE finest brass albums ever made. It also won the 1958 Grammy for best instrumental performance, no mean feat considering the overall excellence of jazz/pop music produced during that period. It is an unconventional, watershed album that solidified May as an arranger of uncommon savvy and sensibilities.

"Big Fat Brass" personnel were the cream of the crop of Hollywood musicians, including the likes of Conrad Gozzo, Si Zentner, Manny Klein and Maynard Ferguson among many others. Fortunately May also utilized his regular superb rhythm section of Paul Smith, piano; Joe Mondragon, bass; Al Hendrickson, guitar; and the always impeccable Alvin Stoller on drums. There was also a percussion section giving added color.

The tunes are uniformly excellent with the rousing "Brassmen's Holiday" starting the proceedings. Also outstanding is the relentless martial beat of "Return Of The Zombie", impressive in its power and swagger and an almost mystical "On A Little Street In Singapore". There is also what I consider THE definitive version of "Invitation" (hear for yourself!). One of my favorites is "Jooms Jooms", a fine showcase for the smooth brass ensemble and May's unstoppable sense of humor. ~ Tad Ulrich

Side 1:

01) Brassmen's Holiday

02) Autumn Leaves

03) Love Is The Thing

04) Ping Pong

05) Moonlight Becomes You

06) Pawn Ticket

Side 2:

01) Solving The Riddle

02) Invitation

03) The Continental

04) Return Of The Zombie

05) On A Little Street In Singapore

06) Jooms Jooms

Download

Duke Ellington & Teresa Brewer: It Don't Mean A Thing (1973)

While Teresa Brewer is not the best singer who ever benefited from Ellington's accompaniment, she is far from the worst. Recorded in September, 1973, this program of all-Ellington
compositions includes some predictable standards, as well as four less well-known songs, two of which had not been recorded before.

In 1972 Ms. Brewer married owner of Flying Dutchman Records, jazz producer Bob Thiele, and immediately expanded her musical horizons. “My daughters introduced me to the new music and my husband taught me to listen to jazz,” she said. Beginning in the 1970s Teresa began a new and prolific recording phase of her career sampling many musical styles -- jazz, rock, pop, country -- and performing with some of the best known and loved musicians in each of these fields.

During the 1970s and 1980s Teresa recorded albums with jazz greats such as Count Basie ("The Songs of Bessie Smith"), Earl "Fatha" Hines ("We Love You, Fats"), Bobby Hackett
("What a Wonderful World"), the World's Greatest Jazz Band ("Good News"), Stephane Grappelli ("On the Road Again"), Slam Stewart and Ruby Braff ("Midnight Café") and more.

When Duke Ellington heard Teresa singing "The Songs of Bessie Smith" he asked her pointblank: "When are we, you and I, going to do an album together?" The result was this one,"It Don't Mean a Thing If It Ain't Got That Swing", the Duke's last recording. Brewer enjoyed singing Ellington's music so much that she recorded and released another set of his songs with Shelly Manne ("A Sophisticated Lady"). Later, with the Duke's son, Mercer, Teresa sang hits of the Cotton Club era on an album titled "The Cotton Connection".

Although Duke's band's decline has begun here, it is still a commanding presence even though much of the attention has shifted to the ageing maestro's piano. We're not treated to one of his masterworks, but this is a novel and entertaining curtain call for a long and distinguished musical career.

Many thanks to Keith Horner for this sharing.

Tracks:

01) It Don't Mean A Thing

02) I Ain't Got Nothin' But The Blues

03) Satin Doll

04) Mood Indigo

05) Don't get Around Much Any More

06) I'm Beginning To See The Light

07) I've Got To Be A Rug Cutter

08) I Got It Bad And That Ain't Good

09) Tulip Or Turnip

10) It's Kind Of Lonesome Out Tonight

11) Poco Mucho

Download

Stan Getz: West Coast Jazz (1955)

I've shied away from Stan Getz in the past because I've always associated him with bossa nova, and I get no listening pleasure from that style whatsoever.

So it was by sheer luck, and my good fortune, that I was driving around a few months ago without a CD searching through the radio looking for something good. I stopped when I heard some swinging jazz coming through a station. Not big band swing but more of a smooth and smoky sound straddling the line between bop and swing without being precisely one or the other. At the end of the track, I was quite surprised to hear the announcer tell me that that was from Stan Getz's "The Steamer". When I got home, I hopped online and sampled more tracks from that album. Good stuff -- so I went out and bought the whole album, and have been loving it ever since. "The Steamer" was good enough that I knew it wouldn't be the last Getz I'd get.

After that I read up a little more on Getz and discovered that there was a lot more to him than "The Girl From Ipanema". Since I had to go to Tower to exchange an unwanted DVD gift I went thumbing through the racks to see if anything jumped out at me. His "West Coast Jazz" caught my eye since it was mid 50's pre-bossa nova. Plus it had covers of Miles Davis's "Four", Dizzie Gillespie's "A Night In Tunisia", and Horace Silver's "Split Kick". Seemed like a no-brainer.

Where have I been? Why has this sax tone been hiding from me? What I heard on "The Steamer" continues here. Sweet without being cloyingly so, cool without sounding pretentious. The trumpet on its own is not that harsh but Getz's tenor sax is so smooth that when the trumpet comes in the contrast is that much more evident in its sharpness. Pick your favorite cliche -- baby's bottom, silk, satin -- Getz is smoother than all of 'em.

And the rest of the band who fills out the quintet is absolutely perfect. It's Conte Candoli's trumpet and Lou Levy's piano that are the other prominent instruments here with the bass and drums holding down the rhythm with consummate professionalism. I don't listen to the Woody Herman Band (maybe I should), but that band's members who appear behind Getz support him perfectly. Nobody's stepping on anybody's toes. With more than half of the songs over six minutes there's plenty of time for charismatic phrasing all around.

No need to go song by song; I've only gone through this a few times, but every track can stand on its own. I've already loaded this into my computer at work so I won't be without it.

The only thing that would make this more complete would be if it were sold with a martini with two olives. ~ Ilooc

Tracks:
01) East Of The Sun
02) Four
03) Suddenly It's Spring
04) A Night In Tunisia
05) Summertime
06) Shine
07) Split Kick

Download

Lennie Niehaus Octets: Zounds! (1954)

Lennie Niehaus recorded 5 LPs for Contemporary Records between 1954 and 1956. I posted Volume 5 on July 9 and this is Volume 2. This one contains two different octet units, both featuring the top West Coast players of the day. Niehaus, a Bird-influenced alto sax player, swings like mad on most of the material here. Five of the album tracks are Niehaus originals: "Figure 8", "Patti-Cake", "Night Life", "Blues for Susie", and "Seaside." On track nos. 1, 5, and 8 there is no piano. Instead a French horn and a tuba complete the octet. Of the 12 tunes only one is a ballad; the rest are all taken at a good clip. Marvelous swinging West Coast sounds.

Tracks:
01) The Sermon
02) How About You
03) Figure 8
04) Patti Cake
05) The Wind And The Rain In Your Hair
06) The Way You Look Tonight
07) Have You Met Miss Jones
08) Four
09) Night Life
10) The Night We Called It A Day
11) Blues For Susie
12) Seaside

Download

Mel Torme & George Shearing: A Vintage Year (1987)

When Mel Torme and George Shearing, friends who recorded together often, performed at the Paul Masson Mountain Winery in 1987, each was at his peak. Torme was then 62 but had never smoked (unusual in this industry) and his voice, mellower and more mature, was even better at 62 than it was at 32. Shearing at 68 was enjoying a renaissance as a jazz pianist making stunning recordings with Carmen McRae, Peggy Lee and Mel Torme among others.

In this vibrant live performance both Torme and Shearing are relaxed more interested in communicating with the audience and each other than in special effects and pyrotechnics. This approach is epitomized in the final track, "Little Man You've Had a Busy Day", an unabashedly sentimental song which could not be farther from the typical wild, grand finale for live CDs -- a song presented softly, quietly, and slowly. Intimacy is the watchword here with Torme and Shearing concentrating on mood, atmosphere, and creative interpretation rather than on showmanship.

This is not to say that the CD lacks showmanship! "Out of this World" begins with a haunting piano solo by Shearing and gains power when Torme enters and sings in dissonance to the piano, more slowly than normal, lush in sound and totally controlled. Shearing solos on "Someday I'll Find You", an unusual, funky track, cheerful and upbeat (written by Noel Coward) -- and in "Anyone Can Whistle/A Tune for Humming", filled with subtle changes in melody and mood. Torme and Shearing engage in delightful, humorous banter in a medley of six songs in "New York, New York" in which Torme leads the audience to expect a Sinatra-style extravaganza through the familiar repeating honky-tonk intro then switches to "Me and My Gal" in the same tempo and key.

With a wonderful balance of songs this album is full of creative jazz interpretations and remarkably little scat. "Since I Fell For You", presented as a funky blues song and the upbeat, syncopated "The Way You Look Tonight", one of the few songs with scat, are standouts. With Torme's beautiful sound and sensitive interpretations this album is an intimate live performance in which two of the greats make some of their most beautiful music together -- and do it in jazz. ~ Mary Whipple

Tracks:
01) Whisper Not/Love Me Or Leave Me
02) Out Of This World
03) Someday I'll Find You
04) The Midnight Sun
05) New York, New York Medley
06) The Folks Who Live On The Hill
07) Bittersweet
08) Since I Fell For You
09) The Way You Look Tonight
10) Anyone Can Whistle/A Tune For Humming
11) When Sunny Gets Blue
12) Little Man You've Had A Busy Day

Download

Billy Byers: Impressions Of Duke Ellington (1962)

On June 7 while commenting on "Solo Spotlight", one of a series of Glen Gray discs sent to me from an Aussie friend of mine, I promised to share another of his contributions, this time a rare out-of-print album featuring a series of Duke Ellington impressions penned by one Billy Byers. My first reaction was "Billy who?" (ignoramus that I be!). But after some probing concluded that I'd probably come across the name in my reading at some time but failed to register it. Was interested to learn that he was quite a prolific arranger especially in the '50s and '60s when he worked for some of the name bands.

Although arthritis forced him to give up playing piano as a teen, he switched to trombone and later played in his Los Angeles hometown with Karl Kiffle's Hollywood Canteen Kids. Following army service in 1944 and 1945 he worked as an arranger and trombonist in the bands of Georgie Auld, Buddy Rich, Benny Goodman, Charlie Ventura, and Teddy Powell in 1949 and 1950. Then he joined the staff of WMGM in New York writing music for radio and television. He did similar duties in Paris for Ray Ventura in the mid-'50s and also recorded a combo album as a bandleader. Byers returned to Europe in the late '50s, playing with Quincy Jones' orchestra, and played for Harold Arlen also from 1959-1960. Byers was Jones' assistant at Mercury Records for five years in the '60s. He did the arrangements for a series of Count Basie albums and it was at this time he recorded these arrangements of Duke Ellington pieces under his own name. Quincy Jones who supervised the album selected Billy Byers because, as he explains: "I knew Billy had as much ability as an orchestrator that he wouldn't have to worry about the technical end of the assignment. He succeeded brilliantly".

Byers later did extensive work as an arranger and conductor on film scores and toured Europe and Japan with Frank Sinatra in 1974.

Side 1:

01) Take The A Train

02) Sophisticated Lady

03) Just Squeeze Me

04) Chelsea Bridge

05) Caravan

Side 2:

01) Mood Indigo

02) I'm Beginning To See The Light

03) Solitude

04) Don't Get Around Much Any More

05) All Too Soon

Download

Anita O'Day: Pick Yourself Up (1956)

This is Anita in her prime because her drug use had not yet affected her voice and her creativity was generally still at its height. The Buddy Bregman Orchestra does most of the backing but there are also a few tracks on which she is joined by a jazz combo.

Now and then I read a review that stands out from some of the others. This is one of them. While it might be short on details, it's long on ideas and being a "cat" person it appealed to me. It's written by Sam Chell.

"I have a cat who runs out to greet me every night, then insists on walking me around the block (more than one neighbor has done a double take after discovering Emmy is not a dog). At bedtime she waits 'til the light's out then shoos my other two cats out of the bed before depositing herself opposite my face exactly an arm's length away. If I try to lessen the space, her paw is immediately on my nose maintaining the crucial distance that marks her difference from her human counterparts.

For anyone who's allergic to cats Anita O'Day has to be the closest surrogate -- more companionable than Andrew Lloyd Weber's version, yet more detached than Peggy Lee's
(thinking of her dubbed voice on "Lady and the Tramp"). In fact, like Peggy Lee -- not to mention Dinah Shore, Doris Day, Rosemary Clooney, Ella, Sarah -- Anita is very much a product of the swing era and the big bands perhaps epitomizing its hot sounds more effectively than any other female singer, most notably on her recorded duet with Roy Eldridge, "Let Me Off Up Town".

But the difference between this survivor and her peers is the unmistakable ethos of "cool" that insures you and Anita will always remain strangers to each other. She purrs "Stars Fall on Alabama" and embraces you with buttery vibrations on "Young Man a Horn", yet she remains as autonomous and inscrutable as the "Sweet Georgia Brown" who appears no less dangerous than Circe or Medusa in Anita's singular portrayal of her (she does so visually in the remarkable film documentary, "Jazz on a Summer's Day"). And when Anita sings "I Won't Dance", you'd better believe it -- don't ask her!"

Tracks:
01) Don't Be That Way
02) Let's Face The Music And Dance
03) I Never Had A Chance
04) Stompin At The Savoy
05) Pick Yourself Up
06) Stars Fell On Alabama
07) Sweet Georgia Brown
08) I Won't Dance
09) Man With A Horn
10) I Used To Be Color Blind
11) There's A Lull In My Life
12) Let's Begin

Download

Lennie Niehaus: Vol 5 - The Sextet (1956)

Though probably not as well known as other West Coast members of the Cool School, ex Stan Kenton star Lennie Niehaus's string of 50s dates for the Contemporary label are gems of compositional and improvisational flair.

This 1956 Sextet session followed various experiments with strings, octets and more conventional lineups. Following Gerry Mulligan's lead Niehaus dispenses with piano relying on lush, complex counterpoint from baritone, tenor, trumpet and his own alto. The sound Niehaus gets from his band is much greater than the sum of its parts, thanks to intelligent, sensitive horn charts that, in true Cool School style, substitute subtlety for bluster.

Niehaus's alto is firmly in post Charlie Parker mode though Parker's urgency is replaced with relaxed behind-the-beat phrasing (reminiscent of Lee Konitz) and a woody almost clarinet-like tone. This combination of languid, expressive playing and agility is best heard on Niehaus originals like "Knee Deep" and "Take It from Me", where his fleet lines suggest a gentle subversion of bop cliché.

A young Jimmy Guiffre is on baritone duty occasionally adding some bluesy grit particularly on "Take it From Me". Here too trumpeter Stu Williamson contributes an agile valve trombone excursion.

Tenorist Bill Perkins is a less memorable soloist (firmly in Lester Young mode), but the supple, translucent ensemble horns are a joy throughout (check the opening to "Three of a Kind" for evidence). Perkins does contribute some lovely flute to "Ill Wind", which features some of Niehaus's finest arranging and soloing.

Longtime Niehaus associate Shelly Manne is his usual quietly inventive self while bassist Buddy Clark is solid and lyrical by turns. An unashamedly enjoyable record and proof that though Niehaus's more recent achievements as favoured composer for his old airforce buddy Clint Eastwood ("Bird, The Unforgiven") have earned him much success, his contribution to Cool School jazz was no less important. Lovely stuff. ~ Peter Marsh (BBC)

Tracks:
01) Thou Swell
02) I Wished On The Moon
03) Knee Deep
04) Fond Memories
05) Take It From Me
06) Belle Of The Ball
07) As Long As I Live
08) Ill Wind
09) Three Of A Kind
10) Elbow Room

Download

Sinatra Sings Rodgers & Hammerstein

"Frank Sinatra Sings Rodgers & Hammerstein" is a 17-track compilation of Rodgers & Hammerstein songs Sinatra recorded for Columbia Records during the '40s. Featuring selections from several of the team's musicals (Oklahoma, South Pacific, The King and I, and Carousel), including "Oh What A Beautiful Morning", "I Whistle A Happy Tune", and "Soliloquy", this disc is intelligently sequenced -- in fact, the compilation plays like it was one of his original concept albums. For fans that don't have any collections of Sinatra's Columbia work, or who don't want to spring for the box sets, "Sings Rodgers & Hammerstein" is an excellent choice. ~ Stephen Thomas Erlewine

Tracks:
01) Oh What A Beautiful Mornin' (with chorus)
02) People Will Say We're In Love
03) Surrey With The fringe On Top
04) Oh What A Beautiful Mornin' (with orch)
05) If I Loved You
06) You'll Never Walk Alone (with Ken Lane Singers)
07) Soliloquy (pts 1&2)
08) It Might As Well Be Spring
09) That's For Me
10) A Fellow Needs A Girl
11) So Far
12) Younger Than Springtime
13) Some Enchanted Evening
14) Bali Ha'i
15) Hello Young Lovers
16) We Kiss In The Shadow
17) I Whistle A Happy Tune

Download

Buddy Bregman Orch: Swinging Kicks (1956)

The music on this album was originally composed by Buddy Bregman for a movie that came out in 1956 called "The Wild Party", a melodrama consisting of stereotypically drug-addicted and drunken jazz musicians hanging out and playing in clubs. The movie was worse than bad, but the music, reworked slightly here, is pretty good. Some of the tunes are episodic and not just background music in the flick. "The Flight" is obviously meant for a chase sequence and "Lost Keys" has an eerie, mysterious quality to it. Ben Webster's presence is a big plus. He's especially good on "Kicks In Love", a pretty ballad on which he plays a duet with pianist Paul Smith. On "Wild Party", a Basie-like tune, Webster comes in near the end blowing with an assurance that immediately comes to dominate the performance. Stan Getz is in the sax section, but he's only heard once taking a half-chorus solo on "Honey Chile". "Kicks Swings" is a handsome up-tempo tune with nice Herb Geller (I think) on alto, and "Melody Lane" is a swinging blues with good Al Hendrickson on guitar. Both "Terror Ride" and "End Of Party" are out-of-tempo compositions that are fairly impressionistic. Maynard Ferguson concludes the latter tune up in the stratosphere on his trumpet. Bregman said that the music he wrote here "is as good jazz as I can write". He's got nothing to be ashamed of and the personnel he assembled are absolutely top-notch. Big band lovers should like this.

Personnel: Conte Candoli, Pete Candoli, Maynard Ferguson, Conrad Gozzo, Ray Linn (trumpets): George Roberts, Milt Bernhart, Frank Rosolino, Lloyd Ulyate (trombones): Herb Geller, Bud Shank (altos): Georgie Auld, Bob Cooper, Ben Webster, Stan Getz (tenors): Jimmy Giuffre (baritone): André Previn, Paul Smith (pianos): Al Hendrickson (guitar): Joe Mondragon (bass): Stan Levey, Alvin Stoller (drums).

Tracks:

01) Wild Party

02) Melody Room

03) Bada Blues

04) Kicks Swings

05) Melody Lane

06) Lost Keys

07) Go Kicks

08) Gage Rips

09) Derek's Blues

10) Milliganville

11) Terror Ride

12) The Flight

13) Tom's Idea

14) Melodyville

15) Honey Chile

16) End Of Party

17) Kicks Is In Love

Download

Vikki Carr: Discovery II (1964)

Vikki Carr never did much business in the singles charts, though she did have one huge international hit, "It Must Be Him", a translation of a French song by Gilbert Becaud. Vikki instead focused on the albums market and recorded a series of outstanding albums in the sixties and seventies before switching to the Latin market where she achieved ever greater success singing in Spanish. Her two albums, "Discovery" and "Discovery II", date from the mid sixties and serve to illustrate Vikki's brilliance.

I'm not sure what the "Discovery" title was meant to signify. Perhaps, despite her success with "It Must Be Him", it was felt that Vikki was still awaiting discovery by the public. Whatever the reason if this album is your introduction to her music, it's a great way to discover Vikki's brilliance. More likely you already have some of her music and you're thinking of adding to your collection. In that case, you won't be disappointed. Vikki's choice of songs, as ever, showcases her powerful but well-controlled voice superbly. Arranger/conductor by the way is the brilliant Bob Florence.

There are other albums by Vikki that contain a higher proportion of famous songs, but maybe that adds further to the appeal of this album. There are so many hidden gems just waiting for your discovery. Maybe that could explain the album title. ~ PD

Tracks:
01) In Love For The Very First Time
02) Cuando Calienta El Sol
03) Like Love
04) My Melancholy Baby
05) When In Rome
06) Invitation
07) Goodbye Charlie
08) Mirror
09) Time After Time
10) Goodbye
11) Better Than Anything
12) No Other Love
13) Granada

Download

Alvino Rey Orchestra: Swingin' Fling

The self-styled "King of the Guitar," swing-era bandleader Alvino Rey pioneered an otherworldly pedal steel sound which later formed the foundation of the space age pop aesthetic. Born Alvin McBurney in Oakland, CA, on July 1, 1911, a decade later he and his family relocated to Cleveland, OH, where as a teen he received a banjo as a birthday gift. He made his professional debut in 1927 as a member of Ev Jones' band and a year later signed on with the Phil Spitalny Orchestra. Eventually switching over to guitar he adopted the name Alvino Rey in 1929 while performing in New York City where Latin music was then at its peak. Stints backing Russ Morgan and Freddy Martin followed and by the mid-30s he was in San Francisco playing with Horace Heidt.

With Heidt, Rey became a star upon adopting the pedal steel. A pioneering force behind the popularity of the amplified guitar, in early 1935 he was even recruited by the Gibson guitar company to develop a prototype pickup. Later modifying his instrument to rechristen it the "console guitar", Rey's innovative chord structures and distinctive sound earned him a major fan following and in 1939 he formed his own band. He and his group which included the Four King Sisters, one of whom -- Luise King -- became his wife in 1937, were soon enlisted to serve as the staff orchestra at the Mutual Broadcasting Radio Network in early 1942 scoring a major hit with their reading of "Deep in the Heart of Texas".

That same year Rey dramatically altered the band's makeup to bring in an enormous brass section with no less than six saxophones. The group's lineup was extraordinary -- members included the likes of Ray Conniff, Neal Hefti, Billy May, Al Cohn and Zoot Sims -- but the 1943 musicians' union's recording ban brought about their swift demise and within months Rey was out of music altogether accepting a mechanic's job with Lockheed Aircraft. In 1944 he joined the U.S. Navy where he was assigned to develop radar systems. After his military stint he formed a new band signing to Capitol Records and notching a handful of minor hits including "Cement Mixer". After this band broke up in 1950 Rey toured with a series of smaller combos frequently appearing with his brother-in-law, Buddy Cole.

Rey also became one of the most influential and distinctive session men of the exotica era, lending his guitar to sessions from Esquivel, George Cates and others. He also teamed with Jack Constanzo and other session aces in the Martin Denny-inspired group The Surfmen. In the mid-1960s Rey joined the ever-expanding King Family group on a television variety show which enjoyed a healthy run of five seasons concurrently producing a series of LPs featuring the program's cast. He also continued performing well into his 80s leading a band that played Disneyland each year from the theme park's opening onward. The swing and exotica stalwart passed away March 2, 2004, at his Salt Lake City home. ~ Jason Ankeny

Tracks:
01) I Love Paris
02) How High The Moon
03) A Swingin' Fling
04) Night Train
05) I Didn't Know About You
06) Isn't It Romantic
07) Speak Low
08) Rock Gently
09) Little White Lies
10) Softly As In A Morning Sunrise
11) Chukkar

Download

Jimmy Smith & Wes Montgomery: The Dynamic Duo (1966)

Creed Taylor matched two of his most famous artists, Wes Montgomery and Jimmy Smith, on this session (Montgomery's last for Verve), and the results are incendiary -- a near-ideal meeting of yin and yang. Smith comes at your throat with his big attacks and blues runs while Montgomery responds with rounder, smoother octaves and single notes that still convey much heat. They are an amazing pair, complementing each other, driving each other, using their bop and blues taproots to fuse together a sound. The romping, aggressive big band charts -- Oliver Nelson at his best -- on "Down by the Riverside" and "Night Train", and the pungently haunting chart for Gary McFarland's "13 (Death March)" still leave plenty of room for the soloists to stretch out. "James and Wes" and "Baby, It's Cold Outside" include drummer Grady Tate and conguero Ray Barretto, with Smith's own feet working the organ pedals. ~ Richard S. Ginell

Tracks:
01) Down By The Riverside
02) Night Train
03) James And Wes
04) 13 (Death March)
05) Baby It's Cold Outside
06) O.G.D. (Road Song)

Download

Diane Schuur: Love Songs (1993)

The jazz content on this CD from singer Diane Schuur is rather slight, but this is actually one of her finest recordings. Schuur who has a lovely voice sings straightforward versions of ten veteran love ballads while accompanied by one of two string orchestras playing arrangements by Jeremy Lubbock. Tom Scott on reeds and trumpeter Jack Sheldon have short spots, but this is very much Schuur's show. She really excels in the restrained setting making this a superior middle-of-the-road pop/jazz recording. ~ Scott Yanow

Tracks:

01) When I Fall In Love

02) Speak Low

03) I Thought About You

04) Prelude To A Kiss

05) Our Love Is Here To Stay
06) You'll See

07) September In The Rain

08) The More I See You

09) Crazy

10) My One And Only Love

Download

Dean Martin & Friends: Forever Cool

This is meant to be just a fun album. Whether it comes across as such is entirely up to you. It's been said that Martin's coolness credentials have never been in question -- hence the title -- whereas just about anyone who would dare breathe in his airspace is relatively uncool by default. But that's just one eyed. The concept of an artificially created duets collection is not new. It's been done before. Capitol Records has followed the usual format here by taking vintage tracks by the late crooner and grafting onto them vocal takes by C&W star Martina McBride, R&B diva Joss Stone, actor Kevin Spacey, instrumental soloists Chris Botti and Dave Koz, Big Bad Voodoo Daddy, Robbie Williams and others. But this is an exercise in audio splicing by the studio and should be appreciated as such.

Tracks:
01) Who's Got The Action [Big Bad Voodoo Daddy]
02) 'Ain't That A Kick In The Head [Kevin Spacey]
03) I've Grown Accustomed To Her Face [Chris Botti]
04) Baby-O [Paris Bennett]
05) Who Was That Lady [Capitol Studio Orch]
06) Please Don't Talk About Me When I'm Gone [Robbie Williams]
07) Can't Believe That You're In Love With Me [Joss Stone]
08) Just In Time [Dave Koz]
09) Baby It's Cold Outside [Martina McBride]
10) King Of The Road [Kevin Spacey]
11) You're Nobody 'Til Somebody Loves You [Big Bad Voodoo Daddy, Shelby Lynne]
12) Arrivederci Roma [Tiziano Ferro]
13) Everybody Loves Somebody [Charles Aznavour]
14) Brahm's Lullaby [Dean Martin]

Download

Miles Davis & Gil Evans: Sketches Of Spain (1960)

Along with "Kind of Blue", "In a Silent Way", and "Round About Midnight", "Sketches of Spain" is one of Miles Davis' most enduring and innovative achievements. Recorded between November 1959 and March 1960 -- after Coltrane and Cannonball Adderley had left the band -- Davis teamed with Canadian arranger Gil Evans for the third time. Davis brought Evans the album's signature piece, "Concierto de Aranjuez", after hearing a classical version of it at bassist Joe Mondragon's house. Evans was as taken with it as Davis was and set about to create an entire album of material around it. The result is a masterpiece of modern art. On the "Concierto", Evans' arrangement provided an orchestra and jazz band -- Paul Chambers, Jimmy Cobb and Elvin Jones -- the opportunity to record a classical work as it was. The piece, with its stunning colors and intricate yet transcendent adagio played by Davis on a flügelhorn with a Harmon mute, is one of the most memorable works to come from popular culture in the 20th century. Davis' control over his instrument is singular and Evans' conducting is flawless. Also notable are "Saeta", with one of the most amazing technical solos of Davis' career and the album's closer, "Solea", which is conceptually a narrative piece based on an Andalusian folk song about a woman who encounters the procession taking Christ to Calvary. She sings the narrative of his passion and the procession -- or parade -- with full brass accompaniment moving along. Cobb and Jones with flamenco style percussion are particularly wonderful here as they allow the orchestra to indulge in the lush and passionate arrangement Evans provided to accompany Davis. "Sketches of Spain" is the most luxuriant and stridently romantic recording Davis ever made. To listen to it now is still a spine-tingling experience as one encounters a multitude of timbres, tonalities and harmonic structures seldom found in this genre called jazz. ~ Thom Jurek

Tracks:
01) Concierto de Aranjuez
02) Will 'O The Wisp
03) The Pan Piper
04) Saeta
05) Solea

Download

Stan Getz & Charlie Byrd: Jazz Samba (1962)

Guitarist Charlie Byrd was invited to travel and play in Brazil during a cultural goodwill tour sponsored by the Kennedy administration in 1961. He was completely enamoured by the music, and when he returned, he headed straight for the recording studio to make the now classic "Jazz Samba".

I just played this album about an hour ago and it still takes my breath away because it is so astonishingly beautiful, melodic, rhythmic and completely original. "Jazz Samba" is firmly ensconced in my own personal Pantheon of the greatest pop/jazz albums ever made. I mean right there with "Sergeant Pepper", "Fanfare for the Common Man", "Graceland", "September of My Years", "Kind of Blue" and Eric Clapton's "Unplugged". No matter what kind of music you dig you are going to love this and the bossa nova form this album put on the contemporary musical roadmap. It is interesting to keep in mind that "Jazz Samba" and the sweet guitar music of Charlie Byrd and rich breathy vibrato of Stan Getz's saxophone caught the public's attention so thoroughly when it was released that it was the No.1 album, across all genres, for several weeks in 1962. So, get set for one of the most memorable musical experiences of your life. You'll be hearing a most unusual marriage of tenor saxophone with acoustic guitar, with the two congenial partners exchanging the most engaging musical conversations imaginable, weaving in and out of each other's solos with immaculate beauty. Let the rhythm of Brazil, the great songwriting of Antonio Carlos Jobim and other bossa nova tunesmiths, and American jazz virtuosity waft thru your home or car stereo and let "Jazz Samba" introduce you to Messrs. Byrd, Getz, Gene Byrd (bass, guitar), Keter Betts (bass), Buddy Deppenschmidt (drums) and Bill Reichenbach (drums). In addition to all of its other attributes this album has an extraordinary intimacy about it; you feel as though you're sitting right in the middle of this small 5-piece band as they trade off solos with each other. Their warm, breezy, haunting musicianship will make you a bossa nova fan for life, and I genuinely believe that you will know that you have experienced an archetype. There are other great, great bossa nova albums from this era, among them "Getz-Gilberto", "Black Orpheus", "Jazz Samba Encore", "Bossa Nova Pelos Passaros", but this is the one that shook the world. Forty plus years later, let it shake yours. Among the great attributes of this album is that it possesses two of the loveliest, most unforgettable songs ever recorded: "Desafinado" and "The One Note Samba," both of which were written by Brazil's great composer, Jobim. This gifted songwriter died in 1994 at the age of 66; Stan Getz died in 1991 at the age of 64; Charlie Byrd died in 1999 at 74. But they live again through this timeless album, which by the way, was recorded in ONE DAY on February 13, 1962, in Pierce Hall at the All Soul's Unitarian Church in Washington, D.C. Once hearing "Jazz Samba", you will agree that this hall was clearly an acoustically warm, perfect venue for making a ground-breaking album. An excellent sanctuary for Stan, Charlie and friends to get together to materialize a music form that was very new to American ears and something that still sounds like a unique type of gospel to me. ~ Tim McCoy

Tracks:
01) Desifinado
02) Samba Dees Days
03) O Pato
04) Samba Triste
05) Samba De Uma Nota So
06) E Luxo So
07) Baia
08) Desifinado (45 Rpm Issue)

Download

Dave Brubeck: Vocal Encounters

The typical jazz fan may not realize that Dave Brubeck has accompanied a number of singers because most of these recordings took place during his tenure with Columbia. This anthology has several tracks which were previously available only on the long out-of-print LP "Summit Sessions". They include the impromptu concert collaboration between Tony Bennett and the Brubeck Quartet on the invigorating "That Old Black Magic". Peter, Paul & Mary join the pianist for "Because All Men Are Brothers" the music for which is adapted from J.S. Bach's "St. Matthew Passion". Two additional numbers appear for the first time on this CD: A plucky performance by Carmen McRae of Brubeck's tricky "It's a Raggy Waltz", and the beautiful voice of Ranny Sinclair on his lovely but infrequently heard ballad "Autumn in Our Town". The remaining tracks have all appeared on individual LPs or CDs. Louis Armstrong is heard on several tracks taken from "The Real Ambassadors". They including "Summer Song" (an overlooked masterpiece), and the humorous "They Say I Look Like God" which Armstrong sang very seriously (not the composer's original intention!). He is joined on this one by Lambert, Hendricks & Ross. Carmen McRae's sassy interpretation of "Travelin' Blues" (a song any musician who's been on the road for an extended period will appreciate) and her playful rendition of "Take Five" are both miniature gems. Jimmy Rushing swings like mad during the upbeat "There'll Be Some Changes Made" and has lots of fun with the loping treatment of "Ain't Misbehavin'." There are lots of great musical moments on this album. ~ Ken Dryden

Tracks:

01) That Old Black Magic [Tony Bennett]

02) Summer Song [Louis Armstrong]

03) My Melancholy Baby [Jimmy Rushing]

04) It's A Raggy Waltz [Carmen McRae]

05) The Real Ambassador [Louis Armstrong/Lambert,Hendricks & Ross]

06) My One Bad Habit [Carmen McRae]

07) Because All Men Are Brothers [Peter, Paul & Mary]

08) There'll Be Some Changes Made [Jimmy Rushing]

09) Weep No More [Carmen McRae]

10) Cultural Exchange [LA/L,H&R]

11) Travelin' Blues [Carmen McRae]

12) Ain't Misbehavin' [Jimmy Rushing]

13) They Say I Look Like God [LA/L,H&R]

14) In The Lurch [Carmen McRae]

15) Autumn In Our Town [Ranny Sinclair]

16) Since Love Had Its Way [Louis Armstrong]

17) Blues In The Dark [Jimmy Rushing]

18) Take Five [Carmen McRae]

Download