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1958/1956: Harry Edison - Swings Buck Clayton (and Vice Versa) bonus tracks Swing, Mainstream
1958/1956:  Harry Edison - Swings Buck Clayton (and Vice Versa) bonus tracks
Artist: Harry Edison
Album: Swings Buck Clayton (and Vice Versa) bonus tracks
Label: American Jazz Classics
Years: 1958/1956; release: 2014
Quality: MP3@320 kbps
Size: 164 mb
Total time: 71:47

This release contains Harry Edison & Buck Clayton's complete album Harry Edison Swings Buck Clayton and Vice Versa (Verve MGVS 6016), featuring both trumpet stars plus Jimmy Forrest on tenor sax. This was the only collaborative small group studio LP ever made by the two trumpet stars, who has spent more than a decade working together in the Count Basie orchestra. As a bonus, the only two alternate takes from the date; a complete session recorded that same year featuring Harry Edison paired with tenor great Coleman Hawkins, and a spirited Newport performance by a Buck Clayton small group also featuring Hawkins. ~
1994: Toots Thielemans - East Coast West Coast Music » Jazz » Fusion » Contemporary Jazz
1994: Toots Thielemans - East Coast West Coast
Artist: Toots Thielemans
Album: East Coast West Coast
Year: 1994
Label: Private Music
Format: mp3, 320 Kbps
Total Time: 54:00
Total Size: 97,60 Mb

The self explanatory title of Toots Thielemans' latest all-star party, East Coast West Coast only hints at part of the intense dichotomy involved. The harmonica master may divide his interplay with New York and L.A.'s greatest jazz stars, but the real difference has nothing to do with musical breeding or geography. It involves tempo. More specifically, when the arrangement is up and lively, Toots and his coasters swing; on ballads, even the strongest of melodic spirit can't save the tedium which results. As on his generally stronger Brazilian projects of late, there are some sporty, inspired moments. Terence Blanchard's trumpet and Joshua Redman's sax take on jet propulsion qualities on Monk and Dizzy and Coltrane covers, and Robben Ford's strings add a touch of rhythmic class to "Take Five." The Paul Desmond gem is also notable for a whimsical tonal dual between Toots and Jerry Goodman's sweeping violin. But bland experiments which waste the likes of Herbie Hancock and vibist Mike Mainieri crash in all too often, leading to all-too-maddening moodswings despite positive intentions. ~ Jonathan Widran, All Music Guide
1956: Dave Brubeck Quartet - February 28, 1958 Niedersachsenhalle, Hannover Music » Jazz » BeBop » Cool
1956: Dave Brubeck Quartet - February 28, 1958 Niedersachsenhalle, Hannover
Artist: Dave Brubeck Quartet
Album: February 28, 1958 Niedersachsenhalle, Hannover 2CD
Label: Moosicus
Year: 1958; release: 2013
Quality: MP3@320 kbps
Size: D1 - 121 mb; CD2 - 109 mb
Total time: D1 - 57:00; CD2 - 51:58
REPOST by request

This concert, recorded by NDR in Hannover on Friday 28th February 1958 captures one of the very first concerts by the classic line-up of the Dave Brubeck quartet: Dave Brubeck, Paul Desmond, Joe Morello, Gene Wright. The four had been sent by the US State department on a tour which started with UK and European dates, and then took them on to Poland, India, Pakistan, Turkey, Afghanistan, Sri Lanka (then called Ceylon), Iran and Iraq.

Other concerts from this tour have already found their way onto CD. Their Berlin concert on the previous Saturday Feb 22nd has been issued by Freshsound, and a subsequent Copenhagen date, March 5 has been realeased by Sony as "The Dave Brubeck Quartet in Europe, 1999, and reissued by 101 distribution in 2009.

This concert was recorded and transmitted by NDR, in whose annals it has special significance: it was the first time their outside broadcast van had ever left the radio station building in Hamburg to record jazz. NDR also note that it is one of the early treasures from more than 2000 live and studio recordings, recorded over sixty years of jazz, which currently 'slumber well-protected' in the broadcaster's vaults.

The things I find myself going back to in this recording are the saxophone solos of Paul Desmond. His tone is deliciously airy, ethereal, and yet there just never seems to be an absent-minded note, you really do get that authoritative Mozart sense, of a composition given to him from on high being transcribed and played. The stop choruses have him flying as free as a bird. And the gorgeous lyrical floatiness of For all We Know is mesmerising stuff, pure genius.

Brubeck is mostly inspirational too, but was having to deal with a very poor piano. On a couple of tracks Someday My Prince and Two Part Contention, it is as if he's deliberately making the point in his solo that life does occasionally hand out a poor set of cards. The sleeve-notes make the point that jazz at the time - one of late Nazi echos - was still seen as music of lower value. The classical concerts in Hannover took place in the fine Stadthalle next door where there would also have been, presumably, a far better instrument for Brubeck to play on.

1950s mono takes some getting used to, but it's worth it, this concert being of more than historical interest. It portrays one of the classic groups in jazz not long after the moment of its formation. The quartet, might, after all, have stayed together for just this tour and gone their separate ways. In the event, they were to prove indivisibly great for more than a decade.
~ Sebastian Scotney,
1950-57: Bob Scobey - The Unheard Bob Scobey & His Frisco Jazz Band Music » Jazz » Traditional Jazz
1950-57: Bob Scobey - The Unheard Bob Scobey & His Frisco Jazz Band
Artist: Bob Scobey
Album: The Unheard Bob Scobey & His Frisco Jazz Band
Label: GHB BCD-285
Year: 1950-57 ; Release:2007
Format, bitrate: MP3 320kbps
Time: 75:35
Size: 70MB

Throughout his prime years, Bob Scobey was one of the more popular trumpeters in Dixieland. After many low-profile jobs in dance bands in the 1930s, in 1938 Scobey met trumpeter Lu Watters. As a member of Watter's Yerba Buena Jazz Band in San Francisco during 1940-1949 (with much of 1942-1946 spent in the military), Scobey participated in one of the most influential bands of the Dixieland revival movement. In 1949 he left to form his own Frisco Jazz Band, recording frequently (most notably for Good Time Jazz), and often featuring Clancy Hayes or appearing with Lizzie Miles. In 1959 Scobey opened his Club Bourbon Street in Chicago but four years later he died at the age of 46 from cancer. Many of Bob Scobey's Good Time Jazz dates have been reissued on CD and they still contain stirring and joyful music.
~ Scott Yanow, All Music Guide
1959: Jack Marshall And His Music - Soundsville! Music » Jazz » Fusion » Crossover Jazz
1959: Jack Marshall And His Music - Soundsville!
Artist: Jack Marshall And His Music
Album: Soundsville!
Label: Capitol Records
Year: 1959
Quality: MP3@320 kbps (LP-rip)
Size: 71,2 mb
Total time: 29:15

The great arranger in one of his grooviest settings a very jazzy album that features trombone from Milt Bernhart and Bob Enevoldsen, guitar from Barney Kessel, percussion from Larry Bunker, drums from Shelly Manne, and trumpe from Don Fagerquist! Marshall leads and whistles in a cool jazzy style and tracks include "Whistlin' Blues", "Should I", and "Hot Sombrero". (A beautiful stereo pressing!)
1996-2015, Dusty Groove, Inc.
1957: Clyde McCoy - Golden Era of the Sugar Blues Music » Jazz » Traditional Jazz » Classic Jazz
1957: Clyde McCoy - Golden Era of the Sugar Blues
Artist: Clyde McCoy
Album:Golden Era of the Sugar Blues
Label: Desighn Records LP DLP-28
Format, bitrate: MP3, 320 kbps
Time: 27:14
Size: 68.2 MB

Kentucky-born wah-wah trumpeter Clyde McCoy was a member of the clan that feuded for decades with the Hatfields. Clyde first played "Sugar Blues" in 1930. He recorded it a year later for COLUMBIA and again in '35 for DECCA. The tune, which was written in 1923 by Lucy Fletcher and Clarence Williams, became his theme. It's a natural to top this album's playlist.

DESIGN Records was a division of PICKWICK, a Long Island, NY-based budget label. This original monaural DESIGN black label LP of CLYDE MCCOY THE GOLDEN ERA OF THE SUGAR BLUES (DLP 28) is from 1957. Their gold label reprocessed stereo reissue (SDLP 28) came out two years later. Both are on inflexible PVC discs. With this older version, more than a little electronic reverb has been added. It's most intrusive on vocals.

These are not Clyde's 1930s sides, but ones made specially for this pressing. Liner notes say that McCoy and his original band perform and there's little doubt it's true. Except for variation in his final trumpet flourish, "Sugar Blues" is a note-for-note replica of the 1935 DECCA recording. Undoubtedy, the other 11 tracks are close facsimiles of their originals.
~ Annie Van Auken,
1975: John Bunch - Johns Bunch (John Bunch Quintet with Al Cohn and Urbie Green) Swing, Mainstream
1975: John Bunch - Johns Bunch (John Bunch Quintet with Al Cohn and Urbie Green)
Artists: John Bunch Quintet with Al Cohn and Urbie Green Quintet
Album: Johns Bunch
Label: Famous Door HL 107
Format mp3, bitrate: 320 kbps (LP-rip)
Time: 31:27
Size: 70,0 mb

A rare set made in 1975 for Harry Lim's Famous Door label, John's Bunch finds veteran swing pianist John Bunch making his debut as a leader. He jams four standards and his own "John's Bunch" and "Cecily" in a quintet with tenor saxophonist Al Cohn, trombonist Urbie Green, bassist Milt Hinton, and drummer Mousie Alexander. It is a rare pleasure getting to hear Urbie Green (normally a studio or mood music musician) in this small-group setting, and his beautiful tone blends in well with the cool tone of Cohn. Recommended. ~ Scott Yanow, All Music Guide
1995: Dick Hyman & Niels-Henning Orsted Pedersen - Elegies, Mostly Music » Jazz » Fusion » Contemporary Jazz
1995: Dick Hyman & Niels-Henning Orsted Pedersen - Elegies, Mostly
Artists: Dick Hyman & Niels-Henning Orsted Pedersen
Album: Elegies, Mostly
Label: Gemini Records
Year: 1995; release: 2001
Quality: MP3@320 kbps
Size: 170 mb

With the phenomenal technique of both Dick Hyman and Niels Pedersen, it's surprising to hear them together in such a low key setting; that doesn't mean that this CD is dull! Hyman was clearly in a reflective mood following his appearance at the Oslo Jazz Festival, though he shows a touch of playfulness during his arrangement of Chopin's "Waltz in C# Minor" and romping take of "Summertime." Pedersen, a veteran who's accompanied many jazz greats (especially Oscar Peterson and Bill Evans), fits Hyman like a glove with his equally impeccable playing. Because it's an import, it takes a little more effort to acquire, but it's worth it. ~ Ken Dryden, All Music Guide
1998: Toots Thielemans - Chez Toots Music » Jazz » Mainstream
1998: Toots Thielemans - Chez Toots
Artist: Toots Thielemans
Album: Chez Toots
Label: Private Music CD 01005-85160-2
Year: 1998
Quality: MP3, 320 kbps
Time: 51:38

On this unusual CD, the remarkable harmonica player Toots Thielemans explores a variety of mostly French melodies. The music is often nostalgic and wistful but generally swinging, with enough different tempos to hold one's interest throughout. The oddest aspect of the set is that there is an overdubbed vocal apiece by Diana Krall ("La Vie en Rose"), Dianne Reeves, Johnny Mathis, Shirley Horn, and a promising newcomer known here only as Chip; Krall, Reeves, and Chip sing in French. Thielemans plays beautifully throughout the relaxed date, which includes "I Wish You Love," "The Windmills of Your Mind," "Once Upon a Summertime," and "Moulin Rouge." Easily recommended. ~ Scott Yanow, All Music Guide
1954-1955: Bobby Scott - The Compositions of Bobby Scott Music » Jazz » BeBop » West Coast Jazz
1954-1955: Bobby Scott - The Compositions of Bobby Scott
Artist: Bobby Scott
Album: The Compositions of Bobby Scott
Label: Bethlehem/Solid
Years: 1954/1955; release: 2012
Quality: MP3@320 kbps
Size: 140 mb
Total time: 45:21

Really wonderful work from pianist Bobby Scott a perfect showcase not just for his young talents as a composer and arranger, but also for a host of key solo performers as well! This full album brings together two previous 10" LP sessions both of them brilliant, and graced by some of the most modern talents Bethlehem Records had to offer which makes for extremely fresh sounds from Scott's wonderful music jazz that's at a level that's really hard to peg neither west coast cool, nor east coast arranged but a really special space of its own! Even when tunes are short, they're full of feeling and really make tremendous use of the individual players who include Hal McKusick on alto, Eddie Bert on trombone, and Ronnie Woellmer on the first session and the amazing Charlie Mariano on alto for the second, sounding incredible here alongside Conte Candoli on trumpet, Bill Holman on tenor, Jimmy Giuffre on baritone, and Frank Rosolino on trombone. Titles include "Moon Tan", "Kwan Youen", "Wigwam", "The Creed", "A Parable", "The Wig", "Count Bill", and "Cerebellum". 1996-2015, Dusty Groove, Inc.
1963: Kenny Burrell Octet - Lotsa Bossa Nova Music » Jazz » Latin » Bossa Nova
1963: Kenny Burrell Octet - Lotsa Bossa Nova
Artist: Kenny Burrell Octet
Album: Lotsa Bossa Nova
Label: Kapp Records
Year: 1963
Quality: MP3@320 kbps (LP-rip)
Size: 68,5 mb
Total time: 28:26
REPOST by request

Bossa nova is a well-known style of Brazilian music developed and popularized in the 1950s and 1960s. A lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s initially among young musicians and college students.Over the years the genre of bossa nova has reached beyond its Brazilian and jazz roots, influencing popular music and other popular rhythms.In 1963, Kenny Burrell recorded his own album in this style. The structure he heads octet-known musicians, Clark Terry, Jerome Richardson and others. In this album, popular jazz standards, for which Kenny Burrell made ​​their own arrangements in bossa nova's style.
2007: SWR Big Band, Max Greger, Paul Kuhn, Hugo Strasser – Best Of Swing Legenden Music » Jazz » Big Band
2007: SWR Big Band, Max Greger, Paul Kuhn, Hugo Strasser – Best Of Swing Legenden
Artists: SWR Big Band with Max Greger, Paul Kuhn, Hugo Strasser, New York Voices
Album: Best Of Swing Legenden
Label: Koch Universal Music
Year: 2007
Quality: MP3@320 kbps
Style: Pop jazz
Size: 155 mb
Total time: 68:08

"SWR Big Band" - originally the "Southern Radio Dance Orchestra", organized in 1951, and was led for many years by Erwin Lehn.

Under the leadership of Max Greger and along with his longtime fellow Paul Kuhn and Hugo Strasser hosted and organized by the Sdwestrundfunk a number of Swing concerts with the SWR Big Band. Add to events that are under the slogan "Swing legends" who "tunes" the great composer of swing music will sound and the visitor put into "Swing Fever".

There is now a high-quality CD "Best of - Swing Legends" These concerts, which brings the emotion and class of the three exceptional musicians and the SWR Big Band to the point. In the recorded music are known titles like "Sentimental Journey," "Blueberry Hill", "Tequila" and others to find. So wonderful melodies that are played even today around the globe.
2012: Wallace Roney - Understanding Music » Jazz » BeBop » Post-bop
2012: Wallace Roney - Understanding
Artist: Wallace Roney
Album: Understanding
Year: 2012; release: 2013
Label: HighNote
Format: mp3, 320 Kbps
Total Time: 58:55
Total Size: 134,20 Mb

Wallace Roney's sixth studio album for High Note, 2013's Understanding, is an expansive, often swinging work that finds the trumpeter digging even deeper into the straight-ahead if no less adventurous sound of his recent releases. These are bluesy, harmonically layered modal songs that bring to mind such touchstones as '70s Woody Shaw and late-'60s Miles Davis. Joining Roney here are saxophonists Arnold Lee and Ben Solomon, pianist Victor Gould, bassist Daryl Johns, and drummer Kush Abadey.
~ Matt Collar, All Music Guide
1933-1936: Red Norvo And His Orchestra 1933-1936 Music » Jazz » Swing
1933-1936: Red Norvo And His Orchestra 1933-1936
Artist: Red Norvo And His Orchestra
Album: Red Norvo And His Orchestra 1933-1936
Label: Classics
Years: 1933-1936; release: 1999
Quality: MP3@320 kbps
Size: 143 mb
Total time: 69:28

Aside from a handful of early pioneers such as Harry A. Yerkes, Charles Hamilton Green, and Jimmy Bertrand, Red Norvo was the first person to regularly play jazz on the xylophone. He also led the way in presenting that kind of music on vibraphone and marimba. This first volume of his complete recordings in chronological order documents Norvo's outstanding experiments in chamber jazz and small group swing during the years 1933-1935. Also covered in detail is the next phase of Norvo's career, as he led a big band either graced with or encumbered by jazz/pop vocalists. The first two sessions, recorded for the Brunswick label during the spring and autumn of 1933, resulted in four pieces unlike anything else being presented to the public at that time. "Knockin' On Wood" and "Hole in the Wall" are zippy features for xylophone with support from clarinetist Jimmy Dorsey and a sympathetic trio of pianist Fulton McGrath, guitar virtuoso Dick McDonough, and bassist Artie Bernstein. "Dance of the Octopus" and Bix Beiderbecke's "In a Mist" are rendered by a quartet that positively glows with the fascinating combination of Norvo's sublime marimba and Benny Goodman's colorful bass clarinet. The Swing Septet sessions of 1934 are remarkable for the combined presence of four men remembered today for having helped to shape the course of musical history by leading their own swing bands during the 1930s and '40s: Teddy Wilson, Artie Shaw, Charlie Barnet, and Red Norvo. The lineup on the following session -- apparently Norvo's only date as a leader during the year 1935 -- is every bit as formidable, as Bunny Berigan and Chu Berry appear alongside Wilson, Bernstein, George Van Eps, and Gene Krupa. These first 12 tracks are worth the price of admission. A 13th selection, "Gramercy Square," is an instrumental sweet serenade with richly rumbling reeds behind the xylophone. Its original flip side, "Decca Stomp," is a smooth but caffeinated foxtrot, correctly appraised in the liner notes as a premonition of what John Kirby's Sextet would be playing by the end of the decade. But something has surely changed -- these sessions from January of 1936 were a turning point as Norvo now began leading a semi-sweet jazz orchestra gilded at first with weirdly chosen vocalists. The trio heard singing "Polly Wolly Doodle" also tried to handle "The Wedding of Jack and Jill" but this is terminally cute stuff, strangely disconcerting after all of the honest jazz heard earlier in the chronology. Things get even more bizarre with Mae Questal -- the original voice of Popeye's Olive Oyl -- squealing and giggling as she sings "The Music Goes 'Round and Around" in her overgrown little girl's voice. This Betty Boop routine actually works better than her attempt at presenting "The Broken Record," a clever song re-creating the exact pace of a skipping 78-rpm platter. While Wingy Manone's rendition of this song is charming [see Classics 828], Questal's alarming hiccup effect is distracting at best. Finally, six melodies recorded in February 1936 and subsequently issued on the Champion label are deadened by trumpeter Stew Pletcher's attempts at romantic vocalizing. If only he'd kept his horn glued to his lips, these would have been pleasant instrumentals, but there's nothing that can be done about it now. ~ arwulf arwulf, All Music Guide
1968: Cannonball Adderley - Accent on Africa Music » Jazz » BeBop » Hard-bop
1968: Cannonball Adderley -  Accent on Africa
Artist: Cannonball Adderley
Album: Accent on Africa
Label: Capitol
Year: 1968
Format, bitrate: Mp3, 320 kBit/s
Time: 31.17
Size: 73.4mb

Though labeled as a Cannonball Adderley Quintet session, this is actually a workout with a percussion section loaded with African drums, a big band, and in spots, voices -- all unidentified. Nevertheless, this is one of the best and most overlooked of the Cannonball Adderley Capitols, a rumbling session that bursts with the joy of working in an unfamiliar yet vital rhythmic context. Cannonball turns in one of his swinging-est solos through a Varitone electronic attachment on Caiphus Semenya's "Gumba Gumba" and "Marabi" is a real hip-jiggler; you can't sit still through it. Other highlights include Cannon preaching blue smoke in his own Afro-Cuban-blues-flavored "Hamba Nami," a dignified trip through Wes Montgomery's "Up and At It," and Nat Adderley's commanding work on cornet at all times.
~ Richard S. Ginell, All Music Guide
1954-1955: Milt Bernhart - The Horns Cool, West Coast Jazz
1954-1955:  Milt Bernhart - The Horns
Artist: Milt Bernhart
Album: The Horns
Label: Fresh Sound Records
Years: 1954-1955; release: 2006
Quality: MP3@320 kbps
Size: 156 mb
Total time: 48:48

Milt Bernhart (1926-2004) grew up as a musician playing in the bands of Boyd Raeburn, Buddy Franklyn, Jimmy James and Teddy Powell. After that peculiar apprenticeship he joined Stan Kenton's band. The years with Kenton boosted Bernhardt to considerable popularity with jazz followers, and his solos won him repeated high placings in Down Beats readers poll. After that, he was a graduate of the Kenton school of higher learning. But, for the most part, musicians are born, not made, and the notes Milt blew, the phrasing and imagination he so vividly demonstrated, could not have been easily picked up in any learned institution. With this particular group, nucleus of the West Coast school of jazz, he contributed more than his share to its new sounds and seemingly fantastic thought processes. This CD includes some of the most inspired trombone playing since the invention of that venerable instrument. ~ Fresh Sound Records
1964: Warren Covington And His Orchestra -‎ Let's Dance Latin Music » Jazz » Big Band

1964: Warren Covington And His Orchestra -‎ Let's Dance Latin
Artist: Warren Covington And His Orchestra
Album: Let's Dance Latin
Label: Decca Records LP DL-4491
Format, bitrate: MP3; 320 kb/s (LP-rip)
Time: 32:34
Size: 78.1MB

Trombonist Warren Covington has been a session musician and performer since the late '30s, as well as an arranger and bandleader. He played with Isham Jones in 1939, then worked with Les Brown and Gene in the mid-'40s before joining CBS's music staff. Covington led The Commanders group in 1946 and 1947. He recorded with Tommy Dorsey's band in 1950, and became its leader after Dorsey died in 1958. Covington toured with the band from 1961 into the '70s, heading it under his name. During the '70s, Covington recorded studio big bands accompanying Charles Mingus, Randy Weston, Bobby Hackett and George Benson, while also playing on various film soundtracks. ~ Ron Wynn, All Music Guide
1929: Red Nichols - Original 1929 Recordings Music » Jazz » Traditional Jazz
1929: Red Nichols - Original 1929 Recordings
Artist: Red Nichols
Album: Original 1929 Recordings
Label: TAX
Year: 1928; release: 1991
Quality: MP3@320 kbps
Size: 146 mb
Total time: 69:28

Jazz legend Red Nichols was perhaps one of the most prolific recording artists in history. In the 1920s alone the cornetist appeared on over 4,000 recordings, working with almost every important musician of his time. Though his style of playing was influenced by Bix Beiderbecke, Nichols was a better, more polished musician. His contribution to the early days of jazz cannot be overstated. Few artists can even come close to equaling his accomplishments. Born in Utah, Nichols studied music under his father, a college music professor, and mastered a variety of instruments, though he favored the cornet. As a teen he attended the Culver Military Academy and played in it's band before being dismissed. Returning home to Utah he worked in various pit orchestras, joining Ray Stilson in 1922. Later that year he left Stilson for a Midwestern ensemble called the Syncopating Five, a seven-piece group which was later billed as the Royal Palms Orchestra, and toured across country with them. In 1923 Nichols settled in New York, where he met trombonist Miff Mole, who became a permanent fixture in Nichol's various groups. Nichols most famously recorded under the name Red Nichols and His Five Pennies, but the same group of musicians also recorded under many different pseudonyms, including the Louisiana Rhythm Kings, the Charleston Seven, the Arkansas Travelers, Miff Mole and His Molers, the Hottentots, and the Red Heads. The list of top musicians who worked with Nichols is long. They include Benny Goodman, Jimmy Dorsey, Tommy Dorsey, Glenn Miller, Jack Teagarden, Pee Wee Russell, Eddie Lang, Joe Venuti, Adrian Rollini, and Gene Krupa. During the 1920s Nichols also led pit orchestras for two George Gershwin Broadway shows, Girl Crazy and Strike Up the Band, and played with a variety of other bandleaders, including Paul Whiteman, Don Vorhees, Cass Hagan, Vincent Lopez, Henry Halstead, Ross Gorman, Harry Reser, and Benny Krueger, as well as with the group the California Ramblers. In the 1930s Nichols formed his own big band, which appeared on both Bob Hope's radio program and the Kellogg College Prom in addition to regular broadcasts from Cleveland's Golden Pheasant restaurant. Vocalists were Frances Stevens, Ernie Mathias, and Tony Sacco. Around 1940 Nichols took advantage of the swing craze and updated his sound, though he still featured a Dixieland base. The new band recorded for Bluebird, with Bill Darnell and Harry Jaeger providing vocals. The orchestra sounded promising when it debuted but soon floundered. By 1941 it featured an entirely new line-up, including a Wee Bonnie Baker sound-alike by the name of Penny Banks. After a few failed dates in Boston, Nichols gave up the band, selling it to Anson Weeks in 1942.
~ Editorial Reviews
1960: Ethel Waters - His Eye Is On The Sparrow Music » Blues » Gospel
1960: Ethel Waters - His Eye Is On The Sparrow
Artist: Ethel Waters
Album: His Eye Is On The Sparrow
Label: Word Records Stereo LP WST-8044
Year: 1960
Format, bitrate: MP3 320KPS
Time: 58:21
Size: 97.3MB

Ethel Waters (October 31, 1896 September 1, 1977) was an American blues, jazz and gospel vocalist and actress. Ethel Waters was born in Chester, Pennsylvania,as a result of her mothers rape at age 13. thel Waters was raised in a violent, impoverished home. She never lived in the same place for more than 15 months. She said of her difficult childhood, I never was a child. I never was cuddled, or liked, or understood by my family. Despite this unpromising start, Waters demonstrated early the love of languagethat so distinguishes her work. ~ From Wikipedia, the free encyclopedia
1967: Carmen McRae - The Sound Of Silince Music » Jazz » Vocal Jazz
1967: Carmen McRae - The Sound Of Silince
Artist: Carmen McRae
Album: The Sound Of Silince
Label: Atlantic
Year: 1967; release: 1968
Quality: MP3@320 kbps (LP-rip)
Size: 83,1 mb

One of Carmen McRae's great 60s albums for Atlantic Records a set that's still strongly jazz-based overall, but which seems to have an extra dose of soul at the bottom! The approach is a bit like the best late 60s sides by Nancy Wilson or Marlena Shaw rooted in jazz, but hipper with some soulful elements in the backdrops penned in this case by Jimmy Jones and Shorty Rogers, both of whom do a great job with the arrangements. The crispness of Carmen's voice works perfectly in the setting and titles include "Watch What Happens", "Sound Of Silence", "MacArthur Park", "Can You Tell", and "Gloomy Sunday".
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