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1969: Harold Betters - On Your Account In Concert Music » Jazz
1969: Harold Betters - On Your Account In Concert
Artist: Harold Betters
Album: On Your Account In Concert
Label: Bettersound Productions
Year: 1969
Format: Flac (Lp-rip)
Time: 64:00
Size: 349 MB

Fine swing and big band trombonist, well schooled in all the tricks of the trade, among them vocal effects, flashy phrasing and rapid-fire lines. He was also an excellent section player, and handled bop as well. Betters recorded a number of albums in the early and mid-'60s, one a surprising two-trombone date with Slide Hampton in 1965.
~ Ron Wynn, All Music Guide
1997: Houston Person & Etta Jones - Christmas with Houston Person & Etta Jones Music » Jazz
1997: Houston Person & Etta Jones - Christmas with Houston Person & Etta Jones
Artist: Houston Person & Etta Jones
Album: Christmas with Houston Person & Etta Jones
Label: 32 Jazz Records (Catalog#: 32034) US
Released: 1997
Format: FLAC, CD- Rip
Time: 48:45
Size: 159MB + 1450MB
AMG rating: 1997: Houston Person & Etta Jones - Christmas with Houston Person & Etta Jones

Tired of those bland Christmas jazz records that fail to capture the emotion and fervor of the season? Looking for an album that puts heart and soul into this momentous holiday? Then look no further than this album by Etta Jones and Houston Person (neither of whom are on all cuts) and other musicians who also not only want to play these songs for their holiday value, but for their musical value as well. With Jones' blues- and R&B-inflected vocal delivery, coupled with the sensuous and passionate sax of Person, this CD turns out to be one of the more attractive jazz Christmas albums extant. Instead of a sugar-coated version of the king of all Christmas pop tunes, "White Christmas," Jones and the trio of Horace Ott, Wilbur Bascomb, and Cecil Brooks III take this tune down a gently swinging lane. Peter Martin Weiss' bass and Stan Hope's piano are featured on "God Rest Ye Merry Gentlemen" and demonstrate that even a religious Christmas carol offers improvisational opportunities without detracting from the carol's solemn message. With Randy Johnson's rangy guitar kicking it off, Jones knocks the stuffings out of "Merry Christmas Baby" with her blues-soaked delivery, as the front line of Bill Easley and Johnny Coles make this a true jazz offering whose theme just happens to be a Yuletide one. But the album's pièce de résistance is Jones' rendition, complete with catch in the voice, of one of the saddest, most forlorn of all Christmas tunes, "I'll Be Home for Christmas" from World War II. This is one of those albums where it's best to listen with heavily spiked egg nog or another favorite alcoholic bracer. ~ Dave Nathan, AMG.
1960: Acker Bilk - The Radio Luxembourg Sessions Vol.8 Music » Jazz » Traditional Jazz
1960: Acker Bilk - The Radio Luxembourg Sessions Vol.8
Artist: Acker Bilk & His Paramount Jazz Band
Album: The Radio Luxembourg Sessions Vol. 8
Label: Vocalion CD CDNJT-5323
Year: 1960
Release: 2013
Format, bitrate: Mp3, 320 kBit/s
Time: 62:54
Size: 59.5 MB

These sessions were recorded for radio broadcast purposes and, as such, not issued commercially. Vocalion presents them on CD for the first time. Acker Bilk & His Paramount Jazz Band (1960) Radio Luxembourg
1988: American Jazz Orchestra - Ellington Masterpieces Music » Jazz » Big Band
1988: American Jazz Orchestra - Ellington Masterpieces
Artist: American Jazz Orchestra
Album: Ellington Masterpieces
Label; Rhino/Atlantic
Year: 1988; release: 2010
Quality: MP3@320 kbps
Size: 126mb
Total time: 56:23

With musicological thoroughness, some crack musicians and the best of intentions, John Lewis leads New York's American Jazz Orchestra in 15 transcriptions from one of Duke Ellington's prime periods (1940-43), plus "Rockin' In Rhythm" from 1930. If you had not heard the originals, you would probably come away from these reinterpretations exhilarated, because the AJO does a scrupulously vigorous job. The soloists occasionally parrot the notes of the original Ellingtonians but are also allowed at other times to go their own way, with tenor saxophonist/orchestra manager Loren Schoenberg taking on the mantle of Ben Webster with a light touch. Lewis himself appears on piano only in "Bojangles" and a freely adapted "Rockin' In Rhythm"; Mel Lewis drives the rhythm section expertly, if more flamboyantly than the style of Duke's Sonny Greer. Besides standards like "Take the 'A' Train," "Warm Valley," "Jack the Bear," "Concerto for Cootie," and "Cotton Tail," there is also room for less-heralded but worthy swingers like the Ellingtonian treatment of "Sidewalks of New York." Still, although it is certainly true that the music is there in the score -- as a visitor to the sessions commented -- the unique timbres and blendings of the Ellington orchestra are elusive as ever, although there are times ("Bojangles") when the spirit almost conjures itself. If a choice has to be made between the originals and these reinterpretations, go with the originals, but the AJO versions aren't a bad second choice at all. ~ Richard S. Ginell, All Music Guide
1985: Chet Baker Trio - Live from the Moonlight Cool, West Coast Jazz
1985: Chet Baker Trio - Live from the Moonlight
Artist: Chet Baker Trio
Album: Live from the Moonlight
Year: 1985
Format, bitrate: Mp3, 320 kBit/s (Lp-rip)
Time: 01:33:15
Size: 239 MB

To 85th Chet Baker Birthday!

A wonderful intimate live performance, incredibly fragile, incredibly understated, at times eerie; the version of "My Funny Valentine" on this album is his spookiest. Recorded in Italy in November 1985 with Michel Graillier on piano and Massimo Moriconi on bass, this continues the drum-less trio performances that had been Baker's preferred line-up during the preceding years.
Baker was not only extremely productive and well-documented in 1985, he was also in great form, as Chet's Choice, Strollin', Candy and this album prove. Even though his repertoire did not change much, the recordings show to what degree Baker reinvented the songs in each performance. Live from the Moonlight was recorded in November and may in all its sadness reflect a grey November day; it is certainly the bleakest, and yet emotionally most engaging of these performances.
2000: Bill Evans - Practice Tape No. 1 Music » Jazz
2000: Bill Evans - Practice Tape No. 1
Artist: Bill Evans
Album: Practice Tape No. 1
Label: E3 Records
Release: 2000
Format, bitrate: Mp3, 320 kBit/s
Time: 01:00:22
Size: 116.27 MB

My first post, of course, it had to be about a genius. I hope it will be a good contribution to this site.

This unusual CD features two undated practice sessions by Bill Evans, which were taped on his reel-to-reel recorder at home, using a rather slow speed of 3.75" per second. Obviously, Evans wanted to work on his technique rather than record for commercial release, though it is odd that his upright piano seems in need of tuning. He is heard conversing with someone (possibly his wife Nenette Evans) on a number of the tracks, and many of the songs are fragments rather than complete takes. A number of Bill Evans works that are heard on this CD are unnamed or were never recorded by the pianist. It is fascinating listening to Evans rehearse originals that he obviously didn't need to practice, such as his "Walkin' Up" and his moving ballad "Turn Out the Stars," while he is noticeably still in the early stages of rehearsing "Fly Me to the Moon" (labeled as "The Moon") when he suddenly stops and segues into "Star Eyes" before reverting to his initial train of thought. His dedication to his classical roots is clear as he runs through several preludes by J. S. Bach and a segment from "The Art of Fugue." The closing medley is most unusual; it runs from Earl Zindars' "Mother of Earl" to his own "Fun Ride" to "Star Eyes" to "Short'n' Bread" to the pianist's "Only Child." In spite of the less-than-high-fidelity sound (which has evidently been vastly improved after extensive engineering work was done on the source material) and the incomplete nature of the songs, Evans' fans will enjoy a rare opportunity to hear a jazz great as he hones his craft away from the concert stage.
~ Ken Dryden, All Music Guide
2011: Trio Shalva - Riding Alone Music » Jazz
2011: Trio Shalva - Riding Alone
Artist: Trio Shalva
Album: Riding Alone
Label: CD Baby
Year: 2011
Format, bitrate: Mp3, 320 kBit/s
Time: 00:55:21 min
Size: 130.01 Mb

All three members of this group originally hail from Israel, but Trio Shalva actually took shape a world away, at the global epicenter of the jazz universe. Pianist Assaf Gleizner, guitarist/bassist Koby Hayon and drummer Nadav Snir-Zelniker were each pursuing their own musical paths in New York when they connected for a gig in 2009, and the musical sparks were quick to fly. Now, two short years later, they arrive with their debut album, filled with worldly music that proudly displays their roots.

While the word "shalva" actually means "serenity" in Hebrew, the music on Riding Alone isn't sleep-inducing sonics for musical simpletons. This threesome tackles originals and reinvents Middle Eastern music of various styles in enthusiastic fashion. "Shir Ahava Bedoui" is born anew with a bouncy groove and funky piano solo, twisted rhythmic turns in the melodic line of "Kvar Avru HaShanim" keep everybody on their toes, and the traded melodic phrases between Gleizner's piano and Hayon's bass keeps things interesting as the odd-metered "Sova" takes off. They even manage to reinvent the Israeli folk song "Erev Shel Shoshanim" as the reinvent themselves, switching instruments to work in a guitar, melodica and frame drum format, but their mid-album performance of "Misirlou," which frees the song from the shackles of surf music serfdom and leaves it to roam in an arid musical desert, may ultimately take the cake.

The majority of this music speaks to the band's geographic origins, but a pair of numbers from Koby Hayon's pen moves beyond these borders. "1-3-4-8" is a lovely waltz that opens with a serenade of cymbals from Zelniker and continues along as a feature for Gleizner, while "Vertigo" begins with abstract tendencies and eventually takes shape around the piano.

Riding alone may be for those seeking road weary solitude, but Riding Alone is all about three like-minded musicians taking a journey together. With only two years behind them, Trio Shalva still has plenty of road to travel together, but their trip is off to a great start with this album.
1962: Keely Smith - What Kind Of Fook Am I? Music » Jazz » Vocal Jazz
1962: Keely Smith - What Kind Of Fook Am I?
Artist: Keely Smith
Album: What Kind Of Fool Am I?
Label: Jasmine Records
Year: 1962; release: 1994
Quality: MP3@320 kbps
Size: 69,8 mb
Total time: 31:25
By request

This CD "What Kind Of Fool Am I" is an album of beautiful ballads, which Keely caresses with her gorgeous voice, "Fly Me To The Moon", "But Beautiful" and "The More I See You" are especially haunting.
Keely Smith's velevety smooth voice, backed by fresh and jazzy arrangements in the tradidion of Nelson Riddle. Smith sings timeless jazz standards such as Gershwin's But Not for Me, with ease and a highly appealing sense of jazz phrasing. Excellent CD, essentail for fans of 60'th jazz vocal albums.
1968: Steve Kuhn Trio - Watch What Happens! Post-bop, Contemporary Jazz
1968: Steve Kuhn Trio - Watch What Happens!
Artist: Steve Kuhn
Album: Watch What Happens!
Label: MPS/BASF Records (Catalog#: CRM 676)
Released: 1971
Format: FLAC, LP-Rip
Time: 35:49
Size: 112MB + 120MB
AMG rating: 1968: Steve Kuhn Trio - Watch What Happens!

Like many pianists, Steve Kuhn seems to put out one quality disc after another but doesn't ever seem to get the attention he deserves. This beautifully recorded studio date from 1968, with bassist Palle Danielsson and drummer Jon Christensen, is a good example. Eschewing the typical easygoing approaches to Michel Legrand's "Watch What Happens," he launches into a very brisk bossa nova arrangement. J.J. Johnson's gorgeous ballad "Lament" was never in better hands as Kuhn delivers a shimmering but poignant performance; the piece segues into Gary McFarland's unjustly neglected "Once We Loved." A mini-medley of Burt Bacharach songs, "Windows of the World" and "Here I Am," with its unusual chanting introduction, has also stood the test of time. Carla Bley's "Ad Infinitum" delves briefly into the avant-garde but quickly reverts to post-bop. ~ by Ken Dryden, AMG.

The perfection and certainty of the Kuhn music are demonstrated by the fact that Steve recorded almost all numbers on this record in one single sweep. ~ Extract taken from Liner Notes by Joachim E. Berendt.
1956: Shorty Rogers And His Giants - Clickin' With Clax Cool, West Coast Jazz
1956: Shorty Rogers And His Giants - Clickin' With Clax
Artist: Shorty Rogers And His Giants
Album: Clickin' With Clax
Label: Atlantic/WEA Jap.
Year: 1956; release: 2014
Quality: MP3@320 kbps
Size: 86,6 mb
Total time: 40:00
Brilliant sound, rip from the new CD!

A gem of a record from Shorty Rogers a set recorded in the mid 50s for Atlantic, but never issued at the time making it not only a hell of an album, but a great discovery too! Shorty's in wonderful form here working with some of the best modes learned on his RCA sides, served up with the tighter focus that we love in his other Atlantic recordings of the 50s and graced with a great group of players who include Herb Geller on alto, Jimmy Giuffre on clarinet and tenor, Bud Shank on alto and baritone, Bill Holman on tenor, Lou Levy on piano, Ralph Pena on bass, and Shelly Manne on drums. With a lineup like that, you can bet things are on the money throughout especially since all tunes are originals by Shorty, with great arrangements that really let all the solo voices come through strongly! Titles include "I Dig Ed", "Adam In New York", "Clickin With Clax", "Put The Goodies On", and "Pete's Meat".
1996-2014, Dusty Groove, Inc.
1960: Sascha Burland & His Orchestra - Swingin' The Jingles Music » Jazz
1960: Sascha Burland & His Orchestra - Swingin' The Jingles
Artist: Sascha Burland & His Orchestra
Album: Swingin' The Jingles
Label: Riverside
Year: 1960
Quality: Flac (Lp-rip)
Time: 32:26
Size: 216 MB

This artist's name shows up in credits as both Granville Burland and Sascha Burland, and as for the music he wrote, it was heard just about anywhere and everywhere in the '50s and '60s. His main interest was jazz, but he did not choose to work only within that genre. He was more of a missionary, almost to the point of being subversive, landing advertising-jingle contracts for which he could bring in swinging players and arrangers such as Quincy Jones, Art Farmer, or the talented jazz singer Osie Johnson, who chimed in for products such as Nestle and Flit.

While participation in such ventures goes largely unacknowledged by the general public, there were also plenty of opportunities for this composer's name to flash across a television screen when it was time for the credits to roll. He wrote the theme for the extremely popular game show What's My Line?, for example. Another of his songs that started out as a commercial for stomach medicine, "No Matter What Shape (Your Stomach Is In)" became a radio hit as well, covered by more than a dozen artists including the Ventures. Other Burland titles emerge on Latin and pure jazz releases as well, his co-writing partners tending to be impressive. "West Coast Blues" is credited to Burland and guitarist Wes Montgomery, neither of whom could apparently come up with a better title. Maybe Burland was saving his creative chops for his partnership with Don Elliot, with whom he created a pair of novelty records originally attributed to the Nutty Squirrels.

Such outbursts of silly behavior seem at odds with certain facts about Burland. He was an ex-Marine whose favorite musicians were technically flashy but by-the-book guitarists, such as Barney Kessel and George Van Eps. Burland entered music as a piano student, eventually studying with Barry Galbraith and finding steady work in both radio and television involving his developing talents in the overlapping areas of production, composing, playing and even singing.

His success is a clear demonstration of the importance of bucking prevailing opinion in the commercial music business at any given time. Burland, of course, was told early and often that there was no place for sophisticated musical ideas in the world of advertising. He proved his doubters wrong, and has come to be considered one of the great pioneers in expanding the audience for jazz, representing progress from the days when his name was more likely to come up in conjunction with indigestion.
~ Eugene Chadbourne, All Music Guide
1963: Joe Bushkin - Joe Bushkin in Concert Town Hall Swing, Mainstream

1963: Joe Bushkin - Joe Bushkin in Concert Town Hall
Artist: Joe Bushkin
Album: Joe Bushkin in Concert Town Hall
Label: Reprise Records/WEA, Jap
Year: 1963, release: 2014
Quality: MP3@320 kbps
Size: 90,4 mb
Total time: 39:16
Brilliant sound, rip from the new CD!

Originally released by Reprise Records in 1963, this live date from pianist Joe Bushkin at Town Hall features nine laid-back interpretations of standards, including "I Can't Get Started," "They Can't Take That Away From Me," "One for My Baby," and "The Song Is Ended." Bushkin is backed by Chuck Wayne on guitar, Milt Hinton on bass, and Ed Shaughnessy on percussion. This disc is recommended more as romantic background music than jazz.
~ Al Campbell, All Music Guide
1977: Lionel Hampton With Milt Buckner And The All-Stars - Alive & Jumping Swing, Mainstream
1977: Lionel Hampton With Milt Buckner And The All-Stars - Alive & Jumping
Artists: Lionel Hampton With Milt Buckner And The All-Stars
Album: Alive & Jumping
Label: MPS/Edel
Year: 1977; release: 2014
Quality: MP3@320 kbps (rip from new CD)
Size: 109 mb (w. scans)
Total time: 46:57

A great revival moment for some older jazz giants all players who really catch fire here in the MPS scene of the 70s! The record features the vibes of Lionel Hampton in the lead (and, if the cover is to be believed, also a bit of drums) and also includes excellent work from Milt Buckner on Hammond (one of his last sessions ever) plus especially strong work from Cat Anderson on trumpet and Eddie Chamblee on tenor both players who really get to step out here a bit at times, and remind us what they can do when they really get a chance to wail! Other players in the small group include Billy Mackel on guitar and Paul Moen on alto and titles include "Midnight Sun", "Avalon", "Funky Mama", and "I'm Confessin" plus the obligatory jam on "Flying Home".
1996-2014, Dusty Groove, Inc.
1976: Tony Rizzi & His Five Guitars Plus Four - Plays Charlie Christian (1976-Milagro) Music » Jazz » Fusion » Contemporary Jazz

1976: Tony Rizzi & His Five Guitars Plus Four - Plays Charlie Christian (1976-Milagro)

Artist: Tony Rizzi & His Five Guitars Plus Four
Album: Plays Charlie Christian
Label: Milagro
Released: 1976
Format: FLAC, LP-Rip
Time: 39:53
Size: 264 mb

Perhaps even more memorable than the music from the many recording sessions he was part of, Hollywood recording studio guitarist Tony Rizzi created something beautiful more than thirty years ago.

Beyond the extreme studio demands for instrument proficiency, sight-reading ability and excellence in the rendering of the composers work, Tony Rizzi was driven further still. It would be over thirty years into his career before his own musical image would be realized. The conception, development and establishment of his vision remain, to this day, a milestone guitar event.
1964: Red Holloway with Brother Jack McDuff Quartet - Cookin' Together Music » Soul » Soul-Jazz
1964: Red Holloway with Brother Jack McDuff Quartet - Cookin' Together
Artist: Red Holloway with Brother Jack McDuff
Album: Cookin' Together
Label: Prestige Records (Catalog#: PR 7325)
Released: 1972
Format: FLAC, LP-Rip
Time: 42:48
Size: 132MB + 139MB
AMG Rating: 1964: Red Holloway with Brother Jack McDuff Quartet - Cookin' Together

For this set, tenor saxophonist Red Holloway, who was a regular member of organist Jack McDuff's group, used McDuff's sidemen (who included guitarist George Benson) and the organist himself. This Prestige date has thus far only been reissued by the OJC series on LP. The material is comprised of Burt Bacharach's "Wives and Lovers," "This Can't Be Love," and five Holloway originals, which have more diversity than one might expect. An interesting aspect to the soulful and swinging set is that McDuff made his debut on piano for two songs.
~ Scott Yanow, All Music Guide

Groovy session that features this star tenorist of the Jack McDuff group as the leader, but which also has the same group backing him up - including McDuff on organ, George Benson on guitar, and Joe Dukes on drums. The set list has a good batch of originals, with the same sort of groove and strong sense of humor as the best McDuff recordings from the time. Tracks include "Brother Red", "No Tears", "Shout Brother", and "Something Funny". Dusty Groove, Inc.
1961: Enoch Light & The Command All Stars-Reeds & Percussion Music » Jazz » Big Band
1961: Enoch Light & The Command All Stars-Reeds & Percussion
Artist: Enoch Light & The Command All Stars
Album: Reeds & Percussion
Label: Command Records Stereo LP RS-820-SD
Year: 1961
Format, bitrate: MP3; 320 kbps (LP-rip)
Time: 31:45
Size: 75.2MB

Enoch Light began as a light classical violinist after graduating from Johns Hopkins University, performing in the US and Europe. After a near-fatal car accident in 1940 and World War II interrupted his classical career, he organized his own dance band, "The Light Brigade," and worked in clubs and hotels around the Northeast, including the Grill Room of the Hotel Taft. It was a conservative band, what was known as a "sweet band," specializing in music for middle-aged dancers. He recorded with this band for RCA and Columbia.

He broke up the band toward the end of the 1940s and went into management, working for several record companies before becoming president of Waldorf Music Hall Records in 1954. He founded his own label, Grand Award, in 1956 and had several successes with Dixieland and honky-tonk piano albums by such anonymous groups as the "Charleston City All-Stars" and "Knuckles O'Toole" (aka Dick Hyman). Grand Award featured some of the ugliest covers and worst presentations ever put out--which was remarkable, considering Light's next venture: Command Records.

Persuasive Percussion cover Light sold Grand Award to ABC Records and formed Command in 1959 with the specific aim of capitalizing on the emerging market of stereo fanatics. He wanted his recordings to take maximum advantage of left-right channelization without stooping to tricks like "ping-pong" effects. He was a meticulous engineer and put as much effort into the quality of his recording equipment and production systems as into the music itself. He tested a number of New York studios before selecting , and he was the first to arrange the musicians to suit the audio effects he wanted to achieve. He devoted a considerable amount of prose to describing the acoustic aspects of each number--to the point that he started a new LP packaging format, the gatefold, to fit it all in. Finally, he set Command LPs apart on the store racks with bold abstract designs, the first few by the artist Josef Albers.

The first Command LP, "Persuasive Percussion," was a huge hit. It was unlike anything before it because its sales came almost exclusively from retail exposure--its numbers received relatively little airplay on the mono AM radio. Joel Whitburn lists "Persuasive" as one of the 25 best-selling albums of the modern era. The comments of Hi Fi magazine's reviewer R.D. Darrell capture the impact of "Persuasive Percussion" on its target audience:

This new label's debut in the audiophile-showpiece stakes certainly lives up to its name with its arresting black-and-white dotted cover and the bold claims of its album notes for the dynamic channel-balancing and transient-response-checking virtues of its contents. And the fancy Lew Davies novelty arrangements not only effectively exploit the extraordinarily (even in these days) wide dynamic frequency range and marked channel differentiations of the recording, but also--with the help of dramatic channel switching--do indeed provide useful and rigorous playback system tests. ... Among these infinite varieties of jingle-jangle, the omnivorous sound fancier will certainly find a few new sonic titillations.(November 1959 issue)
1957/1958: The Dizzy Gillespie Octet - The Greatest Trumpet Of Them All (4 bonus tracks) Music » Jazz » BeBop » Hard-bop
1957/1958: The Dizzy Gillespie Octet - The Greatest Trumpet Of Them All (4 bonus tracks)
Artist: The Dizzy Gillespie Octet
Album: The Greatest Trumpet Of Them All (4 bonus tracks)
Label: American Jazz Classics
Years: 1957/1958; release: 2014
Quality: MP3@320 kbps
Size: 166 mb
Total time: 71:02

This release presents the complete original Dizzy Gillespie LP "The Greatest Trumpet of them All" (Verve MGV-S6117), featuring the brilliant trumpeter in an octet format with such stars as Benny Golson and Gigi Gryce, who were also the arrangers on the date. A very rare 1958 Paris session showcasing Diz in a small group setting with Coleman Hawkins, Stan Getz, Sonny Stitt, and Oscar Peterson has been added here as a bonus. ~ American Jazz Classics
1981: Willis Jackson & Von Freeman - Lockin Horns Music » Soul » Soul-Jazz
1981: Willis Jackson & Von Freeman - Lockin Horns
Artists: Willis Jackson & Von Freeman
Album: Lockin Horns
Label: Muse Records (Catalog#: MR 5200)
Year: 1981
Format: FLAC, LP-Rip
Size: 131MB + 107MB + 4MB
Time: 47:26

******* Re-Post, New links & Extra Scans *******

A Texas tenor takes on one of Chicago's mightiest reedmen! Worth it for the presence of Freeman alone (only a handful of recordings exist of the man), this live date from '78 features Gator and Von fronting a heavy, heavy band with Carl Wilson, Yusef Ali, and Joe(as in "Boogaloo") Jones. Screamin' shouts and bluesy honks drive numbers like "Pow!" and "Troubled Times", while the 2 turn down the flame and burn slowly on ballads like "Shadow of Your Smile". The real highlight, though, is a great take on "The Man I Love", done club-style, using the track as a perfect platform for both players to riff in bop-heavy style!

This album has a somewhat unlikely matchup. While Willis "Gator" Jackson's roots are in honking and screaming R&B, and he later became a top-notch soul-jazz player, Von Freeman's unusual tone and exploratory style resulted in him being associated with the avant-garde and post-bop. However, this encounter works well. With organist Carl Wilson, guitarist Joe "Boogaloo" Jones and drummer Yusef Ali giving strong support, the two tenors challenge each other, romp on "Pow!" and "Willis and Von," and show off their highly original sounds on individual features. Hopefully, this unique set will be reissued on CD.
~ Scott Yanow, AMG.
1947: Claude Thornhill - Piano Reflections Music » Jazz » BeBop » Cool
 1947: Claude Thornhill - Piano Reflections
Artist: Claude Thornhill
Album: Piano Reflections
Label: Columbia
Year: 1947; release: 1949
Quality: MP3@320 kbps
Size: 60,9 mb
Total time: 28:29
By request

PIANO REFLECTIONS - CLAUDE THORNHILL (CL-6035) is a 10" pre-Hi-Fi LP from 1949 that duplicates the contents of a 78 rpm set. Those shellac disc collections are where we get the name "album" from, as the four fragile platters came in a paged book that physically resembled a photo album. Just as we say "dial a number" on dial-less pushbutton phones, the term "album" was passed to first Long Playing records and then to CDs, even though neither format bears any likeness to those first record albums.

In the 1940s, Claude Thornhill led a dance band that featured his unique "tinkling the keys" piano sound. In the 1930s, this former Cincinnati Conservatory student played with Goodman, Miller, Noble, Whiteman and other bands. After organizing an orchestra in '39, Claude had his musicians play without vibrato, a cool sound best appreciated on Thornhill's theme song, an elegant original mood piece called "Snowfall."
1964: Frank Rosolino - Kenton Presents Frank Rosolino Music » Jazz » BeBop » Cool
1964: Frank Rosolino - Kenton Presents Frank Rosolino
Artist: Frank Rosolino
Album: Kenton Presents Frank Rosolino
Label: Capitol
Year: 1954; release: 2001
Quality: MP3@320 kbps
Size: 90.3 mb
Total time: 34:17

One of the first albums ever cut as a leader by trombonist Frank Rosolino a hip set issued under the Stan Kenton Presents banner for Capitol in the mid 50s but done in a smaller combo mode than you'd hear with Stan! The setting provides a great showcase for the emerging solo talents of Rosolino on trombone a player with a soulful swing that get way past his goofy image on the cover and which is set up here in the company of some great collaborators who include Charlie Mariano on alto sax playing so strongly, the album might well include him as a co-leader plus piano from either Claud Williamson or Pete Jolly, trumpet from Sam Noto, bass from Max Bennett or Curtis Counce, and drums from Mel Lewis or Stan Levey. There's not only a lot of Kenton influence in the players, but a lot of Bethlehem Records styles as well a reference that definitely shapes the sound of this set, and makes it a strong one for any fan of 50s work on that label or Mode Records as well. Titles are a mix of standards and originals and include "Ragamuffin", "Linda", "Carioca", "Besame Mucho", "Yo Yo", and "Freckles".
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