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 Into the Rhythm
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1948: Woody Herman - The Road Band 2CD |
Music » Jazz » Swing |
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 Artist: Woody Herman Album: The Road Band 1948 Label: HEP Records HPRC 18 (2 CD Set) Year: 1948, release: 2005 Format, bitrate: mp3@320 kbs Time: 68+67 min Size: 94,72+94,40 MB (with Covers Front/Back HD) AMG Rating :  Woody Herman's Second Herd, which existed from late 1947 through the end of 1949, recorded relatively little due to the Musicians Union recording strike of 1948. Fortunately they were captured on radio broadcasts on a regular basis during 1948. This superior double CD has many of the group's finest radio performances, quite a few of which were put out previously on Hep LPs and sometimes by such labels as Jazz Anthology and First Heard. A much more boppish band than Herman's First Herd, this group (also known as the Four Brothers Band) featured major soloists in tenors Stan Getz (who had the lion's share of the solo space), Zoot Sims, and Al Cohn, baritonist Serge Chaloff, trumpeter Shorty Rogers, and trombonist Earl Swope, with contributions from lead trumpeter Ernie Royal and a rhythm section driven by drummer Don Lamond. In addition, Herman is in fine form on clarinet and alto and Mary Ann McCall takes a few winning vocals (as does the leader). The first 29 selections are from February-March 1948 while the other numbers are from later in the year when such players as trombonist Bill Harris, vibraphonist Terry Gibbs, and bassist-cheerleader Chubby Jackson made the band even stronger. The repertoire includes new pieces, boppish remakes of First Herd hits, and a few standards. Unlike the First Herd, the Second Herd was not a financial success and mostly avoided playing any current pop material and dance music. They were not quite as outwardly joyous, at least not until First Herd alumnus Harris and Jackson rejoined the band, but the Second Herd was one of Herman's most innovative orchestras, featuring inventive arrangements by Ralph Burns, Al Cohn, and Shorty Rogers. This two-fer adds a great deal to the legacy of this classic big band. ~ Scott Yanow, All Music Guide |
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1938-1939: John Kirby And His Orchestra 1938 - 1939 |
Music » Jazz » Swing |
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 Artist: John Kirby And His Orchestra Album: John Kirby And His Orchestra 1938 - 1939 Label: Classics Years: 1938-1939, release: 1994 Quality: MP3@320 kbps Size: 132 mb (sharebee) Total time: 62:48 AMG Rating:  The first of three Classics CDs reissuing all of the John Kirby Sextet's recordings during its prime years (1938-1943) has the group's earliest 22 recordings. Although the first five numbers were originally issued under the name "John Kirby & His Onyx Club Boys," the famous personnel were already in place: bassist Kirby, trumpeter Charlie Shavers (then only 21), altoist Russell Procope, clarinetist Buster Bailey, pianist Billy Kyle, and drummer O'Neil Spencer (who took an occasional vocal). The group's unique cool-toned sound, tricky ensembles, and often atmospheric music definitely stood out during an era dominated by loud big bands. There are quite a few classics on this CD, including "Rehearsin' for a Nervous Breakdown," the original version of Shavers' "Undecided," "Dawn on the Desert," "Royal Garden Blues," and "Nocturne." Highly recommended, as are the two other Classics Kirby discs. ~ Scott Yanow, All Music Guide |
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1956: Paul Whiteman - 50th Anniversary |
Classic Jazz, Stride, Swing, Mainstream |
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 Artist: Paul Whiteman Album: 50th Anniversary 2LP Label: Grand Award Year: 1956 Quality: MP3@320 kbps (LP-rip) Size: 135 + 29,9 mb (sharebee) Total time: 76:21 Påäêèé þáèëåéíûé êîíöåðò çíàìåíèòîãî "Êîðîëÿ äæàçà"! Although Paul Whiteman's first permanent band was organized in 1918, he had had his first musical job back in 1906, and he used the excuse to celebrate his 50th anniversary in 1956. Never mind that Whiteman had been living off his past successes since the early 1940s; the double LP (which contains an excellent booklet) came off quite well. A large orchestra (with only a few surviving Whiteman alumni like trumpeter Charlie Margulis) performs one of the livelier versions of "Rhapsody In Blue," featuring pianist Buddy Weed, plus four shorter numbers, including "When Day Is Done" and "Limehouse Blues," but surprisingly none of the famous Bill Challis charts. There are individual features for former Whiteman stars Joe Venuti, Jimmy Dorsey, Tommy Dorsey (his last recording), Hoagy Carmichael ("Washboard Blues") and a few for Jack Teagarden and Johnny Mercer. The very intriguing (if hard-to-find) twofer concludes with a radio broadcast saved by Whiteman from 1943 that features a reunion by the Rhythm Boys (Bing Crosby, Harry Barris and Al Rinker) during which they sing "Mississippi Mud" with plenty of spirit and humor. Other than a 1960 television show celebrating his 70th birthday (its soundtrack was released by the Sounds Great label), this twofer is Paul Whiteman's swan song, and an excellent way to go out. ~ Scott Yanow, All Music Guide |
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Anita O'Day Sings The Winners |
Music » Jazz » Swing |
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Label - Verve
Years - 1956,1958,1959,1962 (Release 1990)
Genre - Jazz, vocal, swing,bop-modern
Tracks - 19
Total time - 56:37
File - 123 Mb
Ïðåêðàñíûé àëüáîì îäíîé èç ëó÷øèõ ïåâèö äæàçà!
Áèîãðàôèÿ Anita O'Day
Few female singers matched the hard-swinging and equally hard-living Anita O'Day for sheer exuberance and talent in all areas of jazz vocals. Though three or four outshone her in pure quality of voice, her splendid improvising, wide dynamic tone, and innate sense of rhythm made her the most enjoyable singer of the age. O'Day's first appearances in a big band shattered the traditional image of a demure female vocalist by swinging just as hard as the other musicians on the bandstand, best heard on her vocal trading with Roy Eldridge on the Gene Krupa recording "Let Me Off Uptown." After making her solo debut in the mid-'40s, she incorporated bop modernism into her vocals and recorded over a dozen of the best vocal LPs of the era for Verve during the 1950s and '60s. Though hampered during her peak period by heavy drinking and later, drug addiction, she made a comeback and continued singing into the new millennium.
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1949: Artie Shaw And His Orchestra - "1949" |
Swing, Mainstream |
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 Artist: Artie Shaw And His Orchestra Album: "1949" Label: Music Masters Year: 1949, release: 1999 Quality: MP3@320 kbps Size: 124 mb (sharebee) Total time: 56:34 AMG Rating For My Friends! In 1949 the swing era was already in the past and the public's enthusiasm for bebop was quickly receding. No matter, Artie Shaw decided that it was time to put together a modern big band. The venture only lasted three months, but the largely forgotten music that it performed was quite rewarding. This Music Masters CD consists of private recordings of the barely documented orchestra, valuable performances that feature the always-modern clarinetist with an outfit that included trumpeter Don Fagerquist, a great saxophone section with the tenors of Al Cohn and Zoot Sims, and guitarist Jimmy Raney. It is a real pleasure to hear Artie Shaw stretching out in this setting, and a real pity that this band could not have lasted. ~ Scott Yanow, All Music Guide |
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2010: John Pizzarelli - Rockin' In Rhythm: A Duke Ellington Tribute |
Swing, Mainstream, Vocal Jazz |
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 Artist: John Pizzarelli Album: Rockin' In Rhythm: A Duke Ellington Tribute Year: 2010 Label: Telarc Bitrate: VBRkbps / 44.1Khz / Joint-Stereo Total Size: 72.15 MB John Pizzarelli takes so naturally to these Ellington classics that if you didn't know better, you might think they were written for him. Following With a Song in My Heart, the guitarist/vocalist's 2008 tribute to songwriting icon Richard Rodgers, and, prior to that, 2006's Dear Mr. Sinatra, it would seem that Pizzarelli is systematically checking off all of those to whom he feels indebted. And that's a good thing, because his dedication to and understanding of this music is unquestioned. Rockin' in Rhythm doesn't stray all that far stylistically from those previous outings: Pizzarelli isn't out to rewrite history here, just to celebrate a hero. On the zippy opening "In a Mellow Tone," Pizzarelli, his rhythm crew, and his brass section come out swinging. Larry Fuller's mid-song piano solo is brisk and sparkling, and when it gives way to Pizzarelli's guitar-and-scat solo, the transition is smooth and sweet. As always, Pizzarelli's guitar playing is skilled and striking, though nowhere does he let it upstage the tunes that he's here to honor. And although his vocalizing has been described as thin, on easygoing tracks like "Satin Doll" and "I Got It Bad and That Ain't Good" he puts it to fine use, much as Chet Baker did: the emotionalism in his low-key delivery is palpable and Pizzarelli understands that soft and cool fit the bill, so no need to shout. His song choices aren't exactly radical, but neither are they entirely predictable (there's no "Take the 'A' Train," for example). Some tunes, though covered to death, suit the program despite their ubiquity: you can't go wrong with either "East St. Louis Toodle-Oo" or "Don't Get Around Much Anymore," and Pizzarelli fuses them seamlessly into a medley whose arrangement hews closely to the originals while still leaving room for his personalization. Other less celebrated numbers ("Just Squeeze Me," performed solo; "Love Scene") break up the familiarity, and there are several guests joining the proceedings to liven things up -- not surprisingly, dad Bucky Pizzarelli sits in on a few tracks (soloing on "Satin Doll"), and Kurt Elling and (John Pizzarelli's wife) Jessica Molaskey's duet on "Perdido" (with a Gerald Wilson arrangement) makes for a natural pairing that gives the set a welcomed lift midway. And "C Jam Blues," featuring violinist Aaron Weinstein and saxophonist Harry Allen, is a gem. Horn arrangements by Don Sebesky give more than half the tracks a zest that Ellington would certainly have approved of. ~ Jeff Tamarkin, All Music Guide. |
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1943-1947: Stan Getz - Teenage Stan 1943-1947 Complete Edition Vol.1,Vol.2 |
Music » Jazz » Swing |
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 Artist: Stan Getz Album: Teenage Stan 1943-1947 Complete Edition Vol.1,Vol.2 (2CD) Label: Masters of Jazz Year: 1943-1947 Release: 1997,1998 Format: mp3, 320 kb/s Size: 350M (inc. booklet) At the tender ages of 18 and 19-going-on-20, tenor saxophonist Stan Getz was plowing his own furrow in the fertile turf of the postwar jazz scene, developing his own sound while honoring the influence of Lester Young. Vol. 2 in the Masters of Jazz Getz chronology is appropriately entitled Teenage Stan. Rather than including every single Benny Goodman recording on which Getz blew his horn as a member of the Goodman sax section, the producers of this exciting retrospective have selected the sides on which Getz actually soloed. The first five tracks portray Getz as a fine featured horn with Goodman in the Los Angeles area during the first few weeks of 1946. Getz is also heard swinging with West Coast bands led by trumpeter Randy Brooks and tenor saxophonist Vido Musso; sitting in with the second-to-last-ever Blue Rhythm Band in 1947 and jamming on-stage at one of Gene Norman's Just Jazz concerts. Smack in the middle of this invigorating compilation Getz presides at his very first recording date as a leader (see tracks eight through eleven). This Savoy session, which took place in New York on July 31, 1946, involved pianist Hank Jones, bassist Curly Russell and drummer Max Roach; the group was billed both as "the Bebop Boys" and the Stan Getz Quartet. This superb collection is packed with great music and is guaranteed to please anyone who loves big-band swing, vintage bop and formative Stan Getz. Arwulf Arwulf, All Music Guide |
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2006: Bill Harris - Complete Fifties Sessions |
Swing, BeBop |
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 Artist: Bill Harris Album: Complete Fifties Sessions Label:Lone Hill Jazz, Spain (LHJ10252) Year: rec.1946,1952,1957/rel.July 10, 2006 Format: MP3 @ 320 Kb/s Time: 61:10, 61:39 Size: 123, 122 Mb. To my friends in JBC and personality to Mr. lex! Please enjoy this is very nice album.
Bill Harris was one of the few modern trombonists of the 1945-1960 era who was not influenced by J.J. Johnson. A very distinctive player almost from the start with a strong and highly original wit, Harris became a professional musician in 1938, and toured with the big bands of Gene Krupa, Ray McKinley, and Bob Chester. After playing with Benny Goodman (1943-1944) and Charlie Barnet, and guesting on a couple of Eddie Condon's Town Hall concerts, Harris became famous for his work with Woody Herman's First Herd (1944-1946); "Bijou" was a showcase, and the trombonist is heard at his best on Herman's many up-tempo (and often riotous) performances. One of the few First Herd members to also be in the Four Brothers Second Herd (1948-1950), Harris also re-joined Herman a few times during 1956-1959. He co-led a band with Charlie Ventura (1947), teamed up with Chubby Jackson (1953), and was a star with Jazz at the Philharmonic during 1950-1954. During the second half of the 1950s, Harris often collaborated with Flip Phillips, and their band formed the nucleus of Benny Goodman's group in 1959. He mostly retired to Florida, in the 1960s after a spell in Las Vegas, occasionally leading his own groups and playing with Red Norvo. Bill Harris led dates during 1945-1957 for Mercury, EmArcy, Dial, Capitol, Verve, Fantasy, and Mode, usually featuring alumni from the Woody Herman Orchestra. ~ Scott Yanow, All Music Guide.
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1946-1947: Johnny Guarnieri 1946 - 1947 |
Stride, Swing |
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 Artist: Johnny Guarnieri Album: Johnny Guarnieri 1946 - 1947 Label: Classics Years: 1946-1947, release: 1999 Quality: MP3@320 kbps Size: 172 mb Total time: 77:46 AMG Rating: Johnny Guarnieri first attracted attention as a wonderfully facile pianist -- and harpsichordist -- with Artie Shaw's Gramercy Five. He then became the Keynote record label's all-purpose piano man. Classically trained, then strongly influenced at any early age by Fats Waller and James P. Johnson, Guarnieri was a gifted improviser whose bag of tricks was never empty. This disc delivers a deep dose of the pianist's work for the Majestic label. Fresh from many months of active service at Keynote, Johnny sails into "All the Things You Are" almost as if running Jerome Kern through a set of Beethoven variations. The rest of the quartet enters, the song develops into a tidy bounce, and Johnny renders up a majestic unaccompanied finale. "Carioca" is a very cool demonstration of this excellent quartet in ac[center][/center]tion. "Swing for Yourself, John" walks in 4/4, its early modern harmonic runs sounding exactly contemporary for 1946. "My Gal Sal" deliberately references 1890s saloon piano, then chucks it for ultra-modern cool swing, bristling with boppish licks. Eloquently cool, "Temptation" receives an almost film noir treatment, and guitarist Tony Mottola gets most of "Guilty" to himself. Bassist Trigger Alpert is spotlighted on his own invention, "Trigger Fantasy." Accompanied only by his brother Leo and drummer Morey Feld, Johnny demonstrates what Fats Waller might have done with "Flying Home." Waller was undoubtedly on his mind as he launched "Believe It, Beloved" and chased it down with two lovely ballads. Just imagine what kind of four-handed piano records the two men could have made together had Fats lived longer than 39 years. Luckily, Johnny thrived for decades as a living extension of his Harlem stride piano heroes. Sitting in with the Tony Mottola Four, the pianist provided backing for two unnecessarily cutesy vocals by Rosemary Calvin and a bop-flavored feature for the guitar. The rest of this package consists of unaccompanied piano solos. "Nice Work" and "Mean to Me" sound to some extent like the work of Art Tatum. "Exactly Like You" has full-tilt James P. Johnson passages nestled between Tatum-like arpeggios. "Sorry, I Lost My Head" continues this fascinating blend of styles. After a couple of reflective reveries, Johnny bravely sings "Bobo the Bowery Barber" in his thin little voice. He sounds at first a lot like Fats Waller, then mimics Jerry Colonna lampooning Italian opera at the top of his lungs, and finally anticipates the weirdly cornball humor of Lenny Bruce as a homicidal Bobo brandishes his razor! The song ends with a loud, high-pitched scream and maniacal laughter. This side of Guarnieri's personality would surface periodically in the form of strange originals like "Santa Claus Is Smoking Reefers." The rest of the tracks on this album are 110 percent piano. "Plenty of Money" is delightful, "Stardust" and "Smoke Gets in Your Eyes" are ethereal, and "Tiger Rag" clearly references its French quadrille origins, with lovely embellishments similar to what he did with "All the Things You Are" but even more stunning, as this old-time stomp would naturally demand. This, then, is a precious stash of rare recordings by an unjustly neglected master of traditional swing and transitional early modern jazz piano. ~ arwulf arwulf, All Music Guide |
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1937 - 1939: Harry James - Sleepy Time Gal 2CD |
Music » Jazz » Swing |
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 Artist: Harry James Album: Sleepy Time Gal 2CD Label: History Years: 1937 - 1939, release: 1999 Quality: MP3@320 kbps Size: 132+123 mb Total time: 61:59+65:54 SWING! Trumpeter Harry James was very consistent in his musical tastes throughout his career. This CD, which has the first 22 selections that James recorded as a leader, starts off with eight numbers in which the trumpeter (still a Benny Goodman sideman at the time) uses many of Count Basie's top sidemen (including trombonist-arranger Eddie Durham, tenor saxophonist Herschel Evans and singer Helen Humes) for swinging performances highlighted by "Life Goes to a Party" and "One O'Clock Jump"; James' bands (particularly from the 1950s on) would often sound like a duplicate of Basie's. In addition, this CD has four tunes from 1938 in which James mostly uses Goodman players (plus baritonist Harry Carney), and he is also heard on the first six numbers by his big band (including "Two O'Clock Jump" and his earliest recording of his theme "Ciribiribin"). However, the hottest performances are four numbers in which James is backed by a boogie-woogie trio featuring either Pete Johnson or Albert Ammons on piano. This enjoyable CD is full of many examples of James' hot swing trumpet and is easily recommended to swing fans. ~ Scott Yanow, All Music GuideThe second Harry James CD, this set traces the trumpeter's recording career during a six-month period when his big band was struggling financially. It is surprising that James did not catch on immediately, considering how popular he had been with Benny Goodman and since his band at the time was pretty good. Other than the leader, there were no major soloists in the orchestra (altoist Dave Matthews was perhaps best-known), but the arrangements for the instrumentals (including "Indiana," "I Found a New Baby," a surprisingly cooking "Willow Weep for Me" and "Feet Draggin' Blues") were excellent. A little over half of the 23 selections on this reissue have vocals (eight are Frank Sinatra's first appearances on record, including the minor hit "All or Nothing at All"), but the high points are an interesting, unreleased version of "Flash" and "Sleepy Time Gal," which showcases James with just the rhythm section. Recommended for swing fans bored with the usual Harry James greatest-hits sets. ~ Scott Yanow, All Music Guide |
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1958: Benny Goodman - Benny In Brussels, Vol. 1 & Vol. 2 [Live] |
Music » Jazz » Swing |
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![1958: Benny Goodman - Benny In Brussels, Vol. 1 & Vol. 2 [Live]](http://jazzbluesclub.com/uploads/posts/1267200070_cover.jpg) Artist: Benny Goodman Album: Benny In Brussels, Vol. 1 & Vol. 2 Label: Collectables / Columbia Year: 2001 Format, bitrate: MP3@320 kbps Time: 69:09 Size: 165 Mb Benny Goodman was featured leading his orchestra during a week-long series of concerts at the Brussels World Fair in 1958. Extensive recordings were made and some of the highlights appeared on two separate LPs issued by Columbia, the complete contents of which are included on this single-CD compilation. The band is in great form playing material that will be, for the most part, very familiar to longtime Goodman fans. Goodman has a number of features fronting a quintet (which includes pianist Roland Hanna, guitarist Billy Bauer, and bassist Arvell Shaw); among the especially memorable tracks are "Hallelujah" and "More Than You Know." One high point is "Brussels Blues," the crowd-pleasing feature for Jimmy Rushing, which the blues singer composed during this extended engagement; he also thrills the crowd with "Mr. Five by Five," a song written specifically for him. One thing that remains unexplained is Columbia's odd editing, which resulted in different versions of the same material appearing on the mono versus the stereo editions of the original LPs; this CD was evidently produced from the mono master tapes. This thoroughly enjoyable disc should be considered one of Goodman's best releases recorded during the 1950s. ~ Ken Dryden, AMG |
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1961: Jabbo Smith-The Complete Hidden Treasure Sessions |
Music » Jazz » Swing |
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 Artist: Jabbo Smith Album: The Complete Hidden Treasure Sessions Label: Lonehill Jazz LHJ10352 Year: 1961; release: 2008 Format: MP3; bitrate: 320 Size: 165.9 MB
 äàë¸êèå 20å-30å ãîäà ïðîøëîãî âåêà Äæàááî Ñìèò áûë íåâåðîÿòíî çíàìåíèòûì òðóáà÷îì, êîòîðûé óñïåøíî êîíêóðèðîâàë äàæå ñ âåëèêèì Ñàò÷ìî! Äæàááî Ñìèò, âèðòóîçíî âëàäåâøèé âåðõíèì ðåãèñòðîì, âîñïèòàííèê òîãî æå ÷òî è Ëóè èñïðàâèòåëüíîãî äîìà äëÿ öâåòíûõ, ñ íèì Àðìñòðîíãà ñâåëà ñóäüáà âî âðåìÿ ðàáîòû â îðêåñòðå Ôëåò÷åðà Õåíäåðñîíà.Íî ïîñòåïåííî Äæàááî óø¸ë ñ áîëüøîé äæàçîâîé ñöåíû, ðàáîòàë â ïðîâèíöèè, ñ ìàëîèçâåñòíûìè ìóçûêàíòàìè. Åãî çâåçäà ñíîâà çàáëèñòàëà â íà÷àëå 60õ ãîäîâ, êîãäà îí ñíîâà íà÷àë âûñòóïàòü â ïðåñòèæíûõ êîíöåðòàõ è çàïèñûâàòüñÿ íà ïëàñòèíêè.
Jabbo Smith had one of the oddest careers in jazz history. A brilliant trumpeter, Smith had accomplished virtually all of his most significant work by the time he turned 21, yet lived to be 82. He learned to play trumpet at the legendary Jenkins Orphanage in Charleston, and by the time he was 16, Smith showed great promise. During 1925-1928 he was with Charlie Johnson's Paradise Ten, a top New York jazz group that made some classic recordings. Smith was on a recording session with Duke Ellington in 1927 (resulting in a memorable version of "Black and Tan Fantasy") and played in the show Keep Shufflin' with James P. Johnson and Fats Waller. The high points of Smith's career were his 1929 recordings with his Rhythm Aces. These superb performances feature Smith playing with daring, creativity, and a bit of recklessness, displaying an exciting style that hints at Roy Eldridge (who would not burst upon the scene for another six years). But, although Jabbo Smith at the time was considered a close competitor of Louis Armstrong, he had hit his peak. His unreliability, excessive drinking, and unprofessional attitude resulted in lost jobs, missed opportunities, and a steep decline. After playing with one of Claude Hopkins' lesser orchestras during 1936-1938, Smith settled in Milwaukee and became a part-time player. Decades passed, and when he was rediscovered in the 1970s (when he was picked to perform in the musical show One Mo' Time), he was a weak player, a mere shadow of what he could have been. ~ Scott Yanow, All Music Guide |
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1967: Benny Goodman & Paris Listen to the Magic |
Swing, Mainstream |
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 Artist: Benny Goodman Album: Benny Goodman & Paris Listen to the Magic Label: Command/ABC Year: 1967 Quality: MP3@320 kbps Size: 93,3 mb (sharebee) Total time: 42:45 Âûäàþùèéñÿ êëàðíåòèñò èìïðîâèçèðóåò íà òåìû ïîïóëÿðíåéøèõ ìåëîäèé, ñâÿçàííûõ ñ Ôðàíöèåé è Ïàðèæåì! Most reviews of post-war Goodman records are based on the thesis that "things ain't what they used to be". Obviously, at this point in time, Goodman is not the dynamic force or leading figure he was three decades ago so let us just accept Benny's records for what they are. Tese 12 titles are strung together (and how I loathe the now-obligatory 'programme' demanded by LP compilers!) by tenuous links with France, and Benny sounds as if he enjoyed the session. The rhythm section is workmanlike and comprises Goodman's pianist from the 1940 band, Bernie Leighton, bass player George Duvivier, guitarist Attila Zoller (who gets too little solo space for he is a fine musician) arid drummer Joe Marshall, late of Johnny Hodges's little band. On most of the tracks the front line comprises Goodman flanked by Joe Newman and Urbie Green. The recorded sound is quite brilliant with a sense of presence which seems to be part and parcel of the Command label's selling technique. There are a few fluffs here and there during Goodman's own solos but they are usually brought about by Benny's uninhibited approach to the faster tempos. Marshall occasionally lifts the entire group up by its collective boot-straps and the music takes on a purposeful resolution which is exhilarating. Strangely enough the sextet swings hardest on the more unlikely tunes including How Ya Gonna Keep 'Em Down On The Farm and Mimi. The weakest tracks are those on which Benny plays the melody slow and fairly straight but as these tracks ate in the minority the LP may be safely recommended to Goodman collectors and lovers of swing-style small groups. A.M. ~ Gramophone, August 1968 |
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1998: Nadia Salerno-Sonnenberg, Sérgio & Odair Assad - Violin and Guitars |
Music » Jazz » Swing |
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 Artists: Nadia Salerno-Sonnenberg, Sérgio & Odair Assad Label Nonesuch Records Album: Violin and Guitars Genre: Gypsy music arranged and performed by classical musicians Year: 1998 Format MP3@320 Kbps Total time: 49:25 Size: 125 mb In a partnership born of mutual artistic admiration, Nadja Salerno-Sonnenberg and Sérgio and Odair Assad join forces on disc. On their first recording together, the violinist and guitarists explore the rich musical tradition of the Gypsies, which has left its mark on indigenous music from Russia to Spain, and in the process illustrate its infinite adaptability to musical time and place.
Following a joint concert in the early '90s, Salerno-Sonnenberg and Sérgio and Odair Assad eagerly sought another opportunity to make music together. Sérgio Assad had long desired to record an album of Gypsy music; Salerno-Sonnenberg quickly signed on. Repertoire selection happened via fax and jam sessions among the three artists, wedged over time into busy touring schedules. Written and arranged by Sérgio Assad with the exception of one track, the featured works on the recording follow in a tradition that extends back to 19th- and early 20th-century classical music by such composers as Brahms, Liszt, Saint-Saens, and Ravel, who were drawn to the Gypsy idiom. Salerno-Sonnenberg has remarked on their level of difficulty and the care taken to integrate her violin, a much louder instrument than guitar, to achieve the right balance. The album, recorded July 1998 in Aspen, presents music inflected with the accents of the Middle East, Spain, Eastern Europe, and Russia—in a fantasy on the familiar “Dark Eyes.” The adaptation of Gypsy music into jazz form is also evidenced here, with the inclusion of “Nuages,” a tune by the influential jazz guitarist Django Reinhardt, who grew up in a Gypsy camp outside Paris.
Nadja Salerno-Sonnenberg, who began her performance career in 1981, was honored in 1999 with the prestigious Avery Fisher Prize, and also performed at the White House for the Arts & Humanities Awards. Her first recording for Nonesuch, music from the 1947 film Humoresque, was called “stylish from the first note to last" by the New York Times, "a personal triumph and a valuable historical document.”
Described as having a “supple, flawlessly unified sound” by the New York Times, Sérgio and Odair Assad began playing guitar together as young boys, encouraged by their father, a mandolin player. By the time they were teenagers, their prowess brought them to Rio de Janeiro and study with Monina Tavora, a student of Segovia. Nonesuch recording artists since 1985, the Assads have released albums with repertoire ranging from keyboard transcriptions of works by Scarlatti, Couperin, and Bach to the works of Brazilian and Latin American composers like Argentina’s Astor Piazzolla. ~ nonesuch.com |
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1966: Art Van Damme Ensemble - Art And Four Brothers |
Music » Jazz » Swing |
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 Artist - Art Van Damme Album - Art And Four Brothers Year - 1966 Label - MPS Quality - MP3@320 kbps (LP-rip) Size - 60,5 mb Total time - 32:09 REPOST with new links
Art Van Damme, died February 15, 2010, Bright his memory!
In 1965 Van Damme signed with MPS Records of Germany and has recorded 16 albums during that time. He has been voted top jazz accordionist for ten consecutive years in the annual Downbeat poll and for four consecutive years in the annual Contemporary Keyboard poll. His radio and TV appearances, seminars, tours and clinics in the United States and Europe since then number in the hundreds. |
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2008: Classic Columbia, Okeh and Vocalion: Lester Young with Count Basie (1936-1940) |
Swing, Mainstream |
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 Artist: Lester Young, Count Basie Album: Classic Columbia, Okeh and Vocalion: Lester Young with Count Basie (1936-1940) Label: Mosaic Year:rec.Nov 9, 1936-Nov 19, 1940 / rel.2008 Format:MP3 @ 320 Kb/s Time: 59:27, 61:19, 53:59, 68:33 Size: 136 Mb, 141 Mb, 124 Mb, 157 Mb. AMG rating:  To my friends in JBC! Please enjoy.
Lester Young was in some ways the definitive jazz musician. He was the personification of the art of swing and a master of creative ballad interpretation. He was one of the early innovators who laid the groundwork for bop and was the principal, as it were, of the cool school. Most Lester Young collections are well worth investigating, simply because his recorded legacy is filled with exciting and beautiful moments. In 2008 Mosaic brought out a four-CD Lester Young/Count Basie set containing 83 selections recorded between 1936 and 1940 which were originally released on 78 rpm Columbia, Okeh and Vocalion phonograph records. This is by no means a complete chronological survey of every studio session that Pres and Basie participated in during the second half of the '30s. There are a lot of gaps; most conspicuous is the omission of Basie's Decca sessions that took place between 1937 and 1939, important years in the development of Lester Young and the Basie band. Note also that 29 of the 83 titles are additional, sometimes multiple takes. These are heaped together at the end of each CD, with disc three consisting of ten master takes followed by ten alternates. The fourth disc adds the Benny Goodman Sextet session of October 28, 1940 (an informal jam that brought together guitarist Charlie Christian with Lester Young, Buck Clayton, and Count Basie and His Kansas City Rhythm Section) and six peculiarly satisfying sides recorded on June 26, 1939 by electric organist Glenn Hardman and His Hammond Five, a group that contained several of Count Basie's key players, without directly involving Basie at all. This compilation is at once thorough and incomplete, its layout both meticulous and perhaps unevenly constructed, for had they not ladled on the alternates so prodigiously there would have been plenty of room for every single master take from each studio session that Basie and Pres participated in together during this time period, even with 24 months' worth of Deccas left out of the picture. Clearly, the masters and alternates were chosen as glowing examples of inspired collaboration, with plenty of opportunities for careful comparison. By the time this collection was released, buckets of Basie/Young material had been reissued in a wide range of layouts and packaging. Of course a truly comprehensive appreciation of Lester Young's early recorded works would also include the sessions he shared with Teddy Wilson and Billie Holiday, recorded, like everything on this compilation, for Vocalion, Okeh and Columbia. Given the omission of many excellent Basie/Young recordings and the piling on of alternate takes, this Mosaic set would best serve those who already know and love their Pres and would therefore be able to relax and appreciate the way the anthology is put together. If you are convinced that multiple treatments of the same song will make you itchy and uncomfortable, and if the promise of enlightenment fails to persuade you to hunker down and absorb four consecutive versions of ""Riff Interlude"," look elsewhere for sensible editions filled with master takes, under the names Count Basie and Lester Young. ~ by arwulf arwulf, AMG.
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1967: Hymie Shertzer and All the King's Saxes |
Swing, Mainstream |
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 Artists: Hymie Shertzer and All the King's Saxes Album: All the King's Saxes Label: Disneyland Record WDL 3017 Years: MId 1960s Source: Vinyl rip Quality: WAV Size: 204 mb Herman "Hymie" Shertzer, including Hymie Schertzer, (born April 2, 1909 in New York City † March 22, 1977 [2]) was an American alto saxophonist of the swing, known for his time with Benny Goodman.
Shertzer met with 9 years with 16 years of playing violin and saxophone. 1934 to 1938 he played with Benny Goodman, who initially sought only because he also played violin. Also at Carnegie Hall concert, he was there. He was then a year with Tommy Dorsey, again in 1939 with Goodman until 1940, then again at Dorsey returned to Goodman and 1943/44. He then became a studio musician at NBC in New York City. In the film's soundtrack of Benny Goodman Story (1955) he played with it again.
In addition to recordings with Goodman, he recorded in the late 1930s, with Billie Holiday / Teddy Wilson and Lionel Hampton. He also recorded under his own name. For Goodman, he was not even as a soloist (the subject was presented on the alto saxophone Dave Matthews). |
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1979: Count Basie and Orchestra - On The Road |
Swing, Mainstream, Basie Count |
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 Artist: Count Basie and Orchestra Album: On The Road Label: Pablo, Japan (24 bit remastered) Year:rec.Jul 12, 1979 / rel.1980 Format:MP3 @ 320 Kb/s, flac + cue + cover Time: 45:46 Size: 101,4 Mb, 247,9 Mb AMG rating:  To my friends in JBC! Please enjoy.
This release gives one a definitive look at the Count Basie Orchestra during its final years. Trumpeter Pete Minger, trombonist Booty Wood and Eric Dixon on tenor and flute are the main soloists, but it is the classic Basie ensemble sound (which never seems to get dated or lose its charm and power) that carries the day. Whether it is "Wind Machine," "Splanky" or "In a Mellow Tone, " this is a highly enjoyable set. ~ by Scott yanow, AMG.
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2009: Maxim Piganov - What A Wonderful World |
Swing, Mainstream |
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 Artist: Maxim Piganov Album: What A Wonderful World Label: êëóá "Ñîþç Êîìïîçèòîðîâ" Year: 2009; release: 04.02.2008 Format, bitrate: mp3, 320 kbps Time: 32:40 Size: 95.8 mb The name of this unusual ensemble - "Trombone-Shaw" said that the main operational tool will trombone! Íàçâàíèå ýòîãî íåîáû÷íîãî àíñàìáëÿ - "Òðîìáîí-Øîó" ãîâîðèò î òîì, ÷òî ãëàâíûì äåéñòâóþùèì èíñòðóìåíòîì áóäåò òðîìáîí. È íå îäèí, à öåëûõ ÷åòûðå! Ìûñëü ñîçäàòü êîëëåêòèâ ñ êâàðòåòîì òðîìáîíîâ è ðèòì-ñåêöèåé ïðèøëà â ãîëîâó ïîäëèííîìó ìàñòåðó ýòîãî èíñòðóìåíòà, âåäóùåìó äæàçîâîìó òðîìáîíèñòó Ðîññèè, áûâøåìó êàëèíèíãðàäöó, à íûíå ìîñêâè÷ó -Ìàêñèìó Ïèãàíîâó.
 êîíöå ïðîøëîãî âåêà Ì. Ïèãàíîâ ðåøèë èñïûòàòü ñåáÿ íà ðîäèíå äæàçà - â ÑØÀ. Ðóññêèé ìóçûêàíò èãðàë â ìåìîðèàëüíûõ îðêåñòðàõ, íîñÿùèõ èìåíà êîðîëåé ýðû ñâèíãà - Áåííè Ãóäìåíà, Ãëåíà Ìèëëåðà, Ëýñà Áðàóíà, Ãàÿ Ëîìáàðäî, Òîììè Äîðñè, â äæàç-êëóáàõ Äæîðæèè è Þæíîé Êàðîëèíû. |
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1961: Billy Strayhorn - The Peaceful Side Of Jazz |
Stride, Swing, Mainstream |
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 Artist - Billy Strayhorn Album - The Peaceful Side Of Jazz Label - Blue Note Year - 1961, release - 1991 Quality - MP3@320kb/s Size - 74,4mb (sharebee) Total time - 35:03 Ðåäêèé àëüáîì ãåíèàëüíîãî ìóçûêàíòà, êîìïîçèòîðà, àðàíæèðîâùèêà. REPOST by request Ýòîò ìàëîèçâåñòíûé àëüáîì äîâîëüíî ãðóñòíîé ìóçûêè, ôàêòè÷åñêè åäèíñòâåííàÿ çàïèñü Áèëëè Ñòðýéõîðíà, î÷åíü äàë¸êàÿ îò ìèðà Äþêà Ýëëèíãòîíà.  öåíòðå àëüáîìà ôîðòåïèàííîå ñîëî Áèëëè. Âñå ìåëîäèè ïðîíèçàíû ãðóñòüþ è òîëüêî â Just A Sittin' And A-Rockin' ñëûøíû âåñ¸ëûå íîòêè. This is a little-known and rather melancholy set, virtually Billy Strayhorn's only recording away from the world of Duke Ellington. The focus is totally on Strayhorn's piano throughout his interpretations of ten of his compositions (including "Lush Life," "Take the 'A' Train," and "Something to Live For"). Three selections have the Paris Blue Notes adding sparse wordless vocals, two other numbers add some quiet playing by the Paris String Quartet, and bassist Michel Goudret is on five of the ten selections (including one apiece with the strings and the voices). "Strange Feeling" and "Chelsea Bridge" are taken as unaccompanied piano solos. Of the ten songs, only "Just A-Sittin' and A-Rockin'" hints at happiness; otherwise, Strayhorn's melodic and concise playing is quite somber, peaceful in volume but filled with inner tension. ~ Scott Yanow, All Music Guide |
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