title: Nice

text: If i had a dollar for how many times I have played this cd and how many times I have asked Alexa to play it, I would be rich. Love this singer along with the Black Pumas. Finding a lot of new music that I like a lot on amazon. Try new things.


title: Excellent

text: awesome sound - cant wait to see them in person - always miss them when they are in town !


title: Great service

text: This is a great cd. Good music and plays well. Seller responded back very quicky and  received it within 3 days


title: No good

text: These are not real German singers, they have accents. It is nothing what they advertised it. Music stinks.


title: Cool concept, so-so execution...

text: I first heard this playing in a Nagoya shop and fell in love with the remix of Ke$ha's "Tik Tok" (Ke$ha and Lady Gaga are EVERYWHERE in Japan), which then morphed into several other recent pop hits. When the salesgirl handed me the CD, I was pleased to see that it actually included thirty pop songs by the likes of Lady Gaga, Usher, La Roux, Katy Perry, Black-Eyed Peas, Ke$ha, etc. I researched more after I got home, and discovered that this Japanese label (Manhattan Records) exists solely to put out rerecorded and remixed dance CDs based on recent pop hits, the key word being rerecorded. I guessed as much as I was listening to the CD in-store; several of the soundalikes do a great job, others are just so-so. It's great for workouts, though, since the tracks fade one into another with no downtime (the bad side is that if you've got in in shuffle, the beginning of the next song, which is often in a different key, is kind of an awkward fade-out when not played in sequence).


title: "L'attaque des clones" a satisfying taste of things to come.

text:
I just saw "Star Wars: L'attaque des clones" last night (in Ste-Foy, Québec) at a sold-out show (it was playing in English at the theatre next door but I opted for the French version instead). First of all, the theatre itself was an experience: an immense screen that looked as large as an IMAX screen, intense surround THX sound, and the digital picture (even at that size) was amazingly crisp, the colours vibrant, and the sound effects were ear-splitting and exhilarating (especially the moments of silence that preceded the sonic depth charge explosions!)
I have seen the other four Star Wars movies but avoided reading publicity and reviews for "Attack of the Clones" in order to enjoy every moment without worrying over a particular critic's faults with the film. This film is much darker than "The Phantom Menace" could have ever aspired to be. Lucas has moved from stilted, juvenile scriptwriting on "TPM" to (still) stilted, mythological, more adult scriptwriting on "Attack of the Clones." Here we see Anakin as a headstrong, angry, frequently obnoxious young adult who loves backtalking, disobeying orders, and getting his way--a most dangerous thing when you are destined to become the most powerful Jedi of all time.
The dialogue is very politically minded (I had to wonder at the "separatist" politics of the film, being in Québec) and the romance scenes feel wooden and awkward, but Natalie Portman and Hayden Christensen definitely have onscreen chemistry. (I have since read that Hayden purposely would flash a thumbs-up at the end of his takes so Lucas would have to reshoot the kissing scenes...I did get a laugh out of that.)
Jar Jar Binks has (thankfully) been reduced to a few mere minutes of screentime, in which he manages to be (awkwardly) regal and somewhat less annoying that in Episode I. My favourite part of the "Star Wars" universe has always been the astonishing variety of aliens and alien languages...when I was a kid I wanted to be the one that came up with all the cool sounding languages spoken in the film (I still do as a matter of fact).
As usual, Natalie Portman's costumes are to die for, incorporating Asian and European fashion influences while still managing to be gracefully fresh and exotic. Only one I could have done without was the black leather getup ---elbow-high leather gloves and a black leather bustier, yet she's telling Anakin she's not interested in a romantic relationship...riiiight (Curiously enough, Anakin wears black leather as well...and if you listen carefully you can hear a whole lot of leather creaking onscreen). Portman certainly runs around baring her abs-of-steel midriff for much of the film (along with being very braless in a very tight white jumpsuit, which I found tasteless and unnecessary...I mean, the costumers spent the last film and part of this one coming up with these gorgeous gowns and now they're raiding Lara Croft's closet?)
The CGI imagery was breathtaking, especially the chase through Coruscant, the clone army and all of the alien landscapes. John Williams' score incorporates themes from all of the previous "Star Wars" soundtracks, including the addition of a new love theme, "Across the Stars." The fight scenes were white-knuckle intense and had me on the edge of my seat. The battle scene with all of the Jedis of all different species was *awesome,* as was Mace Windu's (Samuel L. Jackson) purple lightsaber...a first in "Star Wars" history. And Yoda: we finally see him in action and understand why he is the greatest living Jedi. Another first: Yoda is completely computer-animated, and is extremely lifelike.
The French translation of the film was almost an exact translation from the English...I actually found that some of the dialogue flowed more smoothly in French. Understanding some of the alien accents (especially the metallic robot ones) was a bit of a challenge for me, but it adds to the fun.
Lucas has effectively planted the seeds for the next and final chapter in the "Star Wars" saga, redeeming himself from the sometimes mediocre acting, wooden dialogue and annoying creatures from "The Phantom Menace".
Episode II is full of treachery, death, assassination attempts, massacres, and battles between good and evil where right and wrong are sometimes obscured. Unlike Jake Lloyd, the child actor who played Anakin in "The Phantom Menace," in Hayden we see Anakin torn between his inner feelings and his obligations as a Jedi...his romance with Padmé, the (implied) massacre of the Tusken camp, and his defiance, all pointing to his shift to the Dark Side of the Force.
The film is rated PG, but it does contain some very intense moments: onscreen kissing and sexual tension of sorts, a decapitation, mutilation, creepy space caterpillars, a gladiator-style execution arena, a massacre and other intense battle scenes and that might be disturbing to younger children. But overall it is a very worthy addition to the "Star Wars" universe. Can't wait until Episode III!


title: Ronnie Dunn like I've never heard before!

text: This is without a doubt my favorite CD, and I may be close to wearing it out before the end of the month  LOL  Personally, I never looked at the song list, just popped it in the player and let 'er rip.  I sat back and was just amazed at the choices Ronnie made to put on this CD.  Highly recommend it to any fan of his.  And if you're not, try it, you will be !!!!!


title: A true classic seventies rock album

text: Sounds great


title: A great collection of music

text: This disk is fantastic I wanted the record but recieved a couple bad ones so I purchased this i was not disappointed


title: Excellent musical experience

text: This is a fantastic collection of music superb musicians all Mark Soklin keyboards, Paul Soclow bass, Romero Lubambo guitar, Duduka Fonesca drums, Claudio Roditi trumpet, on Sonhos a previous reviewer  said  musicians were not listed on the CD these people inspire me to play they are all amazing  I am a guitarist and listen to lots of music but this record is spectacular


title: confusing two separate CDs

text: There are two separate CDs one is called sand in the vasaline one is called popular favorites that is disc two although disc two actually lists all the tracks from sand in the vasaline it is a separate disc


title: Great co to buy from and i am picky

text: It exceeds my expectations I wish all retailers where as great as  mayan


title: Astounding!

text: astoundingly beautiful, haunting, moving Chorale !!


title: Five Stars

text: Fabulous Cd well worth purchasing...


title: AM Gold the late "60's

text: Very Good CD All the original songs not redone love this CD!  Well Reccomended!!! A lot of these songs I grew up with!


title: when a man loves a woman

text: Great cd and what's nice its all of the original artists. I f you  lived during this era you will love this!


title: Elvis' 1963 studio LP wasn't lost, it was maimed!

text: With movies taking over Elvis' post-army career, their soundtracks, naturally, became the main focus of his album release schedule.  The annual barrage of soundtrack LPs and EPs would yield enough space for just one new studio LP and one or two singles per year in his busy release schedule.  "Elvis is Back!" (1960), "Something for Everybody" (1961), "Pot Luck" (1962), plus the "His Hand in Mine" gospel album (released at Christmas, 1960 and a steady catalog seller), were all well received best-sellers.  So, when Elvis entered RCA's Studio B in Nashville in May of 1963, it was expected by fans to be for the purpose of recording a new non-movie LP to follow up the previous year's "Pot Luck with Elvis" album.  The big summer '63 single (Devil in Disguise) whet the fanbase appetite for a new studio LP, and then ... a Greatest Hits set (Elvis' Golden Records, Volume 3) was issued, followed by yet another soundtrack album ("Fun in Acapulco").  The recordings that made up what came to be known as "The Lost Album" would be sliced and diced and served up as various singles A-sides and B-sides, EP filler ("Tickle Me"), soundtrack album 'bonus songs,' and patched together album fodder ("Elvis for Everyone!") over the following five years.  And it's a plain shame, because it didn't have to be that way.  "Golden Records Volume 3" could've / should've been held back for summer '64 release since RCA didn't see fit to issue a "Viva Las Vegas!" soundtrack album, despite the runaway success of the movie, leaving a wide-open space in the summer '64 schedule -- the perfect slot for "Golden Records Volume 3."  After "Kissin' Cousins" (March '64) another new Elvis LP wouldn't turn up until the "Roustabout" soundtrack was released in late November.  A more than worthy follow-up to the Top 5 success of "Pot Luck," the so-called Lost Album would have met with great success in 1963, a time when Elvis' recording career momentum could surely have used a boost.  Sales of the recent "It Happened at the World's Fair" soundtrack had been tepid, by Elvis' standards.  More importantly, 'Lost' was / is a fine stand-alone album.  As was the ongoing pattern, 15 songs had been recorded: Two singles A-sides (Devil in Disguise and the planned, but ultimately unissued single Memphis, Tennessee), an immediate B-side for 'Devil' (Please Don't Drag That String Around), and a twelve-track LP deftly mixing pop, rock, love ballads, and hints of Elvis' blues and country roots.  Some 60 years down the line, it still adds up to a wonderfully eclectic collection from the guy who once said, "I sing all kinds," and he was neither boasting nor kidding.  Four shining stars and definitely recommended.


title: Clapper's look back at the big ones is meant to accompany his autobiography

text: Import version, basically the same as the domestic release but featuring a better cover (imho).  Released originally to accompany / capitalize on the release of his autobiography. And in that sense, it's all good, I suppose, although this material has been collected and re-collected numerous times. But if you're looking to have just one Eric Clapton retrospective in your collection, this just may be the one for you.  Disc One covers the various group and early solo years.  Disc Two centers in on the Warner Brothers releases.  And not surprisingly, the first disc is the really interesting one for classic rockers.  The second cd has a lot of big singles and radio hits; for the most part, however, they're not as strong as the savage young Eric.  Five stars for the casual fan, four stars for the rest of us.  Definitely recommended.


title: CSN's last best shining moment

text: Daylight Again began as a duo project for Stephen Stills and Graham Nash, as David Crosby was in the throes of his legendary and debilitating drug addiction.  Atlantic Records passed on the duo concept and suggested that Stills and Nash should somehow work Croz into the project.  It was the group's last best hope.  Sales for the CSN trio's third LP together would surely outpace a SN duo release.  They did, and it did, and all was well, for a while anyway.  The album produced a pair of genuine hit singles (Nash's Wasted on the Way, Stills' Southern Cross) that pushed it up into the top ten charts and on to platinum sales certification.  The Cali soft-rock sound that stoked the album was right in the pocket for the times, and the Crosby contributions (Delta, Might as Well Have a Good Time) felt right in the mix, never mind that Art Garfunkel and Timothy B. Schmidt were all over the vocal harmonies throughout the project.  It was the last time an original CSN collection would be so well received.  Four stars from me and highly recommended.


title: No Robbie, but immensely entertaining Band in concert

text: What would the Band be like without Robbie Robertson?  People wanted to know back in the early '80s.  Well, if Live in Tokyo 1983 is any indication, they'd have been a kick-butt Americana outfit that still had a whole lotta life left in them.  Playing with the Cate Brothers Band, the Band mixed classic rock covers alongside familiar J.R. Robertson written favorites to create a wildly entertaining setlist that aimed to -- and succeeded at -- pleasing their decades long followers.  Levon Helm, Richard Manuel, Garth Hudson, Rick Danko.  They never rested on their laurels; along with the Cate Brothers, they give it their all.  If you can find this two-disc set at a reasonable price, and you were ever a big Band fan, don't hesitate.  Buy it, you won't be disappointed.


title: Eric Andersen's follow-up to The Street Was Always There

text: The follow-up to his "The Street Was Always There" collection, and basically, it's more of the same.  A journeyman's collection of folk and folk-rock covers (mostly) delivered in Andersen's smooth, thoughtful style.  If you were a fan of 'Street,' then "Waves" will be right in your wheelhouse.  Three-and-one-half stars and a mildly enthusiastic recommendation from this longtime fan.  I much prefer him in singer / songwriter mode rather than as an interpreter of other writers' works.


title: The great, lost Brigati Brothers album

text: Eddie and David Brigati's lost masterpiece.  Why hasn't this classic Rascals side-bar story been reissued on CD?  It's easily the equal of "Felix Cavaliere" / "Destiny," and far outshines "Treasure." That something as good as this remains unattainable in today's music marketplace is positively mindboggling.  I bought the LP back in 1976 (and I still own and play it!) after hearing the title track played by the late, great Scott "Scotso" Muni on the late, lamented WNEW-FM 102.7, where rock lived in those days.  While it was the title track that drew me in at first, the entire album grabbed hold of my musical soul and has never let go -- some 46 years on.  It's that good, yes!  C'mon, Rhino, this one's right in your Rascals lovin' wheelhouse.  Make "Lost in The Wilderness" available for people to fall in love with again -- or for the very first time.  Thanks for all the great music, Eddie & Dave, I highly recommend this one to everyone who loves music made with genuine care and feeling.  Prepare to be moved!


title: Yet another spotty Chicago retrospective

text: Another Chicago retrospective, this time an import.  Trouble is the same as ever.  The Columbia recordings far outshine the Warners years, leaving their '80s output seeming incredibly limp and middle-of-the-road.  Once they were an adventurous and risk-taking creative juggernaut embraced by both the AM-radio singles market and the FM-classic rock format.  By the '80s, however,  Chicago had devolved into an Adult Contemporary radio power ballad machine, becoming bland, less significant, and ever more meaningless with each new release.  Compilations such as this one drive that sad fact home all too often.  Three stars for the Columbia output featured.  Minus two stars for the mindless power ballad inclusions.


title: Lu runs down some choice Petty / Heartbreakers tracks

text: As a rule I tend to really enjoy covers discs.  Not this go 'round.  Does neither Tom Petty nor Lucinda Williams justice.  A good idea on paper, maybe, but poorly executed.  Sorry, but this completely misses Petty's much loved, much missed rock 'n' roll heart.  Recommended for diehard Lu fans.  Most Petty fans, like me, will find it lacking.


title: Southside's Mercury Years recaptured, remastered

text: This three-disc import mini-box makes the near-perfect companion to the two-disc "The Fever The Remastered Epic Recordings" compilation (2017).  Following hot on the heels of the band's masterwork (1978's "Hearts of Stone"), the first Mercury album ("The Jukes") may have seemed kind of hit-and-miss upon release, but it opens on a high note with a pair of near-classics (All I Want is Everything, I'm So Anxious) and closes with a stirring standout (Vertigo); the songwriting (mostly by Billy Rush) is never less than interesting.  The follow-up ("Love Is a Sacrifice") upped the ante even further with the emergence of Rush and Southside (John Lyon) as production partners.  In addition to the classic title track, the album contains what would become live Jukes concert staples (Love When It's Strong, Restless Heart, On the Beach), as well as the band's most beautiful, if heart-wrenching ballad (It Hurts).  The third and final Mercury release ("Reach Up And Touch The Sky") was originally a two-LP live set.  Here, it's all on one disc and it still kills: Hits, misses, and covers, all pushed along by Southside's vocals, the great core band, and those hot Jukes horns, 'til everyone goes home sweaty, smiling and happy.  The original outer LP artwork is replicated for each of the three discs, with the rest contained within the mini-box's booklet, along with credits, Malcolm Dome's interesting and informative notes, and single picture sleeve replicas.  The Mercury Years is a must-have for long-time Jukes fans ... like yours truly.


title: Cool Listen

text: A fun listen!  Although out of date and overpriced on Amazon, really enjoyed Travolta's singing and many of the lyrics were interesting and useful.  Road to Freedom and Way to Happiness were quite useful to me.  Music a bit out dated, would love to hear it rerecorded.  Recommended.


title: Love the music

text: Arrived quickly, good price


title: A moving account of finding strength and direction in God

text:
This is a remarkable book filled with great moments showing how God uses His strength and power for our welfare and to further His divine purpose.

I enjoyed the honesty, integrity, fortitude, he showed in his response to life circumstances. Dr. Stanley’s young life, upbringing, dreams, goals, and aspirations are also nicely highlighted. I appreciate how He interacts with others, those standing with him, and those who choose to go against him.

Life was not sweet or kind every day, so we see Dr. Stanley develop strength, grit, and determination.
Life kept knocking him down, as a child and tried again later in his life, so we see him learn to stand his ground, lean on God, listen for inspired directions, and stand firm in His faith.

Dr. Stanley comes off as a interesting man, with a true and strong heart for God. This is a soothing and moving book to read. This book has lots of great examples of how to walk an enlightened path of faith, and it is A book that I highly recommend.


title: Five Stars

text: Great CD


title: We'll see how they like it.

text: This is for my husband's 50th high school reunion. We'll see how they like it.


title: Five Stars

text: My niece loved it for her 21st birthday!!!!!!


title: Needed

text: Nice


title: How did I not know about this album before?

text: I miss Dana Key. I’ve had most of his D&K music and “the Journey” for years and never even knew he had another solo project. I ran across this album on YouTube and went looking for the CD - found it used and cheap on Amazon. Glad I did - this is good listening.


title: Excellent CD.

text: I love this CD.  It’s been a long time since I have found a CD I love. Ed Sheeran has different kinds of music on the same CD.  His style varies and makes it so interesting.  I am a middle aged woman and I am obsessed with Ed Sheeran’s music.


title: Five Stars

text: Great deal, sounds terrific. Fast shipping


title: It’s wonderful, wonderful.

text: Mostly old standards with some new ones, very pleased with this album.


title: At the control room, good music.

text: Not perfect but a really good album worth while having.

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title: So Great!

text: I love this... It was signed by the entire group. I love the music and book.


title: Elvis is King!

text: I collect the Elvis Legacy CD's and this has got to be one of his best. I love how Sony/ Legacy does these CD's with the booklets and artwork. The price is very reasonable also!


title: Five Stars

text: Good price, quick ship. Thanks!


title: A great production. I loved it

text: A great production. I loved it. It is great for kids to listen too and make the scenes come alive in their head. Great alternative to TV.


title: Not happy

text: Package was fine Item case came broken and it was suppose to be a gift.


title: Gray tunes to bring peace and civility in a chaotic world.

text: There’s nothing to dislike. Great music to unwind and sing along with the lyrics and/or tunes of the hymns of the Christian faith.


title: Brought back great memories

text: If you know this song, you MUST have a copy. Excellent cd; great band. Will bring back wonderful memories.


title: Fantastic volcalist

text: Peter Hollens is a truly fantastic vocalist. The singers he has accompanying him on several tracks are also great. The album contains a nice selection of his work.


title: enjoyable as background OR foreground music

text:
howdy y'all,

i use this for background music when i am reading. it's quite nifty as foreground music, too! [*grin*] if you like harpsichord music, you will likely enjoy this.

take care,
lee


title: Five Stars

text: PERFECT


title: Great

text: Glad to hear his other music beside the one or two they used to play on the radio back then.


title: Great to See other songs

text: I only new him by just one songs.  The man put out a lot of great ones and glad I brought the cd.


title: Good Comedy

text: I am used to Redd Foxx when had a red vinyl  This is mostly his stand up comedy at night clubs


title: Quick shipping!

text: Great music


title: Beth is as Good As It Gets

text: The finest voice I know. As usual her band is tight and the music is perfection! She has the chops!


title: Five Stars

text: love the eagles


title: Great oldie cd

text: When music was really good, and you could sing along with no swearing words. The good Ole days


title: Love his music

text: Relaxing music


title: Two sessions live at Persian Room in the Plaza Hotel in NYC on September 9, 1958 plus bonus tracks

text:
This is a two-disc set that contains bonus tracks. Refer to my comment to this review for tracks.

DISC ONE:  The musicians on the first four tracks were not aware that the tape was rolling and this was never intended to be anything more than a memento of the party. However,it was released as an album on September 28, 1973.

The first four tracks of the Miles Davis set were recorded live at the Persian Room in the Plaza Hotel in NYC on September 9, 1958. The sextet features Davis on trumpet, Cannonball Adderley on alto sax, John Coltrane on tenor sax, and a rhythm section led by Bill Evans on piano, Paul Chambers on bass and Jimmy Cobb on drums. This is about six months before the same sextet recorded Kind of Blue.

Tracks 5 through 7 were recorded at the Spotlight Lounge in Washington D.C. on November 1, 1958, and the remaining tracks on this disc were recorded Birdland in NYC on January 3, 1959. On all of these bonus tracks Red Garland replaces Evans on piano.

DISC TWO: Tracks 1 through 7 were on the original album and also recorded at the Persian Room in the Plaza Hotel in NYC on September 9, 1958. It features Ellington's orchestra that was comprised of Clark Terry, Shorty Baker and Cat Anderson on trumpet, Ray Nance on trumpet and violin, Quentin Jackson, Britt Woodman and John Sanders on trombone, Jimmy Hamilton on clarinet and tenor sax, Russell Procope on alto sax and clarinet, Johnny Hodges on alto sax, Paul Gonsalves on tenor sax, and Harry Carney on baritone sax, bass clarinet and clarinet. The rhythm setion is led by Ellington on piano, Jimmy Woode on bass and Sam Woodyard on drums.

Track 5 features Jimmy Rushing on vocals, and track 6 features Billie Holiday on vocals backed by non-Ellington personnel Buck Clayton on trumpet, Mal Waldron on piano and unidentified bassist and drummer.

Tracks 8 through 13 feature the main Ellington Orchestra (minus Rushing) and was recorded live at Salle Pleyel, Paris, France on November 20, 1958.


title: Evans backed by outstanding rhythm section

text:
Like the first collaboration between Evans and Manne on the 1962 album titled Empathy, this album has a completely different feel from Evans' other work. Most of the album is uptempo, and while harmony is still Evans' focus, melody and rhythm are given equal attention. I am sure that much of this is due to Shelly Manne's approach to drums, which is always creative), and Eddie Gomez' bass.

The sound samples on this page convey the music far better than I can in words, so let those be your guide. I will say that if you are a drummer this is definitely an album you want to dissect. Same for bassists. Gomez is right up there with Scott LaFaro in my opinion. Not a clone, by any means, but still an excellent fit to Evans' playing (which is reinforced by future albums they would do together). Evans is legendary for giving his rhythm section space to stretch and this album is no exception. The breaks and solos by both Manne and Gomez are masterful.

This album was recorded for Verve in a single October 4, 1966 session at Rudy van Gelder's Englewood Cliffs, NJ studio. According to some sources (including the liner notes on the LP) there were multiple takes, so the session was probably a trying day. However, each track sounds like spontaneous, effortless art to my ears, so whoever did the post production must have added a lot to the album too.


title: Great compositions and arrangements, and a strong rhythm section

text:
At a mere twenty-seven minutes this album is brief. However, every note counts. At the time of this review the album seems to be credited to drummer Philly Joe Jones. It's the brainchild of Elmo Hope. In fact, each of the six songs are Hope's compositions:
A1 Hot Sauce 3:35
A2 When The Groove Is Low 4:58
A3 De-Dah 4:26
B1 Abdula 3:42
B2 Freffie 3:36
B3 Stars Over Marakesh 6:43

If you are unfamiliar with Hope's work you are in for a treat. For one thing, despite being classified as a bebop pianist, he is nothing like Bud Powell, Al Haig, Monk, Dodo Marmarosa, etc. Actually, he is closer to Marmarosa than the others mentioned. Moreover, he spent a lot of time in both the NYC and Los Angeles scenes, so he absorbed both styles. Finally, there is a heavy touch of blues, as well as classical in his playing.

He is backed on this album by Paul Chambers on bass and Philly Joe Jones on drums. Both are perfect for the arrangements and compositions on the album. I am very familiar with Chambers (especially his work with Red Garland), and am greatly influenced by Jones.

This was recorded for the Celebrity label in NYC in 1961. I was unable to nail down an exact date or studio. I suspect that this was recorded in a single session since many albums (and especially ones as short as this one) were one day affairs. I would appreciate any additional information, which you can place in a comment.


title: One of two solo tribute albums Waldron recorded in the 1970s

text:
This is another of my vinyl treasures because it features Waldron solo. Another big plus is the sound quality is far better than I expected considering my LP is in Good to VG condition. Every note is crystal clear. This is especially impressive considering that this was recorded live.

There are only four tracks, but the album still clocks in at a respectable 37:08. Granted, the LP could have held more, but I am not complaining because this is the only recording I own of Waldron solo.

Since there is no track list, I am including it here:
 A1 Mingus Lives 7:48
A2 Snake Out 10:42
B1 Tensile Structure 7:54
B2 Here, There and Everywhere 10:44

The entire album is comprised of Waldron compositions. This is the second tribute album he recorded for former bandleaders. The first was Blues for Lady Day (also solo) in 1972 and this one. This was recorded for the Enja label at the Chapati Club in Spa, Belgium on February 28, 1979.


title: Anita in top form in her later career, with great arrangements and backing

text:
This is not an essential album, but does have some excellent arrangements thanks to Roger Neumann's tenor and soprano sax, and flute. His addition to the ensemble adds an extra dimension to Anita's vocals over and above her typical jazz piano trio backing.

Ao vivo means live in Portuguese; this album was recorded live for the Estudio Eldorado label at the 150 Night Club located in the Maksoud Plaza Hotel in São Paulo, Brazil on August 21 and 22, 1984. Anita's voice on this album is still in good form, and her vocals are delivered with her trademark rhythmic intensity. The sound quality is above average.

In addition to Neumann she is backed by Harold Danko on piano, Rick Laird on bass and longtime collaborator John Poole on drums. They are tight and back her perfectly. Here are the tracks:
A1  Wave  3:36
A2  It Had To Be You  3:44
A3  Sleeping Bee  3:38
A4  Time After Time  4:30
A5  Stomping At The Savoy  4:26
A6  P-Town  0:48
B1  The Man With The Horn  3:28
B2  Body And Soul  6:04
B3  Lush Life  3:44
B4  The Song Is You  3:49
B5  Wave  2:01

This isn't what I would consider an essential album, but for we fans the recording quality and performances make it a worthwhile buy.


title: Early Previn in jazz

text:
Up front, a good copy of this album in vinyl has excellent sound quality, but I want to disclose that to my ears the arrangements are a little too heavy and a little too busy. I am not going to subtract a star because of it because the musicianship is superb and my personal taste should not enter into the equation.

There are some redeeming moments in this album. Specifically, everything that Previn plays is beyond reproach and I think that is something to which any listener would agree.  I also loved Bud Shank's flute work on the tracks on which he played that instrument. In fact, the entire wind section (Shank on alto and flute, Jimmy Giuffre on baritone, and Bob Cooper on tenor and soprano) are uniformly excellent throughout. Milt Bernhart's trombone and Shorty Rogers' trumpet were well played, but I think the trombone in particular was a too low for the arrangements, and Rogers was a bit on the busy side.

Shelly Manne is the drummer on all tracks, but the bassists are Joe Mondragon ( tracks A1-A3, A5, B1-B3 and B5), with Curtis Counce on the remaining tracks. Jack Marshall is on guitar on tracks A1 and A2, and B1 and B2, with Al Hendrickson on the remaining tracks.

The tracks on this album that clocks in at 35:14 are:
A1  It's Delovely
A2  Porterhouse
A3  Heat Wave
A4  40° Below
A5  You Stepped Out Of A Dream
A6  Claudia
B1  You Do Something To Me
B2  Call For Cole
B3  Everything I've Got
B4  Some Antics
B5  It Only Happens When I Dance With You
B6  General Cluster

Previn is the composer for tracks A2, A4 and A6, with Rogers getting composer credits for tracks B2, B4 and B6. The remaining tracks are standards by the usual suspects (Porter, Berlin, Hart, Rogers, Kahn et al.) This album was recorded for RCA Victor at over the course of three sessions at their Los Angeles studios in 1954: March 30 (tracks 3, 5, 9 and 11), June 14 (tracks 4, 6, 10 and 12), and September 14, (tracks 1, 2, 7 and 8.)


title: Evidence of Previn's jazz chops

text:
This is one of my thrift shop finds (the vinyl was in pristine condition!) This album proves beyond a doubt that Previn's jazz chops are considerable. All songs are penned by Loewe & Lerner, but it's the way Previn arranged them for a jazz piano trio that is a mark of his genius (as well as his and his rhythm sections performance.) There are places where you can hear Ahmad Jamal's influence. Indeed, at one point on A3 (A Toujours) the trio sounded like the Jamal/Crosby/Fournier line-up from their Pershing album. In other tracks it's pure Previn with both Manne's and Mitchell's signature styles.

Since there is no track list as I write this, there is what comprises the 38:54 minutes on the album:
A1  The Parisians  4:32
A2  I Remember I Will  4:30
A3  A Toujours  5:38
A4  It's A Bore  4:18
B1  Aunt Alicia's March  5:01
B2  Thank Heaven For Little Girls  4:31
B3  Gigi  5:39
B4  She Is Not Thinking Of Me  4:09

As a drummer the stand out for me is Shelly Manne's brushwork, but I also love Red Mitchell's bass, and, of course, Previn's approach to piano (and arranging). The trio is tight and the way they are all three locked in, yet all three participating, make this as instructive as it is enjoyable.

This was recorded for the Contemporary label in their Los Angeles studios on April 7 and 8, 1958.  This is West Coast jazz at its best, and a showcase for Previn's versatility.


title: Not optimal for camping, but definitely effective in other uses

text:
I received these as a free review sample. Before you read my observations take the time to check out  Tom's very thorough and helpful video review dated April 5, 2016.

These are far better suited to home use than camping in my opinion for a number of reasons. Foremost (and why I subtracted a star) is they are not easy to start, even with a lighter, and secondary, they are heavy. For campers a box of these is extremely heavy (for camping) and add almost nine pounds to carrying weight.

For starting fire places, wood stoves and grills and even charcoal grills these are excellent. More importantly, these work beautifully in hibachi style grills and they do last the claimed amount of time.

Despite my caveat about these being less than optimal for camping, one or two in a backpack are a good hedge against an emergency. Just be prepared to first build a kindling fire and build on that before lighting one of these pucks because you are not going to directly get one started with a firestick.


title: Previn's jazz chops are in evidence here

text:
This album is yet another of my thrift shop finds. The mystery is on the cover it's credited as Piano Solos With Instrumental Accompaniment. I took that as a challenge because there were no hints in the liner notes as to who was backing him. I pretty much suspected Red Mitchell on bass and Shelly Manne on drums, but beyond that had no clue. I managed to track down the dates and personnel on each track, which I will provide below.

First, you can listen to the tracks on a larger compilation made up of albums and tracks from the same era: [[ASIN:B008FTAH2O Previn's Touch]]. Run through the sound samples and you will be treated to a display of Previn's jazz chops. Although he had the touch and feel for classical, and the innate sensibility for sound tracks and scores, he was a first rate jazz musician, but his other work (and the fact that he was in the West Coast scene) overshadowed that. This album is evidence that he was the real thing in jazz too.

Here is the track list, which is missing at the time I am writing this:
A1  Flying Down To Rio  2:30
A2  You Are Too Beautiful  3:19
A3  When You Wish Upon A Star  2:05
A4  London In July  3:25
A5  Moonlight In Vermont  3:18
A6  Island In The West Indies  3:29
B1  How Are Things In Glocca Morra  3:43
B2  It Could Happen To You  3:03
B3  Honolulu  2:51
B4  My Foolish Heart  2:11
B5  But Beautiful  3:11
B6  Sidewalks Of Cuba  2:24

It took some sleuthing to discover who was backing him. All of the tracks were recorded for the Decca label in Los Angeles in April 1955 and March 1956. Here are the sessions and musicians in chronological order:

April 1955 has Previn backed by Al Hendrickson on guitar, Red Mitchell on bass and Irv Cottler on drums:
Track B1: April 11.
Tracks A1,A4 and A6: April 13.
Tracks A5, B3 and B6: April 18.

March 1956 has Previn backed by Al Hendrickson on guitar, Carson Smith on bass and Shelly Manne on drums:
Tracks B2 and B5: March 28.
Tracks A2, A3 and B4: March 29.

This album was released by Decca as DL 74350 in 1963 and clocks in at 35:35. If you are a pianist or a West Coast jazz fan this is a great album.


title: Dinah Washington plus two instrumental tracks from NJF 58

text:
This is yet another of my thrift shop finds. What caught my eye is this album contains the iconic track that was captured on video by Bert Stern, [[ASIN:B00003OSU4 Jazz on a Summer's Day]], which is track A4 on this LP. Since the tracks are not listed at the time I am writing this, here they are:
A1 Lover Come Back To Me 2:16
A2 Back Water Blues 4:33
A3 Crazy Love 3:27
A4 All Of Me 5:18
B1 Backstage Blues 9:10
B2 Julie And Jake 8:40

The entire album was recorded live at the Newport Jazz Festival on July 6, 1958. All of Side A features Dinah Washington, but Side B contains only instrumentals. The first three tracks of Side A are: Dinah Washington backed by Blue Mitchell on trumpet, Melba Liston on trombone (and arranger), Harold Ousley on tenor sax and Sahib Shibab on baritone sax. The rhythm section is Wynton Kelly on piano, Paul West on bass and Max Roach on drums.

Track A4 is a change up with Washington backed by Don Elliott on mellophone, Urbie Green on trombone, Terry Gibbs (and briefly Washington) on vibraphone, with the same rhythm section.

Side B is Don Elliott on mellophone, Urbie Green on trombone, Terry Gibbs on vibraphone and the same rhythm section as Side A.


title: Essential for Art Pepper and West Coast Jazz fans

text:
Up front: the sound quality is acceptable, but not up to audiophile standards. I have no complaints, but if you are a discriminating listener with a lot of money in audio gear you may want to look elsewhere.

Nine of the ten discs span the period between 1952 and 1959, with one disc from 1981, the year before Art passed. It's difficult to pick a favorite disc, and that is subjective anyway. What I'll do is list the number of tracks on each, when and where the tracks were recorded, and on as many as I can, the musicians on the tracks.

Also note that each disc sleeve has a title as well. Those titles do not map to specific albums, although it's easy to extrapolate some albums from which the tracks came by noting the dates, personnel and tracks. I'll list each track in a comment to this review.

DISC ONE: 11 tracks.
Sleeve title is Diablo's Dance. Recorded in 1957 in Los Angeles. Appears to be Art on tenor, with Red Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums from the sessions that produced Art Pepper Meets The Rhythm Section.

DISC TWO. 11 tracks.
Sleeve title is Long Ago and Far Away. Recorded in 1956 and 1957 in Los Angeles. Personnel include the following ensembles backing Art:
Carl Perkins (piano), Ben Tucker (bass) and Chuck Flores (drums)
Russ Freeman (piano), Ben Tucker (bass) and Chuck Flores (drums)
Russ Freeman (piano), Leroy Vinnegar (bass) and Shelly Manne (drums)
Gerry Wiggins (piano), Red Norvo (vibraphone), Ben Tucker (bass) and Joe Morello (drums)

DISC THREE. 12 tracks.
Sleeve title is Angel's Wings. Recorded in Los Angeles in 1956 and 1957. Personnel include the following ensembles backing Art:
Russ Freeman (piano), Jack Sheldon (trumpet), Leroy Vinnegar (bass) and Shelly Manne (drums)
Russ Freeman (piano), Ben Tucker (bass) and Chuck Flores (drums)
Gerry Wiggins (piano), Red Norvo (vibraphone), Ben Tucker (bass) and Joe Morello (drums)
Carl Perkins (piano), Ben Tucker (bass) and Chuck Flores (drums)

DISC FOUR. 13 tracks.
Sleeve title is Blues In. Recorded in Los Angeles between 1952 and 1957. Unable to track down the backing musicians.

DISC FIVE. 10 tracks.
Sleeve title is Pepper Blues. Recorded in Los Angeles between 1952 and 1957. Backing musicians are:
Red Garland (piano), Paul Chambers (bass) and Philly Joe Jones (drums)
Hampton Hawes (piano), Joe Mondragon (bass) and Larry Bunker (drums and vibraphone)

DISC SIX. 4 tracks.
Sleeve title is Road Waltz. Recorded in Los Angeles in 1981 (a year before Art's passing). George Cables (piano), David Williams (bass) and Carl Burnett (drums). Art is on clarinet on When You're Smiling.

DISC SEVEN. 10 tracks.
Sleeve title is Art Pepper Big Band. Recorded in Los Angeles in 1959. Unable to track down the backing musicians.

DISC EIGHT. 9 tracks.
Sleeve title is Art Pepper & Marty Paich Quartet. This disc is identical to The Marty Paich Quartet Featuring Art Pepper, which was recorded in Los Angeles in 1956 and features Marty Paich on piano, Buddy Clark on bass and Frank Capp on drums backing Art on alto.

DISC NINE. 12 tracks.
Sleeve title is Spices. Recorded in Los Angeles in 1954 and features the following backing musicians:
Jack Montrose (ténor), Claude Williamson (piano),; Monty Budwig (bass) and Paul Ballerina (drums)
Hampton Hawes (piano), Joe Mondragon (bass) and Larry Bunker (drums)
Jack Montrose (ténor), Claude Williamson (piano), Monty Budwig (bass) and Larry Bunker (drums)

DISC TEN. 12 tracks.
Sleeve title is With Mel Torme & Marty Paich Quartet. Recorded in Los Angeles in 1959. Some featured musicians include Jack Shelton on trumpet, Victor Feldman on vibraphone, Marty Piach on piano and Mel Torme on vocals.

To me this set is a valuable collection of one of the most lyrical alto saxophonists in jazz. Art is among my top three favorite alto players - the other two are Johnny Hodges and Paul Desmond. Please see the comment below for the complete track list, which will give clues about the albums and recording sessions from which they came.


title: An obscure gem from an obscure musicial - fun listen

text:
This gem is one of my thrift shop finds. It's based on a 1959 Broadway musical that enjoyed 452 performances at the 46th Street Theatre. The music on this album mimics the play in that it's relatively obscure, but enjoyable. This album is from an era when soundtracks from plays and musicals were very popular.

This one has a slight Dixieland feel to it, and because it is performed by a sextet instead of a full orchestra is interestingly arranged. When researching this album an interesting (but unverified) tidbit surfaced: the ensemble did not rehearse - they walked into the studio and 'had fun' creating the tracks that were selected for this album from among the eighteen that were actually performed in acts I and II in the play itself. Here are the tracks on this album and their lengths. The entire album clocks in at 33:36:
A1  My Girl Is Just Enough For Me  4:05
A2  Just For Once  2:22
A3  I Feel Mighty Marvelous  3:54
A4  The Right Finger Of My Left Hand  2:27
A5  Look Who's In Love  3:30
B1  Uncle Sam Rag  3:52
B2  Two Faces In The Dark  3:25
B3  I'm Back In Circulation  2:45
B4  Erbie Fitch's Dilemma  2:01
B5  Pick Pocket Tango  4:15
That's still almost two thirds of the actual songs from the play. All are catchy and nicely interpreted and performed. My favorite is B5, but I love songs with a tango feel. I cannot begin to describe the music since words are inadequate, but if you like more traditional jazz that is more easy listening and commercial, this is an interesting album and a fun listen.

This was originally recorded for the Design Records label in 1959 and features Rex Stewart on trumpet backed by  John Bunch on piano, Joe Venuto on marimba, Leonard Gaskin on bass and Mousey Alexander on drums.


title: Both as a leader and as a sideman

text:
This four album set comes on two discs and features Flanagan's first album as a leader, and the rest as either co-leader or sideman. The sound quality is very good. I have come to trust this label for putting together competently remastered sets of albums that are mostly out of print.

The tracks are not in chronological order, but they are grouped by the source albums from which they are taken. Also, the albums are as originally issued. There may be re-releases that have bonus tracks, but this set does not.

Disc One starts off with an album titled Jazz...It's Magic! that was recorded for the Regent label at Rudy van Gelder's Hackensack, NJ studio on September 5, 1957. It's credited as the Curtis Fuller-Tommy Flanagan Quintet and features Fuller on trombone and Sonny Redd on alto sax, backed by Flanagan on piano, George Tucker on bass and Louis Hayes on drums. The tracks are:
1. Two Ton
2. Medley (It's Magic/My One And Only/They Didn't Believe Me)
3. Soul Station
4. Club Car
5. Upper Berth

Remaining tracks are from the album titled The King and I that was recorded by the Wilbur Harden Quartet in NYC for the Savoy label on September 23 and 30, 1958. Hardin is on trumpet and flugelhorn backed by Flanagan on piano and celeste, George Duvivier on bass and Granville Hogan on drums. Tracks are:
6.  Getting To Know You
7.  My Lord And Master
8.  Shall We Dance
9.  We Kiss In A Shadow
10. I Have Dreamed
11. I Whistle A Happy Tune
12. Hello Young Lovers
13. Something Wonderful
14: `Trio Overseas'
14. Relaxin' At Camarillo

Disc Two starts off Trio Overseas, which is Flanagan's first album as a leader. It  was recorded for the Metronome label in Stockholm, Sweden on August 15, 1957. Flanagan is backed by Wilbur Little on bass and Elvin Jones on drums. Tracks are:
1. Chelsea Bridge
2. Eclypso
3. Beats Up
4. Skal Brothers
5. Little Rock
6. Verdandi
7. Dalarna
8. Willow Weep For Me

Tracks 9 through 13 are the album titled The Cats that was recorded for the New Jazz and Prestige labels at Rudy van Gelder's Hackensack, NJ studio on April 18, 1957. This album is credited to the Prestige All Stars and features Flanagan as co-leader. The line-up is Idrees Sulieman on trumpet with John Coltrane on tenor sax, backed by Flanagan on piano, Kenny Burrell on guitar, Doug Watkins on bass and Louis Hayes on drums. Tracks are:
9.  Minor Mishap
10. How Long Has This Been Going On?
11. Eclypso
12. Solacium
13. Tommy's Time


title: Wonderful pairing

text:
This is the first of four collaborations between Peterson and Jackson and it presages the ones to come. At a few seconds short of forty one minutes this album is almost a tease.

One of the nice things about this album is it has some of the restraint Jackson used with the Modern Jazz Quartet. However, Peterson's piano is a major contrast to John Lewis' of the MJQ and that contrast makes this album interesting. For one thing, Peterson and bassist Ray Brown were renown for intensity even on ballads, and drummer Ed Thigpen fit right into that as well.

Despite my alluding to intensity, the music comes across as relaxed and laid back. They made it sound so easy! When you closely listen the intensity is there under a layer of virtuosity and musicality. This is Jackson and Peterson's trio at their finest in my opinion.

Since there is no track list (as I write this) I am providing one for reference:
1. On Green Dolphin Street 7:32
2. Heartstrings  5:43
3. Work Song 7:35
4. John Brown's Body 7:49
 5. A Wonderful Guy 4:57
 6. Reunion Blues

The album was recorded for Verve in NYC over the course of two sessions (September 15 and 18, 1961.)  Sadly there were five unissued tracks from the sessions, two of which are logged as 'untitled Peterson originals' that I would have loved to have been included in a reissue. Regardless, the music that is on this album is definitely worthwhile.


title: Not essential and Baker not at peak, but still enjoyable

text:
This recording was made for the Belgium Philippe Defalle label in November 1979 in Brussles.

I subtracted two stars because Baker's vocals are very weak here. His performances during this period were always hit or miss and this was must have caught him on a bad day. His trumpet work, though, does not suffer in the least. He is in full command of that instrument.

There is no track list at the time of this review, so I am providing one and the times for each track:
01. This is always  7:49
02. Sweet Martine  8:20
03. Beatrice  6:49
04. Deep in a dream  5:53
05. Once I loved  4:51

The album itself is somewhat pensive, with a laid back feeling among the entire ensemble. The instrumental sections are tight as though rehearsed a few times. I am not sure that was actually the case, but that is one of the key strengths of this album and what makes it so enjoyable. There is a touch of Baker's good days in those parts of the album.

Another interesting thing is this does not come across as a hastily thrown together session. The ensemble is fairly large for Baker during this era in his career. He is accompanied by Steve Houben on alto sax, and backed by a solid rhythm section comprised of  Dennis Luxion on piano (credited as Denis Luxion) Bill Frisell on guitar, Kermit Driscoll on bass and Bruno Castellucci on drums. In particuar Houben, Luxion and Frisell stand out,  while Driscoll and Castellucci are solid on pulse and time. No complaints with any member of the ensemble or the sound quality of this CD.


title: 2 LPs, 1 track per side of great music

text:
This is actually a studio album that was put together by Granz as a recorded (and supervised) jam. The line-up is first rate, and has a large alto and tenor saxophone section, fronted by Charlie Shavers on trumpet and backed by a solid rhythm section.

Basically, this is along the lines with one of Granz' Jazz At The Philharmonic sessions. Here are the tracks:
A Jam Blues 14:39
B Ballad Medley 17:21
C What Is This Thing Called Love 15:48
D Funky Blues 13:26

A and B are LP #1 and C and D are the second LP. If you find this set in VG condition the sound quality is superb. As can be seen from the track times each song is an extended rendition of a standard, with the obligatory ballad medley. Funky Blues is a Johnny Hodges composition, and the Ballad Medley is comprised of the following: All The Things You Are, Dearly Beloved, The Nearness Of You, I'll Get By, Everything Happens To Me, The Man I Love, What's New?, Someone To Watch Over Me and Isn't It Romantic?

The line-up is a front line featuring Charlie Shavers on trumpet, accompanied by an alto sax section comprised of Johnny Hodges, Charlie Parker and Benny Carter, and a tenor sax section comprised of Flip Phillips and Ben Webster. The rhythm section was led by the Oscar Peterson Trio (Peterson on piano,  Barney Kessel on guitar and Ray Brown on bass), and J. C. Heard on drums.

This album was originally released on both Mercury and Clef, then by Verve. It was recorded at Radio Recorders in Los Angeles on June 17, 1952 (some discographies cite July 1952.

If you are familiar with JATP sessions from this era you already have an idea how this will sound. To my ears it's a fantastic reminder that folks were making some great music sixty-three years ago.


title: Two full albums + bonus tracks

text:
This is a great two album set with two additional tracks from a third album. The interesting thing is tracks 13 through 18 are Burrell's first album as a leader, and the first twelve tracks feature him on vocals as well as guitar.

Since there is no track list as I write this I am providing it for reference:
1.  I'll Buy You A Star
2.  Weaver Of Dreams
3.  The More I See You
4.  I'm Just A Lucky So And So
5.  A Fine Romance
6.  Until The Real Thing Comes Along
7.  The Blues Is Awful Mean
8.  That Old Feeling
9.  If I Had You
10. Hootchie-Koo
11. Afternoon In Paris
12. Like Someone In Love
13. This Time The Dream's On Me
14. Fugue'n Blues
15. Takeela
16. Weaver Of Dreams
17. Delilah
18. Blues For Skeeter
19. Get Happy
20. But Not For Me

The music is what you would expect from Burrell who was a veteran player when his inaugural album was recorded in 1956. He is backed by some of the best NYC musicians of the era, and that, too, indicates the high standard of music on this album. Add in the fact that the sound quality is superb for a CD and this album is a winner all around.

Tracks 1 through 12 were recorded for Columbia in NYC in four different sessions between October 18, 1960 and April 11, 1961. These tracks feature Burrell on both guitar and vocals. He has a similar singing voice to Nat King Cole who I am guessing inspired him. It's a pity Burrell didn't sing more on other albums because his voice is excellent.

Tracks 1, 2 and 9 were recorded on March 1, 1961 with Burrell accompanied by Bobby Jasper on tenor sax and backed by  Tommy Flanagan on piano, Wendell Marshall on bass and Bobby Donaldson on drums.

Tracks 3, 4, 7 and 12 were recorded on November 1, 1960 with the same line-up with a few changes on specific tracks. On track 7 Joe Benjamin is on bass and Bill English is on drums.

Tracks 5, 6 and 8 were recorded on October 18, 1960 with Burrell accompanied by Bobby Jasper on tenor sax and flute, and backed by Wendell Marshall on bass and Bobby Donaldson on drums.

Tracks 10 and 11 were recorded on April 11, 1961 with Burrell accompanied by Bobby Jasper on tenor sax and backed by a rhythm section comprised of Tommy Flanagan on  piano, Joe Benjamin on bass and Bill English on drums.

Tracks 13 through 18 are the album titled [[ASIN:B004ADWXTY Introducing Kenny Burrell]] that was recorded on May 29 and 30, 1956 for Blue Note at Rudy Van Gelder's Hackensack, NJ studio. Kenny's guitar is backed by Tommy Flanagan on piano, Paul Chambers on bass, Kenny Clarke on drums and Candido Camero on congas.

Tracks 19 and 20 are from the album titled Kenny Burrell, Vol. 2, which was a follow-on to Introducing Kenny Burrell. These two tracks were recorded during the same May 29 and 30 1956 sessions with the same line up on track 19. He is solo on track 20.


title: For the West Coast jazz fan

text:
This album has a WWI theme because the song selection was chosen for their popularity during the 19-teens. Many of the songs are timeless, like track 1, After You've Gone. Others have fallen into obscurity, but when this album was recorded in 1957 many were still in the public's mind since WWI ended less than forty years prior. Note that the last track, Vamp's Blues, was written by Charlie Mariano who was not born until after the war (in 1923). Still, the overall theme of this album, with a distinct West Coast flavor, is what drew me to it.

Since there is no track list on this page (at the time of this review) I am including it here:
1.  After You've Gone 4:49
2.  When Johnny Comes Marching Home 5:13
3.  Deep River 5:40
4.  Till We Meet Again  4:15
5.  K-K-K-Katy 5:27
6.  'til The Clouds Roll By 2:39
7.  Over There  4:22
8.  Ja Da 4:17
9.  Hello, Central, Give Me No Man's Land  3:57
10. Vamp's Blues  7:05

The entire album clocks in at 48:14 and you can listen to sound samples on a reissue of this album at [[ASIN:B008C7POJ0 The Vamp's Blues]]. Let those guide you because they convey a lot more about this album than I can possibly put into words.

This was recorded in Los Angeles for the World Pacific label at the Radio Recorders studio on December 10 and 11, 1957. Charlie Mariano is on alto sax (and recorder on Deep River), Jerry Dodgion is on alto sax and flute, Victor Feldman is on vibraphone, Jimmy Rowles on piano, Monty Budwig on bass and Shelly Manne on drums.


title: One-of-a-kind performance

text:
I discovered this album in near pristine condition at a local thrift shop and it was love at first listen. I have been both an avid Paul Desmond and Modern Jazz Quartet for for decades. While members of the MJQ often were on other albums (both bassist Percy Heath and drummer Connie Kay were on Desmond-led albums), and Milt Jackson was prolific as a sideman with other groups they were a closed unit. Being invited to site in was a signal honor for Desmond, and that they were musically on the same page is evident when listening to this album.

Sadly there are no sound samples on this page, although of you scour the web you will find some of the tracks from this album. Desmond's slow, dynamically soft playing is a perfect fit. I am especially impressed with John Lewis on piano and Jackson on vibraphone who seemed to be connected to Desmond on a one of those rare levels that we musicians experience. The rhythm section is absolutely perfect here. This is a major contrast to the Dave Brubeck Quartet rhythm section, which was Desmond's home for nearly twenty years.

Also missing from this page is the track listing. I am including it and track times so you know what this album contains:
SIDE A
A1 Greensleeves 3:10
A2 You Go To My Head 7:56
A3 Blue Dove/La Paloma Azul 4:55
A4 Jesus Christ Superstar 4:54
SIDE B
B1 Here's That Rainy Day 4:50
B2 East Of The Sun 8:25
B3 Bags New Groove 5:10

Think of this as the MJQ with a special guest (which, of course it is), because John Lewis holds the reins tightly on this live album. However, in this case he did not have to rein in Desmond who was so perfectly suited to the MJQ that one has to wonder why there is only a single collaboration between him and the entire quartet. This is definitely an album to own!


title: Decent sound quality for live radio broadcasts

text:
This album is parts of two separate radio broadcasts - one from the Basin Street East in NYC and the other from the Blue Note Club in Chicago.  The sound quality is surprisingly good considering all of the tracks are live and in a live setting. The announcements either add to the ambiance or wreck the album, depending on your point of view. For me I actually like them. You may have other thoughts, but at least you know that a lot of the broadcast has not been edited out.

Since there is no track list at the time of this review I am providing one:
1.  Theme (The Duke) & Introduction
2.  Stardust
3.  Gone With The Wind
4.  Stompin' for Mili
5.  Out of Nowhere (Incomplete)
6.  A Minor Thing
7.  In Your Own Sweet Way
8.  The Trolley Song
9.  Introduction & The Duke
10. Love Walked In
11. Here Lies Love
12. All the Things You Are
13. Theme (The Duke) And Introduction
14. I'm In A Dancing Mood
15. The Song Is You

Tracks 1 through 12 - the bulk of this album - are from the February 1956 engagement(s) at the Basin Street East. I am not sure of the date or dates and each discography I have checked does not provide exact details. The line-up is the one before the classic Wright/Morello rhythm section joined the quartet. This one has Dave Brubeck on piano, Paul Desmond on alto sax, Norman Bates on bass and Joe Dodge on drums.

The last three tracks are from the March 1957 engagement at the Blue Note Club. Joe Morello had replaced Joe Dodge by the time these tracks were recorded and may, in fact, be the first recorded tracks with the Quartet featuring Joe Morello.

Some of the tracks on this album are on other live compilations, but not all of them. Frankly this is not what I would consider an essential album, but it is definitely worth it if you are a fan.


title: OP circa 1950

text:
This album shares a lot with [[ASIN:B000CCB1PE Keyboard]] because it features Peterson in a duo with a bassist (two, in fact, with both Major Holley and Ray Brown swapping depending on the track). Also, some of the tracks for both albums were recorded during the same session.

Since there is no track list at the time of this review I am providing what the CD contains:
1.  Debut 2:52
2.  They Didn't Believe Me 2:55
3.  Lover, Come Back to Me 2:51
4.  Where or When  3:27
5.  Three O'Clock in the Morning  3:39
6.  All the Things You Are  3:36
7.  Tenderly  3:46
8.  Oscar's Blues  3:14
9.  Little White Lies  3:09
10. In the Middle of a Kiss  3:13
11. Nameless  2:55
12. Two Sleepy People  3:18

Total play time is a little over 40 minutes, which was long for 1950 when this album was recorded. Although there are no sound samples, each track sounds like Peterson solo with the underpinnings of bass. When I first listened I though he was solo and playing some remarkable stuff with his left hand. Given his prowess that is not a stretch, but on the first eight tracks the bass is Ray Brown and on the remaining four it's Major Holley. The Peterson/Brown tracks were recorded in NYC for the Clef label during March 1950. I was never able to track down specific dates, but it does place the session a year or so away from Peterson's first trio featuring Brown on bass and Herb Ellis on guitar. The last four tracks were recorded on May 8, 1950 in NYC during the same session that produced Keyboard mentioned above.

The mastering on this CD is excellent and audiophile quality. If you are willing to go budget this album is also available in a budget-priced, ten disc set titled [[ASIN:B00KBZ74O4 Oscar Peterson & Friends]]. The sound quality of that one is good, but nowhere near the quality of this CD.


title: Not essential, but a gem for Davis fans

text:
I love this album mainly for the collaboration between Milt Jackson and Miles, but I have to give due credit to McLean's contributions too. Not only is his playing masterful, but Dr. Jackle and Minor March are his compositions. Ray Bryant contributed a composition as well: Changes. The remaining track is a Thad Jones composition that somehow got slipped into the track list.

At the time of this review there is no track list on this product page, The album clocks in a scant 31 minutes with the following four tracks:
01 Dr. Jackle
02 Bitty Ditty
03 Minor March
04 Changes

Ray Bryant is another reason why I love this album. I own a large number of his albums and his playing here does not disappoint. Credit is also due Percy Heath on bass and Art Taylor on drums, both of whom make definite contributions by staying under the music and supporting it. Taylor is one of my favorite drummers from that era simply because he could play any groove and do so unobtrusively. He manages the same here and is locked in with Heath to give the melody instruments a foundation.

The album was recorded in a single session at Rudy van Gelder's Hackensack, NJ studio on August 5, 1955 and released the next year by Prestige as PRLP 7034. Some accounts of this session claim Miles' was disgusted with McLean for being high, but that is not evident in the playing.


title: Private recording with spotty sound and excellent music

text:
This album was recorded on January 24, 1980 for the Ornament label in Aachen, Germany (according to notes I researched it was in the home of Friedrich and Gabi Klemme.) The sound quality is a little on the muddy side and the snippets of 'crowd' noise that creep into the recording indicate that this was either a party or a private recital with possibly a dozen or more folks in attendance.

The music is what counts and in my growing collection of Donegan recordings that is one thing that never disappoints. Here she is backed by George Linges on bass and Tony Mann on drums. While the title implies a slant towards Ellington, the only tribute to the Duke is the title track. Otherwise, it's a collection of mainly recognizable standards including two medleys that give Donegan room to show her amazing improvisational skills. She can do the seemingly impossible going from one song to the next, often quoting even more songs within the melody.

Since there is no track list at the time of this review I am providing it:
1. Jumpin' at the Woodside
2. Medley: In the Mood/Mack the Knife
3. Medley: Sophisticated Lady/Dorothy's Themes
4. Smile
5. September in the Rain
6. Medley: Send in the Clowns/Jesse/You'll Never Walk Alone/If I Loved You/My way

The album clocks in at 49:41, so there is a decent amount of music. I would not call this 'essential', but if you are a fan it's certainly worth grabbing. If you are a stickler for sound quality, though, you may want to pass this one up.


title: Comprehensive collection of Marmarosa's work

text:
Most of the tracks on this compilation were recorded in 1947 with Marmarosa as leader. The exception being is six tracks from a 1946 Lucky Thompson album called out below. Marmarosa is in excellent form on every track and if you are a pianist interested in this era of music (heavy bebop influence with his unique approach to the instrument) this set is a treasure trove.

Sadly there are no sound samples on this page at the time of this review. Nor is there a track listing. I am going to provide the tracks and their sources, but they will be a little out of order because I am also going to include personnel, locations and other pertinent information to help you identify the context of each track. The album clocks in at a few seconds longer than an hour and eighteen minutes, so there is a lot of Mamarosa's recorded work here.

The first ten track are from a Phoenix Jazz LP titled Dodo Marmarosa: Piano Man that was recorded in Los Angeles on July 16, 1947. Mamarosa is backed by Barney Kessel on guitar and Gene Englund on bass. Tracks are:
1. Dodo's Bounce
2. Opus #5
3. You Thrill Me
4. Compadoo
5. I'm In Love
6. Bopmatism
7. Lover Come Back To Me
8. Raindrops
9. Smoke Gets In Your Eyes
10. Escape

Tracks 11 through 14 are from an Armed Forces Radio Service broadcast (11 and 12) and private recordings (13 and 14). 11 and 12 are from February 1946, and 13 and 14 were recorded on an unspecified date in 1947. All are solo and all were recorded in Los Angeles.
11. Deep Purple
12. Tea For Two
13. Tone Paintings I
14. Tone Paintings II

Tracks 15 through 19 and alternate takes (tracks 26 through 30) are from a December 3, 1947 recording session for both the Spotlite and Dial labels in Los Angeles. Marmarosa is backed by Harry Babasin on cello and Jackie Mills on drums.
15. Bopmatism
16. Dodo's Dance
17. Trade Winds
18. Dary Departs
19. Cosmo Street

26. Bopmatism
27. Dodo's Dance
28. Trade Winds
29. Dary Departs
30. Cosmo Street

Tracks 20 through 25 are from a Lucky Thompson album recorded for the Down Beat label in Los Angeles on September 13, 1946. Thompson is the leader and tenor saxophonist backed by Marmarosa on piano, Red Callender on bass and Jackie Mills on drums.
20. Dodo's Bounce
21. Dodo's Lament
22. Slam's Mishap
23. Shuffle That Riff
24. Smooth Sailing
25. Commercial Eyes

If you are studying Marmarosa the value of this set is obvious - especially since many of the source albums are now out-of-print.


title: If you love Red Norvo ...

text:
You will love Teddy Charles on vibraphone on this album. This was Charles' eighth album as a leader (he was 29 when this was recorded in a single session for Jubilee in NYC on May 29, 1957. It was released later that year under catalog number JGM 1047. It clocks in at 39:47, so it's not super short like so many albums from the era.

This is laid back with virtually no vibrato and the same relaxed playing that characterizes Red Norvo. You could not ask for better accompaniment with Oscar Pettiford on bass and Hal Overton on piano. I personally love the fact there there is no drummer because each track showcases Charles, Pettiford and Overton and drums would have been an intrusion. If you are new to Charles, he was a Julliard trained percussionist who was equally skilled on piano, vibraphone and drums.

There is no track listing on this page at the time of this review so I am providing it - all Ellington tunes as the title implies:
A1  Main Stem  4:45
A2  Do Nothing 'Til You Hear From Me  5:06
A3  Sophisticated Lady  9:36
B1  Don't Get Around Much Anymore  5:57
B2  Sherman Shuffle  7:07
B3  The Mooch  6:20

Overall, the music flows languorously with each member of the trio participating and playing off one another. Make no mistake that Charles is the centerpiece, but he gives ample space to both Pettiford and Overton. Also important (to me) is there no real liberties taken with the melodies of each track. The Duke, I am sure, approved when this album was released.

I found my copy in a thrift shop and even on a cheap turntable and fair-to-good condition vinyl this album has reasonable sound quality. A copy in VG to pristine condition played on a decent turntable will be a real treat.


title: Laid back and bluesy

text:
This is one of Garland's late 50s albums he cut for Prestige's Moodsville subsidiary. This album should not be confused with a similar titled one featuring Garland's trio and Eddie Lockjaw Davis titled, [[ASIN:B000000YK4 Moodsville, Volume 1]]. At the time of this review there is no track list. The album contains the following tracks, which clock in at 43:26:
A1  I Love You Yes I Do
A2  Blues For Ann
A3  I'll Never Stop Loving You
B1  And The Angels Sing
B2  Tain't Nobody's Business
B3  Bassment Blues

Every track is basically a  ballad or slow tempo blues. Great for late evening background (or romantic) music. For me it is not an album I frequently play, although the tracks are in a few playlists on my MP3 player for when I want to wind down and chill.

Unfortunately there are no sound samples (at the time of this review) to be found anywhere on Amazon, but you can find most of the tracks if you search the web. If you are familiar with Garland during the late 50s you probably have a good idea how this album will sound. This is especially true since he has Paul Chambers on bass and Art Taylor on drums backing him. The three of them were one of the tightest piano jazz trios from the era and their music here as on other albums has a definite swing and cohesiveness.

This was recorded at Rudy van Gelder's Hackensack, NJ studio on November 21, 1958 and released in 1960. If you want to add some slower trio music to your collection this is a prime candidate.


title: McCann live in 64

text:
This is a live performance circa 1964 (I have been unable to nail down the exact date). The even is the After Hours Concert at the Esquire Theater in Los Angeles and is much wider than Just McCann. This concert (and to a degree album) has some historic significance because McCann introduces Monty Alexander whose debut album was recorded at the same concert - both for the Pacific Jazz label. Alexander 'borrowed' McCann's rhythm section that was comprised of Victor Gaskin on bass and Paul Humphrey on drums.

Aside from the playing this album has wonderful ambiance from the crowd. I will say that if you dislike crowd noise and interaction you are NOT going to like this album. I thought it added to the listening pleasure, but have to admit that it's a bit much in spots. Otherwise the album has excellent sound quality.

At the time of this review there are no sound samples or a track list on this page. There are entire tracks floating around on the web that are easy to search out, and the track list is:
A1  El Soulo  3:16
A2  Lavande  6:40
A3  Spanish Onions  8:50
B1  Get Them Grits  4:30
B2  I Am In Love  5:30
B3  Arabella  5:43
B4  Maxie's Farewell  5:15

With the exception of Cole Porter's I Am In Love, the album contains all of McCann's own compositions.


title: The album that launched Monty

text:
Note: there are a few albums by this title, one of which is a compilation. I am reviewing the vinyl LP titled [[ASIN:B006LMZBD2 Alexander The Great]] that Alexander recorded for Pacific Jazz during the After Hours Concert at the Esquire Theater in Los Angeles. This is Alexander's debut album that established him as a 'contender' in 1964.

At the time of this review there is no track listing or sound samples on this page. I can provide the tracks:
A1 John Brown's Body 5:30
A2 Jitterbug Waltz 3:59
A3 Comin' Home Baby 5:45
A4 If I Were A Bell 6:18
B1 The Grabber 5:30
B2 Autumn Leaves 5:59
B3 I've Never Been In Love Before 5:30
B4 Blues For Jilly 4:40

Since this was live it explains how two of Alexander's compositions (The Grabber and Blues for Jilly) made it on the album. Normally new artists stick with standards, which do comprise the remaining tracks. From the start you can hear Les McCann's influence on Alexander (indeed, McCann also performed at the concert and introduced Alexander).

The rhythm section is comprised of  Victor Gaskin on bass and Paul Humphrey on drums. They also backed McCann at the same concert and I am under the impression that Alexander was there as a guest. I cannot be sure, but I am surmising that given McCann's unmistakable influence on Alexander's playing that continues to this day that there were some behind the scenes machinations that got Alexander on this album. If you are inclined to track down McCann's album from the same concert it's titled Les McCann - Spanish Onions Pacific Jazz PJ-10097.

Sound quality on this LP is excellent, even on my cheap USB turntable, and if you are an Alexander fan this is ground zero in his career.


title: Interesting arrangements

text:
I've owned a copy of this album for decades and am reviewing the music and not the media nor the price.

What I love is the arrangements, which are totally different from any I have heard. For example, Green Dolphin Street (as originally composed) has an ABAB format. The rendition on this album does too,  but the A section almost seamlessly segues into the B section. Nearly every other arrangement I've heard (and played) has an abrupt transition between the two. The other tracks are similar in that Sample takes a lot of liberties with the melody line as well as the phrasing and arrangements.

Another thing is on this album Sample is back on an acoustic piano. I loved his playing on his earlier albums like Lighthouse 62 and Freedom Sound, and to be honest had drifted away when he and the Crusaders went the fusion route in the late 1960s/early 1970s. So this album is a nice change in that respect.

Of course the rhythm section makes a lot of difference and having Ray Brown on bass practically guarantees that there would be a swinging pulse. As a drummer who has long admired Shelly Manne I have a personal reason for loving this album.

Sadly there are no sound samples on this page, but if you are diligent and do a web search you will be rewarded with some. From those you can get a better picture of what I mean by arrangements being unique.

This album was recorded in Los Angeles on November 28, 1975 for the Japanese label East Wind. Although the recording was done at the Warner Brothers Studios the production team was Japanese. The sound quality is superb. One final note: this product page at the time of this review does not contain a track listing. Here it is:
A1  Yearnin'  5:04
A2  On Green Dolphin Street 5:17
A3  Satin Doll 5:38
B1  Manha Do Carnaval  5:59
B2  Round About Midnight 4:34
B3  Funky Blues 5:10
Total play time is 29:53.


title: Not all of the Trio sessions, but all are early LaFaro

text:
This album is really a double album set that is  [[ASIN:B003OFC2SG SINGS WITH THE PAT MORAN TRIO]] with the trio comprised of Patti Moran [McCoy] on piano, Scott LaFaro on bass and Gene Gammage on drums backing Beverly Kelly on vocals, and [[ASIN:B004FBEQN2 This is Pat Moran]] featuring just the trio. Both albums are listed in various discographies as being recorded in December 1957, although the trio-only one is claimed by Moran-McCoy to have been recorded a year later. Not disputed is both were recorded in New York.

Here are some discrepancies that make these an incomplete collection of the trio recordings: Track 20 does not show up in discographies, including the one dedicated to these two albums that span pages 262 through 264 in Lafaro's biography written by his sister: [[ASIN:1574412736 Jade Visions: The Life and Music of Scott LaFaro]]. Also missing from this album are Spring is Here and This Love of Mine, both of which are from the Kelly album, and Stella by Starlight, When Your Lover Has Gone and Farewells from the Trio album.

Despite the fact that this does not contain all the tracks from the trio sessions, it does contain a record of LaFaro's genius even at 21. That alone merits five stars in my opinion in spite of some missing tracks.

All discographies that I have checked, including LaFaro's biography cited above confirm that LaFaro was, in fact, the bassist and Gammage the drummer on all tracks.

Sadly there are no sound samples here, nor on the Kelly album page, but there are on the Trio page, which will give you a good idea of the music on this album. If you are a bassist, jazz historian or musicologist, or a LaFaro fan this album is a treasure despite the discrepancies.


title: Not exactly Hollywood, but a high energy jam session in nearby Inglewood

text:
This album was recorded mere weeks after Chet Baker and Bird were 'home recorded' at the same venue. Like that album - [[ASIN:B005MVLS94 Bird & Chet: Live at the Trade Winds, 1952]], the sound quality on this one is not spectacular, but the music is. In fact some of the same musicians from the earlier session are on this one.

Sadly there are no sound samples on this page at the time of this review. In a nutshell, this is mainly a horn-centric session with a young Chet Baker playing a lot more aggressively than he would on subsequent albums. There are two tracks where the ensemble downshifts and gives Al Haig a lot of room and places him in the front line: I'll Remember April and Sweet Georgia Brown.

Here are the tracks:
1. There'll Never Be Another You
2. Bernie's Tune
3. My Old Flame
4. Avalon
5. I'll Remember April
6. How High The Moon
7. Sweet Georgia Brown

If you love energetic music this is a great album. It was recorded live at the Trade Winds Club in Inglewood (a Los Angeles suburb) on August 4, 1952 and features the following line-up:

Chet Baker on trumpet with Ted Ottison on trumpet on tracks 5 and 7, Sonny Criss on alto on tracks 1, 3 and 7, Jack Montrose on tenor sax on tracks 1, 4 and 7, Les Thompson on harmonica on track 4, and a rhythm section comprised of Al Haig on piano, Dave Bryant on bass and Larry Bunker on drums.


title: Exccellent collection of Mann mid-to-late 1950s

text:
Nearly every track in this compilation is excellent, although there is a handful that are marginal to my ears. I do not view that as a show-stopper, but if you are an audiophile you may want to spend the money and purchased each album in vinyl.

Since there is no track list on this page at the time of this review I will include the tracks here. Also, I will list the original album titles, but in some cases will link to albums that have identical tracks but a lightly different title. More than a few reissues came out with slightly different titles. Also, I am not going to provide detailed information on each album because it would greatly clutter this page.  Here is what is on the four discs that are in this set:
==========
DISC ONE
==========
The first 11 tracks is the album titled [[ASIN:B00D0Z7HE4 The Herbie Mann - Sam Most Quintet]] and the remaining tracks is the album titled [[ASIN:B00006J3ZW Flute Flight]]:
01. Fascinating Rhythm
02. Why Do I Love You?
03. It's Only Sunshine
04. Love Letters
05. Let's Get Away from It All
06. Flying Home
07. I'll Remember April
08. Empathy
09. It Might as Well Be Spring
10. Just One of Those Things
11. Seven Comes Eleven
12. Tutti Flutie
13. Bo Do
14. Flute Bass Blues
15. Flute Bob
16. Solacium
==========
DISC TWO
==========
The first 8 tracks is the album titled [[ASIN:B000QZRMCI Flute Fraternity with Herbie Mann and Buddy Collette]] and the remaining tracks is the album originally titled Sultry Serenade, but is now issued as [[ASIN:B0055WHK92 Let Me Tell You]].
01. Herbie's Buddy
02. Perdido
03. Bangles and Beads Baubles
04. Give a Little Whistle
05. Here's Pete
06. Theme from 'Theme From'
07. Nancy with the Laughing Face
08. Morning After
09. Let Me Tell You
10. When the Sun Comes Out
11. Professor
12. Lazy Bones
13. Sultry Serenade
14. Little Man You've Had a Busy Day
15. One Morning In May
16. Swing Til the Girls Come Home
==========
DISC THREE
==========
The first four tracks are from the album titled Flute Souffle, but are now found on the same Let Me Tell you album cited for the previous disc. The remaining tracks on this disc are the album titled [[ASIN:B002G6ESH2 Yardbird Suite]].
01. Tel Aviv
02. Somewhere Else
03. Let's March
04. Chasin' the Bird
05. Yardbird Suite
06. Here's That Man
07. One for Tubby
08. Squire's Parlor
09. Who Knew
10. Opicana
==========
DISC FOUR
==========
The first six tracks are the album titled [[ASIN:B000000Z2L Just Wailin]] and the remaining tracks are the album titled [[ASIN:B000W178WA Flautista! Herbie Mann Plays Afro-Cuban Jazz]]. Note, that album contains bonus tracks that are not on this one.
01. Minor Groove
02. Gospel Truth
03. Blue Echoes
04. Trinidad
05. Jumpin' with Symphony Sid
06. Blue Dip
07. Todos Loco's
08. Cuban Potato Chip
09. Come On Mule
10. The Amazon River
11. Caravan

Note that this is identical to an MP3 album that contains all 53 tracks in the same order, so if you want immediate gratification check it out: [[ASIN:B00EE7SQ7O The Jazz Collection Volume One]]. Even if you opt for physical discs visit that page and listen to the sound samples for an idea of both the sound quality and the music.

Overall this is a great collection of Herbie's work at the height of his pure jazz period. He would continue to grow and experiment musically - sometimes in ways that lost him fans - but if you like the earlier period this set is golden.


title: First album veering towards pop

text:
Note that this album is out of print, but is part of a value-priced set titled [[ASIN:B00CSFXQZ6 8 Classic Albums]] as the first ten tracks on Disc Four.

This 1962 album contains tracks that clearly show Lewis' strategy to move from a jazz piano trio format to more popular music (perhaps in response to Ray Charles' success in crossing over from R&B to pop.) The first five tracks on the album have a string section backing the trio.

While the first five tracks comprising Side A is a foray into pop, Side B is still heavily rooted in jazz. The album has a consistent theme - Spring - and Lewis contributed three compositions to reinforce that theme. He wrote A1, A3 and B1, and B5 was written by bassist Eldee Young.  Since there is no track list at the time of this review here are the tracks on the album:

SIDE A
A1  Sound Of Spring 2:30
A2  Spring Can Really Hang You Up The Most 4:25
A3  Blue Spring 3:00
A4  Spring Is Here 4:22
A5  Spring Will Be A Little Late This Year 2:43

SIDE B
B1  Spring Fever  2:35
B2  It Might As Well Be Spring 3:52
B3  Soft Winds 3:10
B4  There'll Be Another Spring 2:30
B5  Truly, Truly Spring 3:27

The trio is comprised of Ramsey Lewis on piano, Eldee Young on bass and Red Holt on drums. The album was recorded for Argo at the United Recordings Studio in Los Angeles on February 14 and 15, 1962 and released later that year. Interestingly Ruth Brown (credited as the single artist who made Atlantic Records a name) and Leonard Chess of Chess records have producer credits.


title: Eight great albums from 1955-59

text:
First: this is identical to an MP3 album that contains all 53 tracks in the same order, so if you want immediate gratification check it out: [[ASIN:B00EE7SQ7O The Jazz Collection Volume One]]. Even if you opt for physical discs visit that page and listen to the sound samples for an idea of both the sound quality and the music.

Nearly every track in this compilation is excellent, although there is a handful that are marginal to my ears. I do not view that as a show-stopper, but if you are an audiophile you may want to spend the money and purchased each album in vinyl.

Since there is no track list on this page at the time of this review I will include the tracks here. Also, I will list the original album titles, but in some cases will link to albums that have identical tracks but a lightly different title. More than a few reissues came out with slightly different titles. Also, I am not going to provide detailed information on each album because it would greatly clutter this page. See my review for the MP3 version of this set for that info.

Here is what is on the four discs that are in this set:
==========
DISC ONE
==========
The first 11 tracks is the album titled [[ASIN:B00D0Z7HE4 The Herbie Mann - Sam Most Quintet]] and the remaining tracks is the album titled [[ASIN:B00006J3ZW Flute Flight]]:
01. Fascinating Rhythm
02. Why Do I Love You?
03. It's Only Sunshine
04. Love Letters
05. Let's Get Away from It All
06. Flying Home
07. I'll Remember April
08. Empathy
09. It Might as Well Be Spring
10. Just One of Those Things
11. Seven Comes Eleven
12. Tutti Flutie
13. Bo Do
14. Flute Bass Blues
15. Flute Bob
16. Solacium
==========
DISC TWO
==========
The first 8 tracks is the album titled [[ASIN:B000QZRMCI Flute Fraternity with Herbie Mann and Buddy Collette]] and the remaining tracks is the album originally titled Sultry Serenade, but is now issued as [[ASIN:B0055WHK92 Let Me Tell You]].
01. Herbie's Buddy
02. Perdido
03. Bangles and Beads Baubles
04. Give a Little Whistle
05. Here's Pete
06. Theme from 'Theme From'
07. Nancy with the Laughing Face
08. Morning After
09. Let Me Tell You
10. When the Sun Comes Out
11. Professor
12. Lazy Bones
13. Sultry Serenade
14. Little Man You've Had a Busy Day
15. One Morning In May
16. Swing Til the Girls Come Home
==========
DISC THREE
==========
The first four tracks are from the album titled Flute Souffle, but are now found on the same Let Me Tell you album cited for the previous disc. The remaining tracks on this disc are the album titled [[ASIN:B002G6ESH2 Yardbird Suite]].
01. Tel Aviv
02. Somewhere Else
03. Let's March
04. Chasin' the Bird
05. Yardbird Suite
06. Here's That Man
07. One for Tubby
08. Squire's Parlor
09. Who Knew
10. Opicana
==========
DISC FOUR
==========
The first six tracks are the album titled [[ASIN:B000000Z2L Just Wailin]] and the remaining tracks are the album titled [[ASIN:B000W178WA Flautista! Herbie Mann Plays Afro-Cuban Jazz]]. Note, that album contains bonus tracks that are not on this one.
01. Minor Groove
02. Gospel Truth
03. Blue Echoes
04. Trinidad
05. Jumpin' with Symphony Sid
06. Blue Dip
07. Todos Loco's
08. Cuban Potato Chip
09. Come On Mule
10. The Amazon River
11. Caravan

Overall this is a great collection of Herbie's work at the height of his pure jazz period. He would continue to grow and experiment musically - sometimes in ways that lost him fans - but if you like the earlier period this set is golden.


title: Featuring Scott LaFaro on bass!

text:
This is one of two collaborations between one of that era's most promising bassists whose life was tragically cut short at 25 and Pat Moran who now goes by Patti Moran McCoy.

The 12 tracks comprising this album were recorded in New York in late 1957 with the following personnel: Pat Moran on piano, Scott LaFaro on bass and Gene Gammage on drums backing vocalist Beverly Kelly. The bassist and drummer are sometimes incorrectly credited as bassist John Doling and drummer Johnny Whited, but according to Scott LaFaro's sister in her biography of him ([[ASIN:1574412736 Jade Visions: The Life and Music of Scott LaFaro]] it was indeed LaFaro and Gammage.

Since there is no track list at the time of this review here is what is on the album:

01. Lover Come Back To Me
02. The Man I Love
03. I Get A Kick Out Of You
04. I Wish I Knew
05. You Don't Know What Love Is
06. I'm Glad There Is You
07. Sometimes I'm Happy
08. You And The Night And The Music
09. But Not For Me
10. This Love Of Mine
11. Embraceable You
12. Spring Is Here

Ten of these tracks are included in the double album titled [[ASIN:B000N2H8I2 Complete Trio Sessions]], which while missing some original tracks from this and the other album which comprises it may be a better value if you are not a completest.

Sadly there are no sound samples on this page, but LaFaro's playing is clear and unmistakable.


title: Outstanding sampler of some of the best

text:
This 3-disc set is out-of-print, but still offered used.  As I write this review the other formats offered - MP3 Music 39 Songs 2010 and Audio CD 2011 - are for different products that are not the same as this album.

What makes this album great is it's a sampler that contains six tracks each for six truly great ladies in jazz. I'll list the contents of each disc below.

Of course the choices are not going to satisfy everyone. For example, it would have been great had one of my favorites been included - Anita O'Day or Maxine Sullivan - and Dinah Washington is better known as an R&B artist. On the other hand, one cannot argue with either the choices made since each vocalist is one of the greats, or the tracks which do showcase their talents. And as for Ms. Washington: although she was often billed as the Queen of the Blues, she was also one great jazz singer. Her tracks on this album prove that.

Here is what the set contains:

DISC ONE:
=============
Sarah Vaughan
=============
01.  Lullaby of Birdland
02.  All of Me
03.  Lover Man
04.  Over the Rainbow
05.  Autumn in New York
06.  My Heart Stood Still
=============
Dinah Washington
=============
07.  Caravan
08.  Ain't Misbehavin'
09.  Is You or Is You Ain't My Baby
10.  Smoke Gets in Your Eyes
11.  I Get a Kick Out of You
12.  Stormy Weather

DISC TWO:
=============
Billie Holiday
=============
01.  A Foggy Day
02.  I've Got Love to Keep Me Warm
03.  God Bless the Child
04.  Too Marvelous for Words
05.  I Thought About You
06.  Lady Sings the Blues
=============
Ella Fitzgerald
=============
07.  It Don't Mean a Thing (if it ain't got that swing)
08.  The Lady is a Tramp
09.  Cheek to Cheek
10.  Oh, Lady Be Good
11.  Satin Doll
12.  Let's Call the Whole Thing Off

DISC THREE:
=============
Nina Simone
=============
01.  Mood Indigo
02.  Black is the Color of My True Love's Hair
03.  I Loves You Porgy
04.  Don't Let Me be Misunderstood
05.  Wild is the Wind
06.  I Put a Spell on You
=============
Pearl Bailey
=============
07.  Easy Street
08.  Here You Come With Love
09.  I've Taken a Fancy to You
10.  My Man
11.  You Waited Too Long
12.  Sweet Georgia Brown

As you can see, the tracks are familiar. But that is what makes this a great sampler: familiar songs performed by some of the best ever jazz vocalists. No surprises or weirdness, and the tracks are organized by vocalist instead of scattered across the three discs with no coherency or reason.


title: Early Klook with some gems

text:
This album contains some rare tracks spanning the period between 1946 and 1950. As I write this review it's out-of-print, but fortunately still available as Disc Six in a 10-disc set titled [[ASIN:B005D4XYUQ Kind of Clarke]].

Sadly there are no sound samples on this page. It would be presumptuous of me to attempt to describe the songs comprising these tracks because such descriptions would only reflect my personal tastes and biases. I can, however, provide detailed information regarding when, where and my whom each track was recorded. That information will give you some idea as to the music itself based on the signature sounds of the musicians in the sessions.

The first four tracks were recorded in NY on September 5, 1946 and feature Kenny Dorham and Fats Navarro on trumpet, Sonny Stitt on alto sax, Ray Abrams on tenor sax, Eddie DeVerteuil on baritone sax, Bud Powell on piano, John Collins on guitar, Al Hall on bass and Kenny Clarke on drums.

Tracks 5-7 are Kenny Clarke Sextet, recorded in Paris on March 2, 1948 and feature Benny Bailey on trumpet, John Brown on alto sax, Cecil Payne on baritone sax, Ralph Schecroun on piano, Al McKibbon on bass and Kenny Clarke on drums.

Tracks 8-11 were recorded in Paris on May 4, 1948 as the the Kenny Clarke Orchestra. Personnel are: Dick Collins on trumpet, Hubert Fol on alto sax, Jean-Claude Fohrenbach on tenor sax, Andre Hodeir under the pseudonym of "Claude Laurence" on violin, Jacques Denjean on piano, Charles Montaggioni on guitar, Alf Masselier on bass and Kenny Clarke on drums.

Tracks 12 through 15 were recorded in Paris on May 5, 1948 as the Michel De Villers et Son Orchestre comprised of Claude Dunson on trumpet, Michel De Villers on alto sax, Jean-Claude Fohrenbach on tenor sax, Jacques Denjean on piano, Charles Montaggioni on guitar, Alf Masselier on bass and Kenny Clarke on drums.

Tracks 16-19 were recorded in Paris on October 29, 1949 as the Hubert Fol et ses Be-Bop Minstrels. This group was comprised of Nat Peck on trombone, Hubert Fol on alto sax, Bernard Peiffer on piano, Jean Bouchety on bass and Kenny Clarke on drums.

Final two tracks were recorded in Paris on June 7, 1950 as Kenny Clarke and his Orchestra. Personnel on this session were: Nat Peck on trombone, Hubert Fol on alto sax, James Moody on tenor sax, Gerald Wiggins on piano, Pierre Michelot on bass and Kenny Clarke on drums.

If you are a Klook fan this album documents an important period of his playing approximately a decade after he went professional. I do recommend that you consider the 10-disc set mentioned above if you want this album plus a wider set of examples of Klook's work.


title: Like a 'best of' from her Verve large orchestra albums

text:
It's hard to dislike this album, although there are better deals that document Anita's Verve Years. For one, I would go with [[ASIN:B005I4UMCO 8 Classic Albums]], which is slightly more expensive with a lot more tracks. However, this album contains some true gems.

Since as of the date of this review there is no track listing for this album I am providing one (and their source albums).

The first seven tracks, plus track 23 are from her 1958 album titled [[ASIN:B000WLVBBE Anita O'Day Sings The Winners]]. They are: Take the A Train, Early Autumn, Four Brothers, My Funny Valentine, Sing, Sing, Sing, What's Your Story Morning Glory, Peanut Vendor and Star Eyes.

Track 8, Whisper Not, is from one of my favorite albums titled [[ASIN:B000V697T8 Anita O'Day And The Three Sounds]]. Sadly this is the only track that is from that amazing album.

Stomping at the Savoy and Don't Be That Way (tracks 9 & 11) are from [[ASIN:B000V6728Q Pick Yourself Up]], while Hershey Bar (track 10) is from [[ASIN:B001NZJ3HW Cool Heat]] and Peel Me a Grape (track 12) is from [[ASIN:B000VRH2IU Time For Two]] (another album I absolutely love and wish was better represented in this collection.)

Tracks 13-21 are from [[ASIN:B000WLQKHO Swings Cole Porter]], consisting of Just One of Those Things, Love for Sale, Easy to Love, I Get a Kick Out of You, What Is This Thing Called Love, Night and Day, Get Out of Town, I've Got You Under My Skin, and De-Lovely. Somehow the producer managed to include every one of my favorites!

Interestingly, the next-to-last track - Honeysuckle Rose - is from her first Verve album, [[ASIN:B00000470I This Is Anita]].

Overall, this is a solid collection of Anita's Verve years, and are drawn from albumsnext-to-last that are more centered on orchestral arrangements and backing (two exceptions are tracks 8 and 12.) If you are new to Anita's music this is a good starting place for her post-Swing era work, although I recommend that you check [[ASIN:B005I4UMCO 8 Classic Albums]] before making a final purchase decision.


title: Reserving Judgement...

text: Not quite up to previous efforts, but maybe I just need to listen to it a few more  times.


title: Nice CD

text: I'm old and decrepit, so I no longer know anyone who speaks Spanish.  I bought the CD to hear the old language again and to hear "Soledad" in Spanish. I've only heard the song in French, which is nice, but I don't understand French.  Emilio Jose recorded all the songs in Spanish, which is nice.  I detect a Castilian pronunciation, but Spanish is Spanish, despite the diverse accents.  I like this CD, and as an added bonus,  I finally understand "Soledad."


title: Happy with purchase

text: I bought this as a gift, and the person I gave it to LOVED it.


title: Four Stars

text: Love it


title: Good.. But Not What I Was Looking For..

text:
I purchased this CD thinking it was a certain album that I used to own (on cassette).. but it turns out that it was basically not even the particular recordings that I was searching for.

There were no samples from the CD that I could listen to.. so I had no idea that this was not what I was after. (All the tracks listed were the those found on my old cassette). But the tracks on the CD were NOT even the songs they were supposed to be (apart from one of them.. and even that one was listed under the wrong name)

I did end up liking the tracks on this CD (even though they were not the ones listed at all) so I gave it a couple of stars -- because I liked it and it was very inexpensive..

EDIT: At least one of the songs that was found on it was the track that I was looking for.


title: One Star

text: Bootleg item.....so cheap....CD is a single...only one song.


title: good mixtape

text: i like this mixtape,its got different beats and a new vibe...its nice too here sumthin different.clams casino makes different beats.peso is my favorite joint


title: Something for a Bad Day

text:
This is a phenomenal debut album from Daniel Powter.  The stubbly-jawed, green-eyed, beanie-wearing 34 year old Canadian singer/songwriter gives a very impressive account of himself, and has already sold more than 100,000 albums, due mainly to a killer first single "Bad Day", something with which we can all identify.

"Where is the moment when we need it the most
You kick up the leaves and the magic is lost
They tell me your blue sky's faded to grey
They tell me your passion's gone away
And I don't need no carrying on

Stand in the line just ahead of the law
You're faking a smile with the coffee you go
You tell me your life's been way off line
You're falling to pieces every time
And I don't need no carrying on

Cause you had a bad day
You're taking one down
You sing a sad song just to turn it around
You say you don't know
You tell me don't lie
You work at a smile and you go for a ride
You had a bad day
The camera don't lie
You're coming back down and you really don't mind
You had a bad day
You had a bad day"

Powter wrote the songs on this album over a one year period, his musical taste inspired by childhood violin sessions, accompanying his mother on piano.  The second single will be "Free Loop", but the excellent "Song 6" would also have been a great pick.

This album is definitely a keeper, other great tracks being "Jimmy Gets High" and "Lie to Me" (falsetto bits and all), "Styrofoam" and "Hollywood", but then every track is a potential single.  The only problem is that there are only ten songs, and that's a crying shame.

Amanda Richards, October 6, 2005


title: Great cd

text: Great


title: Great music, well played!

text: Buy this CD!