ალბომი ქვეყნდება Live in JazZ თხოვნით !

Performers: Billie Holiday
Album: azz ‘Round Midnight
Genre: Jazz
Label: VERVE
Quality: APE (Image + Cue + Log + Scans )
Recording Date: Recorded between 1952 and 1957
Total Time: 64:42
Size: 240 MB Incl 5%

Tracklisting:

01. These Foolish Things (3:33)
02. What’s New? (4:15)
03. Darn That Dream (6:18)
04. Come Rain or Come Shine (4:21)
05. Ill Wind (6:14)
06. He’s Funny That Way (3:11)
07. Body and Soul (6:21)
08. You Go to My Head (2:54)
09. Prelude to a Kiss (5:32)
10. We’ll Be Together Again (4:23)
11. Solitude (3:28)
12. It Had to Be You (4:00)
13. Embraceable You (6:46)
14. You Turned the Tables on Me (3:26)

Personnel:
Billy Holiday (vocals);
Benny Carter (alto saxophone);
Ben Webster, Paul Quinichette, Flip Phillips (tenor saxophone);
Harry “Sweets” Edison, Joe Newman, Charlie Shavers (trumpet);
Jimmy Rowles (piano, celesta);
Oscar Peterson (piano);
Barney Kessel, Freddie Green (guitar);
Ray Brown, John Simmons, Red Mitchell, Joe Mondragon (bass);
Alvin Stoller, Larry Bunker, Gus Johnson (drums).

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Artist: Count Basie & Friends
Title Of Album: 100th Birthday Bash
Release Date: August 24, 2004
Label: BLUE NOTE RECORDS (SNG)
Genre: Jazz
Quality: FLAC (image + Cue + Log + scan + Info)
Bitrate: Lossless
Total Time: CD-2 51:25 / CD-2 47:51
Total Size: 193 Mb (Recovery 6%)

*****
Disc 1
1. Whirly-Birds (3:52);
2. Goin’ to Chicago (4:12);
3. Cute (3:13);
4. I Want a Little Girl (2:51);
5. Teach Me Tonight (2:53);
6. The Late Late Show (2:52);
7. Lonesome Lover Blues (3:11);
8. Blue and Sentimental (3:36);
9. Trav’lin’ Light (3:54);
10. Farouk (5:24);
11. For Lena and Lennie (3:51);
12. Untouchable (3:17);
13. Everyday (I Have the Blues) (4:44);
14. I’ve Grown Accustomed to Her Face (3: 03);

*****

Disc 2
15 Jumpin’ at the Woodside (3:21);
16 Li’l Darlin’ (4:50);
17 If I Were a Bell (2:45);
18 Splanky (3:38);
19 Ain’t No Use (2:58);
20 Until I Met You (Corner Pocket) (2:52);
21 She’s Funny That Way (3: 17);
22 The Late Late Show (2:35);
23 Jeepers Creepers (2:09);
24 Jelly Jelly (3:05);
25 Katy Do (4: 24);
26 Save Your Love for Me (3:59);
27 April in Paris [live] (3:38);
28 One O’Clock Jump [live] (3: 48).

*****

Personnel:
Count Basie (Piano),
Tony Bennett (Vocals),
Billy Eckstine (Vocals),
Harry “Sweets” Edison (Soloist),
Harry “Sweets” Edison (Guest Appearance),
Freddie Green (Guitar),
Al Grey (Trombone),
Illinois Jacquet (Sax (Tenor)),
Illinois Jacquet (Soloist),
Illinois Jacquet (Guest Appearance),
Quincy Jones (Arranger),
Thad Jones (Trumpet),
Thad Jones (Arranger),
Herbie Mann (Flute),
Billy Mitchell (Clarinet),
Billy Mitchell (Sax (Tenor)),
Marshall Royal (Clarinet),
Marshall Royal (Sax (Alto)),
Shirley Scott (Organ),
Ben Webster (Sax (Tenor)),
Ben Webster (Soloist),
Ben Webster (Guest Appearance),
Gerald Wiggins (Piano),
Joe Williams (Vocals),
Neal Hefti (Arranger),
Jimmy Mundy (Arranger),
Ralph Sharon (Piano),
Ralph Sharon (Arranger),
Wild Bill Davis (Arranger),
Irene Reid (Vocals),
George Williams (Arranger),
Quentin Jackson (Trombone),
George Duvivier (Bass),
Lambert, Hendricks & Ross (Vocals),
Al Aarons (Trumpet),
Butch Ballard (Drums),
Benny Carter (Arranger),
Sonny Cohn (Trumpet),
Henry Coker (Trombone),
Nat King Cole (Vocals),
Jimmy Crawford (Drums),
Wendell Culley (Trumpet),
Michael Cuscuna (Compilation),
Eddie “Lockjaw” Davis (Sax (Tenor)),
Eric Dixon (Flute),
Eric Dixon (Sax (Tenor)),
Ernie Wilkins (Arranger),
Andy Fitzgerald (Flute),
Frank Foster (Arranger),
Frank Foster (Sax (Tenor)),
Charlie Fowlkes (Flute),
Charlie Fowlkes (Clarinet (Bass)),
Charlie Fowlkes (Sax (Baritone)),
Jon Hendricks (Arranger),
Ron McMaster (Mastering),
Sonny Payne (Drums),
Benny Powell (Trombone),
Teddy Reig (Producer),
Flip Ricard (Trumpet),
Sarah Vaughan (Vocals),
Kirk Stuart (Piano),
Bobby Tucker (Arranger),
Billy Vera (Liner Notes),
Billy Vera (Compilation),
Frank Wess (Flute),
Frank Wess (Sax (Alto)),
Frank Wess (Sax (Tenor)),
Snooky Young (Trumpet),
Chuck Stewart (Photography),
Eddie Jones (Bass),
John Anderson (Trumpet),
Joe Newman Quartet (Trumpet),
Gordon Jee (Creative Director),
Burton Yount (Art Direction),
Burton Yount (Design),
Ike Isaacs Trio (Bass),
Dave Cavanaugh (Arranger),
Dave Cavanaugh (Producer)

*****

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Artist: The Silver Collection
Title Of Album: Gerry Mulligan Meets the Saxophonists
Recording Date : Aug 1, 1957-1960
Release Date : October 25, 1990
Label: verve
Genre: Jazz / West Coast Jazz / Cool
Quality: FLAC+Cue+Tau+Covers+Info
Bitrate: Lossless
Mono/Stereo: Stereo
Total Time: 63:37
Total Size: 235 Mb (Recovery 6%)

*****

Track Listing:
1. Chelsea Bridge – Gerry Mulligan, Ben Webster
2. Tell Me When – Gerry Mulligan, Ben Webster
3. Bunny – Johnny Hodges, Gerry Mulligan
4. 18 Carrots (For Rabbit) – Johnny Hodges, Gerry Mulligan
5. Come Rain or Come Shine – Gerry Mulligan, Zoot Sims, Zoot Sims
6. Red Door – Gerry Mulligan, Zoot Sims, Zoot Sims
7. Scrapple from the Apple – Stan Getz, Gerry Mulligan
8. This Can’t Be Love – Stan Getz, Gerry Mulligan
9. Line for Lyons – Paul Desmond, Gerry Mulligan
10. Body and Soul – Paul Desmond, Gerry Mulligan

*****

A cross-section of cuts matching Mulligan with most of the great sax players,
among them Ben Webster, Paul Desmond, Stan Getz, Johnny Hodges, and Zoot Sims.

*****

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Artist: Bill Harris
Title Of Album: Complete Fifties Sessions
Year Of Release: 2006
Recording Data: 1956, 1957
Label: Lone Hill Jazz / Catalog # 10252
Genre: Jazz / Bop, Swing
Quality: FLAC (Tracks+Log+Cue+Tau+Covers+Info)
Bitrate: Lossless
Total Time: 60:42 & 61:03
Total Size: 538 MB / 190 + 190 + 159 = 540 mb (Recovery)
—————————–
Этот комплект содержит три единственных альбома Bill’а Harris’а, записанных под его именем – 1956′s Bill Harris Heard, 1957′s Bill Harris & Friends 1957′s Ex-Hermanites).

==========================================

Track List:

DISC1
01. It Might as Well Be Spring (Hammerstein, Rodgers) 6:24
02. Crazy Rhythm (Caesar, Kahn, Meyer) 4:54
03. Where Are You? (Adamson, McHugh) 5:31
04. Just One More Chance (Coslow, Johnston) 2:29
05. I Surrender Dear (Barris, Clifford) 7:59
06. I’m Getting Sentimental Over You (Bassman, Washington) 4:24
07. In a Mellow Town (Duke, Ellington) 9:37
08. Apple Honey (Herman) 5:02
09. Everywhere (Harris) 3:36
10. Your Father’s Moustache (Harris, Herman) 4:04
11. Laura (Mercer, Raksin) 3:44
12. Woodchopper’s Ball (Bishop, Herman) 2:53
==========================================
DISC 2
01. Lemon Drop (Wallington) 7:41
02. Early Autumn (Burns) 3:41
03. Blue Flame (Bishop, Corday, Noble) 8:51
04. Bill Not Phil (Harris) 2:45
05. You’re Blase (Civier, Hamilton) 2:35
06. D’Anjou (Burns) 3:10
07. Imagination (Burke, VanHeusen) 3:07
08. Blackstrap (Harris) 2:41
09. Poogerini (Harris) 2:35
10. Bijou (Burns) 3:33
11. Gloomy Sunday (Javor, Lewis, Seres) 3:32
12. C-Jam Blues (Ellington) 3:00
13. Jive at Five (Basie, Edison) 3:05
14. Tutti-Frutti (Fischer, Gaillard) 3:15
15. Sue Loves Mabel (Harris) 2:46
16. Introspection (Burns) 4:41
=========================================

Personnel:

Disc One, tracks 1-7:

Bill Harris and Friends:

Bill Harris (tb),

Ben Webster (ts),
Jimmy Rowles (p),

Red Mitchell (b),

Stan Levey (d).
Los Angeles, September 23, 1957.
=========================================
Disc One, tracks 8-12 and

Disc Two, tracks 1-3:

Bill Harris and the Ex-Hermanites:

Bill Harris (tb,vcl),

Terry Gibbs (vib,vcl),

Lou Levy (p),

Red Mitchell (b),

Stan Levey (d),

Bob Dorough (vcl).

Los Angeles, September 30, 1957
==========================================
Disc Two, tracks 4-15:

The Bill Harris Herd:

Bill Harris, Eddie Bert, Ollie Wilson, Bart Varsalona (tb),

Jack Greenberg, Sam Marowitz, Pete Mondello, Murray Williams (saxes),

Ralph Burns (p),

Chubby Jackson (b),

Don Lamond (d).
New York, January 15, 1952.
=========================================

ORIGINAL LINER NOTES (Ralph J. Gleason):
Bill Harris and Friends
In one of those starshell bursts of self-revelation which have characterized Mitch Miller’s Sunday night radio program, Ben Hefch recently remarked that in Hollywood “you get paid so much more to contrive things than to express yourself.”
What he has indicted the motion picture culture for has also been true on occasion of the recording studio and this may be what has led the British critic A. J. McCarthy to refer to California as the “coast of corruption.”
However, one of the art forms in which the artist is least offered by this is jazz; jazz of the free blowing style of this LP, to be sure.
When albums of this nature are made they can be very bad or very good, depending on the calibre of the men performing. By the use of arrangements and rehearsals a group of relatively mediocre jazz men (and there are such things, the critics notwithstanding) can be made to sound almost as if they were doing something.
But without this, it’s every tub on its own bottom, as King Oliver said. It is one of the hardest things in the world to do, to walk into a studio, select the tunes, perhaps discuss them for a bit, then begin to blow and produce something of value. For this, mature artists are required. On albums of this type, self-expression ceases to be self-indulgence and becomes art.
That is what we have with Bill Harris. A mature, articulate musician who knows what he wants to do, considers well the methods of doing it and once he has made his choice proceeds to do it with dispatch and conviction. As Ross Russell has remarked, there is a quality of certainty about the playing of the best jazzmen. This has sometimes been lacking recently.
But you rind that quality in whatever Bill Harris plays. And, of course, it is part and parcel of being true to his own convictions which gives him this surety and, consequently, makes it impossible for him ever (in Hollywood or elsewhere) to be plagued by the insistence on contrivance which causes Ben Hecht periodically to seek other scenes for his work.
During the past several years, Bill Harris has been the featured member of the Woody Herman Third Herd – its extended version, as Woody calls it. There he served as a pillar of strength in the trombone section, as soloist extraordinary throughout each night’s playing and as a constant source of wonder to the other younger, sidemen. Wonder, because of his seemingly unlimited inspiration and remarkable sense of form.
Harris was by passed by almost a generation of jazz players. After his days with the Herman band in the 40s he served time with JATP and then retired to Florida. Since re-joining Herman, he has been on the road a major portion of the time. In the last year and a half his recordings and in-person performances with Herman in jazz centers brought him to the attention of the younger men to attain the reputation with them he would have earned had he remained on the scene throughout the last decade.
Bill Harris is an original musician. His style is no amalgam of cliches Looked from others. It is a deliberate approach to playing which utilizes melody as well as harmony but which emphasizes a fine sense of time rag. He admires many trombonists (Lawrence Brown, Jack Jenney, Jack Teagarden) but professes no favourite. He himself rates as one of the favourites of almost every mayor trombonist active in jazz today.
I’m not sure of this, but I have the distinct impression that before Bill Harris chooses a tune on which to do an extended trombone solo (such as It Might As Well Be Spring] he has been considering it for months. Sometimes it seems as though he rode through the night from ballroom to ballroom with Herman, mentally reviewing the tune, turning it over and over and inside out in his mind berore he was ready to blow on it. That may be why he sounds so right.
But he is also capable or sudden inspiration of a high order. I remember one night with the Herman band when he stood up for a solo on “Opus de Funk”, roared out a great slur and then whipped the band into a frenzy for several choruses. I frequently have the reaction to a Bill Harris solo that a friend of mine had that night. “Keeeeerist” he said “did you hear that?” It is typical of the Harris maturity that on his own LP he has turned two of the seven tracks over to others and laid out himself.
It is also typical of Harris that he has chosen the men with whom he recorded with the same care he chooses the tunes he plays. He has long been an admirer of Ben Webster, the great soloist from the Ellington band of the 40s. He has worked previously with Stan Levey, now the favorite drummer of West Coast musicians, and with Jimmy Rowles, one of the best of the jazz pianists of the 40s who has too long hidden his talents as accompanist to various singers. Red Mitchell, of course, is almost everyonesfavourite for lyric bass solos today.
On this LP, I would like to draw particular attention to Michell’s solo on Sentimental; to the way in which Ben Webster plays an obbligato behind Harris on I Surrender Dear; to Ben’s solo on Where Are You and to Bill’s on It Might As Well Be Spring, One further word, there have been few performances of the calibre of just One More Chance in any of the eras that jazz passed through.
==========================================

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Artist: Ben Webster
Title Of Album: Warm Moods
Recorded: 1960
Release Date :Jan 25, 2005
Label:Collectables (SNG)
Genre: Jazz
Quality: Flac Tracks+Cue+Log+scan+info
Bitrate: Lossless
Total Time: 36:10
Total Size: 209 Mb
====================================

Tracks:
1.Sweetheart of Sigma Chi, The
2.Stella by Starlight
3.With Every Breath I Take
4.Accent on Youth
5.But Beautiful
6.Time After Time
7.Nancy (With the Laughing Face)
8.I’m Beginning to See the Light
9.It Was So Beautiful
10.Whiffenpoof Song, The
11.It’s Easy to Remember
12.There’s No You

====================================

Personnel:
Ben Webster – tenor saxophone
Frank Capp – drums
Donn Trenner – piano
Don Bagley – bass
Alfred Lustgarten,Armond Kaproff – cello
Cecil Figelski – viola
Lisa Minghetti – violin

====================================

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