Stan Getz - Jazz Classics

I just ripped this for my friend Robers and thought I offer it up to y'all as well. Two different dates with two different bands from Stans' early days.

Sahib Shihab - Conversations (Polydor LP Vinyl Rip)

Looking at my Sahib Shihab files, I have to admit to an ulterior motive in making this post - I see that I need upgrades on most of my stuff and this is one way to generate a global collaboration.

This one here is a fresh LP rip that I'm hoping will set off a run of others from my colleges to fill in the thin, but fabulous Shihab catalog in 'high def'.

The Best Of Max Roach And Clifford Brown In Concert [vinyl rip-flac]

"This set has the earliest documented performances of the Clifford Brown/Max Roach Quintet. Trumpeter Brown and drummer Roach, along with tenor-saxophonist Teddy Edwards, pianist Carl Perkins and bassist George Bledsoe, perform four numbers including hot versions of "All God's Chillun Got Rhythm" and Edwards's "Sunset Eyes." In addition there is a later set with the permanent lineup of the Quintet: Brown, Roach, tenorman Harold Land, pianist Richie Powell and bassist George Morrow. Together they play "Jordu," Brown's feature on "I Can't Get Started" and versions of "I Get a Kick Out of You" and "Parisian Thoroughfare" that are both heated and colorful. This is a very rewarding and somewhat historic release of high-quality straightahead jazz from one of the great hard bop bands." AMG

Covers are from Discogs, but the rip is a fresh one from me

Eddie Davis Trio with Shirley Scott (1958) [vinyl>flac]

Most jazz critics and serious jazz listeners will almost certainly agree that, were there no Coleman Hawkins and/or were there no Lester Young, just so would there be no appreciable saxophonists of today. Either one or the other, or both, will inevitably appear in every tenor sound.

This album gives a savoury taste of just such a happy mixture, with the added ingredients of a happy swing and heartfelt drive, furnished by EDDIE "Jaws" DAVIS.

Much more than ably assisted by veteran George Duvivier on Bass, newcomer (and really a "comer,") Shirley Scott on Organ and the very tasteful Arthur Edgehill on drums, a better word would be "augmented", because these three are artists in their own right and Eddie certainly doesn't need assistance. Eddie's clean drive on the up-tempos is something to marvel at and something sorely missed of late. Fresh from the solo chair in that sensational Basie band, Eddies' is a talent that insisted on being showcased on its' own mettle. It's a talent that should, and will, flourish on its' own.

This is jazz, with heart, with feeling: Jazz that literally radiates from each groove; Jazz that insists on being felt; - Jazz by EDDIE DAVIS.

Roost Records, RLP 2227, 1958

Recorded May, 1958 in New York City

Personnel:

Eddie "Lockjaw" Davis - Tenor Saxophone

Shirley Scott - Organ

George Duvivier - Bass

Arthur Edgehill - Drums

Track Listing:

A1. Day By Day {Sam Kahn, Axel Stordahl, Paul Weston} (4:02)

A2. Do Nothing Till You Hear From Me {Duke Ellington, Bob Russell} (3:48)

A3. I'll Remember You {Johnny Mercer, Victor Schertzinger} (4:11)

A4. Autumn In New York {Vernon Duke} (3:10)

A5. Penthouse Serenade [When We're Alone] {Will Jason, Val Burton} (2:36)

A6. Land Of Dreams {Eddie Heywood} (4:13)

B1. Scotty {Eddie Davis} (3:44)

B2. On The Street Where You Live {Frederick Loewe, Alan Jay Lerner} (3:32)

B3. Dee Dee's Dance {Denzil Best} (2:58)

B4. Don't Get Around Much Any More {Duke Ellington, Bob Russell} (2:43)

B5. Everything I Have Is Yours {Harold Adamson, Burton Lane} (3:19)

B6. Don't Worry 'Bout Me {Ted Koehler, Rube Bloom} (4:06)

Black Jazz Spiritual

As a young DJ in the 70's, I was lucky enough to be the only guy at my station who was even interested in the music from this label - they always sent 2 of everything so I've had the majority of the output since it was new. This particular trip accentuates Spiritual Jazz side of the label - the albums I've omitted were by choice.

Black Jazz Spiritual by Kingcake on Mixcloud

30 Jazz Guitar Masters

One of the things one couldn't help but notice when examining my collection is that I have a whole mess of Jazz guitar; I mean seriously obsessive numbers of artists and recordings. These 30 guitar voices are my personal choices over the 2 days that I put the mix together - I have no doubt at all that if I did this again tomorrow, there would be a fair number of changes. The problem is, what do you cut?
The picture? A teenaged George Barnes outside the Chelsea Hotel in Chicago - he was first recorded on electric guitar at 16 and had a weekly radio appearance by age 17. He preceded both Les Paul and Charlie Christian in being recorded on the instrument.

30 Jazz Guitar Masters by Kingcake on Mixcloud

George later looked like this -

Don Patterson - These Are Soulful Days (1973) [re-rip]

On this 1973 date, organist Don Patterson and guitarist Pat Martino again show themselves to be equally at home with gritty, organ combo sounds and the more refined vocabulary of hard bop. Brothers Jimmy Heath (tenor sax) and Albert Heath (drums) round out the band. They are bop-oriented players who also have an affinity for the Patterson and Martino blend of brains and barbecue sauce. The quartet comes together nicely on all five tracks, beginning with the long, melodic line of Cal Massey's mid-tempo title track and winding up with the slow-cooking, 18-minute "Muse Blues." As for the group's cover of "Whistle While You Work," Patterson, Martino, and the Heaths transform the Disney ditty into a solid, straight-ahead, swinger, with intelligent solo work and without a speck of corn. Patterson's pianistic approach and sparing use of bass pedals creates lots of space for his bandmates. Martino, who is known for his fleet, single-note solo work spends considerable time playing behind the soloists on this set, demonstrating what a staggeringly accomplished accompanist he can be. Heath draws on his history with Dizzy Gillespie, Milt Jackson, and Art Farmer, and as a leader in his own right, to build tenor solos that have force, logic, and passion. These Are Soulful Days is easily recommendable to fans of classic organ, guitar, sax combos, as well as to listeners who simply enjoy the playing of top-flight jazz musicians who have a healthy respect for the music's blues roots. ~ by Jim Todd, Allmusic.com.

Muse Records, MR 5032, 1973

Recorded 17th September, 1973

Personnel:

Don Patterson - Organ

Pat Martino - Guitar

Jimmy Heath - Tenor Saxophone

Albert Heath - Drums

Track Listing:

A1. These Are Soulful Days {Cal Massey} (8:19)

A2. Whistle While You Work {Frank Churchill, Larry Morey} (7:33)

A3. Skylark {Hoagy Carmichael, Johnny Mercer} (9:13)

B1. Blue 'N' Boogie {Dizzy Gillespie, Frank Paparelli} (4:11)

B2. Muse Blues {Don Patterson} (17:54)

Credits:

Producer - Don Schlitten

Engineer - Paul Goodman

“These Are Soulful Days” is a very rewarding set; it catches Don Patterson at his very best. It features Don in a fine quartet which includes Jimmy Heath on tenor sax, Pat Martino on guitar and Albert Heath on drums. Right from the start the quartet presents an exhilarating interpretation of Cal Massey's and the album's title tune. This is followed by two standards ”Skylark” and an unusual but rewarding version of “Whistle While You Work”; and finally two blues compositions “Blue 'N' Boogie” by Dizzy Gillespie and Patterson's own lengthy “Muse Blues”. All players have opportunities to solo; Patterson in particular shows great sensitivity. Jimmy Heath excels on “Whistle While You Work” and “Blue 'N' Boogie” and indeed Pat Martino has no trouble blending seamlessly with Patterson on all tunes adding some amazing solos, especially heard on the slower tracks. However he really comes into his own and truly expresses his expertise on the faster numbers.

According to Douglas Payne this is Patterson’s ‘best recorded work and offers proof that this melodic bop organist is a neglected talent that, even a decade after his death, remains deserving of wider recognition.'

Hen Gates And His Gaters - Rock And Roll (1949-52) [vinyl>flac]

Two year ago I stumbled on this obscure album at Boogie Woody’s site. After downloading and listening to it a few times I was convinced that some of the tunes sounded very much like early Eddie “Lockjaw” Davis. Intrigued I delved deeper into the comments to find that the pseudonym “Hen Gates” was actually Freddie Mitchell and that this budget label amassed a number of tracks from his Derby releases.

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Boogie’s own research validated my identification of a number of Eddie Davis tracks producing this amendment:

A1. Stop is Pony Express, 1950/51, Derby 725

A4. Hold It is Hot Ice, 1951, Derby 777

A5. The Creep is Doby’s Boogie, 1949, Derby 713

B2. Rockin’ and Rollin’ Hop is Madera Hop, 1951, Derby 807

B3. Back Bone is Minton’s Madhouse {Eddie Davis}, 1947, Lenox 515

B4. Look And Listen is Leapin’ On Lenox {Eddie Davis}, 1947, Lenox 502

B5. Bunny Rock is Cold Heat, 1952, Derby 793

The other anomaly is that Look Out and Bear Walk sound like the same track After Hours Bounce released on Eddie ''Lockjaw'' Davis, Morris Lane - Kickin' And Wailin' (1962)

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Anyway as an avid ‘Lockjaw’ fan I was glad to have acquired this rarity; however the rip was in a sorry state, so I’ve done my best to re-encode and share here. The album is full of dynamic energy with some marvellous honky tonk / plinkity plonk piano, guitar passages and shrieking-shronking sax. The sound quality is variable, but still very entertaining, Enjoy!

Plymouth, P-12-144, 1956

Track Listing:

A1. Stop (2:53)

A2. Hand Clappin' (2:48)

A3. Look Out (2:25)

A4. Hold It (2:22)

A5. The Creep (2:57)

A6. T.N.T. (2:47)

B1. Jumpin' And Shoutin' (2:55)

B2. Rockin' And Rollin' Hop (2:29)

B3. Back Bone (2:19)

B4. Look And Listen (2:54)

B5. Bunny Rock (2:23)

B6. Bear Walk (2:15)

Total Time: 31:30

Tony Scott - I'll Remember

I thought it appropriate to post the companion to 'Golden Moments' here. I've re-upped KingCake's original post of sotise' rip and added full 300dpi scans from the LP.[grumpy]

Volume Two of this historic live recording - Once again the rip source is sotise, I parsed them to tracks [KingCake].

1 Stella by Starlight (Washington, Young)
2 I'll Remember April (DePaul, Johnston, Raye)
3 A Night in Tunisia (Gillespie, Paparelli)
4 Garrison's Raiders

"The follow-up to clarinetist Tony Scott's Golden Moments (both of which were released for the first time on Muse albums of the mid-1980s) uses the same group (a quartet with pianist Bill Evans, bassist Jimmy Garrison and drummer Pete LaRoca) and almost reaches the same heights. Scott was one of the finest clarinetists of the late 1950s before deciding to become a sketchily documented world traveler. This live date has lengthy versions of "Stella By Starlight," "I'll Remember April," "A Night In Tunisia" and the blues "Garrison's Raiders." The boppish music hints at future developments and both this album and Golden Moments (which gets the edge) are highly recommended. [I'll Remember was reissued as part of 32 Jazz's double-disc set, At Last, in 1999.]"

Tony Scott - Golden Moments

The original rip comes courtesy of our old friend Sotise - this Muse release was a reissue of a little known 1959 session featuring some serious heavyweights.

"Tony Scott was one of the major jazz clarinetists of the 1950s, but his decision to become a world traveler in 1960 has resulted in him becoming rather obscure. This valuable Muse release features the clarinetist in top form on an original blues and four standards (including 12-minute versions of "Walkin'" and "Melancholy Baby") in a quartet that also includes the up-and-coming pianist Bill Evans (who had just left Miles Davis' sextet), bassist Jimmy Garrison, and drummer Pete LaRoca. The bop-oriented improvisations hold one's interest and make one wish that Scott had stayed in New York throughout the '60s; he had much more to say. [Golden Moments was reissued as part of 32 Jazz's double-disc set, At Last, in 1999.]" Yanow, AMG

Xanadu Dreams 2

Xanadu Dreams 2 by Kingcake on Mixcloud

Jackie Paris - The Song Is Paris (1962)

As requested. This is not my rip but is posted in honour of the original uploader who passed away a while ago and is sadly missed by many in jazz blogland - The Jazzman.
This is a copy of his original post:

I found a great article about JP that I thought you would enjoy.

The Village Voice January 17, 1995 Vol. XL No.3
Article by Will Friedwald

Fifteen years after Lenny Bruce's death, his equally legendary mother Sally Marr, came across an unmailed letter amongst her late son's effects. Upon opening the envelope, she found a three page testimonial to the talent's of Jackie Paris, the jazz singer who'd shared a bill with Bruce for several months in 1959.

The comic was writing to implore his agent to sign Paris to a long term contract. "(My last gig in) New York was a gas, and the biggest thrill was working with Jackie Paris," Bruce wrote. "You know how much I dug him before... well, I find out he tap dances great, and plays 'the end' guitar... He is cute as a button and the audience loves him and he gets laughs. Tooo muccchhh!"

"I know he could be a star," Bruce continued, "I've never seen a singer that could talk and command the audience attention like this kid, except Sinatra or Dean Martin, and they talk about booze and broads. This kid [actually Bruce and Paris were both 33 at the time] is a hip Pat Boone."

Bruce was convinced that Paris was going to become the next "big" singer. Little did he suspect that there was no room in this particular American musical moment for a new star who only appealed to the hip and grown-up, and who wasn't part of the youth directed pop explosion. To make matters worse, Paris wasn't even your average pop singer with jazz influences. Rather he was and is an uncompromising jazz singer who happens to have an enormous --albeit unrealized -- pop appeal.

If stardom could be attained as easily as the acclaim of counter-culture landmarks like Lenny Bruce, then Paris would have long since been a jazz circuit headliner. He was also the favorite singer of Charles Mingus, who worked with him in Lionel Hampton's band circa 1949, and three years later wrote several compositions expressly for the singer, which they recorded together on Mingus's own Debut label. Further, Paris was the only singer to tour with the Charlie Parker Quintet (with Miles Davis and Max Roach). Paris was also the vocalist selected by producer Leonard Feather, Thelonious Monk (presumedly), and posterity to introduce the now standard lyrics to "Round Midnight."

It's easy to hear what Bruce, Mingus and Parker found so appealing in Paris's singing. Here is a musician saturated with the virtues of modern jazz--the harmonic sophistication, the cool attitude, the bright clean tone--who never sounds like he's doing anything way-out or complex. His grounding in the blues leads him back to the fundamentals. On a familiar piece like "Wrap Your Troubles In Your Dreams", Paris can come up with the oddest harmony lines exactly where we expect to hear the "straight" melody-as-written. Yet nothing he ever sings strikes us as weird.

Undoubtedly, it was his gift for clarity that led Mingus to concoct some of his most conventionally singable melodies and lyrics specifically for Paris. Mingus could devise as much formless abstraction as he liked--for example the entrancingly meandering "Portrait"--knowing that Paris could "sell " the number as convincingly as Sinatra could put over a Cole Porter showtune. Likewise " Paris In Blue" (included, along with "Portrait" on Charles Mingus: The Complete Debut Recordings) veers off into all kinds of odd directions. Yet Paris effectively anchors all narrative and melodic motion to the blues framework that the piece begins and ends with.

Twenty-two odd years after the 1952 sessions that produced these tracks, Mingus recruited Paris to introduce what became one of the bassist's anthems "Duke Ellington's Sound Of Love" (on Changes Two). Paris also worked steadily with Mingus's Jazz Workshop group for several months during the 60's. One night at the Village Vanguard, he recalls, he witnessed the vitriolic Mingus's temper in full force. "He chased everybody off the stand except (drummer) Paul Motian and me," Paris said in a recent interview in his Park Avenue South apartment. "The three of us just wailed on the blues for about an hour and a half before he called the other cats back."

Paris, who was born in Nutley, New Jersey, was dancing and singing from the time he was three years old. He tapped on the vaudeville circuit around New Jersey and at one point shared the stage with the legendary Bill "Bojangles" Robinson, who told him, "Son, you sure got rhythm for a white boy." It would not be the only instance of racial blur in his career. When singing with the Hampton band, the leader's wife and manager, Gladys Hampton, insisted Paris wear a chalk-white suit while the rest of the band sported what Paris remembered as "horrible orange tuxedos." Once on the road a couple racist small -town cops started harassing the Hamptonians, and Paris in particular. When they asked, "Hey, what are you?"- meaning black or white - he answered,"I'm one of the guys."

Paris first began singing jazz on 52nd street around 1947, with his piano, bass, and guitar trio, The King Cole- style trio enjoyed one of the longest gigs in the history of that center of activity. Paris also made his first singles for MGM around this time. Both Charlie Parker and Lionel Hampton first heard him in 52nd street clubs and invited him to join their groups from there.

The singer considers it a point of honor that he doesn't drastically alter a songwriter's words or music. Most of his repertoire consists of very familiar standards that he totally personalizes, not only through rhythm and phrasing, but also by using harmonies to paraphrase each line. More intimate than, say, Sarah Vaughan's very cerebral inventions, Paris's lines remain close enough to the original's tune to recognize it even without benefit of the words. This kind of respect for the songwriter's original intentions garnered him praise from his collaborators. Hoagy Carmichael, for example, once told a TV talk show host that "a kid by the name of Jackie Paris sings the hell out of 'Skylark'."

Paris came closest to a hit in 1953, when another composer, Redd Evans, presented him with the elemental, folkish ballad, "If Love Is Good To Me." "He gave me an exclusive, but I didn't get a contract or anything," Paris said. "I introduced that song [on Brunswick] and my record had just started to sell. The next thing I know, Redd told me, 'Listen Nat Cole wants to do the song and I can't turn him down.'" Cole had already made hits out of a half dozen Evans songs. "So, Nat recorded it, and though Cashbox picked mine over his. Nat's record became the biggest record in the country."

Paris claims not to be bitter about the cover, especially since Cole had long been one of his favorites. However he delights in how a friend of his who worked for Cole would stroke the singer-pianist's guilty conscience. " 'I love your record, Nat,' he'd say to him, 'but you really like Jackie's version, don't you?'" Paris solidified his relationship with "If Love Is Good To Me" by re-recording it in 1962 for his Impulse! album The Song Is Paris; Evan's tune remains perfect for Paris's sweet yet achingly soulful sound. The sensual way that he bends the coda makes clear what Sarah Vaughan meant when she described Paris as a "kissy" singer.

Paris has made guest appearances on albums by jazz instrumental greats from Mingus to Terry Gibbs to Coleman Hawkins to Donald Byrd. He's also released 10 albums of his own, four in the last dozen years, for the American indie Audiophile (Jackie Paris and Nobody Else But me) and the Japanese major Emarcy (Lucky To Be Me and Love Songs). All four concentrate on Paris's specialty--the luxuriously slow ballad. He still sings remarkably even if his voice isn't as rich and juicy as it was in the 50s and 60s (the effects of aging come through, oddly enough, on up-tempo numbers). All four new sets contain outstanding balladry: "More Than You Know", with its anguished forlorn and particularly compelling treatment of the verse, which through rubato, he invests with as much melody as the central refrain, makes for as classic a Paris perennial as "Skylark."

Strangely Paris's best contemporary album is a 1987 orchestral date that balances exciting if typically busy "up" charts by Michael Abene with haunting and sensitive string arrangements by the late Bobby Scott, including a loving treatment of Jules Styne's "Small World" that'll tear your guts out. Paris is still seeking a home for these tracks. Between gigs, which don't come as frequently as he likes or deserves, he teaches both guitar and voice as part of the New School's Jazz program.

Although his talent vastly outweighs the amount of success he's enjoyed, it's impossible to feel sorry for Jackie Paris - not only because he has the apartment of every New Yorker's dreams, but because both the singer and his music are so upbeat. He still possesses so much voice and charisma that it's easy to believe "it" could still happen for him.

Now, at 68, Paris remains one of the strongest survivors of jazz singing's glory decades, " I never gave in," he says, " 'cause I love it, man. What am I gonna do, get bitter and hate the world and kill myself? For what? I had a lot of fun. I loved every minute of it."

*

by Jason Ankeny
The Song Is Paris pairs Jackie Paris with arranger Bobby Scott, whose simple but effective treatments prove well-matched to the singer's uncommonly direct approach. Because he was never a showy or self-indulgent vocalist, Paris never received the acclaim he deserved, and the subtlety of a record like The Song Is Paris further underlines just how deceptive his music can be -- the album shifts so effortlessly between moods and tempos that its broad range threatens to pass by virtually unnoticed. Paris' nuanced, succinct approach to the material likewise eschews technical acrobatics in favor of sincerity and poignancy -- slowly but surely, the songs work their way deep under your skin. ~ Jason Ankeny, All Music Guide

Tracks

* A1) Duke's Place
* A2) If Love Is Good To Me
* A3) Jenny
* A4) My Very Good Friend In The Looking Glass
* A5) 'Tis Autumn
* A6) Nobody Loses All The Time
* B1) Everybody Needs Love
* B2) Cherry
* B3) Thad's Blues
* B4) Tonight (From West Side Story)
* B5) Cinderella (Stay In My Arms)

Jackie Paris, who died last month at the age of 79, was a favorite of Charles Mingus, Charlie Parker, and Lenny Bruce, but he remained in semi-obscurity for most of his career. He recorded the first-ever vocal version of Thelonious Monk’s “Round Midnight” in 1949, collaborated several times with Mingus, and made LPs for Brunswick (Skylark) and Impulse (The Song Is Paris) that became collector’s items in subsequent decades. (From 2004)

Complete Edmond Hall - James P. Johnson - Sidney De Paris - Vic Dickenson Blue Note Sessions

To say that this limited-edition six-LP Mosaic box is overflowing with classics is an understatement. Included are a variety of small-group sessions (with overlapping personnel) from the early days of Blue Note. The Edmond Hall Celeste Quartet has five songs that are the only existing examples of Charlie Christian playing acoustic guitar; clarinetist Hall, Meade Lux Lewis (on celeste), and bassist Israel Crosby complete the unique group. The king of stride piano, James P. Johnson, is heard on eight solos; other combos are led by Johnson, Hall (who heads four groups in all), trumpeter Sidney DeParis, and trombonist Vic Dickenson (heard in a 1952 quartet with organist Bill Doggett). Among the other key soloists are vibraphonist Red Norvo, pianist Teddy Wilson, tenor great Ben Webster, baritonist Harry Carney, clarinetist Omer Simeon, and trombonist Benny Morton. But more important than the all-star personnel is the fact that the musicians are consistently inspired, and that the performances (ranging from Dixieland to advanced swing) are well-planned yet spontaneous.   Yanow. AMG

This rip is from the 4 CD version

Sonny Stitt - Primitivo Soul (1963) [vinyl>flac 24/48]

A rarity - I can find no evidence of a CD issue?

Side A
1. Slave Maidens
2. Baion Baby
3. Estrellita
Side B
1. Blue Blood Ritual
2. Island Shout
3. Barefoot Ball

Sonny Stitt (alto,tenor saxophone) Ronnie Mathews (piano) Leonard Gaskin (bass) Herbie Lovelle (drums) Marcelino Valdez (congas) Osvaldo "Chihuahau" Martinez (bongos)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, December 31, 1963