This post is really focused on those cats who haven't had the chance to hear Ventura in a small group. There isn't anything revolutionary happening on this Tops record, but the playing and the vibes are all excellent. Our main man plays a different sax on each track, including bass!! Laid back feel in his playing, even on the up tempo numbers and overall there's a wonderful bluesy logic.
The band hold it down as only the best can do. Billy Bean is heard on a few tracks with his gorgeous soloing. McKenna also gets mention for some terrific comping. Overall this one's a winner, especially if you enjoy that mainstream/swing sound. I cleaned up the record as best I could, without hurting the music itself. There's no doubt about the source, but if you're a vinyl fan I think you will find it less interruptive and more "atmospheric". Yes, that's what we'll call it. Ripped at 24/48 wav and transferred to 24/48 FLAC, this album is sure to get your weekend started right... enjoy!!!
By 1956 tenor-saxophonist Charlie Ventura no longer had a regular band and was drifting into semi-retirement. In fact, other than an album for King the following year and a set for Famous Door in 1977, this Lp was his final recording. Teamed with the then-unknown pianist Dave McKenna, guitarist Billy Bean, bassist Richard Davis (at the beginning of his career) and drummer Mousey Alexander,Ventura switches between tenor, alto, baritone and bass saxophones. The repertoire is filled with swing and dixieland standards including such unlikely songs as "When The Saints Go Marching In," "Bill Bailey" and "Sweet Sue" (in addition to a remake of Ventura's old hit with Gene Krupa "Dark Eyes") but the interpretations are full of spirit and swing. Although it may not look too promising, this budget Lp (which is long out of print but may be found at a cheap price) is actually well worth picking up. - Scott Yanow
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| 1957 Tops Records – L1528 |




