Friday, February 13, 2015

Tuesday, October 21, 2014

Hal McKusick - Complete Barry Galbraith, Milt Hinton and Osie Johnson Recordings

In 1954, arranger, composer and multi-reed instrumentalist Hal McKusick decided to form a quartet with guitarist par excellence Barry Galbraith, bassist Milt Hinton and drummer Osie Johnson. This outstanding release includes all four of the albums released by the quartet. The session also boasts numerous arrangements and compositions by George Russell, Manny Albam, Al Cohn, Johnny Mandel, Jimmy Giuffre and Gil Evans. One of the best-kept secrets in jazz, the extraordinary cool toned alto saxophonist has fallen into virtual anonymity despite the extremely high quality of his recordings and his incomparable talents as a soloist. With the most comprehensive anthology of his music to date, it is our intention to shine new light on the career of the inimitable Hal McKusick.

Source : http://www.freshsoundrecords.com/record.php?record_id=3810

Hal McKusick
Quartet
The Complete Barry Galbraith,
Milt Hinton
Osie Johnson
Recordings

Tracks

Cd.1

1 Give 'Em Hal (Albam)  6:36
2 When the Sun Comes Out (Arlen, Koehler)  4:17
3 Can't Get out of This Mood (Loesser, McHugh)  4:57
4 These Foolish Things (Link, Marvell, Strachey)  4:21
5 Out of This World (Arlen, Mercer)  3:57
6 This Is New (Gershwin, Weill)  3:15
7 Over the Rainbow (Arlen, Harburg)  4:08
8 Serenade in Blue (Gordon, Warren)  3:30
9 Prelude to a Kiss (Ellington, Gordon, Mills)  4:00
10 Irresistable You (DePaul, Raye)  7:54
11 Ain't Nothin' But a Memory Now (Cohn)  3:32
12 Alto Cumulus (Albam)  3:01
13 Jambangle (Evans)  4:08
14 Blues for Pablo (Evans)  4:54
15 Tommy Hawk (Mandel)  2:57
16 One Score and Eight Horns Ago (Giuffre)  3:25
17 Just Leave It Alone (Giuffre)  4:23
18 The Blues Train (Giuffre)  4:22


*



Cd. 2

1 Taylor Made (Albam)  3:08
2 You Don't Know What Love Is (DePaul, Raye)  3:29
3 They Can't Take That Away from Me (Gershwin, Gershwin)  3:44
4 Lullaby for Leslie (Albam)  4:27
5 Minor Matters (Albam)  4:19
6 Blue-Who (Albam)  3:54
7 By-Ian (Albam)  4:12
8 What's New (Burke, Haggart)  4:34
9 Interwoven (Albam)  2:54
10 Give 'Em Hal (Albam)  3:49
11 My Inspiration (Baudac, Haggart, Lamare)  4:30
12 Gift of the Magi (Albam)  2:46
1
3 Can't We Be Friends (James, Swift)  2:35
14 Step Lively Osie (Albam)  2:33
15 Minor Seventh Heaven (Johnson)  3:28
16 Theme (Cohn)  3:15
17 How Long Has This Been Going On (Gershwin, Gershwin)  3:15
18 Immortal (Scott)  2:44
19 You're a Lucky Guy (Cahn, Chaplin)  3:09
20 Alto Stratus (Albam)  5:12
21 Brother Jack (McKusick)  3:15


*


Personnel
Featuring Jimmy Cleveland, Art Farmer, Jimmy Giuffre, Jimmy Raney, Hal McKusick, Teddy Kotick, Manny Albam, Al Cohn, Gil Evans, Barry Galbraith, Milt Hinton, Osie Johnson, Johnny Mandel, Sol Schlinge, Harvey Shapiro, Bernard Greenhouse, Milton Prinz

Recorded in New York ; between February 17, 1955 & December 31, 1956.

See the complete for all details
(dates, musidians, places, etc)

Wednesday, October 15, 2014

Gary Burton & Hank Garland - New Vibe Man in Town & Jazz Winds from a New Direction

One of the preeminent vibraphonist's in jazz, this CD contains two complete LPs from the onset of Gary Burton’s career. The trio album New Vibe Man in Town marks Burton’s debut LP as a leader, while the quartet album Jazz Winds from a New Direction showcase the vibraphonist in collaboration with celebrated guitarist Hank Garland. Drummer Joe Morello is featured on both albums.

*

The facility Burton displays in this, his first album as leader, is startling. He is excellently supported by Cherico and Morello, whose four-, six-, and eight-bar brush exchanges with Burton are, as usual, brilliantly played and tastefully conceived. With the facility he has and the musical ability that shines through the deluge of notes, not to mention his fresh, happy approach, Burton stands as one of the bright lights on vibes.
Down Beat, Don DeMicheal

Source : http://www.jazzmessengers.com/en/10557/gary-burton/new-vibe-man-in-town-2lps-on-1-cd

Gary Burton
New Vibe Man in Town

Tracks
1 Joy Spring (Brown)  3:43
2 Over the Rainbow (Harburg, Arlen)  4:24
3 Like Someone in Love (Burke, VanHeusen)  3:08
4 Minor Blues (Mardin)  5:33
5 Our Waltz (Rose)  4:33
6 So Many Things (McPartland)  4:17
7 Sir John (Mitchell)  4:13
8 You Stepped out of a Dream (Brown, Kahn)  4:31
9 All the Things You Are (Hammerstein, Kern)  4:29
10 Three-Four, The Blues (Burton, Garland)  4:01
11 Move (Best)  4:28
12 Always  (Berlin)  4:35
13 Riot-Chous (Randolph, Garland)  7:53
14 Relaxing (Guinn)  6:10


*


Personnel
[# 1-8] from New Vibe Man in Town, RCA-Victor (LSP 2420)
Gary Burton - vb
Gene Cherico - b
Joe Morello - dr
Recorded in New York ; July 6 & 7, 1961
[# 9-14] from Jazz Winds from a New Direction, Columbia (CS 8372)
Hank Garland - g
Gary Burton - vb
Joe Benjamin - b
Joe Morello - dr
Recorded in Nashville, Tennessee ; August 23, 1960

Saturday, October 11, 2014

Buddy DeFranco - MGM

Jazz clarinetist Buddy DeFranco recorded a lot of small group swing in the 1950's, most of it for Verve and all of it outstanding. While this somewhat pricey import CD sports the Japanese Verve label, these sessions were originally recorded in 1952 for the MGM label (Source: Buddy DeFranco Discography by Arne Astrup). Besides DeFranco, the personnel includes Kenny Drew on piano, Jimmy Raney on guitar, Curley Russel/Teddy Kotick on bass and Arthur Taylor/Art Blakey on drums. Indeed an all-star line-up. This CD compiles work from 4 sessions recorded during the first half of 1952 in New York and San Francisco and all 16 charts swing with abandon. Highly recommended.
Williams Faust

Source : http://www.amazon.com/Gone-With-Buddy-Quartet-Defranco/dp/B00001X57P

Buddy DeFranco
Gone with the Wind
(MGM E 3396)

Tracks

1 Oh, Lady Be Good ! (Gershwin, Gershwin)  2:18
2 Buddy's Blues (DeFranco)  3:21
3 Gone With The Wind (Wrubel, Magisdon)  2:52
4 Sweet Georgia Brown (Bernie, Pinkard, Casey)  2:49
5 Get Happy (Arlen, Koehler)  2:50
6 Cairo (Drew)  2:51
7 Pennywhistle Blues (Cole)  2:52
8 Samia Shuffle (?)  3:09
9 Just One Of Those Things (Porter)  3:08
10 Street Of Dreams (Young, Lewis)  2:42
11 Carioca (Youmans, Eliscu, Kahn)  3:00
12 Easy Living (Rainger, Robin)  3:26
13 The Way You Look Tonight (Kern, Fields)  3:11
14 Sophisticated Lady (Ellington, Mills)  3:16
15 Lover Come Back To Me (Romberg, Hammerstein)  3:23
16 I Got It Bad (and That Ain't Good) (Ellington, Webster)  2:52

*


Personnel
[# 1-8]
Buddy DeFranco - cl
Kenny Drew - p
Jimmy Raney - g
Teddy Kotick - b
Arthur Taylor- dr
Recorded in New York City ; February 27, 1952 [# 1-4] ; & March 3, 1952 [# 5-8]
[# 9-16]
Buddy DeFranco - cl
Kenny Drew - p
Curly Russell - b
Art Blakey - dr
Recorded in Hollywood ; June 20, 1952 [# 9-12] ; & July 23, 1952 [# 13-16]

Friday, October 3, 2014

Paul Smith Trio & Quartet

The two enticingly swinging sessions brought together here find pianist Paul Smith in typically well-crafted form, with The Big Men a joyously engaging date in which he is heard performing solo or in a trio. Much skill, considerable feeling, and unceasingly ebullient energy transform this album into a thoroughly listenable program of modern jazz, throughout which his lines show strong classical influence and clear indication of his imposing compositional talent (Theme for Theda). The playing of the trio is crisp and knowing, and there are moments of brilliant musicianship by Smith with the fine support of Vinnegar and Levey, two swingers who keep the pulse vibrant.
On Richard Rodgers’ Broadway musical The Sound of Music, guitarist Barney Kessel’s contributions are consistently good, and the rhythm section is unfailingly solid and supportive. Smith, as leader, is utterly relaxed and swinging, while still managing to be viscerally creative in an excellent demonstration of the craftsmanship for which he was noted.

Source : http://www.freshsoundrecords.com/paul_smith_trio_&_quartet_the_big_men_+_the_sound_of_music_2_lps_on_1_cd-cd-6177.html

Paul Smith
Trio & Quartet
The Big Men
The Sound of Music

Tracks

1 The Big Men (Smith)  4:06
2 Theme for Theda (Smith)  3:28
3 Suze Bluze (Paich)  3:55
4 Yesterday’s (Kern, Harbach)  5:27
5 Tea for Two (Youmans, Caesar)  4:12
6 'S Wonderful (Gershwin, Gershwin)  3:58
7 It Never Entered My Mind (Rodgers, Hart)  5:31
8 Cheek to Cheek (Berlin)  5:10
9 Who’s Afraid of the Big Bad Wolf [Part I] (Churchill, Ronell)  3:50
10 Who’s Afraid of the Big Bad Wolf [Part II] (Churchill, Ronell)  3:26
11 My Favorite Things (Rodgers, Hammerstein II)  2:29
12 Clim Ev’ry Mountain (Rodgers, Hammerstein II)  4:04
13 Maria (Rodgers, Hammerstein II)  2:31
14 The Lonely Goatherd (Rodgers, Hammerstein II)  3:40
15 How Can Love Survive (Rodgers, Hammerstein II)  3:25
16 The Sound of Music (Rodgers, Hammerstein II)  3:10
17 Edelweiss (Rodgers, Hammerstein II)  2:46
18 So Long, Farewell (Rodgers, Hammerstein II)  2:38
19 No Way To Stop It (Rodgers, Hammerstein II)  2:50
20 An Ordinary Couple (Rodgers, Hammerstein II)  3:40
21 Do-Re-Mi (Rodgers, Hammerstein II)  2:39


*


Personnel
[# 1-10] from the 12” album “The Big Men” (Verve MG VS 6135)
The Paul Smith Trio
Paul Smith - p
Leroy Vinnegar - b
Stan Levey - dr
Recorded at United Recorders, Hollywood ; December 8 & 9, 1959
[# 11-21] from the 12” album “The Sound of Music” (Verve MG VS 6128)
The Paul Smith Quartet
Paul Smith - p
Barney Kessel - g
Morty Corb - b
Irv Cottler - dr
Recorded same place as above ; January 8, 1960

Thursday, October 2, 2014

Don Byas Quartet - The Complete 1946-1956 Paris Recordings

 In 1946, tenor-saxist Don Byas went to Europe on tour with Don Redman's band. Like many of his compatriots, he took up residence in Paris, later moving to other parts of Europe where he resided until his death in 1972. This triple-CD set includes all the quartet recordings he made for French labels between 1946 and 1954. The last 15 tracks are some of his recordings which expand the quartet to a quintet by adding a guitar.
Don Byas got his first big break when he followed Lester Young into Count Basie's orchestra in 1941. His first idol was not Lester Young but Coleman Hawkins, although he later claimed that he modelled his playing on the seamless style of Art Tatum. He stayed with Basie until 1943 and then mingled for a time with such beboppers as Charlie Parker and Dizzy Gillespie.
There is little sign of bebop in these three CDs. The repertoire consists mainly of jazz standards, some French songs, and a few originals by Byas. Don had a flowing, legato style which may well have been influenced by Art Tatum, although Byas is less flowery than Tatum. He spins long threads of improvisation from his tenor sax, seemingly never at a loss for an idea. This can get samey over the course of 73 tracks, especially as Byas's tenor is the predominant instrument on most tracks. An exception is "Rosetta", which is mainly a feature for drummer Buford Oliver. And some of the pianists get a chance for good solos, such as Billy Taylor in "Ain't Misbehavin'", Maurice Vander in "Because of You", and Martial Solal in "Blues for Don Carlos" (Byas's first name was originally Carlos).
The dangers of sameness can be avoided by not trying to listen to all three discs in one sitting. Selective listening can lead you to appreciate Don's mellow tone and endless invention.
Tony Augarde

Source : http://www.musicweb-international.com/jazz/2013/Don_Byas_Quartet_SJR36635.htm

Don Byas
Quartet
The Complete
1946-1956
Paris Recordings

Tracks

Cd. 1
1 Gloria (Byas)  3:07
2 I'm Beginning To See The Light (Ellington, George, James, Hodges)  2:24
3 Rosetta (Hines, Woods)  2:48
4 Ain't Misbehavin' (Waller, Brooks, Razaf)  2:45
5 Body And Soul (Eyman, Sour, Eyton, Green)  2:57
6 Blue And Sentimental (Basie, Livingston, David)  2:43
7 All The Things You Are [Fast Version] (Kern, Hammerstein)  2:41
8 All The Things You Are [Slow Version] (Kern, Hammerstein)  2:47
9 Yesterdays (Kern, Harbach)  2:30
10 Tenderly (Gross, Lawrence)  3:28
11 C'est vous Chérie (Byas)  2:56
12 Trop Jeune (Lippman, Dee)  3:30
13 Vanity (Manus, Bierman, Wood)  2:52
14 Because Of You (Hammerstein, Wilkinson)  3:32
15 Chloe (Kahn, Moret)  2:56
16 And So To Sleep Again (Marsala, Skylar)  3:27
17 Infidèle (Cry) (Kohlman)  3:27
18 Slow Coach (Slow Poke) (?)  2:41
19 Un Amour Pleurait (Kohlman)  3:02
20 This Is Always (Price, King, Stewart)  2:49
21 A Cottage For Sale (Robinson, Conley)  2:49
22 En ce Temps-là (Trénet)  2:32
23 Là-Bas (Dudan, Barclay)  2:40
24 Somebody Loves Me (Gershwin, MacDonald, DeSylva)  2:52
25 I Cover The Waterfront (Green, Heyman)  4:04
26 Don't Blame Me (McHugh, Fields)  3:41

*


Cd. 2

1 Old Folks At Home (Foster)  3:17
2 Smoke Gets In Your Eyes (Kern, Harbach)  2:56
3 Riviera Blues (Blues à la Don) (Byas)  3:02
4 You Can Depend On Me ()  2:28
5 That Old Feeling (Hines, Carpenter, Dunlap)  2:26
6 Laura (Raksin, Mercer)  4:15
7 Wheel Of Fortune (Benjamin, Weiss)  2:53
8 Please Monsieur Soleil (Frank, Getzov)  3:25
9 Roses Of Picardie (Weatherly, Wood)  2:58
10 L'enfant et la Rose (Breta)  2:41
11 I Heard A Rhapsody (Baker, Fragos, Gasparre)  3:48
12 Pleurs (Byas)  3:02
13 Remember My Forgotten Man (Dubin, Warren)  3:17
14 If I Had You (Campbell, Connelly)  3:36
15 Lover Man (Davis, Ramirez, Sherman)  3:58
16 I Can't Give You Anything But Love (McHugh, Fields)  2:47
17 O.W. (Williams)  5:09
18 Mary's Waltz (Williams)  2:56
19 Lullaby Of The Leaves (Petkere, Young)  4:10
20 Moonglow (Hudson, Mills, DeLange)  3:53
21 Why (Chappelle, Smith, Taylor)  4:19
22 New Musical Express (Williams)  3:24
23 G.D.B. (Alfeay)  3:55

*


Cd. 3

1 Time On My Hands (Youmans, Adamson, Gordon)  2:27
2 Blues For Don Carlos (Byas)  3:51
3 Sweet Lorraine (Burwell, Parish)  3:35
4 April In Paris (Duke, Harburg)  2:52
5 Don't Blame Me (McHugh, Fields)  3:03
6 Unknown Original (Byas)  2:53
7 Makin' Whoopee (Donaldson, Kahn)  5:00
8 I Should Care (Stordahl, Weston, Cahn)  4:39
9 Beryl Booker's Byased Blues (Booker)  4:51
10 These Foolish Things (Maschwitz, Strachey, Link)  3:05
11 Humoresque (Dvorak)  2:52
12 Stormy Weather (Arlen, Koehler)  3:11
13 Riffin' And Jivin' (Byas)  2:49
14 I Can't Explain (Byas)  2:29
15 Blues For Panassié (Byas)  2:52
16 Summertime (Gershwin, Heyward)  2:48
17 It's The Talk Of The Town (Livingston, Neiburg, Symes)  3:26
18 Stardust (Carmichael, Parish)  3:16
19 A Pretty Girl Is Like A Melody (Berlin)  2:56
20 Ol' Man River (Kern, Hammerstein)  2:46
21 Flamingo (Anderson, Grouya)  2:54
22 The Man I Love (Gershwin, Gershwin)  2:43
23 Georgia On My Mind (Carmichael, Gorrell)  2:49
24 Over The Rainbow (Arlen, Harburg)  2:46

*

Personnel
[Cd. 1, # 1]
Don Byas - ts
Billy Taylor - p
Ted Sturgis - b
Buford Oliver - dr
Recorded in Paris ; December 4, 1946
[Cd. 1, # 2-6]
Same as above, except
Jean Bouchety - b, replaces Sturgis
Recorded in Paris ; January 6, 1947
[Cd. 1, # 7-9]
Don Byas - ts
Bernard Peiffer - p
Jean Bouchety - b
Roger Paraboschi - dr
Recorded in Paris ; January 4 & 5, 1949
[Cd. 1, # 10-15]
Don Byas - ts
Maurice Vander - p
Pierre Michelot - b
Benny Bennett - dr
Recorded in Paris ; November 9, 1951
[Cd. 1, # 16-19]
Don Byas - ts
Art Simmons - p
Pierre Michelot - b
Pierre Lemarchand - dr
Recorded in Paris ; February 6, 1952
[Cd. 1, # 20-26 & Cd. 2, # 1-6]
Don Byas - ts
Art Simmons - p
Joe Benjamin - b
Bill Clarke - dr
Recorded in Paris ; March 16, 1952 [Cd. 1, #  20-23] ; & April 10, 1952
[Cd. 2, # 7-12]
Don Byas - ts
Marcel Bianchi - g
Pierre Michelot - b
Benny Bennett - dr
Recorded in Paris ; May 21, 1952
[Cd. 2, # 13-16]
Don Byas - ts
Martial Solal - p
Pierre Michelot - b
Benny Bennett - dr
Recorded in Paris ; November 24, 1953
[Cd. 2, # 17-22]
Don Byas - ts
Mary Lou Williams - p
Alvin "Buddy" Banks - b
Gérard Pochonet - dr
Recorded in Paris ; December 2, 1953
[Cd. 2, # 23 & Cd. 3, # 1-6]
Sam as [# 13-16], except
Pierre Lemarchand - dr, replaces Bennett
Recorded in Paris ; December 8, 1953
[Cd. 3, # 7-9]
Don Byas - ts
Beryl Booker - p & vc
Bonnie Wetzel - b
Elaine Leighton - dr
Recorded in Paris ; February 1954
[Cd. 3, # 10-15]
Don Byas - ts
Jacques Diéval - p
Jean-Jacques Tilché - g
Lucien Simoens - b
Armand Molinetti - dr
Recorded in Paris ; June 12, 1947
[Cd. 3, # 16-21]
Don Byas - ts
Art Simmons - p
Jean-Jacques Tilché - g
Roger Grasset - b
Claude Marty - dr
Recorded in Paris ; July 4, 1950
[Cd. 3, # 22-24]
Don Byas - ts
Maurice Vander - p
Jean-Pierre Sasson - g
Popof Medvedko - b
Benny Bennett - dr
Recorded in Paris ; April 19, 1951

Wednesday, October 1, 2014

E Venia Da Campi Che di Cerri Sentia

Franco Cerri was not only one of the world's most popular and the most authoritative Italian guitarists, but was also one of the most important stylist in the European jazz world. He began his long and prolific career in 1945 with Gorni Kramer and in 1949 he accompanied Django Reinhardt. In the 1950s he was near great jazz masters. Working with musicians from Chet Baker to Gerry Mulligan, and from Billie Holliday to Lee Konitz, and in modern jazz quartet, he became a leader in the Italian and European jazz world. On January 1, 2006 he was named "Commendatore della Repubblica" (official title awarded for service to Italy) by President of the Italian Republic Carlo Azeglio Ciampi. 

Source : http://www.discogs.com/artist/543841-Franco-Cerri

Franco Cerri
E Venia Da Campi Che di Cerri Sentia

Tracks

1 E Venia Da' Campi Che di Cerri Sentia (Cerri)  7:15
2 Brasil (Barroso)  4:22
3 Fine & Dandy (Swift)  9:17
4 All the Way (VanHeusen)  2:56
5 S.O.S. (Cerri)  7:05
6 But Not for Me (Gershwin)  4:21
7 It Could Happen to You (Burke, VanHeusen)  2:35
8 Look for the Silver Lining (Kern)  8:20
9 The Days of Wine and Roses (Mancini)  8:07
10 When the Saints Go Marchin' In (Trad.)  3:56
11 Sultry Serenade (Ellington, Glenn)  6:01

*


Personnel
Franco Cerri - g
Alberto Gurrisi - org
Mattia Magaletti - b
Riccardo Tosi - dr

Recorded at Studio Forzani, Milano, Italy ; May 29 & 30, 2008

Tuesday, September 30, 2014

Charlie Haden & Jim Hall

On September 30, the newly reactivated impulse! label released Charlie Haden-Jim Hall, a previously-unreleased recording of a stunning duo performance by these two recently departed masters at the 1990 Montreal International Jazz Festival.  impulse! is a division of Universal Music France which is distributed by Blue Note Records in the U.S.
“This album documents a rarified journey,” writes pianist Ethan Iverson in the album’s liner notes. “Charlie Haden and Jim Hall knew each for over a half century, played more than a few concerts together, and shared many ideals, but this is their first concert-length recording. It is a major addition to the discography of both artists.”
Upon hearing the recording guitarist Pat Metheny remarked “What a treat it is to hear two of my heroes and my two favorite personal duet partners playing in a setting like this ! This is a recording for the ages.”
At first this might seem an unusual pairing the dean of the avant-garde bass and a fellow that defined mainstream jazz guitar — but Charlie Haden and Jim Hall shared much common ground. Besides the decades of jazz history they each walked on stage with on July 2, 1990, they also both proved themselves to be masters of the Art of the Duo over the course of their illustrious careers: Haden with Metheny, Keith Jarrett, Ornette Coleman, Alice Coltrane, Kenny Barron, and more ; Hall with Metheny, Bill Evans, Ron Carter, and George Shearing, among others. Together Haden and Hall bring thundering intimacy and gentle envelope-pushing on this profound series of duos.
Haden and Hall had something else in common as well, an earthiness that grounded whatever they’re doing, something that gives a listener something to hold onto. Haden’s background in folk music is never far away, just as shades of the blues and even folk-like simplicity are within Hall’s approach. Both gents swing — Haden with that big, pliant, supple, buoyant sound, Hall with those lithe, carefully considered lines and often crystalline notes.

Source : http://www.bluenote.com/news/impulse-presents-charlie-haden-jim-hall

Charlie Haden
Jim Hall

Tracks

1 Bemsha Swing (Monk, Best)  8:32
2 First Song (Haden)  8:52
3 Turnaround (Coleman)  9:32
4 Body & Soul (Green, Heyman, Sour)  11:14
5 Down From Antigua (Hall)  12:04
6 Skylark (Carmichael, Mercer)  9:22
7 Big Blues (Hall)  9:19
8 In The Moment (Haden)  7:04

*

Jim Hall - g
Charlie Haden - b

Recorded at the Montreal International Jazz Festival live ; July 2, 1990

Monday, September 15, 2014

Bud Shank Quintet & Sextet - New Groove & Barefoot Adventure

The two albums included here, New Groove, and Barefoot Adventure, present Bud Shank not only on alto sax, but also on baritone, an instrument he had played in clubs and as a sideman in sporadic studio sessions since the early ‘50s, but never before on his own recording dates. And while his alto has his customary command and fluency, his work on the less familiar baritone is equally impressive, the sound hard and driving, with expressive use of dynamics.
In these 1961 recordings, he fronts two similar groups, with a fresh approach, more groove-based and soulful, compared to previous works. With that in mind, he hired the young and talented trumpeter Carmell Jones, just arrived to the L.A. scene from Kansas City, whose warmth and enthusiasm on both sides are contagious. On Barefoot Adventure, the presence of Bob Cooper is felt throughout, with his tenor solos consistenly fluent and swinging.
In the rhythm, Dennis Budimir on guitar handles most of the comping chores in his puckish prodding way ; Gary Peacock shows he was developing into a reliable rhythm mate ; and Mel Lewis in the first date and Shelly Manne in the second, play with their celebrated taste, imagination, and musicianship.

Source : http://www.freshsoundrecords.com/new_groove_&_barefoot_adventure_2_lps_on_1_cd_feat._carmell_jones_&_bob_cooper-cd-5650.html

Bud Shank
New Groove
Barefoot Adventure
(2 Lps On 1 Cd)
Feat. Carmell Jones & Bob Cooper

Tracks

1 New Groove (Shank)  6:44
2 The Awakening (Shank)  4:24
3 White Lightnin’ (Shank)  5:20
4 Sultry Serenade (Ellington)  7:12
5 Well, You Needen’t (Monk)  6:57
6 Liddledabllduya (Peacock)  3:55
7 Barefoot Adventure (Shank)  4:12
8 Shoeless Beach Meeting (Shank)  4:05
9 Jungle Cruise (Shank)  4:44
10 How High the Makaha (Shank)  3:11
11 Well, ‘Pon My Soul (Shank)  4:14
12 Ala Moana (Shank)  2:15
13 Bruce Is Loose (Shank)  3:23
14 Dance of the Sea Monsters (Shank)  4:07



Personnel
[# 1-6] from the Pacific album "New Groove" (Stereo-21)
Carmell Jones - tp
Bud Shank - as & bs
Dennis Budimir - g
Gary Peacock - b
Mel Lewis - dr
Recorded at Rex Productions, Los Angeles ; February 22, 1961
[# 7-14] from the Pacific album "Barefoot Adventure" (PJ-35)
Same as above, but
Bob Cooper - ts, is added
Shelly Manne - dr, replaces Mel Lewis
Recorded same place ; September 8, 1961

The Jimmy Giuffre Clarinet

This quietly influential 1956 album, reissued after being out of print many years, is essential listening for anyone who favors ECM- and Windham Hill-style music, because Giuffre was a key source for such pastoral impressionism and did it better than any of his successors.
Built around his subtone, Lester Young-inspired clarinet playing, which never rises above the middle-register, the album presents Giuffre in a wide range of settings, beginning with an unaccompanied blues ('So Low') and including two harmonically adventurous pieces for wind ensemble ('The Side Pipers' and 'The Sheepherder'). Best of all, perhaps, is 'My Funny Valentine,' with its Gil Evans-like shadings.
There are moments of preciousness here, as Giuffre himself eventually realized. But time has granted them a nostalgic charm, while the purity and intelligence of this album's best music hasn't dated one bit.
Larry Kart

Source : http://articles.chicagotribune.com/1985-02-03/entertainment/8501070185_1_harmonically-purity-nostalgic-charm

The
Jimmy Giuffre
Clarinet

Tracks

1 So Low (Giuffre)  2:48
2 Deep Purple (DeRose, Parish)  4:38
3 The Side Pipers (Giuffre)  5:07
4 My Funny Valentine (Hart, Rodgers)  5:03
5 Quiet Cook (Giuffre)  4:18
6 The Sheepherder (Giuffre)  5:23
7 Fascinating Rhythm (Gershwin, Gershwin)  4:04
8 Down Home (Giuffre)  5:40


Personnel
[# 1]
Jimmy Giuffre - cl & foot-tapping
[# 2]
Jimmy Giuffre - cl
Jimmy Rowles - clst
[# 3]
Jimmy Giuffre - cl
Buddy Collette - fl
Bud Shank - alt fl
Harry Klee - b fl
Shelly Manne - dr
[# 4]
Jimmy Giuffre - cl
Bob Cooper - ob
Dave Pell - engl hrn
Maury Berman - bssn
Ralph Peña - b
[# 5]
Jimmy Giuffre - cl
Ralph Peña - b
Stan Levey - dr
[# 6]
Jimmy Giuffre - cl
Buddy Collette - alt cl
Harry Klee - b cl
[# 7]
Jimmy Giuffre - cl
Jimmy Rowles - p
Shelly Manne - dr
[# 8]
Jimmy Giuffre - cl
Harry Edison, Shorty Rogers & Jack Sheldon - tp
Bob Cooper & Dave Pell - ts
Maury Berman - b s
Ralph Peña - b
Stan Levey - dr

Recorded in Los Angeles, California ; March 21, 1956 [# 1, 4, 5 & 8] ; & March 22, 1956 [# 2, 3, 6 & 7]

See also
http://www.jazzdisco.org/atlantic-records/discography-1956/

Artie Shaw & His Gramercy Five

The already popular quintet formation seems fond of naming itself as a "Five" of one sort or another — notes, chambers, Americans, guys named Moe, fakers, gravediggers, primaries, after hours and much more than five more. With all of that there is nonetheless only one distinct use of the Gramercy Five combo name. That was by famous swing bandleader and clarinetist Artie Shaw, who utilized the moniker to represent different small groupings through more than a dozen years of his career. Like everything Shaw was involved in including his career itself as well as his marriages, the existence of the group was strictly an off and on again thing. This resulted in many changes in lineup, but Shaw's considerable fame, status, and pocketbook meant that when he was ready to hire new members they would be comers.
Jazz buffs can drop some serious names in relationship to Shaw's sidemen in versions of the Gramercy Five. On electric guitar alone he managed to seat Barney Kessel, Tal Farlow and Joe Puma at various times. There are other reasons why the band is significant to the history of the genre, however. Shaw pioneered use of the small group as a band-within-a-band during big band programs, which like similar ventures by rival Benny Goodman, upped the spectacular ante of jazz, including the importance of exciting soloists. The Gramercy Five is also one of the few examples of the harpsichord being used in jazz. Pianist Johnny Guarnieri made this move in 1940 at work with the first version of the group to be recorded. The harpsichord was another of Shaw's generous references to classical music, also including use of a string quartet four years previously. By adding in electric guitar, Shaw can be seen as a visionary in art pop circles, providing they can get their eyes focused.
Trivia buffs may succeed in piling up further monumental evidence of the Gramercy Five's individuality. It is true that it represents one of the only examples of a group named after a New York telephone exchange. When presented as the Artie Shaw Gramercy Five, as it often is, it is also a rare example of the numerical representation of a band not actually including the leader. With Shaw out front blowing, the number of musicians actually featured was six, not five. The Dave Clark Five, on the other hand, featured leader Dave Clark as one of five guys onstage.
Gramercy Five sides such as "Concerto for Clarinet," "Summit Ridge Drive" and "Special Delivery Stomp" were extremely popular, extending well beyond the noses of trivia hounds. Subsequent reissue action involving the Shaw discography has also extended something, that being the life of the Gramercy Five itself. While never together as long as Goodman's similarly popular small combos, the Gramercy Five was held in such esteem that any of Shaw's small group recordings tend to be passed off as Gramercy Five performances whether then name was in play or not. Shaw did start-up a very short-lived new Gramercy Five in 1953, however, which he quickly abandoned to try dairy farming again in Skekomeko, NY.
Eugene Chadbourne

Source : http://www.allmusic.com/artist/artie-shaw-his-gramercy-five-mn0001905729/biography

Artie Shaw
&
His Gramercy Five
Six Star Treats
The Complete Commercially Released Recordings
(1940-1954)

Tracks

1 Special Delivery Stomp (Shaw)  2:48
2 Summit Ridge Drive (Shaw)  3:26
3 Keepin' Myself for You (Youmans, Clare)  3:16
4 Cross Your Heart (Gensler, DeSylva)  2:39
5 Dr. Livingstone, I Presume (Shaw)  3:24
6 When the Quail Come Back to San Quentin (Shaw)  3:18
7 My Blue Heaven (Donaldson, Whiting)  2:52
8 Smoke Gets in Your Eyes (Kern, Harbach)  3:17
9 Dr. Livingstone, I Presume (Shaw)  4:00
10 The Grabtown Grapple (Shaw, Harding)  2:56
11 The Sad Sack (Shaw, Harding)  3:04
12 The Sad Sack (Shaw, Harding)  3:30
[broadcast, Philco Radio Hall of Fame]
 13 The Grabtown Grapple (Shaw, Harding)  2:45
[broadcast, Philco Radio Hall of Fame]
 14 I Was Doing All Right (Gershwin, Gershwin)  3:43
[broadcast, Philco Radio Hall of Fame]
 15 You Took Advantage of Me (Rodgers, Hart)  2:58
[broadcast, Philco Radio Hall of Fame]
 16 Scuttlebutt (Shaw)  3:10
17 The Gentle Grifter (Shaw, Carleton)  2:49
18 Mysterioso (Shaw, Carleton)  3:00
19 Mysterioso (Shaw, Carleton)  3:00
20 Hop, Skip and Jump (Shaw, Carleton)  2:57
21 Summit Ridge Drive (Shaw)  3:03
[broadcast Coca Cola Spotlight Bands]
 22 Scuttlebutt (Shaw)  3:03
[broadcast Coca Cola Spotlight Bands]
23 Hop, Skip and Jump (Shaw, Carleton)  2:37
[broadcast Coca Cola Spotlight Bands]
24 The Sad Sack (Shaw, Harding)  3:09
[broadcast Coca Cola Spotlight Bands]
25 The Grabtown Grapple (Shaw, Harding)  3:12
[broadcast Coca Cola Spotlight Bands]

*


Cd. 2

5 titles for Thesaurus Transcriptions (EO MM603)

1 Summit Ridge Drive (Shaw)  3:32
2 The Grabtown Grapple (Shaw, Harding)  2:22
3 Smoke Gets in Your Eyes (Kern, Harbach)  2:50
4 The Pied Piper Theme (Shaw)  2:05
5 Cross Your Heart (Gensler, DeSylva)  2:25
6 There Must Be Somthing Better Than Love (Gould, Fields)  2:54
7 Nothin' from Nothin' (Gould, Fields)  3:00
8 Crumbum (Shaw)  2:44
9 The Shekomeko Shuffle (Shaw)  3:13
10 My Kinda Love (Alter, Trent)  2:52
11 Dancing on the Ceiling (Rodgers, Hart)  2:57
12 Where There's Smoke, There's Fire (Spina, Elliott)  3:09
13 My Little Nest of Heavenly Blue (Lehar, Spaeth)  3:08
14 Besame Mucho (Velasquez, Skylar)  2:57
15 That Old Feeling (Fain, Brown)  2:55
16 Tenderly (Gross, Lawrence)  2:59
17 Stop and Go Mambo (Shaw)  2:56
18 The Sad Sack (Shaw, Harding)  6:07
19 Stop and Go Mambo (Shaw)  5:38
20 Sunny Side Up (Shaw)  6:40
21 Star Dust (Carmichael, Parish)  5:55

*


Cd. 3

1 When the Quail Come Back to San Quentin (Shaw)  5:59
2 Someone to Watch Over Me (Gershwin, Gershwin)  4:49
3 Besame Mucho (Velasquez, Skylar)  4:03
4 Love of My Life (Shaw, Mercer)  4:54
5 Lyric (Shaw)  6:21
6 The Chaser (Sequence in B Flat) (Shaw)  8:02
7 Autumn Leaves [take 5] (Kosma, Mercer)  3:36
8 Back Bay Shuffle (Shaw, McRae)  7:20
9 I've Got a Crush on You (Gershwin, Gershwin)  3:55
10 Begin the Beguine (Porter)  3:36
11 Summit Ridge Drive (Shaw)  6:09
12 Dancing in the Dark (Schwartz, Dietz)  4:38
13 Scuttlebutt (Shaw)  6:17
14 I Can't Get Started (Duke, Gershwin)  5:15

*

Cd. 4

1 Imagination (Burke, VanHeusen)  4:18
2 The Pied Piper Theme (Shaw)  6:18
3 Don't Take Your Love from Me (Nemo)  5:28
4 Cross Your Heart (Gensler, DeSylva)  8:00
5 How High the Moon (Lewis, Hamilton)  8:48
6 Frenesi (Dominguez)  8:24
7 The Chaser (Sequence in B Flat) [alt. version] (Shaw)  8:42
8 Rough Ridin' (Jones, Fitzgerald)  7:50
9 Dancing on the Ceiling (Rodgers, Hart)  7:13
10 Autumn Leaves [take 6] (Kosma, Mercer)  3:33
11 Crumbum [Mysterioso ?] (Shaw)  5:20

*


Cd. 5 

1 Sunny Side Up [78 RPM Version] (Shaw)  2:54
2 Imagination [78 RPM Version] (Burke, VanHeusen)  3:03
3 Tenderly (Gross, Lawrence)  4:45
4 Lugubrious (Shaw)  4:41
5 The Grabtown Grapple (Shaw, Harding)  10:09
6 That Old Feeling (Fain, Brown)  4:11
7 Bewitched, Bothered and Bewildered (Rodgers, Hart)  4:13
8 Rough Ridin' [alt. version] (Jones, Fitzgerald)  8:01
9 Dancing on the Ceiling* [alt. version] (Rodgers, Hart)  7:13
10 S'posin' (Denniker, Razaf)  5:34
11 September Song (Weill, Anderson)  4:09
12 Too Marvellous for Words (Whiting, Mercer)  5:47
13 My Funny Valentine (Rodgers, Hart)  5:31
14 Yesterdays (Kern, Harbach)  6:057

*

Personnel
[Cd. 1, # 1-9]
Artie Shaw - cl
Billy Butterfield - tp
Johnny Guarnieri - hrpchrd & p [# 9]
Al Hendrickson - g
Jud DeNaut - b
Nick Fatool- dr
Recorded in Hollywood Palladium*, California ; September 3 [# 1-4] ; December 5, 1940 [# 5-8] ; & January 22, 1941
[Cd. 1, # 10-25]
Artie Shaw - cl
Roy Eldridge - tp [except #14 & 22]
Dodo Marmarosa - p
Barney Kessel - g
Morris Rayman - b
Louis Fromm - dr
Recorded in New York City ; January 9-18, 1945 [# 10 & 11] ; March 4, 1945 [# 12 & 13] ; Hollywood, March 15, 1945 [# 14 & 15] ; July 31, 1945 [#16] ; August 2, 1945 [#17-20] ; Naval Hospital, San Diego ; September 12, 1945 [# 21] ; Ford Ord, California ; September 19, 1945 [# 22] ; San Luis Obispo, California ; September 26, 1945 [# 23] ; Santa Ana A.A.F. Base ; October 3, 1945 [# 24] ; & Huff Hospital, Santa Barbara ; October 10, 1945
[Cd. 2, # 1-7]
Artie Shaw - cl
Don Fagerquist - tp
Gil Barrios - p
Jimmy Raney - g
Dick Niveson - b
Irv Kluger - dr
Mary Ann McCall - vc [# 6-7]
Recorded in New York ; early January 1950 [# 1-5] ; January 6, 1950 [# 6 & 7]
[Cd. 2, # 8 & 9]
Artie Shaw - cl
Lee Castle - tp
Don Lanphere - ts
Gil Barrios - p
Jimmy Raney - g
Teddy Kotick - b
Dave Williams - dr
Recorded in New York ; April 7 & 8 [# 9], 1950
[Cd. 2, # 10 & 11]
Artie Shaw - cl
Stan Freeman - p
Don Perry - g
Bob Haggart - b
Bunny Shawker - dr
Jane Hutton - vc
Recorded in New York ; January 30, 1951
[Cd. 2, # 12 & 13]
Artie Shaw - cl
Bob Kitsis - p
George Barnes - g
Trigger Alpert - b
Buddy Schutz - dr
Connee Boswell - vc
Recorded in New York ; August 1, 1952
[Cd. 2, # 14-21 ; Cd. 3 & Cd. 4, # 1-7]
Artie Shaw - cl
Joe Roland - vb
Hank Jones - p
Tal Farlow - g
Tommy Potter - b
Irv Kluger - dr
Recorded in New York ; December 1953
[Cd. 4, # 8 & 9]
Artie Shaw - cl
Hank Jones - p
Joe Puma - g
Tommy Potter - b
Irv Kluger - dr
Recorded in Hollywood, California ; June 1954
[Cd. 4, # 10 & 11 & Cd. 5, # 1-6]
Same as Cd. 3 ; Fine Sound Studios, New York ; February/March, 1954
[Cd. 5, # 7-14]
Artie Shaw - cl
Hank Jones - p
Joe Puma - g
Tommy Potter - b
Irv Kluger - dr
Recorded in Hollywood, California ; June 1954