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download It Might As Well Be Spring - Metropolitan Jazz Quartet - Plays The Great Themes From Great American Movies (Vinyl, LP, Album) full album

1958
Label: MGM Records - E3727 Format: Vinyl LP, Album, Mono Country: US Genre: Jazz

Lester Leaps In. But the pundits were all proved wrong. This is absolute classic stuff — important stuff. Romantic Evening Sex All Themes. The first CD here is

I love jazz because it is improvised, like life. I met Gil Evans, a hero of mine. The best show I ever attended was the Max Roach Quintet The first jazz record I bought was Brown Roach Inc. My advice to new listeners: By Jeff Slavin Member since: Membership has its privileges. Membership has its privileges! Sign in or sign up to build your personalized All About Jazz experience!

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View as a separate page. In early , he left Goodman and launched his own orchestra, premiering it in Philadelphia in February. That spring, he heard the then-unknown Frank Sinatra on a radio broadcast and hired him Click for more on allmusic. Robert Elliott Jones. Born Dec 31, in Louisville, KY. Died Apr 30, in Manhattan, NY A talented and flashy trumpeter, Jonah Jones hit upon a formula in that made him a major attraction for a decade; playing concise versions of melodic swing standards and show tunes muted with a quartet.

Jones started out playing on a Mississippi riverboat in the s. He gigged with Benny Carter and Fletcher Henderson and became a star soloist with Cab Calloway , staying with the singer even after his big band became a combo.

Jones played Dixieland with Earl Hines , toured Europe in including a brilliant recording session with Sidney Bechet , and then led his quartet at the Embers , hitting upon his very successful formula.

His shuffle version of "On the Street Where You Live" was the first of many hits and he recorded a long series of popular albums for Capitol during , switching to Decca for a few more quartet albums in He recorded some brilliant sessions with George Brunis indicating he had finally found his own style. Along with gold-standard Condon recordings and quartet dates of his own , by Davison was a soloist. Despite his regular reunions with Condon he began a new lifetime pattern of bandleading and touring, appearing between and with over bands and recording over 20 new albums.

He was still globetrotting in and after a short illness in played in the jazz festivals and toured England in He died on November 14th at the age of Louisiana midifile. During the next few years he established himself as an outstanding technician capable of playing in any jazz or dance band.

He remained with Heath until , and was featured on many recording sessions and countless concerts. In , he took part in a major recording undertaking which set out to recreate the classic recordings of Louis Armstrong using modern recording techniques. Baker took the Armstrong role, comfortably confounding the date on his birth certificate with his masterful playing.

Billy Butterfield b. As a child Butterfield was taught by cornetist Frank Simons, but as a teenager he began to study medicine. He continued playing music to such good effect that he was soon working regularly with the bands of Austin Wylie and Andy Anderson and eventually quit his medical studies.

Although adept on several instruments he concentrated on trumpet, later adding fluegelhorn, and in was hired by the Bob Crosby band. In he joined Artie Shaw, then worked with Benny Goodman and Les Brown, but soon entered the more reliable area of studio work. For all his good intentions, however, the band proved to be a financial disaster.

Much admired by fellow musicians, and eventually attracting the kind of attention from fans he had always deserved, Butterfield enjoyed a late flowering of his career even though suffering from emphysema. Stardust Deep Purple midifile. Ziggy Elman b. As a child Elman learned to play various brass and reed instruments, and his first professional engagement was on trombone, although his main instrument later became the trumpet.

In he joined Benny Goodman and formed part of one of the best three-man trumpet sections of the swing era. With Harry James and Chris Griffin, Elman shared lead and solo duties and his dynamic, biting playing was a great asset to the band. Randy Brooks b. A child prodigy, Brooks was playing trumpet in Salvation Army bands when he was only 10 years of age. In his band accompanied Ella Fitzgerald on two tracks recorded for Decca. Brooks, who married Ina Ray Hutton in they divorced in , suffered a stroke in which cut short his career.

He died in a fire at his home in March The Man With The Horn midifile. Rex Stewart William Stewart, Jr. He played in a forceful, gripping manner that reflected the influence of Louis Armstrong, Bubber Miley and Bix Beiderbecke, whose solos he once reproduced on record.

Stewart played on Potomac riverboats before moving to Philadelphia. He went to New York in Stewart worked with Elmer Snowden in , then joined Fletcher Henderson a year later. Stewart returned in He remained five years and contributed many memorable solos. After leaving, Stewart led various combos, and performed throughout Europe and Australia on an extensive Jazz at the Philharmonic tour from He lectured at the Paris Conservatory in He was semi-retired, but found new success in the media.

He worked in local radio and television, while leading a band part time in Boston. Stewart led the Fletcher Henderson reunion band in and , and recorded with them.

Stewart again worked as a disc jockey and became a critic. Ray Anthony played two years with Glenn Miller and ten with Jimmy Dorsey before forming his own band. He probably has as much fame, if not more, as the writer of the theme for Dragnet, the novelty tune "The Bunny Hop," and the hit single "Dancing in the Dark.

Somehow, Gillespie could make any "wrong" note fit, and harmonically he was ahead of everyone in the s, including Charlie Parker. Unlike Bird, Dizzy was an enthusiastic teacher who wrote down his musical innovations and was eager to explain them to the next generation, thereby insuring that bebop would eventually become the foundation of jazz. Altogether this is a fascinating compilation that puts the often overlooked bass in the foreground.

She does have a fine voice, enunciates lyrics with great clarity and has a fine sense of rhythm. But on the evidence of these albums she lacks soul and emotion.

The backings here are fine, which they should be considering the fact that at the time of most of these tracks she was Mrs Max Roach, and — he organised the personnels which are suitably star-studded. The recording quality also is excellent but the sounds overall are far too cool and soul-less — too clinical. Verdict — fine albums — excellent music but no soul.

Changing her name to Della Reese she began performing in nightclubs and fell under the influence of the great female jazz singers of the age, Ella Fitzgerald, Sarah Vaughan and Billie Holiday. Her singing career was defined by two long spells with major record companies, in she signed to Jubilee and later in to RCA. Our four fine selections show off the best of Della from both these periods. Della had a fine voice, a deep richness of tone and an excellent sense for the meaning of lyrics, that all adds up to the fact that here we have four very fine albums well worth adding to the collection.

The first album here would be a perfect introduction to the blues for a newcomer to the music. This is an altogether swinging affair with material written by Montrose, Jones, as well as bassist Paul Chambers and trumper Donald Byrd.

Montrose spent much of his career content to tour and play smaller venues both in the U. The second Avid features two saxophonists who were new to this reviewer — Don Wilkerson and Fred Jackson.

In a relatively short career — Wilkerson died when he was 54 — this a good chance to hear a musician who only released four records under his own name. Thanks to Avid for making these hard-to-get records available again. Montrose — J.

These were indeed exciting jazz times. Silver was born under the astrological sign of Virgo and this obviously facinated Barbara J. Your interest and feeling for dramatics and music is strong. We continue with Four Classic Jazz Alto Saxophonists, a re-mastered 2CD set complete with original artwork, liner notes and personnel details.

James Moody had a long career in jazz beginning in the s and stretching into the s! Perhaps best known for his work with his life-long friend Dizzy Gillespie with whom he spent many years both recording and touring with. Lou Donaldson like many great alto players was inevitably influenced by the mighty Charlie Parker during his early bebop days before developing his own more distinctive soulful and bluesy style.

In his long and prolific career, which still continues to this day, Lou has played with just about anyone who is anyone in the jazz firmament. According to our enquiries, Woods retired from the music business in the late s and was never really heard from again! In general I found them pretentious and lacking in excitement.

Many tracks appeared to be in minor sour! I like my modern jazz hard, exciting and swinging. There is too little of those factors here for me on many of the tracks. Try a Lou Donaldson track from this set — you can hear it using the link below.

The trumpet man by the way is the great Bill Hardman. It was in these clubs that she began singing and was eventually signed to Decca in However we think she was fabulous, as did many of the great names in jazz who had the privilege of accompanying her. Try a sample track and see what you think. Peggy Lee spent most of her recording career at Capitol Records which she joined in And if you need any further proof of the regard Peggy Lee was held in by the jazz fraternity, take a look at some of the names that appear on our selections.

She really is unique and there are many magic tracks here that stand the test of time. We continue with Four Classic Jazz Trumpets, a re-mastered 2CD set complete with original artwork, liner notes and personnel details.

Louis Smith, a classic case of what might have been? Louis Smith made two classic albums in the s before deciding to leave the music business and enter academia. He returned to recording briefly in the s before disappearing again, only to emerge in the s and s with a string of albums.

And we suspect many of the jazz greats who played with him might have thought the same thing…. Booker Little, coincidently, Booker Little was the cousin of our first featured artist, Louis Smith, however, unlike his cousin, Bookers career was tragically cut short by his early death at 23 years of age. Joe Gordon was another fine bop trumpeter who only got to make a couple of albums as leader before tragically dying in a house fire at age In he went into the studio in L.

And now here are Jazz Notes comments — whilst all four trumpet men featured here all show a remarkable inability to play with much sensitivity or emotion there are a few gems if you search for them. Lights Out! You can hardly go wrong with musicians like this playing alongside.

All four records include material composed by McLean and other band members and this adds to the compelling group feel of the playing. My only criticism of the collection is that all four records put together come across as a rather too rich black forest gateau concoction, something emphasised by the inclusion of strings on two of the disks.

This was a prolific period for the distinctive baritone saxophonist and the Avid double CDs reviewed here include just four LPs from the fourteen records made during those three busy years. Will we soon see the rest? Mulligan hit his jazz career running. Starting out as an arranger for local big bands when he was just 16 he moved to New York when he was 19 and after stints arranging and playing with the Gene Krupa and Claude Thornhill bands when in Miles Davis formed a nine-piece band he included Mulligan as arranger and baritone player.

All the numbers are Mulligan compositions and for this record he hands over arranging duties to Bill Holman. This is a feast of saxophone playing by some of the finest musicians of the time and for a bonus you get erudite liner notes by the renowned Nat Hentoff. Gerry Mulligan remains one of the giants of modern jazz. As composer, musician and arranger his output was phenomenal and if you want a bargain price addition to your collection of early period Mulligan this is thoroughly recommended.

So, thumbs up to Red Garland for all this. The latter record is interestingly themed and should appeal to anyone looking for a new angle when talking about the rain or whatever over the garden fence. Fair enough, but for my money Garland has provided much inspiration to following generations of jazz pianists and this Avid is a good place to discover his early talent for yourself. I like my jazz hot or at least pretty warm, with emotion, with clarity of purpose and direction and without unnecessary dissonance.

Otherwise this display of pretentious emotionless ego tripping is for me a no-no. But if you like yout jazz ice cool and highly complex and technical then rush an order to Avid right now. Chet Baker — In New York, the first of the Avids, dates from by which time he had played and recorded with the likes of Jerry Mulligan, Shelly Mann and Art Pepper and the confidence gained from these sessions is immediately apparent. Beautiful, open-toned and laid back are just a few of the ways to describe Chet when he was laying down his approach to what became known as West Coast Cool.

But, and its a big But, on this record Chet plays with several musicians who were playing regularly in and around New York and as Orin Keepnews writes in his introduction, people use the terms East and West coast jazz at their peril.

From the smoochy LP cover photo Chet obviously has the same thing in mind. This is a faster paced and less introverted record and as a consequence Baker seems less at home than on the previous disks. That said, the rhythm section and Tommasi in particular swing along wonderfully and this is a rare opportunity to hear these European players together. This features an all Italian group of musicians led by pianist Piero Umillani plus a string section. Johnny Lytle was a vibraphonist and drummer who made many albums with a wide variety of sidemen but never achieved major recognition.

Interesting yes — worthwhile — debatable! Bechet was a child prodigy and even before he was in his teens bandsmen would call at his home to ask his parents whether they would allow him to play with them at concerts and dances.

Before long he was a fully fledged musician playing with jazz giants like Freddy Keppard and Bunk Johnson. It was also in London that he was arrested for assault and deported back to the USA!

That was not however before he had discovered the soprano saxophone which became his instrument of choice for the rest of his life. So in this collection of 48 tracks Bechet is very much the star soloist. He rarely mixes it in free-wheeling improvisation with the bandsmen and they — aware of his towering solo genius — wisely sit back and provide excellent backing. Verdict — a great couple of albums provide a super opportunity to hear one of New Orleans two greatest soloists in his pomp.

Born in , James Moody began his professional life playing alto and tenor saxophones with the Dizzy Gillespie band in before moving to Paris where he worked with Miles Davies and Tad Dameron after which he toured and recorded in Europe with Max Roach. Not a bad start to career that stretched into the early part of this century.

Moody returned to the USA in and soon after began leading his own groups when he added flute and vocals to his recordings. Moody comes across as a forceful improviser and he demonstrates the sinuous style that was to become his hallmark. The arrangements seem sharper, the solos more finely drawn with the musicians creating a big band sound that far larger groups would have been pleased with. Moody became well known for his genial stage presence and the general party mood of the record is emphasised on the third track where band members are encouraged to talk among themselves and call out encouragement to the soloists.

Maybe a touch contrived but good fun all the same. Both disks are notable for the highly individual contribution of singer Eddie Jefferson who became well known for being an innovator of vocalese — a vocal style where lyrics are set to instrumental compositions or solos. It seems he and James Moody enjoyed working together, and they collaborated on nine records before Jefferson came to a sticky end being shot outside a Detroit nightclub in Singer Van Morrison cites him as one of his formative influences.

These two Moody albums also features trumpeter Johnny Coles. A fine and rather ignored musician with a lovely open tone and capable of some beautiful melodic improvisations he proves that there were other great trumpeters of the period beside Miles Davies or Dizzie Gillespie.

And, oh yes, James Moody is no mean flautist either. As autumn sets in and winter approaches this Avid collection provides some perfect listening in front of an open fire.

Cheers, Avid Records. Well, how else would he have found the time to record 36 studio albums, 3 live ones, put together 7 compilations and 37 singles, record 5 albums with his group The Jazz Messengers plus find time to record 42 albums as a side man during a career that stretched from to No wonder Mrs Silver complained that she never saw him — or maybe not. Horace Silver was renown for playing a strongly rhythmic and melodic style of jazz and he was in the forefront of moving the bebop of the time into what become known as hard bop with its emphasis on a funkier and more blues drenched sound.

Latin beats, moody blues and forceful straight ahead numbers are all included and Silver mixes both whole group numbers and playing just with bass and drums as accompaniment. Six out of the seven pieces are Silver compositions and this is a feature of all four albums. Not one of the albums disappoints.

Silver was a truly wonderful composer and the range and variety of the numbers never fails to excite. The pianist is the obvious and very creative leader but he always leaves plenty of room for other band members to strut their stuff — for me Art Farmer often seems to stand out and his open, clean and clear trumpet playing fits the hard bop style of jazz perfectly.

The Avid collection includes fine original liner notes by Leonard Feather and Nat Hentoff — two of the most respected jazz critics of the period and these add a further bonus to what is a great collection of early Horace Silver material. In the four albums LPs condensed into the two CDs presented by Avid here we see a wide range of this aspect of the man. The first albums sees him with his five piece featuring Stanley Turrentine on tenor sax, his brother Tommy on trumpet, the amazing Julian Priester — trombone and Bob Boswell on bass — plus of course Max on drums.

The music here is very forward looking, combining American jazz with a feeling for the music of central and North Africa. All the compositions here — bar one — are by pianist Horace Silver. Abbey Lincoln is of course a major player here as is bass singer Earl Baker. Certainly he was unique, being a street singer but not a bluesman although he could and did sing the blues.

He was a brilliant original guitarist and a fine songwriter which means that virtually everything you hear on these fine albums is going to be new to you. This is a fine release that bears repeated hearings. Great stuff — well done again Avid. In , after roughly one year at Juilliard, his studies were interrupted when he was drafted into the United States Army. He initially served in the infantry, later transferring to an Army band. In , he participated in the liberation of the Mauthausen-Gusen concentration camp in Austria.

Newly discharged, Mancini entered the music industry. After World War II, Mancini broadened his skills in composition, counterpoint, harmony and orchestration during studies opening with the composers Ernst Krenek and Mario Castelnuovo-Tedesco. In , Mancini joined the Universal Pictures music department. During this time, he also wrote some popular songs.

This was the genesis of a relationship in which Edwards and Mancini collaborated on 30 films over 35 years. He wrote many television themes, including Mr. In the —85 television season, four series featured original Mancini themes: Salute to the President was only published in a school-band arrangement, although Mancini performed it frequently with symphony orchestras on his concert tours.

Songs with music by Mancini were staples of the easy listening genre from the s to the s. Mancini recorded over 90 albums, in styles ranging from big band to light classical to pop. Eight of these albums were certified gold by the Recording Industry Association of America. He had a year contract with RCA Victor , resulting in 60 commercial record albums that made him a household name among artists of easy-listening music.

Relatively little of his music was written for recordings compared to the amount that was written for film and television. In this period, for two of his best-selling albums he was joined by trumpet virtuoso and The Tonight Show bandleader Doc Severinsen. Mancini was also a concert performer, conducting over fifty engagements per year, resulting in over symphony performances during his lifetime.

He appeared in , and in command performances for the British Royal Family. In he conducted an impromptu charity concert in London in aid of Children In Need. Shortly before his death in , he made a one-off cameo appearance in the first season of the sitcom series Frasier , as a call-in patient to Dr.

Mancini also had an uncredited performance as a pianist in the movie Gunn , the movie version of the series Peter Gunn , the score of which was composed by Mancini. At the end, the shot switched to rare live action, and Mancini was seen alone applauding in the audience.

Mancini died of pancreatic cancer in Los Angeles on June 14, In , Mrs. Mancini was one of the founders of the Society of Singers , a non-profit organization which benefits the health and welfare of professional singers worldwide. Additionally the Society awards scholarships to students pursuing an education in the vocal arts. His son Christopher is a music publisher and promoter in Los Angeles.

By the mid s, however, the institute could not sustain itself and closed its doors on December 30, The Henry Mancini Arts Academy is an evening-and-weekend performing arts program for children from pre-K to grade 12, with some classes also available for adults. The program includes dance, voice, musical theater, and instrumental lessons. Mancini was nominated for seventy-two Grammy Awards and won twenty.

The stamp was painted by artist Victor Stabin and shows Mancini conducting in front of a list of some of his most famous movie and TV themes. His TV movie music albums were not soundtrack albums but are titled "Music from Actual film scores using players from Hollywood unions recording under major motion picture studio contracts were expensive to release on LP ex: Many soundtrack albums used to claim "Original Soundtrack" or words to that effect, but were not necessarily the actual soundtrack recordings.

These albums were usually recorded with a smaller orchestra than that used for the actual scoring ex: Eventually some of his scores and faux "Original Soundtrack" scores by numerous composers were released in limited edition CDs. From Wikipedia, the free encyclopedia. Prime Time. Basie in Europe. Basie Jam 2. Count Basie Jam.

Pablo Records. Big Bands, An Old Manuscript. BH Records. On Tour Down for Double. Count Basie Meets Oscar Peterson. Night Rider. Satch and Josh The Timekeepers. A Perfect Match. On the Road. Get Together. Basie Jam 3. Kansas City Shout. Kansas City 7. Warm Breeze. Mostly Blues And Some Others. Fancy Pants. Me and You. Long Live the Chief. Denon Records. A Handful of Keys: The Big Band, Vol. Big Band Basie. Reference Recordings. Jazz Hits, Vol. Live at the Sands Before Frank.

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