Don Elliott • Double Trumpet Doings

  

Biography by Ron Wynn
An extremely popular player in the '50s, Don Elliott was a fine soloist in the swing mode. He first studied piano and accordion, then played baritone horn and mellophone in his high school band. He switched to trumpet while playing in local dance bands, and as a teen worked with fellow teen Bill Evans. Elliott studied harmony at the Institute of Musical Art in New York in the mid-'40s, then played trumpet in an army band. Following that, he studied arranging and vibes at the University of Miami in 1947. When he returned to New York, Elliott played with George Shearing, Teddy Wilson, and Benny Goodman. He later performed and recorded with Terry Gibbs and Buddy Rich before forming his own band. Elliott took "miscellaneous instrument" honors in Down Beat five straight years in the late '50s. During the '60s and '70s, he did Broadway shows and composed film scores and songs for radio and television commercials. He returned to jazz in 1975, serving as a guest soloist with the New York Jazz Repertory Company at Carnegie Hall.
https://www.allmusic.com/artist/don-elliott-mn0000150073/biography

///////

Biografía de Ron Wynn
Un jugador muy popular en los años 50, Don Elliott era un buen solista en el modo de swing. Primero estudió piano y acordeón, luego tocó el cuerno barítono y el melófono en la banda de su instituto. Se pasó a la trompeta mientras tocaba en bandas de baile locales, y de adolescente trabajó con su compañero Bill Evans. Elliott estudió armonía en el Instituto de Arte Musical de Nueva York a mediados de los 40, y luego tocó la trompeta en una banda del ejército. Después de eso, estudió arreglos y vibraciones en la Universidad de Miami en 1947. Cuando regresó a Nueva York, Elliott tocó con George Shearing, Teddy Wilson y Benny Goodman. Más tarde tocó y grabó con Terry Gibbs y Buddy Rich antes de formar su propia banda. Elliott recibió honores de "instrumentos varios" en el Down Beat cinco años seguidos a finales de los 50. Durante los años 60 y 70, hizo espectáculos en Broadway y compuso partituras de películas y canciones para anuncios de radio y televisión. Volvió al jazz en 1975, sirviendo como solista invitado con la New York Jazz Repertory Company en el Carnegie Hall.
https://www.allmusic.com/artist/don-elliott-mn0000150073/biography

  

André Previn, Mundell Lowe & Ray Brown • Old Friends

 

Tony Scott • 52nd St. Scene & Free Blown Jazz

 

Mundell Lowe • Lowe Plays the Standards

 

VA • The Most Relaxing Jazz Guitar Music in the Universe

 

Kenny Burrel, Grant Green, Sal Salvador, Mundell Lowe, Jimmy Ponder, Pat Martino, Charlie Byrd, Larry Coryell, Joe Puma, Tal Farlow ...

Mundell Lowe • Small Screen Action

Biography

A reliable cool-toned guitarist who was on many sessions through the years despite never becoming a household name, Mundell Lowe picked up early experience during 1936-1940 playing Dixieland in New Orleans and country music in Nashville. He toured with Jan Savitt (1942), Ray McKinley (1945-1947), Mary Lou Williams (1947-1949), Red Norvo, and Ellis Larkins. In 1950, he became a staff musician at NBC, although he always played jazz on the side. Lowe was with the Sauter-Finegan Orchestra (1952-1953), worked with Benny Goodman on an occasional basis, and recorded as a leader for RCA, Riverside, Camden, and Charlie Parker Records. In 1965, Lowe moved to California and worked as a composer for films and television, teaching film composition during 1979-1985. He played locally in Los Angeles, often with Richie Kamuca and Benny Carter. Mundell Lowe (who is married to singer Betty Bennett) recorded sets for Famous Door (1974), Dobre (1976), and Jazz Alliance (1992). ~ Scott Yanow

///////

Biografía

Un guitarrista confiable de tono frío que estuvo en muchas sesiones a través de los años a pesar de que nunca se convirtió en un nombre familiar, Mundell Lowe adquirió una experiencia temprana durante 1936-1940 tocando Dixieland en Nueva Orleans y música country en Nashville. Realizó giras con Jan Savitt (1942), Ray McKinley (1945-1947), Mary Lou Williams (1947-1949), Red Norvo y Ellis Larkins. En 1950, se convirtió en músico de plantilla en la NBC, aunque siempre tocó jazz por su cuenta. Lowe estuvo con la Orquesta Sauter-Finegan (1952-1953), trabajó con Benny Goodman ocasionalmente y grabó como líder para RCA, Riverside, Camden y Charlie Parker Records. En 1965, Lowe se mudó a California y trabajó como compositor para películas y televisión, enseñando composición de películas durante 1979-1985. Tocó localmente en Los Ángeles, a menudo con Richie Kamuca y Benny Carter. Mundell Lowe (que está casado con la cantante Betty Bennett) grabó sets para Famous Door (1974), Dobre (1976) y Jazz Alliance (1992). ~ Scott Yanow

Mundell Lowe • Blues For A Stripper

Mundell Lowe, Eddie Costa, George Duvivier, Clark Terry, Joe Newman, Urbie Green, Al Cohn, Phil Woods, Oliver Nelson ...

Charlie Parker • Bird Is Free

 

 

Art Farmer • The Many Faces Of Art Farmer

 

Mundell Lowe • The Incomparable Mundell Lowe

 

Mundell Lowe (born April 21, 1922) is an American jazz guitarist, composer, and conductor who has performed with many notable jazz and popular musicians. He produced film and TV scores in the 1970s, such as the Billy Jack soundtrack and music for Starsky and Hutch, and worked with André Previn's Trio in the 1990s.

Lowe was born in [Shady Grove], Mississippi just outside Laurel, Mississippi, on April 21, 1922. In the 1930s he played country music and Dixieland jazz. He later played with big bands and orchestras, and on television in New York City. In the 1960s, Lowe composed music for films and television in New York City and Los Angeles. He has performed and/or recorded with Billie Holiday, Bobby Darin, Lester Young, Charlie Parker, Bill Evans, Helen Humes, Roy Buchanan, Charles Mingus, Stan Getz, Doc Severinsen, Kai Winding, Ella Fitzgerald, Sarah Vaughan, Carmen McRae, Peggy Lee, Dizzy Gillespie, Benny Carter, Herb Ellis, Tal Farlow, Barry Manilow, André Previn, Ray Brown, Kiri Te Kanawa, Tete Montoliu, Harry Belafonte, Lloyd Wells, Jim Ferguson and many others. Lowe was responsible for introducing the pianist Bill Evans to producer Orrin Keepnews resulting in Evan's first recordings under his own leadership.

Lowe is a regular featured performer at the annual W. C. Handy Music Festival and a member of the W. C. Handy Jazz All-Stars.

During the late 1970s and early 1980s Lowe was also a well-respected teacher at Dick Grove Music Workshop, later the Grove School of Music, in Studio City, California, one of the top professional level music schools in the world. He also taught twelve-tone composition at the Guitar Institute of Technology (GIT) in Hollywood California during the same period of time, as well as guitar and film scoring.

In 1998, he was inducted into the Mississippi Music Hall of Fame, and in 1999, Millsaps College in Jackson, conferred an honorary Doctorate of Arts on Mr. Lowe in recognition of his lifetime of outstanding musical accomplishments.

On July 17, 2009, Mundell Lowe returned home to Laurel, the city he ran away from in 1938. In recognition of a lifetime of musical achievement he was given a key to the city and honored by the Mayor, Melvin Mack, who proclaimed July 18, 2009, Mundell Lowe Day in Laurel. Mundell Lowe, Lloyd Wells, and Jim Ferguson presented a matinee show and an evening show at the Laurel Little Theater to a large enthusiastic audiences. Mississippi artists Bill Clark (who produced the show), the Cee Jays, Bob Saxton, and Staci Stringer also honored him through musical presentations.

Note: Mundell Lowe passed away on 2 December 2017.

///////

Mundell Lowe (nacido el 21 de abril 1922) es un americano de jazz guitarrista , compositor y director de orquesta que ha tocado con muchos músicos de jazz notable y populares. Produjo música para películas y televisión en la década de 1970, como el Billy Jack banda sonora y música para Starsky y Hutch , y trabajó con André Previn Trio 's en la década de 1990.

Lowe nació en Laurel , Mississippi , el 21 de abril de 1922 En la década de 1930 interpretó la música country y el jazz de Dixieland. Más tarde jugó con grandes bandas y orquestas, y en la televisión en la ciudad de Nueva York . En la década de 1960, Lowe compuesto música para cine y televisión en la ciudad de Nueva York y Los Angeles. Ha actuado y / o grabado con Billie Holiday , Bobby Darin , Lester Young , Charlie Parker , Bill Evans , Helen Humes , Roy Buchanan , Charles Mingus , Stan Getz , Doc Severinsen , Kai Winding , Sarah Vaughan , Carmen McRae , Benny Carter , Herb Ellis , Tal Farlow , Barry Manilow , André Previn , Ray Brown , Kiri Te Kanawa , Tete Montoliu , Harry Belafonte y otros. Lowe fue el encargado de presentar el pianista Bill Evans al productor Orrin Keepnews resultando en primeras grabaciones de Evan bajo su propio liderazgo.

Lowe es un actor destacado regular en el anual WC Handy Music Festival y miembro del WC Handy Jazz All-Stars .

Durante la década de 1970 y principios de 1980 Lowe era también un profesor muy respetado en el Dick Grove Music Workshop, más tarde la Escuela arboleda de la música, en Studio City, California, una de las mejores escuelas de música de nivel profesional en el mundo. Él enseñó guitarra, así como música de cine.

En 1998, fue incluido en el Music Hall de la Fama de Mississippi, y en 1999, Millsaps College en Jackson, confirió un doctorado honorario de las Artes en el Sr. Lowe, en reconocimiento a toda una vida de logros musicales sobresalientes.

El 17 de julio de 2009, Mundell Lowe volvió a casa a Laurel, la ciudad se escapó de en 1938 en reconocimiento a toda una vida de logros musicales se le dio la llave de la ciudad y honrado por el alcalde, Melvin Mack, quien proclamó julio 18, 2009, Mundell Lowe Día en Laurel. Mundell Lowe, Lloyd Wells, y Jim Ferguson presentaron un espectáculo matinal y un espectáculo nocturno en el Little Theatre Laurel a grandes audiencias entusiastas. Artistas Mississippi Bill Clark (quien produjo el espectáculo), los Azulejos de Cee, Bob Saxton, y Staci Stringer, también lo honraron a través de presentaciones musicales. 

Nota: Mundell Lowe fallleció el 2 de diciembre de 2017.

Andre Previn, Mundell Lowe & Ray Brown • Uptown

Andre Previn, Ray Brown and Mundell Lowe play the music of Duke Ellington and Harold Arlen. This was André Previn's second album after his long, symphonically enforced absence from jazz, and it sounds noticeably more fluid and relaxed than his first. No longer apprehensive about dusting off his old skills, Previn is delightfully confident and breezy (dig his sly turns on "Come Rain or Come Shine" and "C Jam Blues", taking some chances as he re-phrases and paraphrases a collection of revivified standards, mostly Harold Arlen and assorted Duke Ellington. Even if Previn, that noted wit, sometimes sounds as if he is kidding the pants off these old tunes, it's great to hear him having such a good time playing jazz again. Mundell Lowe is Previn's new guitar partner, and Ray Brown returns on bass; both are right at home in this refined brand of chamber jazz grooving. Adding to the CD's appeal are some marvelously (and typically) graceful liner notes by Mel Powell, an old pal of Previn's and a lively fellow defector from the jazz piano ranks to the classical world. ~ Richard S. Ginell Personnel: André Previn (piano); Mundell Lowe (guitar).

///////

Andre Previn, Ray Brown and Mundell Lowe play the music of Duke Ellington and Harold Arlen. This was André Previn's second album after his long, symphonically enforced absence from jazz, and it sounds noticeably more fluid and relaxed than his first. No longer apprehensive about dusting off his old skills, Previn is delightfully confident and breezy (dig his sly turns on "Come Rain or Come Shine" and "C Jam Blues", taking some chances as he re-phrases and paraphrases a collection of revivified standards, mostly Harold Arlen and assorted Duke Ellington. Even if Previn, that noted wit, sometimes sounds as if he is kidding the pants off these old tunes, it's great to hear him having such a good time playing jazz again. Mundell Lowe is Previn's new guitar partner, and Ray Brown returns on bass; both are right at home in this refined brand of chamber jazz grooving. Adding to the CD's appeal are some marvelously (and typically) graceful liner notes by Mel Powell, an old pal of Previn's and a lively fellow defector from the jazz piano ranks to the classical world. ~ Richard S. Ginell Personnel: André Previn (piano); Mundell Lowe (guitar).

Benny Carter • 'Live And Well In Japan!

 

Benny Carter headed a talent-filled tentet for this frequently exciting concert. With trumpeters Cat Anderson and Joe Newman, trombonist Britt Woodman, Cecil Payne on baritone and Budd Johnson doubling on tenor and soprano, it is not at all surprising that the results would be memorable, but this date actually exceeds one's expectations. In addition to fine jam versions of "Squatty Roo," "Them There Eyes" and "It Don't Mean a Thing," there is a remarkable Louis Armstrong medley on which Carter (on trumpet) plays "When It's Sleepy Time Down South," Cat Anderson follows with a high note solo on "Confessin'" and then Joe Newman (who rarely recorded vocals) does a near-perfect imitation of Louis Armstrong singing on "When You're Smiling."

///////

Benny Carter encabezó un tentet lleno de talento para este concierto a menudo emocionante. Con los trompetistas Cat Anderson y Joe Newman, el trombonista Britt Woodman, Cecil Payne en el barítono y Budd Johnson doblando en el tenor y el soprano, no es en absoluto sorprendente que los resultados fueran memorables, pero esta cita realmente supera las expectativas. Además de buenas versiones improvisadas de «Squatty Roo», «Them There Eyes» y «It Don't Mean a Thing», hay un notable popurrí de Louis Armstrong en el que Carter (a la trompeta) toca «When It's Sleepy Time Down South», Cat Anderson sigue con un solo de notas altas en «Confessin'» y luego Joe Newman (que rara vez grababa voces) hace una imitación casi perfecta de Louis Armstrong cantando en «When You're Smiling».

Bobby Jaspar f. Mundell Lowe & Rene Thomas • With Friends

Wild Bill Davis & Johnny Hodges • Con-Soul And Sax

Con-Soul & Sax is an album by American jazz saxophonist Johnny Hodges and organist Wild Bill Davis featuring performances recorded in 1965 and released on the RCA Victor label.The title is a play on words based on the term "console organ", a term used by the Hammond organ company to describe the type of organs favored by Davis.

https://en.wikipedia.org/wiki/Con-Soul_%26_Sax 

///////

Traducción Automática:

Con-Soul & Sax es un álbum del saxofonista de jazz estadounidense Johnny Hodges y el organista Wild Bill Davis con actuaciones grabadas en 1965 y lanzadas en el sello RCA Victor. El título es un juego de palabras basado en el término "órgano de consola", un término utilizado por la compañía de órganos Hammond para describir el tipo de órganos favorecidos por Davis.

https://en.wikipedia.org/wiki/Con-Soul_%26_Sax 

VA • Watching the Detectives

 

Crime shows alongside Westerns and sit coms had been a mainstay of American radio for many years when TV first launched seriously in the late 1940's. It was natural therefore that the same genres would be equally popular as the new medium took its hold on the public imagination.

Much loved TV shows Dragnet, Highway Patrol and M Squad meet great movie themes The Man With The Golden Arm and Touch of Evil.

Superbly crafted and catchy songs from big name orchestras such as Ray Anthony, Henry Mancini, Nelson Riddle, Count Basie, Pete Rugolo and more.

///////

Los programas de crímenes junto con los westerns y las comedias han sido un pilar de la radio americana durante muchos años cuando la televisión se lanzó en serio a finales de los años 40. Era natural, por lo tanto, que los mismos géneros fueran igualmente populares cuando el nuevo medio se apoderó de la imaginación del público.

Los programas de TV Dragnet, Highway Patrol y M Squad se unen a los grandes temas de la película El hombre con el brazo de oro y Touch of Evil.

Canciones magníficamente elaboradas y pegadizas de grandes orquestas como Ray Anthony, Henry Mancini, Nelson Riddle, Count Basie, Pete Rugolo y más.

Mundell Lowe • The Mundell Lowe Quintet

 

Crime Jazz • Music In The First Degree

 

,

Count Basie, Henry Mancini, Mundell Lowe, Quincy Jones, Stanley Wilson, Shorty Rogers, Warren Barker ...

Cal Tjader • Sweeter Than Sweetness - Summer Passion

Biography by Richard S. Ginell
Cal Tjader was undoubtedly the most famous non-Latino leader of Latin jazz bands, an extraordinary distinction. From the 1950s until his death, he was practically the point man between the worlds of Latin jazz and mainstream bop; his light, rhythmic, joyous vibraphone manner could comfortably embrace both styles. His numerous recordings for Fantasy and Verve and long-standing presence in the San Francisco Bay Area eventually had a profound influence upon Carlos Santana, and thus Latin rock. He also played drums and bongos, the latter most notably on the George Shearing Quintet's puckishly titled "Rap Your Troubles in Drums," and would occasionally sit in on piano as well.

Tjader studied music and education at San Francisco State College before hooking up with fellow Bay Area resident Dave Brubeck as the drummer in the Brubeck Trio from 1949 to 1951. He then worked with Alvino Rey, led his own group, and in 1953, joined George Shearing's then hugely popular quintet as a vibraphonist and percussionist. It was in Shearing's band that Tjader's love affair with Latin music began, ignited by Shearing's bassist Al McKibbon, nurtured by contact with Willie Bobo, Mongo Santamaria, and Armando Peraza, and galvanized by the '50s mambo craze. When he left Shearing the following year, Tjader promptly formed his own band that emphasized the Latin element yet also played mainstream jazz. Bobo and Santamaria eventually joined Tjader's band as sidemen, and Vince Guaraldi served for a while as pianist and contributor to the band's songbook ("Ginza," "Thinking of You, MJQ"). Tjader recorded a long series of mostly Latin jazz albums for Fantasy from the mid-'50s through the early '60s, switching in 1961 to Verve, where under Creed Taylor's aegis he expanded his stylistic palette and was teamed with artists like Lalo Schifrin, Anita O'Day, Kenny Burrell, and Donald Byrd. Along the way, Tjader managed to score a minor hit in 1965 with "Soul Sauce," a reworking of Dizzy Gillespie/Chano Pozo's "Guacha Guaro," which Tjader had previously cut for Fantasy. Tjader returned to Fantasy in the 1970s, then in 1979 moved over to the new Concord Picante label, where he remained until his death.
https://www.allmusic.com/artist/cal-tjader-mn0000643549/biography

/////////////////////////////

Biografía de Richard S. Ginell
Cal Tjader fue sin duda el líder no latino más famoso de las bandas de jazz latino, una distinción extraordinaria. Desde los años 50 hasta su muerte, fue prácticamente el hombre de referencia entre los mundos del jazz latino y el bop de corriente principal; su manera ligera, rítmica y alegre de vibráfono podía abarcar cómodamente ambos estilos. Sus numerosas grabaciones para Fantasy y Verve y su larga presencia en el área de la bahía de San Francisco tuvieron finalmente una profunda influencia en Carlos Santana, y por lo tanto en el rock latino. También tocaba la batería y los bongos, este último más notablemente en el quinteto de George Shearing titulado "Rap Your Troubles in Drums", y ocasionalmente se sentaba en el piano también.

Tjader estudió música y educación en el San Francisco State College antes de unirse a Dave Brubeck, residente en el área de la bahía, como baterista del Brubeck Trio de 1949 a 1951. Luego trabajó con Alvino Rey, dirigió su propio grupo, y en 1953, se unió al entonces popular quinteto de George Shearing como vibrafonista y percusionista. Fue en la banda de Shearing donde comenzó el amor de Tjader por la música latina, encendido por el bajista de Shearing Al McKibbon, alimentado por el contacto con Willie Bobo, Mongo Santamaría, y Armando Peraza, y galvanizado por la locura del mambo de los 50. Cuando dejó Shearing al año siguiente, Tjader rápidamente formó su propia banda que enfatizó el elemento latino pero también tocó jazz convencional. Bobo y Santamaría eventualmente se unieron a la banda de Tjader como sidemen, y Vince Guaraldi sirvió por un tiempo como pianista y colaborador del libro de canciones de la banda ("Ginza", "Thinking of You, MJQ"). Tjader grabó una larga serie de álbumes de jazz, en su mayoría latinos, para Fantasy desde mediados de los años 50 hasta principios de los 60, y en 1961 cambió a Verve, donde bajo la tutela de Creed Taylor amplió su paleta estilística y se asoció con artistas como Lalo Schifrin, Anita O'Day, Kenny Burrell y Donald Byrd. En el camino, Tjader logró anotar un éxito menor en 1965 con "Soul Sauce", una reelaboración de "Guacha Guaro" de Dizzy Gillespie/Chano Pozo, que Tjader había cortado previamente para Fantasía. Tjader regresó a Fantasía en los años 70, luego en 1979 se trasladó a la nueva discográfica Concord Picante, donde permaneció hasta su muerte.
https://www.allmusic.com/artist/cal-tjader-mn0000643549/biography

 

Cal Tjader • Gozame! Pero Ya

 

This album contains the killer classic "Shoshana" which features Poncho Sanchez. Brilliant!

This is truly an outstandingly beautiful recording with musicianship of the the highest form. Play it on a cool summer evening just as the sun sets. . . . . . especially so is the case for the track on this c. d called "This Is Always". This track is the coolest, most relaxing piece of music I have ever heard. But quite frankly, every track is wonderful.

The inclusion of the Fender Rhodes electric piano and flute add a breath takingly stunning musical voyage, and Mundell Lowes guitar work is his best ever. I would give this one ten stars if I could!! ~ P. J. LeFaucheur

Underrated during his life, who was getting some desrved recognition with Concord before his untimely death. This cd, his 2nd for the Jazz Picante label, charted #41 for Billboard's Jazz albums in 1981. This is one of those albums I've finally gotten around to converting from LP record to CD.

St. Louis born, Cal Tjader was equally comfortable with the world of Latin jazz and of mainstream bop. This is certainly one of his best efforts, not because of Cal's cool and gentle melodic touch displayed here as always, but because of the members of this group which really made it cohesive. Everything just seems to fit. . . . Mundell Lowe's mellow toned guitar on the three ballads. . . . . . the complementary sound of Roger Glenn's flute throughout. . . . . . . . the electric piano work of Mark Levine. . . the light melodic touch of Cal's vibes . . . . . and the fantastic percussion work of Vince Lateano and Pancho Sanchez. I really dig the fine timbales work on "Shoshana" and the Latin approach on "Bye Bye Blues". The romantic ballads included in this session are the ultimate for romantic listening enjoyment, in particular "This Couldn't Be The Real Thing" written by Gerry Mulligan and Mel Torme.

This is a cd that is mellow and yet has the spice of Latin music which is appealing and should be a welcome addition to almost anyone's library. ~ Robert J. Ament

No matter what you may think of Latin Jazz, Mood Music or the lush sound of the vibraphone you'll get it in spades with this CD. "This Couldn't Be the Real Thing" will take your breath away from beginning to end. This man had more passion for melody and beat than just about any jazz artist I know. This CD is pure mood! "Close Enough for Love" is as much an enigma as the movie it came from, about a fictional episode in Agatha Christie's lfe. But the song almost won a grammy for it's beautiful tune and lyrics...get the CD for these songs alone and you'll thank me from the first play to the 899th! ~ E. Macomber

///////

Este álbum contiene el clásico asesino "Shoshana", en el que aparece Poncho Sánchez. ¡Brillante!

Esta es una grabación realmente hermosa con una música de la más alta calidad. Tócala en una fresca tarde de verano justo cuando se pone el sol. ...especialmente en el caso de la canción de este c. d llamada "Esto es siempre". Este tema es la pieza musical más fresca y relajante que he escuchado. Pero francamente, cada pista es maravillosa.

La inclusión del piano eléctrico y la flauta Fender Rhodes añaden un impresionante viaje musical que quita el aliento, y el trabajo de guitarra de Mundell Lowes es el mejor de su vida. ¡¡Le daría a esta diez estrellas si pudiera!! ~ P. J. LeFaucheur

Subestimado durante su vida, que estaba obteniendo algún reconocimiento merecido con Concord antes de su prematura muerte. Este cd, su segundo para el sello Jazz Picante, fue el número 41 de los álbumes de Jazz de Billboard en 1981. Este es uno de esos álbumes que finalmente he conseguido convertir de un LP a un CD.

Nacido en San Luis, Cal Tjader se sentía igualmente cómodo con el mundo del jazz latino y del bop mainstream. Este es sin duda uno de sus mejores esfuerzos, no por el toque melódico fresco y suave de Cal que se muestra aquí como siempre, sino por los miembros de este grupo que realmente lo hizo cohesivo. Todo parece encajar. . . . La guitarra de tono suave de Mundell Lowe en las tres baladas... ...el sonido complementario de la flauta de Roger Glenn en todo... ...la obra de piano eléctrico de Mark Levine. ...el ligero toque melódico de las vibraciones de Cal. ...y el fantástico trabajo de percusión de Vince Lateano y Pancho Sánchez. Me gusta mucho el trabajo de timbales en "Shoshana" y el enfoque latino en "Bye Bye Blues". Las baladas románticas incluidas en esta sesión son lo último para disfrutar de la escucha romántica, en particular "This couldn't be the real thing" escrita por Gerry Mulligan y Mel Torme.

Este es un cd que es suave y sin embargo tiene el sabor de la música latina que es atractivo y debe ser una adición bienvenida a la biblioteca de casi cualquier persona. ~ Robert J. Ament

No importa lo que pienses del jazz latino, la música del humor o el exuberante sonido del vibráfono, con este CD lo tendrás a montones. "This couldn't be the real thing" te dejará sin aliento de principio a fin. Este hombre tenía más pasión por la melodía y el ritmo que cualquier otro artista de jazz que conozco. ¡Este CD es puro humor! "Close Enough for Love" es tan enigma como la película de la que proviene, sobre un episodio ficticio en la vida de Agatha Christie. Pero la canción casi gana un gramo por su hermosa melodía y letra... ¡consigue el CD sólo de estas canciones y me lo agradecerás desde la primera jugada hasta la 899! ~ E. Macomber

Ben Webster & Harry Edison • The Quintet Studio Sessions

 

A great new CD which features the complete album "Ben & Sweets" plus, as a bonus, all the tracks with solos by Ben Webster from a very rare LP released under the name of Mundell Lowe, of compostions from Gershwin's classic "Porgy & Bess".
https://www.freshsoundrecords.com/ben-webster-harry-edison-albums/4497-the-quintet-studio-sessions.html


Editorial Reviews
Digitally remastered collection of tracks from the Jazz greats. Contains the complete LP Ben & Sweets, the only quintet session fronted by Ben Webster and Harry Sweets Edison as a team. Also included here are all the existing alternate takes, appearing here for the first time on a single CD. As a bonus, we have added all of the tracks featuring solos by Ben Webster from a very rare LP released under the leadership of guitarist Mundell Lowe, which contains a selection of tunes from Gershwin's Porgy & Bess.

///////

Un gran CD nuevo que incluye el álbum completo "Ben & Sweets" más, como beneficio adicional, todos los temas con solos de Ben Webster de un LP muy raro editado bajo el nombre de Mundell Lowe, de composiciones del clásico de Gershwin "Porgy & Bess". ".
https://www.freshsoundrecords.com/ben-webster-harry-edison-albums/4497-the-quintet-studio-sessions.html


reseñas editoriales
Colección remasterizada digitalmente de temas de los grandes del jazz. Contiene el LP completo Ben & Sweets, la única sesión de quinteto liderada por Ben Webster y Harry Sweets Edison como equipo. También se incluyen aquí todas las tomas alternativas existentes, que aparecen aquí por primera vez en un solo CD. Como beneficio adicional, hemos agregado todas las pistas con solos de Ben Webster de un LP muy raro lanzado bajo el liderazgo del guitarrista Mundell Lowe, que contiene una selección de melodías de Porgy & Bess de Gershwin.