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jasapaal
 Into the Rhythm
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1980: Mel Lewis And The Jazz Orchestra - Live At The Village Vanguard |
Post-bop, Modern Big Band |
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 Artist: Mel Lewis And The Jazz Orchestra Album: Live At The Village Vanguard Label: Dcc Compact Classics Year: 1980 Format, bitrate: Mp3, 320 Kbps Time: 49:40 Size: 98,6 MB AMG rating:  Jazz has, from its humble beginnings, developed dramatically into an important art form. While improvisation still remains the touchstone of the idiom, composed jazz is now demonstrably in evidence as an important segment of 20th century music. Brookmeyer has for the last twenty years been known to followers of jazz as a unique composer and arranger as well as a premier instrumentalist. This album of new music by Brookmeyer will once again call attention to his particular writing gifts and we hope impel him to continue to compose. Because we believe that composed music is needed and wanted, arrangements have been made with Kendor music to print the scores of this music and will be made available to the many stage bands and ensembles in existence. It is from these bands that the future instrumentalist will emerge and it is just the kind of music that they need to learn the idiom. It is our intention at Gryphon to continue to dedicate ourselves to the purpose of developing "20th century music." ~ NORMAN SCHWARTZ (from original liner notes) |
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1987: Bill Watrous - Reflections |
Music » Jazz » BeBop » Post-bop |
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 Artist: Bill Watrous Album: Reflections Label: Soundwing Records Year: 1987 Format: Flac Time: 40:05 Size: 240 MB One of the finest bop-oriented trombonists of the past 30 years, Bill Watrous has had a low profile since moving to Los Angeles in the 1980s despite remaining quite active. Possessor of a beautiful tone and remarkable technique, Watrous has been constantly overlooked in jazz popularity polls of the past two decades. His father was a trombonist and introduced Bill to music. He played in traditional jazz bands as a teenager and studied with Herbie Nichols while in the military. Watrous made his debut with Billy Butterfield, and was one of the trombonists in Kai Winding's groups during 1962-1967. He was a busy New York-based studio musician during the 1960s, working and recording with Quincy Jones, Maynard Ferguson, Johnny Richards, and Woody Herman; playing in the television band for Merv Griffin's show (1965-1968); and working on the staff of CBS (1967-1969). After playing with the jazz-rock group Ten Wheel Drive in 1971, Watrous led his own big band (the Manhattan Wildlife Refuge) during 1973-1977, recording two superb albums for Columbia. After moving to Los Angeles in the late '70s, Watrous continued working in the studios, appearing at jazz parties, playing in local clubs, and leading an occasional big band. He has recorded as a leader for Columbia, Famous Door, Soundwings, GNP Crescendo, and with his late-'90s big band for Double-Time.~ Scott Yanow, All Music Guide |
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1959: Count Basie - One More Time |
Swing, Basie Count |
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 Artist: Count Basie Album: One More Time (music from the pen of Quincy Jones) Label: Roulette Jazz Year: Originally released in 1959 Format: Flac Time: 37:06 Size: 138 MB Repost with a new link ËÞÁÈÒÅËßÌ ÒÂÎÐ×ÅÑÒÂÀ BASIE,ÐÅÊÎÌÅÍÄÓÞ ÏÐÎÑËÓØÀÒÜ!!!ÏÎËÓ×ÈÒÅ ÊÎËÎÑÑÀËÜÍÎÅ ÓÄÎÂÎËÜÑÒÂÈÅ. For this studio album from late 1958 and early 1959, the Count Basie Orchestra performs ten Quincy Jones compositions; he also contributed all of the arrangements. "I Needs to Be Beed With," "For Lena and Lennie" and "The Midnight Sun Never Sets" all caught on and Jones's charts helped expand the Basie sound without altering it. An excellent CD. Scott Yanow, All Music Guide |
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1977: Rob McConnell And The Boss Brass - Big Band Jazz |
Music » Jazz » Big Band |
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 Artist: Rob McConnell And The Boss Brass Album: Big Band Jazz Label: Umbrella Records Year: 1977 Format: Flac Time: 63:21 Size: 389 MB AMG rating: Happy New Year! First Time On CD!
Contains The Equivalent Of Two Lp's JUNO AWARD WINNER 1978
Best Jazz Album / Best Engineering Winner of the 1978 Juno Awards for Best Jazz Album & Best Engineering. The 1977 version of Rob McConnell's Boss Brass is similar to the arranger/valve trombonist's 1997 band. The personnel includes such standbys as trumpeters Guido Basso and Sam Noto, trombonist Ian McDougall, the tenors of Eugene Amaro and Rick Wilkins, guitarist Ed Bickert, bassist Don Thompson and drummer Terry Clarke. McConnell's conservative charts swing and contain subtle surprises, with "Just Friends," "Street of Dreams," and Bob Brookmeyer's "Dirty Man" being among the better selections. Since many of the Boss Brass' earlier recordings were only made available domestically by the now-defunct Pausa label, this worthy music will be difficult to find. ~ Editorial Reviews |
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1980: Buddy Rich Big Band - The Man From Planet Jazz |
Music » Jazz » Big Band » Modern Big Band |
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 Artist: Buddy Rich Big Band Album: The Man From Planet Jazz Label: FiveFour/Cherry Red Year: 1980 Format: Flac Time: 44:37 Size: 270 MB Merry Christmas!!! Previously issued on DRG as Live at Ronnie Scott's, this album documents drummer Buddy Rich's bout with what were contemporary trends in jazz and pop music during the year 1980. Operating in a groove similar to that of Maynard Ferguson's high-voltage big band, Rich and Co. churned out exciting music that went over well with the crowd at Ronnie Scott's jazz club in London, England. The leader of the reeds, and this band's featured soloist, was tenor and soprano saxophonist Steve Marcus. Don Menza's ultra-funky "Beulah Witch" and Bob Kaye's "Grand Concourse" have that beefed-up, big city big-band feel that was so prevalent during the '70s and '80s. The rest of the tunes on this album were composed by baritone saxophonist Bob Mintzer. His "Blues a la 88" is finely wrought and superbly executed. "Saturday Night" is the weakest of the Mintzer titles; the bombastic arrangement only exacerbates its rather shallow melody. Keyboardist Ernie Vantrease plays around with a synthesizer on "Slow Funk," and the results are entertaining. At fifteen-and-a-half minutes, "Good News" is the extended jam, with extroverted solos punctuated by blasts from the band. Behind all of this shiny activity Buddy Rich presided at his drums; pugilistic and thunderous as ever, he drove the band without turning the entire event into a series of extended drum solos.~ arwulf arwulf, All Music Guide |
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2006: Bob Mintzer Big Band - Old School: New Lessons (Live) |
Progressive Jazz, Modern Big Band |
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 Artist: Bob Mintzer Big Band Album: Old School: New Lessons Label: MCG Records Year: 2006 Format: Flac Time: 64:03 Size: 385 MB Repost by request The Manchester Craftsman's Guild in Pittsburgh offers another rousing live concert date in this varied program led by the eclectic saxophonist who is best known as one of the Yellowjackets -- but whose early résumé also boasts everyone from Tito Puente to Thad Jones and the Mel Lewis Big Band. A dash here and a dollop there of each of these influences make this a varied date whose appeal extends beyond big-band fans and embraces those who love bebop, a touch of the avant-garde, the progressive spirit of the Yellowjackets (most notably Russell Ferrante, who contributes stunning percussive solos on pieces like the crazed, polyrhythmic "Mofongo"), and the great contemporary vocalist Kurt Elling. The singer shows a softly romantic and emotional side in extracting every heartfelt word on "My One and Only Love," but engages even more with his lively roller coaster phrasing over the bold and booming arrangement of John Coltrane's "Resolution." Later original Mintzer highlights include the percussive blues-driven playfulness of "March Majestic," the classic swinging of "Black Sand," and the mix of funk beats and swirling horn arrangements on "Go-Go." ~ Jonathan Widran, All Music Guide. |
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1991: Bob Brookmeyer - Electricity |
Cool, West Coast Jazz, Post-bop, Modern Big Band |
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 Artist: Bob Brookmeyer (WDR Big Band) Album: Electricity Label: ACT Year: 1991 Release: 1994 Format: Flac Time: 69:49 Size: 329 MB Valve trombonist and composer Bob Brookmeyer has died. He passed away on Thursday 15 December at the age of 81. Best known for his work with Gerry Mulligan, Stan Getz and with the Thad Jones-Mel Lewis big band, he leaves a large discography both as leader and sideman and a strong reputation as both a large ensemble composer and distinguished educator.
Brookmeyer died just three days short of his 82nd birthday and had released the album Standards just weeks before he passed away... |
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1991: Mujician And The Georgian Ensemble – The Bristol Concert |
Freejazz, Avantgarde |
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 Artist: Mujician And The Georgian Ensemble Album: The Bristol Concert Label: What Disc Year: 1991 Release: 2000 Format: Flac Time: 73:43 Size: 447 MB AMG Rating:  Not released until nine years after it was recorded, this is a very special collaboration between the freestyle improvisational unit, the quintet Mujician, and the 11-piece jazz group The Georgian Ensemble. The two conglomerations had not met before this recording, and in fact each were even unfamiliar with the work of the other. Even more curiously, there does not seem to have been any contact between them from the time of the recording to its release. Regardless of all this, the results are enervating and inspiring. The five British players (pianist Keith Tippett, saxophonist Paul Dunmall, bassist Paul Rogers, drummer Tony Levin, and vocalist and "honorary Mujician" Julie Tippetts) traveled behind the Iron Curtain to blend gorgeously with the Soviet ensemble, which consists of three trumpets, two trombones, three saxes, a guitar, and two vocalists. Keith Tippetts wisely brought with him written arrangements as a springboard, realizing that the culturally repressed Georgians might have difficulty with free improvisation. Incredibly, there are moments of incredible interaction between the two cultures, ranging from some remarkable work from Dunmall to smashing ensemble interaction to great vocal acrobatics. Admirers of the Mujician and the lively British free improv scene will not be disappointed, but the inclusion of the Georgians magnifies rather than restricts the overall sound.~ Steve Loewy, All Music Guide |
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1997: Buddy Rich Big Band - Burning for Buddy: A Tribute To The Music Of Buddy Rich (Vol.2) |
Music » Jazz » Big Band » Modern Big Band |
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 Artist: Buddy Rich Big Band Album: Burning for Buddy: A Tribute To The Music Of Buddy Rich Label: Atlantic/WEA Year: 1997 Format: Flac Time: 71:43 Size: 499 MB Down Beat Rating: Like the first volume, Burning for Buddy: A Tribute to the Music of Buddy Rich, Vol. 2 assembles a shifting cast of virtuoso trap-set players sitting in with the Buddy Rich Big Band in order to pay tribute to its legendary founder. There are fewer rock drummers this time around, although Bill Bruford and Neil Peart are back. In fact, many of these guest drummers were also present on the first volume. Unfortunately, some of the players who lent a greater variety of approach and background are missing here. That isn't to say that there are no good performances on Vol. 2, because there certainly are; beat for beat, though, it isn't quite as compelling as Vol.1.~ Steve Huey, All Music Guide |
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1994: Buddy Rich Big Band - Burning for Buddy: A Tribute To The Music Of Buddy Rich |
Music » Jazz » Big Band » Modern Big Band |
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 Artist: Buddy Rich Big Band Album: Burning for Buddy: A Tribute To The Music Of Buddy Rich Label: Atlantic Year: 1994 Format: Flac Time: 75:48 Size: 515 MB Down Beat Rating: Burning for Buddy: A Tribute to the Music of Buddy Rich, Vol. 1 assembles a shifting cast of virtuoso trap-set players sitting in with the Buddy Rich and His Big Band in order to pay tribute to its legendary founder. Some of the musicians come from rock & roll, often with experience in prog rock or rock/jazz fusion (i.e., the Cult/Guns N' Roses' Matt Sorum, Winger/Dixie Dregs' Rod Morgenstein, Rush's Neil Peart, Yes/King Crimson's Bill Bruford). Others made their mark primarily in the jazz world, including Max Roach, Dave Weckl, Billy Cobham, and Marvin "Smitty" Smith, among others. There are also some drummers who are primarily known for their versatile session work, able to play both rock and jazz; while these players' work is almost always competent, they rarely display much individuality. So overall, Burning for Buddy has more of a modern flavor than one might expect, and it's as uneven as most tribute albums, but the high points may make it worth picking up for some. ~ Steve Huey, All Music Guide |
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2001: Patrick Williams - Blonde (Original Soundtrack) |
Cool, Hard-bop, Post-bop, Crossover Jazz |
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 Artist: Patrick Williams Album: Blonde: Original Soundtrack Label: Playboy Jazz Year: 2001 Format: Flac Time: 60:19 Size: 340 MB AMG Rating: "Theme" from BLONDE was nominated for the 2002 Grammy Award for Best Instrumental Composition. It was only a matter of time before the success of the two-decade-strong Playboy Jazz Festival led Hugh Hefner to create a jazz label, and the label's inaugural release -- the Patrick Williams-composed soundtrack to the CBS Marilyn Monroe miniseries Blonde -- is a wonderfully realized, bebop-oriented winner. Williams has won numerous Emmys, multiple Grammy nominations, and an Oscar nomination and has done well over 150 scores. His challenge here was to create jazz songs that would evoke the vibe of the era the film is set in, as well as the sensual and seductive personality it showcases. The band he assembles is a stylistic mix of many of the big bands he's always loved, and his horns and orchestra are led on most pieces by some of today's most exciting jazz names -- including trumpeters Roy Hargrove (who draws you in immediately with his smoky lead on the title theme) and Snooky Higgins, saxophonists Scott Hamilton (who swings along with the Basie-flavored band on "Party Time") and Dan Higgins, and guitarist Kenny Burrell. Higgins and Young engage each other playfully on the smoky, late-night mood of "The Blues for Norma Jean," and the graceful "The Road to My Heart" brings to mind a gentle reading of "Summertime." But Williams is not just into minor moods. "The Big Time Bounce" finds trumpeter Warren Luening jumping percussively over a booming drum line and the rising energy of a bold horn section; if you didn't know Williams wrote it, you might search your big-band collection for the source. The only tunes borrowed from the past are Billy Strayhorn's "Chelsea Bridge" and the standards "I Can't Give You Anything But Love" and "Three Little Words." This recording should endure far beyond the sweeps month and year the film plays in. ~ Jonathan Widran, All Music Guide |
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2001: Various Artists - American Roots Music [Box Set] |
Acoustic blues, Gospel, Country & Folk |
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![2001: Various Artists - American Roots Music [Box Set]](http://jazzbluesclub.com/uploads/posts/thumbs/1319861476_hhh.jpg) Artist: Various Artists Album: American Roots Music Label: Palm Year: 2001 Format: Flac Time: CD 1-52:20; CD 2-52:29; CD 3-46:58; CD 4-62:33 Size: CD 1-242 MB; CD 2-226 MB; CD 3-242 MB; CD 4-343 MB AMG rating: The successes of the breakthrough soundtrack from the film O Brother Where Art Thou? and the in-depth PBS television series Ken Burns' Jazz seem to have combined in the 2001 production of Palm Pictures' four-part TV series American Roots Music. The series touches on the development of the distinctly American styles of traditional folk, country, blues, gospel, Western swing, bluegrass, cajun, zydeco, Tejano, and Native American music. Corresponding with the television event, Palm has released a four-CD box set soundtrack with a 48-page booklet covering the styles covered during the show. Much like a broadened version of the amazing Washington Square Memoirs: The Great Urban Folk Boom, 1950-1970 CD set, American Roots Music has pulled together an impressive list of performers, including the Carter Family, Jimmie Rodgers, Bill Monroe, B.B. King, Hank Williams, Robert Johnson, Son House, Woody Guthrie, Leadbelly, the Staple Singers, Clifton Chenier, Flaco Jimenez, and Bob Dylan. The depth of the track selection is impressive, as is the breadth of the performers chosen. The producers have chosen to include some studio recordings, and some audio tracks taken from the film archives, making for a somewhat uneven sound quality. While the previously unreleased nature of these select tracks will appeal to collectors and die-hard fans, those just exploring these styles might be turned off by the rough quality of these performances. The discs span more than eight decades of music, acting as a good overview of these genres for new listeners, while Americana enthusiasts will view it as another great collection of the most influential American roots artists in music history. [Also available from Palm is a 19-song CD sampler entitled American Roots Music: Highlights and a video collection containing the entire television series on DVD and VHS.] ~ Zac Johnson, All Music Guide |
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2005: Gerald Wilson Orchestra - In My Time |
Music » Jazz » Big Band » Modern Big Band |
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 Artist: Gerald Wilson Orchestra Album: In My Time Label: Mack Avenue Year: 2005 Format: Flac Time: 75:13 Size: 524 MB AMG Rating: Veteran arranger Gerald Wilson utilized a New York band full of all-stars for this very rewarding and memorable project. Three of the selections ("Dorian," "Ray's Vision at the U," and "Blues for Manhattan") form a suite called "The Diminished Triangle," which is based upon diminished chords and utilizes Wilson's eight-part harmony. Guitarist Russell Malone is showcased on the ballad "Musette," a remake of "Lomelin" pays tribute to a bullfighter in dramatic fashion, and such players as tenor saxophonist Kazumi Washington (an impressive new voice), pianist Renee Rosnes, trumpeters Jon Faddis, Jimmy Owens, and Sean Jones, and tenor man Ron Blake are among the many colorful soloists. But it is the enthusiastic arranger/bandleader who takes honors with his consistently inventive writing and (one imagines) enthusiastic conducting. Highly recommended.~ Scott Yanow, All Music Guide |
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1987: The Gene Harris All Star Big Band - Tribute To Count Basie |
Swing, Big Band |
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 Artist: The Gene Harris All Star Big Band Album: Tribute To Count Basie Label: Concord Jazz Year: 1987 Format: Flac Time: 46:43 Size: 291 MB A big-band date that slightly predated pianist Gene Harris' association with the Philip Morris Superband, this CD is ostensibly a tribute to the recently deceased Count Basie, but surprisingly, only two of the eight songs ("Swingin' the Blues" and "Blue and Sentimental") were played by Basie, although one original ("Captain Bill") was written in homage of the bandleader. Harris' 16-piece orchestra does bring back the spirit of Basie's band in spots, with a lightly but steadily swinging rhythm section and such soloists as trumpeters Conte Candoli and Jon Faddis and tenors Plas Johnson and Bob Cooper. But in reality, Harris dominates the solo spotlight, and the music (which includes a memorable version of "When Did You Leave Heaven") is a bit predictable.~ Scott Yanow, All Music Guide |
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1974: Thad Jones & Mel Lewis Orchestra - Potpourri |
Hard-bop, Modern Big Band |
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 Artist: Thad Jones & Mel Lewis Orchestra Album: Potpourri Label: Philadelphia International Records Year: 1974 Format: Flac Time:44:32 Size: 241 MB Repost by request Potpourri is a 1974 big band jazz album recorded by the Thad Jones / Mel Lewis Jazz Orchestra and released on the Philadelphia International Records label. The album was nominated for a 1975 Grammy award in the category, "Best Jazz Performance - Big Band" and Thad Jones' arrangement of "Living for the City" was also nominated in the Best Instrumental Arrangement category that same year. One of the weaker Thad Jones/Mel Lewis big-band sets, this LP finds the impressive orchestra stuck performing a couple of inappropriate Stevie Wonder tunes ("Don't You Worry 'Bout a Thing" and "Living for the City") and the pop song "For the Love of Money," in addition to more suitable material by Marian McPartland ("Ambiance") and four worthwhile originals by Jones. With such notable sidemen as trumpeter Cecil Bridgewater, Ron Bridgewater and Billy Harper on tenors, trombonist Quentin Jackson, baritonist Pepper Adams, keyboardist Roland Hanna, bassist George Mraz and lead trumpeter Jon Faddis, the music certainly has its moments of interest. But there are a quite few more satisfying recordings by the Thad Jones/Mel Lewis Orchestra than this merely decent LP.~ Scott Yanow, All Music Guide |
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1962: Stan Kenton - Adventures in Time: A Concerto for Orchestra |
Progressive Jazz, Modern Big Band |
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 Artist: Stan Kenton Album: Adventures in Time: A Concerto for Orchestra Label: Capitol Year: 1962 Format: Flac Time: 38:37 Size: 242 MB This album is comprised of eight compositions by arranger Johnny Richards that feature Stan Kenton's Mellophonium Orchestra in a variety of time signatures, quite often 5/4 and 7/4. The soloists (altoist Gabe Baltazar, trumpeter Marvin Stamm, Don Menza on tenor and Ray Starling on mellophonium) do their best even if none of the songs are all that memorable by themselves. This worthwhile if not particuarly essential release is a bit of a historical curiosity.~ Scott Yanow, All Music Guide |
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1987: The Duke Ellington Orchestra - Digital Duke |
Swing, Big Band |
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 Artist: The Duke Ellington Orchestra Album: Digital Duke Label: GRP Year: 1987 Format: Flac Time: 68:28 Size: 472 MB AMG Rating: The Duke Ellington Orchestra includes conductor Mercer Ellington, the Duke's son, who took over the Orchestra after his father's death in 1974. Digital Duke is a collection of digitally mixed and mastered compositions written by and usually associated with Duke Ellington. Mercer Ellington, the younger half of the father-and-son team, conducts the Duke Ellington Orchestra complete with former members of Duke's orchestra -- Louis Bellson, Chuck Connors, Clark Terry, Norris Turney and Britt Woodman. Special guest performances by Branford Marsalis, Eddie Daniels, Roland Hanna and Gerry Wiggins add to the excitement of the newly mastered collaborations. Produced by Michael Abene and Mercer Ellington, the three days spent at Clinton Recording Studio in New York City, sets out to improve the relationship between the generations and their long-term appreciation of the swing era. Executive producers Dave Grusin and Larry Rosen decided to concentrate on Ellington pieces that became standards in the jazz repertory. Digitally updating the Duke's music, which always was defined by common musical threads, distinctive harmonies, unique piano playing, and unusual combinations of instruments, would require only the best musicians. The result is a timeless tribute to one of the greatest musicians of the 20th century. The essence of traditional and contemporary concepts come together on "Cottontail." It showcases an extraordinary Branford Marsalis saxophone solo honed in the Ellington style. He satisfies us again, at just the right tempo, with his impeccable tenor saxophone on "Take the 'A' Train." The easy pace is exactly right, as Gerry Wiggins' piano intros the time-honored ode that soon became Duke's trademark. Eddie Daniels adds a new, velvet-like, clarinet solo to the timeless three horn favorite, "Mood Indigo." Louis Bellson, who was Duke's drummer in the early 1950s and again on many reunions, is in great form on "Perdido" and "In a Mellotone." Digital Duke is a very special project, thoughtfully executed by Mercer Ellington and company. ~ Paula Edelstein, All Music Guide |
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1976: Stan Kenton & His Orchestra - The Complete Integrated Sunset Ridge Concert 1976 [Double CD, Live] |
Progressive Jazz, Modern Big Band |
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![1976: Stan Kenton & His Orchestra - The Complete Integrated Sunset Ridge Concert 1976 [Double CD, Live]](http://jazzbluesclub.com/uploads/posts/1317355524_hhh.jpg) Artist: Stan Kenton & His Orchestra Album: The Complete Integrated Sunset Ridge Concert 1976 Label: Magic Year: 1976 Format: Flac Time: CD 1 - 73:10/CD 2 - 77:48 Size: CD 1 - 383 MB/CD 2 - 418 MB By the 1970's, Stan Kenton had become an elder statesman in the bandbusiness. No longer so restless in his pursuit of experimentation,Stan's last decade was a period of consolidation,during which he led a broadly-based jazz orchestra that played a predominance of concert music to the delight of his thousands of fans. In recent years, as at the Balboa 50th Anniversary Celebrations in 1991, concentration has focused on the earlier decades, to the exclusion of the orchestras of the Seventies, which are in danger of becoming under-valued. It is is partly because of the lack of 'names' among the musicians, and it is true that with some notable exceptions (Dick Shearer lead trombone, Ray Reynolds tenor sax, John Worster bass and Ramon Lopez conga), the personnel tended to change with bewildering frequency. Most of the men were youngsters straight out of music college, thorough musicians and talented sight-readers, but without the maturity or experience of their older Colleagues. With the general decline in the band business, it didn't hurt that they came cheaply, and in any case the older hands would no longer submit to the constant travel between jobs that Stanley accepted as a way of life. As John Von Ohlen put it once: "We get paid for riding the bus - the music we play for free!" As Kenton said in 1975 : "It's too often true that guys leave the band before they've had the experience to develop, or gain proper exposure. It may be partly because of the travelling, or they get restless - 1 feel maybe to a great extent they just get tired. So I think the continuity these days is provided not so much by individual names as by the sound of the band - what has come to be known as the Kenton Sound, that was developed over the years and distinguishes our orchestra from any of the others." The professional engineering and excellent audio quality of these recordings enables that distinctive Sound to be enjoyed without distraction. Another bonus is the fact this was a dance date, and the listener has the opportunity to hear the orchestra of '76 interpret scores different from those it recorded commercially. The titles span almost all of Stan's career, from Intermission Riff (first played in 1945), to Satin Doll, written thirty years later in 1975. ~ Original CD Liner Notes (excerpt) |
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