Spring 2011 - Worlds Records

FRESH SOUND
619 ANITA O’DAY ORCHESTRAS ARRANGED AND CONDUCTED BY BILL HOLMAN AND RUSS
GARCIA INCOMPARABLE - WAITER, MAKE MINE BLUES It Could Happen To You • Blue Champagne
• Avalon • Old Devil Moon • The Party’s Over • Why Shouldn’t I? • Easy Living • Can’t We Be Friends •
Slaughter On The 10th Avenue • If I Love Again • Speak Low • Indian Summer • Yesterdays • Mad About
The Boy • That Old Feeling • Waiter, Make Mine Blues • When Sunny Gets Blue • Angel Eyes • Whatever
Happened To You? • A Blues Serenade • The Thrill Is Gone • Detour Ahead • Goodbye • Stella By Starlight
(Collective Personnel: Al Porcino, Conte Candoli, Lee Katzman, Stu Williamson, Frank Rosolino, Joe Maini,
Charlie Kennedy, Bill Perkins, Richie Kamuca, Jack Nimitz, Lou Levy, Joe Mondragon, Mel Lewis, Dick
Nash, Harry Betts, Bud Shank, Barney Kessel, more) [1960] Two LPs: ‘Incomparable’ and ‘Waiter, Make
Mine Blue’. This collection, recorded at the peak of Anita O’Day’s career, is a fine example of the groups that
backed her vocals. These albums, without a doubt, are two of Anita’s best. [Item Code: 66530 CD: $17.00]
620 BUDDY DE FRANCO SEPTET COMPLETE 1959 SEPTET SESSIONS BRAVURA Sunday • Between
The Devil And The Blue Sea • Tea For Two • Ballad Medley: ‘Round Midnight- You Don’t Know What Love
Is- How Can We Be Wrong?- Lullaby Of The Leaves- Yesterdays • Blue Lou • Funky’s Oncle • Oh, Lady Be
Good! • Satin Doll • My Funny Valentine • Blues For Space Travelers • Tin Reed Blues • Ballad Medley: I’m Glad There Is You- There’s No You-
These Foolish Things • Crazy Rhythm • Just Squeeze Me • Undecided • Ja-Da • Ballad Medley: Now I Lay Me Down To Dream- Honey- This Love
Of Mine- Darn That Dream • Lulu’s Back In Town • Ballad Medley Old Folks- How Long Has This Been Going On- Please • Witty (Collective Personnel:
Harry Sweets Edison, Bob Hardaway, Jimmy Rowles, Barney Kessel, Curtis Conce, Alvin Stoller, Herbie
Mann, Victor Feldman, Pete Jolly, Scott LaFaro, Frank de Vito) [1959] The recordings in the present set
are typically fluent, compelling De Franco music in a first-class small combo setting. One of the attractions
is the delicacy of some of the ensemble textures and the way in which basic harmonies have been amended
to fit the character of these 1959 De Franco Septet sessions. There’s a lot of great listening here whatever the
bias. It will be just fine if it does help bring the clarinet back. [Item Code: 66531 2-CD: $26.00]
621 THE MASTERSOUNDS PLAY COMPOSITIONS BY HORACE SILVER BALLADS & BLUES
· IN CONCERT Ecaroh (a) • Enchantment (a) • Nica’s Dream (a) • Doodlin’ (a) • Moonrays (a) •
Buhania (a) • Blues Medley: Bluesology - Purple Sounds - Fontessa (b) • Heidi (b) • Little Stevie
(b) • Solar (b) • Mint Julep (c) • How Deep Is The Ocean (c) • The Champ (c) • Monk’s Ballad
(c) • Light Blue (c) • Stompin’ At The Savoy (d) • Medley: In A Sentimental Mood - Our Very Own
- These Foolish Things (d) • Love For Sale (d) • Star Eyes (d) • Two Different Worlds (d) • Somebody
Loves Me (d) (Personnel: Buddy Montgomery, Monk Montgomery, Richie Crabtree, Benny Barth)
(Source: a- Play Horace Silver; b- Ballads & Blues; c- Ballads & Blues; d- In Concert) [1959-1960] 2-CD
set. The Mastersounds were together from January 1957 up until late 1960, and although they were often
compared to the Modern Jazz Quartet, they played with far more fire. Their basic conception was less “highbrow” than the MJQ floating workshop.
Vibist Monk Montgomery, who acted as spokesman of the group, said, “The first thing, it must swing,” and they stuck to that credo throughout the
three albums that make up this splendid example of their work. The first, Play Horace Silver was considered
one of their best efforts on record. It takes notable talent to play Silver’s compositions and, while respecting
the qualities that tie Silver’s works so closely to the central core of jazz, to put a distinctively personal
brand on them as The Mastersounds managed to do. On the second, Ballads and Blues the group’s playing
is striking throughout. Buddy Montgomery cooks, pianist Richie Crabtree displays a firm, almost classical
touch, with formidable technique and ideas, while Monk Montgomery’s skill on electric bass is pre-eminent.
He and drummer Benny Barth provide sympathetic and driving support, contributing some fine solos of their
own. In Concert, the third album on this set, was recorded live at the Pasadena Junior College on April 1959,
and produced some polished, graceful performances. Playing a nice selection of finely crafted arrangements,
the group displayed the kind of synergy rarely achieved in working relationships, while compromising not
one whit on their ability to play with heat and swing. [Item Code: 66645 2-CD: $26.00]
622 BIG MILLER DID YOU EVER HEAR THE BLUES? + REVELATIONS AND THE BLUES Five O’Clock
Blues (a) • Lament (a) • Did You Ever Hear The Blues? (a) • Tired As I Can Be (a) • Good Old Guy (a) •
Mr. Blues Child (a) • Red Sun Blues (a) • Mojo Blues (a) • Cool Saturday Night (a) • Got To Live (a) • Wee
Small Hours (a) • About My Baby (b) • I Know (b) • Lament To Love (b) • The Monterey Story (b) • I Never
Had A Woman (b) • Wanna See My Baby (b) • When You’re Not Around (b) • It’s A Hard Life (b) • Sweet Slumber (b) • If You Don’t Love Me (b)
(Collective Personnel: Al Cohn, Chuck Wayne, Turk Van Lake, Elvin Jones, Jimmy Cleveland, Sol Schlinger, Everett Barksdale, Kenny Burrell, Pat
Brooks, Vic Dickenson, Phil Woods, Zoot Sims, Jimmy Jones, Billy Bauer, Barry Galbraith, Chet Amsterdam,
Gus Johnson, Ben Webster, Gildo Mahones, Bobby Gibbons, Ike Isaacs, Jimmy Wormworth, Plas Johnson,
Ernie Freeman, Jim Hall, Red Mitchell, Frank Butler) (Source: a- Did You Ever Hear The Blues?; b- Revelations
And The Blues) [1959-1960] Clarence H. Miller, known to his friends as “Big”, was one of the most
impressive new blues singers on the late Fifties scene. With a childhood background of church singing and
piano and trombone studies, he became a professional musician in 1946 after Army service, when he led
a band touring with a repertoire largely based on Louis Jordan “jump” numbers, before switching to bass
and joining Jay McShann’s earthy, Kansas City based outfit. Influenced by Walter Brown and Joe Turner, he
started singing blues with the band and moved to Chicago and Cincinatti, forming a group with trombonist
Al Grey which went to Texas. A year touring the small Texas towns honed his gift for blues singing and a
move to New York led to his big breakthrough. He made a debut LP, Did you ever hear the blues?, for United
Artists, went with Nat Pierce’s band into Birdland and then, through singer Jon Hendricks, was invited to the
1960 Monterey Jazz Festival. That led to Hollywood. Stints at Shelly Manne’s celebrated club and an album,
Revelation and the Blues, with Ben Webster confirmed his status as a front-rank blues singer with a unique
style which was influenced by bop. [Item Code: 66646 CD: $17.00]
17 worldsrecords.com (800) 742-6663
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