Billie Holiday Fine and Mellow Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Billie Holiday Fine and Mellow Mp3, Flac, Wma Billie Holiday Fine And Mellow mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Fine And Mellow Country: Italy Released: 1990 MP3 version RAR size: 1159 mb FLAC version RAR size: 1275 mb WMA version RAR size: 1496 mb Rating: 4.9 Votes: 868 Other Formats: MMF AUD MP3 AC3 DXD VOX XM Tracklist 1 Riffin' The Scotch 2 Big City Blues 3 These Foolish Things 4 Did I Remember? 5 A Fine Romance 6 Easy To Love 7 He Ain't Got Rhythm 8 Yours And Mine 9 Mean To Me 10 Without Your Love 11 They Can't Take That Away From Me 12 Swing, Brother, Swing! 13 Trav' Lin' All Alone 14 Getting Some Fun Out Of Life 15 I Can't Get Started 16 When You're Smiling (The Whole World Smiling With You) 17 When A Woman Loves A Man 18 On A Sentimental Side 19 You Go To My Head 20 The Very Thought Of You 21 That's All I Ask Of You 22 Dream Of Life 23 Long Lone Blues 24 I Gotta Right To Sing The Blues 25 Fine And Mellow 26 The Man I Love Related Music albums to Fine And Mellow by Billie Holiday Billie Holiday - Don't Explain Billie Holiday - The Mellow Side Of Billie Holiday Billie Holiday - 28 Great Jazz Songs Billie Holiday, Lester Young - Lady Day & Pres New York 1937-1941 Billie Holiday - The Greatest Interpretations Of Billie Holiday 奇妙な果実 / ビリー・ホリデイ Billie Holiday - The Complete Billie Holiday Alternates 1936/42 Vol. 1 1936/38 Billie Holiday And Her Orchestra - Our Love Is Different / Swing! Brother, Swing! Billie Holiday - The Ultimate Collection Billie Holiday - The Real... Billie Holiday (The Ultimate Collection) Billie Holiday - 1935-1958 Billie Holiday - The Incomparable - Volume 1 Carrie Smith - Fine & Mellow.
Recommended publications
  • Duke Ellington Kyle Etges Signature Recordings Cottontail
    Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the ​ band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke ​ Ellington, states that Cottontail “opened a window on the future, predicting elements to come in ​ jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & ​ ​ Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more ​ grandiose pieces with more extended forms.
    [Show full text]
  • Singer Luciana Souza Interprets Chet Baker and Further Explores Her Brazilian Roots on Two New Albums
    Singer Luciana Souza interprets Chet Baker and further explores her Brazilian roots on two new albums. By Ted Panken • Photos by Bob Wolfenson 46 fall 2012 jazziz “I have a little story to tell you,” says vocalist Luciana Souza, Music from 1984 to 1988. “I became smitten by him — not as a recalling the third and final studio session that generated The man, but by his voice and music,” she recalls. “I dug his mood, Book of Chet (Sunnyside), a CD released in August comprising his sense of pitch, where he places the note in his voice and the 10 renderings of American Songbook jewels upon which Chet fact that he dealt with vibrato differently than other American Baker placed his distinctive stamp. “Right after lunch I decided singers — a straight tone, with a fast vibrato and a slower to sing ‘I Get Along Without You Very Well.’ We had rehearsed it, one.” During the early ’90s, while pursuing graduate studies at so I thought it would come out as easy as everything else. I was New England Conservatory, she augmented her knowledge by on mic, everybody wearing headphones, tuned, ready to go. They transcribing scat solos from several Baker recordings. All the started playing, and I froze. It felt so slow, and I didn’t know how to while, Souza adds, she was well aware of Baker’s influence on fit the words into the meter. I had a moment of feeling like death.” the way bossa nova trailblazer João Gilberto conceptualized the Souza’s producer, Larry Klein, her husband since 2006 and the projection of saudade, the famously untranslatable Portuguese father of their 3-year-old son, made a quick suggestion.
    [Show full text]
  • Nds Jazzgeschiedenis 568 = Zondag 29.12.91 = R 1 = +20.30
    NDS JAZZGESCHIEDENIS 568 = ZONDAG 29.12.91 = R 1 = +20.30-21.00 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ band Pingel - 0:07 CldR, NOS Jazzgeschiedenis 568, tijdvak 1953-1958, hoofdstuk 12, Billie Holiday, deel 6 en laatst. Het was op het Newport Jazz Festival al heel duidelijk, u hoorde dat vorige keer, dat de zangeres haar drug-en vooral drankgebruik steeds slechter onder controle had. Het werd snel een vicieuze cirkel: door haar moeilijkheden kreeg ze steeds minder engagementen, wanneer ze moest optreden was ze onzeker, dus weer gin etc. En zo door. Schrijver/criticus Nat Hentoff produceerde voor de Timex TU Show in studio 58 van CBS in NYC 'The sound of Jazz' die in deze tijd toen er nog geen video bestond, op 16 mm film met aparte geluidsband werd opgenomen. Q.a. de Count Basie band in speciale bezetting en Thelonious Honk met een trio traden op, Hentoff had het briljante idee om Billie Holiday te laten zingen met een ook weer speciale formatie. Roy Eldridge speelde solo-trom- pet, naast hem Doe Cheatham. Dp trombone Uic Dickenson, dal liJaldron natuurlijk piano, verder Danny Barker-rhythmguitar, Milt Hinton-bas,Osie Johnson-drums. En er waren vier saxofonis- ten. Gerry flulligan op bariton en -dat was Hentoff's gouden greep- Ben Webster, Lester Young en Coleman Hawkins-tenorsaxo- foon. Solistisch in die volgorde. Billie Holiday's "Fine and mellow", voorafgegaan door de MC die geen hout van jazz wist, en de ingemonteerde introductie door Lady Day. plaat 1 Billie Holiday: Fine and mellow (Louis HcKay) T7Ï - 9:07 - Sagapan 6905 "Fine and mellow" uit de Timex TU Show van 8 december 1957 in NYC, uit de productie van Nat Hentoff 'The sound of Jazz'.
    [Show full text]
  • WP Jazz Rep List MASTER
    William Paterson University Jazz Studies Program Repertoire List Bold = freshman repertoire; freshman juries include five - Graduate students perform one tune in all keys Popular Standards Lady Be Good Airegin A Foggy Day Let’s Fall in Love All Blues All of Me Like Someone In Love Along Came Betty All the Things You Are Love Walked In Are You Real? Alone Together (The) More I See You Bluesette April in Paris My Favorite Things Cherokee Autumn Leaves My Romance Confirmation Bluesette Never Will I Marry Countdown But Not for Me Night and Day Crescent Bye Bye Blackbird Our Love Is Here To Stay Daahoud Come Rain or Come Shine Out of Nowhere Daydream Days of Wine and Roses Satin Doll Dig Dearly Beloved Secret Love Dolphin Dance Django Softly As in a Morning Sunrise Donna Lee Falling in Love With Love Someday My Prince Will Come Doxy Gone With the Wind Song Is You, The ESP Green Dolphin Street Star Eyes Evidence Have You Met Miss Jones? Stella by Starlight Fall Hello Young Lovers Stompin’ at the Savoy Fee Fi Fo Fum How High the Moon Summertime Four I Could Write A Book Sweet Georgia Brown Freedom Jazz Dance I Didn’t Know What Time It Was Tangerine Giant Steps I Hear A Rhapsody There is No Greater Love Gloria’s Step I’ll Be Around There Will Never Be Another You Groovin’ High I Love You They Can’t Take That Away… Half Nelson I Remember April What is This Thing Called Love Hi-Fly I Remember You Without A Song How My Heart Sings I Should Care You’d Be So Nice To Come HomeTo I Let A Song Go Out of If I Were A Bell You Stepped Out of a Dream Impressions
    [Show full text]
  • Glenn Miller Archives
    Glenn Miller Archives ARTIE SHAW INDEX Prepared by: Reinhard F. Scheer-Hennings and Dennis M. Spragg In Cooperation with the University of Arizona Updated December 11, 2020 Table of Contents 2.1 Recording Sessions 3 2.2 Broadcasts (Recordings) 4 2.3 Additional Broadcasts (Data Only) 8 2.4 Personal Appearances 13 2.5 Music Library 16 2.6 On The Record 82 2.6.1 Analog Media 83 2.6.2 Digital Media 143 2.7 Glenn Miller Archives 162 2.7.1 Analog Media 163 RTR Edward Burke Collection 163 2.7.2 Digital Media 164 EHD Columbia Broadcasting System (CBS) 164 EHD Mutual Broadcasting System (MBS) 165 EHD National Broadcasting Company (NBC) 165 2.8 Star Spangled Radio Hour 167 Cover: Artie Shaw 1940 Paramount Publicity Photo P-2744-6 (Glenn Miller Archives) 2 2.1 Recording Sessions 38-07-24 Bluebird Recording Session, Victor Studio #2, New York 38-09-27 Bluebird Recording Session, Victor Studio #2, New York 38-11-17 Bluebird Recording Session, Victor Studio #2, New York 38-11-28 Vitaphone Melody Master (Film), Warner Brothers, New York 38-12-19 Bluebird Recording Session, Victor Studio #2, New York 39-01-17 Bluebird Recording Session, Victor Studio #2, New York 39-01-23 Bluebird Recording Session, Victor Studio #2, New York 39-01-31 Bluebird Recording Session, Victor Studio #2, New York 39-03-00 Vitaphone Melody Master (Film), Warner Brothers, New York 39-03-12 Bluebird Recording Session, Victor Studio #2, New York 39-03-17 Bluebird Recording Session, Victor Studio #2, New York 39-03-19 Bluebird Recording Session, Victor Studio #2, New York 39-06-05 Bluebird Recording Session, Victor Studio, Hollywood 39-06-12 Bluebird Recording Session, Victor Studio, Hollywood 39-06-22 Bluebird Recording Session, Victor Studio, Hollywood 39-06-00 Paramount Headliner (Film), Paramount Studios, Hollywood 39-07-15 MGM Prerecording Session, MGM Studio, Culver City, Cal.
    [Show full text]
  • Five Guys Names Moe Song List
    Five Guys Names Moe Song List A Chicken Ain't Nothin' But A Bird B flat After The Lovin A Kiss To Build A Dream On Ain't That A Kick In The Head! Ain't Misbehavin' Ain't Nobody Here But Us Chickens All Of Me All My Tomorrows All Shook Up All The Way Always Angel Eyes Angelina (From The Pizzaria) Anniversary Waltz (Oh how we danced) Anything Goes Are You Lonesome Tonight? As Time Goes By At Last Azure Te' (Paris Blues) Automobile (She Loves My) Baby Won't You Please Come Home? Basin Street Blues/ 5 Ft. 2 Big Ten Inch Beyond The Sea Buona Serra Buzz Me Baby Bye Bye Blackbird Bye Bye Love Black Cadilac/Kansas City Black Magic Woman Blue Light Boogie Blue Moon Blue Spanish Eyes Blue Suede Shoes Brother Beware Brown Eyed Girl Bowlegged Woman Caldonia... Chicago (a toddlin' town) Choo Choo Ch-Boogie Come Dance With Me Come Fly With Me Come Rain Or Come Shine Crazy Critical Condition-.(J. Sapienza) Daddy's Little Girl Day-O ( The Work Song ) Don't Be Cruel (You know I can be found) Don't Get Around Much Anymore Don't Let The Sun Catch You Cryin' Drownin' On Dry Land...slow Early In The Morning Embraceable You Everybody Loves Somebody Sometime Fever Fly Me To The Moon Five Guys Named "MOE' Frim Fram Song God Bless The Child t Georgia Gigolo Girl From Ipanema G. I. Jive G.L.O.R.I.A. Gloria Guess I'll Hang My Tears Out To Dry Help Me Make It Through The Night Honey Child Honky Tonk Woman How About You How Little We Know I Don't Know Why ( I Love You Like I DO ) I Feel Good I Get A Kick Out OF You I Left My Heart In San Francisco In My Chevrolet ( J.
    [Show full text]
  • Holiday at 100: Lady Has Her Day
    4 Chicago Tribune | Arts+Entertainment | Section 4 | Wednesday, April 8, 2015 Holiday at 100: Lady has her day Reich, from Page 1 “Good Morning Heartache,” complete with exquisitely pol- ished scat singing that Justly earned ovations before the tune was finished. The unhurried tempo and sweeping lines Grimm mined in “Crazy He Calls Me”were similarly effec- tive. Imagine the art of Holiday filtered through the sensibility of the great Doris Day,and you have a sense of where Grimm was coming from. And then there was Lynne Jordan, who dared to take on the toughest song in Holiday’s rep- ertoire, “Strange Fruit.” This eyes-wide-open portrait of lynching is devastating to hear under any circumstances, but BRIAN CASSELLA/CHICAGO TRIBUNE PHOTOS Jordan went a step further, of- Lynne Jordan performs Monday at Davenport’s. She took on Billie Holiday’s dark “Strange Fruit,” which confronts the terrible subject of lynching. fering a shattering spoken solilo- quy about her own family’s link to this terrible subject. Jordan wasn’t the only one whose eyes and cheeks were wet before she had begun to sing a note. Yet she pulled herself together to deliver the song, which started big, got bigger and culminated in a kind of outcry. Each singer, really, had some- thing distinctive to add to what we know and value in Holiday’s oeuvre. Tecora Rogers addressed “Pennies From Heaven” in the manner of a robust blues shouter and made a hyperdramatic aria of “Easy Living.” Liz Mandeville summoned considerable inten- sity in “You Go to My Head,” Liz Mandeville sings at Monday’s show, which featured jazz, blues and Tecora Rogers salutes Holiday on Monday.
    [Show full text]
  • ARSC Journal
    GIANTS OF JAZZ - DUKE ELLINGTON Time Life STL-J02 P3-14729 EAST ST LOUIS TOODLE-00 VO CALION 1926 Nov 29 CREOLE LOVE CALL VICTOR 1927 Oct 26 BLACK AND TAN FANTASIE VICTOR 1927 Oct 26 BLACK AND TAN FANTASY OKEH 1927 Nov 3 BLACK BEAUTY VICTOR 1928 Mar 26 JUBILEE STOMP VICTOR 1928 Mar 26 YELLOW DOG BLUES BRUNSWICK 1928 Jun 5 HOT AND BOTHERED OKEH 1928 Oct 1 THE MOOCHE BRUNSWICK 1928 Oct 17 SHOUT 'EM, AUNT TILLIE VICTOR 1930 Jun 4 RING DEM BELLS VICTOR 1930 Aug 26 MOOD INDIGO BRUNSWICK 1930 Oct 17 ROCKIN' IN RHYTHM OKEH 1930 Nov 8 IT DON'T MEAN A THING (IF IT AIN'T GOT THAT SWING) BRUNSWICK 1932 Feb 2 BABY, WHEN YOU AIN'T THERE BRUNSWICK 1932 Feb 4 BUGLE CALL RAG VICTOR 1932 Feb 9 MERRY GO ROUND ENGLISH COLUMBIA 1933 Feb 15 HARLEM SPEAKS ENGLISH DECCA 1933 Jul 13 IN THE SHADE OF THE OLD APPLE TREE BRUNSWICK 1933 Aug 15 MERRY GO ROUND BRUNSWICK 1935 Apr 30 TRUCKIN' BRUNSWICK 1935 Aug 19 CLARINET LAMENT (BARNEY'S CONCERTO) BRUNSWICK. 1936 Feb 27 ECHOES OF HARLEM (COOTIE'S CONCERTO) BRUNSWICK 1936 Feb 27 CARAVAN MASTER 1937 May 14 I LET A SONG GO OUT OF MY HEART BRUNSWICK 1938 Mar 3 SOPHISTICATED LADY COLUMBIA 1940 Feb 14 JACK THE BEAR VICTOR 1940 Mar 6 KO-KO VICTOR 1940 Mar 6 CONCERTO FOR COOTIE (DO NOTHIN' TILL YOU HEAR FROM ME) VICTOR 1940 Mar 15 COTTON TAIL VICTOR 1940 May 4 NEVER NO LAMENT (DON'T GET AROUND MUCH ANY MORE) VICTOR 1940 May 4 HARLEM AIR SHAFT VICTOR 1940 Jul 22 IN A MELLOTONE VICTOR 1940 Sep 5 WARM VALLEY VICTOR 1940 Oct 1 TAKE THE "A" TRAIN VICTOR 1941 Feb 15 I GOT IT BAD AND THAT AIN'T GOOD VICTOR 1941 Jun 26 PERDIDO VICTOR
    [Show full text]
  • Songs by Artist
    Songs by Artist Title Title (Hed) Planet Earth 2 Live Crew Bartender We Want Some Pussy Blackout 2 Pistols Other Side She Got It +44 You Know Me When Your Heart Stops Beating 20 Fingers 10 Years Short Dick Man Beautiful 21 Demands Through The Iris Give Me A Minute Wasteland 3 Doors Down 10,000 Maniacs Away From The Sun Because The Night Be Like That Candy Everybody Wants Behind Those Eyes More Than This Better Life, The These Are The Days Citizen Soldier Trouble Me Duck & Run 100 Proof Aged In Soul Every Time You Go Somebody's Been Sleeping Here By Me 10CC Here Without You I'm Not In Love It's Not My Time Things We Do For Love, The Kryptonite 112 Landing In London Come See Me Let Me Be Myself Cupid Let Me Go Dance With Me Live For Today Hot & Wet Loser It's Over Now Road I'm On, The Na Na Na So I Need You Peaches & Cream Train Right Here For You When I'm Gone U Already Know When You're Young 12 Gauge 3 Of Hearts Dunkie Butt Arizona Rain 12 Stones Love Is Enough Far Away 30 Seconds To Mars Way I Fell, The Closer To The Edge We Are One Kill, The 1910 Fruitgum Co. Kings And Queens 1, 2, 3 Red Light This Is War Simon Says Up In The Air (Explicit) 2 Chainz Yesterday Birthday Song (Explicit) 311 I'm Different (Explicit) All Mixed Up Spend It Amber 2 Live Crew Beyond The Grey Sky Doo Wah Diddy Creatures (For A While) Me So Horny Don't Tread On Me Song List Generator® Printed 5/12/2021 Page 1 of 334 Licensed to Chris Avis Songs by Artist Title Title 311 4Him First Straw Sacred Hideaway Hey You Where There Is Faith I'll Be Here Awhile Who You Are Love Song 5 Stairsteps, The You Wouldn't Believe O-O-H Child 38 Special 50 Cent Back Where You Belong 21 Questions Caught Up In You Baby By Me Hold On Loosely Best Friend If I'd Been The One Candy Shop Rockin' Into The Night Disco Inferno Second Chance Hustler's Ambition Teacher, Teacher If I Can't Wild-Eyed Southern Boys In Da Club 3LW Just A Lil' Bit I Do (Wanna Get Close To You) Outlaw No More (Baby I'ma Do Right) Outta Control Playas Gon' Play Outta Control (Remix Version) 3OH!3 P.I.M.P.
    [Show full text]
  • Eleanora Fagan (1915-1959): to Billie with Love from Dee Dee Sexy
    Dee Dee Bridgewater March 2010 Liner Notes Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee Sexy, spunky, sublime, inspired. That’s the alliterative wrap on Dee Dee Bridgewater that fully encompasses her contagious appeal as a performer as well as her intrepid approach in fashioning her recordings. She’s a risk taker who’s perpetually looking around the next bend but with full vision in her rear view mirror of where she’s already traveled—from the familiar red earth of Tennessee to the exotic red earth of Mali. Steeped in the tradition while ears-wide-open to fresh possibilities, Dee Dee has consistently embraced the jazz spirit that teems with vibrancy and freedom. “I want to move forward, just as I’ve done with each of my albums,” she says. “To not go backwards, but progress. Constantly.” So, with one foot firm in the past and the other sprinting ahead into the future, for her new album Dee Dee decided to reacquaint herself with an iconic figure of the jazz legacy: Billie Holiday. While she had already paid homage to such legendary musical figures as Horace Silver, Ella Fitzgerald and Kurt Weill with recordings dedicated to each, her musical relationship with Billie went far deeper. Dee Dee had starred in the one-woman musical, Lady Day, based on Holiday’s ghostwritten autobiography, Lady Sings the Blues. Having done an extensive character study on Holiday’s life and music, she took the plunge into channeling the tragic jazz diva for her nightly performances. The theatrical performance, written and directed by Stephen Stahl, wowed audiences in Paris (in 1986) and London (in 1987) and garnered Dee Dee a nomination for the Laurence Olivier Award for Best Actress.
    [Show full text]
  • Guide to the Fletcher and Horace Henderson Music and Photographs
    Guide to the Fletcher and Horace Henderson Music and Photographs NMAH.AC.0797 Grace Chiang 2014 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 5 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 5 Container Listing ............................................................................................................. 6 Series 1: Horace and Fletcher Henderson Music, 1954 - 1955............................... 6 Series 2: Photographs.......................................................................................... 217 Series 3: Horace and Fletcher Henderson's Personal Papers............................. 218 Series 4: Horace Henderson Audio Tapes.........................................................
    [Show full text]
  • Charles James Shavers “Charlie”
    1 The TRUMPET of CHARLES JAMES SHAVERS “CHARLIE” Solographer: Jan Evensmo Last update: Jan. 10, 2021 2 Born: NYC. Aug. 3, 1917 Died: NYC. July 8, 1971 Introduction: Maybe I should not say this, but Oslo Jazz Circle back then could not stand Charlie Shavers! His peculiar sense of humour and also perceived corny improvisations in many sessions of the middle forties made him a target for ridicule rather than appreciation. We don’t have to discuss this here and now, because in his early period 1937-42 presented here, he plays beautifully, mostly with his mute. Early history: Father was a trumpet player; Charlie was a distant relative of trumpeter Fats Navarro. Began playing piano and banjo, then switched to trumpet. Played occasionally with pianist Willie Gant in New York; first work away from New York was with Frankie Fairfax band in Philadelphia (1935). Returned to New York and joined Tiny Bradshaw, then with Lucky Millinder from early 1937. In November 1937 joined John Kirby at the Onyx Club (replacing Frankie Newton). He soon became the sextet’s principal arranger and composed ‘Undecided’, ‘Pastel Blue’, etc., whilst with the group. He finally left John Kirby in 1944 (ref. John Chilton). 3 CHARLIE SHAVERS SOLOGRAPHY LUCKY MILLINDER / MILLS BLUE RHYTHM BAND NYC. Feb. 11, 1937 Lucky Millinder (dir), Charlie Shavers, Harry Edison, Carl Warwick (tp), Sandy Watson, Wilbur DeParis (tb), Tab Smith (as), Eddie Williams, Ronald Haynes, Harold Arnold (cl, ts), Billy Kyle (p), Danny Barker (g), John Williams (b), Lester Nichols (dm, vib). Four titles were recorded for Variety/Vocalion, two have trumpet soli: M-1-2 Blue Rhythm Fantasy Probably solo 14 bars (open).
    [Show full text]