Shorty Rogers and His Giants Live at the Rendezvous Ballroom - Volume 2 Mp3, Flac, Wma

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Shorty Rogers And His Giants Live At The Rendezvous Ballroom - Volume 2 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Live At The Rendezvous Ballroom - Volume 2 Country: US Style: Contemporary Jazz MP3 version RAR size: 1829 mb FLAC version RAR size: 1692 mb WMA version RAR size: 1346 mb Rating: 4.7 Votes: 758 Other Formats: WMA WAV MP3 MPC APE MP2 MIDI Tracklist 1 Undecided 2 Love I Lost 3 The Nearness Of You 4 Taking A Chance On Love 5 September Song 6 I Can't Get Started 7 Over The Rainbow 8 I May Be Wrong 9 Didi 10 Short Snort 11 Popo Companies, etc. Recorded At – Rendezvous Ballroom Credits Alto Saxophone – Art Pepper Baritone Saxophone – Gerry Mulligan Bass – Joe Mondragon Co-producer – Eric Fankhauser Drums – Lawrence Marable Graphics – Heidi Frieder Mastered By – Rod Nicas Photography By – Cecil Charles Piano – Hampton Hawes Producer – Ken Poston Recorded By – Shorty Rogers Tenor Saxophone – Wardell Gray Trumpet – Chet Baker, Shorty Rogers Valve Trombone – Bob Enevoldsen Notes Recorded September 27, 1952. For Members Only Related Music albums to Live At The Rendezvous Ballroom - Volume 2 by Shorty Rogers And His Giants Gene Norman Presents Gerry Mulligan And His Tentette, Shorty Rogers And His Giants - Modern Sounds Art Pepper - The Complete Pacific Jazz Small Group Recordings Of Art Pepper Shorty Rogers And His Giants, The Gerry Mulligan Tentette, Miles Davis And The Metronome All- Stars - Birth Of The Cool Vol. 2 Various - California Jam Session featuring Wardell Gray & Chet Baker Shorty Rogers And His Giants - Portrait Of Shorty Shorty Rogers, Shorty Rogers And His Giants - The Big Shorty Rogers Express Shorty Rogers & His Giants - Way Up There Shorty Rogers - The Sweetheart Of Sigmund Freud Shorty Rogers And His Orchestra Featuring The Giants - The Wizard Of Oz And Other Harold Arlen Songs Shorty Rogers & His Giants - Modern Sounds Shorty Rogers And His Giants - Shorty Rogers And His Giants Shorty Rogers E Seus "Giants", Gerry Mulligan E Sua "Tentette" - Modern Sounds / Sons Modernos.

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QUASIMODE: Ike QUEBEC
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ QUASIMODE: "Oneself-Likeness" Yusuke Hirado -p,el p; Kazuhiro Sunaga -b; Takashi Okutsu -d; Takahiro Matsuoka -perc; Mamoru Yonemura -ts; Mitshuharu Fukuyama -tp; Yoshio Iwamoto -ts; Tomoyoshi Nakamura -ss; Yoshiyuki Takuma -vib; recorded 2005 to 2006 in Japan 99555 DOWN IN THE VILLAGE 6.30 99556 GIANT BLACK SHADOW 5.39 99557 1000 DAY SPIRIT 7.02 99558 LUCKY LUCIANO 7.15 99559 IPE AMARELO 6.46 99560 SKELETON COAST 6.34 99561 FEELIN' GREEN 5.33 99562 ONESELF-LIKENESS 5.58 99563 GET THE FACT - OUTRO 1.48 ------------------------------------------ Ike QUEBEC: "The Complete Blue Note Forties Recordings (Mosaic 107)" Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Milt Hinton -b; J.C. Heard -d; recorded July 18, 1944 in New York 34147 TINY'S EXERCISE 3.35 Blue Note 6507 37805 BLUE HARLEM 4.33 Blue Note 37 37806 INDIANA 3.55 Blue Note 38 39479 SHE'S FUNNY THAT WAY 4.22 --- 39480 INDIANA 3.53 Blue Note 6507 39481 BLUE HARLEM 4.42 Blue Note 544 40053 TINY'S EXERCISE 3.36 Blue Note 37 Jonah Jones -tp; Tyree Glenn -tb; Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Oscar Pettiford -b; J.C. Heard -d; recorded September 25, 1944 in New York 37810 IF I HAD YOU 3.21 Blue Note 510 37812 MAD ABOUT YOU 4.11 Blue Note 42 39482 HARD TACK 3.00 Blue Note 510 39483 --- 3.00 prev. unissued 39484 FACIN' THE FACE 3.48 --- 39485 --- 4.08 Blue Note 42 Ike Quebec -ts; Napoleon Allen -g; Dave Rivera -p; Milt Hinton -b; J.C.
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Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
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Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
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The Recordings
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Shorty Rogers & His Giants Modern Sounds Mp3, Flac
Shorty Rogers & His Giants Modern Sounds mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Modern Sounds Country: Germany Released: 1952 Style: Cool Jazz, Bop MP3 version RAR size: 1956 mb FLAC version RAR size: 1838 mb WMA version RAR size: 1437 mb Rating: 4.5 Votes: 522 Other Formats: MPC VOC APE MP1 MP3 ADX VQF Tracklist Hide Credits Popo A1 Written-By – Shorty Rogers Over The Rainbow A2 Written-By – Harburg*, Arlen* Four Mothers B Written-By – Jimmy Guiffre* Didi C1 Written-By – Shorty Rogers Sam And The Lady C2 Written-By – Shorty Rogers Apropos D Written-By – Shorty Rogers Companies, etc. Copyright (c) – Capitol Records, Inc. Credits Alto Saxophone – Art Pepper Bass – Don Bagley Drums – Shelly Manne French Horn – John Graas Liner Notes – Gene Norman Piano – Hampton Hawes Tenor Saxophone – Jimmy Guiffre* Trumpet – Shorty Rogers Tuba – Gene Englund Barcode and Other Identifiers Matrix / Runout (Label Side 1 and 2): EBF 1-294 Matrix / Runout (Label Side 3 and 4): EBF 2-294 Other (Stamped in runout, Side 1, 2, 3, and 4): Made in Germany Matrix / Runout (Stamped in runout, Side 1): CAP F1-294 XR Matrix / Runout (Stamped in runout, Side 2): CAPF2-294 X Matrix / Runout (Stamped in runout, Side 3): CAP F3-294IX Matrix / Runout (Stamped in runout, Side 4): CAPF3-294-IX Other (Mastering etching in runout, Side 1, 2, 3, and 4): P.-A. Other versions Category Artist Title (Format) Label Category Country Year Shorty Rogers And Modern Sounds (10", Capitol H 294 H 294 US 1952 His Giants Album, Mono) Records Shorty Rogers & Modern Sounds
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Bob Gordon Discography
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A Former Prodigy Returns to Princeton
Volume 45 • Issue 10 noVember 2017 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Jonathan Russell performed with guitarist Vinny Raniolo at JazzFeast on September 19. Photo by Lynn Redmile. COMING OF AGE AT JAZZFEAST A Former Prodigy Jonathan Russell at Returns To Princeton JazzFeast in 2006 onathan Russell began to play the violin at age three and was the slain Wall Street Journal reporter and violinist Daniel Pearl. Jalready performing with trad jazz ensembles in New York City Now 22 and a newly minted college grad, Jonathan returned to clubs by age seven. At nine he played the New Orleans Jazz & Princeton JazzFeast on Sepember 19, this time a leader in his own Heritage Festival and two years later made his first appearance at right, and performed an impressive 10-song set with guitarist Vinny JazzFeast, sitting in with Ed Polcer’s group (inset photo). Raniolo. Russell, who’s blossomed into a polished musician, played As a teenager Jonathan receieved awards from the American String a five-string violin that he also used to great effect walking bass lines Teachers Association and the U.S. Embassy in Hungary. In 2010 he and comping chords when guitarist Raniolo soloed. The perform- earned an honorable mention in the ASCAP Young Jazz Composer ance, which included two memorable Russell originals, and a crowd Awards for his composition “Danny’s Groove,” written in tribute to favorite “Besame Mucho,” was a festival highlight. More on JazzFeast on page 24. New JerseyJazzSociety in this issue: new Jersey Jazz socIety Prez Sez .
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En Guise D'avant-Propos
En guise d’avant-propos WEST COAST JAZZ — « La West Coast, qu’est‑ce que c’est ? » (Lee Konitz). — « C’est une étiquette, rien de plus. » (Hampton Hawes). — « Ça a été un pur accident. » (Chet Baker). L’appellation « Jazz West Coast » a toujours posé un problème à ceux‑là mêmes qui étaient censés l’avoir créée. Une étiquette rejetée plus ou moins violemment que quelques‑uns ont fini par accepter de guerre lasse. « On a toujours besoin d’un label », reconnaissait Shelly Manne. Apposer une estam‑ pille n’est guère difficile, les problèmes surgissent à partir du moment où il s’agit de préciser ce qu’elle est supposée recouvrir. Dans ce cas précis, s’agit‑il d’une forme de jazz inventée par des Californiens ? Certainement pas : le gros des musiciens venait de l’Est. Alors d’une variante jouée uniquement sur les bords du Pacifique ? Faux, il en existe des équivalents à New York, Boston, Chicago, en Suède et ailleurs encore. Peut‑ ISBN 978-2-86364-665-6 être un style pratiqué exclusivement par des jazzmen de race blanche ? Certes, / ils étaient majoritaires — et l’on verra pourquoi —, mais que deviennent Chico Jazz Hamilton, Buddy Collette, Curtis Counce, Leroy Vinnegar, Hampton Hawes et quelques autres ? Existe‑t‑il seulement une spécificité dans la musique inter‑ Coast prétée en Californie au cours des années 1952‑1965 ? Plus on en approfondit West l’étude, plus le doute s’installe. — Cette difficulté à appréhender globalement le «Jazz West Coast » ne lui appartient pas en propre. De semblables ambiguïtés se retrouvent Tercinet à propos de tous les styles dûment catalogués.
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