Browse Titles - 188 results
Bing Sings Whilst Bregman Swings
conducted by Buddy Bregman; performed by Bing Crosby, 1903-1977, Milt Bernhart, Pete Candoli, 1923-2008, Bob Cooper, 1925-1993, Harry Edison, 1915-1999, Maynard Ferguson, 1928-2006, Herb Geller, 1928-2013, Chuck Gentry, Conrad Gozzo, 1922-1964, Barney Kessel, 1923-2004, Ted Nash, 1960-, Frank Rosolino, 1926-1978, George Roberts, Paul Smith, 1906-1985, Alvin Stoller, 1925-1992 and Bud Shank, 1926-2009, Buddy Bregman Orchestra (Verve Records, 2001), 37 mins
In early 1956, Bing Crosby ended the two long-term company affiliations that had defined his career for more than 20 years, leaving his exclusive associations with Paramount Pictures and Decca Records. Thereafter, he made movies and records on a freelance basis. The immediate results were more felicitous for his f...
Sample
conducted by Buddy Bregman; performed by Bing Crosby, 1903-1977, Milt Bernhart, Pete Candoli, 1923-2008, Bob Cooper, 1925-1993, Harry Edison, 1915-1999, Maynard Ferguson, 1928-2006, Herb Geller, 1928-2013, Chuck Gentry, Conrad Gozzo, 1922-1964, Barney Kessel, 1923-2004, Ted Nash, 1960-, Frank Rosolino, 1926-1978, George Roberts, Paul Smith, 1906-1985, Alvin Stoller, 1925-1992 and Bud Shank, 1926-2009, Buddy Bregman Orchestra (Verve Records, 2001), 37 mins
Description
In early 1956, Bing Crosby ended the two long-term company affiliations that had defined his career for more than 20 years, leaving his exclusive associations with Paramount Pictures and Decca Records. Thereafter, he made movies and records on a freelance basis. The immediate results were more felicitous for his film work than his recording, as he went to MGM for the successful movie {#High Society}. As a recording artist, in rapid succession he...
In early 1956, Bing Crosby ended the two long-term company affiliations that had defined his career for more than 20 years, leaving his exclusive associations with Paramount Pictures and Decca Records. Thereafter, he made movies and records on a freelance basis. The immediate results were more felicitous for his film work than his recording, as he went to MGM for the successful movie {#High Society}. As a recording artist, in rapid succession he cut the movie soundtrack for Capitol (January-February); a new album for Decca, Songs I Wish I Had Sung (The First Time Around) (April); and a new album for Verve, Bing Sings Whilst Bregman Swings (June). The third was the least likely. Twenty-five-year-old Buddy Bregman, a friend of Crosby's son Gary, had recently been appointed an A&R executive at the fledgling Verve. His idea for Crosby was to copy the formula of recent Nelson Riddle-arranged Frank Sinatra successes such as Songs for Swingin' Lovers -- take a collection of inter-war standards and give them punchy big-band arrangements. The approach was well-suited to the aggressive Sinatra, who wasn't shy about editing the arrangements himself, but singularly inappropriate to the affable Crosby, who left everything to his arranger/conductor. The 12 songs, none of which Crosby had released commercially before, were great standards from the likes of Kern, Rodgers and Hart, Berlin, and Gershwin, and Crosby turned in typically witty interpretations. But Bregman's repetitive, overly busy arrangements, full of loud, sudden horn blats and splats, forced the singer to compete for attention and occasionally smothered him completely. Crosby was looking for a way back to commercial appeal with this experiment. But the three albums were all released within a period of weeks in August and September, and only the film soundtrack got a fair hearing and became a hit. ~ William Ruhlmann, All Music Guide
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Date Written / Recorded
1956-06-11
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Buddy Bregman Orchestra, Bing Crosby, 1903-1977, Milt Bernhart, Pete Candoli, 1923-2008, Bob Cooper, 1925-1993, Harry Edison, 1915-1999, Maynard Ferguson, 1928-2006, Herb Geller, 1928-2013, Chuck Gentry, Conrad Gozzo, 1922-1964, Barney Kessel, 1923-2004, Ted Nash, 1960-, Frank Rosolino, 1926-1978, George Roberts, Paul Smith, 1906-1985, Alvin Stoller, 1925-1992, Bud Shank, 1926-2009
Contributor
Buddy Bregman
Author / Creator
Buddy Bregman Orchestra, Bing Crosby, 1903-1977, Milt Bernhart, Pete Candoli, 1923-2008, Bob Cooper, 1925-1993, Harry Edison, 1915-1999, Maynard Ferguson, 1928-2006, Herb Geller, 1928-2013, Chuck Gentry, Conrad Gozzo, 1922-1964, Barney Kessel, 1923-2004, Ted Nash, 1960-, Frank Rosolino, 1926-1978, George Roberts, Paul Smith, 1906-1985, Alvin Stoller, 1925-1992, Bud Shank, 1926-2009
Date Published / Released
2001-03-13
Publisher
Verve Records
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Birds Of A Feather
performed by Carmen Mercedes McRae, 1920-1994, Don Abney, 1923-2000, Aaron Bell, 1922-2003, Dick Berg, fl. 1960, Al Cohn, 1925-1988, Barry Galbraith, 1919-1983, Fred Klein, Don Lamond, 1920-2003, Mundell Lowe, 1922-, Marky Markowitz, 1923-1986, Todd Sommer, fl. 1954, Nick Stabulas, 1929-1973 and Ben Webster, 1909-1973 (Universal Classics & Jazz, 2002), 39 mins
Yes, there's a concept on the loose here -- all the songs are about birds. Fortunately, there are plenty of good songs on the subject, and it's not so narrow that all the focus hinges on birds themselves. Carmen McRae is supported by a good small group, directed and arranged by Ralph Burns, featuring guitarist Mun...
Sample
performed by Carmen Mercedes McRae, 1920-1994, Don Abney, 1923-2000, Aaron Bell, 1922-2003, Dick Berg, fl. 1960, Al Cohn, 1925-1988, Barry Galbraith, 1919-1983, Fred Klein, Don Lamond, 1920-2003, Mundell Lowe, 1922-, Marky Markowitz, 1923-1986, Todd Sommer, fl. 1954, Nick Stabulas, 1929-1973 and Ben Webster, 1909-1973 (Universal Classics & Jazz, 2002), 39 mins
Description
Yes, there's a concept on the loose here -- all the songs are about birds. Fortunately, there are plenty of good songs on the subject, and it's not so narrow that all the focus hinges on birds themselves. Carmen McRae is supported by a good small group, directed and arranged by Ralph Burns, featuring guitarist Mundell Lowe and many solos for an uncredited "tenorman" (i.e., Ben Webster). Both McRae and Webster do their best on the driving, horn-he...
Yes, there's a concept on the loose here -- all the songs are about birds. Fortunately, there are plenty of good songs on the subject, and it's not so narrow that all the focus hinges on birds themselves. Carmen McRae is supported by a good small group, directed and arranged by Ralph Burns, featuring guitarist Mundell Lowe and many solos for an uncredited "tenorman" (i.e., Ben Webster). Both McRae and Webster do their best on the driving, horn-heavy score for "Bob White (Whatcha Gonna Swing Tonight)." First, Webster follows closely along with trumpeter Irwin "Marky" Markowitz while McRae vocalizes clearly and with some swing, then launches a beautiful solo before McRae returns for the closer. Other highlights include the touching "A Nightingale Sang in Berkeley Square" and a relaxed, pastoral "When the Swallows Come Back to Capistrano." ~ John Bush, All Music Guide
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Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Carmen Mercedes McRae, 1920-1994, Don Abney, 1923-2000, Aaron Bell, 1922-2003, Dick Berg, fl. 1960, Al Cohn, 1925-1988, Barry Galbraith, 1919-1983, Fred Klein, Don Lamond, 1920-2003, Mundell Lowe, 1922-, Marky Markowitz, 1923-1986, Todd Sommer, fl. 1954, Nick Stabulas, 1929-1973, Ben Webster, 1909-1973
Author / Creator
Carmen Mercedes McRae, 1920-1994, Don Abney, 1923-2000, Aaron Bell, 1922-2003, Dick Berg, fl. 1960, Al Cohn, 1925-1988, Barry Galbraith, 1919-1983, Fred Klein, Don Lamond, 1920-2003, Mundell Lowe, 1922-, Marky Markowitz, 1923-1986, Todd Sommer, fl. 1954, Nick Stabulas, 1929-1973, Ben Webster, 1909-1973
Date Published / Released
2002-05-28
Publisher
Universal Classics & Jazz
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Black Coffee
performed by Peggy Lee, 1920-2002, Bill Pitman, 1920-, Stella Castellucci, Pete Candoli, 1923-2008, Jimmy Rowles, 1918-1996, Louis Levy, 1928-2001, Larry Bunker, 1928-2005, Buddy Clark, 1929-1999 and Ed Shaughnessy, Sy Oliver & His Orchestra (Verve Records, 2004), 34 mins
Peggy Lee left Capitol in 1952 for, among several other reasons, the label's refusal to let her record and release an exotic, tumultuous version of "Lover." Lee was certainly no Mitch Miller songbird, content to loosen her gorgeous pipes on any piece of tripe foisted upon her; she was a superb songwriter with a kn...
Sample
performed by Peggy Lee, 1920-2002, Bill Pitman, 1920-, Stella Castellucci, Pete Candoli, 1923-2008, Jimmy Rowles, 1918-1996, Louis Levy, 1928-2001, Larry Bunker, 1928-2005, Buddy Clark, 1929-1999 and Ed Shaughnessy, Sy Oliver & His Orchestra (Verve Records, 2004), 34 mins
Description
Peggy Lee left Capitol in 1952 for, among several other reasons, the label's refusal to let her record and release an exotic, tumultuous version of "Lover." Lee was certainly no Mitch Miller songbird, content to loosen her gorgeous pipes on any piece of tripe foisted upon her; she was a superb songwriter with a knowledge of production and arrangement gained from work in big bands and from her husband, Dave Barbour (although the two weren't togeth...
Peggy Lee left Capitol in 1952 for, among several other reasons, the label's refusal to let her record and release an exotic, tumultuous version of "Lover." Lee was certainly no Mitch Miller songbird, content to loosen her gorgeous pipes on any piece of tripe foisted upon her; she was a superb songwriter with a knowledge of production and arrangement gained from work in big bands and from her husband, Dave Barbour (although the two weren't together at the time). The more open-minded Decca acquiesced to her demand, and watched its investment pay off quickly when the single became her biggest hit in years. Black Coffee was Lee's next major project. Encouraged by longtime Decca A&R Milt Gabler, she hired a small group including trumpeter Pete Candoli and pianist Jimmy Rowles (two of her favorite sidemen) to record an after-hours jazz project similar in intent and execution to Lee Wiley's "Manhattan project" of 1950, Night in Manhattan. While the title-track opener of Black Coffee soon separated itself from the LP -- to be taught forever after during the first period of any Torch Song 101 class -- the album doesn't keep to its concept very long; Lee is soon enough in a bouncy mood for "I've Got You Under My Skin" and very affectionate on "Easy Living." (If there's a concept at work here, it's the vagaries of love.) Listeners should look instead to "It Ain't Necessarily So" or "Gee, Baby, Ain't I Good to You?" for more examples of Lee's quintessentially slow-burn sultriness. Aside from occasionally straying off-concept, however, Black Coffee is an excellent record, spotlighting Lee's ability to shine with every type of group and in any context. [When originally recorded and released in 1953, Black Coffee was an eight-song catalog of 78s. Three years later, Decca commissioned an LP expansion of the record, for which Lee recorded several more songs. The 2004 Verve edition is therefore a reissue of the 1956 12-song LP.] ~ John Bush, All Music Guide
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Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Sy Oliver & His Orchestra, Peggy Lee, 1920-2002, Bill Pitman, 1920-, Stella Castellucci, Pete Candoli, 1923-2008, Jimmy Rowles, 1918-1996, Louis Levy, 1928-2001, Larry Bunker, 1928-2005, Buddy Clark, 1929-1999, Ed Shaughnessy
Author / Creator
Sy Oliver & His Orchestra, Peggy Lee, 1920-2002, Bill Pitman, 1920-, Stella Castellucci, Pete Candoli, 1923-2008, Jimmy Rowles, 1918-1996, Louis Levy, 1928-2001, Larry Bunker, 1928-2005, Buddy Clark, 1929-1999, Ed Shaughnessy
Date Published / Released
2004-10-26
Publisher
Verve Records
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Blue Gardenia
conducted by Belford Hendricks, 1909-1977 and Hal Mooney; performed by Dinah Washington, 1924-1963 and Clifford Brown, 1930-1956, Quincy Jones & His Orchestra, Belford Hendricks' Orchestra and Harold Mooney Orchestra (Verve Records, 1995), 51 mins
Yet another sampling from the massive Dinah Washington Mercury catalog, this one shows off her tart, immaculately crisp voice in a pleasant, undemanding collection of love songs. You get a smattering of charted hits ("What a Difference a Day Makes," "Teach Me Tonight," "Unforgettable," "Soft Winds"), some standard...
Sample
conducted by Belford Hendricks, 1909-1977 and Hal Mooney; performed by Dinah Washington, 1924-1963 and Clifford Brown, 1930-1956, Quincy Jones & His Orchestra, Belford Hendricks' Orchestra and Harold Mooney Orchestra (Verve Records, 1995), 51 mins
Description
Yet another sampling from the massive Dinah Washington Mercury catalog, this one shows off her tart, immaculately crisp voice in a pleasant, undemanding collection of love songs. You get a smattering of charted hits ("What a Difference a Day Makes," "Teach Me Tonight," "Unforgettable," "Soft Winds"), some standards, lots of period strings, subdued big bands and jazz combos and some choral backups -- none of which fazes or alters the approach of t...
Yet another sampling from the massive Dinah Washington Mercury catalog, this one shows off her tart, immaculately crisp voice in a pleasant, undemanding collection of love songs. You get a smattering of charted hits ("What a Difference a Day Makes," "Teach Me Tonight," "Unforgettable," "Soft Winds"), some standards, lots of period strings, subdued big bands and jazz combos and some choral backups -- none of which fazes or alters the approach of this focused stylist. There is one track from the celebrated Brownie session, "There Is No Greater Love," but without any of the celebrated horns on hand. Obviously this is hardly an all-inclusive summary of Washington's diversified Mercury record shelf, yet it does make for good, relaxed listening. ~ Richard S. Ginell, All Music Guide
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Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Quincy Jones & His Orchestra, Belford Hendricks' Orchestra, Harold Mooney Orchestra, Dinah Washington, 1924-1963, Clifford Brown, 1930-1956
Contributor
Belford Hendricks, 1909-1977, Hal Mooney
Author / Creator
Quincy Jones & His Orchestra, Belford Hendricks' Orchestra, Harold Mooney Orchestra, Dinah Washington, 1924-1963, Clifford Brown, 1930-1956
Date Published / Released
1995-07-25
Publisher
Verve Records
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Blue Moon
conducted by Tadd Dameron, 1917-1965 and Jimmy Mundy, 1907-1983; performed by Carmen Mercedes McRae, 1920-1994, Ray Bryant, 1931-2011 and Tadd Dameron, 1917-1965, Tadd Dameron Orchestra (Universal Classics & Jazz, 2000), 36 mins
Sample
conducted by Tadd Dameron, 1917-1965 and Jimmy Mundy, 1907-1983; performed by Carmen Mercedes McRae, 1920-1994, Ray Bryant, 1931-2011 and Tadd Dameron, 1917-1965, Tadd Dameron Orchestra (Universal Classics & Jazz, 2000), 36 mins
Date Written / Recorded
1956-03-28
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Tadd Dameron Orchestra, Carmen Mercedes McRae, 1920-1994, Ray Bryant, 1931-2011, Tadd Dameron, 1917-1965
Contributor
Tadd Dameron, 1917-1965, Jimmy Mundy, 1907-1983
Author / Creator
Tadd Dameron Orchestra, Carmen Mercedes McRae, 1920-1994, Ray Bryant, 1931-2011, Tadd Dameron, 1917-1965
Date Published / Released
2000-11-21
Publisher
Universal Classics & Jazz
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Body and Soul
performed by Billie Holiday, 1915-1959, Barney Kessel, 1923-2004, Red Mitchell and Ben Webster, 1909-1973 (Universal Classics & Jazz, 2002), 45 mins
Sample
performed by Billie Holiday, 1915-1959, Barney Kessel, 1923-2004, Red Mitchell and Ben Webster, 1909-1973 (Universal Classics & Jazz, 2002), 45 mins
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Billie Holiday, 1915-1959, Barney Kessel, 1923-2004, Red Mitchell, Ben Webster, 1909-1973
Author / Creator
Billie Holiday, 1915-1959, Barney Kessel, 1923-2004, Red Mitchell, Ben Webster, 1909-1973
Date Published / Released
2002-03-19
Publisher
Universal Classics & Jazz
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Boy Meets Girl: The Complete Sammy Davis Jr. and Carmen McRae on Decca
conducted by Jack Pleis, 1917-1990; performed by Sammy Davis, Jr., 1925-1990 and Carmen Mercedes McRae, 1920-1994 (GRP Records, 2005), 1 hour 17 mins
Sample
conducted by Jack Pleis, 1917-1990; performed by Sammy Davis, Jr., 1925-1990 and Carmen Mercedes McRae, 1920-1994 (GRP Records, 2005), 1 hour 17 mins
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Sammy Davis, Jr., 1925-1990, Carmen Mercedes McRae, 1920-1994
Contributor
Jack Pleis, 1917-1990
Author / Creator
Sammy Davis, Jr., 1925-1990, Carmen Mercedes McRae, 1920-1994
Date Published / Released
2005-07-19
Publisher
GRP Records
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Broadway, Blues, Ballads
conducted by Horace Ott and Hal Mooney; performed by Nina Simone, 1933-2003 (Verve Records, 2004), 37 mins
Sample
conducted by Horace Ott and Hal Mooney; performed by Nina Simone, 1933-2003 (Verve Records, 2004), 37 mins
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Nina Simone, 1933-2003
Contributor
Horace Ott, Hal Mooney
Author / Creator
Nina Simone, 1933-2003
Date Published / Released
2004-12-14
Publisher
Verve Records
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Broadway - Blues - Ballads
conducted by Horace Ott and Hal Mooney; performed by Lisle Atkinson, 1940-, Bobby Hamilton, fl. 1960, Rudy Stevenson, 1929-2010 and Nina Simone, 1933-2003 (Universal Classics & Jazz, 2006), 37 mins
Sample
conducted by Horace Ott and Hal Mooney; performed by Lisle Atkinson, 1940-, Bobby Hamilton, fl. 1960, Rudy Stevenson, 1929-2010 and Nina Simone, 1933-2003 (Universal Classics & Jazz, 2006), 37 mins
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Lisle Atkinson, 1940-, Bobby Hamilton, fl. 1960, Rudy Stevenson, 1929-2010, Nina Simone, 1933-2003
Contributor
Horace Ott, Hal Mooney
Author / Creator
Lisle Atkinson, 1940-, Bobby Hamilton, fl. 1960, Rudy Stevenson, 1929-2010, Nina Simone, 1933-2003
Date Published / Released
2006-02-14
Publisher
Universal Classics & Jazz
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Carmen McRae For Lovers
performed by Carmen Mercedes McRae, 1920-1994, Mundell Lowe, 1922-, Herbie Mann, 1930-2003, Ben Webster, 1909-1973, Ray Bryant, 1931-2011, Ike Isaacs, Wendell Marshall, 1920-2002, Aaron Bell, 1922-2003, Kenny Clarke, 1914-1985 and Specs Wright, 1927-1963 (Universal Classics & Jazz, 2006), 42 mins
Romantic ballads were Carmen McRae's specialty, and her streetwise yet sophisticated phrasing carried just enough world-weariness to suggest that she actually understood what she was singing about (being in love or having been in love doesn't automatically mean you can convincingly sing about it -- McRae could, th...
Sample
performed by Carmen Mercedes McRae, 1920-1994, Mundell Lowe, 1922-, Herbie Mann, 1930-2003, Ben Webster, 1909-1973, Ray Bryant, 1931-2011, Ike Isaacs, Wendell Marshall, 1920-2002, Aaron Bell, 1922-2003, Kenny Clarke, 1914-1985 and Specs Wright, 1927-1963 (Universal Classics & Jazz, 2006), 42 mins
Description
Romantic ballads were Carmen McRae's specialty, and her streetwise yet sophisticated phrasing carried just enough world-weariness to suggest that she actually understood what she was singing about (being in love or having been in love doesn't automatically mean you can convincingly sing about it -- McRae could, though). This collection of mid- to late-'50s material for Decca Records doubles both as a collection of love songs and as a fine introdu...
Romantic ballads were Carmen McRae's specialty, and her streetwise yet sophisticated phrasing carried just enough world-weariness to suggest that she actually understood what she was singing about (being in love or having been in love doesn't automatically mean you can convincingly sing about it -- McRae could, though). This collection of mid- to late-'50s material for Decca Records doubles both as a collection of love songs and as a fine introduction to the singer in her early years -- when she still had full control of her upper vocal register. With impeccable jazz backing, songs here like "When I Fall in Love," "If Love Is Good to Me," "My Funny Valentine," and "Ev'ry Time We Say Goodbye" are given beautiful and definitive readings by McRae. "A Nightingale Sang in Berkeley Square," from 1958's Birds of a Feather album, is a particular delight, thanks to a wonderful arrangement and the presence of horn men Irwin "Marky" Markowitz (trumpet), Tony Miranda (French horn), and Ben Webster, whose tenor saxophone lead line toward the end of the song literally becomes the voice of the nightingale. Sleek, moving, and sophisticated, Carmen McRae for Lovers is a concise introduction to a marvelous singer covering the kind of material that she did best. ~ Steve Leggett, All Music Guide
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Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Carmen Mercedes McRae, 1920-1994, Mundell Lowe, 1922-, Herbie Mann, 1930-2003, Ben Webster, 1909-1973, Ray Bryant, 1931-2011, Ike Isaacs, Wendell Marshall, 1920-2002, Aaron Bell, 1922-2003, Kenny Clarke, 1914-1985, Specs Wright, 1927-1963
Author / Creator
Carmen Mercedes McRae, 1920-1994, Mundell Lowe, 1922-, Herbie Mann, 1930-2003, Ben Webster, 1909-1973, Ray Bryant, 1931-2011, Ike Isaacs, Wendell Marshall, 1920-2002, Aaron Bell, 1922-2003, Kenny Clarke, 1914-1985, Specs Wright, 1927-1963
Date Published / Released
2006-01-31
Publisher
Universal Classics & Jazz
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