Sarah Complete Recordings With Clifford Brown

Clifford Brown - Brownie: The Complete EmArcy Recordings of Clifford Brown (1989) {10CD + bonus CD Box Set rec 1954-1956}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.80 Gb | MP3 @320 -> 1.39 Gb
Full Artwork @ 600 dpi (jpg) -> 158 Mb | 5% repair rar
© 1954-56, 1989 EmArcy / Nippon Phonogram | 838 307-2~838 316-2 / 874 788-3
Jazz / Bop / Hard Bop / Trumpet

Although undoubtedly an expensive acquisition, this ten-CD set is perfectly done and contains dozens of gems. The remarkable but short-lived trumpeter Clifford Brown has the second half of his career fully documented (other than his final performance) and he is showcased in a wide variety of settings. The bulk of the numbers are of Brownie's quintet with co-leader and drummer Max Roach, either Harold Land or Sonny Rollins on tenor, pianist Richie Powell, and bassist George Morrow (including some previously unheard alternate takes), but there is also much more.

Possessor of one of the most wondrous voices of the 20th century, Sarah Vaughan ranked with Ella Fitzgerald and Billie Holiday in the very top echelon of female jazz singers. She often gave the impression that with her wide range, perfectly controlled vibrato, and wide expressive abilities, she could do anything she wanted with her voice. Although not all of her many recordings are essential (give Vaughan a weak song and she might strangle it to death), Sarah Vaughan's legacy as a performer and a recording artist will be very difficult to match in the future…

Jazz Icons: Sarah Vaughan features the “Divine One” in her prime, wrapping her sultry voice around jazz standards such as “Lover Man”, “Misty” and “I Got Rhythm” and soaring on popular showtunes such as “Over The Rainbow” and “Maria”. One of the greatest voices of the 20th Century, her renditions of songs by Harold Arlen, Leonard Bernstein, Johnny Burke, the Gershwins and Stephen Sondheim are pure diva magic. These three performances demonstrate why Sarah Vaughan is invariably mentioned in the same breath as Ella Fitzgerald and Billie Holiday.

Sarah Vaughan recorded extensively for Mercury/EmArcy during the 1950s and 1960s. Through much of that time, Vaughan's operatic voice was matched against overripe orchestrations or arrangements more suitable to a pop icon than one of the most versatile instruments in history.

Curtis Counce Quintet - Complete Studio Recordings. The Master Takes (1956-58) [2CD] {2007 Gambit}
EAC Rip | FLAC (tracks+.cue+log) - 877 MB | Scans JPG - 18 MB | MP3 CBR 320 kbps (LAME 3.98) - 380 MB
Genre: jazz, hard bop | RAR 5% Rec. | Label: Gambit Records | CAT # 69258 | 2007

Two CD set containing the complete masters by one of the greatest Jazz quintets ever: Curtis Counce, Jack Sheldon, Harold Land, Carl Perkins and Frank Butler. Celebrated American Jazz bassist Curtis Counce was born in Kansas City on 23, 1926 and died prematurely of a heart attack on July 31,1963. He recorded prolifically as a sideman accompanying figures like Clifford Brown, and before creating his famous quintet in 1956, featuring Harold Land, Jack Sheldon, Frank Butler and another ill-fated musician, pianist Carl Perkins. All of the master take recordings by the original Curtis Counce Quintet are included on this release.

Jimmy Jones was an in-demand arranger and pianist throughout the 1950s and '60s, working with most leading jazz vocalists and soloists of the era. If you go into Tom Lord's Jazz Discography, you'll find Jones on 307 sessions. But if you modify your search, screening just for Jones's leadership dates, you'll find the number dramatically reduced to eight. In truth, there were only seven, since the tracks for an Atlantic Records session in 1957 were strangely never released.
Among these seven leadership recordings, the only trio session released as a six-song 10-inch LP was Jimmy Jones Trio. Jones recorded the album for the French Vogue label in October 1954 in Paris. The only explanations for Jones recording just one trio album over the course of his career is either that he was too busy or he was under contract as an arranger or accompanist to other artists and couldn't record legally under his own name…