Features 24 bit remastering and comes with a mini-description. Trumpeter Conte Candoli and pianist Lou Levy had only occasional opportunities to work as leaders before this 1955 session they recorded together for Atlantic Records. Both made the most of the chance, fronting a quintet that also included tenor saxophonist Bill Holman, bassist Leroy Vinnegar, and drummer Lawrence Marable. The group got out of the gate quickly (following a contemplative piano intro, that is) on a quickstep bop reading of the Sigmund Romberg operetta tune "Lover Come Back to Me," which quickly established that a commonplace of jazz ensembles would hold – no matter whose name is in large print on the cover, it's the group that's performing, and other people will get their chance to shine, too.
The main reasons to investigate the recordings of Charlie Ventura are of course his wonderful handling of the tenor saxophone and the excellent ensembles he led. Ventura's recordings were predominately instrumental in 1945 and 1946. As the decade drew to a close, singers dominated the recording industry and many bandleaders chose to feature more and more of them. The third volume of the complete recordings of Charlie Ventura illustrates this process in high relief. Four sides recorded for the National label in September of 1947 spotlight the vocal talents of Buddy Stewart, an able crooner who sounded best when bop scatting like a third horn alongside Ventura and trombonist Kai Winding on "East of Suez" and the dynamic "Eleven Sixty," a masterpiece of high-energy bop that Ventura had recorded in March of 1947 as "Stop and Go"…
Vince Guaraldi was a well-respected jazz pianist whose greatest success came from avenues usually closed to contemporary jazz artists: he enjoyed a hit single at a time when jazz had largely been exiled from the pop charts, and he scored a series of very successful animated television specials (namely the Charlie Brown seasonal specials scores and soundtracks for which his name has become synonymous), a medium where cookie-cutter pop music was traditionally the order of the day.
This two-CD sampler is most highly recommended for listeners not familiar with Stan Getz's recordings of the 1950s and '60s. Starting with a version of "Stella by Starlight" that co-stars guitarist Jimmy Raney, this set matches Getz's cool tenor with such artists as trumpeters Dizzy Gillespie and Conte Candoli, trombonist J.J. Johnson, baritonist Gerry Mulligan, pianists Oscar Peterson, Bill Evans and Chick Corea, valve trombonist Bob Brookmeyer and vibraphonist Gary Burton. Also included are his two main bossa nova hits "Desafinado" and "The Girl from Ipanema" along with a couple of tracks from Getz's highly-rated Focus album. It's a fine overview of the great tenor's middle years.