The emergence of Chris Connor as a singer began when Stan Kenton engaged her as his featured orchestra vocalist in 1953. With her uncanny vocal resemblance to June Christy, she immediately burst onto the national scene. Tall, blonde Chris was becoming one of the select corps of younger girl vocalists, and in the fall of that year she left the bandleader and beganbuilding a reputation as a single on the eastern club circuit, soon signing an exclusive contract with the then-new Bethlehem Records label.
Really wonderful work from pianist Bobby Scott – a perfect showcase not just for his young talents as a composer and arranger, but also for a host of key solo performers as well! This full album brings together two previous 10" LP sessions – both of them brilliant, and graced by some of the most modern talents Bethlehem Records had to offer – which makes for extremely fresh sounds from Scott's wonderful music – jazz that's at a level that's really hard to peg – neither west coast cool, nor east coast arranged – but a really special space of its own!
Features the latest remastering. Includes a Japanese description, lyrics, and bonus track(s). Features original cover artwork. One of the few female pianists in 50s jazz – the great Terry Pollard, a player who's usually associated with the Detroit scene, but who works here in a hip west coast setting for Bethlehem Records! The date's got Terry's strong piano in a quintet – with Don Fagerquist on trumpet and Howard Roberts on guitar – both musicians who bring a strong sense of presence to the group passages on the date, but who are also more than willing to step aside and let Pollard really flourish on her solos during some of the album's trio tracks.
An excellent budget compilation of the wonderful Bethlehem Records label - what a roster of artists they had. Very good sound too. The Bethlehem label focused on jazz releases, and this set collects some great examples of jazz–vocally and instrumentally–between the years 1958-62. One look at the artists on this 60 track 2 CD set shows how many fine artists released music on the label. Like other collections from One Day Music, there's no booklet, only a short paragraph about the label and a few of the featured artists. The digitally remastered sound is good overall within the limits of recording styles of the era.
This release compiles all of Rudy Braff’s recordings for the Bethlehem label for the first time ever on a single set. While the original EP and LP editions had incomplete sessions or combined tunes from different dates, the music is presented here with the complete sessions in chronological order a version of “You Can Depend on Me” and an entire quintet sessions fronted by Braff and Bud Freeman appear here for the first time ever on CD. The album The Rudy Braff Special (Vanguard VRS8504), from the same period, has been added as a bonus in its entirety.
They're not lying with the title of this great little set — as Don Elliott blows his unique horn with a very mellow tone ! The instrument is kind of a bigger version of a flugelhorn — and is used by Don in a laidback combo that also features trombone from Billy Byers, trumpet from Howie Reich, and baritone sax from Danny Bank — all deep sounds that set up a bank of color for Elliott to work with in his most vivid way. Other players include Hal McKusick on alto and flute — but working without as much of the sharper, cutting tones of other 50s albums — and rhythm is from Barry Galbraith on guitar, Milt Hinton on bass, and Mel Zelnick on drums.
Russ Garcia, as arranger and orchestra leader, was credited for this 50s album – and it’s thoroughly deserved as, from the very first moment, you’re drawn into an immaculate marriage of harmony vocals, late night jazz and the very best of the US writers of that era. The resultant tracks feature comparatively sparse instrumentation meshing with, and complementing, the wonderful vocal choir that features the best-known back room girl, Marni Nixon, who takes the highest vocal lines.
Wonderfully sweet work from trumpeter Charlie Shavers – a set that has Shavers blowing on ballads over larger orchestrations – in a style that's really our favorite side of his music! Charlie's horn already has a long legacy by the time of this record – a slightly mature style that sounds wonderfully as he drifts magically over string-heavy backings from Sy Oliver – in a mode that's warm and lush, yet also beautifully soulful, and manages to really personalize the familiar tunes in the set. Titles include "Stella By Starlight", "Ill Wind", "Stormy Weather", "Out Of Nowhere", "Stardust", and "I Cover The Waterfront".