Jimmy Cleveland All Stars
Jimmy Cleveland All Stars
Jimmy Cleveland (trombone), Lucky Thompson (tenor sax), Cecil Payne (baritone sax), Ernie Royal (trumpet), Hank Jones, John Williams (piano), Paul Chamber (bass), Max Roach (drums), Quincy Jones (arranger, conductor)
Mercury EmArcy 36066
Speakers Corner Records : LP 180 gram
Brand New and Sealed Record
Discontinued : last copy available!...
A1 - Hear Ye! Hear Ye!
A2 - You Don't Know What Love Is
A3 - Vixen
A4 - My One and Only Love
A5 - Little Beaver
B1 - Love Is Here to Stay
B2 - Count 'Em
B3 - Bone Brother
B4 - I Hadn't Anyone Till You
B5 - See Minor
Recorded on August 4, 12 and November 22, 1955 in New York City.
One of the finest jazz and studio trombonists to make a name for himself in the ‘50s and ‘60s, Jimmy Cleveland has recorded with just about anyone who is anyone in the history of the music. To name just a few of those lucky enough to have had Cleveland on hand at various gigs or sessions, a small list would have to include Lionel Hampton, Dizzy Gillespie, James Moody, Art Farmer, and Antonio Carlos Jobim.
A favorite of arranger and Mercury talent scout Quincy Jones, Cleveland assembled three different seven-piece groups that made three separate sessions in August and November of 1955. With charts provided by Jones and a healthy share of Cleveland originals, these little big bands swing with the kind of vitality and joie de vivre that marks much of the finest jazz of the ‘50s. It doesn’t hurt that the invited crew includes such name players as Max Roach, Lucky Thompson, Cecil Payne, Hank Jones, Jerome Richardson, and Oscar Pettiford. As an added bonus we get to hear just a bit more from the neglected and sadly underrecorded guitarist Barry Galbraith.
Cleveland plays throughout with the kind of nimbleness and burnished tone that would later make him such a valued studio musician. Jones’ writing is functional but undeniably catchy, especially the first incarnation of “Count ‘Em” which would later be a regular number in the Basie book. An alternate take of “Our Love Is Here To Stay” completes an alluring package which not only testifies to Cleveland’s talents but also to the great wealth of quality jazz that was being produced back in the heydays.
The "golden age" of recordings was from 1955 to 1965, at the beginning of the LP and the stereo era, where pure vacuum tube amplification helped produce recordings demonstrating unparalleled fidelity and warmth, lifelike presence and illumination.
This Speakers Corner LP was remastered using pure analogue components only, from the original analogue studio tapes through to the cutting head, and was pressed with virgin vinyl at Pallas. More information under http://www.pure-analogue.com