1. Yellow Rose Of Brooklyn
2. Easy Does It
3. All Sweets
4. Nice Work If You Can Get It
5. Barney's Bugle
6. Now's The Time
7. You're Getting To Be A Habit With Me

Buddy Rich (drums); 
Harry "Sweets" Edison (trumpet); 
Jimmy Rowles (piano); 
Barney Kessel (guitar); 
John Simmons (bass).

...In 1955, Buddy and Harry came together for one truly memorable session. Buddy Rich and Harry “Sweets” Edison was originally recorded on Norgran Records but the label was later acquired by Verve. The two had recorded earlier when they were with the JATP but this was their first project where together they are the headliners. It’s swing at its best and is a venue for two of the master craftsman to showcase their talents.

The other members of the band are Jimmy Rowles on piano, Barney Kessel on guitar, and John Simmons on bass. With this impressive roster of background musicians the talent just doesn’t seem to stop. Jimmy Rowles started playing professionally at the age of 17 and over the years played with Lester Young and Billie Holiday. He’s received numerous Grammy nominations and is recognized as a master jazz pianist. John Simmons on bass picked up valuable experience when he played with Nat King Cole and also played briefly with Duke Ellington. He performed with many great jazz artists during the fifties but had to stop playing in the early sixties because of deteriorating health. A bit of trivia for my New York friends, Sue Simmons co-anchor of WNBC News at Five is his daughter. Barney Kessel, known as “The Innovator,” legitimized the use of the guitar within the jazz spectrum. He was a very versatile musician and was comfortable playing jazz, country, rock, or the blues. Sadly, Barney also passed away just this past April... --- Craig “Craigy- G” Fitzpatrick, stereotimes.com

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01. Blue And Sentimental (Count Basie, Jerry Livingston, Mack David) (4:46)
02. Down For Double (Freddie Green) (4:05)
03. Jump For Me (Count Basie) (5:41)
04. Blues For Basie (Harry Edison) (7:16)
05. Jumpin' At The Woodside (Count Basie) (6:23)
06. Ain't It The Truth? (Buster Harding, Count Basie) (2:58)
07. Shorty George (Count Basie) (5:10)
08. 9:20 Special (Harry Warren) (4:34)

Buddy Rich - Drums;
Jimmy Rowles - Piano;
Conrad Gozzo, Pete Condoli, Harry Edison - Trumpet;
Frank Rosolino - Trombone;
Bob Enevoldsen - Valve Trombone & Tenor Saxophone;
Bob Cooper - Tenor Saxophone;
Buddy Collette - Tenor & Baritone Saxophone & Flute;
Bill Pitman - Guitar;
Joe Mondragon - Bass.

Tracks 3, 4, 7, 8 recorded August 24, 1956 at Radio Recorders in Los Angeles; 
Tracks 1,2,5,6 recorded August 25, 1956 at Radio Recorders in Los Angeles.

Drummer Buddy Rich put together an interesting 11-piece group for this tribute to Count Basie. The only Basie alumnus present is trumpeter Harry "Sweets" Edison but the other soloists (trombonist Frank Rosolino and Bob Enevoldsen, Bob Cooper on tenor and pianist Jimmy Rowles) easily fit into the setting. Marty Paich contributed the arrangements, there are plenty of drum solos and the music, if not all that memorable, can easily be enjoyed by straightahead jazz fans. ---Scott Yanow, Rovi

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A1 	Three Day Sucker	6:50
A2	Tommy Medley	(11:55)
A2a 	Eyesight To The Blind 	
A2b 	Champagne 	
A2c 	See Me, Feel Me 	
A2d 	Miracle Cure 	
A2e 	Listening To You 
	
B1 	On Broadway		3:48
B2 	Pieces Of Dreams	4:30
B3 	Ease On Down The Road	3:30
B4 	West Side Story Medley '75	5:27

Alto Saxophone – Bill Blaut
Alto Saxophone [Lead] – Peter Yellin
Baritone Saxophone – Roger Rosenberg
Bass – Ben Brown 
Bass Trombone – Anthony Salvatori
Congas – Ray Armando
Drums – Buddy Rich
Guitar – Cliff Morris, Cornell Dupree, Wayne Wright
Piano – Greg Kogan
Producer – Sonny Lester
Soprano Saxophone, Tenor Saxophone – Steve Marcus
Tenor Saxophone – Bob Mintzer
Trombone – Gerald Chamberlain
Trombone [Lead] – Barry Maur
Trumpet – Charles Camilleri, Danny Hayes, Richard Hurwitz, Ross Konikoff
Trumpet [Lead] – Lloyd Michels

Recorded in 1975, this is the original Groove Merchant recording of a jazz-funk orchestra loaded with heavyweight soloists. Indeed, it is as fine a modern band as Rich ever dished out. The disc is not as good as the Japanese P-Vine version, which has two bonus tracks and the original artwork. If this more in your budget range, get it, but be aware the import has the complete session. ---Michael G. Nastos, AllMusic Review

No, really. Keep in mind that this was the band Rich put together to record (not counting the pickup big band with Sal Nistico in '74) after disbanding the "Roar Of '74" band (1973) and going to a small combo format (Nistico, Sonny Fortune, Jack Wilkins, etc.,) and a few albums with Zoot Sims and Lionel Hampton. This was our introduction to the late Steve Marcus, who turned out to be an outstanding jazz tenor for Rich until Buddy's death in 1987. Bob Minzter is also in the section on tenor - later to become a top arranger and big band leader, himself.

If you listen closely to the "Tommy Medley" you may not think of it as a "dated" or "cop-out" piece - From the opening bass line, congas and then Roger Rosenberg's bari (yeah, you can hear some wah-wah guitar), this chart really starts burning. The saxes state the theme, with the brass joining in. After a brief trombone solo in the second movement, Danny Hayes takes off on trumpet on a long, bopping solo. Then Rich and the congas help close it out.

"Pieces Of Dreams" is a beautiful, moody song with the saxes playing the melody with short, injected solos from the lead trumpet and trombone. A really nice, pleasant, easy-going big band arrangement (I've got it. And have played it with a big band).

"Lush Life" starts off with a very nice trumpet solo, before switching off to a trombone solo.

The bands rendition of "Ease On Down The Road" is not bad, with a tenor solo from Steve Marcus. Although the "fade" is kind of corny with Danny Hayes' trumpet in the background.

"West Side Story Medley '75" is really condensed. With only the tenor solo and then right into Buddy's solo along with the congas and a bass solo. Not one of the better editions of "West Side Story."

Still, not a bad album for a second comeback with his Big Band. ---Pat Nava, amazon.com

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01) Time Out
02) Willowcrest
03) Ya Gotta Try
04) Tales Of Rhoda Rat
05) Time Check
06) Cape Verdean Blues
07) Bugle Call Rag
08) So What
09) A Little Train
10) Channel One Suite

Buddy Rich - Drums, Interviewee
David Boyle - Trombone
Clint Charmin -Trombone
Ed Eby - Trombone
Alan Gauvin - Flute, Producer, Sax (Alto), Sax (Soprano), Sax (Tenor)
Dale Kirkland - Trombone
Ross Konikoff - Trumpet
Steve Marcus - Sax (Tenor)
Jon Marshall - Trumpet
Turk Mauro - Sax (Baritone)
Bob Mintzer - Arranger, Flute, Sax (Tenor)
Dean Pratt - Trumpet
Jim Pritchard -Sax (Baritone)
Joe Rodriguez - Trumpet
Dave Stahl - Trumpet
Rick Stepton - Trombone
Tom Warrington - Bass
Chuck Wilson - Flute, Sax (Alto), Sax (Soprano)

The Buddy Rich Big Band. A lot's been said and written about Rich. A stormy person who was all extremes, he would laugh at your joke one moment, and tell you he'd kill you another. He was loved by some, disliked by many, and even hated by a few. But no matter what kind of person he was, there are two incontrovertible facts about Buddy Rich: He held some kind of a band together for nearly 50 years -- usually a big band. The second one was, he was truly one of the most bad-assed drummers jazz ever produced. Only Kenny Clarke, J.C. Heard, Elvin Jones, Roy Haynes, and Max Roach were in the same league -- or he in theirs depending on your point of view. This curious album was assembled from tapes made by saxophonist Alan Gauvin while with the Rich band from 1977 to 1978. Most of the tracks were recorded in Detroit, a couple in Long Island, and one in, of all places, Dexter, Michigan. If Joel Dorn (who runs the Label M operation) and Alan Gauvin were looking to showcase a band at its strengths, then that's what they did here. While it is true that the quality of these recordings is not exactly state of the art, they are far from bad. They give a certain authenticity to these certainly edited proceedings, by presenting the actual music exactly as it was recorded -- and that music is steamin'. Rich was never one for subtlety, and there is nothing subtle about the arrangements on these tracks, even the slower ones such as Miles Davis' "So What." But that's just the way the man ran a band. There are a few personnel differences in these bands because Rich had a revolving-door band, but two of the constants are Bob Mintzer -- who composed the wonderful "Tales of Rhoda Rat" here -- and co-producer Alan Gauvin. The charts were written by everybody from Mintzer to Bill Holman to Don Menza and Tom Boras. But really, none of the documentation here means a damned thing: The music itself -- from Horace Silver's "Cape Verdean Blues" to Bill Reddie's "Channel One Suite" -- is played one way: without a flaw, full of piss and vinegar, and physical -- in your face. This is big-band music that will remain contemporary no matter when it is heard because Rich was timeless in his approach to music and life. This set, even with its sonic limitations, is as good as any Rich recording on the market, and better than any of the live ones. ---Thom Jurek, Rovi

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01) Norwegian Wood
02) Big Swing Face
03) Monitor Theme
04) Wack Wack
05) Love For Sale
06) Mexicali Nose
07) Willowcrest
08) The Beat Goes On
09) Bugle Call Rag
10) Standing Up In A Hammock
11) Chicago
12) Lament For Lester
13) Machine
14) Silver Threads Among The Blues
15) New Blues
16) Old Timey
17) Loose
18) Apples

Buddy Rich - Drums
Jay Corre - Arranger, Flute, Sax (Tenor)
Quinn Davis - Sax (Alto)
Chuck Findley - Trumpet
Marty Flax - Sax (Baritone)
James Gannon - Bass
Jim Gannon - Bass
Bob Keller - Flute, Sax (Tenor)
Yoshito Murakami - Trumpet
Richie Resnicoff - Guitar
John Scottile - Trumpet
Bobby Shew - Trumpet
Ray Starling - Piano
James Trimble - Trombone
Ernie Watts - Flute, Sax (Alto)
Bill Wimberly - Trombone (Bass)

Big Swing Face not only reissues the second recording by Buddy Rich & His Big Band but doubles the program with nine previously unissued performances from the same engagement at the Chez Club in Hollywood. Rich's orchestra was in its early prime, displaying a very impressive ensemble sound, charts by Bill Holman, Shorty Rogers, Bob Florence, Bill Potts and others, and such soloists as altoist Ernie Watts (a newcomer), trumpeter Bobby Shew, Jay Corre on tenor and the remarkable drummer/leader. Even with the presence of "Norwegian Wood" and "The Beat Goes On" (the latter features Rich's teenage daughter Cathe on a vocal), this is very much a swinging set. Rich has some outstanding solos and lots of drum breaks but does not hog the spotlight; he was justifiably proud of his band. ---Scott Yanow, Rovi

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01.- Introduction by Norman Grantz
02.- Idaho
03.- Sophisticated lady
04.- Flying Home
05.- Drum Boogie
06.- The Drum Battle
07.- Perdido (with Ella Fitzgerald)

Gene Krupa & Buddy Rich - drums
Ray Brown – Bass
Benny Carter - Sax (Alto)
Roy Eldridge - Trumpet
Ella Fitzgerald - Vocals
Hank Jones - Piano
Barney Kessel - Guitar
Oscar Peterson 	- Piano
Flip Phillips - Sax (Tenor)
Charlie Shavers - Trumpet
Lester Young - Sax (Tenor)

This set was initially issued as the 15th instalment in Norman Grantz's Jazz at the Philharmonic series of LPs, EPs, and 45s. As that highly collectible compilation of performances has been out of print since the 1960s, many of the volumes were later issued under the respective artists' name. As the title would imply, Drum Battle: Jazz at the Philharmonic features the artistry of the Gene Krupa Trio with Buddy Rich (drums) sitting in on a few numbers as well as the inimitable jazz scat vocalizations of Ella Fitzgerald on a hot steppin' and definitive "Perdido." Opening the disc is Krupa's trio with Willie Smith (alto sax) and Hank Jones (piano) providing a solid and singularly swinging rhythm section. While Smith drives the band, Krupa is front and center with his antagonistic percussive prodding. "Idaho" is marked with Jones' rollicking post-bop mastery as he trades solos with Smith and can be heard quoting lines from Monk before yielding to Smith. The cover of Duke Ellington's "Sophisticated Lady" sparkles from beginning to end. Jones' opening flourish sets the tenure as Smith settles into a smoky lead, containing some nice syncopation and regal augmentation from Jones. Krupa primarily provides ample rhythm work on the emotive ballad. Smith's diversion into "Stormy Weather" is notable for exemplifying the lyrically improvisational nature of this combo. The tempo is significantly stepped up on a cover of Benny Goodman's "Flying Home," which is full of high-spirited playing and garners a sizable reaction from the audience. The lengthy "Drum Boogie" is one of Krupa's signature pieces and is greeted with tremendous enthusiasm. Buddy Rich climbs on board for a one-on-one duel with Krupa, whose styles mesh into a mile-a-minute wash of profound percussion. The duet segues into an inspired and free-form jam on "Perdido," with Fitzgerald belting out her lines with authority, class, and most of all, soul. ---Lindsay Planer, Rovi

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