Kenton in HI-FI, Stan Kenton – Have listened to this one a couple times recently, and my feelings and concept of it changes depending on the mood, or drink, I’m enjoying. Mr. Kenton was a pianist, composer, arranger, band leader, and finally, big band leader, and all of these qualities shine through on this ode to 1956 living rooms. This is a big sound album which swells as it progresses. Musically kicking-off as a Hollywood 50′s cocktail album, it progresses into a thick-walled West Coast big band record, which still somehow manages to keep its sophisticated home-bar sound. A perfect example of what was played in the home during the late 50′s, HI-FI will fill your space with a big, rich jazz sound that’s hard to top. "HI-FI" in the title refers to the then-groundbreaking Hi-Fidelity technology of the day that Stan insisted on incorporating. Kenton was quite involved with the record’s end result, and if you set your mind-set to the day’s musical thinking, you’ll appreciate the record even more. Kind of the last hoorah of the Big Band era, HI-FI sends the great ship off with a very cool, jazz breeze that sounds unlike anything modern or fusiony. This is 50′s jazz played by a tried and tested big band w/ music conducted by a swinging leader. Stan’s piano playing on the record is top-drawer, too. Songs include Artistry In Boogie, Interlude, and Painted Rhythm.

Cuban Fire – Sticking with 1956 Stan Kenton concept albums for a sec, Cuban Fire was Kenton’s successful attempt to capture the Latin rhythms mini-explosion that was taking over night-clubs, tv shows (Desi Arnez was huge), pop-culture and living rooms across America. Pretty experimental in concept, Kenton’s big band travels into uncharted territory with this one, recording an almost Broadway sounding exotic swing album rather that a sultry mambo ode like his contemporaries were laying down. What you really get is this movie-style richness soaked in Latin accents. Bongos, lilting sax, pregnant pauses filled with far away trumpets and other horns, all still firmly anchored in American jazz swing. Think 1950′s star-studded Hollywood party and what the music must have sounded like behind it. Stan Kenton, at least in this 50′s concept album phase, is especially geared towards music aficionados. Play this album when serving snacks & cocktails to your gang of music lovers; they’ll get it. It sounds like little else I’ve pointed out because it truly stands alone. Sexy, cool, with strong Cuban rhythms, you’ll wish you were one of the 50′s lucky ones who heard this wall of sound live. Man, I betcha that was something. If you dig fat sounds that someone put a lot of time and imagination into, this is your album. Songs include Cuban Fire, Who Knows, and Three Hearts.

The London Sessions, Judy Garland – Told by doctors just a year earlier that she had pretty much used up the life given, Judy Garland flew off to Europe with an adjusted attitude a and a new lease on life. She musically spit in the eye of the medical naysayers and proved to all with these recordings, and a follow-up year-long tour, that she not only still had the chops, her dynasty was far from over. In just six summer days in 1960, Judy recorded the songs on this record as kind of a pre-prep for her stage return. Many of you may know her from the Yellow Brick Road movie and maybe a special or two on the television, but trust me, Judy Garland was a torch singer of the highest caliber, and I feel very remiss for not including her in my cocktail music collection sooner. This is lightening in a bottle and, if in the right situation ’round the home bar, with appreciative friends, a couple candles lit, something to nibble on out on a silver platter, and a perfect cocktail, you all will lose yourselves for a record. She is perfect on this record. The pathos, optimism, failure and triumph of a life lived burst through speaker felt. Judy Garland walked in to this London studio with a tremendous amount to prove. Wreck? … I don’t think so. The Man That Got Away, You Go To My Head, I Happen To Like New York and After You’ve Gone, along with sixteen other songs more than prove, especially during the cocktail hour, that Judy Garland was one of the greatest jazz singers who ever stood in front of a piano. –

Sinatra/Jobim, The Complete Reprise Recordings – I have the original 1967 reprise Francis Albert Sinatra & Antonio Carlos Jobim record and didn’t even know it was long out of print. This new release which contains even more music was how I gathered the news. Separately, Sinatra and Jobim were kings of their crafts. Sinatra steadily walked the course, releasing magnificent & experimental studio concept albums that hit a heck of a lot more than they missed, while Jobim created incredible bossa nova & Latin jazz soothers that created careers for his singers and teamed-up with jazz masters in sultry albums. How they got together is, I’m sure, a long story, but boy, did they make some serious & gorgeous music together. Sinatra threw his voice into a lower gear when he joined Antonio. Slowing his pace down to match Jobim’s compositions, the record feels rain-forest thick and hot and exotic. I respect the hell out of Sinatra for delving into such a different style of music than he usually swam in. Gone is the big-brass, the ups and downs, the bravado …what you’ll hear is the guitar, the soft flutes, the pacing and vocal duets that truly set this team-up apart as special and some of Sinatra’s most beautiful music. Classic daiquiri with this one. Songs include – Quiet Nights of Quiet Stars, Don’t Go Away, The Girl From Ipanema.