Nightfall: Cool & Smooth Jazz Classics 1920s 30s & 40s (Past Perfect) Relaxing jazz music

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1. 00:00:00 Benny Carter Nightfall
2. 00:03:13 Coleman Hawkins Body And Soul
3. 00:06:18 Duke Ellington Blue Feeling
4. 00:09:35 Benny Goodman Memories Of You
5. 00:12:52 Benny Carter & His Orchestra Mighty Like The Blues
6. 00:16:02 Coleman Hawkins Lost In A Fog
7. 00:19:10 Duke Ellington In a Sentimental Mood
8. 00:22:31 Benny Goodman These Foolish Things
9. 00:25:49 Benny Carter Just A Mood
10. 00:29:17 Coleman Hawkins Lamentation
11. 00:32:22 Duke Ellington Stormy Weather
12. 00:35:30 Benny Goodman More Than You Know
13. 00:38:49 Benny Carter Melancholy Lullaby
14. 00:41:51 Coleman Hawkins Devotion
15. 00:44:42 Duke Ellington Accent On Youth
16. 00:47:51 Benny Goodman I Surrender Dear
17. 00:50:56 Benny Carter Lazy Afternoon
18. 00:54:03 Coleman Hawkins Lullaby
19. 00:57:06 Benny Goodman Sweet Lorraine
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℗ Past Perfect Limited
Copyright in these remastered recordings is Past Perfect Ltd
In retrospect, the swing era seems to have been marked by a kind of musical hedonism. The excitement generated by big bands, the exotic dance hall environments in which they worked, the vivid publicity which they earned, all contributed to the idea that non-stop enjoyment was not only desirable but inevitable. Swing numbers were usually up-tempo, the dancers busily jitterbugging, the bandsmen sometimes outlandish, their road stories helping to sustain the music’s glamorous aura.
Much of this (if not all) is true, of course. Swing-style jazz flourished in America and Europe in the immediate post-depression period, building in popularity as the Second World War loomed so who can blame the fans for their desire to shut out oncoming difficulties? They wanted entertainment and pleasure, and loved the animation and vitality of the best swing bands. For all that, the famous orchestras or instrumentalists of the day knew full well that a diet of non-stop flag-wavers could pall and paced their presentations with slower ballads and blues, often featuring a key soloist who might create a lush version of a show song. Of course, this allowed dancers to smooch, to linger romantically, before the programme changed.
It’s this facet of swing – its ‘laid-back’ aspect in modern parlance – which we celebrate here. Tempos are slower and some smaller groups are given their head, the individual players better able to demonstrate their virtuosity and control. The music still swings, but there’s subtlety and sophistication in these performances as well.

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