JACK TEAGARDEN — Father Of Jazz Trombone (2004) 3CD BOX-SET | FLAC (tracks+.cue), lossless

Jack Teagarden made the trombone sexy, and his pliant, lazy tone made the instrument swing like a trumpet. He was also a remarkable singer, with a warm, Texas drawl that gave everything he sang a marvelous intimacy. Such talents did not go unnoticed in the jazz world, and he worked with such notables as Benny Goodman, Coleman Hawkins, Red Nichols, Joe Venuti, Eddie Condon and Louis Armstrong, among others, throughout his long career. This three- disc box spans the years 1928 to 1947, and its 72 tracks show an amazingly consistent performer, giving the whole set a cohesiveness that makes it indispensable. Included are Teagarden's near-definitive versions of "Basin Street Blues," "Beale Street Blues," "Blue River," "Jack Armstrong Blues," "St. Louis Blues" and a couple runs at "St. James Infirmary." With his offhand, nuanced singing style, Teagarden raises songs like "Aunt Hagar's Blues" to the level of vital Americana, and no one in jazz has ever gotten more out of the trombone at any level. Combined with his early-'60s gems for Verve Records (Mis'ry and the Blues and Think Well of Me), this collection provides an overview and a wonderful introduction to an American treasure. Steve Leggett
CD One - Makin' Friends (Recordings 1928-1938)
CD Two - Jack Hits The Road (Recordings 1928-1943)
CD Three - Too Marvelous For Words (Recordings 1943-1947)

LOUIS ARMSTRONG – 1951-1952 | The Classics Chronological Series – 1283 (2003) FLAC (tracks+.cue), lossless

This series on the Classics label will be of great interest to collectors of classic jazz. The sessions are in chronological order and highlight alternate takes and radio broadcasts of historic jazz. 1951-19522 contains 23 tracks on a single disc including versions of "Big Butter and Egg Man," "When It's Sleepy Time Down South," "Takes Two to Tango," and " Indian Love Call." While the disc is definitely directed toward collectors, anyone with an interest in this period of jazz will also enjoy it. Al Campbell   Tracklist + Credits :

COLEMAN HAWKINS - 1945 | The Classics Chronological Series – 926 (1997) FLAC (tracks+.cue), lossless

 Covering in detail a timeline from January 1944 to October 1945, this chapter in the Classics Coleman Hawkins chronology presents recordings he made for the Asch, Selmer, Capitol, Super Disc and V-Disc labels during what was an exciting and transitional period in the evolution of jazz. During the '40s Hawkins was deliberately aligning himself with young and innovative players; four of the sessions feature trumpeter Howard McGhee and pianist Sir Charles Thompson; bassist Oscar Pettiford was also an integral part of Hawk's mid-'40s West Coast band. Lush ballads and upbeat jam structures make for excellent listening throughout. Hawk is also heard sitting in with drummer Sid Catlett's all-stars, leading a quintet with the great Art Tatum at the piano, and working up his own extended set of "Variations" for solo tenor saxophone. While some commentators have focused unnecessary attention upon all-too-human drawbacks like Howard McGhee's addictions and occasional bouts of quarreling between Pettiford and Sir Charles, the music contained in this compilation stands squarely in its own light, unsullied by gossip or untoward circumstances.  arwulf arwulf     Tracklist + Credits :

GENE KRUPA AND HIS ORCHESTRA – 1935-1938 | The Chronogical Classics – 754 (1994) APE (tracks+.cue), lossless

The first CD in the European Classics label's "complete" Gene Krupa series starts off with two all-star sessions that preceded the drummer's first dates as a big-band leader. Krupa, Benny Goodman, bassist Israel Crosby (featured on "Blues of Israel") and several sideman from Goodman's 1935 band jam four songs, and from the following year, Krupa is joined by trumpeter Roy Eldridge, tenor saxophonist Chu Berry, pianist Jess Stacy, guitarist Allan Reuss, Crosby and (on two of the four songs) singer Helen Ward. The two instrumentals ("I Hope Gabriel Likes My Music" and "Swing Is Here") are near-classics that are quite heated. Otherwise, this CD has Krupa's first 15 numbers with his big band, a promising outfit which during 1938 also featured tenor saxophonist Vido Musso, pianist Milt Raskin and the vocals of Irene Daye and Helen Ward. Highlights include "Feeling High and Happy," "Wire Brush Stomp" and the previously unissued "The Madam Swings It." Scott Yanow  Tracklist + Credits :

MILDRED BAILEY – 1937-1938 | The Classics Chronological Series – 1114 (2000) FLAC (tracks+.cue), lossless

Volume three in Mildred Bailey's Classics chronology revives 24 excellent recordings she made for the Vocalion label between January 19, 1937 and March 14, 1938. During this period, Bailey sang on quite a number of recordings issued (and subsequently reissued) under the name of her third husband, xylophonist Red Norvo. Everything on this compilation came out under the name of Mildred Bailey & Her Orchestra. A glance at the enclosed discography substantiates a claim made by producer Anatol Schenker in his liner notes: "The small band recordings made by Mildred Bailey in the late thirties certainly bear comparison with those made by Billie Holiday." Alternating throughout the discography with sessions featuring Red Norvo's big band, the septets heard backing Mildred Bailey are populated with accomplished improvisers like Roy Eldridge, Chu Berry, Buck Clayton, Scoops Carey, Herschel Evans, Hank D'Amico and Edmond Hall. The rhythm sections were driven by such master musicians as Teddy Wilson, Zutty Singleton, Freddie Green, Walter Page and Dave Tough. Anyone seeking particularly wonderful examples of Tough's marvelously controlled percussion artistry needs to listen to "I See Your Face Before Me," "Thanks for the Memory," "From the Land of Sky Blue Water" and "Lover Come Back to Me." Mildred Bailey was among the very first people in showbiz to recognize Billie Holiday's unique abilities as a jazz vocalist. This compilation demonstrates some of the songs, moods and instrumentalists that the two singers had in common. A more far-reaching assessment of their parallel careers is sobering; Billie Holiday struggled against racism, patriarchal oppression, entrenched conventions that made her feel like her own voice was "not legitimate," and a swarm of pernicious addictions that ultimately slew her. Mildred Bailey pioneered the feminine art of jazz singing and enjoyed enormous popularity for a while during the '30s; then, obese and diabetic, she found herself marginalized as an insufficiently svelte anomaly and was ultimately discarded by an entertainment industry that has always valued physical glamour over artistic ability. arwulf arwulf  
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HELEN HUMES – 1945-1947 | The Classics Chronological Series – 1036 (1998) FLAC (tracks+.cue), lossless

This second installment in the excellent Classics Helen Humes chronology covers the exciting material she recorded for the Philo (soon to become Aladdin), Black & White, and Mercury labels, first with her All-Stars in Los Angeles during 1945-1946 and then with Buck Clayton's band in New York in 1946 and 1947. Alternating between ballads, blues, and boogie-woogie, the singer exudes a wonderful passionate glow that sometimes borders on the sensual. The front lines of her West Coast bands were richly staffed with excellent players in trumpeter Snooky Young and saxophonists Willie Smith, Tom Archia, Corky Corcoran, Maxwell Davis, Wild Bill Moore, and -- fresh out of the Army -- Lester Young! Dig his beautiful solo on "Pleasing Man Blues." Note also the presence of some of the top rhythm section men in the Los Angeles area at that time: guitarists Allan Reuss, Dave Barbour, and Irving Ashby; bassist Red Callender; drummers Chico Hamilton and Henry Tucker Green; and pianists Arnold Ross, Eddie Beal, and the great Meade "Lux" Lewis, who adds a little mustard to the singer's sequel to her earlier hit record, "Be-Baba-Leba." Over on the East Coast, the Buck Clayton-led ensembles had equally strong support in tenor saxophonist John Hardee (his velvety introduction to "Blue and Sentimental" is nothing less than a tribute to Herschel Evans), pianists Ram Ramirez and Teddy Wilson, and the winning Kansas City combination of bassist Walter Page and drummer Jo Jones. Is this the best of Helen Humes? Pretty close to it; she's in the prime of her early maturity and the musicians are uniformly excellent. arwulf arwulf  
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TEDDY WILSON AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 548 (1990) FLAC (tracks+.cue), lossless

This Classics CD traces pianist Teddy Wilson's recordings during a seven-month period. He backs singer Billie Holiday on eight memorable performances (including "My Man," "Can't Help Lovin' Dat Man," "When You're Smiling," and "I Can't Believe That You're in Love with Me"), is showcased on a pair of piano solos, accompanies singer Sally Gooding on four songs that were not initially released until the 1980s, and is heard on four almost-as-rare numbers with vocalist Nan Wynn. Most significant among the occasional instrumentals are a few tunes (including the two-part "Just a Mood" and "Honeysuckle Rose") that Wilson performs in an exquisite quartet with trumpeter Harry James, xylophonist Red Norvo, and bassist John Simmons. Among the other sidemen heard on this valuable CD are trumpeters Buck Clayton, Hot Lips Page, and Bobby Hackett, clarinetist Pee Wee Russell, the tenors of Chu Berry and Lester Young, and altoist Tab Smith.  Scott Yanow
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BENNY GOODMAN AND HIS ORCHESTRA – 1935-1936 | The Classics Chronological Series – 789 (1994) FLAC (tracks+.cue), lossless

After a historic up-and-down, cross-country trip to Los Angeles, Benny Goodman & His Orchestra became a sensation, launching the swing era. This set has the first selections by the Benny Goodman Trio (featuring the clarinetist with pianist Teddy Wilson and drummer Gene Krupa) and the initial big band recordings after Benny Goodman was crowned the king of swing, including his closing theme song, "Goodbye," "When Buddha Smiles," "Stompin' at the Savoy," and "Goody Goody" (Helen Ward's biggest hit). The next few years found Benny Goodman at the top of the music world. Scott Yanow
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BENNY GOODMAN AND HIS ORCHESTRA – 1936-1937 | The Classics Chronological Series – 858 (1995) FLAC (tracks+.cue), lossless

The addition of Harry James to Benny Goodman & His Orchestra in January 1937 gave Benny Goodman one of the greatest trumpet sections ever with James, Ziggy Elman, and Chris Griffin all able to play both solos and lead. Gene Krupa's drumming became increasingly assertive during this period, adding excitement to the band even if Goodman was not sure that he enjoyed the change in the group's sound. Helen Ward's decision to retire at the end of 1936 was unfortunate (she would never regain the fame that she had at that moment) and it would take Goodman much of 1937 before finding the right vocalist. But with that trumpet section, Jess Stacy, Krupa, and the Benny Goodman Trio and quartet, not to mention the leader's clarinet, this was a classic band -- the most popular in the music world. Among the many highlights on this CD are the Benny Goodman Trio's version of "Tiger Rag," the Benny Goodman Quartet on "Stompin' at the Savoy," Ella Fitzgerald guesting on "Goodnight My Love," "Peckin'," and the original studio version of "Sing, Sing, Sing." Scott Yanow
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CHARLIE VENTURA – 1946-1947 | The Classics Chronological Series – 1111 (2000) FLAC (tracks+.cue), lossless

Tenor saxophonist Charlie Ventura (born Charles Venturo) was a byproduct of the Chu Berry/Coleman Hawkins methodology of gutsy swing and early bop improvisation. The Classics Chronological Series did the world an enormous favor when they reissued Ventura's earliest recordings as a leader and followed suit with this fascinating second volume of rare material. Back in Los Angeles during the spring of 1946, Ventura -- still billed on record as "Charlie Venturo" -- paired up with master clarinetist Barney Bigard in front of a rhythm quartet anchored by bassist Red Callender. Two of the four sides waxed on this occasion feature an unidentified male vocalist who sings wistful ballads without doing too much damage. Four sides recorded for the Black & White label in May of 1946 are particularly satisfying for the exchange of ideas between "Venturo," alto saxophonist Charlie Kennedy, trumpeter Red Rodney, pianist Teddy Napoleon, guitarist Allan Reuss, drummer Nick Fatool, and once again bassist Red Callender, who is sometimes called upon to introduce the melody by himself. On September 6, 1946, "Venturo" began a 13-month engagement with the National record label in New York. This was a turning point in several ways: the spelling of the leader's name was altered for the first time to read "Ventura"; the ensemble was expanded to an unprecedented 18 pieces; and Lily Ann Carol, a smooth vocalist with bop touches, was added on two ballads, "Either It's Love or It Isn't" and "Please Be Kind," backed by two instrumentals, a captivating "Misirlou" and a brassy treatment of "How High the Moon." On Ventura's next session for National, more vocals, both cute and romantic and decorated with little bits of bop-flavored scat, were inserted. The rest of the material from this second big-band date features the leader's mellifluous saxophone and, on "Annie, Annie Over," trombonist Bennie Green and the marvelous bop clarinet of Aaron Sachs. This segment of the Ventura chronology closes with a smart bop session featuring Charlie Ventura's American Sextet. After Buddy Stewart sings a sweet ballad and executes a briskly bopped scat routine very closely patterned after the records being made at that time by Babs Gonzales, Ventura slowly pours out "Blue Champagne" and tears into a fiery jam called "Stop and Go." This one track is worth the cost of the entire CD, as Ventura wails along with trumpeter Charlie Shavers, trombonist Bill Harris, and an explosive rhythm section driven by bassist Chubby Jackson and drummer Dave Tough, who was living out the final months of a very turbulent life. It's worth having the entire album just to hear how Tough handles his cymbals on this last cut. arwulf arwulf  
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JACK TEAGARDEN AND HIS ORCHESTRA – 1934-1939 | The Classics Chronological Series – 729 (1993) FLAC (tracks+.cue), lossless

Shortly before selling his soul to Paul Whiteman for five long years, trombonist Weldon Leo "Jack" Teagarden and his orchestra made three beautiful recordings that still sound uncommonly cool, honest, and authentic. This session, which took place in New York on September 18, 1934, closes out Teagarden's early years as a bandleader. The instrumental "Junk Man" is a relaxed blues ambulation of remarkable depth and subtlety, featuring string harpist Casper Reardon who swung easily in a style similar to that of Robert Maxwell. Flanked by Benny Goodman and Frankie Trumbauer, Jack's brother Charlie Teagarden blew some of his best trumpet on record. Texas crooner Mr. T sang on two of the three records made that day, handsomely drawling the words to "Stars Fell on Alabama," as if lyricist Frank Perkins had devised them just for him. Years passed. The minute his contract with Whiteman expired, Teagarden resumed making records under his own name for the Brunswick label on April 14, 1939, collaborating with trumpeter Charlie Spivak in leading a 15-piece orchestra that operated in a sort of Dorsey/Goodman/Barnet groove, with lush harmonies emanating from the trombone section. Present in this band were arranger Fred Van Eps, Jr. and saxophonist John Van Eps, sons of legendary early 20th century ragtime banjoist Fred Van Eps and brothers of jazz guitar wizard George Van Eps. The other important participant here was the great Ernie Caceres, heard playing clarinet and tenor sax in addition to his customary baritone. "Persian Rug," which first entered the jazz repertoire back in 1928 as a sort of chamber jazz oddity by Fats Waller and the Louisiana Sugar Babes, here becomes a punchy big-band workout. Teagarden's vocals are invariably warm and delightful, and there are only occasional incursions by conventional big-band singers Jeanie Arnold and Linda Keene. Of the four remaining instrumentals, "Pickin' for Patsy" is a relatively modernistic feature for guitarist Allan Reuss, "Undertow" a soothing nocturne for jazz orchestra, "Blues to the Dole" a laid-back big-band embodiment of Teagarden's personality and most excitingly, a full ensemble arrangement of Willie "The Lion" Smith's masterpiece, "Rippling Waters." arwulf arwulf  
Tracklist :
1    Junk Man    3:04
 Frank Loesser / George W. Meyer
2    Stars Fell On Alabama 3:00
 Mitchell Parish / Frank Perkins
Vocals – Jack Teagarden
3    Your Guess Is As Good As Mine 2:45
 Al Goodhart / Al Hoffman / Maurice Sigler
Vocals – Jack Teagarden
4    Persian Rug 2:19
 Gus Kahn / Neil Moret
Arranged By – Red Bone
5    The Sheik Of Araby 2:37
 Harry Beasley Smith / Ted Snyder / Francis Wheeler
Vocals – Jack Teagarden, Meredith Blake
6    Class Will Tell 2:37
 Joe Burke / Edgar Leslie
Vocals – Jack Teagarden
7    If It's Good (Then I Want It) 2:51
 Walter Hirsch / Gerald Marks
Vocals – Jack Teagarden
8    Cinderella, Stay In My Arms 2:50
 Michael Carr / Jimmy Kennedy
Vocals – Jack Teagarden
9    I Gotta Right To Sing The Blues 2:40
 Harold Arlen / Ted Koehler
Vocals – Jack Teagarden
10    That's Right - I'm Wrong 2:22
 Stanley Adams / Hoagy Carmichael
Vocals – Jean Arnold
11    Yankee Doodle 2:54
 Traditional
Arranged By – Fred van Eps Jr.
Vocals – Jean Arnold
12    White Sails (Beneath A Silver Moon) 3:13
Archer / Kenny
Vocals – Linda Keene
13    Octoroon 3:23
 Harry Warren
Vocals – Jack Teagarden
14    Pickin' For Patsy    2:39
 Allan Reuss / Jack Teagarden
15    Undertow    3:20
 Edgar Battle / Glenn Miller
16    Especially For You 2:57
 Orrin Tucker
Vocals – Linda Keene
17    You Know (Just As Well As I Know) 2:47
 Joe King
Vocals – Jack Teagarden
18    You're The Moment In My Life 2:48
 Henry Nemo
Vocals – Linda Keene
19    The Little Man Who Wasn't There 2:43
 Harold Adamson / Bernie Hanighen
Vocals – Jack Teagarden
20    Puttin' And Takin' 3:00
 Gene DePaul / Al Jacobs
Vocals – Jack Teagarden
21    I Swung The Election 2:31
 Glenn Miller / Jack Teagarden
Vocals – Jack Teagarden
22    Blues To The Dole    2:48
 Edgar Battle / Franz Jackson
23    Aunt Hagar's Blues 2:45
 Tim Brymn / W.C. Handy
Vocals – Jack Teagarden
24    Rippling Waters    2:30
 Willie "The Lion" Smith
Credits :    
Bass [String Bass] – Art Miller
Clarinet – Benny Goodman (tracks: 1 to 3)
Clarinet, Alto Saxophone – Art St. John (tracks: 4 to 24), Clint Garvin (tracks: 4 to 24)
Clarinet, Tenor Saxophone – Hub Lytle (tracks: 4 to 24), John Van Eps (tracks: 4 to 24)
Clarinet, Tenor Saxophone, Baritone Saxophone – Ernie Caceres (tracks: 4 to 24)
Drums – Cubby Teagarden (tracks: 4 to 24), Herb Quigley (tracks: 1 to 3)
Guitar – Allan Reuss (tracks: 4 to 24)
Harp – Casper Reardon (tracks: 1 to 3)
Piano – John Anderson (tracks: 4 to 24), Terry Shand (tracks: 1 to 3)
Saxophone [C Melody] – Frankie Trumbauer (tracks: 1 to 3)
Trombone – Charles McCamish (tracks: 7 to 24), Jack Teagarden, Jose Gutierrez (tracks: 4 to 24), Mark Bennett (tracks: 4 to 24), Red Bone (tracks: 4 to 6)
Trumpet – Alec Fila (tracks: 4 to 6), Charlie Spivak (tracks: 4 to 24), Charlie Teagarden (tracks: 1 to 3), Carl Garvin (tracks: 4 to 24), Lee Castle (tracks: 7 to 24)

JACK TEAGARDEN AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 758 (1994) FLAC (tracks+.cue), lossless

The third in Classics' Complete Jack Teagarden series traces the trombonist's big-band recordings during his Columbia period. There were no great soloists among Teagarden's sidemen and some of these tunes (particularly the nine with Kitty Kallen vocals) are throwaways but Teagarden's own singing on six songs (including "Beale Street Blues" and "If I Could Be with You") and distinctive trombone give listeners strong reasons to acquire this entry in the worthy series. Other highlights include "Peg of My Heart," "Wolverine Blues," "Swinging' on the Teagarden Gate" and "The Blues." Scott Yanow
Tracklist :
1    I'm Takin' My Time With You    2:58
2    I Wanna Hat With Cherries    2:54
3    Two Blind Loves    2:41
4    Hawaii Sang Me To Sleep    2:54
5    It's A Hundred To One (I'm In Love)    2:28
6    I'll Remember    3:02
7    Peg O' My Heart 3:21
Arranged By – Red Bone
8    At Least You Could Say Hello    3:13
9    A Table In The Corner    3:10
10    Stop Kicking My Heart Around    3:03
11    If What You Say Is True    2:48
12    So Many Times    2:58
13    Muddy River Blues    3:01
14    Wolverine Blues 2:42
Arranged By – Red Bone
15    Red Wing    2:55
16    United We Swing    2:51
17    Beale Street Blues    3:10
18    Somewhere A Voice Is Calling    2:45
19    Swingin' On The Teagarden Gate 2:45
Arranged By – Fred Norman
20    If I Could Be With You (One Hour Tonight)    3:07
21    My Melancholy Baby    2:55
22    Can't We Talk It Over?    3:07
23    The Blues    3:14
Credits :    
Alto Saxophone – Jack Goldie (tracks: 20 to 23), Joe Ferdinando (tracks: 20 to 23), Tony Antonelli (tracks: 20 to 23)
Bass [String Bass] – Arnold Fishkind (tracks: 20 to 23), Art Miller (tracks: 1 to 16), Benn Pottle (tracks: 17 to 19)
Clarinet, Alto Saxophone – Clint Garvin (tracks: 1 to 19)
Clarinet, Alto Saxophone, Baritone Saxophone – Art St. John
Clarinet, Tenor Saxophone – Hub Lytle (tracks: 1 to 19), John Van Eps (tracks: 1 to 19)
Clarinet, Tenor Saxophone, Baritone Saxophone – Ernie Caceres (tracks: 1 to 19)
Drums – Cubby Teagarden (tracks: 1 to 7), Dave Tough (tracks: 8 to 19), Ed Naquin (tracks: 20 to 23)
Guitar – Allan Reuss (tracks: 1 to 19), Dan Perri (tracks: 20 to 23)
Piano – Jack Russin (tracks: 8 to 19), John Anderson (14) (tracks: 1 to 7), Nat Jaffe (tracks: 20 to 23)
Tenor Saxophone – Larry Walsh (tracks: 20 to 23)
Trombone – Charles McCamish (tracks: 1 to 7), Eddie Dudley (tracks: 8 to 19), Joe Ferrall (tracks: 20 to 23), Jose Gutierrez, Mark Bennett (tracks: 1 to 19), Seymour Goldfinger (tracks: 20 to 23)
Trombone, Directed By – Jack Teagarden
Trumpet – Charlie Spivak (tracks: 1 to 16), Frank Ryerson (tracks: 17 to 19), John Fallstitch (tracks: 20 to 23), Carl Garvin (tracks: 1 to 19), Lee Castle (tracks: 1 to 19), Sid Feller (tracks: 20 to 23), Tom Gonsoulin (tracks: 20 to 23)
Vocals – Jack Teagarden (tracks: 5, 13, 17, 20 to 22), Kitty Kallen (tracks: 1 to 4, 8 to 12)