KENNY CLARKE – 1946-1948 | The Chronogical Classics – 1171 (2001) FLAC (tracks), lossless

Although issued on the Swing label -- a French enterprise -- the four selections that open this exciting collection are full-force American bebop, recorded in New York during September of 1946. With Fats Navarro, Kenny Dorham, Sonny Stitt, and Bud Powell in the band, the energy is so powerful that sensitive listeners may experience gooseflesh. "Epistrophy" sounds profoundly modern, far ahead of nearly anything else on the scene in 1946. "52nd Street Theme" is a brave essay in a new form. The trumpets dance circles around each other and the whole session comes off like the grand achievement that it surely was. Although this is considered Vol. 1 of the Kenny Clarke chronology, his discography really begins with pianist and bandleader Edgar Hayes. Clarke's excellent drumming and his work as a skilled vibraphonist are well documented on both Edgar Hayes volumes in the Chronological series (Classics 730 and 1053). In March of 1938 Kenny Clarke's "Kvintet," with Hayes at the piano and Clarke playing vibes, made four records in Stockholm, only one of which -- the instrumental -- was memorable. Almost exactly ten years later Clarke was entrusted with the task of touring Scandinavia with a group composed of players from the Dizzy Gillespie big band. Financial hassles curtailed their plans and they landed instead in Paris, where most of the material on this CD was recorded. The session recorded March 2, 1948, is notable for the presence of trumpeter Benny Bailey and baritone saxophonist Cecil Payne. It also provides an audible glimpse of sadly under-recorded alto saxophonist Joe Brown, an early follower of Charlie Parker. Note also the presence of pianist Ralph Schecroun, who would eventually change his name to Errol Parker and move to the U.S., developing a ferocious, almost chiropractic technique as he forged his own unique style of ultra-percussive modern piano. As Kenny Clarke continued to sow bop ideology among Parisians during the spring of 1948, it is fascinating how quickly and adroitly these young Frenchmen took it up without resorting to base mimicry. The most musically advanced material emerged during the session recorded on May 4, with violinist Andre Hodeir providing a wistful intro for Clarke's intriguing opus "Algerian Cynicism." The title refers to the enigma of French colonialism in North Africa, and reflects a political awareness every bit as progressive as the music itself. The material recorded on the following day is permeated with a Coleman Hawkins flavor, echoing that saxophonist's healthy response to the latest developments in jazz. "Working Eyes" sounds a little like "Raincheck" or any one of Billy Strayhorn's upbeat modern ideas. This outstanding collection of recordings -- rarely heard outside of Europe for many years -- reaffirms Kenny "Klook" Clarke's crucial role as a primal innovator in early modern jazz. arwulf arwulf
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BUCK CLAYTON – 1949-1953 | The Chronogical Classics – 1362 (2004) FLAC (tracks+.cue), lossless

It wasn't until Buck Clayton made the European scene in 1949 that he had a chance to begin making records as a leader. Clayton cooked up 13 exceptionally fine tracks before heading back to New York. "High Tide" was a modern notion of Count Basie's. "Swingin' at Sundown" is immediately recognizable as "At Sundown," an old Walter Donaldson tune dating from the 1920s. The composer does not receive credit. Saxophonist Don Byas interacts busily with Clayton on "Who's Sorry Now" and the venerable "Sugar Blues." The trumpet is solely featured on "Blues in First," while "Blues in Second" is taken at almost exactly the same tempo, amounting to little more than a second take. "Don's Blues" is based on "Lester Leaps In." The second of the Parisian sessions brought in saxophonists Armand Conrad and Alix Combelle, trumpeter Bill Coleman, and the young pianist André Persiany. Clayton and Coleman interact on "Uncle Buck" and blend dazzlingly during "B.C. and B.C.," a walking blues for two in which they are billed as Duo de Trompettes. The ensemble's third-chair trumpeter, Merrill Stepter, is brought in to form the Trio de Trompettes on "Sweet Georgia Brown." Crucial support throughout all of these developments is provided by bassist Georges Hadjo. The four tracks recorded back in New York in September of 1951 seem strangely foolish by comparison. Vocalist Johnny Davis comes across as a bit of a twit, although it is interesting to hear the lyrics to "The World Is Waiting for the Sunrise." During "Whispering" he keeps whispering the word "whisper" and is loudly answered by the band hollering "Don't shout!," "Don't scream!," and "Don't yell!" It's really kind of stupid. "Sixty Minute Man" is not the R&B hit, but "The Syncopated Clock" is played by the rhythm section only. Davis tries scatting like early Babs Gonzales on "Smooth Sailing," an easygoing boppish bit of blues. The saving graces on this date are the presences of trombonist Kai Winding, clarinetist Peanuts Hucko, and pianist Bernie Leighton, who held the somewhat dubious distinction of being the leader. In February of 1953, Buck Clayton sat in with the Marlowe Morris Trio, an early modern organ combo. Morris sounds uncannily like later-period Fats Waller as he tickles the upper registers of the Hammond organ on "I Want a Little Girl." Organ and guitar devise an ostinato backdrop for Clayton's horn on "Blue Moon." The guitar handles the bridge and the organ solo is tough. The final two tracks are extended jams. "Basic Organ Blues" walks an exceedingly cool path with Clayton in fine, sassy form. The electrified guitar lays down a boogie and commences to rock. The piece even turns into "Night Train" for a while. This smart little band's take on "'S Wonderful" gradually comes to a boil as Clayton enunciates the melody with elegant precision. arwulf arwulf  
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BUCK CLAYTON – 1953, Vol. 2 | The Chronogical Classics – 1427 (2006) FLAC (tracks+.cue), lossless

This fourth volume in the Classics Buck Clayton chronology is mainly devoted to the excellent music he recorded in Paris during the first two weeks of November 1953. Much different from the old-fashioned jazz he blew with Mezz Mezzrow during the same tour, this material represents a fresh, modern approach to the traditions Clayton had helped to establish with (and without) Count Basie during the 1930s and '40s. Tracks one through five showcase informal jam bands co-led by Clayton and drummer Gerard Pochonet. There are several fine soloists featured here, including electrically amplified guitarist Jean-Pierre Sasson, clarinetist and baritone saxophonist Michel de Villers, trombonist Benny Vasseur, and pianist Andre Persiani. That's a short list -- these pleasantly loose blowing sessions involved some of the top jazz musicians available in Paris at that time. Back in New York and recording for Columbia on December 14 and December 16, 1953, Clayton led a ten-piece group that was essentially the Count Basie Orchestra with Sir Charles Thompson at the piano. Three extended romps close out this highly rewarding segment of the Buck Clayton story: "Lean Baby," a sultry blues by Billy May, cruises at a relaxed lope for eight-and-a-half minutes; the great Kansas City swing anthem "Moten Swing" rolls for twelve-and-a-half minutes, and a cool "Sentimental Journey" stretches out for nearly 14 minutes. Excellent music, superbly rendered. arwulf arwulf  
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MEZZ MEZZROW – 1947-1951 | The Chronogical Classics – 1302 (2003) FLAC (tracks), lossless

So strong was Mezz Mezzrow's passion for old-style jazz and blues that in 1945 he created his own record label -- King Jazz -- specializing in these traditions. The four tracks that open this volume of the Chronological Mezzrow series were to be the last of the King Jazz recordings. Joined by Sidney Bechet, Sammy Price, Pops Foster, and Kaiser Marshall, Mezz had once again aligned himself with players whose collective experience harked back to the dawn of recorded jazz. These selections roll at relaxed tempi. "Delta Mood" is a slow meditation, "Funky Butt" walks easy, and even "Blues of the Roaring Twenties" strolls peacefully. The discography reads like a diary in that "I'm Going Away from Here" prefaces the clarinetist's Parisian years, a period of overseas activity that would continue until his death in 1972. Mezz toured Europe in 1948. After scuffling to get by in the U.S. for a couple of years he boomeranged back to Paris, where he began recording for the Vogue label. Eight titles from October of 1951 find Mezz surrounded by Claude Luter's jazz band. While Luter's collaborations with Sidney Bechet sometimes highlight the yawning chasm between Bechet's formidable powers and the merely well-schooled proficiency of the Parisian New Orleans revivalists, the combination of Luter and Mezzrow makes sense to the ear, as if they'd been jamming together for years. "Four or Five Times" comes across like a tribute to Jimmie Noone, with the two clarinets harmonizing as they do again on "Blues As We Like 'Em." "Black and Blue" is served up solemnly and "If I Had You" unfolds sad and slow. "Jingle Bells" is full-throttle jolly Dixieland and the three remaining tracks swing steadily. "Old Fashioned Love" is a particularly grand processional. Two blowing sessions from the middle of November 1951 resulted in eight outstanding performances that rate among the best recordings either Mezzrow or old-time trumpeter Lee Collins ever participated in. Here is a golden opportunity to study the artistry of Collins. Pianist André Persiany sets up a fine "Boogie Parisien" and master drummer Zutty Singleton takes an extended solo on "The Sheik." A thoroughly enjoyable album of 20 marvelous exercises in old-fashioned entertainment. arwulf arwulf
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MEZZ MEZZROW – 1951-1953 | The Chronogical Classics – 1393 (2005) FLAC (tracks+.cue), lossless

 This seventh volume in the Chronological Classics series documenting the wildly flamboyant personality Mezz Mezzrow is finally nearing the end, focusing in on the last decade of his life as a recording artist; he lived for another 14 years after he stopped. This set features Mezzrow in the company of Claude Bolling, Red Richards, Buck Clayton, Red Richards, Mowgli Jospin, Big Chief Russell Moore, Zutty Singleton and others. The program is all the old tunes, played and played again, from Mezzrow's own minor classic "Really the Blues" (the title of his memoir as well), to "Royal Garden Blues," "When the Saints Go Marching In," "Honeysuckle Rose" and many more; the feel is relaxed and easy. There is little real innovation going on here, but the sound is terrific and the tunes themselves are timeless. Mezzrow collectors will want this addition to the catalog.
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