ART TATUM — The Complete Pablo Group Masterpieces (1990) RM | 6CD BOX-SET | FLAC (tracks+.cue), lossless

Tatum spent most of his career as a solo pianist; in fact, it was often said that he was such an unpredictable virtuoso that it would be difficult for other musicians to play with him. Producer Norman Granz sought to prove that the theory was false, so between 1954 and 1956 he extensively recorded Tatum with a variety of other classic jazzmen, resulting originally in nine LPs of material that is now available separately as eight CDs and on this very full six-CD box set. In contrast to the massive solo Tatum sessions that Granz also recorded during this period, the group sides have plenty of variety and exciting moments, which is not too surprising when one considers that Tatum was teamed in a trio with altoist Benny Carter and drummer Louie Bellson; with trumpeter Roy Eldridge, clarinetist Buddy DeFranco, and tenor saxophonist Ben Webster in separate quartets; in an explosive trio with vibraphonist Lionel Hampton and drummer Buddy Rich; with a sextet including Hampton, Rich, and trumpeter Harry "Sweets" Edison; and on a standard trio session. Scott Yanow    Tracklist & Credits :

ART TATUM — The Art Tatum Solo Masterpieces · Volume One (1992) RM | APE (tracks+.cue), lossless

The first of eight CDs reissuing the 119 piano solo performances that Art Tatum recorded for Norman Granz during four marathon record sessions has its moments, although in general this series lacks the excitement of Tatum's earliest recordings. The pianist interprets such standards an this first volume as "Body and Soul," "It's Only a Paper Moon" and "Willow Weep for Me."  Scott Yanow    Tracklist & Credits :

ART TATUM — The Art Tatum Solo Masterpieces · Volume Two (1992) RM | APE (tracks+.cue), lossless

The second of eight CDs in this series of solo performances taken from four marathon record sessions has among its highlights "Elegy," "This Can't Be Love" and "Tea for Two," but in qeneral this series lacks the excitement of Tatum's earliest recordings. Excellent but somewhat predictable performances by the classic virtuoso. Scott Yanow  Tracklist & Credits : 

ART TATUM — The Art Tatum Solo Masterpieces · Volume Three (1992) RM | APE (tracks+.cue), lossless

The third of eight CDs in the Norman Granz series of Tatum piano solos is highlighted by "Yesterdays," "Prisoner of Love" and "Begin the Beguine" among others. He did little prior preparation for the four marathon sessions that resulted in a dozen LPs (now reissued as eight CDs), so this series lacks the excitement and adventure of his earliest recordings although it is still enjoyable in its own right. Sott Yanow   Tracklist & Credits :

ART TATUM — The Art Tatum Solo Masterpieces · Volume Four (1992) RM | APE (tracks+.cue), lossless

On the fourth volume in this eight-CD series, Tatum sounds at his best on "Ill Wind" and "The Man I Love." Taken from the 119 piano solos he cut for Norman Granz in four lengthy recording sessions during 1953-55, these performances are concise, relaxed, and surprisingly predictable, if virtuosic. Scott Yanow   Tracklist & Credits :

ART TATUM — The Art Tatum Solo Masterpieces · Volume Five (1992) RM | APE (tracks+.cue), lossless

The fifth volume of this eight CD-series features Tatum interpreting 15 of the 119 standards he recorded during four marathon solo recording sessions for Norman Granz. He sounds typically wondrous in spots even though there are few surprises throughout this generally relaxed set. Scott Yanow
Tracklist & Credits :

ART TATUM — The Art Tatum Solo Masterpieces · Volume Six (1992) RM | APE (tracks+.cue), lossless

Volume Six of this eight-CD series features Tatum interpreting such standards as "Night and Day," "Cherokee," "Happy Feet" and "Someone to Watch Over Me" with taste and melodic creativity. There are no real barnburners or new revelations on this generally relaxed set, but the music should please Tatum's fans. Scott Yanow   Tracklist & Credits :

ART TATUM — The Art Tatum Solo Masterpieces · Volume Seven (1992) RM | APE (tracks+.cue), lossless

The next-to-last volume in this eight CD-series features interpretations of a variety of standards, including "Moon Song," "Japanese Sandman," "Moonlight on the Ganges" and even "Mighty like a Rose." Taken from the 119 numbers that Tatum recorded for Norman Granz during four marathon sessions, the music is pleasing, if at times a bit too relaxed for those who would like to hear the virtuoso really tear into these pieces. Scott Yanow   Tracklist & Credits :

ART TATUM — The Art Tatum Solo Masterpieces · Volume Eight (1992) RM | APE (tracks+.cue), lossless

The final volume of this eight-CD (and originally 12-LP) series is similar to the first seven in that Tatum melodically improvises on a variety of standards, in this case such tunes as "She's Funny That Way," "I Won't Dance," "Begin the Beguine" and "Humoresque." Few revelations occur (most of the interpretations are in the same relaxed medium tempo) but the music is typically well-played and generally quite enjoyable. Scott Yanow
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 :

ROY ELDRIDGE – 1943-1944 | The Classics Chronological Series – 920 (1998) FLAC (tracks+.cue), lossless

Roy Eldridge worked with Gene Krupa for a couple of years, then made a series of hot sides with a great seven-piece band, featuring tenor saxophonists Ike Quebec and Tom Archia. "After You've Gone" begins with a funny false-start introduction that Eldridge seems to have developed while working with Krupa. "The Gasser," a hot-to-trot walking blues, was based on the chord changes of "Sweet Georgia Brown." Also included here are two lovely, passionate ballads and an incomplete take of "Oh, Lady Be Good." The Esquire Metropolitan Opera House V-Disc Jam Session turned into a real all-star blowout on "Tea for Two," the conglomerated ensemble sounding pretty crowded by the time it works up to the out chorus. Eldridge's next adventure occurred with Lionel Hampton's V-Disc All-Stars. "Flyin' on a V-Disc" is, of course, Hamp's big hit "Flyin' Home." He hammers the vibes while saying "heyyy!' and keeps on saying it, clapping his hands and braying like a goat throughout all subsequent solos by the horn players, eventually leading the pack into an inevitable grandstand conclusion. The Little Jazz Trumpet Ensemble is heard on one of the earliest of all Keynote sessions, and the very first of producer Harry Lim's instrument-oriented dates, setting a precedent for the Coleman Hawkins Sax Ensemble and the Benny Morton Trombone Choir. Emmett Berry's inspiration was Roy Eldridge himself, while Joe Thomas patterned himself after Louis Armstrong. "St. Louis Blues" in particular is amazing. They work it up to a fine finish. Eldridge's working relationship with Decca Records bore fruit briefly in June of 1944 with another big-band date. This particular group included former Fats Waller trumpeter John "Bugs" Hamilton, ace trombonist Sandy Williams, and a pair of strong tenor players -- Franz Jackson and Hal Singer. Two dramatic ballads resulted, along with yet another patented stampede version of "After You've Gone." The orchestra assembled on October 13, 1944, had a formidable trombone section, as Williams found himself flanked by noteworthy slip horn agents Wilbur DeParis and Vic Dickenson. This band was also fortified with the presence of trumpeter Sidney DeParis, drummer Cozy Cole, and flashy amplified guitarist Napoleon "Snags" Allen, who is heavily featured on "Fish Market," a rocking blues that sounds a bit like "Tuxedo Junction." After Eldridge savors a pretty air called "Twilight Time," he leads a charge through "St. Louis Blues." Running the changes as fast as he can through a muted horn, Eldridge fires off a rapid stream of lyrics, turns Franz Jackson loose for a scorching hot tenor solo, and heads up an explosive hot finale. arwulf arwulf
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ART TATUM – 1932-1934 | The Classics Chronological Series – 507 (1990) FLAC (tracks+.cue), lossless

This comprehensive CD contains Art Tatum's very first recording (a broadcast version of "Tiger Rag"), four selections in which he accompanies singer Adelaide Hall (along with a second pianist) and then his first 20 solo sides. To call his virtuosic piano style remarkable would be a major understatement; he has to be heard to be believed. His studio version of "Tiger Rag" may very well be his most incredible recording; he sounds like three pianists at once. Scott Yanow
Tracklist + Credits :

ART TATUM – 1934-1940 | The Classics Chronological Series – 560 (1991) FLAC (tracks+.cue), lossless

The second CD in Classics' Art Tatum series features the remarkable pianist as a soloist for many gems recorded for Decca and with a sextet on four numbers. Although alternate takes are bypassed, making the Decca CDs preferable, the set is overflowing with classics. Highlights include Tatum's interpretations of "Chloe," "The Sheik of Araby," "Elegie," "Humoresque," "Get Happy" and "Begin the Beguine." Scott Yanow
Tracklist :

ART TATUM – 1940-1944 | The Classics Chronological Series – 800 (1995) FLAC (tracks+.cue), lossless

This wonderful compilation -- the third volume in the complete recordings of Art Tatum -- will delight seasoned Tatum lovers and may also serve as the perfect introduction for those who seek initiation. That's because this portion of the Tatum chronology just happens to feature the pianist in his very prime as soloist, accompanist, and bandleader. The first 11 tracks were originally issued on the Decca label. Three excellent piano solos from July 1940 are followed by two sessions' worth of swinging instrumentals and strongly steeped blues sung by Kansas City's Joe Turner. Trumpeter Joe Thomas and clarinetist Edmond Hall were perfect foils for this singer. Hall's sinewy solos enliven "Stompin' at the Savoy" and Tatum's fine piece of boogie, "Battery Bounce." Guitarists John Collins and Oscar Moore each bring a special sense of conviviality to the ensembles. Moving ahead to January 1944, Tatum is heard with Tiny Grimes and Slam Stewart on a series of dazzling trio sides, most of which first appeared on the Brunswick label. These stunning collaborations are prized for their wealth of invention and relaxed intimacy. arwulf arwulf
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ART TATUM – 1944 | The Classics Chronological Series – 825 (1995) FLAC (tracks+.cue), lossless

Here's a superb segment of the Art Tatum story, beginning with ten trio sides featuring guitarist Tiny Grimes and bowing, singing bassist Slam Stewart. Six marvelous selections recorded May 1, 1944, were subsequently issued on the Comet label. Each of these performances appeared on 12" 78-rpm records, allowing for well over four minutes of playing time. Weeks later -- on the summer solstice -- this inventive little group waxed four additional 12" sides for an independent recording company owned and operated by Moses Asch. As if obeying some cosmic rule of thumb, Tatum returned by himself to the Asch studios on the winter solstice to record six dazzling solos of incredible substance and depth. Vintage Tatum, beautifully played and intelligently presented. arwulf arwulf
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ART TATUM – 1945-1947 | The Classics Chronological Series – 982 (1998) FLAC (tracks+.cue), lossless

This portion of the Art Tatum chronology consists entirely of piano solos. Eight sides recorded for the ARA label in May of 1945 demonstrate Tatum's amazing technique and ever-expanding repertoire. From 1945 until his early passing in 1956, the pianist would gradually expand his use of wild runs, glissandos, and arpeggios. Those tendencies are clearly audible in the recordings included on this compilation. Most of the V-Disc performances heard here are between three and a half and four minutes' duration -- the "Gershwin Medley" runs nearly four and a half minutes. This allowed the pianist to stretch out and improvise more freely than he had been able to when operating within the confines of the three-minute record. Four Victor recordings from January 1947 conclude this fascinating chapter in the life and works of Art Tatum. arwulf arwulf
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ART TATUM – 1949 | The Classics Chronological Series – 1104 (2000) FLAC (tracks+.cue), lossless

The fifth installment of Classics' Art Tatum story contains 24 piano solos that showcase the musician as the one-man band he was. These are breathtaking studio recordings made for Captiol and Columbia and also live performances recorded at the "Just Jazz" concerts staged at the Shrine Auditorium in Los Angeles. While only one Tatum original is included, "Tatum-Pole Boogie," he mainly tackles standards like "Willow Weep for Me," "Someone to Watch over Me," "My Heart Stood Still," and "Makin Whoopee." Al Campbell
Tracklist + Credits :

ART TATUM – 1949-1953 | The Classics Chronological Series – 1411 (2006) FLAC (tracks), lossless

The seventh in Classics' chronological survey of pianist Art Tatum's complete recorded work, this one covers the end of 1949 through 1953 and features mostly solo pieces from Tatum, who was simply the most amazing piano player in the whole history of jazz. His explosiveness, speed, and endlessly inventive arrangements make his recordings a thing apart, and this set is no exception. Try the familiar standards here like "Blue Skies" or "Tea for Two" to hear what Tatum brings to the table. Amazing. Steve Leggett
Tracklist :

BARNEY BIGARD – 1944-1945 | The Classics Chronological Series – 930 (1997) FLAC (tracks+.cue), lossless

1944-1945 collects Bigard's output after the clarinetist left the Duke Ellington Orchestra. Although his brief time with a band fronted by Joe Thomas is not as consistently rewarding as his stint with Ellington (what could be?), it's still historically valuable and enjoyable for fans of the clarinetist. Bigard had certainly lost none of the virtuosity of his earlier years, but the material is patchier. Nevertheless, this release will be appealing to Bigard's fans, and the Classics label has done an admirable job with the remastering and liner notes. Thomas Ward
Tracklist + Credits :

SID CATLETT – 1944-1946 (1997) The Classics Chronological Series – 974 | FLAC (tracks+.cue), lossless

It's been said that Big Sid Catlett was the complete drummer, able to play with boppers and moldy figs alike and any kind of musician that fell in between those two opposite poles. Certainly his sense of time was impeccable and his soloing always flowed from the most musical of impulses. This collection brings together all the titles that were issued under his name during the '40s, featuring names like Illinois Jacquet, Ben Webster, Charlie Shavers, Oscar Pettiford, Willie Smith, Al Casey, Barney Bigard, Art Tatum, Eddie "Lockjaw" Davis, and Pete Johnson in the various lineups. Kicking off with a spoken introduction from Sid and a live recording of "Rose Room" taken from a V-Disc, these are delightful recordings in a variety of settings that show off the versatility and innate musicality of Catlett's swinging ways. Cub Koda
Tracklist :
1    Esquire Metropolitan Opera House Jam Session–    Rose Room     5:53
Art Hickman / Harry Williams
2    Big Sid Catlett Quartet Featuring Ben Webster–    Sleep     3:30
 Earl Lebeig / Earl Lebieg
3    Big Sid Catlett Quartet Featuring Ben Webster–    Linger Awhile     3:06
 Harry Owens / Vincent Rose
4    Big Sid Catlett Quartet Featuring Ben Webster–    Memories Of You     3:45
 Eubie Blake / Andy Razaf
5    Big Sid Catlett Quartet Featuring Ben Webster–    Just A Riff     3:57
 Big Sid Catlett
6    Sid Catlett Quartet–    1-2-3 Blues     3:09
 Traditional
7    Sid Catlett Trio–    I Found A New Baby    2:41
 Jack Palmer / Spencer Williams
8    Ed Hall And The Big City Jazzmen–    Blues In Room 920 3:14
 Big Sid Catlett
9    Ed Hall And The Big City Jazzmen–    Sweet Georgia Brown 2:41
 Ben Bernie / Kenneth Casey / Maceo Pinkard
10    Sid Catlett And The Regis All Stars–    Blue Skies 3:07
 Irving Berlin
11    Sid Catlett And The Big City Jazzmen–    Blue Skies 3:07
 Irving Berlin
12    Sid Catlett And The Big City Jazzmen–    Thermo-Dynamics 3:00
 Irving Berlin
13    Big Sid Catlett's Band–    I Never Knew     2:53
 Gus Kahn / Ted Fio Rito
14    Big Sid Catlett's Band–    Love For Sale 3:04
Arranged By – Horace Henderson
15    Big Sid Catlett's Band–    Justiz You, Just Me     2:45
 Jesse Greer / Raymond Klages
16    Big Sid Catlett's Band–    Henderson Romp     2:39
 Fletcher Henderson / Horace Henderson
17    Al Casey And His Sextet–    Sometimes I'm Happy    2:54
 Irving Caesar / Vincent Youmans
18    Al Casey And His Sextet–    How High The Moon     2:39
 Nancy Hamilton / Morgan Lewis
19    Sid Catlett And His All Stars–    Organ Boogie     2:28
 Big Sid Catlett
20    Sid Catlett And His All Stars–    Organ Blues     3:28
 Big Sid Catlett
21    Sid Catlett And His All Stars–    Sherry Wine Blues 3:20
 Traditional
Vocals [?] – Bill Gooden
22    Sid Catlett And His All Stars–    Open The Door Richard 2:54
 Dusty Fletcher / Dan Howell / John Mason / Jack McVea
Vocals – Band Members
23    Sid Catlett And His All Stars–    Shirley's Boogie     2:31
 Big Sid Catlett
24    Sid Catlett And His All Stars–    Humoresque Boogie     2:37
 Antonin Dvorák
Credits :    
Alto Saxophone – Ben "Bull Moose" Jackson (tracks: 13 to 16), Willie Smith (tracks: 17, 18)
Bass – Gene Ramey (tracks: 21 to 24), John Simmons (tracks: 2 to 7, 13 to 18), Oscar Pettiford (tracks: 1, 8 to 12)
Clarinet – Barney Bigard (tracks: 1), Edmond Hall (tracks: 8 to 10)
Drums – Sid Catlett
Guitar – Al Casey (tracks: 1, 13 to 18), Jimmy Shirley (tracks: 19, 21 to 24)
Organ – Bill Gooden (tracks: 19, 20)
Piano – Art Tatum (tracks: 1), Eddie Heywood (tracks: 8 to 12), Horace Henderson (tracks: 13 to 18), Marlowe Morris (tracks: 2 to 7)
Piano, Celesta – Pete Johnson (tracks: 19 to 24)
Tenor Saxophone – Ben Webster (tracks: 2 to 6), Hubert "Bumps" Myers (tracks: 13 to 16), Eddie "Lockjaw" Davis (tracks: 21), Frankie Socolow (tracks: 8 to 12), Illinois Jacquet (tracks: 13 to 18)
Trumpet – Charlie Shavers (tracks: 8 to 12), Gerald Wilson (tracks: 17, 18), Joe Guy (tracks: 13 to 16)