BEA WAIN — My Reverie (2000) MONO | FLAC (tracks), lossless

Bea Wain's gorgeous voice is marvelously reproduced and celebrated on Jasmine's My Reverie, a fabulous compendium of classic big band recordings dating from 1937-1941. Backed by the orchestras of Larry Clinton, Artie Shaw and Leonard Joy, this charming woman demonstrates her ability to handle each and every song with uncontrived style and finesse. Her version of Harold Arlen's "Stormy Weather" is an immaculately rendered rite of passage. Even Hoagy Carmichael's long-suffering "Heart and Soul" becomes a delectable treat when sung by Wain. Songs of a romantic nature undergo a magical transformation; "Deep Purple" and "I Didn't Know What Time It Was" become arrestingly beautiful, while "Dancing in the Dark" might well cause susceptible listeners to abandon all worldly attachments and responsibilities in order to worship the voice of Wain by playing this one song -- "Dancing in the Dark," words by Howard Dietz, music by Arthur Schwartz -- over and over again for the rest of time. arwulf arwulf

Bea Wain's major successes were as Larry Clinton's band singer, most famously with My reverie, one of four American number one hits. This compilation contains some of her Larry Clinton tracks and some of her solo music after she quit Larry's band, all in chronological order. Her solo tracks are not that different in style from her band music. Like so many of the band singers of the time, Bea could swing, though she could also do the love songs. The songs here include three of those number one hits (My reverie, Heart and soul, Deep purple) though Cry baby cry, their first number one, is omitted. You can find it on a Larry Clinton compilation, along with many other hits they had together, some of which are also on this CD, but most are not. You may remember Deep purple - it was a big American hit for Nino Tempo and April Stevens in the sixties, and again for Donny and Marie Osmond in the seventies - this is the version that is probably best known in Britain. Bea and Larry's band did one of the original versions. There were several versions released at around the same time (in 1939) but this version outsold them all, by a considerable margin. There are other big hits from her Larry Clinton days here too - Old folks, The masquerade is over and My heart belongs to Daddy - but most of this CD is filled with her solo music. Bea only had four solo hits, but only three of them (Do I worry?, My sister and I, Kiss the boys goodbye) are included. The other, I'm nobody's baby, is missing, but it doesn't matter - this is a brilliant compilation of Bea's music. Of the non-hits, my favorite song here is Oh you crazy moon, but every track is wonderful. -Jazmine Records

Tracklist :
1 My Reverie 3:25
Claude Debussy
Bea Wain feat: Larry Clinton & His Orchestra
2 Heart and Soul 3:09
Hoagy Carmichael / Frank Loesser
Bea Wain feat: Larry Clinton & His Orchestra
3 Old Folks 3:18
Dedette Lee Hill / Willard Robison
Bea Wain feat: Larry Clinton & His Orchestra
4 Deep Purple 3:41
Peter DeRose / Mitchell Parish
Bea Wain feat: Larry Clinton & His Orchestra
5 The Masquerade Is Over 2:46
Herbert Magidson / Allie Wrubel
Bea Wain feat: Larry Clinton & His Orchestra
6 My Heart Belongs to Daddy 2:34
Cole Porter
Bea Wain feat: Larry Clinton & His Orchestra
7 I Get Along Without You Very Well 3:20
Hoagy Carmichael
Bea Wain feat: Larry Clinton & His Orchestra
8 If It's the Last Thing I Do 3:01
Sammy Cahn / Saul Chaplin
Bea Wain feat: Artie Shaw & His Orchestra
9 Dancing in the Dark 3:22
Howard Dietz / Arthur Schwartz
Bea Wain feat: Leonard Joy & His Orchestra
10 I Don't Stand a Ghost of a Chance with You 3:08
Bing Crosby / Ned Washington / Victor Young
 11 Oh, You Crazy Moon 2:53
Johnny Burke / James Van Heusen
 12 Stormy Weather 3:16
Harold Arlen / Ted Koehler
 13 I Didn't Know What Time It Was 3:19
Lorenz Hart / Richard Rodgers
 14 I Could Make You Care 3:05
Sammy Cahn / Saul Chaplin
 15 Kiss the Boys Goodbye 2:46
Frank Loesser / Victor Schertzinger
 16 That's How I Got My Start 2:33
Frank Loesser / Victor Schertzinger
 17 Peekaboo to You 2:08
Johnny Mercer / Joseph Meyer / Carl Sigman
 18 You Started Something 2:50
Ralph Rainger / Leo Robin
 19 I Don't Want to Cry Anymore 3:36
Victor Schertzinger
 20 Our Love Affair 3:02
Roger Edens / Arthur Freed
 21 Do I Worry? 2:36
Stanley Cowan / Bobby Worth
 22 I'm the Lonesomest Gal in Town 3:11
Lew Brown
23 My Sister and I 3:15
Alex Kramer / Joan Whitney / Hy Zaret
 24 You Can Depend on Me 2:37
Charles Carpenter / Louis Dunlap / Earl Hines
Credits :
Artie Shaw & His Orchestra & Larry Clinton & His Orchestra 
Vocal - Bea Wain

FRANKIE TRUMBAUER AND HIS ORCHESTRA – 1932-1936 | The Chronogical Classics – 1275 (2002) FLAC (tracks+.cue), lossless

The 1930s recordings of C-melody saxophonist Frankie Trumbauer are fairly obscure, particularly compared to his classic 1927-29 collaborations with Bix Beiderbecke. This set starts with a couple sessions from 1932 that feature a large ensemble mostly taken from the Paul Whiteman Orchestra. A couple of interesting medleys benefit from fine arrangements and the band also sounds strong on "Business in Q" and "The Newest St. Louis Blues." There are two sessions from 1934 that feature trumpeter Charlie Teagarden and trombonist Jack Teagarden (who sings "Emaline" and "'Long About Midnight") and includes a version of Beiderbecke's "In a Mist." The other session from 1934 has spots for trumpeter Bunny Berigan and clarinetist Artie Shaw while the numbers from 1936 again include both Charlie and Jack Teagarden. The material is pretty jazz-oriented and some of the other memorable tracks are "China Boy," "Breakin' in a Pair of Shoes" and "Somebody Loves Me." This is excellent music that serves as a transition between the classic jazz of the 1920s and swing. Scott Yanow  
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FRANKIE TRUMBAUER AND HIS ORCHESTRA – 1936-1946 | The Chronogical Classics – 1331 (2003) FLAC (tracks+.cue), lossless

Despite the fact that, compared to his contemporaries like Jack Teagarden and Artie Shaw, there are relatively few Frankie Trumbauer recordings as a leader, this period, from the mid-'30s to the mid-'40s, is arguably his most satisfying. Here with the Three Ts (Trumbauer with Jack and Charlie Teagarden) and leading a few bands with Shaw, Pee Wee Erwin, Carl Kress, Matty Matlock, John Kiefer, Bob Haggart, and more as sidemen, Trumbauer laid down some of his most memorable sessions, recording tunes such as "'S Wonderful," "Ain't Misbehavin'," "I Don't Stand a Ghost of a Chance," and 18 more. Along with Teagarden's stunning vocal style, reaching its peak during these years, and the deep swinging blues approach, these sides have been ignored for far too long under Trumbauer's signature.
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MILDRED BAILEY – 1932-1936 | The Classics Chronological Series – 1080 (1999) FLAC (tracks), lossless

Two dozen recordings made by Bailey between 1932 and 1936 form this important chapter in the chronological review of her best work. This is right at the time she left Paul Whiteman's band and started recording on her own, often in the company of top-notch jazz artists like the Dorsey Brothers, Bunny Berigan, Teddy Wilson, Johnny Hodges, Artie Shaw, and future husband Red Norvo. As always, Bailey's timing is impeccable, her intonation nigh perfect, and the songs -- even the poppier offerings -- all swing like crazy. Cub Koda
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ARTIE SHAW AND HIS ORCHESTRA – 1936 | The Classics Chronological Series – 855 (1995) FLAC (tracks+.cue), lossless

The first 20 recordings led by Artie Shaw are reissued on this CD. The great swing clarinetist's original idea was to lead a small big band with strings in 1936. The initial session (from June 11) has four horns, a string quartet, and a four-piece rhythm section, heard at their best on "The Japanese Sandman" and "A Pretty Girl Is Like a Melody." By the second session, two months later, a fifth horn had been added and the lineup included tenor saxophonist Tony Pastor (who also took vocals), singer Peg Lacentra, and arranger Jerry Gray playing one of the violins. Highlights of the unusual (and short-lived) orchestra include "Sugar Foot Stomp," "Thou Swell," and "The Skeleton in the Closet." This band had a lot of potential, but unfortunately the general public preferred louder, larger, and less-subtle ensembles, so Shaw reluctantly broke up his first orchestra early in 1937. Scott Yanow
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ARTIE SHAW AND HIS ORCHESTRA – 1936-1937 | The Classics Chronological Series – 886 (1996) FLAC (tracks+.cue), lossless

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ARTIE SHAW AND HIS NEW MUSIC – 1937 | The Classics Chronological Series – 929 (1997) FLAC (tracks+.cue), lossless

Although Artie Shaw's big band did not catch on in 1937, they did record regularly for Brunswick, generally featured superior songs (with a few vocal novelties tossed in), and had impressive musicianship. On the third of the Classics label's Artie Shaw records, highlights include a few eccentric vocals by Leo Watson; the two-part "Blues March"; the original recording of Shaw's theme, "Nightmare"; and fine versions of "Just You, Just Me," "Free for All," and "Nonstop Flight." The clarinetist-leader, Tony Pastor on tenor, and trumpeter John Best are the band's main soloists, but Artie Shaw would have to wait until 1938 before hitting it big. Scott Yanow
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ARTIE SHAW AND HIS ORCHESTRA – 1938 | The Classics Chronological Series – 965 (1997) FLAC (tracks+.cue), lossless

After an extensive series of recordings in 1937, Artie Shaw & His Orchestra did not record for seven months. When they returned to the studios, it was with a new contract for the Bluebird label. Their first Bluebird recording resulted in a giant hit with "Begin the Beguine," which immediately catapulted the orchestra to the top of the swing world. The band's personnel had become stronger -- Billie Holiday (whose lone recording with Shaw is here, "Any Old Time") and Helen Forrest joined Tony Pastor on vocals -- and such memorable charts as "Indian Love Call," "Back Bay Shuffle," a remake of "Nightmare," "Non-Stop Flight," "What Is This Thing Called Love," "Softly As in a Morning Sunrise," "Copenhagen," and "It Had to Be You" are among the highlights. All of the recordings by Artie Shaw & His Orchestra in 1938 are on this highly enjoyable disc. Scott Yanow
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ARTIE SHAW AND HIS ORCHESTRA – 1939 | The Classics Chronological Series – 1007 (1998) FLAC (tracks+.cue), lossless

As 1939 began, Artie Shaw had the most popular band in jazz, topping Benny Goodman and recording best-selling records for Bluebird. This CD covers a two-month period, as Shaw's band (which features tenor saxophonist Georgie Auld, Tony Pastor on vocals and tenor, drummer Buddy Rich, and singer Helen Forrest) showed that they could swing as hard as anyone. Highlights include "Lover Come Back to Me," "Carioca," "Rose Room," and "I'm Comin' Virginia," although there are also a lot of so-so Forrest vocals. Scott Yanow
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ARTIE SHAW AND HIS ORCHESTRA – 1939, Vol. 2 | The Classics Chronological Series – 1045 (1999) FLAC (tracks+.cue), lossless

Although the pressure of being a sudden celebrity and the leader of America's number one swing band was clearly getting to Artie Shaw in 1939, his band was excellent, his playing was top-notch, and his solidly selling records kept on being made. The sixth Classics CD in their Artie Shaw series (which reissues all of the master takes from the clarinetist's sessions as a leader) includes such fine numbers as "One Night Stand," "One Foot in the Gutter," "Traffic Jam," "Serenade to a Savage," and Shaw's "Moonray." The key players include Shaw, tenorman Georgie Auld, singer Helen Forrest, drummer Buddy Rich, and Tony Pastor on tenor and vocals. Scott Yanow
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ARTIE SHAW AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 1087 (1999) FLAC (tracks+.cue), lossless

Artie Shaw reached the pinnacle of stardom in 1939, becoming a celebrity and having his band rated at the top of the swing world, at least in popularity. But Shaw did not enjoy the experience much, was under constant pressure, and in late November he left the bandstand and fled to Mexico. His band (which struggled on briefly under Georgie Auld's leadership) broke up a few months later. Running out of money, on March 3, 1940, Shaw gathered together a large studio orchestra (with a full string orchestra) and recorded six songs, including one ("Frenesi") that became a giant hit. This CD concludes with part of a second date (from May 13) with a different studio band. It would be a few months before Artie Shaw formed his third orchestra. Despite the turmoil, there are fine performances to be heard on this intriguing disc, the seventh Shaw CD put out by Classics. Scott Yanow
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ARTIE SHAW AND HIS ORCHESTRA – 1940 | The Classics Chronological Series – 1127 (2000) FLAC (tracks+.cue), lossless

This CD starts out with the last three titles that Shaw cut on May 13, 1940, with a studio orchestra (including "April in Paris") and then moves on to his third big band, a magnificent string orchestra that included trumpeter Billy Butterfield, trombonist Jack Jenney, and pianist Johnny Guarnieri as key soloists. They perform one of the greatest versions ever of "Stardust," along with memorable renditions of "Temptation," Shaw's "Love of My Life," and the two-part "Blues." In addition, Artie Shaw's Gramercy Five (a sextet that included Butterfield with Guarnieri on celeste) is heard on four catchy numbers, highlighted by their hit record of "Summit Ridge Drive." There are many wonderful performances on this disc and Artie Shaw is heard in consistently inspired form. Scott Yanow
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ARTIE SHAW AND HIS ORCHESTRA – 1940-1941 | The Classics Chronological Series – 1167 (2001) FLAC (tracks+.cue), lossless

Artie Shaw kept his third jazz orchestra (his Stardust band) together into early 1941 before he decided to break it up. Included on this CD are the big band's last recordings (including "Prelude in C Major," "Dancing in the Dark," and the exciting two-part "Concerto for Clarinet") plus the second session by Shaw's Gramercy Five, featuring trumpeter Billy Butterfield and Johnny Guarnieri on harpsichord. Concluding this CD are four songs with a studio orchestra and four others with a very interesting interracial group that includes trumpeter Henry "Red" Allen, trombonist J.C. Higginbotham, altoist Benny Carter, Lena Horne (taking two vocals), and a string section. There are lots of stimulating and surprising performances heard throughout this pleasing program by the great clarinetist. Scott Yanow
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ARTIE SHAW AND HIS ORCHESTRA – 1941-1942 | The Classics Chronological Series – 1206 (2001) FLAC (tracks+.cue), lossless

In the summer of 1941, Artie Shaw organized yet another big band, his fourth in five years. This particular ensemble was one of his most fun groups, featuring trumpeter/singer Hot Lips Page, trombonist Jack Jenney, tenor saxophonist Georgie Auld, pianist Johnny Guarnieri, drummer Dave Tough, and a full string section with some arrangements by trombonist Ray Conniff. All but the last six recordings of this big band are on this CD, including "Blues in the Night," the adventurous "Nocturne," "Take Your Shoes off, Baby," "Just Kiddin' Around," "Dusk," and the two-part "St. James Infirmary." The music alternates between swing, Hot Lips Page features, and classical-oriented works, succeeding on all levels. But shortly after Pearl Harbor, Artie Shaw called it quits again, enlisting in the navy. Scott Yanow
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ARTIE SHAW AND HIS ORCHESTRA – 1942-1945 | The Classics Chronological Series – 1242 (2002) FLAC (tracks+.cue), lossless

Lenny Bruce was a devoted fan of the Artie Shaw Gramercy Five. He also went out of his way to make fun of Georgia Gibbs, the vocalist on Artie Shaw's January 20, 1942 recording of "Absent-Minded Moon." Lenny was playing up his preference for the hipper side of Shaw, as demonstrated on "Hindustan" and every track recorded at the session which took place the following day. These remarkable sides, which sound better every time they are played back, were the last studio recordings Shaw would make before joining the navy. Composer and arranger Paul Jordan crafted a number of transitionally modern-sounding charts for this band. There are several heavies in the lineup: Dave Tough and Johnny Guarnieri worked well together under any circumstances. Georgie Auld, Ray Conniff and Max Kaminsky were fortunate to be blowing their horns alongside Hot Lips Page, a seasoned trumpeter who conveyed the lyrical potency of ten ordinary musicians. The string section provides just the right amount of lilt without injecting too much fluff. There is a gorgeous rendition of "Sometimes I Feel Like a Motherless Child," with Shaw's clarinet in full blue cry and a gutsy vocal by Page. The Shaw discography, interrupted by a world war, resumes nearly three years later with Harold Arlen and Johnny Mercer's famous "Accentuate the Positive." Vocalist Imogene Lynn, dutifully intoning Mercer's imitation Afro-American revival lyrics, sounds a bit affected after the soulful gravity of Hot Lips Page. But it is important to place this popular hit record within historical context. By November of 1944 America needed a straight shot of optimism, and this catchy, morale-boosting number did more for the war against fascism than any number of giddy or poker-faced exercises in rhetorical patriotism. This is Artie Shaw & His Orchestra at their finest. Roy Eldridge gave the band extra punch, and the records he made with Shaw are uniformly solid, melodious and attractive. Billie Holiday, who had worked with Shaw in 1938, is invoked in Jimmy Mundy's "Lady Day." Poetically, its chord progressions seem to reference Billie's difficult life and maybe even the abusive racism she encountered while touring with Shaw at a time when black women simply did not appear with white bands. Buster Harding's "Little Jazz" is the definitive portrait of Eldridge. "Summertime" is exceptionally fine, with magical tonalities provided by Dodo Marmarosa and Barney Kessel. This special chemistry is all the more evident on two sides by the Gramercy Five. Certainly one of the best Artie Shaw reissues, and well-worth seeking out. arwulf arwulf  
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ARTIE SHAW AND HIS ORCHESTRA – 1945 | The Classics Chronological Series – 1277 (2002) FLAC (tracks+.cue), lossless

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ARTIE SHAW AND HIS ORCHESTRA – 1945-1946 | The Classics Chronological Series – 1330 (2003) FLAC (tracks+.cue), lossless

Here lie the last of the Victor recordings by Artie Shaw and his orchestra, dating from July and November of 1945. The first nine titles are charming big band dance numbers. A lot of that charm comes straight up from Dodo Marmarosa's piano and Barney Kessel's guitar, through the trumpet of Roy Eldridge and out of Artie Shaw's elegant clarinet. Those are four good reasons to check these records out, up close. Anybody who loves Dodo Marmarosa needs to hear these recordings in order to be able to appreciate how this young man interacted with a big band. Fortunately, there are only a few vocals by syrupy singer Halsey Stevens. At the tail end of "Yolanda," Dodo executes a mildly dissonant run in an apparent response to the heavily sugared crooning. Every sappy vocal is countered by several handsome instrumental interpretations of melodies by George Gershwin, Jerome Kern and Rodgers & Hart. Five solid performances by Artie Shaw Gramercy Five constitute the artistic high point of this CD. But the clarinetist seems to have been unwilling to stick with one style for more than a little while. Personnel changes began to occur and the music itself soon became radically different. Beginning on November 14, 1945, Shaw switched from Victor to the Musicraft label. Eldridge was gone, and the hip team of Kessel and Marmarosa were on the way out, along with much of the jazz element. On April 30 1946 the orchestra was augmented with strings. Succumbing to some sort of Hollywood malaise, Shaw's orchestra found itself supporting the confectionary voices of Mel Tormé & the Mel-Tones. The session of June 6 featured Shaw's clarinet backed by an enormous ensemble consisting of 12 violins, five violas, four cellos, three basses [one of which was played by Art Shapiro], harp, piano, guitar, drums, oboe, flute, two bassoons, four French horns and five saxophones. Arrangements were by Teddy Walters. Pointing in the direction of Technicolor, television and Tupperware, these recordings are as different as can be from the exciting jazz cooked up by Shaw's band only a few months earlier. While Shaw had his own reasons for heading in this direction, he was also at the mercy of the entertainment industry, and said as much in his autobiography, The Trouble with Cinderella. arwulf arwulf  
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ARTIE SHAW AND HIS ORCHESTRA – 1946-1950 | The Classics Chronological Series – 1368 (2004) FLAC (tracks+.cue), lossless

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ARTIE SHAW AND HIS ORCHESTRA – 1950 | The Classics Chronological Series – 1397 (2005) FLAC (tracks+.cue), lossless

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ARTIE SHAW AND HIS ORCHESTRA – 1951-1954 | The Classics Chronological Series – 1413 (2006) FLAC (tracks+.cue), lossless

Volume 16 in the Classics Artie Shaw chronology covers a time line from January 30 1951 to March of 1954, combining ten of his excellent latter-day Gramercy Five recordings with 11 performances by what is now recognized as his last big band. The ensembles used on the sessions that took place in July of 1953 were positively gargantuan, with the group that was squeezed into the studio on July 2 weighing in as Brobdingnagian: 20 pieces + 17 string players = 37 musicians, a jazz orchestra monstrous enough to have handled one of Stan Kenton's Innovations charts, although the arrangements used here were so sugary as to suggest instead a Jackie Gleason midnight cocktail lounge set. Although those who suffer from an allergy to string ensembles might balk at the prospect, Shaw's inspired clarinet technique transforms even the sweetest of these marzipans into an intoxicating daydream of Cinemascopic proportions. The Gramercy Five sides are exceptionally satisfying, with attractive vocals by June Hutton, a mature Connee Boswell and sensuous Trudy Richards, who seems to have modeled her singing style after Dinah Washington. Of the three quintets heard in this part of the chronology, the one Shaw led during September 1953 and again in early 1954 was a particularly fine unit composed of pianist Hank Jones, vibraphonist Joe Roland, guitarist Tal Farlow, bassist Tommy Potter and drummer Irv Kluger, who got to show off during the "Stop and Go Mambo." The nearly nine minute "Sequence in B Flat" is a full-fledged exercise in modern bop. Altogether a fascinating segment of Artie Shaw's late period, this compilation features the last of his Decca recordings, a transitional date for the tiny Bell record label, and the first of Shaw's wonderful collaborations with producer Norman Granz. arwulf arwulf  
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