DODO MARMAROSA TRIO — Complete Studio Recordings (2004) 2CD | FLAC (tracks+.cue), lossless

Even if comparisons with Lennie Tristano, Al Haig and Bud Powell are inevitable, Dodo Marmarosa's music has a surrealistic imprint essentially unlike that of any other pianist in or out of bop. In honor of this cardinal truth, the Lone Hill Jazz label has come forward with the Complete Studio Recordings of the Dodo Marmarosa Trio (including alternate takes), bringing together three different West Coast sessions from 1946 and 1947, four selections waxed in his home town of Pittsburgh in 1950, and an entire second disc's worth of mature Marmarosa material recorded in Chicago in 1961 and 1962. The instrumentation is well worth scrutinizing; the two earliest tracks, dated January 11, 1946, involved bassist Ray Brown and drummer Jackie Mills. Tracks three through 14, waxed on or after September 23, 1946, had no drummer -- only guitarist Barney Kessel and bassist Gene Englund played with the pianist. A rare example of Dodo the vocalist, "I've Got News for You" was originally released on the Atomic record label. The bedrock of this man's musical legacy is a series of sides recorded for the Dial label in Los Angeles on December 3, 1947 (disc one, tracks 15-19 and 24-29). The first cascading bars of "Bopmatism" plunge the listener into an intoxicating groove from which there is no retreat. Here Dodo worked with Harry Babasin, a bassist who doubled on the cello, and once again percussionist Jackie Mills. The Pittsburgh Savoy session found the pianist in the company of bassist Thomas Mandrus and drummer Joe Wallace. More than ten years fraught with personal crises passed before Dodo Marmarosa, by then operating in Chicago, recorded again in a studio with a trio. On May 9 and 10, 1961, the pianist recorded ten tracks with bassist Richard Evans and drummer Marshall Thompson. Almost exactly one year later, on May 4, 1962, seven additional performances were waxed with the great Sam Jones replacing Evans. Both those who are just discovering Marmarosa's music and seasoned jazzheads who are mainly familiar with his earlier work will find this raft of latter-day Dodo a treasure well worth savoring time and again. arwulf arwulf
Tracklist 1 :
1    Mellow Mood 3:12
Written-By – D. Marmarosa
2    Dodo's Blues 3:11
Written-By – D. Marmarosa
3    Raindrops 2:47
Written-By – D. Marmarosa
4    I've Got News For You 2:58
Written-By – L. Easton
5    Compadoo 2:18
Written-By – D. Marmarosa
6    I'm In Love 2:35
Lyrics By – LeBaron / Music By – Kreisler
7    Opus No. 5 1:45
Written-By – D. Marmarosa
8    You Thrill Me So 2:44
Written-By – D. Marmarosa
9    Dodo's Bounce 1:41
Written-By – D. Marmarosa
10    Escape 1:42
Written-By – D. Marmarosa
11    Lover Come Back To Me 2:49
Lyrics By – Hammerstein II / Music By – Romberg
12    Raindrops 2:09
Written-By – D. Marmarosa
13    Smoke Gets In Your Eyes 2:38
Lyrics By – Harbach / Music By – Kern
14    Bopmatism 1:20
Written-By – D. Marmarosa
15    Bopmatism 2:55
Written-By – D. Marmarosa
16    Dodo's Dance 3:06
Written-By – D. Marmarosa
17    Trade Winds 3:08
Written-By – D. Marmarosa
18    Dary Departs 2:35
Written-By – D. Marmarosa
19    Cosmo Street 3:51
Written-By – D. Marmarosa
20    My Foolish Heart 2:36
Lyrics By – Washington / Music By – Young
21    Blue Room 3:04
Written-By – Hart-Rodgers
22    Why Was I Born 3:13
Written-By – Kern-Hammerstein II
23    The Night Is Young 2:48
Written-By – I. Kahal
24    Bopmatism    3:06
25    Dodo's Dance    3:04
26    Trade Winds    3:05
27    Dary Departs    2:45
28    Dary Departs    2:43
29    Cosmo Street    3:25
Tracklist 2 :
1    April Played The Fiddle 4:07
Written-By – Monaco, Burke
2    Why Do I Love You 3:19
Written-By – Kern-Hammerstein II
3    Everything Happens To Me 4:39
Music By – Carmichael / Words By – Mercer
4    Me And My Shadow 4:04
Lyrics By – Rose / Music By – Dreyer / Written-By – Jolson
5    On Green Dolphin Street 3:15
Lyrics By – Washington / Music By – Kaper
6    Tracy's Blues 3:36
Written-By – D. Marmarosa
7    You Call It Madness 3:56
Written-By – Conrad, DuBois, Gregory, Columbo
8    Mellow Mood 3:57
Written-By – D. Marmarosa
9    I Thought About You 5:29
Lyrics By – Mercer / Music By – VanHeusen
10    A Cottage For Sale 4:56
Lyrics By – Conley / Music By – Robison
11    The Song Is You 7:31
Written-By – Kern-Hammerstein II
12    Just Friends 5:17
Lyrics By – Klenner / Music By – Lewis
13    Yardbird Suite 4:18
Written-By – C. Parker
14    I Remember You 3:41
Lyrics By – Mercer / Music By – Schertzinger
15    The Moody Blues 4:09
Written-By – D. Marmarosa
16    The Very Thought Of You 4:02
Written-By – R. Noble
17    Yardbird Suite 3:50
Written-By – C. Parker
Credits :
Bass – Gene Englund (tracks: 1-3 to 1-14), Ray Brown (tracks: 1-1, 1-2), Richard Evans (tracks: 2-1 to 2-10), Sam Jones (tracks: 2-1 to 2-10), Thomas Mandrus (tracks: 1-20 to 1-23)
Bass, Cello – Harry Babasin (tracks: 1-15 to 1-19, 1-24 to 1-29)
Drums – Jackie Mills (tracks: 1-1, 1-2, 1-15 to 1-19, 1-24 to 1-29), Joe Wallace  (tracks: 1-20 to 1-23), Marshall Thompson (tracks: 2-1 to 2-17)
Guitar – Barney Kessel (tracks: 1-3 to 1-14)
Piano – Dodo Marmarosa
Vocals – Dodo Marmarosa (tracks: 1-4)

CHARLIE BYRD | BARNEY KESSEL | HERB ELLIS — Great Guitars (1975) FLAC (tracks+.cue), lossless

Charlie Byrd was teamed up with Barney Kessel and Herb Ellis (along with bassist Joe Byrd and drummer John Rae) for this rather exciting concert. While Ellis and Kessel have three unaccompanied duets, the inclusion of Byrd (thought of as a Brazilian specialist rather than a bopper) is the wild card that makes this set a major success. While Byrd is excellent on his features "Charlie's Blues" and "O Barquinho," it is the three stomps featuring all the guitarists ("Undecided," "Topsy" and "Benny's Bugle") that are most memorable. Scott Yanow
Tracklist :
1    Undecided    6:19
 Sydney Robin / Charlie Shavers
2    O Barquinho    4:41
 Ronaldo Bôscoli / Roberto Menescal
3    Slow Burn    5:33
 Barney Kessel
4    Charlie's Blues    8:17
 Charlie Byrd
5    Topsy    5:44
 Edgar Battle / Eddie Durham
6    Latin Groove    4:26
 Barney Kessel
7    Down Home Blues    3:57
 Herb Ellis / Barney Kessel
8    H And B Guitar Boogie    4:08
 Herb Ellis / Barney Kessel
9    Benny's Bugle    5:37
 Benny Goodman
Credits :
Bass – Joe Byrd
Drums – John Rae
Guitar – Barney Kessel, Charlie Byrd, Herb Ellis

THE BARNEY KESSEL TRIO — Jellybeans (1981-1996) FLAC (tracks+.cue), lossless

 On this fairly typical trio set, guitarist Barney Kessel is joined by bassist Bob Maize and drummer Jimmie Smith. "Stella by Starlight," "St. Thomas" and "Shiny Stockings" generate some heat; there are three Kessel originals and also two veteran ballads. The music swings without giving listeners any real surprises, but Kessel's fans can consider this one of his best Concord recordings. Scott Yanow
Tracklist :
1    Jellybeans    4:08
 Barney Kessel
2    Stella By Starlight    5:46
 Ned Washington / Victor Young
3    Mermaid    4:27
 Barney Kessel
4    My Foolish Heart    4:34
 Ned Washington / Victor Young
5    Juarez After Dark    4:26
 Barney Kessel
6    I've Never Been In Love Before    5:19
 Frank Loesser
7    St. Thomas    4:45
 Sonny Rollins
8    Shiny Stockings    5:14
 Frank Foster
Credits :
Bass – Bob Maize
Drums – Jimmie Smith
Guitar – Barney Kessel

BARNEY KESSEL — Kessel's Kit (1969-2015) RM | Serie Jazz Collection 1000 | FLAC (tracks+.cue), lossless

Tracklist  :
1. B.J.'s Samba (Kessel) - 4:032. Meu Irmao (Pes) - 4:51
3. Malibu (Trovajoli) - 5:32

4. On the Riviera (Kessel) - 3:57
5. Lison (Pes) - 3:48
6. Freeway (Capuano-Capuano) - 2:58
7. From My Heart (Kessel) - 5:09
8. Swing Samba (Kessel) - 3:41
9. Amelia (De Natale-Coggio) - 3:20
Credits :
Drums – Vincenzo Restuccia
Electric Bass – Giovanni Tommaso
Electric Guitar – Carlo Pes
Electric Organ – Antonello Vannucchi
Percussion – Ciro Cicco

BARNEY KESSEL – Let's Cook! (1957-1999) RM | FLAC (tracks+cue) lossless

This is an excellent session from guitarist Barney Kessel. Kessel is matched with vibraphonist Victor Feldman, pianist Hampton Hawes, bassist Leroy Vinnegar, and drummer Shelly Manne for a blues-with-a-bridge (the 11-minute "Let's Cook"), Vernon Duke's ballad "Time Remembered," and "Just in Time." The second half of the album has modernized versions of "Tiger Rag" and "Jersey Bounce" as played by the guitarist, tenor saxophonist Ben Webster, trombonist Frank Rosolino, pianist Jimmie Rowles, Vinnegar, and Manne. Throughout, Kessel keeps with the other all-stars, swinging hard while paying tribute to the legacy of Charlie Christian. Scott Yanow
Tracklist  :
1 Let's Cook 11:18
Written-By – Barney Kessel
2 Time Remembered 4:15
Written-By – Vernon Duke
3 Just In Time 4:57
Written-By – Adolph Green, Betty Comden, Jule Styne
4 Tiger Rag 9:45
Written-By – Original Dixieland Jazz Band
5 Jersey Bounce 9:30
Written-By – Bobby Plater, Buddy Feyne, Tiny Bradshaw
# 1-3 :
Bass – Leroy Vinnegar
Drums – Shelly Manne
Guitar – Barney Kessel
Piano – Hampton Hawes
Victor Feldman Vibraphone
# 4-5 :
Piano – Jimmy Rowles
Saxophone – Ben Webster
Trombone – Frank Rosolino
Guitar – Barney Kessel
Bass – Leroy Vinnegar
Drums – Shelly Manne

BILLIE HOLIDAY — Solitude (1952-1993) RM | Serie Billie Holiday Verve Story – Volume 2 | FLAC (tracks+.cue), lossless

Billie Holiday's first recordings for Norman Granz' Clef Records present a vocalist truly at the top of her craft, although she would begin a rapid decline soon thereafter. This 1952 recording (originally issued as a 10" LP, Billie Holiday Sings) places Holiday in front of small piano and tenor saxophone-led groups including jazz luminaries such as Oscar Peterson and Charlie Shavers, where her gentle phrasing sets the tone for the sessions, evoking lazy evenings and dreamy afternoons. The alcoholism and heroin use that would be her downfall by the end of this decade seems to be almost unfathomable during these recordings since Holiday is in as fine a voice as her work in the '30s, and the musical environment seems ideal for these slow torch songs. Solitude runs as the common theme throughout these 16 tracks; the idle breathiness of "These Foolish Things (Remind Me of You)" finds the vocalist casually reminiscing, and Barney Kessel's warm guitar lines frame the title track beautifully. Several of Holiday's best-known recordings came from this session, including outstanding versions of "I Only Have Eyes for You" and a darkly emotional "Love for Sale," making this album far and away the best work of her later years, and certainly a noteworthy moment of her entire career. Zac Johnson
Tracklist :
1. East of the Sun (And West of the Moon) (Bowman) - 2:56
2. Blue Moon (Rodgers-Hart) - 3:31
3. You Go to My Head (Coots-Gillespie) - 2:57
4. You Turned the Tables on Me (Alter-Mitchell) - 3:28
5. Easy to Love (Porter) - 3:02
6. These Foolish Things (Link-Strachey-Maschwitz) - 3:35
7. I Only Have Eyes for You (Warren-Dubin) - 2:54
8. Solitude (Ellington-DeLange-Mills) - 3:32
9. Everything I Have Is Yours (Lane-Adamson) - 3:45
10. Love for Sale (Porter) - 2:59
11. Moonglow (DeLange-Hudson-Mills) - 3:00
12. Tenderly (Gross-Lawrence) - 3:25
13. If the Moon Turns Green (Coates-Hanighen) - 2:47
14. Remember (Berlin) - 2:37
15. Autumn in New York (LP take) (Duke) - 3:43
16. Autumn in New York (78 rpm take) (Duke) - 3:52
Credits :
Billie Holiday - Vocals
Charlie Shavers - Trumpet
Flip Phillips - Tenor Saxophone
Oscar Peterson - Piano
Barney Kessel - Guitar
Alvin Stoller - Drums

BOB BROOKMEYER | JIMMY CLEVELAND | FRANK ROSOLINO — The Trombones Inc. (1958-2007) FLAC (tracks+.cue), lossless

 Each of the selections on this set has between seven and a dozen trombonists along with a rhythm section. The first five selections were recorded with East Coast musicians and the next six with players from the West Coast but, truth be told, there is no real difference in the style of music. The arrangements of J.J. Johnson, Warren Barker and Marty Paich are strictly straight-ahead with an emphasis on the sound of the trombone sections. There are many concise solos along the way but the only standouts are Frank Rosolino and Jimmy Cleveland, as most of the other individual spots are brief. The final number, "I Found a New Baby," was not on the original LP and was apparently recorded half on the East Coast and half on the West, a discographer's nightmare but pointing to the unity of this project. The music is fun and very much in the idiom of 1950s J.J. Johnson although Johnson does not actually play a note on this project. Scott Yanow   Tracklist & Credits :

OLIVER NELSON & FRIENDS – Happenings + Soulful Brass (2011) RM | Serie Impulse! 2-On-1 | FLAC (tracks+.cue), lossless

This Impulse two-fer revives a pair of LPs by arranger, composer, and saxophonist Oliver Nelson, Happenings and Soulful Brass, released in 1966 and 1968, respectively. Happenings, a date with pianist Hank Jones, is the better album, unlike Soulful Brass, which was co-led with comedian/pianist Steve Allen. Unfortunately, both pianists are featured mainly on harpsichord, which tends to dominate, and at times overwhelm, the compositions. Unless you're a die-hard collector, best to skip this two-fer and pick up the Impulse releases, The Blues & the Abstract Truth and More Blues & the Abstract Truth. Al Campbell  Tracklist & Credits :

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 :

BARNEY KESSEL — Barney Kessel Volume 1 : Easy Like (1956-2006) RM | MONO | APE (image+.cue), lossless

Other than four songs apiece released by Onyx and Verve, the CD reissue of Easy Like, Vol. 1 has guitarist Barney Kessel's first sessions as a leader, performances which launched his longtime association with the Contemporary label. Augmented by two "new" alternate takes, the set features Kessel in boppish form with quintets in 1953 and 1956 featuring, either Bud Shank or Buddy Collette doubling on flute and alto. Kessel shows off the influence of Charlie Christian throughout the performances, with the highlights including "Easy Like," "Lullaby of Birdland," "North of the Border," and the accurately titled "Salute to Charlie Christian." Scott Yanow
Tracklist :
1 Easy Like 4:04
Barney Kessel
2 Tenderly 4:06
Walter Gross / Jack Lawrence
3 Lullaby of Birdland 3:16
George Shearing / George David Weiss
4 What Is There to Say? 3:10
Vernon Duke / E.Y. "Yip" Harburg
5 Bernardo 3:34
Barney Kessel
6 Vicky's Dream 2:37
Barney Kessel
7 Salute to Charlie Christian 2:52
Barney Kessel
8 That's All 3:18
Alan Brandt / Bob Haymes
9 I Let a Song Go Out of My Heart 4:12
Duke Ellington / Irving Mills / Henry Nemo / John Redmond
10 Just Squeeze Me (But Don't Tease Me) 3:41
Duke Ellington / Lee Gaines
11 April in Paris 3:00
Vernon Duke / E.Y. "Yip" Harburg
12 North of the Border 2:46
Barney Kessel
13 Easy Like 2:44
Barney Kessel
14 North of the Border 2:44
Barney Kessel
Credits :
Bass – Harry Babasin (tracks: 3 to 8, 10, 11), Red Mitchell (tracks: 1, 2, 9, 12 to 14 )
Drums – Shelly Manne
Flute, Alto Saxophone – Bud Shank (tracks: 3 to 8, 10, 11), Buddy Collette (tracks: 1, 2, 9, 12 to 14 )
Guitar – Barney Kessel
Piano – Arnold Ross (tracks: 3 to 8, 10, 11), Claude Williamson (tracks: 1, 2, 9, 12 to 14 )

LESTER YOUNG — The Complete Lester Young Studio Sessions on Verve (2006) RM | 8xCD BOX-SET | FLAC (tracks+.cue), lossless

All too often, jazz critics have promoted the myth that Lester Young's playing went way downhill after World War II -- that the seminal tenor man was so emotionally wounded by the racism he suffered in the military in 1944-1945 that he could no longer play as well as he had in the '30s and early '40s. To be sure, Young went through hell in the military, and his painful experiences took their toll in the form of alcohol abuse, severe depression, and various health problems. But despite Young's mental decline, he was still a fantastic soloist. This eight-CD set, which gathers most of the studio recordings that he made for Norman Granz's Clef, Norgran, and Verve labels from 1946-1959, underscores the fact that much of his postwar output was superb. At its worst, this collection is at least decent, but the Pres truly excels on sessions with Nat "King" Cole and Buddy Rich in 1946, Oscar Peterson and Barney Kessel in 1952, Roy Eldridge and Teddy Wilson in 1956, and Harry "Sweets" Edison in 1957. Disc 8 contains two recorded interviews with the saxman -- one conducted by Chris Albertson in 1958 for WCAU radio in Philadelphia, the other by French jazz enthusiast Francois Postif in Paris on February 6, 1959 (only five or six weeks before Young's death on March 15 of that year). The contrast between the fascinating interviews is striking; in Philly, Young is polite and soft-spoken, whereas in Paris, the effects of the alcohol are hard to miss. Sounding intoxicated and using profanity liberally, Young candidly tells Postif about everything from his experiences with racism to his associations with Billie Holiday and Count Basie. But as much as the set has going for it, The Complete Lester Young Studio Sessions on Verve isn't for novices, casual listeners, or those who are budget-minded (Verve's suggested retail price in the U.S. was $144). Collectors are the ones who will find this CD to be a musical feast. Alex Henderson   Tracklist & Credits :

MILT JACKSON — Ballads & Blues (1956-2012) RM | Jazz Best Collection 1000 Series | MONO | FLAC (image+.cue), lossless

Comes with a mini description. Ballads & Blues is an album by American jazz vibraphonist Milt Jackson featuring performances recorded in 1956 and released on the Atlantic label. The unassuming title of this compilation understates the fact that Milt Jackson is a master of ballad and blues forms, and an inspired collaborator when working flautists.
The small group settings for these performances allow the players – some of the very best in jazz and all in top form – to be heard to full advantage. The guitarists are particularly effective, the crisp, cool tones of Skeeter Best, Barry Galbraith, Barney Kessel, and Kenny Burrell complementing the rich, ringing cascade from Jackson's vibes. Of note from 1956's Ballads and Blues are two performances with tenor saxophonist Lucky Thompson. These will be appreciated by anyone who has enjoyed Jackson's work with Thompson on the Savoy label. The 1956 date also has three Ralph Burns arrangements that augment the players with a woodwind quintet. While neither overly lush or cloying, the oboes, etc., still don't add a lot to what the core group has to say.
Tracklist :
1    So In Love 3:11

Written-By – Cole Porter
2    These Foolish Things 4:26
Written-By – Harry Link, Holt Marvell
3    Solitude 4:39
Written-By – Duke Ellington, Eddie de Lange, Irving Mills
4    The Song Is Ended 4:39
Written-By – Irving Berlin
5    They Didn't Believe Me 3:44
Written-By – Jerome Kern, M. E. Rourke
6    How High The Moon 6:12
Written-By – M. Lewis, Nancy Hamilton
7    Gerry's Blues 5:00
Written-By – Milt Jackson
8    Hello 3:44
Written-By – Milt Jackson
9    Bright Blues 6:11
Written-By – Milt Jackson
Personnel :
Milt Jackson – Vibes
Lucky Thompson - Tenor Saxophone (tracks 6, 8 & 9)
John Lewis - Piano (tracks 1, 3, 5, 6, 8 & 9)
Skeeter Best (tracks 6, 8 & 9), Barry Galbraith (tracks 1, 3 & 5), Barney Kessel (tracks 2, 4 & 7) – Guitar
Percy Heath (tracks 2, 4 & 7), Oscar Pettiford (tracks 1, 3, 5, 6, 8 & 9) - Bass
Kenny Clarke (tracks 1, 3, 5, 6, 8 & 9), Lawrence Marable (tracks 2, 4 & 7) – Drums

OSCAR PETERSON – 1950-1952 | The Classics Chronological Series – 1323 (2003) FLAC (tracks), lossless

Oscar Peterson, after making his initial recordings in his native Montreal during 1945-1949, was presented by Norman Granz at a Jazz at the Philharmonic concert in 1950 and hit it big. At first he was featured in duos with either Ray Brown or Major Holley on bass. This CD begins with three selections from a Carnegie Hall concert on September 16, 1950, with Brown including extended versions of "Carnegie Blues" and "I Only Have Eyes for You." Seven studio recordings by the same duo precede the first five recordings by the Oscar Peterson Trio with Brown and guitarist Barney Kessel. This CD's final session has most of the selections recorded by Peterson and Brown with guitarist Irving Ashby on January 26, 1952; Kessel would not officially become the group's guitarist until the following month. Although more swing-oriented than he would become (and showing off the influence of Nat King Cole), Oscar Peterson was already a great virtuoso and rapidly developing his own voice on the piano. These formerly rare recordings are well worth acquiring. Scott Yanow          Tracklist + Credits :

OSCAR PETERSON – 1952 | The Classics Chronological Series – 1361 (2004) FLAC (tracks), lossless

 Tracklist + Credits :

OSCAR PETERSON – 1952, Vol. 2 | The Classics Chronological Series – 1399 (2005) FLAC (tracks), lossless

Tracklist :

OSCAR PETERSON – 1952, Vol. 3 | The Classics Chronological Series – 1426 (2006) FLAC (tracks), lossless

This is the seventh volume in the Classics Oscar Peterson chronology. It contains 22 excellent tracks recorded in Los Angeles during the last two months of 1952. By this time, producer Norman Granz was firmly committed to his lifelong mission, which was to make as many recordings of Oscar Peterson as humanly possible. Granz was obeying his best instincts, and posterity should be grateful that he had the wherewithal to record so many hours of intimate Art Tatum and Oscar Peterson on miles and miles of magnetic tape. This particular segment of the Oscar Peterson story is uncommonly wonderful. Teamed with guitarist Barney Kessel and bassist Ray Brown, he concentrated upon five of the 20th century's greatest composers: Cole Porter, George Gershwin, Irving Berlin, Duke Ellington and Billy Strayhorn. Throughout what has got to be one of this artist's most dependable and recommendable reissue compilations the listener will find excellent music for dining, dancing, relaxation, reflection, rumination and meditative noctambulation. arwulf arwulf    Tracklist + Credits :

OSCAR PETERSON – 1952-1953 | The Classics Chronological Series – 1456 (2008) FLAC (tracks), lossless

In 2008 the producers of the Classics Chronological Series released a 21-track collection of studio recordings made under the supervision of Norman Granz during the early '50s by pianist Oscar Peterson, guitarist Barney Kessel, and bassist Ray Brown. During November and December 1952 the trio recorded a series of tunes composed by Duke Ellington and Irving Berlin; these were subsequently released on the Mercury label. "Booker T. Blues" and the wickedly rocking "Streets Boogie," both spiked with Kessel's amplified guitar, appeared as a Norgran single under the name of the Tank Butterball Trio. Released on the Clef album Oscar Peterson Sings, tracks 13-20 illuminate another aspect of this man's inspired and prolific career. "Pompton Turnpike," most famous as a perennial hit by saxophonist and bandleader Charlie Barnet, comes from a session that took place on December 6, 1953. By this time Granz and Peterson had established a working relationship that would continue to bear fruit for several decades. The combination of instrumental standards, gutsy blues, and vocal chestnuts makes this a pleasantly varied installment in the complete recordings of Oscar Peterson on Classics. arwulf arwulf     Tracklist :

BEN WEBSTER – 1953-1954 | The Chronogical Classics – 1458 (2008) FLAC (tracks+.cue), lossless

Almost 25 years into his recording career, tenor saxophonist Ben Webster made a series of studio recordings under the supervision of producer Norman Granz. These marvelous performances were reissued in chronological sequence by the Classics label in 2008. Each volume of Ben Webster on Classics is richly packed with satisfying ballads, blues, and swing. This installment borders between superb and divine. Three titles recorded for Mercury on January 22, 1953, find Webster soloing in front of an orchestra conducted by Johnny Richards, a student of Arnold Schoenberg who served as an arranger for Stan Kenton. Recorded at sessions that took place in April and December 1953, tracks four through 12 were originally released on the Norgran album King of the Tenors. The collective personnel from these dates is typical of the Granz "embarrassment of riches" approach, for here were trumpeter Harry "Sweets" Edison, alto saxophonist Benny Carter, pianist Oscar Peterson, guitarists Barney Kessel and Herb Ellis, bassist Ray Brown, and drummer J.C. Heard. Tracks 13-16 were recorded on March 30, 1954, with the assistance of pianist Teddy Wilson, bassist Ray Brown, and drummers Alvin Stoller and Jo Jones. This material, along with the rest of the titles on the collection, formed the Verve album Music for Loving. On tracks 17-21, Ben Webster interprets sensuous ballads backed by the Ralph Burns Orchestra. In addition to a string section, the ensemble included clarinetist Tony Scott, bassist George Duvivier, drummer Louis Bellson, and composer/pianist/arranger Billy Strayhorn. arwulf arwulf         Tracklist :

BENNY GOODMAN AND HIS ORCHESTRA – 1946-1947 | The Classics Chronological Series – 1385 (2005) FLAC (tracks+.cue), lossless

Volume 29 in the Classics Benny Goodman chronology lands right on the cusp of this bandleader's transition from Columbia to Capitol and his stylistic progression from swing to bop. The Columbia sides, cut between August 29 and October 22, 1946, are a mixed bag of vocal pop, mood music with strings, jazz standards played by a sextet and big-band dance tunes including a lively version of "Under the Double Eagle," arranged by pianist Joe Bushkin and newly titled as "Benjie's Bubble." Audible only as one-fifth of the unified sax section, tenor saxophonist and Lester Young devotee Zoot Sims worked with Goodman during October 1946 without ever getting a chance to solo on record. Guitarist Barney Kessel did, right after Eve Young's vocal on "That's the Beginning of the End." Recorded at the tail-end of that same session on October 22, 1946, two energetic, bop-inflected sextet performances clearly preface the stylistic territory that lay ahead. Here Kessel sounds at home in the company of vibraphonist Johnny White, pianist Joe Bushkin, bassist Harry Babasin and drummer Louie Bellson. The beginning of Goodman's tenure as a Capitol recording artist is documented here with records he made between January 28 and March 28, 1947. The first Capitol session opens with Mary Lou Williams' delightfully modernistic opus "Lonely Moments." The flip side features group whistling scored for the entire band on her "Whistle Blues." A survey of personnel reveals an almost entirely reconstituted 17-piece ensemble, with vocals by Johnny Mercer and Matt Dennis. Tracks 15 through 25 are trio, quartet and quintet exercises largely featuring the facile jazz accordion of Ernice Felice, a squeezebox innovator who came up in San Jose, CA. Quite different from Goodman's more conventional Columbia recordings. arwulf arwulf  
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DODO MARMAROSA – 1945-1950 | The Classics Chronological Series – 1165 (2001) FLAC (tracks+.cue), lossless

Michael "Dodo" Marmarosa was a marvelous, flexible pianist. He could cook passionately in the middle of a steaming hot band or ease into an ethereal mood with hardly anybody else in the room. Classically trained, Dodo hung out with young Erroll Garner when they were still figuring themselves out back home in Pittsburgh. He made great records with Artie Shaw, Slim Gaillard, Lester Young, Charlie Parker, Wardell Gray, and Howard McGhee. What you have here is a chronological grab bag of recordings from Dodo's most promising years. The Barney Kessel All-Stars session, resulting in four sides issued on the Atomic label in 1945, is an exciting discovery, notable for the reeds and vibes of Herbie Steward and Johnny White. Seven months later, the pianist led a pared-down group in concocting another four recordings for Atomic. Dodo has said that he composed "Mellow Mood" when he was only 14 years old. This version, waxed when he was all of 20, exudes a calm sophistication. "Dodo's Blues" is honest and cool, with nice brushwork from Jackie Mills. "How High the Moon" bristles with hot percussion and a wild tenor sax solo by Lucky Thompson. The flip side is a ballad to end all ballads. If you didn't know it was Lucky pouring Alfredo sauce over "I Surrender Dear," you'd think it was Coleman Hawkins himself. The tenth and last side issued by Atomic offers a rare example of Dodo Marmarosa the vocalist. It's worth having as a tasty curiosity, as are two sides cut about a year later with Dodo backing Miss Dana, a singer who really belts out Fats Waller's "Black and Blue." The definitive Dodo is heard on five trio sides recorded for the Dial label in Los Angeles on December 3, 1947. "Bopmatism" has a slightly manic quality that will stay with you long after the piece has ended. "Dodo's Dance" is a giddy, high-velocity workout. "Trade Winds" delivers a much cooler mood, bringing to mind the very beat legend that Dodo once painted the inside of his bathtub green so his bath water would more closely resemble a tropical ocean. Dodo's meditative side is beautifully languid and precious as true love and peace of mind. "Dary Departs," a simple study in relaxed 4/4, is one of his greatest achievements. "Cosmo Street" turns out to be nothing more than a friendly version of Rodgers & Hart's "Lover." The disc ends with four Savoy sides made back home in Pittsburgh during the summer of 1950. Anyone familiar with Marmarosa's discography will be puzzled by the gaps in this picture. Dodo's unaccompanied "Tone Paintings" of 1947 definitely belong in the chronology along with "Deep Purple" and "Tea for Two," fine solos from early 1946. Although other volumes in the Classics series offer plenty of initially "rejected" material, we are told that this volume contains "only those tracks that were actually issued at the time." As for ten additional sides made in collaboration with Barney Kessel and six more with Lucky Thompson, it would be logical to expect them to appear on the Classics label under those artists' names. An excellent survey of Marmarosa's recorded works from 1946 and 1947 was issued in 1991 by Fresh Sound [FSCD-1019], bearing the title Dodo's Bounce. arwulf arwulf  
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