BEN WEBSTER | OSCAR PETERSON — Ben Webster Meets Oscar Peterson (1959) Two Version (1997, RM | Serie Verve Master Edition) + (2011, RM | SACD, Hybrid | Serie Verve Reissues) APE (image+.cue), lossless & FLAC (tracks+.cue), lossless

Another fine Webster release on Verve that sees the tenor great once again backed by the deluxe Oscar Peterson Trio. In keeping with the high standard of their Soulville collaboration of two years prior, Webster and the trio -- Peterson is joined by bassist Ray Brown and drummer Ed Thigpen -- use this 1959 date to conduct a clinic in ballad playing. And while Soulville certainly ranks as one of the tenor saxophonist's best discs, the Ben Webster Meets Oscar Peterson set gets even higher marks for its almost transcendent marriage of after-hours elegance and effortless mid-tempo swing -- none of Webster's boogie-woogie piano work to break up the mood here. Besides reinvigorating such lithe strollers as "Bye Bye Blackbird" (nice bass work by Brown here) and "This Can't Be Love," Webster and company achieve classic status for their interpretation of the Sinatra gem "In the Wee Small Hours of the Morning." And to reassure Peterson fans worried about scant solo time for their hero, the pianist lays down a healthy number of extended runs, unobtrusively shadowing Webster's vaporous tone and supple phrasing along the way. Not only a definite first-disc choice for Webster newcomers, but one of the jazz legend's all-time great records. Stephen Cook  
Tracklist :
1 The Touch Of Your Lips 6:10
Written-By – Noble
2 When Your Lover Has Gone 3:50
Written-By – Swan
3 Bye Bye Blackbird 6:35
Written-By – Dixon, Henderson
4 How Deep Is The Ocean (How High Is The Sky) 2:30
Written-By – Berlin
5 In The Wee Small Hours Of The Morning 3:06
Written-By – Hilliard, Mann
6 Sunday 3:55
Written-By – Krueger, Conn, Styno, Miller
7 This Can't Be Love 9:45
Written-By – Rodgers/Hart
Credits :
Bass – Ray Brown
Drums – Ed Thigpen
Piano – Oscar Peterson
Tenor Saxophone – Ben Webster

BEN WEBSTER — At The Renaissance (1985-1993) RM | 24 Karat Gold | FLAC (image+.cue), lossless

This live set features tenor great Ben Webster playing with pianist Jimmy Rowles, guitarist Jim Hall, bassist Red Mitchell, and drummer Frank Butler in a club, and the music is consistently wonderful. Whether showing warmth and sentimentality on "Georgia on My Mind" and "Stardust" or growling and roaring on "Caravan" and "Ole Miss Blues," Webster (who was then somewhat taken for granted) is in superior and creative form. Recommended. Scott Yanow
Tracklist :
1    Caravan 10:15
Written-By – Ellington, Mills, Tizol
2    Georgia On My Mind 6:41
Written-By – Carmichael, Gorell
3    Ole Miss Blues 6:45
Written-By – W.C. Handy
4    What Is This Thing Called Love 7:49
Written-By – Cole Porter
5    Stardust 11:09
Written-By – Hoagy Carmichael
6    Gone With The Wind 9:01
Written-By – Wrubel, Magidson
7    Renaissance Blues 5:49
Written-By – Webster, Butler, Hall, Rowles, Mitchell
8    Mop Mop 8:27
Written-By – Heard, Wilson
Credits :
Bass – Red Mitchell
Drums – Frank Butler
Guitar – Jim Hall
Piano – Jimmy Rowles
Tenor Saxophone – Ben Webster

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

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 :

DIZZY GILLESPIE — The Complete RCA Victor Recordings (1995) 2CD | FLAC (tracks+.cue), lossless

Although the sheer scope of this double-CD roundup of all of Dizzy's Victor sessions places it most obviously within the evolution of bebop, it is absolutely essential to Latin jazz collections as well. Here listeners find the discographical launching pad of Afro-Cuban jazz on December 22, 1947, when Cuban conguero Chano Pozo added his galvanic congas and bongos to Gillespie's big band for the first time on record. One can feel the explosive effect of Pozo's subdivisions of the beat, rhythmic incantations, and grooves on the band's bebop charts. Though the musicians' styles aren't much affected, and Pozo does most of the adapting to bebop rather than vice versa, the foundation has clearly shifted. Alas, aside from recorded live gigs, Pozo only made eight tracks with the band -- four on December 22 and four more eight days later, just before the second Musicians Union recording ban kicked in. Yet even after Pozo's murder the following year, Gillespie continued to expand his Latin experiments, using two Latin percussionists who brought more rhythmic variety to the sound of tunes like "Guarachi Guaro" (later popularized by Cal Tjader as "Soul Sauce") and even commercial ballads like "That Old Black Magic." The reprocessing of these recordings from late in the 78 rpm era through the CEDAR process sounds a bit harsh, though less so than most of RCA's earlier desecrations of vault material using NoNOISE. Even so, this remains the best way to acquire these seminal Latin jazz tracks. Richard S. Ginell   Tracklist + Credits :

BENNY CARTER AND HIS ORCHESTRA – 1946-1948 | The Classics Chronological Series – 1043 (1999) FLAC (tracks+.cue), lossless

Benny Carter, like Coleman Hawkins, spent the '40s rubbing shoulders with bebop's young Turks, while mostly maintaining the style he forged during the early jazz and swing years. Possibly, like Hawkins again, Carter's '30s stay in Europe opened him up to the progressive nature of jazz and the necessity of always taking advantage of the music's complexities and malleability. And while Carter didn't ape Charlie Parker's alto flights or become a fixture at Minton's Playhouse, he did head up some fine big bands that featured the likes of Miles Davis, Dexter Gordon, J.J. Johnson, Max Roach, and Howard McGhee, to name a few bebop figures. This Classics discs takes in some of Carter's adventurous big band sides from 1946-1948, including a California outfit with Davis and Gerald Wilson. On the more traditional end, Carter is also heard with swing contemporaries like Buck Clayton and Ben Webster. A fine document of the fertile transition from swing to bebop. Stephen Cook     Tracklist + Credits : 

DUKE ELLINGTON AND HIS ORCHESTRA – 1935-1936 | The Classics Chronological Series – 659 (1992) FLAC (tracks+.cue), lossless

All of the Duke Ellington Orchestra's recordings from 1935 plus their first two sessions from 1936 are on this enjoyable CD. The rise of the swing era may have resulted in many competing big bands being formed, but Ellington occupied his own private musical world and continued to flourish artistically and to an extent commercially. By 1935, his orchestra featured major soloists in Cootie Williams, Rex Stewart, Tricky Sam Nanton, Lawrence Brown, Johnny Hodges, Barney Bigard, and the leader on piano. During the era Ellington experimented by frequently using both Hayes Alvis and Billy Taylor on bass. Among the memorable selections that are on this disc are "In a Sentimental Mood," "Accent on Youth," "Clarinet Lament" (featuring Bigard), "Echoes of Harlem," and the melancholy four-part "Reminiscing in Tempo." The music may be available in more complete form elsewhere (since alternate takes are left out), but this is an excellent series nevertheless. Scott Yanow       Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1936-1937 | The Classics Chronological Series – 666 (1992) FLAC (tracks+.cue), lossless

Cut a few years before the Ellington band's golden run during the early '40s, this 24-track collection from 1936-1937 finds the group in top form. As is usual with any of Classics' chronological discs, the fare runs the gamut. In this case, the mix takes in novelties ("Love Is Like a Cigarette"), reprised classics ("East St. Louis Toodle-Oo"), and contemporary gems ("In a Jam"). And as a highlight, there are also several sides cut by clarinetist Barney Bigard and a small band made up of other Ellington sidemen ("Caravan," "Stompy Jones"). A treat. Stephen Cook     Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 790 (1994) FLAC (tracks+.cue), lossless

This CD has Duke Ellington's final recordings for the Columbia and Vocalion labels before switching over to Victor and beginning what many consider to be his greatest period on record. During this period, Ben Webster joined the band on tenor, taking his first solo on "Solitude." The band was up to ten major soloists and, whether heard as the full orchestra or in small groups led by altoist Johnny Hodges, clarinetist Barney Bigard, or trumpeter Cootie Williams, the music was generally very rewarding. High points of this intriguing transitional disc include an Ellington piano solo on "Blues," "Lost in Two Flats," and several remakes (including "Solitude," "Mood Indigo," and "Sophisticated Lady"). In addition, a pair of unprecedented bass-piano duets ("Blues" and "Plucked Again") for the first time really show off the solo abilities of bassist Jimmy Blanton. Scott Yanow     Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1940 | The Classics Chronological Series – 805 (1995) FLAC (tracks+.cue), lossless

While listeners really should just dive right in and get the three-disc Blanton-Webster Band package from Bluebird, this single disc does a fine job of chronicling Ellington's epochal 1940 sessions. One of a few Classics discs covering that year, the 22-track collection takes in such milestones as "Concerto for Cootie," "Cottontail," "Ko-Ko," and "Sepia Panorama," while spotlighting some absolutely classic solo work by Ben Webster, Johnny Hodges, Rex Stewart, and Barney Bigard, among many others. And even with such essential cuts as "In a Mellotone" and "Warm Valley" missing -- not to mention a handful of duets featuring Ellington and bassist Jimmy Blanton -- this roundup still has more than enough bedrock jazz to keep newcomers fully engrossed. Stephen Cook      Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1940, Vol. 2 | The Classics Chronological Series – 820 (1995) FLAC (tracks+.cue), lossless

The Duke Ellington Orchestra in 1940 may not have been as popular with the general public as that of Glenn Miller, but they were one of the great big bands of all time. The best way to acquire their music is to get all of the alternate takes, which are available through RCA/Bluebird, but the Classics series has done a fine job of reissuing all of the master takes. This particular disc has a small-group session apiece led by altoist Johnny Hodges and cornetist Rex Stewart along with nine songs from the big band. Among the gems are "In a Mellotone," "Five O'Clock Whistle," "Warm Valley" (heard twice), "Daydream," and "Linger Awhile." In addition, the four classic Jimmy Blanton-Duke Ellington bass-piano duets (which include "Pitter Panther Patter" and "Mr. J.B. Blues") are included and find Blanton sounding quite futuristic, almost like Charles Mingus 15 years later. Scott Yanow Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1940-1941 | The Classics Chronological Series – 837 (1995) FLAC (tracks+.cue), lossless

Starting with the first selection by Barney Bigard's small group, Ray Nance succeeded Cootie Williams (who had left to join Benny Goodman) as Duke Ellington's trumpet soloist. The Ellington orchestra was so strong that Williams' departure did not make much of a difference. After all, the band still featured such soloists as Rex Stewart, Lawrence Brown, Joe Tricky Sam Nanton, Barney Bigard, Johnny Hodges, Ben Webster, Harry Carney, Jimmy Blanton, and Ellington himself, with vocals from Ivie Anderson and Herb Jeffries and writing by Ellington and Billy Strayhorn. Other than the first four numbers on this disc (taken from a Barney Bigard small-group date), the full orchestra is heard throughout the CD. Among the more memorable numbers are "Flamingo" (Herb Jeffries' big hit), the original version of "Take the 'A' Train," "Jumpin' Punkins," "Blue Serge," "Just a-Sittin' and a-Rockin," the original recording of "I Got It Bad" (featuring Ivie Anderson), and a pair of Ellington piano solos. Scott Yanow  Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1941 | The Classics Chronological Series – 851 (1995) FLAC (tracks+.cue), lossless

Duke Ellington's last recordings before Pearl Harbor are on this CD. The band's personnel remained remarkably consistent, except that Jimmy Blanton was forced into retirement by tuberculosis before the final four selections on this disc, unfortunately passing away the following year. Included on this set are sessions led by cornetist Rex Stewart, altoist Johnny Hodges, and clarinetist Barney Bigard, which include the initial recordings of "Subtle Slough" (soon renamed "Just Squeeze Me"), "Passion Flower," "Things Ain't What They Used to Be," and "C Jam Blues" (initially called "'C' Blues"). The big band selections are highlighted by "Rocks in My Bed," Billy Strayhorn's "Chelsea Bridge," and "Raincheck." This is classic music, whether acquired in this series or with the alternate takes on its American counterpart through RCA/Bluebird. Scott Yanow  Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1942-1944 | The Classics Chronological Series – 867 (1996) FLAC (tracks+.cue), lossless

The first 13 selections on this CD complete the reissue of the studio recordings of the classic 1939-1942 Duke Ellington & His Orchestra. Among the more notable selections are "Perdido," "The 'C' Jam Blues," "What Am I Here For," "Main Stem," and "Johnny Come Lately." The other nine numbers are much rarer than those Victor records, for they are V-discs cut during the recording strike of 1942-1944, primarily remakes of earlier Ellington hits. Although not quite essential (the Victors are easily available domestically), this set nevertheless has plenty of memorable performances by Ellington's World War II band. Scott Yanow   Tracklist :

BLANCHE CALLOWAY AND HER JOY BOYS – 1925-1935 | The Classics Chronological Series – 783 (1994) FLAC (image+.cue), lossless

Cab Calloway's big sister was born in Baltimore, Maryland back in 1902. "Little Cabell" was born in 1907. Eventually the family moved west to Illinois. Blanche was the first to pursue a musical career, singing at clubs in both Chicago and New York. Brother and sister appeared together in the Plantation Days show, live on-stage at Chicago's Loop Theater. Theirs must have been a dynamite act. Blanche sounded like Cab only stronger and more visceral, which is to say: female. Blanche's recording career was brief but brilliantly successful. Her earlier recordings with Reuben Reeves and Andy Kirk have been issued under those artists' names on the Classics Chronological series. Blanche's own chronology as presented here begins with two musty old blues records from November of 1925. Accompanied by Louis Armstrong and Richard M. Jones, Blanche sings her heart out, but some listeners will probably find these two sides most interesting on account of the cornet player. A little over five years later, Blanche is belting it out in front of her own 11-piece orchestra. The "Joy Boys" included several young men who were destined to have quite an impact on jazz. Their names were Cozy Cole, Clyde Hart, Vic Dickenson and Ben Webster. "Just a Crazy Song" might be familiar to some jazz collectors as it was issued on one of many topical collections by the Stash label back in the 1970s. Blanche sounds a bit like Lil Hardin Armstrong as she hollers her way through this novelty exercise in scat. Rather than emulating her brother, Blanche seems to be strutting her own stuff, and one cannot help but wonder how much of his famous style was developed in emulation of hers. The exact dynamics of their relationship have not been explained or understood, and probably never will be. What is known is that even though Cab was headed for relative superstardom, Blanche made a lot more money at first than her brother did. She would always sound like a boisterous vaudevillian, with a rambunctious, burlesque quality that is bracing. Audiences loved her but her unconventional vocals might very well have frightened off recording executives, for this was not your typical "girl singer" but a rowdy woman who sang however the hell she felt like singing. The repertoire is excellent. "It's Right Here for You" is magnificent, and "Make Me Know It" compares nicely with Evelyn Preer's lovely 1926 recording, backed by the great Thomas Morris. Blanche's band picks up the tempo and makes it trot like the pop tune "Just Because You're You," as premiered in 1921 by Yerkes S.S. Flotilla Orchestra. Blanche really works each song for everything it's worth. "I've Got What It Takes" is as tough as Bessie Smith and swings really hard. "Growlin' Dan" was Blanche's theme song, more or less. It is obviously patterned after her brother's biggest hit record, and she even mentions "Minnie the Moocher" in passing. Blanche does wonderful things with Fats Waller's forgotten masterpiece, "Concentratin' on You," allowing us to enjoy Andy Razaf's funny lyrics. This is Blanche at her very best, peppered with enthusiastic shouts from her band. Other highlights are the call-and-response stomp "Catch On," a frantic music hall number called "I Need Some Lovin'" and "What's A Poor Girl Gonna Do?." This last tune could pass for Sophie Tucker material. Lonesome, Blanche is confronted with a bloodless mechanical man, one who is "neither Democrat nor Republican." In the midst of this socio-psycho-sexual dilemma, the band sizzles away with the gas turned all the way up arwulf arwulf

BEN WEBSTER – 1944-1946 | The Chronogical Classics – 1017 (1998) FLAC (tracks+.cue), lossless

Most Ben Webster albums on the market today seem to be reissues from his magnificent autumnal years, majestically lush or bearishly brusque. It's good to have a chronological sampling of Webster's work from the mid-'40s, in order to appreciate exactly how he developed into the Ben Webster of 1959 and 1969. After popping up on early big band swing records by Bennie Moten and Willie Bryant, Webster came into his own as the first really exceptional tenor saxophonist to be featured with Duke Ellington's Orchestra. What we have here is the post-Ellington Ben Webster. His tone has gotten bigger and wider, grittily sensuous and invariably warm like a pulse in the jugular. The first eight tracks were made for radio broadcast purposes in February of 1944. The combination of Hot Lips Page and Ben Webster is a bitch. There are strolling romps with titles like "Woke Up Clipped," "Dirty Deal" and "'Nuff Said," lively stomps built on to the changes of "Tea for Two" and "I Got Rhythm," and two choice examples of Webster developing his ballad chops. "Perdido," from a quartet session recorded near the end of March 1944, is positively stunning. Webster has definitely tapped into something primal, and no one can hear him without being at least partially transformed by the sounds of his saxophone. April Fool's day, 1944 found Webster in the company of tenors Budd Johnson and Walter "Foots" Thomas, with trumpeter Emmett Berry and a modern rhythm section. "Broke but Happy" is a sweet jaunt, real solid, especially when the saxes take over in unison. But the main reason to get your own copy of Classics 1017 is to have the Savoy session of April 17th, 1944. Gracefully accompanied by Johnny Guarnieri, Oscar Pettiford and David Booth, Webster blows four of the greatest three-minute recordings of his entire career. "Kat's Fur" is a goosed up, improved version of "'Nuff Said." "I Surrender Dear" runs even deeper than the two other versions included on this disc. "Honeysuckle Rose" and especially "Blue Skies" each represent Ben Webster at his toughest and truest. This is a rare blend of musk, and it's not synthetic. It's the real thing. arwulf arwulf  
Tracklist + Credits :

BEN WEBSTER – 1946-1951 | The Chronogical Classics – 1253 (2002) FLAC (tracks+.cue), lossless

This volume in the Chronological Classics Ben Webster series is a fascinating slice during a wildly transitional period for the saxophonist. In the years between 1946-1951, Webster made numerous jumps as evidenced by these tracks, from the glorious jumping big swing of "The Jeep Is Jumpin'" while he was with Bill De Arango to the searing bebop of "Dark Corners" (with some blazing guitar work by De Arango) to the small-combo hard bop of "Randle's Island" to the bluesy, near soul-jazz balladry of "You're My Thrill." In Webster's company are some masters to be sure, including Maynard Ferguson, Al Haig, Big Sid Catlett, Bill Coleman, Benny Carter, Tony Scott, Buster Moten, and Gerald Wiggins, to name a few. This is varied set in terms of style, but these performances (and sound) are consistently fine.
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Tracklist :
1 The Jeep Is Jumpin'  2:57
Duke Ellington / Johnny Hodges
2 I Got It Bad (And That Ain't Good)  2:56
Duke Ellington / Paul Francis Webster
3 Dark Corners 3:02
Ben Webster
 4 Mister Brim 3:15
Bill DeArango
 5 Frog and Mule 3:09
Ben Webster
 6 Spang 2:41
Ben Webster
7 Doctor Keets 3:16
Ben Webster
8 Park and Tilford Blues 3:18
Ben Webster
9 As Long As I Live 2:25
Harold Arlen / Ted Koehler
10 All Alone 2:57
Irving Berlin
11 Blue Belles of Harlem 2:57
Duke Ellington
12 Turn It Over 2:38
Bennie Moten
13 That Dit It 2:47
Bennie Moten
14 Best Friend Blues 3:08
Bennie Moten / Bessie Smith
15 Baby You Messed Up 2:20
Bessie Smith
16 Randle's Island 3:16
Ben Webster
17 Old Folks 2:55
Dedette Lee Hill / Willard Robison
18 King's Riff 3:14
Ben Webster
19 You're My Thrill 3:06
Sidney Clare / Jay Gorney

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 :

ILLINOIS JACQUET – 1953-1955 | The Chronogical Classics – 1451 (2007) FLAC (tracks+.cue), lossless

The mid-'50s were a fruitful time for Illinois Jacquet, as he was about age 30. A popular and distinctive tenor saxophone soloist who could easily fit into a swing, big-band, bop, blues, or rhythm & blues context, he was also asserting himself as a bandleader. These sessions, the fifth in a series of Classics label reissues for Jacquet, are all originally from the Clef label and produced by Norman Granz. Mostly done in New York City, they feature his five-years-older brother, trumpeter Russell Jacquet, in a series of mid-sized ensembles that were hype-dubbed an orchestra. As Jacquet was involved with Granz in his Jazz at the Philharmonic traveling shows, these tunes naturally have a jam session feel. The first eight tracks, from 1953, feature a dynamite rhythm session of pianist Johnny Acea, bassist Al Lucas, and drummer Shadow Wilson. Trombonist Matthew Gee and baritone saxophonist Cecil Payne round out the "orchestra." There's some crazed, frantic bop on the "Out of This World" variation "On Your Toes," the lithe and fast hard bop with low-end bari and high-end brass of "Jacquet Jumps" and "Heads," the easy swing of Acea buoying "It's the Talk of the Town," and the totally bluesy counterpointed trumpet of Russell Jacquet as a foil for his brother during "R.U. One," minus Payne. Percussive tongue pops inspire the calypso beat of the unusual, near-novelty item "Jatap Conga." On the next four cuts, from 1954, Leo Parker replaces Payne, and Osie Johnson is the drummer man. Conga legend Chano Pozo joins in on the hot and joyous "Mambocito Mio," with group vocals, and there's the richly arranged "Jacquet's Dilemma" and the famous ballad "September Song," where the tenor of Jacquet explores the deepest blue spectrum. Two more cuts from 1954 team Ben Webster and Jacquet's unison tenors with Pozo on the Latinized bopper "The Kid and the Brute" and the follow-up slinky blues "I Wrote This for the Kid." The 1955 sessions are from Los Angeles with West Coasters Gerald Wiggins and Carl Perkins playing organ and piano, respectively. This combination breeds a neat energy, and with guitarist Irving Ashby, the band takes a different tack. Trumpeter Harry "Sweets" Edison is the tenor's foil, sliding easily through "Love Is Here to Stay" and the ballad "East of the Sun," while swinging hard on the fun tune "Empathy" and doing the groove biscuit similar to "Let the Good Times Roll," here dubbed "Cool Bill" (perhaps for Bill Doggett), minus Perkins. This short but potent time capsule in what must be considered the near prime of Illinois Jacquet is as precious as mid-period straight-ahead jazz gets, and is highly recmmended. Michael G. Nastos
Tracklist :

GENE KRUPA – 1952-1953 | The Chronogical Classics – 1390 (2005) FLAC (tracks+.cue), lossless

Volume 16 in the Classics Gene Krupa chronology documents his recording activity between March 1952 and September 1953. Although Krupa had struggled for years to keep his big band together, he had to throw in the towel in 1951. By the spring of the following year, he was leading his first small-group recording date for producer Norman Granz. Having spent years at the helm of a big band that expended a lot of energy accompanying jazz and pop vocalists, Krupa seems to have relished the intimacy and immediacy of these exciting instrumental blowing sessions with pianist Teddy Napoleon and tenor saxophonist Charlie Ventura. The opening track, "St. Louis Blues" runs for seven-and-a-half steamy minutes, and Ventura uses his baritone for a deliciously deep-toned interpretation of Hoagy Carmichael's "Star Dust." The big horn was also in evidence on a friendly laid-back rendition of "My Blue Heaven" and reflections of a "Moon on the Ruined Castle" recorded in Tokyo for the Victor label one month later when the trio was visiting Japan as part of an all-star entourage financed and presided over by Norman Granz. As Victor was not his company, Granz allowed the taping to occur but prevented the recordings from being released. Back in New York two weeks later, Granz and Krupa began making records using slightly larger ensembles. The six- and seven-piece bands that are heard on the last six titles of this compilation had powerful front liners in Ben Webster, Charlie Shavers, Bill Harris and Willie Smith; the rhythm sections were stoked with Teddy Wilson, Israel Crosby, Ray Brown, Steve Jordan and Herb Ellis. This outstanding compilation chronicles a sunny and artistically rewarding chapter in the life of Gene Krupa. arwulf arwulf
Tracklist + Credits :