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

Although issued on the Swing label -- a French enterprise -- the four selections that open this exciting collection are full-force American bebop, recorded in New York during September of 1946. With Fats Navarro, Kenny Dorham, Sonny Stitt, and Bud Powell in the band, the energy is so powerful that sensitive listeners may experience gooseflesh. "Epistrophy" sounds profoundly modern, far ahead of nearly anything else on the scene in 1946. "52nd Street Theme" is a brave essay in a new form. The trumpets dance circles around each other and the whole session comes off like the grand achievement that it surely was. Although this is considered Vol. 1 of the Kenny Clarke chronology, his discography really begins with pianist and bandleader Edgar Hayes. Clarke's excellent drumming and his work as a skilled vibraphonist are well documented on both Edgar Hayes volumes in the Chronological series (Classics 730 and 1053). In March of 1938 Kenny Clarke's "Kvintet," with Hayes at the piano and Clarke playing vibes, made four records in Stockholm, only one of which -- the instrumental -- was memorable. Almost exactly ten years later Clarke was entrusted with the task of touring Scandinavia with a group composed of players from the Dizzy Gillespie big band. Financial hassles curtailed their plans and they landed instead in Paris, where most of the material on this CD was recorded. The session recorded March 2, 1948, is notable for the presence of trumpeter Benny Bailey and baritone saxophonist Cecil Payne. It also provides an audible glimpse of sadly under-recorded alto saxophonist Joe Brown, an early follower of Charlie Parker. Note also the presence of pianist Ralph Schecroun, who would eventually change his name to Errol Parker and move to the U.S., developing a ferocious, almost chiropractic technique as he forged his own unique style of ultra-percussive modern piano. As Kenny Clarke continued to sow bop ideology among Parisians during the spring of 1948, it is fascinating how quickly and adroitly these young Frenchmen took it up without resorting to base mimicry. The most musically advanced material emerged during the session recorded on May 4, with violinist Andre Hodeir providing a wistful intro for Clarke's intriguing opus "Algerian Cynicism." The title refers to the enigma of French colonialism in North Africa, and reflects a political awareness every bit as progressive as the music itself. The material recorded on the following day is permeated with a Coleman Hawkins flavor, echoing that saxophonist's healthy response to the latest developments in jazz. "Working Eyes" sounds a little like "Raincheck" or any one of Billy Strayhorn's upbeat modern ideas. This outstanding collection of recordings -- rarely heard outside of Europe for many years -- reaffirms Kenny "Klook" Clarke's crucial role as a primal innovator in early modern jazz. arwulf arwulf
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LIONEL HAMPTON AND HIS ORCHESTRA – 1947 | The Chronogical Classics – 994 (1998) FLAC (tracks+.cue), lossless

All of Lionel Hampton's studio recordings from 1947 (before the second recording strike) are on this intriguing CD. Hampton's big band at the time mixed together R&B with bebop, swinging hard and putting on exciting shows. "Hamp's Got a Duke," "Three Minutes on 52nd Street," and "Red Top" are typical of the ensemble's work, but there is also Charles Mingus' futuristic "Mingus Fingers" along with the original version of Hampton's classic ballad "Midnight Sun." In addition, there are three fairly obscure small-group sessions that mostly showcase Hampton's vibes but also include pianist Milt Buckner, tenor saxophonist Morris Lane, trumpeter Benny Bailey, and pianist Dodo Marmarosa. Well worth picking up by fans of 1940s jazz. Scott Yanow
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LIONEL HAMPTON AND HIS ORCHESTRA – 1949-1950 | The Chronogical Classics – 1161 (2001) FLAC (tracks+.cue), lossless

Although some of the personnel had changed in the interim, Lionel Hampton's big band sounded largely the same in 1949 as it had before the recording strike in late 1947. The main change was that there were now more vocals and the band had clearly shifted toward R&B and a bit away from bebop. But the excitement level remained quite high, as can be heard on such numbers as "Chicken Shack Boogie," "New Central Avenue Breakdown," "Hamp's Boogie No. 2," and "Rag Mop." The key sidemen are trumpeter Benny Bailey, tenors Gene Morris and Johnny Sparrow, guitarist Wes Montgomery (a decade before he became famous), and trombonist Al Grey. Boogie-woogie pianist Albert Ammons is on a few numbers and the vocalists include such future greats as Betty Carter and Little Jimmy Scott, who had a hit with "Everybody's Somebody's Fool." Scott Yanow
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LIONEL HAMPTON AND HIS ORCHESTRA – 1950 | The Chronogical Classics – 1193 (2001) FLAC (tracks+.cue), lossless

While most big bands broke up by 1950, Lionel Hampton was able to keep his orchestra together due to being exciting, R&B-oriented, and putting on very colorful shows. The selections on this CD, which covers the first nine months of 1950, include the rambunctious two-part "Turkey Hop," Little Jimmy Scott's vocal feature on "I Wish I Knew," a few small-group numbers (including a session featuring Jerome Richardson's flute and Doug Duke's organ), and a sextet date that showcases Hampton's vibes and Buddy Cole's organ. Most of this music was formerly rare and has been overlooked by domestic reissue programs. Scott Yanow
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LIONEL HAMPTON AND HIS ORCHESTRA – 1950-1951 | The Chronogical Classics – 1262 (2002) FLAC (tracks), lossless

The 11th installment in the complete chronological works of Lionel Hampton opens with a series of recordings made for the Decca label in Los Angeles during October of 1950. With flashy arrangements and topical vocals, these records have more than a little in common with what Johnny Otis was cooking up in L.A. during this same time period. The big difference lies in Hampton's occasional use of smooth crooners and instrumentation that shone with a Hollywood sheen. By the time he commenced recording for MGM in New York on April 17, 1951, Hamp was ready to slip into a much hipper groove with "Air Mail Special" and several scintillating originals: "Cool Train," "Gates Steps Out," and "Gladysee Bounce." Hampton's band also backed vocalist Irma Curry on "A Kiss Was Just a Kiss," with a melodramatic speech delivered by Eve Lynn in shameless imitation of R&B heartthrob Larry Darnell's famous recitation during his 1949 masterpiece "I'll Get Along Somehow." The instrumental "Alone" is a fine example of Hampton's ability to play a slow ballad on the vibraphone in front of a lacquered big band. The session of May 21, 1951, stands among the most unusual episodes in Hampton's entire career. Here the big band is yoked into service behind a very white choir that sings the Jewish folk melodies "Hannah, Hannah" and "Shalom, Shalom." This creates a wholesome if slightly cheesy atmosphere that one would expect to find in a Broadway musical. The session finishes off with a much stronger instrumental interpretation of a traditional Jewish melody, "Eli, Eli." The closing tracks come from a session that took place on October 16, 1951, using a smaller band, electric guitarist Chuck Norris, and R&B vocalist Sonny Parker. Jazz heads will best appreciate this compilation for the presence of many fine instrumentalists, including trumpeters Idrees Sulieman and Benny Bailey, trombonists Al Grey and Jimmy Cleveland, saxophonist Jerome Richardson, organist Milt Buckner, and R&B piano legend Floyd Dixon. arwulf arwulf
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