DIZZY GILLESPIE – 1945 | The Classics Chronological Series – 888 (1996) FLAC (tracks+.cue), lossless

Here's a case where strict adherence to a chronology bears fascinating fruit. Classics 888 focuses only upon January and February of 1945, a small chunk of time during which Dizzy sat in with certain wild bands and made his very first recordings as a leader. On January 9th, a number of musicians from different stylistic backgrounds showed up late to record with Oscar Pettiford, who eventually admitted that he hadn't any idea of what they were going to use for material. Pianist Clyde Hart offered to slap a few charts together on the spot. "Something for You," known elsewhere as "Max Is Making Wax," came out brisk and boppish with powerful blowing from Don Byas, Diz and swing trombonist Benny Morton, who seems to have worked extra hard to fit in with this fast crowd. "Worried Life Blues," composed by blues and boogie-woogie pianist Big Maceo Merriweather, featured vocalist Rubberlegs Williams, who growled, howled and occasionally barked in a way that brings to mind one of Fats Waller's favorite habitual exclamations: "Get away from here!" "Empty Bed Blues," while attributed to Oscar Pettiford, is clearly a Bessie Smith cover. Diz growls ominously with his horn behind the vocal. Retaining some of the players from the Pettiford group, Dizzy's Sextet sounded very well-organized by comparison. The trumpeter's handling of "I Can't Get Started" is breathtakingly beautiful. Tadd Dameron's irresistible "Good Bait" sounds as solid and immediate as the day it was made. In his autobiography, To Be or Not to Bop, Gillespie said he had "composed a fast thing, and just named it ""Be Bop"" later on...it didn't have a name before the record date." "Be Bop" is one brilliant and bracing piece of work, surprisingly put together. After ripping through a whole lot of wild changes, each player contributes a brief note or two for a composite coda. Before the month of January had ended, a famously weird session came together and then blew apart at the seams. Nominally led by Clyde Hart, it began with several vocals by a louder-than-ever Rubberlegs Williams. Apparently seeking to maintain his edge, the blues shouter consumed many cups of coffee, unaware of the fact that the caffeine in question had been steeply fortified with Benzedrine by the ever-resourceful Charlie Parker. At first, Legs sounded only marginally manic, humorously gruff in the throes of his boisterous R&B showmanship. By the time they got around to recording "That's the Blues," the singer must have been completely geeked, as he began his vocal at full intensity, with nowhere left to build to. Halfway through the record, his voice started to disintegrate as Legs approached the vocal intensity of Screamin' Jay Hawkins. Dizzy swears that Legs never drank or smoked, while Trummy Young insisted the singer was also full of whiskey, which would have mixed horribly with the amphetamine. In any case, after he passed into a state of chemically induced psychosis, Williams was led away and the ensemble magically re-grouped itself as James "Trummy" Young's All-Stars. The mood changed to a very hip level of calmness as Trummy sang pleasant melodies in a soft and friendly voice. The contrast between this and the previously hard-hitting rhythm and blues material -- recorded by all but one of the same musicians on the same day -- is astonishing, as is the interplay between Sarah Vaughan and Ben Webster on "All Too Soon," between Diz and Dexter Gordon on "Blue 'n Boogie" and most of all, between Bird and Diz. Cherish every nuance of these early recordings of "Groovin' High" and "All the Things You Are"; they are intimate works of great poetic depth, existing at the heart of these amazing collaborative friendships. arwulf arwulf         Tracklist + Credits :

HOT LIPS PAGE – 1944-1946 | The Chronogical Classics – 950 (1997) FLAC (tracks+.cue), lossless

Always to be found smack in the middle of the hottest developments in jazz, Oran Thaddeus "Hot Lips" Page worked comfortably with both old-fashioned and modern young musicians during the mid-'40s. On November 30, 1944, Page's band included busy-fingered tenor man Lucky Thompson and a brilliant young pianist from Pontiac, MI, named Hank Jones. One week later, Page cut a couple of sides for V-Discs with an ensemble that sounded a lot like one of Eddie Condon's Town Hall traditional jam bands. "Sheik of Araby" is notable for Gordon "Specs" Powell's exceptional drumming. Page seems not to have recorded again until September 1945, once again in the company of younger guys with progressive ideas. "Happy Medium" and "Bloodhound" are full of modern moves. How interesting to hear Hank Jones as a young innovator. Saxophonists Dave Matthews and Earle Warren demonstrate how the art of swing stood at the crossroads of modernity in 1945. Contrary to what the discography says, there are no vocals on these two tracks. Dave Matthews sounds like Chu Berry and Don Byas. He shushes down to Ben Webster's level of suavity on "You Come In Here Woman," a misogynistic blues containing the line "Like the butcher told the goat, you've had your fun, now I'm cuttin' your throat." Just in case we don't get the picture, Lips puts his horn to his lips and quotes Chopin's funeral march for a nasty coda. Leonard Feather's "The Lady in Debt," a distant relative of "The Lady in Red," is also apparently a cousin to Page's 1944 enigma, "The Lady in Bed," which was yet another creation of Feather, who seems to have enjoyed writing topical blues novelties for Page. More material from September of 1945 places Page at the front of a larger band, fortified with Buck Clayton, three outstanding trombonists (Benny Morton, Sandy Williams, and J.C. Higginbotham), and three of the toughest saxophonists on the scene at that time (Don Byas, Ben Webster, and Earl Bostic). "Corsicana" cooks itself to a gravy. "They Raided the Joint" is funny if you like songs about alcohol poisoning and police raids. This CD's hottest sides from 1946 are without question "Kansas City Jive" and the rockin' "Birmingham Boogie," featuring Earl Bostic and a solid tenor player by the name of John Hartzfield. "Open the Door Richard" is very funny, beginning with Page's imitation of a drunken person being forcibly ejected from a party. The scenario eventually develops into a rowdy group vocal as Page's band eggs him on into a violent trumpet solo. In a premonition of later developments, Hot Lips distorts his voice into a higher-pitched version of what would eventually become a sandblasted contrabasso, lower than that of Louis Armstrong, closer in fact to Popeye's tonalities. By the early '50s, Hot Lips Page's voice could curdle milk and frighten pigeons. arwulf arwulf  
Tracklist + Credits :

EDDIE CONDON – 1942-1943 | The Chronogical Classics – 772 (1994) FLAC (image+.cue), lossless

Commodore was the perfect label for small group swing, and a natural choice for Eddie Condon at a time when major labels were often more interested in maintaining cash flow by sticking with trendier categories of musical entertainment like big name vocalists or imitation hep cat stuff for teenagers. At Commodore, the fact that Joe Sullivan was playing piano actually meant something. Milt Gabler really believed in Max Kaminsky. Anyone curious about Maxie's trumpet style should study these recordings as well as the many sides he made with Art Hodes for Blue Note. Here in Commodore territory, Kaminsky mingles nicely with Pee Wee Russell and Brad Gowans. It would be nice to be able to hear where Condon's instincts would have taken him next, but a recording ban made a big hole in the chronology. Condon's next date as a leader was for Bob Thiele's very hip Signature label on November 20, 1943. Present at the piano was Fats Waller's idol James P. Johnson, who steered the band through a lazy rendition of Waller's "Squeeze Me." Having honored the 'Harlem stride piano' component, the band dove into "That's a Plenty" as if saluting their drummer who just happened to be Tony Spargo (nee Sbarbaro) of Original Dixieland Jazz Band fame. This disc is crawling with historical heroes. On December 2, 1943 trombonist Benny Morton sat in for a couple of hot numbers and two marvelous extended sides: "Basin Street Blues" emerged as a languid meditation, while the ancient "Oh, Katherina!" received its hottest interpretation since Sam Wooding & His Chocolate Dandies performed it for the citizens of Berlin back in 1925. What makes this 1943 version kick is the drumming of Big Sid Catlett. The remaining sides from December 1943 are nothing less than charming. Some of these titles first appeared during the early 1920s, which is actually good incentive for historical research if you're into that sort of thing. The other strategy is simply to enjoy the old melodies as played by these wonderfully integrated ensembles. Even just grooving on Pee Wee Russell's individuality -- his eccentricity -- that might be as far as anybody needs to go with these fine old recordings. Maybe just listen to the music for Pee Wee's sake. Listen to that clarinet. Maybe that'll fix you right up. arwulf arwulf  
Tracklist :

DON REDMAN AND HIS ORCHESTRA – 1931-1933 | The Chronogical Classics – 543 (1990) FLAC (tracks+.cue), lossless

The first of three Don Redman Classics CDs consists of his orchestra's earliest sessions. Although Redman's big band never hit it as big as his former employers' (Fletcher Henderson and McKinney's Cotton Pickers), it was an impressive outfit, thanks to the leader's advanced arrangements. Among the key sidemen on these performances are trumpeters Red Allen (who is on the first two sessions) and Sidney DeParis, tenor saxophonist Robert Carroll, and pianist Horace Henderson. Highlights include "Chant of the Weed" (Redman's atmospheric theme song), "I Heard," "How'm I Doin'," and "Hot and Anxious." The main Don Redman CD to get. Scott Yanow
Tracklist + Credits :

DON REDMAN AND HIS ORCHESTRA – 1933-1936 | The Chronogical Classics – 553 (1990) FLAC (tracks+.cue), lossless

The great arranger Don Redman made Fletcher Henderson's Orchestra in the mid-1920s the first real swing band, but during the swing era itself, Redman was little known to the general public. His big band (heard here on the second of three "complete" Classics CDs) failed to really catch on, although it stayed together throughout the 1930s. After recording a bunch of sessions in 1933, Redman's orchestra only cut two sides in Jan. 1934 and then none until May 1936. There are vocals on 22 of the 25 selections on this CD; of the three instrumentals, this version of "Christopher Columbus" might not be by Redman. The leader's charming vocals are fine, but the nine by Harlan Lattimore are of lesser interest, and Chick Bullock dominates a six-song session. There are some good solos along the way, particularly by trumpeter Sidney DeParis, trombonists Benny Morton and Claude Jones and the forgotten tenor Robert Carroll, but this CD is primarily for completists. Scott Yanow 
Tracklist + Credits :

DON REDMAN AND HIS ORCHESTRA – 1936-1939 | The Chronogical Classics – 574 (1991) FLAC (tracks+.cue), lossless

The third in the series of Don Redman Classics CDs finds the innovative arranger adjusting to the swing era. His big band is heard on sessions cut for ARC in 1936 ("Bugle Call Rag" is excellent), Variety in 1937 (including a previously unreleased "Swingin' With the Fat Man"), and Bluebird during 1938-39 (including "I Got Ya," "Down Home Rag" and "Milenberg Joys"). A lot of interesting names passed through the band during this era, including trumpeter Sidney DeParis, trombonist Quentin Jackson and singer Laurel Watson, and there is some pleasing music despite a fair amount of vocals. This series ended before Redman's last two big band sessions, but those have often been made available by RCA/Bluebird. The first CD in Classics' Redman series is the most essential. Scott Yanow
Tracklist + Credits :

McKINNEY'S COTTON PICKERS – 1930-1931 + DON REDMAN AND HIS ORCHESTRA – 1939-1940 | The Chronogical Classics – 649 (1992) FLAC (tracks+.cue), lossless

The Classics label's superb series of McKinney's Cotton Pickers releases continues with this set, which features recordings from the original group as well as performances from Don Redman's swing orchestra of the late 1930s. Jason Ankeny
Tracklist + Credits :

HENRY "RED" ALLEN AND HIS ORCHESTRA – 1937-1941 | The Chronogical Classics – 628 (1992) FLAC (tracks+.cue), lossless

The final of the five Classics CDs that document the early recordings of trumpeter Henry "Red" Allen covers music from three very different bands. Allen is first heard singing and playing trumpet on eight pop tunes he uplifts with a recording group in 1937 that features altoist Tab Smith. Allen also plays four Dixieland standards with a hot septet in 1940 that includes trombonist Benny Morton, clarinetist Edmond Hall and pianist Lil Armstrong. The final eight numbers (four of which were previously unreleased) showcases his regular band from 1941 (with trombonist J.C. Higginbottham and clarinetist Edmond Hall) really romping through some hard-swinging performances, including "K.K. Boogie" and a two-part version of "Sometimes I'm Happy." All five of these Classics CDs are easily recommended; this is one of the better ones. Scott Yanow
Tracklist + Credits :

TEDDY WILSON AND HIS ORCHESTRA – 1934-1935 | The Classics Chronological Series – 508 (1990) FLAC (tracks+.cue), lossless

There have been several overlapping reissue programs covering the material in the Classics series, especially the many Teddy Wilson recordings in which the pianist accompanied Billie Holiday. This particular CD has Wilson's first five sessions as a leader. He is heard on four fairly rare piano solos from 1934 (a year before he became a member of the Benny Goodman Trio), six other solos from October 7 and November 22, 1935, and on two band dates that resulted in nine numbers (including seven Billie Holiday vocals); the sidemen include trumpeter Roy Eldridge, tenorman Ben Webster, and (on three songs) clarinetist Benny Goodman. Lady Day's "What a Little Moonlight Can Do" and "I Wished on the Moon" are famous classics. Scott Yanow
Tracklist + Credits :

TEDDY WILSON AND HIS ORCHESTRA – 1939-1941 | The Classics Chronological Series – 620 (1991) FLAC (tracks+.cue), lossless

This segment of the Teddy Wilson chronology contains 23 recordings made for the Columbia label in New York and Chicago between December 11, 1939 and September 16, 1941. The first eight tracks showcase Wilson's 12-piece big band, using arrangements by Wilson, Edgar Sampson and Buster Harding. This unusually upsized version of the Teddy Wilson & His Orchestra had Doc Cheatham and Harold "Shorty" Baker in the trumpet section, Ben Webster and Rudy Powell among the reeds, and Al Casey and J.C. Heard playing rhythm. Those who are accustomed to Wilson's customary small group sound will find this material pleasantly, perhaps surprisingly different from the norm. In December of 1940 Wilson led an octet with Bill Coleman, Benny Morton and Jimmy Hamilton in the front line. Four piano solos and four trio sides with Al Hall and J.C. Heard were cut in Chicago during April of 1941. Teddy Wilson's sextet (Emmett Berry, Morton, Hamilton, bassist Johnny Williams and Heard) made three recordings on September 16, 1941; only "Out of Nowhere" was originally issued, although "Prisoner of Love" was drafted into service as a V-Disc during the Second World War. This excellent compilation includes vocals by Lena Horne, Jean Eldridge, Helen Ward and J.C. Heard, whose expert drumming and call-and-response interaction with the band place "Wham (Re Bop Boom Bam)" among the hottest and hippest selections in the entire Teddy Wilson discography. arwulf arwulf  
Tracklist + Credits :

TEDDY WILSON – 1942-1945 | The Classics Chronological Series – 908 (1996) FLAC (tracks+.cue), lossless

Pianist Teddy Wilson was the epitome of style in jazz. He stuck to his pristine brand of swing throughout a long career, never really seeming out of place in the process. After working with the likes of Billie Holiday, Roy Eldridge, and Benny Goodman, Wilson formed his own big band in 1939, only to have to fold it in 1940. Thankfully, Wilson returned to combo settings, which seemed to suit him best. This Classics disc features a mix of those small-group dates from the mid-'40s, along with some solo piano sides and a few vocal cuts featuring Helen Ward and Maxine Sullivan. Also on hand to contribute top-notch work are trumpeter Charlie Shavers, clarinetist Edmond Hall, tenor great Ben Webster, and trombonist Benny Morton. An optimal and highly enjoyable disc to start your Wilson collection. Stephen Cook
Tracklist + Credits :

EDMOND HALL – 1944-1945 | The Classics Chronological Series – 872 (1996) FLAC (tracks), lossless

What you have here is a veritable audio lexicon of Edmond Hall's style and musical personality. From the first few bars of "It's Been So Long," the clarinetist conjures a disarming atmosphere of warmth and reassurance. The effect is quadrupled as Harry Carney enters, puffing away at his baritone saxophone. The entire Swingtet was in perfect form on May 5, 1944, and the recordings they made on that day are among the very best from Blue Note's first decade. Benny Morton's temperament was perfectly suited for the task of interacting with the other two horns. Their rhythm section was strong enough to provide unflinching support, even when Carney's baritone bellowed and chortled during "Steamin' and Beamin'." The Blue Note date is perfectly complemented by eight magnificent Commodore sides cut during the summer of 1944 in the company of Teddy Wilson. Hall is alternately gentle or briskly bracing. "Caravan" is a wild ride you'll not want to miss. The Swing Sextet session of December 4, 1944, begins with "Opus 15," a slightly modern set of vamps composed by the pianist Ellis Larkins. "Mouse" Randolph does some fine growling through his trumpet and the band runs it down with measured ease. Hall weaves a 45-second introduction to "The Sheik of Araby" before the guys cut loose with it. Four additional sides were cut by practically the same band on some unspecified day in 1945. Larkins contributed another very hip original called "Ellis Island," Hall dreamed up a feisty "Continental Blues," and Randolph shone during a second realization of his own creation, which he simply titled "Face." It sounds like something Lester Young would have enjoyed coasting through. This CD would bear up well under highway driving conditions, even heard twice or thrice through. Every consecutive track is pure pleasure. arwulf arwulf  
Tracklist + Credits :

MILLS BLUE RHYTHM BAND – 1934-1936 | The Classics Chronological Series – 710 (1993) FLAC (tracks+.cue), lossless

The fourth of the European Classics label's five CDs containing the complete output of the Mills Blue Rhythm Band captures the underrated orchestra at the peak of their powers. Formerly a no-name outfit, trumpeter Henry "Red" Allen, trombonist J.C. Higginbotham, clarinetist Buster Bailey, and tenor saxophonist Joe Garland were the group's star soloists by this time. In addition, by the last eight numbers on this highly recommended program, altoist Tab Smith was also part of the band. The CD starts off with three numbers on which singer Chuck Richards is backed by a sextet including Allen, Bailey, and trombonist Benny Morton. Otherwise the program features the full orchestra (directed by Lucky Millinder by this time). There are many exciting tracks along with a few ballad vocal features for Richards, with the more memorable performances including "Spitfire," "Ride Red Ride," "Congo Caravan," "There's Rhythm in Harlem" (which hints at the then-unwritten "In the Mood"), "Truckin'," and "E Flat Stride." This is the best of the five Classics Blue Rhythm releases. Scott Yanow  
Tracklist + Credits :

JOE SULLIVAN – 1933-1941 | The Classics Chronological Series – 821 (1995) FLAC (tracks+.cue), lossless

All of pianist Joe Sullivan's early recordings as a leader are on this definitive CD. Sullivan is heard in a dozen solo performances from 1933, 1935, and 1941 (including the two earliest versions of his hit "Little Rock Getaway" along with memorable renditions of "My Little Pride and Joy" and "Honeysuckle Rose"), four selections with the Three Deuces (a trio with clarinetist Pee Wee Russell and drummer Zutty Singleton), and eight numbers with an octet featuring the underrated trumpeter Ed Anderson, trombonist Benny Morton, clarinetist Edmond Hall, and vocals by Big Joe Turner (who manages to turn "I Can't Give You Anything but Love" into a blues) and Helen Ward. This French import is essential for fans of the great stride pianist. Scott Yanow
Tracklist + Credits :

BILL COLEMAN – 1940-1949 | The Classics Chronological Series – 1256 (2002) FLAC (tracks), lossless

This second volume of the complete recordings of Bill Coleman presented in chronological order opens with ten vocal tracks of surprising warmth and intimacy. Remember those marvelous records that Coleman made with Fats Waller & His Rhythm in the mid-'30s? These rare and pleasant performances from 1940 and 1941 are faintly reminiscent of those Rhythm sides, although naturally neither of the vocalists heard here comes anywhere near Waller's candid charm and effervescence. Eddy Howard does sound remarkably cozy with his two little love songs, and Chick Bullock -- said to have been the most heavily recorded vocalist of the 1930s -- turns in what might well be his best performances on record. What really makes these pretty pop tunes sparkle and glow is the combination of great instrumentalists. Collectively speaking, trombonist Benny Morton, clarinetists Edmond Hall and Jimmy Hamilton, saxophonists Bud Freeman and George James, electric guitarist Charlie Christian, and pianist Teddy Wilson turn each of these songs into relatively substantial jazz. Even "Oh, How I Hate to Get Up in the Morning" -- once Irving Berlin's famous kvetching lyrics are out of the way -- swings with abandon largely thanks to the presence of master percussionist J.C. Heard. The Bill Coleman chronology leaps rather abruptly to a pair of swing-to-bop blowing sessions involving tenor saxophonist Don Byas recorded in Paris on January 4 and 5, 1949. Coleman sings his own "Bill's Brother's Blues" and wields his horn magnificently alongside Byas, particularly on "Liza," "What Is This Thing Called Love?," and "St. Louis Blues." This portion of the Bill Coleman story ends with a session led by pianist Jack Dieval and featuring smoky tenor saxophonist Paul Vernon. Coleman sings again, this time on "I Can't Get Started" and a briskly rendered "Tea for Two." arwulf arwulf
Tracklist + Credits :

FLETCHER HENDERSON AND HIS ORCHESTRA – 1926-1927 | The Classics Chronological Series – 597 (1991) FLAC (tracks+.cue), lossless

This CD, in Classics' chronological series, which captures the Fletcher Henderson Orchestra at its peak, is overloaded with classics: "Jackass Blues," "The Stampede" (which has a very influential tenor solo by Coleman Hawkins), "Clarinet Marmalade" "Snag It" and "Tozo" among others. In addition to Coleman Hawkins, Tommy Ladnier emerges as a major trumpeter and Fats Waller drops by for his "Henderson Stomp." Eight years before the official beginning of the swing era, Fletcher Henderson's orchestra was outswinging everyone. Scott Yanow
Tracklist + Credits :

FLETCHER HENDERSON AND HIS ORCHESTRA – 1927 | The Classics Chronological Series – 580 (1991) FLAC (tracks+.cue), lossless

Fletcher Henderson's orchestra was at the peak of its powers during this period, as can be heard on such torrid recordings as "Fidgety Feet," "Sensation," "St. Louis Shuffle," and "Hop Off"; even the overly complex Don Redman arrangement "Whiteman Stomp" (which Paul Whiteman's musicians apparently had trouble learning) is no problem for this brilliant orchestra. Classics' chronological reissue of Henderson's valuable recordings on this CD covers the many highpoints of the peak year of 1927; only Duke Ellington's orchestra was on the level of this pace-setting big band. Scott Yanow
Tracklist + Credits :

FLETCHER HENDERSON AND HIS ORCHESTRA – 1927-1931 | The Classics Chronological Series – 572 (1991) FLAC (tracks+.cue), lossless

 With its high musicianship and many talented soloists (including trumpeters Rex Stewart and Bobby Stark, trombonist Jimmy Harrison, Coleman Hawkins on tenor, and altoist Benny Carter), the Fletcher Henderson Orchestra should have prospered during this period, but unaccountably, its leader (never a strong businessman) seemed to be losing interest in the band's fortunes and made several bad decisions. The result is that by 1931, Henderson's orchestra was struggling while Duke Ellington's was becoming a household name. This Classics CD, in covering over three years, demonstrates how few recordings this band made (only four songs apiece in both 1929 and 1930), although the quality largely makes up for the quantity. The original band version of "King Porter Stomp" and an explosive "Oh Baby" are the high points of this satisfying collection. Scott Yanow
Tracklist + Credits :

FLETCHER HENDERSON AND HIS ORCHESTRA – 1931 | The Classics Chronological Series – 555 (1990) FLAC (image+.cue), lossless

Even with such strong players as trumpeters Bobby Stark and Rex Stewart, trombonist Benny Morton and tenor-saxophonist Coleman Hawkins, the fortunes of Fletcher Henderson's orchestra were slipping during 1931. With the departure of Don Redman several years earlier, the group's arrangements were less innovative, and the pressure was on to perform commercial songs for the Depression audience. Even the jazz standards (such as "Tiger Rag" and "After You've Gone") are less interesting than those of their competitors, although this new version of "Sugar Foot Stomp" is a classic and the strong solos by the all-star cast make this CD well worth acquiring. Scott Yanow
Tracklist + Credits : 

HORACE HENDERSON AND HIS ORCHESTRA – 1940 + FLETCHER HENDERSON AND HIS ORCHESTRA – 1941 | The Classics Chronological Series – 648 (1992) FLAC (tracks+.cue), lossless

 Horace Henderson spent most of his career in the shadow of his brother Fletcher, even though he was actually a superior pianist and a comparable arranger. Other than an all-star session that he headed in 1933, Horace did not make his first recordings as a leader until 1940, when he led a regular (if short-lived) big band. Five sessions resulted in 21 titles, all of which are included on this very enjoyable CD. Most notable among Henderson's sidemen are trumpeter Emmett Berry, tenorman Elmer Williams, and Ray Nance (shortly before he joined Duke Ellington) on trumpet, violin, and the vocal to "They Jittered All the Time." This excellent swing CD, which has plenty of "killer dillers," is rounded off by a four-song session by Fletcher Henderson's 1941 big band, cut shortly before it broke up. Recommended. Scott Yanow
Tracklist + Credits :