LESTER YOUNG — The "Kansas City" Sessions (1997) FLAC (image+.cue), lossless

This is a CD overflowing with classic performances. The great Lester Young is heard with the 1938 version of the Kansas City Six, a group also including trumpeter Buck Clayton (in prime form), Eddie Durham on electric guitar (where he preceded Charlie Christian) and trombone, the rhythm guitar of Freddie Green, bassist Walter Page, and drummer Jo Jones. The four selections (all of which are joined by an alternate take apiece) are most notable for Young's switching to clarinet on some of the pieces. His clarinet solo on "I Want a Little Girl" sounds eerily like Paul Desmond's alto of 15 years later. These classic cool jazz performances have delightful interplay between the two horns. The second part of the reissue features the 1944 Kansas City Six in which Young (sticking to tenor) and trumpeter Bill Coleman are joined by a three-piece rhythm section and trombonist Dickie Wells. Wells, who takes some very colorful and nearly riotous solos, rarely sounded better, and the four selections are highlighted by three equally rewarding versions of "I Got Rhythm" and two of "Three Little Words." The CD concludes with the four titles by 1938's Kansas City Five, which was essentially the early Kansas City Six without Young. Clayton is once again in top form, and Durham's guitar solos were among the first worthwhile examples of the electric guitar on record. This gem is highly recommended for all jazz collections. Scott Yanow
Tracklist :
1    Kansas City Six–    Way Down Yonder In New Orleans (#2)    3:00
2    Kansas City Six–    Way Down Yonder In New Orleans    2:57
3    Kansas City Six–    Countless Blues    3:01
4    Kansas City Six–    Countless Blues (#2)    2:59
5    Kansas City Six–    Them There Eyes (#2) 2:57
Vocals – Freddie Green
6    Kansas City Six–    Them There Eyes 2:58
Vocals – Freddie Green
7    Kansas City Six–    I Want A Little Girl    2:53
8    Kansas City Six–    I Want A Little Girl (#2)    2:54
9    Kansas City Six–    Pagin' The Devil    2:57
10    Kansas City Six–    Pagin' The Devil (#2)    2:55
11    Kansas City Six–    Three Little Words (#2)    3:19
12    Kansas City Six–    Three Little Words    2:52
13    Kansas City Six–    Jo Jo    3:17
14    Kansas City Six–    I Got Rhythm (#3)    3:15
15    Kansas City Six–    I Got Rhythm (#2)    3:15
16    Kansas City Six–    I Got Rhythm    3:16
17    Kansas City Six–    Four O'Clock Drag    2:51
18    Kansas City Six–    Four O'Clock Drag (#3)    2:50
19    Kansas City Five–    Laughing At Life    3:05
20    Kansas City Five–    Good Mornin' Blues    2:51
21    Kansas City Five–    I Know That You Know    3:04
22    Kansas City Five–    Love Me Or Leave Me    2:47
Credits :
Bass – John Simmons (tracks: 11 to 18), Walter Page (tracks: 1 to 10, 19 to 22)
Drums – Jo Jones
Guitar – Freddie Green (tracks: 1 to 10, 19 to 22)
Piano – Joe Bushkin (tracks: 11 to 18)
Tenor Saxophone, Clarinet – Lester Young (tracks: 1 to 18)
Trombone – Dicky Wells (tracks: 11 to 18)
Trombone, Electric Guitar – Eddie Durham (tracks: 1 to 10, 19 to 22)
Trumpet – Bill Coleman (tracks: 11 to 18), Buck Clayton (tracks: 1 to 10, 19 to 22)
Notes.
Recorded in New York City.
Tracks 1 to 10 recorded September 28, 1938.
Tracks 11 to 18 recorded March 27, 1944.
Tracks 19 to 22 recorded March 16, 1938.

KANSAS CITY 5, 6 & 7 – 1938-1944 | The Classics Chronological Series – 912 (1996) FLAC (image+.cue), lossless

Tracklist + Credits :

DJANGO REINHARDT – 1935-1936 | The Classics Chronological Series – 739 (1993) FLAC (tracks+.cue), lossless

Moving on from its initial Ultraphone sides, the Quintette du Hot Club de France hit a sort of early zenith with two 1936 sessions cut for the HMV label. This volume of Classics' Chronological series features 12 sides from those May and October HMV dates, including such perennial Reinhardt and Grappelli performances as "Shine," "After You've Gone," and "Georgia on My Mind" -- Freddy Taylor, the fine Armstrong-inspired vocalist, only adds to the charm of these and a few other numbers here. The disc also finds the guitar and violin duo on two dates headed up respectively by pianist Garnet Clark and bandleader Michel Warlop (the handful of Warlop numbers also feature the great French clarinetist Alix Combelle). Topped off with some nice trumpet work by American ex-pat Bill Coleman, this Reinhardt disc qualifies as one of a handful of top-notch retrospectives of the guitarist's prime '30s output. Stephen Cook   Tracklist :

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

BUCK CLAYTON – 1949-1953 | The Chronogical Classics – 1362 (2004) FLAC (tracks+.cue), lossless

It wasn't until Buck Clayton made the European scene in 1949 that he had a chance to begin making records as a leader. Clayton cooked up 13 exceptionally fine tracks before heading back to New York. "High Tide" was a modern notion of Count Basie's. "Swingin' at Sundown" is immediately recognizable as "At Sundown," an old Walter Donaldson tune dating from the 1920s. The composer does not receive credit. Saxophonist Don Byas interacts busily with Clayton on "Who's Sorry Now" and the venerable "Sugar Blues." The trumpet is solely featured on "Blues in First," while "Blues in Second" is taken at almost exactly the same tempo, amounting to little more than a second take. "Don's Blues" is based on "Lester Leaps In." The second of the Parisian sessions brought in saxophonists Armand Conrad and Alix Combelle, trumpeter Bill Coleman, and the young pianist André Persiany. Clayton and Coleman interact on "Uncle Buck" and blend dazzlingly during "B.C. and B.C.," a walking blues for two in which they are billed as Duo de Trompettes. The ensemble's third-chair trumpeter, Merrill Stepter, is brought in to form the Trio de Trompettes on "Sweet Georgia Brown." Crucial support throughout all of these developments is provided by bassist Georges Hadjo. The four tracks recorded back in New York in September of 1951 seem strangely foolish by comparison. Vocalist Johnny Davis comes across as a bit of a twit, although it is interesting to hear the lyrics to "The World Is Waiting for the Sunrise." During "Whispering" he keeps whispering the word "whisper" and is loudly answered by the band hollering "Don't shout!," "Don't scream!," and "Don't yell!" It's really kind of stupid. "Sixty Minute Man" is not the R&B hit, but "The Syncopated Clock" is played by the rhythm section only. Davis tries scatting like early Babs Gonzales on "Smooth Sailing," an easygoing boppish bit of blues. The saving graces on this date are the presences of trombonist Kai Winding, clarinetist Peanuts Hucko, and pianist Bernie Leighton, who held the somewhat dubious distinction of being the leader. In February of 1953, Buck Clayton sat in with the Marlowe Morris Trio, an early modern organ combo. Morris sounds uncannily like later-period Fats Waller as he tickles the upper registers of the Hammond organ on "I Want a Little Girl." Organ and guitar devise an ostinato backdrop for Clayton's horn on "Blue Moon." The guitar handles the bridge and the organ solo is tough. The final two tracks are extended jams. "Basic Organ Blues" walks an exceedingly cool path with Clayton in fine, sassy form. The electrified guitar lays down a boogie and commences to rock. The piece even turns into "Night Train" for a while. This smart little band's take on "'S Wonderful" gradually comes to a boil as Clayton enunciates the melody with elegant precision. arwulf arwulf  
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NAT "KING" COLE – 1944-1945 | The Chronogical Classics – 861 (1996) FLAC (tracks+.cue), lossless

 Heads up, everybody! Here comes Volume Five in the Classics Nat King Cole chronology. This portion of the timeline runs from November 28, 1944 to May 23, 1945, charting the singing pianist's professional progress in trio sessions for Capitol and V-Disc as well as a date with the Capitol International Jazzmen, an all-star group composed of trumpeter Bill Coleman and reedmen Buster Bailey, Benny Carter and Coleman Hawkins backed by rhythm section mates Nat King Cole, Oscar Moore, John Kirby and Max Roach. Two of the four titles recorded by this group on March 30, 1945 have vocals by jazzwoman Kay Starr. During this period the King Cole Trio was at the height of their powers as a unit. While the leader's excellent vocals were now beginning to take center stage, the instrumental tracks, for example "A Pile O' Cole" and "A Trio Grooves in Brooklyn" are solid swinging small band jazz at its finest. The three instrumentals that close out this compilation are similarly rewarding. Two of them, Jacques Offenbach's "Barcarolle" and that gentle air from the 1890s, Edward MacDowell's "To a Wild Rose," were not issued to the public until years later. The third tune recorded that day, a flashy treatment of Maceo Pinkard's "Sweet Georgia Brown," came out on a 78 rpm platter as Capitol 239. It will satisfy anyone looking for a rousing example of how this trio sounded with the throttle wide open. arwulf arwulf
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SY OLIVER AND HIS ORCHESTRA – 1945-1949 | The Chronogical Classics – 1190 (2001) FLAC (tracks+.cue), lossless

Sy Oliver's main contributions to jazz history were his arrangements in the 1930s for Jimmie Lunceford and during the first half of the '40s for Tommy Dorsey. In 1947, he had a big band that recorded four sessions for MGM but quickly flopped, lacking its own musical personality and being born at a time when big bands were breaking up. This interesting CD is full of rare material. Oliver sings "Seventh Avenue" on a V-Disc from 1945, leads his big band on all 16 of its recordings from 1947, and heads a couple studio bands for sessions in 1949. Overall, Oliver has vocals on ten of the 23 numbers and also features singers Henry Wells, Tommy Roberts, Joe Bailey, Bobby Marshall, Charles McCormick, and the Aristokats. Although some of the sidemen are well-known swing veterans, in general they are confined to ensembles, with only a few of the tunes being worthwhile instrumentals. The music is enjoyable enough but one can easily understand why the Sy Oliver Orchestra never caught on. Scott Yanow
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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
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LUIS RUSSELL AND HIS ORCHESTRA – 1926-1929 | The Chronogical Classics – 588 (1991) FLAC (tracks+.cue), lossless

This Classics Russell collection and the label's later 1929-1934 disc round up the entire output by the Panamanian bandleader. And while some know them better for the fact they eventually morphed into Louis Armstrong's first big band in the early '30s, Russell's outfit originally cut some of the best sides to surface during the music's transition from early jazz to big band music. The cream of the tracks were recorded between 1929-1930, when the group included such top soloists as trumpeter Henry Allen, trombonist J.C. Higginbotham, saxophonists Charlie Holmes and Albert Nicholas, bassist Pops Foster, and drummer Paul Barbarin. The majority of the collection spotlights this period, with such standouts as "Jersey Lightning," "The New Call of the Freaks," and "African Jungle." Starting things off, though, are eight numbers from Russell's first sessions as a leader (this was while he was still with King Oliver). Featuring Victoria Spivey on vocals and two Jell Roll Morton alums in Kid Ory and George Mitchell, the Chicago-cut sides, while not on par with the later large-band tracks, still impress with their mix of New Orleans and Chicago styles. A quality disc that's best left to completists; newcomers should first consider JSP's superior-sounding Savoy Shout collection as a starting point. Stephen Cook  
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HENRY "RED" ALLEN AND HIS ORCHESTRA – 1929-1933 | The Chronogical Classics – 540 (1990) FLAC (tracks+.cue), lossless

The first of a five-volume CD series released by the European Classics label that reissues all of the recordings led by trumpeter Red Allen during 1929-41 is one of the best. The great trumpeter is first heard fronting the Luis Russell Orchestra for such classics as "It Should Be You" and "Biff'ly Blues," he interacts with blues singer Victoria Spivey, and on the selections from 1933 (two of which were previously unreleased) he co-leads a group with tenor-saxophonist Coleman Hawkins. Not all of the performances are gems but there are many memorable selections including "How Do They Do It That Way," "Pleasin' Paul," "Sugar Hill Function,," and "Patrol Wagon Blues." Other soloists include trombonists J.C. Higginbottham and Dicky Wells, clarinetist Albert Nicholas and altoist Charlie Holmes. Scott Yanow
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FATS WALLER – 1934-1935 | The Classics Chronological Series – 732 (1993) FLAC (tracks+.cue), lossless

Looking for the perfect Fats Waller album? This just might be it. With the exception of eight titles recorded in May and August of 1934, these are the earliest recordings to be issued under the banner of Fats Waller & His Rhythm. By now, Waller had begun to settle into his role as pianist, vocalist, and bandleader, using his own vigorous presentational formula that was still fresh and stimulating. The band he used on the 28th of September was slightly expanded by the inclusion of trombonist Floyd O'Brien and clarinetist Mezz Mezzrow. On November 7th, Eugene Sedric was back playing tenor and Bill Coleman had replaced Herman Autrey as trumpeter. It is fascinating to ponder which numbers Waller sang relatively straight -- "Let's Pretend There's a Moon" comes out as a delightful love song -- and which were instead subjected to his mischievous manhandling, like "If It Isn't Love," a tune he initially refused to record. The material recorded on January 5, 1935, includes instrumental flip sides to complement the vocal versions of "Baby Brown" and "I'm a Hundred Per Cent for You." The lovely "Night Wind" was Waller's recording debut on the Hammond organ, an instrument he pioneered after making a number of jazz pipe organ recordings between the years 1926 and 1929. He was in fact the very first jazz organist. This part of the Fats Waller chronology just happens to contain some of the greatest records he ever made. Every single song is perfectly presented by his excellent little ensemble. When combined with four of his very best piano solos from November of 1934, the results constitute an even better choice for both Fats Waller initiates and longtime fans than any number of "greatest-hits" collections. This rewarding package of essential Waller performances is strongly recommended. arwulf arwulf  
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FATS WALLER – 1935 | The Classics Chronological Series – 746 (1994) FLAC (tracks+.cue), lossless

One of several Classics discs chronicling Waller's vast amount of Bluebird combo sides from the '30s and '40s, this roundup of some of the pianist's 1935 offerings includes many fine cuts but doesn't quite rank with the maestro's best work. Featuring Waller's longstanding Fats Waller & His Rhythm band, the 22 numbers may not include any original material, but there is still more than enough in the way of indelible performances. This is especially true for a wonderful "Lulu's Back in Town," the Coots and Gillespie rarity "Whose Honey Are You?," and "Rosetta." An enjoyable if non-essential Waller collection. Stephen Cook
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TEDDY HILL AND HIS ORCHESTRA – 1935-1937 | The Classics Chronological Series – 645 (1992) FLAC (tracks+.cue), lossless

Saxophonist, bandleader and entrepreneur Teddy Hill is often remembered mainly as the organizer of informal after-hours jam sessions at Minton's Playhouse in Harlem during the early '40s. Those who delve a bit more assiduously into the history of jazz eventually learn that Teddy Hill led an excellent big band during the '30s. He started out playing drums and trumpet, then took up clarinet, soprano and tenor saxophones. Hill developed his chops during the '20s accompanying the Whitman Sisters then worked with George Howe, Frank Bunch & His Fuzzy Wuzzies and the Luis Russell orchestra, a fine band in which he nevertheless found few opportunities to solo (this almost certainly inspired his later decision to organize open-ended blowing sessions at Minton's). Hill put together his own band in 1934; this group secured steady employment broadcasting over the NBC radio network. All of their 1935 and 1936 recordings were derived from their radio work; they began making records in the Victor studios in 1937. Some of the singing may seem quaint or even saccharine; "Big Boy Blue," however, is full of pep and the stylized group vocal on "The Love Bug Will Bite You if You Don't Watch Out" is a bubbly delight. Note the inclusion of several Hill originals and a perfectly matched pair of atmospheric novelties: Larry Clinton's "Study in Brown" and Raymond Scott's "Twilight in Turkey." Some of Hill's players have become jazz legends -- Roy Eldridge, Bill Coleman, Frankie Newton, Shad Collins, Dicky Wells, Russell Procope and Chu Berry. Yet some folks will consider the presence of young Dizzy Gillespie on the session of May 17, 1937 as the main attraction; "King Porter Stomp" contains his very first recorded solo. Teddy Hill's entire recorded output fits neatly onto one compact disc. While this exact body of work has also been reissued on the Hep and Jazz Archives labels, the easy-to-consult layout of the Classics discography speaks strongly in its favor. arwulf arwulf  
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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  
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SIDNEY BECHET – 1949, Vol. 2 | The Classics Chronological Series – 1186 (2001) FLAC (tracks+.cue), lossless

During the last decade of his life, Sidney Bechet spent ever more of his time in Europe, especially in Paris, where he was revered as a hero and cultural icon. This tenth installment of Bechet's complete recordings in chronological order presents three Parisian sessions and a Circle Records date with Bechet as featured soloist with the Bob Wilber Orchestra in New York. Wilber's band mingled seasoned old-timers like Pops Foster and Jimmy Archey with younger talent like Dick Wellstood. The material dished up by this group is delightfully varied. "I'm Through, Goodbye" is a smoothly bubbling strut, "Waste No Tears" a thoughtful reverie, and "Without a Home" a sanguine study in blue. During the sensuous "Love Me With a Feeling," Bechet talks to his woman about passion and demonstrates precisely what he means with the soprano sax. "The Broken Windmill" is a vigorous, slightly frantic stomp propelled by Pops Foster's booming bass. "Box Car Shorty," billed as "A Dixieland Calypso," has an authentic West Indian vocal by the Duke of Iron. Speaking of which -- "Ce Mossieu Qui Parle," the opening track from Bechet's Parisian session of October 14, 1949, sounds like an extension of his "Original Haitian Music" session with Willie "The Lion" Smith from November of 1939, although here Bechet has more room to improvise over the polyrhythmic changes. "Buddy Bolden Story," the famous melody established by Jelly Roll Morton, contains a humorous anecdote told in French by Bechet in conversation with Claude Luter after a bouncy introduction. "Bechet Creole Blues" is deep and dark, as serious as your life. "Anita's Birthday" is actually "Do the Hucklebuck," the pop song based on licks pilfered from Charlie Parker's "Now's the Time." "Les Oignons" -- very popular among the French -- is a jaunty hop dotted with periodic full stops. Bechet's rendition of Ma Rainey's "Ridin' Easy Blues" is blown in huge gusts of soul. "Blues in Paris" is a slow interlude for soprano sax and rhythm. "Panther Dance" is the old "Tiger Rag," served with roasted peppers. The last six selections presented here are particularly exciting, as listeners get to hear Bechet interacting with percussionist Kenny "Klook" Clarke. They exchange ideas during a paired passage on "Klook's Blues" and commandeer "American Rhythm" in its entirety as a saxophone/drum duet. Clarke generates thunderous textures that presage what Art Blakey would sound like ten years later. arwulf arwulf  
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JOE MARSALA – 1936-1942 | The Classics Chronological Series – 763 (1994) FLAC (tracks+.cue), lossless

All 21 of clarinetist Joe Marsala's early recordings as a leader are on this enjoyable CD. An excellent swing clarinetist who was flexible enough to play hot on Dixieland records, Marsala's six sessions reflect his versatile musical tastes. Among his more celebrated sidemen on these formerly rare selections are trumpeters Marty Marsala (his brother), Pee Wee Erwin, Bill Coleman, and Max Kaminsky, trombonist George Brunies, altoist Pete Brown, violinist Ray Biondi, drummers Buddy Rich and Shelly Manne (both making their recording debuts), and several fine rhythm sections. Marsala's wife, Adele Girard, the first great jazz harpist, is notably added on 11 of the numbers. Her hot harp playing on "Bull's Eye" and "I Know That You Know" steals the show. Highly recommended. Scott Yanow
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BILL COLEMAN – 1936-1938 | The Classics Chronological Series – 764 (1994) FLAC (tracks+.cue), lossless

With such trumpet stars as Louis Armstrong, Red Allen, Rex Stewart, and Cootie Williams grabbing the headlines and the gigs, Bill Coleman found it hard to make a name for his own considerable talents during the nascent swing years. Like many other jazz figures (Coleman Hawkins, Benny Carter, etc.), Coleman looked to France and Europe for a chance to make a name for himself and catch a break from stateside racism. And while his trip to Paris came about with some luck -- thanks to old friend Freddie Taylor and his need to recruit players for a nightclub stint -- Coleman soon became an in-demand soloist for both live gigs and recording dates overseas. This generous Classics collection brings together his initial dates in the City of Light, both as a leader and with various top local outfits. Featured throughout the 22 tracks are such Parisian jazz luminaries as Django Reinhardt, Stephane Grappelly, Eddie Brunner, and Alix Combelle. Along with a solid batch of tunes, excellent playing all around, and Coleman's own melodiously clear solos, specific highlights include the Coleman-Reinhardt duet, "Bill Coleman Blues," the trumpeter's vocal turn on "Indiana," and two momentous takes of "After You've Gone." An excellent chronicle of one of jazz's most unsung talents. Stephen Cook  
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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
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BILL COLEMAN – 1951-1952 | The Classics Chronological Series – 1339 (2002) FLAC (tracks+.cue), lossless

Bill Coleman is woefully unsung in jazz circles, probably because he spent half his professional career as an expatriate American jazz musician living in Europe. An excellent swing trumpeter, Coleman had an affinity for the blues as well, and this collection of sides from 1951 and 1952 shows a wonderfully lyric player on such tracks as the opener, "Bing Bang Blues," and such classic standards as "Lester Leaps In," "Pennies From Heaven," and the two-part "St. Louis Blues." Coleman shows an affable and comfortable vocal style (although its good that he never set aside his horn) as well on a couple cuts here, the telling "The Blues Jumped and Got Me" and the set closer, the immortal "St. James Infirmary." Steve Leggett
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BILL COLEMAN – 1952-1953 | The Classics Chronological Series – 1381 (2005) FLAC (tracks+.cue), lossless

In addition to the friendliest photograph of Bill Coleman ever published, this fourth installment in the Classics Coleman chronology presents material performed live in Paris, France. The first 11 tracks were recorded on October 18, 1952, with Coleman as MC in front of a wildly appreciative audience at the Salle Pleyel, 252 Rue de Faubourg St-Honore. The opening number is an extended duet on "Out of Nowhere" played by pianist Randy Downes and bassist Alvin "Buddy" Banks. A brief crowd-pleasing take of "The Sheik" consists mostly of Zutty Singleton beating the hell out of a cymbal. Guy Lafitte is heard on clarinet and tenor sax (very nicely handled on "Ghost of a Chance") and Dicky Wells blows his trombone with either laconic eccentricity or a boisterous if somewhat dog-eared abandon. Coleman, as always, sounds like a trumpeter who was inspired by Louis Armstrong and gradually developed his own sound without ever deviating very far from the Armstrong influence. "Knuckle Head," composed by Coleman and Wells, is a solid example of what in 1945 was often referred to as "rebop." Coleman uses a mute most beautifully on Duke Ellington's "Solitude" and Lafitte demonstrates a Barney Bigard-like approach to the clarinet. "Perdido" heavily features bassist Buddy Banks. The author of the liner notes assumed that Wells was loaded and needed to be "rescued" by Coleman. This is debatable; on the excellent "Red Top" the trombonist sounds like he's fully in command of himself. Given the tastes of the average Parisian jazz head in 1952, it is not surprising that this band ended its gig with a singalong version of "When the Saints Go Marching In." Lafitte's very modern tenor solo on this historical New Orleans street stomp perfectly addresses the European fascination with the entire history of jazz. The rest of the material issued here was recorded at the Cluny Palace in the Cluny de Luxe Hotel on October 23, 1953, with trombonist Bill Tamper, veteran reedman Benny Waters, and a tight rhythm section propelled by percussionist Wallace Bishop. Coleman exercises his vocal chords on the last three tracks. Benny Waters takes one of the toughest solos of his career on Eddie "Cleanhead" Vinson's rocking "Old Maid Blues," a facetious tune addressed to a 35-year-old woman. arwulf arwulf  
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