LOUIS ARMSTRONG – 1949-1950 | The Classics Chronological Series – 1179 (2001) FLAC (tracks+.cue), lossless

Diligently reissuing all of Louis Armstrong's recordings, the Classics Chronological Series opens this volume with six sides he waxed for the Decca label during September of 1949. The first two tracks are comforting romantic pop songs sung in front of an orchestra under the direction of Sy Oliver. Much more famous and ultimately among the most lucrative recordings Armstrong ever made, "That Lucky Old Sun" and "Blueberry Hill" had the singer backed by Gordon Jenkins' squarer-sounding big band augmented with a conventional angel cake choir. Then on September 30, 1949, Armstrong recorded with Sy Oliver's band again, this time in two duets with Billie Holiday, one of his greatest admirers. Note that "My Sweet Hunk o' Trash" and "You Can't Lose a Broken Heart" were both composed by James P. Johnson, king of Harlem stride piano. The next chapter in the Armstrong story consists of pure, unadulterated traditional jazz played by a new edition of his All-Stars. The nucleus of Jack Teagarden, Barney Bigard, and Arvell Shaw was greatly fortified by the presence of pianist Earl Hines and percussionist Cozy Cole. Seven of these titles were initially issued in two parts owing to the limitations of the 10" phonograph record. Happily, and thanks to careful editing, Classics now presents each selection as a continuous extended performance, most effectively in the case of the nearly nine-minute "Bugle Call Rag." Garnished with a laid-back "My Bucket's Got a Hole in It" and a smokin' five-minute dash through "Panama," these are some of the best Armstrong jams of the early '50s.   arwulf arwulf       Tracklist + Credits :

LOUIS ARMSTRONG – 1952-1953 | The Classics Chronological Series – 1352 (2004) FLAC (tracks+.cue), lossless

This 21st chapter in the Classics Louis Armstrong chronology documents the great jazz trumpeter's steady development into a mainstream pop vocalist with recordings made for the Decca label between September 22, 1952, and October 22, 1953. The first four titles are among the most heavily sugared he ever recorded; although Pops could make even "White Christmas" and "Winter Wonderland" sound good, the Gordon Jenkins Orchestra & Chorus had a way of drenching everything in Karo syrup. It's a pity the voices were used on "Listen to the Mockingbird," as Louis sounds marvelous intoning the words to this old-fashioned melody, originally published in 1855 by a Philadelphian Afro-American music instructor named Septimus Winner. On February 23, 1953, Armstrong was in Detroit making records with an orchestra using arrangements by Sy Oliver; his performance of "Your Cheatin' Heart" was waxed only weeks after the sudden death of Hank Williams. During the spring and summer of 1953 Armstrong was able to record with a reasonable number of solid jazz players -- most importantly clarinetist Barney Bigard, trombonist Trummy Young, tenor saxophonist Sam Taylor, pianists Joe Bushkin and Marty Napoleon, bassist Arvell Shaw, and drummer Cozy Cole. Two extra-long performances, "Basin Street Blues" and "Otchi-Tchor-Ni-Ya," were recorded in Los Angeles during June of 1953 for intended inclusion in The Glenn Miller Story, a Universal motion picture starring Jimmy Stewart and June Allyson. Both tracks perk up halfway through with pyrotechnic drumming by Gene Krupa. Although Bigard, Young, Shaw, and Cole were with Armstrong on the session that took place on July 16, 1953, they had to contend with relatively corny material and square arrangements foisted upon the world by the Jack Pleis Orchestra. The following session, featuring a big band billed as Louis Armstrong & the Commanders, resulted in two more Christmas tunes and three perfectly reasonable big-band ballads, the best of which was Armstrong's own composition "Someday You'll Be Sorry." This itinerary is a good illustration of Armstrong's career as it stood in the early '50s, represented by a little bit of jazz surrounded by a whole lot of pop, some of it rather overbearing. While "Someday" is a record of which Armstrong was justifiably proud, "'Zat You, Santa Claus?" typifies the kitschy excesses of the U.S. entertainment industry during the Truman/Eisenhower era. arwulf arwulf       Tracklist + Credits :

JOHNNY GUARNIERI – 1944-1946 | The Chronogical Classics – 956 (1997) FLAC (image+.cue), lossless

In addition to recording prolifically in the 1940s, pianist Johnny Guarnieri led a few record dates. This Classics CD has four septet numbers from 1944 that feature tenor saxophonist Lester Young and trumpeter Billy Butterfield as sidemen, four songs with tenorman Don Byas in superb form, and three trio sessions, including two that co-star bassist Slam Stewart. Guarnieri, who was versatile enough to be able to closely emulate Count Basie, Teddy Wilson, Fats Waller, and Art Tatum, also had his own swing-based style and is consistently creative throughout the performances. Highlights include "Salute to Fats," "Bowin' Singin' Slam," "Gliss Me Again," "I'd Do Anything for You," and "Make Believe"; all 22 selections are enjoyable. Scott Yanow   Tracklist + Credits :

MILDRED BAILEY – 1940-1942 | The Classics Chronological Series – 1279 (2003) FLAC (tracks), lossless

Volume seven in the Classics Chronological survey of recordings originally released under the name of Mildred Bailey compiles what appear to be all of the titles produced between April 2, 1940 and February 12, 1942. During this period the singer performed with bands led by Alec Wilder and Harry Sosnick, and may be heard harmonizing with the Delta Rhythm Boys on "Jenny" and "When That Man Is Dead and Gone." Even as she spent part of her time bobbing around on the surface of Wilder's chamber pop ensemble (fortified with a flute, no less than three bass clarinets and Mitch Miller's oboe, and English horn), Mildred Bailey continued to interact with the some of the top jazz musicians on the scene at that time. This album's enclosed session discography indicates the presence of drummer Kenny Clarke, pianists Herman Chittison, Billy Kyle, and Teddy Wilson, and trumpeters Billy Butterfield and Roy "Little Jazz" Eldridge. The hipper arrangements were scored by Eddie Sauter, famous for his work with Benny Goodman and Mildred Bailey's ex-husband Red Norvo. arwulf arwulf  
Tracklist + Credits :

PEARL BAILEY – 1944-1947 | The Classics Chronological Series – 1213 (2001) FLAC (tracks), lossless

Pearl Bailey was a magnificent jazz singer and comedienne. Check her out in front of the Cootie Williams Orchestra! That's Bud Powell back there behind the piano. Cleanhead Vinson and Lockjaw Davis are in the reed section. Pearl seems perfectly at home with this early modern-sounding big band, and Cootie puts extra sass in his horn to complement the lady's personality. Herman Chittison leads a much smaller and more intimate ensemble for "He Didn't Ask Me," a subtly soft-spoken lament with wistful incidental whistling. Pearl attracted a lot of attention by being unusually tough, candid, and outspoken in ways that few pop vocalists had ever dared to pursue. For a black woman to assert herself in this way anywhere near the mainstream was particularly refreshing during the late '40s. Pearl's high-stepping improvisations on "St. Louis Blues" are spectacular, but her relaxed conversational musings on "Tired" are perfectly timed theater, naturally hip and funny as hell. "I Ain't Talkin'" has a similar easy perfection about it. Some of this material is pure entertainment. "Personality" turns out to be a metaphor for booty. "That's Good Enough for Me," "Say It Simple," and "Get It Off Your Mind" are clever routines. Some of this stuff seems like it was inspired by Cole Porter's high camp. The Mitchell Ayres Orchestra likes to pour on a little extra glitz, and low-tech reverb makes it seem like Pearl is performing in a gymnasium. Finally, there's a two-part duet with Frank Sinatra. They sound at ease with each other: two actors with seasoned pipes who enjoy tearing apart a slow song note for note and phrase by phrase. arwulf arwulf
Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1941, Vol. 3 | The Classics Chronological Series – 1271 (2002) FLAC (tracks), lossless

Benny Goodman's 21st volume in his portion of the Classics Chronological Series contains all of the red label Columbia records the popular clarinetist and bandleader made in Chicago and New York between August 15 and October 8, 1941. This compilation contains Peggy Lee's very first recordings. Originally known as Norma Egstrom, she was singing at the Windy City's Hotel Ambassador when Goodman heard her while taking a break from his band's run at the Panther Room in the Hotel Sherman. Goodman, who needed a vocalist to fill the gap left by the sudden departure of Helen Forrest, hired her without hesitation. He also continued his struggle against bigotry by including in his band several uncommonly skilled Afro-American musicians -- trumpeter Cootie Williams, bassist John Simmons and drummers Jo Jones and Sid Catlett. Because of hassles with the Musicians' Union, Jones, who can be heard on two recently unearthed "test" takes, almost didn't get to record with Goodman at all on September 25, 1941; five of the tracks cut on that day have no drummer at all. For an interesting listening experience, compare both versions of "The Earl." Take one is powerfully propelled by Jones, who during take two may very well have been egging on the band from the sidelines as he did years later during the Ellington band's notoriously over-the-top performance at the Newport Jazz Festival. Both takes feature the piano of Mel Powell, who composed and arranged this exciting number. Jones was borrowed from Count Basie to fill in for Catlett, who had quarreled with Goodman during an appearance at Meadowbrook in New Jersey and quit shortly afterwards, only to return for the session of October 2. Another test recording that has existed for years in a sort of discographical no-man's-land devoid of matrix numbers is Goodman's two-part jam on Mary Lou Williams' "Roll 'Em." The producers of this series have determined that it belongs in this portion of the Classics Benny Goodman chronology. arwulf arwulf
Tracklist :

BENNY GOODMAN AND HIS ORCHESTRA – 1941-1942 | The Classics Chronological Series – 1303 (2003) FLAC (tracks+.cue), lossless

Tracklist :

BENNY GOODMAN AND HIS ORCHESTRA – 1951-1952 | The Classics Chronological Series – 1450 (2007) FLAC (tracks+.cue), lossless

This is the 34th volume in the Classics Benny Goodman chronology. It combines four titles from the Capitol records session of October 27, 1949 (Goodman's last for that label) with seven tunes recorded for Columbia on October 10 and November 24, 1950 and ten previously hard-to-find selections from a broadcast that aired April 1, 1951. Although the band on the Capitol date had Zoot Sims in the reed section, slick vocals by Dolly Houston, Buddy Greco and the Heathertones seem to use up all the air in the room. The Columbia sessions employed the Goodman Sextet, featuring pianist Teddy Wilson, vibraphonist Terry Gibbs and guitarist Johnny Smith, these last two helping to emphasize a contemporary bop-to-cool stylistic emphasis that was still playing a prominent role in Goodman's approach to music during this period. Vocalists on this leg of the journey include Nancy Reed, a carefully rehearsed, mixed vocal group known as the Pastels, and a deep-voiced male singer billed as "Rickey." This was none other than Jimmy Ricks, bass singer for the Ravens. Issued as Columbia 39121, the two instrumentals -- "Lullaby of the Leaves" b/w "Temptation Rag" -- are stunning examples of the Goodman/Gibbs collaboration at its finest. Yet the real gold in this compilation lies in the ten more traditional jazz melodies that were performed on the air, recorded and sold on a limited-edition LP in order to raise funds to benefit Fletcher Henderson, Goodman's greatest arranger as well as a pioneer of big-band jazz, who made his first jazz recordings in 1923. Henderson was ill and in serious need of cash. The fact that Goodman held this exciting jam session as a benefit for him adds considerable ethical ballast to an already superb bundle of live jazz. Teaming with Goodman in various combinations throughout the session were pianist Teddy Wilson, drummer Gene Krupa, bassist Eddie Safranski, guitarist Johnny Smith, trombonist Lou McGarity and trumpeter Buck Clayton. arwulf arwulf
Tracklist : 

JESS STACY – 1935-1939 | The Classics Chronological Series – 795 (1994) FLAC (tracks+.cue), lossless

Pianist Jess Stacy did not lead that many recording sessions during the swing era since he spent long periods playing with the big bands of Benny Goodman and Bob Crosby. This excellent CD contains his 21 selections as a leader from a four-year period. Stacy's three numbers from 1935 include a solo Bix Beiderbecke medley and two songs with bassist Israel Crosby and drummer Gene Krupa. In addition, this set has Stacy's eight piano solos for Commodore, a duet with Bud Freeman on tenor ("She's Funny That Way"), and eight very rare performances (plus an alternate take) cut for Varsity in 1939 that also feature trumpeter Billy Butterfield, tenor saxophonist Eddie Miller, and either clarinetist Hank d'Amico or Irving Fazola in an octet. This CD contains more than its share of gems. Scott Yanow
Tracklist + Credits :

JESS STACY – 1944-1950 | The Classics Chronological Series – 1175 (2001) FLAC (tracks+.cue), lossless

Real jazz happens when the musicians really listen to one another. You, the listener after the fact, can hear this communication woven into the music itself. "D.A. Blues," played by Pee Wee Russell's Hot 4 with Jess Stacy at the piano, moves slowly enough for this dynamic to be spelled out as big as skywriting. "Keepin' Out of Mischief Now" works like a charm. The interplay among the four -- and especially between pianist and clarinetist -- is remarkable. It's emblematic of everything that Commodore Records ever stood for. The next session in the Jess Stacy chronology resulted in a fine crop of piano and drum duets. It is strange that Commodore didn't issue them at the time, but such decisions often seem odd many years later. These are really piano solos with gently percussive accompaniment -- about as gentle as Specs Powell ever played on record, in fact. That is, until the fast-paced "Ridin' Easy" and "Song of the Wanderer," where Stacy runs his hands like lightning over the keys and Powell responds with steamy licks of his own. What a shame it is that Jess Stacy's big band only managed to record enough music to fit on both sides of a single, 10" 78 rpm platter. "Daybreak Serenade" is a very pretty instrumental and Stacy's wife Lee Wiley sings "Paper Moon" splendidly. Just imagine what they could have accomplished given the opportunity to wax a few more sides. Instead what we get are one dozen examples of the Jess Stacy Quartet, recording for Capitol and Columbia during the summer of 1950. These are gorgeous reveries, heavily featuring the guitar of George Van Eps. This makes the second-half of the CD decidedly cool and relaxing, friendly and unobtrusive. Bassist Morty Corb walks briskly through the changes of "I'm Gonna Sit Right Down and Write Myself a Letter," a melody still associated with Fats Waller even though he didn't write it. Waller's "Keepin' Out of Mischief Now" reappears, joyously stir-fried to perfection. This handsome collection of top-notch piano jazz ends with a virtuoso realization of Bix Beiderbecke's "In a Mist," something like Chantilly cream over strawberries after four courses. arwulf arwulf
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ARTIE SHAW AND HIS ORCHESTRA – 1940 | The Classics Chronological Series – 1127 (2000) FLAC (tracks+.cue), lossless

This CD starts out with the last three titles that Shaw cut on May 13, 1940, with a studio orchestra (including "April in Paris") and then moves on to his third big band, a magnificent string orchestra that included trumpeter Billy Butterfield, trombonist Jack Jenney, and pianist Johnny Guarnieri as key soloists. They perform one of the greatest versions ever of "Stardust," along with memorable renditions of "Temptation," Shaw's "Love of My Life," and the two-part "Blues." In addition, Artie Shaw's Gramercy Five (a sextet that included Butterfield with Guarnieri on celeste) is heard on four catchy numbers, highlighted by their hit record of "Summit Ridge Drive." There are many wonderful performances on this disc and Artie Shaw is heard in consistently inspired form. Scott Yanow
Tracklist + Credits :

ARTIE SHAW AND HIS ORCHESTRA – 1940-1941 | The Classics Chronological Series – 1167 (2001) FLAC (tracks+.cue), lossless

Artie Shaw kept his third jazz orchestra (his Stardust band) together into early 1941 before he decided to break it up. Included on this CD are the big band's last recordings (including "Prelude in C Major," "Dancing in the Dark," and the exciting two-part "Concerto for Clarinet") plus the second session by Shaw's Gramercy Five, featuring trumpeter Billy Butterfield and Johnny Guarnieri on harpsichord. Concluding this CD are four songs with a studio orchestra and four others with a very interesting interracial group that includes trumpeter Henry "Red" Allen, trombonist J.C. Higginbotham, altoist Benny Carter, Lena Horne (taking two vocals), and a string section. There are lots of stimulating and surprising performances heard throughout this pleasing program by the great clarinetist. Scott Yanow
Tracklist + Credits :

ARTIE SHAW AND HIS ORCHESTRA – 1951-1954 | The Classics Chronological Series – 1413 (2006) FLAC (tracks+.cue), lossless

Volume 16 in the Classics Artie Shaw chronology covers a time line from January 30 1951 to March of 1954, combining ten of his excellent latter-day Gramercy Five recordings with 11 performances by what is now recognized as his last big band. The ensembles used on the sessions that took place in July of 1953 were positively gargantuan, with the group that was squeezed into the studio on July 2 weighing in as Brobdingnagian: 20 pieces + 17 string players = 37 musicians, a jazz orchestra monstrous enough to have handled one of Stan Kenton's Innovations charts, although the arrangements used here were so sugary as to suggest instead a Jackie Gleason midnight cocktail lounge set. Although those who suffer from an allergy to string ensembles might balk at the prospect, Shaw's inspired clarinet technique transforms even the sweetest of these marzipans into an intoxicating daydream of Cinemascopic proportions. The Gramercy Five sides are exceptionally satisfying, with attractive vocals by June Hutton, a mature Connee Boswell and sensuous Trudy Richards, who seems to have modeled her singing style after Dinah Washington. Of the three quintets heard in this part of the chronology, the one Shaw led during September 1953 and again in early 1954 was a particularly fine unit composed of pianist Hank Jones, vibraphonist Joe Roland, guitarist Tal Farlow, bassist Tommy Potter and drummer Irv Kluger, who got to show off during the "Stop and Go Mambo." The nearly nine minute "Sequence in B Flat" is a full-fledged exercise in modern bop. Altogether a fascinating segment of Artie Shaw's late period, this compilation features the last of his Decca recordings, a transitional date for the tiny Bell record label, and the first of Shaw's wonderful collaborations with producer Norman Granz. arwulf arwulf  
Tracklist + Credits : 

UNA MAE CARLISLE – 1941-1944 | The Classics Chronological Series – 1230 (2002) FLAC (tracks+.cue), lossless

For the best introduction to the music of Una Mae Carlisle, consult her 1938-1941 recordings (Classics 1209). Thrust into the limelight by her friend Fats Waller, Carlisle established herself as an able pianist, vocalist and leader of small swing bands, relinquishing her place at the piano in 1941 and '42 in order to concentrate on presenting herself as a singer. Backed by pianist Billy Kyle and the John Kirby Sextet, she delivered quite a number of sentimental songs and a handful of upbeat novelties. It's important to bear in mind the fact that during this time she was grappling with the debilitating effects of mastoiditis, a painful malady brought on by an infection of the inner ear. This may account for the fact that on many of these sides the singer sounds somewhat tentative, less focused and lacking the full power of her earlier recordings. "Don't Tetch It!" turned out spunky because it was a spunky number to begin with. "It Ain't Like That" is an upbeat bounce, loosely garnished with "hep-talk" lyrics. "So Long, Shorty" is addressed to a soldier who is headed for Tokyo. After the end of the notoriously inconvenient and historically frustrating recording ban that began in 1942, Una Mae Carlisle found herself eliminated from the roster of Bluebird recording artists. Securing work with the tiny Joe Davis label, she went back to singing from the piano. The material seems stronger than what she'd been trying to pull off with Bluebird. "'Tain't Yours" is based in a solid groove, and swings accordingly. Ray Nance shines and Budd Johnson blows his tenor sax lustily. Both men spruce up "I'm A Good, Good Woman" with notably expressive solos. Even the slow numbers from 1944 are substantial, more soulful and less flimsy than before. Una sounds healthier and more mature. Operating the piano obviously kept her in touch with the band's collective thought processes. "Take Your Time" works well, "Best Little Yankee" fulfills a wartime thematic obligation, and "I Speak So Much" holds its own largely because of the amazing trumpet and sax solos. This volume of the chronological Carlisle closes with a session from the end of August 1944. The band is said to be comprised of Bob Crosby bandmembers, which is another way of saying that Una fell in with the Eddie Condon Mob. From here her career led to radio and television appearances, in addition to further phonograph recordings. These may be heard on the final volume of Carlisle 's recordings (Classics 1265), covering the years 1944 through 1950. arwulf arwulf  
Tracklist :
1    Can't Help Lovin' Dat Man    2:44
2    It Ain't Like That    2:27
3    Anything    2:38
4    City Called Heaven    2:54
5    I'm The One Who Loves You    3:02
6    My Wish    3:03
7    Coffee And Cakes    2:53
8    Moonlight Masquerade    2:32
9    Don't Tetch It!    2:18
10    So Long, Shorty    2:26
11    I'm Tryin'    2:53
12    Sweet Talk    3:00
13    'Tain't Yours    2:50
14    Without You Baby    3:09
15    I'm A Good, Good, Woman    2:46
16    Ain't Nothin' Much    2:57
17    I Like It, 'Cause I Love It    3:03
18    You Gotta Take Your Time    2:49
19    He's The Best Little Yankee To Me    2:34
20    I Speak So Much About You    2:58
21    Teasin' Me    2:35
22    You And Your Heart Of Stone    3:06
23    You're Gonna Change Your Mind    3:06
24    I've Got A Crying Need For You    2:54

LEE WILEY - West of the Moon (1956-2007) RM / FLAC (image+.cue), lossless

Lee Wiley was still in prime form during the 1950s, although she was disappointed that she did not become a major commercial success. On this LP (all but two cuts have since been reissued on CD), Wiley is joined by three different orchestras arranged by Ralph Burns. Her renditions of "You're a Sweetheart," "Who Can I Turn to Now," "Can't Get Out of This Mood," "East of the Sun," and "Moonstruck" are particularly memorable. Despite the passing of time, Wiley's voice was still sensuous and haunting, lightly swinging and full of subtlety. With trumpeter Nick Travis, trombonist Urbie Green, trumpeter Billy Butterfield, trombonist Lou McGarity, and clarinetist Peanuts Hucko helping out with a few short solos, Wiley sounds inspired throughout this memorable set. by Scott Yanow
Tracklist :
1     You're a Sweetheart    2:57
Harold Adamson / Jimmy McHugh
2     This Is New    2:59
Ira Gershwin / Kurt Weill
3     You Must Have Been a Beautiful Baby    3:02
Johnny Mercer / Harry Warren
4     Who Can I Turn to Now?    3:56
William Engvick / Alec Wilder
5     My Ideal    3:26
Newell Chase / Leo Robin / Richard A. Whiting / Alec Wilder
6     Can't Get out of This Mood    3:16
Frank Loesser / Jimmy McHugh
7     East of the Sun    3:34
Brooks Bowman
8     I Left My Sugar Standing in the Rain    3:48
Sammy Fain / Irving Kahal
9     Moonstruck    3:43
Sam Coslow / Arthur Johnston
10     Limehouse Blues    3:06
Philip Braham / Douglas Furber
11     As Time Goes By    3:16
Herman Hupfeld
12     Keepin' out of Mischief Now    2:45
Andy Razaf / Fats Waller
- Bonus Tracks -
13     Stars Fell On Alabama    4:05
 Written-By – F. Perkins, M. Parish
14     Do You Know What It Means To Miss New Orleans?    4:06
Written-By – DeLange, Alter
Credits :
Arranged By – Deane Kincaide (tracks: 13, 14), Ralph Burns (tracks: 1 To 12)
Baritone Saxophone – Danny Bank (tracks: 2, 6, 9, 10), Deane Kincaide (tracks: 13, 14)
Bass – Bob Haggart (tracks: 13, 14), Milt Hinton (tracks: 1 To 12)
Clarinet – Peanuts Hucko (tracks: 1, 3, 8, 12, 13, 14)
Drums – Cliff Leeman (tracks: 13, 14), Don Lamond (tracks: 1 To 12)
Flute, Clarinet, Alto Saxophone – Ray Beckenstein (tracks: 4, 5, 7, 11)
Flute, Oboe, English Horn – Romeo Penque (tracks: 4, 5, 7, 11)
Guitar – Barry Galbraith
Harp – Jane Putnam (tracks: 4, 5, 7, 11)
Piano – Lou Stein (tracks: 13, 14), Moe Wechsler (tracks: 1 To 12)
Reeds – Ray Beckenstein (tracks: 2, 6, 9, 10), Romeo Penque (tracks: 2, 6, 9, 10)
Tenor Saxophone – Al Epstein (tracks: 2, 6, 9, 10), Al Klink (tracks: 1, 3, 8, 12)
Trombone – Cutty Cutshall (tracks: 13, 14), Lou McGarity (tracks: 1, 3, 8, 12), Bob Alexander (tracks: 2, 6, 9, 10), Urbie Green (tracks: 2, 6, 9, 10)
Trumpet – Bernie Glow (tracks: 2, 6, 9, 10), Billy Butterfield (tracks: 1, 3, 8, 12, 13, 14), Nick Travis (tracks: 2, 6, 9, 10)
Viola – Dave Schwartz (tracks: 4, 5, 7, 11)
Violin – Leo Kruczek (tracks: 4, 5, 7, 11), Paul Winter (tracks: 4, 5, 7, 11)
Vocals – Lee Wiley 

FRANCES WAYNE - The Warm Sound (1957-2014) Jazz Best Collection 1000 - 4 / FLAC (tracks+.cue), lossless

Features 24 bit remastering and comes with a mini-description. The aptly titled The Warm Sound reunites Frances Wayne with husband and arranger Neal Hefti, adding to the equation a wonderful support unit including tenorist Al Cohn, guitarist Billy Mure, pianist Hank Jones, and flautist Jerome Richardson to yield one of the singer's most delightful and consistent sessions. Hefti keeps his more extravagant impulses in check here, creating a series of sophisticated but appealingly simple arrangements that underscore the breathy appeal of Wayne's vocals. Likewise, warhorses including "'Round Midnight" and "Prelude to a Kiss" prove particularly well-matched to her sexy but sweet persona. by Jason Ankeny
Tracklist :
1 - Early Autumn 3:09
Bass – Milt Hinton
Drums – Osie Johnson
Flute – Jerome Richardson
Guitar – Billy Mure
Piano – Billy Rowland
Written-By – Johnny Mercer, Ralph Burns, Woody Herman
2 - 'Round Midnight 2:59
Bass – Milt Hinton
Drums – Osie Johnson
Guitar – Billy Mure
Piano – Billy Rowland
Trumpet – Billy Butterfield
Written-By – B. Hanighen, C. Williams, Thelonious Monk
3 - Prelude To A Kiss 2:85
Bass – Milt Hinton
Drums – Osie Johnson
Guitar – Billy Mure
Piano – Billy Rowland
Trombone – Urbie Green
Written-By – Duke Ellington, Irving Gordon, Irving Mills
4 - My One And Only Love 3:28
Bass – Wendell Marshall
Drums – Don Lamond
Piano – Hank Jones
Tenor Saxophone – Al Cohn
Written-By – Guy Wood, Robert Mellin
5 - In Other Words 3:51
Bass – Wendell Marshall
Drums – Don Lamond
Piano – Hank Jones
Tenor Saxophone – Al Cohn
Written-By – Bart Howard
6 - Two For The Blues 2:38
Baritone Saxophone – Jerome Richardson
Bass – Milt Hinton
Drums – Osie Johnson
Guitar – Billy Mure
Piano – Billy Rowland
Written-By – J. Hendricks, Neal Hefti
7 - Blue And Sentimental 2:52
Bass – Milt Hinton
Drums – Osie Johnson
Guitar – Billy Mure
Piano – Billy Rowland
Trombone – Urbie Green
Written-By – Count Basie, Jerry Livingston, Max David
8 - Speak Low 3:57
Bass – Wendell Marshall
Drums – Don Lamond
Piano – Hank Jones
Tenor Saxophone – Al Cohn
Written-By – Kurt Weill, Ogden Nash
9 - Oh What A Night For Love 2:55
Bass – Milt Hinton
Drums – Osie Johnson
Guitar – Billy Mure
Piano – Billy Rowland
Written-By – Neal Hefti, Steve Allen
10 - You Go To My Head 3:04
Bass – Wendell Marshall
Drums – Don Lamond
Piano – Hank Jones
Tenor Saxophone – Al Cohn
Written-By – Haven Gillespie, J. Fred Coots
11 - Caravan 3:51
Bass – Milt Hinton
Drums – Osie Johnson
Flute – Jerome Richardson
Guitar – Billy Mure
Piano – Billy Rowland
Written-By – Duke Ellington, Irving Mills, Juan Tizol
12 - Soft Winds 2:36
Baritone Saxophone – Jerome Richardson
Bass – Milt Hinton
Drums – Osie Johnson
Guitar – Billy Mure
Piano – Billy Rowland
Written-By – Benny Goodman, Fred Royal 

LEE WILEY WITH BILLY BUTTERFIELD - A Touch of the Blues (1958) Mp3

OSCAR BROWN JR - Sin & Soul ... and Then Some [1961]

Oscar Brown, Jr.'s debut recording, Sin & Soul, is a true classic. A brilliant lyricist, a dramatic singer, and a highly individual genius in his own way, Brown performed a dozen memorable selections for this album. His lyrics to "Work Song," "Watermelon Man," "Afro-Blue," and particularly "Dat Dere" are famous; "But I Was Cool" and "Signifyin' Money" are humorous; "Bid 'Em In" is a chilling depiction of a slave auction; and "Rags and Old Iron" is quite touching. Essential music from an underrated great.  by Scott Yanow 
Tracklist
1 Work Song 2:31
2 But I Was Cool 2:54
3 Bid 'Em In 1:28
4 Signifyin' Monkey 3:59
5 Watermelon Man 2:38
6 Somebody Buy Me A Drink 3:06
7 Rags And Old Iron 3:42
8 Dat Dere 2:51
9 Brown Baby 3:06
10 Humdrum Blues 2:02
11 Sleepy 2:29
12 Afro-Blue 2:39
13 Mr. Kicks 2:03
14 Hazel's Hips 2:41
15 World Of Grey 3:31
16 Forbidden Fruit 3:31
17 Straighten Up And Fly Right 1:41
Credits
Bass – Frank Carroll, George Duvivier, Joe Benjamin
Drums – Bobbie Rosengardner, George Devens, Osie Johnson, Panama Francis
Guitar – A. Chernet, Don Arnone, Everett Barksdale
Piano – Alonzo Levister, Bernie Leighton, Floyd Morris
Saxophone – Joe Solde, Phil Bodner, Walt Levinsky
Trumpet – Billy Butterfield, Joe Wilder

 OSCAR BROWN JR - Sin & Soul ... and Then Some [1961]

RM [1996] COLUMBIA / CBR320 / scans

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