LEE WILEY — Night in Manhattan (1952-2007) MONO | FLAC (image+.cue), lossless

Collectors' Choice Music presents a rare compilation featuring Lee Wiley's most prolific and oft-requested post-World War II extended-play platter, including three complete 10" discs that the vocalist cut for Columbia in the early '50s. When initially issued, Wiley had already experienced significant success as a traditional pop and torch singer circa the '30s. During this era she was supported by such notables as Jimmy Dorsey, Tommy Dorsey, and the Johnny Green-led Casa Loma Orchestra. Due to its thematic nature, this project could rightly be considered as an early Songbook or concept album. That said, it is Night in Manhattan that perhaps most accurately exemplifies the moods, sounds,and auras of The Big Apple after hours. Wiley's unmistakable voice yields a distinct, organic,and otherwise full-bodied timbre. She unleashes varying degrees of that charm, bringing to life the Great American Songbook classics "Any Time, Any Day, Anywhere" and "(I Don't Stand) A Ghost of a Chance (With You)" with her trademark sense of a distant and at times flawed vulnerability. Wiley is joined by Bobby Hackett and Joe Bushkin's Swinging Strings on Night in Manhattan. Comparatively, the Vincent Youmans and Irving Berlin anthologies offer collaborations with Stan Freeman and Cy Walter, who collectively continue building upon Wiley's considerable back catalog of similar "songbooks" cut throughout the '40s. These centered on the works of Rodgers & Hart, Cole Porter, and George & Ira Gershwin. The original decision to cover both high-profile and obscure titles alike -- such as the elegant "Tea for Two" compared to the equally engaging "Why Oh Why" -- was an inspired one to be sure. Yet it is unquestionably Sings Irving Berlin that serves up one of the finest examples of the magic that can occur when a performer is given access to songs that at times sound as if they were penned specifically for them. Supported by a single keyboard, the classics "I Got Lost in His Arms," "Fools Fall in Love" and "How Deep Is the Ocean (How High Is the Sky)" are haunting and ethereal -- much like Manhattan herself. Lindsay Planer
Tracklist :
1    Manhattan 3:24
Written-By – Rodgers-Hart
2    I've Got A Crush On You 3:25
Written-By – I. Gershwin-G. Gershwin
3    A Ghost Of A Chance 3:16
Written-By – Crosby, N. Washington, V. Young

4    Oh! Look At Me Now 3:08
Written-By – Bushkin, De Vries
5    How Deep Is The Ocean 2:51
Written-By – Berlin
6    Time On My Hands 2:47
Written-By – Adamson, M. Gordon, Youmans
7    Street Of Dreams 3:13
Written-By – S. Lewis, V. Young
8    A Woman's Intuition 3:31
Written-By – N. Washington, V. Young
9    Sugar 3:07
Written-By – Alexander, Pinkard, Mitchell
10    Any Time, Any Day, Anywhere 2:25
Written-By – Wiley, N. Washington, V. Young
11    Soft Lights And Sweet Music 2:32
Written-By – Berlin
12    More Than You Know 3:12
Written-By – W. Rose, Eliscu, Youmans
Credits :
Piano – Cy Walter, Joe Bushkin, Stan Freeman
Trumpet – Bobby Hackett
Vocals – Lee Wiley

LOUIS ARMSTRONG AND HIS ALL STARS – 1947 | The Classics Chronological Series – 1072 (1999) FLAC (tracks+.cue), lossless

In 1947, Armstrong put together his first set of all-stars, including many old friends and colleagues. With Jack Teagarden as the constant on the majority of these sides, we see the personnel shift by year's end, bringing Peanuts Hucko and Barney Bigard into the clarinet seat, with drumming chores split between George Wettling, Cozy Cole (on a four-song orchestra date), and Big Sid Catlett. Kicking off with six tunes from the May 1947 New York Town Hall concert, the set also features a two-song Giants of Jazz session, with Pops in the company of Benny Goodman, Tommy Dorsey, Charlie Barnet, Lionel Hampton, Mel Powell, and Louis Bellson, and finishes up with four more studio sides and four performances from a 1947 Decca concert album recorded at Boston's Symphony Hall. This is Pops moving from his big-band sound to a smaller, more comfortable group, getting ready for another run at success. Cub Koda     Tracklist + Credits :

EDDIE CONDON – 1927-1938 | The Chronogical Classics – 742 (1994) FLAC (tracks+.cue), lossless

Here's a package that defines traditional Chicago-styled jazz from the roots on up. Closely patterned after the style of Bix Beiderbecke, four hot stomps recorded for the OKeh label in December of 1927 form a handsome keystone to the Eddie Condon chronology. It's the Austin High Gang, appearing on record as McKenzie & Condon's Chicagoans, and they swing hard. What a great front line: Frank Teschemacher, Jimmy McPartland, and Bud Freeman. Gene Krupa kicks like a mule. Legend has it Mezz Mezzrow played cymbals, although Condon claimed all Mezz did was hold on to the bass drum so Krupa wouldn't knock it across the room. In July of 1928, Condon, Krupa, and Tesch made a pair of records with pianist Joe Sullivan. "Oh Baby (Rain or Shine)" begins with a group scat vocal and cooks to a gravy. Teschemacher plays both clarinet and alto sax on this date. Shortly before his death in 1973, a mature Eddie Condon made this wry statement regarding both "Indiana," recorded for Parlophone on July 28, 1928, and the art of singing in general: "This record paid the rent at the Cumberland Hotel for one month; for all four guys in the band. I sing here. I was young and didn't know any better. I do now." Condon also sang on "I'm Sorry I Made You Cry," chirping the lyrics over Art Miller's delightful bowed bass. These innocent vocals are endearing and do not detract in any way from the musical entertainment. "Makin' Friends" has a vocal by Texas trombonist Jack Teagarden with whiny spoken interjections by Mezz Mezzrow. Was this the inspiration for Nappy Lamare's incessant chattering on Wingy Manone's records of the mid-'30s? Alarming thought. Great insights into the socioeconomic reality of jazz musicians can be found in Condon's autobiography, We Called It Music. It is there that Condon claims that the Victor session of February 8, 1929, was considered an "experiment" in racially mixed recording, possibly the first integrated date for a major label. The next "experiment" that Condon would put together for Victor was the notorious "Fats Waller & His Buddies" adventure, another racially mixed session that came together haphazardly one month later. Those sides appear as part of the Fats Waller chronology on Classics 689. The Condon story continues here on Classics 742 with a series of excellent recordings made for Brunswick in 1933 and Commodore in 1938. What's documented here is the flowering of Condon's career and those of the men who collaborated with him. The Brunswick sides are relatively rare. Here are Max Kaminsky, Pee Wee Russell, Bud Freeman, Floyd O'Brien, Artie Bernstein, Sid Catlett, and the great pianist Alex Hill, who really comes across beautifully. The Commodore material brings on George Brunies, Jess Stacy, Artie Shapiro, George Wettling, and Bobby Hackett, who renders up his famously gorgeous treatment of "Embraceable You." It is fitting that this disc ends with "Meet Me Tonight in Dreamland," an ancient saloon song gassed up into a perfect riot of joyous energy. It is the perfect closer for this cardinal Condon collection. arwulf arwulf  
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EDDIE CONDON – 1938-1940 | The Chronogical Classics – 759 (1994) FLAC (image+.cue), lossless

Here is a particularly tasty portion of old-fashioned Chicago-style jazz, calmly dished out by some of Condon's very best bands. "Jackson Teagarden and his trombone" deliver the nicest portrait of "Diane" ever painted. "Serenade to a Shylock" slowly ambles through Mr. T's vocal and suddenly kicks up into a stomp, sharpened at the edges by Pee Wee Russell's gloriously filthy clarinet. Bud Freeman glides effortlessly into "Sunday" and "California." Bud's relaxing influence bathes the entire band in rosy light even during upbeat finales. On August 11, 1939, Davey Tough actually made it into a recording studio. While George Wettling and Lionel Hampton had each served ably on the preceding tracks, it's invigorating to hear Mr. Tough driving the band the way he did. The same could be said for Joe Sullivan, with all due respect for Jess Stacy and Joe Bushkin. The chemistry on this little Decca date is really magical. "Friar's Point" gets low-down and dirty, a funky collective discourse on the human condition. Back with Commodore Records on November 30, 1939, Condon retained Max Kaminsky, Brad Gowans, and Pee Wee Russell for a real blowing session. While "Jelly Roll" bakes itself brown, during "Strut Miss Lizzie" the band sounds almost possessed. "It's Right Here for You" is just plain gorgeous. These really are among the best records Condon ever produced, and everybody ought to get a chance to hear them on a regular basis. On March 24, 1940, about 17 minutes' worth of "A Good Man Is Hard to Find" was spread over four 12" 78-rpm platters, with 11 musicians taking turns ritualistically hammering out every possible angle of the song. While conventional criticism regards this as a bit too much of a good thing, seasoned jazz heads are surely capable of enjoying dramatically extended solos without undue concern for "normal" parameters. Rules and preconceptions are made to be broken and dispelled. With this precept in mind, the session of November 11, 1940, is particularly tasty. Invading the Commodore studios, popular Victor recording artist Thomas "Fats" Waller cheerfully broke his contract by making records with Condon's band under the pseudonym "Maurice," a name borrowed from one of his sons. This music is exquisite. The combination of Pee Wee and Fats should have occurred much more often than it ever did. Waller and Condon first made records together in 1929 -- in the very same studio, by the way: the wonderful Liederkranz Hall. This, then, was a sort of reunion, bittersweet in retrospect, as Fats died in December of 1943, making this Commodore jam the last time the two men would get to play music together in front of the same microphone. arwulf arwulf  
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EDDIE CONDON – 1944-1946 | The Chronogical Classics – 1033 (1998) FLAC (image+.cue), lossless

This is how traditional Chicago-style jazz sounded in New York during the mid-1940s. When he wasn't brusquely emceeing these bands on-stage at Town Hall, guitarist and organizer Eddie Condon presented this music on the air and in the recording studio. The phonographic evidence, chronologically arranged and carefully documented, makes for enjoyable listening. Three V-Disc sides for the armed forces have Hot Lips Page lined up next to Sterling Bose, Miff Mole and Pee Wee Russell. This interesting blend of musicians from radically different social and ethnic backgrounds is typical of Condon. Lips sings on a nearly four-and-a-half-minute version of the "Uncle Sam Blues," a wry ode to military conscription. The old "Tin Roof" is summed up in a mere 126 seconds, followed by a slightly longer "Ballin' the Jack." It seems as though V-Disc encouraged short takes so as to be able to squeeze as many tracks as possible on to their newly devised 'unbreakable' lightweight 12" 78rpm records. The Decca session of December 12, 1944 sounds a lot like the Town Hall mixture of pressure cookers and attractive love songs. Bobby Hackett turns "When Your Lover Has Gone" into a prayer. Lee Wiley (who was Eddie Condon's idea of the Perfect Woman) sings a couple of sweet numbers, and the band kicks the stuffing out of a theme only identified as "Impromptu Ensemble." Here Jack Teagarden blows hot trombone and sings up a parcel of lyrics he first used on a "Chicagoans" session back in 1929. Special mention should be made of baritone saxophonist Ernie Caceres who blows mellow for Lee and very hot during the stomps. Two days later the band emitted 59 seconds of "jump" music and 33 seconds of "blues" for radio broadcast purposes. Lee sang two more ballads and Teagarden hammed up the "Sheik of Araby" with strange new novelty lyrics before they swung it to pieces. Jack also sings and plays handsomely on "Somebody Loves Me." Speaking of melodies composed by George Gershwin, the 1945 sessions include what might be the loveliest version of "My One And Only" ever recorded, starring Bobby Hackett. "Lady Be Good" and "Swanee" take on an almost Dixieland flavor. On March 27, 1946 Wild Bill Davison, Gene Schroeder and Davey Tough incited a grand "Farewell Blues" with the bridge from "Weary Blues" grafted on to its midsection. "Improvisation for the March of Time" was built across the familiar slow blues/fast blues formula, and a couple of very attractive pop songs were magically transformed into honest instrumental jazz before the band knocked off for the day. The session of July 17th, 1946 is memorable for the presence of pianist James P. Johnson, who sends out sparks during "Just You, Just Me," and the voice of John "Bubbles" Sublett, one-time musical cohort of Buck Washington. Sublett is heard singing W.C. Handy's "Atlanta Blues," also known as "Make Me a Pallet on the Floor." That's the great thing about an Eddie Condon date: you never know who's going to show for the gig. arwulf arwulf  
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EDDIE CONDON – 1947-1950 | The Chronogical Classics – 1177 (2001) FLAC (tracks+.cue), lossless

 Eddie was one hard-boiled character. Dour, opinionated, set in his ways, and frankly suspicious of anything that deviated too wildly from the music he knew and loved. Critics and journalists invented a stylistic war between the 'Be Boppers' and the 'Moldy Figs', as progressive innovators and traditional jazz-heads were respectively dubbed. Condon was the archetypal Fig, deeply devoted to old-fashioned ideas of what music was supposed to sound like: melodies you could whistle and rhythms anybody could dance to. We Called It Music is the name of Eddie's excellent, hilarious, insightful, poetic, informative autobiography. It's also the title of a rather burlesque tune recorded in August 1947 by one of Condon's fine traditional jazz bands. While the book contains wonderful eyewitness accounts of hanging out with Bix Beiderbecke and Fats Waller, the song makes fun of musical categories, sneers briefly at "...something called Bleep Bloop," then demonstrates the individual and collective strengths of an authentic Chicago-style jazz band. What makes it work is Jack Teagarden, who could sing anything and make it good. His Texas drawl during the opening 'court room' dialogue might sound like Amos & Andy to those who are not accustomed to hearing this big exaggerated southern fellow acting the clown. Teagarden's other vocals are lovely; who else could sing so convincingly of tulips or sheltering palms? Ruby Braff once referred to 'The Adoration of the Melody'. That's where all of this music is at: each song is cherished and passed around the room. Eddie Condon's NBC Television Orchestra made two recordings for Atlantic in 1949. "Seems Like Old Times" is as beautiful as being alive. "Time Carries On," composed by Condon and arranged by Dick Cary, has a bit of the modernized Benny Goodman about it, particularly during those passages where Peanuts Hucko rides the current. Ralph Sutton is brought in for a couple of whole grain ragtime episodes. If the Dixieland revival wasn't full-blown yet, these records certainly must have helped to jack it up in a hurry. Cherry pie vocalist Jimmy Atkins should have gone on to work for Lawrence Welk after horning in over three otherwise perfectly good Dixieland tunes. Johnny Mercer's golly-gee lyrics to "At the Jazz Band Ball" might make you yearn to compose your own marginally obscene libretto. While we're on that subject: "Jazz Me Blues", which has been called the first X-rated song title to appear on a record (the Wolverines' version of 1924), didn't need lyrics anyway. Moreover: Peggy Ann Ellis sounds like one of them peroxide, lipstick and powder big band vocalists. What a relief when "Yellow Dog Blues" signals a blessed return to instrumental stomps. The band really pounds on it, with Gene Schroeder leading the way. Ralph Sutton assists in the execution of two wonderful relics: "Raggin' the Scale" and James Scott's aptly named "Grace and Beauty Rag." Then Cutty Cutshall takes the trombone out of his mouth and sings "Everybody Loves My Baby." Of course Cutty was no Teagarden but he's easier to take than 'powder and pie' were. And the band swings the hell out of the tune, which is what really matters. arwulf arwulf  
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EDDIE CONDON – 1954-1955 | The Chronogical Classics – 1464 (2008) 32-44.1Hz | FLAC (tracks), lossless

Because it taps into two of the best Eddie Condon albums of the 1950s, this installment in the Classics Chronological Series is right up there with the finest entries in the entire Condon discography. The first five tracks come from Jammin' at Condon's, a studio album cut on June 24 and July 1, 1954. Unlike the earlier LP Ringside at Condon's, the selections are not interspersed with applause, cheers, and whistling. What's conveyed here is the essence of the house band at Eddie Condon's, a traditional jazz-oriented nightclub that opened in 1945 at 47 West 3rd Street and moved uptown to East 56th Street in 1957. Recorded under the supervision of producer George Avakian at a studio inside what had previously been a church on 30thStreet, Jammin' at Condon's was Eddie's second album for Columbia. The formidable front line of trumpeter Billy Butterfield, cornetist Wild Bill Davison, trombonists Cutty Cutshall and Lou McGarity, clarinetists Edmond Hall and Peanuts Hucko, and tenor saxophonist Bud Freeman was buoyed by the alto peck horn of Dick Cary. The rhythm section supporting this hard-swinging wind ensemble consisted of pianist Gene Schroeder, bassist Al Hall, drummer Cliff Leeman, and Condon himself, who was a steady rhythm guitarist. What makes Classics 1464 one of the best Chicago-style jazz compilations ever placed before the public is the addition of Condon's next Columbia LP, Bixieland. Obviously a tribute to his friend and idol Bix Beiderbecke, this delightful album is worth tracking down for the sake of Condon's humorous, insightful, and informative liner notes, which include an excerpt from his indispensable autobiography, We Called It Music. The band assembled for the Bix tribute album included some carry-overs from the previous date, in addition to the Condon Mob's ace drummer George Wettling and legendary Kansas City bassist Walter Page, as well as trumpeter Pete Pesci, who was co-manager of the nightclub. Condon also lists Chivas Regal in the credits, along with the "utterly silent" Bud Freeman; although he was not present at the date, Condon wrote that "it's nice to see his name in print, especially for Bud." While Condon emphasizes that these recordings were not made in order to imitate Beiderbecke, he cites Pesci's work during the last chorus of "I'll Be a Friend with Pleasure" as "about as close to Beiderbecke as it's humanly possible for a living man to get." arwulf arwulf  
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MAXINE SULLIVAN – 1937-1938 | The Classics Chronological Series – 963 (1998) FLAC (tracks+.cue), lossless

The basic and pleasing vocals of Maxine Sullivan are quite enjoyable. This CD has her first 23 recordings, including three songs originally released under pianist Claude Thornhill's name; Thornhill (who helped discover the singer) is on all of the selections. The original version of "Loch Lomond" is among the highlights and became a huge hit, leading to Sullivan's lightly swinging renditions of other folk songs such as "Darling Nellie Gray" and "Dark Eyes." Joined by such fine musicians as trumpeters Manny Klein, Frank Newton, Charlie Shavers and Bobby Hackett (all of whom are heard from briefly), along with the future members of the John Kirby Sextet, Maxine Sullivan is heard throughout in her early prime (she was 26-27 years old during this period). Recommended. Scott Yanow  
Tracklist + Credits : 

MAXINE SULLIVAN – 1938-1941 | The Classics Chronological Series – 991 (1998) FLAC (tracks+.cue), lossless

The second Classics CD in their Maxine Sullivan series has all of the subtle singer's recordings from a 2½-year period. Since "Loch Lomond" had been such a big hit, Sullivan was persuaded to record quite a few Scottish folk songs in a similar light swing style. Included on this CD from that idiom are such numbers as "I Dream of Jeanie With the Light Brown Hair," "Drink to Me With Thine Eyes," "Turtle Dove," "If I Had a Ribbon Bow," "Molly Malone," and "Barbara Allen." Although those performances are enjoyable, the actual high points of this release are such tunes as "It Ain't Necessarily So," "Ill Wind," "The Hour of Parting" and "What a Difference a Day Made." Sullivan, who was in her early prime during this era, is accompanied by five different units, including the John Kirby Sextet, Benny Carter's big band (for two numbers), such players as Bobby Hackett and Bud Freeman, and an octet that includes two clarinets, a bass clarinet, bassoon and Mitch Miller on oboe. Recommended, if not as essential as Sullivan's previous 1937-38 Classics CD. Scott Yanow  
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TEDDY WILSON AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 548 (1990) FLAC (tracks+.cue), lossless

This Classics CD traces pianist Teddy Wilson's recordings during a seven-month period. He backs singer Billie Holiday on eight memorable performances (including "My Man," "Can't Help Lovin' Dat Man," "When You're Smiling," and "I Can't Believe That You're in Love with Me"), is showcased on a pair of piano solos, accompanies singer Sally Gooding on four songs that were not initially released until the 1980s, and is heard on four almost-as-rare numbers with vocalist Nan Wynn. Most significant among the occasional instrumentals are a few tunes (including the two-part "Just a Mood" and "Honeysuckle Rose") that Wilson performs in an exquisite quartet with trumpeter Harry James, xylophonist Red Norvo, and bassist John Simmons. Among the other sidemen heard on this valuable CD are trumpeters Buck Clayton, Hot Lips Page, and Bobby Hackett, clarinetist Pee Wee Russell, the tenors of Chu Berry and Lester Young, and altoist Tab Smith.  Scott Yanow
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TEDDY WILSON AND HIS ORCHESTRA – 1938 | The Classics Chronological Series – 556 (1990) FLAC (tracks+.cue), lossless

In addition to ten Billie Holiday vocals that are easily available elsewhere (best is "They Say"), this CD has some Wilson piano solos, a few rare Nan Wynn vocals and a band instrumental of "Jungle Love" with cornetist Bobby Hackett, clarinetist Pee Wee Russell, and altoist Johnny Hodges. Excellent music, but the best tracks have been reissued many times, making this CD of less interest than most of the other Classics. Scott Yanow
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JOE MARSALA – 1944-1945 | The Classics Chronological Series – 902 (1996) FLAC (tracks+.cue), lossless

This is the story of a man who got his start with traditionally oriented musicians like Wingy Manone and Eddie Condon, then gradually evolved into a "modern" sounding artist who never completely turned his back on the old-fashioned music that had spawned him. Beginning with a typical Chicago jam formula blowing session, Joe's All-Timers -- essentially the Condon band with Joe as leader -- present the slow blues/fast blues pairing, sandwiched between two standard New Orleans stomps. A striking contrast occurs when we encounter the session of November 29, 1944 as Joe's wife Adele Girard opens several of the tunes with arpeggios from her harp. Sounding a bit like her contemporary Robert Maxwell, she swings a bit but also sends flurries of almost Harpo Marx-like effervescence into the air. This combines strangely with Chuck Wayne's amplified guitar and the mingling of trumpet and clarinet. The melodies themselves demonstrate a very modernized swing, with an unmistakable bop edge, right on the money for the mid-1940s, if not somewhat ahead of their time. The tempi are very quick, hasty enough to have given Eddie Condon a headache if he'd even listen to such stuff. During the dynamic "Joe-Joe Jump" Adele plays virtuosic swing harp, showing off her amazing technique. This must have been a very exciting act in person. On the second half of the date Adele takes a break while Linda Keene sings two interpersonal relationship blues, very slow and sultry, obviously inspired by Billie Holiday. Joe was an exceptionally sensitive bluesman, working in wonderfully understated ways with trumpeter Joe Thomas. Sitting in at the piano behind the singer was Leonard Feather, who also wrote the material for her. Leonard composed topical blues for a lot of musicians, most notably Hot Lips Page. "Don't Let It End" is Joe's own piece of blues, deep and clear, powerfully effective as an instrumental. The Joe Marsala Sextet had Dizzy Gillespie sitting in on January 12,1945. It's interesting to compare these sides with the other recordings Gillespie participated in during that same month (see Classics 888). "Perdido" is a creative delight and "Melancholy Baby" becomes a feisty swing-to-bop outing. Chuck Wayne is very plugged in and Diz enjoys himself, working up wild solos over these familiar melodies, signing his name all over "On the Alamo." Joe of course takes this in stride, sounding as comfortable as ever with the music evolving so rapidly all around him. "Cherokee" inevitably exudes bop juice, running rapid and sailing through frantic changes as Diz rips it up. On May 4, 1945 Adele Girard got feature billing with her husband's septet, integrating her swing harp into the ensemble as if it were the most natural thing in the world to do. "Southern Comfort" is a suave line, as cool as cukes. There's a spry run through Rodgers & Hart's "Lover," a welcome reinterpretation of "Don't Let It End" (sounding really nice with the addition of the harp), and a sassy version of "Gotta Be This or That," with vocal by Marsala himself. "East of the Sun" is all lavender and lace and "Slightly Dizzy" pours on the bop, showcasing the inventive piano of young Gene DiNovi. "I Would Do Anything for You" comes out elegant, sophisticated and calm. A marvelous finale for this fascinating portrait of a remarkable clarinetist and the unique bands that he led at the stylistic crossroads of 1944 and 1945. arwulf arwulf
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JOE BUSHKIN – 1947-1950 | The Classics Chronological Series – 1459 (2008) FLAC (tracks+.cue), lossless

In 2007 the Classics Chronological Series began reissuing every recording known to have been made by pianist Joe Bushkin (1916-2004), starting with the Commodore and Savoy sessions of 1940-1946. Released in 2008, the sequel to that amazing collection delves even deeper into the discographical dilemma of Bushkin's recording activities by tracing his movements during the years 1947-1950, beginning with six sides by Joe Bushkin & His Rhythm that originally appeared on 10" Royale and Rondo-lette LPs. This grab bag of obscure delights includes V-Disc jams, collaborations with cornetist Bobby Hackett and trumpeters Buck Clayton and Roy Eldridge, a smart take of "I May Be Wrong" sung by Liza Morrow, and a two-part romp through "Indiana" drawn from an MGM sampler called Maggie Fisher's Piano Playhouse. Tracks 15-24 are piano solos, recorded on February 24 and 25, 1950, and issued on one of the first-ever Atlantic LPs, I Love a Piano. A marvelous improviser and a skilled interpreter of popular melodies with a background in both Chicago-style and big-band swing, Joe Bushkin was now helping to establish the great mid-20th century genre of keyboard mood music. arwulf arwulf
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LEONARD FEATHER – 1937-1945 | The Classics Chronological Series – 901 (1996) FLAC (tracks+.cue), lossless

This very interesting CD reissues six diverse sessions organized and led by jazz critic Leonard Feather, who plays piano or celeste on 11 of the 22 selections (including all of the music during the final two dates). On their two dates, Feather's British Olde English Swynge Band performs swing versions of English folk songs in 1937 and 1938, including "There's a Tavern in the Town," "Colonel Bogey March," and "Drink to Me Only With Thine Eyes"; the tenor of Buddy Featherstonhaugh (on the earlier session) and trumpeter Dave Wilkins are the solo stars of the rare performances. Better known are Feather's two All Star Jam Bands, which feature such notables as cornetist Bobby Hackett, altoist Pete Brown, Benny Carter (doubling on alto and trumpet), and clarinetist Joe Marsala on some unusual material, including "Jammin' the Waltz." Eccentric singer Leo Watson's spots on "For He's a Jolly Good Feather" and "Let's Get Happy" (based on "Happy Birthday") are memorable. A 1944 all-star group finds Feather comping decently behind trumpeter Buck Clayton (featured on "Scram!"), clarinetist Edmond Hall, and tenor saxophonist Coleman Hawkins, while the final set has four basic chord changes (mostly blues) explored by both Feather and fellow writer Dan Burley on pianos; guitarist Tiny Grimes easily takes honors. Scott Yanow
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BOBBY HACKETT AND HIS ORCHESTRA – 1938-1940 | The Classics Chronological Series – 890 (1996) FLAC (tracks+.cue), lossless

Tracklist + Credits

BOBBY HACKETT AND HIS ORCHESTRA – 1943-1947 | The Classics Chronological Series – 1047 (1999) FLAC (tracks+.cue), lossless

When Bobby Hackett's band is in the house and presents a pretty tune at a relaxed tempo, the spirit within the song has a chance to climb out of its shell and perch for a few minutes over the front door like one of William Blake's pigmented angels. Hackett's sensitivity turns every ballad into a magical daydream. When the band turns on the heat, you're getting Chicago-style, Eddie Condon-approved traditional jazz, right straight out of the bottle. Condon in fact played guitar on the session of December 23, 1943, along with a swell tenor saxophonist named Nick Caiazza and no-nonsense trombonist Ray Conniff. Pianist Frank Signorelli, composer of "Serenade in Blue" and cardinal member of the Original Memphis Five, takes an occasional break during some of the stomps but really gets to shine with a full-length solo during his magnum opus, "I'll Never Be the Same." Some may feel that this one track is reason enough to seek out the entire album. It all depends on how much respect you have for Signorelli, and for the Art of Melody. The Commodore session of 1944, presented in part as "Jam Session at Commodore No. 6," makes lots of room for Ernie Caceres' magnificent baritone saxophone, with a few diversions supplied by Pee Wee Russell. Lou McGarity was a trombonist comparable to George Brunies. Jess Stacy's piano chemistry worked exceptionally well when combined with Hackett's dignified persona. These excellent jams also perfectly illustrate the artistry of George Wettling, Eddie Condon's preferred percussionist. Wettling drove a substantially different band through four sides for the Melrose label in May of 1945. The ballads are gorgeous; the hot numbers really rip. Both of the sessions from February 1946 utilize a big-band sound intended for slow dancing, with sentimental arrangements by ex-Paul Whiteman anesthesiologist Bill Challis. Lush reeds hover behind Hackett's romantic horn with brief spotlights on clarinetist Hank d'Amico and guitarist Carl Kress. Johnny Guarnieri noodles gently on a celeste, sweetening up an already honey-drenched confection. A nice four-minute V-Disc trio performance is provided to clear the palette. arwulf arwulf
Tracklist

BOBBY HACKETT – 1948-1954 | The Classics Chronological Series – 1403 (2005) FLAC (tracks), lossless

The third installment in the Classics Bobby Hackett chronology examines the recordings he made between June 22, 1948, and November 7, 1954. The compilation opens with two superb five-minute V-Disc jams introduced by Hackett and Eddie Condon, who organized this and dozens of other traditional jazz get-togethers during the 1940s. The front line of Hackett, Cutty Cutshall, Peanuts Hucko, and Ernie Caceres worked wonders. "You Do Something to Me" is a marvelous trumpet/piano duet with Joe Bushkin recorded during the second AFM recording ban; in their spoken introduction they even mention the organization's president, a Mr. Petrillo. Two quintet sessions for Columbia dating from the late summer and early autumn of 1950 combine Dixieland repertoire with relaxed swing standards; Hackett's rendering of "A Room with a View" is particularly beautiful. An unattributed vocal choir intrudes upon an unissued recording of "Sleepy Head"; this turns out to have been a premonition of production values yet to come, as Hackett's next date as a leader (Capitol Records, May 11,1953) would find him accompanied by a rhythm section augmented with four violas and a cello. This combination actually worked rather well; the fact that Hackett had Lou Stein, Billy Bauer, Arnold Fishkin, and Denzil Best in the group helped to temper the effect of the strings, which in any case were all low key, literally speaking. Hackett sounds as relaxed and sophisticated as ever on the concluding tracks, which were recorded on November 7, 1954. By this time the Capitol studios and conductor Glenn Osser were backing him with French horns, woodwinds (including flute and oboe), and a classical harp wafting away next to the rhythm section. Fortunately, the ensemble is kept under control and Hackett sounds just as happy here as he did with his old cohorts from the Condon Mob. arwulf arwulf  
Tracklist + Credits : 

JACK TEAGARDEN AND HIS ORCHESTRA – 1944-1947 | The Classics Chronological Series – 1032 (1998) FLAC (tracks+.cue), lossless

Minute by minute and track for track, this disc contains an invigoratingly high concentration of Jack Teagarden's best music. Nearly half of the performances are instrumental and, with the exception of a pretty torch song sung by Christine Martin and a gruffly cheerful duet with Wingy Manone, the primary vocalist is Big Tea. After three marvelous V-Discs, including a six-minute version of "If I Could Be With You (One Hour Tonight)," a Commodore session erupts with a smokin' run through "Chinatown, My Chinatown" and a deeply steeped "Big T Blues," introduced by Jack's sister Norma Teagarden at the piano. While singing his homespun lyrics to this bluesy slow drag, Jack introduces Norma by name, then pays tribute to trumpeter Max Kaminsky. Norma proves that she was an exceptionally fine stride pianist as she sets up "Pitchin' a Bit Short" and Detroiter Bob Zurke's lively theme song, "Hobson Street Blues," which sounds a bit like a Broadway show tune. Back in Chicago on April 11, 1946, Mr. T's orchestra waxed half a dozen sides for the Teagarden Presents record label. Bobby Fischer delivers some Gene Krupa-styled drumming during the quirky "Martian Madness," the band smokes the tar out of "Way Down Yonder in New Orleans," and there is a grandiose rendition -- minus Rudyard Kipling's lyrics -- of "On the Road to Mandalay." On the first day of March 1947, Teagarden created one of his all-time greatest vocal and trombone ballad testimonials in the form of an intoxicating version of "Body and Soul." This precious live V-Disc recording begins with a spoken introduction by Bob Bach of Metronome magazine. Nine days later, master percussionist Davey Tough provided propulsive persuasion for Jack Teagarden's Big Eight, an ensemble including Max Kaminsky, clarinetist Peanuts Hucko, butter-toned tenor saxman Cliff Strickland, and one of Eddie Condon's most trusted pianists, Gene Schroeder. After a couple of expertly rendered blues, a tasty stomp with modern overtones simply called "Jam Session at Victor" sails in like a steam locomotive. As a surprise for dessert, the producers of this series have tacked on a pair of leftover big-band sides dating from November of 1939, issued in 1947 on V-Disc. This provides an example of how Dave Tough sounded as part of Teagarden's 16-piece big band. Their two-minute version of Jelly Roll Morton's "Wolverine Blues" is the perfect coda for this solidly satisfying album of rare and exciting traditional jazz. arwulf arwulf
Tracklist
1    Jack Teagarden And His Orchestra–    Beale Street Blues     3:53
2    Jack Teagarden And Band–    I Swung The Election     2:13
3    Jack Teagarden And The V-Disc All Stars–    If I Could Be With You One Hour Tonight     5:50
4    Jack Teagarden And His Swingin' Gates–    Chinatown My Chinatown     2:49
5    Jack Teagarden And His Swingin' Gates–    Big "T" Blues     3:13
6    Jack Teagarden And His Swingin' Gates–    Rockin' Chair     4:09
7    Jack Teagarden And His Swingin' Gates–    Pitchin' A Bit Short     4:09
8    Jack Teagarden And Band–    Hobson Street Blues     1:58
9    Jack Teagarden And His Dixieland Jazz Orchestra–    Muskrat Ramble    2:56
10    Jack Teagarden And His Dixieland Jazz Orchestra–    Way Down Yonder In New Orleans     2:57
11    Jack Teagarden And His Orchestra–    Basin Street Blues     3:06
12    Jack Teagarden And His Orchestra–    Martian Madness     2:38
13    Jack Teagarden And His Orchestra–    On The Road To Mandalay     2:33
14    Jack Teagarden And His Orchestra–    Sabino You For Me     2:55
15    Jack Teagarden And His Trombone–    Body And Soul     4:19
16    Jack Teagarden's Big Eight–    St. Louis Blues     3:05
17    Jack Teagarden's Big Eight–    Blues After Hours     3:15
18    Jack Teagarden's Big Eight–    Jam Session At Victor     3:14
19    Jack Teagarden's Big Eight–    Say It Simple     3:11
20    Jack Teagarden And His Orchestra–    On Revival Day     1:40
21    Jack Teagarden And His Orchestra–    Wolverine Blues     2:06
All Credits : 

BUD FREEMAN – 1928-1938 | The Classics Chronological Series – 781 (1994) FLAC (tracks+.cue), lossless

Bud Freeman was virtually the only key tenor saxophonist of the 1928-35 period who did not sound heavily influenced by Coleman Hawkins. Freeman, whose style fell between Dixieland and swing and who has long had a distinctive sound, is heard on this Classics CD at the head of several classic groups. There are two titles from 1928 with an octet also including obscure trumpeter Johnny Mendel, pianist Dave North, drummer Gene Krupa and (on "Can't Help Lovin' That Man") singer Red McKenzie. While those performances have early examples of Freeman's style, the tenor's sound was very much formed by the time of the 1935 sextet date with the brilliant trumpeter Bunny Berigan; Bud and Bunny made for an exciting team. The bulk of this CD features Freeman in prime form jamming in a trio with pianist Jess Stacy and drummer George Wettling; these versions of "You Took Advantage of Me," "I Got Rhythm," "Keep Smiling at Trouble" and "My Honey's Loving Arms" are definitely classics. Also on this CD are five numbers on which Freeman leads an all-star octet also including cornetist Bobby Hackett, clarinetist Pee Wee Russell, Stacy and Eddie Condon. Although this music has been reissued in many different settings through the years, it is certainly essential (in one form or another) to all historical jazz collections. Scott Yanow  
Tracklist :
1    Bud Freeman And His Orchestra–    Craze-O-Logy 2:55
Written-By – Freeman
2    Bud Freeman And His Orchestra–    Can't Help Lovin' Dat Man 3:20
Vocals – Red McKenzie
Written-By – Kern
3    Bud Freeman And His Windy City Five–    What Is There To Say? 3:27
Written-By – Harburg, Duke
4    Bud Freeman And His Windy City Five–    The Buzzard 3:07
Written-By – Freeman
5    Bud Freeman And His Windy City Five–    Tillie's Downtown Now 3:18
Written-By – Freeman
6    Bud Freeman And His Windy City Five–    Keep Smilin' At Trouble 3:09
Written-By – Jolson, De Sylva
7    Bud Freeman Trio–    You Took Advantage Of Me 2:50
Written-By – Rogers-Hart
8    Bud Freeman Trio–    Three's No Crowd 1:55
Written-By – Freeman, Wettling, Stacy
9    Bud Freeman Trio–    I Got Rhythm 2:48
Written-By – Gershwin
10    Bud Freeman Trio–    Keep Smilin' At Trouble 2:49
Written-By – Jolson, De Sylva, Gensler
11    Bud Freeman Trio–    At Sundown 2:55
Written-By – Donaldson
12    Bud Freeman Trio–    My Honey's Lovin' Arms 2:59
Written-By – Ruby, Meyer
13    Bud Freeman Trio–    I Don't Believe It 2:57
Written-By – Freeman
14    Bud Freeman And His Gang–    Tappin' The Commodore Till 2:45
Written-By – The Bunch
15    Bud Freeman And His Gang–    Memories Of You 3:13
Written-By – Razaf, Blake
16    Bud Freeman And His Gang–    "Life" Spears A Jitterbug 2:50
Written-By – King, Gabler
17    Bud Freeman And His Gang–    What's The Use? 3:16
Written-By – Newman, Jones
18    Bud Freeman Trio–    Three Little Words 2:56
Written-By – Kalmar, Ruby
19    Bud Freeman Trio–    Swingin' Without Mezz 3:07
Written-By – Anderson, Gabler
20    Bud Freeman Trio–    The Blue Room 3:02
Written-By – Rodgers-Hart
21    Bud Freeman Trio–    Exactly Like You 2:44
Written-By – McHugh-Fields
22    Minerva Pious And Bud Freeman–    Private Jives 5:05
Written-By – De Vries
Credits :    
Alto Saxophone – Dave Matthews (tracks: 14 to 17)
Banjo – Norman Foster (tracks: 1, 2)
Bass [String Bass] – Artie Shapiro (tracks: 14 to 17), Grachan Moncur (tracks: 3 to 6), John Mueller* (tracks: 1, 2)
Clarinet – Bud Freeman (tracks: 4, 5), Bud Jacobson (tracks: 1, 2), Pee Wee Russell (tracks: 14 to 17)
Cornet – Bobby Hackett (tracks: 14 to 17)
Drums – Cozy Cole (tracks: 3 to 6), Dave Tough (tracks: 14, 15), Gene Krupa (tracks: 1, 2), George Wettling (tracks: 7 to 13, 18 to 21), Marty Marsala (tracks: 16, 17)
Guitar – Eddie Condon (tracks: 3 to 6, 14 to 17)
Piano – Claude Thornhill (tracks: 3 to 6), Dave North (tracks: 1, 2), Jess Stacy (tracks: 7 to 13, 14 to 21)
Speech – Bud Freeman (tracks: 22), Minerva Pious (tracks: 22)
Tenor Saxophone – Bud Freeman (tracks: 1 to 21)
Trombone – Floyd O'Brien (tracks: 1, 2)
Trumpet – Bunny Berigan (tracks: 3 to 6), Johnny Mendel (tracks: 1, 2)
Trumpet, Piano – Joe Bushkin (tracks: 22)

BILLIE HOLIDAY – 1949-1951 (2002) The Classics Chronological Series – 1220 | FLAC (tracks), lossless

Lady Day's Decca recordings of 1949 and 1950 find her working in front of loud, rather pushy big bands under the direction of Buster Harding and Sy Oliver, and ultimately performing in weird collusion with white-bread pop entity Gordon Jenkins. Porter Grainger's "'Tain't Nobody's Bizness if I Do" has been closely associated with Fats Waller since he recorded it in 1940. Lady Day sings it sweet and spicy, with showy brass accenting her every phrase. Everyone who has ever sung this number puts a personal spin on the lyrics. Tellingly, Billie Holiday insists that even if she finds herself being battered by her male companion, she will never seek help from the police and that's a personal matter of her own. This has a grim aftertaste if you reflect upon her story up close, but Billie was not alone in taking this sort of a stand -- Victoria Spivey's "Let Him Beat Me" comes to mind, and there's nothing for the listener to do but reflect upon human nature, which is what music -- especially blues and jazz -- is all about. The folks at Decca seem to have had in mind an entire Holiday album of songs associated with Bessie Smith, but unfortunately only three such numbers made it to completion. Just think how nice it would be to have on hand Billie's renditions of "Me and My Gin," "You've Got to Give Me Some," "Backwater Blues," "Wasted Life Blues," "Put It Right Here," and "Send Me to the 'Lectric Chair"! Thank goodness she completed the three Bessie Smith covers heard here. Lady Day's handling of "Keeps On A-Rainin'" is exquisite. "Do Your Duty" seems almost like a burlesque because of the brassy arrangement, and this singer substitutes "buck" for Smith's copulative term used on the original recording. Billie sounds delighted to be singing "Gimme a Pigfoot" even if the prevailing social atmosphere did not permit her to echo Bessie's inclusion of the word "reefer," however accurate that might have been coming from the marijuana-reliant Holiday. The players in the bands backing her in August and September of 1949 form a strong contingent from the swing scene of the previous decade, with a couple of Young Lions -- George Duvivier and Shadow Wilson -- thrown in for good measure. On September 30th of that year Billie Holiday recorded two duets with her idol, Louis Armstrong, their two voices mingling more on "My Sweet Hunk o' Trash" than on the flip side. In a way these performances resemble Armstrong's humorous collaborations with Jack Teagarden. Four selections from October 1949 find our Lady backed with a small band augmented with strings under the direction of Gordon Jenkins. While some may regard these sides as too schmaltzy, anyone truly in love with this singer's voice will be able to relax and enjoy the ride. The Gordon Jenkins Singers, on the other hand, are so square-sounding that most jazz fans will struggle with the incongruity of it all. Billie herself manages to sound wonderful even under these circumstances. Finally, four titles recorded in April of 1951 for the Aladdin label provide a much-needed antidote after all that fluff. Here the singer is backed by the Tiny Grimes Sextette, the only identified members being gutsy saxophonist Haywood Henry, pianist Bobby Tucker, and Grimes himself. Two tasty blues are followed by a magnificent version of Fats Waller's "Blue Turning Grey Over You" and the wistful "Detour Ahead." arwulf arwulf   
Tracklist :
1 'Tain't Nobody's Bizness if I Do 3:22
Porter Grainger / Robert Prince / Clarence Williams
2 Baby Get Lost 3:16
Leonard Feather / Billy Moore Jr.
3 Keeps On A-Rainin' 3:17
Max Kortlander / Spencer Williams
4 Them There Eyes 2:51
Maceo Pinkard / Doris Tauber / William Tracey
5 Do Your Duty 3:17
Wesley Wilson
6 Gimme a Pigfoot (And a Bottle of Beer) 2:46
Wesley Wilson
7 You Can't Lose a Broken Heart 3:16
James P. Johnson / F.E. Miller
Billie Holiday feat: Louis Armstrong
8 My Sweet Hunk o' Trash 3:21
James P. Johnson / F.E. Miller
Billie Holiday feat: Louis Armstrong
9 Now or Never 3:18
Peter DeRose / Billie Holiday / Curtis Lewis
10 You're My Thrill 3:26
Sidney Clare / Jay Gorney
11 Crazy He Calls Me 3:06
Bob Russell / Carl Sigman
12 Please Tell Me Now 3:15
Arnold Clawson / Toussaint Pope
13 Somebody's On My Mind 2:58
Billie Holiday / Arthur Herzog, Jr.
14 God Bless the Child 3:11
Billie Holiday / Arthur Herzog, Jr.
15 This Is Heaven to Me 2:53
Frank Reardon / Ernest Schweikert
16 Be Fair to Me 2:43
Larry Darnell / Ravon Darnell / Johnny Mercer / David Messner
Billie Holiday feat: Tiny Grimes Sextette
17 Rocky Mountain Blues 3:11
Frank Haywood / M. Tucker
Billie Holiday feat: Tiny Grimes Sextette
18 Blue Turning Grey Over You 2:06
Andy Razaf / Fats Waller
Billie Holiday feat: Tiny Grimes Sextette
19 Detour Ahead 3:06
Lou Carter / Ron Carter / Herb Ellis / Rev. Walter Ellis / John Freigo / Johnny Frigo
Billie Holiday feat: Tiny Grimes Sextette