THE BUDDY DeFRANCO QUARTET — Mr. Clarinet (1956-2002) RM | LP Reproduction Series | FLAC (tracks+.cue), lossless

Over the years, Buddy DeFranco's admirers have often wondered why the clarinet's popularity as a jazz instrument declined considerably after World War II and the swing era -- why haven't more improvisers applied Charlie Parker's ideas to the clarinet, and why is the clarinet usually stereotyped as a swing/Dixieland/classic jazz instrument rather than a bebop, post-bop, avant-garde, soul-jazz, or fusion instrument? Perhaps it has something to do with the demands of the clarinet -- it is a tough instrument to master, and it becomes even more demanding when you're dealing with the complexities of bop. But those challenges never stopped DeFranco, who was 30 when he recorded Mr. Clarinet for Verve in 1953. By that time, DeFranco was being hailed as "the Charlie Parker of the Clarinet," and he lives up to that title on this excellent album (which boasts Kenny Drew on piano, Milt Hinton on bass, and Art Blakey on drums). Throughout Mr. Clarinet, DeFranco makes the clarinet sound perfectly logical as a bop instrument -- which was certainly an innovative thing to do back in the late '40s and early '50s. Whether he is playing original material or standards (including "But Not for Me" and "It Could Happen to You"), DeFranco refuses to let the clarinet's evolution end with Benny Goodman, Artie Shaw, Sidney Bechet, and Barney Bigard; he has no problem making the clarinet sound relevant to the bebop scene of 1953. (It should be noted that Shaw was also exploring bop on the clarinet in the early '50s, but regrettably, he decided to retire from music in 1955.) Most of the bop-oriented recordings that DeFranco provided in the '50s are well worth owning; Mr. Clarinet (which Verve reissued on CD in 2002) is no exception. Alex Henderson  

Tracklist : 

1. Buddy's Blues 9:01
Written-By – Buddy DeFranco 

2. Ferdinando 5:05

Written-By – Art Blakey

3. It Could Happen To You 4:21

Written-By – Jimmy Van Heusen And Johnny Burke

4. Autumn In New York 3:53

Written-By – Vernon Duke

5. Left Field 4:00

Written-By – Kenny Drew

6. Show Eyes 3:09

Written-By – Buddy DeFranco

7. But Not For Me 7:00

Written-By – George & Ira Gershwin

8. Bass On Balls 7:50

Written-By – Kenny Drew

Credits :

Bass – Milt Hinton

Clarinet – Buddy DeFranco

Drums – Art Blakey

Piano – Kenny Drew

Notes :

Recorded April 1953 in New York City.

Originally released as Verve MGV-8159  

BILLIE HOLIDAY — Billie's Blues (1988) FLAC (tracks+.cue), lossless

Most of this excellent CD features one of Billie Holiday's finest concert recordings of the 1950s. Recorded in Europe before an admiring audience, this enjoyable set finds Lady Day performing seven of her standards with her trio and joining in for jam session versions of "Billie's Blues" and "Lover Come Back to Me" with an all-star group starring clarinetist Buddy DeFranco, vibraphonist Red Norvo and guitarist Jimmy Raney. These performances (which find Holiday in stronger voice than on her studio recordings of the period) have also been included in Verve's massive CD box set. This program concludes with Holiday's four rare sides for Aladdin in 1951 (between her Decca and Verve periods) which are highlighted by two blues and "Detour Ahead," and her 1942 studio recording of "Trav'lin' Light" with Paul Whiteman's Orchestra.
Tracklist :
1.    Announcement By Leonard Feather 0:27
Presenter – Leonard Feather
2.    Blue Moon    2:15
Written-By – Rodgers/Hart
3.    All Of Me    1:43
Written-By – G. Marks, S. Simons
4.    My Man    2:51
Written-By – Willametz, Pollock, Charles, Yvain
5.    Them Their Eyes    1:40
Written-By – Tauber, Pinkard, Tracey
6.    I Cried For You    3:22
Written-By – Lyman, Freed, Arnheim
7.    What A Little Moonlight Can Do    2:45
Written-By – H. Woods
8.    I Cover The Waterfront    3:10
Written-By – Heyman, Green
9.    Announcement    0:20
10.    Billie's Blues    11:35
Written-By – Billie Holiday
11.    Lover Come Back To Me    6:39
Written-By – Hammerstein, Romberg
12.    Blue Turning Grey Over You    2:01
Written-By – Razaf, Waller
13.    Be Fair With Me Baby    2:36
Written-By – Mesner, Darnell
14.    Rocky Mountain Blues    3:04
Written-By – Tucker, Heywood
15.    Detour Ahead    3:03
16.     Trav'lin' Light 3:17
Arranged By – Jimmy Mundy
Bass – Artie Shapiro
Directed By – Paul Whiteman
Drums – Willie Rodriguez
Guitar – Mike Pingitore
Other [Unknown], Reeds – Alvy West, Dan D'Andre, Lennie Hartman
Other [Unknown], Trombone – Murray McEachern, Skip Layton
Piano – Buddy Weed
Trumpet – Don Waddilove, Larry Neill, Monty Kelly
Credits :
Bass – Red Mitchell (tracks: 2 to 11), Unknown (tracks: 12 to 15)
Clarinet – Buddy DeFranco (tracks: 10, 11)
Drums – Elaine Leighton (tracks: 2 to 11), Unknown (tracks: 12 to 15)
Guitar – Jimmy Raney (tracks: 10, 11), Tiny Grimes (tracks: 12 to 15)
Piano – Bobby Tucker (tracks: 12 to 15), Carl Drinkard (tracks: 2 to 8)
Piano [First Solo] – Sonny Clark (tracks: 10, 11)
Piano [Second Solo] – Beryl Booker (tracks: 10, 11)
Tenor Saxophone, Baritone Saxophone – Heywood Henry (tracks: 12 to 15)
Vibraphone [Vibes] – Red Norvo (tracks: 10, 11)
Vocals – Billie Holiday
Notes :
Tracks 2 to 11 recorded live in Köln, Germany on January 5, 1954
Tracks 12 to 15 recorded in New York City on April 29, 1951 for Aladdin Records
Track 16 recorded in Los Angeles on June 12, 1942 for Capitol Records

THE BUDDY DeFRANCO QUINTET — Sweet And Lovely (1956-2012) RM | Limited Edition | MONO | Serie Jazz The Best お宝コレクション – 64 | FLAC (tracks+.cue), lossless

I'm not the greatest fan of the clarinet, which was the most celebrated instrument during the '30s and '40s--the so-called "Swing Era"--when the two most popular instrumental stars were Benny Goodman and Artie Shaw. Both led big bands and realized revenues that exceeded (or at least matched) the leading vocal stars of the period--the foremost of which were Frank Sinatra and Bing Crosby). How can you explain the instrument's hold on the American public and its complete fall from grace by 1955 (Artie wisely quit the music business in 1954, with more than half of his life in front of him; BG managed to hang on, as a nostalgia item in America pop culture and still a "star" in the eyes of the rest of the world (Russia, Japan, Europe)?

Here's a theory that has never received attention in explaining the relative "disappearance" of the clarinet (except as a 2nd horn, useful for doubling in certain situations and on certain arrangements). First (and foremost), beginning in the 1960s the only instrument that "mattered" to the new and powerful consumer culture (mostly young adults, 25-45) was the guitar. Ask the "average" listener to name ANY instrumentalist, and if it's not a guitarist, it's going to be a guitarist-composer-singer (Bob Dylan, Elvis, Buck Owens, Johnny Cash), it's the rare exception that gets the public's attention--someone like Kenny G or David Sanburn.

Both of the latter instruments, it must be noted, played as high as the clarinet, but were fuller and more penetrating. And this is what helps explain the mystery of the clarinet's fall from public favor: the MICROPHONE. The mic came along in time for Bing Crosby to crowd Al Jolsen from the stage, but it was not sufficiently sensitive, compact and complex to allow for amplifying an instrument in a big band (make it 3-4 on today's drummers). I saw Ray Brown playing unamplified bass in amphitheaters in the late '50s. In such a context, the clarinet was the star because it was the only instrument that could be HEARD among 20 other guys playing fff.

After 1950 the clarinet no longer had the advantage it had received "by default." Artie Shaw would not have been able to marry 8 trophy wives (4 of them Hollywood stars), nor did Buddy DeFranco. But among that tiny minority of listeners who follow jazz--embracing its completelness in time and space--Buddy DeFranco was to the clarinet what Charlie Parker was to all musicians who, by the late 1940s, wanted to sound more "modern" than either Benny or Artie. He was, minimally, the equal of Benny and Artie, and he played more complex music, "musician's music." And to prove he was the "real deal," he performed with major, pyrotechnical jazz stars (entire albums with Art Tatum and Oscar Peterson) and he mined the inexhaustible challenges and beauty of "the Great American Songbook." On this album Buddy is featured with primo bebop pianist Sonny Clark and some of the jewels representing the real art of American popular song. Samuel L. Chell
Tracklist :
1    Getting A Balance 8:57
Written-By – DeFranco, Clark
2    Old Black Magic 6:39
Written-By – Arlen/Mercer
3    They Say Its Wonderful 7:14
Written-By – Berlin
4    But Beautiful 4:34
Written-By – Burke/Van Heusen
5    Nearness Of You 4:54
Written-By – Carmichael, Washington
6    What I Can Say (After I Say I’m Sorry) 4:43
Written-By – Lyman, Donaldson
7    Moe 4:07
Written-By – Clark
Credits :
Bass – Gene Wright
Clarinet – Buddy DeFranco
Drums – Bobby White
Guitar – Tal Farlow (tracks: 1, 3 to 5)
Organ, Piano – Sonny Clark

ART TATUM — The Complete Pablo Group Masterpieces (1990) RM | 6CD BOX-SET | FLAC (tracks+.cue), lossless

Tatum spent most of his career as a solo pianist; in fact, it was often said that he was such an unpredictable virtuoso that it would be difficult for other musicians to play with him. Producer Norman Granz sought to prove that the theory was false, so between 1954 and 1956 he extensively recorded Tatum with a variety of other classic jazzmen, resulting originally in nine LPs of material that is now available separately as eight CDs and on this very full six-CD box set. In contrast to the massive solo Tatum sessions that Granz also recorded during this period, the group sides have plenty of variety and exciting moments, which is not too surprising when one considers that Tatum was teamed in a trio with altoist Benny Carter and drummer Louie Bellson; with trumpeter Roy Eldridge, clarinetist Buddy DeFranco, and tenor saxophonist Ben Webster in separate quartets; in an explosive trio with vibraphonist Lionel Hampton and drummer Buddy Rich; with a sextet including Hampton, Rich, and trumpeter Harry "Sweets" Edison; and on a standard trio session. Scott Yanow    Tracklist & Credits :

THE BUDDY DeFRANCO QUINTET — Sweet And Lovely (1956-2012) RM | MONO | Serie Jazz The Best お宝コレクション – 64 | FLAC (tracks+.cue), lossless

I'm not the greatest fan of the clarinet, which was the most celebrated instrument during the '30s and '40s--the so-called "Swing Era"--when the two most popular instrumental stars were Benny Goodman and Artie Shaw. Both led big bands and realized revenues that exceeded (or at least matched) the leading vocal stars of the period--the foremost of which were Frank Sinatra and Bing Crosby). How can you explain the instrument's hold on the American public and its complete fall from grace by 1955 (Artie wisely quit the music business in 1954, with more than half of his life in front of him; BG managed to hang on, as a nostalgia item in America pop culture and still a "star" in the eyes of the rest of the world (Russia, Japan, Europe)?

Here's a theory that has never received attention in explaining the relative "disappearance" of the clarinet (except as a 2nd horn, useful for doubling in certain situations and on certain arrangements). First (and foremost), beginning in the 1960s the only instrument that "mattered" to the new and powerful consumer culture (mostly young adults, 25-45) was the guitar. Ask the "average" listener to name ANY instrumentalist, and if it's not a guitarist, it's going to be a guitarist-composer-singer (Bob Dylan, Elvis, Buck Owens, Johnny Cash), it's the rare exception that gets the public's attention--someone like Kenny G or David Sanborn.
Both of the latter instruments, it must be noted, played as high as the clarinet, but were fuller and more penetrating. And this is what helps explain the mystery of the clarinet's fall from public favor: the MICROPHONE. The mic came along in time for Bing Crosby to crowd Al Jolsen from the stage, but it was not sufficiently sensitive, compact and complex to allow for amplifying an instrument in a big band (make it 3-4 on today's drummers). I saw Ray Brown playing unamplified bass in amphitheaters in the late '50s. In such a context, the clarinet was the star because it was the only instrument that could be HEARD among 20 other guys playing fff.
After 1950 the clarinet no longer had the advantage it had received "by default." Artie Shaw would not have been able to marry 8 trophy wives (4 of them Hollywood stars), nor did Buddy DeFranco. But among that tiny minority of listeners who follow jazz--embracing its completelness in time and space--Buddy DeFranco was to the clarinet what Charlie Parker was to all musicians who, by the late 1940s, wanted to sound more "modern" than either Benny or Artie. He was, minimally, the equal of Benny and Artie, and he played more complex music, "musician's music." And to prove he was the "real deal," he performed with major, pyrotechnical jazz stars (entire albums with Art Tatum and Oscar Peterson) and he mined the inexhaustible challenges and beauty of "the Great American Songbook." On this album Buddy is featured with primo bebop pianist Sonny Clark and some of the jewels representing the real art of American popular song.  Samuel L. Chell

Tracklist :
1     Getting A Balance 8:57
Written-By – DeFranco, Clark
2    Old Black Magic 6:39
Written-By – Arlen/Mercer
3    They Say Its Wonderful 7:14
Written-By – Berlin
4    But Beautiful 4:34
Written-By – Burke/Van Heusen
5    Nearness Of You 4:54
Written-By – Carmichael, Washington
6    What I Can Say (After I Say I’m Sorry) 4:43
Written-By – Lyman, Donaldson
7    Moe 4:07
Written-By – Clark
Credits :
Buddy De Franco - Clarinet
Sonny Clark - Piano and Organ
Tal Farlow - Guitar
Gene Wright - Bass
Bobby White - Drums
Recorded in Los Angeles, CA, on September 1, 1954 and August 12 & 26, 1955.

BUDDY DeFRANCO – 1949-1952 | The Classics Chronological Series – 1445 (2007) FLAC (tracks+.cue), lossless

Hep Records' issue of Buddy DeFranco's recordings as a leader of both a quintet and an orchestra between 1949 and 1952 is a welcome one. The material on these 26 cuts is standard fare from the swing era, which was way over by 1949, but it proves that DeFranco knew how to lead a big band and swing hard as a soloist in a quintet setting -- especially with the company he kept. Some of his crew on these sides include Serge Chaloff, Teddy Charles, Teddy Kotick, Lee Konitz, Max Roach, Jimmy Raney, and Al Cohn, just to name a few. Arrangements for these tunes were done by DeFranco, George Russell, and Manny Albam, which gives the listener a taste of the varied sonic interests of the great clarinetist. The sound on these sides is a tiny bit thin, but that's a minor complaint. The material swings no matter the arrangement or the size of the band. This is an intimate look at an often overlooked jazz great.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<-
Tracklist + Credits :

GENE KRUPA AND HIS ORCHESTRA – 1942-1945 | The Chronogical Classics – 1096 (1999) FLAC (tracks+.cue), lossless

The 11th CD in Classics' Gene Krupa series has the final recordings of his 1942 big band, all eight recordings by his short-lived "Band That Swings With Strings" and the debut of the Gene Krupa Trio. The last numbers by the 1942 band include four Anita O'Day vocals (highlighted by "Massachusetts" and "Murder, He Says"), trumpeter Roy Eldridge's vocal on "Knock Me a Kiss," and the instrumental "That Drummer's Band." A special bonus on this CD are two trio cuts from 1944 with clarinetist Buddy DeFranco and pianist Dodo Marmarosa that were originally issued as V-Discs. The string orchestra was a frivolity, and its best recording actually did not include the strings -- the pioneering bop vocal "What's This" featuring Dave Lambert and Buddy Stewart. The CD concludes with three selections ("Dark Eyes," "Body and Soul," and "Stompin' at the Savoy") by the Krupa trio with tenor-saxophonist Charlie Ventura. Highly recommended. Scott Yanow  
Tracklist + Credits : 

NAT "KING" COLE – 1947-1949 | The Chronogical Classics – 1155 (2000) FLAC (tracks+.cue), lossless

 Nat King Cole could charm most listeners by simply singing a few lines from the phone book. His delivery is so intoxicating that even less-than-stellar material doesn't cause so much as a blink of the eye. This is true with Classics' collection of some of his 1947-1949 cuts, where hardly a classic standard or hit is in sight. What one does get, though, is a generous dose of Nat Cole and the trio's slow-riffin' best . While ranging from the ballad perfection of "How Lonely Can You Get" and "Lost April" to svelte blues sides like "My Mother Told Me," Cole, guitarist Irving Ashby, and bassist Johnny Miller show how they perfected the piano trio template forged by the singer's first group with guitarist Oscar Moore and bassist Wesley Prince. The disc also includes two boppish instrumentals: "Leap Here" and "Metronome Riff," featuring Cole with large combos stuffed with likes of Dizzy Gillespie, Buddy DeFranco, Bob Cooper, Art Pepper, Bill Harris, and Shelly Manne. Also included are two takes of "Portrait of Jennie," an early strings affair that nicely foreshadows Cole's symphonic run of hits in the '50s. This disc might not work too well as a prime introduction to the the Nat Cole Trio's '40s material -- check out Capitol's Vocal Classics titles for that -- but it certainly will please fans wanting to delve beyond the more popular tracks. And for those keen on getting a good share of Cole's instrumental and jazz-centric sides, check out Capitol's Instrumental Classics and Jazz Encounters collections. Stephen Cook
Tracklist + Credits :

STAN KENTON AND HIS ORCHESTRA - 1947, Vol. 2 | The Classics Chronological Series – 1039 (1998) FLAC (tracks+.cue), lossless

Like its immediate predecessor, volume five in the Classics Stan Kenton chronology contains a substantial amount of material composed and/or arranged by Sicilian-American Pete Rugolo, a student of Darius Milhaud and Kenton's right-hand man during the mid- to late '40s. It was Rugolo who assisted Kenton during his experiments with modernized, "progressive" big band jazz. (Speaking of modern jazz, note the return of alto saxophonist Art Pepper on the session of October 22, 1947, which opened with Rugolo's "Unison Riff.") Following the example of Dizzy Gillespie, Kenton was now incorporating more Latin percussion and Caribbean rhythms than ever into his music, and even hired Cuban bandleader Machito to play maracas on the sessions which took place during the latter part of December 1947. Smug, contentious and successful, Kenton attracted controversy like a lightning rod. Part of the reason for this was the unusual and at times startling nature of his brand of musical futurism.
A more unsavory aspect of Kenton's reputation was his annoying habit of making what appeared to be arrogantly racist statements. The most famous example of this regrettable tendency was remembered by several eyewitnesses who claimed that Kenton, after participating in a "battle of the bands" at the Savoy Ballroom, got drunk and staggered up to Dizzy Gillespie saying "We can play your music better than you can." Diz -- to his credit -- simply shrugged, said "yeah" and walked away. Walter Gilbert Fuller adds: "He was juiced. But he was saying while he was juiced what he really meant." Here's how Gillespie assessed the overall situation: "Stan Kenton was the copyist. Stan Kenton went out and got a conga drummer after he saw me with one. He hired Carlos Vidal, lured him away from Machito, and put him along with another Latin drummer, Jack Costanzo, in his band. But Stan didn't know what to do with it. He just left it there and they made up their own minds what to play. All this happened after he came up to the Savoy and heard us while Chano Pozo was in the band. Now, I don't just take what they do and leave it there. I don't pass myself off as an expert on Latin music, but the guys who play it respect me for knowing how to take what they do, put it in with my music, and make it right. I never take nothing from nobody without delivering something in return. I think when people figured we might make a lot of money -- that started the controversy about who would get credit for creating modern jazz. My viewpoint was always that the credit should go to the ones who developed and played it best."
Interestingly, Dizzy Gillespie is heard on this disc alongside Buddy DeFranco, Bill Harris and Flip Phillips as members of the Metronome All Stars in combination with Stan Kenton & His Orchestra (a total of 28 players!) on Pete Rugolo's "Metronome Riff," which was recorded on December 21, 1947. Gillespie even toured with Kenton, sometimes leading the band. Later in life, Gillespie bluntly asserted that Kenton "left out the fundamentals," unlike Miles Davis whose music, said Diz, "is based on rhythm and also the blues." Whether or not you agree with that assessment, and while many of Kenton's recordings, including some of the examples heard on this compilation, had plenty of artistic merit, music does not exist in a social vacuum. As a member of the dominant social group, Kenton could and should have shown more respect and gratitude to the African-American artists from whom he borrowed (or swiped) ideas, textures, rhythms and inspiration. That would have been honorable. arwulf arwulf
Tracklist :

CHARLIE SHAVERS – 1944-1945 (1997) The Classics Chronological Series – 944 | FLAC (tracks+.cue), lossless

After dramatically altering the course of human evolution by making dozens of hot records with the John Kirby Sextet, Charlie Shavers went to work for Harry Lim's amazing Keynote label. The music made on June 8, 1944, is typical of the no-nonsense jam atmosphere that usually prevailed at Keynote. Fronting with Jonah Jones and Budd Johnson, and wonderfully supported by Johnny Guarnieri, Milt Hinton, and J.C. Heard, Shavers sautés his way through each four-minute performance. Edgar Sampson's "Blue Lou" is particularly spicy with its interplay between Hinton and Heard. "I Found a New Baby" is the hottest of all. A V-Disc jam tosses Shavers into the midst of a group of individuals from different stylistic backgrounds. "Rosetta" positively percolates, with exceptionally fine solos from Don Byas' tenor sax and Ernie Caceres' wonderfully soulful clarinet. The mood shifts down to first gear for Linda Keene's session for Black and White Records. Shavers is able to relax and provide easygoing support for this pleasant vocalist. Note the presence of early modern clarinetist Aaron Sachs. A fiery blowing session led by Walter "Foots" Thomas puts listeners back on the fast track with "The Bottle's Empty." This band is fascinating. Ben Webster is at the peak of his powers. Alto saxophonist Milt Yaner turns in a couple of very nice solos, then apparently evaporates from the scene forever. (Who was he?) Billy Taylor and Slam Stewart each show off their best colors. The Classics label has done a wonderful job reissuing material originally brought out on small-time labels. The Vogue Picture Record Company, a division of Detroit's Sav-Way Industries, put out 78-rpm discs with colorful illustrations displayed beneath transparent grooves. Collectors will testify that some of these relics have terrible music on them, but the six titles reissued here are all spectacular early modern jazz. Charlie shares the date with clarinetist Buddy DeFranco, presenting four Shavers originals and two ballads. It's a pleasant surprise to hear Shavers sing "She's Funny That Way," but the sparks really fly during "Dizzy's Dilemma" and "Broadjump." "Musicomania" trots at an easier pace, as does "Serenade to a Pair of Nylons." Fortunately, Classics has included the original illustration displayed on this particular disc: a splendidly rendered pair of stocking-encased "gams" in high heels with a photo of Shavers' rather bemused face superimposed near the pretty left foot. arwulf arwulf  
Tracklist
1    The Keynoters–    You're Driving Me Crazy    4:10
2    The Keynoters–    I'm In The Market For You    4:33
3    The Keynoters–    Blue Lou    4:26
4    The Keynoters–    I Found A New Baby    4:15
5    V-Disc All Star Jam Session–    Rosetta    4:42
6    Linda Keene–    Gee Baby, Ain't I Good To You    2:50
7    Linda Keene–    I Don't Stand A Ghost Of A Chance With You    2:31
8    Linda Keene–    Blues On My Weary Mind    2:53
9    Linda Keene–    I Must Have That Man    2:36
10    Sir Walter Thomas And His All Stars–    The Bottle's Empty    2:49
11    Sir Walter Thomas And His All Stars–    Save It, Pretty Mama    3:08
12    Sir Walter Thomas And His All Stars–    For Lovers Only     2:58
13    Sir Walter Thomas And His All Stars–    Peach Tree Street Blues     3:15
14    The Charlie Shavers Quintet–    She's Funny That Way    3:37
15    The Charlie Shavers Quintet–    Serenade To A Pair Of Nylons    3:33
16    The Charlie Shavers Quintet–    Dizzy's Dilemma    2:57
17    The Charlie Shavers Quintet–    Broadjump    3:05
18    The Charlie Shavers Quintet–    Musicomania    2:40
19    The Charlie Shavers Quintet–    If I Had You    3:24
Credits :    
Alto Saxophone – Milt Yaner (faixas: 10 to 13)
Baritone Saxophone – Ernie Caceres (faixas: 10 to 13)
Bass – Bob Haggart (faixas: 5), Clyde Lombardi (faixas: 6 to 9), Milt Hinton (faixas: 1 to 4), Sandy Block (faixas: 14 to 19), Slam Stewart (faixas: 10 to 13)
Clarinet – Aaron Sachs (faixas: 6 to 9), Buddy DeFranco (faixas: 14 to 19), Ernie Caceres (faixas: 5)
Drums – Alvin Stoller (faixas: 14 to 19), Cozy Cole (faixas: 10 to 13), Eddie Dell (faixas: 6 to 9), J.C. Heard (faixas: 1 to 4), Specs Powell (faixas: 5)
Guitar – Herb Ellis (faixas: 5)
Piano – Bill Clifton (faixas: 5), Billy Taylor (faixas: 10 to 13), Joe Springer (faixas: 6 to 9), Johnny Guarnieri (faixas: 1 to 4), Johnny Potoker (faixas: 14 to 19)
Tenor Saxophone – Ben Webster (faixas: 10 to 13), Budd Johnson (faixas: 1 to 4), Don Byas (faixas: 5), Walter Thomas (faixas: 10 to 13)
Trumpet – Charlie Shavers, Jonah Jones (faixas: 1 to 4)
Vocals – Charlie Shavers (faixas: 14), Linda Keene (faixas: 6 to 9)

LENNIE TRISTANO - Intuition (2003) 4CD | BOX - SET | Serie : Proper Box | FLAC (tracks+.cue), lossless

Anyone seeking a solid introduction to the music of Lennie Tristano should make a beeline for Proper Box 64, appropriately titled Intuition. This reasonably priced four-CD set is also sure to please even the most seasoned Tristano enthusiasts, for as one of the finest Tristano collections in existence, it rates with the juiciest entries in the Proper catalog. A brilliant musical innovator who was greatly admired by Charlie Parker, Tristano acted as a sort of modern jazz professor, philosopher, and mentor to aspiring young improvisers. In many ways, his music sounds better and makes more sense today than ever before. Prior to the appearance of this set in 2003, the records he cut in May 1945 with a sextet led by tenor saxophonist Emmett Carls had only been reissued on Tristano's portion of the exhaustively complete chronological Masters of Jazz series in 1999. In an unfortunate replication of a discographical error which has cropped up elsewhere, Proper's session data incorrectly names Shorty Rogers as the trumpeter on this date. Rogers had entered the armed forces in 1943 and wouldn't return to the scene until September of 1945. The individual heard with Carls was Irwin "Markie" Markowitz, a member of Boyd Raeburn's orchestra who would cross over to Woody Herman's Herd in 1946.

Proper's overview of Tristano's first seven years of recording activity is positively exhilarating. In addition to various early piano solos, it contains his complete 1946 - 1947 Keynote recordings, along with a sampling of records he cut in 1947 for Savoy and Baronet with small groups that included guitarist Billy Bauer and John La Porta, a reed player who would collaborate with Charles Mingus in the mid-'50s. The year 1949 was an important one for Tristano and is well represented by material from seven different sessions. These include the long take of "Victory Ball" as played by the Metronome All-Stars, selections from a Prestige date with Lee Konitz, a Birdland gig featuring Warne Marsh, and two segments of a Carnegie Hall engagement involving both saxophonists. Seven dazzlingly creative sides cut for Capitol during the spring of 1949 with Marsh and Konitz constitute milestones of modernity, complete with authentic instances of intuitively coordinated group improvisation. Apparently, the recording engineers at Capitol were so intolerant and closed-minded that they made faces, gestured impatiently, and even erased two of the tracks. Small wonder then that Tristano soon established his own Jazz Records label. By October of 1951, he would be exercising his artistic autonomy by overdubbing the piano on recordings he made with a trio that included drummer Roy Haynes. This wonderful set closes with six extended jams from a concert at the UGPO Hall in Toronto on July 17, 1952, sponsored by the New Jazz Society of Toronto and the Canadian Ministry of Culture.

When traditionalist tenor saxophonist Bud Freeman first heard Tristano's "Out on a Limb," he sought him out and asked to be tutored in jazz theory and harmony. This was an uncommonly progressive move for a long-standing cohort of Eddie Condon's, and prefigures Pee Wee Russell's later excursions into modern jazz. "I never knew how much freer I would feel getting down to the basic principles," remembered Freeman. "I thought it would be instructive to study with a great musician like Lennie; I didn't know it would be so much fun." An excellent companion to this set would be Gambit's unparalleled double-CD Live at the Confucius Restaurant, along with a copy of Eunmi Shim's informative and insightful biography, Lennie Tristano: His Life in Music, which was published by the University of Michigan Press in 2007. arwulf arwulf  
Disc One : Out On A Limb (P1353)    
1-1    Emmett Carls Sextet–    Tea For Two 3:18
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Caesar, Youmans
1-2    Emmett Carls Sextet–    Tea For Two (Take 2) 2:56
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Caesar, Youmans
1-3    Emmett Carls Sextet–    Blue Lou 2:52
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Sampson, Mills
1-4    Emmett Carls Sextet–    These Foolish Things 2:33
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Link, Marvell, Strachey
1-5    Emmett Carls Sextet–    These Foolish Things (Take 2) 2:35
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Link, Marvell, Strachey
1-6    Emmett Carls Sextet–    It's The Talk Of The Town 2:13
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Neiburg, Livingston, Symes
1-7    Emmett Carls Sextet–    It's The Talk Of The Town (Take 2) 3:16
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Neiburg, Livingston, Symes
1-8    Lennie Tristano–    Yesterdays 3:03
Piano – Lennie Tristano
Written-By – Kern, Harbach
1-9    Lennie Tristano–    What Is This Thing Called Love? 2:47
Piano – Lennie Tristano
Written-By – Porter
1-10    Lennie Tristano–    Don't Blame Me 2:49
Piano – Lennie Tristano
Written-By – Fields, McHugh
1-11    Lennie Tristano–    I Found A New Baby 2:46
Piano – Lennie Tristano
Written-By – Palmer, Williams
1-12    Lennie Tristano Trio–    I Can't Get Started 2:53
Bass – Leonard Gaskin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gershwin, Duke
1-13    Lennie Tristano Trio–    A Night In Tunisia 2:21
Bass – Leonard Gaskin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Paparelli
1-14    Lennie Tristano Trio–    Out On A Limb (Take 1) 2:36
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
1-15    Lennie Tristano Trio–    Out On A Limb (Take 2) 2:48
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
1-16    Lennie Tristano Trio–    Out On A Limb (Take 3) 2:39
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
1-17    Lennie Tristano Trio–    I Can't Get Started (Take 1) 2:57
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gershwin, Duke
1-18    Lennie Tristano Trio–    I Can't Get Started (Take 2) 2:54
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gershwin, Duke
1-19    Lennie Tristano Trio–    I Surrender Dear (Take 1) 2:33
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Clifford, Barris
1-20    Lennie Tristano Trio–    I Surrender Dear (Take 2) 2:16
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Clifford, Barris
1-21    Lennie Tristano Trio–    I Surrender Dear (Take 3) 3:05
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Clifford, Barris
1-22    Lennie Tristano Trio–    Interlude (Take 1) 3:04
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
1-23    Lennie Tristano Trio–    Interlude (Take 2) 2:31
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
1-24    Lennie Tristano Trio–    Interlude (Take 3) 2:58
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
1-25    Lennie Tristano Trio–    Interlude (Take 4) 2:53
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
1-26    Lennie Tristano Trio–    Interlude (Take 5) 1:40
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
1-27    Lennie Tristano Trio–    Interlude (Take 6) 3:00
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
Disc Two : New Sound (P1354)    
2-1    Lennie Tristano Trio–    Untitled Blues 3:46
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-2    Lennie Tristano Trio–    Blue Boy 2:47
Bass – Bob Leininger
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Bauer
2-3    Lennie Tristano Trio–    Atonement 2:27
Bass – Bob Leininger
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-4    Lennie Tristano Trio–    Coolin' Off With Ulanov (Take 1) 2:47
Bass – Bob Leininger
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-5    Lennie Tristano Trio–    Coolin' Off With Ulanov (Take 2) 2:28
Bass – Bob Leininger
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-6    Lennie Tristano–    I Don't Stand A Ghost Of A Chance With You  2:55
Piano – Lennie Tristano
Written-By – Crosby, Washington, Young
2-7    Lennie Tristano–    Spontaneous Combustion 2:53
Piano – Lennie Tristano
Written-By – Tristano
2-8    Lennie Tristano–    Just Judy 2:38
Piano – Lennie Tristano
Written-By – Tristano
2-9    Lennie Tristano Trio–    Supersonic 3:18
Bass – John Levy
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-10    Lennie Tristano Trio–    On A Planet 3:17
Bass – John Levy
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-11    Lennie Tristano Trio–    Air Pocket 2:44
Bass – John Levy
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-12    Lennie Tristano Trio–    Celestia 2:54
Bass – John Levy
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-13    Lennie Tristano Trio–    Freedom 3:37
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-14    Lennie Tristano Trio–    Parallel 2:28
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-15    Lennie Tristano Trio–    Apellation 1:53
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-16    Lennie Tristano Trio–    Abstraction 2:38
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-17    Lennie Tristano Trio–    Palimpsest 2:37
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-18    Lennie Tristano Trio–    Dissonance 2:38
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-19    Lennie Tristano Quartet–    Through These Portals 2:16
Bass – Arnold Fishkin
Clarinet – John La Porta
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – La Porta
2-20    Lennie Tristano Quartet–    Speculation 2:24
Bass – Arnold Fishkin
Clarinet – John La Porta
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-21    Lennie Tristano Quartet–    New Sound 2:16
Bass – Arnold Fishkin
Clarinet – John La Porta
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-22    Lennie Tristano Quartet–    Resemblance 2:22
Bass – Arnold Fishkin
Clarinet – John La Porta
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
Disc Three : Crosscurrents (P1355)    
3-1    The Metronome All Stars–    Victory Ball 4:12
Alto Saxophone – Charlie Parker
Arranged By, Directed By – Pete Rugolo
Baritone Saxophone – Ernie Caceres
Bass – Eddie Safranski
Clarinet – Buddy de Franco
Drums – Shelly Manne
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Charlie Ventura
Trombone – J.J. Johnson, Kai Winding
Trumpet – Dizzy Gillespie, Fats Navarro, Miles Davis
Written-By – Bauer, Parker, Tristano
3-2    Lennie Tristano Quintet–    Tautology 2:44
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Shelly Manne
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Konitz
3-3    Lennie Tristano Quintet–    Subconscious Lee 2:48
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Shelly Manne
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Konitz
3-4    Lennie Tristano Quartet–    Retrospection 3:07
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
3-5    Lennie Tristano Quartet–    Judy 2:54
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
3-6    Lennie Tristano Sextette–    Wow 3:21
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Harold Granowsky
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-7    Lennie Tristano Sextette–    Crosscurrent 2:50
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Harold Granowsky
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-8    Lennie Tristano–    Yesterdays 2:46
Bass – Arnold Fishkin
Drums – Harold Granowsky
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
3-9    Lennie Tristano Sextette–    Marionette 3:04
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Denzil Best
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Bauer
3-10    Lennie Tristano Sextette–    Sax Of A Kind 2:59
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Denzil Best
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Konitz, Marsh
3-11    Lennie Tristano Sextette–    Intuition 2:26
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Denzil Best
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-12    Lennie Tristano Sextette–    Digression 3:05
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Denzil Best
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-13    Lennie Tristano Quintet–    Remember 7:41
Bass – Arnold Fishkin
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-14    Lennie Tristano Quintet–    Pennies 5:45
Bass – Arnold Fishkin
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-15    Lennie Tristano Quintet–    Foolish Things 4:06
Bass – Arnold Fishkin
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-16    Lennie Tristano Quintet–    Indiana 5:42
Bass – Arnold Fishkin
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-17    Lennie Tristano Quintet–    I'm No Good Without You 4:19
Bass – Arnold Fishkin
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
Disc Four : Lennie's Pennies (P1356)    
4-1    Lennie Tristano Sextet–    Sax Of A Kind 5:12
Alto Saxophone – Lee Konitz
Bass – Joe Shulman
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Konitz, Marsh
4-2    Lennie Tristano Sextet–    You Go To My Head 4:34
Alto Saxophone – Lee Konitz
Bass – Joe Shulman
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Gillespie, Coots
4-3    Lennie Tristano Trio–    Ju-Ju 2:13
Bass – Peter Ind
Drums – Roy Haynes
Piano – Lennie Tristano
Written-By – Tristano
4-4    Lennie Tristano Trio–    Passtime 3:38
Bass – Peter Ind
Drums – Roy Haynes
Piano – Lennie Tristano
Written-By – Tristano
4-5    Lennie Tristano Quintet–    Lennie's Pennies 6:12
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
4-6    Lennie Tristano Quintet–    317 East 32nd 9:19
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
4-7    Lennie Tristano Quintet–    You Go To My Head 6:43
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Gillespie, Coots
4-8    Lennie Tristano Quintet–    April 8:42
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
4-9    Lennie Tristano Quintet–    Sound-Lee 7:37
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Konitz
4-10    Lennie Tristano Quintet–    Back-Home 7:56
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano

LIONEL HAMPTON — The Complete Lionel Hampton Quartets And Quintets With Oscar Peterson On Verve (1999) 5xCD | FLAC (tracks+.cue), lossless

Lionel Hampton did a series of quartet and quintet sessions for Verve Records in 1953 and 1954, the group featuring Oscar Peterson, Ray Brown, and Buddy Rich, with either Buddy DeFranco or Herb Ellis joining in for the quintet recordings. Verve released the sessions on a batch of LPs in 1957 (King of the Vibes, Air Mail Special, Flying Home, Swingin' with Hamp) and 1958 (Lionel Hampton '58, Hallelujah Hamp, The High and the Mighty), but they are gathered together here on a five-CD set that includes a couple of previously unreleased alternate takes and includes shorter and longer versions of some songs done for single and album release. Typically of sessions produced by Verve head Norman Granz, the song list is full of classic pop standards, along with remakes of some of Hampton's better-known songs. The lineup is, of course, stellar, and Hampton and Peterson in particular spark each other on vibes and piano, interacting with seemingly endless creativity. (They even take one tune, "The High and the Mighty," by themselves.) The normally showy Rich mostly restricts himself to accompaniment (he can't help taking off during the totally improvised "Blues for Norman," but even then doesn't play all that long), while Brown provides his usual solid support. At a time when Hampton was traveling the world leading an orchestra, these recordings were a reminder that he could be at his best (as in the Benny Goodman Quartet) with a small group. William Ruhlmann
Tracklist :
CD 1:
1. Always (Irving Berlin)
2. 'S Wonderful (George & Ira Gershwin)
3. Air Mail Special (Charlie Christian - Benny Goodman - Jimmy Mundy)
4. The Nearness Of You (Hoagy Carmichael - Ned Washington)
5. Soft Winds (Fletcher Henderson)
6. Stompin' At The Savoy (Edgar Sampson - Benny Goodman - Chick Webb)
7. Love For Sale (Cole Porter)
8. April In Paris (Vernon Duke - Yip Harburg)
9. Just One Of Those Things (Cole Porter)
CD2:
1. Star Dust (Hoagy  Carmichael - Mitchell Parish)
2. That Old Black Magic Pt. 1 (Harold Arlen - Mitchell Parish)
3. That Old Black Magic Pt. 2
4. This Can't Be Love (Rodgers - Hart)
5. Willow Weep For Me (Ann Ronell)
6. How High The Moon (Morgan Lewis - Nancy Hamilton)
7. Blues For Norman (N. Shrdlu)
8. I Can't Get Started (Vernon Duke - Ira Gershwin)
9. Moonglow (DeLange - Hudson - Mills)
CD3:
1. It's Only A Paper Moon (Arlen - Rose - Harburg)
2. The Way You Look Tonight (Jerome Kerns - Dorothy Fields)
3. Flying Home (Lionel Hampton - Benny Goodman)
4. These Foolish Things (Link - Strachey - Marvell)
5. Don't Be That Way (Edgar Sampson - Benny Goodman)
6. Dinah (Akst - Lewis - Young)
7. On The Sunny Side Of The Street (Jimmy McHugh - Dorothy Fields)
8. Je Ne Sais Pas (Lionel Hampton - Jeri Jones)
CD4:
1. It's A Blue World (George "Chet" Forrest - Robert Wright)
    index 1: false start
    index 2: alternative take
2. It's A Blue World - LP master take
3. It's A Blue World - 78-rpm master take
4. The High And The Mighty (Dimitri Tiomkin - Ned Washington)
5. When The Saints Go Marching In (traditional)
6. Flying Home (Hampton - Goodman)
7. Midnight Sun (Lionel Hampton - Sonny Burke)
8. Tenderly (Walter Gross - Jack Lawrence)
9. Hallelujah (Youmans - Grey - Robin)
10. Indiana (James F. Hanley - Howard MacDonald)
     index 0: false start
     index 1: complete take
11. But Beautiful (Jimmy Van Heusen - Johnny Burke)
12. Indiana
CD5 :
1. Hamp's Boogie Woogie - LP master take (Lionel Hampton - Milt Buckner)
2. Hamp's Boogie Woogie - 78-rpm master take
3. Honeysuckle Rose (Fats Waller - Andy Razaf)
4. Honeysuckle Rose - short version
5. China Boy (Richard Winfree - Phil Boutelje)
6. A Foggy Day - LP master take (G & I Gershwin)
7. A Foggy Day - 78-rpm master take
8. Love Is Here To Stay (G & I Gershwin)
9. Body And Soul (Green - Eyton - Sour - Heyman)
10. It's Only A Paper Moon (Arlen - Rose - Harburg)
11. Sweethearts On Parade (Carmen Lombardo - Charles Newman)
12. Date With Oscar (Oscar Peterson - Lionel Hampton)
Credits :
Lionel Hampton - Vibraharp, Vocals (not present CD 3, track 1)
Oscar Peterson - Piano
Ray Brown - Bass
Buddy Rich - Drums
Buddy DeFranco - Clarinet (CD 3)
Herb Ellis - Guitar - (CD 4 tracks 11-12 & CD 5)
Recorded between September, 1953 and September, 1954 in NYC