MAX ROACH — The Complete Mercury Max Roach Plus Four Sessions (2000) RM | 7xCD BOX-SET | MONO | FLAC (tracks+.cue), lossless

This seven-CD box set features 95 tracks from legendary drummer Max Roach's small group, consisting of the 1956-1960 recordings for Emarcy and Mercury Records, as these noteworthy sessions also represent the drummer's post Max Roach-Clifford Brown Quintet output. In 1956 the jazz world witnessed the tragic and untimely deaths of the great trumpeter Clifford Brown and pianist Ritchie Powell. Within these seven CDs, we find Roach maintaining his assault on jazz along with trumpeter Kenny Dorham, pianist Ray Bryant, and the drummer's bandmates from the Clifford Brown years, tenor saxophone giant Sonny Rollins and bassist George Morrow. Jazz aficionados will find a wealth of fantastic music here, as Roach also employed renowned artists such as tenor saxophonists Hank Mobley, Stanley Turrentine, and George Coleman, along with trumpeter Booker Little and many others of note. Essentially, Mosaic Records continues to excel in the reissue department, as they seemingly take great pains to portray or perhaps enhance the original LP recordings for modern day audiophiles and jazz connoisseurs. This collection also includes extensive annotations, biographies of the artists, interviews, recollections, and categorical documentation of the sessions presented in a matrix format. Here, the listener is treated to hard bop renditions of Charlie Parker's "Billie's Bounce" and "Koko," where trumpeter Kenny Dorham and tenor saxophonist George Coleman trade vicious, fierce fours, as the various aggregations and ensembles also tackle standards and originals. The infamous union of Max Roach and Buddy Rich originally titled, "Roach vs. Rich" presents an added bonus to this all encompassing package, as these works are further enhanced by Gigi Gryce's bold, fiery arrangements along with the addition of 14 previously unreleased alternate takes. Simply stated, Roach and Rich perform via a firebrand approach as the musician's distinct styles provide contrast and symmetry to Gryce's radiant horn charts. Basically, these pieces offer a glimpse of two masters/innovators whose respective techniques have often been imitated yet never duplicated. Suffice to state, Rich's blazing speed and unfathomable dexterity counterbalances Roach's complex, melodically constructed rolls, impeccable timing and bop-induced fills. Hence, the two are remarkable as they reciprocate impossibly fast motifs with cataclysmic fury. Overall, this 2000 release should be deemed required listening for astute observers of late-50's bebop and the continuing evolution of modern jazz. Highly recommended! Glenn Astarita    All Tracks & Credits :

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 :

LESTER YOUNG — The Complete Lester Young Studio Sessions on Verve (2006) RM | 8xCD BOX-SET | FLAC (tracks+.cue), lossless

All too often, jazz critics have promoted the myth that Lester Young's playing went way downhill after World War II -- that the seminal tenor man was so emotionally wounded by the racism he suffered in the military in 1944-1945 that he could no longer play as well as he had in the '30s and early '40s. To be sure, Young went through hell in the military, and his painful experiences took their toll in the form of alcohol abuse, severe depression, and various health problems. But despite Young's mental decline, he was still a fantastic soloist. This eight-CD set, which gathers most of the studio recordings that he made for Norman Granz's Clef, Norgran, and Verve labels from 1946-1959, underscores the fact that much of his postwar output was superb. At its worst, this collection is at least decent, but the Pres truly excels on sessions with Nat "King" Cole and Buddy Rich in 1946, Oscar Peterson and Barney Kessel in 1952, Roy Eldridge and Teddy Wilson in 1956, and Harry "Sweets" Edison in 1957. Disc 8 contains two recorded interviews with the saxman -- one conducted by Chris Albertson in 1958 for WCAU radio in Philadelphia, the other by French jazz enthusiast Francois Postif in Paris on February 6, 1959 (only five or six weeks before Young's death on March 15 of that year). The contrast between the fascinating interviews is striking; in Philly, Young is polite and soft-spoken, whereas in Paris, the effects of the alcohol are hard to miss. Sounding intoxicated and using profanity liberally, Young candidly tells Postif about everything from his experiences with racism to his associations with Billie Holiday and Count Basie. But as much as the set has going for it, The Complete Lester Young Studio Sessions on Verve isn't for novices, casual listeners, or those who are budget-minded (Verve's suggested retail price in the U.S. was $144). Collectors are the ones who will find this CD to be a musical feast. Alex Henderson   Tracklist & Credits :

CHARLIE PARKER | DIZZY GILLESPIE — Bird & Dizzy (1952-1997) RM | Verve Master Edition | FLAC (tracks+.cue), lossless

 This collection of 78 rpm singles, all recorded on June 6, 1950, was released in 1956. Several things distinguish this from numerous other quintet recordings featuring these two bebop pioneers. It was recorded during the period that Parker was working under the aegis of producer Norman Granz, whose preference for large and unusual ensembles was notorious. The end result in this case is a date that sounds very much like those that Parker and Gillespie recorded for Savoy and Dial, except with top-of-the-line production quality. Even more interesting, though, is Parker's choice of Thelonious Monk as pianist. Unfortunately, Monk is buried in the mix and gets very little solo space, so his highly idiosyncratic genius doesn't get much exposure here. Still, this is an outstanding album -- there are fine versions of Parker standards like "Leap Frog," "Mohawk," and "Relaxin' with Lee," as well as a burning performance of "Bloomdido" and twjo interesting (if not entirely thrilling) renditions of the chestnut "My Melancholy Baby."  Rick Anderson   Tracklist + Credits :

CHARLIE PARKER – 1947-1949 | The Chronogical Classics – 1113 (2000) FLAC (tracks+.cue), lossless

Between December 1947 and November 1949, Charlie Parker realized an incredibly diverse body of work that makes this third installment in the Classics Charlie Parker chronology a serious candidate for "most excellent all-around sampler of Charlie Parker's music." Here's Bird sitting in with a big band arranged by Neal Hefti. Here's Bird in a more intimate setting with Hank Jones, Ray Brown, and Shelly Manne. Here's Charlie Parker's All Stars, the band that played the Royal Roost during the autumn of 1948: Miles Davis, John Lewis, Curly Russell, and Max Roach. The session of September 18, 1948, was unusually fruitful. Each selection is strangely beautiful. "Parker's Mood" is Charlie Parker's ultimate statement on the blues, and should be used whenever someone needs a sample of this man's artistry. (See also Eddie Jefferson's vocal adaptation on James Moody's superb album Flute 'n the Blues.) The harmonically adventurous "Constellation" would reappear years later as Joseph Jarman's wonderfully liberating "Old Time South Side Street Dance." In December of 1948 (just days after Miles Davis quit the band) and January 1949, Charlie Parker sat in with Afro-Cuban mambo maestro Machito & His Orchestra. Two sessions from the spring of 1949 feature trumpeter Kenny Dorham and pianist Al Haig. This outstanding compilation closes with the first of the gorgeous and majestic Charlie Parker with Strings recordings. This is chamber music. "Just Friends" is best of all. If you listen to any of Bird's sessions with strings, let it be this one. arwulf arwulf    Tracklist :

CHARLIE PARKER – 1950 | The Chronogical Classics – 1222 (2002) FLAC (tracks+.cue), lossless

Here in the 21st century, listeners are fortunate to be able to digest Charlie Parker's complete studio master takes in chronological order. Unlike most previous compilations, this series is not limited by original label licensing. The exact sequential evolution of Bird's turbulent career is neatly laid out regardless of the crossover from Dial to Savoy to Mercury and so forth. It just so happens that the fourth installment in the Classics Charlie Parker chronology documents a portion of a period in Bird's life when he was able (or chose) to stick with one record company. Stretching out in Norman Granz territory, this segment of history opens with three meaty selections recorded in March of 1950. Backed by Hank Jones, Ray Brown, and Buddy Rich, Bird blows an exquisite couple of ballads and a brisk modern expansion on the "Blues." This set a precedent for John Coltrane's later excursions (i.e., "Bessie's Blues"), similarly modern adventures that were nevertheless directly connected to the very taproots of the jazz tradition. Heard in direct succession, the opening tracks feel like a warm-up for a Bird and Diz reunion session recorded three months later with Thelonious Monk, Curly Russell, and Buddy Rich. For all of the excitement inherent in this rowdy bopped-out blowing session, the real gem is their comparatively relaxed and brilliantly executed rendering of "My Melancholy Baby." Tracks ten through 22 feature Charlie Parker with Strings, a lovely artistic experiment that allowed Bird to sail at will over some very pretty chamber ensemble accompaniment. Anyone who experiences a knee-jerk reaction to the string ensemble needs to cool off and simply focus on the saxophone and jazz rhythm section. This is not Muzak; the formula was never merely Bird with Squares. Over the course of two different "Strings" sessions, the real jazz players behind Bird were Bernie Leighton, Ray Brown, Buddy Rich, Al Haig, Tommy Potter, and Roy Haynes. arwulf arwulf          Tracklist + Credits :

BUDDY RICH AND HIS ORCHESTRA – 1946-1948 | The Chronogical Classics – 1099 (1999) FLAC (tracks+.cue), lossless

This is the first CD from the French Classics reissue series showcasing drummer Buddy Rich as a big-band leader. These 22 titles were recorded between 1946 and 1948 with several of them being V-discs. The tight arrangements of Tadd Dameron, Neil Hefti, Eddie Finckel, Bill Channon, and Turk Van Lake are strict yet thoroughly swinging ensemble playing. Even though Rich led this big band, he does not take center stage over the entire outcome. His Frank Sinatra-influenced vocals are heard here along with those of Dorothy Reid and Linda Larkin. During this three-year period his bands included the likes of Johnny Mandel, Red Rodney, Hal McKusick, Jimmy Giuffre, Warne Marsh, and Allen Eager. With the proven talent heard here it's a shame Rich couldn't sustain his ensembles, but finding gigs as the big-band era was drawing to a close made it economically unfeasible. Rich would not attempt to lead another big band until 1966. Al Campbell  
Tracklist + Credits :

BUDDY RICH – 1950-1955 | The Chronogical Classics – 1419 (2006) FLAC (tracks+.cue), lossless

 As the Classics Chronological Series works its way into the early and mid-'50s, the magnitude of producer Norman Granz's achievement becomes increasingly apparent. Some of the greatest jazz musicians of all time -- Oscar Peterson, Charlie Parker, Dizzy Gillespie, Billie Holiday, Johnny Hodges, Lester Young -- were signed by Granz at a time when many Afro-American jazz musicians were struggling to get steady work, and jazz in general was beginning to take a back seat to pop vocals, R&B and rock & roll. Drummer and bandleader Buddy Rich had only just begun to lead a big band when the post-WWII restructuring of the entertainment industry edged him out (see Volume one in Rich's complete chronological recordings, 1946-1948 [Classics 1099]). He was able to continue making records by working with smaller groups, oftentimes at recording sessions supervised by Norman Granz. As the mastermind behind Jazz at the Philharmonic, Granz was adept at documenting live jam sessions. Fortunately the recording equipment was plugged in and running when Buddy Rich, Ray Brown and Hank Jones cooked up a frantic seven-minute version of "Air Mail Special" in front of a rowdy audience at Carnegie Hall on September 16, 1950. This explosive jam, which consists mainly of an extended crowd-pleasing drum solo, serves as a fiery prologue to the first of the Buddy Rich/Norman Granz studio sessions, all of which resulted in collectively swung jazz of the highest order. Granz had a knack for bringing together uncommonly gifted musicians, and Rich was very lucky to find himself recording with pianist Oscar Peterson and guitarist Herb Ellis; with trumpeters Harry "Sweets" Edison, Thad Jones and Joe Newman; and with saxophonists Benny Carter, Georgie Auld, Willie Smith, Ben Webster and Frank Wess. Buddy Rich is also heard exercising his tonsils. Sometimes compared with Frank Sinatra (his rival for the attentions of vocalist Edythe Wright during the Dorsey days), Rich was capable of crooning with convincing suavity, as could Woody Herman. Aside from his quasi-hip vocal on the novelty titled "Bongo, Bass and Guitar," this compilation contains four tracks with Rich standing away from the drums (Louie Bellson was brought in to man the kit) and concentrating upon the art of emitting songs through the mouth, accompanied by a small jazz combo sweetly augmented with strings under the direction of Howard Gibeling. Much more in line with Buddy Rich's regular modus operandi, this segment of his chronology concludes with two extended instrumental jams, each exceeding ten minutes in duration, recorded in New York on May 16, 1955. Arrogant, selfish, cruel and egotistical to the point of megalomania, Buddy Rich was an able percussionist capable of generating a lot of excitement with his drums and cymbals; he could drive an ensemble with plenty of steam, but most of his showy extended solos, which rely a lot on convulsive bouts of press rolling and restless parade ground paradiddling, lack the substance, depth and organic coherence of expanded improvisations created by Art Blakey, Max Roach and Elvin Jones. To call Buddy Rich the world's greatest drummer is just blarney. The person who made that claim most often was Buddy Rich himself. arwulf arwulf 

NAT "KING" COLE – 1945 | The Chronogical Classics – 893 (1996) FLAC (tracks+.cue), lossless

Volume Six in the meticulously researched Classics Nat King Cole chronology presents all of the Capitol, Sunset and V-Disc recordings he made between May 23 and December 4, 1945. While most of these sessions were trio dates involving guitarist Oscar Moore and bassist Johnny Miller, the Sunset engagement brought together trumpeter Charlie Shavers, tenor saxophonist Herbie Haymer, bassist John Simmons and drummer Buddy Rich. Two of the six sides -- parts one and two of "Nat's Kick" -- were issued by the French on their Swing label as by the King Cole Quintet. The other titles were released by Sunset under the name of the Herbie Haymer Quintet. "Black Market Stuff" picks up where Fats Waller and His Rhythm left off in 1941 with "Pantin' in the Panther Room." arwulf arwulf  
Tracklist :

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 :

LIONEL HAMPTON AND HIS ORCHESTRA – 1951-1953 | The Chronogical Classics – 1429 (2006) FLAC (tracks+.cue), lossless

Here is the 12th volume in the complete chronological recordings of Lionel Hampton as reissued by the Classics label. It opens with Hamp's final five recordings for the MGM label, waxed in Los Angeles on October 17, 1951. This was a 20-piece big band using charts written by Quincy Jones, and the music it made feels much different from what's to be heard in the next leg of Lionel Hampton's odyssey, a Norman Granz-produced quartet session with Oscar Peterson, Ray Brown and Buddy Rich, recorded in New York on September 2, 1953. While the big band sides are exciting and fun, with a hip vocal by Sonny Parker on "Don't Flee the Scene Salty" and a singalong routine led by Hamp on "Oh Rock," the quartet swings cohesively, stretching out for six, seven or nearly eleven minutes, for the LP era had begun and Norman Granz encouraged extended improvisations. The combination of Oscar Peterson and Lionel Hampton, whether cooking together on "Air Mail Special" or savoring the changes of a ballad like "The Nearness of You" made spirits to soar and sparks to fly. arwulf arwulf  
Tracklist :

ELLA FITZGERALD – 1945-1947 | The Classics Chronological Series – 998 (1998) FLAC (tracks+.cue), lossless

Welcome to a richly rewarding segment of the all too often overlooked plateau that lies between Ella Fitzgerald's recordings with Chick Webb's orchestra during the second half of the 1930s and her triumphant reign as one of the world's most popular jazz singers during the 1950s, '60s, and '70s. The recordings she made between February 26, 1945, and March 1, 1947, illustrate this woman's amazing versatility as she teamed up with an extraordinarily variegated range of vocalists and instrumentalists. Her pleasant collaborations with the Ink Spots and the Delta Rhythm Boys and a few titles with big-band accompaniment serve as appetizers for "Stone Cold Dead in the Market (He Had It Coming)," a disturbingly funny calypso number featuring Louis Jordan & His Tympany 5. Here Ella and Louis put across a performance even more outrageous than Sarah Vaughan's eccentric West Indian suicide song "De Gas Pipe She's Leaking, Joe." While Jordan's band grinds out spicy Caribbean dance music, Ella proudly explains how, fed up with being physically abused, she beat her husband to death with various kitchen utensils. Jordan, who calmly states that he's singing his portion of the duet while stretched out inanimate in the shopping district, admits that he was an abusive drunkard who often beat his wife. This incredibly humorous sendup of the horribly tragic and all too common specter of domestic violence leading to homicide is sustained largely by the female vocalist, who repeatedly describes her husband-killing technique, defiantly exclaims "he had it coming," and even communes with the spirit of Bessie Smith by insisting that she'd do it again even "if I was to die in the electric chair." This interesting compilation also contains a pair of duets with Louis Armstrong, some pleasant performances backed by bands led by pianists Billy Kyle and Eddie Heywood, and some really wild V-Disc collaborations with drummer and scat singer Buddy Rich. Never a dull moment! arwulf arwulf  
Tracklist + Credits :

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 : 

TEDDY WILSON – 1952-1953 | The Classics Chronological Series – 1364 (2004) FLAC (tracks+.cue), lossless

Between the years 1946 and 1952, pianist Teddy Wilson made few recordings as a leader, spending most of his time and energy teaching music at Juilliard, working as an all-purpose utility pianist at radio station WNEW, and gigging occasionally with Benny Goodman. On October 6, 1952, Wilson cut eight tracks for the Metronome label in Stockholm, Sweden with excellent support from bassist Yngve Akerberg and a feisty drummer by the name of Jack Noren. In keeping with personal artistic patterns established over his first 20 years of professional musicianship, Wilson concentrated upon jazz standards, breathing new life into each melody. Volume 12 in the Classics Teddy Wilson chronology also contains the excellent recordings Wilson made for the Mercury and Clef labels from December 1952 through early September 1953 under the auspices of producer Norman Granz. At each session, Wilson found himself grouped with his musical peers: bassists John Simmons, Aaron Bell, and Arvell Shaw as well as drummers Buddy Rich, Denzil Best, and J.C. Heard. With ingredients like these, it's no wonder the music came out so well. arwulf arwulf  
Tracklist + Credits :

BUD POWELL – 1949-1950 | The Classics Chronological Series – 1170 (2001) FLAC (tracks), lossless

Roundups on either Verve or Blue Note offer the best entrée for Bud Powell neophytes -- and let's not forget the four-disc set on Proper -- but this Classics offering of the bop pianist's 1949-1950 sides certainly should not to be overlooked. Most of the 21 tracks feature Powell in a trio setting, with a handful of cuts given over to a top-notch combo date fronted by trumpeter Fats Navarro and a young Sonny Rollins. This latter material includes some of the finest playing of the bop era, as all the soloists find choice spots on the three Powell originals ("Bouncing With Bud," "Dance of the Infidels," "Wail") and the early Monk side "52nd Street Theme." The trio sides, though, offer the real highlights here. Backed on various sessions by the likes of Max Roach, Roy Haynes, Buddy Rich, Roy Brown, and Curly Russell, Powell is in his innovative prime on several self-penned gems ("Tempus Fugit," "Celia") and a round of finely gauged standards ("Yesterdays," "Get Happy"). A disc worthy of the competition. Stephen Cook  
Tracklist :

JOE MARSALA – 1936-1942 | The Classics Chronological Series – 763 (1994) FLAC (tracks+.cue), lossless

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

CHARLIE VENTURA – 1951-1953 | The Classics Chronological Series – 1363 (2004) FLAC (tracks), lossless

This is the sixth volume of the complete recordings of Charlie Ventura reissued in chronological order. Four out of the five sessions represented here are strictly instrumental. This gives fans of Jackie Cain and Roy Kral a taste of that duo's kicky vocal routine without detracting from the overall instrumental jazz content. On August 8, 1951, the saxophonist made his only recordings under the banner of Charlie Ventura's Big Four, with pianist Teddy Napoleon, bassist Chubby Jackson, and drummer Buddy Rich, whose megalomania accelerated the speedy dissolution of this tight little group. In a bizarre turn of events, Rich sang "Love Is Just Around the Corner" while Mel Tormé sat in at the drums. On December 22, 1952, Ventura waxed seven beautiful sides using alto, tenor, and baritone saxophones in front of a rhythm trio for producer Norman Granz. Ventura's baritone work is particularly attractive on "Blue Prelude." A second date for Norgran Records took place on January 5, 1953, with Hank Jones at the piano and the great Jo Jones behind the drums. Ventura opens on tenor but switches to baritone on "Blues for Two" and sticks with the basement horn on "Somebody Loves Me." These are some radically advanced improvisations, signaling a profound ongoing artistic evolution. Moving over to Coral Records for most of the remainder of 1953, Ventura first chose to collaborate once again with Jackie Cain and Roy Kral. The band behind their vocals is superb, and Ventura hauls out his baritone for extra emphasis. Four romantic sax solos with orchestral accompaniment close out this segment of the Ventura chronology with all the subtlety of a sugary dessert wine garnished with a blood-red maraschino cherry. arwulf arwulf  
Tracklist + Credits :

ARTIE SHAW AND HIS ORCHESTRA – 1939 | The Classics Chronological Series – 1007 (1998) FLAC (tracks+.cue), lossless

As 1939 began, Artie Shaw had the most popular band in jazz, topping Benny Goodman and recording best-selling records for Bluebird. This CD covers a two-month period, as Shaw's band (which features tenor saxophonist Georgie Auld, Tony Pastor on vocals and tenor, drummer Buddy Rich, and singer Helen Forrest) showed that they could swing as hard as anyone. Highlights include "Lover Come Back to Me," "Carioca," "Rose Room," and "I'm Comin' Virginia," although there are also a lot of so-so Forrest vocals. Scott Yanow
Tracklist + Credits :

ARTIE SHAW AND HIS ORCHESTRA – 1939, Vol. 2 | The Classics Chronological Series – 1045 (1999) FLAC (tracks+.cue), lossless

Although the pressure of being a sudden celebrity and the leader of America's number one swing band was clearly getting to Artie Shaw in 1939, his band was excellent, his playing was top-notch, and his solidly selling records kept on being made. The sixth Classics CD in their Artie Shaw series (which reissues all of the master takes from the clarinetist's sessions as a leader) includes such fine numbers as "One Night Stand," "One Foot in the Gutter," "Traffic Jam," "Serenade to a Savage," and Shaw's "Moonray." The key players include Shaw, tenorman Georgie Auld, singer Helen Forrest, drummer Buddy Rich, and Tony Pastor on tenor and vocals. Scott Yanow
Tracklist :

BUNNY BERIGAN AND HIS ORCHESTRA – 1938 | The Classics Chronological Series – 815 (1995) FLAC (tracks), lossless

Here's the Berigan band arguably at its peak, taking the music of Bix Beiderbecke to the next level, almost making these sides a case study in "what would Bix have sounded like had he lived and worked with a big band"? Although sides like "The Pied Piper" and "Ten Easy Lessons' feature vocals by Ruth Gaylor (herself a knockoff of Benny Goodman vocalist Helen Ward), instrumentals like "Jelly Roll Blues," "In a Mist," and "Livery Stable Blues," stress the Bix connection and bring these tunes into the big band age. On all but four tracks, the drumming chores are handled by a young Buddy Rich, swinging the band for all he's worth. Cub Koda
Tracklist :
1    The Pied Piper 3:30
Bernard Arnold / Jack Gould
2     Tonight Will Live 3:04
Agustín Lara / Ned Washington
3     (A Sky of Blue and You) And So Forth 3:02
Joseph M. Davis / Howard Johnson
4     (How to Make Love in) Ten Easy Lessons 3:25
George Bailey / Mark Fisher
5     When a Prince of a Fella Meets Cinderella 3:21
James Van Heusen
6     Livery Stable Blues 3:24
Marvin Lee / Ray Lopez / Alcide "Yellow" Nunez
7     Let This Be a Warning to You 3:02
Mack David
8     Why Doesn't Somebody Tell Me These Things? 2:50
Jim Eaton / Terry Shand
9     High Society 2:43
Walter Melrose / Porter Steele
10     Father, Dear Father 2:47
Dacosta / McCarthy
11     Simple and Sweet 3:12
Abel Baer / Green Baer / Bud Green
12     Button, Button (Who's Got the Button?) 2:41    
13     I Won't Tell a Soul (I Love You) 3:10
Hughie Charles / Ross Parker
14     Rockin' Rollers' Jubilee 2:30
Joe Davis    
15     Sobbin' Blues 3:18
Vic Berton / Victor Burton / Art Kassel
16     I Cried for You 3:15
Gus Arnheim / Arthur Freed / Abe Lyman
17     Jelly Roll Blues 3:21
Jelly Roll Morton
18     'Deed I Do 2:49
Walter Hirsch / Fred Rose
19     In a Mist 3:07
Bix Beiderbecke
20     Flashes 2:47
Bix Beiderbecke
21     Davenport Blues 3:17
Bix Beiderbecke    
22     Candlelights 3:10
Bix Beiderbecke