NANCY HARROW — Wild Women Don't Have The Blues (1961-1989) FLAC (tracks), lossless)

Although singer Nancy Harrow made a strong impression with this debut recording (which has been reissued on CD), she did not lead another record date until 1978 other than a lesser-known effort for Atlantic in 1966. Obviously the years of obscurity were not deserved, for this set is a near-classic. Harrow is heard in her early prime singing such veteran songs as "All Too Soon," "On the Sunny Side of the Street," the seven-minute "Blues for Yesterday," and the title cut (originally done by Ida Cox in the 1920s). A more modern stylist (although influenced by Billie Holiday a little) than the material she performed at the time, Harrow is joined by such top mainstream players as trumpeter Buck Clayton (who provided the arrangements), tenorman Buddy Tate, trombonist Dickie Wells, and pianist Dick Wellstood. Highly recommended, Harrow's debut date has plenty of spirit and enthusiasm. Scott Yanow
Tracklist :
1 Take Me Back, Baby  5:14
Count Basie / Buddy Bregman / Jimmy Rushing / Tab Smith2 All Too Soon 5:26
Duke Ellington / Carl Sigman
3 Can't We Be Friends? 5:16
Paul James / Kay Swift
4 On the Sunny Side of the Street 4:57
Dorothy Fields / Jimmy McHugh
5 Wild Women (Don't Have the Blues) 5:28
Ida Cox
6 I've Got the World on a String 4:29
Harold Arlen / Ted Koehler
7 I Don't Know What Kind of Blues I Got 3:56
Duke Ellington
8 Blues for Yesterday 7:31
Lester Carr
Credits
Baritone Saxophone – Danny Bank
Bass – Milt Hinton
Clarinet, Alto Saxophone – Tom Gwaltney
Vocals – Nancy Harrow
Drums – Oliver Jackson
Guitar – Kenny Burrell
Piano – Dick Wellstood
Tenor Saxophone – Buddy Tate
Trombone – Dickie Wells
Trumpet, Leader, Arranged By – Buck Clayton

COUNT BASIE AND HIS ORCHESTRA – 1943-1945 | The Classics Chronological Series – 801 (1995) FLAC (tracks+.cue), lossless

This interesting CD mostly reissues the V-Discs of Count Basie's Orchestra, performed during a time when the musicians' union strike kept the Basie band off records. Lester Young is heard back with Basie on five numbers from May 27, 1944. Otherwise, the band was much more stable than most swing bands of the war years, making it to December 1944 when it was able to resume its recordings for the Columbia label. There was not much change in the orchestra's swinging style during this era, as can be heard on such enjoyable pieces as "G.I. Stomp," "Yeah Man!," "Circus in Rhythm," two versions of "Taps Miller," and "Old Manuscript." Scott Yanow  Tracklist + Credits :

COUNT BASIE AND HIS ORCHESTRA – 1946-1947 | The Classics Chronological Series – 988 (1998) FLAC (tracks), lossless

Here's a crash course in the flashy post-WWII big band sound of Count Basie's Orchestra. This was a much different act from the Basie band of 1944-45. The entire presentation had changed considerably in just a couple of years. Arrangers had a lot to do with such rapid transformation, along with creative young players like J.J. Johnson, Paul Gonsalves and Illinois Jacquet. Basie himself was maturing already into that famously glib, tinkling pianist who could and did occasionally play his ass off. A number of stylistic modes are clearly at work during the summer of 1946. Two sentimental pop vocals, one lightweight novelty tune and a solid Jimmy Rushing blues are interspersed with several exciting instrumentals. Buster Harding cooked up a few heavy-handed boogies, Tadd Dameron contributed the stimulating, modern composition "Stay On It," and Harry "Sweets" Edison composed and arranged "Mutton Leg," a sizzling feature for Illinois Jacquet. This would be the saxophonist's last extroverted studio recording with this band, and the eight selections from 1946 were the last of Basie's mid-'40s Columbia sides. Signing up with Victor for the next three years, Basie continued to move in step with rapidly evolving developments in pop, bebop and rhythm and blues. The Victor sides have not been reissued very often, and have proved much more difficult to obtain than Basie's earlier recordings from the Columbia and Decca catalogs. The people in charge of the Classics chronological series are to be commended for making these historical recordings available. The Victor material is markedly varied, revealing an orchestra searching for its next stylistic identity. "Open the Door, Richard" is one of the coolest versions of this silly piece of neo-vaudeville ever recorded, mainly because of Harry "Sweets" Edison's very hip, high-voiced spoken delivery. "One O'Clock Boogie" is recognizable Basie, but two lush ballads, arranged by Hugo Winterhalter, of all people, are atypical for this band. "Futile Frustration," though nominally co-composed by Basie, is a jaggedly futuristic Raymond Scott-styled experiment by Jimmy Mundy. Two live V-Disc jams, each exceeding the four-minute mark, feature Basie and rhythm with a snappy front line of Roy Eldridge and Illinois Jacquet. Art Ford, square peg in a round universe, introduces "Lady Be Good." "Jammin' on a V-Disc," which has a line that sounds uncannily like Sun Ra's "Space is the Place," runs at a brisk clip with wonderful solos from both of the horns. Illinois bites the reed to make his sax squeal and everybody rocks. Buddy Rich is in his element here, as the assignment calls for furious drumming. This segment of the chronology ends with three excellent instrumentals including smart remakes of "St. Louis Boogie" and "Swingin' the Blues." The pianist switches over to Hammond organ in the middle of "Basie's Basement," an authentically low-down blues graced with echoes of Fats Waller's personality. The rest of the fine music recorded by Basie and his men during the month of May 1947 appears at the beginning of the next volume of the complete recordings of Count Basie in chronological order. arwulf arwulf   Tracklist + Credits :

HOT LIPS PAGE – 1946-1950 | The Chronogical Classics – 1199 (2001) FLAC (tracks+.cue), lossless

 The bebop era may have been raging during the period covered by this CD, but trumpeter-singer Hot Lips Page stuck to his swing/Dixieland/blues style. Although commercial success would largely elude him, Page is heard in prime form on the 23 formerly rare performances included on this valuable CD. Other than one cut from 1946, the music is from 1947 and 1949-1950. Page (whose voice had become a bit raspier through the years) digs into four instrumentals and four vocals with a medium-size group in 1947; four of the titles were previously unreleased. He is also heard with slightly later combos, on two numbers with strings and a choir, and on a very successful four-song session in which he interacts vocally with Pearl Bailey; their version of "Baby, It's Cold Outside" is classic. Other highlights include "St. James Infirmary," "Fat Stuff," "Don't Tell a Man About His Woman," "The Hucklebuck," and "Ain't No Flies on Me." Recommended. Scott Yanow  
Tracklist + Credits :

ROY ELDRIDGE – 1951 | The Classics Chronological Series – 1311 (2003) FLAC (tracks+.cue), lossless

Roy Eldridge visited Stockholm in January of 1951. The first two numbers recorded there were issued on Classics 1259 (1950-1951). These remaining Swedish selections cover a wide range of styles and moods. Eldridge's adaptation of Louis Jordan's "Saturday Night Fish Fry" was issued on two sides of a 78-rpm platter. His approach to "They Raided the Joint" is not quite as rowdy as that of Hot Lips Page. "The Heat's On" and "Estrad Swing" convey powerful currents of what at the time was modern, up-to-date jazz, comparable to what Coleman Hawkins was blowing. "No Rolling Blues" is a slow exercise in artful complaining, the subject being a dishonest woman. Two final Stockholm recordings, spruced up with Charles Norman's harpsichord, resemble the Artie Shaw Gramercy Five at their finest, when the tinkling keyboard was handled by Johnny Guarnieri. Back in Paris during March of 1951, Eldridge pooled his energies with tenor saxophonist Don Byas and a rhythm trio featuring Claude Bolling at the piano. This blowing session, resulting in three pressure cookers and a cool processional, was energized by the inspired drumming of Armand Molinetti. On the following day, Eldridge recorded a fine pair of duets with Claude Bolling as a tribute to Earl Hines and Louis Armstrong. "Wild Man Blues" evokes the original pairing, while "Fireworks" is based on the famous stomp by Armstrong's Hot Five. Back in New York six months later, Eldridge collaborated wonderfully with tenor saxophonist Buddy Tate on a mixed bag of selections recorded for the Mercury label. Tate pours himself into "Baby What's the Matter With You." "Sweet Lorraine" features the trumpet with lots of reverb, and "Yard Dog," initially waxed by Eldridge's big band in May of 1946, whips along at an almost alarmingly rapid pace, with Charlie Smith socking the drums and Buddy Tate booting away on his tenor. Considering the fact that "Jumbo the Elephant" is a novelty singalong, Eldridge's band manages to swing fairly hard with it. In December of 1951 Norman Granz recorded Eldridge backed by a large string ensemble. This was not at all unusual at the time, as Charlie Parker and Billie Holiday made many wonderful records using this sort of instrumentation. Roy Eldridge was such a soulful, pungent player that these orchestral settings come off as honest, reflective, and substantial. arwulf arwulf  
Tracklist + Credits :

BUDDY TATE – 1945-1950 | The Classics Chronological Series – 1207 (2001) FLAC (tracks+.cue), lossless

Buddy Tate gained his initial fame as one of the tenor saxophonists with Count Basie's Orchestra during 1938-1948, replacing Herschel Evans. All of his early dates as a leader are on this CD, and most of the sessions were formerly quite rare. Tate is heard as a sideman in 1945 with trumpeter Karl George's swing-to-bop octet (which also starred trombonist J.J. Johnson), with pianist Skip Hall's combo in 1949 (four instrumentals featuring trumpeter Buck Clayton), and on four sessions of his own. Thirteen songs are from two dates near the end of 1947 and feature some excellent Emmett Berry trumpet, pianist Bill Doggett's arrangements, and a couple of early vocals by Jimmy Witherspoon; Tate comes across effectively in an Illinois Jacquet jump/jazz role. His other two dates (from 1949-1950) are in a similar vein, with Buck Clayton and trombonist Tyree Glenn helping out. A few songs along the way have vocals (a pair by Eddie Fullylove are essentially middle-of-the-road pop), but most of the music is quite worthwhile and swinging. Recommended. Scott Yanow
Tracklist + Credits :

WYNONIE HARRIS – 1950-1952 | The Classics Chronological Series – 1289 (2003) FLAC (tracks+.cue), lossless

Wynonie Harris specialized in driving jump blues numbers that celebrated the party side of urban life, and his tales of whiskey-soaked nights and relentless hangovers reached its peak during his long stay at King Records. This collection covers his last years at the label, and while a couple of his biggest hits are here, like the cranked-up version of Hank Penny's country classic "Bloodshot Eyes" and the engaging novelty number about trying to outsmart the IRS, "Good Morning Judge," Harris by this time was on the sundown side of his zenith, and even though he would seem like an artist ready-made for the emerging rock & roll craze, he never really made the transition. The song "All Night Long" included here is actually by Detroit group the Royals (who later morphed into Hank Ballard & the Midnighters), with Harris doing a guest vocal on the bridge. "All Night Long," in an interesting bit of music trivia, was the flip side to the original version of "Every Beat of My Heart," which Gladys Knight & the Pips turned into a huge hit nearly a decade later. Steve Leggett  
Tracklist
1     Rock Mr. Blues 2:41
Henry Bernard / Lois Mann
2     Stormy Night Blues 2:45
Henry Bernard / Sam Theard
3     Good Morning Judge 2:40
Wynonie Harris / Louis Innis
4     Be Mine My Love 2:52
Henry Bernard / Sydney Mann
5     Mr. Blues Is Coming to Town 3:02
Henry Glover
6     I Want to Love You Baby 2:35
Henry Glover / Lois Mann
7     Put It Back 2:47
Henry Glover
8     Oh Babe! 2:57
Milt Kabak / Louis Prima
9     Teardrops from My Eyes 2:54
Rudy Toombs
10     A Love Untrue 2:54
Henry Glover
11     Triflin' Woman 2:38
Henry Bernard / Lois Mann / Moon Mullican
12     Man, Have I Got Troubles 2:58
Mossman / Carlson
13     Confessin' the Blues 2:50
Walter Brown / Jay McShann
14     Tremblin' 2:28
Annisteen Allen / Henry Glover
15     Just Like Two Drops of Water 2:35
Joe Greene
16     I'll Never Give Up 2:32
Henry Glover / Sam Theard
17     Bloodshot Eyes 2:42
Wynonie Harris / Hank Penny
18     Here Comes the Night 2:36
Henry Glover
19     Lovin' Machine 2:27
Henry Glover / Lois Mann
20     My Playful Baby's Gone 2:30
Henry Glover / Wynonie Harris / Lois Mann
21     Luscious Woman 2:51
Henry Glover / Lois Mann    
22     All Night Long 2:18
Alonzo Tucker    
23     Keep on Churnin' (Till the Butter Comes) 2:55
Henry Glover
24     Married Woman - Stay Married 2:50
Henry Glover    
25     Rot-Gut 2:19
Henry Glover / Lois Mann

SLIM GAILLARD – 1947-1951 | The Classics Chronological Series – 1221 (2002) FLAC (tracks+.cue), lossless

Multi-instrumentalist and gloriously irrational vocalist Slim Gaillard marked 1947 as his last year of steady activity on the West Coast. Popular with the public but rather notorious among record company executives and nosy narks, Gaillard managed to squeeze out a series of records for MGM before relocating to New York City where three more titles apparently fulfilled his contractual obligations with that company in 1949. Gaillard also landed a small piece of work with Mercury in March 1951 and even managed to line up a session with Norman Granz for the Clef label two months later. The first 13 tracks on this peculiar compilation represent the Slim Gaillard/Bam Brown L.A. hipster novelty routine taken to its inevitable extreme. On one session someone named Jim Hawthorne even barks like a dog ("Serenade to a Poodle") and keeps up an irritating refrain of "Hoo-hoo-hoo-Hogan!" ("The Hogan Song"). Discographical rumors persist that the pianist on October 1, 1947, might have been Dodo Marmarosa, but this is almost certainly not the case. The session that took place on December 22, 1947, yielded a surprisingly palatable version of "Down by the Station" and "Communications," a very hip paean to various 20th century modes of keeping in touch. With "Puerto Vootie," Gaillard continued his ongoing tendency to tap into Caribbean and Latin American traditions as fuel for his seemingly endless slaphappy shenanigans. "Money, Money, Money" is one of the best "Cuban" numbers Gaillard ever recorded. The 1949 MGM session brought in bongos, congas, and a very gutsy tenor sax to fortify the old vaudeville standby "When Banana Skins Are Falling." This group dishes out a fiery Cubano bop ritual in "Bongo Cito" and tears up with the brisk "Organ-Oreenie," a vehicle for Gaillard's maniacal manhandling of the electric organ. The Mercury date, with the band billed as Slim Gaillard's Peruvians, had the very versatile Dick Hyman at the piano and bassist Ernie Shepard, fated to become an important ingredient in the Duke Ellington ensemble. "Genius," a previously unissued third title from this obscure date, has a lot more going on in it than the discography discloses, with trombone, saxophone, vibraphone, and tap dancing all clearly audible over the organ and "vout"-infested vocals. On May 25th, Slim Gaillard & His Internationally Famous Orchestra were in the recording studio, singing "Oh, Lady Be Good" in well-rehearsed harmony and diving back into the Gulf of Mexico with "Sabroso," "Babalu," and "Yo Yo Yo." The real gem in this ensemble was none other than Count Basie's star tenor saxophonist, Buddy Tate. Anyone searching for songs inspired by the trials and tribulations of a unionized musician should check out the previously unreleased "Federation Blues," peppered with pointed references to James C. Petrillo and his American Federation of Musicians. Small wonder Granz decided not to issue this one. arwulf arwulf  
Tracklist :
1    Slim Gaillard And His Trio–    Boip! Boip!    2:50
2    Slim Gaillard And His Trio–    The Bartender's Just Like A Mother    2:49
3    Slim Gaillard And His Trio–    Arabian Boogie    2:47
4    Slim Gaillard And His Trio–    Tip Light    2:51
5    Slim Gaillard And His Trio–    Momma's In The Kitchen    2:38
6    Slim Gaillard And His Trio–    A Ghost Of A Chance With You    3:02
7    Slim Gaillard And His Trio–    Little Red Riding Woods    2:55
8    Slim Gaillard And His Trio–    Puerto Vootie    2:37
9    Slim Gaillard And His Trio–    Money, Money, Money    2:45
10    Slim Gaillard And His Trio–    The Hogan Song    2:35
11    Slim Gaillard And His Trio–    Serenade To A Poodle    2:16
12    Slim Gaillard And His Trio–    Down By The Station    2:20
13    Slim Gaillard And His Trio–    Communications    2:27
14    Slim Gaillard Sextet–    When Banana Skins Are Falling    2:49
15    Slim Gaillard Sextet–    Bongo Cito    2:43
16    Slim Gaillard Sextet–    Organ-Oreenie    2:40
17    Slim Gaillard And His Peruvians–    Laughing In Rhythm    2:57
18    Slim Gaillard And His Peruvians–    Soony-Roony    2:04
19    Slim Gaillard And His Peruvians–    Genius (Ride, Slim, Ride)    2:49
20    Slim Gaillard And His Internationally Famous Orchestra–    Oh, Lady Be Good    2:30
21    Slim Gaillard And His Internationally Famous Orchestra–    Sabroso    2:30
22    Slim Gaillard And His Internationally Famous Orchestra–    Babalu    3:36
23    Slim Gaillard And His Internationally Famous Orchestra–    Yo Yo Yo    2:46
24    Slim Gaillard And His Internationally Famous Orchestra–    Federation Blues    3:40
Credits :    
Bass – Clyde Lombardi (tracks: 20 to 24)
Bass Guitar – Slim Gaillard (tracks: 14 to 16)
Bass, Vocals – Ernie Shepherd (tracks: 17 to 19), Bam Brown (tracks: 1 to 13)
Bongos – Pepe Benque (tracks: 17 to 24)
Congas, Percussion – Armando Peraza (tracks: 14 to 16)
Drums – Charlie Smith (tracks: 20 to 24), Herbie Lovelle (tracks: 17 to 19), Bam Brown (tracks: 5 to 8, 12, 13)
Guitar – Slim Gaillard (tracks: 1 to 13, 17 to 24)
Organ – Slim Gaillard (tracks: 16)
Piano – Cyril Haynes (tracks: 14 to 16), Dick Hyman (tracks: 17 to 19), Maceo Williams (tracks: 20 to 24), Slim Gaillard (tracks: 1 to 4, 9 to 11)
Piano [probably] – Dodo Marmarosa (tracks: 5 to 8)
Speech [barks] – Jim Hawthorne (tracks: 11)
Tenor Saxophone – Buddy Tate (tracks: 20 to 24)
Vocals – Slim Gaillard

SLIM GAILLARD – 1951-1953 | The Classics Chronological Series – 1437 (2007) FLAC (tracks+.cue), lossless

During the early 1950s, producer Norman Granz managed quite a number of seasoned jazz musicians with challenging personalities; these included Charlie Parker, Billie Holiday, Lester Young and Bulee "Slim" Gaillard. Each of these individuals struggled with tendencies, habits and addictions; Gaillard would outlive Bird, Pres and Lady Day but his career was beginning to unravel and he wouldn't fully regain his popularity until his London-based comeback during the '80s. Volume eight in the Classics Slim Gaillard chronology presents 19 recordings made between August 1951 and December 1953, and issued by Granz on the Mercury, Clef and Norgran labels. Although adept as both pianist and vibraphonist, Gaillard excelled primarily as a singing guitarist during the '50s. His wild sense of humor extends even unto the names of the groups represented here. They are Slim Gaillard & His Middle Europeans, Slim Gaillard & His Atomic Engineers, Slim Gaillard & His Southern Fried Orchestra, Slim Gaillard & His Bakers Dozen, Slim Gaillard & His Shintoists and Slim Gaillard & His Musical Aggregation, Wherever He May Be. Although some of the personnel remain anonymous, Granz made sure to include several master musicians in some of Gaillard's groups; these included bassist Ray Brown and trombonist Benny Green as well as Kansas City-trained saxophonists Ben Webster and Buddy Tate. The December 1952 session that resulted in "Gomen Nasai (Forgive Me)" and a cheery paean to snack food titled "Patato Chips" documents a rare occasion when vibraphonist Milt Jackson sat in at the drums. On this compilation, Gaillard presents two distinctive aspects of his public persona: the squirrelly novelty performer who was a borderline surrealist ("Yip Roc Heresy," "The Hip Cowboy," "Chicken Rhythm") and the well-oiled crooner who reinvented Billy Eckstine's romantic chortling aesthetic. Slim Gaillard obviously loved to ladle on the Grenadine, even if Mr. Hyde was invariably present, softly giggling behind a debonair layer of polished veneer. arwulf arwulf  
Tracklist :
1    Slim Gaillard And His Middle Europeans–    For You 2:57
2    Slim Gaillard And His Middle Europeans–    Yip Roc Heresy 2:33
3    Slim Gaillard And His Atomic Engineers–    The Hip Cowboy 2:45
4    Slim Gaillard And His Orchestra–    Chicken Rhythm 2:31
5    Slim Gaillard–    I Only Have Eyes For You 2:36
6    Slim Gaillard–    As You Are 2:31
7    Bulee Gaillard And His Southern Fried Orchestra–    St. Louis Blues 2:21
8    Bulee Gaillard And His Southern Fried Orchestra–    I Know What To Do 2:34
9    Slim Gaillard And His Orchestra–    Taxpayers Blues 2:28
10    Slim Gaillard And His Orchestra–    Eatin' With The Boogie 2:31
11    Slim Gaillard And His Musical Aggregations, Wherever He May Be–    Make It Do 2:51
12    Slim Gaillard And His Musical Aggregations, Wherever He May Be–    You Goofed 2:47
13    Slim Gaillard And His Musical Aggregations, Wherever He May Be–    I Can't Give You Anything But Love 2:40
14    Slim Gaillard And His Musical Aggregations, Wherever He May Be–    This Is My Love 2:34
15    Slim Gaillard And His Shintoists–    Gomen Nasai (Forgive Me) 2:35
16    Slim Gaillard And His Bakers Dozen–    Potato Chips 3:07
17    Slim Gaillard And His Orchestra–    I'm In The Mood For Love 2:41
18    Slim Gaillard And His Orchestra–    Mishugana Mambo 2:22
19    Slim Gaillard And His Orchestra–    Go, Man, Go 2:43
Credits :    
Bass – Clyde Lombardi (tracks: 1 to 4), Ray Brown (tracks: 15, 16), Unknown Artist (tracks: 17 to 19)
Brass – Unknown Artist (tracks: 17 to 19)
Chorus – Unknown Artist (tracks: 5)
Drums – Charlie Smith (tracks: 1 to 4), Milt Jackson (tracks: 15, 16), Unknown Artist (tracks: 17 to 19)
Orchestra – Unknown Artist (tracks: 5 to 14)
Piano – Cyril Haynes (tracks: 15, 16), Maceo Williams (tracks: 1 to 4), Unknown Artist (tracks: 17 to 19)
Strings – Unknown Artist (tracks: 5, 6)
Tenor Saxophone – Ben Webster (tracks: 15, 16), Buddy Tate (tracks: 1 to 4)
Trombone, Alto Saxophone – Benny Green (tracks: 1 to 4)
Vocals, Guitar – Slim Gaillard

EDDIE 'LOCKJAW' DAVIS | BUDDY TATE | COLEMAN HAWKINS | ARNETT COBB - Very Saxy (1959-1991) RM | FLAC (tracks+.cue), lossless

Tenor saxophonist Eddie "Lockjaw" Davis and his quartet (which includes organist Shirley Scott, bassist George Duvivier and drummer Arthur Edgehill) welcome three immortal tenors (Coleman Hawkins, Arnett Cobb and Buddy Tate) to what became a historic and hard-swinging jam session. On three blues, an original based on the chord changes of "Sweet Georgia Brown" and "Lester Leaps In," the four tenors battle it out and the results are quite exciting. The spirited music on this memorable LP will hopefully be reissued on CD eventually, for the performances live up to their great potential. Scott Yanow
Tracklist :
1     Very Saxy 8'18
Eddie "Lockjaw" Davis / George Duvivier
2     Lester Leaps In 6'15
Lester Young    
3     Fourmost 5'22
Shirley Scott
4     Foot Pattin' 8'53
George Duvivier
5     Light and Lovely 9'55
Eddie "Lockjaw" Davis / George Duvivier
Credits:
Bass – George Duvivier
Drums – Arthur Edgehill
Organ – Shirley Scott
Recorded By – Rudy Van Gelder
Remastered By – Phil De Lancie
Tenor Saxophone – Arnett Cobb, Buddy Tate, Coleman Hawkins, Eddie "Lockjaw" Davis

HELEN HUMES - On The Sunny Side of the Street (1974-1993) FLAC (image+.cue), lossless

Several major jazz personalities are heard on this Black Lion reissue CD, recorded live at the 1974 Montreux Jazz Festival. The fine singer Helen Humes sticks to standards and blues while accompanied by either Earl Hines or Jay McShann on piano, tenor-saxophonist Buddy Tate, bassist Jimmy Woode and drummer Ed Thigpen. Although Hines and McShann are not the ideal accompanists, Humes fares quite well, winning the audience over with her enthusiasm and sincerity. by Scott Yanow
Tracklist:
1    Alright, Okay, You Win    5:08
Mayme Watts / Sidney Wyche
2    If I Could Be With You One Hour Tonight    4:30
Henry Creamer / James P. Johnson
3    Ain't Nobody's Business    6:35
Porter Grainger / Everett Robbins
4    Kansas City    4:52
Jerry Leiber / Mike Stoller
5    I'm Satisfied    3:43
Duke Ellington / Mitchell Parish
6    Blue Because Of You    4:55
Charles Carpenter / Louis Dunlap / Quinn Wilson
7    On The Sunny Side Of The Street    3:58
Dorothy Fields / Jimmy McHugh
8    I Got It Bad And That Ain't Good    6:02
Duke Ellington / Paul Francis Webster
Credits:
Bass – Jimmy Woode
Drums – Ed Thigpen
Lead Vocals – Helen Humes
Piano – Earl Hines (tracks: 5-8), Jay McShann (tracks: 1-4)
Producer – Alan Bates
Tenor Saxophone – Buddy Tate

IDA COX - Complete Recorded Work in Chronological Order, Vol. 4 (1927-1938) DOCD-5325 (1995) FLAC (tracks+.cue), lossless

The fourth and final CD in Document's extensive Ida Cox series features the classic blues singer in a variety of settings: backed by her future husband Jesse Crump on eight selections from 1927; accompanied by a variety of mostly unknown players on a dozen numbers from 1928; joined by a trio (including trombonist Roy Palmer) on two 1929 sides; and, finally, assisted by five Count Basie sidemen (trumpeter Shad Collins, trombonist Dickie Wells, tenorman Buddy Tate, bassist Walter Page and drummer Jo Jones) and pianist James P. Johnson during her two songs at the 1938 Spirituals to Swing Concert. Unfortunately, Document did not put out a Vol. 5 to cover Cox's 1939-40 recordings (which were reissued by Affinity). Although none of these individual selections became that famous, she is heard in prime form throughout, and she is at her best during the duets with Crump. In fact, Cox is in such fine form during her 1938 concert appearance that it makes one wonder why she was not more active on records during the 1930s and '40s. The first two CDs in this series get the edge, but all four will be wanted by vintage blues fans. Scott Yanow  
Tracklist :
1 Pleading Blues 3:00
2 Lost Man Blues 2:46
3 Hard Oh Lawd 2:33
4 Mercy Blues 3:00
5 Seven Day Blues 3:05
6 Cold And Blue 2:47
7 Midnight Hour Blues 2:51
8 Give Me A Break Blues 2:53
9 Bone Orchard Blues 2:57
10 Sobbing Tears Blues 3:29
11 Booze Crazy Man Blues 3:05
12 Broadcasting Blues 2:44
13 Western Union Blues 2:33
14 Fogyism 2:44
15 Separated Blues 2:40
16 Tree Top Tall Papa 2:25
17 Marble Stone Blues 2:41
18 Crow Jane Woman 2:44
19 Worn Down Daddy Blues 2:38
20 You Stole My Man 2:42
21 I'm So Glad 3:10
22 Jail House Blues 3:21
23 Four Day Creep 3:28
24 Low Down Dirty Shame 2:35

COUNT BASIE AND HIS ORCHESTRA – 1939 | The Classics Chronological Series – 513 (1990) FLAC (image+.cue), lossless

This CD has Count Basie's last three sessions for Decca and his first recordings for the Columbia/Vocalion labels. One of his tenor stars, Herschel Evans, had just passed away and is replaced by Chu Berry on one date before Buddy Tate became his permanent replacement. Otherwise, the band's very strong personnel remained the same. The first four numbers are showcases for the Basie four-piece rhythm section, "You Can Depend on Me" is by a sextet with Lester Young and trumpeter Shad Collins, and there are also four titles by "Basie's Bad Boys," an octet from the band with Basie doubling on organ. Among the other highlights are "Red Wagon," the two-part "Cherokee," the original version of "Jive at Five," "Rock-A-Bye Basie," "Taxi War Dance," and Helen Humes' warm vocal on "Don't Worry 'Bout Me." Scott Yanow

COUNT BASIE AND HIS ORCHESTRA – 1939 Vol.2 | The Classics Chronological Series – 533 (1990) FLAC (tracks+.cue), lossless

The Count Basie Orchestra may not have been the number one band popularity-wise in 1939 (Glenn Miller and Artie Shaw were ahead of Basie), but it was certainly the most swinging ensemble. With Buck Clayton, Harry "Sweets" Edison, Dicky Wells, Lester Young, and Buddy Tate as major soloists, Jimmy Rushing and Helen Humes providing vocals, and the Basie rhythm section saying so much with so little, few bands were in Basie's league. This set has a variety of Columbia/Vocalion recordings from 1939, including the two-part "Miss Thing," "You Can Count on Me," "Song of the Islands," "I Left My Baby," and two numbers from a small-group date ("Dickie's Dream" and "Lester Leaps In"); there are plenty of gems to choose from, although one does regret the lack of any alternate takes, as is Classics' custom. Scott Yanow

COUNT BASIE AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 563 (1991) FLAC (image+.cue), lossless

The Count Basie Orchestra continued to grow in strength during the period covered by this CD, with Vic Dickenson replacing Benny Morton in the trombone section, high-note trumpeter Al Killian taking over for Ed Lewis, and Tab Smith being added as an alto soloist. Among the classics recorded by the definitive swing band are "I Never Knew," "Tickle Toe," "Louisiana," "Easy Does It," "Somebody Stole My Gal," "Super Chief," and a remake of "Moten Swing." This set would be well worth acquiring if only for the Lester Young solos, and there is much more to savor including spots for Buck Clayton, Harry "Sweets" Edison, Dicky Wells, Buddy Tate, Jimmy Rushing, Helen Humes, and Basie himself. Scott Yanow

COUNT BASIE AND HIS ORCHESTRA – 1940-1941 | The Classics Chronological Series – 623 (1991) FLAC (tracks+.cue), lossless

The biggest change for the Count Basie Orchestra during this period of time is that after the first session (which resulted in four selections, including "Broadway"), Lester Young left the band, at first replaced by Paul Bascomb and then Don Byas. Otherwise, the classic orchestra remained intact and stayed at the same high swinging level. Among the highlights are the rare anti-racism protest song "It's the Same Old South," "Rockin' the Blues," the original version of "Goin' to Chicago Blues," and two numbers ("9:20 Special" and "Feedin' the Bean") that have the great tenor Coleman Hawkins guesting with the band. Scott Yanow

COUNT BASIE AND HIS ORCHESTRA – 1941 | The Classics Chronological Series – 652 (1992) FLAC (tracks+.cue), lossless

Even after the loss of Lester Young, the Count Basie Orchestra was still in fine form on the recordings on this CD, which end right before Pearl Harbor. Trombonist Dicky Wells is mostly absent (he would be back) and Helen Humes had departed (replaced temporarily by singer Lynne Sherman). Meanwhile, Buck Clayton had blossomed as a writer (as can be heard on "Fiesta in Blue"), the band recorded such fine numbers as "Diggin' for Dex," "More Than You Know," and "Harvard Blues," and singer Paul Robeson guested on a tribute to boxer Joe Louis, "King Joe." Scott Yanow

COUNT BASIE AND HIS ORCHESTRA – 1942 | The Classics Chronological Series – 684 (1993) FLAC (tracks+.cue), lossless

Twenty numbers recorded by Count Basie in 1942, 15 of them in a marathon July 24 session in Hollywood, intended to get as much of the band's repertory down before a recording ban by the Musicians Union went into effect. The opening number is the updated "One O'Clock Jump," which he'd previously cut for Decca Records -- Buddy Tate and Don Byas are the featured soloists in this number, which also exists as a video from a Soundies appearance made by the band. Henry Nemo shows up as a vocalist (more of a primordial soul shouter) on one number, but the principal singer on these sides, when there are any vocals, is Jimmy Rushing, in excellent form -- his signature tune "I'm Gonna Move to the Outskirts of Town" is just about worth the price of the CD by itself. Two other highlights on this disc are "Basie Blues" and "How Long Blues," which give the pianist the spotlight in a very quiet mode, and the chance to prove out his less-in-more approach to his instrument. The 15 sides cut at the July session range from slow blues to jump numbers -- astonishingly, none have a rushed feel about them, and as a body they're priceless as an example of creating under pressure (with a lot of grace) by one of the top bands in the business -- and Earle Warren's gorgeous, Bing Crosby-like vocal on "Time On My Hands" ought to be heard by any fan of '40s swing. In view of the fact that no comprehensive collection of Basie's Columbia Records sides exists, this CD is a double priority for fans of the band, with better sound throughout than any of the Sony reissues on Basie's work from this period have thus far displayed. Bruce Eder  Tracklist + Credits :

COUNT BASIE AND HIS ORCHESTRA – 1945-1946 | The Classics Chronological Series – 934 (1997) FLAC (tracks+.cue), lossless

This CD can easily be divided into two. The first 14 selections are from 1945 and feature the Basie band at a time that Lucky Thompson and Buddy Tate were the tenor sax soloists, and the repertoire included such hot tunes as "Avenue C," "High Tide," and "Blue Skies"; a few of the selections are taken from V-Discs. The final six numbers have Illinois Jacquet taking over on tenor and include "Rambo" and the exciting "The King." Throughout, the Basie rhythm section swings as hard and as lightly as usual while the horn sections are full of lively players, including Harry "Sweets" Edison and Dicky Wells. Another strong entry in the Classics label's chronological study of the early Count Basie band. Scott Yanow

COUNT BASIE AND HIS ORCHESTRA – 1947 | The Classics Chronological Series – 1018 (1998) FLAC (tracks+.cue), lossless

Keeping a big band together became increasingly challenging during the late 1940s. Stylistic adjustments were crucial as promoters and audiences alike became infatuated with star vocalists, an obsession from which the entertainment industry has yet to recover. Having helped to define big band jazz over the course of his first ten years as a leader, the diminutive pianist from Red Bank, New Jersey continued to modify the sound of his full-sized orchestra with arrangements that were smooth, garish, rowdy or sweet. He also experimented regularly with smaller groups. A pared down ensemble presented as "Count Basie, His Instrumentalists and Rhythm" allowed for intimate interactions between the players that would have been difficult under the influence of big band arrangements. Emmett Berry is sharp as a tack during "Backstage at Stuff's" and Paul Gonsalves rocks hard when necessary but expresses himself most gently during Maceo Pinkard's "Sugar." Ex-Bennie Moten reedman Jack Washington is positively pulverizing when he solos all over the baritone sax during "Lopin''. This tune is also a showcase for percussionist Jo Jones at his very rowdiest. The full-sized big band session of May 22, 1947 had its share of corn, beginning with "The Jungle King," a fairly ponderous incursion into Cab Calloway territory. "Take a Little Off the Top" is an extremely corny barbershop skit, garnished with the appropriate "shave and a haircut -- two bits" lick. Taps Miller scats his way through "I Ain't Mad at You," but by this time we're getting an awful lot of ensemble vocals from the band. It's enough to wear you down. There is a potently cool treatment of Bennie Moten's 1924 hit, "South." Back in 1937, "Blue and Sentimental" was the designated feature ballad for Herschel Evans' Coleman Hawkins-inspired tenor saxophone. Ten years later, the sax serves as a sort of pimp for Bob Bailey's gushy crooning. We do get two blues and two ballads by Jimmy Rushing. Properly wired for sound, Mr. 5 x 5 sounds as though he's enjoying the fact that he no longer has to bellow in order to be heard over a 17-piece band. Even amidst sweetened sips of vintage mood music like Will Hudson's "Sophisticated Swing" and a couple of gruesome heartbreak ballads sung by Jeanne Taylor, some of the material begins to sound downright progressive. "7th Avenue Express" is a typical Buck Clayton pressure cooker, while "Mister Roberts' Roost" rocks at medium hot. "Guest in a Nest" hints at the formula Basie would use so effectively during the next decade: elegant, flashy big band with a decidedly cool aspect that allows for brief understated vamps from the pianist. arwulf arwulf