Tracklist :
1. Sorry Wrong Rumba (George Shearing Quintet) (3:22)
2. Cotton Top (George Shearing Quintet) (2:50)
3. Be Bop's Fables (George Shearing Quintet) (3:05)
4. Midnight On Cloud 69 (George Shearing Quintet) (3:10)
5. Little White Lies (Red Norvo Trio) (3:50)
6. I'm Yours (Red Norvo Trio) (4:11)
7. Moon Over Miami (George Shearing Quintet) (3:13)
8. Cherokee (George Shearing Quintet) (2:44)
9. Life With Feather (George Shearing Quintet) (3:11)
10. Four Bars Short (George Shearing Quintet) (2:25)
11. Time And Tide (Red Norvo Trio) (2:38)
12. Night And Day (Red Norvo Trio) (4:09)
George Shearing Quintet (tracks #1-4, 7-10)
George Shearing - p
Marjorie Hyams - vib
Chuck Wayne - g
John Levy - b
Denzil Best - d
Red Norvo Trio (tracks #5, 6, 11, 12)
Red Norvo - vib
Tal Farlow - g
Charles Mingus - b
Note
1 to 4 & 7 to 10 recorded January 31, 1949
5 recorded October 13, 1950
6 recorded April 13, 1951
11 & 12 recorded May 3, 1950 
The 1945-1946 edition of Gillespie's Classics series finds the bop trumpeter in the kind of top-notch company he kept throughout most of the '40s. Leaving sideman dates for other discs, the 23-track set spotlights Gillespie with his Tempo Jazzmen and an early version of his orchestra; while the former included the stunning likes of Lucky Thompson, Milt Jackson, Al Haig, and Ray Brown, the latter slightly altered the tonal landscape with swing and bop tenor great Don Byas replacing Thompson. Besides fine renditions of "Confirmation," "'Round Midnight," and "Anthropology" by these groups, the disc also includes a handful of enjoyable enough vocal sides featuring vocalist/arranger Johnny Richards. Best for jazz fans who want it all and in chronological order. Stephen Cook Tracklist + Credits :
Sadly, this is the sixth and last volume in the Classics Charlie Parker chronology. It assembles all of his studio recordings made between March 25, 1952 and December 10, 1954, only three months before his death at the age of 35. On the session that opens the compilation, producer Norman Granz placed Bird in front of a brassy big band, using punchy arrangements by Joe Lippman. The quartet session of December 30, 1952 resulted in four beautiful tracks that are greatly enhanced by the rhythm section of Hank Jones, Teddy Kotick and Max Roach. Bird's highly evolved musicality, coupled with the fact that he was beginning to come up with titles like "Cosmic Rays" might invite speculation as to where he would have been at had he lived through the late '50s and into the '60s. Jazz purists have been bitching about the Gil Evans-arranged "chamber jazz" session of May 22, 1953 ever since the records first came out on Granz's Clef label. But Charlie Parker sounded marvelous in any company. He transformed everything he came into contact with, even these stylized vocals by Dave Lambert & His Singers, a carefully collared mini-choir that included Lambert's future partner in crime Annie Ross. Having Charles Mingus and Max Roach in the band didn't hurt, either. Roach was also on hand for a superb quartet date on August 4, 1953 with Al Haig and Percy Heath. (For a good time, chase Bird's rendition of "I Remember You" with all five takes of the same piece recorded in 1961 by Lee Konitz. Finish with the version presented live at Yoshi's in 1994 by the Anthony Braxton Piano Quartet, rinse, and repeat.) Charlie Parker's final two studio recording sessions took place in the early spring and winter of 1954 with quintets featuring Walter Bishop, Jr. at the piano, and first Roy Haynes then Art Taylor behind the drums. The material was entirely derived from the Cole Porter songbook; Bird's studio swan song, "I Love Paris" has an ominous quality that haunts the listener long after the five-minute record has ended. arwulf arwulf Tracklist + Credits :
Although the Delmark label has done a fine job of reissuing Illinois Jacquet's Apollo recordings, a genuine understanding of this exciting music requires a more systematic appraisal of the recorded evidence. Being able to digest an entire segment of Jacquet's career, with the recordings chronologically arranged and garnished with complete discographical information, is a major treat for anyone wishing to place the music in context. This also expands the picture well beyond Apollo to include material recorded for the Philo, Savoy, and ARA labels, and clears up a few mysteries regarding personnel. The first four tracks were recorded in July of 1945 and set a standard for modern jump music combining elements that would soon be tagged as bebop and R&B. The steamy "Flying Home" was carefully arranged to fit on two sides of a 10" 78-rpm record. "Uptown Boogie" features pianist Sir Charles Thompson bolstered by excellent rhythmic support from drummer Johnny Otis. Illinois himself was always a commanding presence whether laying down a cool blues, smoothing out a ballad, or applying a blowtorch to one of his rowdy jump tunes. Trumpeter Russell Jacquet is heard singing the only two vocal tracks on the entire album, "Throw It Out of Your Mind Baby" and "Wondering and Thinking of You." The two Apollo sessions from August 1945 are driven by the pulsing bass of young Charles Mingus, Bill Doggett's double-fisted piano, and some feisty drumming by Al "Cake" Wichard. For a precious glimpse into the developing ballad philosophy of Mr. Mingus, listen carefully to his accompaniment behind Jacquet's passionate sax on "Memories of You" and "Ghost of a Chance." Ming walks briskly through "Bottoms Up," a rocking re-bop dance with howling horns and strutting rhythm. "Merle's Mood" seems to have been based upon "Paper Moon," and Mingus crowds the microphone to provide extra pushes during Bill Doggett's "What's This." Two sides waxed for ARA at the end of the same month and issued as by the Jacque Rabbits are graced with the return of Sir Charles, whose composition "Ladies Lullaby" is actually another jump tune fortified with bop ideas. "Illinois Stomp" is a very sophisticated bounce. The closing eight tracks were originally issued bearing the Savoy label, and feature trumpeter Emmett Berry, an interesting blend with the salty and often florid Mr. Jacquet. (The last three selections in fact were issued under the name of Emmett Berry's Hot Six.) "Don't Blame Me" is one of this saxophonist's great triumphs of ballad artistry. The spicy "Jumpin' Jacquet" is driven by rhythm guitarist Freddie Green, bassist John Simmons, and master percussionist Shadow Wilson, while Berry percolates using a mute. "Blue Mood" is a meditative masterpiece. Every single track on this CD is strongly presented and well worth experiencing again and again, with best wishes for loosening up, nodding your head, popping your fingers, and cracking a smile. arwulf arwulf Tracklist :
All of Lionel Hampton's studio recordings from 1947 (before the second recording strike) are on this intriguing CD. Hampton's big band at the time mixed together R&B with bebop, swinging hard and putting on exciting shows. "Hamp's Got a Duke," "Three Minutes on 52nd Street," and "Red Top" are typical of the ensemble's work, but there is also Charles Mingus' futuristic "Mingus Fingers" along with the original version of Hampton's classic ballad "Midnight Sun." In addition, there are three fairly obscure small-group sessions that mostly showcase Hampton's vibes but also include pianist Milt Buckner, tenor saxophonist Morris Lane, trumpeter Benny Bailey, and pianist Dodo Marmarosa. Well worth picking up by fans of 1940s jazz. Scott Yanow
Tracklist + Credits :
This segment of the Earl Hines chronology finds the pianist leading smaller ensembles rather than the big band for which he had become famous throughout the 1930s and early '40s. Back in Chicago during December of 1947, Hines cut a handful of sides for the diminutive Sunrise record label. "Blues for Garroway" features the electrified guitar of Skeeter Best and Morris Lane's smooth tenor sax. "Honeysuckle Rose" is rendered by the interesting combination of organ, piano, sax, and violin, almost like gentle salon or chamber music. That's Eddie South on the fiddle, and Hines plays what sounds like an upright piano. "Dark Eyes" spotlights the viol with bass and piano accompaniment. Hines spent the last day of 1947 making six more records for Sunrise. The pianist sings a spruced-up version of "Sheik of Araby," proudly referring to himself as "streamlined" and quoting from "I'se A-Muggin'" as a lead-in to a duet with Wini Brown. The next three tracks have bluesy vocals by trumpeter Duke Garrette, but the most interesting components are Eddie South, alto saxophonist Bobby Plater, and young bassist Charles Mingus, whose solo on the "No Good Woman Blues" is tasty. Mr. Ming also mingles with the Earl behind rockin' vocals by Wini Brown and the band on "Bama Lama-Lam," a jump tune spiced with Garrette's trumpet and the baritone sax of Charlie Fowlkes. The rolling "Spooky Boogie" might be the coolest tune in the whole package, as all four horns, Mingus, and South each really strut their stuff. These last two titles were issued under the name of Curley Hamner & His Orchestra, although why Hamner -- also listed in discographies as Hamer and Hammer -- was designated as the leader is anybody's guess. If the Classics chronology is accurate, Earl Hines wasn't able to record again until December of the following year, this time for the MGM label in New York. Hines' "Swingtette" consisted of himself, guitarist Floyd Smith, bassist Arvell Shaw, and percussionist supreme Sidney Catlett. "Lazy Mornin'" is a very slow essay made of lovely tones, and the other three tunes sizzle merrily. Hines' next recording gig was in Paris on November 4, 1949, waxing eight sides for the Royal Jazz label. Forming a trio with Arvell Shaw and Wallace Bishop, Hines produced a lovely version of his own composition "I Never Dreamt," then augmented a lively number called "Snappy Rhythm" with actual finger snaps and some wild arpeggios spanning several octaves up and down the piano keyboard. Adding Buck Clayton and Barney Bigard on the same date, Hines now had a quintet with which to relax and cook up a series of fresh interpretations of old-fashioned melodies, along with "Night Life in Pompeii," a minor dance that seems to have been created especially for the marvelous clarinet artistry of Barney Bigard. arwulf arwulf
Tracklist :
This is the third volume in the complete recordings of Earl Rudolph "Bud" Powell presented in chronological order. The rarely encountered combination of material recorded for both the Clef and Blue Note labels between February 1951 and August 1953 is cause for rejoicing, as most reissues segregate Powell's works by label rather than presenting a consistent sequential artistic evolution. The first eight tracks -- and two cuts from the first Blue Note date -- consist of unaccompanied solos. Here the pianist candidly reveals the surreal contours of his own personal corner of the universe through charming standards and stunning originals. "Parisian Thoroughfare" is pure magic. Having both the solo and trio versions on one album is a major triumph. Speaking of trios, this disc contains some of Powell's most outstanding collaborations, involving Curly Russell and Max Roach or Charles Mingus and Art Taylor. There is something darker, deeper, and more complex in the music that resulted from the trio session of 1953. Mingus had something to do with this, but so did the American Psychiatric Association (see Powell's "Glass Enclosure"). In light of this compilation's sheer brilliance and beatific magnitude, it would be difficult to prescribe a better introduction -- or tribute -- to the endlessly inventive and strikingly imaginative artistry of Bud Powell. arwulf arwulf
Tracklist :
The last vestiges of what was the amazing Bud Powell faded in the mid-'50s, and although he lived for another decade-plus, the strung-out ravages of drug abuse withered the abilities of the first genius of bop piano. Those vestiges of flawed genius are still present in these sessions, reissued from the recordings Powell did for the Debut, Roost, and Norgan labels. But you can hear the frayed edges, the diminished energy, and the overt tiredness compared to his previous years. Still a peerless player even in a moderate state, there's much Powell to enjoy here. The first six tracks are from the legendary Massey Hall concert in Toronto, May 15, 1953, with Max Roach on drums and Charles Mingus at the upright bass. Much has been written about this trio, perhaps the most talented ever assembled, which was under-recorded, and in this case under-produced. They bop fast and hard on the faded-in "Cherokee," an incomplete take where Roach is wailing on brushes; they jive on the hip "Jubilee," also known as "Hallelujah"; and they are a collective slipstream in a wind tunnel for the jam on "Lullabye of Birdland." Mingus is less audible than the others overall, and you do hear the innovation of Powell on the tango flavorings of "I've Got You Under My Skin," the near Baroque leanings during the intro of "Sure Thing," and his unique embellishments on the basic melody of "Embraceable You." The remaining 16 tracks are studio dates from the autumn of 1953 through the summer of 1954, with bassist George Duvivier and drummer Art Taylor. You hear Powell at a less than optimal level especially on the ballads, described as reluctant and insecure during "Spring Is Here"; dour, deepest blue, and near funereal during "It Never Entered My Mind"; and tentative for the shaky solo take of "My Devotion." But then even on dark days Powell was able to conjure brilliance, as on his completely original remake of "Lover Come Back to Me," retitled "Burt Covers Bud"; the brighter "A Foggy Day"; an Asian-flavored "Embraceable You"; the confident, direct, even playful "Buttercup"; and the hard-charging "Fantasy in Blue." Powell's occasional stride piano influence comes to the fore on "My Funny Valentine," his best ballad is "Time Was," and you hear the trick arpeggios that were signatures of Thelonious Monk -- or was it the other way around? Valuable for its musical instructiveness and a hard reality check of life, this recording is a reminder that even flawed genius has it moments, however fleeting, and we should all be thankful to be able to capture those precious times. Michael G. Nastos
Tracklist 
The third volume in the complete recordings of pianist Billy Taylor opens with five selections from a live trio session recorded at the Storyville Club in Boston during the autumn of 1952 and subsequently released on the Roost record label. The powerful presence of bassist Charles Mingus brought out the best in Billy Taylor and his drummer Marquis Foster. Taylor's wonderfully facile improvisations are stunning on this live date. Beginning with the Prestige studio session of November 18, 1952, he alternately bubbles or simmers in the company of bassist Earl May and drummer Charlie Smith. Four mambos recorded on May 7, 1953 find Taylor and May surrounded by congas, bongos, maracas and timbale. Billy Taylor's style owed something to Bud Powell and Art Tatum; he was operating in a set of grooves that paralleled those being used by Al Haig, Erroll Garner, Sir Charles Thompson, Oscar Peterson, Ahmad Jamal, and, at times, even Lennie Tristano and Herbie Nichols. This excellent compilation is highly recommended, especially on account of the extended bass solos of Charles Mingus. Scott Yanow
Tracklist + Credits : 
In 2006. a survey of recordings made during the years 1951-1954 by groups under the leadership of bassist, cellist, and composer Oscar Pettiford was released as part of the Classics Chronological Series. During this period, Pettiford was making history as one of the very first improvising cellists in jazz. Swingin' ‘Til the Girls Come Home and "Bei Mir Bist du Schon" were recorded under the supervision of Leonard Feather on April 28, 1951 for Mercer Records, the label named for Duke Ellington's son. The sextet, billed as Oscar Pettiford, His Cello and Orkette, included trumpeter Howard McGhee, vibraphonist Joe Roland (whose other specialty was scoring bop charts for string ensembles à la Charlie Parker with Strings); pianist Kenny Drew, bassist Tommy Potter, and drummer Art Taylor. Arrangements were provided by Quincy Jones. During the summer of 1951, Pettiford worked with bands led by Jimmy Mundy, Wynton Kelly, and Budd Johnson. In the autumn he assembled a six-piece unit for a series of USO shows (this was during the Korean War) in New Jersey, New York, Japan, Korea, and various islands in the Pacific. In late 1951/early 1952, the group was recorded live in Guam. Those recordings, which include interpretations of older traditional standards played by the young boppers, were subsequently released under Howard McGhee's name, and are not included here. On February 21, 1952 Pettiford recorded again with his cello, now backed by bassist Charles Mingus, pianist Billy Taylor, and drummer Charlie Smith. As if to signal that this was not Pettiford's maiden voyage using the violoncello, one of the pieces was titled "Cello Again." Over the next several months, Pettiford would operate as a member of the Beryl Booker Trio, the Miles Davis Sextet, the Billy Taylor Quartet, and a unit led by pianist George Wallington. He also engaged in collective improvisations with Mary Lou Williams and Kenny Clarke at the Downbeat, where nobody recorded what must have been a series of remarkable experiments in early modern jazz.
Blues shouter Wynonie Harris made his biggest impact while on the King label between 1948-1952. Alongside contemporary jump blues singer Roy Brown, Harris helped lay the foundations of rock & roll at the Cincinnati-based company, scoring such smashes as "Good Rockin' Tonight" (a Brown composition), "Bloodshot Eyes," and "All She Wants to Do Is Rock." Although Harris' beginnings were less auspicious, his talent was certainly in full view from the start; this first of three Classics discs makes the case with 22 of the finest slices of early R&B from the mid-'40s. In addition to such early hits as "Playful Baby" and "Wynonie's Blues," the mix contains lower-profile gems like the bop-infused "Everybody's Boogie" and the sonorous "Papa Tree Top." Harris' first recordings with bandleader Lucky Millinder, "Hurry, Hurry" and "Who Threw the Whiskey in the Well," are also included. And besides Millinder, the collection features the likes of Illinois Jacquet, a young Charles Mingus, and a combo comprised of drummer Johnny Otis, trumpeter Howard McGhee, and tenor saxophonist Teddy Edwards. A perfect disc for fans wanting to dig deeper into the Harris catalog. Stephen Cook
All Tracks & Credits :
This concert was held at Massey Hall in Toronto, Canada on May 15, 1953, and was recorded by bassist Charles Mingus, who overdubbed some additional bass parts and issued it on his own Debut label as the Quintet's Jazz at Massey Hall. Charlie Parker (listed on the original album sleeve as "Charlie Chan") performed on a plastic alto, pianist Bud Powell was stone drunk from the opening bell, and Dizzy Gillespie kept popping offstage to check on the status of the first Rocky Marciano-Jersey Joe Walcott heavyweight championship bout. Subsequent editions of this evening were released as a double-live album (featuring Bud Powell's magnificent piano trio set with Mingus and Roach), dubbed The Greatest Jazz Concert Ever. The hyperbole is well-deserved, because at the time of this concert, each musician on Jazz at Massey Hall was considered to be the principle instrumental innovator within the bebop movement. All of these musicians were influenced by Charlie Parker, and their collective rapport is magical. As a result, their fervent solos on the uptempo tunes ("Salt Peanuts" and "Wee") seem to flow like one uninterrupted idea. "All the Things You Are" redefines Jerome Kern's classic ballad, with frequent echoes of "Grand Canyon Suite" from Bird and Diz, and a ruminative solo by Powell. And on Gillespie's classic "Night in Tunisia," the incomparable swagger of Bird's opening break is matched by the keening emotional intensity of Gillespie's daredevil flight. A legendary set, no matter how or when or where it's issued. AllMusic 
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Pianist Paul Bley's debut as a leader features the 21-year old in a trio with bassist Charles Mingus and drummer Art Blakey for Mingus' Debut label. The CD reissue, which adds four performances to the original program, finds Bley developing his voice within the bebop tradition. Mixing together stimulating originals such as "Opus 1" and "Spontaneous Combustion" with a few standards, Horace Silver's "Split Kick" and a surprisingly effective version of "Santa Claus Is Coming To Town," Paul Bley may not have been distinctive this early on but he clearly had a potentially strong future. by Scott Yanow
Originally released on two 10" records called Jazzical Moods, The Jazz Experiments of Charles Mingus makes its first appearance in CD. These 1954 Period Records sessions include the work of Thad Jones on trumpet and John LaPorta on clarinet and alto sax, combine old and new forms of classical and jazz for a cool jazz sound. Tracks like "Minor Intrusion" and "Thrice Upon a Time" demonstrate the synergy between Mingus and his players, and display his compositional skills. by Heather Phares
"Retrospective - The Very Best Of e.s.t." is a retrospective of the unique work of e.s.t. and a tribute to the late mastermind Esb...
