CHARLIE PARKER – The Complete Dean Benedetti Recordings Of Charlie Parker (1990) 7xCD BOX-SET | FLAC (tracks+.cue), lossless

The packaging is impeccable, this seven-CD box set has a definitive 48-page booklet, and the recording quality is as good as possible, so why the "poor" rating? Dean Benedetti, a fanatical Charlie Parker disciple, recorded Bird extensively during three periods in 1947-1948 but did his best to turn off his wire recorder whenever anyone but Parker was soloing. He became legendary, as did his long lost acetates, and Mosaic has done what it could to make the excerpts coherent but the results
are still quite unlistenable. None of the performances on this large set are complete; guests such as Thelonious Monk and Carmen McRae are introduced, play, or sing two notes and then are cut off. And, although Parker seems to play well, these performances reveal no new secrets and add nothing to his legacy. Scott Yanow    Tracklist + Credits :

DIZZY GILLESPIE — The Complete RCA Victor Recordings (1995) 2CD | FLAC (tracks+.cue), lossless

Although the sheer scope of this double-CD roundup of all of Dizzy's Victor sessions places it most obviously within the evolution of bebop, it is absolutely essential to Latin jazz collections as well. Here listeners find the discographical launching pad of Afro-Cuban jazz on December 22, 1947, when Cuban conguero Chano Pozo added his galvanic congas and bongos to Gillespie's big band for the first time on record. One can feel the explosive effect of Pozo's subdivisions of the beat, rhythmic incantations, and grooves on the band's bebop charts. Though the musicians' styles aren't much affected, and Pozo does most of the adapting to bebop rather than vice versa, the foundation has clearly shifted. Alas, aside from recorded live gigs, Pozo only made eight tracks with the band -- four on December 22 and four more eight days later, just before the second Musicians Union recording ban kicked in. Yet even after Pozo's murder the following year, Gillespie continued to expand his Latin experiments, using two Latin percussionists who brought more rhythmic variety to the sound of tunes like "Guarachi Guaro" (later popularized by Cal Tjader as "Soul Sauce") and even commercial ballads like "That Old Black Magic." The reprocessing of these recordings from late in the 78 rpm era through the CEDAR process sounds a bit harsh, though less so than most of RCA's earlier desecrations of vault material using NoNOISE. Even so, this remains the best way to acquire these seminal Latin jazz tracks. Richard S. Ginell   Tracklist + Credits :

CHARLIE PARKER & DIZZY GILLESPIE — Diz 'N Bird At Carnegie Hall (1997) The Performance Series | FLAC (tracks+.cue), lossless

Nine years after Benny Goodman's groundbreaking concert, bebop finally came to Carnegie Hall. Most notable on this 1997 CD (which contains music that has been reissued many times, often incoherently) is the meeting between altoist Charlie Parker and trumpeter Dizzy Gillespie. Joined by the underrecorded piano of John Lewis, bassist Al McKibbon and the slightly overrecorded drums of Joe Harris, Bird and Diz generate some real fireworks on five songs, and Parker's rendition of "Confirmation," and the CD's high point, is definitive and memorable. The remainder of the set (ten selections including "Cool Breeze," "One Bass Hit," "Cubano-Be, Cubano-Bop" and "Things to Come") features the Gillespie big band in typically spirited form. Of particular interest are a few numbers ("Relaxin' at Camarillo," which was arranged by George Russell, "Hot House," and "Toccata for Trumpet") that were never recorded in the studio by the big band. Classic bebop. Scott Yanow
Nota :
Recorded live at Carnegie Hall on September 29, 1947.
Tracks 1-5 were performed by a quintet; tracks 6-15 were performed by a big band.   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 :

DIZZY GILLESPIE – 1945 | The Classics Chronological Series – 888 (1996) FLAC (tracks+.cue), lossless

Here's a case where strict adherence to a chronology bears fascinating fruit. Classics 888 focuses only upon January and February of 1945, a small chunk of time during which Dizzy sat in with certain wild bands and made his very first recordings as a leader. On January 9th, a number of musicians from different stylistic backgrounds showed up late to record with Oscar Pettiford, who eventually admitted that he hadn't any idea of what they were going to use for material. Pianist Clyde Hart offered to slap a few charts together on the spot. "Something for You," known elsewhere as "Max Is Making Wax," came out brisk and boppish with powerful blowing from Don Byas, Diz and swing trombonist Benny Morton, who seems to have worked extra hard to fit in with this fast crowd. "Worried Life Blues," composed by blues and boogie-woogie pianist Big Maceo Merriweather, featured vocalist Rubberlegs Williams, who growled, howled and occasionally barked in a way that brings to mind one of Fats Waller's favorite habitual exclamations: "Get away from here!" "Empty Bed Blues," while attributed to Oscar Pettiford, is clearly a Bessie Smith cover. Diz growls ominously with his horn behind the vocal. Retaining some of the players from the Pettiford group, Dizzy's Sextet sounded very well-organized by comparison. The trumpeter's handling of "I Can't Get Started" is breathtakingly beautiful. Tadd Dameron's irresistible "Good Bait" sounds as solid and immediate as the day it was made. In his autobiography, To Be or Not to Bop, Gillespie said he had "composed a fast thing, and just named it ""Be Bop"" later on...it didn't have a name before the record date." "Be Bop" is one brilliant and bracing piece of work, surprisingly put together. After ripping through a whole lot of wild changes, each player contributes a brief note or two for a composite coda. Before the month of January had ended, a famously weird session came together and then blew apart at the seams. Nominally led by Clyde Hart, it began with several vocals by a louder-than-ever Rubberlegs Williams. Apparently seeking to maintain his edge, the blues shouter consumed many cups of coffee, unaware of the fact that the caffeine in question had been steeply fortified with Benzedrine by the ever-resourceful Charlie Parker. At first, Legs sounded only marginally manic, humorously gruff in the throes of his boisterous R&B showmanship. By the time they got around to recording "That's the Blues," the singer must have been completely geeked, as he began his vocal at full intensity, with nowhere left to build to. Halfway through the record, his voice started to disintegrate as Legs approached the vocal intensity of Screamin' Jay Hawkins. Dizzy swears that Legs never drank or smoked, while Trummy Young insisted the singer was also full of whiskey, which would have mixed horribly with the amphetamine. In any case, after he passed into a state of chemically induced psychosis, Williams was led away and the ensemble magically re-grouped itself as James "Trummy" Young's All-Stars. The mood changed to a very hip level of calmness as Trummy sang pleasant melodies in a soft and friendly voice. The contrast between this and the previously hard-hitting rhythm and blues material -- recorded by all but one of the same musicians on the same day -- is astonishing, as is the interplay between Sarah Vaughan and Ben Webster on "All Too Soon," between Diz and Dexter Gordon on "Blue 'n Boogie" and most of all, between Bird and Diz. Cherish every nuance of these early recordings of "Groovin' High" and "All the Things You Are"; they are intimate works of great poetic depth, existing at the heart of these amazing collaborative friendships. arwulf arwulf         Tracklist + Credits :

DIZZY GILLESPIE – 1945-1946 | The Classics Chronological Series – 935 (1997) FLAC (tracks+.cue), lossless

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 :

CHARLIE PARKER – 1945-1947 | The Chronogical Classics – 980 (2000) FLAC (tracks+.cue), lossless

This features Bird's first solo sides: the legendary early Savoy and Dial sides. Although most of this material has been reissued ad nauseam in various packages and in varying fidelity, Classics gets all the BB's in the right holes, with great annotation and stellar transfers of the material. No alternate takes -- just the issued sides in that space of compressed genius between 1945 and early 1947. As such, a major document of jazz history. Cub Koda    Tracklist + Credits :

CHARLIE PARKER – 1947 | The Chronogical Classics – 1000 (1998) FLAC (tracks+.cue), lossless

This second installment in the Classics Charlie Parker chronology contains quite a number of Bird's best-loved and most respected recordings. The first 12 tracks, recorded in New York for the Dial label in October and November of 1947, are all masterpieces of modern music, with the ballads, especially "Embraceable You," constituting some of Parker's very best recorded work. This is the classic 1947 quintet with Miles Davis, Duke Jordan, Tommy Potter, and Max Roach. Even if his personal life was characteristically chaotic, 1947 was a good year for Charlie Parker's music. It was in November 1947 that this band hit the road to play the El Sino Club on St. Antoine Boulevard in Detroit. Unfortunately, Bird got really snockered and couldn't perform, so the El Sino management canceled the gig. Bird ultimately destroyed his saxophone by throwing it out of a hotel window onto the street below. (A tragic and disturbing image!) Back in New York, the band -- now a sextet with the addition of trombonist J.J. Johnson -- made six more sides for Dial on December 17, 1947. Once again the quintet visited Detroit to make good on its broken contract with the El Sino, and this time the band's return engagement was a success. Miles Davis later remembered: "Bird played his ass off." Vocalist Betty Carter even sat in. While they were still in Detroit, producer Teddy Reig had "the Charlie Parker Quintette" make more records for the Savoy label. The four master takes heard here contain music that is still studied and cherished by musicians, poets, lovers, cultural historians, and devout listeners everywhere. arwulf arwulf                    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 :

CHARLIE PARKER – 1951-1952 | The Chronogical Classics – 1314 (2003) FLAC (tracks+.cue), lossless

There's a lot to be said for this kind of chronological survey when it's applied to someone like Charlie Parker. It forces you to take into account not only the critically accepted material but everything that Bird accomplished in his professional life -- that is, every commercially released studio recording from this time period. The music resulting from the sessions of January 17 and August 8, 1951, is universally regarded as substantial and masterful. Critics have been "legitimating" these wonderful recordings for decades. They've also complained ad nauseum about the rest of the material on this album. Time after time, issue after reissue, album liner notes hint wryly at Bird's "artistically unsuccessful" experiments with both Latin American percussion and a big band augmented by a chamber string ensemble. It is possible, after all, for listeners to honor Parker by saying to themselves, "This is what the artist felt compelled to do, and we are capable of being receptive to -- appreciative of -- his ideas and the recordings he has left behind." Forget all notions of what belongs or doesn't belong on a jazz record -- specifically on a Charlie Parker record. The South of the Border stuff is fun -- thrilling, even -- and at times beautiful. The selections from Bird with Strings are fascinating and rewarding for those who are not uptight or prejudicial. The wonderful truth is this: music invariably legitimates itself, and ultimately no critics are necessary provided the listener has ears and a heart through which to listen. arwulf arwulf          Tracklist + Credits :

CHARLIE PARKER – 1952-1954 | The Chronogical Classics – 1408 (2005) FLAC (tracks), lossless

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 :

RED NORVO AND HIS ORCHESTRA – 1944-1945 | The Classics Chronological Series – 1356 (2004) FLAC (tracks+.cue), lossless

Anyone who listens through the previous six volumes of Red Norvo on Classics will likely experience a visceral sense of excitement from 1943 onward as Norvo switches from xylophone to vibraphone and adopts a noticeably modern attitude toward the music. Norvo underwent a profound artistic transformation in 1944-1945, his many years of experience enabling him to settle into a new role as established recording artist and bandleader with an open-minded respect for young artists bearing new ideas. Norvo's remarkable skills as an improviser coupled with a willingness to participate in what music critics call the bop revolution often placed him squarely within the eye of the rapidly evolving cultural hurricane of modern music. This seventh album in the Norvo chronology delivers an unprecedented dosage of top-notch jazz, documenting the historical swing-to-bop phenomenon in 16 wonderful tracks. With five Keynote sides, two V-Discs, and an epochal meeting with Charlie Parker and Dizzy Gillespie, topped off by Norvo's Nonet/Quintet set at the fabulous 1945 Town Hall Jazz Concert, this is by far the best volume in the Classics chronology of his recorded works, and might very well be the greatest all-purpose Red Norvo album ever released to the public. arwulf arwulf  
Tracklist + Credits :

SARAH VAUGHAN – 1944-1946 | The Classics Chronological Series – 958 (1997) FLAC (tracks+.cue), lossless

This first installment in the complete chronological recordings of Sarah Vaughan is a gold mine of great jazz dating from turbulent and transitional times. It's also one of the very best Sarah Vaughan retrospectives ever made available to the public. Vaughan positively glows in front of every ensemble lucky enough to back her, as she performs in an almost bewildering series of outstanding recordings on the De Luxe, Continental, Guild, Crown, Gotham, H.R.S., and Musicraft labels. She appears as a 20-year-old featured with Billy Eckstine's Orchestra, then sitting in with Dizzy Gillespie and Charlie Parker, with violinist Stuff Smith's Trio, and with the amazing John Kirby Sextet (here billed as his orchestra). She rubs shoulders with Trummy Young, Dicky Wells, Tony Scott, Ben Webster, Freddy Webster, Al Cohn, Serge Chaloff, Flip Phillips, Tadd Dameron, Bud Powell, Dexter Gordon, Gene Ammons, Leo Parker, Georgie Auld, Art Blakey, Max Roach, Sid Catlett, Max Roach, and pianist Jimmy Jones, destined to accompany Vaughan intermittently until 1958. The jazz talent assembled on this one disc is nothing short of formidable. Sarah Vaughan began her recording career in the eye of the hurricane of jazz in New York during the mid-'40s. This incredible compilation documents exactly how she went about it. arwulf arwulf
Tracklist + Credits :

JAY McSHANN AND HIS ORCHESTRA – 1941-1943 | The Classics Chronological Series – 740 (1994) FLAC (tracks+.cue), lossless

Twenty-one sides cut by Jay McShann and His Orchestra and the Jay McShann Quartet for Decca Records between 1941 and 1943, with Charlie Parker on about half of what's here, and stretching out on a handful of cuts. The highlight is the group's recording of "Confessin' the Blues," which was a huge hit and resulted in their recording of more than half a dozen similar vocal blues numbers, featuring Walter Brown (who wrote "Confessin'") on vocals. The material here is pretty much weighted to jump blues and boogie-woogie-style numbers, all of it hot and extraordinarily well-played. The pity is, between Decca's insistence on more songs like "Confessin' the Blues" (which was later covered by Chuck Berry and the Rolling Stones, among others) and the 1942 recordings band, not much of McShann's repertory or Parker's more outstanding material from the period was laid down. What is here, however, is extraordinary, some of the tightest, bluesiest jazz you'll ever here, all in excellent sound as well, and Parker does soar on a large handful of these tracks. Bruce Eder  
Tracklist + Credits :

SLIM GAILLARD – 1945, Vol. 2 | The Classics Chronological Series – 911 (1996) FLAC (tracks+.cue), lossless

The nucleus of Slim Gaillard's professional activity during December of 1945 was a trio consisting of himself, singing bassist Tiny "Bam" Brown, and shuffle drummer Zutty Singleton. The addition of pianist Dodo Marmarosa created a modern-sounding quartet that hinted at stylistic changes very much in the air at that time. Sixteen sides originally issued on the Atomic and Cadet labels document this group's evolution over the course of three weeks. By 1945 Gaillard had become extremely popular in the Los Angeles area, and his music was beginning to sound quite different from that of his pre-war period. His collaborations with Slam Stewart between the years 1938 and 1942 were peppered with Stewart's inspired singing over the bowed bass. Bam Brown had a much different approach, which was to echo Gaillard's every utterance in a silly little voice almost like that of a cartoon character. This was essentially a bop-era vaudeville routine and it caught on quickly with West Coast audiences eager for "hip" entertainment but largely distrustful of the less accessible face of modern music as represented by serious, innovative young musicians from New York. Gaillard's topical humor made fun of everything in sight. During "Jumpin' at the Record Shop" he drops the names of famous DJs and popular entertainers, from Carmen Miranda and Xavier Cugat to Spade Cooley, Bob Wills, Jack Benny, and Bob Hope in addition to a solid roster of jazz luminaries including of course his own bad self. On the "Novachord Boogie" Gaillard rocks away on what seems to have been a rudimentary electric piano, sounding almost like a premonition of Sun Ra's Farfisa organ. But Gaillard's main axe was the electrically amplified guitar, the main force behind "The Hop," which has a ferocious, explosive drum solo by Zutty Singleton. This chronology builds up marvelously to the famous "Slim's Jam" session recorded for the Bel-Tone label on December 29, 1945, with an added front line of Charlie Parker, Dizzy Gillespie, and Jack McVea, who Gaillard insists on introducing as "McVouty." These superb performances are greatly enhanced and contextualized by this compilation's unprecedented inclusion of all the records made by Gaillard's groups during December of 1945. "Dizzy Boogie" features Gaillard at the piano and a cool bass solo with vocal accompaniment by Bam Brown, who sounds more dignified than ever. "Flat Foot Floogie" and "Popity Pop" are outstanding novelty jump tunes suffused with the leader's infectious sense of humor. As a prime example of the intersection of innovative modern jazz and immaculately hip shenanigans, "Slim's Jam," with Gaillard introducing each participant in a smooth, laid-back voice, belongs among the very greatest three-minute episodes in the entire history of recorded jazz. arwulf arwulf  
Tracklist :
1    Slim Gaillard Trio–    Scotchin' With Soda    2:44
2    Slim Gaillard Trio–    Cuban Rhumbarini    2:47
3    Slim Gaillard Trio–    As Long As I Have Your Love    3:20
4    Slim Gaillard Trio–    Cement Mixer    3:16
5    Slim Gaillard Quartette–    Atomic Cocktail    2:39
6    Slim Gaillard Quartette–    Yep-Roc-Heresay    3:03
7    Slim Gaillard Quartette–    Penicillin Boogie    2:29
8    Slim Gaillard Quartette–    Jumpin' At The Record Shop    3:08
9    Slim Gaillard Quartette–    Drei Six Cents    2:40
10    Slim Gaillard Quartette–    Minuet In Vout    2:56
11    Slim Gaillard Quartette–    Tee Say Malee    2:49
12    Slim Gaillard Quartette–    Novachord Boogie    2:58
13    Slim Gaillard Quartette–    Baby, Won't You Please Come Home    3:17
14    Slim Gaillard Quartette–    Groovy Juice Jive    3:03
15    Slim Gaillard Quartette–    The Hop    2:46
16    Slim Gaillard Quartette–    Three Handed Boogie    2:58
17    Slim Gaillard And His Orchestra–    Dizzy Boogie    3:09
18    Slim Gaillard And His Orchestra–    Flat Foot Floogie    2:31
19    Slim Gaillard And His Orchestra–    Popity Pop    2:57
20    Slim Gaillard And His Orchestra–    Slim's Jam    3:14
Credits :    
Alto Saxophone – Charlie Parker (tracks: 17 to 20)
Bass – Tiny "Bam" Brown
Drums – Zutty Singleton
Guitar – Slim Gaillard (tracks: 2, 5 to 8, 13 to 16, 18 to 20)
Piano – Dodo Marmarosa (tracks: 5 to 8, 13 to 20), Slim Gaillard (tracks: 1, 3, 4, 17)
Synthesizer [Novachord] – Slim Gaillard (tracks: 9 to 12)
Tenor Saxophone – Jack McVea (tracks: 17 to 20)
Trumpet – Dizzy Gillespie (tracks: 17 to 20)
Vibraphone – Slim Gaillard (tracks: 17 to 20)
Vocals – Slim Gaillard, Tiny "Bam" Brown (tracks: 1 to 16)

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

LENNIE TRISTANO - Requiem (1996) FLAC (tracks+.cue), lossless

Towards the end of the 20th century, the Giants of Jazz reissue label came out with a series of compilations that paid tribute to the amazingly creative musical mind of Lennie Tristano. Requiem offers 13 tracks recorded in New York City between the years 1949 and 1955, beginning with a pair of piano solos (the gnarly overdubbed "Turkish Mambo" and the beautiful reflective blues "Requiem") along with two studies for trio involving bassist Peter Ind and drummer Jeff Morton. "East Thirty-Second" was named for the address of Tristano's home recording studio, where these first four titles were taped in 1954 and 1955. Tracks five through nine and track 11 were distilled from the first and fourth of a five-set marathon recording session that took place live in the Sing Song Room of the Confucius Restaurant on June 11, 1955 with saxophonist Lee Konitz, drummer Art Taylor and bassist Gene Ramey, whose eventful career traces a trajectory from Lester Young through Charlie Parker to Lennie Tristano. Originally released on the Atlantic label, these wonderfully cohesive and consistently inspired performances still convey the intimate immediacy of relaxed collective improvisation. "Sax of a Kind" was extracted from the Capitol recording session of May 16, 1949, with Lee Konitz and Warne Marsh in front of Tristano, guitarist Billy Bauer, bassist Arnold Fishkin and drummer Denzil Best. For dessert the producers tacked on the short takes from the famous RCA Metronome All Stars date of January 3, 1949, stoked by a formidable 13-piece ensemble with a front line made up of Charlie Parker, Dizzy Gillespie, Fats Navarro, Miles Davis, Charlie Ventura, J.J. Johnson, Buddy DeFranco and Ernie Caceres. Legend has it that Bird deliberately feigned befuddlement at Pete Rugolo's arrangement in order to stall for time and draw a few unionized "Overtime" dollars for himself and his 12 session mates. Tristano's "Victory Ball" helped to establish a modern tradition that was still bearing fruit when Anthony Braxton included it on his hatART album Eight (+3) Tristano Compositions 1989 for Warne Marsh. arwulf arwulf  
Tracklist :
1     East Thirty-Second 4:31
Lennie Tristano
2     Turkish Mambo 3:29
Lennie Tristano
3     Requiem 4:51
Lennie Tristano
4     Line Up 3:31
Lennie Tristano
5     These Foolish Things 5:43
Harry Link / Holt Marvell / Jack Strachey
6     All the Things You Are 6:10
Oscar Hammerstein II / Jerome Kern
7     You Go to My Head 5:22
J. Fred Coots / Haven Gillespie
8     I Don't Stand a Ghost of a Chance with You 6:03
Bing Crosby / Ned Washington / Victor Young
9     If I Had You 6:26
Jimmy Campbell / Reginald Connelly / Ted Shapiro
10     Sax of a Kind 5:11
Lennie Tristano
11     Confucius Blues 6:38
Lennie Tristano
12     Overtime 3:07
Pete Rugolo
13     Victory Ball 2:40
Lennie Tristano
Credits :
Alto Saxophone – Charlie Parker (tracks: 12, 13), Lee Konitz (tracks: 5 to 11)
Baritone Saxophone – Ernie Caceres (tracks: 12, 13)
Bass – Eddie Safranski (tracks: 12, 13), Gene Ramey (tracks: 5 to 9, 11), Joe Shulman (tracks: 10), Peter Ind (tracks: 1, 4)
Clarinet – Buddy De Franco (tracks: 12, 13)
Drums – Arthur Taylor (tracks: 5 to 9, 11), Jeff Morton (tracks: 1, 4, 10), Shelly Manne (tracks: 12, 13), Unknown Artist (tracks: 2)
Guitar – Billy Bauer (tracks: 10, 12, 13)
Orchestra – Metronome All Stars (tracks: 12, 13)
Piano – Lennie Tristano
Tenor Saxophone – Charlie Ventura (tracks: 12, 13), Warne Marsh (tracks: 10)
Trombone – J.J. Johnson (tracks: 12, 13), Kai Winding (tracks: 12, 13)
Trumpet – Dizzy Gillespie (tracks: 12, 13), Fats Navarro (tracks: 12, 13), Miles Davis (tracks: 12, 13)

BENNY CARTER - The Music Master (2004) 4CD SET | FLAC (tracks+.cue), lossless

Throughout much of the 20th century, Benny Carter was an accomplished composer, arranger, leader, sideman, and multi-instrumentalist. In 2004 the U.K.'s Proper label served his memory well with Proper Box 68 which carefully examines a 22-year segment from his unusually lengthy career. If a reasonably priced 88-track, four-CD set of swing and early modern mainstream jazz dating from 1930-1952 seems like too much of a good thing, maybe you really need to hear more jazz and not less, for here in the land of its birth we still have a lot of catching up to do in order to better comprehend this important part of our cultural heritage. A sensible two-CD equivalent would be Living Era's 51-track compilation When Lights Are Low, which has 31 tracks in common with Proper Box 68 and includes examples of Carter with Fletcher Henderson's Orchestra and McKinney's Cotton Pickers. Proper focuses more closely on bands which operated under Carter's direct leadership or influence. Although Carter is most often pictured holding an alto saxophone, he played a lot of trumpet as well as clarinet, tenor sax, and even a bit of drums. As an altoist he resembled Hilton Jefferson, Willie Smith, Johnny Hodges, and the young Pete Brown. For all his expertise as a reedman, Carter blows plenty of fine trumpet on Music Master.

Most of the first disc is devoted to the early '30s. Carter is heard leading his own bands, sitting in with visiting Englishman Spike Hughes & His Negro Orchestra, and with the Chocolate Dandies, a recurrent all-star swing band with varying personnel. Four different Chocolate Dandies sessions are represented on this collection. The first of these, recorded in December 1930, was essentially a condensed version of the Fletcher Henderson orchestra with Horace Henderson at the piano. The December 1933 Chocolate Dandies were racially mixed, which was a significant accomplishment back then. Carter revived the Dandies in the '40s with powerful improvisers like Roy Eldridge, Coleman Hawkins, Buck Clayton, and Ben Webster. Carter's productive adventures in Europe during the late '30s are well represented on this collection, appearing near the end of the first disc and occupying more than half of the second. Starting in London, the tour takes you through Copenhagen, Laren, Den Haag, and finally Paris, where he recorded "Farewell Blues" and "Blue Light Blues" with an octet that included tenor man Alix Combelle and guitarist Django Reinhardt. For thrilling examples of Carter's handling of the tenor saxophone during his London sessions, you might want to hunt down his 1936-1937 recordings as reissued in chronological sequence by Classics, as well as his alternate takes on Neatwork 2063.

Throughout the '40s, Carter recorded with many of the best jazz musicians on the scene, and Proper provides an excellent overview of his work during this period. The inclusion of two Keynote sessions from 1946 is a real treat, with Carter leading his own quartet and guesting with a small combo led by pianist Arnold Ross. The big surprise on Disc Four is the vocal on "Out of My Way" by drummer Sid Catlett: this may well be the only time he ever used his voice on a recording. Proper's Benny Carter edition finishes with seven examples of Carter as an early modern mainstream jazzman in groups assembled by producer Norman Granz. First comes the historic blowing session with the one-time-only combination of Charlie Parker, Johnny Hodges, Benny Carter, and Ben Webster. The closing tracks feature Carter backed by Oscar Peterson's quartet, with strings added on "Isn't It Romantic?" and "Key Largo." arwulf arwulf
DISC 1 : ACCENT ON SWING    
1-1    The Chocolate Dandies–    Goodbye Blues 3:17
Bass – John Kirby
Clarinet, Alto Saxophone, Vocals, Arranged By – Benny Carter
Guitar [Or] – Benny Jackson, Clarence Holiday
Piano – Horace Henderson
Tenor Saxophone – Coleman Hawkins
Trombone – Jimmy Harrison
Trumpet – Bobby Stark
1-2    The Chocolate Dandies–    Cloudy Skies 2:54
Clarinet, Alto Saxophone, Vocals, Arranged By – Benny Carter
Guitar [Or] – Benny Jackson, Clarence Holiday
Piano – Horace Henderson
Tenor Saxophone – Coleman Hawkins
Trombone – Jimmy Harrison
Trumpet – Bobby Stark
Tuba – John Kirby
1-3    The Chocolate Dandies–    Got Another Sweetie Now 2:59
Clarinet, Alto Saxophone, Vocals, Arranged By – Benny Carter
Guitar [Or] – Benny Jackson, Clarence Holiday
Piano – Horace Henderson
Tenor Saxophone – Coleman Hawkins
Trombone, Vocals – Jimmy Harrison
Trumpet – Bobby Stark
Tuba – John Kirby
1-4    The Chocolate Dandies–    Bugle Call Rag 2:49
Clarinet, Alto Saxophone, Vocals, Arranged By – Benny Carter
Guitar [Or] – Benny Jackson, Clarence Holiday
Piano – Horace Henderson
Tenor Saxophone – Coleman Hawkins
Trombone – Jimmy Harrison
Trumpet – Bobby Stark
Tuba – John Kirby
1-5    The Chocolate Dandies–    Dee Blues 2:55
Clarinet, Alto Saxophone, Vocals, Arranged By – Benny Carter
Guitar [Or] – Benny Jackson, Clarence Holiday
Piano – Horace Henderson
Tenor Saxophone – Coleman Hawkins
Trombone – Jimmy Harrison
Trumpet – Bobby Stark
Tuba – John Kirby
1-6    Benny Carter And His Orchestra–    Swing It 3:10
Alto Saxophone – Howard Johnson
Bass – Ernest Hill
Drums – Sid Catlett
Guitar – Lawrence Lucie
Piano – Rod Rodriguez
Tenor Saxophone – Chu Berry
Trombone – George Washington, Wilbur De Paris
Trumpet – Bill Dillard, Leonard Davis, Shad Collins
Trumpet, Clarinet, Alto Saxophone, Vocals, Arranged By – Benny Carter
1-7    Benny Carter And His Orchestra–    Synthetic Love 3:25
Alto Saxophone – Howard Johnson
Bass – Ernest Hill
Drums – Sid Catlett
Guitar – Lawrence Lucie
Piano – Rod Rodriguez
Tenor Saxophone – Chu Berry
Trombone – George Washington, Wilbur De Paris
Trumpet – Bill Dillard, Leonard Davis, Shad Collins
Trumpet, Clarinet, Alto Saxophone, Vocals, Arranged By – Benny Carter
1-8    Benny Carter And His Orchestra–    Six Bells Stampede 2:39
Alto Saxophone – Howard Johnson
Bass – Ernest Hill
Drums – Sid Catlett
Guitar – Lawrence Lucie
Piano – Rod Rodriguez
Tenor Saxophone – Chu Berry
Trombone – George Washington, Wilbur De Paris
Trumpet – Bill Dillard, Leonard Davis, Shad Collins
Trumpet, Clarinet, Alto Saxophone, Vocals, Arranged By – Benny Carter
1-9    Benny Carter And His Orchestra–    Love, You're Not The One For Me 3:32
Alto Saxophone – Howard Johnson
Bass – Ernest Hill
Drums – Sid Catlett
Guitar – Lawrence Lucie
Piano – Rod Rodriguez
Tenor Saxophone – Chu Berry
Trombone – George Washington, Wilbur De Paris
Trumpet – Bill Dillard, Leonard Davis, Shad Collins
Trumpet, Clarinet, Alto Saxophone, Vocals, Arranged By – Benny Carter
1-10    Spike Hughes And His Negro Orchestra–    Sweet Sue, Just You 2:59
Alto Saxophone – Benny Carter
Bass, Leader – Spike Hughes
Drums – Sid Catlett
Guitar – Lawrence Lucie
Piano – Rod Rodriguez
Tenor Saxophone – Coleman Hawkins, Chu Berry
Trombone – Dicky Wells
Trumpet – Henry "Red" Allen
1-11    The Chocolate Dandies–    Blue Interlude 3:25
Bass – Ernest Hill
Drums – Sid Catlett
Guitar – Lawrence Lucie
Piano – Teddy Wilson
Tenor Saxophone – Chu Berry
Trombone – Floyd O'Brien
Trumpet – Max Kaminsky
Trumpet, Alto Saxophone – Benny Carter
1-12    The Chocolate Dandies–    I Never Knew 3:03
Bass – Ernest Hill
Drums – Sid Catlett
Guitar – Lawrence Lucie
Piano – Teddy Wilson
Tenor Saxophone – Chu Berry
Trombone – Floyd O'Brien
Trumpet – Max Kaminsky
Trumpet, Alto Saxophone – Benny Carter
1-13    The Chocolate Dandies–    Once Upon A Time 3:24
Bass – Ernest Hill
Drums – Sid Catlett
Guitar – Lawrence Lucie
Piano – Teddy Wilson
Tenor Saxophone – Chu Berry
Trombone – Floyd O'Brien
Trumpet – Max Kaminsky
Trumpet, Alto Saxophone – Benny Carter
1-14    The Chocolate Dandies–    Krazy Kapers 3:28
Bass – Ernest Hill
Drums – Sid Catlett
Guitar – Lawrence Lucie
Piano – Teddy Wilson
Tenor Saxophone – Chu Berry
Trombone – Floyd O'Brien
Trumpet – Max Kaminsky
Trumpet, Alto Saxophone – Benny Carter
1-15    Benny Carter And His Orchestra–    Devil's Holiday 3:06
Alto Saxophone – Glyn Paque
Bass – Ernest Hill
Clarinet, Alto Saxophone, Arranged By – Benny Carter
Drums – Sid Catlett
Flute, Alto Saxophone – Wayman Carver
Guitar – Lawrence Lucie
Piano – Teddy Wilson
Tenor Saxophone – Johnny Russell
Trombone – Fred Robinson, J.C. Higginbotham, Keg Johnson
Trumpet – Bill Dillard, Eddie Mallory, Dick Clark
1-16    Benny Carter And His Orchestra–    Lonesome Nights 3:33
Alto Saxophone – Glyn Paque
Bass – Ernest Hill
Clarinet, Alto Saxophone, Arranged By – Benny Carter
Drums – Sid Catlett
Flute, Alto Saxophone – Wayman Carver
Guitar – Lawrence Lucie
Piano – Teddy Wilson
Tenor Saxophone – Johnny Russell
Trombone – Fred Robinson, J.C. Higginbotham, Keg Johnson
Trumpet – Bill Dillard, Eddie Mallory, Dick Clark
1-17    Benny Carter And His Orchestra–    Symphony In Riffs 3:03
Alto Saxophone – Glyn Paque
Bass – Ernest Hill
Clarinet, Alto Saxophone, Arranged By – Benny Carter
Drums – Sid Catlett
Flute, Alto Saxophone – Wayman Carver
Guitar – Lawrence Lucie
Piano – Teddy Wilson
Tenor Saxophone – Johnny Russell
Trombone – Fred Robinson, J.C. Higginbotham, Keg Johnson
Trumpet – Bill Dillard, Eddie Mallory, Dick Clark
1-18    Benny Carter And His Orchestra–    Blue Lou 3:05
Alto Saxophone – Glyn Paque
Bass – Ernest Hill
Clarinet, Alto Saxophone, Arranged By – Benny Carter
Drums – Sid Catlett
Flute, Alto Saxophone – Wayman Carver
Guitar – Lawrence Lucie
Piano – Teddy Wilson
Tenor Saxophone – Johnny Russell
Trombone – Fred Robinson, J.C. Higginbotham, Keg Johnson
Trumpet – Bill Dillard, Eddie Mallory, Dick Clark
1-19    Benny Carter And His Orchestra–    Shoot The Works 2:57
Alto Saxophone – Ben Smith, Russell Procope
Bass – Elmer James
Clarinet, Alto Saxophone, Arranged By – Benny Carter
Drums – Walter Johnson
Guitar – Clarence Holiday
Piano – Teddy Wilson
Tenor Saxophone – Ben Webster
Trombone – Benny Morton, Keg Johnson
Trumpet – Irving Randolph, Otis Johnson, Russell Smith
1-20    Benny Carter And His Orchestra–    Dream Lullaby 3:09
Alto Saxophone – Ben Smith, Russell Procope
Bass – Elmer James
Clarinet, Alto Saxophone, Arranged By – Benny Carter
Drums – Walter Johnson
Guitar – Clarence Holiday
Piano – Teddy Wilson
Tenor Saxophone – Ben Webster
Trombone – Benny Morton, Keg Johnson
Trumpet – Irving Randolph, Otis Johnson, Russell Smith
2-21    Benny Carter And His Orchestra–    Everybody Shuffle 3:02
Alto Saxophone – Ben Smith, Russell Procope
Bass – Elmer James
Clarinet, Alto Saxophone, Arranged By – Benny Carter
Drums – Walter Johnson
Guitar – Clarence Holiday
Piano – Teddy Wilson
Tenor Saxophone – Ben Webster
Trombone – Benny Morton, Keg Johnson
Trumpet – Irving Randolph, Otis Johnson, Russell Smith
2-22    Benny Carter And His Orchestra–    These Foolish Things 3:00
Alto Saxophone – E. O. Pogson
Bass – Al Burke
Clarinet, Alto Saxophone – Andy McDevitt
Clarinet, Alto Saxophone, Trumpet, Arranged By – Benny Carter
Drums – Ronnie Gubertini
Guitar – George Elliott
Piano – Pat Dodd
Tenor Saxophone – Buddy Featherstonehaugh
Trombone – Bill Mulraney, Ted Heath
Trumpet – Duncan Whyte, Max Goldberg, Tommy McQuater
2-23    Benny Carter And His Orchestra–    Accent On Swing 2:49
Alto Saxophone, Arranged By – Benny Carter
Bass – Wally Morris
Clarinet, Alto Saxophone – Andy McDevitt, Freddy Gardner
Drums – George Elrick
Guitar – Albert Harris
Piano – Billy Munn
Tenor Saxophone – Buddy Featherstonehaugh
Trombone – Lew Davis, Ted Heath
Trumpet – Max Goldberg, Tommy McQuater
Trumpet, Trombone – Leslie Thompson
DISC 2 : WHEN LIGHTS ARE LOW    
2-1    Benny Carter And His Swing Quartet–    When Lights Are Low 2:48
Alto Saxophone – Benny Carter
Bass – Wally Morris
Drums – George Elrick
Guitar – Bernard Addison
Piano – Gene Rodgers
Vocals – Elisabeth Welch
2-2    Benny Carter With Kai Ewans' Orchestra–    Blue Interlude 3:07
Alto Saxophone – Kai Ewans
Bass – Kelof Nielsen
Clarinet, Alto Saxophone – Aage Voss
Drums – Eric Kragh
Guitar – Hans Ulrik Neumann
Piano – Christian Jensen
Tenor Saxophone – Anker Skjoldborg, Knut Knutsson
Trombone – Palmer Traulsen, Peter Rasmussen
Trumpet – Axel Skouby, Kurt Pederson, Olaf Carlsson
Trumpet, Drums, Alto Saxophone, Arranged By – Benny Carter
2-3    Benny Carter And His Orchestra–    Gin And Jive 2:55
Bass – Wally Morris
Clarinet, Alto Saxophone – Andy McDevitt, Freddy Gardner
Drums – Al Craig
Guitar – Albert Harris
Piano – Eddie Macauley
Tenor Saxophone – Buddy Featherstonehaugh, George Evans
Trombone – Bill Mulraney, Lew Davis
Trumpet – Leslie Thompson, Tommy McQuater
Trumpet, Alto Saxophone, Vocals, Arranged By – Benny Carter
2-4    Benny Carter And His Orchestra–    Nagasaki 2:57
Bass – Wally Morris
Clarinet, Alto Saxophone – Andy McDevitt, Freddy Gardner
Drums – Al Craig
Guitar – Albert Harris
Piano – Eddie Macauley
Tenor Saxophone – Buddy Featherstonehaugh, George Evans
Trombone – Bill Mulraney, Lew Davis
Trumpet – Leslie Thompson, Tommy McQuater
Trumpet, Alto Saxophone, Vocals, Arranged By – Benny Carter
2-5    Benny Carter And His Orchestra–    There's A Small Hotel 3:05
Bass – Wally Morris
Clarinet, Alto Saxophone – Andy McDevitt, Freddy Gardner
Drums – Al Craig
Guitar – Albert Harris
Piano – Eddie Macauley
Tenor Saxophone – Buddy Featherstonehaugh, George Evans
Trombone – Bill Mulraney, Lew Davis
Trumpet – Leslie Thompson, Tommy McQuater
Trumpet, Alto Saxophone, Vocals, Arranged By – Benny Carter
2-6    Benny Carter And His Orchestra–    I'm In The Mood For Swing 2:32
Bass – Wally Morris
Clarinet, Alto Saxophone – Andy McDevitt, Freddy Gardner
Drums – Al Craig
Guitar – Albert Harris
Piano – Eddie Macauley
Tenor Saxophone – Buddy Featherstonehaugh, George Evans
Trombone – Bill Mulraney, Lew Davis
Trumpet – Leslie Thompson, Tommy McQuater
Trumpet, Alto Saxophone, Vocals, Arranged By – Benny Carter
2-7    Benny Carter And The Ramblers–    I'll Never Give In 2:40
Bass – Jack Pet
Clarinet, Alto Saxophone – Andre Van Der Ouderaa, Wim Poppink
Drums – Kees Kranenburg
Leader – Theo Uden Masman
Piano – Freddy Johnson
Tenor Saxophone – Sal Doof
Trombone – Marcel Thielemans
Trumpet – George Van Helvoirt, Jack Bulterman
Trumpet, Tenor Saxophone, Arranged By – Benny Carter
2-8    Benny Carter And His Orchestra–    Skip It 2:56
Alto Saxophone – Louis Stephenson
Bass – Len Harrison
Drums – Robert Montmarché
Guitar – Ray Webb
Piano – Freddy Johnson
Tenor Saxophone – Bertie King, Jimmy Williams
Trombone – George Chisholm, Harry Van Oven
Trumpet – Cliff Woodridge, Rolf Goldstein, Sam Dasberg
Trumpet, Alto Saxophone, Arranged By – Benny Carter
2-9    Benny Carter And His Orchestra–    Lazy Afternoon 3:01
Alto Saxophone – Louis Stephenson
Bass – Len Harrison
Drums – Robert Montmarché
Guitar – Ray Webb
Piano – Freddy Johnson
Tenor Saxophone – Bertie King, Jimmy Williams
Trombone – George Chisholm, Harry Van Oven
Trumpet – Cliff Woodridge, Rolf Goldstein, Sam Dasberg
Trumpet, Alto Saxophone, Arranged By – Benny Carter
2-10    Benny Carter And His Orchestra–    Blues In My Heart 2:33
Alto Saxophone – Louis Stephenson
Bass – Len Harrison
Drums – Robert Montmarché
Guitar – Ray Webb
Piano – Freddy Johnson
Tenor Saxophone – Bertie King, Jimmy Williams
Trombone – George Chisholm, Harry Van Oven
Trumpet – Cliff Woodridge, Rolf Goldstein, Sam Dasberg
Trumpet, Alto Saxophone, Arranged By – Benny Carter
2-11    Benny Carter And His Orchestra–    Somebody Loves Me 2:46
Bass – Len Harrison
Clarinet, Alto Saxophone – Jimmy Williams
Drums – Robert Montmarché
Guitar – Ray Webb
Piano – Freddy Johnson
Tenor Saxophone – Coleman Hawkins
Trombone – George Chisholm
Trumpet, Alto Saxophone – Benny Carter
2-12    Benny Carter And His Orchestra–    Mighty Like The Blues 3:02
Bass – Len Harrison
Clarinet, Alto Saxophone – Jimmy Williams
Drums – Robert Montmarché
Guitar – Ray Webb
Piano – Freddy Johnson
Tenor Saxophone – Coleman Hawkins
Trombone – George Chisholm
Trumpet, Alto Saxophone – Benny Carter
2-13    Benny Carter And His Orchestra–    Pardon Me, Pretty Baby 2:57
Bass – Len Harrison
Clarinet, Alto Saxophone – Jimmy Williams
Drums – Robert Montmarché
Guitar – Ray Webb
Piano – Freddy Johnson
Tenor Saxophone – Coleman Hawkins
Trombone – George Chisholm
Trumpet, Alto Saxophone – Benny Carter
2-14    Benny Carter And His Orchestra–    My Buddy 2:47
Bass – Len Harrison
Clarinet, Alto Saxophone – Jimmy Williams
Drums – Robert Montmarché
Guitar – Ray Webb
Piano – Freddy Johnson
Tenor Saxophone – Coleman Hawkins
Trombone – George Chisholm
Trumpet, Alto Saxophone – Benny Carter
2-15    Benny Carter And His Orchestra–    Farewell Blues 3:13
Alto Saxophone – Fletcher Allen
Bass – Len Harrison
Clarinet, Tenor Saxophone – Bertie King
Drums – Robert Montmarché
Guitar – Django Reinhardt
Piano – Yorke De Souza*
Tenor Saxophone – Alix Combelle
Trumpet, Alto Saxophone – Benny Carter
2-16    Benny Carter And His Orchestra–    Blue Light Blues 3:04
Alto Saxophone – Fletcher Allen
Bass – Len Harrison
Clarinet, Tenor Trombone – Bertie King
Drums – Robert Montmarché
Guitar – Django Reinhardt
Piano – Yorke De Souza
Tenor Saxophone – Alix Combelle
Trumpet, Alto Saxophone – Benny Carter
2-17    Benny Carter And His Orchestra–    Melancholy Lullaby 2:55
Alto Saxophone – Benny Carter, Carl Frye, James Powell
Bass – Hayes Alvis
Drums – Henry Morrison
Guitar – Ulysses Livingston
Piano – Eddie Heywood
Tenor Saxophone – Castor McCord, Ernie Powell
Trombone – James Archey, Vic Dickenson
Trombone, Vibraphone – Tyree Glenn
Trumpet – George Woodlen, Joe Thomas, Lincoln Mills
2-18    Benny Carter And His Orchestra–    When Lights Are Low 2:50
Alto Saxophone – Benny Carter, Carl Frye, James Powell
Bass – Hayes Alvis
Guitar – Ulysses Livingston
Piano – Eddie Heywood, Henry Morrison
Tenor Saxophone – Castor McCord, Ernie Powell
Trombone – James Archey, Vic Dickenson
Trombone, Vibraphone – Tyree Glenn
Trumpet – Eddie Mullens, Joe Thomas, Lincoln Mills
Vocals – Dell St. John
2-19    Benny Carter And His Orchestra–    Riff Romp 2:55
Alto Saxophone – Benny Carter, Carl Frye, James Powell
Bass – Hayes Alvis
Drums – Henry Morrison
Guitar – Ulysses Livingston
Piano – Eddie Heywood
Tenor Saxophone – Castor McCord, Ernie Powell
Trombone – James Archey, Vic Dickenson
Trombone, Vibraphone – Tyree Glenn
Trumpet – Eddie Mullens, Joe Thomas, Lincoln Mills
Vocals – Dell St. John
2-20    Benny Carter And His Orchestra–    Shufflebug Shuffle 2:45
Alto Saxophone – Carl Frye, James Powell
Bass – Hayes Alvis
Drums – William Purnell
Guitar – Ulysses Livingston
Piano – Eddie Heywood
Tenor Saxophone – Ernie Powell, Sammy Davis
Trombone – James Archey, Tyree Glenn, Vic Dickenson
Trumpet – Eddie Mullens, Irving Randolph, Joe Thomas, Lincoln Mills
Trumpet, Alto Saxophone – Benny Carter
2-21    Benny Carter And His Orchestra–    Sleep 2:57
Alto Saxophone – Carl Frye, James Powell
Bass – Hayes Alvis
Drums – William Purnell
Guitar – Ulysses Livingston
Piano – Eddie Heywood
Tenor Saxophone – Coleman Hawkins, Stanley Payne
Trombone – Gene Simon, James Archey, Vic Dickenson
Trumpet – Joe Thomas, Lincoln Mills, Russell Smith
Trumpet, Alto Saxophone – Benny Carter
2-22    Benny Carter And His Orchestra–    Fish Fry 3:10
Alto Saxophone – Carl Frye, James Powell
Bass – Hayes Alvis
Drums – William Purnell
Guitar – Ulysses Livingston
Piano – Eddie Heywood
Tenor Saxophone – Coleman Hawkins, Stanley Payne
Trombone – Gene Simon, James Archey, Vic Dickenson
Trumpet – Joe Thomas, Lincoln Mills, Russell Smith
Trumpet, Alto Saxophone – Benny Carter
2-23    Benny Carter And His Orchestra–    Slow Freight 3:20
Alto Saxophone – Carl Frye, James Powell
Bass – Hayes Alvis
Drums – William Purnell
Guitar – Ulysses Livingston
Piano – Eddie Heywood
Tenor Saxophone – Coleman Hawkins, Stanley Payne
Trombone – Gene Simon, James Archey, Vic Dickenson
Trumpet – Joe Thomas, Lincoln Mills, Russell Smith
Trumpet, Alto Saxophone – Benny Carter
2-24    Benny Carter And His Orchestra–    Night Hop 3:08
Alto Saxophone – Carl Frye, George Dorsey
Bass – Hayes Alvis
Clarinet, Alto Saxophone – Benny Carter
Drums – William Purnell
Guitar – Ulysses Livingston
Piano – Sonny White
Tenor Saxophone – Sammy Davis, Stafford Simon
Trombone – Milton Robinson, Sandy Williams
Trumpet – Bill Coleman, Russell Smith, Shad Collins
2-25    Benny Carter And His Orchestra–    Pom Pom
Alto Saxophone – Carl Frye, George Dorsey
Bass – Hayes Alvis
Clarinet, Alto Saxophone – Benny Carter
Drums – William Purnell
Guitar – Ulysses Livingston
Piano – Sonny White
Tenor Saxophone – Sammy Davis, Stafford Simon
Trombone – Milton Robinson, Sandy Williams
Trumpet – Bill Coleman, Russell Smith, Shad Collins
DISC 3 : BACK BAY BOOGIE    
3-1    Benny Carter And His Orchestra–    O.K. For Baby 3:03
Alto Saxophone – Carl Frye, George Dorsey
Bass – Hayes Alvis
Clarinet, Alto Saxophone – Benny Carter
Drums – William Purnell
Guitar – Ulysses Livingston
Piano – Sonny White
Tenor Saxophone – Sammy Davis, Stafford Simon
Trombone – Milton Robinson, Sandy Williams
Trumpet – Bill Coleman, Russell Smith, Shad Collins
3-2    The Chocolate Dandies–    Smack 2:36
Alto Saxophone – Benny Carter
Bass – John Kirby
Drums – Sid Catlett
Guitar – Bernard Addison
Tenor Saxophone – Coleman Hawkins
Trumpet – Roy Eldridge
3-3    The Chocolate Dandies–    I Can't Believe That You're In Love With Me 4:12
Alto Saxophone – Benny Carter
Bass – John Kirby
Drums – Sid Catlett
Guitar – Bernard Addison
Tenor Saxophone – Coleman Hawkins
Trumpet – Roy Eldridge
3-4    Benny Carter And His Orchestra–    Boogie Woogie Sugar Blues 3:06
Alto Saxophone – Benny Carter, Chauncey Haughton
Alto Saxophone, Baritone Saxophone – George James
Bass – Hayes Alvis
Drums – William Purnell
Guitar – Everett Barksdale
Piano – Sonny White
Tenor Saxophone – George Irish, Stafford Simon
Trombone – Madison Vaughan, Milton Robinson
Trumpet – Bobby Williams, Jonah Jones, Russell Smith
3-5    Benny Carter And His Orchestra–    All Of Me 3:20
Alto Saxophone – Chauncey Haughton
Alto Saxophone, Baritone Saxophone – George James
Bass – Hayes Alvis
Clarinet, Alto Saxophone – Benny Carter
Drums – William Purnell
Guitar – Everett Barksdale
Piano – Sonny White
Tenor Saxophone – George Irish, Stafford Simon
Trombone – Benny Morton, Madison Vaughan, Milton Robinson
Trumpet – Bobby Williams, Russell Smith, Sidney De Paris
3-6    Benny Carter And His Orchestra–    Cuddle Up, Huddle Up 2:43
Alto Saxophone – Benny Carter, Bill White, George Dorsey
Bass – Ted Sturgis
Drums – J.C. Heard
Guitar – Herb Thomas
Piano – Sonny White
Tenor Saxophone – Fred Mitchell, George Irish
Trombone – James Archey, Joe Britton
Trumpet – Jonah Jones, Russell Smith, Sidney De Paris
3-7    Benny Carter And His Orchestra–    Midnight 3:16
Alto Saxophone – Eddie Barefield, Ernie Purce
Alto Saxophone, Trumpet – Benny Carter
Bass – Charles Drayton
Drums – Al Taylor
Guitar – Herb Thomas
Piano – Sonny White
Tenor Saxophone – Ernie Powell, Fred Williams
Trombone – James Archey*, Joe Britton, Vic Dickenson
Trumpet – Doc Cheatham, Lincoln Mills, Sidney De Paris
Vocals – Maxine Sullivan
3-8    Benny Carter And His Orchestra–    Lullaby To A Dream 3:07
Alto Saxophone – Eddie Barefield, Ernie Purce
Alto Saxophone, Trumpet – Benny Carter
Bass – Charles Drayton
Drums – Al Taylor
Guitar – Herb Thomas
Piano – Sonny White
Tenor Saxophone – Ernie Powell, Fred Williams
Trombone – James Archey, Joe Britton, Vic Dickenson
Trumpet – Doc Cheatham, Lincoln Mills, Sidney De Paris
3-9    Benny Carter And His Orchestra–    What A Difference A Day Made 3:02
Alto Saxophone – Eddie Barefield, Ernie Purce
Alto Saxophone, Trumpet – Benny Carter
Bass – Charles Drayton
Drums – Al Taylor
Guitar – Herb Thomas
Piano – Sonny White
Tenor Saxophone – Ernie Powell, Fred Williams
Trombone – James Archey, Joe Britton, Vic Dickenson
Trumpet – Doc Cheatham, Lincoln Mills, Sidney De Paris
Vocals – Maxine Sullivan
3-10    Benny Carter And His Orchestra–    Sunday 2:45
Alto Saxophone – Ernie Purce, George James
Alto Saxophone, Trumpet – Benny Carter
Bass – Charles Drayton
Drums – Berisford 'Shep' Shepherd
Guitar – William Lewis
Piano – Sonny White
Tenor Saxophone – Alfred Gibson, Ernie Powell
Trombone – Benny Morton, James Archey, John McConnell
Trumpet – Emmett Berry, Nathaniel Williams, Rostelle Reese
3-11    Benny Carter And His Orchestra–    Back Bay Boogie 2:54
Alto Saxophone – Ernie Purce, George James
Alto Saxophone, Trumpet – Benny Carter
Bass – Charles Drayton
Drums – Berisford 'Shep' Shepherd
Guitar – William Lewis
Piano – Sonny White
Tenor Saxophone – Alfred Gibson, Ernie Powell
Trombone – Benny Morton, James Archey, John McConnell
Trumpet – Emmett Berry, Nathaniel Williams, Rostelle Reese
3-12    Benny Carter And His Orchestra–    Poinciana 3:01
Alto Saxophone – Benny Carter, Porter Kilbert
Alto Saxophone, Baritone Saxophone – Willard Brown
Bass – Curley Russell
Drums – Oscar Bradley
Guitar – Ulysses Livingston
Piano – Humphrey Ted Brannon
Tenor Saxophone – Bumps Myers, Eugene Porter
Trombone – Alton Moore, J.J. Johnson, Shorty Haughton
Trumpet – Claude Dunson, Freddie Webster, Ted Buckner, Vernon Porter
3-13    Benny Carter And His Orchestra–    Love For Sale 3:01
Alto Saxophone – Benny Carter, Porter Kilbert
Alto Saxophone, Baritone Saxophone – Willard Brown
Bass – Curley Russell
Drums – Oscar Bradley
Guitar – Ulysses Livingston
Piano – Humphrey Ted Brannon
Tenor Saxophone – Bumps Myers, Eugene Porter
Trombone – Alton Moore, J.J. Johnson, Shorty Haughton
Trumpet – Claude Dunson, Freddie Webster, Ted Buckner, Vernon Porter
3-14    Benny Carter And His Orchestra–    I Can't Escape From You 3:21
Alto Saxophone – Porter Kilbert
Alto Saxophone, Baritone Saxophone – Willard Brown
Bass – Charles Drayton
Drums – Max Roach
Guitar – W.J. Edwards
Piano – Gerald Wiggins
Tenor Saxophone – Bumps Myers, Eugene Porter
Trombone – Alton Moore, Bart Varsalona, J.J. Johnson, Shorty Haughton
Trumpet – Edwin Davis, John Carroll, Karl George, Milton Fletcher
Trumpet, Alto Saxophone – Benny Carter
3-15    Benny Carter And His Orchestra–    I Can't Get Started 2:51
Alto Saxophone – Porter Kilbert
Alto Saxophone, Baritone Saxophone – Willard Brown
Bass – Charles Drayton
Drums – Max Roach
Guitar – W.J. Edwards
Piano – Gerald Wiggins
Tenor Saxophone – Bumps Myers, Eugene Porter
Trombone – Alton Moore, Bart Varsalona, J.J. Johnson, Shorty Haughton
Trumpet – Edwin Davis, John Carroll, Karl George, Milton Fletcher
Trumpet, Alto Saxophone – Benny Carter
3-16    Benny Carter And His Orchestra–    I Surrender Dear 3:03
Alto Saxophone – Porter Kilbert
Alto Saxophone, Baritone Saxophone – Willard Brown
Bass – Charles Drayton
Drums – Max Roach
Guitar – W.J. Edwards
Piano – Gerald Wiggins
Tenor Saxophone – Bumps Myers, Eugene Porter
Trombone – Alton Moore, Bart Varsalona, J.J. Johnson, Shorty Haughton
Trumpet – Edwin Davis, John Carroll, Karl George, Milton Fletcher
Trumpet, Alto Saxophone – Benny Carter
3-17    Benny Carter And His Orchestra–    Malibu 3:03
Alto Saxophone – Benny Carter, Jewell Grant, Porter Kilbert
Baritone Saxophone – John Taylor
Bass – Charles Drayton
Drums – Max Roach
Guitar – Herman Mitchell
Piano – Rufus Webster
Tenor Saxophone – Bumps Myers, Harold Clark
Trombone – Alton Moore, George Washington, Henry Coker, Louis Taylor
Trumpet – Emmett Berry, Fred Trainer, Gerald Wilson, Irving Lewis, Paul Cohen
3-18    Benny Carter And His Orchestra–    Forever Blues 2:37
Alto Saxophone – Benny Carter, Joe Epps, Porter Kilbert
Alto Saxophone, Baritone Saxophone – Willard Brown
Bass – Thomas Moultrie
Drums – Percy Brice
Guitar – James Cannady
Piano – Rufus Webster
Tenor Saxophone – Bumps Myers, Harold Clark
Trombone – Al Grey, Alton Moore, Charles Johnson, John Morris
Trumpet – Idrees Sulieman, Lewis Botton, Louis Gray, Wallace Jones
3-19    Benny Carter And His Orchestra–    Jump Call 2:53
Alto Saxophone – Benny Carter, Joe Epps, Porter Kilbert
Alto Saxophone, Baritone Saxophone – Willard Brown
Bass – Thomas Moultrie
Drums – Percy Brice
Guitar – James Cannady
Piano – Rufus Webster
Tenor Saxophone – Bumps Myers, Harold Clark
Trombone – Al Grey, Alton Moore, Charles Johnson, John Morris
Trumpet – Idrees Sulieman, Lewis Botton, Louis Gray, Wallace Jones
3-20    Benny Carter And His Orchestra–    Looking For A Boy 2:51
Alto Saxophone – Benny Carter, Russell Procope
Alto Saxophone, Baritone Saxophone – Willard Brown
Bass – John Simmons
Clarinet, Alto Saxophone – Tony Scott
Drums – J.C. Heard
Guitar – Freddie Green
Piano – Sonny White
Tenor Saxophone – Dexter Gordon, Don Byas
Trombone – Al Grey, Alton Moore, Sandy Williams, Trummy Young
Trumpet – Emmett Berry, Joe Newman, Neal Hefti, Shorty Rogers
Vocals – Maxine Sullivan
3-21    Benny Carter And His Orchestra–    Rose Room 2:57
Alto Saxophone – Benny Carter, Russell Procope
Alto Saxophone, Baritone Saxophone – Willard Brown
Bass – John Simmons
Clarinet, Alto Saxophone – Tony Scott
Drums – J.C. Heard
Guitar – Freddie Green
Piano – Sonny White
Tenor Saxophone – Dexter Gordon, Don Byas
Trombone – Al Grey, Alton Moore, Sandy Williams, Trummy Young
Trumpet – Emmett Berry, Joe Newman, Neal Hefti, Shorty Rogers
3-22    Arnold Ross Quintet–    The Moon Is Low 2:48
Alto Saxophone – Benny Carter
Bass – Artie Bernstein
Drums – Nick Fatool
Guitar – Allan Reuss
Piano – Arnold Ross
3-23    Arnold Ross Quintet–    Stairway To The Stars 3:07
Alto Saxophone – Benny Carter
Bass – Artie Bernstein
Drums – Nick Fatool
Guitar – Allan Reuss
Piano – Arnold Ross
3-24    Arnold Ross Quintet–    Bye Bye Blues 2:44
Alto Saxophone – Benny Carter
Bass – Artie Bernstein
Drums – Nick Fatool
Guitar – Allan Reuss
Piano – Arnold Ross
3-25    Arnold Ross Quintet–    I Don't Know Why I Love You, Like I Do 3:05
Alto Saxophone – Benny Carter
Bass – Artie Bernstein
Drums – Nick Fatool
Guitar – Allan Reuss
Piano – Arnold Ross
DISCS 4 : FUNKY BLUES    
4-1    Benny Carter Quartet–    Moonglow 2:51
Alto Saxophone – Benny Carter
Bass – Unknown Artist
Drums – Unknown Artist
Guitar – Unknown Artist
Piano – Sonny White
4-2    Benny Carter Quartet–    Give Me Something To Remember You By 2:47
Alto Saxophone – Benny Carter
Bass – Unknown Artist
Drums – Unknown Artist
Guitar – Unknown Artist
Piano – Sonny White
4-3    Benny Carter Quartet–    Lady Be Good 2:38
Alto Saxophone – Benny Carter
Bass – Unknown Artist
Drums – Unknown Artist
Guitar – Unknown Artist
Piano – Sonny White
4-4    Benny Carter Quartet–    Deep Purple 3:12
Alto Saxophone – Benny Carter
Bass – Unknown Artist
Drums – Unknown Artist
Guitar – Unknown Artist
Piano – Sonny White
4-5    Benny Carter & His Chocolate Dandies–    Sweet Georgia Brown 2:35
Bass – John Simmons
Clarinet, Alto Saxophone – Benny Carter
Drums – Sid Catlett
Piano – Sonny White
Tenor Saxophone – Ben Webster
Trombone – Al Grey
Trumpet – Buck Clayton
4-6    Benny Carter & His Chocolate Dandies–    Out Of My Way 3:00
Bass – John Simmons
Clarinet, Alto Saxophone – Benny Carter
Drums, Vocals – Sid Catlett
Piano – Sonny White
Tenor Saxophone – Ben Webster
Trombone – Al Grey
Trumpet – Buck Clayton
4-7    Benny Carter & His Chocolate Dandies–    What'll It Be 3:16
Bass – John Simmons
Clarinet, Alto Saxophone – Benny Carter
Drums – Sid Catlett
Piano – Sonny White
Tenor Saxophone – Ben Webster
Trombone – Al Grey
Trumpet – Buck Clayton
4-8    Benny Carter & His Chocolate Dandies–    Cadillac Slim 3:01
Bass – John Simmons
Clarinet, Alto Saxophone – Benny Carter
Drums – Sid Catlett
Piano – Sonny White
Tenor Saxophone – Ben Webster
Trombone – Al Grey
Trumpet – Buck Clayton
4-9    Norman Granz' Jam Session–    Jam Blues 14:19
Alto Saxophone – Benny Carter, Charlie Parker, Johnny Hodges
Bass – Ray Brown
Drums – J.C. Heard
Guitar – Barney Kessel
Piano – Oscar Peterson
Tenor Saxophone – Ben Webster, Flip Phillips
Trumpet – Charlie Shavers
4-10    Norman Granz' Jam Session–    What Is This Thing Called Love? 15:23
Alto Saxophone – Benny Carter, Charlie Parker, Johnny Hodges
Bass – Ray Brown
Drums – J.C. Heard
Guitar – Barney Kessel
Piano – Oscar Peterson
Tenor Saxophone – Ben Webster, Flip Phillips
Trumpet – Charlie Shavers
4-11    Norman Granz' Jam Session–    Funky Blues 13:11
Alto Saxophone – Benny Carter, Charlie Parker, Johnny Hodges
Bass – Ray Brown
Drums – J.C. Heard
Guitar – Barney Kessel
Piano – Oscar Peterson
Tenor Saxophone – Ben Webster, Flip Phillips
Trumpet – Charlie Shavers
5-12    Benny Carter And His Orchestra–    Isn't It Romantic? 3:40
Alto Saxophone – Benny Carter
Bass – Ray Brown
Drums – Buddy Rich
Guitar – Barney Kessel
Piano – Oscar Peterson
Strings – Unknown Artist
4-13    Benny Carter And His Orchestra–    Gone With The Wind 2:56
Alto Saxophone – Benny Carter
Bass – Ray Brown
Drums – Buddy Rich
Guitar – Barney Kessel
Piano – Oscar Peterson
4-14    Benny Carter And His Orchestra–    I Got It Bad And That Ain't Good 2:55
Alto Saxophone – Benny Carter
Bass – Ray Brown
Drums – Buddy Rich
Guitar – Barney Kessel
Piano – Oscar Peterson
4-15    Benny Carter And His Orchestra–    Key Largo 3:06
Alto Saxophone – Benny Carter
Bass – Ray Brown
Drums – Buddy Rich
Guitar – Barney Kessel
Piano – Oscar Peterson
Strings – Unknown Artist