LUIS RUSSELL AND HIS ORCHESTRA – 1945-1946 | The Chronogical Classics – 1066 (1999) FLAC (image+.cue), lossless

As different as can be from the Luis Russell recordings of the 1920s and early '30s, most of this material is heavily larded with male vocalists who use up lots of oxygen emulating Billy Eckstine. This was a stylistic trend during the years immediately following World War II, as entire big bands were yoked into subservience behind the all-important Big-Named Singer. As this development made Frank Sinatra and Perry Como into household words -- and caused Nat Cole to practically abandon the piano -- it paved the way for a morbid emphasis on the pop vocalist as cash cow core of the music business. This is a malady from which the industry has yet to recover. None of the singers heard on these Manor and Apollo sides enjoyed popular success, and neither did Russell's short-lived modernized big band. The young musicians who diligently back the singers are able to assert themselves wonderfully on three smoking instrumental tracks, which are as exciting as the vocal selections are soporific. Most noteworthy is the presence of 20-year-old percussionist Roy Haynes, who lathers up the ensemble on "Boogie in the Basement," "1280 Jive," and a bopping "Luke the Spook." The band also sings in unison during a novelty bounce called "I've Got a Gal." On these sides the orchestra sounds something like the rowdy big band being led during this same time period by Roy Eldridge. Additional excitement is generated by pianist Howard Biggs, trombonist Charles Stovall, and a very interesting tenor player by the name of Esmond Samuels. Confronted with only three or four hot jams surrounded by 18 syrupy vocals, the listener is left wishing that Luis Russell's last big band had been given the chance to record at least a dozen more of those tasty upbeat numbers with the instrumental talent out in front. Instead, this chronological package is swamped by gooey vocals without even the quirkiness of an Al Hibbler to relieve the sentimental congestion. arwulf arwulf
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BUDDY JOHNSON AND HIS BAND – 1939-1942 | The Classics Chronological Series – 884 (1996) FLAC (tracks+.cue), lossless

Pianist Buddy Johnson is best-known for leading a swinging, R&B-oriented big band in the late 1940s and '50s that, with his sister Ella Johnson as the main star, introduced "Since I Fell for You." On this CD from the European Classics label, Johnson's first 24 numbers recorded as a leader are reissued and most of the tracks were previously quite hard to come by. At the time Buddy Johnson was an Earl Hines-influenced pianist who was searching for his own sound. A few numbers feature vocals by the so-so Mack Sisters and various bandmembers including the leader himself, but it is the songs with Ella Johnson (particularly "Please, Mister Johnson" and "It's the Gold") that stand out. During the two-year period covered by this CD, Johnson's band grew from a septet to a nonet, but the glory years were still in the future. Scott Yanow
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BUDDY JOHNSON AND HIS ORCHESTRA – 1942-1947 | The Classics Chronological Series – 1079 (1999) FLAC (tracks+.cue), lossless

1942-1947 is the second volume chronicling Buddy Johnson's piano-led jump blues with his orchestra. An enjoyable listen, it offers a good sampling of the different vocalists Johnson worked with, including Chester Boone, James Lewis, Warren Evans, and -- happily -- seven tunes featuring the warm vocals of his sister Ella Johnson. "Let's Beat Out Some Love" and "Fine Brown Frame" are some of the only covers amidst Johnson-penned numbers such as "South Main," "Walk 'Em," and his biggest hit with Ella, "Since I Fell for You." Joslyn Layne
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SAM PRICE AN HIS TEXAS BLUSICIAN – 1929-1941 | The Classics Chronological Series – 696 (1993) FLAC (tracks+.cue), lossless

This single CD from the European Classics label collects all of pianist Sammy Price's prewar recordings as a leader. Despite its title, only two titles preceded the 1940-41 period: "Blue Rhythm Stomp" by Price's Four Quarters in 1929, and "Nasty But Nice," which finds Price on the same day accompanying trombonist Bert Johnson. Otherwise, the music features Price's Texas Blusicians, New York-based septets and octets put together especially for recordings. The emphasis is on blues, with Price taking several vocals, but such notable guests as altoist Don Stovall, trumpeters Shad Collins and Emmett Berry and (on four songs) tenor great Lester Young uplift the music. Recommended to small-group swing collectors. Scott Yanow
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