DON BYAS – 1952 | The Classics Chronological Series – 1372 (2004) FLAC (tracks+.cue), lossless

The eighth volume in the complete recordings of Oklahoma native Carlos Wesley "Don" Byas consists of 23 recordings he made in Paris during the spring and summer of 1952. Nine wonderful sides recorded for the Blue Star label on April 10th of that year are classic Byas -- lots of lush ballads and an occasional kicker -- with excellent rhythm support by pianist Art Simmons, bassist Joe Benjamin, and drummer Bill Clark. The remaining tracks presented here were originally issued on the Vogue label. Six lovely melodies recorded on May 21st feature guitarist Marcel Bianchi and bassist Pierre Michelot, while eight tunes rendered on July 18th are enhanced by the addition of a vibraphone. Byas was both a master of romantic exposition and a formidable improviser at brisk tempos, comparable to Coleman Hawkins yet possessed of a spirit entirely his own. This material will be new to some of those who live outside of Europe, and for this reason the producers of the Classics Chronological Series are to be warmly commended for having brought out another excellent volume of vintage jazz music for all to hear. arwulf arwulf

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DON BYAS – 1952-1953 | The Classics Chronological Series – 1414 (2006) FLAC (tracks+.cue), lossless

Volume nine in the complete chronological recordings of Carlos Wesley Don Byas presents 21 recordings made for the Vogue label in Paris between July 18, 1952 and December 8, 1953. U.S. jazzheads should be grateful to the producers of the Classics reissue project for making these very European recordings available on compact disc throughout the civilized world, and in North America. Opening with the remainder of a sax-and-vibes quintet session from July 1952, this portion of the chronology quickly moves into less intimate territory with two sessions featuring Byas in front of large Parisian big bands. The songs chosen for use on these dates -- Georges Auric's sunny-simple "Moulin Rouge," for example -- were all drawn from contemporary French pop culture. While these tuneful ditties with arranged backgrounds may not seem as relaxed and spontaneous as the smaller group blowing sessions, the saxophonist sounds completely relaxed and happy to be treated with the respect that was usually granted him in mainland Europe. On November 24 and December 8, 1953, Don Byas resumed making records accompanied by a sympathetic rhythm section, with Martial Solal at the piano and Pierre Michelot handling the string bass. Points of fascination include Jerome Kern's "Remember My Forgotten Man," a Depression-Era social commentary piece originally staged and filmed by Busby Berkeley; an "Unknown Original"; a revision of "Harvard Blues" here titled "Blues for Don Carlos" and a slice of verité bearing the initials "G.D.B.," a reference to the phrase "gueule de bois," which is French vernacular for a beastly hangover. arwulf arwulf
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BILL COLEMAN – 1951-1952 | The Classics Chronological Series – 1339 (2002) FLAC (tracks+.cue), lossless

Bill Coleman is woefully unsung in jazz circles, probably because he spent half his professional career as an expatriate American jazz musician living in Europe. An excellent swing trumpeter, Coleman had an affinity for the blues as well, and this collection of sides from 1951 and 1952 shows a wonderfully lyric player on such tracks as the opener, "Bing Bang Blues," and such classic standards as "Lester Leaps In," "Pennies From Heaven," and the two-part "St. Louis Blues." Coleman shows an affable and comfortable vocal style (although its good that he never set aside his horn) as well on a couple cuts here, the telling "The Blues Jumped and Got Me" and the set closer, the immortal "St. James Infirmary." Steve Leggett
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