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 :
2.10.23
DIZZY GILLESPIE – 1945 | The Classics Chronological Series – 888 (1996) FLAC (tracks+.cue), lossless
30.9.23
BLANCHE CALLOWAY AND HER JOY BOYS – 1925-1935 | The Classics Chronological Series – 783 (1994) FLAC (image+.cue), lossless
21.9.23
STUFF SMITH AND HIS ONYX CLUB BOYS – 1936-1939 | The Classics Chronological Series – 706 (1993) FLAC (tracks+.cue), lossless
This delightful CD has the first 24 titles ever led by violinist Stuff Smith, virtually all of Smith's prewar recordings and the complete output of the violinist's Onyx Club Boys (other than four songs from 1940). With trumpeter Jonah Jones and occasional drummer Cozy Cole the stars of the supporting cast, this was one of the top swing combos of the era. Smith's hard-swinging violin, his enthusiastic vocals, and his interplay with Jones made this a particularly hot unit. In addition to the hit "I'se A-Muggin'," highlights of the disc include "I Hope Gabriel Likes My Music," "After You've Gone," "You'se a Viper," "Old Joe's Hittin' the Jug," "Twilight in Turkey," and the classic "Here Comes the Man With the Jive." Highly recommended Scott Yanow Tracklist + Credits :
14.9.23
BEN WEBSTER – 1944-1946 | The Chronogical Classics – 1017 (1998) FLAC (tracks+.cue), lossless
Most Ben Webster albums on the market today seem to be reissues from his magnificent autumnal years, majestically lush or bearishly brusque. It's good to have a chronological sampling of Webster's work from the mid-'40s, in order to appreciate exactly how he developed into the Ben Webster of 1959 and 1969. After popping up on early big band swing records by Bennie Moten and Willie Bryant, Webster came into his own as the first really exceptional tenor saxophonist to be featured with Duke Ellington's Orchestra. What we have here is the post-Ellington Ben Webster. His tone has gotten bigger and wider, grittily sensuous and invariably warm like a pulse in the jugular. The first eight tracks were made for radio broadcast purposes in February of 1944. The combination of Hot Lips Page and Ben Webster is a bitch. There are strolling romps with titles like "Woke Up Clipped," "Dirty Deal" and "'Nuff Said," lively stomps built on to the changes of "Tea for Two" and "I Got Rhythm," and two choice examples of Webster developing his ballad chops. "Perdido," from a quartet session recorded near the end of March 1944, is positively stunning. Webster has definitely tapped into something primal, and no one can hear him without being at least partially transformed by the sounds of his saxophone. April Fool's day, 1944 found Webster in the company of tenors Budd Johnson and Walter "Foots" Thomas, with trumpeter Emmett Berry and a modern rhythm section. "Broke but Happy" is a sweet jaunt, real solid, especially when the saxes take over in unison. But the main reason to get your own copy of Classics 1017 is to have the Savoy session of April 17th, 1944. Gracefully accompanied by Johnny Guarnieri, Oscar Pettiford and David Booth, Webster blows four of the greatest three-minute recordings of his entire career. "Kat's Fur" is a goosed up, improved version of "'Nuff Said." "I Surrender Dear" runs even deeper than the two other versions included on this disc. "Honeysuckle Rose" and especially "Blue Skies" each represent Ben Webster at his toughest and truest. This is a rare blend of musk, and it's not synthetic. It's the real thing. arwulf arwulf
Tracklist + Credits :
3.9.23
HOT LIPS PAGE – 1940-1944 | The Chronogical Classics – 809 (1995) FLAC (tracks+.cue), lossless
For fans of small-combo jazz from the '40s (pre-bebop, that is), Hot Lips Page's many sides offer that perfect marriage of jazz licks and blues atmospherics. And although Page wasn't necessarily a trumpet ace in the league of Armstrong or Cootie Williams, his irrepressible style and raspy-to-bright tone usually enlivened most every date he graced (just check out his early work on Bennie Moten's epochal 1932 recordings). Page also could have made a handsome living just as a blues singer; his was a gruff and driving voice equally at home on both the serious and novelty end of the form. This Classics release brings together a fetching mix from Page's 1940-1944 freelancing prime, with a large dose of his vocal work getting nicely framed by the day's top jazz players. Two highlights from the first part here include "Evil Man Blues" and "Just Another Woman," two of Page's best vocals featuring Leonard Feather on piano and Teddy Bunn on guitar. The majority of the remaining tracks are ones Page and his band cut in 1944. Amidst the prevailing after-hours mood, there's a wealth of fine soloing by the likes of Don Byas, Chu Berry, Lucky Thompson, and Vic Dickenson. This disc might not make it into any jazz polls, but it's a solid collection for those who love Page's infectious style and sophisticated jump grooves. Stephen Cook
Tracklist + Credits :
1.8.23
HENRY "RED" ALLEN AND HIS ORCHESTRA – 1936-1937 | The Chronogical Classics – 590 (1991) FLAC (tracks+.cue), lossless
The fourth in the Classics label's five-CD series of Red Allen recordings reissues 20 obscure performances from a seven-month period. Although Red Allen was mostly playing with big bands during the 1930s, these small-group sides gave him a chance to be showcased quite a bit more than usual. Allen takes vocals on each of the tunes and, although many of the songs are long forgotten, his trumpet solos and the improvisations of altoist Tab Smith, clarinetist Buster Bailey and Ted McRae on tenor keep one's interest. This is actually the weakest of the five CDs but all are worth picking up. Scott Yanow
Tracklist + Credits :
30.7.23
COZY COLE – 1944-1945 | The Chronogical Classics – 865 (1992) FLAC (tracks+.cue), lossless
This Classics CD reissues drummer Cozy Cole's sessions for Continental, Keynote, and Guild, most of which have been out of print for years. The two Continental dates feature overlapping all-star groups (with trumpeter Charlie Shavers, clarinetist Hank D'Amico, Coleman Hawkins, Walter "Foots" Thomas, and/or Don Byas on tenors, Clyde Hart or Johnny Guarnieri on piano, guitarist Tiny Grimes, bassist Slam Stewart, and the drummer/leader), but are sometimes a bit frustrating. Since every player is a potential soloist and the performances are limited to around three minutes apiece, the solos are almost cameos, generally eight or 16 bars apiece. The most memorable spot, Hawkins' exploration of "When Day Is Done," finds the great tenor doing what he can with his half chorus. The Keynote session is most notable for Don Byas' solos and for the recording debut of 20-year-old trumpeter Shorty Rogers. The Guild sides have Byas well showcased in a quintet, two extensive drum features ("Stompin" and "Strictly Drums"), and three dramatic vocals from June Hawkins. Overall, this is an interesting and enjoyable CD -- swing music with slight touches of bop. Scott Yanow
Tracklist :
20.7.23
ROY ELDRIDGE – 1935-1940 | The Classics Chronological Series – 725 (1993) FLAC (image+.cue), lossless
Although the recordings made by the Delta Four on December 20, 1935, were not issued under the leadership of Roy Eldridge, they form the perfect beginning for a chronological survey of Eldridge's adventures as a major influential artist in the evolution of jazz trumpet between Louis Armstrong in the 1920s and Dizzy Gillespie in the 1940s. The Delta Four were one fine little swing machine. Their "Farewell Blues" has a solid bounce and Eldridge seems to sail over the heads of the rhythm players during "Swingin' at the Famous Door." In 1936 Eldridge's orchestra was equipped with Chu Berry, Buster Bailey, John Kirby, and Sid Catlett. A pity listeners only get to hear one example of this band's handiwork, as Decca rejected its recording of "Christopher Columbus" and apparently asked for nothing more out of this powerful ensemble. In January of 1937 Eldridge managed to make a handful of records for Vocalion. His brother Joe Eldridge wrote arrangements and played alto next to Scoops Carry in the reed department. With Dave Young blowing tenor and Truck Parham in the rhythm section alongside Zutty Singleton, this was one hell of a band. Eldridge cut a lot of versions of "After You've Gone" over the years. The one heard here, with a vocal by Gladys Palmer, predates the famous funny false-start versions of the '40s. Regarding the singers heard on this CD, they're OK but Eldridge is the best. His delightful rendition of "You're a Lucky Guy" feels like a sweet premonition of Billie Holiday's version, which was recorded a couple of months later for Vocalion. The Eldridge Orchestra as heard on the 1939 Varsity recordings featured reedmen Franz Jackson and Prince Robinson, with pianists Kenny Kersey and Clyde Hart. Bassist Ted Sturgis was highlighted during a hot stomp for big band entitled "Pluckin' the Bass." Milt Hinton had ground out his own version of this tune -- composed by the Eldridge brothers -- with Cab Calloway's Orchestra several months prior to the recording heard here. Eldridge's band also blew off some steam working up the old traditional numbers "High Society" and "Muskrat Ramble." This chronological grab bag finishes up with four handsome if conventional big-band recordings from February 1940 by Freddie Rich & His Orchestra. The vocal tracks are not especially substantial. What distinguished this band was the collective presence of Roy Eldridge, Benny Carter, Babe Russin, Clyde Hart, and Hayes Alvis. Only the instrumentals -- "Till We Meet Again" and "I'm Forever Blowing Bubbles" -- really carry any weight. arwulf arwulf
Tracklist + Credits :
5.6.23
DON BYAS – 1944-1945 | The Classics Chronological Series – 882 (1996) FLAC (tracks+.cue), lossless
Don Byas was one of the great tenor saxophonists of the 1940s, a Coleman Hawkins-influenced improviser who developed a complex style of his own. His permanent move to Europe in 1946 cut short any chance he had of fame, but Byas recorded many worthy performances during the two years before his departure. On Classics' first Don Byas CD (which contains his first 21 numbers as a leader), Byas matches wits and power with trumpeter Charlie Shavers on two heated sessions that include pianist Clyde Hart and bassist Slam Stewart. He also plays swing with trumpeter Joe Thomas and pianist Johnny Guarnieri in a 1945 quintet and leads a quartet that, on four of its eight numbers, welcomes the great blues guitarist/singer Big Bill Broonzy. Highlights include "Riffin' and Jivin'," "Don's Idea," the two-part "Savoy Jam Party," "1944 Stomp" (which has been adopted by 1990s saxophonist James Carter), "Pennies From Heaven," "Jamboree Jump," and "Just a Dream." This music was originally put out by Savoy, Jamboree, and Hub. Highly recommended. Scott Yanow
18.5.23
JOHN KIRBY AND HIS ORCHESTRA – 1941-1943 | The Classics Chronological Series – 792 (1994) FLAC (tracks+.cue), lossless
The third John Kirby CD from the European Classics label has 21 performances that trace Kirby's unique sextet from the peak of its popularity in 1941 through the war years. In addition to a dozen songs originally released by Victor, this set has nine rarer numbers that appeared on V-Discs. With trumpeter Charlie Shavers, clarinetist Buster Bailey, and altoist Russell Procope (along with pianist Billy Kyle and drummer O'Neil Spencer), Kirby was able to form an unusual and very distinctive group sound that, although comprised of swing virtuosos, looked toward the cool jazz of the 1950s. The band was starting to come apart a bit by the later tracks of this CD, with first Specs Powell and then Bill Beason replacing the late Spencer, George Johnson ably filling in for Procope, and Shavers departing before the final number; however, the group sound remained intact. Among the many highlights of this CD are "Coquette," "Royal Garden Blues," "Night Whispers," "St. Louis Blues," and "9:20 Special." Scott Yanow
Tracklist + Credits :
12.4.23
PUTNEY DANDRIDGE AND HIS ORCHESTRA – 1936 | The Classics Chronological Series – 869 (1996) FLAC (tracks+.cue), lossless
Tracklist
1 It's a Sin to Tell a Lie 2:52
Billy Mayhew
2 All My Life 3:11
Sidney Mitchell / Sam H. Stept
3 Ol' Man River 2:48
Oscar Hammerstein II / Jerome Kern
4 Why Was I Born? 2:50
Oscar Hammerstein II / Jerome Kern
5 These Foolish Things 2:25
Harry Link / Holt Marvell / Jack Strachey
6 Cross Patch 2:40
Vee Lawnhurst / Tot Seymour
7 A Star Fell Out of Heaven 2:36
Mack Gordon / Harry Revel
8 Mary Had a Little Lamb 2:45
Matty Malneck / Marty Symes
9 Here Comes Your Pappy 2:36
Harry Tobias
10 If We Never Meet Again 2:40
Louis Armstrong / Horace Gerlach
11 Sing Baby Sing 2:24
Channing Pollack / Jack Yellen
12 You Turned the Tables on Me 2:38
Louis Alter / Sidney Mitchell
13 It's the Gypsy in Me 2:39
Harry Tobias
14 When a Lady Meets a Gentleman Down South 2:38
Michael Cleary / Jacques Krakeur III / David Oppenheim
15 A High Hat, a Piccolo and a Cane 2:28
Harry Akst / Lew Brown / Sammy Fain
16 Easy to Love 2:41
Cole Porter
17 You Do the Darn'dest Things, Baby 2:41
Sidney Mitchell / Channing Pollack
18 The Skeleton in the Closet 2:33
Johnny Burke / Arthur Johnston
19 I'm in a Dancing Mood 2:46
Al Goodhart / Al Hoffman / Maurice Sigler
20 With Plenty of Money and You 2:29
Al Dubin / Harry Warren
21 That Foolish Feeling 2:28
Harold Adamson / Jimmy McHugh
2 Gee! But You're Swell 2:32
Harry Tobias
11.4.23
CHU BERRY – 1937-1941 (1994) The Chronogical Classics – 784 | FLAC (tracks+.cue), lossless
One has to invest in a few discs to track down most of Chu Berry's
recordings as a leader. And while some of his best sides are available
from Commodore, there are still many cuts from throughout his career
that have been hard to come by. Now, Classics has collected a good chunk
of the tenor luminary's solo sides on this welcome collection -- in
lieu of a badly needed and thorough retrospective that should include
both solo material and tracks from Berry's numerous dates with Cab
Calloway, Fletcher Henderson, Lionel Hampton, Billie Holiday, Dizzy
Gillespie, and scores of other bandleaders and vocalists, this remains
the best roundup available. Bookended by a 1937 session with his Stompy
Stevedores and four 1941 sides featuring Charlie Ventura (including two
alternate takes), this disc's main attraction has to be the eight
numbers from Berry's respective 1938 and 1941 sessions with Roy Eldridge
and Hot Lips Page. A solid collection that's perfect for newcomers. Now
all we need is for the Smithsonian's music arm to resurrect its
invaluable, multi-label reissue series, so Berry can finally get his
due. Stephen Cook
Tracklist
1 –Chu Berry And His Stompy Stevedores - Now You're Talking My Language 2:55
Bass – Israel Crosby
Clarinet – Buster Bailey
Drums – Cozy Cole
Guitar – Lawrence Lucie
Piano – Horace Henderson
Trombone – George Matthews
Trumpet, Vocals – Hot Lips Page
Written-By – Stept, Mitchell, Koehler
2 –Chu Berry And His Stompy Stevedores - Indiana 2:46
Bass – Israel Crosby
Clarinet – Buster Bailey
Drums – Cozy Cole
Guitar – Lawrence Lucie
Piano – Horace Henderson
Trombone – George Matthews
Trumpet – Hot Lips Page
Written-By – MacDonald, Hanley
3 –Chu Berry And His Stompy Stevedores - Too Marvelous For Words 2:54
Bass – Israel Crosby
Clarinet – Buster Bailey
Drums – Cozy Cole
Guitar – Lawrence Lucie
Piano – Horace Henderson
Trombone – George Matthews
Trumpet, Vocals – Hot Lips Page
Written-By – Mercer, Whiting
4 –Chu Berry And His Stompy Stevedores - Limehouse Blues 2:52
Bass – Israel Crosby
Clarinet – Buster Bailey
Drums – Cozy Cole
Guitar – Lawrence Lucie
Piano – Horace Henderson
Trombone – George Matthews
Trumpet – Hot Lips Page
Written-By – Farber, Braham
5 –Chu Berry And His Stompy Stevedores - Chuberry Jam 2:17
Bass – Milton Hinton
Drums – Leroy Maxey
Guitar – Danny Barker
Piano – Benny Payne
Trombone – Keg Johnson
Trumpet – Irving Randolph
Written-By – Berry
6 –Chu Berry And His Stompy Stevedores - Maelstrom 2:47
Bass – Milton Hinton
Drums – Leroy Maxey
Guitar – Danny Barker
Piano – Benny Payne
Trombone – Keg Johnson
Trumpet – Irving Randolph
Written-By – Berry
7 –Chu Berry And His Stompy Stevedores - My Secret Love Affair 2:50
Bass – Milton Hinton
Drums – Leroy Maxey
Guitar – Danny Barker
Piano, Vocals – Benny Payne
Trombone – Keg Johnson
Trumpet – Irving Randolph
Written-By – Pollack, Mitchell
8 –Chu Berry And His Stompy Stevedores - Ebb Tide 2:45
Bass – Milton Hinton
Drums – Leroy Maxey
Guitar – Danny Barker
Piano – Benny Payne
Trombone – Keg Johnson
Trumpet – Irving Randolph
Written-By – Robin, Rainger
9 –Chu Berry And His "Little Jazz" Ensemble - Sittin' In 2:09
Bass – Artie Shapiro
Drums – Sidney Catlett
Guitar – Danny Barker
Piano – Clyde Hart
Trumpet – Roy Eldridge
Written-By – Milt Gabler
10 –Chu Berry And His "Little Jazz" Ensemble - Stardust 3:52
Bass – Artie Shapiro
Drums – Sidney Catlett
Guitar – Danny Barker
Piano – Clyde Hart
Trumpet – Roy Eldridge
Written-By – Carmichael, Parish
11 –Chu Berry And His "Little Jazz" Ensemble - Body And Soul 3:49
Bass – Artie Shapiro
Drums – Sidney Catlett
Guitar – Danny Barker
Piano – Clyde Hart
Trumpet – Roy Eldridge
Written-By – Heyman, Eyton, Green, Sour
12 –Chu Berry And His "Little Jazz" Ensemble - Forty-Six West Fifty-Two 2:28
Bass – Artie Shapiro
Drums – Sidney Catlett
Guitar – Danny Barker
Piano – Clyde Hart
Trumpet – Roy Eldridge
Written-By – Berry, Gabler
13 –Chu Berry And His Jazz Ensemble - Blowing Up A Breeze 2:38
Bass – Al Morgan
Drums – Harry Jaeger
Guitar – Albert Casey
Piano – Clyde Hart
Trumpet – Hot Lips Page
Written-By – Page, Berry, Gabler
14 –Chu Berry And His Jazz Ensemble - On The Sunny SIde Of The Street 3:50
Bass – Al Morgan
Drums – Harry Jaeger
Guitar – Albert Casey
Piano – Clyde Hart
Written-By – Fields, McHugh
15 –Chu Berry And His Jazz Ensemble - Monday At Minton's (What's It To You?) 2:53
Bass – Al Morgan
Drums – Harry Jaeger
Guitar – Albert Casey
Piano – Clyde Hart
Trumpet – Hot Lips Page
Written-By – Page, Berry, Gabler
16 –Chu Berry And His Jazz Ensemble - Gee, Ain't I Good To You? 4:05
Bass – Al Morgan
Drums – Harry Jaeger
Guitar – Albert Casey
Piano – Clyde Hart
Trumpet, Vocals – Hot Lips Page
Written-By – Redman
17 –Chu Berry And Charlie Ventura Dream Girl - Part 1 2:00
Traditional
18 –Chu Berry And Charlie Ventura Dream Girl - Part 2 2:25
Written-By – Redman
17 –Chu Berry And Charlie Ventura Dream Girl - Part 1 2:00
Traditional
19 –Chu Berry And Charlie Ventura Get Lost - Part 1 2:01
Written-By – Redman
17 –Chu Berry And Charlie Ventura Dream Girl - Part 1 2:00
Traditional
20 –Chu Berry And Charlie Ventura Get Lost - Part 2 2:02
Traditional
Credits :
Bass – Unknown Artist (tracks: 17 to 20)
Drums – Unknown Artist (tracks: 17 to 20)
Piano – Unknown Artist (tracks: 17 to 20)
Tenor Saxophone – Charlie Ventura (tracks: 17 to 20),
Chu Berry, Unknown Artist (tracks: 17 to 20)
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KNUT REIERSRUD | ALE MÖLLER | ERIC BIBB | ALY BAIN | FRASER FIFIELD | TUVA SYVERTSEN | OLLE LINDER — Celtic Roots (2016) Serie : Jazz at Berlin Philharmonic — VI (2016) FLAC (tracks+.cue), lossless
An exploration of the traces left by Celtic music on its journey from European music into jazz. In "Jazz at Berlin Philharmonic," ...