ROSA HENDERSON — Complete Recorded Works In Chronological Order Volume 1 (1923) DOCD-5401 (1995) FLAC (tracks+.cue), lossless

All of classic blues singer Rosa Henderson's recordings are available on four CDs from the Austrian Document label. The first volume mostly has Henderson accompanied by pianist Fletcher Henderson (no relation), with one number apiece with sidemen from Henderson's early band and the Virginians. The young tenor Coleman Hawkins pops up on "It Won't Be Long Now," while cornetist Thomas Morris and pianist Louis Hooper help out on two numbers. None of the 22 songs on this CD became hits but quite a few are memorable, including "I Ain't No Man's Slave," "So Long to You and the Blues," "He May Be Your Dog But He's Wearing My Collar," and "Got the World in a Jug, the Stopper's in My Hand." Scott Yanow
Tracklist :
1.    I'm Broke Fooling With You  3:15
Piano – Unknown Artist
Vocals – Rosa Henderson
2.    I Ain't No Man's Slave  3:16
Piano – Unknown Artist
Vocals – Rosa Henderson
3.    Good Woman's Blues  3:10
Piano – Wendell P. Talbert
Vocals – Rosa Henderson
4.    I'm Broke Fooling With You  3:01
Piano – Wendell P. Talbert
Vocals – Rosa Henderson
5.    Where (Can That Somebody Be)  2:52
Piano – Fletcher Henderson
Vocals – Rosa Henderson
6.    Down South Blues  3:09
Piano – Fletcher Henderson
Vocals – Rosa Henderson
7.    Afternoon Blues  3:09
Piano – Fletcher Henderson
Vocals – Rosa Henderson
8.    I Need You  3:15
Piano – Fletcher Henderson
Vocals – Rosa Henderson
9.    Midnight Blues (A Wee Hour Chant)  3:08
Alto Saxophone – Don Redman
Banjo – Charlie Dixon
Bass Saxophone – Coleman Hawkins
Clarinet – Edgar Campbell 
Cornet [Either/Or] – Elmer Chambers, Howard Scott 
Piano – Fletcher Henderson
Trombone – Teddy Nixon
Vocals – Rosa Henderson
10.    So Long To You And The Blues  3:26
Piano – Fletcher Henderson
Vocals – Rosa Henderson
11.    If You Don't Give Me What I Want (I'll Get It Somewhere Else)  3:10
Piano – Fletcher Henderson
Vocals – Rosa Henderson
12.    Low-Down Papa (Sweet Mamma's Blues)  3:02
Piano – Fletcher Henderson
Vocals – Rosa Henderson
13.    Struttin' Blues  3:08
Alto Saxophone – Don Clark, Hale Byers
Banjo – Mike Pingitore
Brass Bass – Jack Barsby
Clarinet – Ross Gorman
Cornet – Frank Siegrist, Henry Busse
Orchestra – The Virginians
Piano – Ferdie Grofe
Trombone – Sammy Lewis
Vocals – Rosa Henderson
14.    It Won't Be Long Now  3:06
Piano – Fletcher Henderson
Tenor Saxophone – Coleman Hawkins
Vocals – Rosa Henderson
15.    Every Woman's Blues (12070)  2:55
Piano – Fletcher Henderson
Vocals – Rosa Henderson
16.    Every Woman's Blues (12071)  2:49
Piano – Fletcher Henderson
Vocals – Rosa Henderson
17.    I Want My Sweet Daddy Now  3:15
Piano – Fletcher Henderson
Vocals – Rosa Henderson
18.    He May Be Your Dog But He's Wearing My Collar  3:06
Piano – Fletcher Henderson
Vocals – Rosa Henderson
19.    Got The World In A Jug (The Stopper's In My Hand)  3:10
Piano – Fletcher Henderson
Vocals – Rosa Henderson
20.    When You Walked Out (Someone Else Walked Right In)  3:15
Piano – Fletcher Henderson
Vocals – Rosa Henderson
21.    He's Never Gonna Throw Me Down 2:54
Piano – Louis Hooper
Vocals – Rosa Henderson
22.    Every Day Blues  2:43
Piano – Louis Hooper
Vocals – Rosa Henderson 

ROSA HENDERSON — Complete Recorded Works In Chronological Order Volume 2 (1924) DOCD-5402 (1995) FLAC (tracks+.cue), lossless

The second of four Document CDs that reissue all of the recordings of the classic blues singer Rosa Henderson mostly has the vocalist accompanied by the unrelated pianist Fletcher Henderson and his sidemen (including cornetist Joe Smith, altoist Don Redman, and tenor saxophonist Coleman Hawkins) or by the Choc Choo Jazzers, a small group with pianist Cliff Jackson. Best among the 23 selections are "I'm a Good Gal But I'm a Thousan' Miles From Home," "West Indies Blues," "My Papa Doesn't Two-Time No Time," "Strut Yo' Puddy," and "Somebody's Doing What You Wouldn't Do." Although she would eventually slip into obscurity, Rosa Henderson was one of the better blues singers of the period. Scott Yanow
Tracklist :
1.    Rosa Henderson–    I'm A Good Gal (But I'm A Thousan' Miles From Home)  3:10
Banjo – Charlie Dixon
Clarinet – Don Redman
Cornet – Elmer Chambers
Orchestra – Fletcher Henderson's Jazz Five
Piano – Fletcher Henderson
Trombone – Teddy Nixon
Vocals – Rosa Henderson
2.    Rosa Henderson–    Papa Will Be Gone  3:26
Banjo – Charlie Dixon
Clarinet – Don Redman
Cornet – Elmer Chambers
Orchestra – Fletcher Henderson's Jazz Five
Piano – Fletcher Henderson
Trombone – Teddy Nixon
Vocals – Rosa Henderson
3.    Rosa Henderson–    Hey Hey And He He, I'm Charleston Crazy  2:53
Cornet – Joe Smith 
Piano – Fletcher Henderson
Vocals – Rosa Henderson
4.    Rosa Henderson–    Do Right Blues  3:22
Cornet – Joe Smith 
Piano – Fletcher Henderson
Vocals – Rosa Henderson
5.    Rosa Henderson–    Goin' Home  2:12
Piano [Poss.] – Porter Grainger
Steel Guitar – Lincoln M. Conaway
Vocals – Rosa Henderson
6.    Rosa Henderson–    West Indies Blues (42602)  2:18
Piano [Poss.] – Porter Grainger
Steel Guitar – Lincoln M. Conaway
Vocals – Rosa Henderson
7.    Rosa Henderson–    How Come You Do Me Like You Do  3:18
Piano – Fletcher Henderson
Vocals – Rosa Henderson
8.    Rosa Henderson–    My Papa Doesn't Two-Time No Time  3:05
Piano – Fletcher Henderson
Vocals – Rosa Henderson
9.    Rosa Henderson–    Clearing House Blues  2:57
Banjo – Charlie Dixon
Clarinet – Don Redman
Cornet – Elmer Chambers
Orchestra – Fletcher Henderson's Jazz Five
Piano – Fletcher Henderson
Speech [Male], Vocals [Male] – Unknown Artist
Trombone – Teddy Nixon
Vocals – Rosa Henderson
10.    Rosa Henderson–    West Indies Blues (12846/47)  2:59
Banjo – Charlie Dixon
Clarinet – Don Redman
Cornet – Elmer Chambers
Orchestra – Fletcher Henderson's Jazz Five
Piano – Fletcher Henderson
Speech [Male], Vocals [Male] – Unknown Artist
Trombone – Teddy Nixon
Vocals – Rosa Henderson
11.    Rosa Henderson–    Back Woods Blues  2:42
Cornet [Prob.] – Howard Scott 
Orchestra – Henderson And His Orchestra
Piano – Fletcher Henderson
Vocals – Rosa Henderson
12.    Rosa Henderson–    Four-Flushin' Papa  3:09
Cornet [Prob.] – Howard Scott 
Orchestra – Henderson And His Orchestra
Piano – Fletcher Henderson
Vocals – Rosa Henderson
13.    Rosa Henderson–    Black Star Line (A West Indian Chant)  2:48
Piano – Edgar Dowell
Vocals – Rosa Henderson
14.    Rosa Henderson–    Barbadoes Blues  2:52
Effects – Unknown Artist
Piano – Edgar Dowell
Vocals – Rosa Henderson
15.    Rosa Henderson–    Chicago Monkey Man Blues  3:13
Piano – Edgar Dowell
Vocals – Rosa Henderson
16.    Rosa Henderson–    How'm I Gonna Get 'em (When You Keep On Holding 'Em Back)  3:11
Vocals – Rosa Henderson
17.    Rosa Henderson–    Barrel House Blues (13252)  3:03
Piano – Fletcher Henderson
Vocals – Rosa Henderson
18.    Rosa Henderson–    My Right Man  3:12
Piano – Fletcher Henderson
Vocals – Rosa Henderson
19.    Rosa Henderson Featured Vcl With Fletcher Henderson And His Club Alabam Orchestra–    Do That Thing  3:07
Banjo – Charlie Dixon
Brass Bass – Ralph Escudero
Clarinet, Alto Saxophone – Don Redman
Cornet – Elmer Chambers, Howard Scott 
Drums – Kaiser Marshall
Orchestra – Fletcher Henderson And His Club Alabam Orchestra
Piano – Fletcher Henderson
Tenor Saxophone – Coleman Hawkins
Trombone – Teddy Nixon
Vocals – Rosa Henderson
20.    Rosa Henderson–    I Can't Get The One I Want  2:54
Orchestra – Choo Choo Jazzers
Piano – Cliff Jackson
Trumpet – Harry Smith 
Vocals – Rosa Henderson
21.    Sally Ritz–    Barrel House Blues (5555)  3:16
Piano – Edgar Dowell
Vocals – Rosa Henderson
22.    Rosa Henderson And Choo Choo Jazzers–    Strut Yo' Puddy  2:53
Orchestra – Choo Choo Jazzers
Piano – Cliff Jackson
Trumpet [Prob.] – Rex Stewart
Vocals – Rosa Henderson
23.    Rosa Henderson And Choo Choo Jazzers–    Somebody's Doing What You Wouldn't Do 2:56
Clarinet – Bob Fuller
Orchestra – Choo Choo Jazzers
Piano – Cliff Jackson
Vocals – Rosa Henderson 

MILT JACKSON & COLEMAN HAWKINS — Bean Bags (1957) RM | HDCD | Serie Jazz Best Collection 1000 – 4 | Two Version | FLAC (tracks+.cue), lossless

Many of vibraphonist Milt Jackson's Atlantic recordings are long overdue to appear on CD, and that certainly includes Bean Bags, which features a meeting with the great tenor Coleman Hawkins. Assisted by a top-notch quartet (pianist Tommy Flanagan, guitarist Kenny Burrell, bassist Eddie Jones, and drummer Connie Kay), Bean Bags romps through "Stuffy," "Get Happy," a pair of Jackson originals, and two fine ballads, with "Don't Take Your Love From Me" being particularly memorable. Scott Yanow
Tracklist :
1.    Close Your Eyes  7:25
Written-By – Bernice Petkere
2.    Stuffy  5:41
Written-By – Coleman Hawkins
3.    Don't Take Your Love From Me  4:49
Written-By – Henry Nemo
4.    Get Happy  5:28
Written-By – Harold Arlen, Ted Koehler
5.    Sandra's Blues  6:38
Written-By – Milt Jackson
6.    Indian Blues  6:07
Written-By – Milt Jackson
Credits :
Bass – Eddie Jones
Drums – Connie Kay
Guitar – Kenny Burrell
Piano – Tommy Flanagan
Tenor Saxophone – Coleman Hawkins
Vibraphone [Vibraharp] – Milt Jackson

TINA LOUISE — It's Time For Tina : The Songs of Tina Louise (1957-1995) FLAC (tracks), lossless

Kitsch value aside, what makes It's Time for Tina a cut above most celebrity reissues is the album's conceptual ambition: its sultry songs are arranged in order to create a storyline depicting a night of romance with Tina Louise herself. Plus, it's got Coleman Hawkins on saxophone -- how can you possibly go wrong? Jason Ankeny
Tracklist :
1 Tonight Is The Night 2:59
Written-By – Raymond Hubbell
2 Hands Across The Table 3:10
Written-By – Jean Delettre, Mitchell Parish
3 Snuggled On Your Shoulder 3:59
Written-By – Carmen Lombardo, Joe Young 
4 Embraceable You 3:56
Written-By – George & Ira Gershwin
5 I'm In The Mood For Love 3:50
Written-By – Jimmy McHugh & Dorothy Fields
6 Baby Won't You Say You Love Me 3:06
Written-By – Raymond Hubbell
7 It's Been A Long Time 2:26
Written-By – Jule Styne And Sammy Cahn
8 Hold Me 4:33
Written-By – Art Hickman, Ben Black
9 I Wanna Be Loved 3:51
Written-By – Billy Rose, Edward Heyman
10 Let's Do It 2:55
Written-By – Cole Porter
11 How Long Has This Been Going On? 4:08
Written-By – George & Ira Gershwin, P.G. Wodehouse
12 Good Night My Love 4:36
Written-By – Harry Revel, Mack Gordon
Credits :
Alto Saxophone – Hilton Jefferson
Arranged By – Jim Timmens
Orchestra – Buddy Weed And His Orchestra
Tenor Saxophone – Coleman Hawkins
Trombone – Tyree Glenn
Vocals – Tina Louise

MAMIE SMITH — Complete Recorded Works In Chronological Order ★ Volume 2 • 1921-1922 | DOCD-5358 (1995) RM | FLAC (tracks+.cue), lossless

Volume two in the complete recordings of Mamie Smith as reissued by Document in 1995 follows her career as an Okeh recording artist from August 18, 1921 through early May of 1922. Although her groups were almost invariably billed as the Jazz Hounds, the band accompanying her on tracks 1-13 (listed as her Jazz Band) was really the Joseph Samuels Orchestra, a well-behaved but capably hot Caucasian unit that also recorded as the Synco Jazz Band and the Tampa Blue Jazz Band. During the provocatively titled "Mamma Whip! Mamma Spank!," Smith seems to have been able to relax and deliver an artful performance that conveys a taste of what she must have sounded like when caught live on-stage. Other delights from this portion of the timeline include enjoyable treatments of Perry Bradford's "Down Home Blues," the catchy "Arkansas Blues," and that essential vaudevillian and traditional jazz staple, the "Wang Wang Blues." During the winter of 1921, Mamie Smith's Jazz Hounds (with young Bubber Miley temporarily replacing cornetist Johnny Dunn) toured the T.O.B.A. circuit, premiering at Pittsburgh's Pershing Theater as the last act in a vaudeville revue. Smith, who wore some of the fanciest and most rhinestone-encrusted outfits in the business, experienced unanticipated hook-and-eye trouble while attempting to execute one of her famous, lightning-quick off-stage costume changes. The band was told to keep playing "Royal Garden Blues" over and over again until she could get back on. As she became hopelessly entangled, Miley's lip gave out completely and the audience booed the band off the stage. Fortunately for those who value an opportunity to hear Miley years before his experiences with Duke Ellington, four instrumental selections from this period are included here. They are: "Rambling Blues," "Cubanita," "The Decatur Street Blues," and "Carolina Blues." Additionally, Smith tosses off a beautiful rendition of the old "Wabash Blues." The Jazz Hounds played the Avenue Theater in Chicago, where they were able to hear Freddie Keppard and King Oliver (major influences on Bubber Miley), followed by a series of engagements at the 12th Street Theater, a white burlesque house in Kansas City. Here the Hounds found themselves absorbed into a variety show billed as Mamie Smith and Company, with dancers, singers, comedians, and a prestidigitator. Soon the band was enlarged slightly by the addition of George Bell, a violinist from Detroit, and a very young C-Melody saxophonist from St. Joseph, MO named Coleman Hawkins who was already displaying unerringly fine musicianship. Deemed too young to leave home (according to his grandmother), Hawkins did not accompany the Jazz Hounds to Detroit, MI where they appeared with Smith at the S.H. Dudley and Copeland Theaters on Gratiot Avenue. The last three tunes on this second volume of vintage Mamie Smith date from May 1922 and feature Hawkins (now blowing tenor sax) alongside cornetist George Mullen, trombonist Cecil Carpenter, clarinetist Bob Fuller, the aforementioned fiddler Bell, pianist Charles Matson, and either Curtis Mosby or Cutie Perkins behind the drums. arwulf arwulf
Tracklist :
1    Mamie Smith, Acc. Her Jazz Band–    Sweet Man O'Mine    3:15
2    Mamie Smith, Acc. Her Jazz Band–    Mama Whip! Mama Spank!    3:12
3    Mamie Smith, Acc. Her Jazz Band–    I'm Free, Single, Disengaged, Looking For Someone To Love    2:50
4    Mamie Smith, Acc. Her Jazz Band–    Weepin'    3:00
5    Mamie Smith, Acc. Her Jazz Band–    A Wearin' Away The Blues    3:08
6    Mamie Smith, Acc. Her Jazz Band–    Down Home Blues    3:01
7    Mamie Smith, Acc. Her Jazz Band–    Get Hot    3:04
8    Mamie Smith, Acc. Her Jazz Band–    Oh, Joe (Please Don't Go)    3:07
9    Mamie Smith, Acc. Her Jazz Band–    A Little Kind Treatment    3:10
10    Mamie Smith, Acc. Her Jazz Band–    Arkansas Blues (A Down Home Chant)    3:06
11    Mamie Smith, Acc. Her Jazz Band–    The Wang, Wang Blues    3:06
12    Mamie Smith, Acc. Her Jazz Band–    Stop! Rest A While    2:56
13    Mamie Smith, Acc. Her Jazz Band–    Sweet Cookie    3:06
14    Mamie Smith And Her Jazz Hounds–    Let's Agree To Disagree    2:44
15    Mamie Smith, Acc. Her Jazz Hounds–    Rambling Blues    3:06
16    Mamie Smith, Acc. Her Jazz Hounds–    Cubanita    2:47
17    Mamie Smith, Acc. Her Jazz Hounds–    The Decatur Street Blues    3:04
18    Mamie Smith, Acc. Her Jazz Hounds–    Carolina Blues    3:05
19    Mamie Smith, Acc. Her Jazz Hounds–    Dooh-Dah Blues    2:54
20    Mamie Smith, Acc. Her Jazz Hounds–    There's Only One Man (That Satisfies Me)    2:53
21    Mamie Smith, Acc. Her Jazz Hounds–    Wabash Blues    3:04
22    Mamie Smith, Acc. Her Jazz Hounds–    Mean Daddy Blues    2:54
23    Mamie Smith, Acc. Her Jazz Hounds–    Dem Knock-Out-Blues    2:43
24    Mamie Smith, Acc. Her Jazz Hounds–    Lonesome Mama Blues    2:57

MAMIE SMITH — Complete Recorded Works In Chronological Order ★ Volume 3 • 1922-1923 | DOCD-5359 (1995) RM | FLAC (tracks+.cue), lossless

 Mamie Smith's lavishly expensive wardrobe and over-the-top stage presence is reported to have been breathtaking, and a young aspiring blues woman named Victoria Spivey was so bowled over by the spectacle that it inspired her to pursue her own recording career. The third installment in Document's four-part chronological history of Mamie Smith brings together two-dozen sides dating from early May 1922 through mid-August 1923. This is a particularly rewarding collection as it combines instrumentals like "Stuttering," "Those Longing for You Blues," and "Strut Your Material," with songs destined to become warhorses in the barrelhouse and traditional jazz repertoire ( "That Da Da Strain," "Kansas City Man Blues," "You've Got to See Mama Ev'ry Night," and "I Ain't Gonna Give Nobody None O' This Jelly Roll"); in addition to three numbers perhaps best remembered among early jazz lovers for the piano roll versions by Fats Waller which appeared almost contemporaneously with Smith's phonograph recordings ("Got to Cool My Doggies Now," "You Can't Do What My Last Man Did," and "Do It, Mr. So-And-So"). These records also offer further proof that Mamie Smith's Jazz Hounds were almost as important to rising young talent in its day as would be Art Blakey's Jazz Messengers during the '50s. Future stars heard on these ancient platters include cornetists Bubber Miley, Joe Smith, and Johnny Dunn, as well as reedmen Buster Bailey, Garvin Bushell, Coleman Hawkins, and Sidney Bechet. arwulf arwulf
Tracklist :
1    Mamie Smith, Acc. Her Jazz Hounds–    New Orleans    2:58
2    Mamie Smith, Acc. Her Jazz Hounds–    Mamie Smith Blues    3:11
3    Mamie Smith, Acc. Her Jazz Hounds–    Alabama Blues    3:03
4    Mamie Smith's Jazz Hounds–    Stuttering    3:09
5    Mamie Smith's Jazz Hounds–    Those Longing For You Blues    2:54
6    Mamie Smith, Acc. Her Jazz Hounds–    Got To Cool My Doggies Now    2:50
7    Mamie Smith, Acc. Her Jazz Hounds–    You Can Have Him, I Don't Want Him, Didn't Love Him Anyhow Blues    2:58
8    Mamie Smith And Her Jazz Hounds–    Strut Your Material    3:01
9    Mamie Smith, Acc. Her Jazz Hounds–    Wish That I Could But I Can't Forgive You Blues    2:56
10    Mamie Smith, Acc. Her Jazz Hounds–    Sighin' Around With The Blues    3:02
11    Mamie Smith, Acc. Her Jazz Hounds–    That Da Da Strain    2:49
12    Mamie Smith, Acc. Her Jazz Hounds–    I Ain't Gonna Give Nobody None O' This Jelly Roll    3:03
13    Mamie Smith, Acc. Her Jazz Hounds–    Don't Mess With Me    3:09
14    Mamie Smith, Acc. Her Jazz Hounds–    Mean Man    2:56
15    Mamie Smith, Acc. Her Jazz Hounds–    The Darktown Flappers Ball    2:55
16    Mamie Smith, Acc. Her Jazz Hounds–    I'm Gonna Get You    2:55
17    Mamie Smith, Acc. Her Jazz Hounds–    You've Got To See Mamma Ev'ry Night (Or You Can't See Mamma At All)    2:48
18    Mamie Smith–    You Can't Do What My Last Man Did 2:41
Piano [Prob.] – J.C. Johnson
19    Mamie Smith–    Good Looking Papa 2:54
Piano – Clarence Williams
20    Mamie Smith–    Lady Luck Blues 3:09
Banjo – Buddy Christian
Orchestra – The Harlem Trio
Piano – Clarence Williams
Soprano Saxophone – Sidney Bechet
21    Mamie Smith–    Kansas City Man Blues 3:20
Banjo – Buddy Christian
Orchestra – The Harlem Trio
Piano – Clarence Williams
Soprano Saxophone – Sidney Bechet
22    Mamie Smith–    Plain Old Blues 2:46
Piano – Porter Grainger
23    Mamie Smith–    Mistreatin' Daddy Blues 3:17
Piano – Porter Grainger
24    Mamie Smith–    Do it, Mr. So-and-So 3:06
Piano – Porter Grainger

THELONIOUS MONK SEPTET - Monk's Music (1957) Two Version (1986, RM | MONO | Riverside CD Masterpiece Series – 6) + (2011, RM | Serie Original Jazz Classics Remasters) FLAC (tracks+.cue), lossless

Monk's Music is often cited as one of the focal points of Thelonious Monk's six-year affiliation (1955-1961) with the Riverside label. Although the original disc clocked in at slightly over 30 minutes, packed into that half hour are not only the introduction of a few of Monk's signature compositions, but also some amazing interactions from the assembled ensemble. Joining Thelonious Monk (piano) during these two recording sessions are Ray Copeland (trumpet), Gigi Gryce (alto sax), Coleman Hawkins (tenor sax), John Coltrane (tenor sax), Wilbur Ware (bass), and Art Blakey (drums). The true meaning of the album's title exists beyond just Thelonious, as the opening sacred prelude, "Abide With Me," was written by William H. Monk. This brief piece features only the horn quartet, foreshadowing their importance throughout the album. The angular stride style featured during the chorus of "Well You Needn't" is tackled with the same nimble authority as Monk's completely unfettered solos. If his ability to swing and his utilization of atomic clock accuracy have ever been questioned, the answer lies no further. So utterly free and fantastic, certain passages command immediate review to be fully comprehended. Hearing Coltrane and Hawkins together is admittedly part of the charm in these sides. "Ruby, My Dear" is bathed in the smoky essence of Hawkins' rich textures and Coltrane's playful cat-and-mouse aggression. Blakey gently propels the rhythm, never getting in the way and sporting a serene snare groove throughout. "Off Minor" is largely led by Monk, with solos that follow into and out of the memorable chorus that sparkles with the full involvement of the horn and rhythm sections. The same is true for this definitive version of "Epistrophy" -- perhaps the zenith collaborative effort between Coltrane and Monk. AdAdditionally, Blakey is in top form, with a solo that borders on spastic precision. Lindsay Planer
Tracklist :
1    Abide with Me 0:55    
Henry Francis Lyte / Thelonious Monk
2    Well, You Needn't 11:27
Thelonious Monk
3    Ruby, My Dear 5:28    
Thelonious Monk
4    Off Minor (Take 5) 5:11    
Thelonious Monk
5    Epistrophy  10:48
Kenny Clarke / Thelonious Monk
6    Crepuscule with Nellie (Take 6) 4:40    
Thelonious Monk
– BONUS TRACK –
7    Off Minor (Take 4) 5:15    
Thelonious Monk
 8    Crepuscule with Nellie (Take 4 & 5) 4:44
Thelonious Monk
9    Blues For Tomorrow    13:33
Credits :
Trumpet – Ray Copeland
Alto Saxophone – Gigi Gryce
Bass – Wilbur Ware
Drums – Art Blakey
Piano – Thelonious Monk
Tenor Saxophone – Coleman Hawkins, John Coltrane

KENNY BURRELL WITH COLEMAN HAWKINS — Bluesey Burrell (1962-2019) RM | SACD Hybrid, DSD | The Prestige Stereo Series | FLAC (tracks+.cue), lossless

This session is valuable for the majestic playing of tenor great Coleman Hawkins, who performs on half of the eight tracks. Released on the Prestige subsidiary Moodsville -- a label that specialized in recordings with an intimate, reflective atmosphere -- the Moodsville sound doesn't sit comfortably on Hawkins. His playing is brilliantly relaxed, but it's not mood music. Leader Kenny Burrell's playing is much more in line with the Moodsville groove. The guitarist is not amplified as much as he is on his Prestige dates from this time. In fact, he performs on a nylon-string instrument almost as much as he does on his hollow-body electric. Unlike Hawkins, Burrell's subdued contribution is made to measure for this date. Listeners expecting to hear Burrell the hard bopper won't. The key moments come during the interaction between the guitarist and tenor player, especially during their exchanges on Burrell's "Montono Blues." The rhythm section, Hawkins' working band from this period (pianist Tommy Flanagan, bassist Major Holley, and drummer Eddie Locke) provides impeccable, sublime support. Jim Todd
Tracklist :
1    Tres Palabras 6:44
Written-By – Osvaldo Farres
2    No More 1:53
Written-By – Russell, Camarata
3    Guilty 4:17
Written-By – Kahn, Akst, Whiting
4    Montono Blues 4:45
Written-By – Kenny Burrell
5    I Thought About You 4:40
Written-By – Van Heusen, Mercer
6    Out Of This World 4:54
Written-By – Arlen, Mercer
7    It's Getting Dark 6:53
Written-By – Burrell
8    I Never Knew 5:19
Written-By – Kahn, Fiorito
Credits :
Alto Saxophone – Leo Wright (pistas: 8)
Bass – George Tucker (pistas: 8), Major Holley (pistas: 1 to 7)
Congas – Ray Barretto (pistas: 1 to 7)
Drums – Eddie Locke (pistas: 1 to 7), Jimmie Smith (pistas: 8)
Guitar – Kenny Burrell
Piano – Gildo Mahones (pistas: 8), Tommy Flanagan (pistas: 1 to 7)
Tenor Saxophone – Coleman Hawkins (pistas: 1, 4 to 5, 7)

DIZZY GILLESPIE — Sittin' In (1958-1997) RM | Serie LP Reproduction | FLAC (tracks+.cue), lossless

SITTIN' IN is a jazz lover's dream come true. On this historic session, recorded in the summer of 1957, Dizzy Gillespie, Stan Getz, Coleman Hawkins, and Paul Gonsalves got together to create one of the most formidable frontlines ever captured on tape. The program, which includes "Dizzy Atmosphere," the chestnut "The Way You Look Tonight," and two lengthy ballad medleys, lets each horn player take a turn in the spotlight.

The music blends West Coast cool, swing, bop, and hard-bop styles in a manner befitting each of the monumental leaders, and the whole is driven by a spry rhythm section consisting of bassist Wendell Marshall, drummer J.C. Heard, and pianist Wynton Kelly. Aficionados will relish the opportunity to identify the solos and styles of each player--Getz's cool complexity, Gillespie's athleticism, Gonsalves's unique lyricism, and Hawkins's pioneering technique and tone. SITTIN' IN is a superb slice of bop history, starring some of the most influential figures in the evolution of jazz. AllMusic    Tracklist + Credits :

BENNY CARTER AND HIS ORCHESTRA – 1937-1939 | The Classics Chronological Series – 552 (1990) FLAC (tracks+.cue), lossless

The fourth CD in Classics' complete chronological reissue of Benny Carter's early recordings as a leader finds Carter (on alto, trumpet, clarinet, tenor and even one vocal) leading orchestras in London, Laren, the Hague, Paris and (for the final three selections) New York. Highpoints include "Nagasaki," "I'm in the Mood for Swing," "Blues in My Heart," "I'm Coming Virginia" (from a three-song session that also features Django Reinhardt) and "Melancholy Lullaby." In addition, the great tenor Coleman Hawkins plays a prominent role on four of the performances. Carter is in top form throughout these often formerly rare but very vital swing recordings. His fans should quickly acquire all of these invaluable Classics releases. Scott Yanow     Tracklist + Credits :

COLEMAN HAWKINS - 1945 | The Classics Chronological Series – 926 (1997) FLAC (tracks+.cue), lossless

 Covering in detail a timeline from January 1944 to October 1945, this chapter in the Classics Coleman Hawkins chronology presents recordings he made for the Asch, Selmer, Capitol, Super Disc and V-Disc labels during what was an exciting and transitional period in the evolution of jazz. During the '40s Hawkins was deliberately aligning himself with young and innovative players; four of the sessions feature trumpeter Howard McGhee and pianist Sir Charles Thompson; bassist Oscar Pettiford was also an integral part of Hawk's mid-'40s West Coast band. Lush ballads and upbeat jam structures make for excellent listening throughout. Hawk is also heard sitting in with drummer Sid Catlett's all-stars, leading a quintet with the great Art Tatum at the piano, and working up his own extended set of "Variations" for solo tenor saxophone. While some commentators have focused unnecessary attention upon all-too-human drawbacks like Howard McGhee's addictions and occasional bouts of quarreling between Pettiford and Sir Charles, the music contained in this compilation stands squarely in its own light, unsullied by gossip or untoward circumstances.  arwulf arwulf     Tracklist + Credits :

COLEMAN HAWKINS - 1953-1954 | The Classics Chronological Series – 1416 (2006) FLAC (tracks+.cue), lossless

Following someone's career session by session reveals the best and the very worst in performance, repertoire, production, and general working conditions. The segment of Coleman Hawkins' time line beginning with the material he waxed for Al Benson's Parrot record label in Chicago during August of 1953 and ending halfway through his superb Jazztone All Stars date on November 8, 1954, is a case in point. At the end of the summer of 1953, Hawkins was working a steady gig at Chicago's Toast of the Town club. Accepting Benson's invitation to make records, Hawkins waded through a dozen titles, four of which would be released as 78 and/or 45-rpm singles, with "I'll Follow My Secret Heart" mistakenly entitled "I'll Follow My Sacred Heart." The remaining eight tracks from this date were eventually bought up by Savoy and issued on LP. Coleman Hawkins was a brilliant improviser, an archetype, and a gentleman. Surrounded by modestly able, well-intentioned players, he swung dutifully through this session, sounding as strong and sure as ever in less than optimum circumstances. Les Strand's boppish organ noodling casts a peculiar pallor over the proceedings, soon to be exacerbated by a weird vocal choir and an unidentified pianist who attempts to coax music out of a preposterous upright piano that sounds as though it had been dragged out of a broom closet at the last minute. The general effect might be compared with the kind of a malaise that could be brought on by cheap rye whiskey cut with lukewarm tap water. Following on the heels of this mess, the six tracks that close this portion of the Classics Coleman Hawkins chronology have the texture and flavor of gourmet cuisine and rare port wine. Flanked by trumpeter Emmett Berry and trombonist Eddie Bert and backed by Billy Taylor, Milt Hinton, and Jo Jones, Hawkins was able to relax and blow some honest jazz with his dignity intact. These recordings -- expanded to durations in excess of five and six minutes on the new LP format -- are especially valuable for the presence of Emmett Berry, a warm and gifted balladeer, as he demonstrates beautifully during nearly seven minutes devoted to "Out of Nowhere." arwulf arwulf    Tracklist + Credits :

NAT "KING" COLE – 1944-1945 | The Chronogical Classics – 861 (1996) FLAC (tracks+.cue), lossless

 Heads up, everybody! Here comes Volume Five in the Classics Nat King Cole chronology. This portion of the timeline runs from November 28, 1944 to May 23, 1945, charting the singing pianist's professional progress in trio sessions for Capitol and V-Disc as well as a date with the Capitol International Jazzmen, an all-star group composed of trumpeter Bill Coleman and reedmen Buster Bailey, Benny Carter and Coleman Hawkins backed by rhythm section mates Nat King Cole, Oscar Moore, John Kirby and Max Roach. Two of the four titles recorded by this group on March 30, 1945 have vocals by jazzwoman Kay Starr. During this period the King Cole Trio was at the height of their powers as a unit. While the leader's excellent vocals were now beginning to take center stage, the instrumental tracks, for example "A Pile O' Cole" and "A Trio Grooves in Brooklyn" are solid swinging small band jazz at its finest. The three instrumentals that close out this compilation are similarly rewarding. Two of them, Jacques Offenbach's "Barcarolle" and that gentle air from the 1890s, Edward MacDowell's "To a Wild Rose," were not issued to the public until years later. The third tune recorded that day, a flashy treatment of Maceo Pinkard's "Sweet Georgia Brown," came out on a 78 rpm platter as Capitol 239. It will satisfy anyone looking for a rousing example of how this trio sounded with the throttle wide open. arwulf arwulf
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McKINNEY'S COTTON PICKERS – 1929-1930 | The Chronogical Classics – 625 (1992) FLAC (tracks+.cue), lossless

On the second of three Classics CD's that releases the complete output of McKinney's Cotton Pickers (but without the alternate takes), there are many classic performances including "Wherever There's A Will There's A Way," "If I Could Be With You," "Honeysuckle Rose," "Baby Won't You Please Come Home" and "I Want A Little Girl." In addition to the band's regular soloists (trumpeters John Nesbitt, Joe Smith and Langston Curl, trombonist Ed Cuffee and tenorman George Thomas), some tunes also feature guests Coleman Hawkins on tenor, altoist Benny Carter and pianist Fats Waller. Timeless classic jazz. Scott Yanow
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LIONEL HAMPTON AND HIS ORCHESTRA – 1938-1939 | The Chronogical Classics – 534 (1990) FLAC (image+.cue), lossless

Lionel Hampton's series of record dates leading all-star swing bands produced some of the more exciting music of the late '30s. Just on this CD alone, Hampton led groups with musicians drawn from the Duke Ellington, Earl Hines, Cab Calloway, and Benny Goodman big bands, among others. Among the more notable performances are Benny Carter's "I'm in the Mood for Swing," a swing version of Jelly Roll Morton's "Shoe Shiner's Drag," tenor saxophonist Chu Berry having one of his best showcases on "Sweethearts on Parade," and a romp on "Twelfth Street Rag." Through it all, Hampton (whether on vibes, two-fingered piano, drums, or singing) often steals the show. Scott Yanow
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LIONEL HAMPTON AND HIS ORCHESTRA – 1939-1940 | The Chronogical Classics – 562 (1991) FLAC (tracks+.cue), lossless

During 1937-1940, Lionel Hampton led a series of exciting small-group swing dates featuring all-stars drawn from a variety of jazz orchestras. This reissue is one of the strongest. The first four songs alone have Hampton heading a group that includes altoist Benny Carter; tenors Coleman Hawkins, Chu Berry, and Ben Webster; and a 22-year old trumpeter named Dizzy Gillespie (who takes a solo on "Hot Mallets"). Also featured along the way are trumpeters Henry "Red" Allen and Ziggy Elman, trombonist J.C. Higginbotham, altoist Earl Bostic, and the Nat King Cole Trio. Three songs (including a classic version of "Dinah") feature Coleman Hawkins and (on trumpet) Benny Carter. This highly recommended set has more than its share of gems. Scott Yanow
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HENRY "RED" ALLEN AND HIS ORCHESTRA – 1929-1933 | The Chronogical Classics – 540 (1990) FLAC (tracks+.cue), lossless

The first of a five-volume CD series released by the European Classics label that reissues all of the recordings led by trumpeter Red Allen during 1929-41 is one of the best. The great trumpeter is first heard fronting the Luis Russell Orchestra for such classics as "It Should Be You" and "Biff'ly Blues," he interacts with blues singer Victoria Spivey, and on the selections from 1933 (two of which were previously unreleased) he co-leads a group with tenor-saxophonist Coleman Hawkins. Not all of the performances are gems but there are many memorable selections including "How Do They Do It That Way," "Pleasin' Paul," "Sugar Hill Function,," and "Patrol Wagon Blues." Other soloists include trombonists J.C. Higginbottham and Dicky Wells, clarinetist Albert Nicholas and altoist Charlie Holmes. Scott Yanow
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HENRY "RED" ALLEN AND HIS ORCHESTRA – 1933-1935 | The Chronogical Classics – 551 (1990) FLAC (tracks), lossless

The second of five CDs put out by the European Classics label that document trumpeter Red Allen's 1929-41 recordings has three titles from a session co-led with tenor-saxophonist Coleman Hawkins, eight songs from 1934 and a dozen from the following year. Allen takes vocals on most of the tracks and, even if not all of the songs are gems, there are many highlights including "Pardon My Southern Accent," "Rug Cutter Swing," "Believe It, Beloved," "Rosetta" and "Truckin'." The strong supporting cast includes trombonists Dickie Wells and J.C. Higginbotham, clarinetists Buster Bailey and Cecil Scott and, on one date, tenorman Chu Berry. All five of the Red Allen Classics CDs are recommended. Scott Yanow
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COZY COLE – 1944 | The Chronogical Classics – 819 (1995) FLAC (tracks+.cue), lossless

Check this out -- probably the best overall Cozy Cole collection, and possibly one of the top picks for mid-'40s small-group swing. There are distinct reasons for such a strongly stated claim. They are, specifically: Coleman Hawkins, Ben Webster, Budd Johnson, and Don Byas. Got that? Three additional reasons are Teddy Wilson, Johnny Guarnieri, and Earl Hines. This is no offhand list of incidental participants, but a pantheon of indispensable figures in mid-20th century jazz. Their combined experience and influence add up to direct involvement with the heart and soul of this music, from Armstrong and Ellington to Bird and Diz. Glance at the rest of the collective personnel and you're confronted with a stunning lineup containing some of the most accomplished jazz musicians on the scene during the year 1944. The Cozy Cole All Stars session recorded for Keynote on the 22nd of February still stands near the apex of that label's best achievements, especially because of the electromagnetic field created by putting Hawkins and Hines into the same room at the same time. These Keynotes sound better than ever presented, with 17 vivid sides issued on the Savoy label, which like Commodore and Keynote granted the musicians absolute artistic control. This is precisely why the music holds up so well regardless of the passage of time. Johnny Guarnieri is particularly well represented, as is Teddy Wilson, who sparkles during the Buck Ram All Stars session. There are a couple of percussion feature numbers where attention is deliberately focused upon Cole, but generally speaking every selection is defined, supported, and shaken to its roots by the energetic presence of this indefatigable drummer. arwulf arwulf
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FATS WALLER – 1929-1934 | The Classics Chronological Series – 720 (1993) FLAC (tracks+.cue), lossless

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