DON BYAS – 1945, Vol. 2 | The Classics Chronological Series – 959 (1997) FLAC (tracks+.cue), lossless

Carlos Wesley "Don" Byas openly claimed to represent a third stream of tenor sax, somewhere between Coleman Hawkins and Lester Young. In truth, he sounded most like the mature Hawkins, also sharing stylistic traits with Pres, Budd Johnson, Lucky Thompson and Ben Webster. Most importantly, he sounded like himself. Four sides recorded for the "Jamboree" label in October 1945 feature the extraordinary piano of Johnny Guarnieri. "Once in a While" comes across like a lullaby compared to the rip-snorting "Avalon," notable for J.C. Heard's fiery drumming. "Blue and Sentimental," forever associated with Count Basie's star tenor saxophonist Herschel Evans, is soulfully rendered here. "Melancholy Baby" sounds a lot like the kind of records Hawkins was making for the Keynote label in 1945 -- this recording, in fact, could effectively be used to stump jazz experts during blindfold tests. In a remarkable follow-up, the next session turns Erroll Garner loose in the company of Slam Stewart and Harold "Doc" West. The Savoy session (after Byas stretches out with "Candy" all to himself) features trumpeter Benny Harris. "How High the Moon" bristles with be bop changes, and "Donby" is recognizable as Byas' extension of Juan Tizol's "Perdido." "Byas a Drink" is a sort of be bop rhumba. In a strange chronology defying maneuver -- and without altering the title of the CD -- Classics has tacked on two sessions from 1944. Throughout his career, trumpeter Emmett Berry was almost never designated as a leader. On August 31 1944, the quintet bearing his name was graced with a rhythm section consisting of Dave Rivera, Milt Hinton and J.C. Heard. The music speaks of new ideas in the making, even if Berry swings rather than bops. Recorded on 12 " 78 rpm records allowing for nearly four minutes per side, the Cyril Haynes Sextet, starring Byas and the nearly forgotten trumpeter Dick Vance, featured electrified guitar solos by Al Casey with strong rhythmic support from -- once again -- Harold "Doc" West. Here, then, is a fat parcel of solid sessions from the life of Don Byas, well-worth hearing again and again. arwulf arwulf  
Tracklist + Credits :

SLIM GAILLARD – 1947-1951 | The Classics Chronological Series – 1221 (2002) FLAC (tracks+.cue), lossless

Multi-instrumentalist and gloriously irrational vocalist Slim Gaillard marked 1947 as his last year of steady activity on the West Coast. Popular with the public but rather notorious among record company executives and nosy narks, Gaillard managed to squeeze out a series of records for MGM before relocating to New York City where three more titles apparently fulfilled his contractual obligations with that company in 1949. Gaillard also landed a small piece of work with Mercury in March 1951 and even managed to line up a session with Norman Granz for the Clef label two months later. The first 13 tracks on this peculiar compilation represent the Slim Gaillard/Bam Brown L.A. hipster novelty routine taken to its inevitable extreme. On one session someone named Jim Hawthorne even barks like a dog ("Serenade to a Poodle") and keeps up an irritating refrain of "Hoo-hoo-hoo-Hogan!" ("The Hogan Song"). Discographical rumors persist that the pianist on October 1, 1947, might have been Dodo Marmarosa, but this is almost certainly not the case. The session that took place on December 22, 1947, yielded a surprisingly palatable version of "Down by the Station" and "Communications," a very hip paean to various 20th century modes of keeping in touch. With "Puerto Vootie," Gaillard continued his ongoing tendency to tap into Caribbean and Latin American traditions as fuel for his seemingly endless slaphappy shenanigans. "Money, Money, Money" is one of the best "Cuban" numbers Gaillard ever recorded. The 1949 MGM session brought in bongos, congas, and a very gutsy tenor sax to fortify the old vaudeville standby "When Banana Skins Are Falling." This group dishes out a fiery Cubano bop ritual in "Bongo Cito" and tears up with the brisk "Organ-Oreenie," a vehicle for Gaillard's maniacal manhandling of the electric organ. The Mercury date, with the band billed as Slim Gaillard's Peruvians, had the very versatile Dick Hyman at the piano and bassist Ernie Shepard, fated to become an important ingredient in the Duke Ellington ensemble. "Genius," a previously unissued third title from this obscure date, has a lot more going on in it than the discography discloses, with trombone, saxophone, vibraphone, and tap dancing all clearly audible over the organ and "vout"-infested vocals. On May 25th, Slim Gaillard & His Internationally Famous Orchestra were in the recording studio, singing "Oh, Lady Be Good" in well-rehearsed harmony and diving back into the Gulf of Mexico with "Sabroso," "Babalu," and "Yo Yo Yo." The real gem in this ensemble was none other than Count Basie's star tenor saxophonist, Buddy Tate. Anyone searching for songs inspired by the trials and tribulations of a unionized musician should check out the previously unreleased "Federation Blues," peppered with pointed references to James C. Petrillo and his American Federation of Musicians. Small wonder Granz decided not to issue this one. arwulf arwulf  
Tracklist :
1    Slim Gaillard And His Trio–    Boip! Boip!    2:50
2    Slim Gaillard And His Trio–    The Bartender's Just Like A Mother    2:49
3    Slim Gaillard And His Trio–    Arabian Boogie    2:47
4    Slim Gaillard And His Trio–    Tip Light    2:51
5    Slim Gaillard And His Trio–    Momma's In The Kitchen    2:38
6    Slim Gaillard And His Trio–    A Ghost Of A Chance With You    3:02
7    Slim Gaillard And His Trio–    Little Red Riding Woods    2:55
8    Slim Gaillard And His Trio–    Puerto Vootie    2:37
9    Slim Gaillard And His Trio–    Money, Money, Money    2:45
10    Slim Gaillard And His Trio–    The Hogan Song    2:35
11    Slim Gaillard And His Trio–    Serenade To A Poodle    2:16
12    Slim Gaillard And His Trio–    Down By The Station    2:20
13    Slim Gaillard And His Trio–    Communications    2:27
14    Slim Gaillard Sextet–    When Banana Skins Are Falling    2:49
15    Slim Gaillard Sextet–    Bongo Cito    2:43
16    Slim Gaillard Sextet–    Organ-Oreenie    2:40
17    Slim Gaillard And His Peruvians–    Laughing In Rhythm    2:57
18    Slim Gaillard And His Peruvians–    Soony-Roony    2:04
19    Slim Gaillard And His Peruvians–    Genius (Ride, Slim, Ride)    2:49
20    Slim Gaillard And His Internationally Famous Orchestra–    Oh, Lady Be Good    2:30
21    Slim Gaillard And His Internationally Famous Orchestra–    Sabroso    2:30
22    Slim Gaillard And His Internationally Famous Orchestra–    Babalu    3:36
23    Slim Gaillard And His Internationally Famous Orchestra–    Yo Yo Yo    2:46
24    Slim Gaillard And His Internationally Famous Orchestra–    Federation Blues    3:40
Credits :    
Bass – Clyde Lombardi (tracks: 20 to 24)
Bass Guitar – Slim Gaillard (tracks: 14 to 16)
Bass, Vocals – Ernie Shepherd (tracks: 17 to 19), Bam Brown (tracks: 1 to 13)
Bongos – Pepe Benque (tracks: 17 to 24)
Congas, Percussion – Armando Peraza (tracks: 14 to 16)
Drums – Charlie Smith (tracks: 20 to 24), Herbie Lovelle (tracks: 17 to 19), Bam Brown (tracks: 5 to 8, 12, 13)
Guitar – Slim Gaillard (tracks: 1 to 13, 17 to 24)
Organ – Slim Gaillard (tracks: 16)
Piano – Cyril Haynes (tracks: 14 to 16), Dick Hyman (tracks: 17 to 19), Maceo Williams (tracks: 20 to 24), Slim Gaillard (tracks: 1 to 4, 9 to 11)
Piano [probably] – Dodo Marmarosa (tracks: 5 to 8)
Speech [barks] – Jim Hawthorne (tracks: 11)
Tenor Saxophone – Buddy Tate (tracks: 20 to 24)
Vocals – Slim Gaillard

SLIM GAILLARD – 1951-1953 | The Classics Chronological Series – 1437 (2007) FLAC (tracks+.cue), lossless

During the early 1950s, producer Norman Granz managed quite a number of seasoned jazz musicians with challenging personalities; these included Charlie Parker, Billie Holiday, Lester Young and Bulee "Slim" Gaillard. Each of these individuals struggled with tendencies, habits and addictions; Gaillard would outlive Bird, Pres and Lady Day but his career was beginning to unravel and he wouldn't fully regain his popularity until his London-based comeback during the '80s. Volume eight in the Classics Slim Gaillard chronology presents 19 recordings made between August 1951 and December 1953, and issued by Granz on the Mercury, Clef and Norgran labels. Although adept as both pianist and vibraphonist, Gaillard excelled primarily as a singing guitarist during the '50s. His wild sense of humor extends even unto the names of the groups represented here. They are Slim Gaillard & His Middle Europeans, Slim Gaillard & His Atomic Engineers, Slim Gaillard & His Southern Fried Orchestra, Slim Gaillard & His Bakers Dozen, Slim Gaillard & His Shintoists and Slim Gaillard & His Musical Aggregation, Wherever He May Be. Although some of the personnel remain anonymous, Granz made sure to include several master musicians in some of Gaillard's groups; these included bassist Ray Brown and trombonist Benny Green as well as Kansas City-trained saxophonists Ben Webster and Buddy Tate. The December 1952 session that resulted in "Gomen Nasai (Forgive Me)" and a cheery paean to snack food titled "Patato Chips" documents a rare occasion when vibraphonist Milt Jackson sat in at the drums. On this compilation, Gaillard presents two distinctive aspects of his public persona: the squirrelly novelty performer who was a borderline surrealist ("Yip Roc Heresy," "The Hip Cowboy," "Chicken Rhythm") and the well-oiled crooner who reinvented Billy Eckstine's romantic chortling aesthetic. Slim Gaillard obviously loved to ladle on the Grenadine, even if Mr. Hyde was invariably present, softly giggling behind a debonair layer of polished veneer. arwulf arwulf  
Tracklist :
1    Slim Gaillard And His Middle Europeans–    For You 2:57
2    Slim Gaillard And His Middle Europeans–    Yip Roc Heresy 2:33
3    Slim Gaillard And His Atomic Engineers–    The Hip Cowboy 2:45
4    Slim Gaillard And His Orchestra–    Chicken Rhythm 2:31
5    Slim Gaillard–    I Only Have Eyes For You 2:36
6    Slim Gaillard–    As You Are 2:31
7    Bulee Gaillard And His Southern Fried Orchestra–    St. Louis Blues 2:21
8    Bulee Gaillard And His Southern Fried Orchestra–    I Know What To Do 2:34
9    Slim Gaillard And His Orchestra–    Taxpayers Blues 2:28
10    Slim Gaillard And His Orchestra–    Eatin' With The Boogie 2:31
11    Slim Gaillard And His Musical Aggregations, Wherever He May Be–    Make It Do 2:51
12    Slim Gaillard And His Musical Aggregations, Wherever He May Be–    You Goofed 2:47
13    Slim Gaillard And His Musical Aggregations, Wherever He May Be–    I Can't Give You Anything But Love 2:40
14    Slim Gaillard And His Musical Aggregations, Wherever He May Be–    This Is My Love 2:34
15    Slim Gaillard And His Shintoists–    Gomen Nasai (Forgive Me) 2:35
16    Slim Gaillard And His Bakers Dozen–    Potato Chips 3:07
17    Slim Gaillard And His Orchestra–    I'm In The Mood For Love 2:41
18    Slim Gaillard And His Orchestra–    Mishugana Mambo 2:22
19    Slim Gaillard And His Orchestra–    Go, Man, Go 2:43
Credits :    
Bass – Clyde Lombardi (tracks: 1 to 4), Ray Brown (tracks: 15, 16), Unknown Artist (tracks: 17 to 19)
Brass – Unknown Artist (tracks: 17 to 19)
Chorus – Unknown Artist (tracks: 5)
Drums – Charlie Smith (tracks: 1 to 4), Milt Jackson (tracks: 15, 16), Unknown Artist (tracks: 17 to 19)
Orchestra – Unknown Artist (tracks: 5 to 14)
Piano – Cyril Haynes (tracks: 15, 16), Maceo Williams (tracks: 1 to 4), Unknown Artist (tracks: 17 to 19)
Strings – Unknown Artist (tracks: 5, 6)
Tenor Saxophone – Ben Webster (tracks: 15, 16), Buddy Tate (tracks: 1 to 4)
Trombone, Alto Saxophone – Benny Green (tracks: 1 to 4)
Vocals, Guitar – Slim Gaillard

AL COOPER'S SAVOY SULTANS – 1938-1941 (1993) The Classics Chronological Series – 728 | FLAC (tracks+.cue), lossless

Trombonist Dicky Wells once said that Al Cooper's Savoy Sultans were "...a living headache to everyone. They could swing and make most bands happy to play 'Home Sweet Home.' When a band like that's on your tail, the night seems to never end. They didn't seem to know the meaning of letting up." As the house band at Harlem's Savoy Ballroom, this group undoubtedly knew how to keep a large crowd entertained with music for dancing purposes. In person they must have been tight and right in order to warrant such praise from other musicians and to hold down their gig at the Savoy for nine years. On record the excitement only comes through on about half of their recordings. This is by no means unusual -- Coleman Hawkins always insisted that Fletcher Henderson's orchestra sounded terrible in the studio compared to what they could do in person. The Savoy Sultans, according to Dicky Wells, succeeded with their live audiences because they kept their arrangements relatively simple. This is evident on those tracks that cook in a solid groove but also seems to be the root of the problem with certain stodgy performances. A brief discussion of the band's better moments seems in order. "The Thing" is most memorable for an extended bowed bass solo by Grachan Moncur, father of modern jazz trombonist Grachan Moncur III. At the beginning of his solo the bassist even hums a little in the style of Slam Stewart. This is by far Moncur's longest solo on record. "Looney" has a clarinet solo by Cooper, who also played alto and baritone saxophones. "Gettin' in the Groove" is a solid strut and the Sultans were wise to present "Rhythm Doctor Man" as an instrumental. "Jeep's Blues" is a plausible emulation of the Duke Ellington sound even though Rudy Rutherford was no Johnny Hodges. "Stitches" and the rock-solid "Jumpin' the Blues" (no relation to the Jay McShann/Charlie Parker tune) are good examples of why Wells considered this band to be such formidable competition. "Jumpin' at the Savoy," however, doesn't jump and is not exciting. "Frenzy" and "Norfolk Ferry" are solid swing numbers that really cook. Al Cooper's wonderfully titled "Second Balcony Jump" is completely different from the famous Gerald Valentine/Earl Hines tune and predates it by a little more than a year. arwulf arwulf   
Tracklist
1 Jump Steady 2:56
 Jack Chapman
2 The Thing 3:13
 Al Cooper
3 Looney 3:08
 Al Cooper
4 Rhythm Doctor Man 2:46
 Al Cooper
5 Gettin' In The Groove 2:54
 Al Cooper
6 Someone Outside Is Taking Your Mind Off Me 3:16
Unknown
Vocals – Helen Proctor
7 Jeep's Blues 3:10
 Duke Ellington / Johnny Hodges
8 You Never Miss The Water 'Til The Well Runs Dry 2:42
Hunt
Vocals – Helen Proctor
9 Stitches 2:52
 Al Cooper
10 Jumpin' At The Savoy 2:46
 Jack Chapman
11 We'd Rather Jump Than Swing 2:47
Jenkins
Vocals – Pat Jenkins
12 Draggin' My Heart Around 2:39
 Alex Hill
Vocals – Evelyn White
13 Little Sally Water 2:28
 Al Cooper
14 Jumpin' The Blues 2:38
 Jack Chapman
15 Love Gave Me You 2:42
 Jack Chapman
Vocals – Paul Chapman
16 When I Grow Too Old To Dream 2:28
 Oscar Hammerstein II / Sigmund Romberg
Vocals – Evelyn White
17 Frenzy 2:58
 Al Cooper
18 (If You Don't Know What You're Doing) Stop! And Ask Somebody 2:53
 Jack Chapman
Vocals – Paul Chapman
19 Wishing And Crying For You 2:57
 Al Cooper / Diggs
Vocals – Evelyn White
20 Sophisticated Jump 3:08
Haynes
21 Norfolk Ferry 2:55
 Erskine Hawkins
22 Second Balcony Jump 2:47
 Al Cooper
23 See What I Mean! 3:01
 Jack Chapman
24 Jackie Boy 3:07
 Jack Chapman
Credits :   
Acoustic Guitar – Paul Chapman (faixas: 9 to 16, 21 to 24)
Alto Saxophone – Rudy Williams
Bass – Grachan Moncur
Drums – Alex "Razz" Mitchell
Leader – Al Cooper
Piano – Cyril Haynes (faixas: 9 to 16, 21 to 24), Oliver Richardson (faixas: 1 to 8)
Tenor Saxophone – Ed McNeil (faixas: 1 to 8), George Kelley (faixas: 21 to 24), Irving "Skinny" Brown (faixas: 17 to 20), Sam Simmons (faixas: 9 to 16, 21 to 24)
Trumpet – Pat Jenkins, Sam Massenberg