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 :

JONAH JONES – 1936-1945 | The Classics Chronological Series – 972 (1997) FLAC (tracks+.cue), lossless

While the first six recordings presented in this initial volume of the chronologically reissued recordings of Jonah Jones are undeniably rare and worth having access to, the reason for their obscurity is immediately apparent. Dick Porter, the nominal leader of both bands responsible for these Vocalion sides, was a Fats Waller imitator of the worst sort. He patterned his act so closely on Waller's jubilant vocal delivery that it is impossible to ascertain what -- if any -- originality existed in the person of Mr. Porter. Seizing upon Waller's habitual exclamations, Porter overused the outburst "Aha!" until it lost every ounce of its novelty or effectiveness. He even absconded with an entire punch line that Waller had used at the end of his own cheerfully misogynistic version of "I Adore You" -- not to be confused with Waller's "I Simply Adore You." The phrase in question -- "To the pound with the beautiful hound" -- required some form of theatrical buildup. While Waller was making canine references all throughout "I Adore You," Porter chucked the line in at the end of "There's No Two Ways About It" as if he couldn't think of anything else to steal from Waller. The effect of all this upon anyone who knows and loves Waller's work is maddening, and Porter sticks in the mind as a primal irritant to be avoided at all costs. What does this have to do with ace trumpeter Jonah Jones? Well, he played on both of these sessions, striving with the other players to deliver solid swing as desired by the public in the middle 1930s. And yet let it be said that the inclusion of two outstanding Keynote dates and one Commodore blowing session more than make up for the itching, burning sensation created by Dick Porter. Jonah Jones & His Orchestra, consisting of only six players, made four wonderful sides for Harry Lim's Keynote label in September of 1944. Having emerged from Cab Calloway's big band, Jones had a healthy habit of including his friends from Calloway's horde. Tyree Glenn played both vibraphone and trombone. Hilton Jefferson, featured soloist on the creamy "Just Like a Butterfly (That's Caught in the Rain)," also cooked when heat was needed. "Lust for Licks" was based on the changes of "Exactly Like You," and "B.H. Boogie" was a tip of the hat to Buster Harding, whose arrangement of "Twelfth Street Rag" inspired some serious jamming. The 1945 Milt Hinton Sextet, also billed by Keynote as an "Orchestra," shared three crucial players with the previous band: Tyree Glenn, the honorable Mr. Hinton, and the immaculate J.C. Heard. Hinton's "Beefsteak Charlie" got its name from a bar in Manhattan that was preferred by jazz musicians. The reissuing of these Keynote recordings is a serious matter, and the producers of the Classics Chronological Series are to be commended for making them digitally available to the public in the same package with Jones' Commodore session from July 31, 1945. For here are the very best elements from both of the previous bands -- Glenn, Jefferson, Hinton, and Heard -- bundled in with several other strong players including clarinetist Buster Bailey and smokestack tenor Ike Quebec. Jefferson is handed another elegant ballad in "You Brought a New Kind of Love to Me," and the band deep-fries the "Rose of the Rio Grande." "Hubba Hubba Hub" seems at first a bit short on melodic invention but quickly evolves into a perfectly satisfying jam vehicle, closing with one of Jones' hottest solos on record. "Stompin' at the Savoy" is set up as a march by Heard, then struts itself silly. arwulf arwulf
Tracklist :

CAB CALLOWAY AND HIS ORCHESTRA – 1942-1947 (1998) The Classics Chronological Series – 996 | FLAC (tracks+.cue), lossless

The final CD of the Classic label's complete reissuance of Cab Calloway's 1930-47 recordings also includes the last recordings of Cab with his regularly working big band. This 1998 CD starts out with a couple of superior but originally rejected numbers ("What's Buzzin', Cousin?" and "Chant of the Jungle") from 1942, followed by a couple of rare V-disc numbers from 1944. Otherwise, the material dates from 1945 or 1947 with just two selections from 1946. During this era, the still-popular Calloway was finding it increasingly difficult to keep his orchestra together, as were all the other bandleaders, but the quality of his music remained fairly high, even touched slightly by bop in some of the arranged passages. Some of the vocals are a bit silly, particularly "Dawn Time and "Afternoon Moon," but there are also a few near-classic jive numbers. Highlights include the snobbish "A Blue Serge Suit With a Belt in the Back," "Don't Falter at the Altar" (released here for the first time), "The Jungle King" (one of two numbers done with a septet called the Cab-Jivers), "Give Me Twenty Nickels for a Dollar," "Two Blocks Down, Turn to the Left," "The Calloway Boogie," "Everybody Eats When They Come To My House," and the somewhat bizarre "The San Francisco Fan." Although Calloway dominates the music, there are scattered and consistently worthwhile solos by trumpeter Jonah Jones and tenors Ike Quebec and Sam "The Man" Taylor. Virtually all of these recordings are obscure, making the release of this music quite noteworthy both for swing collectors and Calloway fans. Recommended, as are all of the CDs in Classics' perfectly done Cab Calloway series. Scott Yanow  
Tracklist  :
1    Cab Calloway And His Orchestra–    What's Buzzin', Cousin? 2:38
Mack Gordon / Harry Owens
Vocals – The Cabaliers
2    Cab Calloway And His Orchestra–    Chant Of The Jungle    3:18
 Nacio Herb Brown / Arthur Freed
3    Cab Calloway And His Orchestra–    I'm Making Believe 1:50
Vocals – Dotty Salters
 Mack Gordon / James V. Monaco
4    Cab Calloway And His Orchestra–    Foo A Little Ballyhoo    3:01
 Cab Calloway / Buster Harding / Jack Palmer
5    Cab Calloway And His Orchestra–    Let's Take The Long Way Home    2:36
 Harold Arlen / Johnny Mercer
6    Cab Calloway And His Orchestra–    Foo A Little Bally-hoo    3:01
 Cab Calloway / Buster Harding / Jack Palmer
7    Cab Calloway And His Orchestra–    All At Once    2:50
 Ira Gershwin / Kurt Weill
8    Cab Calloway And His Orchestra–    Dawn Time    3:01
 Eddie DeLange / Buster Harding
9    Cab Calloway And His Orchestra–    If This Isn't Love    2:57
 Cab Calloway
10    Cab Calloway And His Orchestra–    A Blue Serge Suit With A Belt In The Back    2:26
 John Fortis / Max Spickol
11    Cab Calloway And His Orchestra–    Here I Go Just Dreamin' Away    2:47
 Al J. Neiburg / William Henri Woode
12    Cab Calloway And His Orchestra–    The Honeydripper    2:55
 Joe Liggins
13    Cab Calloway And His Orchestra–    Afternoon Moon    3:09
 Eddie DeLange / Duke Ellington
14    Cab Calloway And His Orchestra–    Hey Now, Hey Now    2:55
 Cab Calloway / Stanley Hill
15    Cab Calloway And His Orchestra–    I Got A Gal Named Nettie    3:06
 Cab Calloway
16    Cab Calloway And His Orchestra–    Hi-De-Ho Man    2:59
 Cab Calloway / Buster Harding / Jack Palmer
17    Cab Calloway And His Orchestra–    Necessity    2:52
 E.Y. "Yip" Harburg / Burton Lane
18    Cab Calloway And His Orchestra–    Oh Grandpa    2:59
 Cab Calloway / Stanley Hill / Bill Tennyson
19    Cab Calloway And His Orchestra–    Don't Falter At The Alter    2:40
 Cab Calloway
20    Cab Calloway And His Cab-Jivers–    Give Me Twenty Nickels For A Dollar    3:01
Wolf / Brandt
21    Cab Calloway And His Cab-Jivers–    The Jungle King    3:14
 Mort Dixon
22    Cab Calloway And His Orchestra–    Two Blocks Down, Turn To The Left    3:10
 Teddy Powell / Alex Rogers
23    Cab Calloway And His Orchestra–    San Francisco Fan    3:17
 Sammy Mysels / Dick Sanford
24    Cab Calloway And His Orchestra–    The Calloway Boogie    3:00
 Cab Calloway
25    Cab Calloway And His Orchestra–    Everybody Eats When They Come To My House    2:43
 Jeanne Burns / Cab Calloway
Credits
Alto Saxophone – Hilton Jefferson
Alto Saxophone, Baritone Saxophone – Andrew Brown (tracks: 1, 2), Charles Frazier (tracks: 16 to 19, 22 to 25), Rudy Powell (tracks: 7 to 15)
Baritone Saxophone – Greely Walton (tracks: 3 to 6)
Bass – Milt Hinton
Clarinet, Alto Saxophone – Alfred Gibson (tracks: 2 to 15), Jerry Blake (tracks: 1)
Directed By – Cab Calloway
Drums – Buford Oliver (tracks: 12, 13), Cozy Cole (tracks: 1, 2, 14, 15), J.C. Heard (tracks: 3 to 11), Panama Francis (tracks: 16 to 25)
Guitar – Danny Barker (tracks: 1 to 13), John Smith (tracks: 14 to 25)
Piano – Bennie Payne (tracks: 1, 2, 14, 15), Dave Rivera (tracks: 3 to 13, 16 to 25)
Tenor Saxophone – Bob Dorsey (tracks: 7 to 15), Ike Quebec (tracks: 3 to 15), Irving "Skinny" Brown (tracks: 2 to 6), Sam Taylor (tracks: 16 to 25), Ted McRae (tracks: 1), Walter "Foots" Thomas (tracks: 1, 2)
Trombone – Earl Hardy (tracks: 14 to 19, 22 to 25), Fred Robinson (tracks: 3 to 13), James Buxton (2) (tracks: 16 to 19, 22 to 25), John Haughton (tracks: 9 to 11), Keg Johnson (tracks: 1 to 8, 12 to 19, 22 to 25), Quentin Jackson (tracks: 1 to 19, 22 to 25)
Trombone, Vibraphone – Tyree Glenn (tracks: 1 to 15)
Trumpet – Johnny Letman (tracks: 16 to 19, 22 to 25), Jonah Jones, Lammar Wright (tracks: 1, 2, 16 to 19, 22 to 25), Paul Webster (tracks: 3 to 13, 16 to 19,to 25), Roger Jones (tracks: 5 to 15), Russell Smith (tracks: 1 to 15), Shad Collins (tracks: 1 to 15)
Vocals – Cab Calloway (tracks: 1, 2, 4 to 25)

CAB CALLOWAY AND HIS ORCHESTRA – 1949-1955 (2003) The Classics Chronological Series – 1287 | FLAC (tracks+.cue), lossless

Having spent years showcasing his own personality while diminishing the importance of the instrumentalists in his bands, Cab Calloway groveled during the early '50s, resorting to every imaginable gimmick and often sounding positively desperate. Two rather forced duets with Eugenie Baird employ exactly the same material as Pearl Bailey and Hot Lips Page were using during that same time period. These somewhat irritating covers are as different as can be from the fine artistry of Pearl and Page. "Rooming House Boogie" actually rocks, and Sam Taylor has a good hot solo. An overbearing tribute to Joe Louis is followed by the misogynistic "Your Voice." Notoriously intolerant of new musical ideas when young Dizzy Gillespie worked in his orchestra, by 1949 Cab had the unmitigated gall to sing a stupid novelty called "I Beeped When I Shoulda Bopped." This in itself was a gross imitation of Dizzy Gillespie's hit record "He Beeped When He Shoulda Bopped." Musical genres alternate as if Cab's career has been stuffed into a Waring blender. "Pero Que Jelengue," "La Mucura," and to some extent "Que Pasa Chica" are interesting examples of Calloway getting in touch with his Latino background. Cab should have done this more often! "The Duck Trot" has a bit of conga drumming and the tough tenor sax of Ike Quebec. On "Shotgun Boogie," Cab attempts to emulate Tennessee Ernie Ford. "One for My Baby" depicts a pathetic, lonely man trying to bond with his bartender. In 1952 Calloway began recording as a star vocalist backed by various orchestras rather than his own. Some of these tunes sound as if they were written expressly for Webb Pierce or Lefty Frizzell. There's a significant influx of material from the country & western market. "Hey Joe" was sent up by Homer & Jethro under the title "Hay Schmo." Why Cab Calloway tried to sing these songs, or indeed more than half of the material gathered together on this disc, is a mystery that can only be explained by economic straits and the often horrifying pop culture landscape of the 1950s. While Ray Charles was able to triumph with this kind of music, Calloway merely sounded like he was cornered by circumstances. arwulf arwulf  
Tracklist  :
1    Cab Calloway And His Orchestra–    Baby It's Cold Outside 2:17
Vocals – Eugenie Baird
2    Cab Calloway And His Orchestra–    The Huckle-Buck    2:27
3    Cab Calloway And His Cab Jivers–    Ol' Joe Louis 2:31
Choir [Uncredited] – The Cab Jivers
4    Cab Calloway And His Cab Jivers–    Your Voice 2:36
Speech [Uncredited] – Maud McElroy
5    Cab Calloway And His Cab Jivers–    Rooming House Boogie    3:20
6    Cab Calloway And His Cab Jivers–    I Beeped When I Shoulda Bopped    2:35
7    Cab Calloway And His Orchestra–    The Duck Trot    3:10
8    Cab Calloway And His Orchestra–    Pero Que Jelengue    2:44
9    Cab Calloway And His Orchestra–    The Keeper Of The Blues    2:44
10    Cab Calloway And His Orchestra–    La Mucura    2:51
11    Cab Calloway And His Orchestra–    Que Pasa Chica    2:31
12    Cab Calloway And His Orchestra–    Shot Gun Boogie    3:00
13    Cab Calloway And His Orchestra–    Frosty Morning    2:35
14    Cab Calloway And His Orchestra–    One For My Baby    3:28
15    Cab Calloway Acc. By Jimmy Carroll And His Orchestra–    I'll Get By    2:47
16    Cab Calloway Acc. By Jimmy Carroll And His Orchestra–    Minnie The Moocher    3:05
17    Cab Calloway Acc. By Jimmy Carroll And His Orchestra–    Gambler's Guitar (Gamblers' Blues)    2:31
18    Cab Calloway Acc. By Jimmy Carroll And His Orchestra–    Hey Joe    2:25
19    Cab Calloway Acc. By Sy Oliver And His Orchestra–    Jilted    2:06
20    Cab Calloway Acc. By Sy Oliver And His Orchestra–    Such A Night    2:07
21    Cab Calloway Acc. By Sy Oliver And His Orchestra–    Unchained Melody    2:45
22    Cab Calloway Acc. By Sy Oliver And His Orchestra–    Learning The Blues    2:35
Credits
Alto Saxophone – Bernie Peacock (tracks: 1, 2), Hilton Jefferson (tracks: 5, 6)
Bass – Milt Hinton (tracks: 1 to 6)
Drums – Panama Francis (tracks: 1 to 6)
Piano – Dave Rivera (tracks: 1 to 10)
Reeds – Leon "Diamond" Washington (tracks: 3, 4), S.A. Stewart (tracks: 3, 4)
Tenor Saxophone – Ike Quebec (tracks: 7 to 10), Sam "The Man" Taylor (tracks: 1, 2, 5, 6)
Trombone – John "Streamline" Ewing (tracks: 3, 4), Keg Johnson (tracks: 1, 2), Tyree Glenn (tracks: 5, 6)
Trumpet – Jonah Jones (tracks: 1 to 10)
Vocals – Cab Calloway