TOMMY DORSEY AND HIS ORCHESTRA – 1935-1936 | The Classics Chronological Series – 854 (1995) FLAC (tracks+.cue), lossless

This second volume in the Tommy Dorsey chronology contains nine performances by Tommy Dorsey & His Clambake Seven, an ensemble that feels at times like the antidote to the Tommy Dorsey Orchestra. The Clambake Seven, you see, was more of a real jazz ensemble, while the big band often served mainly as a jazz-inflected vehicle for backing up pop vocalists. Edythe Wright was generally more energetic, substantial, and interesting than Dorsey's drawling drones Jack Leonard and Buddy Gately, both standard-issue crooners with about as much personal warmth as catsup and gelatin. Edythe Wright could spice up most any pop tune, and interjected lots of clever remarks in the manner of Fats Waller, Cab Calloway, or Louis Armstrong. Sounding at times merely like a white girl trying to be hip, she nevertheless interacted quite well with the soloists and helped to loosen up a potentially uptight atmosphere even when engaging in formulaic behavior such as carefully exclaiming "my, my!" at the end of a song. She was at her best during "The Music Goes 'Round and Around," which offers a rare opportunity to hear the rather squeaky speaking voice of Sterling Bose, a magnificent trumpeter who appeared steadily with Dorsey's large and small groups until he was more or less replaced by Max Kaminsky in March of 1936, which is when Dave Tough came aboard. Tommy Dorsey was adept at taking other peoples' musical ideas and turning them into lucrative hits. Case in point: "The Music Goes 'Round and Around" was composed by Mike Riley and Eddie Farley, who recorded it with their own orchestra only six weeks prior to the version heard here. Tommy Dorsey made the real money off of this cute little novelty tune. arwulf arwulf      Tracklist + Credits :

TOMMY DORSEY AND HIS ORCHESTRA – 1936 | The Classics Chronological Series – 878 (1996) FLAC (tracks+.cue), lossless

Fans of legendary Chicago drummer Dave Tough will want to listen in on this third installment in the complete recordings of Tommy Dorsey presented in chronological order by Classics. Occurring between sentimental and novelty vocals by sugary Jack Leonard or snappy Edythe Wright, the Dorsey instrumentals of 1936 positively glow with a traditional jazz infusion worthy of Eddie Condon. Indeed, with Dave Tough, trumpeter Max Kaminsky, and tenor sax troubadour Bud Freeman in both the big band and the Clambake Seven, Dorsey was wise to record nice instrumental versions of "Ja-Da," "Royal Garden Blues," "That's a Plenty," "After You've Gone," "Maple Leaf Rag," and "Sleep," a sugary, soporific waltz from the 1920s that by 1936 was taking on new life as an upbeat jazz standard. Spunky Edythe Wright could sing just about anything, even material commonly associated with Shirley Temple. After cordially introducing Bud Freeman, she launches "At the Codfish Ball," a melody lifted directly from an earlier opus, Sam Coslow's "When Erastus Plays His Old Kazoo." As for "You've Gotta Eat Your Spinach, Baby," Wright sings the lyrics with gusto and the band cooks the tune to perfection. arwulf arwulf     Tracklist :

TOMMY DORSEY AND HIS ORCHESTRA – 1936-1937 | The Classics Chronological Series – 916 (1996) FLAC (tracks), lossless

The fourth installment in the Classics Tommy Dorsey chronology opens with the Dorsey Orchestra's last seven recordings of 1936. Fortified with trumpeter Max Kaminsky, tenor saxophonist Bud Freeman, guitarist Carmen Mastren, and master percussionist Dave Tough, this was a particularly fine band. Their instrumental rendition of Fats Waller's "Keepin' Out of Mischief Now" is one of Dorsey's all-time greatest recorded achievements. At her best, Edythe Wright sang a bit like Lee Wiley, and therefore her voice might grow on you if you sit still for it. This is more than can be said for either Jack Leonard or the goofy trio billed as the Three Esquires. Beginning on January 7, 1937, Dorsey hit the jackpot when he hired trumpeter Bunny Berigan, a man who had spent most of the first half of the 1930s backing up pop vocalists like Chick Bullock. The pleasant instrumentals on this disc all went over well with the record-buying public. Will Hudson's "Mr. Ghost Goes to Town" and something called "Who'll Buy My Violets?" are catchy tunes that benefit from the absence of vocalists. "Melody in F" receives a bouncy treatment that would certainly have startled its composer, Anton Grigorevich Rubinstein. Nikolai Rimsky-Korsakov's "Song of India" was a smash hit for Dorsey, who was now commercially clambering to the top of the heap. Yet his really big hit of 1937 was gleaned not from classical Russian composers but was filched from musicians of color in Philadelphia. Dorsey's famous version of Irving Berlin's "Marie" was based on a group vocal arrangement that originated in the mind of a banjoist, guitarist, vocalist, and arranger by the name of Steve Washington, a remarkable individual who had risen to prominence in the jazz world as a member of the Washboard Rhythm Kings. Washington died of pneumonia in January 1936. A few months later his arrangement of "Marie" was being performed at Nixon's Grand Theater in Philadelphia by the Sunset Royal Serenaders, an Afro-American jazz orchestra led at that time by trombonist Doc Wheeler. Dorsey was in the audience one night. He memorized the routine and used it in January 1937 to make a record that ended up earning him enormous quantities of money. This sort of racially informed cultural larceny would soon occur again as Glenn Miller scored his all-time biggest cash money hit by swiping "In the Mood" from Edgar Hayes. arwulf arwulf      Tracklist + Credits :

TOMMY DORSEY AND HIS ORCHESTRA – 1937 | The Classics Chronological Series – 955 (1997) FLAC (tracks), lossless

This fifth installment in the Classics Tommy Dorsey chronology presents recordings he made with the Dorsey Orchestra and the Clambake Seven during the spring of 1937. These ensembles benefited greatly from the presence of certain outstanding players. Bunny Berigan is heard on the first three tracks, but left the band soon thereafter to form his own orchestra. He would return briefly to work for Dorsey again in 1940. Speaking of brilliant musicians with tragically alcoholic temperaments, master percussionist Dave Tough stuck with this band for what was for him a remarkable stretch of uninterrupted professional involvement. Tommy Dorsey sold a lot of records during the mid- and late '30s. One thing hasn't changed very much since then: the public's interest in singers. Dorsey employed crooner Jack Leonard and a perky, interesting chanteuse named Edythe Wright, who seems to have had fun with the lyrics to "Jammin'," sounding almost as hip as Ivie Anderson. Instrumentally, this tune lives up to its name. Wright also did well with "The Milkman's Matinee," Dorsey's apparent attempt to elbow in on Charlie Barnet's turf. Bud Freeman, Pee Wee Erwin, and Johnny Mince turn in perfectly handsome solos on this curious number originally designed as a theme song for Stan Shaw's late-night radio show on WNEW. Dorsey also wisely chose to render a number of instrumentals to vary his recorded repertoire. Continuing to contribute to the popularity of European classical melodies arranged for jazz orchestra, he served up "Liebestraum" by Franz Liszt, Felix Mendelssohn's "Spring Song," and "Blue Danube" by Johann Strauss. Other intriguing performances heard here without vocalists are the popular Gypsy tune "Dark Eyes," "Twilight in Turkey" by Raymond Scott, "Nola" by Felix Arndt, and "Satan Takes a Holiday" by Larry Clinton. A delightfully warm and kicky "Stop, Look and Listen," representing one of the jazziest items in the entire Dorsey discography, swings for a full five and a half minutes. arwulf arwulf      Tracklist :

TOMMY DORSEY AND HIS ORCHESTRA – 1937, Vol. 2 | The Classics Chronological Series – 995 (1998) FLAC (tracks), lossless

This sixth installment in the Tommy Dorsey chronology opens with Paul Weston's snappy big-band orchestration of "Humoresque" by Antonin Dvorák, including a quote from Stephen Foster's "Old Folks at Home," better known as "Swanee River." For the flip side of this Victor recording, guitarist Carmen Mastren fashioned a lovely arrangement of the famous theme from Dvorák's Symphony No. 9 in E Minor and casually rechristened it "Rollin' Home." Crooner Jack Leonard is featured on the next three titles, and although "You're Precious to Me" is one of his least insipid performances on record, it pales considerably when compared with Wingy Manone's soulful version. Relief arrives in a smokin' jam on W.C. Handy's "Beale Street Blues." This marvelous traditional jam scintillates with Dave Tough's cymbal work and the incredible warmth of Bud Freeman's tenor sax solo. Six sides recorded on June 12, 1937, by the Clambake Seven sustain the friendly mood with a succession of catchy studies in small-group swing with vocals by Edythe Wright. The party culminated with "Posin'," a slaphappy stop-action novelty singalong punctuated with abbreviated instrumental breaks by several of the band's star players, including Dave Tough, who was famous for his reluctance to take drum solos. Three fine big-band instrumentals were recorded at the same session: "That Stolen Melody" by Fred Fisher, "Barcarolle" by Jacques Offenbach, and Nikolai Rimsky-Korsakov's "Hymn to the Sun." About one month later, Edythe Wright and Dorsey's Clambake Seven returned to the Victor recording studios to wax four swinging renditions of romantic Tin Pan Alley marzipans. The session concluded with two more Wright vocals backed by the big band and "Are All My Favorite Big Bands Playing or Am I Dreaming?," a hilariously bizarre pastiche of sound effects and cornball novelty licks accompanying Bud Freeman as he recites wistful lyrics in a theatrical British accent. Interestingly, this sounds a lot like a premonition of "The Wrong Idea," that ruthless send-up of big-band gimmickry that Charlie Barnet would record more than two years later during the autumn of 1939. arwulf arwulf           Tracklist + Credits :

TOMMY DORSEY AND HIS ORCHESTRA – 1937, Vol. 3 | The Classics Chronological Series – 1035 (1998) FLAC (tracks), lossless

 The seventh installment in the Classics Tommy Dorsey chronology opens with four love songs swung by the Clambake Seven and sung by Edythe Wright. On the bluesy and slightly dissonant "After You," the leader plays his trombone using a trumpet mouthpiece, creating a sound somewhat similar to what Jack Teagarden would achieve on his "Glass Blues" of 1944 using nothing more than a trombone mouthpiece and a water glass. Bud Freeman's solo on this track is nothing short of marvelous. A light smattering of instrumentals include a majestic and swinging version of Cole Porter's "Night and Day" arranged by Paul Weston, Jerome Kern's "Smoke Gets in Your Eyes," "Canadian Capers," and Hoagy Carmichael's "I May Be Wrong, But I Think You're Wonderful." Most of the selections feature pert or sentimental vocals. The goofiest track is "The Big Apple," a slaphappy Clambake Seven call and response number describing a "new dance" combining characteristics of nearly every popular step of the day. The band carefully recites "my my, yes yes," a phrase lifted directly from Fats Waller. This segment of the Dorsey chronology closes with a weirdly out of step remnant from vaudeville days. Back in 1902 a guy by the name of Fred Fisher came up with a barrelhouse rag bearing the dubious title "If the Man in the Moon Were a Coon." This Jim Crow novelty was published by Chicago's Will Rossiter, a shrewd businessman destined to succeed in 1917 with Shelton Brooks' famous proto-jazz hit, "The Darktown Strutter's Ball." The fact that Tommy Dorsey thought it was OK to record Fisher's "Coon" song in 1937 with Jack Leonard merrily enunciating the words speaks volumes about the state of U.S. culture and ethics during the 20th century. The tune itself, which sounds a little like Tony Jackson's "Pretty Baby," is very catchy and lends itself to full throttle jamming. Bud Freeman runs fiendish riffs up and down the tenor and Johnny Mince's clarinet percolates while Gene Traxler slaps his bass. It's one of this group's hottest records. If only they'd omitted the lyrics. arwulf arwulf    Tracklist :

TOMMY DORSEY AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 1078 (1999) FLAC (tracks), lossless

Tommy Dorsey presided over no less than 22 recording sessions during the year 1937. His records were popular among both jazz heads and pop music fans who expected to hear singers in front of the band. This eighth installment in the Dorsey chronology offers predominately vocal tracks garnished with three pleasant instrumentals, "Just a Simple Melody," "Little White Lies," and "Oh, Promise Me." The leader wisely bolstered his trombone's famous tonality with such capable players as Pee Wee Erwin, Bud Freeman, and Johnny Mince. Gifted percussionist Dave Tough, a troubled individual who was eventually slain by his addiction to alcohol, lasted a remarkably long time with Dorsey, finally bailing after the session of December 6th. Syrupy-voiced Jack Leonard made off with eight ballads in addition to Kern/Hammerstein's "Who?," which was given the same group vocal treatment as Dorsey's hit record, "Marie." Edythe Wright, capable of singing prettily, was at her best with humorous upbeat numbers like Yip Harburg and Harold Arlen's anti-romantic "Down with Love." The nadir of her career was reached with the incredibly racist Rodgers & Hart tune "There's a Boy in Harlem." This nasty little air paints an archaic Jim Crow portrait of a musically gifted but sloppily dressed Afro-American composer who never leaves the 'hood but whose influence pervades the music industry. With Lorenz Hart's lyrics containing a thinly veiled reference to "this person in the woodpile," the song belongs in Tin Pan Alley's sociological chamber of horrors. Its appearance in the Dorsey discography casts a sickly light upon his periodically flawed ethical sensibilities. arwulf arwulf     Tracklist : 

TOMMY DORSEY AND HIS ORCHESTRA – 1939 | The Classics Chronological Series – 1237 (2002) FLAC (tracks), lossless

This 12th installment in the Classics Tommy Dorsey chronology documents the trombonist's Victor studio recordings dating from the first half of 1939. Drummer Dave Tough was back with the band for a few months and Yank Lawson was in the trumpet section for a grand two-part version of the Jelly Roll Morton/New Orleans Rhythm Kings collaborative masterpiece "Milenberg Joys." This excellent stomp was arranged by Deane Kincaide, whose charts helped to make the Dorsey band sound somewhat hipper than it ever had before. The five other instrumentals included in this part of the Dorsey chronology are "Dawn on the Desert," "Marcheta," "By the River Sainte Marie," "Tea for Two," and "Peckin' with the Penguins," a loping opus composed and arranged by Kincaide. Edythe Wright was on her way out of the Dorsey dynasty at this point, which might explain why she's only heard singing on four of the titles reissued here. The best of these is Koehler/Bloom's whimsical "Got No Time." For an interesting listening experience, compare this performance with Fats Waller's version of the same song, recorded one day later for Victor's subsidiary Bluebird label. Speaking of Waller, on the session of February 9th, goofy Skeets Herfurt tried hard to navigate the scat line from "Hold Tight (Want Some Seafood Mama)." Waller's definitive version had been waxed on January 19th and Dorsey, always on the lookout for catchy material to spice up his act, hastened to cover the song as soon as he'd heard it. Rodgers & Hart's "Blue Moon," with its brusque band vocal behind crooning Jack Leonard, gets the same treatment that had made "Marie" into a hit record. The band swings well enough but Dorsey's willingness to milk this routine must have made some listeners wonder which popular song would next become transformed into something so obviously patterned after "Marie." arwulf arwulf        Tracklist :

TOMMY DORSEY AND HIS ORCHESTRA – 1939, Vol. 2 | The Classics Chronological Series – 1278 (2002) FLAC (tracks), lossless

Tracklist + Credits :

EDDIE CONDON – 1938-1940 | The Chronogical Classics – 759 (1994) FLAC (image+.cue), lossless

Here is a particularly tasty portion of old-fashioned Chicago-style jazz, calmly dished out by some of Condon's very best bands. "Jackson Teagarden and his trombone" deliver the nicest portrait of "Diane" ever painted. "Serenade to a Shylock" slowly ambles through Mr. T's vocal and suddenly kicks up into a stomp, sharpened at the edges by Pee Wee Russell's gloriously filthy clarinet. Bud Freeman glides effortlessly into "Sunday" and "California." Bud's relaxing influence bathes the entire band in rosy light even during upbeat finales. On August 11, 1939, Davey Tough actually made it into a recording studio. While George Wettling and Lionel Hampton had each served ably on the preceding tracks, it's invigorating to hear Mr. Tough driving the band the way he did. The same could be said for Joe Sullivan, with all due respect for Jess Stacy and Joe Bushkin. The chemistry on this little Decca date is really magical. "Friar's Point" gets low-down and dirty, a funky collective discourse on the human condition. Back with Commodore Records on November 30, 1939, Condon retained Max Kaminsky, Brad Gowans, and Pee Wee Russell for a real blowing session. While "Jelly Roll" bakes itself brown, during "Strut Miss Lizzie" the band sounds almost possessed. "It's Right Here for You" is just plain gorgeous. These really are among the best records Condon ever produced, and everybody ought to get a chance to hear them on a regular basis. On March 24, 1940, about 17 minutes' worth of "A Good Man Is Hard to Find" was spread over four 12" 78-rpm platters, with 11 musicians taking turns ritualistically hammering out every possible angle of the song. While conventional criticism regards this as a bit too much of a good thing, seasoned jazz heads are surely capable of enjoying dramatically extended solos without undue concern for "normal" parameters. Rules and preconceptions are made to be broken and dispelled. With this precept in mind, the session of November 11, 1940, is particularly tasty. Invading the Commodore studios, popular Victor recording artist Thomas "Fats" Waller cheerfully broke his contract by making records with Condon's band under the pseudonym "Maurice," a name borrowed from one of his sons. This music is exquisite. The combination of Pee Wee and Fats should have occurred much more often than it ever did. Waller and Condon first made records together in 1929 -- in the very same studio, by the way: the wonderful Liederkranz Hall. This, then, was a sort of reunion, bittersweet in retrospect, as Fats died in December of 1943, making this Commodore jam the last time the two men would get to play music together in front of the same microphone. arwulf arwulf  
Tracklist :

EDDIE CONDON – 1944-1946 | The Chronogical Classics – 1033 (1998) FLAC (image+.cue), lossless

This is how traditional Chicago-style jazz sounded in New York during the mid-1940s. When he wasn't brusquely emceeing these bands on-stage at Town Hall, guitarist and organizer Eddie Condon presented this music on the air and in the recording studio. The phonographic evidence, chronologically arranged and carefully documented, makes for enjoyable listening. Three V-Disc sides for the armed forces have Hot Lips Page lined up next to Sterling Bose, Miff Mole and Pee Wee Russell. This interesting blend of musicians from radically different social and ethnic backgrounds is typical of Condon. Lips sings on a nearly four-and-a-half-minute version of the "Uncle Sam Blues," a wry ode to military conscription. The old "Tin Roof" is summed up in a mere 126 seconds, followed by a slightly longer "Ballin' the Jack." It seems as though V-Disc encouraged short takes so as to be able to squeeze as many tracks as possible on to their newly devised 'unbreakable' lightweight 12" 78rpm records. The Decca session of December 12, 1944 sounds a lot like the Town Hall mixture of pressure cookers and attractive love songs. Bobby Hackett turns "When Your Lover Has Gone" into a prayer. Lee Wiley (who was Eddie Condon's idea of the Perfect Woman) sings a couple of sweet numbers, and the band kicks the stuffing out of a theme only identified as "Impromptu Ensemble." Here Jack Teagarden blows hot trombone and sings up a parcel of lyrics he first used on a "Chicagoans" session back in 1929. Special mention should be made of baritone saxophonist Ernie Caceres who blows mellow for Lee and very hot during the stomps. Two days later the band emitted 59 seconds of "jump" music and 33 seconds of "blues" for radio broadcast purposes. Lee sang two more ballads and Teagarden hammed up the "Sheik of Araby" with strange new novelty lyrics before they swung it to pieces. Jack also sings and plays handsomely on "Somebody Loves Me." Speaking of melodies composed by George Gershwin, the 1945 sessions include what might be the loveliest version of "My One And Only" ever recorded, starring Bobby Hackett. "Lady Be Good" and "Swanee" take on an almost Dixieland flavor. On March 27, 1946 Wild Bill Davison, Gene Schroeder and Davey Tough incited a grand "Farewell Blues" with the bridge from "Weary Blues" grafted on to its midsection. "Improvisation for the March of Time" was built across the familiar slow blues/fast blues formula, and a couple of very attractive pop songs were magically transformed into honest instrumental jazz before the band knocked off for the day. The session of July 17th, 1946 is memorable for the presence of pianist James P. Johnson, who sends out sparks during "Just You, Just Me," and the voice of John "Bubbles" Sublett, one-time musical cohort of Buck Washington. Sublett is heard singing W.C. Handy's "Atlanta Blues," also known as "Make Me a Pallet on the Floor." That's the great thing about an Eddie Condon date: you never know who's going to show for the gig. arwulf arwulf  
Tracklist + Credits :

MILDRED BAILEY – 1937-1938 | The Classics Chronological Series – 1114 (2000) FLAC (tracks+.cue), lossless

Volume three in Mildred Bailey's Classics chronology revives 24 excellent recordings she made for the Vocalion label between January 19, 1937 and March 14, 1938. During this period, Bailey sang on quite a number of recordings issued (and subsequently reissued) under the name of her third husband, xylophonist Red Norvo. Everything on this compilation came out under the name of Mildred Bailey & Her Orchestra. A glance at the enclosed discography substantiates a claim made by producer Anatol Schenker in his liner notes: "The small band recordings made by Mildred Bailey in the late thirties certainly bear comparison with those made by Billie Holiday." Alternating throughout the discography with sessions featuring Red Norvo's big band, the septets heard backing Mildred Bailey are populated with accomplished improvisers like Roy Eldridge, Chu Berry, Buck Clayton, Scoops Carey, Herschel Evans, Hank D'Amico and Edmond Hall. The rhythm sections were driven by such master musicians as Teddy Wilson, Zutty Singleton, Freddie Green, Walter Page and Dave Tough. Anyone seeking particularly wonderful examples of Tough's marvelously controlled percussion artistry needs to listen to "I See Your Face Before Me," "Thanks for the Memory," "From the Land of Sky Blue Water" and "Lover Come Back to Me." Mildred Bailey was among the very first people in showbiz to recognize Billie Holiday's unique abilities as a jazz vocalist. This compilation demonstrates some of the songs, moods and instrumentalists that the two singers had in common. A more far-reaching assessment of their parallel careers is sobering; Billie Holiday struggled against racism, patriarchal oppression, entrenched conventions that made her feel like her own voice was "not legitimate," and a swarm of pernicious addictions that ultimately slew her. Mildred Bailey pioneered the feminine art of jazz singing and enjoyed enormous popularity for a while during the '30s; then, obese and diabetic, she found herself marginalized as an insufficiently svelte anomaly and was ultimately discarded by an entertainment industry that has always valued physical glamour over artistic ability. arwulf arwulf  
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BENNY GOODMAN AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 899 (1996) FLAC (tracks), lossless

During the period covered by this CD, Benny Goodman & His Orchestra reached the height of their success with their historic January 12, 1938, Carnegie Hall concert. Shortly after, Gene Krupa had a personality conflict with Goodman and left the band, being replaced initially by Dave Tough. But Goodman still had such stars as Harry James, Ziggy Elman, Jess Stacy, Martha Tilton, Lionel Hampton, and Teddy Wilson plus himself, so his commercial success continued throughout 1938 despite competition from many other bands. This CD has the final numbers with Krupa (including "Life Goes to a Party," a hot quartet version of "I'm a Ding Dong Daddy From Dumas," "Don't Be That Way," and "One O'Clock Jump") and some worthy post-Krupa performances, including "The Blue Room" and "Make Believe," showing that Benny Goodman was still the king of swing. Scott Yanow
Tracklist : 

BENNY GOODMAN AND HIS ORCHESTRA – 1938 | The Classics Chronological Series – 925 (1997) FLAC (tracks+.cue), lossless

The 1938 version of Benny Goodman & His Orchestra was still a strong ensemble, featuring Goodman, Harry James, Ziggy Elman, tenor saxophonist Bud Freeman, Jess Stacy, Martha Tilton, and Dave Tough on drums, plus in the trio/quartet Teddy Wilson and Lionel Hampton. Gene Krupa might have been missed, but the ensemble still swung hard. Highlights of this chronological study include "Lullaby in Rhythm," "I Let a Song Go out of My Heart" (featuring Tilton), "Big John's Special," "Wrappin' It Up," and the quartet version of "Dizzy Spells." Scott Yanow
Tracklist :

BENNY GOODMAN AND HIS ORCHESTRA – 1938, Vol. 2 | The Classics Chronological Series – 961 (1997) FLAC (tracks+.cue), lossless

Benny Goodman was busy during the three-and-a-half-month period covered by this CD, cutting 22 selections for Victor including "Margie," "Bumble Bee Stomp," "My Honey's Loving Arms," and "Farewell Blues" with his big band and excellent quartet renditions of "Opus 1/2," "Sweet Georgia Brown," "'S Wonderful," and (as a trio) "I Must Have That Man." Artie Shaw may have been surpassing in the popularity polls by late 1938, but Goodman's band (with Harry James, Ziggy Elman, Martha Tilton, Jess Stacy, and Bud Freeman, not to mention Lionel Hampton and Teddy Wilson) was still a mighty swing machine. Scott Yanow
Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1941, Vol. 2 | The Classics Chronological Series – 1236 (2002) FLAC (tracks+.cue), lossless

This CD in Classics' extensive Benny Goodman series starts out with the last Sextet date to feature Charlie Christian, including two songs ("Blues In B" and "Waitin" For Benny") performed by the band without Goodman during a rehearsal that was taped by an alert engineer. Otherwise, this CD consists of big band performances from Goodman's still-mighty orchestra, featuring trumpeters Cootie Williams (showcased on "Fiesta In Blue") and Jimmy Maxwell, trombonist Lou McGarity, and Georgie Auld on tenor. Helen Forrest has seven excellent vocals including "When The Sun Comes Out" and "Smoke Gets In Your Eyes," and there are diverse arrangements by the likes of Eddie Sauter, Jimmy Mundy, Edgar Sampson, and Margie Gibson. Several of these numbers are rarely reissued despite their high quality, so it is a pleasure to hear the complete sessions in chronological order by this memorable big band. Scott Yanow  
Tracklist :

ARTIE SHAW AND HIS ORCHESTRA – 1941-1942 | The Classics Chronological Series – 1206 (2001) FLAC (tracks+.cue), lossless

In the summer of 1941, Artie Shaw organized yet another big band, his fourth in five years. This particular ensemble was one of his most fun groups, featuring trumpeter/singer Hot Lips Page, trombonist Jack Jenney, tenor saxophonist Georgie Auld, pianist Johnny Guarnieri, drummer Dave Tough, and a full string section with some arrangements by trombonist Ray Conniff. All but the last six recordings of this big band are on this CD, including "Blues in the Night," the adventurous "Nocturne," "Take Your Shoes off, Baby," "Just Kiddin' Around," "Dusk," and the two-part "St. James Infirmary." The music alternates between swing, Hot Lips Page features, and classical-oriented works, succeeding on all levels. But shortly after Pearl Harbor, Artie Shaw called it quits again, enlisting in the navy. Scott Yanow
Tracklist + Credits :

ARTIE SHAW AND HIS ORCHESTRA – 1942-1945 | The Classics Chronological Series – 1242 (2002) FLAC (tracks+.cue), lossless

Lenny Bruce was a devoted fan of the Artie Shaw Gramercy Five. He also went out of his way to make fun of Georgia Gibbs, the vocalist on Artie Shaw's January 20, 1942 recording of "Absent-Minded Moon." Lenny was playing up his preference for the hipper side of Shaw, as demonstrated on "Hindustan" and every track recorded at the session which took place the following day. These remarkable sides, which sound better every time they are played back, were the last studio recordings Shaw would make before joining the navy. Composer and arranger Paul Jordan crafted a number of transitionally modern-sounding charts for this band. There are several heavies in the lineup: Dave Tough and Johnny Guarnieri worked well together under any circumstances. Georgie Auld, Ray Conniff and Max Kaminsky were fortunate to be blowing their horns alongside Hot Lips Page, a seasoned trumpeter who conveyed the lyrical potency of ten ordinary musicians. The string section provides just the right amount of lilt without injecting too much fluff. There is a gorgeous rendition of "Sometimes I Feel Like a Motherless Child," with Shaw's clarinet in full blue cry and a gutsy vocal by Page. The Shaw discography, interrupted by a world war, resumes nearly three years later with Harold Arlen and Johnny Mercer's famous "Accentuate the Positive." Vocalist Imogene Lynn, dutifully intoning Mercer's imitation Afro-American revival lyrics, sounds a bit affected after the soulful gravity of Hot Lips Page. But it is important to place this popular hit record within historical context. By November of 1944 America needed a straight shot of optimism, and this catchy, morale-boosting number did more for the war against fascism than any number of giddy or poker-faced exercises in rhetorical patriotism. This is Artie Shaw & His Orchestra at their finest. Roy Eldridge gave the band extra punch, and the records he made with Shaw are uniformly solid, melodious and attractive. Billie Holiday, who had worked with Shaw in 1938, is invoked in Jimmy Mundy's "Lady Day." Poetically, its chord progressions seem to reference Billie's difficult life and maybe even the abusive racism she encountered while touring with Shaw at a time when black women simply did not appear with white bands. Buster Harding's "Little Jazz" is the definitive portrait of Eldridge. "Summertime" is exceptionally fine, with magical tonalities provided by Dodo Marmarosa and Barney Kessel. This special chemistry is all the more evident on two sides by the Gramercy Five. Certainly one of the best Artie Shaw reissues, and well-worth seeking out. arwulf arwulf  
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JACK TEAGARDEN AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 758 (1994) FLAC (tracks+.cue), lossless

The third in Classics' Complete Jack Teagarden series traces the trombonist's big-band recordings during his Columbia period. There were no great soloists among Teagarden's sidemen and some of these tunes (particularly the nine with Kitty Kallen vocals) are throwaways but Teagarden's own singing on six songs (including "Beale Street Blues" and "If I Could Be with You") and distinctive trombone give listeners strong reasons to acquire this entry in the worthy series. Other highlights include "Peg of My Heart," "Wolverine Blues," "Swinging' on the Teagarden Gate" and "The Blues." Scott Yanow
Tracklist :
1    I'm Takin' My Time With You    2:58
2    I Wanna Hat With Cherries    2:54
3    Two Blind Loves    2:41
4    Hawaii Sang Me To Sleep    2:54
5    It's A Hundred To One (I'm In Love)    2:28
6    I'll Remember    3:02
7    Peg O' My Heart 3:21
Arranged By – Red Bone
8    At Least You Could Say Hello    3:13
9    A Table In The Corner    3:10
10    Stop Kicking My Heart Around    3:03
11    If What You Say Is True    2:48
12    So Many Times    2:58
13    Muddy River Blues    3:01
14    Wolverine Blues 2:42
Arranged By – Red Bone
15    Red Wing    2:55
16    United We Swing    2:51
17    Beale Street Blues    3:10
18    Somewhere A Voice Is Calling    2:45
19    Swingin' On The Teagarden Gate 2:45
Arranged By – Fred Norman
20    If I Could Be With You (One Hour Tonight)    3:07
21    My Melancholy Baby    2:55
22    Can't We Talk It Over?    3:07
23    The Blues    3:14
Credits :    
Alto Saxophone – Jack Goldie (tracks: 20 to 23), Joe Ferdinando (tracks: 20 to 23), Tony Antonelli (tracks: 20 to 23)
Bass [String Bass] – Arnold Fishkind (tracks: 20 to 23), Art Miller (tracks: 1 to 16), Benn Pottle (tracks: 17 to 19)
Clarinet, Alto Saxophone – Clint Garvin (tracks: 1 to 19)
Clarinet, Alto Saxophone, Baritone Saxophone – Art St. John
Clarinet, Tenor Saxophone – Hub Lytle (tracks: 1 to 19), John Van Eps (tracks: 1 to 19)
Clarinet, Tenor Saxophone, Baritone Saxophone – Ernie Caceres (tracks: 1 to 19)
Drums – Cubby Teagarden (tracks: 1 to 7), Dave Tough (tracks: 8 to 19), Ed Naquin (tracks: 20 to 23)
Guitar – Allan Reuss (tracks: 1 to 19), Dan Perri (tracks: 20 to 23)
Piano – Jack Russin (tracks: 8 to 19), John Anderson (14) (tracks: 1 to 7), Nat Jaffe (tracks: 20 to 23)
Tenor Saxophone – Larry Walsh (tracks: 20 to 23)
Trombone – Charles McCamish (tracks: 1 to 7), Eddie Dudley (tracks: 8 to 19), Joe Ferrall (tracks: 20 to 23), Jose Gutierrez, Mark Bennett (tracks: 1 to 19), Seymour Goldfinger (tracks: 20 to 23)
Trombone, Directed By – Jack Teagarden
Trumpet – Charlie Spivak (tracks: 1 to 16), Frank Ryerson (tracks: 17 to 19), John Fallstitch (tracks: 20 to 23), Carl Garvin (tracks: 1 to 19), Lee Castle (tracks: 1 to 19), Sid Feller (tracks: 20 to 23), Tom Gonsoulin (tracks: 20 to 23)
Vocals – Jack Teagarden (tracks: 5, 13, 17, 20 to 22), Kitty Kallen (tracks: 1 to 4, 8 to 12) 

JACK TEAGARDEN AND HIS ORCHESTRA – 1940-1941 | The Classics Chronological Series – 839 (1995) FLAC (tracks+.cue), lossless

Volume four in the complete works of trombonist Jack Teagarden as reissued by Classics contains all of his studio recordings made between February 1940 and January 1941. Most of the 20 selections are by Teagarden's second big band, an entity that came together in 1939 and lasted until 1947. Aside from Mr. T, the one player to really listen for is clarinetist Danny Polo. A scan of the remaining personnel reveals little about this orchestra other than the incidence of memorable names like those of trumpeter Pokey Carriere and trombonist Seymour Goldfinger. Arrangements are attributed to Irving Szathmary (composer of theme music for TV's Get Smart and I'm Dickens, He's Fenster) and African American pianist Phil Moore, who also arranged for Tommy Dorsey and Harry James. There are numerous vocals by Kitty Kallen, Marianne Dunn, and David Allen. The perkiest of these is a version of Eddie Durham and Taps Miller's hepcat staple "Wham (Re-Bop-Boom-Bam!)" While Teagarden & co. did nice things with Cole Porter's "Love for Sale" and "Frenesi," the jazz heart of this album exists in tracks 13-16, which were recorded on December 15, 1940 for the Hot Record Society on 12" 78 rpm platters, allowing for durations exceeding four minutes per side. Teagarden's Big Eight was an uncommonly solid unit composed of strong improvisers, especially Ellingtonian front liners Rex Stewart, Barney Bigard, and Ben Webster. The equally impressive rhythm section consisted of drummer Dave Tough, bassist Billy Taylor, pianist Billy Kyle (a cardinal member of the John Kirby Sextet) and guitarist Brick Fleagle, whose presence almost invariably indicated the presence of his friend and collaborator Rex Stewart. Most of the participants, in fact, had recorded together for HRS five months earlier as Rex Stewart's Big Seven. As an album, this entry in the Classics Teagarden chronology offers four supremely well-crafted traditional jazz numbers and 16 big-band sides garnished with pop vocals. arwulf arwulf  
Tracklist :
1    Jack Teagarden And His Orchestra–    Love For Sale 3:00
Arranged By – Irving Szathmary
2    Jack Teagarden And His Orchestra–    You, You Darling    3:07
3    Jack Teagarden And His Orchestra–    The Moon And The Willow Tree    3:17
4    Jack Teagarden And His Orchestra–    Wham (Re-Bop-Boom-Bam)    3:11
5    Jack Teagarden And His Orchestra–    Devil May Care    3:17
6    Jack Teagarden And His Orchestra–    Night On The Shalimar    3:24
7    Jack Teagarden And His Orchestra–    I Hear Bluebirds    3:23
8    Jack Teagarden And His Orchestra–    Fatima's Drummer Boy    2:45
9    Jack Teagarden And His Orchestra–    Now I Lay Me Down To Dream    3:23
10    Jack Teagarden And His Orchestra–    Wait 'Till I Catch You In My Dreams    3:12
11    Jack Teagarden And His Orchestra–    And So Do I    3:26
12    Jack Teagarden And His Orchestra–    River Home    3:11
13    Jack Teagarden's Big Eight–    St James Infirmary    4:16
14    Jack Teagarden's Big Eight–    The World Is Waiting For The Sunrise    4:09
15    Jack Teagarden's Big Eight–    The Big Eight Blues    4:15
16    Jack Teagarden's Big Eight–    Shine    3:56
17    Jack Teagarden And His Orchestra–    Here's My Heart    3:09
18    Jack Teagarden And His Orchestra–    Frenesi    2:55
19    Jack Teagarden And His Orchestra–    It All Comes Back To Now    2:58
20    Jack Teagarden And His Orchestra–    Accidentally On Purpose    3:19
Credits :    
Alto Saxophone – Benny Lagasse (tracks: 5 to 8), Jack Goldie (tracks: 1 to 4), Joe Ferdinando (tracks: 1 to 12, 17 to 20), Tony Antonelli (tracks: 1 to 12, 17 to 20)
Alto Saxophone, Baritone Saxophone – Art St. John (tracks: 1 to 12)
Alto Saxophone, Clarinet – Danny Polo (tracks: 9 to 12, 17 to 20)
Bass [String Bass] – Arnold Fishkind (tracks: 1 to 12, 17 to 20), Billy Taylor Sr. (tracks: 13 to 16)
Clarinet – Barney Bigard (tracks: 13 to 16)
Cornet – Rex Stewart (tracks: 13 to 16)
Drums – Dave Tough (tracks: 13 to 16), Ed Naquin (tracks: 1 to 4), Paul Collins (6) (tracks: 5 to 12, 17 to 20)
Guitar – Brick Fleagle (tracks: 13 to 16)
Piano – Billy Kyle (tracks: 13 to 16), Ernie Hughes (tracks: 17 to 20), Nat Jaffe (tracks: 1 to 12)
Tenor Saxophone – Art Beck (tracks: 17 to 20), Art Moore (tracks: 17 to 20), Ben Webster (tracks: 13 to 16), Larry Walsh (tracks: 1 to 12)
Trombone – Jack Teagarden, Joe Ferrall (tracks: 1 to 12, 17 to 20), Jose Gutierrez (tracks: 1 to 12, 17 to 20), Seymour Goldfinger (tracks: 1 to 12, 17 to 20)
Trumpet – John Fallstitch (tracks: 1 to 12, 17 to 20), Pokey Carriere (tracks: 17 to 20), Sid Feller (tracks: 1 to 12, 17 to 20), Tom Gonsoulin* (tracks: 1 to 12)
Vocals – David Allen (tracks: 9, 10, 12, 17, 19), Jack Teagarden (tracks: 8, 13), Kitty Kallen (tracks: 1 to 4), Lynne Clark (tracks: 20), Marianne Dunne (tracks: 5 to 7, 11)