BARBARA LEA — Lea in Love (1957-1990) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Singer Barbara Lea often recalls her idol and friend Lee Wiley on this set of love songs. The backup is uniformly tasteful but changes from song to song with such impressive stylists as trumpeter Johnny Windhurst, baritonist Ernie Caceres, Garvin Bushell (on oboe and bassoon), Dick Cary (the arranger on piano and alto horn), guitarist Jimmy Raney and (on a beautiful version of "True Love") harpist Adele Girard making memorable appearances. Lea's straightforward and heartfelt delivery is heard at its best on such songs as "You'd Be So Nice to Come Home To," "Mountain Greenery," "More than You Know" and "Autumn Leaves" (which is partly taken in French). These interpretations are often touching. Scott Yanow
Tracklist :
1.    Will I Find My Love Today?  3:45
 Sean Fogarty / Sidney Shaw 
2.    We Could Make Such Beautiful Music Together    2:00
 Henry Manners / Robert Sour 
3.    You'd Be So Nice To Come Home To    3:18
 Cole Porter 
4.    Am I In Love?    2:00
Howard Ryan, Ronald Barrett 
5.    The Very Thought Of You    3:05
 Ray Noble 
6.    I've Got My Eyes On You    2:12
 Cole Porter 
7.    True Love    2:53
 Cole Porter 
8.    Mountain Greenery    2:18
 Lorenz Hart / Richard Rodgers 
9.    More Than You Know    4:36
 Edward Eliscu / Billy Rose / Vincent Youmans 
10.    Ain't Misbehavin'    2:40
 Harry Brooks / Andy Razaf / Fats Waller 
11.    Autumn Leaves    3:17
 Joseph Kosma / Johnny Mercer / Jacques Prévert 
12.    Sleep Peaceful, Mr. Used-To-Be    3:18
 Harold Arlen / Johnny Mercer 
Credits:
Bass – Al Hall, Beverly Peer
Clarinet, Baritone Saxophone – Ernie Caceres
Drums – Osie Johnson
Guitar – Al Casamenti, Jimmy Raney
Harp – Adele Girard
Oboe, Bassoon – Garvin Bushell
Piano – Jimmy Lyon 
Piano, Alto Horn, Arranged By – Dick Cary
Remastered By – Phil De Lancie
Trumpet – Johnny Windhurst
Vocals – Barbara Lea 

BARBARA LEA — Barbara Lea With The Johnny Windhurst Quintets (1957-1991) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks), lossless

Singer Barbara Lea's second album is pretty definitive of her early years. Lea is joined by the great (but ill fated and largely forgotten) trumpeter Johnny Windhurst, Dick Cary on either piano or alto horn, sometimes pianist Richard Lowman, guitarist Al Casamenti, bassist Al Hall, and drummer Osie Johnson. Originally a dozen selections, the CD reissue adds an alternate take and an additional title. Lea remains true to the lyrics yet uplifts the material, while the rhythm section swings lightly. Among the many highlights are "Nobody Else but You," "I'm Comin' Virginia," "My Honey's Lovin' Arms," and "Baltimore Oriole." Delightful music by a singer who deserves to be celebrated. Scott Yanow
Tracklist : 
1 Nobody Else But Me 3:13 
Oscar Hammerstein II / Jerome Kern
2 Where Have You Been? 3:31
Cole Porter
3 I'm Coming Virginia 3:22 
Will Marion Cook / Donald Heywood
4 Honey in the Honeycomb 2:47 
Vernon Duke / John Latouche
5 Thrusday's Child 2:26 
Lee Holdridge
 6 I've Got a Pocketful of Dreams 1:21 
James V. Monaco
 7 My Honey's Lovin' Arms 2:46 
Joseph Meyer / Herman Ruby
 8 I Had Myself a True Love 3:45 
Harold Arlen / Johnny Mercer
 9 Gee Baby, Ain't I Good to You 3:08 
Andy Razaf / Don Redman
 10 I Feel at Home with You 2:34 
Lorenz Hart / Richard Rodgers
11 Baltimore Oriole 3:52 
Hoagy Carmichael / Paul Francis Webster
12 Blue Skies 3:07 
Irving Berlin
 13 I Feel at Home with You 2:46 
Lorenz Hart / Richard Rodgers
 14 Straw Hat Full of Lilacs 2:46
Credits :
Bass – Al Hall (tracks: 1 to 13)
Drums – Osie Johnson (tracks: 1 to 13)
Engineer [Recording Engineer] – Rudy Van Gelder
Guitar – Al Casamenti (tracks: 2 to 4, 6, 7, 9, 10, 12, 13)
Harp – Unknown Artist (tracks: 14)
Horn [Alto Horn] – Dick Cary (tracks: 1, 7, 8, 11, 12)
Piano – Dick Cary (tracks: 2 to 4, 6, 7, 9, 10, 12, 13), Richard Lowman (tracks: 1, 5, 8, 11)
Trumpet, Leader – Johnny Windhurst (tracks: 1 to 8, 9 to13)
Vocals – Barbara Lea

LOUIS ARMSTRONG AND HIS ALL STARS – 1947, Vol. 2 | The Classics Chronological Series – 1144 (2000) FLAC (tracks+.cue), lossless

Louis Armstrong's All-Stars were the perfect postwar traditional jazz band, with Armstrong, Jack Teagarden, and Barney Bigard backed by Dick Cary, Arvell Shaw, and Sidney Catlett. Here on one disc are nearly all of the recordings made at Boston's Symphony Hall on November 30, 1947. The first four selections from this concert were issued on the previous volume of the complete recorded works of Louis Armstrong on the Classics Chronological Series. The Symphony Hall transcriptions were among the first extended Armstrong records to be made available to the public. Although eight of these titles were once issued in two parts, they are seamlessly presented here as uninterrupted jams. The most expanded track, clocking in at just over seven minutes, is "Steak Face," containing what is probably the longest drum solo ever recorded by Sid Catlett. The title comes from Armstrong's nickname for Catlett. In addition, Arvell Shaw was given room for an extended bass solo on "How High the Moon." The stylistic range represented here is enormously satisfying, encompassing old favorites like "High Society" and "Mahogany Hall Stomp" as well as progressive ideas from Duke Ellington ("C-Jam Blues") and Coleman Hawkins ("Boff Boff," also known as "Mop! Mop!"). There are marvelous vocals by Jack Teagarden, Louis Armstrong, and Velma Middleton, who spools out a magnificent rendition of Buddy Johnson's "Since I Fell for You." arwulf arwulf     Tracklist + Credits :

EDDIE CONDON – 1951-1953 | The Chronogical Classics – 1354 (2004) FLAC (tracks), lossless

Oh, yeah! "Ringside At Condon's"! Here come those wonderful long-playing 10" Savoy albums recorded live during the early 1950s at Eddie Condon's nightclub in New York. Each track begins with cheering, applauding and lots of whistling from the uninhibited audience. The music is excellent, with Wild Bill Davison and Edmond Hall out in front playing as hard as they can. The rhythm section is strengthened by pianist Gene Schroeder's interaction with Bob Casey, a forceful bassist whose prodigiously powerful, Pops Foster-like plucking propels the band often even more strongly than Buzzy Drootin's drumming. Casey gets more room for soloing than most traditional jazz bassists were normally granted. "Riverboat Shuffle" fades abruptly during Cutty Cutshall's solo, but he returns immediately for a gorgeous stroll through "Makin' Whoopee." This is the beginning of a medley: Edmond creates a lovely version of "You Made Me Love You" and Wild Bill gently eases into "I Can't Give You Anything but Love," which gradually builds to a smoky climax. The rest of these Savoy recordings are consistently wonderful, particularly those easygoing numbers "The One I Love" and "Wrap Your Troubles in Dreams." In November of 1953, Condon's band was heard "Coast to Coast" on a national radio broadcast. Lucky for us, Columbia made an air check and brought out a long-playing record for posterity. The band is larger; Walter Page plays some of the best bass he ever put on record, and the closing blues jam clocks in at ten minutes, more than thrice as long as usual. Two of the performances allow us to eavesdrop on Condon, sounding more than ever like James Cagney, as he gives last minute instructions to the band: "Hold it, George! When we get through the preliminary action for piano, we'll skip into the clarinets. You take that ending, and back to the top. Don't forget: after the tramboon, you got two bars..." Condon sings and strums the guitar, the engineer announces "serial five-oh-three-dash-seven, take five." Condon mutters "Wrong number, call back later! Here we go, ready?" And they steam up "Riverboat Shuffle" as nice as can be. A bit further on, Walter Page moves a horse hair bow over the strings of his bass with resounding force throughout an exquisite medley of ballads. Eddie is heard issuing further instructions before leading the band into a final "Jam Session Blues/Ole Miss." As he nervously spouts last minute advice, Condon comes out with one of his all-time best rhetorical directives: "Let's try to make this as respectable as possible...we might have a chance!" arwulf arwulf  
Tracklist + Credits :

MUGGSY SPANIER – 1944 | The Classics Chronological Series – 907 (1996) FLAC (tracks+.cue), lossless

Three high-powered Commodore sessions and a V-Disc blowout make this an exceptionally satisfying packet of Chicago-styled traditional jazz. Without a doubt, this music should be rated alongside Muggsy's all-time greatest recordings. Pee Wee Russell, gloriously soulful and inventive, is present throughout. Rock-solid trombonist Miff Mole made it onto two of the three Commodore dates. No matter how hard the band swung, nothing could shake the Mole. Saxophonists Ernie Caceres and Boomie Richmond were variously brought in to augment or replace the trombone. Muggsy demonstrates his full range of wails, growls, and muted shimmies. Some of these tunes run for more than four minutes, which in 1944 meant big beautiful 12" 78-rpm records. The overall mood is positive, spirited, and even optimistic. Caceres accomplished with his baritone what Adrian Rollini had achieved with a bass sax during the mid- to late '20s. A reed horn with a voice that deep has a way of nudging the whole band along with firm but friendly persuasion. Boomie sounded a lot like Bud Freeman, a good role model for a tenor sax operating within this kind of an ensemble. George Wettling pounds his drums with unusual fervor during "Sweet Sue," inciting a perfect riot of joyous jamming. Pee Wee's first chorus on "Memphis Blues" is so gritty and deep it's frightening! Every tune is rendered with passion. That's where all that satisfaction comes from. Comparing these sides with the highly revered 1939 "Ragtime Band" recordings, these seem just a bit more free and genuine, closer to what these guys must have sounded like in person. The V-Discs are each more than four minutes in duration. "Pee Wee Speaks" has Muggsy introducing the clarinetist as "our new vocalist." Russell grumbles the blues, referencing Muggsy's work ethic and tossing in references to butter and lard. As with every other existing example of Pee Wee Russell the Singer, our man sounds weirdly glib and a little bit sloshed. "Pat's Blues" begins with someone, apparently bassist Bob Haggart, whistling a full chorus of the blues through his teeth. It is a perfectly frowsy finale to this invigorating collection of hot records made by Muggsy Spanier at the height of his powers. arwulf arwulf
Tracklist + Credits :

BARBARA LEA — The Evil is Afraid of Music (1977-1997) Two Version | FLAC (image+.tracks+.cue), lossless

Willard Robison was one of the more underrated songwriters, whose wistful melodies, unexpected chord changes, and nostalgic lyrics (which often yearned for a earlier simpler time) were actually quite charming. On this CD reissue, singer Barbara Lea is joined by a rhythm section headed by pianist Loonis McGlohon in 1976 (clarinetist Bob Mitchell sits in on one song), and on five equally rewarding numbers recorded in 1992 with pianist Dick Cary, guitarist Dave Koonse, and bassist Putter Smith. (The latter were recorded so as to bolster the playing time of the CD.) Lea, whose basic and lightly swinging style perfectly fits this music, performs such numbers as "Think Well of Me," "Guess I'll Go Back Home," "Deep Elm," "A Woman Alone with the Blues," and Robison's three best-known songs: "A Cottage for Sale," "'Tain't So, Honey, 'Tain't So," and "Old Folks." A perfect project. Scott Yanow
Tracklist :
1. The Devil Is Afraid Of Music 1:46
2. Don't Smoke In Bed 2:38
3. Deep Summer 2:33
4. Think Well Of Me 3:10
5. Born To The Bayou 4:30
6. Run To The Roundhouse, Nellie 2:56
7. Guess I'll Go Back Home (This Summer) 3:16
8. Lonely Acres 2:47
9. Deep Elm, You Tell 'Em I'm Blue 4:51
10. Peaceful Valley 1:48
11. A Woman Alone With The Blues 3:49
12. A Cottage For Sale 3:17
13. 'Tain't So, Honey, 'Tain't So 2:32
14. Old Folks 3:17
15. Little High Chairman 3:28
16. My Egotism Is Hurtin' Me 2:34
17. 'Round My Old Deserted Farm 2:39
18. The Devil Is Afraid Of Music 1:53
Credits :
Arranged By – Dick Cary (tracks: 2-6), Loonis McGlohon (tracks: 1, 7-18)
Bass – Mel Alexander (tracks: 1, 7-18), Putter Smith (tracks: 2-6)
Clarinet – Bob Mitchell (tracks: 9)
Drums – Tony Cooper (tracks: 1, 7-18)
Guitar – Dave Koonse (tracks: 2-6)
Piano – Dick Cary (tracks: 2-6), Loonis McGlohon (tracks: 1, 7-18)
Vocals – Barbara Lea (tracks: 1-18)