GENE KRUPA AND HIS ORCHESTRA – 1945 | The Chronogical Classics – 1143 (2000) FLAC (tracks+.cue), lossless

Gene Krupa's recordings for a four-month period are traced on this CD in the Classics "complete" series. The first eight formerly rare selections feature the Gene Krupa Trio with the extroverted (and sometimes too enthusiastic) tenor saxophonist Charlie Ventura and pianist George Walters; three of the numbers were originally V-discs, three others were not released until the LP era, and the two remaining songs have never been out before. In addition, there are 15 numbers from the Gene Krupa Big Band. The returning Anita O'Day (who gave Krupa new hits in "Opus No. 1," "Boogie Blues," and "Chickery Chick") and ballad singer Buddy Stewart are on all but "It's Up to You" and "Lover." Among the soloists are trumpeter Don Fagerquist and Ventura. The 1945 Gene Krupa Orchestra did not catch on to the level of the 1941-1942 edition, but it definitely had its moments.  Scott Yanow  
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GENE KRUPA AND HIS ORCHESTRA – 1945-1946 | The Chronogical Classics – 1231 (2002) FLAC (tracks+.cue), lossless

Although there are some moments of interest on this set of 25 performances, the Gene Krupa Orchestra's studio recordings are mostly weighed down by vocals. Bop trumpeter Red Rodney was with Krupa for part of 1946, but the band just recorded a dozen numbers during this period, with all but "How High the Moon" (which has an early swinging arrangement from Gerry Mulligan) featuring so-so vocals from Buddy Stewart and Carola Grey. Rodney sneaks in a few boppish licks here and there, but overall these are disappointing, particularly compared to the orchestra's radio transcriptions of the era. There are five cuts from 1945: three Anita O'Day vocals (including a fine "Tea for Two"), a good instrumental version of "Lover," and a bombastic Charlie Ventura tenor feature on "Yesterdays." In addition, there are also eight slightly later tracks. Charlie Kennedy gets in some boppish alto solos that sound similar to Charlie Parker, but vocals dominate five numbers, while the other three are not that essential. So this is a lesser release overall, mostly recommended to Gene Krupa completists. Scott Yanow  
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RED NORVO AND HIS ORCHESTRA – 1943-1944 | The Classics Chronological Series – 1306 (2003) FLAC (tracks), lossless

With chronological precision, this delightful disc covers eight months in the life of Red Norvo, who by November of 1943 had permanently switched from playing xylophone to the smoother, cooler, more modern vibraphone. Five V-Disc sides feature two attractive vocals by Helen Ward and excellent solos from rising tenor sax star Flip Phillips, clarinetist Aaron Sachs (who appears on four of the five sessions reissued here), trumpeter Dale Pearce, and trombonist Dick Taylor. A rhythm section of Ralph Burns, Clyde Lombardi, and Johnny Blowers rounds off this outstanding, up-to-date octet. Jazz-wise, the music recorded at this blowing session is strikingly superior to the stuff Norvo had produced only 18 months earlier, and vastly different from his big-band output during the late '30s. Norvo's next recording date took place in Chicago on April 5, 1944. Four exciting sides, originally issued on the Steiner Davis label, are distinguished by the easygoing interplay between Norvo, Lombardi, guitarist Remo Palmieri, and the great jazz violinist Stuff Smith. "Rehearsal" is exactly that -- three and a half minutes of impromptu jamming laced with laughter, discussion, and even a little scat singing. "Red's Stuff" is probably the creative apex of this incredible date, a rare treat for connoisseurs of vintage mid-20th century jazz. An authentically modern-sounding series of bop ideas, tonalities, and phrasing verify the radically progressive direction being pursued by the Red Norvo Sextet as they recorded for Brunswick in May of 1944. Their absorption of contemporary musical modes is evident in an amazing rendition of Denzil de Costa Best's "Dee Dee's Dance," a brand new approach to "Blue Skies," and especially the busy Benny Goodman/Charlie Christian jam vehicle "Seven Come Eleven." Three similarly advanced V-Discs from May of 1944 -- clocking in at nearly five minutes per side -- lead listeners to the threshold of Norvo's tenure as a Keynote recording artist. On July 27, 1944, at his first session for Harry Lim's ambitious modern jazz label, the vibraphonist and a small contingent from the previous date were joined by Teddy Wilson and Slam Stewart. The other half of the material from this session may be found on Classics 1356, the 1944-1945 volume in the label's Red Norvo chronology. arwulf arwulf  
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