ROY ELDRIDGE – 1943-1944 | The Classics Chronological Series – 920 (1998) FLAC (tracks+.cue), lossless

Roy Eldridge worked with Gene Krupa for a couple of years, then made a series of hot sides with a great seven-piece band, featuring tenor saxophonists Ike Quebec and Tom Archia. "After You've Gone" begins with a funny false-start introduction that Eldridge seems to have developed while working with Krupa. "The Gasser," a hot-to-trot walking blues, was based on the chord changes of "Sweet Georgia Brown." Also included here are two lovely, passionate ballads and an incomplete take of "Oh, Lady Be Good." The Esquire Metropolitan Opera House V-Disc Jam Session turned into a real all-star blowout on "Tea for Two," the conglomerated ensemble sounding pretty crowded by the time it works up to the out chorus. Eldridge's next adventure occurred with Lionel Hampton's V-Disc All-Stars. "Flyin' on a V-Disc" is, of course, Hamp's big hit "Flyin' Home." He hammers the vibes while saying "heyyy!' and keeps on saying it, clapping his hands and braying like a goat throughout all subsequent solos by the horn players, eventually leading the pack into an inevitable grandstand conclusion. The Little Jazz Trumpet Ensemble is heard on one of the earliest of all Keynote sessions, and the very first of producer Harry Lim's instrument-oriented dates, setting a precedent for the Coleman Hawkins Sax Ensemble and the Benny Morton Trombone Choir. Emmett Berry's inspiration was Roy Eldridge himself, while Joe Thomas patterned himself after Louis Armstrong. "St. Louis Blues" in particular is amazing. They work it up to a fine finish. Eldridge's working relationship with Decca Records bore fruit briefly in June of 1944 with another big-band date. This particular group included former Fats Waller trumpeter John "Bugs" Hamilton, ace trombonist Sandy Williams, and a pair of strong tenor players -- Franz Jackson and Hal Singer. Two dramatic ballads resulted, along with yet another patented stampede version of "After You've Gone." The orchestra assembled on October 13, 1944, had a formidable trombone section, as Williams found himself flanked by noteworthy slip horn agents Wilbur DeParis and Vic Dickenson. This band was also fortified with the presence of trumpeter Sidney DeParis, drummer Cozy Cole, and flashy amplified guitarist Napoleon "Snags" Allen, who is heavily featured on "Fish Market," a rocking blues that sounds a bit like "Tuxedo Junction." After Eldridge savors a pretty air called "Twilight Time," he leads a charge through "St. Louis Blues." Running the changes as fast as he can through a muted horn, Eldridge fires off a rapid stream of lyrics, turns Franz Jackson loose for a scorching hot tenor solo, and heads up an explosive hot finale. arwulf arwulf
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ERROLL GARNER – 1944, Vol. 2 | The Classics Chronological Series – 818 (1995) FLAC (tracks+.cue), lossless

The second in the Classics label's Erroll Garner series has nine unusual piano solos recorded privately at Baron Timme Rosenkrantz's apartment (ranging from the 2-1/2 minute novelty "Twisting the Cat's Tail" to an extensive eight-minute exploration of "I Hear a Rhapsody"), along with the ten songs that comprised Garner's first officially recorded session. The latter were originally cut as piano solos for the Rex label (later put out by Atlantic), but had bass (John Simmons) and drums (Doc West) overdubbed, which explains why they are better recorded than the piano. Overall, this is an interesting but not overly essential release. Scott Yanow
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ERROLL GARNER – 1944-1945 | The Classics Chronological Series – 873 (1996) FLAC (tracks+.cue), lossless

The fourth in Classics' reissuance of all of the early recordings by the great pianist Erroll Garner has some unusual performances. The first eight numbers were private recordings cut during a jam session at Timme Rosenkrantz's apartment. Garner (who at that point in time only hinted at his emerging distinctive style and showed the influence of Fats Waller) and trumpeter Charlie Shavers constantly inspire each other and are assisted by trombonist Vic Dickenson, altoist Lem Davis, bassist Slam Stewart (in top form), drummer Cliff Leeman and on one song clarinetist Hank D'Amico. Those selections are quite extended (two songs exceed ten minutes) and sometimes a little loose but filled with excitement; the ad-lib ending of "Red Cross" is pretty humorous. Wrapping up this CD are Garner's first studio recordings: four selections cut with a trio for the Black & White label and four piano solos made for Signature. Although performed only a short time after the earlier jam session, Garner was already starting to play in his own familiar style. Recommended. Scott Yanow
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ERROLL GARNER – 1946-1947 | The Classics Chronological Series – 1004 (1998) FLAC (tracks+.cue), lossless

This sixth volume of the complete recordings of Erroll Garner reissued in chronological order opens with eight sides recorded in Los Angeles for the Mercury label during the spring and summer of 1946. Only about two years into his recording career, Garner had developed into a master interpreter of ballads both soft and piquant. His own slightly eccentric "Frantonality" is a classic manifestation of Garner's habit of strutting his stuff using quirky twists and rambunctious turns of phrase. While drummers Nick Fatool and Lou Singer each interacted wonderfully with the pianist, bassist Red Callender's resonant tonalities really enhance the atmosphere, adding an extra dimension to each performance. On February 19, 1947, Garner made five beautiful records with Charlie Parker for the Dial label. "Trio" and "Pastel" -- which includes a fine bass solo by Callender -- were waxed at that same session with support from percussionist supreme Harold "Doc" West. In April of 1947 Garner dished out four solo recordings for the Victor label, beginning with two originals, "Erroll's Bounce" and a very attractive "Erroll's Blues." A few weeks later, Garner was invited back to the Dial studio to record eight tracks all by himself. This was to be the only solo piano session ever presented on Dial by that label's owner, Ross Russell. arwulf arwulf  
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ERROLL GARNER – 1949-1950 | The Classics Chronological Series – 1205 (2001) FLAC (tracks+.cue), lossless

The four tracks that open this tenth volume in the Classics Erroll Garner chronology represent a sort of distilled essence of Garner. They are a marvelous byproduct of a special sort of artistic chemistry that existed between the diminutive Pittsburgh pianist, bassist John Simmons, and drummer Alvin Stoller. 

Soon after these two rosy bounces, each backed with a pair of lush ballads, were brought out on the modest Portrait record label, the masters were snapped up, reissued, and widely disseminated by Savoy. On August 23, 1949, Erroll Garner's trio provided musical accompaniment for mellifluous crooner Johnny Hartman. These four Mercury recordings, rare examples of Garner the accompanist, form a languid bridge between Hartman's formative years with Earl Hines and Dizzy Gillespie and his magnificent later work with Howard McGhee and John Coltrane. Using the same players, bassist Leonard Gaskin and drummer Charlie Smith, Garner polished off eight delightful sides for the 3 Deuces label on September 8, 1949. "Scatter Brain," made famous by saxophonist and bandleader Freddy Martin, here seems as rambunctious as the personality of the pianist who has gotten a hold of it. His "What Is This Thing Called Love?" is almost as magical as James P. Johnson's groundbreaking version of 1930. Garner's wonderfully slow treatment of "I Let a Song Go Out of My Heart" carries with it a cloud of blues and soul that might not have materialized at a quicker tempo. This artist's full majesty is in evidence during ruminative readings of Gordon Jenkins' "Goodbye" and Thomas Waller's "Jitterbug Waltz." A rare 1950 piano solo, originally issued on the Futurama label, is followed with eight equally uncommon sides from the Royal Roost catalog featuring once again bassist John Simmons and now drummer Harold "Doc" West. "Bonny Boy" is of course Garner's private approach to "Danny Boy," the Irish air from County Derry. In addition to initiating a smart stroll up Hoagy Carmichael's "Lazy River," this excellent session enabled the pianist to stretch out and explore several bop-informed improvisation vehicles of his own devising: "Minor with the Trio," "Tippin' Out with Erroll," and "Relaxin' at Sugar Ray's." This volume of vintage mid-20th century piano jazz belongs among the best Erroll Garner compilations in the Classics catalog, or anywhere else for that matter. As an extra treat the CD packaging provides a friendly snapshot of Erroll Garner relaxing in the company of Sarah Vaughan and Mitch Miller. arwulf arwulf  
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ERROLL GARNER – 1950 | The Classics Chronological Series – 1240 (2002) FLAC (tracks+.cue), lossless

The music on this CD was formerly put out by Atlantic (including an obscure LP), Columbia (the final four titles), and National. The latter is the rarest track, one in which Garner and an unidentified rhythm section accompany singer Florence Wright on "The Real Gone Tune." Otherwise, the great Garner performs with bassist John Simmons and either Doc West or Shadow Wilson on a marathon 15-song and the four Columbia titles. Most of these performances were formerly quite rare and they find Garner, whose style was very much together by 1950, sounding as joyous and swinging as always. Among the many highlights are "Margie," "Ramona," "The Sheik of Araby," "Trees," "When Johnny Comes Marching Home," and "It Could Happen to You." Scott Yanow
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