DIZZY GILLESPIE – 1945 | The Classics Chronological Series – 888 (1996) FLAC (tracks+.cue), lossless

Here's a case where strict adherence to a chronology bears fascinating fruit. Classics 888 focuses only upon January and February of 1945, a small chunk of time during which Dizzy sat in with certain wild bands and made his very first recordings as a leader. On January 9th, a number of musicians from different stylistic backgrounds showed up late to record with Oscar Pettiford, who eventually admitted that he hadn't any idea of what they were going to use for material. Pianist Clyde Hart offered to slap a few charts together on the spot. "Something for You," known elsewhere as "Max Is Making Wax," came out brisk and boppish with powerful blowing from Don Byas, Diz and swing trombonist Benny Morton, who seems to have worked extra hard to fit in with this fast crowd. "Worried Life Blues," composed by blues and boogie-woogie pianist Big Maceo Merriweather, featured vocalist Rubberlegs Williams, who growled, howled and occasionally barked in a way that brings to mind one of Fats Waller's favorite habitual exclamations: "Get away from here!" "Empty Bed Blues," while attributed to Oscar Pettiford, is clearly a Bessie Smith cover. Diz growls ominously with his horn behind the vocal. Retaining some of the players from the Pettiford group, Dizzy's Sextet sounded very well-organized by comparison. The trumpeter's handling of "I Can't Get Started" is breathtakingly beautiful. Tadd Dameron's irresistible "Good Bait" sounds as solid and immediate as the day it was made. In his autobiography, To Be or Not to Bop, Gillespie said he had "composed a fast thing, and just named it ""Be Bop"" later on...it didn't have a name before the record date." "Be Bop" is one brilliant and bracing piece of work, surprisingly put together. After ripping through a whole lot of wild changes, each player contributes a brief note or two for a composite coda. Before the month of January had ended, a famously weird session came together and then blew apart at the seams. Nominally led by Clyde Hart, it began with several vocals by a louder-than-ever Rubberlegs Williams. Apparently seeking to maintain his edge, the blues shouter consumed many cups of coffee, unaware of the fact that the caffeine in question had been steeply fortified with Benzedrine by the ever-resourceful Charlie Parker. At first, Legs sounded only marginally manic, humorously gruff in the throes of his boisterous R&B showmanship. By the time they got around to recording "That's the Blues," the singer must have been completely geeked, as he began his vocal at full intensity, with nowhere left to build to. Halfway through the record, his voice started to disintegrate as Legs approached the vocal intensity of Screamin' Jay Hawkins. Dizzy swears that Legs never drank or smoked, while Trummy Young insisted the singer was also full of whiskey, which would have mixed horribly with the amphetamine. In any case, after he passed into a state of chemically induced psychosis, Williams was led away and the ensemble magically re-grouped itself as James "Trummy" Young's All-Stars. The mood changed to a very hip level of calmness as Trummy sang pleasant melodies in a soft and friendly voice. The contrast between this and the previously hard-hitting rhythm and blues material -- recorded by all but one of the same musicians on the same day -- is astonishing, as is the interplay between Sarah Vaughan and Ben Webster on "All Too Soon," between Diz and Dexter Gordon on "Blue 'n Boogie" and most of all, between Bird and Diz. Cherish every nuance of these early recordings of "Groovin' High" and "All the Things You Are"; they are intimate works of great poetic depth, existing at the heart of these amazing collaborative friendships. arwulf arwulf         Tracklist + Credits :

DIZZY GILLESPIE – 1945-1946 | The Classics Chronological Series – 935 (1997) FLAC (tracks+.cue), lossless

The 1945-1946 edition of Gillespie's Classics series finds the bop trumpeter in the kind of top-notch company he kept throughout most of the '40s. Leaving sideman dates for other discs, the 23-track set spotlights Gillespie with his Tempo Jazzmen and an early version of his orchestra; while the former included the stunning likes of Lucky Thompson, Milt Jackson, Al Haig, and Ray Brown, the latter slightly altered the tonal landscape with swing and bop tenor great Don Byas replacing Thompson. Besides fine renditions of "Confirmation," "'Round Midnight," and "Anthropology" by these groups, the disc also includes a handful of enjoyable enough vocal sides featuring vocalist/arranger Johnny Richards. Best for jazz fans who want it all and in chronological order. Stephen Cook              Tracklist + Credits :

DIZZY GILLESPIE – 1952 | The Classics Chronological Series – 1321 (2003) FLAC (tracks+.cue), lossless

 All of the music on this CD was recorded by trumpeter Dizzy Gillespie in Paris during a one-month period in 1952. The first half of the set teams Gillespie with tenor saxophonist Don Byas, who had moved to Europe from the U.S. six years earlier. The sextet alternates swing standards with some boppish originals and Afro-Cuban jazz pieces. The performances are pretty concise, and one wishes that Gillespie and Byas had had opportunities to really stretch out and inspire each other. The final dozen selections mostly feature the trumpeter backed by a string orchestra with arrangements from Jo Boyer or Daniel White. The repertoire is comprised of swing tunes, but Dizzy's melodic statements are still pretty adventurous. Three of the numbers drop the strings and have Gillespie playing with the rhythm section. Although one would not call any of this music essential, it does have its moments of interest and Dizzy Gillespie fans will want to pick it up as a gap filler between more significant sessions. Scott Yanow    Tracklist :

JOHNNY GUARNIERI – 1944-1946 | The Chronogical Classics – 956 (1997) FLAC (image+.cue), lossless

In addition to recording prolifically in the 1940s, pianist Johnny Guarnieri led a few record dates. This Classics CD has four septet numbers from 1944 that feature tenor saxophonist Lester Young and trumpeter Billy Butterfield as sidemen, four songs with tenorman Don Byas in superb form, and three trio sessions, including two that co-star bassist Slam Stewart. Guarnieri, who was versatile enough to be able to closely emulate Count Basie, Teddy Wilson, Fats Waller, and Art Tatum, also had his own swing-based style and is consistently creative throughout the performances. Highlights include "Salute to Fats," "Bowin' Singin' Slam," "Gliss Me Again," "I'd Do Anything for You," and "Make Believe"; all 22 selections are enjoyable. Scott Yanow   Tracklist + Credits :

BUCK CLAYTON – 1949-1953 | The Chronogical Classics – 1362 (2004) FLAC (tracks+.cue), lossless

It wasn't until Buck Clayton made the European scene in 1949 that he had a chance to begin making records as a leader. Clayton cooked up 13 exceptionally fine tracks before heading back to New York. "High Tide" was a modern notion of Count Basie's. "Swingin' at Sundown" is immediately recognizable as "At Sundown," an old Walter Donaldson tune dating from the 1920s. The composer does not receive credit. Saxophonist Don Byas interacts busily with Clayton on "Who's Sorry Now" and the venerable "Sugar Blues." The trumpet is solely featured on "Blues in First," while "Blues in Second" is taken at almost exactly the same tempo, amounting to little more than a second take. "Don's Blues" is based on "Lester Leaps In." The second of the Parisian sessions brought in saxophonists Armand Conrad and Alix Combelle, trumpeter Bill Coleman, and the young pianist André Persiany. Clayton and Coleman interact on "Uncle Buck" and blend dazzlingly during "B.C. and B.C.," a walking blues for two in which they are billed as Duo de Trompettes. The ensemble's third-chair trumpeter, Merrill Stepter, is brought in to form the Trio de Trompettes on "Sweet Georgia Brown." Crucial support throughout all of these developments is provided by bassist Georges Hadjo. The four tracks recorded back in New York in September of 1951 seem strangely foolish by comparison. Vocalist Johnny Davis comes across as a bit of a twit, although it is interesting to hear the lyrics to "The World Is Waiting for the Sunrise." During "Whispering" he keeps whispering the word "whisper" and is loudly answered by the band hollering "Don't shout!," "Don't scream!," and "Don't yell!" It's really kind of stupid. "Sixty Minute Man" is not the R&B hit, but "The Syncopated Clock" is played by the rhythm section only. Davis tries scatting like early Babs Gonzales on "Smooth Sailing," an easygoing boppish bit of blues. The saving graces on this date are the presences of trombonist Kai Winding, clarinetist Peanuts Hucko, and pianist Bernie Leighton, who held the somewhat dubious distinction of being the leader. In February of 1953, Buck Clayton sat in with the Marlowe Morris Trio, an early modern organ combo. Morris sounds uncannily like later-period Fats Waller as he tickles the upper registers of the Hammond organ on "I Want a Little Girl." Organ and guitar devise an ostinato backdrop for Clayton's horn on "Blue Moon." The guitar handles the bridge and the organ solo is tough. The final two tracks are extended jams. "Basic Organ Blues" walks an exceedingly cool path with Clayton in fine, sassy form. The electrified guitar lays down a boogie and commences to rock. The piece even turns into "Night Train" for a while. This smart little band's take on "'S Wonderful" gradually comes to a boil as Clayton enunciates the melody with elegant precision. arwulf arwulf  
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HOT LIPS PAGE AND HIS BAND – 1938-1940 | The Chronogical Classics – 561 (1991) FLAC (tracks+.cue), lossless

A veteran of territory bands from the Southwest and Midwest, Hot Lips Page struck out on his own in the latter half of the '30s to lead a big band. His experience with Bennie Moten and Count Basie's groups may not have translated into similarly stellar material and arrangements, but the rough-hewn yet fluid swing those outfits adhered to certainly found its way into his repertoire. This Classics disc finds Page during those early days from 1938-1940, and includes cuts both by his group and smaller combos featuring Kansas alto legend Buster Smith, pianist Pete Johnson, and tenor saxophonist Don Byas. There's plenty of Page's masterful blues and jazz singing ("Old Man Ben"), along with a fine array of his heated trumpet solos. A fine selection from one of the unwitting godfathers of jump blues and early R&B. Stephen Cook
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HOT LIPS PAGE – 1940-1944 | The Chronogical Classics – 809 (1995) FLAC (tracks+.cue), lossless

For fans of small-combo jazz from the '40s (pre-bebop, that is), Hot Lips Page's many sides offer that perfect marriage of jazz licks and blues atmospherics. And although Page wasn't necessarily a trumpet ace in the league of Armstrong or Cootie Williams, his irrepressible style and raspy-to-bright tone usually enlivened most every date he graced (just check out his early work on Bennie Moten's epochal 1932 recordings). Page also could have made a handsome living just as a blues singer; his was a gruff and driving voice equally at home on both the serious and novelty end of the form. This Classics release brings together a fetching mix from Page's 1940-1944 freelancing prime, with a large dose of his vocal work getting nicely framed by the day's top jazz players. Two highlights from the first part here include "Evil Man Blues" and "Just Another Woman," two of Page's best vocals featuring Leonard Feather on piano and Teddy Bunn on guitar. The majority of the remaining tracks are ones Page and his band cut in 1944. Amidst the prevailing after-hours mood, there's a wealth of fine soloing by the likes of Don Byas, Chu Berry, Lucky Thompson, and Vic Dickenson. This disc might not make it into any jazz polls, but it's a solid collection for those who love Page's infectious style and sophisticated jump grooves. Stephen Cook
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HOT LIPS PAGE – 1944-1946 | The Chronogical Classics – 950 (1997) FLAC (tracks+.cue), lossless

Always to be found smack in the middle of the hottest developments in jazz, Oran Thaddeus "Hot Lips" Page worked comfortably with both old-fashioned and modern young musicians during the mid-'40s. On November 30, 1944, Page's band included busy-fingered tenor man Lucky Thompson and a brilliant young pianist from Pontiac, MI, named Hank Jones. One week later, Page cut a couple of sides for V-Discs with an ensemble that sounded a lot like one of Eddie Condon's Town Hall traditional jam bands. "Sheik of Araby" is notable for Gordon "Specs" Powell's exceptional drumming. Page seems not to have recorded again until September 1945, once again in the company of younger guys with progressive ideas. "Happy Medium" and "Bloodhound" are full of modern moves. How interesting to hear Hank Jones as a young innovator. Saxophonists Dave Matthews and Earle Warren demonstrate how the art of swing stood at the crossroads of modernity in 1945. Contrary to what the discography says, there are no vocals on these two tracks. Dave Matthews sounds like Chu Berry and Don Byas. He shushes down to Ben Webster's level of suavity on "You Come In Here Woman," a misogynistic blues containing the line "Like the butcher told the goat, you've had your fun, now I'm cuttin' your throat." Just in case we don't get the picture, Lips puts his horn to his lips and quotes Chopin's funeral march for a nasty coda. Leonard Feather's "The Lady in Debt," a distant relative of "The Lady in Red," is also apparently a cousin to Page's 1944 enigma, "The Lady in Bed," which was yet another creation of Feather, who seems to have enjoyed writing topical blues novelties for Page. More material from September of 1945 places Page at the front of a larger band, fortified with Buck Clayton, three outstanding trombonists (Benny Morton, Sandy Williams, and J.C. Higginbotham), and three of the toughest saxophonists on the scene at that time (Don Byas, Ben Webster, and Earl Bostic). "Corsicana" cooks itself to a gravy. "They Raided the Joint" is funny if you like songs about alcohol poisoning and police raids. This CD's hottest sides from 1946 are without question "Kansas City Jive" and the rockin' "Birmingham Boogie," featuring Earl Bostic and a solid tenor player by the name of John Hartzfield. "Open the Door Richard" is very funny, beginning with Page's imitation of a drunken person being forcibly ejected from a party. The scenario eventually develops into a rowdy group vocal as Page's band eggs him on into a violent trumpet solo. In a premonition of later developments, Hot Lips distorts his voice into a higher-pitched version of what would eventually become a sandblasted contrabasso, lower than that of Louis Armstrong, closer in fact to Popeye's tonalities. By the early '50s, Hot Lips Page's voice could curdle milk and frighten pigeons. arwulf arwulf  
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JAMES MOODY – 1948-1949 | The Chronogical Classics – 1116 (2000) FLAC (tracks+.cue), lossless

These earliest sessions recorded by saxophonist James Moody under his own leadership, follow his initial years with Dizzy Gillespie, an association that would be maintained off and on throughout Dizzy's life. The disc starts in chronological order with eight sides recorded for Blue Note in October 1948. Arranged by composer Gil Fuller and backed by Moody's Modernists, which were, in essence, musicians comprised of Dizzy Gillespie's band including baritone saxophonist Cecil Payne, alto saxophonist Ernie Henry, Chano Pozo, and Art Blakey. These sessions were recorded in New York before Moody left for Europe, not to return to the states until years later. The remaining 14 tracks find him jamming with European musicians and fellow American expatriates including fellow tenor saxophonist Don Byas, mixing bebop and standards recorded in Zurich, Paris, Lausanne, and Stockholm for Vogue, Blue Star, and Prestige. Al Campbell  
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COZY COLE – 1944 | The Chronogical Classics – 819 (1995) FLAC (tracks+.cue), lossless

Check this out -- probably the best overall Cozy Cole collection, and possibly one of the top picks for mid-'40s small-group swing. There are distinct reasons for such a strongly stated claim. They are, specifically: Coleman Hawkins, Ben Webster, Budd Johnson, and Don Byas. Got that? Three additional reasons are Teddy Wilson, Johnny Guarnieri, and Earl Hines. This is no offhand list of incidental participants, but a pantheon of indispensable figures in mid-20th century jazz. Their combined experience and influence add up to direct involvement with the heart and soul of this music, from Armstrong and Ellington to Bird and Diz. Glance at the rest of the collective personnel and you're confronted with a stunning lineup containing some of the most accomplished jazz musicians on the scene during the year 1944. The Cozy Cole All Stars session recorded for Keynote on the 22nd of February still stands near the apex of that label's best achievements, especially because of the electromagnetic field created by putting Hawkins and Hines into the same room at the same time. These Keynotes sound better than ever presented, with 17 vivid sides issued on the Savoy label, which like Commodore and Keynote granted the musicians absolute artistic control. This is precisely why the music holds up so well regardless of the passage of time. Johnny Guarnieri is particularly well represented, as is Teddy Wilson, who sparkles during the Buck Ram All Stars session. There are a couple of percussion feature numbers where attention is deliberately focused upon Cole, but generally speaking every selection is defined, supported, and shaken to its roots by the energetic presence of this indefatigable drummer. arwulf arwulf
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COZY COLE – 1944-1945 | The Chronogical Classics – 865 (1992) FLAC (tracks+.cue), lossless

This Classics CD reissues drummer Cozy Cole's sessions for Continental, Keynote, and Guild, most of which have been out of print for years. The two Continental dates feature overlapping all-star groups (with trumpeter Charlie Shavers, clarinetist Hank D'Amico, Coleman Hawkins, Walter "Foots" Thomas, and/or Don Byas on tenors, Clyde Hart or Johnny Guarnieri on piano, guitarist Tiny Grimes, bassist Slam Stewart, and the drummer/leader), but are sometimes a bit frustrating. Since every player is a potential soloist and the performances are limited to around three minutes apiece, the solos are almost cameos, generally eight or 16 bars apiece. The most memorable spot, Hawkins' exploration of "When Day Is Done," finds the great tenor doing what he can with his half chorus. The Keynote session is most notable for Don Byas' solos and for the recording debut of 20-year-old trumpeter Shorty Rogers. The Guild sides have Byas well showcased in a quintet, two extensive drum features ("Stompin" and "Strictly Drums"), and three dramatic vocals from June Hawkins. Overall, this is an interesting and enjoyable CD -- swing music with slight touches of bop. Scott Yanow  
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PETE JOHNSON – 1939-1941 | The Classics Chronological Series – 665 (1992) FLAC (tracks+.cue), lossless

Born in Kansas City, Pete Johnson began his musical career as a drummer but soon learned how to massage a piano under the tutelage of his uncle Charles "Smash" Johnson. During the early 1930s, Pete worked overtime performing as a solo act in his hometown. For those who have a healthy appetite for piano blues and boogie-woogie, you're not going to find anyone more authentically rooted in the Kansas City tradition. This portion of the Pete Johnson chronology begins with four sides cut for the Blue Note label in December of 1939. The "Holler Stomp" is an exceptionally fine accelerated romp for unaccompanied piano. Everything you need to know about the real boogie-woogie is contained in this red-hot four-minute performance. It defines the entire genre. Continuing the rapid pace, "Barrelhouse Breakdown" is performed by Johnson's Blues Trio, with Abe Bolar's superb string bass and the guitar of Ulysses Livingston. The trio eases into blue relaxation with "Kansas City Farewell," a very cool stroll during which the musicians make good use of the four full minutes allowed by 12" 78 rpm records. "You Don't Know My Mind" is a fundamental blues for solo piano, every bit as rich and rewarding as its flip side, the "Holler Stomp." Never chained to one label for very long, Johnson switched to Decca Records during the following year, knocking off a pair of solo boogies in August and the "627 Stomp," possibly the greatest ensemble record of his entire career, on November 11, 1940. The front line of Hot Lips Page with reedmen Eddie Barefield, Don Stovall and Don Byas was perfectly supported by Johnson's ace rhythm section, notably driven by legendary percussionist A.G. Godley. The flip side, "Piney Brown Blues," was issued under the heading of Joe Turner and His Fly Cats. Johnson and Turner's partnership dated back to the early 1930s, when Joe was locally famous as a singing bartender. What we have in "Piney Brown" is the keystone of Turner's entire recording career. 1941 found Johnson recording a stack of piano duets for Victor with the amazing Albert Ammons. Additional friction was supplied by percussionist Jimmie Hoskins. If Godley is more your speed, "Death Ray Boogie" opens four additional trio sides for Decca from May of 1941. Nestled between three excellent studies in boogie rhythm, "Just for You" offers a rare glimpse at Pete Johnson's way of handling a simple love song. He sounds in fact more than a little like Fats Waller. It is a small romantic islet floating in the middle of an ocean swarming with blues and boogies. arwulf arwulf
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ROY ELDRIDGE – 1951 | The Classics Chronological Series – 1311 (2003) FLAC (tracks+.cue), lossless

Roy Eldridge visited Stockholm in January of 1951. The first two numbers recorded there were issued on Classics 1259 (1950-1951). These remaining Swedish selections cover a wide range of styles and moods. Eldridge's adaptation of Louis Jordan's "Saturday Night Fish Fry" was issued on two sides of a 78-rpm platter. His approach to "They Raided the Joint" is not quite as rowdy as that of Hot Lips Page. "The Heat's On" and "Estrad Swing" convey powerful currents of what at the time was modern, up-to-date jazz, comparable to what Coleman Hawkins was blowing. "No Rolling Blues" is a slow exercise in artful complaining, the subject being a dishonest woman. Two final Stockholm recordings, spruced up with Charles Norman's harpsichord, resemble the Artie Shaw Gramercy Five at their finest, when the tinkling keyboard was handled by Johnny Guarnieri. Back in Paris during March of 1951, Eldridge pooled his energies with tenor saxophonist Don Byas and a rhythm trio featuring Claude Bolling at the piano. This blowing session, resulting in three pressure cookers and a cool processional, was energized by the inspired drumming of Armand Molinetti. On the following day, Eldridge recorded a fine pair of duets with Claude Bolling as a tribute to Earl Hines and Louis Armstrong. "Wild Man Blues" evokes the original pairing, while "Fireworks" is based on the famous stomp by Armstrong's Hot Five. Back in New York six months later, Eldridge collaborated wonderfully with tenor saxophonist Buddy Tate on a mixed bag of selections recorded for the Mercury label. Tate pours himself into "Baby What's the Matter With You." "Sweet Lorraine" features the trumpet with lots of reverb, and "Yard Dog," initially waxed by Eldridge's big band in May of 1946, whips along at an almost alarmingly rapid pace, with Charlie Smith socking the drums and Buddy Tate booting away on his tenor. Considering the fact that "Jumbo the Elephant" is a novelty singalong, Eldridge's band manages to swing fairly hard with it. In December of 1951 Norman Granz recorded Eldridge backed by a large string ensemble. This was not at all unusual at the time, as Charlie Parker and Billie Holiday made many wonderful records using this sort of instrumentation. Roy Eldridge was such a soulful, pungent player that these orchestral settings come off as honest, reflective, and substantial. arwulf arwulf  
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SARAH VAUGHAN – 1946-1947 | The Classics Chronological Series – 989 (1998) FLAC (tracks+.cue), lossless

The second installment in the Classics Sarah Vaughan chronology concentrates almost exclusively upon her Musicraft recordings made between July 1946 and November 1947. After hearing her in performance at the Three Deuces on 52nd Street, producer Albert Marx lost no time in drawing up a three-year contract between the singer and Musicraft. Backed by two different bands led by her soon-to-be husband, trumpeter George Treadwell, as well as by Teddy Wilson's Quartet and Octet, Vaughan makes each song into a miracle of elegance, style, and grace. The collective lineup of jazz players in this portion of her discography is stunning, with saxophonists Don Byas, Budd Johnson, Charlie Ventura and "Big Nick" Nicholas; trumpeters Buck Clayton and Emmett Berry; and drummer J.C. Heard, whose lifelong admiration for Vaughan dates back to these exquisite performances. The version of "Tenderly" she recorded on July 2, 1947, is said to have been the first recording ever made of this melody, which was composed by Musicraft's musical director, Walter Gross. (Charles Mingus liked to point out that "Tenderly" was closely based upon "September in the Rain," and demonstrated what he regarded as a case of plagiarism by performing something called "Septemberly" on his groundbreaking Debut album Mingus at the Bohemia.) This disc also documents Vaughan's excursion into less jazzy, more sugary pop-oriented circumstances. This was a path similar to that taken during the late '40s by her mentor, Billy Eckstine, and by Charlie Parker and Billie Holiday. Eckstine later explained that he opted for lucrative work as a pop singer for MGM rather than starving while leading a modern jazz band. Three of the Vaughan recordings included here, in fact, came out on the MGM label. At no point does she sound anything less than marvelous. Her "Lord's Prayer," originally issued on the flip side of an earthier "Sometimes I Feel Like a Motherless Child," comes across beautifully. Ted Dale & His Orchestra, while espousing somewhat slick arrangements and instrumentation, retain some measure of hipness and integrity, which is more than can be said for certain other ensembles she sang with in late 1947 and early 1948. And let this all serve as a reminder that Sarah Vaughan could sing anything under any circumstances. That's why they call her "Divine." arwulf arwulf  
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TEDDY WILSON – 1946 | The Classics Chronological Series – 997 (1998) FLAC (tracks+.cue), lossless

For those who like to hear Teddy Wilson alone at the piano, working his pristine and gently swinging way around the keys, this Classics CD should be a wonderful find. The disc spotlights Wilson on several solo sides like "Cheek to Cheek," "All of Me," and his own "Sunny Morning." In addition to the solo material, there's a healthy chunk of combo recordings featuring trumpeter Buck Clayton and tenor saxophonists Don Byas and Charlie Ventura. And as a nice surprise, there are even a few cuts here with a young Sarah Vaughan at the microphone. A very enjoyable collection best suited to the Wilson faithful. Stephen Cook
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BENNY GOODMAN AND HIS ORCHESTRA – 1942-1944 | The Classics Chronological Series – 1335 (2003) FLAC (tracks), lossless

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DON BYAS – 1944-1945 | The Classics Chronological Series – 882 (1996) FLAC (tracks+.cue), lossless

Don Byas was one of the great tenor saxophonists of the 1940s, a Coleman Hawkins-influenced improviser who developed a complex style of his own. His permanent move to Europe in 1946 cut short any chance he had of fame, but Byas recorded many worthy performances during the two years before his departure. On Classics' first Don Byas CD (which contains his first 21 numbers as a leader), Byas matches wits and power with trumpeter Charlie Shavers on two heated sessions that include pianist Clyde Hart and bassist Slam Stewart. He also plays swing with trumpeter Joe Thomas and pianist Johnny Guarnieri in a 1945 quintet and leads a quartet that, on four of its eight numbers, welcomes the great blues guitarist/singer Big Bill Broonzy. Highlights include "Riffin' and Jivin'," "Don's Idea," the two-part "Savoy Jam Party," "1944 Stomp" (which has been adopted by 1990s saxophonist James Carter), "Pennies From Heaven," "Jamboree Jump," and "Just a Dream." This music was originally put out by Savoy, Jamboree, and Hub. Highly recommended. Scott Yanow  

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DON BYAS – 1945 | The Classics Chronological Series – 910 (1996) FLAC (tracks+.cue), lossless

Bookended by several pleasant yet minor blues and pop vocals by Albina Jones and Ruble Blakey, this Classics Don Byas disc finds the unsung tenor great on the eve of his indefinite stay in Europe. Having cut his teeth in the bands of Lionel Hampton, Andy Kirk, and Count Basie, among others, Byas marked the end of the war with several fine combo recordings spotlighting his boppish swing blowing style. Here is a generous chunk from 1945, featuring a few different lineups and the likes of Dizzy Gillespie, Buck Clayton, Errol Garner, Slam Stewart, and Sid Catlett. Byas is in top form throughout, plying his smoky and slightly tart tone on ballads like "Laura," while showing off a lithe brand of swing on an up-tempo "The Sheik of Araby." Not as solid as Classics' 1944-1945 volume, but still a fine selection for Byas completists. Stephen Cook
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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  
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DON BYAS – 1946 | The Classics Chronological Series – 1009 (1998) FLAC (tracks+.cue), lossless

This fourth volume in the complete recordings of tenor saxophonist Don Byas opens with 13 sides recorded for the Savoy label in May of 1946. On the opening session, three gorgeous ballads are chased with a blistering version of Ray Noble's "Cherokee" and a mellow stroll through "September in the Rain." About three months later the saxophonist resumed recording for Savoy, now backed by a tougher rhythm section in drummer Max Roach, bassist Leonard Gaskin, and pianist Sanford Gold. These deservedly famous sides represent Byas at the very peak of his early maturity. A rare parcel of four recordings originally issued on the Gotham label finds Byas accompanied by a trio including pianist Beryl Booker. A rather ominous reading of the notoriously suicidal "Gloomy Sunday" is colored so darkly as to suggest the subterranean. By December of 1946 Byas was in Europe making records for the Swing label with a group of musicians from Don Redman's entourage. "Working Eyes," which came out under trombonist Tyree Glenn's name, was written by Glenn but popularized by Duke Ellington under the titles "Sultry Serenade" and "How Could You Do That to Me?" "Peanut Butter Blues," sung in the manner of Roy Eldridge by trumpeter Peanuts Holland, was issued under his name, while the two remaining tracks -- a lush ballad and the feisty "Mohawk Special" -- appeared under the heading of Don Byas & His Orchestra. arwulf arwulf  
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