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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HOT LIPS PAGE – 1946-1950 | The Chronogical Classics – 1199 (2001) FLAC (tracks+.cue), lossless

 The bebop era may have been raging during the period covered by this CD, but trumpeter-singer Hot Lips Page stuck to his swing/Dixieland/blues style. Although commercial success would largely elude him, Page is heard in prime form on the 23 formerly rare performances included on this valuable CD. Other than one cut from 1946, the music is from 1947 and 1949-1950. Page (whose voice had become a bit raspier through the years) digs into four instrumentals and four vocals with a medium-size group in 1947; four of the titles were previously unreleased. He is also heard with slightly later combos, on two numbers with strings and a choir, and on a very successful four-song session in which he interacts vocally with Pearl Bailey; their version of "Baby, It's Cold Outside" is classic. Other highlights include "St. James Infirmary," "Fat Stuff," "Don't Tell a Man About His Woman," "The Hucklebuck," and "Ain't No Flies on Me." Recommended. Scott Yanow  
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LIONEL HAMPTON AND HIS ORCHESTRA – 1938-1939 | The Chronogical Classics – 534 (1990) FLAC (image+.cue), lossless

Lionel Hampton's series of record dates leading all-star swing bands produced some of the more exciting music of the late '30s. Just on this CD alone, Hampton led groups with musicians drawn from the Duke Ellington, Earl Hines, Cab Calloway, and Benny Goodman big bands, among others. Among the more notable performances are Benny Carter's "I'm in the Mood for Swing," a swing version of Jelly Roll Morton's "Shoe Shiner's Drag," tenor saxophonist Chu Berry having one of his best showcases on "Sweethearts on Parade," and a romp on "Twelfth Street Rag." Through it all, Hampton (whether on vibes, two-fingered piano, drums, or singing) often steals the show. Scott Yanow
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LIONEL HAMPTON AND HIS ORCHESTRA – 1939-1940 | The Chronogical Classics – 562 (1991) FLAC (tracks+.cue), lossless

During 1937-1940, Lionel Hampton led a series of exciting small-group swing dates featuring all-stars drawn from a variety of jazz orchestras. This reissue is one of the strongest. The first four songs alone have Hampton heading a group that includes altoist Benny Carter; tenors Coleman Hawkins, Chu Berry, and Ben Webster; and a 22-year old trumpeter named Dizzy Gillespie (who takes a solo on "Hot Mallets"). Also featured along the way are trumpeters Henry "Red" Allen and Ziggy Elman, trombonist J.C. Higginbotham, altoist Earl Bostic, and the Nat King Cole Trio. Three songs (including a classic version of "Dinah") feature Coleman Hawkins and (on trumpet) Benny Carter. This highly recommended set has more than its share of gems. Scott Yanow
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LIONEL HAMPTON AND HIS ORCHESTRA – 1942-1944 | The Chronogical Classics – 803 (1995) FLAC (tracks+.cue), lossless

The Lionel Hampton Big Band made it big during the period covered by this CD. "Flying Home," which Hampton had recorded at least twice earlier with combos, became a sensation thanks to Illinois Jacquet's honking tenor (which largely launched R&B) and the excitement generated by Hampton and his band (including the screaming trumpet section). This disc covers most of the war years, has a few V-discs (including the hit version of "Flying Home" and a two-part remake), and such numbers as "Loose Wig," "Hamp's Boogie-Woogie," "Overtime," and "Tempo's Boogie." Jacquet was actually with Hampton for a relatively brief period of time, but Arnett Cobb proved to be a perfect replacement. Also quite notable in the band is pianist Milt Buckner (whose block chords became influential) and such high-note trumpeters as Ernie Royal, Cat Anderson, and Snooky Young. Scott Yanow
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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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REX STEWART – 1934-1946 | The Classics Chronological Series – 931 (1997) FLAC (tracks+.cue), lossless

On January 9, 1935, Rex Stewart made his first records with Duke Ellington. Clearly, Duke was already a very strong presence in the young cornetist's musical life. "Stingaree," recorded on December 12, 1934, by Rex Stewart & His Orchestra, sounds more than a bit like "Stompy Jones," recorded by Duke Ellington & His Orchestra on January 9, 1934. "Baby, Ain't You Satisfied" was the flip side of "Stingaree," issued on a 78-rpm Vocalion record bearing the serial number 2800. This is the kind of information that the Classics Chronological reissue series provides in its discographies, by the way. You can savor the gradual evolution of an artist's career while poring over recording data and neat little lists of personnel. One name that stands out from the "Stingaree" session is reedman Rudy Powell, who was distinguishing himself in the company of Fats Waller during this same time period. Powell's verbal expostulations during "Satisfied" are as funky and funny as those gruff outbursts usually spoken by Waller or Louis Armstrong. These two numbers are the perfect curtain-raiser for an unusually diverse musical profile. Many of Stewart's best and most often reissued recordings were made under the auspices of Irving Mills and Duke Ellington. Here at last is a collection that expands the lens to include music well outside of that familiar ground. Rex Stewart's Big Seven made four sides on behalf of the Hot Record Society in the summer of 1940. Stewart led his Big Eight on a Keynote date in June of 1944. A slightly reconstituted Big Eight slapped down three contemporary-sounding tracks for Capitol in January 1945. Another octet, now billed as Stewart's "Orchestra," made four records for Parlophone in July 1945. Finally, there is the wild and woolly Mercury session of February 8, 1946. Seldom has an essential segment of Rex Stewart's career been so carefully represented on one disc. The Hot Record Society session glows with the rhythmically magical combination of Wellman Braud and Davey Tough. A slow drag entitled "Solid Rock" is exceptionally passionate and blue. The Keynote sides, especially "Zaza" and "Swamp Mist," are marvelous pieces of chamber jazz, graced with the minds of pianist Johnny Guarnieri and the great Harry Carney, who brought along his bass clarinet. Great changes in style took place within the span of time represented by this CD. A particularly good year for the appearance of young whips who seemed always to be looking ahead, like Earl Bostic and Al Sears, was 1945. There is a smoky tenor sax solo by Stafford "Pazuzza" Simon on "That's Rhythm." A 1946 remake of the famous Ellington/Stewart collaboration "Boy Meets Horn," a funky "Jug Blues," and the outrageous "B.O. Blues" demonstrate Stewart's increasingly eccentric approach to artistic expression and musical entertainment. arwulf arwulf  
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