PETE JOHNSON – 1938-1939 | The Classics Chronological Series – 656 (1992) FLAC (tracks+.cue), lossless

This superlative CD reissue features boogie-woogie pianist Pete Johnson on two classic numbers with singer Big Joe Turner (the original versions of "Goin' Away Blues" and "Roll 'Em Pete"), with inspiring trumpeter Harry James ("Boo Woo" and "Home James"), with his Boogie Woogie Boys (a sextet that includes Turner and trumpeter Hot Lips Page), interacting with fellow pianists Albert Ammons and Meade Lux Lewis (joining Big Joe on "Café Society Rag"), and on a pair of trio numbers. However, it is Johnson's ten unaccompanied piano solos (mostly released previously by Solo Art) that are the rarest and most notable. Taken as a whole, this is Pete Johnson's definitive release, showing that he was much more than just a one-dimensional (although powerful) boogie-woogie specialist. Scott Yanow
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MILDRED BAILEY – 1939 | The Classics Chronological Series – 1187 (2001) FLAC (tracks), lossless

This is volume five in the Classics Mildred Bailey chronology. It contains all of the Vocalion records she made between January 18 and June 14, 1939. For all of her concessions to mainstream pop culture, Mildred Bailey was a blues-inflected jazz singer with traditional roots reaching back into the early '20s. Each of the ensembles featured on this particular compilation are decidedly hipper than most of her previous backup bands. Bailey's March 16, 1939 session with pianist Mary Lou Williams, guitarist Floyd Smith, bassist John Williams and drummer Eddie Dougherty resulted in a series of fine and soulful renderings of old time melodies like the "Arkansas Blues," "Gulf Coast Blues," "You Don't Know My Mind Blues" and Russ Columbo's "Prisoner of Love." Sixteen of this compilation's 22 tracks feature the John Kirby Sextet. This brilliant and creatively concise group had a frontline of trumpeter Charlie Shavers, clarinetist Buster Bailey and alto saxophonist Russell Procope; its well-oiled rhythm section contained pianist Billy Kyle, bassist John Kirby and drummer O'Neill Spencer. This little band was capable of handling material from the jazz, pop and European classical traditions; the Bailey/Kirby magic is most evident on Cole Porter's "Begin the Beguine," Ziggy Elman's "And the Angels Sing," Lovie Austin and Alberta Hunter's "Down Hearted Blues" and the "Tit Willow" aria from Gilbert & Sullivan's Mikado. On most of the Kirby sides, xylophonist Red Norvo can be heard obviously enjoying the opportunity to collaborate with exceptionally gifted improvisers. Premonitions of things to come! Norvo dissolved his big band in June 1939, not long after the recording of "I'm Forever Blowing Bubbles," and began working with smaller, more modern-sounding ensembles. While Red Norvo would become an integral participant in the bop revolution of the '40s and '50s, Mildred Bailey's career gradually decelerated during the '40s, particularly after her health began to deteriorate. The records she cut during the first half of 1939 add up to some of the best music she ever made. For that reason, this particular installment in Mildred Bailey's Classics chronology is most highly recommended. arwulf arwulf  
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ART TATUM – 1940-1944 | The Classics Chronological Series – 800 (1995) FLAC (tracks+.cue), lossless

This wonderful compilation -- the third volume in the complete recordings of Art Tatum -- will delight seasoned Tatum lovers and may also serve as the perfect introduction for those who seek initiation. That's because this portion of the Tatum chronology just happens to feature the pianist in his very prime as soloist, accompanist, and bandleader. The first 11 tracks were originally issued on the Decca label. Three excellent piano solos from July 1940 are followed by two sessions' worth of swinging instrumentals and strongly steeped blues sung by Kansas City's Joe Turner. Trumpeter Joe Thomas and clarinetist Edmond Hall were perfect foils for this singer. Hall's sinewy solos enliven "Stompin' at the Savoy" and Tatum's fine piece of boogie, "Battery Bounce." Guitarists John Collins and Oscar Moore each bring a special sense of conviviality to the ensembles. Moving ahead to January 1944, Tatum is heard with Tiny Grimes and Slam Stewart on a series of dazzling trio sides, most of which first appeared on the Brunswick label. These stunning collaborations are prized for their wealth of invention and relaxed intimacy. arwulf arwulf
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JAMES P. JOHNSON – 1944 | The Classics Chronological Series – 835 (1995) FLAC (tracks+.cue), lossless

What must it have been like for James P. Johnson to have taken young Thomas Waller under his wing, teaching him everything he knew about piano, watching him evolve into a brilliant composer and internationally famous performer, then to have him pass away suddenly at the age of 39? The best answer to this question lies within a series of Waller tribute recordings made by Johnson in late 1943 and early 1944. They are a striking example of grief and shock transformed into relaxed, enjoyable music. The duets with drummer Eddie Dougherty, recorded on June 8, 1944, are particularly satisfying, especially "My Fate Is in Your Hands." What's the best James P. Johnson session of all? Poetically, musically, emotionally, and fundamentally, the "New York Orchestra" session of June 12, 1944, is in fact unparalleled. Frankie Newton never sounded more elegant and sincere than he does during these beautiful sound etchings. Albert Casey, Pops Foster, and once again Eddie Dougherty participate in perfectly balanced communion with the other two men. A precious honesty materializes as Johnson sings the words to W.C. Handy's "Hesitation Blues" in a warm, hoarse voice. For dessert, Johnson ended the session with a marvelous reading of Scott Joplin's masterpiece of 1909, "Euphonic Sounds." All six sides were issued on 12" 78-rpm records in an album bearing the title New York Jazz. They reappeared years later on a cherry-red vinyl LP Stinson reissue, and some of the tracks show up on various compilations. Classics 835 is a gold mine containing the very heart of James P. Johnson's artistry. Note that certain other reissues of this material -- "Euphonic Sounds" in particular -- have suffered from hideous sound quality, even on CD. Here at last Johnson's best material can be properly heard. The Sidney DeParis Blue Note Jazzmen session of June 21, 1944, just happens to be the next leg of Johnson's chronology. After three hot stomps including nearly five minutes of "Ballin' the Jack," the listener is able to reflect upon "The Call of the Blues," possibly the strongest playing that this trumpeter ever blew onto a record. It is a fine finish for one of the best traditional Harlem jazz compilations ever assembled by anyone. arwulf arwulf
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JAMES P. JOHNSON – 1944, Vol. 2 | The Classics Chronological Series – 856 (1995) FLAC (tracks), lossless

This installment in the James P. Johnson chronology includes no less than eight sides featuring the clarinet of Rod Cless, who didn't live long enough to make very many recordings. The first four selections are played by Max Kaminsky & His Jazz Band, a staunch Eddie Condon group recording for Commodore Records in June of 1944. Their music is warmly reassuring. Next comes a series of gorgeous piano solos, each one precious and iridescent as lapis lazuli. In the months that followed the sudden death of his close friend and protégé Fats Waller, Johnson created a series of interpretations of songs written by Waller ("Squeeze Me") or forever linked with him ("I'm Gonna Sit Right Down"). Johnson also set down on record a marvelous catalog of his own compositions, eight of which appear on this disc. Some of these melodies date back to before the 1920s, like "Carolina Shout," which was published in 1914. The Rod Cless Quartet, a combination of Cless and Johnson with a gifted trumpeter named Sterling Bose and bassist Pops Foster, made four records that rank among the best that any of these guys ever made it onto. Bose needs his own retrospective! Hardly anybody knows anything about him. Cless was a woodwind ace who showed great promise, and would have enjoyed some measure of success during the continuation of what became known as the Dixieland revival. What a pity he fell off a balcony and never woke up. James P. Johnson, who had only three partial years of creative activity ahead of him, sounds exceptionally fine throughout this collection of essential Harlem jazz. arwulf arwulf
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MARY LOU WILLIAMS – 1944-1945 | The Classics Chronological Series – 1021 (1998) FLAC (tracks+.cue), lossless

One thing about chronologically arranged reissues -- you never know exactly what you're going to bump into. The third volume of the complete recordings of Mary Lou Williams, for example, opens with a pair of tunes sung by Josh White. It's good to hear the lyrics to Williams' cool, bluesy "Froggy Bottom," but "The Minute Man" is one of those obligatory, rhetorical patriotic numbers that cropped up everywhere during WWII and are relevant today only as historical curiosities. Most of the music reissued in this compilation originally appeared on scratchy 78-rpm records bearing the Asch label. Tenor sax archetype Coleman Hawkins is featured on the lush "Song in My Soul" and trumpeter Bill Coleman presides over a laid-back strolling blues with the worrisome title "Carcinoma." Clarinetist Claude Greene composed "This and That," a lively, bop-like romp that sounds a bit like "Epistrophy." As for "Oh, Lady Be Good," this septet's brisk and inventive set of variations based upon those Gershwin chord progressions would soon be rechristened "Rifftide" by Hawkins, who had a way of gobbling up harmonic advancements in jazz as soon as they appeared on the scene during the 1940s. With drummer Denzil Best driving the band, this is an exciting example of jazz in transition and should be studied by all who seek to better understand how the music evolved as quickly as it did in 1944. Speaking of modernity, in 1945 Mary Lou Williams composed and recorded "The Zodiac Suite," an astrologically inspired cycle of sketches for piano, bass, and drums. Each movement was dedicated to a specific set of musicians, including Ben Webster, Billie Holiday, Duke Ellington, Ellis Larkins, and Leonard Feather. There also exists a three-piano arrangement of the "Scorpio" movement that the composer had intended to perform with Bud Powell and Thelonious Monk. The music is at times wonderfully abstract and ethereal, regularly returning to the root system of blues and boogie as if to nourish itself with the lifeblood of tradition even as the composer pursued a course of harmonic exploration in ways that variously recall Ellington, Strayhorn, Satie, and Debussy. Incredibly, some critics and historians, like bored toddlers, have complained of a "lack of variety" in this work. This sort of ungracious mentality has also engendered shortsighted criticism of James P. Johnson's "Yamekraw." Williams expressed herself beautifully here, and listeners are advised to relax and proceed with patience and an open mind. This interesting album of rare treats closes with two piano solos that are cousins of "The Zodiac Suite," entitled "Stars" and "Moon," and "Timmie Time," a wonderful swinging bop study performed by an all-female quintet. In addition to Mary Lou Williams at the piano the ensemble was composed of guitarist Mary Osborne, vibraphonist Marjorie Hyams, upright bassist Bea Taylor, and smart shuffle drummer Bridget O'Flynn. arwulf arwulf  
Tracklist :
1    Mary Lou Williams And Her Orchestra–    The Minute Man    2:03
Vocals – Josh White
2    Mary Lou Williams And Her Orchestra–    Froggy Bottom     2:52
3    Mary Lou Williams And Her Orchestra–    Carcinoma     3:38
4    Mary Lou Williams And Her Orchestra–    Song Is My Soul     3:00
5    Mary Lou Williams And Her Orchestra–    This And That     2:38
6    Mary Lou Williams And Her Orchestra–    Lady Be Good     3:45
7    Mary Lou Williams Trio–    Taurus     2:32
8    Mary Lou Williams–    Pisces     2:30
9    Mary Lou Williams Trio–    Gemini     2:05
10    Mary Lou Williams–    Capricorn     2:52
11    Mary Lou Williams–    Sagittarius     1:48
12    Mary Lou Williams–    Aquarius    2:40
13    Mary Lou Williams–    Libra     2:08
14    Mary Lou Williams Trio–    Virgo     2:43
15    Mary Lou Williams Trio–    Aries     2:16
16    Mary Lou Williams Trio–    Scorpio     3:09
17    Mary Lou Williams Trio–    Cancer     2:35
18    Mary Lou Williams Trio–    Leo     1:42
19    Mary Lou Williams–    Stars     2:44
20    Mary Lou Williams–    Moon     2:24
21    Mary Lou Williams–    Timmie Time     2:48
Credits :    
Alto Saxophone – Joe Evans (tracks: 3 to 6)
Bass – Al Lucas (tracks: 7, 9, 14 to 18), Bea Taylor (tracks: 21), Eddie Robinson (tracks: 3 to 6), Jimmy Butts (tracks: 1, 2)
Clarinet – Claude Greene (tracks: 3 to 6)
Drums – Bridget O'Flynn (tracks: 21), Denzil Best (tracks: 3 to 6), Eddie Dougherty (tracks: 1, 2), Jack Parker (tracks: 7, 9, 14 to 18)
Guitar – Mary Osborne (tracks: 21)
Piano – Mary Lou Williams
Tenor Saxophone – Coleman Hawkins (tracks: 3 to 6)
Trumpet – Bill Coleman (tracks: 1 to 6)
Vibraphone – Marjorie Hyams (tracks: 21)