TEDDY WILSON AND HIS ORCHESTRA – 1939-1941 | The Classics Chronological Series – 620 (1991) FLAC (tracks+.cue), lossless

This segment of the Teddy Wilson chronology contains 23 recordings made for the Columbia label in New York and Chicago between December 11, 1939 and September 16, 1941. The first eight tracks showcase Wilson's 12-piece big band, using arrangements by Wilson, Edgar Sampson and Buster Harding. This unusually upsized version of the Teddy Wilson & His Orchestra had Doc Cheatham and Harold "Shorty" Baker in the trumpet section, Ben Webster and Rudy Powell among the reeds, and Al Casey and J.C. Heard playing rhythm. Those who are accustomed to Wilson's customary small group sound will find this material pleasantly, perhaps surprisingly different from the norm. In December of 1940 Wilson led an octet with Bill Coleman, Benny Morton and Jimmy Hamilton in the front line. Four piano solos and four trio sides with Al Hall and J.C. Heard were cut in Chicago during April of 1941. Teddy Wilson's sextet (Emmett Berry, Morton, Hamilton, bassist Johnny Williams and Heard) made three recordings on September 16, 1941; only "Out of Nowhere" was originally issued, although "Prisoner of Love" was drafted into service as a V-Disc during the Second World War. This excellent compilation includes vocals by Lena Horne, Jean Eldridge, Helen Ward and J.C. Heard, whose expert drumming and call-and-response interaction with the band place "Wham (Re Bop Boom Bam)" among the hottest and hippest selections in the entire Teddy Wilson discography. arwulf arwulf  
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BENNY GOODMAN AND HIS ORCHESTRA – 1938 | The Classics Chronological Series – 925 (1997) FLAC (tracks+.cue), lossless

The 1938 version of Benny Goodman & His Orchestra was still a strong ensemble, featuring Goodman, Harry James, Ziggy Elman, tenor saxophonist Bud Freeman, Jess Stacy, Martha Tilton, and Dave Tough on drums, plus in the trio/quartet Teddy Wilson and Lionel Hampton. Gene Krupa might have been missed, but the ensemble still swung hard. Highlights of this chronological study include "Lullaby in Rhythm," "I Let a Song Go out of My Heart" (featuring Tilton), "Big John's Special," "Wrappin' It Up," and the quartet version of "Dizzy Spells." Scott Yanow
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FLETCHER HENDERSON AND HIS ORCHESTRA – 1931-1932 | The Classics Chronological Series – 546 (1990) FLAC (tracks+.cue), lossless

During this period Fletcher Henderson was often stuck recording commercial leftover like "My Sweet Tooth Says I Wanna (But My Wisdom Tooth Says No)," "I Wanna Count Sheep (Till the Cows Come Home)" and "Strangers," but in most cases his all-star orchestra was able to overcome the material. This CD, part of Classics' complete chronological reissue of Henderson's recordings, also finds the orchestra backing Baby Rose Marie on two songs in addition to attempting (with uneven success) to put its stamp on jazz standards made famous by other musicians (such as "12th Street Rag" and "Casa Loma Stomp"). The music is generally quite good if not essential Henderson. Scott Yanow
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JONAH JONES – 1936-1945 | The Classics Chronological Series – 972 (1997) FLAC (tracks+.cue), lossless

While the first six recordings presented in this initial volume of the chronologically reissued recordings of Jonah Jones are undeniably rare and worth having access to, the reason for their obscurity is immediately apparent. Dick Porter, the nominal leader of both bands responsible for these Vocalion sides, was a Fats Waller imitator of the worst sort. He patterned his act so closely on Waller's jubilant vocal delivery that it is impossible to ascertain what -- if any -- originality existed in the person of Mr. Porter. Seizing upon Waller's habitual exclamations, Porter overused the outburst "Aha!" until it lost every ounce of its novelty or effectiveness. He even absconded with an entire punch line that Waller had used at the end of his own cheerfully misogynistic version of "I Adore You" -- not to be confused with Waller's "I Simply Adore You." The phrase in question -- "To the pound with the beautiful hound" -- required some form of theatrical buildup. While Waller was making canine references all throughout "I Adore You," Porter chucked the line in at the end of "There's No Two Ways About It" as if he couldn't think of anything else to steal from Waller. The effect of all this upon anyone who knows and loves Waller's work is maddening, and Porter sticks in the mind as a primal irritant to be avoided at all costs. What does this have to do with ace trumpeter Jonah Jones? Well, he played on both of these sessions, striving with the other players to deliver solid swing as desired by the public in the middle 1930s. And yet let it be said that the inclusion of two outstanding Keynote dates and one Commodore blowing session more than make up for the itching, burning sensation created by Dick Porter. Jonah Jones & His Orchestra, consisting of only six players, made four wonderful sides for Harry Lim's Keynote label in September of 1944. Having emerged from Cab Calloway's big band, Jones had a healthy habit of including his friends from Calloway's horde. Tyree Glenn played both vibraphone and trombone. Hilton Jefferson, featured soloist on the creamy "Just Like a Butterfly (That's Caught in the Rain)," also cooked when heat was needed. "Lust for Licks" was based on the changes of "Exactly Like You," and "B.H. Boogie" was a tip of the hat to Buster Harding, whose arrangement of "Twelfth Street Rag" inspired some serious jamming. The 1945 Milt Hinton Sextet, also billed by Keynote as an "Orchestra," shared three crucial players with the previous band: Tyree Glenn, the honorable Mr. Hinton, and the immaculate J.C. Heard. Hinton's "Beefsteak Charlie" got its name from a bar in Manhattan that was preferred by jazz musicians. The reissuing of these Keynote recordings is a serious matter, and the producers of the Classics Chronological Series are to be commended for making them digitally available to the public in the same package with Jones' Commodore session from July 31, 1945. For here are the very best elements from both of the previous bands -- Glenn, Jefferson, Hinton, and Heard -- bundled in with several other strong players including clarinetist Buster Bailey and smokestack tenor Ike Quebec. Jefferson is handed another elegant ballad in "You Brought a New Kind of Love to Me," and the band deep-fries the "Rose of the Rio Grande." "Hubba Hubba Hub" seems at first a bit short on melodic invention but quickly evolves into a perfectly satisfying jam vehicle, closing with one of Jones' hottest solos on record. "Stompin' at the Savoy" is set up as a march by Heard, then struts itself silly. arwulf arwulf
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BUNNY BERIGAN AND HIS BOYS – 1935-1936 | The Classics Chronological Series – 734 (1993) FLAC (tracks+.cue), lossless

Bunny Berigan began his prime stretch of solo recordings with this collection of songs cut between 1935-1936. Berigan still worked as a sideman for the likes of Benny Goodman during this period, and he even did some session and film work, but it is his own material which has solidified his reputation as a top figure of the big band era. And while later sides from 1937-1939 would trump some of the ones included here, this collection still brims over with exciting and tight material from a variety of Berigan contingents. In addition to his first stab at "I Can't Get Started" (somewhat inferior to the classic version from 1937), Berigan is featured on a bevy of small group and a large ensemble highlights, like "Chicken and Waffles" and "Blues." There's also a clutch of songs cut under pianist and Goodman-alum Frank Froeba's leadership, which spotlight the pleasant-enough vocal talents of Midge Williams and Chris Bullock. Also on hand, jazz royalty like Artie Shaw, Cozy Cole, Eddie Condon, and Bud Freeman. A fine mix from Berigan's early heyday. Stephen Cook  
Tracklist :
1    Bunny Berigan And His Blue Boys–    You Took Advantage Of Me 3:24
Written-By – Rodgers - Hart
2    Bunny Berigan And His Blue Boys–    Chicken And Waffles 3:00
Written-By – Berigan
3    Bunny Berigan And His Blue Boys–    I'm Coming Virginia 2:44
Written-By – Heywood
4    Bunny Berigan And His Blue Boys–    Blues 3:00
Written-By – Berigan
5    Bunny Berigan And His Boys–    It's Been So Long 2:45
Written-By – Adamson, Donaldson
6    Bunny Berigan And His Boys–    I'd Rather Lead A Band 2:00
Written-By – Berlin
7    Bunny Berigan And His Boys–    Let Yourself Go 2:00
Written-By – Berlin
8    Bunny Berigan And His Boys–    Swing, Mister Charlie 3:06
Vocals – Chick Bullock
Written By – Robinson - Taylor - Brooks
9    Bunny Berigan And His Boys–    A Melody From The Sky 1:58
Vocals – Chick Bullock
Written-By – Alter, Mitchell
10    Bunny Berigan And His Boys–    I Can't Get Started 3:22
Vocals – Bunny Berigan
Written-By – Ira Gershwin, Vernon Duke
11    Bunny Berigan And His Boys–    A Little Bit Later On 2:50
Vocals – Chick Bullock
Written-By – Neiburg, Levinson
12    Bunny Berigan And His Boys–    Rhythm Saved The World 1:50
Vocals – Chick Bullock
Written-By – Cahn, Chaplin
13    Frank Froeba And His Swing Band–    Just To Be In Caroline 2:59
Vocals – Tempo King
Written By – Hines - Carpenter - Dunlap
Written-By – Carpenter, Hines
14    Frank Froeba And His Swing Band–    'Tain't Nobody's Biz'ness What I Do 2:29
Vocals – Tempo King
Written By – Brown - Sampsel - Markowitz
15    Bunny Berigan And His Boys–    I Nearly Let Love Go Slipping Thru' My Fingers 1:47
Written-By – Woods
16    Bunny Berigan And His Boys–    But Definitely 2:09
Written-By – Revel, Gordon
17    Bunny Berigan And His Boys–    If I Had My Way 2:03
Written-By – Kendis, Klein
18    Bunny Berigan And His Boys–    When I'm With You 2:45
Vocals – Chick Bullock
Written-By – Revel, Gordon
19    Frank Froeba And His Swing Band–    Whatcha Gonna Do When There Ain't No Swing? 3:16
Vocals – Midge Williams
Written-By – Neiburg, Levinson
20    Frank Froeba And His Swing Band–    Organ Grinder's Swing 3:08
Vocals – Midge Williams
Written-By – De Lange, Hudson
21    Frank Froeba And His Swing Band–    Rhythm Lullaby 2:59
Vocals – Midge Williams
Written By – Jenkins
22    Frank Froeba And His Swing Band–    It All Begins And Ends With You 3:12
Vocals – Midge Williams
Written By – Klages - Froeba - Palmer
Written-By – Froeba, Klages
Credits :    
Bass – Artie Bernstein (tracks: 13, 14), Artie Shapiro (tracks: 19 to 22), Grachan Moncur (tracks: 1 to 4), Mort Stuhlmaker (tracks: 5 to 12, 15 to 18)
Clarinet – Artie Shaw (tracks: 9, 10), Joe Marsala (tracks: 5 to 8, 13, 14, 19 to 22), Paul Ricci (tracks: 11, 12), Slats Long (tracks: 15 to 18)
Clarinet, Alto Saxophone – Edgar Sampson (tracks: 1 to 4)
Clarinet, Tenor Saxophone – Eddie Miller (tracks: 1 to 4)
Drums – Cozy Cole (tracks: 9 to 12, 15 to 22), Dave Tough (tracks: 5 to 8), Maurice Purtill (tracks: 13, 14), Ray Bauduc (tracks: 1 to 4)
Guitar – Bobby Bennett (tracks: 19 to 22), Clayton Duerr (tracks: 13, 14), Dave Barbour (tracks: 5 to 8), Eddie Condon (tracks: 9 to 12, 15 to 18)
Piano – Cliff Jackson (tracks: 1 to 4), Frank Froeba (tracks: 13, 14, 19 to 22), Joe Bushkin (tracks: 5 to 12, 15 to 18)
Tenor Saxophone – Art Drelinger (tracks: 19 to 22), Bud Freeman (tracks: 5 to 8), Forrest Crawford (tracks: 5 to 12), Herbie Haymer (tracks: 13, 14)
Trombone – Jack Lacey (tracks: 15 to 18)
Trumpet – Bunny Berigan