COUNT BASIE AND HIS ORCHESTRA – 1946-1947 | The Classics Chronological Series – 988 (1998) FLAC (tracks), lossless

Here's a crash course in the flashy post-WWII big band sound of Count Basie's Orchestra. This was a much different act from the Basie band of 1944-45. The entire presentation had changed considerably in just a couple of years. Arrangers had a lot to do with such rapid transformation, along with creative young players like J.J. Johnson, Paul Gonsalves and Illinois Jacquet. Basie himself was maturing already into that famously glib, tinkling pianist who could and did occasionally play his ass off. A number of stylistic modes are clearly at work during the summer of 1946. Two sentimental pop vocals, one lightweight novelty tune and a solid Jimmy Rushing blues are interspersed with several exciting instrumentals. Buster Harding cooked up a few heavy-handed boogies, Tadd Dameron contributed the stimulating, modern composition "Stay On It," and Harry "Sweets" Edison composed and arranged "Mutton Leg," a sizzling feature for Illinois Jacquet. This would be the saxophonist's last extroverted studio recording with this band, and the eight selections from 1946 were the last of Basie's mid-'40s Columbia sides. Signing up with Victor for the next three years, Basie continued to move in step with rapidly evolving developments in pop, bebop and rhythm and blues. The Victor sides have not been reissued very often, and have proved much more difficult to obtain than Basie's earlier recordings from the Columbia and Decca catalogs. The people in charge of the Classics chronological series are to be commended for making these historical recordings available. The Victor material is markedly varied, revealing an orchestra searching for its next stylistic identity. "Open the Door, Richard" is one of the coolest versions of this silly piece of neo-vaudeville ever recorded, mainly because of Harry "Sweets" Edison's very hip, high-voiced spoken delivery. "One O'Clock Boogie" is recognizable Basie, but two lush ballads, arranged by Hugo Winterhalter, of all people, are atypical for this band. "Futile Frustration," though nominally co-composed by Basie, is a jaggedly futuristic Raymond Scott-styled experiment by Jimmy Mundy. Two live V-Disc jams, each exceeding the four-minute mark, feature Basie and rhythm with a snappy front line of Roy Eldridge and Illinois Jacquet. Art Ford, square peg in a round universe, introduces "Lady Be Good." "Jammin' on a V-Disc," which has a line that sounds uncannily like Sun Ra's "Space is the Place," runs at a brisk clip with wonderful solos from both of the horns. Illinois bites the reed to make his sax squeal and everybody rocks. Buddy Rich is in his element here, as the assignment calls for furious drumming. This segment of the chronology ends with three excellent instrumentals including smart remakes of "St. Louis Boogie" and "Swingin' the Blues." The pianist switches over to Hammond organ in the middle of "Basie's Basement," an authentically low-down blues graced with echoes of Fats Waller's personality. The rest of the fine music recorded by Basie and his men during the month of May 1947 appears at the beginning of the next volume of the complete recordings of Count Basie in chronological order. arwulf arwulf   Tracklist + Credits :

COLEMAN HAWKINS - 1953-1954 | The Classics Chronological Series – 1416 (2006) FLAC (tracks+.cue), lossless

Following someone's career session by session reveals the best and the very worst in performance, repertoire, production, and general working conditions. The segment of Coleman Hawkins' time line beginning with the material he waxed for Al Benson's Parrot record label in Chicago during August of 1953 and ending halfway through his superb Jazztone All Stars date on November 8, 1954, is a case in point. At the end of the summer of 1953, Hawkins was working a steady gig at Chicago's Toast of the Town club. Accepting Benson's invitation to make records, Hawkins waded through a dozen titles, four of which would be released as 78 and/or 45-rpm singles, with "I'll Follow My Secret Heart" mistakenly entitled "I'll Follow My Sacred Heart." The remaining eight tracks from this date were eventually bought up by Savoy and issued on LP. Coleman Hawkins was a brilliant improviser, an archetype, and a gentleman. Surrounded by modestly able, well-intentioned players, he swung dutifully through this session, sounding as strong and sure as ever in less than optimum circumstances. Les Strand's boppish organ noodling casts a peculiar pallor over the proceedings, soon to be exacerbated by a weird vocal choir and an unidentified pianist who attempts to coax music out of a preposterous upright piano that sounds as though it had been dragged out of a broom closet at the last minute. The general effect might be compared with the kind of a malaise that could be brought on by cheap rye whiskey cut with lukewarm tap water. Following on the heels of this mess, the six tracks that close this portion of the Classics Coleman Hawkins chronology have the texture and flavor of gourmet cuisine and rare port wine. Flanked by trumpeter Emmett Berry and trombonist Eddie Bert and backed by Billy Taylor, Milt Hinton, and Jo Jones, Hawkins was able to relax and blow some honest jazz with his dignity intact. These recordings -- expanded to durations in excess of five and six minutes on the new LP format -- are especially valuable for the presence of Emmett Berry, a warm and gifted balladeer, as he demonstrates beautifully during nearly seven minutes devoted to "Out of Nowhere." arwulf arwulf    Tracklist + Credits :

BEN WEBSTER – 1944-1946 | The Chronogical Classics – 1017 (1998) FLAC (tracks+.cue), lossless

Most Ben Webster albums on the market today seem to be reissues from his magnificent autumnal years, majestically lush or bearishly brusque. It's good to have a chronological sampling of Webster's work from the mid-'40s, in order to appreciate exactly how he developed into the Ben Webster of 1959 and 1969. After popping up on early big band swing records by Bennie Moten and Willie Bryant, Webster came into his own as the first really exceptional tenor saxophonist to be featured with Duke Ellington's Orchestra. What we have here is the post-Ellington Ben Webster. His tone has gotten bigger and wider, grittily sensuous and invariably warm like a pulse in the jugular. The first eight tracks were made for radio broadcast purposes in February of 1944. The combination of Hot Lips Page and Ben Webster is a bitch. There are strolling romps with titles like "Woke Up Clipped," "Dirty Deal" and "'Nuff Said," lively stomps built on to the changes of "Tea for Two" and "I Got Rhythm," and two choice examples of Webster developing his ballad chops. "Perdido," from a quartet session recorded near the end of March 1944, is positively stunning. Webster has definitely tapped into something primal, and no one can hear him without being at least partially transformed by the sounds of his saxophone. April Fool's day, 1944 found Webster in the company of tenors Budd Johnson and Walter "Foots" Thomas, with trumpeter Emmett Berry and a modern rhythm section. "Broke but Happy" is a sweet jaunt, real solid, especially when the saxes take over in unison. But the main reason to get your own copy of Classics 1017 is to have the Savoy session of April 17th, 1944. Gracefully accompanied by Johnny Guarnieri, Oscar Pettiford and David Booth, Webster blows four of the greatest three-minute recordings of his entire career. "Kat's Fur" is a goosed up, improved version of "'Nuff Said." "I Surrender Dear" runs even deeper than the two other versions included on this disc. "Honeysuckle Rose" and especially "Blue Skies" each represent Ben Webster at his toughest and truest. This is a rare blend of musk, and it's not synthetic. It's the real thing. arwulf arwulf  
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ILLINOIS JACQUET – 1945-1946 | The Chronogical Classics – 948 (1997) FLAC (tracks+.cue), lossless

Although the Delmark label has done a fine job of reissuing Illinois Jacquet's Apollo recordings, a genuine understanding of this exciting music requires a more systematic appraisal of the recorded evidence. Being able to digest an entire segment of Jacquet's career, with the recordings chronologically arranged and garnished with complete discographical information, is a major treat for anyone wishing to place the music in context. This also expands the picture well beyond Apollo to include material recorded for the Philo, Savoy, and ARA labels, and clears up a few mysteries regarding personnel. The first four tracks were recorded in July of 1945 and set a standard for modern jump music combining elements that would soon be tagged as bebop and R&B. The steamy "Flying Home" was carefully arranged to fit on two sides of a 10" 78-rpm record. "Uptown Boogie" features pianist Sir Charles Thompson bolstered by excellent rhythmic support from drummer Johnny Otis. Illinois himself was always a commanding presence whether laying down a cool blues, smoothing out a ballad, or applying a blowtorch to one of his rowdy jump tunes. Trumpeter Russell Jacquet is heard singing the only two vocal tracks on the entire album, "Throw It Out of Your Mind Baby" and "Wondering and Thinking of You." The two Apollo sessions from August 1945 are driven by the pulsing bass of young Charles Mingus, Bill Doggett's double-fisted piano, and some feisty drumming by Al "Cake" Wichard. For a precious glimpse into the developing ballad philosophy of Mr. Mingus, listen carefully to his accompaniment behind Jacquet's passionate sax on "Memories of You" and "Ghost of a Chance." Ming walks briskly through "Bottoms Up," a rocking re-bop dance with howling horns and strutting rhythm. "Merle's Mood" seems to have been based upon "Paper Moon," and Mingus crowds the microphone to provide extra pushes during Bill Doggett's "What's This." Two sides waxed for ARA at the end of the same month and issued as by the Jacque Rabbits are graced with the return of Sir Charles, whose composition "Ladies Lullaby" is actually another jump tune fortified with bop ideas. "Illinois Stomp" is a very sophisticated bounce. The closing eight tracks were originally issued bearing the Savoy label, and feature trumpeter Emmett Berry, an interesting blend with the salty and often florid Mr. Jacquet. (The last three selections in fact were issued under the name of Emmett Berry's Hot Six.) "Don't Blame Me" is one of this saxophonist's great triumphs of ballad artistry. The spicy "Jumpin' Jacquet" is driven by rhythm guitarist Freddie Green, bassist John Simmons, and master percussionist Shadow Wilson, while Berry percolates using a mute. "Blue Mood" is a meditative masterpiece. Every single track on this CD is strongly presented and well worth experiencing again and again, with best wishes for loosening up, nodding your head, popping your fingers, and cracking a smile. arwulf arwulf     Tracklist :

GERALD WILSON AND HIS ORCHESTRA – 1945-1946 | The Chronogical Classics – 976 (1997) FLAC (image+.cue), lossless

These are the first recordings to appear under the name of Gerald Wilson. Schooled at Cass Technical College in Detroit and seasoned on the road with Jimmie Lunceford, Wilson started leading his own excellent big band in 1944, employing many of the most promising young musicians in the Los Angeles area at that time. Wilson may be heard blowing his trumpet along with Hobart Dotson, Emmett Berry, Fred Trainor, and Snooky Young. During a lovely version of Duke Ellington's "Come Sunday," trombonist Melba Liston takes her very first solo on record. Saxophone soloists include Eddie Davis (not "Lockjaw"), Floyd Turnham, and beefy-toned tenor Vernon Slater. All nine instrumentals are exceptionally fine big-band swing performances. Note that "Puerto Rican Breakdown" is exciting but contains no discernible Caribbean characteristics. As for vocalists, Wilson made some interesting choices. Pat Kay, who sings "Moonrise," sounded substantial, as did Estelle Edson and Betty Roche. Dick Gray was at his best when he wasn't trying to out-vibrate Billy Eckstine. "I've Got a Right to Sing the Blues" contains his strongest moments. The Thrasher Sisters were a better act than a lot of other harmonizing vocal trios on the scene during the 1940s. They were without a doubt considerably hipper -- less corny -- than the Andrews Sisters. Even so, after all of those vocals the last four tracks -- instrumentals -- are especially satisfying. For here listeners get to enjoy the 1946 Gerald Wilson Orchestra at its very finest, swinging hard on themes borrowed from the Basie and Calloway bands, and glowing with the beauty of Melba Liston's original composition "Warm Mood." One cannot help but consider the impact of this band and the L.A. jazz scene of the mid-'40s upon two creative musicians who would so radically alter the course of modern music -- Charles Mingus and Eric Dolphy. arwulf arwulf  
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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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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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BUDDY TATE – 1945-1950 | The Classics Chronological Series – 1207 (2001) FLAC (tracks+.cue), lossless

Buddy Tate gained his initial fame as one of the tenor saxophonists with Count Basie's Orchestra during 1938-1948, replacing Herschel Evans. All of his early dates as a leader are on this CD, and most of the sessions were formerly quite rare. Tate is heard as a sideman in 1945 with trumpeter Karl George's swing-to-bop octet (which also starred trombonist J.J. Johnson), with pianist Skip Hall's combo in 1949 (four instrumentals featuring trumpeter Buck Clayton), and on four sessions of his own. Thirteen songs are from two dates near the end of 1947 and feature some excellent Emmett Berry trumpet, pianist Bill Doggett's arrangements, and a couple of early vocals by Jimmy Witherspoon; Tate comes across effectively in an Illinois Jacquet jump/jazz role. His other two dates (from 1949-1950) are in a similar vein, with Buck Clayton and trombonist Tyree Glenn helping out. A few songs along the way have vocals (a pair by Eddie Fullylove are essentially middle-of-the-road pop), but most of the music is quite worthwhile and swinging. Recommended. Scott Yanow
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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 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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TEDDY WILSON – 1942-1945 | The Classics Chronological Series – 908 (1996) FLAC (tracks+.cue), lossless

Pianist Teddy Wilson was the epitome of style in jazz. He stuck to his pristine brand of swing throughout a long career, never really seeming out of place in the process. After working with the likes of Billie Holiday, Roy Eldridge, and Benny Goodman, Wilson formed his own big band in 1939, only to have to fold it in 1940. Thankfully, Wilson returned to combo settings, which seemed to suit him best. This Classics disc features a mix of those small-group dates from the mid-'40s, along with some solo piano sides and a few vocal cuts featuring Helen Ward and Maxine Sullivan. Also on hand to contribute top-notch work are trumpeter Charlie Shavers, clarinetist Edmond Hall, tenor great Ben Webster, and trombonist Benny Morton. An optimal and highly enjoyable disc to start your Wilson collection. Stephen Cook
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EDMOND HALL – 1937-1944 | The Classics Chronological Series – 830 (1995) FLAC (tracks+.cue), lossless

Those who missed out on Mosaic's limited-edition reissue of Edmond Hall's superb Blue Note recordings may want to pounce on this segment of the clarinetist's chronology. Everything there is to love about small-group swing is present at full potency in these remarkably solid performances. For the session of February 5, 1941 Meade "Lux" Lewis put all of his best blues and boogie energies into a celeste, that tinkling little keyboard instrument that sounds like a glockenspiel. The combination of a celestial Lewis and the soulful Hall with guitarist Charlie Christian and bassist Israel Crosby resulted in music unlike anything heard before or since. On November 29, 1943 the Edmond Hall Blue Note Jazzmen had Vic Dickenson and a very inspired Sidney DeParis on the front line. The humbly majestic James P. Johnson makes the music feel like ritual. Three hot numbers are fountains of joy, but the real magic develops during two collectively improvised blues taken at relaxed tempos. Nothing could be finer or more pleasing than this confluence of master improvisers, drawing upon the highly evolved traditions of New York and New Orleans as they listened ever so carefully to each other while inventing their own grammar of straightforward blues, swing and boogie-woogie. The Edmond Hall Sextet recorded four sides for Commodore on December 18, 1943. Guitarist Al Casey sat in on this occasion, only three days after the passing of his mentor, Fats Waller. Eddie Heywood was a great pianist, much less humble than James P. Johnson but formidable enough to rock the hell out of the "Downtown Café Boogie." The piano introduction to a very relaxed "Uptown Café Blues" sounds similar to the beginning of Heywood's blues collaborations with Billie Holiday. Edmond Hall's way of handling the blues is unforgettably immediate and sincere. Both of the 1943 dates are towed into port by the exceptionally fine drumming of Big Sid Catlett. Back with Blue Note on January 25, Edmond Hall leads his All Star Quintet in developing four of his own original compositions. While "Rompin' in '44," the band moves with gently pronounced modernity, rooted in tradition but responding to new ideas and updated styles. Red Norvo, always aware of fresh influences, had something to do with this development. "Blue Interval" is something like a course in organic gardening; "Smooth Sailin'" is a solid upbeat piece of blues, as is the rocking restless jam called "Seein' Red." As a gesture of chronological completeness, Classics tacked on a pair of sides from 1937 with vocals by Henry Nemo. These would be more enjoyable if he didn't closely imitate Fats Waller's singing style, right down to the expostulations and tag lines. Considering the wealth of outstanding jazz on this one CD, these two oddities are a neat bonus. They do not detract in any way from the masterpieces gathered together in memory of the great Edmond Hall. arwulf arwulf  

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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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JOHN KIRBY AND HIS ORCHESTRA – 1945-1946 | The Classics Chronological Series – 964 (1997) FLAC (tracks+.cue), lossless

The fourth and final Classics CD to reissue all of the studio recordings of the John Kirby Sextet features the band's very rare 1945-1946 performances, originally released by the Asch, Crown, Disc, and Apollo labels. The personnel of the classic unit had changed, with only the bassist/leader and clarinetist Buster Bailey still present on all of the numbers (although altoist Russell Procope and pianist Billy Kyle are on half the selections). Trumpeters Emmett Berry, Clarence Brererton, and George Taitt do their best to fill in for the departed Charlie Shavers; drummer Bill Beason was the late O'Neil Spencer's permanent replacement; other musicians making appearances include altoists George Johnson and Hilton Jefferson, tenor saxophonist Budd Johnson (who makes the sextet a septet on six songs), and pianists Ram Ramirez and Hank Jones. The young Sarah Vaughan is featured on four selections (including classic renditions of "You Go to My Head" and "It Might as Well Be Spring"), and the forgotten Shirley Moore takes two vocals. Although the group's sound had not changed and there are some colorful arrangements, Shavers' muted yet fiery trumpet was definitely missed. This valuable release is recommended after acquiring Kirby's first three Classics CDs. Scott Yanow
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SAM PRICE AN HIS TEXAS BLUSICIAN – 1929-1941 | The Classics Chronological Series – 696 (1993) FLAC (tracks+.cue), lossless

This single CD from the European Classics label collects all of pianist Sammy Price's prewar recordings as a leader. Despite its title, only two titles preceded the 1940-41 period: "Blue Rhythm Stomp" by Price's Four Quarters in 1929, and "Nasty But Nice," which finds Price on the same day accompanying trombonist Bert Johnson. Otherwise, the music features Price's Texas Blusicians, New York-based septets and octets put together especially for recordings. The emphasis is on blues, with Price taking several vocals, but such notable guests as altoist Don Stovall, trumpeters Shad Collins and Emmett Berry and (on four songs) tenor great Lester Young uplift the music. Recommended to small-group swing collectors. Scott Yanow
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FLETCHER HENDERSON AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 519 (1990) FLAC (tracks+.cue), lossless

The Classics chronological reissue of Fletcher Henderson's recordings continues with this disc which traces the decline of his last "permanent" orchestra. With the departure of Roy Eldridge, Henderson for the first time since the early '20s lacked any major trumpet soloists, although he still featured the fine tenor of Chu Berry and a variety of up-and-coming players. Unfortunately the band was far overshadowed by other orchestras influenced by Henderson and since the quality of his recordings was declining, the breakup of his group was hardly noticed. The irony is that the founder of the swing era could not survive when his music (as played by Benny Goodman) caught on. Scott Yanow
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HORACE HENDERSON AND HIS ORCHESTRA – 1940 + FLETCHER HENDERSON AND HIS ORCHESTRA – 1941 | The Classics Chronological Series – 648 (1992) FLAC (tracks+.cue), lossless

 Horace Henderson spent most of his career in the shadow of his brother Fletcher, even though he was actually a superior pianist and a comparable arranger. Other than an all-star session that he headed in 1933, Horace did not make his first recordings as a leader until 1940, when he led a regular (if short-lived) big band. Five sessions resulted in 21 titles, all of which are included on this very enjoyable CD. Most notable among Henderson's sidemen are trumpeter Emmett Berry, tenorman Elmer Williams, and Ray Nance (shortly before he joined Duke Ellington) on trumpet, violin, and the vocal to "They Jittered All the Time." This excellent swing CD, which has plenty of "killer dillers," is rounded off by a four-song session by Fletcher Henderson's 1941 big band, cut shortly before it broke up. Recommended. Scott Yanow
Tracklist + Credits :

JOHNNY HODGES AN HIS ORCHESTRA - 1951-1952 {CC, 1389} (2005) FLAC (tracks), lossless

Between January 1951 and August 1955, alto saxophonist Johnny Hodges took an extended vacation from Duke Ellington and led his own ensembles in a remarkably fruitful series of recording sessions produced by Norman Granz. Volume three in the Classics Johnny Hodges chronology opens with four outstanding tracks cut on February 28, 1951. Since Hodges was still drawing a salary from Ellington during the session that took place on January 15, these are the first recordings he made as an independent artist after severing the professional umbilicus that had tethered him to Duke's orchestra since the late '20s. Johnny Hodges was one of Ellington's cardinal voices, and musically, they more or less grew up together; even when technically separated, both men continued to make music that reflected a glowing spectrum of shared sensibilities. Most of the Hodges/Granz bands were peppered with Ellingtonians, and several are in evidence here; trombonist Lawrence Brown, drummer Sonny Greer, Billy Strayhorn sitting in at the piano on "Globe Trotter" and tenor man Al Sears serving as "musical director" and booking agent. The session of March 3, 1951 opened with "Castle Rock," Searsy's gutsy self-portrait in R&B that made it onto entertainment industry charts and into jukeboxes for a little while as a "hit." The rest of these recordings were fated to exist as they do today -- as excellent music suspended in an amorphous category stamped with the word "jazz"; marginalized by a mainstream pop culture obsessed with star vocalists, specious spectacle and anything pasted over with the meaningless word "new." These recordings made by a series of septets under the leadership of Johnny Hodges in New York and San Francisco during 1951 and 1952, feature (in addition to the artists already mentioned) such able practitioners as trumpeter Emmett Berry, saxophonist Flip Phillips, bassist Red Callender, drummer J.C. Heard and Ellington vocalist Al Hibbler -- and these timeless performances still await wider recognition. arwulf arwulf
Tracklist :
1     Good Queen Bass 3:05     
Johnny Hodges
2     Jeep's Blues 2:59
Ellington, Hodges
3     Solitude 2:56
Eddie DeLange / Duke Ellington / Irving Mills
4     The Jeep Is Jumping 2:50
Ellington, Hodges    
5     Castle Rock 2:53
Al Sears    
6     Sophisticated Lady 3:11
Duke Ellington / Irving Mills / Mitchell Parish
7     Globe Trotter 3:05
Hodges
8     Gentle Breeze 3:16
Sears    
9     Sideways 3:04
Lovett    
10     A Pound of Blues 3:11
Lovett    
11     Wham 3:04
Hodges    
12     Who's Excited 3:05
Mercer / Hodges
13     Sweeping the Blues Away 3:19
Ellington, Hodges    
14     Day Dream 3:21
Ellington, Latouche, Strayhorn
15     Standing Room Only  2:50
Hodges
16     Below the Azores 3:06
Lovett
17     Tenderly 3:21
Walter Gross / Jack Lawrence
18     Sweet Georgia Brown 6:01
Ben Bernie / Kenneth Casey / Maceo Pinkard
19     Duke's Blues 6:09
Hodges    
20     Tea for Two 3:02
Irving Caesar / Vincent Youmans
21     This Is My Night to Love 3:04
Ford
22     What I'm Gotchere 3:23
The Cue
Credits :
Billy Strayhorn  Piano
Lloyd Trotman  Bass
Anatol Schenker  Liner Notes
Barney Richmond  Bass
Lawrence D. Brown  Trombone
Sonny Greer  Drums
Emmett Berry  Trumpet
Red Callender  Bass
J.C. Heard  Drums
Leroy Lovett  Piano, Celeste
Al Hibbler  Violin, Vocals
Johnny Hodges  Sax (Alto)
Flip Phillips  Sax (Tenor)
Al Sears  Sax (Tenor)

JOHNNY HODGES AN HIS ORCHESTRA – 1952-1954 | The Classics Chronological Series – 1421 (2006) FLAC (tracks), lossless

After spending 22 years as Duke Ellington's star alto saxophonist, Johnny Hodges took a break from the Duke and led his own bands from 1951 to 1955, spending much of that time making excellent records for producer Norman Granz. This creative hiatus has been well-documented, most exhaustively by the Mosaic label's Complete Johnny Hodges Sessions 1951-1955. For those who didn't have a chance to flag down that particular anthology, volume four in the Classics Johnny Hodges chronology presents a potent portion of this fascinating chapter in musical history. These recordings were made immediately after the departure of tenor saxophonist Al Sears, who was headed for membership in BMI and a career in the music publishing business following the success of his R&B-infused opus Castle Rock. Like Sears, many of the players in Hodges' various ensembles were members or ex-members of the Ellington Orchestra. The most notable exceptions heard here are master percussionist J.C. Heard and trumpeter Emmett Berry, whose warm personality integrates well with the Ellingtonians, especially trombonist Lawrence Brown and tenor saxophonist Ben Webster. On the final three tracks, recorded July 2, 1954, Berry is replaced by powerfully expressive Ellington trumpeter Harold "Shorty" Baker. This session should be treasured for the presence of pianist Call Cobbs, who was destined to make remarkably inspired music with Albert Ayler during the late '60s. A 27-year-old John Coltrane is at least technically present on a gutsy, growling, laid-back blues entitled "Sweet as Bear Meat." Trane's participation, however, is only barely perceptible, as he is allotted no solo space whatsoever, and plays a faintly supportive reed section role similar to that of Floyd "Horsecollar" Williams in the Hot Lips Page band of 1944. Given the nature of this tune, it's a pity that Trane wasn't invited to mingle his tone with the visceral currents of Hodges and Baker. One thing's for sure -- he was listening carefully! Subsequent developments prove that Trane was a devout listener. Take time to reflect upon the fact that this compilation closes with a recording of John Coltrane listening to Johnny Hodges while hardly making any sounds of his own. arwulf arwulf
Tracklist :
1    I Got It Bad And That Ain't Good    3:29
Ellington / Webster
2    Nothin' Yet    2:40
Berry
3    Rosanne    3:08
Manning / Osser
4    This Love Of Mine    3:06
Sinatra
5    Hodge Podge    3:36
Hodges / Ellington
6    Jappa    3:53
Hodges
7    Through For The Night    3:17
Young
8    Come Sunday    2:32
Ellington
9    The Sheik Of Araby    3:13
Smith / Weiller / Snyder
10    Latino    2:54
Hodges
11    Easy Going Bounce    3:32
Hodges
12    Indiana    3:51
Hodges
13    Johnny's Blues - Part 1    3:36
Hodges
14    Johnny's Blues - Part 2    3:39
Hodges
15    In A Mellow Tone    6:17
Ellington
16    I Let A Song Go Out Of My Heart    3:08
Ellington / Nemo / Mills
17    Don't Get Around Much Anymore    3:46
Ellington / Russell
18    Burgundpy Walk    7:07
Hodges
19    On The Sunny Side Of The Street    2:58
Fields / McHugh
20    Sweet As Bear Meat    3:20
Hodges

JOHNNY HODGES - Three Classic Albums Plus (Second Set) : The Blues | More Of Johnny Hodges | In A Tender Mood | Johnny Hodges And His Strings Play The Prettiest Gershwin (2011) 2xCD | FLAC (tracks+.cue), lossless

The Blues
1-1    Rosanne 3'09
1-2    Hodge-Podge 3'35
1-3    Jappa 3'52
1-4    Through For The Night 3'17
1-5    Sheik Of Araby 3'14
1-6    Latino 2'54
1-7    Johnny's Blues 7'02
1-8    Indiana 3'51
1-9    Easy Going Bounce 3'32
1-10    Burgundy Walk 7'08
More to Johnny Hodges
1-11    Ballad Medley: Autumn In New York / Sweet Lorraine / Time On My Hands / Smoke Gets In Your Eyes / If You Were Mine / Poor Butterfly / All Of Me 18'01
1-12    On The Sunny Side Of The Street 2'56
1-13    Warm Valley 3'21
1-14    Madam Butterfly 3'14
1-15    Skokiaan 2'32
1-16    Used To Be Duke 7'23
In a Tender Mood
2-1    Who's Excited 3'02
2-2    Sweepin' The Blues Away 3'18
2-3    Standing Room Only 2'46
2-4    Below The Azores 3'03
2-5    Sweet Georgia Brown 6'00
2-6    Duke's Blues 6'05
2-7    Tenderly 3'18
2-8    Tea For Two 2'59
2-9    What's I'm Gotchere 3'23
2-10    Nothin' Yet 2'39
2-11    Sweet As Bear Meat 3'19
Johnny Hodges And His Strings Play The Prettiest Gershwin
2-12    Love Is Here To Stay 2'41
2-13    Nice Work If You Can Get It 3'09
2-14    'S Wonderful 2'47
2-15    Summertime 2'55
2-16    Soon 2'55
2-17    But Not For Me 2'39
2-18    Somebody Loves Me 2'28
2-19    They Can't Take That Away From Me 3'13
2-20    Someone To Watch Over Me 3'11
2-21    They All Laughed 2'50
2-22    The Man I Love 2'54
2-23    Oh, Lady Be Good 2'36