DIZZY GILLESPIE — The Complete RCA Victor Recordings (1995) 2CD | FLAC (tracks+.cue), lossless

Although the sheer scope of this double-CD roundup of all of Dizzy's Victor sessions places it most obviously within the evolution of bebop, it is absolutely essential to Latin jazz collections as well. Here listeners find the discographical launching pad of Afro-Cuban jazz on December 22, 1947, when Cuban conguero Chano Pozo added his galvanic congas and bongos to Gillespie's big band for the first time on record. One can feel the explosive effect of Pozo's subdivisions of the beat, rhythmic incantations, and grooves on the band's bebop charts. Though the musicians' styles aren't much affected, and Pozo does most of the adapting to bebop rather than vice versa, the foundation has clearly shifted. Alas, aside from recorded live gigs, Pozo only made eight tracks with the band -- four on December 22 and four more eight days later, just before the second Musicians Union recording ban kicked in. Yet even after Pozo's murder the following year, Gillespie continued to expand his Latin experiments, using two Latin percussionists who brought more rhythmic variety to the sound of tunes like "Guarachi Guaro" (later popularized by Cal Tjader as "Soul Sauce") and even commercial ballads like "That Old Black Magic." The reprocessing of these recordings from late in the 78 rpm era through the CEDAR process sounds a bit harsh, though less so than most of RCA's earlier desecrations of vault material using NoNOISE. Even so, this remains the best way to acquire these seminal Latin jazz tracks. Richard S. Ginell   Tracklist + Credits :

GENE KRUPA – 1949-1951 | The Chronogical Classics – 1359 (2004) FLAC (tracks+.cue), lossless

 The 15th installment in the Classics Gene Krupa chronology opens with a big-band arrangement of a "madcap" melody by Soviet composer Dmitri Kabalevsky. The last of Krupa's Columbia records were cut in Los Angeles on May 9, 1949, with sanguine spoken outbursts and wild trumpet solos by Roy Eldridge. There's creamy singing from Bill Black and a stilted group vocal -- a routine borrowed from Tommy Dorsey -- during "Why Fall in Love with a Stranger." Delores Hawkins, heard at her sultriest on "Watch Out!," appears to be emulating Ella Fitzgerald. After more than ten years as a Columbia recording artist, Krupa switched over to Victor in March of 1950. Bassist Don Simpson wrote the arrangements for new versions of six melodies composed by Fats Waller, and for some strange reason known only to arranger George Williams, a big-band adaptation of Gene Autrey's "Dust" opens with a quote from Richard Strauss' tone poem Also Sprach Zarathustra. During the spring of 1950, Krupa began alternating his big-band dates with tight little blowing sessions featuring an old-fashioned Eddie Condon-type jazz band. Both bands featured vocalist Bobby Scoots, a lively specimen most appropriately chosen to sing the lyrics to that immortal discourse on the human condition, "Cincinnati Dancing Pig." The only antidote for this is a solid instrumental rendering of "I'm Forever Blowing Bubbles," one of the most popular hits of 1919, here given the ham-and-eggs treatment by a band assisting Krupa in returning to his Chicago-style roots. arwulf arwulf
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EDDIE CONDON – 1944-1946 | The Chronogical Classics – 1033 (1998) FLAC (image+.cue), lossless

This is how traditional Chicago-style jazz sounded in New York during the mid-1940s. When he wasn't brusquely emceeing these bands on-stage at Town Hall, guitarist and organizer Eddie Condon presented this music on the air and in the recording studio. The phonographic evidence, chronologically arranged and carefully documented, makes for enjoyable listening. Three V-Disc sides for the armed forces have Hot Lips Page lined up next to Sterling Bose, Miff Mole and Pee Wee Russell. This interesting blend of musicians from radically different social and ethnic backgrounds is typical of Condon. Lips sings on a nearly four-and-a-half-minute version of the "Uncle Sam Blues," a wry ode to military conscription. The old "Tin Roof" is summed up in a mere 126 seconds, followed by a slightly longer "Ballin' the Jack." It seems as though V-Disc encouraged short takes so as to be able to squeeze as many tracks as possible on to their newly devised 'unbreakable' lightweight 12" 78rpm records. The Decca session of December 12, 1944 sounds a lot like the Town Hall mixture of pressure cookers and attractive love songs. Bobby Hackett turns "When Your Lover Has Gone" into a prayer. Lee Wiley (who was Eddie Condon's idea of the Perfect Woman) sings a couple of sweet numbers, and the band kicks the stuffing out of a theme only identified as "Impromptu Ensemble." Here Jack Teagarden blows hot trombone and sings up a parcel of lyrics he first used on a "Chicagoans" session back in 1929. Special mention should be made of baritone saxophonist Ernie Caceres who blows mellow for Lee and very hot during the stomps. Two days later the band emitted 59 seconds of "jump" music and 33 seconds of "blues" for radio broadcast purposes. Lee sang two more ballads and Teagarden hammed up the "Sheik of Araby" with strange new novelty lyrics before they swung it to pieces. Jack also sings and plays handsomely on "Somebody Loves Me." Speaking of melodies composed by George Gershwin, the 1945 sessions include what might be the loveliest version of "My One And Only" ever recorded, starring Bobby Hackett. "Lady Be Good" and "Swanee" take on an almost Dixieland flavor. On March 27, 1946 Wild Bill Davison, Gene Schroeder and Davey Tough incited a grand "Farewell Blues" with the bridge from "Weary Blues" grafted on to its midsection. "Improvisation for the March of Time" was built across the familiar slow blues/fast blues formula, and a couple of very attractive pop songs were magically transformed into honest instrumental jazz before the band knocked off for the day. The session of July 17th, 1946 is memorable for the presence of pianist James P. Johnson, who sends out sparks during "Just You, Just Me," and the voice of John "Bubbles" Sublett, one-time musical cohort of Buck Washington. Sublett is heard singing W.C. Handy's "Atlanta Blues," also known as "Make Me a Pallet on the Floor." That's the great thing about an Eddie Condon date: you never know who's going to show for the gig. arwulf arwulf  
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ROY ELDRIDGE – 1945-1947 | The Classics Chronological Series – 983 (1998) FLAC (tracks+.cue), lossless

As far as Roy Eldridge's big bands go, this was the peak. With arrangements by Buster Harding and a stable of powerful young players, the Roy Eldridge Orchestra must have been formidable in live performance. Most of the recordings they made for the Decca label represent the ultimate in extroverted big-band swing. The explosive "Little Jazz Boogie" is one of the hottest records Roy Eldridge ever made. The flip side, "Embraceable You," bears witness to his profound abilities as an interpreter of ballads. Three sides by the Roy Eldridge Little Jazz Band recorded for V-Disc on November 14, 1945, allow for more intimate interplay. "Roy Meets Horn" -- the title is a takeoff on "Boy Meets Horn," Ellington's feature for Rex Stewart -- and "Old Rob Roy" are late-period swing or "prebop" numbers, anticipating stylistic changes that were in the wind at the time. With Nick Caiazza blowing tenor sax, Ernie Caceres wielding a clarinet, and Trigger Alpert and Specs Powell in the rhythm section, this was one exciting little jam band. "I've Found a New Baby" is a full-blown stomp employing traditional swing polyphony. Contrary to what the discography claims, there is no spoken introduction by Eddie "Rochester" Anderson. Back in the Decca studios on January 31, 1946, the big band generated huge gusts of sound, employing lots of in-your-face brass. "Ain't That a Shame" is a fine cool blues graced with one of Eldridge's hippest vocals. The session of May 7, 1946, opened with the rowdy "Hi Ho Trailus Boot Whip" and eased into "Tippin' Out" -- the apparent obverse of "Tippin' In," a big hit for Erskine Hawkins. During his solo on "Yard Dog," tenor saxophonist Tom Archia quotes from Fats Waller's hit record "There's Honey on the Moon Tonight." On the other hand, "Les Bounce" is not a very inventive melody. The band compensates by blowing hard and Eldridge tries using a portion of the melodic line from his famous "Little Jazz." The material recorded on September 24, 1946, signals a return to dependable jazz standards of the day. This band had alto saxophonists Sahib Shihab and Joe Eldridge, Cecil Payne on baritone, and pianist Duke Jordan. The disc closes with the WNEW Saturday Night Swing Session broadcast live on May 31, 1947. "Honeysuckle Rose" is played by just the rhythm section of Al Casey, Eddie Safranski, and Specs Powell. "Flip and Jazz" is nearly nine minutes of hot jamming in the company of tenor saxophonist Flip Phillips. "How High the Moon" is, well, a visit to bop city as Eldridge brings in the melody known as "Ornithology." "Lover" is played bright and fast with lots of block chords hammered out by pianist Mike Coluchio's right hand. "Buck Still Jumps," played once again just by the rhythm section, is Al Casey's sequel to "Buck Jumpin'," his famous feature number from Fats Waller days. arwulf arwulf
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ELLA FITZGERALD – 1947-1948 | The Classics Chronological Series – 1049 (1999) FLAC (tracks+.cue), lossless

This segment of the Classics Ella Fitzgerald chronology focuses upon the recordings she made for the Decca label between March 1947 and November 1948. Most of these sides include polished group background vocals, generating a certain campy slickness that some listeners might find overly affected. This kind of ensemble singing rose to prominence with Tommy Dorsey and Glenn Miller and manifested itself throughout the late '40s and early '50s, even popping up in the form of the Dave Lambert Singers behind Charlie Parker. Bop scatting at times like a Roman candle, Ella sounds fully in command, a seasoned improviser well on the way to stylistic maturity. Nothing interferes with her honeyed, seamless delivery, not even the Andy Love Quintet, the Song Spinners, or the Day Dreamers. The collective instrumental personnel includes bassists Bob Haggart and Ray Brown, trumpeter Idrees Sulieman, saxophonists Illinois Jacquet and Ernie Caceres, organist Sir Charles Thompson, pianist Hank Jones, and drummer J.C. Heard. Ella imitates a Slam Stewart bass solo on "Oh, Lady Be Good" and tears up "How High the Moon" in a manner that would serve her well for the rest of her illustrious career. A fascinating chunk of history is here to be savored. Just don't be surprised if a mixed choir begins hooting and harmonizing behind Ella Fitzgerald. arwulf arwulf  
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HAZEL SCOTT – 1946-1947 | The Classics Chronological Series – 1448 (2007) FLAC (tracks+.cue), lossless

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BENNY GOODMAN AND HIS ORCHESTRA – 1944-1945 | The Classics Chronological Series – 1345 (2004) FLAC (tracks), lossless

This segment of the Benny Goodman chronology documents the recordings he made with his trio, quartet, quintet, sextet, and "All Star Band" for V-Disc and Columbia from the end of June 1944 through the first week of February 1945. The disc opens with a magnificent instrumental version of "After You've Gone" played by a 16-piece ensemble featuring trumpeters Roy Eldridge, Charlie Shavers, and Yank Lawson; baritone saxophonist Ernesto "Ernie" Caceres; Teddy Wilson at the piano; and Gordon "Specs" Powell behind the drums. As if to preface the recording industry's postwar infatuation with star vocalists, Goodman waxed a side with ex-Ted Weems crooner Perry Como and two additional titles with vocalist Mildred Bailey. Backed only by his rhythm section, Goodman concluded the day's work by frying up one of the hottest versions of Vincent Youmans' "Hallelujah" ever captured on record. The rest of this compilation is devoted to a wonderful series of small-group V-Disc and Columbia sessions, most of which feature Mildred Bailey's ex-husband Red Norvo on the vibraphone. Interspersed with occasional sweet vocals by Jane Harvey and Peggy Mann, the instrumental numbers are small-band swing of the highest order. The Goodman sextet in particular was greatly enhanced by the presence of bassist Slam Stewart. arwulf arwulf  
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SIDNEY BECHET – 1937-1938 | The Classics Chronological Series – 593 (1991) FLAC (tracks+.cue), lossless

The second in a series of CD reissues featuring Sidney Bechet has quite a bit of variety. The unique soprano-saxophonist is heard with Noble Sissle's showband, dominating a small group sponsored by Sissle, backing blues singer Trixie Smith and the team of Grant & Wilson, and leading his own session with a sextet that includes baritonist Ernie Caceres, and on "Hold Tight," a vocal by "The Two Fish Mongers." Enjoyable if not quite essential music. Scott Yanow
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MUGGSY SPANIER – 1944 | The Classics Chronological Series – 907 (1996) FLAC (tracks+.cue), lossless

Three high-powered Commodore sessions and a V-Disc blowout make this an exceptionally satisfying packet of Chicago-styled traditional jazz. Without a doubt, this music should be rated alongside Muggsy's all-time greatest recordings. Pee Wee Russell, gloriously soulful and inventive, is present throughout. Rock-solid trombonist Miff Mole made it onto two of the three Commodore dates. No matter how hard the band swung, nothing could shake the Mole. Saxophonists Ernie Caceres and Boomie Richmond were variously brought in to augment or replace the trombone. Muggsy demonstrates his full range of wails, growls, and muted shimmies. Some of these tunes run for more than four minutes, which in 1944 meant big beautiful 12" 78-rpm records. The overall mood is positive, spirited, and even optimistic. Caceres accomplished with his baritone what Adrian Rollini had achieved with a bass sax during the mid- to late '20s. A reed horn with a voice that deep has a way of nudging the whole band along with firm but friendly persuasion. Boomie sounded a lot like Bud Freeman, a good role model for a tenor sax operating within this kind of an ensemble. George Wettling pounds his drums with unusual fervor during "Sweet Sue," inciting a perfect riot of joyous jamming. Pee Wee's first chorus on "Memphis Blues" is so gritty and deep it's frightening! Every tune is rendered with passion. That's where all that satisfaction comes from. Comparing these sides with the highly revered 1939 "Ragtime Band" recordings, these seem just a bit more free and genuine, closer to what these guys must have sounded like in person. The V-Discs are each more than four minutes in duration. "Pee Wee Speaks" has Muggsy introducing the clarinetist as "our new vocalist." Russell grumbles the blues, referencing Muggsy's work ethic and tossing in references to butter and lard. As with every other existing example of Pee Wee Russell the Singer, our man sounds weirdly glib and a little bit sloshed. "Pat's Blues" begins with someone, apparently bassist Bob Haggart, whistling a full chorus of the blues through his teeth. It is a perfectly frowsy finale to this invigorating collection of hot records made by Muggsy Spanier at the height of his powers. arwulf arwulf
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MUGGSY SPANIER – 1944-1946 | The Classics Chronological Series – 967 (1997) FLAC (tracks), lossless

If you're looking for a straight, unfiltered shot of full-strength Chicago-style traditional jazz, this disc pulls no punches. Three of the four opening tracks are incendiary Commodore blowouts. Bob Haggart whistles during the opening and closing choruses of his own "Whistlin' the Blues," which comes as a bit of a breather after all that stomping. The next six selections were released on the Manhattan record label, available to the public as souvenirs to be purchased at Nick's Tavern, a hot spot for old-fashioned jazz in Greenwich Village. Four of these tracks feature the exciting baritone saxophone of Ernie Caceres, who exchanges a few words with Muggsy Spanier at the beginning of yet another whistling tune, "Feather Brain Blues." As Haggart whistles in the background, Caceres, speaking in a husky theatrical voice similar to that used by Harry "The Hipster" Gibson, exclaims that he hears a mockingbird. Spanier insists that the creature in question is "a feather brain bird," and vows to "blow him right away" with his trusty cornet. This results in a grand, easygoing blues with a big juicy finale, during which whistler and bassist Haggart gets the last word. The V-Disc session is solid and satisfying, right from the first few bars of a smooth walking treatment of the old "Tin Roof Blues." Creamy tenor saxophonist Bud Freeman is the star of this ensemble, as he transforms good music into something truly wonderful. Loudmouth comedian Phil Harris introduces a five-minute jam on "China Boy," counting it off in a tempo that is far slower than the one used by the band. This was a noticeable feature of V-Discs -- the spoken introductions were almost invariably recorded separate from the songs themselves, and usually sounded that way. Identifying his music as "Dixieland," Muggsy speaks at the beginning of "You Took Advantage of Me," a feature for Freeman, who had made a wonderful recording of this Rodgers & Hart dance tune for the Commodore label back in 1938. This 1945 "update" version is guaranteed to please all fans of Bud Freeman. This fine CD closes with six delightful sides originally released on the innocuous Disc record label. On "Pee Wee Squawks," Pee Wee Russell, who is heard on every session except the V-Discs, sings about how he needs a break: "My horn ain't in tune and my chops are hangin' low." The producers of the Classics Chronological Series are to be commended for periodically dredging up recorded examples of Pee Wee Russell singing in his own weirdly stilted, slightly sloshed manner. arwulf arwulf
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BOBBY HACKETT AND HIS ORCHESTRA – 1938-1940 | The Classics Chronological Series – 890 (1996) FLAC (tracks+.cue), lossless

Tracklist + Credits

BOBBY HACKETT AND HIS ORCHESTRA – 1943-1947 | The Classics Chronological Series – 1047 (1999) FLAC (tracks+.cue), lossless

When Bobby Hackett's band is in the house and presents a pretty tune at a relaxed tempo, the spirit within the song has a chance to climb out of its shell and perch for a few minutes over the front door like one of William Blake's pigmented angels. Hackett's sensitivity turns every ballad into a magical daydream. When the band turns on the heat, you're getting Chicago-style, Eddie Condon-approved traditional jazz, right straight out of the bottle. Condon in fact played guitar on the session of December 23, 1943, along with a swell tenor saxophonist named Nick Caiazza and no-nonsense trombonist Ray Conniff. Pianist Frank Signorelli, composer of "Serenade in Blue" and cardinal member of the Original Memphis Five, takes an occasional break during some of the stomps but really gets to shine with a full-length solo during his magnum opus, "I'll Never Be the Same." Some may feel that this one track is reason enough to seek out the entire album. It all depends on how much respect you have for Signorelli, and for the Art of Melody. The Commodore session of 1944, presented in part as "Jam Session at Commodore No. 6," makes lots of room for Ernie Caceres' magnificent baritone saxophone, with a few diversions supplied by Pee Wee Russell. Lou McGarity was a trombonist comparable to George Brunies. Jess Stacy's piano chemistry worked exceptionally well when combined with Hackett's dignified persona. These excellent jams also perfectly illustrate the artistry of George Wettling, Eddie Condon's preferred percussionist. Wettling drove a substantially different band through four sides for the Melrose label in May of 1945. The ballads are gorgeous; the hot numbers really rip. Both of the sessions from February 1946 utilize a big-band sound intended for slow dancing, with sentimental arrangements by ex-Paul Whiteman anesthesiologist Bill Challis. Lush reeds hover behind Hackett's romantic horn with brief spotlights on clarinetist Hank d'Amico and guitarist Carl Kress. Johnny Guarnieri noodles gently on a celeste, sweetening up an already honey-drenched confection. A nice four-minute V-Disc trio performance is provided to clear the palette. arwulf arwulf
Tracklist

BOBBY HACKETT – 1948-1954 | The Classics Chronological Series – 1403 (2005) FLAC (tracks), lossless

The third installment in the Classics Bobby Hackett chronology examines the recordings he made between June 22, 1948, and November 7, 1954. The compilation opens with two superb five-minute V-Disc jams introduced by Hackett and Eddie Condon, who organized this and dozens of other traditional jazz get-togethers during the 1940s. The front line of Hackett, Cutty Cutshall, Peanuts Hucko, and Ernie Caceres worked wonders. "You Do Something to Me" is a marvelous trumpet/piano duet with Joe Bushkin recorded during the second AFM recording ban; in their spoken introduction they even mention the organization's president, a Mr. Petrillo. Two quintet sessions for Columbia dating from the late summer and early autumn of 1950 combine Dixieland repertoire with relaxed swing standards; Hackett's rendering of "A Room with a View" is particularly beautiful. An unattributed vocal choir intrudes upon an unissued recording of "Sleepy Head"; this turns out to have been a premonition of production values yet to come, as Hackett's next date as a leader (Capitol Records, May 11,1953) would find him accompanied by a rhythm section augmented with four violas and a cello. This combination actually worked rather well; the fact that Hackett had Lou Stein, Billy Bauer, Arnold Fishkin, and Denzil Best in the group helped to temper the effect of the strings, which in any case were all low key, literally speaking. Hackett sounds as relaxed and sophisticated as ever on the concluding tracks, which were recorded on November 7, 1954. By this time the Capitol studios and conductor Glenn Osser were backing him with French horns, woodwinds (including flute and oboe), and a classical harp wafting away next to the rhythm section. Fortunately, the ensemble is kept under control and Hackett sounds just as happy here as he did with his old cohorts from the Condon Mob. arwulf arwulf  
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JACK TEAGARDEN AND HIS ORCHESTRA – 1934-1939 | The Classics Chronological Series – 729 (1993) FLAC (tracks+.cue), lossless

Shortly before selling his soul to Paul Whiteman for five long years, trombonist Weldon Leo "Jack" Teagarden and his orchestra made three beautiful recordings that still sound uncommonly cool, honest, and authentic. This session, which took place in New York on September 18, 1934, closes out Teagarden's early years as a bandleader. The instrumental "Junk Man" is a relaxed blues ambulation of remarkable depth and subtlety, featuring string harpist Casper Reardon who swung easily in a style similar to that of Robert Maxwell. Flanked by Benny Goodman and Frankie Trumbauer, Jack's brother Charlie Teagarden blew some of his best trumpet on record. Texas crooner Mr. T sang on two of the three records made that day, handsomely drawling the words to "Stars Fell on Alabama," as if lyricist Frank Perkins had devised them just for him. Years passed. The minute his contract with Whiteman expired, Teagarden resumed making records under his own name for the Brunswick label on April 14, 1939, collaborating with trumpeter Charlie Spivak in leading a 15-piece orchestra that operated in a sort of Dorsey/Goodman/Barnet groove, with lush harmonies emanating from the trombone section. Present in this band were arranger Fred Van Eps, Jr. and saxophonist John Van Eps, sons of legendary early 20th century ragtime banjoist Fred Van Eps and brothers of jazz guitar wizard George Van Eps. The other important participant here was the great Ernie Caceres, heard playing clarinet and tenor sax in addition to his customary baritone. "Persian Rug," which first entered the jazz repertoire back in 1928 as a sort of chamber jazz oddity by Fats Waller and the Louisiana Sugar Babes, here becomes a punchy big-band workout. Teagarden's vocals are invariably warm and delightful, and there are only occasional incursions by conventional big-band singers Jeanie Arnold and Linda Keene. Of the four remaining instrumentals, "Pickin' for Patsy" is a relatively modernistic feature for guitarist Allan Reuss, "Undertow" a soothing nocturne for jazz orchestra, "Blues to the Dole" a laid-back big-band embodiment of Teagarden's personality and most excitingly, a full ensemble arrangement of Willie "The Lion" Smith's masterpiece, "Rippling Waters." arwulf arwulf  
Tracklist :
1    Junk Man    3:04
 Frank Loesser / George W. Meyer
2    Stars Fell On Alabama 3:00
 Mitchell Parish / Frank Perkins
Vocals – Jack Teagarden
3    Your Guess Is As Good As Mine 2:45
 Al Goodhart / Al Hoffman / Maurice Sigler
Vocals – Jack Teagarden
4    Persian Rug 2:19
 Gus Kahn / Neil Moret
Arranged By – Red Bone
5    The Sheik Of Araby 2:37
 Harry Beasley Smith / Ted Snyder / Francis Wheeler
Vocals – Jack Teagarden, Meredith Blake
6    Class Will Tell 2:37
 Joe Burke / Edgar Leslie
Vocals – Jack Teagarden
7    If It's Good (Then I Want It) 2:51
 Walter Hirsch / Gerald Marks
Vocals – Jack Teagarden
8    Cinderella, Stay In My Arms 2:50
 Michael Carr / Jimmy Kennedy
Vocals – Jack Teagarden
9    I Gotta Right To Sing The Blues 2:40
 Harold Arlen / Ted Koehler
Vocals – Jack Teagarden
10    That's Right - I'm Wrong 2:22
 Stanley Adams / Hoagy Carmichael
Vocals – Jean Arnold
11    Yankee Doodle 2:54
 Traditional
Arranged By – Fred van Eps Jr.
Vocals – Jean Arnold
12    White Sails (Beneath A Silver Moon) 3:13
Archer / Kenny
Vocals – Linda Keene
13    Octoroon 3:23
 Harry Warren
Vocals – Jack Teagarden
14    Pickin' For Patsy    2:39
 Allan Reuss / Jack Teagarden
15    Undertow    3:20
 Edgar Battle / Glenn Miller
16    Especially For You 2:57
 Orrin Tucker
Vocals – Linda Keene
17    You Know (Just As Well As I Know) 2:47
 Joe King
Vocals – Jack Teagarden
18    You're The Moment In My Life 2:48
 Henry Nemo
Vocals – Linda Keene
19    The Little Man Who Wasn't There 2:43
 Harold Adamson / Bernie Hanighen
Vocals – Jack Teagarden
20    Puttin' And Takin' 3:00
 Gene DePaul / Al Jacobs
Vocals – Jack Teagarden
21    I Swung The Election 2:31
 Glenn Miller / Jack Teagarden
Vocals – Jack Teagarden
22    Blues To The Dole    2:48
 Edgar Battle / Franz Jackson
23    Aunt Hagar's Blues 2:45
 Tim Brymn / W.C. Handy
Vocals – Jack Teagarden
24    Rippling Waters    2:30
 Willie "The Lion" Smith
Credits :    
Bass [String Bass] – Art Miller
Clarinet – Benny Goodman (tracks: 1 to 3)
Clarinet, Alto Saxophone – Art St. John (tracks: 4 to 24), Clint Garvin (tracks: 4 to 24)
Clarinet, Tenor Saxophone – Hub Lytle (tracks: 4 to 24), John Van Eps (tracks: 4 to 24)
Clarinet, Tenor Saxophone, Baritone Saxophone – Ernie Caceres (tracks: 4 to 24)
Drums – Cubby Teagarden (tracks: 4 to 24), Herb Quigley (tracks: 1 to 3)
Guitar – Allan Reuss (tracks: 4 to 24)
Harp – Casper Reardon (tracks: 1 to 3)
Piano – John Anderson (tracks: 4 to 24), Terry Shand (tracks: 1 to 3)
Saxophone [C Melody] – Frankie Trumbauer (tracks: 1 to 3)
Trombone – Charles McCamish (tracks: 7 to 24), Jack Teagarden, Jose Gutierrez (tracks: 4 to 24), Mark Bennett (tracks: 4 to 24), Red Bone (tracks: 4 to 6)
Trumpet – Alec Fila (tracks: 4 to 6), Charlie Spivak (tracks: 4 to 24), Charlie Teagarden (tracks: 1 to 3), Carl Garvin (tracks: 4 to 24), Lee Castle (tracks: 7 to 24)

JACK TEAGARDEN AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 758 (1994) FLAC (tracks+.cue), lossless

The third in Classics' Complete Jack Teagarden series traces the trombonist's big-band recordings during his Columbia period. There were no great soloists among Teagarden's sidemen and some of these tunes (particularly the nine with Kitty Kallen vocals) are throwaways but Teagarden's own singing on six songs (including "Beale Street Blues" and "If I Could Be with You") and distinctive trombone give listeners strong reasons to acquire this entry in the worthy series. Other highlights include "Peg of My Heart," "Wolverine Blues," "Swinging' on the Teagarden Gate" and "The Blues." Scott Yanow
Tracklist :
1    I'm Takin' My Time With You    2:58
2    I Wanna Hat With Cherries    2:54
3    Two Blind Loves    2:41
4    Hawaii Sang Me To Sleep    2:54
5    It's A Hundred To One (I'm In Love)    2:28
6    I'll Remember    3:02
7    Peg O' My Heart 3:21
Arranged By – Red Bone
8    At Least You Could Say Hello    3:13
9    A Table In The Corner    3:10
10    Stop Kicking My Heart Around    3:03
11    If What You Say Is True    2:48
12    So Many Times    2:58
13    Muddy River Blues    3:01
14    Wolverine Blues 2:42
Arranged By – Red Bone
15    Red Wing    2:55
16    United We Swing    2:51
17    Beale Street Blues    3:10
18    Somewhere A Voice Is Calling    2:45
19    Swingin' On The Teagarden Gate 2:45
Arranged By – Fred Norman
20    If I Could Be With You (One Hour Tonight)    3:07
21    My Melancholy Baby    2:55
22    Can't We Talk It Over?    3:07
23    The Blues    3:14
Credits :    
Alto Saxophone – Jack Goldie (tracks: 20 to 23), Joe Ferdinando (tracks: 20 to 23), Tony Antonelli (tracks: 20 to 23)
Bass [String Bass] – Arnold Fishkind (tracks: 20 to 23), Art Miller (tracks: 1 to 16), Benn Pottle (tracks: 17 to 19)
Clarinet, Alto Saxophone – Clint Garvin (tracks: 1 to 19)
Clarinet, Alto Saxophone, Baritone Saxophone – Art St. John
Clarinet, Tenor Saxophone – Hub Lytle (tracks: 1 to 19), John Van Eps (tracks: 1 to 19)
Clarinet, Tenor Saxophone, Baritone Saxophone – Ernie Caceres (tracks: 1 to 19)
Drums – Cubby Teagarden (tracks: 1 to 7), Dave Tough (tracks: 8 to 19), Ed Naquin (tracks: 20 to 23)
Guitar – Allan Reuss (tracks: 1 to 19), Dan Perri (tracks: 20 to 23)
Piano – Jack Russin (tracks: 8 to 19), John Anderson (14) (tracks: 1 to 7), Nat Jaffe (tracks: 20 to 23)
Tenor Saxophone – Larry Walsh (tracks: 20 to 23)
Trombone – Charles McCamish (tracks: 1 to 7), Eddie Dudley (tracks: 8 to 19), Joe Ferrall (tracks: 20 to 23), Jose Gutierrez, Mark Bennett (tracks: 1 to 19), Seymour Goldfinger (tracks: 20 to 23)
Trombone, Directed By – Jack Teagarden
Trumpet – Charlie Spivak (tracks: 1 to 16), Frank Ryerson (tracks: 17 to 19), John Fallstitch (tracks: 20 to 23), Carl Garvin (tracks: 1 to 19), Lee Castle (tracks: 1 to 19), Sid Feller (tracks: 20 to 23), Tom Gonsoulin (tracks: 20 to 23)
Vocals – Jack Teagarden (tracks: 5, 13, 17, 20 to 22), Kitty Kallen (tracks: 1 to 4, 8 to 12) 

JACK TEAGARDEN AND HIS ORCHESTRA – 1941-1943 | The Classics Chronological Series – 874 (1996) FLAC (tracks+.cue), lossless

The fifth Classics CD to reissue all of trombonist/vocalist Jack Teagarden's early recordings as a leader has more than its share of gems. A dozen selections feature his 1941 big band, and unlike earlier sessions, there are no indifferent vocals or unnecessary pop baggage. Teagarden is heard in prime form on "Chicks Is Wonderful" (which strangely enough is an instrumental), "St. James Infirmary," "A Hundred Years from Today," and "Nobody Knows the Trouble I've Seen." There are also two selections that Teagarden performed in the movie Birth of the Blues with Bing Crosby: the classic title cut (sung by Crosby) and "The Waiter and the Porter and the Upstairs Maid" which finds Teagarden, Bing, and Mary Martin all interacting in cheerful form. The last seven numbers on this highly enjoyable CD feature Teagarden jamming with the Capitol International Jazzmen in 1943. He takes three vocals (including "Stars Fell on Alabama") and is well showcased on a previously unissued "Mighty Lak' a Rose." In addition, tenor saxophonist Dave Matthews takes his greatest solo on "In My Solitude"; Billy May takes his hottest trumpet solos throughout the date; pianist Joe Sullivan is a strong asset; and the clarinet spot is taken by either Jimmie Noone or Heinie Beau. "I'm Sorry I Made You Cry" and "'Deed I Do" are both quite hot. Recommended. Scott Yanow  
Tracklist
1    Jack Teagarden And His Orchestra–    Dark Eyes    3:16
2    Jack Teagarden And His Orchestra–    Prelude In C Sharp Minor    3:19
3    Jack Teagarden And His Orchestra–    Chicks Is Wonderful    3:18
4    Jack Teagarden And His Orchestra–    Blues To The Lonely    2:58
5    Bing Crosby, Mary Martin With Jack Teagarden And His Orchestra–    The Waiter And The Porter And The Upstairs Maid    3:08
6    Bing Crosby With Jack Teagarden And His Orchestra–    The Birth Of The Blues    3:12
7    Jack Teagarden And His Orchestra–    Blue River    3:07
8    Jack Teagarden And His Orchestra–    St. James Infirmary    3:13
9    Jack Teagarden And His Orchestra–    What Did I Do To Be So Black And Blue    3:04
10    Jack Teagarden And His Orchestra–    A Hundred Years From Today    2:58
11    Jack Teagarden And His Orchestra–    A Rhythm Hymn    2:58
12    Jack Teagarden And His Orchestra–    Prelude To The Blues    3:13
13    Jack Teagarden And His Orchestra–    The Blues Have Got Me    3:07
14    Jack Teagarden And His Orchestra–    Nobody Knows The Trouble I've Seen    3:04
15    The Capitol International Jazzmen–    Clambake In B Flat    2:46
16    The Capitol International Jazzmen–    Casanova's Lament    2:54
17    The Capitol International Jazzmen–    In My Solitude    2:57
18    The Capitol International Jazzmen–    I'm Sorry I Made You Cry    2:52
19    Jack Teagarden's Chicagoans–    Mighty Lak' A Rose    2:47
20    Jack Teagarden's Chicagoans–    Stars Fell On Alabama    2:57
21    Jack Teagarden's Chicagoans–    'Deed I Do    2:36
Credits :    
Alto Saxophone – Joe Ferdinando (tracks: 1 to 14), Tony Antonelli (tracks: 1 to 14)
Bass – Art Shapiro (tracks: 15 to 21)
Bass [String Bass] – Arnold Fishkind (tracks: 1 to 10), Myron Shapler (tracks: 11 to 14)
Clarinet – Heinie Beau (tracks: 19 to 21), Jimmie Noone (tracks: 15 to 18)
Clarinet, Alto Saxophone – Danny Polo (tracks: 1 to 14)
Drums – Paul Collins (tracks: 1 to 14), Zutty Singleton (tracks: 15 to 21)
Guitar – Dave Barbour (tracks: 15 to 21), Perry Botkin (tracks: 5 to 10)
Piano – Ernie Hughes (tracks: 1 to 14), Joe Sullivan (tracks: 15 to 21)
Tenor Saxophone – Art Beck (tracks: 1 to 14), Art Moore (tracks: 1 to 14), Dave Matthews (tracks: 15 to 21)
Trombone – Fred Keller (tracks: 11 to 14), Jack Teagarden, Joe Ferrall (tracks: 1 to 14), Jose Gutierrez (tracks: 1 to 14), Seymour Goldfinger (tracks: 1 to 10)
Trumpet – Art Gold (tracks: 11 to 14), Billy May (tracks: 15 to 21), John Fallstitch (tracks: 1 to 10), Pokey Carriere (tracks: 1 to 14), Sid Feller (tracks: 1 to 4), Truman Quigley (tracks: 5 to 14)
Vocals – Bing Crosby (tracks: 5, 6), Jack Teagarden (tracks: 4, 5, 7 to 10, 13, 14, 16, 18, 20), Mary Martin (tracks: 5)

JACK TEAGARDEN AND HIS ORCHESTRA – 1944-1947 | The Classics Chronological Series – 1032 (1998) FLAC (tracks+.cue), lossless

Minute by minute and track for track, this disc contains an invigoratingly high concentration of Jack Teagarden's best music. Nearly half of the performances are instrumental and, with the exception of a pretty torch song sung by Christine Martin and a gruffly cheerful duet with Wingy Manone, the primary vocalist is Big Tea. After three marvelous V-Discs, including a six-minute version of "If I Could Be With You (One Hour Tonight)," a Commodore session erupts with a smokin' run through "Chinatown, My Chinatown" and a deeply steeped "Big T Blues," introduced by Jack's sister Norma Teagarden at the piano. While singing his homespun lyrics to this bluesy slow drag, Jack introduces Norma by name, then pays tribute to trumpeter Max Kaminsky. Norma proves that she was an exceptionally fine stride pianist as she sets up "Pitchin' a Bit Short" and Detroiter Bob Zurke's lively theme song, "Hobson Street Blues," which sounds a bit like a Broadway show tune. Back in Chicago on April 11, 1946, Mr. T's orchestra waxed half a dozen sides for the Teagarden Presents record label. Bobby Fischer delivers some Gene Krupa-styled drumming during the quirky "Martian Madness," the band smokes the tar out of "Way Down Yonder in New Orleans," and there is a grandiose rendition -- minus Rudyard Kipling's lyrics -- of "On the Road to Mandalay." On the first day of March 1947, Teagarden created one of his all-time greatest vocal and trombone ballad testimonials in the form of an intoxicating version of "Body and Soul." This precious live V-Disc recording begins with a spoken introduction by Bob Bach of Metronome magazine. Nine days later, master percussionist Davey Tough provided propulsive persuasion for Jack Teagarden's Big Eight, an ensemble including Max Kaminsky, clarinetist Peanuts Hucko, butter-toned tenor saxman Cliff Strickland, and one of Eddie Condon's most trusted pianists, Gene Schroeder. After a couple of expertly rendered blues, a tasty stomp with modern overtones simply called "Jam Session at Victor" sails in like a steam locomotive. As a surprise for dessert, the producers of this series have tacked on a pair of leftover big-band sides dating from November of 1939, issued in 1947 on V-Disc. This provides an example of how Dave Tough sounded as part of Teagarden's 16-piece big band. Their two-minute version of Jelly Roll Morton's "Wolverine Blues" is the perfect coda for this solidly satisfying album of rare and exciting traditional jazz. arwulf arwulf
Tracklist
1    Jack Teagarden And His Orchestra–    Beale Street Blues     3:53
2    Jack Teagarden And Band–    I Swung The Election     2:13
3    Jack Teagarden And The V-Disc All Stars–    If I Could Be With You One Hour Tonight     5:50
4    Jack Teagarden And His Swingin' Gates–    Chinatown My Chinatown     2:49
5    Jack Teagarden And His Swingin' Gates–    Big "T" Blues     3:13
6    Jack Teagarden And His Swingin' Gates–    Rockin' Chair     4:09
7    Jack Teagarden And His Swingin' Gates–    Pitchin' A Bit Short     4:09
8    Jack Teagarden And Band–    Hobson Street Blues     1:58
9    Jack Teagarden And His Dixieland Jazz Orchestra–    Muskrat Ramble    2:56
10    Jack Teagarden And His Dixieland Jazz Orchestra–    Way Down Yonder In New Orleans     2:57
11    Jack Teagarden And His Orchestra–    Basin Street Blues     3:06
12    Jack Teagarden And His Orchestra–    Martian Madness     2:38
13    Jack Teagarden And His Orchestra–    On The Road To Mandalay     2:33
14    Jack Teagarden And His Orchestra–    Sabino You For Me     2:55
15    Jack Teagarden And His Trombone–    Body And Soul     4:19
16    Jack Teagarden's Big Eight–    St. Louis Blues     3:05
17    Jack Teagarden's Big Eight–    Blues After Hours     3:15
18    Jack Teagarden's Big Eight–    Jam Session At Victor     3:14
19    Jack Teagarden's Big Eight–    Say It Simple     3:11
20    Jack Teagarden And His Orchestra–    On Revival Day     1:40
21    Jack Teagarden And His Orchestra–    Wolverine Blues     2:06
All Credits :