EDDIE SOUTH – 1923-1937 | The Classics Chronological Series – 707 (1992) FLAC (tracks+.cue), lossless

Twenty songs covering Eddie South's chronological history up to World War II -- this disc starts with his recording debut as a member of Jimmy Wade's Syncopators, jumps to his solo stuff, and then South's work in Europe in association with the Swing label in Paris, through which his name became widely known. South's New York-based Columbia and Okeh sides never sold as well as what he did for Swing, but they're equally worthwhile. Bruce Eder             Tracklist + Credits :

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
Tracklist + Credits :

ELLA FITZGERALD – 1951 | The Classics Chronological Series – 1261 (2002) FLAC (tracks+.cue), lossless

Most of Ella Fitzgerald's recordings from 1951 (all of which are on this CD) are obscure and have rarely been reissued. "The First Lady of the American Song" turned 34 that year and was in peak form, as she would be throughout the decade. The music ranges from novelties ("Two Little Men In A Flying Saucer," and a cover of "Come On-A My House,") to worthy versions of "Love You Madly," "Smooth Sailing," and "Baby Doll." The settings range from tunes with Sy Oliver's Orchestra and occasional background singers, to a date with Hank Jones, and four lesser-known but delightful duets with Louis Armstrong: "Necessary Evil," "Oops," "Would You Like To Take A Walk," and "Who Walks In When I Walk Out." Scott Yanow
Tracklist :

ELLA FITZGERALD – 1952 | The Classics Chronological Series – 1328 (2003) FLAC (tracks+.cue), lossless

The 13th installment in the Classics Ella Fitzgerald chronology documents her recording activity during a period extending from early January to late November 1952. The two opening tracks constitute a veritable scat fest with accompaniment by the Ray Charles Singers and a small band anchored by organist Bill Doggett and pianist Hank Jones. The next nine titles document Fitzgerald's continuing collaborations with bandleader Sy Oliver. Matt Dennis' ballad "Angel Eyes" is rendered beautifully, even if it is nestled among silly titles like "Goody Goody," "A Guy Is a Guy," and "Ding-Dong Boogie," a rowdy novelty better suited for Teresa Brewer; it benefits greatly from a gutbucket sax solo by Sam "The Man" Taylor. Accompanied by Bobby Orton's Teen-Aces, Ella makes her own stunning "Contribution to the Blues," revives Una Mae Carlisle's magnum opus "Walking by the River," and presents "My Bonnie Lies Over the Ocean" as a West Indian dance number bristling with bongos and conga drums. This was not Ella's first venture into Caribbean territory; her infamous calypso outing "Stone Cold Dead in the Market," recorded with Louis Jordan & His Tympany 5 during the mid-'40s, is still a force with which to be reckoned (see 1945-1947, Classics 998). Throughout her tenure as a Decca recording artist, Fitzgerald demonstrated an uncanny ability to sing anything; she would convert weak material into good stuff or transform great songs into masterpieces. It is now known that during the early '50s producer Norman Granz "harshly criticized" the A&R management at Decca Records for consistently handing Ella Fitzgerald patently inferior material and sometimes teaming her up with musicians who were either not in her league or were incapable of tuning in to her wavelength. Until this vocalist's Decca contract expired, Granz could only include her in his touring Jazz at the Philharmonic package (those concert performances were assiduously recorded in their entirety for later release) while making plans for their eventual studio collaborations, which would include the multiple great American composer Song Book projects. arwulf arwulf
Tracklist :

ELLA FITZGERALD – 1953-1954 | The Classics Chronological Series – 1404 (2005) FLAC (tracks+.cue), lossless

The 14th installment in the Classics Ella Fitzgerald chronology examines a trail of Decca recordings made between February 13, 1953, and March 30, 1954. Aside from a pair of sentimental numbers sweetened by the Ray Charles Singers, Fitzgerald spent most of the year 1953 making records with Sy Oliver's orchestra. "Somebody Bad Stole de Wedding Bell" is yet another chapter in Fitzgerald's ongoing involvement with West Indian or calypso-styled repertoire; earlier Caribbean manifestations were "Stone Cold Dead in the Market" and "My Bonnie Lies Over the Ocean." Ella closed out the year by recording with a string-laden orchestra led by John Scott Trotter, then famous for his work with Bing Crosby. Her next three studio sessions occurred toward the end of March 1954. The first of these involved the dreaded Gordon Jenkins string orchestra and chorus. Although few singers could have withstood the avalanche of refined white sugar represented by Jenkins and his soporific ensemble, Fitzgerald stood her ground and sounded great. At the beginning of the following week she made her second collaborative series of recordings with pianist Ellis Larkins; their first studio duets had taken place in September of 1950 (see Classics 1195). These beautiful performances benefit from the sort of professional autonomy and artistic integrity that Ella Fitzgerald would soon enjoy after ditching Decca and signing on with Norman Granz. arwulf arwulf
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MAXINE SULLIVAN – 1941-1946 | The Classics Chronological Series – 1020 (1998) FLAC (tracks+.cue), lossless

Although not as essential as the first Classics Maxine Sullivan CD, this set has its strong moments too. Sullivan was always a simple and subtle singer who swung lightly and mostly stuck to the melody while uplifting the themes with her intelligent expressiveness. The first eight selections on this disc find her joined by the John Kirby Sextet on such numbers as a remake of "Loch Lomond," "St. Louis Blues" and "My Ideal." The two numbers from March 19, 1942 ("Beside the River Clyde" and "How Do I Know It's Real") list the singer as again being joined by Kirby's Sextet but the backup group is clearly larger and using slightly different instrumentation. Sullivan is also heard backed by a rhythm section and strings on four selections, on two numbers apiece with the Teddy Wilson Quintet and Benny Carter's Orchestra (the young tenor Dexter Gordon has a solo on "Looking for a Boy"), and performing six tunes (including several remakes) with strings, the prominent harp of Laura Newell, a rhythm section, and clarinetist Hank D'Amico. The 1944-46 titles have also been reissued by Tono, although the 1941-42 selections with Kirby have long been scarce. In her early to mid-'30s at the time, Maxine Sullivan sounds both youthful and mature during her interpretations, very much in prime form. Scott Yanow  
Tracklist + Credits :

ART TATUM – 1949-1953 | The Classics Chronological Series – 1411 (2006) FLAC (tracks), lossless

The seventh in Classics' chronological survey of pianist Art Tatum's complete recorded work, this one covers the end of 1949 through 1953 and features mostly solo pieces from Tatum, who was simply the most amazing piano player in the whole history of jazz. His explosiveness, speed, and endlessly inventive arrangements make his recordings a thing apart, and this set is no exception. Try the familiar standards here like "Blue Skies" or "Tea for Two" to hear what Tatum brings to the table. Amazing. Steve Leggett
Tracklist :

EDMOND HALL – 1944-1945 | The Classics Chronological Series – 872 (1996) FLAC (tracks), lossless

What you have here is a veritable audio lexicon of Edmond Hall's style and musical personality. From the first few bars of "It's Been So Long," the clarinetist conjures a disarming atmosphere of warmth and reassurance. The effect is quadrupled as Harry Carney enters, puffing away at his baritone saxophone. The entire Swingtet was in perfect form on May 5, 1944, and the recordings they made on that day are among the very best from Blue Note's first decade. Benny Morton's temperament was perfectly suited for the task of interacting with the other two horns. Their rhythm section was strong enough to provide unflinching support, even when Carney's baritone bellowed and chortled during "Steamin' and Beamin'." The Blue Note date is perfectly complemented by eight magnificent Commodore sides cut during the summer of 1944 in the company of Teddy Wilson. Hall is alternately gentle or briskly bracing. "Caravan" is a wild ride you'll not want to miss. The Swing Sextet session of December 4, 1944, begins with "Opus 15," a slightly modern set of vamps composed by the pianist Ellis Larkins. "Mouse" Randolph does some fine growling through his trumpet and the band runs it down with measured ease. Hall weaves a 45-second introduction to "The Sheik of Araby" before the guys cut loose with it. Four additional sides were cut by practically the same band on some unspecified day in 1945. Larkins contributed another very hip original called "Ellis Island," Hall dreamed up a feisty "Continental Blues," and Randolph shone during a second realization of his own creation, which he simply titled "Face." It sounds like something Lester Young would have enjoyed coasting through. This CD would bear up well under highway driving conditions, even heard twice or thrice through. Every consecutive track is pure pleasure. arwulf arwulf  
Tracklist + Credits :

HERMAN CHITTISON – 1945-1950 | The Classics Chronological Series – 1334 (2003) FLAC (tracks+.cue), lossless

Herman Chittison was a flashy pianist who developed his presentational abilities while entertaining patrons in nightclubs throughout Europe and North Africa. It is not surprising, then, that he worked up a repertoire of European classical melodies made over into lively, intricately woven jazz. On six rare sides originally issued on the Mary Howard Recordings record label, Chittison summons the shades of Tchaikovsky, Chopin, Paderewski, and Grieg. Everett Barksdale complements the piano most gracefully with his guitar, and Bill Pemberton proves to be an accomplished modern bassist. Chittison sounded a bit like Art Tatum. His fluid runs were deliberate and exacting enough to have fit well into the commercially oriented world of broadcasting. This pianist was in fact included in the cast of the weekly serial Crime Photographer on CBS, an arrangement that would lead to several recording sessions with Columbia records. Eight solos waxed on May 8, 1950 are attractive exercises in melody, sunny and sweet, drawing upon the muses of Harold Arlen, George Gershwin, Richard Rodgers and Eubie Blake. The trio sessions from August of the same year are a bit more complicated, as the musicians expend a lot of energy on surface tension and mood manipulation. "The Continental" gets jacked up to an almost manic extent. "Ain't Misbehavin'" is solid enough, but most of these later trio recordings are inflated with a busy air of conspicuous intricacy. arwulf arwulf  
Tracklist + Credits :

BOB HOWARD AND HIS ORCHESTRA – 1937-1947 | The Classics Chronological Series – 1055 (1999) FLAC (tracks+.cue), lossless

By September of 1937, Bob Howard had begun to outgrow his annoying habit of imitating Fats Waller's every nuance. Think of it -- as a Decca recording artist Howard was placed in the uncomfortable position of competing with Waller, Victor's hugely successful vocalist, pianist, and master of small-group swing. Earlier Howard recordings possess the power to drive Waller fans up the wall with irritation. Here, happily, the problem seems to have been (mostly) resolved, as Howard sounds more or less like himself, even when covering songs that were and still are almost entirely associated with Thomas Waller ("Beat It Out," "I'm Sorry I Made You Cry," and "She's Tall, She's Tan, She's Terrific"). When forging ahead into songs that seemed ripe for the Waller treatment (although, sadly, Waller never lived long enough to record them), Howard delivers the goods in a perfect combination of his own and Waller's styles. Most of the material packed into this portion of the Bob Howard chronology features the singer standing well away from the piano so as to be able to concentrate on singing his little heart out. Decca lined him up with consistently excellent players like trumpeter Eddie Farley, tenor saxophonist Babe Russin, guitarist Teddy Bunn, drummers O'Neill Spencer and Stan King, and pianists Frank Froeba and Billy Kyle. The winning combination of Kyle and Spencer makes some of this stuff sound a bit like a bracing preview of the John Kirby Sextet. There is a delightful treatment of "Casey Jones" and a perfectly reasonable rendering of Waller's "Keepin' Out of Mischief Now," constituting a rare example of Bob Howard/Decca paying composer royalties to Fats Waller/Victor. A reference to marijuana usage during "There Ain't Gonna Be No Doggone Afterwhile" seems to presage Howard's version of Stuff Smith's full-blown hymn to cannabis indulgence, "If You're a Viper." Legend has it that Fats Waller & His Rhythm also waxed a version of this happy opus in 1938, but the master recording was actually destroyed by a naïve and apparently brainwashed record company employee who panicked after apparently overdosing on Harry J. Anslinger/J. Edgar Hoover-inspired vice squad propaganda. Waller had his revenge when he cut a particularly lascivious rendition of the song for the Armed Forces' V-Disc label shortly before his early demise in 1943. This fascinating bundle of rare novelty swing closes with two rather scratchy sides recorded for the Atlantic label in 1947. Howard, back at the piano in the company of Everett Barksdale, John Simmons, and Cozy Cole, rendered up a delightful paean to "Mo'lasses" and a version of "Button Up Your Overcoat" that Ruth Etting certainly never dreamt of. This excellent disc is packed with tasty performances that are far superior to Bob Howard's earlier work. arwulf arwulf
Tracklist :
1    Beat It Out    2:49
2    I'm Sorry I Made You Cry    2:44
3    What Do You Want To Make Those Eyes At Me For    2:31
4    She's Tall, She's Tan, She's Terrific    2:38
5    There Ain't Gonna Be No Doggone Afterwhile    2:30
6    If You're A Viper    2:22
7    Baby And It Must Be Love    2:46
8    Raggedy But Right    2:52
9    In My Miz    2:26
10    Toodle-Oo    2:47
11    Just About The Time    2:26
12    Talk To Me    2:45
13    I Can Tell By Looking In Your Eyes    2:29
14    You Better Come Back    2:42
15    Dapper Dan    2:51
16    Southern Casey Jones    3:10
17    I Used To Love You    2:46
18    Keepin' Out Of Mischief Now    2:44
19    Sweet Emalina, My Gal    2:55
20    Beale Street Mama    2:37
21    You're Lucky In Kentucky Sure As You're Born    2:54
22    Any Rags    2:42
23    On Revival Day    2:37
24    Mo'lasses    2:40
25    Button Up Your Overcoat    2:50
Credits
Bass – Haig Stephens (tracks: 1 to 23), John Simmons (tracks: 24, 25)
Clarinet – Slats Long (tracks: 1 to 4)
Drums – Cozy Cole (tracks: 24, 25), O'Neil Spencer (tracks: 5 to 23), Stan King (tracks: 1 to 4)
Guitar – Everett Barksdale (tracks: 24, 25), Frank Victor (tracks: 1 to 4), Teddy Bunn (tracks: 5 to 23)
Piano – Billy Kyle (tracks: 13 to 23), Bob Howard (tracks: 24, 25), Frank Froeba (tracks: 1 to 12)
Tenor Saxophone – Babe Russin (tracks: 1 to 4)
Trumpet – Eddie Farley (tracks: 1 to 4)
Vocals – Bob Howard

ETHEL WATERS – 1946-1947 | The Classics Chronological Series – 1249 (2002) FLAC (tracks+.cue), lossless

Ethel Waters recorded steadily between 1921-1940. By the early '40s she was so involved in acting that she was largely off records for several years. The titles included on 1946-1947 are, with the exception of a set from the late '50s, and a couple of religious-oriented albums in the '60s, Waters' last recordings. At the age of 50, Waters' voice was still in prime form as she shows on these three sessions. She is featured in a septet with trumpeter George Treadwell, guitarist Mary Osborne, and her longtime pianist Reginald Beane. In addition, there are two songs with Herman Chittison, and a dozen in which she is just accompanied by Beane. Among the many highlights are "Cabin in the Sky," "Am I Blue," "Careless Love," "Happiness Is a Thing Called Joe," "It's Only a Paper Moon," and "St. Louis Blues." Not everything works, since the version of "Taking a Chance on Love" here is a bit erratic, and "Suppertime" is not too subtle, but overall this is a very rewarding set of the last known recordings of Ethel Waters during her most significant years. Scott Yanow
Tracklist:
1 Taking a Chance on Love 2:59
Vernon Duke / John Latouche
2 Dinah 2:47 
Harry Akst / Sam M. Lewis / Joe Young
3 Man Wanted 3:06 
Leonard Feather
4 You Took My Man  2:49
Leonard Feather
5 Honey in a Hurry 2:56
Leonard Feather
6 Cabin in the Sky 3:00
Vernon Duke / John Latouche
7 Am I Blue 2:49
Harry Akst / Grant Clarke
8 I Shoulda Quit When I Was Ahead 2:46
Leonard Feather
9 Careless Love  3:06
W.C. Handy / Martha E. Koenig / Spencer Williams
10 Blues in My Heart 3:11
Benny Carter / Irving Mills
11 Happiness Is a Thing Called Joe 3:11
Harold Arlen / E.Y. "Yip" Harburg
12 A Hundred Years from Today 3:00
Ned Washington / Joseph Young
13 Throw the Dirt 2:23
14 Summertime 3:05
George Gershwin / Ira Gershwin / DuBose Heyward
15 Supper Time 3:14
Irving Berlin
16 Little Black Boy 3:17
Unknown Blues Band
17 It Is Only a Paper Moon  2:15
E.Y. "Yip" Harburg
18 Can't Help Lovin' That Man 2:31
Oscar Hammerstein II / Jerome Kern
19  St. Louis Blues 2:21 
W.C. Handy
20  Travelin'   2:55
Unknown Blues Band
21 Sometimes I Feel Like a Motherless Child 3:13
Unknown Blues Band / Traditional
22 The Crucificxion 3:09
Unknown Blues Band
Credits:
Everett Barksdale – Guitar
Reginald Beane – Piano, Vocals
Herman Chittison – Piano, Vocals
Dicky Harris – Trombone
J.C. Heard – Drums
Al McKibbon  – Bass
Mary Osborne  –  Guitar
Ray Perry – Sax (Alto), Violin
Carlton Powell  – Bass
George Treadwell  – Trumpet, Vocals
Ethel Waters – Vocals

EDDIE 'LOCKJAW' DAVIS WITH PAUL GONSALVES - Love Calls (1967) lp | 24bits-96hz | FLAC (tracks), lossless

Paul Gonsalves (ts) matches fours and spirit with Davis. Ron Wynn
Side A
A1    Love Is Here To Stay
A2    When Sunny Gets Blue
A3    If I Ruled The World
A4    Time After Time
A5    Just Friends
A6    Don't Blame Me
Side B
B1    I Should Care
B2    The Man With The Horn
B3    We'll Be Together Again
B4    A Weaver Of Dreams
B5    If I Should Lose You
Credits:
Double Bass – Ben Tucker
Drums – Grady Tate
Guitar – Everett Barksdale
Piano – Roland Hanna
Tenor Saxophone – Eddie "Lockjaw" Davis, Paul Gonsalves

ALTHEA GIBSON - Althea Gibson Sings (1959) lp / MONO / Mp3

Althea Gibson blazed a new trail in tennis, winning some of the sport’s biggest titles in the 1950s; later in her life, she broke racial barriers in professional golf as well. But in addition to a tennis champion and a source of inspiration, she was also a talented singer with a rich voice, who tried to jumpstart her career in 1958 with the album ALTHEA GIBSON SINGS and two television appearances on Ed Sullivan’s show. It wasn’t enough though, and she didn’t go any further in the world of music.
Still, listening to her voice today, there is a distinctly tasteful sort of beat and phrasing that characterizes her singing style above everything else. The content of her songs is varied —sophisticated and torchy in Don’t Say No, full of pathos and tears in A Cottage For Sale, inspirational in So Much to Live For. But each number is sung with winning sincerity, and an impeccable sense of timing. by Jordi Pujol
Tracklist:
A1. Don’t Say No 2:26
(James Kennedy)
A2. Around the World 2:07
(Young-Adamson)
A3. I Don’t Stand a Ghost of a Chance 2:04
(Young-Crosby-Washington)
A4. Because of You 1:45
(Wilkinson-Hammerstein)
A5. A Cottage For Sale 2:38
(Robison-Conley)
A6. I Can’t Give You Anything But Love 2:06
(McHugh-Fields)
B1. Dream a Little Dream of Me 2:08
(Kahn-Schwandt-Andree)
B2. You’re My Everything 2:28
(Warren-Dixon-Young)
B3. If  2:05
(Hargreaves-Damerell-Evans)
B4. September Song 2:04
(Weill-Anderson)
B5. Once in a While 2:16
(Green-Edwards)
B6. So Much to Live For 2:40
 (James Kennedy)
Credits:
Althea Gibson, vocals with The Doles Dickens Quartet
Doles Dickens, bass; Bert Keyes, piano; Everett Barksdale, guitar; Samuel “Sticks” Evans, drums.
Recorded in New York City, 1959