HOWARD McGHEE – 1948 | The Classics Chronological Series – 1058 (1999) FLAC (tracks+.cue), lossless

This excellent album of vintage bop opens with seven tracks recorded in Chicago during February 1948, using members of the band that Howard McGhee was leading at Chicago's Argyle Lounge at the time. Milt Jackson and Percy Heath are heard on the first three tunes, along with an unnamed baritone saxophonist. For the second session McGhee used an entirely different band, with a tenor player who is believed to have been Kenny Mann and a rhythm section of Hank Jones, Ray Brown, and the great J.C. Heard. Billy Eckstine, who by this time had dissolved his own band and was busily pulling in an unprecedented amount of cash by making vocal pop records for MGM, blows his valve trombone alongside McGhee on this date. No vocalist is mentioned in the enclosed discography, even though someone scats up a storm from time to time. Whoever it was, he didn't sound like Eckstine. McGhee's next recording dates as a leader took place in Paris, where 13 sides were cut for the Vogue and Blue Star labels on May 15th and 18th. This band really cooked, with Jimmy Heath and Jesse Powell joining the trumpeter's front line and a rhythm section of Vernon Biddle, Percy Heath, and Specs Wright. The upbeat numbers are exceptionally well-crafted studies in modern jazz. "Denise" and "Etoile," slow and reflective, sound like the poetically charged "Portrait" studies that young Charles Mingus was already beginning to formulate on his own. The closing selections, recorded for Blue Note in New York on October 11, 1948, pair McGhee with Fats Navarro alongside alto saxophonist Ernie Henry and Milt Jackson playing both vibes and piano. Curly Russell and Kenny Clarke round off this amazing six-piece Howard McGhee Boptet. arwulf arwulf          Tracklist + Credits :

DEXTER GORDON – 1947-1952 | The Chronogical Classics – 1295 (2003) FLAC (tracks+.cue), lossless

A Classics collection of tenor saxophonist Dexter Gordon, 1947-1952 features some of the mellow jazzman's most identifiable recordings from that period. Beginning with an extended version of "The Duel," the disc also includes Gordon's epic tenor battle with Wardell Gray on "The Chase." Matt Collar
Tracklist :

ILLINOIS JACQUET – 1946-1947 | The Chronogical Classics – 1019 (1998) FLAC (tracks+.cue), lossless

Unlike so many previous reissues, this portion of the Illinois Jacquet chronology places these historical sessions side by side rather than sorting them out by label. Bringing together the last of Jacquet's Aladdin and Apollo recordings in this way is illuminating, informative, and entertaining. Jacquet's Apollo All Stars octet that recorded in August 1946 had a fine front line in trumpeter Joe Newman, trombonist Trummy Young, and alto saxophonist Ray "King" Perry alongside Jacquet's powerful tenor, supported by John Simmons, Freddie Green, Bill Doggett, and the amazing Denzil Best. "Jumpin' at Apollo" and "12 Minutes to Go" are the obligatory cookers, tempered with the walking "Jacquet Bounce" and "She's Funny That Way," a cool addition to Jacquet's marvelous catalog of ballads. As part of a heat wave of postwar tenor saxophony, Illinois blazed his own trail through stylistic terrain also traversed by Wardell Gray and Lucky Thompson. Like everything heard on this disc, Jacquet's 16-piece Aladdin big-band session from January 1947 reflects the Count Basie experience in high relief. While the trumpet section -- fortified with Joe Newman, Fats Navarro, and Miles Davis -- makes this a formidable listening experience, the star of the upbeat numbers -- and, in a way, of every session for the remainder of this collection -- is master percussionist Shadow Wilson, who thunders and shakes on "Big Dog" and "Jivin' with Jack the Bellboy," a reference to an extroverted drum feature recorded in 1940 by Lionel Hampton. Anyone who is lucky enough to possess the original 78-rpm Aladdin recording of "Blow, Illinois, Blow" can testify to the excitement of hearing a tenor saxophone wailing in front of a nine-piece band, coming up through the surface noise of a rapidly rotating platter. Digitally cleansed, this track sounds stunningly immediate as the ensemble seems to surround the listener and gradually close in. "Illinois Blows the Blues" knocks the band down to tenor and rhythm for one of Jacquet's definitive statements on record, feeling at times almost like a duet with Sir Charles Thompson. Back with Apollo for the last time in May of 1947, Jacquet retained certain key players from his previous couple of dates. Mention must be made of Leo Parker's exceptionally fine baritone sax outbursts. Jacquet regularly engages in his signature high-pitched wailing, a sound that some critics disparage but most open-minded listeners will enjoy as a necessary optional response to everyday life in the 20th century. Sir Charles, who plays on all of the dates from April 1, 1947, onward, exerted a marvelous influence upon Mr. Jacquet. Exhibit A would be Thompson's "Robbin's Nest" -- the version heard here is an easygoing delight. "Jumpin' at the Woodside," on the other hand, is almost frightening in its intensity, largely on account of Parker's snarling baritone. As the saga of Illinois Jacquet enters into the autumn of 1947, J.J. Johnson fans will want to listen for the trombone during the final eight tracks on this exceptionally satisfying album of early modern jazz. arwulf arwulf         Tracklist :

KENNY CLARKE – 1946-1948 | The Chronogical Classics – 1171 (2001) FLAC (tracks), lossless

Although issued on the Swing label -- a French enterprise -- the four selections that open this exciting collection are full-force American bebop, recorded in New York during September of 1946. With Fats Navarro, Kenny Dorham, Sonny Stitt, and Bud Powell in the band, the energy is so powerful that sensitive listeners may experience gooseflesh. "Epistrophy" sounds profoundly modern, far ahead of nearly anything else on the scene in 1946. "52nd Street Theme" is a brave essay in a new form. The trumpets dance circles around each other and the whole session comes off like the grand achievement that it surely was. Although this is considered Vol. 1 of the Kenny Clarke chronology, his discography really begins with pianist and bandleader Edgar Hayes. Clarke's excellent drumming and his work as a skilled vibraphonist are well documented on both Edgar Hayes volumes in the Chronological series (Classics 730 and 1053). In March of 1938 Kenny Clarke's "Kvintet," with Hayes at the piano and Clarke playing vibes, made four records in Stockholm, only one of which -- the instrumental -- was memorable. Almost exactly ten years later Clarke was entrusted with the task of touring Scandinavia with a group composed of players from the Dizzy Gillespie big band. Financial hassles curtailed their plans and they landed instead in Paris, where most of the material on this CD was recorded. The session recorded March 2, 1948, is notable for the presence of trumpeter Benny Bailey and baritone saxophonist Cecil Payne. It also provides an audible glimpse of sadly under-recorded alto saxophonist Joe Brown, an early follower of Charlie Parker. Note also the presence of pianist Ralph Schecroun, who would eventually change his name to Errol Parker and move to the U.S., developing a ferocious, almost chiropractic technique as he forged his own unique style of ultra-percussive modern piano. As Kenny Clarke continued to sow bop ideology among Parisians during the spring of 1948, it is fascinating how quickly and adroitly these young Frenchmen took it up without resorting to base mimicry. The most musically advanced material emerged during the session recorded on May 4, with violinist Andre Hodeir providing a wistful intro for Clarke's intriguing opus "Algerian Cynicism." The title refers to the enigma of French colonialism in North Africa, and reflects a political awareness every bit as progressive as the music itself. The material recorded on the following day is permeated with a Coleman Hawkins flavor, echoing that saxophonist's healthy response to the latest developments in jazz. "Working Eyes" sounds a little like "Raincheck" or any one of Billy Strayhorn's upbeat modern ideas. This outstanding collection of recordings -- rarely heard outside of Europe for many years -- reaffirms Kenny "Klook" Clarke's crucial role as a primal innovator in early modern jazz. arwulf arwulf
Tracklist + Credits :

BILLY ECKSTINE AND HIS ORCHESTRA – 1944-1945 | The Chronogical Classics – 914 (1996) FLAC (tracks+.cue), lossless

One of the most glaring gaps in the jazz reissue boom is a thorough chronicle of Billy Eckstine's bop era work with both Earl Hines' group and his own innovative outfits. A veritable workshop for the era's teaming bop talent, Eckstine's big bands captured Charlie Parker's and Dizzy Gillespie's advances in a swing framework, which provided a challenging yet ultimately perfect setting for the singer's luxurious baritone. So, considering what's to be missed, listeners shouldn't hesitate in checking out this Classics collection of Eckstine's 1944-1945 sides, especially since Savoy's chronicle of the same material is in dire need of an audio upgrade. Effortlessly ranging between ballads, blues, and swingers, Eckstine delivers both hit covers ("Prisoner of Love," "Cottage for Sale") and indelible originals ("I Want to Talk About You," "Blowin' the Blues Away"). And with the likes of Fats Navarro, Dexter Gordon, Sonny Stitt, and Art Blakey on hand -- not to mention Tadd Dameron and Budd Johnson handling the charts and a young Sarah Vaughan contributing vocals -- the high standards are maintained throughout. A perfect companion collection to both Classics' followup disc of 1946-1947 tracks and Xanadu's roundup of Eckstine sides form the first half of the '40s. Stephen Cook  
Tracklist + Credits : 

BILLY ECKSTINE AND HIS ORCHESTRA – 1946-1947 | The Chronogical Classics – 1022 (1998) FLAC (tracks+.cue), lossless

Following up their excellent set of Billy Eckstine's 1944-1945 sides, Classics' has now brought together more of the bandleader's prime bebop-era material on this disc of 1946-1947 material. Once again, Eckstine is backed by some of the day's top players, namely Miles Davis, Fats Navarro, Kenny Dorham, Sonny Stitt, Gene Ammons, and Art Blakey. The highlights abound, including an update of Eckstine's early-'40s hit with the Earl Hines band, "The Jitney Man"; excellent readings of "Without a Song" and "In the Still of the Night"; and a riveting go at Dizzy Gillespie's bop classic, "Oo Bop Sh'bam." Presaging his subsequent fame as a grand ballad singer, the collection also features early orchestra cuts like "My Silent Love" and "All the Things You Are," all featuring the singer's lush baritone against some slightly cloying string charts. Finally, the show ends in intimate fashion, as Eckstine takes up the trombone -- don't worry, he sings too -- in a small combo featuring tenor saxophonist Wardell Gray. A pure delight. Stephen Cook  
Tracklist + Credits :

TADD DAMERON – 1947-1949 | The Classics Chronological Series – 1106 (2000) FLAC (tracks+.cue), lossless

Although Tadd Dameron was a talented pianist, he never considered piano playing his strong point -- the bebopper was best known for his writing and arranging, and when he recorded as a leader (which wasn't all that often), Dameron was quite happy to let his sidemen take most of the solos. Dameron can hardly be accused of hogging the solo space on 1947-1949, a collection of small-group and big-band sides he recorded as a leader for Blue Note and Savoy, among others, from August 1947-April 1949. The material, most of it superb, falls into two main categories: hard-swinging bop instrumentals and romantic ballads featuring vocalists. On the instrumentals (which include "Our Delight," "Dameronia," "The Squirrel," "Lady Bird," and other Dameron originals), he features some of early bop's heavy-hitting soloists, including trumpeter Fats Navarro (a major influence on Clifford Brown), tenor saxman Wardell Gray, and alto saxman Ernie Henry (who, like Sonny Stitt, was a Charlie Parker disciple but not a clone). And Dameron's romantic side takes over when he features Kay Penton (a delightful though underexposed vocalist) on several ballads (including "What's New" and "Gone With the Wind") and employs the Billy Eckstine-influenced Kenny Hagood on "I Think I'll Go Away." Meanwhile, singer Rae Pearl (who later went by Rae Harrison) provides a wordless vocal on Dameron's dreamy "Casbah." Boasting some of Dameron's most essential work, this French release is recommended without hesitation to lovers of early bop. Alex Henderson  
Tracklist + Credits :

BUD POWELL – 1945-1947 | The Classics Chronological Series – 1003 (1998) FLAC (tracks+.cue), lossless

An excellent companion to Classics' 1949-1950 Bud Powell title, this roundup of the bop pianist's early post-war sides gets top overview honors for its better balanced share of combo and trio sides. The first half is mostly taken up by an incredible 1946 session featuring Fats Navarro, Sonny Stitt, Kenny Dorham, and Kenny Clarke, with highlights including the Navarro originals "Webb City," "Fat Boy," and "Everything's Cool." For Powell fanatics, though, the eight trio sides will be the real attraction. Backed by first-tier boppers Max Roach and Curly Russell, Powell is at his fleet and innovative best on a mix of his own work ("Bud's Bubble"), some Monk ("Off Minor"), and a handful of choice covers ("I'll Remember April," "I Should Care"). A taste of possibly the most irrepressible and sophisticated bop on wax. Stephen Cook  
Tracklist + Credits :

BUD POWELL – 1949-1950 | The Classics Chronological Series – 1170 (2001) FLAC (tracks), lossless

Roundups on either Verve or Blue Note offer the best entrée for Bud Powell neophytes -- and let's not forget the four-disc set on Proper -- but this Classics offering of the bop pianist's 1949-1950 sides certainly should not to be overlooked. Most of the 21 tracks feature Powell in a trio setting, with a handful of cuts given over to a top-notch combo date fronted by trumpeter Fats Navarro and a young Sonny Rollins. This latter material includes some of the finest playing of the bop era, as all the soloists find choice spots on the three Powell originals ("Bouncing With Bud," "Dance of the Infidels," "Wail") and the early Monk side "52nd Street Theme." The trio sides, though, offer the real highlights here. Backed on various sessions by the likes of Max Roach, Roy Haynes, Buddy Rich, Roy Brown, and Curly Russell, Powell is in his innovative prime on several self-penned gems ("Tempus Fugit," "Celia") and a round of finely gauged standards ("Yesterdays," "Get Happy"). A disc worthy of the competition. Stephen Cook  
Tracklist :

BENNY GOODMAN AND HIS ORCHESTRA – 1947-1948 | The Classics Chronological Series – 1418 (2006) FLAC (tracks), lossless

The magnitude of Benny Goodman's recorded legacy becomes apparent when one reflects upon the fact that this is Volume 32 in the Classics reissue label's comprehensive chronology of his complete works. Aware that the second AFM recording ban would soon paralyze commercial studio activity in the U.S., Goodman waxed quite a number of sides during December 1947 with his sextet, septet and orchestra. Three individuals who really shone during this period were vibraphonist Red Norvo, vocalist Peggy Lee, who had swiftly matured into a sultry, expressive interpreter of romantic songs, and trumpeter Jake "Vernon" Porter who added an extra dimension to Goodman's ensembles by growling through a mute like Herman Autrey or Cootie Williams. The sextet sessions of December 9 and 11 resulted in several superb instrumentals including the old Dixieland standard "That's a Plenty," Rodgers & Hart's "You Took Advantage of Me" and Fats Waller's "Henderson Stomp," here arranged by Fletcher Henderson himself. Henderson's big-band arrangement of Kid Ory's "Muskrat Ramble" yielded spectacular results; how frustrating it must have been for Goodman to know that within days he would be officially prevented from continuing this wonderful spell of creative production. Capitol chose not to issue "The Record Ban Blues," part of a subgenre of protest songs devised and recorded by artists who were disgruntled with the policies of AFM president James C. Petrillo. Goodman wasn't able to record in a studio under his own name again until August 20, 1948, when he cut a series of government-sponsored V-Discs with a stunningly cool and modern ensemble that included tenor saxophonist Wardell Gray and pianist, arranger and composer Mary Lou Williams. Four out of six sides were rejected; only "Benny's Bop" and "There's a Small Hotel" were deemed suitable for circulation among armed forces personnel. Anybody who loves Wardell Gray should be sure and latch on to the beautiful recordings that he made during the summer of 1948 with the Benny Goodman Sextet. arwulf arwulf

Tracklist :

BENNY GOODMAN AND HIS ORCHESTRA – 1948-1949 | The Classics Chronological Series – 1425 (2006) FLAC (tracks), lossless

 For a man who collaborated with Béla Bartók, the making of modern-sounding bop records in the company of Fats Navarro, Wardell Gray, and Chico O'Farrill was a perfectly logical experiment in form and style. Decades later, however, biased critics and die-hard swing fans were still griping about "Goodman's bop band." With the 2006 release of this volume in the extended Classics Benny Goodman chronology, listeners are able to place those "controversial" recordings in their proper historical context, right alongside Buddy Greco's sweet-to-stupid crooning and various gee-whiz novelty group vocals by a wholesome team identified only as "The Singers." Their slicked back treatment of the pop tune "The Hucklebuck" is highly ironic when encountered amidst various exciting bop tunes, for "Hucklebuck" was the notorious exercise in plagiarism based upon Charlie Parker's "Now's the Time." Parker never received royalties for this very lucrative hit. The real gold in this part of the Goodman retrospective may be found in the tenor saxophone of Wardell Gray (Navarro only appears on the first track) and those exciting Chico O'Farrill arrangements with Latin percussion erupting throughout "Shishkabop." Enclosed is a photo of Gray blowing his horn as Goodman beams in the background, obviously delighted with the younger man's creative approach to the music. arwulf arwulf
Tracklist :

ANDY KIRK AND HIS ORCHESTRA – 1943-1949 | The Classics Chronological Series – 1075 (1999) FLAC (tracks+.cue), lossless

This compilation presents selections from the last several recording sessions (mostly for Decca) of bandleader Andy Kirk. 1943-1949 opens with three late 1943 songs from Andy Kirk and His Clouds of Joy, which included trumpeters Fats Navarro and Howard McGhee, tenor saxophonist Jimmy Forrest, and vocalist June Richmond. Next comes "Hippy-Dippy," one of the few surviving songs from the only visit Kirk's band made to the studios in 1944. This number is followed by two very popular sellers, "Get Together With the Lord" and "I Know," representing the 1945 period of Andy Kirk and His Orchestra (this time including Eddie "Lockjaw" Davis) and featuring vocals by the Jubalaires, who return to sing on the 1946 recordings of "I Don't Know What I'd Do Without You" and "I'm So Lonesome I Could Cry." Other vocalists heard on 1943-1949 include Bea Booze, the Four Knights, Joe Williams, and Kenny White. Joslyn Layne
Tracklist :
1    Andy Kirk And His Clouds Of Joy–    Shorty Boo 2:59
Vocals – Unknown Artist
Written-By – Unknown Artist
2    Andy Kirk And His Clouds Of Joy–    Fare Thee Honey Fare Thee Well 2:59
Vocals – June Richmond
Written-By – Alston
3    Andy Kirk And His Clouds Of Joy–    Baby Don't You Tell Me No Lie 3:08
Vocals – June Richmond
Written By – Coleman
4    Andy Kirk And His Orchestra–    Hippy-Dippy 2:32
Written-By – Unknown Artist
5    Andy Kirk And His Orchestra And The Jubalaires–    Get Together With The Lord 2:49
Vocals – The Jubalaires
Written-By – Reichner, Jaffe
6    Andy Kirk And His Orchestra And The Jubalaires–    I Know 3:17
Vocals – The Jubalaires
Written-By – Jennings, Brooks
7    Andy Kirk And His Orchestra–    He's My Baby 3:21
Vocals – Beverley White
Written-By – Kirk, White
8    Andy Kirk And His Orchestra–    Alabama Bound 2:56
Vocals – Bea Booze
Written-By – Williams, Jackson
9    Andy Kirk And His Orchestra–    Soothe Me 2:55
Vocals – Billy Daniels
Written-By – Greene
10    Andy Kirk And His Orchestra–    Doggin' Man Blues 3:04
Vocals – Bea Booze
Written-By – Moore, Jordan
11    Andy Kirk And His Orchestra–    I Don't Know What I'd Do Without You 2:59
Vocals – The Jubalaires
Written-By – Kuhn
12    Andy Kirk And His Orchestra–    I'm So Lonesome I Could Cry 3:00
Vocals – The Jubalaires
Written-By – Kuhn
13    Andy Kirk And His Orchestra–    Now You Tell Me 2:54
Vocals – Joe Williams
Written-By – Roberts, Fisher
14    Andy Kirk And His Orchestra–    Louella 3:05
Vocals – Joe Williams
Written-By – Stone, Marks
15    Andy Kirk And His Orchestra–    So Soon 3:10
Vocals – The Four Knights
Written-By – Razaf, Luce
16    Andy Kirk And His Orchestra–    I'm Falling For You 3:04
Vocals – The Four Knights
Written-By – Williams, Hubert
17    Andy Kirk And His Clouds Of Joy–    Little Girl, Don't Cry 2:35
Orchestra – Unknown Artist
Vocals – Jimmy Anderson
Written-By – Davis, Millinder
18    Andy Kirk And His Clouds Of Joy–    Drinking Wine, Spo-Dee-O-Dee, Drinking Wine 3:07
Orchestra – Unknown Artist
Vocals – Kenny White
Written-By – Williams, McGhee
Credits :    
Alto Saxophone – Ben Smith (tracks: 1 to 4), Joe Evans (tracks: 5 to 16), Reuben Phillips (tracks: 1 to 16)
Baritone Saxophone – Ed Loving (tracks: 1 to 4), John Porter (tracks: 7 to 16), John Taylor  (tracks: 5 , 6)
Bass – Al Hall (tracks: 7 to 16), Booker Collins (tracks: 1 to 3), Lavern Baker (tracks: 4 to 6)
Directed By – Andy Kirk
Drums – Ben Thigpen (tracks: 1 to 16)
Guitar – Floyd Smith (tracks: 5 to 16)
Piano – Hank Jones (tracks: 5 to 16), Johnny Young (tracks: 1 to 4)
Tenor Saxophone – Eddie "Lockjaw" Davis (tracks: 5 to 16), J.D. King (tracks: 1 to 4), Jimmy Forrest (tracks: 1 to 16), John Harrington (tracks: 1 to 4)
Trombone – Bob Murray (tracks: 1 to 16), Henry Wells (tracks: 7 to 16), Milton Robinson (tracks: 5 to 16), Joe Baird (tracks: 1 to 4), Wayman Richardson (tracks: 1 to 16)
Trumpet – Art Capehart (tracks: 1 to 4), Clarence Trice (tracks: 13 to 16), Claude Dunson (tracks: 5 to 12), Fats Navarro (tracks: 1 to 4, 7 to 10), Fip Ricard (tracks: 13 to 16), Harry Lawson (tracks: 1 to 12), Howard McGhee (tracks: 1 to 3), John Lynch (tracks: 5 to 16), Talib Daawood (tracks: 5, 6), Unknown Artist (tracks: 4, 11 to 16)

FATS NAVARRO – 1947-1949 | The Classics Chronological Series – 1108 (2000) FLAC (tracks+.cue), lossless

Trumpeter Fats Navarro's reign in jazz was short lived. He died in 1950 at a young age due to living the Charlie Parker lifestyle. In the short period that he made records as a leader in the late '40s, it was obvious had he not burned out, he was on his way to legendary status. Along with Dizzy Gillespie, Navarro was the premiere bebop trumpet innovator, influencing Clifford Brown and everyone who followed him. These recordings captured on Classics #1108 from 1947-1949 highlight Navarro (or Fat Girl as he was often referred) at his height. Navarro leads combos on these sessions (some live) that include Tadd Dameron, Charlie Ventura, Charlie Rouse, Buddy Rich, and Art Blakey. Navarro is also heard on four cuts backing up vocalist Earl Coleman and his all-stars with drummer Max Roach. Al Campbell
Tracklist :
1     Fat Girl 2:21
Fats Navarro
2    Ice Freezes Red 2:41
Tadd Dameron / Fats Navarro
3     Eb-Pob 2:24
Fats Navarro / Leo Parker
4     Goin' to Minton's 2:52
Fats Navarro
5     Sweet Georgia Brown, Pt. 1 2:33
Ben Bernie / Kenneth Casey / Maceo Pinkard
6     Sweet Georgia Brown, Pt. 2 2:21
Ben Bernie / Kenneth Casey / Maceo Pinkard
7     Sweet Georgia Brown, Pt. 3 2:45
Ben Bernie / Kenneth Casey / Maceo Pinkard
8     High on an Open Mike, Pt. 1 2:59
Dennis Sandole / Charlie Ventura
9     High on an Open Mike, Pt. 2 2:56
Dennis Sandole / Charlie Ventura
10     High on an Open Mike, Pt. 3 2:24
Dennis Sandole / Charlie Ventura
11     Nostalgia 2:45
Fats Navarro
12     Barry's Bop 2:40
Fats Navarro
13     Be-Bop Romp 2:37
Fats Navarro
14     Fats Blows 2:51
Fats Navarro
15     Guilty 3:04
Harry Akst / Gus Kahn / Richard A. Whiting
16     Yardbird Suite 2:34
Charlie Parker
17     Stranger in Town 3:04
Johnny Hawksworth
18     As Time Goes By 3:07
Herman Hupfeld
19     Move 2:36
Denzil Best
20     Wailing Wall 3:56
Fats Navarro
21     Go 3:28
Don Lanphere
22     Infatuation 3:38
Fats Navarro
23     STP 4:03

LENNIE TRISTANO - Requiem (1996) FLAC (tracks+.cue), lossless

Towards the end of the 20th century, the Giants of Jazz reissue label came out with a series of compilations that paid tribute to the amazingly creative musical mind of Lennie Tristano. Requiem offers 13 tracks recorded in New York City between the years 1949 and 1955, beginning with a pair of piano solos (the gnarly overdubbed "Turkish Mambo" and the beautiful reflective blues "Requiem") along with two studies for trio involving bassist Peter Ind and drummer Jeff Morton. "East Thirty-Second" was named for the address of Tristano's home recording studio, where these first four titles were taped in 1954 and 1955. Tracks five through nine and track 11 were distilled from the first and fourth of a five-set marathon recording session that took place live in the Sing Song Room of the Confucius Restaurant on June 11, 1955 with saxophonist Lee Konitz, drummer Art Taylor and bassist Gene Ramey, whose eventful career traces a trajectory from Lester Young through Charlie Parker to Lennie Tristano. Originally released on the Atlantic label, these wonderfully cohesive and consistently inspired performances still convey the intimate immediacy of relaxed collective improvisation. "Sax of a Kind" was extracted from the Capitol recording session of May 16, 1949, with Lee Konitz and Warne Marsh in front of Tristano, guitarist Billy Bauer, bassist Arnold Fishkin and drummer Denzil Best. For dessert the producers tacked on the short takes from the famous RCA Metronome All Stars date of January 3, 1949, stoked by a formidable 13-piece ensemble with a front line made up of Charlie Parker, Dizzy Gillespie, Fats Navarro, Miles Davis, Charlie Ventura, J.J. Johnson, Buddy DeFranco and Ernie Caceres. Legend has it that Bird deliberately feigned befuddlement at Pete Rugolo's arrangement in order to stall for time and draw a few unionized "Overtime" dollars for himself and his 12 session mates. Tristano's "Victory Ball" helped to establish a modern tradition that was still bearing fruit when Anthony Braxton included it on his hatART album Eight (+3) Tristano Compositions 1989 for Warne Marsh. arwulf arwulf  
Tracklist :
1     East Thirty-Second 4:31
Lennie Tristano
2     Turkish Mambo 3:29
Lennie Tristano
3     Requiem 4:51
Lennie Tristano
4     Line Up 3:31
Lennie Tristano
5     These Foolish Things 5:43
Harry Link / Holt Marvell / Jack Strachey
6     All the Things You Are 6:10
Oscar Hammerstein II / Jerome Kern
7     You Go to My Head 5:22
J. Fred Coots / Haven Gillespie
8     I Don't Stand a Ghost of a Chance with You 6:03
Bing Crosby / Ned Washington / Victor Young
9     If I Had You 6:26
Jimmy Campbell / Reginald Connelly / Ted Shapiro
10     Sax of a Kind 5:11
Lennie Tristano
11     Confucius Blues 6:38
Lennie Tristano
12     Overtime 3:07
Pete Rugolo
13     Victory Ball 2:40
Lennie Tristano
Credits :
Alto Saxophone – Charlie Parker (tracks: 12, 13), Lee Konitz (tracks: 5 to 11)
Baritone Saxophone – Ernie Caceres (tracks: 12, 13)
Bass – Eddie Safranski (tracks: 12, 13), Gene Ramey (tracks: 5 to 9, 11), Joe Shulman (tracks: 10), Peter Ind (tracks: 1, 4)
Clarinet – Buddy De Franco (tracks: 12, 13)
Drums – Arthur Taylor (tracks: 5 to 9, 11), Jeff Morton (tracks: 1, 4, 10), Shelly Manne (tracks: 12, 13), Unknown Artist (tracks: 2)
Guitar – Billy Bauer (tracks: 10, 12, 13)
Orchestra – Metronome All Stars (tracks: 12, 13)
Piano – Lennie Tristano
Tenor Saxophone – Charlie Ventura (tracks: 12, 13), Warne Marsh (tracks: 10)
Trombone – J.J. Johnson (tracks: 12, 13), Kai Winding (tracks: 12, 13)
Trumpet – Dizzy Gillespie (tracks: 12, 13), Fats Navarro (tracks: 12, 13), Miles Davis (tracks: 12, 13)

COLEMAN HAWKINS - 1946-1947 | The Classics Chronological Series – 984 (1998) FLAC (tracks+.cue), lossless

Classics continues its excavation of Coleman Hawkins' career with this mid-'40s slice of "Bean" during the burgeoning bebop revolution. In fact, Hawkins made some of his best sides with a few of those beboppers, including "Cocktails for Two" and his own "Bean and the Boys"; the likes of J.J. Johnson, Fats Navarro, Max Roach, and Hank Jones are heard on these and two other sides here, with plenty more bop-centric dates on other roundups still to be had. Not really a good sampler or primer, 1946-1947 will make Hawkins' completists happy all the same. Stephen Cook
Tracklist :
1     Say It Isn't So 2:59
Irving Berlin
2     Spotlite 3:05
Coleman Hawkins
3     Low Flame 3:06
Leonard Feather    
4     Allen's Alley 3:02     
Denzil Best    
5     Indiana Winter 2:27
Leonard Feather    
6     Indian Summer 3:10
Al Dubin / Victor Herbert    
7     Blow Me Down 2:52
Coleman Hawkins    
8     Buckin' the Blues 2:57
Leonard Feather    
9     Dixieland Stomp 2:33
feat: Chubby Jackson         
10     I Mean You 2:58     
Coleman Hawkins / Thelonious Monk
11     Bean and the Boys 2:40
Coleman Hawkins    
12     You Go to My Head 2:56
J. Fred Coots / Haven Gillespie    
13     Cocktails for Two 3:00
Sam Coslow / Arthur Johnston    
14     The Old Songs 2:58
15     You Said Good-Bye 3:05     
16     Bean-A-Re-Bop 2:29
Coleman Hawkins / Hank Jones
17     Isn't It Romantic? 2:59
Lorenz Hart / Richard Rodgers    
18     The Way You Look Tonight 2:43
Dorothy Fields / Jerome Kern    
19     Phantomesque 2:54
Coleman Hawkins    
20     How Did She Look? 3:00
Gladys Shelley / Abner Silver    
21     Under a Blanket of Blue 2:58
Jerry Livingston / Al J. Neiburg / Marty Symes    
22     Never in a Million Years 3:00
Mack Gordon / Harry Revel    
23     You Were Meant for Me 2:49
Nacio Herb Brown / Arthur Freed

COLEMAN HAWKINS - 1947-1950 | The Classics Chronological Series – 1162 (2001) FLAC (tracks+.cue), lossless

Classics brings you another fine round of Hawkins' swing and bebop sides. This time out, the focus is on the last years of the '40s and Hawkins' work with bebop stars like J.J. Johnson, Fats Navarro, Max Roach, and Hank Jones. In addition to the legendary "Picasso" and an amazing "April in Paris," Hawkins is also heard on several fine sides ("It's Only a Paper Moon," "Sophisticated Lady") from a 1949 Paris date with bassist Pierre Michelot and drummer Kenny Clarke. A fine way to delve deeper into the extensive and varied Coleman Hawkins catalog. Stephen Cook
Tracklist :
1 Coleman Hawkins And His All Stars–    April In Paris    3:07
Vernon Duke / E.Y. "Yip" Harburg
2 Coleman Hawkins And His All Stars–    How Strange    3:03
Coleman Hawkins
3 Coleman Hawkins And His All Stars–    Half Step Down Please    3:01
Tadd Dameron / Coleman Hawkins
4 Coleman Hawkins And His All Stars–    Angel Face    3:13
Coleman Hawkins / Hank Jones
5 Coleman Hawkins And His All Stars–    Jumpin' Jane    3:08
Leonard Feather
6 Coleman Hawkins And His All Stars–    I Love You    2:50
Harry Archer / Harlan Thompson
7 Coleman Hawkins–    Picasso    3:15
Coleman Hawkins
8 Coleman Hawkins And His Orchestra–    The Big Head    3:23
Coleman Hawkins
9 Coleman Hawkins And His Orchestra–    Skippy    3:33
Coleman Hawkins
10 Coleman Hawkins And His Orchestra–    Platinum Love    3:24
Coleman Hawkins
11 Coleman Hawkins And His Orchestra–    There's A Small Hotel    3:02
Lorenz Hart / Richard Rodgers
12 Coleman Hawkins And His Orchestra–    Sih-Sah    3:11
Coleman Hawkins / James Moody
13 Coleman Hawkins And His Orchestra–    It's Only A Paper Moon    3:00
Harold Arlen / E.Y. "Yip" Harburg / Billy Rose
14 Coleman Hawkins And His Orchestra–    Bean's Talking Again    3:09
Kenny Clarke / Coleman Hawkins
15 Coleman Hawkins And His Orchestra–    Bay-U-Bah    3:18
Tadd Dameron / Coleman Hawkins
16 Coleman Hawkins And His Rhythm–    I Surrender, Dear    3:11
Harry Barris / Gordon Clifford
17 Coleman Hawkins And His Rhythm–    Sophisticated Lady    3:06
Duke Ellington / Irving Mills / Mitchell Parish
18 Coleman Hawkins With Leo Mathisen And His Orchestra–    The Man I Love    3:29
George Gershwin / Ira Gershwin
19 Coleman Hawkins With Leo Mathisen And His Orchestra–    It's The Talk Of The Town    3:53
Jerry Livingston / Al J. Neiburg / Marty Symes
20 Coleman Hawkins–    You've Got Me Crying Again    2:50
Isham Jones / Charles Newman
21 Coleman Hawkins–    Can Anyone Explain?    2:49
Bennie Benjamin / George David Weiss
22 Coleman Hawkins–    I Cross My Fingers    2:44
William Farrar / Walter Kent
23 Coleman Hawkins–    I'll Know    2:50
Frank Loesser

COLEMAN HAWKINS - April In Paris (1992) RM | FLAC (tracks), lossless

Tracklist :
1    Body And Soul 3'00
Alto Saxophone – Eustice Moore, Jackie Fields
Bass – Oscar Smith
Drums – Art Herbert
Piano – Gene Rodgers
Tenor Saxophone – Coleman Hawkins
Trumpet – Joe Guy, Tommy Lindsay
Vocals – Thelma Carpenter
Written-By – Edward Heyman, John W. Green, Robert Sour
2    When Day Is Done 3'13
Bass – Johnny Williams
Clarinet – Danny Polo
Drums – Walter Johnson
Guitar – Lawrence Lucie
Piano – Gene Rodgers
Tenor Saxophone – Coleman Hawkins
Trombone – J.C. Higginbotham
Trumpet – Benny Carter
Written-By – Buddy DeSylva, Robert Katscher
3    Bouncing With Bean 3'02
Bass – Johnny Williams
Clarinet – Danny Polo
Drums – Walter Johnson
Guitar – Lawrence Lucie
Piano – Gene Rodgers
Tenor Saxophone – Coleman Hawkins
Trombone – J.C. Higginbotham
Trumpet – Benny Carter
Written-By – Coleman Hawkins' All-Star Octet
4    April In Paris 3'00
Alto Saxophone – Budd Johnson
Baritone Saxophone – Marion DeVeta
Bass – Jack Lesberg
Drums – Max Roach
Guitar – Chuck Wayne
Piano – Hank Jones
Tenor Saxophone – Coleman Hawkins
Trombone – J.J. Johnson
Trumpet – Fats Navarro
Written-By – E.Y. Harburg, Vernon Duke
5    Angel Face 3'10
Alto Saxophone – Budd Johnson
Baritone Saxophone – Marion DeVeta
Bass – Jack Lesberg
Drums – Max Roach
Guitar – Chuck Wayne
Piano – Hank Jones
Tenor Saxophone – Coleman Hawkins
Trombone – J.J. Johnson
Trumpet – Fats Navarro
Written-By – Coleman Hawkins, Hank Jones
6    I Love You 2'48
Alto Saxophone – Budd Johnson
Baritone Saxophone – Marion DeVeta
Bass – Jack Lesberg
Drums – Max Roach
Guitar – Chuck Wayne
Piano – Hank Jones
Tenor Saxophone – Coleman Hawkins
Trombone – J.J. Johnson
Trumpet – Fats Navarro
Written-By – Harlan Thompson, Harry Archer
7    There Will Never Be Another You 2'52
Bass – Milt Hinton
Cello – Alan Schulman
Drums – Osie Johnson
Flute – Julius Baker, Sid Jekowsky
Guitar – Barry Galbraith
Oboe – Phil Bodner
Piano – Hank Jones
Tenor Saxophone – Coleman Hawkins
Trombone – Fred Ohms, Jack Satterfield, Tom Mitchell, Urbie Green
Trumpet – Jimmy Nottingham
Vibraphone – Marty Wilson
Viola – Izzy Zir
Violin – Gene Orloff, Harry Lookofsky, Leo Kruczek, Paul Gershman, Tasha Samaroff*
Written-By – Irving Berlin
8    Little Girl Blue 2'58
Bass – Milt Hinton
Cello – Alan Schulman
Drums – Osie Johnson
Flute – Julius Baker, Sid Jekowsky
Guitar – Barry Galbraith
Oboe – Phil Bodner
Piano – Hank Jones
Tenor Saxophone – Coleman Hawkins
Trombone – Fred Ohms, Jack Satterfield, Tom Mitchell, Urbie Green
Trumpet – Jimmy Nottingham
Vibraphone – Marty Wilson
Viola – Izzy Zir
Violin – Gene Orloff, Harry Lookofsky, Leo Kruczek, Paul Gershman, Tasha Samaroff
Written-By – Richard Rodgers/Lorenz Hart
9    The Bean Stalks Again 3'23
Bass – Milt Jackson
Drums – Osie Johnson
Guitar – Barry Galbraith
Piano – Hank Jones
Reeds – Al Cohn, Hal McKusick, Sam Marowitz, Sol Schlinger, Zoot Sims
Trombone – Chauncey Welsh, Fred Ohms, Jack Satterfield, Urbie Green
Trumpet – Bernie Glow, Charles Shavers, Ernie Royal, Lou Oles, Nick Travis
Vibraphone – Marty Wilson
Written-By, Tenor Saxophone – Coleman Hawkins
10    Have You Met Miss Jones? 3'00
Bells – Phil Kraus
Clarinet – Sid Jekowsky
Flute – Julius Baker
French Horn – Jimmy Buffington
Oboe – Phil Bodner
Tenor Saxophone – Coleman Hawkins
Vibraphone – Marty Wilson
Viola – Bert Fisch
Violin – Alvin Rudnitsky, Arnold Eidus, Dave Newman, Dave Sarser, Gene Orloff, Max Cahn, Max Hollander, Paul Gershman, Stan Kraft, Cy Miroff*, Tosha Samaroff
Written-By – Richard Rodgers/Lorenz Hart

EDDIE 'LOCKJAW' DAVIS - 1946-1947 {CC, 1012} (1998) FLAC (tracks+.cue), lossless

Now why do you suppose they called him '"Lockjaw"'? Just listen. Eddie Davis based much of his style on the tough extremities of Ben Webster's gritty gutbucket tenor sax. Picking up where Ben left off, Jaws would growl, shriek and rock in ways that landed him on the cusp between bebop and rhythm & blues. Over many years he developed into a mature performer who was capable of great subtleties. We are fortunate to have this opportunity to hear his earliest recordings as a leader. Some of this stuff is startling. "Surgery," a smooth, searching, walking blues, exists in the same harmonic/thematic realm as Boyd Raeburn's quirky study for big band, "Tonsillectomy." The piece called "Lockjaw" is more of a muscle tussle, and "Afternoon in a Doghouse" is a simple finger-pop bop groove. As Gene Ramey rarely took bass solos, it's good to hear him grab a few bars during "Athlete's Foot." By December of 1946 Lockjaw was ready for two full-blown Savoy bebop sessions in the company of Theodore "Fats" Navarro. This pair of characters maintained a stimulating balance as Fats blew long bop lines of exquisite ingenuity while Jaws wrestled with his own funky textural dynamics. Wildly titled, each of these three-minute records hits you hard, right between the ears. "Hollerin' and Screaming" is the most outrageous example of this band's explosive chemistry. The record starts with a hoarse shriek from the tenor sax. The melody erupts like two cans of Sterno knocking around on the hood of an overheated bright red Chevy convertible. A sudden outburst from the trumpet is repeated verbatim on the drums. Fats and Lockjaw bark back and forth, jostling each other in cycles of friendly aggression. It's like listening in on a casual exchange of good-natured insults and creative cussing, the benevolent sort of everyday rudeness that enables trust and cooperation between individuals who exist outside of the dominant social group. In April of 1947, Jaws baked four sides for the Apollo label, sharing the melodic line with guitarist John Collins and blowing an exceptionally extroverted tenor. The extreme grooviness of both the Savoy and Apollo sessions were aided and abetted by the combination of Al Haig, Gene Ramey and Denzil Best. Now for the really rare stuff -- eight sides issued on the Lenox, Plymouth and Remington labels. "Real Gone Guy," a tasty hunk of rhythm and blues, was written by Nellie Lutcher. Lockjaw puts it to the torch, and Butch Ballard's drumming fans the flames. "But Beautiful" is the earliest example we have of Lockjaw Davis the interpreter of slow ballads. He smokes the melody with long puffs, savoring every breath. "Leapin' on Lenox," to use what would have been the correct spelling, is a strut by anybody's definition. Jaws bites his tenor until it begs for mercy. The rowdy "Minton's Madhouse" includes a long sax testimonial accompanied only by handclapping. "Ravin' at the Haven" is largely composed of frantic bop lines. The saxophone howls without restraint. "Music Goes Down Around" is recognizable as a quaint Tin Pan Alley pop tune, fitted with a new set of fangs as this gang of young toughs put new meaning on an old refrain. Gripping the mouthpiece between his chops, Lockjaw squeezes extra hard "and it comes out here." arwulf arwulf  
Tracklist :
1    Surgery    2:58
2    Lockjaw    2:40
3    Afternoon In A Doghouse    3:03
4    Athlete's Foot    2:51
5    Callin' Dr. Jazz    2:47
6    Fracture    2:50
7    Hollerin And Screaming    2:38
8    Stealin' Trash    2:45
9    Just A Mystery    2:12
10    Red Pepper    3:02
11    Spinal    2:29
12    Maternity    3:00
13    Lover    2:28
14    Licks A Plenty    2:40
15    Foxy    2:49
16    Sheila    3:05
17    Real Gone Guy    3:01
18    But Beautiful    3:05
19    Leapin' On Lenox    3:10
20    Ravin' At The Haven    2:23
21    Minton's Madhouse    2:21
22    Huckle Bug    3:07
23    Music Goes Down Around    2:55
24    Lockjaw's Bounce    2:37

FATS NAVARRO - Dameronia (Jazz Archives 1947-1948) (2000) FLAC (tracks+.cue), lossless

Tragically, Fats Navarro epitomized the stereotype of the heroin-addicted bebopper who lived fast and died young. The trumpeter's potential was enormous, but like so many of his colleagues Navarro allowed heroin to rob him of what should have been a very long career. One can only speculate on the things Navarro would have accomplished had tuberculosis (a condition that his heroin addiction made him more vulnerable to) not claimed his life at the age of 26 in 1950, but we do know this much: Navarro's contributions to jazz were enormous. Navarro was Clifford Brown's primary influence, which means that his big, fat, brassy sound had a direct or indirect influence on everyone from Lee Morgan, Freddie Hubbard, and Carmell Jones, to Woody Shaw and Roy Hargrove. Focusing on Navarro's 1947 and 1948 work, this French release of 1999 boasts some of early bop's finest, most influential trumpet playing. While "Our Delight," "The Squirrel," "Dameronia," "Lady Bird," and "The Chase" are among the well known classics that find Navarro being employed as a sideman by pianist Tadd Dameron, Navarro co-leads a sextet with fellow trumpeter Howard McGhee on "Double Talk," and leads various groups of his own on exuberant gems that include "Fat Girl," "Fats Blows," "Bebop Romp," and "Barry's Bop." The sound quality is generally decent (by 78-era standards), and Navarro's virtuosity is stunning despite the toll that heroin was taking on his body. Dameronia 1947/48 is enthusiastically recommended to anyone with even a casual interest in early bebop. by Alex Henderson  
Tracklist:
1 Fat Girl 2:21
Fats Navarro
2 Ice Freezes Red 2:41
Tadd Dameron / Fats Navarro
3 Eb-Pob 2:24
Fats Navarro / Leo Parker
4 Goin' to Minton's 2:52
Fats Navarro
5 Our Delight 3:07
Tadd Dameron
6 The Squirrel 3:22
Tadd Dameron
7 The Chase 3:00
Tadd Dameron
8 Dameronia 3:15
Tadd Dameron
9 A Be-Bop Carol 3:00
Tadd Dameron
10 The Tadd Walk 2:53
Tadd Dameron
11 Nostalgia 2:44
Fats Navarro
12 Barry's Bop 2:40
13 Be-Bop Romp 2:37
14 Fats Blows 2:51
15 Lady Bird 2:53
Tadd Dameron
16 Jahbero  3:03
Tadd Dameron
17 Symphonette 3:10
Tadd Dameron
18 Double Talk 5:36
Howard McGhee / Fats Navarro
19 Fats Flat 3:00
20 Good Bait, No. 1 5:47
Tadd Dameron

HOWARD McGHEE - 1948 {CC, 1058} (1999) FLAC (tracks+.cue), lossless

This excellent album of vintage bop opens with seven tracks recorded in Chicago during February 1948, using members of the band that Howard McGhee was leading at Chicago's Argyle Lounge at the time. Milt Jackson and Percy Heath are heard on the first three tunes, along with an unnamed baritone saxophonist. For the second session McGhee used an entirely different band, with a tenor player who is believed to have been Kenny Mann and a rhythm section of Hank Jones, Ray Brown, and the great J.C. Heard. Billy Eckstine, who by this time had dissolved his own band and was busily pulling in an unprecedented amount of cash by making vocal pop records for MGM, blows his valve trombone alongside McGhee on this date. No vocalist is mentioned in the enclosed discography, even though someone scats up a storm from time to time. Whoever it was, he didn't sound like Eckstine. McGhee's next recording dates as a leader took place in Paris, where 13 sides were cut for the Vogue and Blue Star labels on May 15th and 18th. This band really cooked, with Jimmy Heath and Jesse Powell joining the trumpeter's front line and a rhythm section of Vernon Biddle, Percy Heath, and Specs Wright. The upbeat numbers are exceptionally well-crafted studies in modern jazz. "Denise" and "Etoile," slow and reflective, sound like the poetically charged "Portrait" studies that young Charles Mingus was already beginning to formulate on his own. The closing selections, recorded for Blue Note in New York on October 11, 1948, pair McGhee with Fats Navarro alongside alto saxophonist Ernie Henry and Milt Jackson playing both vibes and piano. Curly Russell and Kenny Clarke round off this amazing six-piece Howard McGhee Boptet. by arwulf arwulf