CHARLIE BARNET AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 1266 (2002) FLAC (tracks+.cue), lossless

So inspired was Charlie Barnet by two of the all-time greatest Afro-American jazz orchestras that he acknowledged their influence with instrumental works conceived and rendered in honorary emulation of their respective styles. "The Duke's Idea" sounds a lot like an Ellington opus, as Barnet delivers a credible imitation of Johnny Hodges with his alto saxophone and Bob Burnet growls through his trumpet in the manner of Cootie Williams. "Count's Idea" carefully re-creates the Kansas City swing style of William Basie's formidable big band. The remaining tracks from the same date have chirping vocals by Judy Ellington and one prescription tranquilizer of a tune sung by a syrupy fellow calling himself Del Casino. This session -- and its successor conducted one month later in October of 1939 -- took place in Los Angeles. "Ogoun Badagris" is the name of a Haitian voodoo Loa. The Loas are powerful ancestral mystery spirits, directly traceable to the deities of the West African pantheon. How interesting that Barnet concocted this exciting rhythmic exercise bearing the name of a particularly fierce and awesome spiritual entity. One can only wonder how aware he was of the power inherent in the name. This is certainly one of Barnet's all-time hottest recordings, with exuberant drumming by Ray Michaels. The melody itself bears more than a passing resemblance to Buster Harding's "Lady Day." On a much sillier level, "The Wrong Idea" sends up every existing stylistic gimmick then current in popular big-band music: cute licks, steel guitar (an apparent jab at Alvino Rey), gargling Clyde McCoy-styled trumpet, even raucous "bad" notes amid wavering Guy Lombardo reeds. After a goofy spoken introduction over the strains of "Make Believe Ballroom," Billy May (as "Slappy Happy") sings about bands that "bring you down," altering Sammy Kaye's slogan as he urges listeners to "swing and sweat with Charlie Barnet." As if to assert the primacy of what he considered authentic jazz, Barnet's next selection was called "The Right Idea." This is straight-up big-band swing with no tricks or frills, followed by "Night Glow," an attractive opus for alto sax and big band. Judy Ellington made 21 records with Charlie Barnet, and "Two Hearts Are Better Than One" was to be her last. Mary Ann McCall was the new vocalist when the band returned to the studio in New York on December 11, 1939. McCall sounds sweet and slightly timid on her first half-dozen sides, even when trying to sound hip on "Between 18th and 19th on Chestnut Street." Four remaining instrumentals round off the package nicely. "Clap Hands! Here Comes Charlie," yet another vintage tune from the 1925 repertoire of the California Ramblers, gets a red-hot treatment that almost outdoes a similar version of this song recorded by Count Basie's orchestra on August 4, 1939. Three hot jams recorded in January of 1940 demonstrate exactly why this band was so popular among dancers and fans of undiluted big-band jazz. arwulf arwulf
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CHARLIE BARNET AND HIS ORCHESTRA – 1940 | The Classics Chronological Series – 1318 (2003) FLAC (tracks+.cue), lossless

 In what appears to be a premonition of the recording industry's postwar fascination with star vocalists, this volume in the Charlie Barnet chronology seems almost like part of the Mary Ann McCall chronology instead. After making a handful of tentative-sounding sides with the band in December of 1939, McCall quickly developed into a stronger and more self-assured vocalist. While sugary sweet at times, her usual mode is snappy, fresh, and cheeky. Barnet's orchestra invariably dishes out excellent backing, and the leader plays fine and sensuous saxophone throughout, but McCall is featured on a whopping 18 of the 24 tracks. Furthermore, Larry Taylor's groaning on "You and Who Else?" knocks the tally of instrumentals down to a paltry five, which feels like a reversion to the vocal pop epidemic of 1936. Anyone hungry for wordless jazz will naturally fasten onto each instrumental track with passionate persistence. Barnet blows tenor sax in proud and skillful emulation of Coleman Hawkins on "A Lover's Lullaby," and "Leapin' at the Lincoln" is a really fine big-band bounce brimming with hot solos. "Shake, Rattle and Roll" features Bus Etri's electrified guitar during the intro -- he also executes a passage of authentic electric blues guitar before McCall's vocal on "Wanderin' Blues," introducing an element quite unusual for a 1940 white big band. "Reminiscing" is a pensive dirge-like apparition and "Flying Home" nearly cuts the Hampton/Goodman original for sheer force and caloric intensity. But this is mainly a Mary Ann McCall disc, ideal for those who enjoy her style of singing. arwulf arwulf
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CHARLIE BARNET AND HIS ORCHESTRA – 1940, Vol. 2 | The Classics Chronological Series – 1439 (2007) FLAC (tracks+.cue), lossless

 Volume seven in the complete Classics Charlie Barnet chronology contains what appear to be all of the records he made for Victor's budget-priced Bluebird series between May 8 and September 17, 1940. Barnet, a rich kid from New York, began making records with his big band in 1933, gradually outgrowing the conventions of polite pop music and mastering the soprano, alto and tenor saxophones while following in the footsteps of great Afro-American bandleaders like Duke Ellington, Jimmie Lunceford and Count Basie. When the Palomar Ballroom in Los Angeles burned down on October 2, 1939, all of the Barnet orchestra's instruments and sheet music were completely incinerated. Barnet was able to borrow arrangements from Basie and Benny Goodman; trumpeter Billy May also conveniently produced charts and original compositions for the band, including the expansive and very impressionistic six-and-a-half minute "Wings over Manhattan." Vocalists heard on this compilation are Mary Ann McCall, Larry Taylor and Harriet Clark. Instrumental gems include "No Name Jive"; Ellington's "Rockin' in Rhythm," "The Sergeant Was Shy" and "Ring Dem Bells"; a Harlan Leonard tune called "Southern Fried" (also known as "Hairy Joe Jump") and the original rendition of the famous "Pompton Turnpike." Although "Six Lessons from Madame La Zonga" and Barnet's "The Reverie of a Moax" are runners up for weirdest title, the prize in this category goes to "Wild Mab of the Fish Pond"; the obscure reference might very well have something to do with Percy Bysshe Shelley (and not, hopefully, with his ill-fated wife Harriet Westbrook). arwulf arwulf
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