SARAH VAUGHAN – 1946-1947 | The Classics Chronological Series – 989 (1998) FLAC (tracks+.cue), lossless

The second installment in the Classics Sarah Vaughan chronology concentrates almost exclusively upon her Musicraft recordings made between July 1946 and November 1947. After hearing her in performance at the Three Deuces on 52nd Street, producer Albert Marx lost no time in drawing up a three-year contract between the singer and Musicraft. Backed by two different bands led by her soon-to-be husband, trumpeter George Treadwell, as well as by Teddy Wilson's Quartet and Octet, Vaughan makes each song into a miracle of elegance, style, and grace. The collective lineup of jazz players in this portion of her discography is stunning, with saxophonists Don Byas, Budd Johnson, Charlie Ventura and "Big Nick" Nicholas; trumpeters Buck Clayton and Emmett Berry; and drummer J.C. Heard, whose lifelong admiration for Vaughan dates back to these exquisite performances. The version of "Tenderly" she recorded on July 2, 1947, is said to have been the first recording ever made of this melody, which was composed by Musicraft's musical director, Walter Gross. (Charles Mingus liked to point out that "Tenderly" was closely based upon "September in the Rain," and demonstrated what he regarded as a case of plagiarism by performing something called "Septemberly" on his groundbreaking Debut album Mingus at the Bohemia.) This disc also documents Vaughan's excursion into less jazzy, more sugary pop-oriented circumstances. This was a path similar to that taken during the late '40s by her mentor, Billy Eckstine, and by Charlie Parker and Billie Holiday. Eckstine later explained that he opted for lucrative work as a pop singer for MGM rather than starving while leading a modern jazz band. Three of the Vaughan recordings included here, in fact, came out on the MGM label. At no point does she sound anything less than marvelous. Her "Lord's Prayer," originally issued on the flip side of an earthier "Sometimes I Feel Like a Motherless Child," comes across beautifully. Ted Dale & His Orchestra, while espousing somewhat slick arrangements and instrumentation, retain some measure of hipness and integrity, which is more than can be said for certain other ensembles she sang with in late 1947 and early 1948. And let this all serve as a reminder that Sarah Vaughan could sing anything under any circumstances. That's why they call her "Divine." arwulf arwulf  
Tracklist + Credits :

COOTIE WILLIAMS AND HIS ORCHESTRA – 1945-1946 | The Classics Chronological Series – 981 (1998) FLAC (tracks), lossless

Having already starred in both Ellington's and Goodman's bands, trumpeter Cootie Williams marked the '40s with a slew of sides featuring his own big band and a variety of combos. His fiery, Armstrong-inspired blowing always was full of narrative wit, and this mighty horn package is certainly on display on Classics' chronological roundup of some of Williams' 1945-1946 sides. Still a bit shy of later R&B-styled work, Williams swings nicely on standouts like "Juice Head Baby," "Jumping to Conclusions," and "Echoes of Harlem." The supporting cast may not be star studded -- save for a young Eddie "Cleanhead" Vinson -- but the playing is all top-notch and Williams certainly delivers more than just a few meaty solos. A choice collection best suited to dedicated listeners. Stephen Cook
Tracklist + Credits :

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