HOWARD ALDEN + GEORGE VAN EPS — 13 Strings (1991) WV (image+.cue), lossless

One of the strongest guitar-based jazz records of the 1990s, 13 Strings (so named because of the combination of Van Eps' seven-string instrument and Alden's conventional six-stringer) swings with a relaxed confidence born of equal parts experience and sheer mastery. This record marks Van Eps' return to recording after a period of over 20 years, and his playing displays nary a cobweb nor an uncertainty. His comping retains the same pianistic character that it exhibited 40 years previously on Mellow Guitar, and his solo statements reveal an improviser comfortable weaving complicated, multi-voiced lines. Van Eps' former student, Howard Alden, is no less spectacular, and his voice on his instrument is as seasoned as his teacher's. The tracks are broken down into quartet, duet, and solo performances. On the quartet selections, bassist Dave Stone and drummer Jake Hanna, in addition to laying down minimalist grooves that would set any toe to tapping, make important solo contributions of their own, creating memorable, melodic statements whenever the spotlight is handed over to them. Although the guitarists sound wonderful in all settings, the most satisfying moments on this record are their duets, especially the Ray Noble compositions "I Hadn't Anyone Till You" and "The Touch of Your Lips," where the two guitarists really let their musicianship shine (some of the obvious familiarity with this material may be due to the fact that Van Eps worked with Noble in the 1930s). The songs that Alden and Van Eps have chosen are mainly old standards, with four Gershwin songs in contrast to only one original composition, Van Eps' own "Queerology," which receives a ravishing solo guitar treatment from Alden. Despite the age and familiarity of the material, the tracks never seem old hat, not because they are radically deconstructed, but, rather, because the musicians don't seem to play these songs so much as breathe them. Lines, chords, and countermelodies fly with such relaxed ease that the listener is almost duped into believing that this isn't incredibly complicated music, as ornate as any Baroque chamber concerto. This is jazz that is both classic and classy, and 13 Strings is a wonderful demonstration of the talents of four musicians whose self-assured knowledge of the idiom is unparalleled. Daniel Gioffre
Tracklist :
1 Just You, Just Me 5:18
Jesse Greer / Raymond Klages
2 My Ideal 4:13
Newell Chase / Leo Robin / Richard A. Whiting
3 I Hadn't Anyone Till You 5:38
Ray Noble
4 A Beautiful Friendship 6:38
Donald Kahn / Jule Styne / Stanley Styne
5 The Touch of Your Lips 6:24
Ray Noble
6 Ain't Misbehavin' 3:15
Harry Brooks / Andy Razaf / Fats Waller
7 Too Marvelous for Words 5:09
Johnny Mercer / Richard A. Whiting
8 Love Walked In 4:36
George Gershwin / Ira Gershwin
9 Queerology 2:01
George Van Eps
10 How Long Has This Been Going On? 4:19
George Gershwin / Ira Gershwin
11 Mine 4:23
George Gershwin / Ira Gershwin
12 Embraceable You 2:22
George Gershwin / Ira Gershwin
13 Emaline 4:37
Mitchell Parish / Frank Perkins

FRANKIE TRUMBAUER AND HIS ORCHESTRA – 1932-1936 | The Chronogical Classics – 1275 (2002) FLAC (tracks+.cue), lossless

The 1930s recordings of C-melody saxophonist Frankie Trumbauer are fairly obscure, particularly compared to his classic 1927-29 collaborations with Bix Beiderbecke. This set starts with a couple sessions from 1932 that feature a large ensemble mostly taken from the Paul Whiteman Orchestra. A couple of interesting medleys benefit from fine arrangements and the band also sounds strong on "Business in Q" and "The Newest St. Louis Blues." There are two sessions from 1934 that feature trumpeter Charlie Teagarden and trombonist Jack Teagarden (who sings "Emaline" and "'Long About Midnight") and includes a version of Beiderbecke's "In a Mist." The other session from 1934 has spots for trumpeter Bunny Berigan and clarinetist Artie Shaw while the numbers from 1936 again include both Charlie and Jack Teagarden. The material is pretty jazz-oriented and some of the other memorable tracks are "China Boy," "Breakin' in a Pair of Shoes" and "Somebody Loves Me." This is excellent music that serves as a transition between the classic jazz of the 1920s and swing. Scott Yanow  
Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1934-1935 | The Classics Chronological Series – 744 (1994) FLAC (tracks+.cue), lossless

 With the exception of the final two titles, all of the music on this CD is from 1934, a period when Benny Goodman first formed his big band and appeared regularly on the Let's Dance radio series. Still virtually unknown to the general public, Goodman at 25 was ready for stardom, but the world was not quite yet ready for swing. The first four selections are from a fascinating combo date with the great tenor Coleman Hawkins and Mildred Bailey (who has vocals on three songs, including "Ol' Pappy" and "Emaline"). Another small-group session that features trombonist/singer Jack Teagarden and pianist Teddy Wilson precedes the Goodman Music Hall Orchestra's recordings for Columbia. The band is heard gradually developing their musical identity despite the lack of any major soloists other than the leader and (starting in November 1934) trumpeter Pee Wee Erwin. Helen Ward takes three vocals, and with "The Dixieland Band" in January 1935, the Goodman sound was almost together. Scott Yanow
Tracklist :

BENNY GOODMAN AND HIS ORCHESTRA – 1935 | The Classics Chronological Series – 769 (1994) FLAC (tracks+.cue), lossless

This CD traces the evolution of Benny Goodman's orchestra from the beginning of 1935 when they were comparatively unknown to the beginning of July when they were on the brink of success, even though Benny Goodman was no longer appearing on the Let's Dance radio series and was about to embark on a risky cross-country trip. Singer Helen Ward, drummer Gene Krupa, and trumpeter Pee Wee Erwin were the key voices (along with the clarinetist/leader) at the beginning of the year, but by the time the band recorded the last eight numbers on this disc, Bunny Berigan was Benny Goodman's star trumpeter. His solos on "King Porter Stomp" and "Sometimes I'm Happy" (along with Fletcher Henderson's swinging arrangements) would make Goodman a major star. Berigan also has hot spots on "Blue Skies" and "Jingle Bells." Swing was almost ready to catch on big. Scott Yanow
Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1951-1952 | The Classics Chronological Series – 1450 (2007) FLAC (tracks+.cue), lossless

This is the 34th volume in the Classics Benny Goodman chronology. It combines four titles from the Capitol records session of October 27, 1949 (Goodman's last for that label) with seven tunes recorded for Columbia on October 10 and November 24, 1950 and ten previously hard-to-find selections from a broadcast that aired April 1, 1951. Although the band on the Capitol date had Zoot Sims in the reed section, slick vocals by Dolly Houston, Buddy Greco and the Heathertones seem to use up all the air in the room. The Columbia sessions employed the Goodman Sextet, featuring pianist Teddy Wilson, vibraphonist Terry Gibbs and guitarist Johnny Smith, these last two helping to emphasize a contemporary bop-to-cool stylistic emphasis that was still playing a prominent role in Goodman's approach to music during this period. Vocalists on this leg of the journey include Nancy Reed, a carefully rehearsed, mixed vocal group known as the Pastels, and a deep-voiced male singer billed as "Rickey." This was none other than Jimmy Ricks, bass singer for the Ravens. Issued as Columbia 39121, the two instrumentals -- "Lullaby of the Leaves" b/w "Temptation Rag" -- are stunning examples of the Goodman/Gibbs collaboration at its finest. Yet the real gold in this compilation lies in the ten more traditional jazz melodies that were performed on the air, recorded and sold on a limited-edition LP in order to raise funds to benefit Fletcher Henderson, Goodman's greatest arranger as well as a pioneer of big-band jazz, who made his first jazz recordings in 1923. Henderson was ill and in serious need of cash. The fact that Goodman held this exciting jam session as a benefit for him adds considerable ethical ballast to an already superb bundle of live jazz. Teaming with Goodman in various combinations throughout the session were pianist Teddy Wilson, drummer Gene Krupa, bassist Eddie Safranski, guitarist Johnny Smith, trombonist Lou McGarity and trumpeter Buck Clayton. arwulf arwulf
Tracklist : 

JESS STACY – 1944-1950 | The Classics Chronological Series – 1175 (2001) FLAC (tracks+.cue), lossless

Real jazz happens when the musicians really listen to one another. You, the listener after the fact, can hear this communication woven into the music itself. "D.A. Blues," played by Pee Wee Russell's Hot 4 with Jess Stacy at the piano, moves slowly enough for this dynamic to be spelled out as big as skywriting. "Keepin' Out of Mischief Now" works like a charm. The interplay among the four -- and especially between pianist and clarinetist -- is remarkable. It's emblematic of everything that Commodore Records ever stood for. The next session in the Jess Stacy chronology resulted in a fine crop of piano and drum duets. It is strange that Commodore didn't issue them at the time, but such decisions often seem odd many years later. These are really piano solos with gently percussive accompaniment -- about as gentle as Specs Powell ever played on record, in fact. That is, until the fast-paced "Ridin' Easy" and "Song of the Wanderer," where Stacy runs his hands like lightning over the keys and Powell responds with steamy licks of his own. What a shame it is that Jess Stacy's big band only managed to record enough music to fit on both sides of a single, 10" 78 rpm platter. "Daybreak Serenade" is a very pretty instrumental and Stacy's wife Lee Wiley sings "Paper Moon" splendidly. Just imagine what they could have accomplished given the opportunity to wax a few more sides. Instead what we get are one dozen examples of the Jess Stacy Quartet, recording for Capitol and Columbia during the summer of 1950. These are gorgeous reveries, heavily featuring the guitar of George Van Eps. This makes the second-half of the CD decidedly cool and relaxing, friendly and unobtrusive. Bassist Morty Corb walks briskly through the changes of "I'm Gonna Sit Right Down and Write Myself a Letter," a melody still associated with Fats Waller even though he didn't write it. Waller's "Keepin' Out of Mischief Now" reappears, joyously stir-fried to perfection. This handsome collection of top-notch piano jazz ends with a virtuoso realization of Bix Beiderbecke's "In a Mist," something like Chantilly cream over strawberries after four courses. arwulf arwulf
Tracklist + Credits :

JESS STACY – 1951-1956 | The Classics Chronological Series – 1453 (2007) FLAC (tracks+.cue), lossless

The third installment in the Classics chronological overview of recordings issued under the name of pianist Jess Stacy traces a time line from March 16, 1951, to March 3, 1956, with recordings made exclusively in Los Angeles, CA. It opens with eight titles recorded for Brunswick by Stacy, guitarist George Van Eps, bassist Morty Corb, and drummer Nick Fatool. This quartet's marvelous integrity is strongly in evidence on Rodgers & Hart's "You Took Advantage of Me" and endures throughout each of the ensemble members' subsequent collaborations. Tracks nine through 18 were recorded for Atlantic during April 1954 by two different nine-piece Benny Goodman reunion bands under the leadership of Jess Stacy. With all due respect to tenor saxophonists Babe Russin and Vido Musso, the real star of these swinging sessions was front-line trumpeter Ziggy Elman. According to Classics producer Anatol Schenker, these miniature big-band recordings (including a rendition of Gordon Jenkins' "Goodbye" lasting 50 seconds and a tiny take of "Let's Dance" that clocks out at less than half a minute) were only released to the public following the success of the sentimentalist motion picture The Benny Goodman Story. Stacy recorded four more titles (including a blues dedicated to jazz critic Otis Ferguson) for Atlantic on October 6, 1955, this time with bassist Artie Shapiro and drummer Nick Fatool. Stacy and Fatool also recorded four duets (on themes composed by Stacy) for Brunswick on March 3, 1956. This all adds up to one of the most enjoyable Jess Stacy compilations ever assembled by anyone, especially as the range of instrumentation -- duet, trio, quartet, and nonet -- illuminates him as a wonderfully adaptable improviser. arwulf arwulf
Tracklist :

GEORGE VAN EPS & HOWARD ALDEN - Keepin' Time (1996) FLAC (tracks), lossless

Guitarists George Van Eps (a veteran of the 1930's) and Howard Alden (36 at the time of this recording) had made three prior CD's before cutting a fine quartet date with bassist Michael Moore and drummer Jake Hanna. The two guitarists can easily be told apart for Van Eps (the inventor of the seven-string guitar) plays some of the most beautiful chords in the world while Alden often contributes single-note solos. Highlights of the disc include Alden's two renditions of Van Eps songs ("The Chant" and "Kay's Fantasy"), Van Eps' two features and such swing standards as "Blue Skies," "How High The Moon," "I Cover The Waterfront" and a duet rendition of "More Than You Know." All of the music is quite relaxed (with nothing over a slow-medium pace) but has plenty of inner fire. by Scott Yanow
Tracklist:
    1.   Blue Skies - 4:28
    2.   Satin Doll - 6:30
    3.   It Had to Be You - 6:46
    4.   Body and Soul - 5:03
    5.   How High the Moon - 5:24
    6.   Honeysuckle Rose - 2:16
    7.   I Cover the Waterfront - 5:26
    8.   The Chant  performed - 2:26
    9.   Willow Weep for Me - 5:27
    10.   Kay's Fantasy - 4:05
    11.   More Than You Know - 5:25
    12.   I Got Rhythm - 4:22
Credits:
Howard Alden  -  Guitar
Jake Hanna  -  Drums
Michael Moore  -  Bass
George Van Eps  -  Guitar

GEORGE VAN EPS / HOWARD ALDEN - Hand-Crafted Swing (1992) CONCORD / FLAC (tracks+.cue), lossless

The master of the seven-string guitar, George Van Eps, joins the rising young jazz guitarist Howard Alden, which works perfectly in spite of a 45-year difference in age and different approaches to the guitar. Van Eps' chordal style meshes perfectly with Alden's single note lines in part because of the younger man's study of the senior's recordings and Alden's quick ear and gift for harmony. In any case, it was an obvious thrill for Alden to play with the experienced Van Eps, who literally invented the seven-string guitar (also played by Bucky Pizzarelli) and would soon be added to Alden's musical arsenal. The second of four CDs that they would make together prior to Van Eps' death in 1998, they play a mix of popular standards and show tunes from the 1930s, '40s and '50s. Highlights include a lyrical "What's New." a deliberate "I Could Write a Book," and an intricate "All the Things You Are," along with less frequently played chestnuts like the swinging "It's Wonderful." Van Eps is unaccompanied on both of his original compositions, "Lap Piano" and "Forty-Eight." Bassist Dave Stone and drummer Jake Hanna, who sticks to brushes, are present on most of the tracks. by Ken Dryden   
Tracklist:
1 Stompin' at the Savoy 4:12
Benny Goodman / Andy Razaf / Edgar Sampson / Chick Webb
2 What's New? 4:16
Johnny Burke / Bob Haggart
3 It's Wonderful 4:13
Howard Alden / George Van Eps
4 Lap Piano 2:34
George Van Eps
5 I Could Write A Book 4:39
Walter Gross / Jack Lawrence
6 Tenderly 3:36
Paul James / Kay Swift
7 Can't We Be Friends 5:15
Neal Hefti
8 Just in Time 4:18
Betty Comden / Adolph Green / Jule Styne
9 The Nearness of You 6:27
Hoagy Carmichael / Ned Washington
10 Forty-Eight 6:11
Howard Alden / George Van Eps
11 All the Things You Are 1:18
Oscar Hammerstein II / Jerome Kern
12 I Could Write a Book 4:53
Lorenz Hart / Richard Rodgers
13 I've Got a Crush on You 4:58
George Gershwin / Ira Gershwin
14 Moonglow 4:47
Eddie DeLange / Will Hudson / Irving Mills
 Credits
Bass – Dave Stone
Drums – Jake Hanna
Guitar – George Van Eps, Howard Alden

GEORGE VAN EPS / HOWARD ALDEN - Hand-Crafted Swing

 (1992) CONCORD / FLAC (tracks+.cue), lossless

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