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 – 1953-1955 | The Chronogical Classics – 1451 (2007) FLAC (tracks+.cue), lossless

The mid-'50s were a fruitful time for Illinois Jacquet, as he was about age 30. A popular and distinctive tenor saxophone soloist who could easily fit into a swing, big-band, bop, blues, or rhythm & blues context, he was also asserting himself as a bandleader. These sessions, the fifth in a series of Classics label reissues for Jacquet, are all originally from the Clef label and produced by Norman Granz. Mostly done in New York City, they feature his five-years-older brother, trumpeter Russell Jacquet, in a series of mid-sized ensembles that were hype-dubbed an orchestra. As Jacquet was involved with Granz in his Jazz at the Philharmonic traveling shows, these tunes naturally have a jam session feel. The first eight tracks, from 1953, feature a dynamite rhythm session of pianist Johnny Acea, bassist Al Lucas, and drummer Shadow Wilson. Trombonist Matthew Gee and baritone saxophonist Cecil Payne round out the "orchestra." There's some crazed, frantic bop on the "Out of This World" variation "On Your Toes," the lithe and fast hard bop with low-end bari and high-end brass of "Jacquet Jumps" and "Heads," the easy swing of Acea buoying "It's the Talk of the Town," and the totally bluesy counterpointed trumpet of Russell Jacquet as a foil for his brother during "R.U. One," minus Payne. Percussive tongue pops inspire the calypso beat of the unusual, near-novelty item "Jatap Conga." On the next four cuts, from 1954, Leo Parker replaces Payne, and Osie Johnson is the drummer man. Conga legend Chano Pozo joins in on the hot and joyous "Mambocito Mio," with group vocals, and there's the richly arranged "Jacquet's Dilemma" and the famous ballad "September Song," where the tenor of Jacquet explores the deepest blue spectrum. Two more cuts from 1954 team Ben Webster and Jacquet's unison tenors with Pozo on the Latinized bopper "The Kid and the Brute" and the follow-up slinky blues "I Wrote This for the Kid." The 1955 sessions are from Los Angeles with West Coasters Gerald Wiggins and Carl Perkins playing organ and piano, respectively. This combination breeds a neat energy, and with guitarist Irving Ashby, the band takes a different tack. Trumpeter Harry "Sweets" Edison is the tenor's foil, sliding easily through "Love Is Here to Stay" and the ballad "East of the Sun," while swinging hard on the fun tune "Empathy" and doing the groove biscuit similar to "Let the Good Times Roll," here dubbed "Cool Bill" (perhaps for Bill Doggett), minus Perkins. This short but potent time capsule in what must be considered the near prime of Illinois Jacquet is as precious as mid-period straight-ahead jazz gets, and is highly recmmended. Michael G. Nastos
Tracklist :

BUDDY RICH – 1950-1955 | The Chronogical Classics – 1419 (2006) FLAC (tracks+.cue), lossless

 As the Classics Chronological Series works its way into the early and mid-'50s, the magnitude of producer Norman Granz's achievement becomes increasingly apparent. Some of the greatest jazz musicians of all time -- Oscar Peterson, Charlie Parker, Dizzy Gillespie, Billie Holiday, Johnny Hodges, Lester Young -- were signed by Granz at a time when many Afro-American jazz musicians were struggling to get steady work, and jazz in general was beginning to take a back seat to pop vocals, R&B and rock & roll. Drummer and bandleader Buddy Rich had only just begun to lead a big band when the post-WWII restructuring of the entertainment industry edged him out (see Volume one in Rich's complete chronological recordings, 1946-1948 [Classics 1099]). He was able to continue making records by working with smaller groups, oftentimes at recording sessions supervised by Norman Granz. As the mastermind behind Jazz at the Philharmonic, Granz was adept at documenting live jam sessions. Fortunately the recording equipment was plugged in and running when Buddy Rich, Ray Brown and Hank Jones cooked up a frantic seven-minute version of "Air Mail Special" in front of a rowdy audience at Carnegie Hall on September 16, 1950. This explosive jam, which consists mainly of an extended crowd-pleasing drum solo, serves as a fiery prologue to the first of the Buddy Rich/Norman Granz studio sessions, all of which resulted in collectively swung jazz of the highest order. Granz had a knack for bringing together uncommonly gifted musicians, and Rich was very lucky to find himself recording with pianist Oscar Peterson and guitarist Herb Ellis; with trumpeters Harry "Sweets" Edison, Thad Jones and Joe Newman; and with saxophonists Benny Carter, Georgie Auld, Willie Smith, Ben Webster and Frank Wess. Buddy Rich is also heard exercising his tonsils. Sometimes compared with Frank Sinatra (his rival for the attentions of vocalist Edythe Wright during the Dorsey days), Rich was capable of crooning with convincing suavity, as could Woody Herman. Aside from his quasi-hip vocal on the novelty titled "Bongo, Bass and Guitar," this compilation contains four tracks with Rich standing away from the drums (Louie Bellson was brought in to man the kit) and concentrating upon the art of emitting songs through the mouth, accompanied by a small jazz combo sweetly augmented with strings under the direction of Howard Gibeling. Much more in line with Buddy Rich's regular modus operandi, this segment of his chronology concludes with two extended instrumental jams, each exceeding ten minutes in duration, recorded in New York on May 16, 1955. Arrogant, selfish, cruel and egotistical to the point of megalomania, Buddy Rich was an able percussionist capable of generating a lot of excitement with his drums and cymbals; he could drive an ensemble with plenty of steam, but most of his showy extended solos, which rely a lot on convulsive bouts of press rolling and restless parade ground paradiddling, lack the substance, depth and organic coherence of expanded improvisations created by Art Blakey, Max Roach and Elvin Jones. To call Buddy Rich the world's greatest drummer is just blarney. The person who made that claim most often was Buddy Rich himself. arwulf arwulf 

ROY ELDRIDGE – 1950-1951 | The Classics Chronological Series – 1259 (2002) FLAC (tracks+.cue), lossless

It is June 1950. Roy "Little Jazz" Eldridge is in Paris, making records with a small band of younger musicians. Easily adapting to rapidly evolving styles in music, the trumpeter eases himself into a steadily developing tide of modernity. The music forms a wonderful and comparatively elegant sequel to his rip-snorting big-band recordings of the 1940s. It is a pleasure to hear young tenor saxophonist Zoot Sims relaxing with Eldridge, and the pianist is 23-year-old Dick Hyman, already a strikingly facile and inventive performer. Pierre Michelot and Eddie Shaughnessy form the rest of the rhythm section in this tight little group. Continuing his personal tradition of great ballad interpretations, Eldridge delivers "Wrap Your Troubles in Dreams" with an open horn. "King David," "Undecided," and "The Man I Love" are each cooked at brisk velocities. Anita Love joins with Eldridge in energetic scat singing throughout Duke Ellington's "It Don't Mean a Thing." Yet the very funny, effortlessly hip, and decidedly cool "Ain't No Flies On Me" allows the two singers to relax and interact more deliciously than ever. The next session in the Eldridge chronology scales the band down to a quartet, with Gerald Wiggins, Pierre Michelot, and the great Kenny "Klook" Clarke. Eldridge ambles through Irving Berlin's "Easter Parade" -- which sounds a bit like "Put On Your Old Grey Bonnet" -- and renders up two more gorgeous ballads. "Goliath Bounce" is a smooth walk and "Wild Driver" a rolling boil, but the hottest number from this date, simply titled "Nuts," opens with a sort of Caribbean brushfire percussion maneuver by Clarke. As the tune unfolds its many intricate bop ideas, Clarke rides his cymbals most excitingly. The session of October 28, 1950, touched upon a wide range of styles and moods. "I Remember Harlem" is a deep study in reflective blue impressions, chamber jazz with bowed bass and haunted horn. Fats Waller's sobering "Black and Blue" gets a slight adjustment in the lyric, "Baby, Don't Do Me Like that" is more or less patterned after Louis Jordan's R&B act, and "L'Isle Adam" is a burner for muted trumpet on the fast track. Eldridge also sang two of his original songs with French lyrics, including a cheerful ode to lettuce and mayonnaise. The great surprise in this package is the inclusion of three long-forgotten piano solos from the same session. "Boogie Eldridge" is the veritable spark plug, as our man growls and even howls while massaging the keys. The last two tracks find Eldridge in Stockholm, sitting in with musicians well schooled in every style of jazz and popular music of the day. Duke Ellington's "Echoes of Harlem" is deep and ominous, while "School Days" plays off of the novelty antics of Joe Carroll and Dizzy Gillespie. arwulf arwulf  
Tracklist + Credits :

BLUE LU BARKER – 1946-1949 | The Classics Chronological Series – 1130 (2000) FLAC (tracks+.cue), lossless

Singer Blue Lu Barker's second Classics release has all of her recordings from 1946-1949 and, combined with the earlier release (1938-1939), all of her sessions as a leader are now available. Barker was a pleasant if limited singer and one might want to hear these 25 selections in small doses. Blu Lu is joined by combos (usually five to seven pieces) led by her husband guitarist Danny Barker, who also contributed the majority of the tunes. The backup groups include such notables as trumpeter Shad Collins, tenors Teddy McRae and Jerry Jerome, and pianist Gerald Wiggins. The music, released originally by Apollo and Capitol (except for three cuts originally rejected), include a remake of "Don't You Feel My Leg" and such tunes as "You Gotta Show It to Me Baby," "I Feel Like Laying in Another Woman's Husband's Arms," "Now You're Down in the Alley," "Loan Me Your Husband," and "Bow-Legged Daddy." Scott Yanow  
Tracklist + Credits :

BENNY CARTER AND HIS ORCHESTRA – 1948-1952 | The Classics Chronological Series – 1297 (2003) FLAC (tracks+.cue), lossless

This Classics collection features cuts by saxophonist/trumpeter Benny Carter recorded while scoring charts for film and TV in Hollywood. Included are such oddball tracks as the Carter vocal tunes "Happy Go Lucky You and Broken Hearted Me" and "I Don't Want It No More." There are also some interesting orchestral tracks featuring the alto sax legend with the Oscar Peterson Trio. Matt Collar
Tracklist :
1    Clarence Crump With Orchestra–    Happy Go Lucky You And Broken Hearted Me    3:03
2    Clarence Crump With Orchestra–    I Don't Want It No More    2:44
3    Benny Carter And His All Stars–    Cotton Tail    2:48
Duke Ellington
4    Benny Carter And His All Stars–    Time Out For The Blues    2:48
5    Benny Carter And His Orchestra–    Surf Board    3:06
6    Benny Carter And His Orchestra–    You Are Too Beautiful    3:10
Lorenz Hart / Richard Rodgers
7    Joe Robinson (19) With Benny Carter's Orchestra–    Roll With The Boogie    2:46
8    Joe Robinson (19) With Benny Carter's Orchestra–    If I Can't Have You    2:58
Winfield Scott
9    Joe Robinson (19) With Benny Carter's Orchestra–    Suspicious Of My Woman    2:47
10    Joe Robinson (19) With Benny Carter's Orchestra–    Don't Scream, Don't Shout    2:47
11    Benny Carter And His Strings With The Oscar Peterson Quartet–    Isn't It Romantic?    3:40
Lorenz Hart / Richard Rodgers
12    Benny Carter And His Strings With The Oscar Peterson Quartet–    Some Other Spring    3:45
Arthur Herzog, Jr. / Irene Kitchings
13    Benny Carter And His Strings With The Oscar Peterson Quartet–    These Things You Left Me    3:39
14    Benny Carter And His Strings With The Oscar Peterson Quartet–    Gone With The Wind    2:57
Herbert Magidson / Allie Wrubel
15    Benny Carter And His Strings With The Oscar Peterson Quartet–    I Got It Bad And That Ain't Good    2:56
Duke Ellington / Paul Francis Webster
16    Benny Carter And His Strings With The Oscar Peterson Quartet–    Long Ago And Far Away    3:05
Ira Gershwin / Jerome Kern
17    Benny Carter And His Strings With The Oscar Peterson Quartet–    I've Got The World On A String    3:19
Harold Arlen / Ted Koehler
18    Benny Carter And His Strings With The Oscar Peterson Quartet–    'Round Midnight    3:17
Bernie Hanighen / Thelonious Monk / Cootie Williams
19    Benny Carter And His Strings With The Oscar Peterson Quartet–    Alone Together    2:39
Howard Dietz / Arthur Schwartz
20    Benny Carter And His Strings With The Oscar Peterson Quartet–    Bewitched, Bothered And Bewildered    3:15
Lorenz Hart / Richard Rodgers
21    Benny Carter And His Strings With The Oscar Peterson Quartet–    Cocktails For Two    3:00
Sam Coslow / Arthur Johnston
22    Benny Carter And His Strings With The Oscar Peterson Quartet–    Key Largo    3:07
Benny Carter / Karl Suessdorf / Leah Worth
Credits :    
Alto Saxophone – Benny Carter (tracks: 3 to 22)
Baritone Saxophone – Charlie Walker (tracks: 7 to 10)
Bass – Charles Drayton (tracks: 7 to 10), Ray Brown (tracks: 11 to 22)
Bass [Or] – Charles Drayton (tracks: 3 to 6), John Simmons (tracks: 3 to 6)
Drums – Buddy Rich (tracks: 11 to 22), Jackie Mills (tracks: 3 to 10)
Guitar – Barney Kessel (tracks: 11 to 22), Earl Phillips* (tracks: 7 to 10)
Piano – Dodo Marmarosa (tracks: 3 to 6), Gerald Wiggins (tracks: 7 to 10), Oscar Peterson (tracks: 11 to 22)
Rhythm Section – Unknown Artist (tracks: 1, 2)
Strings – Unknown Artist (tracks: 11 to 22)
Tenor Saxophone – Ben Webster (tracks: 3 to 6), Bumps Meyers (tracks: 7 to 10), Dave Cavanaugh (tracks: 1, 2)
Trombone – Henry Coker (tracks: 1, 2), Vic Dickenson (tracks: 3 to 6)
Trumpet – Benny Carter (tracks: 3 to 6), Chuck Peterson (tracks: 3 to 6), John "Ted" Buckner (tracks: 7 to 10)
Vocals – Benny Carter (tracks: 1, 2), Joe Robinson (19) (tracks: 7 to 10)
Vocals [Male And Female Vocal Ensemble] – Unknown Artist (tracks: 2)

BENNY CARTER - The Uncollected Benny Carter And His Orchestra (1944-1985) lp | 32bits-44.1hz | FLAC (tracks+.cue), lossless

SIDE A
1    Theme: Melancholy Lullaby - Old Man River    4:37
2    Prelude To A Kiss    2:58
3    Stardust    4:23
Trumpet – Benny Carter
4    Tea For Two 2:17
Clarinet – Barney Bigard
5    Fish Fry    2:35
6    Rose Room    2:33
SIDE B
1    I Surrender Dear 3:31
Trumpet – Benny Carter
2    Somebody Loves Men Trom    2:09
3    I Cover The Waterfront 4:13
Trumpet – Benny Carter
4    Sleep    2:49
5    Who's Sorry Now    2:43
6    J. J. Jump 3:16
Trombone – J.J. Johnson

JOE PASS - One For My Baby (1988) FLAC (tracks+.cue), lossless

Virtuoso guitarist Joe Pass didn't need sidemen on any recording, but when he used them, he chose wisely. Tenor saxophonist Plas Johnson, keyboardist Gerald Wiggins and drummer Tootle Heath had not recorded with Pass previously, but along with bassist Andy Simpkins, they achieve a perfect first-take sound on each track. The title cut features Pass with Johnson's bluesy sax and a soft organ and brushed background. Two Pass originals are lengthy blues vehicles with plenty of solo space for all. "I Remember You" is an unlikely choice that developed from Wiggins' jamming in the studio; the ballad is a relaxing detour from the blues that dominate the CD. Joe Pass was without peer on guitar the last 20 years of his life; his playing here won't disappoint. by Ken Dryden
Tracklist :
1     Bluesology 5:54
Milt Jackson
2     One for My Baby (And One More for the Road) 4:48
Harold Arlen / Johnny Mercer
3     J.P. Blues 7:43
Joe Pass
4     Poinciana 6:30
Buddy Bernier / Nat Simon
5     I Don't Stand a Ghost of a Chance With You 6:00
Bing Crosby / Ned Washington / Victor Young
6     I Remember You 6:13
Johnny Mercer / Victor Schertzinger
7     Bay City Blues 7:02
Joe Pass
8     The Song Is You 5:46
Oscar Hammerstein II / Jerome Kern
Credits :
Bass – Andy Simpkins
Drums – Tootie Heath
Guitar – Joe Pass
Piano – Gerald Wiggins
Saxophone [Tenor] – Plas Johnson
 

CAL TJADER - Cal Tjader Quartet (1956-1997) RM / FLAC (image+.cue), lossless

Vibraphonist Cal Tjader took a brief vacation from playing Afro-Cuban jazz to record this fine straight-ahead bop set. The 1956 LP matches Tjader with the underrated but always swinging pianist Gerald Wiggins, bassist Eugene Wright (shortly before he joined the Dave Brubeck Quartet), and drummer Bill Douglass. They perform four basic originals (two apiece by Wiggins and Wright) and five standards, including a swinging "Battle Hymn of the Republic" and "Our Love Is Here to Stay." On this date, more than almost any other one, Tjader displays his debt to Milt Jackson's style. by Scott Yanow
Tracklist :
1     Battle Hymn of the Republic 3:28
Julia Ward Howe / William Steffe
2     It Never Entered My Mind 3:38
Lorenz Hart / Richard Rodgers
3     A Light Groove 5:11
Gerald Wiggins
4     The Night We Called It a Day 3:06
Tom Adair / Matt Dennis
5     Fancy Bea 4:16
Eugene Wright
6     A Fifth for Frank 4:50
Gerald Wiggins
7     For All We Know 4:43
J. Fred Coots / Sam M. Lewis
8     Miss Wiggins 5:57
Eugene Wright
9     Love Is Here to Stay 5:26
George Gershwin / Ira Gershwin
Credits :
Bass – Eugene J. Wright
Drums – Bill Douglass
Piano – Gerald Wiggins
Vibraphone – Cal Tjader