DUKE ELLINGTON AND HIS ORCHESTRA – 1938, Vol. 2 | The Classics Chronological Series – 717 (1993) FLAC (tracks+.cue), lossless

The music on this CD was all recorded within a four-month period, featuring performances by Duke Ellington's Orchestra and small groups led by trumpeter Cootie Williams and altoist Johnny Hodges that include Ellington as pianist, arranger, and organizer. Ellington fit right into the swing era yet his music was far too individual to be associated with any of the soon-dated fads the pervaded the era. In fact, these performances might be from 1938 but most still sound quite fresh today. Highlights include "I'm Slappin' Seventh Avenue," "Rose of the Rio Grande" (a longtime feature for trombonist Lawrence Brown), "Pyramid," "Empty Ballroom Blues," and "Jitterbug's Lullaby." Scott Yanow   Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1946 | The Classics Chronological Series – 1015 (1998) FLAC (tracks+.cue), lossless

For the casual listener, "best of" collections are a good way to explore Duke Ellington's legacy. But if you're a serious collector or a completist, it's important to be aware of Classics, a French label that put out more than 30 CDs of the Duke's work in the 1990s. Regrettably, Classics generally skipped alternate takes; but even so, it was nice to see a label reissuing Ellington's master takes chronologically. This rewarding CD focuses on Ellington's recordings of 1946, when his orchestra boasted such heavyweights as trumpeter Cat Anderson, alto saxophonist Johnny Hodges, tenor saxman Al Sears, baritone saxman Harry Carney, trombonist Lawrence Brown, and drummer Sonny Greer. It was in 1946 that the Duke recorded his last two sessions for RCA Victor, and this CD spotlights those two sessions before offering two pieces from an October 23 session for Musicraft ("Magenta Haze" and "Diminuendo in Blue") and several V-disc recordings from a November 23 concert at Carnegie Hall in New York, where Ellington's orchestra performed "The Golden Cress" and "Sultry Sunset" as well as the interesting, four-part "Deep South Suite." The suite's fourth part is the well-known "Happy Go Lucky Local," an infectious blues track that became the basis for Jimmy Forrest's 1951 smash "Night Train" (which was speeded up and covered by the Godfather of Soul James Brown in the early 1960s). Most of the material on 1946 is instrumental, although Ellington features singer Marion Cox on pleasing arrangements of "St. Louis Blues" and "Lover Man," and fares equally well with singer Kay Davis on "I Don't Stand a Ghost of a Chance With You." While 1946 falls short of essential, the selections are definitely rewarding and prove that the late 1940s was a creatively successful, if underrated, period for the Duke. Alex Henderson     Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1946-1947 | The Classics Chronological Series – 1051 (1999) FLAC (tracks+.cue), lossless

This installment of the Classics label document of the Duke Ellington story highlights recordings for the Musicraft label in November and December 1946, four V-discs recorded in New York on May 10, 1947, and the first sessions for Columbia in August and September 1947. Considering the financial challenges of keeping a large ensemble performing in the late '40s (which would have an almost devastating effect in the early '50s,) Ellington not only managed to continue creating intriguing music but he maintained a legendary horn section. These dates feature Ray Nance, Taft Jordan, Shorty Baker, Cat Anderson, Jimmy Hamilton, Johnny Hodges, Russell Procope, Tyree Glenn, Wilbur De Paris, Al Sears, and Harry Carney. Six vocal pieces are also included: one each from Kay Davis and Chester Crumpler, two featuring Al Hibbler, and Ray Nance clowns around on "Tulip or Turnip" and "Women (They'll Get You). Al Campbell   Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1947 | The Classics Chronological Series – 1086 (1999) FLAC (tracks+.cue), lossless

The Ellington band was in transition when these sides were cut in 1947. The big-band scene was slowly winding down after World War II, but the group had just signed with Columbia, an assurance of better distribution. But the band was also being handed some pretty weird material -- commercial fare like "Kitty," "Cowboy Rhumba" (with Woody Herman guesting on vocals), and "Antidisestablishmentarianismist." There's some great music here, but file this volume under "for completists only." Cub Koda    Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1947-1948 | The Classics Chronological Series – 1119 (2000) FLAC (tracks+.cue), lossless

 With the exception of "The Tattooed Bride," an extensive work from Duke Ellington's 1948 Carnegie Hall concert that was originally released on V-Disc, all of the music on this CD is taken from November-December 1947. Ellington was quite busy in the recording studios during this period (as were many bands), since it was known that a recording strike would most likely be taking place the following year. In addition to fine remakes of "Do Nothin' Till You Hear From Me" and "Don't Get Around Much Anymore," and an atmospheric vehicle for Kay Davis' voice on "On a Turquoise Cloud," the year-end work included the memorable six-part "Liberian Suite" (one of Ellington's best extended pieces) and his nearly atonal piano exploration on the intriguing "The Clothed Woman." While much of this music is available elsewhere, the performances are of high quality and well worth acquiring one way or another. Scott Yanow   Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1950 | The Classics Chronological Series – 1217 (2001) FLAC (tracks+.cue), lossless

Eight of the selections on this interesting CD feature Duke Ellington and Billy Strayhorn on pianos, with backup work by either Wendell Marshall or Joe Shulman on bass plus an unidentified drummer on a few numbers. Among the more notable selections are "Cotton Tail," "C Jam Blues," "Johnny Come Lately," and particularly a wild version of "Tonk." These performances are easily available on Prestige, while the other numbers have mostly been put out by Columbia. The latter's big-band selections include the initial studio recording of "The Tattooed Bride" and a lengthy exploration (utilizing Yvonne Lanauze's wordless vocals) of "Mood Indigo." This is rewarding music, but one might want to acquire these numbers through Prestige and Sony/Columbia instead, where they fit more into specific concepts. Scott Yanow  Tracklist + Credits :

TEDDY WILSON AND HIS ORCHESTRA – 1939 | The Classics Chronological Series – 571 (1991) FLAC (tracks+.cue), lossless

This CD has quite a bit of variety. Teddy Wilson is featured on four of his better piano solos, backs Billie Holiday on one session (which resulted in superior versions of "More Than You Know" and "Sugar," and has some fine solo space for altoist Benny Carter and trumpeter Roy Eldridge) and is heard on 13 selections with his new (and unfortunately short-lived) big band. The Teddy Wilson Orchestra was impeccable, tasteful and swinging (just like its leader) but, despite the presence of such soloists as trumpeter Harold "Shorty" Baker and tenor saxophonist Ben Webster, it never really stood a chance in the competitive swing world of 1939; the orchestra would only record eight additional titles. However the music on this CD is quite enjoyable and not as common as most of the recordings reissued by the Classics label. Scott Yanow
Tracklist + Credits :

TEDDY WILSON AND HIS ORCHESTRA – 1939-1941 | The Classics Chronological Series – 620 (1991) FLAC (tracks+.cue), lossless

This segment of the Teddy Wilson chronology contains 23 recordings made for the Columbia label in New York and Chicago between December 11, 1939 and September 16, 1941. The first eight tracks showcase Wilson's 12-piece big band, using arrangements by Wilson, Edgar Sampson and Buster Harding. This unusually upsized version of the Teddy Wilson & His Orchestra had Doc Cheatham and Harold "Shorty" Baker in the trumpet section, Ben Webster and Rudy Powell among the reeds, and Al Casey and J.C. Heard playing rhythm. Those who are accustomed to Wilson's customary small group sound will find this material pleasantly, perhaps surprisingly different from the norm. In December of 1940 Wilson led an octet with Bill Coleman, Benny Morton and Jimmy Hamilton in the front line. Four piano solos and four trio sides with Al Hall and J.C. Heard were cut in Chicago during April of 1941. Teddy Wilson's sextet (Emmett Berry, Morton, Hamilton, bassist Johnny Williams and Heard) made three recordings on September 16, 1941; only "Out of Nowhere" was originally issued, although "Prisoner of Love" was drafted into service as a V-Disc during the Second World War. This excellent compilation includes vocals by Lena Horne, Jean Eldridge, Helen Ward and J.C. Heard, whose expert drumming and call-and-response interaction with the band place "Wham (Re Bop Boom Bam)" among the hottest and hippest selections in the entire Teddy Wilson discography. arwulf arwulf  
Tracklist + Credits :

ANDY KIRK AND HIS TWELVE CLOUDS OF JOY – 1939-1940 | The Classics Chronological Series – 640 (1992) FLAC (tracks+.cue), lossless

Andy Kirk's Twelve Clouds of Joy was a top-notch Kansas City swing band that, by 1939, featured the pop vocals of Pha Terrell, the more blues-oriented singing of June Richmond, creative arrangements by Mary Lou Williams, and some excellent soloing from pianist Williams and Dick Wilson on tenor. Most memorable in this entry in Classics' "complete" Andy Kirk CD series are "Floyd's Guitar Blues" (an odd but pioneering electric guitar feature for Floyd Smith), "Wham" and "Scratching In the Gravel." Scott Yanow
Tracklist :
1     You Set Me on Fire 2:57
Colwell / MacKinnon
2     (I Guess) I'll Never Learn 3:12
Gordon / Kaufmann
3     Close to Five 2:55
Mary Lou Williams
4     Floyd's Guitar Blues 3:09
Floyd Smith
5     (I Wanna Go Where You Go, Do What You Do) Then I'll Be Happy 2:31
Lew Brown / Sidney Clare / Cliff Friend
6     S'posin' 2:26
Paul Denniker / Andy Razaf
7     I'll Never Fail You 2:55
Victor Mizzy / Irv Taylor
8     Why Don't I Get Wise to Myself 2:42
Sid Bass / Ken Hecht
9     I'm Getting Nowhere With You 2:46
Wood / Adams
10     I Don't Stand a Ghost of a Chance With You 3:02
Bing Crosby / Ned Washington / Victor Young
11     Please Don't Talk About Me When I'm Gone 2:51
Sidney Clare / Sam H. Stept
12     Big Jim Blues 2:56
Mary Lou Williams
13     Wham (Re-Bop-Boom-Bam!) 3:05
Eddie Durham / Taps Miller
14     Love Is the Thing 2:57
Ned Washington / Victor Young
15     Why Go on Pretending 2:57
Mary Lou Williams
16     It Always Will Be You 3:16
Hays / Copano / O'Day
17     Fine and Mellow 3:02
Billie Holiday     
18     Scratchin' in the Gravel 3:10
Mary Lou Williams / D. Wilson
19     Fifteen Minute Intermission 3:06
Buddy Cannon / Sunny Skylar
20     Take Those Blues Away 2:51
Jackson
21     Now I Lay Me Down to Dream 2:54
Eddie Howard, Jr. / Ted Fio Rito    
22     There Is No Greater Love 3:02
Isham Jones / Marty Symes
Credits :    
Alto Saxophone – Earl Miller (tracks: 1 to 16), Rudy Powell (tracks: 17 to 22)
Bass – Booker Collins
Clarinet, Alto Saxophone, Baritone Saxophone – John Harrington
Clarinet, Tenor Saxophone – Edward Inge (tracks: 17 to 22)
Directed By – Andy Kirk
Drums – Ben Thigpen
Guitar, Electric Guitar – Floyd Smith
Piano – Mary Lou Williams
Tenor Saxophone – Dick Wilson, Don Byas (tracks: 1 to 16)
Trombone – Fred Robinson (tracks: 13 to 22), Henry Wells (tracks: 1 to 12), Ted Donnelly
Trumpet – Clarence Trice, Earl Thomson (tracks: 1 to 16), Harold Baker (tracks: 17 to 22), Harry Lawson
Vocals – June Richmond (tracks: 5, 11, 13, 16, 17, 19, 20), Pha Terrell (tracks: 1, 2, 6 to 10, 14, 15, 21, 22)

ANDY KIRK AND HIS CLOUDS OF JOY – 1940-1942 | The Classics Chronological Series – 681 (1993) FLAC (tracks+.cue), lossless

The Andy Kirk Orchestra was going through some major changes during the period covered by this CD. Tenor star Dick Wilson died prematurely; pop singer Pha Terrell had left; pianist and chief arranger Mary Lou Williams departed in early 1942 (Ken Kersey was her replacement on piano); and such interesting younger players as trumpeters Harold "Shorty" Baker and Howard McGhee and Al Sears on tenor gave the group a slightly different sound. Actually, the music on this CD (late-period swing) is consistently on a higher level than on most of the previous CDs in the Classics series. Highlights include "The Count," "Hey Lawdy Mama," "Boogie Woogie Cocktail" (featuring Kersey) and Howard McGhee's recording debut on the exciting "McGhee Special." Scott Yanow
Tracklist :
1    Midnight Stroll 3:19
 Sammy Lowe
Vocals – June Richmond
2    Little Miss    3:12
 Ned Washington
3    The Count    3:09
 Tom Gordon
4    Twelfth Street Rag    2:55
 Euday L. Bowman
5    (Ev'rything Happened) When I Saw You 3:06
 Mueller Johnson
Vocals – Henry Wells
6    If I Feel This Way Tomorrow (Then It's Love) 2:59
Vocals – Henry Wells
7    Or Have I 2:50
 Sam H. Stept
Vocals – Henry Wells
8    Cuban Boogie Woogie 2:19
Lake / La Vere
Vocals – June Richmond
9    A Dream Dropped In 3:05
 Marty Symes
Vocals – Henry Wells
10    Is It A Sin (My Loving You?) 3:04
 Marcus Carcus
Vocals – Henry Wells
11    Ring Dem Bells    2:49
 Duke Ellington / Irving Mills
12    Big Time Crip 2:58
 Wells / Mary Lou Williams
Vocals – Orchestra
13    47th Street Jive 3:11
 Roosevelt Sykes
Vocals – June Richmond
14    I'm Misunderstood 3:20
Grouya
Vocals – Henry Wells
15    No Answer 2:47
Wood / Hoffman / Siegler
Vocals – Henry Wells
16    Hey Lawdy Mama (Meet Me In The Bottom) 2:56
Easton
Vocals – June Richmond
17    Boogie Woogie Cocktail 2:46
Arranged By – Kenny Kersey
18    Ride On, Ride On 2:25
Tolbert
Vocals – June Richmond
19    McGhee Special 2:58
Arranged By – Howard McGhee
20    Worried Life Blues (Someday Baby) 2:27
 Henry Nemo
Vocals – Floyd Smith
21    Take It And Git 3:13
Chapman / Chapman / Green / Marshall
Vocals – Orchestra
22    Hip Hip Hooray 2:58
Nemo / Ebbins
Vocals – June Richmond
23    Unlucky Blues 2:50
Feather / Feather
Vocals – June Richmond
Credits :    
Alto Saxophone – Ben Smith (tracks: 16 to 23), Earl Miller (tracks: 12 to 15)
Bass – Booker Collins
Clarinet, Alto Saxophone – Rudy Powell (tracks: 1 to 11)
Clarinet, Alto Saxophone, Baritone Saxophone – John Harrington
Clarinet, Tenor Saxophone – Dick Wilson (tracks: 1 to 15), Edward Inge
Directed By – Andy Kirk
Drums – Ben Thigpen
Guitar, Electric Guitar – Floyd Smith
Piano – Kenny Kersey (tracks: 16 to 23), Mary Lou Williams (tracks: 1 to 15)
Tenor Saxophone – Al Sears (tracks: 16 to 23)
Trombone – Henry Wells (tracks: 1 to 15), Milton Robinson (tracks: 16 to 23), Ted Donnelly
Trumpet – Clarence Trice (tracks: 1 to 15), Harold Baker (tracks: 1 to 15), Harry Lawson, Howard McGhee (tracks: 16 to 23), Johnny Burris (tracks: 16 to 23) 

MARY LOU WILLIAMS – 1927-1940 | The Classics Chronological Series – 630 (1992) FLAC (tracks+.cue), lossless

This CD features the great pianist Mary Lou Williams during her earliest period. She is heard in 1927 on six selections with The Synco Jazzers (a small group that included her then-husband John Williams on alto) and then on the first 19 selections ever recorded under her own name. Performed during the long period when she was the regular pianist with Andy Kirk's 12 Clouds of Joy, Williams is featured on two hot stride solos in 1930, leading trios in 1936 and 1938, playing "Little Joe from Chicago" unaccompanied in 1939 and heading septets in 1940; among her sidemen were trumpeter Harold "Shorty" Baker and the legendary tenor Dick Wilson. Many of the compositions were written by Williams including "Night Life," "New Froggy Bottom," "Mary's special," and "Scratchin' the Gravel;" her version of Jelly Roll Morton's "The Pearls" is a highpoint. Scott Yanow
Tracklist :
1    Jeanette's Synco Jazzers–    Midnight Stomp 2:42
Written-By – Williams
2    Jeanette's Synco Jazzers–    The Bumps 2:37
Written-By – Williams
3    John Williams' Synco Jazzers–    Down In Gallion 3:11
Written-By – Unknown
4    John Williams' Synco Jazzers–    Goose Grease 3:15
Written-By – Unknown
5    John Williams' Synco Jazzers–    Pee Wee Blues 3:27
Written-By – Unknown
6    John Williams' Synco Jazzers–    Now Cut Loose 2:47
Written-By – Unknown
7    Mary Lou Williams–    Night Life 2:56
Written-By – Williams
8    Mary Lou Williams–    Drag 'Em 2:52
Written-By – Williams
9    Mary Lou Williams–    Corny Rhythm 2:42
Written-By – Williams
10    Mary Lou Williams–    Overhand (New Froggy Bottom) 2:46
Written-By – Williams
11    Mary Lou Williams–    Isabelle 2:55
Written-By – Williams
12    Mary Lou Williams–    Swingin' For Joy 2:34
Written-By – Williams
13    Mary Lou Williams–    Clean Pickin' 2:48
Written-By – Williams
14    Mary Lou Williams–    Mary's Special 2:46
Written-By – Williams
15    Mary Lou Williams–    The Pearls 3:01
Written-By – Morton
16    Mary Lou Williams–    Mr. Freddie Blues 2:44
Written-By – Shayne
17    Mary Lou Williams–    Sweet (Patootie) Patunia 2:30
Written-By – Williams, Rogan, Alexander
18    Mary Lou Williams–    The Rocks 2:34
Written-By – Burley
19    Mary Lou Williams–    Little Joe From Chicago 2:33
Written-By – Wells, Williams
20    Six Men And A Girl–    Mary Lou Williams Blues 3:15
Written-By – Williams
21    Six Men And A Girl–    Tea For Two 2:48
Written-By – Caesar, Youmans
22    Six Men And A Girl–    Scratchin' The Gravel 3:11
Written-By – Williams
23    Six Men And A Girl–    Zonky 2:54
Written-By – Razaf, Waller
24    Mary Lou Williams And Her Kansas City Seven–    Baby Dear 2:47
Written-By – Moten, Hayes
25    Mary Lou Williams And Her Kansas City Seven–    Harmony Blues 2:47
Written-By – Moten
Credits :   
Alto Saxophone, Bass Saxophone, Baritone Saxophone – John Williams (tracks: 1 to 6)
Banjo – Joe Williams (tracks: 1 to 6)
Bass – Booker Collins (tracks: 9 to 18, 20 to 25)
Celesta – Mary Lou Williams (tracks: 14)
Clarinet – Edward Inge (tracks: 20 to 23)
Clarinet, Alto Saxophone – Earl "Buddy" Miller (tracks: 20 to 23)
Drums – Ben Thigpen (tracks: 9 to 18, 20 to 25), Robert Price (tracks: 1 to 6)
Electric Guitar – Floyd Smith (tracks: 20 to 23)
Guitar [?] – Ted Robinson (tracks: 14)
Piano – Mary Lou Williams
Tenor Saxophone – Dick Wilson (tracks: 20 to 25)
Trombone – Bradley Bullett (tracks: 1 to 6), Ted Donnelly (tracks: 20 to 23)
Trumpet – Earl Thompson (tracks: 20 to 23), Harold Baker (tracks: 20 to 23), Henry McCord (tracks: 1 to 6)

MARY LOU WILLIAMS – 1951-1953 | The Classics Chronological Series – 1346 (2004) FLAC (tracks+.cue), lossless

While the Asch recordings of Mary Lou Williams, recorded during the mid-'40s, are wrapped in a veil of pleasant 78-rpm surface noise, her Circle recordings of 1951 are presented here as direct transfers from early 33-and-one-third-rpm platters. This creates a different listening experience, for while sustained 78-rpm "scratchiness" acts as a constant texture through which the music may usually be heard, the inconsistent wandering hiss of the primitive acetate "long-playing" record creates at times a slightly distracting rhythmic pattern that is most noticeable on the slower numbers. This is emphasized by the otherwise "clean" sound of the recording. With Willie Guerra's bongos and Billy Taylor's upright bass backing the leader's excellent piano, the intrusive little hisses sound at times as though someone might be carelessly handling a shekere, or possibly teasing a pet snake. All phonographic pickiness aside, the music heard on the opening session is exquisite, particularly "Handy Eyes," a grooved-up rendition of W.C. Handy's "St. Louis Blues." Two further Circle sides from 1952 feature the pianist supported by an unidentified bassist and drummer. After a marvelous passage through Ellington and Tizol's "Caravan," the men open "Yes, We Have No Bananas" by shouting the title in a bizarre and surprising manner. On July 11, 1952, Mary Lou Williams performed in front of a loudly appreciative audience with a band including her second ex-husband, trumpeter Harold "Shorty" Baker, trombonist Vic Dickenson, and tenor saxophonist Morris Lane. The ten-minute "Down Beat" is a warm, swinging jam during which the players are able to stretch out and cook nicely. A lovely take on "Out of Nowhere" leads into eight and a half smoky minutes of "C Jam Blues." The remaining 12 tracks were recorded during Mary Lou Williams' visit to England during the first half of 1953. Backed by guitar, bass, and either the regular drum kit or bongos, she delivers her customary blend of original compositions, jazz standards, classic ragtime, and contemporary tropes from innovators such as Tadd Dameron and Thelonious Monk. arwulf arwulf
Tracklist :
1    Mary Lou Williams Trio–    Lover, Come Back To Me    3:30
2    Mary Lou Williams Trio–    S'Posin'    3:16
3    Mary Lou Williams Trio–    Handy Eyes    3:20
4    Mary Lou Williams Trio–    Tisherome    4:03
5    Mary Lou Williams And Her Modern Music*–    Caravan    2:35
6    Mary Lou Williams And Her Modern Music*–    Yes, We Have No Bananas    2:08
7    Mary Lou Williams And Her Orchestra–    Down Beat    9:57
8    Mary Lou Williams And Her Orchestra–    Out Of Nowhere    4:06
9    Mary Lou Williams And Her Orchestra–    C Jam Blues    8:25
10    Mary Lou Williams Trio–    Titoros    2:55
11    Mary Lou Williams Trio–    Lady Bird    3:00
12    Mary Lou Williams Trio–    Don't Blame Me    3:24
13    Mary Lou Williams Trio–    They Can't Take That Away From Me    2:39
14    Mary Lou Williams Trio–    Koolbongo    2:52
15    Mary Lou Williams Trio–    Perdido    2:33
16    Mary Lou Williams Trio–    For You    2:54
17    Mary Lou Williams Trio–    Round About Midnight    4:05
18    Mary Lou Williams And Her Rhythm–    Laughing Rag    1:49
19    Mary Lou Williams And Her Rhythm–    Rag Of Rags    1:51
20    Mary Lou Williams Quartet–    Melody Maker    2:30
21    Mary Lou Williams Quartet–    Musical Express    2:16
Credits :    
Bass – Billy Taylor Sr. (tracks: 1 to 4), Eddie Safranski (tracks: 7 to 9), Jack Fallon (tracks: 18, 19), Ken Napper (tracks: 10 to 17), Rupert Nurse (tracks: 20, 21), Unknown Artist (tracks: 5, 6)
Bongos – Tony Scott (tracks: 10 to 17), Willie Guerra (tracks: 1 to 4)
Drums – Don Lamond (tracks: 7 to 9), Gerry McLaughlin (tracks: 18, 19), Tony Kinsey (tracks: 20, 21), Unknown Artist (tracks: 5, 6)
Guitar – Allan Ganley (tracks: 10 to 17), Nevell John (tracks: 7 to 9), Ray Dempsey (tracks: 20, 21)
Piano – Mary Lou Williams
Tenor Saxophone – Morris Lane (tracks: 7 to 9)
Trombone – Vic Dickenson (tracks: 7 to 9)
Trumpet – Harold Baker (tracks: 7 to 9)

JOHN HARDEE – 1946-1948 (2000) The Classics Chronological Series – 1136 | FLAC (tracks), lossless

John Hardee was one of the premiere tenor saxophonists of his day, performing with a laid-back style that emphasized the song over flashy playing. 1946-1948 features 24 tracks of Hardee's finest tracks from this period. The slower, moodier tracks are the ones that stick out, especially his cool and crisp rendition of "Can't Help Lovin' Dat Man." It is on this track where his talents are fully showcased, as his gorgeous saxophone rings out over the shuffled beat and sparse accompaniment with pristine sound quality. Not every slow song is that good, but they all revolve around that same playing style. On the faster tracks its easier to lose Hardee in the mix; he is definitely not too proud to let the rest of the band really shine. He is still more than audible, but on tracks like "Boppin' in B Flat he simply supplies the melody line as the other musicians provide a fiery background for his horn. The album does run a little long -- a problem that is not helped by the varying degrees of sound quality. But fans of this era of jazz should probably give this a listen, Hardee's musical voice was a distinct and important one in the genre. Bradley Torreano
Tracklist :
1     Tired 3:17
Doris Fisher / Alan Roberts
2     Blue Skies 2:53
Irving Berlin
3     Hardee's Partee 3:14
John Hardee
4     Idaho 3:12
Jesse Stone
5    What Is This Thing Called Love? 3:12
Cole Porter
6     Nervous from the Service 2:55
John Hardee
7     River Edge Rock 3:09
John Hardee
8     Sweet and Lovely 3:12
Gus Arnheim / Jules LeMare / Harry Tobias
9     Bottle It 2:59
Skip Hall
10     Denzil's Best 2:42
Denzil Best
11     Right Foot Then Left Foot 3:01
Skip Hall
12     Four Wheel Drive 2:56
Skip Hall / Robert Snyder
13     Hand in Hand Blues 3:04
Dickie Thompson
14     Taylor-Made Gal 2:59
Dickie Thompson
15     Swing Song 3:05
Dickie Thompson
16     Stardust 3:08
Hoagy Carmichael / Mitchell Parish
17     Red Man's Bounce 2:46
Parirsh / Carmichael     
18     Lunatic 2:43
John Hardee
19     Can't Help Lovin' Dat Man 2;41
Oscar Hammerstein II / Jerome Kern
20     Baby Watch That Stuff 2:42
John Hardee
21     Cobblestones 3:07
Elen     
22     Prelude to a Kiss 2:44
Duke Ellington / Irving Gordon / Irving Mills
23     Boppin' in B Flat 3:03
John Hardee
24     Man With a Horn 2:55
Eddie DeLange / Jack Jenney / Bonnie Lake

JOHNNY HODGES AN HIS ORCHESTRA - 1945-1950 {CC, 1189} (2001) FLAC (tracks+.cue), lossless

John Cornelius Hodges began working with Duke Ellington in 1928 and soon became one of the prime voices in the Ellington orchestra. Hodges began leading his own recording ensembles -- actually scaled-down versions of Duke's band -- in 1937. Occasionally sitting in with other leaders like Lionel Hampton, Hodges also led groups of his own, including a quartet at New York's Apollo Club during the summer of 1948 and five of the six bands heard on this first volume of his complete recordings in chronological order. (All records issued under Hodges' name prior to 1947 have been included in the massive Classics chronology of Duke Ellington.) Sandy Williams' Big Eight was one of many ensembles recording for the Hot Record Society -- and one of the very best of them. "Mountain Air" and "After Hours on Dream Street" are slow, smooth, languid, and lovely, with Hodges playing pretty for the people. "Sumpin' Jumpin' Round Here" is a smart strut with a hint of Latin American rhythm built into its caboose. Harry Carney, who fortunately appears on fully half of the recordings reissued here, does some friendly nudging with his horn on this pleasantly stimulating dance tune. "Chili con Carney" is a light bounce honoring the baritone saxophonist without granting him any more solo space than a couple of brief breaks. The next four selections appeared on the small and ephemeral Wax label in 1947. Carney is roundly featured on Jerome Kern's moody existential opus "Why Was I Born?," and Hodges softly interprets Walter Donaldson's "You're Driving Me Crazy" in what must be one of the slowest and most gentle versions of this song ever recorded. "Key Largo" carries a whiff of the Caribbean in its dulcet tones and lapping rhythm. Billy Strayhorn's "Triple Play" is marvelously cool mood music, elegantly rendered by a quintet with the composer at the piano. When Hodges recorded for the Mercer and Sunrise labels, he included longtime Ellington trombonist Lawrence Brown, Chick Webb's star trumpeter Taft Jordan, up-and-coming tenor saxophonist Al Sears, and a rhythm section of Billy Strayhorn, Oscar Pettiford, and trombonist Wilbur DeParis sitting in on the drums! Each performance is a delight. "A Flower Is a Lovesome Thing" is the classic Strayhorn/Hodges still life. "Longhorn Blues" and "Faraway Blues" both feel like close cousins to "Jeep's Blues." On the second Mercer session Harry Carney replaces Brown, Harold "Shorty" Baker is the trumpeter, and Sonny Greer does wonderful things with the drums. Anyone who wants to hear Strayhorn cook a little on the piano should check out the groove track "Searsy's Blues," which is somewhat of an advanced approach to a boogie. Its tempo reappears exactly on "Let the Zoomers Drool" -- a "zoomer" being hip vernacular for a mooch. Years later, Dave Frishberg liked "A Little Taste" so much that he composed some of his funniest lyrics based on its nonchalant contours. This satisfying CD ends with the first of Hodges' Parisian sessions from 1950, with Raymond Fol sitting in with a pack of Ellingtonians when Duke declined to participate for contractual reasons. These tracks are notable for the presence of trombone ace Quentin "Butter" Jackson and voluntary expatriate tenor saxophonist Don Byas, who blows a splintering run during the crackling strut "We Fooled You." arwulf arwulf
Tracklist :
1     Mountain Air 3'02
Cat Anderson / Tab Smith
2     Sumpin' Jumpin' Round Here 3'00
Brick Fleagle   
3     After Hours on Dream Street 3'20
Brick Fleagle   
4     Chili con Carney 2'38
Harry Carney   
5     Key Largo 2'37
Benny Carter / Lou Carter / Karl Suessdorf / Leah Worth
6     You're Driving Me Crazy 2'53
Walter Donaldson   
7     Why Was I Born? 3'12
Oscar Hammerstein II / Jerome Kern   
8     Triple Play 2'42
Billy Strayhorn   
9     Who Struck John? 2'51
Duke Ellington / Johnny Hodges   
10     It Shouldn't Happen to a Dream 3'03
Duke Ellington / Don George / Johnny Hodges   
11     June's Jumpin' 2'48
Johnny Hodges   
12     Violet Blue 3'05
Billy Strayhorn   
13     A Flower Is a Lovesome Thing 2'53
Billy Strayhorn
14     Frisky 4'48
Duke Ellington / Johnny Hodges
15     Longhorn Blues 2'50
Duke Ellington / Johnny Hodges
16     Far Away Blues 2'53
Duke Ellington / Johnny Hodges
17     Searsy's Blues 2'44
Duke Ellington / Johnny Hodges
18     A Little Taste 3'08
Cannonball Adderley / Duke Ellington / Johnny Hodges
19     Let the Zoomers Drool 3'00
Duke Ellington / Johnny Hodges
20     Charlotte Russe 3'08
Johnny Hodges   
21     St. Germain-des-Prés Blues 3'22
Don Byas
22     Good to the Last Drop 3'13
Gene Page
23     Only Wish I Knew 3'06
Don Byas / Raymond Fol
24     We Fooled You 2'46
Harold Baker / Johnny Hodges

JOHNNY HODGES AND HIS ORCHESTRA - 1950-1951 (2002) The Classics Chronological Series – 1248 | FLAC (tracks), lossless

Johnny Hodges' 1950 Parisian Vogue recordings -- augmented here with four sides waxed in Copenhagen for the Danish Tono label -- form a prologue to the records Hodges would make with Norman Granz from 1951-1955. The band heard on the first five tracks was essentially a condensed Ellington group with Don Byas sitting in and Raymond Fol at the piano. "Last Leg Blues" is a saucy, loping exercise in two parts that incorporates at one point a lick from "Tuxedo Junction." This is a good example of what seems at first like an almost too simple musical idea bearing incredible fruit, Jimmy Hamilton's clarinet and Hodges' alto working it up handsomely into an impressive exploration of the blues. Composed by Hamilton, the feisty, bop-like "Nix It, Mix It" is one of the most exciting tracks included here. "Time on My Hands" feels like an oasis of lyrical familiarity among so many relatively uncomplicated melodies designed for jamming rather than reflection. Hamilton, Byas, and Hodges communicate wonderfully during this gorgeous ballad. Three of the four Danish recordings feature vocalist Chubby Kemp, whose slightly nasal voice sounds like Anita Love or maybe even Little Esther Phillips if she'd sung jazz. "Tea for Two" is a pleasant surprise, with Hamilton's clarinet sending up bubbles over Quentin "Butter" Jackson's mellifluous trombone during the opening. Hodges and Hamilton both deliver spirited solos and the antiquated Vincent Youmans confection grows into something intricate, ornate, and exhilarating. Back in Paris with the band scaled down to a sextet, Hodges led his men through a stunning rendition of Juan Tizol's "Perdido," eased them into "Mood Indigo," "Sweet Lorraine," and the 19th century melody "In the Shade of the Old Apple Tree," here rendered into a smooth, cool exercise in swing. "Rendez-Vous at the Hot Club" moves briskly and swings hard. With the session of January 15, 1951, Hodges was back on American soil, initiating a collaborative relationship with producer Norman Granz that would continue through 1955 and occasionally rekindle over the years. According to Stanley Dance, "You Blew Out the Flame in My Heart" was given the erroneous title "Rabbit's Blues" in an early recording ledger, and the misnomer continues to resurface in discographies to this very day. Over the next five years, Hodges would record an enormous amount of material for the Mercury, Clef, and Norgran labels, often relying upon tenor saxophonist Al Sears to help steer the operation as the music evolved into relative modernity while rooted in strong elements of blues, ballads, and swing. arwulf arwulf

Tracklist :
1     Jump, That's All 3'38
Harold Baker
2     Last Legs Blues, Pt. 1 3'09
Johnny Hodges
3     Last Legs Blues, Pt. 2 3'02
Johnny Hodges
4     Nix It, Mix It 3'22
Jimmy Hamilton
5     Time on My Hands 3'22
Harold Adamson / Mack Gordon / Vincent Youmans
6     Run About 3'07
Johnny Hodges    
7     Wishing and Waiting 3'27
Johnny Hodges    
8     Get That Geet 3'22
Johnny Hodges    
9     That's Grand 3'28
Johnny Hodges    
10     Skip It 3'21
Johnny Hodges    
11     Mellow Mood 3:18     
Flandrake /     Williams
12     How I Wish I Was Around 3:29     
 Flandrake  
13     I Met a Guy 3:09     
Connors / Flandrake  
14     Tea for Two 3'18
Irving Caesar / Vincent Youmans
15     Perdido 3'06
Ervin Drake / Hans Lengsfelder / Juan Tizol
16     In the Shade of the Old Apple Tree 3'42
Egbert VanAlstyne / Harry Williams    
17     Mood Indigo 3'47
Barney Bigard / Duke Ellington / Irving Mills
18     Sweet Lorraine 3'11
Clifford R. Burwell / Mitchell Parish
19     Rendez-Vous at the Hot Club 3'05
Traditional
20     Hop, Skip and Jump 2'29
Duke Ellington
21     Rabbit's Blues (You Blew Out the Flame in My Heart) 3'37
Johnny Hodges
22     Something to Pat Your Foot To 2'55
Al Sears
23     Blue Fantasia 3'13
Johnny Hodges
24     My Reward 3'09
Duke Ellington

JOHNNY HODGES AN HIS ORCHESTRA – 1952-1954 | The Classics Chronological Series – 1421 (2006) FLAC (tracks), lossless

After spending 22 years as Duke Ellington's star alto saxophonist, Johnny Hodges took a break from the Duke and led his own bands from 1951 to 1955, spending much of that time making excellent records for producer Norman Granz. This creative hiatus has been well-documented, most exhaustively by the Mosaic label's Complete Johnny Hodges Sessions 1951-1955. For those who didn't have a chance to flag down that particular anthology, volume four in the Classics Johnny Hodges chronology presents a potent portion of this fascinating chapter in musical history. These recordings were made immediately after the departure of tenor saxophonist Al Sears, who was headed for membership in BMI and a career in the music publishing business following the success of his R&B-infused opus Castle Rock. Like Sears, many of the players in Hodges' various ensembles were members or ex-members of the Ellington Orchestra. The most notable exceptions heard here are master percussionist J.C. Heard and trumpeter Emmett Berry, whose warm personality integrates well with the Ellingtonians, especially trombonist Lawrence Brown and tenor saxophonist Ben Webster. On the final three tracks, recorded July 2, 1954, Berry is replaced by powerfully expressive Ellington trumpeter Harold "Shorty" Baker. This session should be treasured for the presence of pianist Call Cobbs, who was destined to make remarkably inspired music with Albert Ayler during the late '60s. A 27-year-old John Coltrane is at least technically present on a gutsy, growling, laid-back blues entitled "Sweet as Bear Meat." Trane's participation, however, is only barely perceptible, as he is allotted no solo space whatsoever, and plays a faintly supportive reed section role similar to that of Floyd "Horsecollar" Williams in the Hot Lips Page band of 1944. Given the nature of this tune, it's a pity that Trane wasn't invited to mingle his tone with the visceral currents of Hodges and Baker. One thing's for sure -- he was listening carefully! Subsequent developments prove that Trane was a devout listener. Take time to reflect upon the fact that this compilation closes with a recording of John Coltrane listening to Johnny Hodges while hardly making any sounds of his own. arwulf arwulf
Tracklist :
1    I Got It Bad And That Ain't Good    3:29
Ellington / Webster
2    Nothin' Yet    2:40
Berry
3    Rosanne    3:08
Manning / Osser
4    This Love Of Mine    3:06
Sinatra
5    Hodge Podge    3:36
Hodges / Ellington
6    Jappa    3:53
Hodges
7    Through For The Night    3:17
Young
8    Come Sunday    2:32
Ellington
9    The Sheik Of Araby    3:13
Smith / Weiller / Snyder
10    Latino    2:54
Hodges
11    Easy Going Bounce    3:32
Hodges
12    Indiana    3:51
Hodges
13    Johnny's Blues - Part 1    3:36
Hodges
14    Johnny's Blues - Part 2    3:39
Hodges
15    In A Mellow Tone    6:17
Ellington
16    I Let A Song Go Out Of My Heart    3:08
Ellington / Nemo / Mills
17    Don't Get Around Much Anymore    3:46
Ellington / Russell
18    Burgundpy Walk    7:07
Hodges
19    On The Sunny Side Of The Street    2:58
Fields / McHugh
20    Sweet As Bear Meat    3:20
Hodges

JOHNNY HODGES - Three Classic Albums Plus (Second Set) : The Blues | More Of Johnny Hodges | In A Tender Mood | Johnny Hodges And His Strings Play The Prettiest Gershwin (2011) 2xCD | FLAC (tracks+.cue), lossless

The Blues
1-1    Rosanne 3'09
1-2    Hodge-Podge 3'35
1-3    Jappa 3'52
1-4    Through For The Night 3'17
1-5    Sheik Of Araby 3'14
1-6    Latino 2'54
1-7    Johnny's Blues 7'02
1-8    Indiana 3'51
1-9    Easy Going Bounce 3'32
1-10    Burgundy Walk 7'08
More to Johnny Hodges
1-11    Ballad Medley: Autumn In New York / Sweet Lorraine / Time On My Hands / Smoke Gets In Your Eyes / If You Were Mine / Poor Butterfly / All Of Me 18'01
1-12    On The Sunny Side Of The Street 2'56
1-13    Warm Valley 3'21
1-14    Madam Butterfly 3'14
1-15    Skokiaan 2'32
1-16    Used To Be Duke 7'23
In a Tender Mood
2-1    Who's Excited 3'02
2-2    Sweepin' The Blues Away 3'18
2-3    Standing Room Only 2'46
2-4    Below The Azores 3'03
2-5    Sweet Georgia Brown 6'00
2-6    Duke's Blues 6'05
2-7    Tenderly 3'18
2-8    Tea For Two 2'59
2-9    What's I'm Gotchere 3'23
2-10    Nothin' Yet 2'39
2-11    Sweet As Bear Meat 3'19
Johnny Hodges And His Strings Play The Prettiest Gershwin
2-12    Love Is Here To Stay 2'41
2-13    Nice Work If You Can Get It 3'09
2-14    'S Wonderful 2'47
2-15    Summertime 2'55
2-16    Soon 2'55
2-17    But Not For Me 2'39
2-18    Somebody Loves Me 2'28
2-19    They Can't Take That Away From Me 3'13
2-20    Someone To Watch Over Me 3'11
2-21    They All Laughed 2'50
2-22    The Man I Love 2'54
2-23    Oh, Lady Be Good 2'36

JOHNNY HODGES AND HIS ORCHESTRA - Used to Be Duke (1954-2009) Verve Originals | FLAC (tracks+.cue), lossless

Recorded during his five year "vacation" from Duke Ellington's orchestra, this Johnny Hodges set features his band sticking mostly to standards. With trumpeter Harold "Shorty" Baker, trombonist Lawrence Brown, baritonist Harry Carney, pianist Call Cobbs, or Richie Powell, bassist John Williams, drummer Louis Bellson, and either Jimmy Hamilton or John Coltrane (who unfortunately does not solo) on tenor, Hodges had a particularly strong group. High points include "On the Sunny Side of the Street," the title track and a seven-song ballad medley. Scott Yanow
Tracklist :
1    Used To Be Duke 7'22
Written By – Johnny Hodges
2    On The Sunny Side Of The Street 2'58
Written By – Dorothy Fields, James Francis McHugh
3    Sweet As Bear Meat3'21
Written By – Johnny Hodges
4    Madam Butterfly 3'16
Written By – Jimmy Hamilton, Johnny Hodges
5    Warm Valley 3'23
Written By – Edward Kennedy Ellington, Sidney Keith Russell
6    Medley: 1. Autumn In New York - 2. Sweet Lorraine, mistitled on CD as: Autumn in New York 3'37
Written By – 1. Vernon Duke / 2. Clifford R. Burwell, Mitchell Parish
7    Medley: 3. Time On My Hands (You In My Arms), mistitled on CD as: Sweet Lorraine 2'04
Written By – Mack Gordon, Harold Campbell Adamson, Vincent Millie Youmans
8    Medley: 4. Smoke Gets In Your Eyes, mistitled on CD as: Time On My Hands 2'13
Written By – Jerome David Kern, Otto Harbach
9    Medley: 5. If You Were Mine, mistitled on CD as: Smoke Gets In Your Eyes 4'02
Written By – Johnny Mercer / Matthew Michael Malneck
10    Medley: 6. Poor Butterfly, mistitled on CD as: If You Were Mine 2'52
Written By – John Golden, Raymond Hubbell
11    Medley: 7. All Of Me, mistitled on CD as: Poor Butterfly 3'05
Written By – Seymour Simons, Gerald Marks
Credits :
Alto Saxophone – Johnny Hodges
Baritone Saxophone – Harry Carney (pistas: 1, 4 to 11)
Bass – John Williams
Clarinet – Jimmy Hamilton (pistas: 1, 9)
Drums – Louis Bellson
Piano – Call Cobbs (pistas: 1 to 5), Richard Powell (pistas: 6 to 11)
Tenor Saxophone – Jimmy Hamilton (pistas: 4, 5)
Trombone – Lawrence Brown
Trumpet – Harold Baker

JOHNNY HODGES AND THE ELLINGTON MEN - The Big Sound (1957-2010) FLAC (tracks), lossless

Tracklist :
1    Don't Call Me, I'll Call You 3:31
Composed By – Anderson
2    An Ordinary Thing 3:32
Composed By – Anderson
3    Waiting For Duke 3:54
Composed By – Anderson
4    Dust Bowl 4:26
Composed By – Hodges
5    Little Rabbit Blues 9:23
Composed By – Hodges
6    Viscount 2:30
Composed By – Hodges, M. Ellington
7    Johnny Come Lately 2:26
Composed By – Strayhorn
8    Bouquet Of Roses 3:24
Composed By – Hodges, M. Ellington
9    Gone And Crazy 3:13
Composed By – Hodges
10    Digits 4:19
Composed By – Terry
11    Segdoh 3:27
Composed By – Hodges
12    Early Morning Rock 3:36
Composed By – Hodges
- BONUS TRACKS -        
13    Hi ´Ya    3:11
14    Snibor    7:17
15    I´m Gonna Sit Right Down And Write Myself A Letter    3:30
16    Texas Blues    11:47
Tracks 1-4 :
Bass – Jimmy Woode
Drums – Sam Woodyard
Piano – Billy Strayhorn
Reeds – Harry Carney, Jimmy Hamilton, Johnny Hodges, Paul Gonsalves, Russell Procope
Trombone – Britt Woodman, John Sanders, Quentin Jackson
Trumpet – Cat Anderson, Clark Terry,  Harold Baker, Ray Nance, Willie Cook
Tracks 6, 8, 10 & 12 : Same session as above. Omit Cook, Anderson, Woodman & Sanders
Tracks 5, 7, 9 & 11 : Clark Terry (tp), Ray Nance (tp, vln), Quentin Jackson, Britt Woodman, John Sanders (tb), Russel Procope (cl, as), Jimmy Hamilton (ts, cl), Harry Carney (bar), Billy Strayhorn (p), Jimmy Woode (b), Sam Woodyard (d), New York, June 26, 1957.
* Bonus Tracks 13-16 : Ray Nance (tp), Lawrence Brown (tb), Jimmy Hamilton (cl, as), Harry Carney (bar), Billy Stayhorn (p), Jimmy Woode (b), Sam Woodyard (d), New York, January 11, 1956.

JOHNNY HODGES AND HIS ORCHESTRA - Perdido + Creamy (2 LP on 1 CD) (2010) FLAC (tracks+.cue), lossless

These 1955 Johnny Hodges sessions feature two remarkable units including mostly musicians who had been long associated with Duke Ellington. Among them were two excellent trumpet players with clear ideas about Hodges: Clark Terry and Harold Shorty Baker. In Terrys laconic opinion, Johnny had always been true to himself. In the meantime, Baker once said that Nobody knows what Johnny Hodges feels inside as he walks out to the mike. He may look as though hes on his last walk to the gallows, but he appreciates the applause and he thanks the audience with a million dollars worth of melody!.

Their insights testify to the respect and regard Johnny Hodges (1907-1970) enjoyed among musicians. That his popularity with the public, in a five decade of professional activity, should remain undiminished, similarly testifies to the fact that artistic ability and integrity do not always go unnoticed and unrewarded. freshsound
Tracklist :
JOHNNY HODGES - Perdido
1. Rose Room (6:49)
2. Blues for Basie (6:19)
3. Mood Indigo (6:19)
4. Squatty Roo (6:49)
5. Perdido (6:27)
Tracks #1-5 originally issued as:
"Perdido" (Verve MGV-8179).
Personnel :
Harold 'Shorty' Baker (tp), Lawrence Brown (tb), Johnny Hodges (as), Arthur 'Babe' Clarke (ts), Leroy Lovett (p), Johnny Williams (b) and Louie Bellson (d). Recorded in New York City, on January 7, 1955.
JOHNNY HODGES - Creamy
6. Honey Bunny (6:37)
7. Passion (3:20)
8. Pretty Little Girl (2:28)
9. No Use Kickin (10:32)
10. Ballad Medley (15:19)
-Whispering
-Tenderly
-Dont Take Your Love from Me
-Prelude to A Kiss
-Polka Dots and Moonbeams
-Passion Flower
11. Scufflin (8:13)
Personnel :
Clark Terry (tp), Lawrence Brown (tb), Jimmy Hamilton (cl, ts), Johnny Hodges (as), Harry Carney (bs), Billy Strayhorn (p), Jimmy Woode (b) and Sonny Greer (d). Recorded in New York City, on September 8, 1955.