BUDDY RICH AND HIS ORCHESTRA — This One's for Basie (1956-1986) RM | FLAC (tracks+.cue), lossless

Drummer Buddy Rich put together an interesting 11-piece group for this tribute to Count Basie. The only Basie alumnus present is trumpeter Harry "Sweets" Edison but the other soloists (trombonist Frank Rosolino and Bob Enevoldsen, Bob Cooper on tenor and pianist Jimmy Rowles) easily fit into the setting. Marty Paich contributed the arrangements, there are plenty of drum solos and the music, if not all that memorable, can easily be enjoyed by straightahead jazz fans. Scott Yanow 
Tracklist :
1.     Blue and Sentimental 4:49
Count Basie / Mack David / Jerry Livingston 
2.     Down for Double 4:10
Freddie Green 
3.     Jump for Me 5:45
Count Basie 
4.     Blues for Basie 7:20
Edison 
5.     Jumping at the Woodside 6:26
Count Basie 
6.     Ain't It the Truth 3:01
Count Basie / Buster Harding / Jack Palmer 
7.     Shorty George 5:14
Count Basie / Andy Gibson 
8.     9:20 Special 4:34
William Engvick / Earle Warren 
Credits :
Arranged By – Marty Paich
Bass – Joe Mondragon
Drums – Buddy Rich
Guitar – Bill Pitman
Piano – Jimmy Rowles
Tenor Saxophone – Bob Cooper
Tenor Saxophone, Baritone Saxophone, Flute – Buddy Collette
Trombone – Frank Rosolino
Trumpet – Conrad Gozzo, Harry Edison, Pete Candoli
Valve Trombone, Tenor Saxophone – Bob Enevoldsen 

HERB ELLIS & RAY BROWN — Soft Shoe (1974-1988) Two Version | APE (image+.tracks+.cue), lossless

This early Concord recording (which is available on CD) is unusual in a couple of ways. Guitarist Herb Ellis and bassist Ray Brown (who are the co-leaders) are joined not only by trumpeter Harry "Sweets" Edison (who is in colorful form) and drummer Jake Hanna but pianist George Duke in one of his very few mainstream records. Their repertoire includes jazz versions of such unlikely tunes as "Inka-Dinka-Doo," "Easter Parade" and "The Flintstones Theme"; the latter version (which is based on the familiar "I Got Rhythm" chord changes) was the first of many to turn that cartoon melody into jazz. In addition Brown ("Soft Shoe"), Edison and Ellis contribute a song apiece plus there is a brief rendition of "Green Dolphin Street" that is taken as a Brown-Ellis duet. Recommended. Scott Yanow
Tracklist :
1.    Inka-Dinka-Doo  4:48
 Jimmy Durante / Ben Ryan 
2.    Soft Shoe    5:17
 Ray Brown 
3.    Edison Lights  6:05
 Harry "Sweets" Edison 
4.    Easter Parade    4:51
 Irving Berlin 
5.    Green Dolphin Street    2:26
 Bronislaw Kaper / Ned Washington 
6.    Ellis Original    2:31
 Herb Ellis 
7.    The Flintstones Theme    6:02
 Len Bryson / Larry Goldberg / Peggy Shows 
Credits :
Bass – Ray Brown
Drums – Jake Hanna
Guitar – Herb Ellis
Piano – George Duke
Producer – Carl E. Jefferson
Trumpet – Harry "Sweets" Edison

LAMBERT, HENDRICKS & ROSS — Everybody's Boppin (1989) RM | Columbia Jazz Masterpieces Series | Two Version | APE + FLAC (image+.tracks+.cue), lossless

Lambert, Hendricks and Ross made their debut on Columbia in 1959, and this CD contains not only all of the music from their first CBS album, but five titles from two later records. This set has many memorable classics from the great singers Dave Lambert, Jon Hendricks (the top vocalese lyricist) and Annie Ross. Highlights include the upbeat "Charleston Alley," a remake of Ross' "Twisted," the heated "Cloudburst," Hendricks' humorous "Gimme That Wine," "Summertime" (a recreation of Miles Davis' version with Gil Evans), and "Come on Home." Although Lambert, Hendricks and Ross only lasted a few years, their influence on other vocal groups was enormous. This set is a perfect place for collectors to begin to explore their vocal magic. Scott Yanow
Tracklist :
1. Charleston Alley 3:18
 Horace Henderson / Jon Hendricks / Leroy Kirkland 
2. Moanin' 2:34
 Bobby Timmons 
3. Twisted 2:15
 Wardell Gray / Annie Ross 
4. Bijou 3:16
 Ralph Burns / Jon Hendricks 
5. Cloudburst 2:15
 Jimmy Harris / Leroy Kirkland 
6. Centerpiece 2:26
 Harry "Sweets" Edison / Jon Hendricks 
7. Gimme That Wine 2:58
 Jon Hendricks 
8; Sermonette 3:47
 Cannonball Adderley / Jon Hendricks 
9. Summertime 1:43
 George Gershwin / Ira Gershwin / DuBose Heyward 
10. Everybody's Boppin' 4:11
 Jon Hendricks 
11. Home Cookin' 4:25
 Horace Silver 
12. Blue 3:48
 Gildo Mahones 
13. Come On Home 5:26
 Horace Silver 
14. Cottontail 2:55
 Duke Ellington 
15. Midnight Indigo 2:33
 Duke Ellington 
Credits :
Bass – Charles "Ike" Isaacs
Drums – Jimmy Wormworth (tracks: 4, 7 to 15), Walter Lee Bolden (tracks: 1 to 3, 5, 6)
Performer – The Ike Isaacs Trio (tracks: 11 to 14)
Piano – Gildo Mahones
Trumpet – Harry 'Sweets' Edison (tracks: 1 to 10)
Vocals – Annie Ross, Dave Lambert, Jon Hendricks

LOUIE BELLSON AND HIS ORCHESTRA — Skin Deep (1954-1999) RM | Verve Elite Edition Series | FLAC (tracks+.cue), lossless

Louis Bellson has long been acknowledged as one of the greatest drummers in jazz history and this release combines two separate sessions that are predominately features for his incredible solos. "Percussionistically Speaking" starts as a blues, then Bellson shows off his subtle brushwork before switching to sticks for a powerful solo. There's more room for other soloists on "Fascinatin' Rhythm," where guitarist Joe Puma, pianist Ralph Martin and bassist Bob Peterson get to show off their chops, too. The title track is Bellson's best known piece, written while he was briefly with Duke Ellington; this powerful big band version is as effective as his famous earlier version. Another choice cut is "For Europeans Only," featuring a strong solo by the ill-fated tenor saxophonist Wardell Gray, who was killed a little over a year following this session. Ken Dryden
Tracklist :
 1. Percussionistically Speaking (7:58)
Written-By – Louie Bellson
2. A Pearl For Louie (3:54)
Written-By – Ralph Martin
3. Fascinatin' Rhythm (4:16)
Written-By – George And Ira Gershwin
4. Copasetic (Long Version) (4:56)
 Written-By – Don Elliott, Ralph Martin
5. All God's Chillun Got Rhythm (2:55)
Written-By – Bronislaw Kaper, Gus Kahn, Walter Jurmann
6. Skin Deep (7:53)
Written-By – Louie Bellson
7. Loris (3:58)
Written-By – Joe Puma
8. For Europeans Only (3:03)
Written-By – Don Redman, Tadd Dameron
9. Phalanges (3:18)
Written-By – Clark Terry
10. Caxton Hall Swing (3:00)
Written-By – Louie Bellson
11. Copasetic (Short Version) (3:44)
Written-By – Don Elliott, Ralph Martin
Credits :
Louie Bellson plays drums on all tracks accompanied by:
On tracks 1-5, 7 and 11:
Don Elliott-trumpet, mellphone, vibraphone, bongo
Ralph Martin-piano
Joe Puma-guitar
Bob Peterson-bass
Recorded probably early February 1954 in New York City

On tracks 6 and 8-10:
Harry "Sweets" Edison, Maynard Ferguson, Conrad Gozzo, Ray Linn - Trumpet
Hoyt Bohannon, Herbie Harper, Tommy Pederson - Trombone
Benny Carter, Willie Smith - Alto Saxophone
Wardell Gray, Bumps Myers - Tenor saxophone
Bob Lawson - Baritone saxophone
Jimmie Rowles - Piano
Barney Kessel - Guitar
John Simmons - Bass
Don Redman - Arranger
Recorded August 14, 1953 at Radio Recorders, Hollywood

Original recordings produced by Norman Granz
Tracks 1-5 and 6-10 are in their respective original 10" LP sequences
Master numbers show the order in which the tracks were recorded

BARNEY KESSEL — Vol. 3 "To Swing or Not to Swing" (1955-1987) Two Version | APE (image+.cue), lossless + FLAC (tracks+.cue), lossless

Guitarist Barney Kessel's string of recordings for Contemporary in the 1950s included some of the finest work of his career. The unusual repertoire on this set -- which includes "Louisiana," "Indiana," and "12th Street Rag," along with four Kessel originals and more usual standards -- would by itself make this bop/cool set noteworthy. Add to that a very interesting lineup of players (trumpeter Harry "Sweets" Edison, Georgie Auld or Bill Perkins on tenor, pianist Jimmy Rowles, the rhythm guitar of Al Hendrickson, bassist Red Mitchell, and Shelly Manne or Irv Cottler on drums) and some excellent showcases for Kessel, and the overall result is a recording highly recommended to fans of straight-ahead jazz. Scott Yanow
Tracklist :
1. Begin The Blues 4:21
Written-By – Barney Kessel
2. Louisiana 3:55
Written-By – Andy Razaf, Bob Schaefer, J.C. Johnson
3. Happy Feeling 3:55
Written-By – Barney Kessel
4. Embraceable You 3:21
Written-By – Ira And George Gershwin
5. Wail Street 4:21
Written-By – Barney Kessel
6. Indiana 3:08
Written-By – Ballard MacDonald, James F. Hanley
7. Moten Swing 3:56
Written-By – Bennie Moten, Buster Moten
8. Midnight Sun 3:05
Written-By – Lionel Hampton, Sonny Burke
9. Contemporary Blues 4:05
Written-By – Barney Kessel
10. Don't Blame Me 2:54
Written-By – Dorothy Fields And Jimmy McHugh
11. 12th Street Rag 2:56
Written-By – Euday L. Bowman
Credits :
Bass – Red Mitchell
Drums – Irv Cottler, Shelly Manne
Guitar – Barney Kessel
Piano – Jimmy Rowles
Rhythm Guitar – Al Hendrickson
Tenor Saxophone – Bill Perkins, Georgie Auld
Trumpet – Harry Edison

ELLA FITZGERALD — Whisper Not (1966-2002) RM | LP Reproduction Series | Two Version | FLAC (image+.tracks+.cue), lossless

Whoever decided to put pianist Marty Paich and Ella Fitzgerald together in the studio in 1966 deserves a bit of credit for the great music on Whisper Not. Together, Fitzgerald and Paich deliver a dozen beautifully sung, carefully arranged standards. An orchestra tastefully backs Fitzgerald's vocals, offering cushy support without overdoing it. Even lighter pieces like "Sweet Georgia Brown" and "Old MacDonald" are given stately renditions. There's a fun version of "I Said No," filled with silly double entendres, and a relaxed take on "Thanks for the Memory." Norman Granz takes full advantage of stereo capabilities, creatively mixing the instruments to the right and left tracks while leaving Fitzgerald's voice front and center. Paich adds to the overall sound quality by varying the arrangements from song to song, carefully wrapping each tune in the right package. These fine-tuned arrangements also provide the perfect launching pad for Fitzgerald to place her own stamp on material associated with other singers. While both "Lover Man (Oh Where Can You Be)" and "You've Changed" will be recognized as Billie Holiday classics, Fitzgerald delivers light, elegant versions that are distinctly her own. Whisper Not captures two intelligent artists working toward a common goal and creating beautiful music in the process. Ronnie D. Lankford
Tracklist :
1. Sweet Georgia Brown 3:35
 Ben Bernie / Kenneth Casey / Maceo Pinkard
2. Whisper Not 3:04
 Leonard Feather / Benny Golson
3. I Said No 4:04
 Frank Loesser / Jule Styne
4. Thanks for the Memory 4:05
 Ralph Rainger / Leo Robin
5. Spring Can Really Hang You Up the Most 3:51
 Fran Landesman / Tommy Wolf
6. Old MacDonald 2:19
  Traditional
7. Time After Time 3:31
 Sammy Cahn / Jule Styne
8. You've Changed 3:19
 Bill Carey / Carl Fischer
9. I've Got Your Number 3:16
 Cy Coleman / Carolyn Leigh
10. Lover Man (Oh Where Can You Be?) 4:24
 Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
11. Wives and Lovers 2:24
 Burt Bacharach / Hal David
12. Matchmaker 2:49
 Jerry Bock / Sheldon Harnick
Credits :
Ella Fitzgerald - Vocal
Marty Paich - Piano, Arranger
Chuck Berghofer - Double Bass
Louie Bellson - Drums
Harry "Sweets" Edison - Trumpet
Shelly Manne - Drums
Joe Mondragon - Double Bass
Bill Perkins - Tenor Saxophone
Jimmy Rowles - Piano
Al Viola - Guitar
Stu Williamson - Trumpet

DEBBY MOORE - My Kind of Blues (1960-2007) FLAC (tracks), lossless

As its title promises, My Kind of Blues captures a distinctly personal interpretation of familiar blues and jazz standards--Debby Moore's uncommonly warm and gentle vocals soften the blow delivered by the lyrics of "How Come You Do Me Like You Do" and "Nothin' But Trouble on My Mind," transforming their melancholy into profound compassion and understanding. Nuanced contributions from trumpeter Harry "Sweets" Edison, pianist Jimmy Jones, guitarist Barry Galbraith, bassist George Duvivier, and drummer Elvin Jones further underscore the session's feather-light beauty. Fresh Sound's 2007 CD reissue appends the bonus cut "Get a Feeling." Jason Ankeny
Tracklist :
1. Five Months, Two Weeks, Two Days 2:58
Written-By – D. Morris, D. Donaldson
2. Come On Home To Me 2:26
Written-By – D. Morris, D. Donaldson
3. See See Rider 2:26
 Traditional
4. Nothin' But Trouble On My Mind 2:40
Written-By – Debby Moore, L. Donaldson
5. Sent For You Yesterday 2:10
 Basie-Rushing-Durham
6. Baby, Won't You Please Come Home 2:39
C. Warfield-C. Williams
7. I'm Travelin' Light 3:01
 Young-Mercer
8. (I Know) My Baby Loves Me True 2:53
Written-By – Debby Moore, L. Donaldson
9. Why Don't You Do Right 2:50
Joe McCoy-Peggy Lee
10. How Come You Do Me Like You Do Do Do 2:21
 G. Austin-R. Bergere
11. Hallelujah, I Love Him So 2:56
Written-By – Ray Charles
12. No Love, No Nothin' 2:47
H. Warren-L. Robin
– BONUS TRACK –
13. Get A Feeling 2:15
 E. Maultsby-D. Butler
Credits :
Debby Moore - Vocals, Whistling
Harry Edison - Trumpet
Jimmy Jones - Piano
Barry Galbraith - Guitar
George Duvivier - Bass
Elvin Jones - Drums

COUNT BASIE • JOE TURNER — The Bosses (1974-1994) RM | FLAC (tracks+.cue), lossless

Count Basie and an all-star band (including trumpeter Harry Edison, trombonist J.J. Johnson and the tenors of Eddie Davis and Zoot Sims) back up veteran Kansas City blues singer Big Joe Turner on one of his better later albums. The many fine solos inspire Turner, who is in top form on such tunes as "Night Time Is the Right Time," "Wee Baby Blues" and "Roll 'Em Pete." Scott Yanow
Tracklist :
1. Honeydripper 6:42
 Joe Liggins
2. Honey Hush 2:37
 Lou Willie Turner
3. Cherry Red 4:42
 Pete Johnson / Big Joe Turner
4. Night Time Is The Right Time 3:54
 Leroy Carr
5. Blues Around The Clock 4:58
 Willie Bryant
6. Since I Fell For You 3:55
 Buddy Johnson
7. Flip, Flop And Fly    3:28
 Charles E. Calhoun / Chuck Calhoun / Lou Willie Turner
8. Wee Baby Blues 5:37
 Pete Johnson / Big Joe Turner
9. Good Mornin' Blues 3:50
 Count Basie / Eddie Durham / Jimmy Rushing
10. Roll 'Em Pete 4:16
 Pete Johnson / Big Joe Turner
Credits :
Bass – Ray Brown
Drums – Louis Bellson
Guitar – Irving Ashby
Piano, Organ – Count Basie
Tenor Saxophone – Eddie Davis, Zoot Sims
Trombone – J.J. Johnson
Trumpet – Harry Edison
Vocals – Joe Turner

HERB ELLIS | RAY BROWN SEXTET — Hot Tracks (1976) FLAC (tracks+.cue), lossless

Guitarist Herb Ellis was the leader of six of the first dozen Concord releases. This lesser-known set has some fine playing from Ellis, trumpeter Harry "Sweets" Edison, tenor saxophonist Plas Johnson, bassist Ray Brown, drummer Jake Hanna and keyboardist Mike Melvoin although Melvoin's electric piano sounds a bit dated today. As usual the music is uncomplicated, straightahead, swinging and tasteful. Six of the songs are originals by group members which are performed along with Johnny Hodges' "Squatty Roo" and the ballad "But Beautiful." Scott Yanow
Tracklist :
1. Onion Roll (Ellis) - 4:26
2. Spherikhal (Brown) - 4:55
3. But Beautiful (Burke-Van Heusen) - 5:25
4. Blues for Minnie (Brown) - 4:41
5. Bones (Johnson) - 5:54
6. So's Your Mother (Melvoin) - 5:20
7. Squatty Roo (Hodges) - 3:10
8. Sweetback (Edison) - 4:27
Credits :
Herb Ellis - Guitar
Ray Brown - Bass
Harry "Sweets" Edison - Trumpet
Jake Hanna - Drums
Plas Johnson - Saxophone
Mike Melvoin - Keyboards

RAY BROWN — The Best Of The Concord Years (2002) 2xCD | FLAC (image+.cue), lossless

Ray Brown was in at the beginning of the Concord Jazz record label in the early '70s, and starting with Brown's Bag in 1975, he recorded a dozen albums as a leader for Concord before departing for Telarc Records in the early '90s. This two-disc compilation, with a running time of almost two hours and 20 minutes, presents 24 selections drawn from 19 Concord Jazz albums recorded between 1973 and 1993, including live performances at the Concord Jazz Festivals, recordings by Brown's trio and the L.A. 4, and a Brown duet with Jimmy Rowles, among other configurations. As a bass player, Brown only rarely solos, so one usually notices the horn players (Harry "Sweets" Edison, Red Holloway, Plas Johnson, Richie Kamuca, Blue Mitchell, Ralph Moore, and Bud Shank), the pianists (Monty Alexander, George Duke, Gene Harris, Art Hillery, and Rowles), or other frontline musicians (guitarists Laurindo Almeida, Herb Ellis, and Joe Pass, violinist John Frigo) before the rhythm section. But even when Brown isn't stepping out, he is maintaining the group's swing, along with drummers John Guerin, Jeff Hamilton, Jake Hanna, Gerryck King, Shelly Manne, Mickey Roker, and Jimmie Smith, and he also wrote a number of the tunes. Brown had done relatively few sessions as a leader in the 30 years of his career prior to his association with Concord, so, while the label owes him a lot, he also was enabled to flourish with the company in a way he had not before, and that is reflected in this well-chosen compilation. William Ruhlmann
Tracklist & Credits :

RAY BROWN — Bass Hit! (1958-1998) RM | Serie Verve Elite Edition | FLAC (tracks+.cue), lossless

Ray Brown's earliest date as a leader features him prominently in the solo spotlight with arrangements by Marty Paich. They collaborated on a swinging original blues, "Blues for Sylvia," and the snappy "Blues for Lorraine." The rest of the release concentrates on familiar standards, with the addition to the reissue of several complete and incomplete takes of "After You've Gone," which didn't appear on the original release. The supporting cast includes the cream of the crop of musicians living on the West Coast at the time: Jimmy Rowles, Harry "Sweets" Edison, and Jimmy Giuffre among them. Out-of-print for a long time, this record was reissued in 1999, though as a limited-edition title in the Verve Elite series, so it will not remain available for long. Ken Dryden
Tracklist & Credits :

ART TATUM — The Complete Pablo Group Masterpieces (1990) RM | 6CD BOX-SET | FLAC (tracks+.cue), lossless

Tatum spent most of his career as a solo pianist; in fact, it was often said that he was such an unpredictable virtuoso that it would be difficult for other musicians to play with him. Producer Norman Granz sought to prove that the theory was false, so between 1954 and 1956 he extensively recorded Tatum with a variety of other classic jazzmen, resulting originally in nine LPs of material that is now available separately as eight CDs and on this very full six-CD box set. In contrast to the massive solo Tatum sessions that Granz also recorded during this period, the group sides have plenty of variety and exciting moments, which is not too surprising when one considers that Tatum was teamed in a trio with altoist Benny Carter and drummer Louie Bellson; with trumpeter Roy Eldridge, clarinetist Buddy DeFranco, and tenor saxophonist Ben Webster in separate quartets; in an explosive trio with vibraphonist Lionel Hampton and drummer Buddy Rich; with a sextet including Hampton, Rich, and trumpeter Harry "Sweets" Edison; and on a standard trio session. Scott Yanow    Tracklist & Credits :

LESTER YOUNG — The Complete Lester Young Studio Sessions on Verve (2006) RM | 8xCD BOX-SET | FLAC (tracks+.cue), lossless

All too often, jazz critics have promoted the myth that Lester Young's playing went way downhill after World War II -- that the seminal tenor man was so emotionally wounded by the racism he suffered in the military in 1944-1945 that he could no longer play as well as he had in the '30s and early '40s. To be sure, Young went through hell in the military, and his painful experiences took their toll in the form of alcohol abuse, severe depression, and various health problems. But despite Young's mental decline, he was still a fantastic soloist. This eight-CD set, which gathers most of the studio recordings that he made for Norman Granz's Clef, Norgran, and Verve labels from 1946-1959, underscores the fact that much of his postwar output was superb. At its worst, this collection is at least decent, but the Pres truly excels on sessions with Nat "King" Cole and Buddy Rich in 1946, Oscar Peterson and Barney Kessel in 1952, Roy Eldridge and Teddy Wilson in 1956, and Harry "Sweets" Edison in 1957. Disc 8 contains two recorded interviews with the saxman -- one conducted by Chris Albertson in 1958 for WCAU radio in Philadelphia, the other by French jazz enthusiast Francois Postif in Paris on February 6, 1959 (only five or six weeks before Young's death on March 15 of that year). The contrast between the fascinating interviews is striking; in Philly, Young is polite and soft-spoken, whereas in Paris, the effects of the alcohol are hard to miss. Sounding intoxicated and using profanity liberally, Young candidly tells Postif about everything from his experiences with racism to his associations with Billie Holiday and Count Basie. But as much as the set has going for it, The Complete Lester Young Studio Sessions on Verve isn't for novices, casual listeners, or those who are budget-minded (Verve's suggested retail price in the U.S. was $144). Collectors are the ones who will find this CD to be a musical feast. Alex Henderson   Tracklist & Credits :

HARRY EDISON — Mr. Swing + The Swinger (1999) 2CD | Serie Verve Elite Edition | FLAC (tracks+.cue), lossless

The late Harry "Sweets" Edison was one of the acknowledged masters of swing trumpet; this reissue combines the original LPs The Swinger and Mr. Swing into a two-CD set with the addition of the previously unreleased "How Am I to Know?" and an Edison original, "Blues in the Closet" (no relation to the Oscar Pettiford piece with the same name). Edison and tenor saxophonist Jimmy Forrest work well together, inspiring one another with lyrical lines on the ballads like "The Very Thought of You," and Edison's easygoing blues "Pussy Willow," but also heat up the session with their playing on an up-tempo Basie-like blues in "Nasty." Edison switches to open horn during most of the second CD. Forrest's vibrato-filled solo on "Ill Wind," and Edison's memorable rendition of "Baby, Won't You Please Come Home?," including both open and muted trumpet solos, are second-half highlights. Pianist Jimmy Jones, bassist Joe Benjamin, drummer Charlie Persip, and rhythm guitarist Freddie Greene make up the capable rhythm section. This reissue is a part of the Verve Elite limited-edition series with only 6,500 copies pressed. Ken Dryden
Tracklist 1 :
1 Pussy Willow 7:34
Harry "Sweets" Edison / Duke Ellington
2 The Very Thought of You 6:08   
Peter Gosling / Ray Noble
3 Nasty 5:24
Harry "Sweets" Edison
4 The Strollers 6:58
Harry "Sweets" Edison
5 Sunday 6:58
Chester Conn / Benny Krueger / Ned Miller / Jule Styne
6 Fairground 5:06
Harry "Sweets" Edison
7 How Am I to Know? 7:18
Gordon Jenkins / Jack King
Tracklist 2 :
1 Love Is Here to Stay 9:52   
George Gershwin / Ira Gershwin
2 Short Coat 9:46
Harry "Sweets" Edison
3 Baby, Won't You Please Come Home 5:10
Charles Warfield / Clarence Williams
4 Impressario 8:42
Harry "Sweets" Edison
5 Ill Wind 5:53
Harold Arlen / Ted Koehler
6 Blues in the Closet 9:15
Harry "Sweets" Edison / Oscar Pettiford
Credits :
Bass – Joe Benjamin
Drums, Timpani – Charlie Persip
Guitar – Freddie Green
Piano – Jimmy Jones
Tenor Saxophone – Jimmy Forrest
Trumpet – Harry Edison

DIZZY GILLESPIE · ROY ELDRIDGE · HARRY "SWEET" EDISON · CLARKE TERRY · JOE TURNER – The Trumpet Kings Meet Joe Turner (1975-2006) RM | FLAC (tracks+.cue), lossless

This album features a most unusual session. Veteran blues singer Joe Turner and his usual rhythm section of the mid-'70s (which includes guitarist Pee Wee Crayton) are joined by four notable trumpeters: Dizzy Gillespie, Roy Eldridge, Harry "Sweets" Edison, and Clark Terry. On three blues (including the 15-minute "I Know You Love Me Baby") and "Tain't Nobody's Bizness If I Do," the group stretches out with each of the trumpeters getting ample solo space. It is not a classic outing (a little more planning and better material might have helped), but it is colorful and unique enough to be easily recommended to straight-ahead jazz and blues fans. Scott Yanow   Tracklist + Credits :

COUNT BASIE AND HIS ORCHESTRA – 1943-1945 | The Classics Chronological Series – 801 (1995) FLAC (tracks+.cue), lossless

This interesting CD mostly reissues the V-Discs of Count Basie's Orchestra, performed during a time when the musicians' union strike kept the Basie band off records. Lester Young is heard back with Basie on five numbers from May 27, 1944. Otherwise, the band was much more stable than most swing bands of the war years, making it to December 1944 when it was able to resume its recordings for the Columbia label. There was not much change in the orchestra's swinging style during this era, as can be heard on such enjoyable pieces as "G.I. Stomp," "Yeah Man!," "Circus in Rhythm," two versions of "Taps Miller," and "Old Manuscript." Scott Yanow  Tracklist + Credits :

COUNT BASIE AND HIS ORCHESTRA – 1946-1947 | The Classics Chronological Series – 988 (1998) FLAC (tracks), lossless

Here's a crash course in the flashy post-WWII big band sound of Count Basie's Orchestra. This was a much different act from the Basie band of 1944-45. The entire presentation had changed considerably in just a couple of years. Arrangers had a lot to do with such rapid transformation, along with creative young players like J.J. Johnson, Paul Gonsalves and Illinois Jacquet. Basie himself was maturing already into that famously glib, tinkling pianist who could and did occasionally play his ass off. A number of stylistic modes are clearly at work during the summer of 1946. Two sentimental pop vocals, one lightweight novelty tune and a solid Jimmy Rushing blues are interspersed with several exciting instrumentals. Buster Harding cooked up a few heavy-handed boogies, Tadd Dameron contributed the stimulating, modern composition "Stay On It," and Harry "Sweets" Edison composed and arranged "Mutton Leg," a sizzling feature for Illinois Jacquet. This would be the saxophonist's last extroverted studio recording with this band, and the eight selections from 1946 were the last of Basie's mid-'40s Columbia sides. Signing up with Victor for the next three years, Basie continued to move in step with rapidly evolving developments in pop, bebop and rhythm and blues. The Victor sides have not been reissued very often, and have proved much more difficult to obtain than Basie's earlier recordings from the Columbia and Decca catalogs. The people in charge of the Classics chronological series are to be commended for making these historical recordings available. The Victor material is markedly varied, revealing an orchestra searching for its next stylistic identity. "Open the Door, Richard" is one of the coolest versions of this silly piece of neo-vaudeville ever recorded, mainly because of Harry "Sweets" Edison's very hip, high-voiced spoken delivery. "One O'Clock Boogie" is recognizable Basie, but two lush ballads, arranged by Hugo Winterhalter, of all people, are atypical for this band. "Futile Frustration," though nominally co-composed by Basie, is a jaggedly futuristic Raymond Scott-styled experiment by Jimmy Mundy. Two live V-Disc jams, each exceeding the four-minute mark, feature Basie and rhythm with a snappy front line of Roy Eldridge and Illinois Jacquet. Art Ford, square peg in a round universe, introduces "Lady Be Good." "Jammin' on a V-Disc," which has a line that sounds uncannily like Sun Ra's "Space is the Place," runs at a brisk clip with wonderful solos from both of the horns. Illinois bites the reed to make his sax squeal and everybody rocks. Buddy Rich is in his element here, as the assignment calls for furious drumming. This segment of the chronology ends with three excellent instrumentals including smart remakes of "St. Louis Boogie" and "Swingin' the Blues." The pianist switches over to Hammond organ in the middle of "Basie's Basement," an authentically low-down blues graced with echoes of Fats Waller's personality. The rest of the fine music recorded by Basie and his men during the month of May 1947 appears at the beginning of the next volume of the complete recordings of Count Basie in chronological order. arwulf arwulf   Tracklist + Credits :

BEN WEBSTER – 1953-1954 | The Chronogical Classics – 1458 (2008) FLAC (tracks+.cue), lossless

Almost 25 years into his recording career, tenor saxophonist Ben Webster made a series of studio recordings under the supervision of producer Norman Granz. These marvelous performances were reissued in chronological sequence by the Classics label in 2008. Each volume of Ben Webster on Classics is richly packed with satisfying ballads, blues, and swing. This installment borders between superb and divine. Three titles recorded for Mercury on January 22, 1953, find Webster soloing in front of an orchestra conducted by Johnny Richards, a student of Arnold Schoenberg who served as an arranger for Stan Kenton. Recorded at sessions that took place in April and December 1953, tracks four through 12 were originally released on the Norgran album King of the Tenors. The collective personnel from these dates is typical of the Granz "embarrassment of riches" approach, for here were trumpeter Harry "Sweets" Edison, alto saxophonist Benny Carter, pianist Oscar Peterson, guitarists Barney Kessel and Herb Ellis, bassist Ray Brown, and drummer J.C. Heard. Tracks 13-16 were recorded on March 30, 1954, with the assistance of pianist Teddy Wilson, bassist Ray Brown, and drummers Alvin Stoller and Jo Jones. This material, along with the rest of the titles on the collection, formed the Verve album Music for Loving. On tracks 17-21, Ben Webster interprets sensuous ballads backed by the Ralph Burns Orchestra. In addition to a string section, the ensemble included clarinetist Tony Scott, bassist George Duvivier, drummer Louis Bellson, and composer/pianist/arranger Billy Strayhorn. arwulf arwulf         Tracklist :

DEXTER GORDON – 1943-1947 | The Chronogical Classics – 999 (1998) FLAC (tracks+.cue), lossless

This magnificent album of progressive jazz from the mid-'40s contains the earliest recordings released under Dexter Gordon's name. The opening session finds him in the company of Nat King Cole and Harry "Sweets" Edison. While Cole based much of his piano style on the creative accomplishments of Earl Hines, Gordon named Roy Eldridge and Lester Young as primary influences. The inspiration to emulate Prez, said Dex, "...came like a bolt out of the blue to me...I readily identified with his ideas and concepts...." This is superbly demonstrated in the relaxed jamming atmosphere of the first four tracks, particularly "I Blowed and Gone." Gordon said that by the time he joined the Lionel Hampton band in December of 1940, he'd been listening carefully to Prez "for three or four years." By 1943 Gordon's saxophone voice had ripened under that influence to the point where he was beginning to tell his own story. Then one night in 1944 at Minton's Playhouse, Gordon sat in literally between Lester Young and Ben Webster. Recording for Savoy in October of 1945, Gordon was teamed with adventurous pianist Sadik Hakim, backed by Gene Ramey and Ed Nicholson. These performances resemble Lester Young's Aladdin and early Clef recordings. The second Savoy session from January 1946 has Leonard Hawkins blowing trumpet and a wicked rhythm section in Bud Powell, Curly Russell, and Max Roach. As is the case with most of the groups heard on this collection, the combination of creative minds is stunning. And here Gordon establishes his wonderful personal regimen of delivering slow, full-feature tenor ballads. Back in 1943, "Sweet Lorraine" was shared with Nat Cole, who soon became closely identified with that melody. "I Can't Escape from You" is the first real example listeners have of Gordon the three-minute balladeer. Other forthcoming offerings in this vein are "Talk of the Town" and "I Don't Stand a Ghost of a Chance with You." His next session as a leader took place in Hollywood on June 5, 1947, with trombonist Melba Liston, who was soloing with and writing arrangements for Gerald Wilson's orchestra during this period (see Classics 976, the 1945-1946 volume of the label's Wilson chronology). "Mischievous Lady" and "Lullabye in Rhythm" contain what seem to be Liston's first solos recorded in a small-band environment. It's a shame that this group didn't cut a dozen more sides together. One week later, Gordon and Wardell Gray cut their famous two-part tenor blowout, "The Chase." Since Charlie Parker's "Klactoveedsedstene," with its distinctive opening clause, was recorded on October 28, 1947, it is interesting to hear the same lick used to open and close "The Chase," recorded nearly five months earlier. Which came first, the Bird or the egg? As "The Chase" proceeds, another riff emerges, forming the basis for the theme and the beginning of the first solo. It is based on Alphonse Picou's famous clarinet passage from "High Society," the old New Orleans jazz anthem. Here is the great multi-generational span dance, the new thing firmly grounded in the old. Every single record reissued here is worth its weight in gold. Gordon's Dial recordings, especially "Chromatic Aberration" and "Bikini," are full-blooded mature statements from a 24-year-old master improviser wise beyond his years. Even in the face of all the great records he would make in the years to come, this stash of Dexter Gordon's early work should be cherished among his very best. arwulf arwulf               Tracklist + Credits :

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
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