GENE KRUPA AND HIS ORCHESTRA – 1935-1938 | The Chronogical Classics – 754 (1994) APE (tracks+.cue), lossless

The first CD in the European Classics label's "complete" Gene Krupa series starts off with two all-star sessions that preceded the drummer's first dates as a big-band leader. Krupa, Benny Goodman, bassist Israel Crosby (featured on "Blues of Israel") and several sideman from Goodman's 1935 band jam four songs, and from the following year, Krupa is joined by trumpeter Roy Eldridge, tenor saxophonist Chu Berry, pianist Jess Stacy, guitarist Allan Reuss, Crosby and (on two of the four songs) singer Helen Ward. The two instrumentals ("I Hope Gabriel Likes My Music" and "Swing Is Here") are near-classics that are quite heated. Otherwise, this CD has Krupa's first 15 numbers with his big band, a promising outfit which during 1938 also featured tenor saxophonist Vido Musso, pianist Milt Raskin and the vocals of Irene Daye and Helen Ward. Highlights include "Feeling High and Happy," "Wire Brush Stomp" and the previously unissued "The Madam Swings It." Scott Yanow  Tracklist + Credits :

HARRY JAMES AND HIS ORCHESTRA – 1941, Vol. 2 | The Chronogical Classics – 1092 (1999) FLAC (tracks), lossless

After two years of struggling to keep a big band together, on May 20, 1941, Harry James finally recorded the hit that made his orchestra world-famous, "You Made Me Love You." From then on his big band would become more and more popular each month, hitting its peak of popularity during 1942-1946. Also on Classics' sixth Harry James set (which continues the reissuance of all of his early recordings) are Helen Ward singing "Daddy" and such instrumentals as "Jughead," "Dodger's Fan Dance," "Record Session," and "Nothin'." Dick Haymes' nine vocals are of lesser interest but compensating are a trio of previously unreleased but intriguing instrumentals: "Arabesque," "Caprice Viennois," and "Nobody Knows the Trouble I've Seen." Scott Yanow
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RED NORVO AND HIS ORCHESTRA – 1943-1944 | The Classics Chronological Series – 1306 (2003) FLAC (tracks), lossless

With chronological precision, this delightful disc covers eight months in the life of Red Norvo, who by November of 1943 had permanently switched from playing xylophone to the smoother, cooler, more modern vibraphone. Five V-Disc sides feature two attractive vocals by Helen Ward and excellent solos from rising tenor sax star Flip Phillips, clarinetist Aaron Sachs (who appears on four of the five sessions reissued here), trumpeter Dale Pearce, and trombonist Dick Taylor. A rhythm section of Ralph Burns, Clyde Lombardi, and Johnny Blowers rounds off this outstanding, up-to-date octet. Jazz-wise, the music recorded at this blowing session is strikingly superior to the stuff Norvo had produced only 18 months earlier, and vastly different from his big-band output during the late '30s. Norvo's next recording date took place in Chicago on April 5, 1944. Four exciting sides, originally issued on the Steiner Davis label, are distinguished by the easygoing interplay between Norvo, Lombardi, guitarist Remo Palmieri, and the great jazz violinist Stuff Smith. "Rehearsal" is exactly that -- three and a half minutes of impromptu jamming laced with laughter, discussion, and even a little scat singing. "Red's Stuff" is probably the creative apex of this incredible date, a rare treat for connoisseurs of vintage mid-20th century jazz. An authentically modern-sounding series of bop ideas, tonalities, and phrasing verify the radically progressive direction being pursued by the Red Norvo Sextet as they recorded for Brunswick in May of 1944. Their absorption of contemporary musical modes is evident in an amazing rendition of Denzil de Costa Best's "Dee Dee's Dance," a brand new approach to "Blue Skies," and especially the busy Benny Goodman/Charlie Christian jam vehicle "Seven Come Eleven." Three similarly advanced V-Discs from May of 1944 -- clocking in at nearly five minutes per side -- lead listeners to the threshold of Norvo's tenure as a Keynote recording artist. On July 27, 1944, at his first session for Harry Lim's ambitious modern jazz label, the vibraphonist and a small contingent from the previous date were joined by Teddy Wilson and Slam Stewart. The other half of the material from this session may be found on Classics 1356, the 1944-1945 volume in the label's Red Norvo chronology. arwulf arwulf  
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TEDDY WILSON AND HIS ORCHESTRA – 1937 | The Classics Chronological Series – 531 (1990) FLAC (tracks+.cue), lossless

For this Classics CD (one in a series of Teddy Wilson releases that reissue all of the pianist's early recordings as a leader), Billie Holiday is featured on nine of the titles including "I'll Get By," "Mean to Me," "Foolin' Myself," and "Easy Living"; all of those gems also feature tenor saxophonist Lester Young. Much rarer are three songs with singer Helen Ward, a vocal by Frances Hunt ("Big Apple"), three by the forgotten vocalist Boots Castle, and five instrumentals. It is a pity that the selections without Holiday were not reissued separately since the Lady Day performances are generally quite common. Such immortal sidemen are heard from as Young, trumpeters Cootie Williams, Harry James and Buck Clayton, altoist Johnny Hodges, baritonist Harry Carney, and clarinetists Buster Bailey and Benny Goodman; this music is essential in one form or another. Scott Yanow
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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  
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TEDDY WILSON – 1942-1945 | The Classics Chronological Series – 908 (1996) FLAC (tracks+.cue), lossless

Pianist Teddy Wilson was the epitome of style in jazz. He stuck to his pristine brand of swing throughout a long career, never really seeming out of place in the process. After working with the likes of Billie Holiday, Roy Eldridge, and Benny Goodman, Wilson formed his own big band in 1939, only to have to fold it in 1940. Thankfully, Wilson returned to combo settings, which seemed to suit him best. This Classics disc features a mix of those small-group dates from the mid-'40s, along with some solo piano sides and a few vocal cuts featuring Helen Ward and Maxine Sullivan. Also on hand to contribute top-notch work are trumpeter Charlie Shavers, clarinetist Edmond Hall, tenor great Ben Webster, and trombonist Benny Morton. An optimal and highly enjoyable disc to start your Wilson collection. Stephen Cook
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BENNY GOODMAN AND HIS ORCHESTRA – 1934-1935 | The Classics Chronological Series – 744 (1994) FLAC (tracks+.cue), lossless

 With the exception of the final two titles, all of the music on this CD is from 1934, a period when Benny Goodman first formed his big band and appeared regularly on the Let's Dance radio series. Still virtually unknown to the general public, Goodman at 25 was ready for stardom, but the world was not quite yet ready for swing. The first four selections are from a fascinating combo date with the great tenor Coleman Hawkins and Mildred Bailey (who has vocals on three songs, including "Ol' Pappy" and "Emaline"). Another small-group session that features trombonist/singer Jack Teagarden and pianist Teddy Wilson precedes the Goodman Music Hall Orchestra's recordings for Columbia. The band is heard gradually developing their musical identity despite the lack of any major soloists other than the leader and (starting in November 1934) trumpeter Pee Wee Erwin. Helen Ward takes three vocals, and with "The Dixieland Band" in January 1935, the Goodman sound was almost together. Scott Yanow
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BENNY GOODMAN AND HIS ORCHESTRA – 1935 | The Classics Chronological Series – 769 (1994) FLAC (tracks+.cue), lossless

This CD traces the evolution of Benny Goodman's orchestra from the beginning of 1935 when they were comparatively unknown to the beginning of July when they were on the brink of success, even though Benny Goodman was no longer appearing on the Let's Dance radio series and was about to embark on a risky cross-country trip. Singer Helen Ward, drummer Gene Krupa, and trumpeter Pee Wee Erwin were the key voices (along with the clarinetist/leader) at the beginning of the year, but by the time the band recorded the last eight numbers on this disc, Bunny Berigan was Benny Goodman's star trumpeter. His solos on "King Porter Stomp" and "Sometimes I'm Happy" (along with Fletcher Henderson's swinging arrangements) would make Goodman a major star. Berigan also has hot spots on "Blue Skies" and "Jingle Bells." Swing was almost ready to catch on big. Scott Yanow
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BENNY GOODMAN AND HIS ORCHESTRA – 1935-1936 | The Classics Chronological Series – 789 (1994) FLAC (tracks+.cue), lossless

After a historic up-and-down, cross-country trip to Los Angeles, Benny Goodman & His Orchestra became a sensation, launching the swing era. This set has the first selections by the Benny Goodman Trio (featuring the clarinetist with pianist Teddy Wilson and drummer Gene Krupa) and the initial big band recordings after Benny Goodman was crowned the king of swing, including his closing theme song, "Goodbye," "When Buddha Smiles," "Stompin' at the Savoy," and "Goody Goody" (Helen Ward's biggest hit). The next few years found Benny Goodman at the top of the music world. Scott Yanow
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BENNY GOODMAN AND HIS ORCHESTRA – 1936 | The Classics Chronological Series – 817 (1995) FLAC (tracks+.cue), lossless

Here's a chronological survey of studio recordings made by Benny Goodman with his trio and orchestra for the Victor label during the spring and summer of 1936 in New York, Chicago, and Hollywood. Riding on solid arrangements by Horace Henderson ("Walk, Jennie, Walk"), Fletcher Henderson ("Remember," "I Would Do Anything for You," "I've Found a New Baby," "You Turned the Tables on Me," and "Down South Camp Meeting"), Spud Murphy, and Jimmy Mundy, it's obvious why this big band went over so well. Mundy's arrangements of Duke Ellington's "In a Sentimental Mood" and his own "House Hop" dramatically demonstrate the Goodman orchestra's famously fine approach to making music for slow dancers and jitterbugs alike. Two trio sessions with Teddy Wilson and Gene Krupa produced ripping hot versions of "China Boy" and "Nobody's Sweetheart," a rock-solid "Oh, Lady Be Good," a gorgeous and reflective "More Than You Know," and a pair of pretty love songs sung by Helen Ward, who also pipes up on five of the big-band tracks. At this point in the Goodman orchestra's evolution, the influence of Fletcher Henderson was strongly felt. Today, decades after his demise, Henderson is finally acknowledged as the concealed genius behind some of Benny Goodman's very best recorded performances. arwulf arwulf
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BENNY GOODMAN AND HIS ORCHESTRA – 1936, Vol. 2 | The Classics Chronological Series – 836 (1995) FLAC (tracks+.cue), lossless

Volume seven in the Classics Benny Goodman chronology presents 22 sides recorded for the Victor label in Hollywood during August 1936 and in New York during October and November of that year. Three big band performances open this compilation; the first two used arrangements written by Fletcher Henderson. Next come four titles excellently rendered by the Benny Goodman trio and quartet with Teddy Wilson, Gene Krupa, and vibraphonist Lionel Hampton, who sings wonderfully on "Exactly Like You" and the "Vibraphone Blues." The big band session that took place on October 7 produced three vocals by Helen Ward and three instrumentals, including a Henderson-arranged "Alexander's Ragtime Band" as well as the solidly swung "Riffin' at the Ritz," during which Goodman melted into the reed section in a rare switch from clarinet to alto saxophone; the sax solo is by tenor man Vido Musso, who sounds a lot like Chu Berry or Coleman Hawkins. Henderson also arranged "Somebody Loves Me" and Jimmy Mundy drew up the charts for "Jam Session" and "Bugle Call Rag." These titles were waxed on November 5, 1936; on that same day Goodman sang "T'ain't No Use" and Chick Webb's star vocalist Ella Fitzgerald sat in on three recordings that generated flack from executives at Decca who protested that Ella was breaching her contract by getting with Victor. During a subsequent recall of product and reissuing of reshuffled titles, "Did You Mean It?" was pulled from the catalog entirely and would not reappear for many years. This segment of the chronology ends with two byproducts of a quartet session that occurred on November 18, 1936. The remaining titles from this date appear on the next volume in the series. arwulf arwulf  
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BENNY GOODMAN AND HIS ORCHESTRA – 1936-1937 | The Classics Chronological Series – 858 (1995) FLAC (tracks+.cue), lossless

The addition of Harry James to Benny Goodman & His Orchestra in January 1937 gave Benny Goodman one of the greatest trumpet sections ever with James, Ziggy Elman, and Chris Griffin all able to play both solos and lead. Gene Krupa's drumming became increasingly assertive during this period, adding excitement to the band even if Goodman was not sure that he enjoyed the change in the group's sound. Helen Ward's decision to retire at the end of 1936 was unfortunate (she would never regain the fame that she had at that moment) and it would take Goodman much of 1937 before finding the right vocalist. But with that trumpet section, Jess Stacy, Krupa, and the Benny Goodman Trio and quartet, not to mention the leader's clarinet, this was a classic band -- the most popular in the music world. Among the many highlights on this CD are the Benny Goodman Trio's version of "Tiger Rag," the Benny Goodman Quartet on "Stompin' at the Savoy," Ella Fitzgerald guesting on "Goodnight My Love," "Peckin'," and the original studio version of "Sing, Sing, Sing." Scott Yanow
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JOE SULLIVAN – 1933-1941 | The Classics Chronological Series – 821 (1995) FLAC (tracks+.cue), lossless

All of pianist Joe Sullivan's early recordings as a leader are on this definitive CD. Sullivan is heard in a dozen solo performances from 1933, 1935, and 1941 (including the two earliest versions of his hit "Little Rock Getaway" along with memorable renditions of "My Little Pride and Joy" and "Honeysuckle Rose"), four selections with the Three Deuces (a trio with clarinetist Pee Wee Russell and drummer Zutty Singleton), and eight numbers with an octet featuring the underrated trumpeter Ed Anderson, trombonist Benny Morton, clarinetist Edmond Hall, and vocals by Big Joe Turner (who manages to turn "I Can't Give You Anything but Love" into a blues) and Helen Ward. This French import is essential for fans of the great stride pianist. Scott Yanow
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