SY OLIVER AND HIS ORCHESTRA – 1945-1949 | The Chronogical Classics – 1190 (2001) FLAC (tracks+.cue), lossless

Sy Oliver's main contributions to jazz history were his arrangements in the 1930s for Jimmie Lunceford and during the first half of the '40s for Tommy Dorsey. In 1947, he had a big band that recorded four sessions for MGM but quickly flopped, lacking its own musical personality and being born at a time when big bands were breaking up. This interesting CD is full of rare material. Oliver sings "Seventh Avenue" on a V-Disc from 1945, leads his big band on all 16 of its recordings from 1947, and heads a couple studio bands for sessions in 1949. Overall, Oliver has vocals on ten of the 23 numbers and also features singers Henry Wells, Tommy Roberts, Joe Bailey, Bobby Marshall, Charles McCormick, and the Aristokats. Although some of the sidemen are well-known swing veterans, in general they are confined to ensembles, with only a few of the tunes being worthwhile instrumentals. The music is enjoyable enough but one can easily understand why the Sy Oliver Orchestra never caught on. Scott Yanow
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SY OLIVER AND HIS ORCHESTRA – 1949-1952 | The Chronogical Classics – 1365 (2004) FLAC (tracks), lossless

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MILDRED BAILEY – 1943-1945 | The Classics Chronological Series – 1316 (2003) FLAC (tracks+.cue), lossless

Most of Mildred Bailey's recordings have been reissued, but this CD is particularly special. With the exception of the final four songs, all of the music was originally out on fairly rare V-discs, making this a strong addition to swing and vocal jazz fans' collections. Bailey was one of the most distinctive singers of the 1930s and '40s and she was at the peak of her powers during the World War II years. Particularly worthy are the first four selections (including an extended version of "Rockin' Chair") in which she is accompanied by pianist Teddy Wilson. "Squeeze Me" is taken from the Esquire All-American concert of 1944. There are three songs in which Bailey is joined by a sextet led by her husband vibraphonist Red Norvo (clarinetist Aaron Sachs is in good form), ten songs on which Bailey is accompanied by Paul Baron's orchestra, a heated version of "Dinah" with Wilson and trumpeter Charlie Shavers, and the final studio date with a nonet. In addition to the first version of "Rockin' Chair," other highlights include "Sunday, Monday or Always," "More Than You Know," "Downhearted Blues," "From the Land of the Sky Blue Water," and "I'm Glad There Is You." Recommended. Scott Yanow  
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MILDRED BAILEY – 1945-1947 | The Classics Chronological Series – 1337 (2003) FLAC (image+.cue), lossless

As she neared the end of her recording career, Mildred Bailey suffered from a steadily shrinking voice, but her interpretive powers were undiminished. The Classics volume 1945-1947 proves that point with a program of 25 performances backed by orchestras including Eddie Sauter's and Ted Dale's, and sidemen including vibraphonist Red Norvo (Mr. Swing to her Mrs. Swing), pianist Ellis Larkins, clarinetist Hank d'Amico, and trumpeter Dick Vance. Bailey reflects on her long professional life with a raft of melancholy standards -- "Lover, Come Back to Me," "These Foolish Things," and a tender "Can't We Be Friends?" John Bush  
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ELLA FITZGERALD – 1949 | The Classics Chronological Series – 1153 (1999) FLAC (tracks), lossless

In her live performances of 1949, Ella Fitzgerald (who turned 33 that year) often showed the influence of bebop in her phrasing and improvising. However, her studio recordings for Decca (all 21 selections that she cut that year on are on this CD) are surprisingly absent of bebop, instead alternating ballads and bluish pieces with a few swing-oriented numbers. Fitzgerald sounds typically wonderful and cheerful, but the arrangements (for the orchestras of Sy Oliver, Gordwillon Jenkins, and Sonny Burke) are often closer to middle-of-the-road pop music than to jazz. Fitzgerald sounds in fine form on such numbers as "Old Mother Hubbard," "Happy Talk," "Black Coffee," "In the Evening," and "I Hadn't Anyone Till You," imitating Louis Armstrong a bit on "Basin Street Blues." In addition, there are two numbers with Louis Jordan's Tympany Five (including "Baby It's Cold Outside") and two forgettable selections with the Mills Brothers. This CD is a real gap-filler (few of these selections are ever reissued), but not essential. Scott Yanow
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ELLA FITZGERALD – 1950 | The Classics Chronological Series – 1195 (2001) FLAC (tracks+.cue), lossless

Few vocalists have managed to succeed so well in both jazz and pop music as did Ella Fitzgerald. The 11th installment in her complete Classics chronology presents 24 Decca recordings made between February 2 and December 20, 1950. On eight of these she is backed by Sy Oliver & His Orchestra, sometimes singing duets with Oliver himself. Fitzgerald seems to have been able to make sense out of any routine and had the ability to put a song across in virtually any company. During this period she collaborated with two vocal groups: the aggressively wholesome Four Hits & a Miss and the Ink Spots, with whom she'd made records back in 1944. She also rendered up a suite of eight Gershwin tunes with Ellis Larkins at the piano, sat in with Louis Jordan & His Tympany 5, cut a pair of delightful duets with Louis Armstrong, and rattled off a couple of idiotic novelty tunes, accompanied by a giggling, unidentified vocal group composed of either children or foolish adults. "Molasses, Molasses" was also recorded by Spike Jones & His City Slickers with a falsetto group vocal led by squeaky-voiced George Rock, a capable trumpeter who had an annoying habit of impersonating little boys. Ella Fitzgerald's version is better, if that means anything. For a much hipper and funnier song about molasses, see Bob Howard (1937-1947, Classics 1055). arwulf arwulf
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ELLA FITZGERALD – 1951 | The Classics Chronological Series – 1261 (2002) FLAC (tracks+.cue), lossless

Most of Ella Fitzgerald's recordings from 1951 (all of which are on this CD) are obscure and have rarely been reissued. "The First Lady of the American Song" turned 34 that year and was in peak form, as she would be throughout the decade. The music ranges from novelties ("Two Little Men In A Flying Saucer," and a cover of "Come On-A My House,") to worthy versions of "Love You Madly," "Smooth Sailing," and "Baby Doll." The settings range from tunes with Sy Oliver's Orchestra and occasional background singers, to a date with Hank Jones, and four lesser-known but delightful duets with Louis Armstrong: "Necessary Evil," "Oops," "Would You Like To Take A Walk," and "Who Walks In When I Walk Out." Scott Yanow
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EDMOND HALL – 1944-1945 | The Classics Chronological Series – 872 (1996) FLAC (tracks), lossless

What you have here is a veritable audio lexicon of Edmond Hall's style and musical personality. From the first few bars of "It's Been So Long," the clarinetist conjures a disarming atmosphere of warmth and reassurance. The effect is quadrupled as Harry Carney enters, puffing away at his baritone saxophone. The entire Swingtet was in perfect form on May 5, 1944, and the recordings they made on that day are among the very best from Blue Note's first decade. Benny Morton's temperament was perfectly suited for the task of interacting with the other two horns. Their rhythm section was strong enough to provide unflinching support, even when Carney's baritone bellowed and chortled during "Steamin' and Beamin'." The Blue Note date is perfectly complemented by eight magnificent Commodore sides cut during the summer of 1944 in the company of Teddy Wilson. Hall is alternately gentle or briskly bracing. "Caravan" is a wild ride you'll not want to miss. The Swing Sextet session of December 4, 1944, begins with "Opus 15," a slightly modern set of vamps composed by the pianist Ellis Larkins. "Mouse" Randolph does some fine growling through his trumpet and the band runs it down with measured ease. Hall weaves a 45-second introduction to "The Sheik of Araby" before the guys cut loose with it. Four additional sides were cut by practically the same band on some unspecified day in 1945. Larkins contributed another very hip original called "Ellis Island," Hall dreamed up a feisty "Continental Blues," and Randolph shone during a second realization of his own creation, which he simply titled "Face." It sounds like something Lester Young would have enjoyed coasting through. This CD would bear up well under highway driving conditions, even heard twice or thrice through. Every consecutive track is pure pleasure. arwulf arwulf  
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WYNONIE HARRIS – 1950-1952 | The Classics Chronological Series – 1289 (2003) FLAC (tracks+.cue), lossless

Wynonie Harris specialized in driving jump blues numbers that celebrated the party side of urban life, and his tales of whiskey-soaked nights and relentless hangovers reached its peak during his long stay at King Records. This collection covers his last years at the label, and while a couple of his biggest hits are here, like the cranked-up version of Hank Penny's country classic "Bloodshot Eyes" and the engaging novelty number about trying to outsmart the IRS, "Good Morning Judge," Harris by this time was on the sundown side of his zenith, and even though he would seem like an artist ready-made for the emerging rock & roll craze, he never really made the transition. The song "All Night Long" included here is actually by Detroit group the Royals (who later morphed into Hank Ballard & the Midnighters), with Harris doing a guest vocal on the bridge. "All Night Long," in an interesting bit of music trivia, was the flip side to the original version of "Every Beat of My Heart," which Gladys Knight & the Pips turned into a huge hit nearly a decade later. Steve Leggett  
Tracklist
1     Rock Mr. Blues 2:41
Henry Bernard / Lois Mann
2     Stormy Night Blues 2:45
Henry Bernard / Sam Theard
3     Good Morning Judge 2:40
Wynonie Harris / Louis Innis
4     Be Mine My Love 2:52
Henry Bernard / Sydney Mann
5     Mr. Blues Is Coming to Town 3:02
Henry Glover
6     I Want to Love You Baby 2:35
Henry Glover / Lois Mann
7     Put It Back 2:47
Henry Glover
8     Oh Babe! 2:57
Milt Kabak / Louis Prima
9     Teardrops from My Eyes 2:54
Rudy Toombs
10     A Love Untrue 2:54
Henry Glover
11     Triflin' Woman 2:38
Henry Bernard / Lois Mann / Moon Mullican
12     Man, Have I Got Troubles 2:58
Mossman / Carlson
13     Confessin' the Blues 2:50
Walter Brown / Jay McShann
14     Tremblin' 2:28
Annisteen Allen / Henry Glover
15     Just Like Two Drops of Water 2:35
Joe Greene
16     I'll Never Give Up 2:32
Henry Glover / Sam Theard
17     Bloodshot Eyes 2:42
Wynonie Harris / Hank Penny
18     Here Comes the Night 2:36
Henry Glover
19     Lovin' Machine 2:27
Henry Glover / Lois Mann
20     My Playful Baby's Gone 2:30
Henry Glover / Wynonie Harris / Lois Mann
21     Luscious Woman 2:51
Henry Glover / Lois Mann    
22     All Night Long 2:18
Alonzo Tucker    
23     Keep on Churnin' (Till the Butter Comes) 2:55
Henry Glover
24     Married Woman - Stay Married 2:50
Henry Glover    
25     Rot-Gut 2:19
Henry Glover / Lois Mann

COUNT BASIE AND HIS ORCHESTRA – 1953-1954 | The Classics Chronological Series – 1446 (2007) FLAC (image+.cue), lossless

The 15th installment in the complete commercially issued studio recordings of Count Basie was released as a new segment of the Classics Chronological Series in 2007. The time line represented here begins on December 12, 1953, and ends either in June or August 1954, depending upon which discographical session index you opt for. The bright, snappy Basie big-band sound of the mid-'50s was largely the result of compositions and arrangements by Frank Foster, Frank Wess, Freddie Green, Ernie Wilkins, Neal Hefti, and Manny Albam. Four of these men also operated as crucial performers in the band, along with Joe Newman, Thad Jones, Benny Powell, and Marshall Royal. In addition to Green's "Right On" (a title that anticipates that phrase's rhetorical ubiquity among young Afro-Americans by at least ten years), noteworthy numbers include Hefti's "Two for the Blues," Foster's "Blues Backstage" and "Down for the Count," and Wilkins' "Sixteen Men Swinging," "Stereophonic," "The Blues Done Come Back," and "She's Just My Size." The Basie orchestra's rendition of Juan Tizol's "Perdido" comes as a pleasant surprise and registers as a tip of the hat to that other decisively influential bandleader who with Basie essentially defined the idiom during the 1950s, Duke Ellington. arwulf arwulf