COLEMAN HAWKINS - 1945 | The Classics Chronological Series – 926 (1997) FLAC (tracks+.cue), lossless

 Covering in detail a timeline from January 1944 to October 1945, this chapter in the Classics Coleman Hawkins chronology presents recordings he made for the Asch, Selmer, Capitol, Super Disc and V-Disc labels during what was an exciting and transitional period in the evolution of jazz. During the '40s Hawkins was deliberately aligning himself with young and innovative players; four of the sessions feature trumpeter Howard McGhee and pianist Sir Charles Thompson; bassist Oscar Pettiford was also an integral part of Hawk's mid-'40s West Coast band. Lush ballads and upbeat jam structures make for excellent listening throughout. Hawk is also heard sitting in with drummer Sid Catlett's all-stars, leading a quintet with the great Art Tatum at the piano, and working up his own extended set of "Variations" for solo tenor saxophone. While some commentators have focused unnecessary attention upon all-too-human drawbacks like Howard McGhee's addictions and occasional bouts of quarreling between Pettiford and Sir Charles, the music contained in this compilation stands squarely in its own light, unsullied by gossip or untoward circumstances.  arwulf arwulf     Tracklist + Credits :

KING OLIVER AND HIS ORCHESTRA – 1928-1930 | The Chronogical Classics – 607 (1991) FLAC (tracks+.cue), lossless

After a couple of fine sides from 1928, the saga of King Oliver turns another corner, heading into 1929 armed with little more than a Victor recording contract. There are plenty of strong performances here. Charlie Holmes puts his personality on the front line, and Fats Pichon sings "I've Got That Thing" with plenty of mustard as usual. But things are definitely changing. On "I'm Watching the Clock," a relaxed recording made in September of 1928, King Oliver expressed himself beautifully, but his chops were on the wane. By the beginning of 1929, Louis Metcalf is the featured cornet soloist in front of King Oliver's Orchestra, using the mute a lot like Joe had brandished it years earlier. "Call of the Freaks," "The Trumpet's Prayer" and "Freakish Light Blues" are beautiful vignettes. Punch Miller appeared briefly on a date that featured the flashy piano of Cass Simpson. For the remainder of 1929 Oliver's nephew Dave Nelson took on the task of trumpeting and occasionally composing for the band. He even sang for a minute but someone must have begged him to knock it off. Teddy Hill played tenor sax for Oliver's orchestra in 1928 and 1929. He worked in a lot of big bands that couldn't give him enough solo space, which is probably why he eventually formed his own progressive swing band where Dizzy Gillespie would take his first solos on record in 1937. Teddy would go on to create an open environment that was conducive to extended improvisation during the early 1940s. On this CD you get to hear him paying his dues. The best of Oliver's solid components still make for good listening. Clinton Walker, for example, would operate the tuba with energetic precision all the way through to May of 1930. James P. Johnson and Hilton Jefferson showed up. That's serious business! So is Roy Smeck's steel guitar solo on "Everybody Does It in Hawaii," although jazz purists wrinkle their noses and roll their eyes at such stuff. Smeck also plays harmonica on "Frankie and Johnny." The combination of tuba and mouth harp is a remarkable sonic blend, for those who aren't too proud to have a wild adventure in the company of crusty old records like these. arwulf arwulf  
Tracklist + Credits :

KING OLIVER AND HIS ORCHESTRA – 1930-1931 | The Chronogical Classics – 594 (1991) FLAC (tracks+.cue), lossless

 What you've got here are King Oliver's final recordings as a leader. Big bands were still figuring themselves out in 1930, moving from one decade's definitive flavor into another stylistic space as yet unspecified. Hovering over everything was the gruesome specter of fiscal disaster. This did strange things to the music business. Pop culture became partly mummified by a creeping sentimentality that would emerge again during the age of Cold War conformity. During the 1930s and the 1950s jazz endured and continued to evolve, as it always will under any circumstances. With his best decade behind him, King Oliver presided over an orchestra that occasionally sounds a bit sleepy. During their best moments, these guys are almost as solid as Bennie Moten's band, or maybe the Moten orchestra of 1927. "Mule Face Blues" and "Stingaree" are features for Henry "Red" Allen. "Boogie Woogie" is a high-potency stomp containing not one speck of the definitive eight-to-the-bar formula usually associated with the term. On "Stop Crying," Buster Bailey blows into his clarinet with unusual ferocity and Ward Pinkett launches into a frantic scat vocal. Speaking of singers, if you're going to listen back on music from around 1930, it is necessary to make concessions to notions of popular taste. Otherwise, you'll be operating with no historical context whatsoever. If you think George Bias was a silly vocalist, check out some of the singing on records from the same time period by Fats Waller & His Buddies or Duke Ellington. Not everybody is going to sound as hip as Frankie "Half-Pint" Jaxon or Baby Cox. When three members of the band formed a vocal trio and sang on some of the recordings made in 1931, the results were entertaining in ways that maybe we ought to allow ourselves to rediscover. It's a shame that King Oliver's recordings taper off at this point. Like most other bands on the scene at that time, this one could have picked up steam again as new players, composers and arrangers would have helped it adapt to changing times. By the end of the 1930s, Eddie Condon or the guys at the Library of Congress could have rekindled popular interest in Joe Oliver. Even if by then he'd given up blowing his horn he could have succeeded as nominal leader of a New Orleans-styled jazz band, or something more modern-sounding. But this is pure speculation. Papa Joe died in abject poverty in Savannah, Georgia on the 10th of April, 1938. With five volumes of his work available from Classics, there's a lot of King Oliver to explore, and it's all worth your while. arwulf arwulf
Tracklist + Credits :

HENRY "RED" ALLEN AND HIS ORCHESTRA – 1933-1935 | The Chronogical Classics – 551 (1990) FLAC (tracks), lossless

The second of five CDs put out by the European Classics label that document trumpeter Red Allen's 1929-41 recordings has three titles from a session co-led with tenor-saxophonist Coleman Hawkins, eight songs from 1934 and a dozen from the following year. Allen takes vocals on most of the tracks and, even if not all of the songs are gems, there are many highlights including "Pardon My Southern Accent," "Rug Cutter Swing," "Believe It, Beloved," "Rosetta" and "Truckin'." The strong supporting cast includes trombonists Dickie Wells and J.C. Higginbotham, clarinetists Buster Bailey and Cecil Scott and, on one date, tenorman Chu Berry. All five of the Red Allen Classics CDs are recommended. Scott Yanow
Tracklist + Credits :

ELLA FITZGERALD – 1937-1938 | The Classics Chronological Series – 506 (1990) FLAC (tracks+.cue), lossless

The second of six CDs in the Classics label's complete reissue of Ella Fitzgerald's early recordings features the singer as a teenager with the Chick Webb Orchestra, in addition to leading two sessions that use Webb's sidemen and performing a pair of songs ("Big Boy Blue" and "Dedicated to You") with the Mills Brothers. Highlights include "I Want to Be Happy," "If Dreams Come True" and her big hit, "A-Tisket, A-Tasket." Although not yet the brilliant jazz singer she would become, Fitzgerald already had a highly appealing voice and the ability to swing on any song she was given. Scott Yanow
Tracklist + Credits :

ELLA FITZGERALD – 1938-1939 | The Classics Chronological Series – 518 (1990) FLAC (tracks+.cue), lossless

After her giant hit of "A-Tisket, A-Tasket," the already-popular Ella Fitzgerald became the main attraction with the Chick Webb Orchestra and the majority of their recordings from 1938 feature the singer who was then 20. She is particularly strong on the ballads (such as "You Can't Be Mine") and had a hit in "Undecided" (the lone 1939 selection on this CD) although her work on the novelties is less memorable. All of these Classics releases are worth picking up for a definitive (and very complete) look at early Fitzgerald. Scott Yanow
Tracklist + Credits :

ELLA FITZGERALD – 1939 | The Classics Chronological Series – 525 (1990) FLAC (tracks+.cue), lossless

Unlike GRP, which has merely reissued the "best" of early Ella Fitzgerald domestically, the European Classics label has released all of the great singer's early recordings (from the 1935-41 period) on six CDs. This, the fourth volume, has her final recordings with Chick Webb's Orchestra (before the legendary drummer's premature death) and her first after she took control of his big band. Fitzgerald is best on "'Tain't What You Do" and the ballads (particularly "Don't Worry About Me," "Little White Lies," "Stairway to the Stars" and "Out of Nowhere") although she is less memorable on such uptempo novelties as "Chew-Chew-Chew Your Bubble Gum" and "I Want the Waiter with the Water." This CD is well worth acquiring along with the other entries in this definitive series. Scott Yanow
Tracklist + Credits :

BILLY TAYLOR – 1945-1949 | The Classics Chronological Series – 1137 (2000) FLAC (tracks+.cue), lossless

Many jazz fans don't realize how long ago Billy Taylor began his career; this French anthology assembles five separate sessions that he led as a young man between 1945 and 1949, as well as one date as a sideman. In 1945 he shows the influence of both Art Tatum and Teddy Wilson in the lightly swinging take of "Night and Day," while his campy approach to "Alexander's Ragtime Band" is rather refreshing. His lyrical solo interpretation of "The Very Thought of You" from 1946 demonstrates his considerable growth as a pianist. Taylor also wrote seven of the songs, which include two versions of his easygoing "Stridin' Down the Champs-Elysees," the flashy blues "Well Taylor-Ed," and two rare vocals by Taylor on the Nat King Cole-like "I Don't Ask Questions, I Just Have Fun" and "So You Think You're Cute." The four tracks featuring Taylor as a sideman in the Walter Thomas Orchestra find him pretty much relegated to a supporting role, although the presence of Doc Cheatham, Eddie Barefield, and Hilton Jefferson makes the music of interest. But Taylor's quintet session with the infrequently recorded tenor saxophonist John Hardee (who is in great form) is hampered somewhat by the unnecessary addition of organist Milt Page, who proves to be more of a distraction with his uninspired playing. Because so much of the valuable material within this collection has been next to impossible to find, it will be of significant interest to fans of Billy Taylor. Ken Dryden  
Tracklist + Credits :

LUCKY MILLINDER AND HIS ORCHESTRA – 1951-1960 | The Classics Chronological Series – 1460 (2008) FLAC (tracks+.cue), lossless

Tracklist :

FLETCHER HENDERSON AND HIS ORCHESTRA – 1932-1934 | The Classics Chronological Series – 535 (1990) FLAC (tracks+.cue), lossless

Although the Fletcher Henderson Orchestra was struggling and missing opportunities during this era, its recordings greatly improved from the ones in 1931. Henderson had finally developed into a top arranger (as can be heard on "Honeysuckle Rose" and "Wrappin' It Up"), the band was full of top soloists (trumpeter Bobby Stark has his greatest moments on "The New King Porter Stomp") and even if Coleman Hawkins chose to move to Europe (after starring on "It's the Talk of the Town") the band should have been poised to flourish in the swing era. These recordings (from Classics' complete chronological program) prove that swing did not begin with Benny Goodman in 1935. Scott Yanow
Tracklist :

FLETCHER HENDERSON AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 519 (1990) FLAC (tracks+.cue), lossless

The Classics chronological reissue of Fletcher Henderson's recordings continues with this disc which traces the decline of his last "permanent" orchestra. With the departure of Roy Eldridge, Henderson for the first time since the early '20s lacked any major trumpet soloists, although he still featured the fine tenor of Chu Berry and a variety of up-and-coming players. Unfortunately the band was far overshadowed by other orchestras influenced by Henderson and since the quality of his recordings was declining, the breakup of his group was hardly noticed. The irony is that the founder of the swing era could not survive when his music (as played by Benny Goodman) caught on. Scott Yanow
Tracklist + Credits :

CLAUDE HOPKINS AND HIS ORCHESTRA – 1934-1935 | The Classics Chronological Series – 716 (1993) FLAC (tracks+.cue), lossless

The second of three CDs documenting the history of the Claude Hopkins Orchestra does not quite reach the heights of the first set (too many Orlando Roberson high-note vocals and some erratic moments by the musicians) but still has many moments of interest. With trumpeter Ovie Alston (who takes four vocals), trombonist Fernando Arbello, clarinetist Edmond Hall (also heard on baritone), and tenorman Bobby Sands sharing the solo space with pianist Hopkins, some of the selections swing quite hard. Best are "Harlem Rhythm Dance," "Everybody Shuffle," "King Porter Stomp," "In the Shade of the Old Apple Tree" and "Zozoi." All of the numbers except for the last three are from 1934. Scott Yanow  
Tracklist & Credits :

JONAH JONES – 1936-1945 | The Classics Chronological Series – 972 (1997) FLAC (tracks+.cue), lossless

While the first six recordings presented in this initial volume of the chronologically reissued recordings of Jonah Jones are undeniably rare and worth having access to, the reason for their obscurity is immediately apparent. Dick Porter, the nominal leader of both bands responsible for these Vocalion sides, was a Fats Waller imitator of the worst sort. He patterned his act so closely on Waller's jubilant vocal delivery that it is impossible to ascertain what -- if any -- originality existed in the person of Mr. Porter. Seizing upon Waller's habitual exclamations, Porter overused the outburst "Aha!" until it lost every ounce of its novelty or effectiveness. He even absconded with an entire punch line that Waller had used at the end of his own cheerfully misogynistic version of "I Adore You" -- not to be confused with Waller's "I Simply Adore You." The phrase in question -- "To the pound with the beautiful hound" -- required some form of theatrical buildup. While Waller was making canine references all throughout "I Adore You," Porter chucked the line in at the end of "There's No Two Ways About It" as if he couldn't think of anything else to steal from Waller. The effect of all this upon anyone who knows and loves Waller's work is maddening, and Porter sticks in the mind as a primal irritant to be avoided at all costs. What does this have to do with ace trumpeter Jonah Jones? Well, he played on both of these sessions, striving with the other players to deliver solid swing as desired by the public in the middle 1930s. And yet let it be said that the inclusion of two outstanding Keynote dates and one Commodore blowing session more than make up for the itching, burning sensation created by Dick Porter. Jonah Jones & His Orchestra, consisting of only six players, made four wonderful sides for Harry Lim's Keynote label in September of 1944. Having emerged from Cab Calloway's big band, Jones had a healthy habit of including his friends from Calloway's horde. Tyree Glenn played both vibraphone and trombone. Hilton Jefferson, featured soloist on the creamy "Just Like a Butterfly (That's Caught in the Rain)," also cooked when heat was needed. "Lust for Licks" was based on the changes of "Exactly Like You," and "B.H. Boogie" was a tip of the hat to Buster Harding, whose arrangement of "Twelfth Street Rag" inspired some serious jamming. The 1945 Milt Hinton Sextet, also billed by Keynote as an "Orchestra," shared three crucial players with the previous band: Tyree Glenn, the honorable Mr. Hinton, and the immaculate J.C. Heard. Hinton's "Beefsteak Charlie" got its name from a bar in Manhattan that was preferred by jazz musicians. The reissuing of these Keynote recordings is a serious matter, and the producers of the Classics Chronological Series are to be commended for making them digitally available to the public in the same package with Jones' Commodore session from July 31, 1945. For here are the very best elements from both of the previous bands -- Glenn, Jefferson, Hinton, and Heard -- bundled in with several other strong players including clarinetist Buster Bailey and smokestack tenor Ike Quebec. Jefferson is handed another elegant ballad in "You Brought a New Kind of Love to Me," and the band deep-fries the "Rose of the Rio Grande." "Hubba Hubba Hub" seems at first a bit short on melodic invention but quickly evolves into a perfectly satisfying jam vehicle, closing with one of Jones' hottest solos on record. "Stompin' at the Savoy" is set up as a march by Heard, then struts itself silly. arwulf arwulf
Tracklist :

CAB CALLOWAY AND HIS ORCHESTRA – 1940 | The Classics Chronological Series – 614 (1991) FLAC (tracks+.cue), lossless

With such soloists as trumpeter Dizzy Gillespie, Chu Berry on tenor and trombonist Tyree Glenn, along with a rhythm section that includes bassist Milt Hinton and drummer Cozy Cole, this was a particularly strong edition of the Cab Calloway Orchestra. There are six instrumentals among the 22 selections on this Classics CD (the ninth of 12 Calloway Complete sets) including Berry's famous version of "Ghost of a Chance" and a spot for Gillespie on "Bye Bye Blues," but nearly every performance has its interesting solos; most of the ones with short spots for Gillespie have rarely been reissued. Cab Calloway, who as usual is the main star, is in spirited form. The other highlights include "Hi-De-Ho Serenade," "Fifteen Minute Intermission," "Papa's in Bed with His Britches On" and "Are You Hep to the Jive?" It's recommended, as are all of the CD's in this important series. Scott Yanow
Tracklist:
1 Paradiddle 2:57
Cozy Cole / Dizzy Gillespie
2 Boog It 2:55
Cab Calloway / Jack Palmer / Buck Ram
3 Calling All Bars 2:43
Leonard Feather
4 Do I Care, No No 2:43
Cab Calloway / Lester Lee / Jerry Seelen / Dan Shapiro
5 The Lone Arranger 2:28
Benny Carter
6 Feelin' Tip Top 2:34
Buddy Feyne
7 Hard Times 3:14
Alex Rogers / Bert Williams
8 Hi-De-Ho Serenade 2:48
Cab Calloway / Battle Thomas
9 Who's Yehoodi? 3:02
Matt Dennis / Bill Seckler
10 Fifteen Minute Intermission 2:47
Buddy Cannon / Sunny Skylar
11 Rhapsody in Rhumba 2:42
Cab Calloway / Buster Harding
12 Come on with the "Come On" 2:51
Cab Calloway / Andy Gibson
13 I Don't Stand a Ghost of a Chance With You 2:55
Bing Crosby / Ned Washington / Victor Young
14 Bye Bye Blues 2:48
David Bennett / Chauncey Gray / Frederick Hamm / Bert Lown
15 Papa's in Bed With His Britches On 2:29
Jesse Stone
16 Silly Old Moon 3:00
Cab Calloway / Andy Gibson
17 Boo-Wah Boo-Wah 2:43
Larry Clinton / Buster Harding
18 Sunset 3:06
Cab Calloway / Buster Harding
19 Yo Eta Cansa 2:54
Albert Socarras
20 Cupid's Nightmare 2:35
Don Redman
21 Levee Lullaby 2:35
Edgar Battle / Cab Calloway / Francis Shuman
22 Are You Hep to the Jive? 2:44
Cab Calloway / Buck Ram

CAB CALLOWAY AND HIS ORCHESTRA – 1940-1941 (1992) The Classics Chronological Series – 629 | FLAC (tracks+.cue), lossless

Cab Calloway is in superior form throughout this CD (the tenth of 12 Calloway releases from the European Classics label), but it is often the short solos by his sidemen that attract one's interest, particularly those of trumpeter Dizzy Gillespie and tenor Chu Berry. By the last ten numbers (including his feature "Jonah Joins the Cab"), trumpeter Jonah Jones had become a member of the powerful band which could rank at the top echelon of swing orchestras. Calloway is also heard near the peak of his powers, and the highlights of this fine set include Benny Carter's "Lonesome Nights" (one of six instrumentals among the 22 numbers), "A Chicken Ain't Nothin' but a Bird," "Ebony Silhouette," "Hep Cat's Love Song," and two versions of "St. James Infirmary." Scott Yanow

Tracklist :
1     Goin' Conga 2:52
Alberto Iznaga    
2     Hot Air 2:54
Cab Calloway / Gene Novello
3     Lonesome Nights 3:01
Benny Carter / Irving Mills    
4     A Chicken Ain't Nothin' But a Bird 2:54
Emmett "Babe" Wallace
5     The Workers' Train 3:17
Cab Calloway / Arthur Shaftel / Sunny Skylar
6     North of the Mohawk Trail 3:26
7     Make Yourself at Home 2:52
Walter Bullock / Jule Styne
8     Run Little Rabbit 3:12
Andy Gibson
9     Willow Weep for Me 3:24
Ann Ronell
10     You Are the One in My Heart 3:12
Cab Calloway
11     Are You All Reet? 3:05
Cab Calloway / Jack Palmer
12     Ebony Silhouette 2:48
Milt Hinton / Benny Payne
13     Hep Cat's Love Song 3:05
Max Boyd / Cab Calloway / Andy Gibson
14     Jonah Joins the Cab 2:35
Cab Calloway
15     Geechy Joe 3:07
Cab Calloway / Andy Gibson / Jack Palmer
16     Special Delivery 2:58
Cab Calloway / Andy Gibson
17     Take the "A" Train 3:05
Billy Strayhorn    
18     Chattanooga Choo Choo 2:41
Mack Gordon / Harry Warren    
19     My Gal 2:43
Al Bernard
20     St. James Infirmary 3:20
Joe Primrose / Traditional    
21     St. James Infirmary 2:46
Joe Primrose / Traditional    
22     We Go Well Together 3:07
Walter Kent / Leo Robin

COLEMAN HAWKINS - 1945 {CC, 926} (1997) FLAC (tracks+.cue), lossless

Covering in detail a timeline from January 1944 to October 1945, this chapter in the Classics Coleman Hawkins chronology presents recordings he made for the Asch, Selmer, Capitol, Super Disc and V-Disc labels during what was an exciting and transitional period in the evolution of jazz. During the '40s Hawkins was deliberately aligning himself with young and innovative players; four of the sessions feature trumpeter Howard McGhee and pianist Sir Charles Thompson; bassist Oscar Pettiford was also an integral part of Hawk's mid-'40s West Coast band. Lush ballads and upbeat jam structures make for excellent listening throughout. Hawk is also heard sitting in with drummer Sid Catlett's all-stars, leading a quintet with the great Art Tatum at the piano, and working up his own extended set of "Variations" for solo tenor saxophone. While some commentators have focused unnecessary attention upon all-too-human drawbacks like Howard McGhee's addictions and occasional bouts of quarreling between Pettiford and Sir Charles, the music contained in this compilation stands squarely in its own light, unsullied by gossip or untoward circumstances. arwulf arwulf  
Tracklist :
1     All the Things You Are 2:58
Jerome Kern    
2     Step on It 3:08     
Unknown Artist    
3     Riding on 52nd Street 2:51    
Unknown Artist    
4     Memories of You 2:57
Eubie Blake / Andy Razaf    
5     Out to Lunch 2:54
Jimmy Davis / Joe Davis / Walter Thomas    
6     In the Hush of the Night 2:57
Dorsey, Davis, Dorsey
7     Look Out Jack! 2:47
Jimmy Davis / Irene Higginbotham    
8     Every Man for Himself 2:52
Jimmy Davis / Walter Thomas    
9     I'm Yours 3:29
Johnny Green / E.Y. "Yip" Harburg    
10     Under a Blanket of Blue 3:10
Jerry Livingston / Al J. Neiburg / Marty Symes    
11     Beyond the Blue Horizon 2:58
W. Frank Harling / Richard A. Whiting    
12     A Shanty in Old Shanty Town 2:58
Jack Little / Little Jack Little / John Siras / Joe Young / Joseph Young    
13     My Man 3:14
Jacques Charles / Channing Pollack / Albert Willemetz / Maurice Yvain    
14     El Salon de Gutbucket 2:59
Charlie Shavers    
15     Embraceable You 3:02
George Gershwin    
16     Undecided 3:05     
Sydney Robin / Charlie Shavers    
17     Recollections 2:54
Walter Thomas    
18     Drifiting on a Reed 3:04
Charlie Parker    
19     Flyin' Hawk 2:50
Walter Thomas    
20     On the Bean 2:41
Walter Thomas    
21     Sportsman's Hop 3:00     
Sir Charles Thompson    
22     Bean Stalking 3:08
Coleman Hawkins / Erskine Hawkins    
23     Ready for Love 2:59
Howard McGhee    

Credits :
Alto Saxophone – Hilton Jefferson (pistas: 18 to 21)
Bass – Eddie Robinson (pistas: 1 to 3), Johnny Simmons (pistas: 14 to 21), Oscar Pettiford (pistas: 6 to 13)
Drums – Denzil Best (pistas: 1 to 3, 6 to 17), Sid Catlett (pistas: 18 to 21)
Guitar – Allan Reuss (pistas: 6 to 17)
Piano – Billy Taylor (pistas: 18 to 21), Sir Charles Thompson (pistas: 1 to 3, 6 to 17)
Tenor Saxophone – Coleman Hawkins
Trombone – Tyree Glenn (pistas: 18 to 21), Vic Dickenson (pistas: 10 to 13)
Trumpet – Dick Vance (pistas: 18 to 21), Howard McGhee (pistas: 1 to 3, 6 to 17)
Vibraphone [Uncredited] – Tyree Glenn (pistas: 20, 21)
Vocals – Matthew Meredith (pistas: 19)
Written-By – Hawkins (pistas: 2 to 5, 7, 9, 10, 14, 15)

TINA LOUISE - It's Time for Tina [1957] FLAC

Kitsch value aside, what makes It's Time for Tina a cut above most celebrity reissues is the album's conceptual ambition: its sultry songs are arranged in order to create a storyline depicting a night of romance with Tina Louise herself. Plus, it's got Coleman Hawkins on saxophone -- how can you possibly go wrong?  by Jason Ankeny
Tracklist 
1 Tonight Is The Night 2:59
Written-By – Raymond Hubbell
2 Hands Across The Table 3:10
Written-By – Jean Delettre, Mitchell Parish
3 Snuggled On Your Shoulder 3:59
Written-By – Carmen Lombardo, Joe Young 
4 Embraceable You 3:56
Written-By – George & Ira Gershwin
5 I'm In The Mood For Love 3:50
Written-By – Jimmy McHugh & Dorothy Fields
6 Baby Won't You Say You Love Me 3:06
Written-By – Raymond Hubbell
7 It's Been A Long Time 2:26
Written-By – Jule Styne And Sammy Cahn
8 Hold Me 4:33
Written-By – Art Hickman, Ben Black
9 I Wanna Be Loved 3:51
Written-By – Billy Rose, Edward Heyman
10 Let's Do It 2:55
Written-By – Cole Porter
11 How Long Has This Been Going On? 4:08
Written-By – George & Ira Gershwin, P.G. Wodehouse
12 Good Night My Love 4:36
Written-By – Harry Revel, Mack Gordon
Credits
Alto Saxophone – Hilton Jefferson
Arranged By – Jim Timmens
Orchestra – Buddy Weed And His Orchestra
Tenor Saxophone – Coleman Hawkins
Trombone – Tyree Glenn
Vocals – Tina Louise

  TINA LOUISE - It's Time for Tina [1957]

 Fresh Sound Records / Remastered 1988 / FLAC / scans

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