LENA HORNE — The Young Star (2002) RM | MONO | Bluebird's Best Series | FLAC (tracks+.cue), lossless

Lena Horne became an international celebrity as a teenager -- making her first record at 18 with Noble Sissle and his orchestra -- and in many ways her star never faded. Because her success as a singer and actress paved the way for so many African-American divas in later decades, it's easy to overlook the simple vocal magic that got the legend rolling. This is one of the new Bluebird series' best compilations, a compendium of early-'40s classics that define the era. Sometimes her approach was ironic. Even if the mood of "Stormy Weather" is dark, the innocence of her voice conveys a rich optimism and whimsy. On these selections, which include "What Is This Thing Called Love?" and a hypnotic take on the Rodgers & Hart gem "Where or When?," her tone is light and flowing, with a gentle, sexy lisp in certain spots. The last three tracks, from January 1944, are so rare and obscure that the location of the recording and the backing orchestra are unknown. A must for the Horne fan or for folks who think Judy Garland and Billie Holiday were the only vocal standard setters of the time. Jonathan Widran   

Tracklist :
1    Stormy Weather 3:25
Composed By – Harold Arlen, Ted Koehler
Conductor [Orchestra Conducted By] – Lou Bring
2    What Is This Thing Called Love? 2:43
Composed By – Cole Porter
Conductor [Orchestra Conducted By] – Lou Bring
3    Ill Wind (You're Blowin' Me No Good) 2:33
Composed By – Harold Arlen, Ted Koehler
Conductor [Orchestra Conducted By] – Lou Bring
4    The Man I Love 3:23
Composed By – George Gershwin, Ira Gershwin
Conductor [Orchestra Conducted By] – Lou Bring
5    Where Or When? 2:45
Composed By – Lorenz Hart, Richard Rodgers
Conductor [Orchestra Conducted By] – Lou Bring
6    I Got A Right To Sing The Blues 3:14
Composed By – Harold Arlen, Ted Koehler
Conductor [Orchestra Conducted By] – Lou Bring
7    Mad About The Boy 2:59
Composed By – Noel Coward
Conductor [Orchestra Conducted By] – Lou Bring
8    Moanin' Low 2:45
Composed By – Howard Dietz, Ralph Rainger
Conductor [Orchestra Conducted By] – Lou Bring
9    As Long As I Live 2:51
Composed By – Harold Arlen, Ted Koehler
Conductor [Orchestra Conducted By] – Horace Henderson
Drums [Featuring] – Big Sid Catlett
Guitar [Featuring] – Dave Barbour
Piano [Featuring] – Lennie Hayton
Tenor Saxophone [Featuring] – Illinois Jacquet
10    I Ain't Got Nothin' But The Blues 2:56
Composed By – Don George, Duke Ellington, Larry Fotin
Conductor [Orchestra Conducted By] – Horace Henderson
Drums [Featuring] – Big Sid Catlett
Guitar [Featuring] – Dave Barbour
Piano [Featuring] – Lennie Hayton
Tenor Saxophone [Featuring] – Illinois Jacquet
11    I Didn't Know About You 3:09
Composed By – Bob Russell, Duke Ellington
Conductor [Orchestra Conducted By] – Horace Henderson
Drums [Featuring] – Big Sid Catlett
Guitar [Featuring] – Dave Barbour
Piano [Featuring] – Lennie Hayton
Tenor Saxophone [Featuring] – Illinois Jacquet
12    One For My Baby (And One More For The Road) 3:25
Composed By – Harold Arlen, Johnny Mercer
Conductor [Orchestra Conducted By] – Horace Henderson
Drums [Featuring] – Big Sid Catlett
Guitar [Featuring] – Dave Barbour
Piano [Featuring] – Lennie Hayton
Tenor Saxophone [Featuring] – Illinois Jacquet
13    Suddenly It's Spring 2:37
Composed By – Jimmy Van Heusen, Johnny Burke
14    Do Nothin' Till You Hear From Me 2:58
Composed By – Bob Russell, Duke Ellington
15    I'll Be Around 2:40
Composed By – Alec Wilder

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 :

ILLINOIS JACQUET – 1945-1946 | The Chronogical Classics – 948 (1997) FLAC (tracks+.cue), lossless

Although the Delmark label has done a fine job of reissuing Illinois Jacquet's Apollo recordings, a genuine understanding of this exciting music requires a more systematic appraisal of the recorded evidence. Being able to digest an entire segment of Jacquet's career, with the recordings chronologically arranged and garnished with complete discographical information, is a major treat for anyone wishing to place the music in context. This also expands the picture well beyond Apollo to include material recorded for the Philo, Savoy, and ARA labels, and clears up a few mysteries regarding personnel. The first four tracks were recorded in July of 1945 and set a standard for modern jump music combining elements that would soon be tagged as bebop and R&B. The steamy "Flying Home" was carefully arranged to fit on two sides of a 10" 78-rpm record. "Uptown Boogie" features pianist Sir Charles Thompson bolstered by excellent rhythmic support from drummer Johnny Otis. Illinois himself was always a commanding presence whether laying down a cool blues, smoothing out a ballad, or applying a blowtorch to one of his rowdy jump tunes. Trumpeter Russell Jacquet is heard singing the only two vocal tracks on the entire album, "Throw It Out of Your Mind Baby" and "Wondering and Thinking of You." The two Apollo sessions from August 1945 are driven by the pulsing bass of young Charles Mingus, Bill Doggett's double-fisted piano, and some feisty drumming by Al "Cake" Wichard. For a precious glimpse into the developing ballad philosophy of Mr. Mingus, listen carefully to his accompaniment behind Jacquet's passionate sax on "Memories of You" and "Ghost of a Chance." Ming walks briskly through "Bottoms Up," a rocking re-bop dance with howling horns and strutting rhythm. "Merle's Mood" seems to have been based upon "Paper Moon," and Mingus crowds the microphone to provide extra pushes during Bill Doggett's "What's This." Two sides waxed for ARA at the end of the same month and issued as by the Jacque Rabbits are graced with the return of Sir Charles, whose composition "Ladies Lullaby" is actually another jump tune fortified with bop ideas. "Illinois Stomp" is a very sophisticated bounce. The closing eight tracks were originally issued bearing the Savoy label, and feature trumpeter Emmett Berry, an interesting blend with the salty and often florid Mr. Jacquet. (The last three selections in fact were issued under the name of Emmett Berry's Hot Six.) "Don't Blame Me" is one of this saxophonist's great triumphs of ballad artistry. The spicy "Jumpin' Jacquet" is driven by rhythm guitarist Freddie Green, bassist John Simmons, and master percussionist Shadow Wilson, while Berry percolates using a mute. "Blue Mood" is a meditative masterpiece. Every single track on this CD is strongly presented and well worth experiencing again and again, with best wishes for loosening up, nodding your head, popping your fingers, and cracking a smile. arwulf arwulf     Tracklist :

ILLINOIS JACQUET – 1946-1947 | The Chronogical Classics – 1019 (1998) FLAC (tracks+.cue), lossless

Unlike so many previous reissues, this portion of the Illinois Jacquet chronology places these historical sessions side by side rather than sorting them out by label. Bringing together the last of Jacquet's Aladdin and Apollo recordings in this way is illuminating, informative, and entertaining. Jacquet's Apollo All Stars octet that recorded in August 1946 had a fine front line in trumpeter Joe Newman, trombonist Trummy Young, and alto saxophonist Ray "King" Perry alongside Jacquet's powerful tenor, supported by John Simmons, Freddie Green, Bill Doggett, and the amazing Denzil Best. "Jumpin' at Apollo" and "12 Minutes to Go" are the obligatory cookers, tempered with the walking "Jacquet Bounce" and "She's Funny That Way," a cool addition to Jacquet's marvelous catalog of ballads. As part of a heat wave of postwar tenor saxophony, Illinois blazed his own trail through stylistic terrain also traversed by Wardell Gray and Lucky Thompson. Like everything heard on this disc, Jacquet's 16-piece Aladdin big-band session from January 1947 reflects the Count Basie experience in high relief. While the trumpet section -- fortified with Joe Newman, Fats Navarro, and Miles Davis -- makes this a formidable listening experience, the star of the upbeat numbers -- and, in a way, of every session for the remainder of this collection -- is master percussionist Shadow Wilson, who thunders and shakes on "Big Dog" and "Jivin' with Jack the Bellboy," a reference to an extroverted drum feature recorded in 1940 by Lionel Hampton. Anyone who is lucky enough to possess the original 78-rpm Aladdin recording of "Blow, Illinois, Blow" can testify to the excitement of hearing a tenor saxophone wailing in front of a nine-piece band, coming up through the surface noise of a rapidly rotating platter. Digitally cleansed, this track sounds stunningly immediate as the ensemble seems to surround the listener and gradually close in. "Illinois Blows the Blues" knocks the band down to tenor and rhythm for one of Jacquet's definitive statements on record, feeling at times almost like a duet with Sir Charles Thompson. Back with Apollo for the last time in May of 1947, Jacquet retained certain key players from his previous couple of dates. Mention must be made of Leo Parker's exceptionally fine baritone sax outbursts. Jacquet regularly engages in his signature high-pitched wailing, a sound that some critics disparage but most open-minded listeners will enjoy as a necessary optional response to everyday life in the 20th century. Sir Charles, who plays on all of the dates from April 1, 1947, onward, exerted a marvelous influence upon Mr. Jacquet. Exhibit A would be Thompson's "Robbin's Nest" -- the version heard here is an easygoing delight. "Jumpin' at the Woodside," on the other hand, is almost frightening in its intensity, largely on account of Parker's snarling baritone. As the saga of Illinois Jacquet enters into the autumn of 1947, J.J. Johnson fans will want to listen for the trombone during the final eight tracks on this exceptionally satisfying album of early modern jazz. arwulf arwulf         Tracklist :

ILLINOIS JACQUET – 1947-1951 | The Chronogical Classics – 1254 (2002) FLAC (tracks+.cue), lossless

These recordings from Illinois Jacquet all showcase him in the context of his name orchestra recording for Bluebird and Apollo. Tadd Dameron arranged all of this material -- most of which was written by Jacquet. The band's varying personnel on these stellar sides includes Sir Charles Thompson, J.J. Johnson, J.C. Heard, John Lewis, Henry Coker, Red Callender, Shadow Wilson, Carl Perkins, Oscar Moore, and others. Standout cuts form these sides include "Symphony in Sid," "Riffin' at 24th Street," "Slow Down Baby," "My Old Gal," and a smoking rendition of Count Basie's "Mutton Leg."
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist + Credits :

ILLINOIS JACQUET – 1951-1952 | The Chronogical Classics – 1376 (2004) FLAC (tracks+.cue), lossless

This fourth installment in the Classics Illinois Jacquet chronology contains some of his very best recordings from the early '50s, originally released on the Mercury and Clef labels. The first three tracks were recorded in Los Angeles on January 18, 1951, with excellent support from pianist Carl Perkins, guitarist Oscar Moore, bassist Red Callender, and master percussionist J.C. Heard. The next session took place in New York four months later with an equally outstanding group composed of Hank Jones on piano and celeste, guitarist John Collins, bassist Gene Ramey, and the mighty Art Blakey inside of the drums. The ballads are superb, the ambling grooves irresistible, and "Cotton Tail" is taken to the verge of a nice rolling boil. "Weary Blues" is not the famous old-time stomp by Artie Matthews but rather a relaxed original ambulation in blue, quite soulful and dignified. Its flip side, simply entitled "Groovin'," is a case study in jamming with all five burners lit. The next three tracks were recorded on March 21, 1952, using what was essentially the Count Basie Orchestra with John Acea at the 88s. Jacquet rolls along in front of this steamy 14-piece band, sounding completely at home and in command. This outstanding compilation closes with eight tracks recorded in July and December of 1952. On the July date, Jacquet's remarkable rhythm section consisted of Hank Jones, Freddie Green, Ray Brown, and Jimmy Crawford, augmented with Count Basie himself at the organ. The December band was an amazing variation on the previous ensemble: Hank Jones now played the organ with Sir Charles Thompson sitting in on piano along with guitarist Joe Sinacore, bassist Al Lucas, and ace drummer Shadow Wilson. Given the excellence of each and every performance, the jaw-dropping collective personnel, and the overall striking artistic integrity of the featured tenor saxophonist, this CD belongs among the very best recordings by this artist or anyone else who had a hand in the development of early modern jazz. 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
Tracklist :

NAT "KING" COLE – 1943-1944 | The Chronogical Classics – 804 (1995) FLAC (tracks+.cue), lossless

Volume Four in the Classics Nat King Cole chronology opens with his very first recordings for Capitol, a small West Coast record company established in April 1942 by Johnny Mercer. Although at the time Capitol must have seemed like yet another two-bit enterprise, it was destined to become a major label with which Cole would be associated for the rest of his life. This segment of the chronology, covering a timeline from November 30, 1943 to March 6, 1944, mingles relatively obscure recordings with some of the King Cole Trio's early hits. Certainly Cole's own "Straighten Up and Fly Right" and Harold Arlen and Johnny Mercer's "It's Only a Paper Moon" are still among the most famous performances ever recorded by this group. "Straighten Up" placed them in the same league with Slim Gaillard & His Flat Foot Floogee Boys and The Cats and the Fiddle. It's hard to fathom why Capitol initially rejected Cole's updated treatment of Irving Berlin's amusing opus, "After You Get What You Want You Don't Want It"; this number dates back to the '20s and was originally interpreted by vaudeville acts such as Van and Schenck. The version of "Sweet Lorraine" heard here compares favorably with Cole's initial rendition of December 1940. Those who wish to concentrate upon his amazing abilities as a pianist will appreciate a half-dozen excellent Capitol instrumentals including "Jumpin' at Capitol" (an extension of Fats Waller's frantic stride piano opus "Zonky") and four rare selections recorded for the Disc label in February 1944 by the King Cole Quintette, a one-time-only ensemble comprised of bassist Gene Englund, drummer J.C. Heard, trumpeter Shad Collins and tenor saxophonist Illinois Jacquet. These extended jams, which were issued on 12" 78 rpm platters allowing for playback time between four and five minutes, are exceptionally satisfying. On the level, this compilation is one of the better installments in the complete recordings of Nat King Cole. It is highly recommended for newcomers and seasoned jazz heads alike. arwulf arwulf  
Tracklist :

LIONEL HAMPTON AND HIS ORCHESTRA – 1940-1941 | The Chronogical Classics – 624 (1992) FLAC (tracks+.cue), lossless

In the period covered by this disc, Lionel Hampton led the last of his swing-era all-star sessions, left Benny Goodman's orchestra, and formed his own exciting big band. "Flying Home" was still in the near future, but there are a fair number of exciting selections on this transitional disc. Hampton's vibes are heard featured with the Nat King Cole Trio on four numbers (two of which also have the Hampton River Boys taking vocals) and the vibraphonist also jams with the 1941 version of the Spirits of Rhythm. After leaving Goodman, Hampton at first led a few small-group dates that included musicians drawn from his orchestra, including altoist/clarinetist Marshall Royal, pianist Sir Charles Thompson, and trumpeter Karl George. The big band's first, mostly uneventful session concludes this interesting disc. Scott Yanow
Tracklist + Credits :

LIONEL HAMPTON AND HIS ORCHESTRA – 1942-1944 | The Chronogical Classics – 803 (1995) FLAC (tracks+.cue), lossless

The Lionel Hampton Big Band made it big during the period covered by this CD. "Flying Home," which Hampton had recorded at least twice earlier with combos, became a sensation thanks to Illinois Jacquet's honking tenor (which largely launched R&B) and the excitement generated by Hampton and his band (including the screaming trumpet section). This disc covers most of the war years, has a few V-discs (including the hit version of "Flying Home" and a two-part remake), and such numbers as "Loose Wig," "Hamp's Boogie-Woogie," "Overtime," and "Tempo's Boogie." Jacquet was actually with Hampton for a relatively brief period of time, but Arnett Cobb proved to be a perfect replacement. Also quite notable in the band is pianist Milt Buckner (whose block chords became influential) and such high-note trumpeters as Ernie Royal, Cat Anderson, and Snooky Young. Scott Yanow
Tracklist + Credits :

ELLA FITZGERALD – 1947-1948 | The Classics Chronological Series – 1049 (1999) FLAC (tracks+.cue), lossless

This segment of the Classics Ella Fitzgerald chronology focuses upon the recordings she made for the Decca label between March 1947 and November 1948. Most of these sides include polished group background vocals, generating a certain campy slickness that some listeners might find overly affected. This kind of ensemble singing rose to prominence with Tommy Dorsey and Glenn Miller and manifested itself throughout the late '40s and early '50s, even popping up in the form of the Dave Lambert Singers behind Charlie Parker. Bop scatting at times like a Roman candle, Ella sounds fully in command, a seasoned improviser well on the way to stylistic maturity. Nothing interferes with her honeyed, seamless delivery, not even the Andy Love Quintet, the Song Spinners, or the Day Dreamers. The collective instrumental personnel includes bassists Bob Haggart and Ray Brown, trumpeter Idrees Sulieman, saxophonists Illinois Jacquet and Ernie Caceres, organist Sir Charles Thompson, pianist Hank Jones, and drummer J.C. Heard. Ella imitates a Slam Stewart bass solo on "Oh, Lady Be Good" and tears up "How High the Moon" in a manner that would serve her well for the rest of her illustrious career. A fascinating chunk of history is here to be savored. Just don't be surprised if a mixed choir begins hooting and harmonizing behind Ella Fitzgerald. arwulf arwulf  
Tracklist :

WYNONIE HARRIS – 1944-1945 | The Classics Chronological Series – 885 (1996) FLAC (tracks+.cue), lossless

Blues shouter Wynonie Harris made his biggest impact while on the King label between 1948-1952. Alongside contemporary jump blues singer Roy Brown, Harris helped lay the foundations of rock & roll at the Cincinnati-based company, scoring such smashes as "Good Rockin' Tonight" (a Brown composition), "Bloodshot Eyes," and "All She Wants to Do Is Rock." Although Harris' beginnings were less auspicious, his talent was certainly in full view from the start; this first of three Classics discs makes the case with 22 of the finest slices of early R&B from the mid-'40s. In addition to such early hits as "Playful Baby" and "Wynonie's Blues," the mix contains lower-profile gems like the bop-infused "Everybody's Boogie" and the sonorous "Papa Tree Top." Harris' first recordings with bandleader Lucky Millinder, "Hurry, Hurry" and "Who Threw the Whiskey in the Well," are also included. And besides Millinder, the collection features the likes of Illinois Jacquet, a young Charles Mingus, and a combo comprised of drummer Johnny Otis, trumpeter Howard McGhee, and tenor saxophonist Teddy Edwards. A perfect disc for fans wanting to dig deeper into the Harris catalog. Stephen Cook
All Tracks & Credits :

SID CATLETT – 1944-1946 (1997) The Classics Chronological Series – 974 | FLAC (tracks+.cue), lossless

It's been said that Big Sid Catlett was the complete drummer, able to play with boppers and moldy figs alike and any kind of musician that fell in between those two opposite poles. Certainly his sense of time was impeccable and his soloing always flowed from the most musical of impulses. This collection brings together all the titles that were issued under his name during the '40s, featuring names like Illinois Jacquet, Ben Webster, Charlie Shavers, Oscar Pettiford, Willie Smith, Al Casey, Barney Bigard, Art Tatum, Eddie "Lockjaw" Davis, and Pete Johnson in the various lineups. Kicking off with a spoken introduction from Sid and a live recording of "Rose Room" taken from a V-Disc, these are delightful recordings in a variety of settings that show off the versatility and innate musicality of Catlett's swinging ways. Cub Koda
Tracklist :
1    Esquire Metropolitan Opera House Jam Session–    Rose Room     5:53
Art Hickman / Harry Williams
2    Big Sid Catlett Quartet Featuring Ben Webster–    Sleep     3:30
 Earl Lebeig / Earl Lebieg
3    Big Sid Catlett Quartet Featuring Ben Webster–    Linger Awhile     3:06
 Harry Owens / Vincent Rose
4    Big Sid Catlett Quartet Featuring Ben Webster–    Memories Of You     3:45
 Eubie Blake / Andy Razaf
5    Big Sid Catlett Quartet Featuring Ben Webster–    Just A Riff     3:57
 Big Sid Catlett
6    Sid Catlett Quartet–    1-2-3 Blues     3:09
 Traditional
7    Sid Catlett Trio–    I Found A New Baby    2:41
 Jack Palmer / Spencer Williams
8    Ed Hall And The Big City Jazzmen–    Blues In Room 920 3:14
 Big Sid Catlett
9    Ed Hall And The Big City Jazzmen–    Sweet Georgia Brown 2:41
 Ben Bernie / Kenneth Casey / Maceo Pinkard
10    Sid Catlett And The Regis All Stars–    Blue Skies 3:07
 Irving Berlin
11    Sid Catlett And The Big City Jazzmen–    Blue Skies 3:07
 Irving Berlin
12    Sid Catlett And The Big City Jazzmen–    Thermo-Dynamics 3:00
 Irving Berlin
13    Big Sid Catlett's Band–    I Never Knew     2:53
 Gus Kahn / Ted Fio Rito
14    Big Sid Catlett's Band–    Love For Sale 3:04
Arranged By – Horace Henderson
15    Big Sid Catlett's Band–    Justiz You, Just Me     2:45
 Jesse Greer / Raymond Klages
16    Big Sid Catlett's Band–    Henderson Romp     2:39
 Fletcher Henderson / Horace Henderson
17    Al Casey And His Sextet–    Sometimes I'm Happy    2:54
 Irving Caesar / Vincent Youmans
18    Al Casey And His Sextet–    How High The Moon     2:39
 Nancy Hamilton / Morgan Lewis
19    Sid Catlett And His All Stars–    Organ Boogie     2:28
 Big Sid Catlett
20    Sid Catlett And His All Stars–    Organ Blues     3:28
 Big Sid Catlett
21    Sid Catlett And His All Stars–    Sherry Wine Blues 3:20
 Traditional
Vocals [?] – Bill Gooden
22    Sid Catlett And His All Stars–    Open The Door Richard 2:54
 Dusty Fletcher / Dan Howell / John Mason / Jack McVea
Vocals – Band Members
23    Sid Catlett And His All Stars–    Shirley's Boogie     2:31
 Big Sid Catlett
24    Sid Catlett And His All Stars–    Humoresque Boogie     2:37
 Antonin Dvorák
Credits :    
Alto Saxophone – Ben "Bull Moose" Jackson (tracks: 13 to 16), Willie Smith (tracks: 17, 18)
Bass – Gene Ramey (tracks: 21 to 24), John Simmons (tracks: 2 to 7, 13 to 18), Oscar Pettiford (tracks: 1, 8 to 12)
Clarinet – Barney Bigard (tracks: 1), Edmond Hall (tracks: 8 to 10)
Drums – Sid Catlett
Guitar – Al Casey (tracks: 1, 13 to 18), Jimmy Shirley (tracks: 19, 21 to 24)
Organ – Bill Gooden (tracks: 19, 20)
Piano – Art Tatum (tracks: 1), Eddie Heywood (tracks: 8 to 12), Horace Henderson (tracks: 13 to 18), Marlowe Morris (tracks: 2 to 7)
Piano, Celesta – Pete Johnson (tracks: 19 to 24)
Tenor Saxophone – Ben Webster (tracks: 2 to 6), Hubert "Bumps" Myers (tracks: 13 to 16), Eddie "Lockjaw" Davis (tracks: 21), Frankie Socolow (tracks: 8 to 12), Illinois Jacquet (tracks: 13 to 18)
Trumpet – Charlie Shavers (tracks: 8 to 12), Gerald Wilson (tracks: 17, 18), Joe Guy (tracks: 13 to 16)

ILLINOIS JACQUET AND BEN WEBSTER - The Kid and the Brute (1954-1998) RM | FLAC (image+.cue), lossless

This single CD reissues all of the music from a former LP and a ten-inch LP. Of greatest interest are two fairly long selections (the blues "I Wrote This for the Kid" and a stomping "The Kid and the Brute") that match Illinois Jacquet with fellow tenor great Ben Webster. Since they have equally passionate and distinctive sounds, their "battle" is a draw. Otherwise, this 1998 CD finds Jacquet with his band of the mid-1950s, featuring short solos and fine support from trumpeter Russell Jacquet, trombonist Matthew Gee and either Leo Parker or Cecil Payne on baritone. Jacquet is at his best on the uptempo numbers, such as "Jacquet Jumps" and two versions of "On Your Toes," where he gets to honk in strategic places. An excellent example of Illinois Jacquet's hard-swinging and accessible music. Scott Yanow
Tracklist :
1     I Wrote This For the Kid 11:53
Illinois Jacquet
2     Saph 2:42
Johnny Acea / Illinois Jacquet
3     Mambocito Mio 2:51
Illinois Jacquet / Osie Johnson
4     The Kiid and the Brute 8:26
Illinois Jacquet
5     September Song 4:31
Maxwell Anderson / Kurt Weill
6     Jacquet's Dilemma 3:09
Johnny Acea / Illinois Jacquet
7     Little Jeff 2:41
Johnny Acea / Illinois Jacquet
8     Jacquet Jumps 1:49
Johnny Acea / Illinois Jacquet
9     Blue Nocturne 3:07
Johnny Acea / Elwyn Frazier / Illinois Jacquet
10     On Your Toes 3:16
Illinois Jacquet / A.K. Salim
11     R.U. One 2:53
Illinois Jacquet / A.K. Salim
12     Jatap La Conga 2:54
Illinois Jacquet / John Lewis
13     It's the Talk of the Town 3:27
Jerry Livingston / Al J. Neiburg / Marty Symes
14     Heads 3:20
Illinois Jacquet
15     On Your Toes 3:18
Illinois Jacquet / A.K. Salim
Credits :
Russel Jaquet (Trumpet)
Shadow Wilson (Drums)
Al Lucas (Bass)
Chano Pozo (Conga, Vocals)
John "Johnny" Adriano Acea (Piano)
Osie Johnson (Drums)
Illinois Jacquet (Sax (Alto), Sax (Tenor), Vocals, Mouth Percussion, Main Performer)
Leo Parker, Cecil Payne (Sax (Baritone)
Ben Webster (Sax (Tenor)
Matthew Gee (Trombone, Vocals)

ILLINOIS JACQUET WITH KENNY BURRELL - Desert Winds (1964-2004) RM / APE (image+.cue), lossless

Illinois Jacquet's searing sax solo in 1942's "Flying Home" (recorded while Jacquet was a member of Lionel Hampton's band) is often credited as the first R&B-styled saxophone solo, and there is no denying the power in that performance, shards of which are still being copied and assimilated. But many critics of the day hated the "dirty tenor" sound, and over the years Jacquet softened his approach considerably, knocking off the wilder corners and playing a smoother, more standard line. Not that this was necessarily a bad thing, since Jacquet was an accomplished melodic player in any style, but listeners should be aware that his rougher sound was all but gone by the time Desert Winds was recorded in 1964. Working with guitarist Kenny Burrell, pianist Tommy Flanagan, and a rhythm section of Wendell Marshall on bass and Ray Lucas on drums, with Willie Rodriguez adding bongos and congas on most tracks, Jacquet's playing here is hushed, easy, and pleasant, with no discernible hard edges, and with no other horn player on the session, he has plenty of room to let his solos build and unwind. He does break out a little bit on the group's version of the Lester Young classic "Lester Leaps In," but most cuts, like the title track, have an unhurried, relaxing midtempo shuffle pace, making Desert Winds feel like the aural equivalent of a gentle twilight breeze. The added percussion gets a little distracting on occasion, but overall Jacquet is in fine lyrical form, particularly on the standout track here, a beautiful version of "You're My Thrill" that carries all the breathy romanticism of a classic Ben Webster solo, and is one of Jacquet's finest pieces. An underappreciated and unassuming album, Desert Winds has plenty of easy charm, and while there are no barn-burning solos here, there are plenty of moments of quiet and lyrical joy. by Steve Leggett  
Tracklist :
1     When My Dreamboat Comes Home 5:22
Dave Franklin / Cliff Friend
2     Desert Winds 4:20
Esmond Edwards
3     Star Eyes 4:16
Gene DePaul / Don Raye
4     Blues for the Early Bird 3:17
Illinois Jacquet
5     Lester Leaps In 7:28
Lester Young
6     You're My Thrill 3:53
Burton Lane / Ned Washington
7     Canadian Sunset 6:13
Eddie Heywood
Credits :
Alto Saxophone – Illinois Jacquet (faixas: 4)
Bass – Wendell Marshall
Drums – Ray Lucas
Percussion – Wille Rodriguez
Piano – Tommy FlanaganTenor Saxophone – Illinois Jacquet
Guitar – Kenny Burrell

CORA LEE DAY - My Crying Hour (1960) M4A (tracks) lossless / lp / MONO [16bits 44.1khz]

Cora Lee Day (1914-1996) was virtually unknown when she recorded 'My Crying Hour' in 1960, the only album in her brief singing career, before becoming an actress. She bore a striking vocal resemblance to another legendary “Day,” the immortal “Lady Day” —Billie Holiday— but her voice still has that certain intangible quality that singles her out as a rare-find on the jazz scene and is sure to catch your ear. Under the direction of pianist Jimmy Jones and with a number of skillful arrangements, Cora Lee gained the drive and confidence to sing an engaging repertoire of fragile, moving songs in the manner that came most natural to her —soft and intimate. freshsoundrecords.
Tracklist :
1- My Crying Hour 3:47
(Sonny LeGlaire)
2- When Your Lover has Gone 3:01
(E.A.Swan)
3- Trouble is a Man 3:03
(Alec Wilder)
4- The Very Thought of You 3:17
(Ray Noble)
5- I See a Million People 3:32
(Robert Sour)
6- Ain't no Use 3:10
(Wyche-Kirkland)
7- It isn't Fair 2:38
(Warshauer-Sprigato-Himber)
8- You Taught Me How to Cry 3:31
(E.Johnson)
9- Weeping Willow 3:05
(Zola Garrett)
10- Try a Little Tenderness 3:21
(Woods-Campbell-Connelly)
11- I'm Gonna Laugh You Right Out of my Life 3:30
(Coleman-McCarthy)
12- The Masquerade is Over 3:16
(Magidson-Wrubel)
Credits:
Cora Lee Day, vocals
Accompanied by Sextet & Orchestra conducted by Jimmy Jones
Sextet (#2,3,6,7,9,10,12): Harry Edison, trumpet; Illinois Jacquet, tenor sax; Jimmy Jones, piano, Barry Galbraith, guitar; Eddie Jones, bass; Osie Johnson, drums.
Orchestra (#1,5,8,11): Arrangements by Jerry Valentine.
Recorded in New York City, June 1960

COUNT BASIE AND HIS ORCHESTRA – 1945-1946 | The Classics Chronological Series – 934 (1997) FLAC (tracks+.cue), lossless

This CD can easily be divided into two. The first 14 selections are from 1945 and feature the Basie band at a time that Lucky Thompson and Buddy Tate were the tenor sax soloists, and the repertoire included such hot tunes as "Avenue C," "High Tide," and "Blue Skies"; a few of the selections are taken from V-Discs. The final six numbers have Illinois Jacquet taking over on tenor and include "Rambo" and the exciting "The King." Throughout, the Basie rhythm section swings as hard and as lightly as usual while the horn sections are full of lively players, including Harry "Sweets" Edison and Dicky Wells. Another strong entry in the Classics label's chronological study of the early Count Basie band. Scott Yanow