AHMAD JAMAL TRIO — Count 'Em 88 (1956-1999) FLAC (tracks+.cue), lossless

This LP (not yet reissued on CD) was pianist Ahmad Jamal's first with his new group, a trio also including bassist Israel Crosby and drummer Walter Perkins. Although he was reasonably popular around the Chicago area at the time, Jamal's major breakthrough would be the following album, But Not for Me, recorded more than a year later. The "Jamal sound," with its expert use of dynamics, close interplay, space and subtle surprises was very much in place, and this out-of-print set is on the same level as his better-known hits to come. Highlights include "Green Dolphin Street," "How About You" and "Easy To Remember." Well worth searching for. Scott Yanow
Tracklist :
1    Volga Boatman 3:53
Ahmad Jamal
2    On Green Dolphin Street 3:20
Bronislaw Kaper / Ned Washington
3    How About You 5:30
R. Freed / Ralph Freed / Burton Lane
4    I Just Can't See for Lookin 2:04
Nadine Robinson
5    Spring Will Be a Little Late This Year 2:35
Frank Loesser
6    Beat Out One 5:28
Ahmad Jamal
7    Maryam 3:39
Ahmad Jamal
8    Easy to Remember 5:41
Lorenz Hart / Richard Rodgers
9    Jim Love Sue 2:51
Ahmad Jamal
Credits :
Double Bass – Israel Crosby
Drums – Walter Perkins
Piano – Ahmad Jamal

AHMAD JAMAL TRIO — At the Pershing : But Not for Me (1958-2002) RM | Argo Cadet Special Collection – 6 | FLAC (tracks+.cue), lossless

The first album by the trio of pianist Ahmad Jamal, bassist Israel Crosby, and drummer Vernell Fournier was a big seller partly due to the classic rendition of "Poinciana." The live LP (which unfortunately has only 29 minutes of music) features very tight interplay among the musicians and light but passionate versions of such other songs as "But Not for Me," "Surrey With the Fringe on Top," and "Woody 'n You." A classic that really defined Ahmad Jamal's distinctive sound in many people's minds.  Scott Yanow
Tracklist:
1 But Not for Me 3:31
George Gershwin / Ira Gershwin
2 The Surrey With the Fringe on Top 2:35
Oscar Hammerstein II / Richard Rodgers
3 Moonlight in Vermont 3:09
John Blackburn / Karl Suessdorf
4 (Put Another Nickel In) Music! Music! Music! 2:56
Bernie Baum / Stephen Weiss
5 No Greater Love 3:26
Isham Jones / Marty Symes
6 Poinciana 8:07
Buddy Bernier / Nat Simon
7 Woody 'N You 3:40
Dizzy Gillespie
8 What's New? 4:08
Johnny Burke / Bob Haggart
Credits
Bass – Israel Crosby
Drums – Vernell Fournier
Piano – Ahmad Jamal

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 :

GENE KRUPA – 1952-1953 | The Chronogical Classics – 1390 (2005) FLAC (tracks+.cue), lossless

Volume 16 in the Classics Gene Krupa chronology documents his recording activity between March 1952 and September 1953. Although Krupa had struggled for years to keep his big band together, he had to throw in the towel in 1951. By the spring of the following year, he was leading his first small-group recording date for producer Norman Granz. Having spent years at the helm of a big band that expended a lot of energy accompanying jazz and pop vocalists, Krupa seems to have relished the intimacy and immediacy of these exciting instrumental blowing sessions with pianist Teddy Napoleon and tenor saxophonist Charlie Ventura. The opening track, "St. Louis Blues" runs for seven-and-a-half steamy minutes, and Ventura uses his baritone for a deliciously deep-toned interpretation of Hoagy Carmichael's "Star Dust." The big horn was also in evidence on a friendly laid-back rendition of "My Blue Heaven" and reflections of a "Moon on the Ruined Castle" recorded in Tokyo for the Victor label one month later when the trio was visiting Japan as part of an all-star entourage financed and presided over by Norman Granz. As Victor was not his company, Granz allowed the taping to occur but prevented the recordings from being released. Back in New York two weeks later, Granz and Krupa began making records using slightly larger ensembles. The six- and seven-piece bands that are heard on the last six titles of this compilation had powerful front liners in Ben Webster, Charlie Shavers, Bill Harris and Willie Smith; the rhythm sections were stoked with Teddy Wilson, Israel Crosby, Ray Brown, Steve Jordan and Herb Ellis. This outstanding compilation chronicles a sunny and artistically rewarding chapter in the life of Gene Krupa. arwulf arwulf
Tracklist + Credits :

TEDDY WILSON AND HIS ORCHESTRA – 1935-1936 | The Classics Chronological Series – 511 (1990) FLAC (tracks+.cue), lossless

The second CD in Classics' Teddy Wilson series features the definitive swing pianist on two piano solos and leading all-star groups. There are seven generally familiar Billie Holiday vocals (including classic renditions of "I Cried for You" and "These Foolish Things"), a pair from Ella Fitzgerald (her first recordings outside of the Chick Webb Orchestra), two rare ones from Helen Ward, a vocal by Roy Eldridge on a heated "Mary Had a Little Lamb" and seven instrumentals. The strong supporting cast includes such players as altoist Johnny Hodges, trumpeters Frankie Newton, Jonah Jones and Eldridge, trombonist Benny Morton, clarinetist Buster Bailey, tenorman Chu Berry, and baritonist Harry Carney; Benny Goodman makes guest appearances on the two Helen Ward titles. Classic music although most of it is also easily available elsewhere. Scott Yanow
Tracklist + Credits :

EDMOND HALL – 1937-1944 | The Classics Chronological Series – 830 (1995) FLAC (tracks+.cue), lossless

Those who missed out on Mosaic's limited-edition reissue of Edmond Hall's superb Blue Note recordings may want to pounce on this segment of the clarinetist's chronology. Everything there is to love about small-group swing is present at full potency in these remarkably solid performances. For the session of February 5, 1941 Meade "Lux" Lewis put all of his best blues and boogie energies into a celeste, that tinkling little keyboard instrument that sounds like a glockenspiel. The combination of a celestial Lewis and the soulful Hall with guitarist Charlie Christian and bassist Israel Crosby resulted in music unlike anything heard before or since. On November 29, 1943 the Edmond Hall Blue Note Jazzmen had Vic Dickenson and a very inspired Sidney DeParis on the front line. The humbly majestic James P. Johnson makes the music feel like ritual. Three hot numbers are fountains of joy, but the real magic develops during two collectively improvised blues taken at relaxed tempos. Nothing could be finer or more pleasing than this confluence of master improvisers, drawing upon the highly evolved traditions of New York and New Orleans as they listened ever so carefully to each other while inventing their own grammar of straightforward blues, swing and boogie-woogie. The Edmond Hall Sextet recorded four sides for Commodore on December 18, 1943. Guitarist Al Casey sat in on this occasion, only three days after the passing of his mentor, Fats Waller. Eddie Heywood was a great pianist, much less humble than James P. Johnson but formidable enough to rock the hell out of the "Downtown Café Boogie." The piano introduction to a very relaxed "Uptown Café Blues" sounds similar to the beginning of Heywood's blues collaborations with Billie Holiday. Edmond Hall's way of handling the blues is unforgettably immediate and sincere. Both of the 1943 dates are towed into port by the exceptionally fine drumming of Big Sid Catlett. Back with Blue Note on January 25, Edmond Hall leads his All Star Quintet in developing four of his own original compositions. While "Rompin' in '44," the band moves with gently pronounced modernity, rooted in tradition but responding to new ideas and updated styles. Red Norvo, always aware of fresh influences, had something to do with this development. "Blue Interval" is something like a course in organic gardening; "Smooth Sailin'" is a solid upbeat piece of blues, as is the rocking restless jam called "Seein' Red." As a gesture of chronological completeness, Classics tacked on a pair of sides from 1937 with vocals by Henry Nemo. These would be more enjoyable if he didn't closely imitate Fats Waller's singing style, right down to the expostulations and tag lines. Considering the wealth of outstanding jazz on this one CD, these two oddities are a neat bonus. They do not detract in any way from the masterpieces gathered together in memory of the great Edmond Hall. arwulf arwulf  

Tracklist + Credits :

JESS STACY – 1935-1939 | The Classics Chronological Series – 795 (1994) FLAC (tracks+.cue), lossless

Pianist Jess Stacy did not lead that many recording sessions during the swing era since he spent long periods playing with the big bands of Benny Goodman and Bob Crosby. This excellent CD contains his 21 selections as a leader from a four-year period. Stacy's three numbers from 1935 include a solo Bix Beiderbecke medley and two songs with bassist Israel Crosby and drummer Gene Krupa. In addition, this set has Stacy's eight piano solos for Commodore, a duet with Bud Freeman on tenor ("She's Funny That Way"), and eight very rare performances (plus an alternate take) cut for Varsity in 1939 that also feature trumpeter Billy Butterfield, tenor saxophonist Eddie Miller, and either clarinetist Hank d'Amico or Irving Fazola in an octet. This CD contains more than its share of gems. Scott Yanow
Tracklist + Credits :

GEORGE AULD – 1940-1945 | The Classics Chronological Series – 1322 (2003) FLAC (tracks+.cue), lossless

Smooth and sometimes flashy tenor saxophonist Georgie Auld was heavily featured with Benny Goodman, Bunny Berigan, and Artie Shaw, whose band Auld attempted to front after Shaw, suffering psychological distress at finding himself mobbed by hyper-appreciative fans, retreated to Mexico in order to obtain some sort of privacy. Eight sides from January and February 1940 sound a lot like the previous Shaw orchestra; Kay Foster's vocals sweeten up five of these, while "This Is Romance," "Juke Box Jump," and "Sweet Sue" are solid, danceable big-band instrumentals. The orchestra was not a success and soon threw in the towel, partly because, unlike Shaw's previous material, these records came out on the little Varsity label rather than Victor's Bluebird imprint. Cut to the spring of 1944, and music of an entirely different sort. A "saxtet" co-led by Auld, Ben Webster, and Coleman Hawkins makes four sides for the progressive Apollo label, with Charlie Shavers, Israel Crosby, and Specs Powell in the band, among others. Hawkins naturally steers, with Webster riding shotgun. "Porgy" and "Uptown Lullaby" are languid ballads, while the exciting "Pick-Up Boys," with its off-mike vocal interjections, is perfectly matched by "Salt Peanuts," which in 1944 placed these musicians on the cutting edge of new jazz. This exquisite session makes the whole package worth having. The rest of the chronological survey shows Auld leading his orchestra in an up-to-date fashion. Five sides were recorded for Apollo only five days after the "saxtet" date, now bolstered with groovin' arrangements by Budd Johnson. The presence of Al Cohn and Howard McGhee doesn't hurt, either. Auld shows off a bit on a luxuriant "Concerto for Tenor" and steams up the place during "Taps Miller." "I Can't Get Started," bifurcated so as to fit on either side of a 10" record, is essentially Auld's homage to Coleman Hawkins. In February and March of 1945, Auld gathered together an exceptionally hot band for a brief spate of recordings issued on the Guild label. Auld's perceptive personnel choices included Dizzy Gillespie, Billy Butterfield, Freddy Webster, Trummy Young, Al Cohn, Manny Albam, Chubby Jackson, Erroll Garner, and Shadow Wilson! Patti Powers had a pretty little voice while Gordon Drake, whose droopy balladeering bordered on the soporific, served as a sort of laudanum poultice on "I Fall in Love Too Easily." Not surprisingly, the instrumentals ("Georgie Porgie," "In the Middle," and "Co-Pilot") provide more excitement and gratification. arwulf arwulf
Tracklist + Credits :

JIMMIE NOONE – 1934-1940 | The Classics Chronological Series – 651 (1992) FLAC (tracks+.cue), lossless

On the fifth of Jimmie Noone's five CDs on the Classics label, the New Orleans clarinetist is heard on his final 24 selections as a leader (with the exception of a slightly later live session). The first six numbers close the book on his Apex Club Orchestra, featuring Eddie Pollack (in Joe Poston's old place) playing the melody on alto and sometimes baritone behind Noone's solos; trumpeter Jimmy Cobb and pianist Zinky Cohn get some solo space. Noone is also heard in 1936 with a freewheeling New Orleans group featuring trumpeter Guy Kelly and trombonist Preston Jackson, holding his own the following year with the dynamic young trumpeter Charlie Shavers and altoist Pete Brown, and doing his best in 1940 to overcome the weak cornet playing of Natty Dominique. The final four numbers (also from 1940) are dominated by Ed Thompson's dated vocals. No matter what the setting, Noone (who passed away in 1944) is heard in prime form. Scott Yanow  
Tracklist + Credits :

HORACE HENDERSON AND HIS ORCHESTRA – 1940 + FLETCHER HENDERSON AND HIS ORCHESTRA – 1941 | The Classics Chronological Series – 648 (1992) FLAC (tracks+.cue), lossless

 Horace Henderson spent most of his career in the shadow of his brother Fletcher, even though he was actually a superior pianist and a comparable arranger. Other than an all-star session that he headed in 1933, Horace did not make his first recordings as a leader until 1940, when he led a regular (if short-lived) big band. Five sessions resulted in 21 titles, all of which are included on this very enjoyable CD. Most notable among Henderson's sidemen are trumpeter Emmett Berry, tenorman Elmer Williams, and Ray Nance (shortly before he joined Duke Ellington) on trumpet, violin, and the vocal to "They Jittered All the Time." This excellent swing CD, which has plenty of "killer dillers," is rounded off by a four-song session by Fletcher Henderson's 1941 big band, cut shortly before it broke up. Recommended. Scott Yanow
Tracklist + Credits :

CHU BERRY – 1937-1941 (1994) The Chronogical Classics – 784 | FLAC (tracks+.cue), lossless

One has to invest in a few discs to track down most of Chu Berry's recordings as a leader. And while some of his best sides are available from Commodore, there are still many cuts from throughout his career that have been hard to come by. Now, Classics has collected a good chunk of the tenor luminary's solo sides on this welcome collection -- in lieu of a badly needed and thorough retrospective that should include both solo material and tracks from Berry's numerous dates with Cab Calloway, Fletcher Henderson, Lionel Hampton, Billie Holiday, Dizzy Gillespie, and scores of other bandleaders and vocalists, this remains the best roundup available. Bookended by a 1937 session with his Stompy Stevedores and four 1941 sides featuring Charlie Ventura (including two alternate takes), this disc's main attraction has to be the eight numbers from Berry's respective 1938 and 1941 sessions with Roy Eldridge and Hot Lips Page. A solid collection that's perfect for newcomers. Now all we need is for the Smithsonian's music arm to resurrect its invaluable, multi-label reissue series, so Berry can finally get his due. Stephen Cook  
Tracklist 
1 –Chu Berry And His Stompy Stevedores - Now You're Talking My Language 2:55
Bass – Israel Crosby
Clarinet – Buster Bailey
Drums – Cozy Cole
Guitar – Lawrence Lucie
Piano – Horace Henderson
Trombone – George Matthews
Trumpet, Vocals – Hot Lips Page
Written-By – Stept, Mitchell, Koehler
2 –Chu Berry And His Stompy Stevedores - Indiana 2:46
Bass – Israel Crosby
Clarinet – Buster Bailey
Drums – Cozy Cole
Guitar – Lawrence Lucie
Piano – Horace Henderson
Trombone – George Matthews
Trumpet – Hot Lips Page
Written-By – MacDonald, Hanley
3 –Chu Berry And His Stompy Stevedores - Too Marvelous For Words 2:54
Bass – Israel Crosby
Clarinet – Buster Bailey
Drums – Cozy Cole
Guitar – Lawrence Lucie
Piano – Horace Henderson
Trombone – George Matthews
Trumpet, Vocals – Hot Lips Page
Written-By – Mercer, Whiting
4 –Chu Berry And His Stompy Stevedores - Limehouse Blues 2:52
Bass – Israel Crosby
Clarinet – Buster Bailey
Drums – Cozy Cole
Guitar – Lawrence Lucie
Piano – Horace Henderson
Trombone – George Matthews
Trumpet – Hot Lips Page
Written-By – Farber, Braham
5 –Chu Berry And His Stompy Stevedores - Chuberry Jam 2:17
Bass – Milton Hinton
Drums – Leroy Maxey
Guitar – Danny Barker
Piano – Benny Payne
Trombone – Keg Johnson
Trumpet – Irving Randolph
Written-By – Berry
6 –Chu Berry And His Stompy Stevedores - Maelstrom 2:47
Bass – Milton Hinton
Drums – Leroy Maxey
Guitar – Danny Barker
Piano – Benny Payne
Trombone – Keg Johnson
Trumpet – Irving Randolph
Written-By – Berry
7 –Chu Berry And His Stompy Stevedores - My Secret Love Affair 2:50
Bass – Milton Hinton
Drums – Leroy Maxey
Guitar – Danny Barker
Piano, Vocals – Benny Payne
Trombone – Keg Johnson
Trumpet – Irving Randolph
Written-By – Pollack, Mitchell
8 –Chu Berry And His Stompy Stevedores - Ebb Tide 2:45
Bass – Milton Hinton
Drums – Leroy Maxey
Guitar – Danny Barker
Piano – Benny Payne
Trombone – Keg Johnson
Trumpet – Irving Randolph
Written-By – Robin, Rainger
9 –Chu Berry And His "Little Jazz" Ensemble - Sittin' In 2:09
Bass – Artie Shapiro
Drums – Sidney Catlett
Guitar – Danny Barker
Piano – Clyde Hart
Trumpet – Roy Eldridge
Written-By – Milt Gabler
10 –Chu Berry And His "Little Jazz" Ensemble - Stardust 3:52
Bass – Artie Shapiro
Drums – Sidney Catlett
Guitar – Danny Barker
Piano – Clyde Hart
Trumpet – Roy Eldridge
Written-By – Carmichael, Parish
11 –Chu Berry And His "Little Jazz" Ensemble - Body And Soul 3:49
Bass – Artie Shapiro
Drums – Sidney Catlett
Guitar – Danny Barker
Piano – Clyde Hart
Trumpet – Roy Eldridge
Written-By – Heyman, Eyton, Green, Sour
12 –Chu Berry And His "Little Jazz" Ensemble - Forty-Six West Fifty-Two 2:28
Bass – Artie Shapiro
Drums – Sidney Catlett
Guitar – Danny Barker
Piano – Clyde Hart
Trumpet – Roy Eldridge
Written-By – Berry, Gabler
13 –Chu Berry And His Jazz Ensemble - Blowing Up A Breeze 2:38
Bass – Al Morgan
Drums – Harry Jaeger
Guitar – Albert Casey
Piano – Clyde Hart
Trumpet – Hot Lips Page
Written-By – Page, Berry, Gabler
14 –Chu Berry And His Jazz Ensemble - On The Sunny SIde Of The Street 3:50
Bass – Al Morgan
Drums – Harry Jaeger
Guitar – Albert Casey
Piano – Clyde Hart
Written-By – Fields, McHugh
15 –Chu Berry And His Jazz Ensemble - Monday At Minton's (What's It To You?) 2:53
Bass – Al Morgan
Drums – Harry Jaeger
Guitar – Albert Casey
Piano – Clyde Hart
Trumpet – Hot Lips Page
Written-By – Page, Berry, Gabler
16 –Chu Berry And His Jazz Ensemble - Gee, Ain't I Good To You? 4:05
Bass – Al Morgan
Drums – Harry Jaeger
Guitar – Albert Casey
Piano – Clyde Hart
Trumpet, Vocals – Hot Lips Page
Written-By – Redman
17 –Chu Berry And Charlie Ventura Dream Girl - Part 1 2:00
Traditional
18 –Chu Berry And Charlie Ventura Dream Girl - Part 2 2:25
Written-By – Redman
17 –Chu Berry And Charlie Ventura Dream Girl - Part 1 2:00
Traditional
19 –Chu Berry And Charlie Ventura Get Lost - Part 1 2:01
Written-By – Redman
17 –Chu Berry And Charlie Ventura Dream Girl - Part 1 2:00
Traditional
20 –Chu Berry And Charlie Ventura Get Lost - Part 2 2:02
Traditional
Credits :
Bass – Unknown Artist (tracks: 17 to 20)
Drums – Unknown Artist (tracks: 17 to 20)
Piano – Unknown Artist (tracks: 17 to 20)
Tenor Saxophone – Charlie Ventura (tracks: 17 to 20),
Chu Berry, Unknown Artist (tracks: 17 to 20)

BENNY MORTON – 1934-1945 (1999) The Classics Chronological Series – 906 | FLAC (tracks), lossless

Benny Morton didn't make very many recordings as a leader. What you've got here are apparently all of them. The 1934 band contained several musicians who had worked in Don Redman's orchestra. "Fare Thee Well to Harlem" is one of many preposterous Tin Pan Alley songs depicting a "negro" who yearns to go back to the noble South, in this case because of the questionable assumption that down there people go to church instead of hanging out in bars. Note that Duke Ellington always insisted there were more churches than nightclubs in Harlem. Ellington gave the world the diametric opposite of this song when in 1941 he composed "Jump For Joy," that ode to emancipation with its opening lyric: "Fare thee well, land of cotton, fare thee well." It's almost as if he was responding to this particular song! Will we ever know? "Tailor Made" was composed and arranged by bassist Billy Taylor, who chugs away behind the band without soloing. "The Gold Digger's Song," with its refrain of "We're in the money," came directly out of Busby Berkeley's Hollywood during the Great Depression. Nobody ever sang a hipper version of this giddy paean to economic denial than Henry "Red" Allen. Edward Inge quotes both "Yankee Doodle" and "Pagliacci" during his clarinet solo. Benny Morton's Trombone Choir was a follow-up for Roy Eldridge's Trumpet Ensemble and Coleman Hawkins & His Sax Ensemble, all brilliantly produced by Harry Lim for Keynote Records. The fact that four trombones were considered a choir is immediately understandable when you immerse yourself in their glowing tonalities. The music is sculpted with great precision, and the 'bones are able to strut their stuff largely because of the excellent rhythm section of Johnny Guarnieri, Al Hall and Sid Catlett. Although Leonard Feather is credited as the composer of "Sliphorn Outing," the tune is clearly recognizable as an upbeat version of "Avalon." You realize Al Jolson could have sued for royalties! "Sliphorn" is also a necessary blow-out after the beautifully controlled cooperation and perfectly blended harmonies of "Where or When," "Liza" and "Once in a While." The Blue Note recordings of Benny Morton's All Stars, featuring Barney Bigard and Ben Webster, are precious as lapis lazuli. "My Old Flame" comes across like an Ellington tune, for obvious reasons. "Conversing In Blue" might be one of the greatest collective improvisations in all of traditional jazz. Six men interact, three of them using wind instruments in strikingly expressive ways, carefully listening to each other while voicing their innermost feelings with honesty and passion. The ballad and the blues are perfectly matched by a pair of hot standards. All four sides were originally issued on 12" 78s, allowing additional time for extended solos and prolonged exchanges between the horns. The album ends with four obscure titles issued on the Stinson label. Benny Morton's gentle approach to the trombone is beautifully demonstrated on "Stardust." Prince Robinson's clarinet is a noticeable presence during "Boogie" and those quirkily titled romps, "Williphant Willie" and "Chicken at the Chester." Not a bad career retrospective for a man who spent most of his time playing in the brass section of other peoples' bands. arwulf arwulf 
Tracklist :
1    Benny Morton And His Orchestra–    Get Goin' 3:13
Arranged By – Jerry Blake
Vocals – Jerry Blake
Written-By – Oakland, Conrad, Drake
2    Benny Morton And His Orchestra–    Fare-Thee-Well To Harlem 3:05
Vocals – Jerry Blake
Written-By – Hanighen, Mercer
3    Benny Morton And His Orchestra–    Tailor Made 3:12
Written-By, Arranged By – Billy Taylor
4    Benny Morton And His Orchestra–    The Gold Digger's Song (We're In The Money) 3:10
Vocals – Henry "Red" Allen
Written-By – Dubin, Warren
5    Benny Morton's Trombone Choir–    Where Or When 4:38
Written-By – Rodgers - Hart
6    Benny Morton's Trombone Choir–    Liza
Written-By – Gershwin - Gershwin
7    Benny Morton's Trombone Choir–    Once In A While 4:42
Written-By – Green, Edwards
8    Benny Morton's Trombone Choir–    Sliphorn Outing 4:33
Written-By – Feather
9    Benny Morton's All Stars–    My Old Flame 4:14
Written-By – Johnson, Coslow
10    Benny Morton's All Stars–    Conversing In Blue 4:38
Written-By – Benny Morton
11    Benny Morton's All Stars–    The Sheik Of Araby 4:35
Written-By – Wheeler, Smith, Snyder
12    Benny Morton's All Stars–    Limehouse Blues 4:09
Written-By – Furber, Braham
13    Benny Morton–    Boogie 2:36
Written-By – Unknown Artist
14    Benny Morton–    Williphant Willie 2:25
Written-By – Unknown Artist
15    Benny Morton–    Stardust 2:57
Written-By – Hoagy Carmichael
16    Benny Morton–    Chicken At The Chester 2:23
Written-By – Unknown Artist
Credits :   
Bass – Al Hall (tracks: 5 to 8), Billy Taylor (tracks: 1 to 4), Israel Crosby (tracks: 9 to 12), Jimmy Butts (tracks: 13 to 16)
Clarinet – Barney Bigard (tracks: 9 to 12), Prince Robinson (tracks: 13 to 16)
Clarinet, Alto Saxophone – Edward Inge (tracks: 1 to 4), Jerry Blake (tracks: 1 to 4)
Drums – Eddie Dougherty (tracks: 9 to 16), Manzie Johnson (tracks: 1 to 4), Sid Catlett (tracks: 5 to 8)
Guitar – Bobby Johnson (tracks: 1 to 4)
Piano – Don Kirkpatrick (tracks: 1 to 4), Johnny Guarnieri (tracks: 5 to 8), Sammy Benskin (tracks: 9 to 16)
Tenor Saxophone – Ben Webster (tracks: 9 to 12), Ted McRae (tracks: 1 to 4)
Trombone – Benny Morton, Bill Harris (tracks: 5 to 8), Claude Jones (tracks: 5 to 8), Vic Dickenson (tracks: 5 to 8)
Trumpet – Bobby Stark (tracks: 13 to 16), Henry "Red" Allen (tracks: 1 to 4)

MEADE "LUX" LEWIS - 1946-1954 (2005) The Classics Chronological Series – 1401 | FLAC (image+.cue), lossless

In 2005 the Classics Chronological Series, in a continuous effort to reissue the complete recordings of boogie-woogie piano ace Meade "Lux" Lewis, released a fourth volume containing material dating from between 1946 and 1954. Opening with a solo Lewis set recorded by Norman Granz for the Mercury label at a Jazz at the Philharmonic concert inside of the Embassy Auditorium in Los Angeles on April 22, 1946, this delightful album also features the work of bassist Israel Crosby and drummer Louie Bellson. These are some of Lewis' very best recordings; the tonal palette is richly varied as he pays homage to his influences and contemporaries in the pantheon of classic blues and boogie-woogie piano. They include Pete Johnson, Albert Ammons, Cow Cow Davenport, Jimmy Yancey, Clarence Pinetop Smith, Hersal Thomas, and Freddie Shayne. arwulf arwulf
Tracklist :
1    Medium Boogie (Yancey Special)    3:15
2    Fast Boogie    1:55
3    Slow Boogie (Dupree Blues)    3:25
4    Honkey Tonk Train Blues    2:33
5    Jumpin' With Pete    3:00
6    Riff Boogie    3:05
7    Cow Cow Blues    3:12
8    Yancey Special    2:54
9    Honky Tonk Train Blues    2:49
10    Albert's Blues    3:02
11    Pinetop's Boogie Woogie    3:09
12    Mr. Freddie's Blues    3:31
13    Suitcase Blues    3:02
14    Spooney Sam    3:58
15    Mama's Bounce    5:49
16    Shooboody    5:19
17    Hangover Boogie    6:11
18    Yancey's Last Ride    3:45
19    Bush Street Boogie    5:28
Credits :    
Bass – Israel Crosby (tracks: 5 to 13)
Drums – Frank Williams (tracks: 5 to 13), Louis Bellson (tracks: 14 to 19)
Piano – Meade Lux Lewis

ALBERT AMMONS – 1939-1946 (1997) The Classics Chronological Series – 927 | FLAC (image+.cue), lossless

This CD offers three distinct periods in the development of boogie-woogie pianist Albert Ammons. Kicking off with solo tracks recorded in 1939 and 1944 for the Solo-Art and Commodore labels, the next batch follows him into a small-band format with Hop Lips Page practically stealing the show in his demonstrative style. The final ten selections emanate from Chicago sessions for Mercury -- again with a small group -- featuring vocals from Sippie Wallace and Mildred Anderson. Ammons was a giant in his chosen field of endeavor, and these sides make a marvelous addition to his too-short discography. Cub Koda
Tracklist :
1    Albert Ammons–    St. Louis Blues 3:50
Written-By – W. C. Handy
2    Albert Ammons–    Mecca Flat Blues 3:54
Traditional
3    Albert Ammons–    Bass Gone Crazy    3:35
 Albert Ammons
4    Albert Ammons–    Monday Struggle 3:53
 Albert Ammons
5    Albert Ammons–    Boogie Woogie    3:27
 Albert Ammons
6    Albert Ammons–    Albert's Special Boogie Woogie    2:59
 Albert Ammons
7    Albert Ammons–    The Boogie Rocks    3:01
 Albert Ammons
8    Albert Ammons–    Blues On My Mind    3:06
 Albert Ammons
9    Albert Ammons–    Bugle Boogie    2:50
 Albert Ammons
10    Albert Ammons And His Rhythm Kings–    Blues In The Groove    3:02
 Albert Ammons
11    Albert Ammons And His Rhythm Kings–    The Breaks    3:07
 Albert Ammons
12    Albert Ammons And His Rhythm Kings–    Jammin' The Boogie    4:03
 Albert Ammons
13    Albert Ammons And His Rhythm Kings–    Bottom Blues    4:34
 Albert Ammons
14    Sippie Wallace With Albert Ammons And His Rhythm Kings–    Bedroom Blues 3:16
Written-By –  George "Fathead" Thomas / Sippie Wallace
15    Sippie Wallace With Albert Ammons And His Rhythm Kings–    Buzz Me 3:02
Written-By – Dexter, Moore
16    Albert Ammons And His Rhythm Kings–    Doin' The Boogie Woogie 2:49
Written-By – Young
17    Albert Ammons And His Rhythm Kings–    Oh, Lady, Be Good! 2:32
Written-By – Gershwin - Gershwin
18    Albert Ammons And His Rhythm Kings–    Suitcase Blues    2:44
 Albert Ammons / Hersal Thomas
19    Albert Ammons And His Rhythm Kings–    Boogie Woogie At The Civic Opera    2:34
 Albert Ammons
20    Albert Ammons And His Rhythm Kings–    Swanee River Boogie 2:31
Written-By – Foster
21    Albert Ammons And His Rhythm Kings–    Why I'm Leaving You 2:38
Written By – Unknown Artist
22    Albert Ammons And His Rhythm Kings–    I Don't Want To See You 2:49
Written-By – Cooley
23    Albert Ammons And His Rhythm Kings–    Red Sails In The Sunset 2:30
Written-By – Kennedy, Grosz
Credits :
Alto Saxophone – Artie Starks (faixas: 14, 15)
Bass – Israel Crosby (faixas: 10 to 13, 16 to 23), John Lindsay (faixas: 14, 15)
Drums – Jack Cooley (faixas: 16 to 23), Sid Catlett (faixas: 10 to 13), Tom Taylor (10) (faixas: 14, 15)
Guitar – Ike Perkins (faixas: 16 to 23), Lonnie Johnson (faixas: 14, 15)
Piano – Albert Ammons
Tenor Saxophone – Don Byas (faixas: 10 to 13)
Trombone – Vic Dickenson (faixas: 10 to 13)
Trumpet – Hot Lips Page (faixas: 10 to 13)
Vocals – Jack Cooley (faixas: 21, 22), Mildred Anderson (faixas: 16), Sippie Wallace (faixas: 14, 15)
Written-By – Ammons (faixas: 3, 5 to 13, 18, 19)

ALBERT AMMONS – 1946-1948 (2000) The Classics Chronological Series – 1100 | FLAC (tracks), lossless

Here's vibrant proof that virtually any melody could be heated up and hammered out into an enjoyable boogie-woogie stomp. "Deep in the Heart of Texas," "Margie," "Roses of Picardy," "You Are My Sunshine," "Sheik of Araby," "When You And I Were Young, Maggie," and "Twelfth Street Rag" were all fair game for Albert Ammons' eight-to-the-bar gyrations. The twangy electrified guitar of Ike Perkins maintained rhythmic velocity with well-timed kicks and struts. On August 6, 1947, Ammons' Rhythm Kings quartet was fortified by the presence of Albert's son -- tenor saxophonist Gene Ammons -- and trumpeter Marvin Randolph. The pianist sounds deliberately old-fashioned during the introduction to W.C. Handy's hit of 1914, "St. Louis Blues." When the horns chime in during the bridge, everyone's rolling in a solid groove. Then Gene takes over, sounding majestically hip. This mood is continued and expanded on the flip side, "Shufflin' the Boogie," which is a rocker. "S.P. Blues" cooks just a bit hotter, and Gene wails up a storm. "Hiroshima" is this band's version of "Nagasaki," another goofy 1930s pop song turned jazz jam standard. Given what had happened to both cities in August of 1945, the retitling seems grimly playful. This session is perfectly symmetrical, with two steamy up-to-date boogies sandwiched between old standards. The Albert-and-Gene father-and-son combination is very exciting, and should be better known than it seems to be, even among seasoned jazz heads. "In a Little Spanish Town" sounds like a premonition of Professor Longhair's own Louisiana approach to the boogie-woogie, and compares well with Lester Young's version recorded in March of 1951. "Tuxedo Boogie" begins with a guitar lick that would eventually surface as "Shake Your Money Maker." Israel Crosby plays his upright bass on all six sessions, and the final date introduces a fine alto sax player by the name of Riley Hampton. These are the final sessions of Albert Ammons, preserved for posterity on Mercury Records. He passed away in Chicago on December 2, 1949, at the age of 42. arwulf arwulf  
Tracklist :
1     Kilroy Boogie 2:44
Hattie Young
2     Deep in the Heart of Texas Boogie 2:58
June Hershey / Don Swander
3     Sweet Patootie Boogie 2:57
Hattie Young
4     Twelfth Street Boogie 2:48
Euday L. Bowman / Andy Razaf
5     St. Louis Blues 2:57
W.C. Handy
6     Shufflin' the Boogie 3:04
Hattie Young
7     S.P. Blues 2:36
Hattie Young
8     Hiroshima 2:46
Hattie Young
9     Roses of Picardy 2:56
Frederick Edward Weatherly / Hayden Wood
10     Sheik of Araby 2:47
Harry Beasley Smith / Ted Snyder / Francis Wheeler
11     You Are My Sunshine 2:50
Jimmie Davis / Charles Mitchell
12     In a Little Spanish Town 2:49
Sam M. Lewis / Mabel Wayne / Joe Young
13     Margie 2:38
Con Conrad / Benny Davis / J. Russel Robinson
14     Tuxedo Boogie 2:43
Hattie Young
15     Mr. Bell Boogie 2:58
Hattie Young
16     Bear Den Boogie 2:21
Hattie Young
17     Rhythm Boogie 3:04
Albert Ammons
18     Ammons Stomp 2:56
Albert Ammons
19     Baltimore Breakdown 3:04
Hattie Young
20     When You and I Were Young, Maggie 3:07
James Austin Butterfield / George Washington Johnson
21     The Clipper 3:02
Hattie Young
Credits :
Alto Saxophone – Riley Hampton (faixas: 18 to 21)
Bass – Israel Crosby
Drums – Alvin Burroughs (faixas: 5 to 8), Armand "Jump" Jackson (faixas: 13 to 21), Jack Cooley (faixas: 1 to 4), Unknown Artist (faixas: 9 to 12)
Guitar – Ike Perkins (faixas: 1 to 13)
Piano – Albert Ammons
Tenor Saxophone – Gene Ammons (faixas: 5 to 8)
Trumpet – Marvin Randolph (faixas: 5 to 8)

COLEMAN HAWKINS - The Complete Coleman Hawkins on Keynote (1994) 4CD | FLAC (tracks+.cue), lossless

Subtitled "The Complete Coleman Hawkins," the 61 songs on these four CDs represent Hawkins' complete output for Keynote Records recorded between January and December of 1944 with Teddy Wilson and Earl Hines as part of the Coleman Hawkins Quintet, the Cozy Cole All-Stars, Coleman Hawkins and His Sax Ensemble and the All-American Four, Charlie Shavers' All American Five, and George Wettling's New Yorkers -- Hawkins and Wettling's first contact went back close to 20 years, to the Roseland Ballroom. At the time, Hawkins had given up trying to make it as the leader of a big band, and had returned to playing with small groups in the clubs along New York's 52nd Street. A joint project of PolyGram and Nippon Phonogram of Japan, this set is loaded with previously unissued takes and tracks from Hawkins' Keynote library, which also features Roy "Little Jazz" Eldridge and Billy Taylor. From the opening bars of two different previously unissued takes of "I Only Have Eyes For You," the set shows its worth, presenting outtakes that are equal in value to any of their released counterparts -- Wilson and Hawkins perform superbly on all three versions, with markedly different performances on each, pretty much representing the way all of the outtakes here are fully justified. Each disc has more than its share of worthwhile rarities and previously unreleased cuts, and one leads into the next so well that it is difficult to take in just one of the these four discs at a time. From Disc Two onward, there is also more improvisation than one is accustomed to in jazz recordings if this era, owing to the fact that many of the sessions used the 12-inch master disc format, which allowed for just over five minutes' playing time, nearly 60% more than the usual three minutes-and-change, giving all of the players a chance to stretch out in ways closer to their usual stage and radio performances (though I wouldn't change the various three-minute versions of "Bean at the Met" on Disc One for any amount of money). The sound is generally superb, with an intimate, live-in-the-studio ambience and very little in the way of noise, considering the age of the recordings (no enhanced noise reduction of any kind has been used on this set).  Bruce Eder  

Disc: 1 

COLEMAN HAWKINS QUINTET FEATURING TEDDY WILSON
Roy Eldridge (t), Coleman Hawkins (ts), Teddy Wilson (p), Billy Taylor (b), Cozy Cole (d); New York, January 31, 1944
 
1. I Only Have Eyes For You
2. I Only Have Eyes For You
3. I Only Have Eyes For You
4. 'S Wonderful 
5. 'S Wonderful
6. I'm In The Mood For Love 
7. Bean At The Met
8. Bean At The Met
9. Bean At The Met

COLEMAN HAWKINS QUARTET
Coleman Hawkins (ts), Teddy Wilson, (p), Isreael Crosby (b), Cozy Cole (d); New York, February 17, 1944

10. Flame Thrower
11. Imagination
12. Night And Day
13. Cattin' At Keynote

COZY COLE ALL STARS
Joe Thomas (t), Trummy Young (tb), Coleman Hawkins (ts), Earl Hines (p), Teddy Walters (g), Billy Taylor (b), Cozy Cole (d); New York, February 22, 1944

14. Blue Moon
15. Blue Moon
16. Father Co-Operates
17. Father Co-Operates
18. Father Co-Operates
19. Father Co-Operates

Disc: 2   

COZY COLE ALL STARS
Joe Thomas (t), Trummy Young (tb), Coleman Hawkins (ts), Earl Hines (p), Teddy Walters (g), Billy Taylor (b), Cozy Cole (d); New York, February 22, 1944

1. Just One More Chance
2. Just One More Chance
3. Thru' For The Night
4. Thru' For The Night

COLEMAN HAWKINS AND HIS SAX ENSEMBLE
Tab Smith (as, arr), Coleman Hawkins, Don Byas (ts), Harry Carney (bs), Johhny Guarnieri (p), Al Lucas (b), Sid Catlett (d); New York, May 24, 1944

5. On The Sunny Side Of The Street
6. On The Sunny Side Of The Street
7. Three Little Words
8. Battle Of The Saxes
9. Louise
10. Louise

Disc: 3

COLEMAN HAWKINS ALL AMERICAN FOUR
Coleman Hawkins (ts), Teddy Wilson (p), John Kirby (b), Sid Catlett (d); New York, May 29, 1944

1. Make Believe
2. Make Believe
3. Don't Blame Me
4. Don't Blame Me
5. Just One Of Those Things
6. Hallelujah

COLEMAN HAWKINS QUINTET
Buck Clayton (t), Coleman Hawkins (ts), Teddy Wilson (b), Slam Stewart (b), Denzil Best (d); New York, October 17, 1944

7. I'm Yours
8. I'm Yours
9. I'm Yours
10. Under A Blanket Of Blue
11. Beyond The Blue Horizon 
12. Beyond The Blue Horizon
13. Beyond The Blue Horizon
14. A Shanty In Old Shanty Town
15. A Shanty In Old Shanty Town
16. A Shanty In Old Shanty Town

Disc: 4   

CHARLIE SHAVERS' ALL AMERICAN FIVE
Charlie Shavers (t), Coleman Hawkins (ts), Teddy Wilson, (p), Billy Taylor (b), Denzil Best (d); New York, October 18, 1944

1. My Man
2. My Man
3. El Salon De Gutbucket
4. El Salon De Gutbucket
5. Embraceable You
6. Undecided
7. Undecided
8. Undecided

GEORGE WETTLING'S NEW YORKERS
Joe Thomas (t), Jack Teagarden (tb, vcl), Hank D'Amico (cl), Coleman Hwkins (ts), Herman Chittison (p), Billy Taylor (b), George Wettling (d); New York, December 12, 1944

9. Home
10. Home
11. Too Marvelous For Words
12. Too Marvelous For Words
13. Too Marvelous For Words
14. You Brought A New Kind Of Love 
15. You Brought A New Kind Of Love
16. Somebody Loves Me

Recording Date
January, 1944 - December, 1944