LESTER YOUNG — The Complete Lester Young Studio Sessions on Verve (2006) RM | 8xCD BOX-SET | FLAC (tracks+.cue), lossless

All too often, jazz critics have promoted the myth that Lester Young's playing went way downhill after World War II -- that the seminal tenor man was so emotionally wounded by the racism he suffered in the military in 1944-1945 that he could no longer play as well as he had in the '30s and early '40s. To be sure, Young went through hell in the military, and his painful experiences took their toll in the form of alcohol abuse, severe depression, and various health problems. But despite Young's mental decline, he was still a fantastic soloist. This eight-CD set, which gathers most of the studio recordings that he made for Norman Granz's Clef, Norgran, and Verve labels from 1946-1959, underscores the fact that much of his postwar output was superb. At its worst, this collection is at least decent, but the Pres truly excels on sessions with Nat "King" Cole and Buddy Rich in 1946, Oscar Peterson and Barney Kessel in 1952, Roy Eldridge and Teddy Wilson in 1956, and Harry "Sweets" Edison in 1957. Disc 8 contains two recorded interviews with the saxman -- one conducted by Chris Albertson in 1958 for WCAU radio in Philadelphia, the other by French jazz enthusiast Francois Postif in Paris on February 6, 1959 (only five or six weeks before Young's death on March 15 of that year). The contrast between the fascinating interviews is striking; in Philly, Young is polite and soft-spoken, whereas in Paris, the effects of the alcohol are hard to miss. Sounding intoxicated and using profanity liberally, Young candidly tells Postif about everything from his experiences with racism to his associations with Billie Holiday and Count Basie. But as much as the set has going for it, The Complete Lester Young Studio Sessions on Verve isn't for novices, casual listeners, or those who are budget-minded (Verve's suggested retail price in the U.S. was $144). Collectors are the ones who will find this CD to be a musical feast. Alex Henderson   Tracklist & Credits :

DIZZY GILLESPIE — The Complete RCA Victor Recordings (1995) 2CD | FLAC (tracks+.cue), lossless

Although the sheer scope of this double-CD roundup of all of Dizzy's Victor sessions places it most obviously within the evolution of bebop, it is absolutely essential to Latin jazz collections as well. Here listeners find the discographical launching pad of Afro-Cuban jazz on December 22, 1947, when Cuban conguero Chano Pozo added his galvanic congas and bongos to Gillespie's big band for the first time on record. One can feel the explosive effect of Pozo's subdivisions of the beat, rhythmic incantations, and grooves on the band's bebop charts. Though the musicians' styles aren't much affected, and Pozo does most of the adapting to bebop rather than vice versa, the foundation has clearly shifted. Alas, aside from recorded live gigs, Pozo only made eight tracks with the band -- four on December 22 and four more eight days later, just before the second Musicians Union recording ban kicked in. Yet even after Pozo's murder the following year, Gillespie continued to expand his Latin experiments, using two Latin percussionists who brought more rhythmic variety to the sound of tunes like "Guarachi Guaro" (later popularized by Cal Tjader as "Soul Sauce") and even commercial ballads like "That Old Black Magic." The reprocessing of these recordings from late in the 78 rpm era through the CEDAR process sounds a bit harsh, though less so than most of RCA's earlier desecrations of vault material using NoNOISE. Even so, this remains the best way to acquire these seminal Latin jazz tracks. Richard S. Ginell   Tracklist + Credits :

DIZZY GILLESPIE — Sittin' In (1958-1997) RM | Serie LP Reproduction | FLAC (tracks+.cue), lossless

SITTIN' IN is a jazz lover's dream come true. On this historic session, recorded in the summer of 1957, Dizzy Gillespie, Stan Getz, Coleman Hawkins, and Paul Gonsalves got together to create one of the most formidable frontlines ever captured on tape. The program, which includes "Dizzy Atmosphere," the chestnut "The Way You Look Tonight," and two lengthy ballad medleys, lets each horn player take a turn in the spotlight.

The music blends West Coast cool, swing, bop, and hard-bop styles in a manner befitting each of the monumental leaders, and the whole is driven by a spry rhythm section consisting of bassist Wendell Marshall, drummer J.C. Heard, and pianist Wynton Kelly. Aficionados will relish the opportunity to identify the solos and styles of each player--Getz's cool complexity, Gillespie's athleticism, Gonsalves's unique lyricism, and Hawkins's pioneering technique and tone. SITTIN' IN is a superb slice of bop history, starring some of the most influential figures in the evolution of jazz. AllMusic    Tracklist + Credits :

HOWARD McGHEE – 1948 | The Classics Chronological Series – 1058 (1999) FLAC (tracks+.cue), lossless

This excellent album of vintage bop opens with seven tracks recorded in Chicago during February 1948, using members of the band that Howard McGhee was leading at Chicago's Argyle Lounge at the time. Milt Jackson and Percy Heath are heard on the first three tunes, along with an unnamed baritone saxophonist. For the second session McGhee used an entirely different band, with a tenor player who is believed to have been Kenny Mann and a rhythm section of Hank Jones, Ray Brown, and the great J.C. Heard. Billy Eckstine, who by this time had dissolved his own band and was busily pulling in an unprecedented amount of cash by making vocal pop records for MGM, blows his valve trombone alongside McGhee on this date. No vocalist is mentioned in the enclosed discography, even though someone scats up a storm from time to time. Whoever it was, he didn't sound like Eckstine. McGhee's next recording dates as a leader took place in Paris, where 13 sides were cut for the Vogue and Blue Star labels on May 15th and 18th. This band really cooked, with Jimmy Heath and Jesse Powell joining the trumpeter's front line and a rhythm section of Vernon Biddle, Percy Heath, and Specs Wright. The upbeat numbers are exceptionally well-crafted studies in modern jazz. "Denise" and "Etoile," slow and reflective, sound like the poetically charged "Portrait" studies that young Charles Mingus was already beginning to formulate on his own. The closing selections, recorded for Blue Note in New York on October 11, 1948, pair McGhee with Fats Navarro alongside alto saxophonist Ernie Henry and Milt Jackson playing both vibes and piano. Curly Russell and Kenny Clarke round off this amazing six-piece Howard McGhee Boptet. arwulf arwulf          Tracklist + Credits :

DIZZY GILLESPIE – 1945-1946 | The Classics Chronological Series – 935 (1997) FLAC (tracks+.cue), lossless

The 1945-1946 edition of Gillespie's Classics series finds the bop trumpeter in the kind of top-notch company he kept throughout most of the '40s. Leaving sideman dates for other discs, the 23-track set spotlights Gillespie with his Tempo Jazzmen and an early version of his orchestra; while the former included the stunning likes of Lucky Thompson, Milt Jackson, Al Haig, and Ray Brown, the latter slightly altered the tonal landscape with swing and bop tenor great Don Byas replacing Thompson. Besides fine renditions of "Confirmation," "'Round Midnight," and "Anthropology" by these groups, the disc also includes a handful of enjoyable enough vocal sides featuring vocalist/arranger Johnny Richards. Best for jazz fans who want it all and in chronological order. Stephen Cook              Tracklist + Credits :

BEN WEBSTER – 1953-1954 | The Chronogical Classics – 1458 (2008) FLAC (tracks+.cue), lossless

Almost 25 years into his recording career, tenor saxophonist Ben Webster made a series of studio recordings under the supervision of producer Norman Granz. These marvelous performances were reissued in chronological sequence by the Classics label in 2008. Each volume of Ben Webster on Classics is richly packed with satisfying ballads, blues, and swing. This installment borders between superb and divine. Three titles recorded for Mercury on January 22, 1953, find Webster soloing in front of an orchestra conducted by Johnny Richards, a student of Arnold Schoenberg who served as an arranger for Stan Kenton. Recorded at sessions that took place in April and December 1953, tracks four through 12 were originally released on the Norgran album King of the Tenors. The collective personnel from these dates is typical of the Granz "embarrassment of riches" approach, for here were trumpeter Harry "Sweets" Edison, alto saxophonist Benny Carter, pianist Oscar Peterson, guitarists Barney Kessel and Herb Ellis, bassist Ray Brown, and drummer J.C. Heard. Tracks 13-16 were recorded on March 30, 1954, with the assistance of pianist Teddy Wilson, bassist Ray Brown, and drummers Alvin Stoller and Jo Jones. This material, along with the rest of the titles on the collection, formed the Verve album Music for Loving. On tracks 17-21, Ben Webster interprets sensuous ballads backed by the Ralph Burns Orchestra. In addition to a string section, the ensemble included clarinetist Tony Scott, bassist George Duvivier, drummer Louis Bellson, and composer/pianist/arranger Billy Strayhorn. arwulf arwulf         Tracklist :

IKE QUEBEC – 1944-1946 | The Chronogical Classics – 957 (1997) FLAC (tracks+.cue), lossless

Ike Quebec was something like Ben Webster in his ability to play lush ballads or to scream like a smokestack when the band was cooking. After working for Roy Eldridge and Frankie Newton, Quebec became Cab Calloway's star tenor man in 1944, making everyone sit up and take notice when he wailed over Cab's band in a wonderfully raspy tone utilizing the instrument's extremities for maximum effect. Each of Quebec's sessions as a leader produced staggeringly potent records. J.C. Heard is the drummer on all 20 tracks -- check him out on "Indiana" -- and for bassists you have Milt Hinton, Grachan Moncur II, or Oscar Pettiford. While Roger Ramirez was an excellent pianist, it is a gas hearing Johnny Guarnieri on the Savoy session. Guest horn players are Buck Clayton, Keg Johnson, Jonah Jones, and Tyree Glenn. Guitarist Tiny Grimes is present on three of these dates. His "Tiny's Exercise" is one of the high points of the whole collection. The repertoire throughout is excellent. Languid blues and ballads mingle with piping-hot jam structures. Two very pleasant surprises arrive in a smoothly swung version of Fats Waller's "Blue Turning Grey Over You" and the pleasant "Girl of My Dreams," scheduled to resurface in 1959 as a streamlined vehicle driven by the Charles Mingus Jazz Workshop. With all due respect to the Mosaic label and their exhaustively compiled Ike Quebec/John Hardee box, it's good to have these Blue Note master takes together on one disc along with the magnificent Savoy All Stars session that concludes this portion of the chronology. In just a little over one year, Ike Quebec made all of these great jazz records. Each one is a knockout performance guaranteed to blow you away every time you go back and get another taste. arwulf arwulf             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 :

JOHNNY GUARNIERI – 1944-1946 | The Chronogical Classics – 956 (1997) FLAC (image+.cue), lossless

In addition to recording prolifically in the 1940s, pianist Johnny Guarnieri led a few record dates. This Classics CD has four septet numbers from 1944 that feature tenor saxophonist Lester Young and trumpeter Billy Butterfield as sidemen, four songs with tenorman Don Byas in superb form, and three trio sessions, including two that co-star bassist Slam Stewart. Guarnieri, who was versatile enough to be able to closely emulate Count Basie, Teddy Wilson, Fats Waller, and Art Tatum, also had his own swing-based style and is consistently creative throughout the performances. Highlights include "Salute to Fats," "Bowin' Singin' Slam," "Gliss Me Again," "I'd Do Anything for You," and "Make Believe"; all 22 selections are enjoyable. Scott Yanow   Tracklist + Credits :

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  
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EARL HINES – 1949-1952 | The Classics Chronological Series – 1288 (2003) FLAC (tracks+.cue), lossless

This disc begins with five excellent recordings that Earl Hines made for the Royal Jazz label in Paris. These joyous, optimistic trio renderings of "Honeysuckle Rose" and "Fine and Dandy" were part of a sizable bundle of great music recorded on November 4, 1949, the balance of which occupies the final eight tracks of Classics 1120. Two days later, Hines created three interesting piano solos for Royal: a relaxed revisit with Maceo Pinkard's old-fashioned love song "Sugar," a tough and powerful remake of "Boogie Woogie on the St. Louis Blues," and "Singing for My French Brothers," during which the pianist scats amiably. In July of 1950, Hines recorded eight outstanding trio performances to be issued on Columbia's newly developed long-playing 33-and-1/3-rpm format. The combination of Hines with bassist Al McKibbon and the impeccable J.C. Heard was remarkably fruitful. "These Foolish Things" seems to unfold as gradually as the dawn, "Velvet Moon" and "When I Dream of You" are slow and reflective, and the rest of this trio's work swings marvelously. "Diane" develops something like a Cuban rhythm halfway through, then prances the rest of the way home. In December of 1952 Hines was able to wax seven sides for the D'Oro label, which was created especially to record the Earl Hines Sextet, with a front line of trumpeter Jonah Jones, trombonist Bennie Green, and Aaron Sachs, who played clarinet and tenor sax. Vocalists heard here are Helen Merrill (this was her very first appearance on record), Lonnie Sattin (who bellows and croons like an Eckstine caricature), and a soulful Etta Jones (who has a lot of fun hollering "Stop"). Hines himself sings over a rhumba called "Ella's Fella," and "Whirl on a Whirl" also has a bit of that rhythmic Caribbean energy running through it. "Green's Corner" -- which in fact uses the bridge from "Love Is Just Around the Corner" -- is a friendly study for trumpet, tenor sax, and trombone with rhythm accompaniment, including brief solos from bassist Tommy Potter and Earl "Fatha" Hines. arwulf arwulf
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PETE JOHNSON – 1944-1946 | The Classics Chronological Series – 933 (1997) FLAC (image+.cue), lossless

The third "complete" Pete Johnson CD put out by the European Classics label features the great boogie-woogie pianist in three different settings. There are eight formerly rare piano solos from 1944 that cover a variety of moods, five selections with a hot Kansas City octet which includes trumpeter Hot Lips Page, tenorman Budd Johnson and two vocals from the young Etta Jones, and eight intriguing numbers in which Johnson is gradually joined by an additional musician on each track. "Page Mr. Trumpet" is an exciting outing for Hot Lips, and the other top players include clarinetist Albert Nicholas, trombonist J.C. Higginbotham and tenorman Ben Webster. A particularly exciting release. Scott Yanow
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PETE JOHNSON – 1947-1949 | The Classics Chronological Series – 1110 (2000) FLAC (image+.cue), lossless

Classics #1110 is the fourth installment chronicling 21 final key recordings of boogie woogie pianist Pete Johnson. 1947-1949 found Johnson leading three different quartets (the second with Al Mckibbon on bass and J.C. Heard on drums) for the Apollo, Modern, and French Jazz Selection labels, while the final session features a sextet on six tracks, blistering through the excellent "Rocket 88 Boogie, Parts 1 and 2" for the Down Beat/Swingtime label. These sessions have a common thread in the predominate use of guitar from Charles Norris, Carl Lynch, Johnny Rogers, and Herman Mitchell thoroughly featured alongside Johnson's piano throughout. Soon after these sessions Johnson left his West Coast home for Buffalo where he essentially retired, showing up occasionally at the odd live appearance or on other musicians' sessions. Al Campbell
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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  
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SARAH VAUGHAN – 1946-1947 | The Classics Chronological Series – 989 (1998) FLAC (tracks+.cue), lossless

The second installment in the Classics Sarah Vaughan chronology concentrates almost exclusively upon her Musicraft recordings made between July 1946 and November 1947. After hearing her in performance at the Three Deuces on 52nd Street, producer Albert Marx lost no time in drawing up a three-year contract between the singer and Musicraft. Backed by two different bands led by her soon-to-be husband, trumpeter George Treadwell, as well as by Teddy Wilson's Quartet and Octet, Vaughan makes each song into a miracle of elegance, style, and grace. The collective lineup of jazz players in this portion of her discography is stunning, with saxophonists Don Byas, Budd Johnson, Charlie Ventura and "Big Nick" Nicholas; trumpeters Buck Clayton and Emmett Berry; and drummer J.C. Heard, whose lifelong admiration for Vaughan dates back to these exquisite performances. The version of "Tenderly" she recorded on July 2, 1947, is said to have been the first recording ever made of this melody, which was composed by Musicraft's musical director, Walter Gross. (Charles Mingus liked to point out that "Tenderly" was closely based upon "September in the Rain," and demonstrated what he regarded as a case of plagiarism by performing something called "Septemberly" on his groundbreaking Debut album Mingus at the Bohemia.) This disc also documents Vaughan's excursion into less jazzy, more sugary pop-oriented circumstances. This was a path similar to that taken during the late '40s by her mentor, Billy Eckstine, and by Charlie Parker and Billie Holiday. Eckstine later explained that he opted for lucrative work as a pop singer for MGM rather than starving while leading a modern jazz band. Three of the Vaughan recordings included here, in fact, came out on the MGM label. At no point does she sound anything less than marvelous. Her "Lord's Prayer," originally issued on the flip side of an earthier "Sometimes I Feel Like a Motherless Child," comes across beautifully. Ted Dale & His Orchestra, while espousing somewhat slick arrangements and instrumentation, retain some measure of hipness and integrity, which is more than can be said for certain other ensembles she sang with in late 1947 and early 1948. And let this all serve as a reminder that Sarah Vaughan could sing anything under any circumstances. That's why they call her "Divine." arwulf arwulf  
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SARAH VAUGHAN – 1949-1950 | The Classics Chronological Series – 1166 (2001) FLAC (tracks+.cue), lossless

This fourth installment in the Classics Sarah Vaughan chronology demonstrates her extraordinary versatility during the first stages of a fully blossoming artistic maturity. Four exquisite sides with the Joe Lipman Orchestra are followed by an MGM session in duet with crooner Billy Eckstine, backed by Lipman's Orchestra and strings. Given the fact that it was Eckstine who gave Vaughan her first break in showbiz, the pairing has a special charm. Aside from this MGM deviation, Vaughan was a Columbia recording artist during this time period. By far the best jazz on this disc was recorded on May 18 and 19, 1950, with accompaniment by pianist Jimmy Jones and his band. The front line of Miles Davis, Benny Golson, Budd Johnson, and Tony Scott, backed by the rhythm section of Jones, bassist Billy Taylor, J.C. Heard, and either Mundell Lowe or Freddie Green, matches the vocalist's every nuance to perfection. The combination of Miles Davis and Sarah Vaughan is a marvel not to be missed. There is some confusion between discographies regarding various brassy big band sides, as some tracks are credited both to the Norman Leyden Orchestra (with Bud Powell at the piano!) and to Mitch Miller & His Orchestra. Miller, of course, was no stranger to modern jazz, having also participated in some of Charlie Parker's With Strings sessions. Whoever actually headed the band, Sarah Vaughan's "Perdido" is delightful and invigorating. This interesting disc closes with a wild surprise in the form of "De Gas Pipe She's Leakin' Joe," a campy calypso spoof on the topic of suicide, so atypical of Sarah Vaughan that it could easily fool almost anyone in a blindfold test. The word again is "versatility." arwulf arwulf  
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HAZEL SCOTT – 1939-1945 | The Classics Chronological Series – 1308 (2003) FLAC (tracks+.cue), lossless

A brilliant pianist who also had a warm singing voice, Hazel Scott gained some recognition in the early '40s for her swinging versions of classical themes. This valuable CD has all of her early recordings through May 1945, most of which have been rarely reissued. Scott is first heard on four songs with a pickup group organized by Leonard Feather called the Sextet of the Rhythm Club of London. While that unit features clarinetist Danny Polo and altoist Pete Brown, the next 16 selections (four of which are V-discs) put the spotlight entirely on Scott, who is backed by either J.C. Heard or Sid Catlett on drums. She shows off both her technique and her creativity on six classical works, swing standards, and a couple basic blues originals, singing on "People Will Say We're in Love" and "C Jam Blues." The final four numbers are quite a bit different as Scott is showcased as a fairly straight and sophisticated singer with orchestras conducted by Toots Camarata. Overall, this CD is highly recommended, reminding today's listeners how talented a pianist Scott was in her early days. Scott Yanow
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TEDDY WILSON AND HIS ORCHESTRA – 1939 | The Classics Chronological Series – 571 (1991) FLAC (tracks+.cue), lossless

This CD has quite a bit of variety. Teddy Wilson is featured on four of his better piano solos, backs Billie Holiday on one session (which resulted in superior versions of "More Than You Know" and "Sugar," and has some fine solo space for altoist Benny Carter and trumpeter Roy Eldridge) and is heard on 13 selections with his new (and unfortunately short-lived) big band. The Teddy Wilson Orchestra was impeccable, tasteful and swinging (just like its leader) but, despite the presence of such soloists as trumpeter Harold "Shorty" Baker and tenor saxophonist Ben Webster, it never really stood a chance in the competitive swing world of 1939; the orchestra would only record eight additional titles. However the music on this CD is quite enjoyable and not as common as most of the recordings reissued by the Classics label. Scott Yanow
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TEDDY WILSON AND HIS ORCHESTRA – 1939-1941 | The Classics Chronological Series – 620 (1991) FLAC (tracks+.cue), lossless

This segment of the Teddy Wilson chronology contains 23 recordings made for the Columbia label in New York and Chicago between December 11, 1939 and September 16, 1941. The first eight tracks showcase Wilson's 12-piece big band, using arrangements by Wilson, Edgar Sampson and Buster Harding. This unusually upsized version of the Teddy Wilson & His Orchestra had Doc Cheatham and Harold "Shorty" Baker in the trumpet section, Ben Webster and Rudy Powell among the reeds, and Al Casey and J.C. Heard playing rhythm. Those who are accustomed to Wilson's customary small group sound will find this material pleasantly, perhaps surprisingly different from the norm. In December of 1940 Wilson led an octet with Bill Coleman, Benny Morton and Jimmy Hamilton in the front line. Four piano solos and four trio sides with Al Hall and J.C. Heard were cut in Chicago during April of 1941. Teddy Wilson's sextet (Emmett Berry, Morton, Hamilton, bassist Johnny Williams and Heard) made three recordings on September 16, 1941; only "Out of Nowhere" was originally issued, although "Prisoner of Love" was drafted into service as a V-Disc during the Second World War. This excellent compilation includes vocals by Lena Horne, Jean Eldridge, Helen Ward and J.C. Heard, whose expert drumming and call-and-response interaction with the band place "Wham (Re Bop Boom Bam)" among the hottest and hippest selections in the entire Teddy Wilson discography. arwulf arwulf  
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TEDDY WILSON – 1947-1950 | The Classics Chronological Series – 1224 (2002) FLAC (tracks+.cue), lossless

The eleventh volume in the extensive Classics Teddy Wilson chronology combines the last of his Musicraft recordings, cut in December 1947, with a pair of trio dates for Columbia that took place during the summer of 1950. As all of this excellent music has languished in obscurity for years, the producers of this series have once again done the world a gracious favor by taking the time to compile and reissue it for 21st century ears. The first four tracks, waxed on December 3, 1947, feature trumpeter Buck Clayton in perfect accord with Wilson, bassist Billy Taylor, Jr. and drummer Denzil Best. Between December 15 and 18, Wilson and Taylor returned to the studio with drummer William "Keg" Purnell to cut eight more sides, four of them garlanded with sweet vocals by Kay Penton. Because of his teaching duties at Juilliard, steady work as house pianist on the air at WNEW and periodic live performances with Benny Goodman, there are sizeable gaps in Teddy Wilson's discography during the period between 1946 and 1952. The largest of these -- two-and-a-half years -- separate the Musicraft and Columbia recordings heard on this compilation. On June 29, 1950 Teddy Wilson resumed recording as a leader for Columbia records, cutting seven relatively brief tracks with bassist Arvell Shaw and drummer "J.C. Heard." This leg of the chronology closes with four titles recorded on August 25, 1950 with bassist Al McKibbon and drummer Kansas Fields. arwulf arwulf  
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