GENE AMMONS' ALL STARS — The Big Sound (1958-1991) RM | APE (image+.cue), lossless

Along with its fellow CD, Groove Blues, this reissue fully documents all of the music recorded by tenor saxophonist Gene Ammons on the busy day of January 3, 1958. Although there were many guest soloists, only one of the four songs on this half of the set (Mal Waldron's "The Real McCoy") has appearances by John Coltrane (on alto) and the tenor of Paul Quinichette. However, baritonist Pepper Adams is aboard for two of the performances, and flutist Jerome Richardson (along with pianist Mal Waldron, bassist George Joyner, and drummer Art Taylor) are on all four. Ammons is easily the main star (he really excelled in this setting) and is in generally fine form on the two standards ("That's All" and "Cheek to Cheek"), his own "Blue Hymn," and the Waldron original. Scott Yanow
Tracklist :
1    Blue Hymn 12:37
Written-By – Gene Ammons
2    The Real McCoy 8:33
Written-By – Mal Waldron
3    Cheek To Cheek 14:12
Written-By – Irving Berlin
4    That's All 13:58
Written-By – Bob Haymes
Credits :
Alto Saxophone – John Coltrane (tracks: 3)
Baritone Saxophone – Pepper Adams (tracks: 3, 4)
Bass – George Joyner
Drums – Art Taylor
Flute – Jerome Richardson
Piano – Mal Waldron
Tenor Saxophone – Gene Ammons, Paul Quinichette (tracks: 3)

GLENN MILLER AND HIS ORCHESTRA – 1935-1938 | The Classics Chronological Series – 1377 (2004) FLAC (tracks+.cue), lossless

This is the first volume in the Classics Glenn Miller chronology. It presents his earliest sessions as a leader, beginning with a very handsome session for Columbia that took place on April 25, 1935. The presence of trumpeter Bunny Berigan, clarinetist Johnny Mince, tenor saxophonist Eddie Miller, pianist Claude Thornhill, a well-behaved string quartet, and Miller's own buttery sounding trombone make this a surprisingly charming little date. The first two titles have vocals by Smith Ballew. "In a Little Spanish Town" and the excellent "Solo Hop" are swinging instrumentals propelled by drummer Ray Bauduc; these very danceable stomps clearly prefigure Glenn Miller's later achievements as a successful purveyor of big-band swing music. The second date in Miller's complete chronological recordings took place on March 22, 1937. Recorded for the Decca label, these tracks have all the qualities that would distinguish Glenn Miller's band during its wartime heyday. Without downplaying vocalists Doris Kerr, Jack Lathrop, and the Tune Twisters, let it be said that the instrumentals "Peg O' My Heart" and "I'm Sitting on Top of the World" are the cream of the crop. Miller's tenure with Brunswick records began on June 9, 1937 with four more exceptionally fine instrumental dance numbers. Over the next 11 months, Miller would feature a steady stream of good vocalists (Kathleen Lane, Gail Reese, and Ray Eberle) while fortifying the band with outstanding musicians like Dick McDonough, Charlie Spivak, Sterling Bose, Pee Wee Erwin, Hal McIntyre, Irving Fazola, and Tex Beneke. Even as Glenn Miller's later recordings seem always to attract more attention, these early sides illustrate what a solid leader, arranger, and soloist he was fairly early on in the game, before he became one of the most popular bandleaders in the country. arwulf arwulf   Tracklist :

MILDRED BAILEY – 1938 | The Classics Chronological Series – 1160 (2001) FLAC (tracks), lossless

This fourth volume in the Classics Mildred Bailey chronology presents all of her Vocalion recordings made between April 19 and December 8, 1938. This was the big time for Bailey and her xylophonist husband Red Norvo; of the many records they made together, those issued under Norvo's name appear in his own Classics chronology, and everything that came out under the heading of Mildred Bailey & Her Orchestra has been assigned to her own portion of this label's historical reissue series. Most of Mildred's 1938 recordings found her comfortably backed by Red Norvo's big band; two important names in this well-knit ensemble were clarinetist Hank D'Amico and drummer George Wettling. On September 29, 1938, Red Norvo and Mildred Bailey made an excellent pair of recordings with the John Kirby Sextet. Certainly this little group's rendering of W.C. Handy's "St. Louis Blues" belongs with some of Mildred Bailey's all-time greatest recorded performances. Human error presents collectors with a potentially confusing conundrum: according to a footnote amended to Classics 1225 [Mildred Bailey 1939-1940], the version of "St. Louis Blues" heard here was actually recorded on January 18, 1939, which means it should have appeared on Classics 1187 [Mildred Bailey 1939]. Initially rejected by the folks at Vocalion, the "St. Louis Blues" recorded on September 29, 1938 has been grafted onto Classics 1225. Both versions are excellent. Got that? arwulf arwulf  
Tracklist + Credits :

ELLA FITZGERALD – 1950 | The Classics Chronological Series – 1195 (2001) FLAC (tracks+.cue), lossless

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

BLUE LU BARKER – 1946-1949 | The Classics Chronological Series – 1130 (2000) FLAC (tracks+.cue), lossless

Singer Blue Lu Barker's second Classics release has all of her recordings from 1946-1949 and, combined with the earlier release (1938-1939), all of her sessions as a leader are now available. Barker was a pleasant if limited singer and one might want to hear these 25 selections in small doses. Blu Lu is joined by combos (usually five to seven pieces) led by her husband guitarist Danny Barker, who also contributed the majority of the tunes. The backup groups include such notables as trumpeter Shad Collins, tenors Teddy McRae and Jerry Jerome, and pianist Gerald Wiggins. The music, released originally by Apollo and Capitol (except for three cuts originally rejected), include a remake of "Don't You Feel My Leg" and such tunes as "You Gotta Show It to Me Baby," "I Feel Like Laying in Another Woman's Husband's Arms," "Now You're Down in the Alley," "Loan Me Your Husband," and "Bow-Legged Daddy." Scott Yanow  
Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1939 | The Classics Chronological Series – 1025 (1998) FLAC (tracks+.cue), lossless

This CD traces Benny Goodman & His Orchestra during their final Victor recordings and their first sessions for the Columbia label. The band did not change all that much during this time style-wise, although such fixtures as trumpeter Chris Griffin, pianist Jess Stacy, drummer Buddy Schutz, and singer Martha Tilton departed. Along the way the key soloists are trumpeter Ziggy Elman, Jerry Jerome on tenor, and Goodman, while Fletcher Henderson spent a period filling in on piano. There are no small-group performances on this CD, but such fine killer-dillers as "The Kingdom of Swing," "There'll Be Some Changes Made," "Jumpin' at the Woodside," "Stealin' Apples," and "Spring Song." Scott Yanow  
Tracklist + Credits : 

BENNY GOODMAN AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 1098 (1999) FLAC (tracks+.cue), lossless

Despite competition from Glenn Miller, Artie Shaw, Count Basie, and Tommy Dorsey, Benny Goodman largely held on to his popularity during the 1939-1940 period. The personnel was changing in his big band, but it was still a strong outfit with trumpeters Ziggy Elman and Jimmy Maxwell, trombonist Vernon Brown, Jerry Jerome on tenor, pianist Johnny Guarnieri, and singer Helen Forrest being significant voices. Among the better big band selections on this consistently swinging CD are "Zaggin' With Zig," "The Fable of the Rose," "Shake Down the Stars," and "I'm Nobody's Baby"; however, it is the three sextet numbers that take honors. "Till Tom Special," "The Sheik of Araby," and "Poor Butterfly" feature Goodman with guitarist Charlie Christian, Lionel Hampton, and either Count Basie or Guarnieri on piano. All of the Benny Goodman recordings from this era are well worth acquiring by swing fans. Scott Yanow  
Tracklist :

ARTIE SHAW AND HIS ORCHESTRA – 1940 | The Classics Chronological Series – 1127 (2000) FLAC (tracks+.cue), lossless

This CD starts out with the last three titles that Shaw cut on May 13, 1940, with a studio orchestra (including "April in Paris") and then moves on to his third big band, a magnificent string orchestra that included trumpeter Billy Butterfield, trombonist Jack Jenney, and pianist Johnny Guarnieri as key soloists. They perform one of the greatest versions ever of "Stardust," along with memorable renditions of "Temptation," Shaw's "Love of My Life," and the two-part "Blues." In addition, Artie Shaw's Gramercy Five (a sextet that included Butterfield with Guarnieri on celeste) is heard on four catchy numbers, highlighted by their hit record of "Summit Ridge Drive." There are many wonderful performances on this disc and Artie Shaw is heard in consistently inspired form. Scott Yanow
Tracklist + Credits :

ZIGGY ELMAN AND HIS ORCHESTRA – 1938-1939 | The Classics Chronological Series – 900 (1996) FLAC (tracks+.cue), lossless

Ziggy Elman played trumpet beautifully and made lasting, significant contributions to the ripening of jazz and swing during the months immediately preceding the Second World War. As if to illustrate the point, this first segment of Elman's chronology contains his Bluebird recordings dating from December 28, 1938, through December 26, 1939. During this period, the trumpeter's band invariably consisted of two alto and two tenor saxophones with piano, guitar, bass, and drums. Over the course of 12 months a series of fine players passed through Elman's band. Among them were saxophonists Arthur Rollini, Babe Russin, Hymie Schertzer, Toots Mondello, and Jerry Jerome, and pianists Jess Stacy, Milt Raskin, and Johnny Guarnieri. The opening track, "Fralich in Swing," would soon become famous as Benny Goodman's hugely popular "And the Angels Sing." After playing it through at a languid pace, Elman accelerates the tempo to reveal the melody's origins as a Jewish wedding dance. For the flip side Elman chose "Bublitchki," an attractive update of a traditional Slavic air. In a strikingly hip maneuver, his next pair of tunes were drawn from the Richard M. Jones and Maceo Pinkard catalog, respectively. The tasteful repertoire presented throughout this compilation combines relaxing ballads ("I'll Never Be the Same" is particularly eloquent) and catchy dance tunes ("Zaggin' with Zig"). The Judaic element resurfaces nicely during the peculiarly titled "What Used to Was Used to Was (Now It Ain't)." This entire disc is packed with friendly, accessible jazz that swings. No gimmicks, no gags, no self-conscious singers. Ziggy didn't need 'em. arwulf arwulf   
Tracklist :
1 Fralich in Swing (And the Angels Sing) 3:18
 Ziggy Elman feat: Ziggy Elman & His Orchestra
2 Bublitchiki 3:06
Traditional
Ziggy Elman feat: Ziggy Elman & His Orchestra
3 29th and Dearborn 2:54
Richard M. Jones
 4 Sugar 2:57
Edna Alexander / Sidney Mitchell / Maceo Pinkard
5 You're Mine, You 3:17
Johnny Green / Edward Heyman
6 Let's Fall in Love 2:56
Harold Arlen / Ted Koehler
 7 Zaggin' with Zig 3:05
 Ziggy Elman feat: Ziggy Elman & His Orchestra
8 I'll Never Be the Same 3:01
Gus Kahn / Matty Malneck / Frank Signorelli
 9 You Took Advantage of Me 2:30
Lorenz Hart / Richard Rodgers
 10 I'm Yours 3:04
Johnny Green / E.Y. "Yip" Harburg
 11 Am I Blue? 2:35
Harry Akst / Grant Clarke
 12 I Have Everything to Live For 2:49
Noni Bernardi / Ziggy Elman
 13 What Used to Was Used to Was (Now It Ain't) 3:26
Sammy Cahn / Saul Chaplin / David Meyerowitz
 14 Bye 'n' Bye 3:12
 Ziggy Elman feat: Ziggy Elman & His Orchestra
15 Love Is the Sweetest Thing 2:39
Ray Noble
 16 Deep Night 3:30
Charles Henderson / Rudy Vallée
 17 Forgive My Heart (You Are My Happiness) 3:20
 Ziggy Elman feat: Ziggy Elman & His Orchestra
18 Tootin' My Baby Back Home 3:03
Noni Bernardi / Ziggy Elman
 19 I'm Through with Love 3:21
Gus Kahn / Fud Livingston / Matty Malneck
 20 Something to Remember You By 3:13
Howard Dietz / Arthur Schwartz
Credits
Alto Saxophone – Dave Matthews (tracks: 1 to 4), Hymie Schertzer (tracks: 5 to 12), Noni Bernardi, Toots Mondello (tracks: 13 to 20)
Double Bass [String Bass] – Artie Bernstein (tracks: 5 to 8; 13 to 20), Harry Goodman (tracks: 1 to 4), Joe Schwartzman (tracks: 9 to 12)
Drums – Al Kendis (tracks: 1 to 12), Nick Fatool (tracks: 13 to 20)
Guitar – Ben Heller
Piano – Jess Stacy (tracks: 1 to 12), Johnny Guarnieri (tracks: 17 to 20), Milt Raskin (tracks: 13 to 16)
Tenor Saxophone – Arthur Rollini (tracks: 1 to 8; 13 to 20), Babe Russin (tracks: 9 to 12), Jerry Jerome
Trumpet – Ziggy Elman