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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HERMAN CHITTISON – 1944-1945 | The Classics Chronological Series – 1024 (1998) FLAC (tracks+.cue), lossless

The surest way to describe Herman Chittison's style is to compare him with the greatest jazz pianists on the scene during the 1940s. First and foremost he drew harmonic and dexterous inspiration from Art Tatum. This influence is most obvious in the constant tide of arpeggios and a breathtaking facility that could be traced back to the great James P. Johnson, root of Tatum's own brilliance. But there are other pianists who need to be mentioned, as they were active during these years and shared some of the same ground with Chittison. The hip exactitude of Nat King Cole in particular comes to mind, an impression that is magnified by the smooth guitars of Jimmy Shirley and Carl Lynch. The spirit of Fats Waller is palpable, especially during the opening session, which took place less than three weeks after Waller's sudden death at the age of 39. The presence of Waller's long-term bassist Cedric Wallace might have had something to do with it. Like Waller, Donald Lambert and Willie "The Lion" Smith, Herman Chittison enjoyed creating jazz interpretations of European classical melodies. Examples included here are themes by Schubert, Lehar and Chopin. Let's not forget Bud Powell and his mind-blowing variations on a theme by J.S. Bach. With Chittison, we are looking forward in Powell's direction while maintaining sensible contact with the Fats Waller tradition, wonderfully represented by about two minutes' worth of "Persian Rug," a dazzling performance you end up wishing had lasted at least five minutes longer! Herman Chittison possessed the ability to render jazz standards like "The Song Is Ended" and "My Old Flame" with exceptional soul and grace, almost as though the trio were playing the blues rather than popular ballads. This pianist worked for years in Europe and North Africa, polishing his style in nightclubs of every description. This explains the sophistication that pervades all of his phonograph recordings. Two sentimental vocals by Thelma Carpenter fit in nicely with the rest of the selections, almost as if one were dining at a club in Egypt during the autumn of 1938 and a group of Americans are purveying tasteful jazz under a desert moon. Five piano solos, four from 1945 and one stray side recorded in Paris in the spring of 1934, reinforce these daydream impressions. arwulf arwulf  
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JAMES P. JOHNSON – 1943-1944 | The Classics Chronological Series – 824 (1995) FLAC (tracks), lossless

Rich and rewarding, this collection contains one powerful Blue Note blowing session and 16 beautiful solos recorded for four different labels. Two sides waxed for Moses Asch during the summer of 1943 were unavailable for many years. This interpretation of "Snowy Morning Blues" is more relaxed and inventive than the familiar Decca version. "J.P. Boogie" takes the barrelhouse tradition by the tail, redefining an entire idiom. Moving into November, "Backwater Blues" revisits a duet that Johnson recorded with Bessie Smith back in 1927. Running at an accelerated tempo, "Carolina Balmoral" is the essence of what critics came to call stride piano. "Gut Stomp" is less frantic but just as tight. Johnson appears to have been deliberately engaged in setting down a compendium of fundamental jazz piano works for Blue Note. The session of December 15th is a perfect match for the preceding installments. "Mule Walk Stomp" is particularly joyous and the haltingly slow "Arkansas Blues" dates back to piano-roll days. "Caprice Rag," played at an insanely accelerated tempo, was published back in 1914. "Improvisations on Pinetop's Boogie Woogie" is Johnson's creative response to a popular trend. By coincidence, these four sides were recorded on the very day that Fats Waller passed away at the age of 39. Two solos recorded three days later convey Johnson's emotional state as he grieved over the loss of his good friend. "Blueberry Rhyme" is an unparalleled masterpiece of private reverie. First recorded in 1939, its reappearance on this occasion seems to indicate the intense personal nature of this delicate opus. "Blues for Fats" is like a prayer uttered in a state of numbness. James was still in shock. Beginning in April of the following year, he set out to record an extended series of piano tributes in the form of songs composed or made popular by Fats Waller. Another very constructive way to cope with such a crushing personal loss was to get busy and lead a few ensembles. The Blue Note session of March 4, 1944, resulted in four of the very best group recordings ever made by this pianist. There's no topping the front line of Ben Webster, Vic Dickenson, and Sidney DeParis, and Big Sid Catlett was exceptionally solid on that day. The slow drag "Blue Mizz" is followed by a shower of adrenaline called "Victory Stride." "Joy Mentin'" is a relaxed stroll through the blues and "After You've Gone" cooks at a rolling boil. arwulf arwulf
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JAMES P. JOHNSON – 1944 | The Classics Chronological Series – 835 (1995) FLAC (tracks+.cue), lossless

What must it have been like for James P. Johnson to have taken young Thomas Waller under his wing, teaching him everything he knew about piano, watching him evolve into a brilliant composer and internationally famous performer, then to have him pass away suddenly at the age of 39? The best answer to this question lies within a series of Waller tribute recordings made by Johnson in late 1943 and early 1944. They are a striking example of grief and shock transformed into relaxed, enjoyable music. The duets with drummer Eddie Dougherty, recorded on June 8, 1944, are particularly satisfying, especially "My Fate Is in Your Hands." What's the best James P. Johnson session of all? Poetically, musically, emotionally, and fundamentally, the "New York Orchestra" session of June 12, 1944, is in fact unparalleled. Frankie Newton never sounded more elegant and sincere than he does during these beautiful sound etchings. Albert Casey, Pops Foster, and once again Eddie Dougherty participate in perfectly balanced communion with the other two men. A precious honesty materializes as Johnson sings the words to W.C. Handy's "Hesitation Blues" in a warm, hoarse voice. For dessert, Johnson ended the session with a marvelous reading of Scott Joplin's masterpiece of 1909, "Euphonic Sounds." All six sides were issued on 12" 78-rpm records in an album bearing the title New York Jazz. They reappeared years later on a cherry-red vinyl LP Stinson reissue, and some of the tracks show up on various compilations. Classics 835 is a gold mine containing the very heart of James P. Johnson's artistry. Note that certain other reissues of this material -- "Euphonic Sounds" in particular -- have suffered from hideous sound quality, even on CD. Here at last Johnson's best material can be properly heard. The Sidney DeParis Blue Note Jazzmen session of June 21, 1944, just happens to be the next leg of Johnson's chronology. After three hot stomps including nearly five minutes of "Ballin' the Jack," the listener is able to reflect upon "The Call of the Blues," possibly the strongest playing that this trumpeter ever blew onto a record. It is a fine finish for one of the best traditional Harlem jazz compilations ever assembled by anyone. arwulf arwulf
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JAMES P. JOHNSON – 1944-1945 | The Classics Chronological Series – 1027 (1998) FLAC (tracks), lossless

This beautifully proportioned sampling of Johnson's late recordings is instrumentally varied and covers a wide range of moods. Four jam tunes from the Blue Note catalog each exceed four minutes in duration, which was a big deal in 1944. There was no stopping a front line composed of Sidney DeParis, Vic Dickenson, and Edmond Hall. Much of the remaining material on this album was recorded by Moses Asch, and issued on LP many years later. Six songs composed by W.C. Handy are sung by his daughter, Katherine Handy, who sounds a bit like Mildred Bailey. Johnson the soloist creates what might be his most intensive improvisations on record: "Blue Moods 1," "Blue Moods 2," and "Blue Moods, Sex," amounting to just a little under 13 minutes of freely inventive piano reflections. A further 12 minutes of solo piano ensues, this time much more programmatically conceived. "Yamekraw," originally put together in 1927, was presented as "A Negro Rhapsody." "Yamecraw," to use the geographically authentic spelling, was the name of the rough-and-tumble waterfront district in Savannah, GA. Here Johnson has carefully painted an entire landscape in sound for posterity. The W.C. Handy songs, together with these nearly 26 minutes of solo piano, existed in a state of phonographic limbo for many years. The people behind the Classics reissue series are to be commended for having restored and presented these rare recordings for public perusal. Now for some finishing touches. Whether you identify them as "the Omer Simeon Trio with James P. Johnson" or as "the Carnival Three," it is entirely possible that Simeon and Johnson, in teaming up with bassist Pops Foster, made four little recordings that might be considered perfect. Perfect? What's perfect? Well, there's perfect symmetry. Simeon wrote an attractive piece of blues with Foster, and another even more haunting blues with Johnson. That makes two immaculate collaborative blues, rendered with collaborative immaculate ease. Balance them out with two lively jams -- piano, bass, and clarinet -- no drums required, no brass need apply. These were three of the greatest jazz musicians who ever lived, and on 1944-1945 they are heard expressing ideas and emotions as a unit comprised of individuals. Yet there must be an imperfection somewhere. Look carefully: "Harlem Hotcha" was composed by Johnson, to whom the discography incorrectly attributes "Bandana Days," which of course was a major hit for Noble Sissle and Eubie Blake. So the discography contains one minor error (very unusual for this label) but the music, like most of James P. Johnson's work, comes very close to perfection. arwulf arwulf  
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PAT FLOWERS – 1945-1947 | The Classics Chronological Series – 1093 (1999) FLAC (tracks+.cue), lossless

Pianist and vocalist Pat Flowers wanted to be Fats Waller. As a young man Flowers would follow Waller, trying to get gigs playing in the lobby of the hall at which Fats would be performing. For his own recording sessions he would hire musicians like Herman Autrey, Gene "Honey Bear" Sedric, Slick Jones, and Cedric Wallace, all members of Fats Waller's Rhythm. Flowers was even managed for a short time by Waller's manager Ed Kirkeby making records under the moniker Pat Flowers and His Rhythm. These 24 sides recorded between 1945 and 1947 showcase Flowers piano playing and singing in the '30s style of, guess who. Featured are four recordings for the Hit Record label, including "Aint Misbehavin" and the Fats inspired "Bach Prelude and Fugue." The remaining tunes are mainly novelties like "Save the Bones for Henry Jones," "Aloysius Do the Dishes," and "Exhilarated, Exasperated, Exhausted" recorded for RCA Victor (the label Fats Waller recorded for.) Al Campbell  
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BILLY KYLE – 1939-1946 (1997) The Classics Chronological Series – 941 | FLAC (tracks), lossless

The second of two Classics Billy Kyle CDs has all of the remaining titles the superior swing pianist led during his life (although he lived until 1966). Ten of the 23 numbers are lesser performances, with four featuring the dated organist Bob Hamilton and the vocals of O'Neil Spencer; two are jivey numbers by singer Jack Sneed and his Sneezers, and four others also emphasize O'Neil Spencer's singing along with the organ of Milt Herth. However, the other 13 selections are full of classic swing-oriented performances. The talented British trumpeter Nat Gonella is heard fronting a hot septet also including Kyle, clarinetist Buster Bailey and altoist Benny Carter (their version of "You Must Have Been a Beautiful Baby" is a highlight); Kyle leads a couple of high-quality trio sets from 1939 and 1946, and he also heads a 1946 octet also featuring trumpeter Dick Vance, trombonist Trummy Young, clarinetist Bailey and tenor saxophonist John Hardee. The better half of this CD is so strong that it makes the entire set well worth acquiring despite the organists. Scott Yanow
Tracklist :
1    Nat Gonella With John Kirby's Orchestra–    You Must Have Been A Beautiful Day    3:03
2    Nat Gonella With John Kirby's Orchestra–    Just A Kid Named Joe    3:15
3    Nat Gonella With John Kirby's Orchestra–    Jeepers Creepers    2:58
4    Nat Gonella With John Kirby's Orchestra–    I Must See Annie Tonight    2:49
5    The Ramblers–    Honey In The Bee Ball    3:11
6    The Ramblers–    'Tain't What You Do (It's The Way That Cha Do It)    2:47
7    The Ramblers–    Money Is Honey    3:10
8    The Ramblers–    Lonesome Railroad    2:36
9    Billy Kyle–    Finishing Up A Date    2:40
10    Billy Kyle–    Between Sets    2:34
11    Jack Sneed And His Sneezers–    Paul Revere    2:48
12    Jack Sneed And His Sneezers–    Ole Chris (Christafo Colombo)    2:58
13    Milt Herth Trio–    Scatter-Brain    2:40
14    Milt Herth Trio–    The Moneys Have No Tails In Pago-Pago    2:42
15    Milt Herth Trio–    Peach Tree Street (Blues Song)    2:41
16    Milt Herth Trio–    Hezekiah (The Handwriting On The Wall)    2:46
17    Billy Kyle–    I Want You I Need You    3:03
18    Billy Kyle–    All The Things You Are    2:42
19    Billy Kyle–    I Got A Right To Sing The Blues    2:51
20    Billy Kyle's Big Eight–    H.R.S. Bounce    3:02
21    Billy Kyle's Big Eight–    Ooh, Baby, You Knock Me Out    2:50
22    Billy Kyle's Big Eight–    Date For Eight    3:00
23    Billy Kyle's Big Eight–    Contemporary Blues    2:58
Credits
Alto Saxophone – Benny Carter (tracks: 1 to 4), Lem Davis (tracks: 20 to 23)
Bass – John Kirby (tracks: 1 to 4, 11, 12, 17 to 19), John Simmons (tracks: 20 to 23), Marty Kaplan (tracks: 9, 10)
Clarinet – Buster Bailey (tracks: 1 to 4, 20 to 23)
Drums – Buddy Rich (tracks: 20 to 23), Jack Maisel (tracks: 1 to 4), O'Neil Spencer (tracks: 5 to 16)
Guitar – Brick Fleagle (tracks: 1 to 4), Dave Barbour (tracks: 9, 10), Jimmy Shirley (tracks: 17 to 19), Teddy Bunn (tracks: 5 to 8)
Organ – Bob Hamilton (tracks: 5 to 8), Milt Herth (tracks: 13 to 16)
Piano – Billy Kyle
Tenor Saxophone – John Hardee (tracks: 20 to 23)
Trombone – Trummy Young (tracks: 20 to 23)
Trumpet – Charlie Shavers (tracks: 11, 12), Dick Vance (tracks: 20 to 23)
Trumpet, Vocals – Nat Gonella (tracks: 1 to 4)
Vocals – O'Neil Spencer (tracks: 5 to 8, 13 to 16), Teddy Bunn (tracks: 6)