LESTER YOUNG — The "Kansas City" Sessions (1997) FLAC (image+.cue), lossless

This is a CD overflowing with classic performances. The great Lester Young is heard with the 1938 version of the Kansas City Six, a group also including trumpeter Buck Clayton (in prime form), Eddie Durham on electric guitar (where he preceded Charlie Christian) and trombone, the rhythm guitar of Freddie Green, bassist Walter Page, and drummer Jo Jones. The four selections (all of which are joined by an alternate take apiece) are most notable for Young's switching to clarinet on some of the pieces. His clarinet solo on "I Want a Little Girl" sounds eerily like Paul Desmond's alto of 15 years later. These classic cool jazz performances have delightful interplay between the two horns. The second part of the reissue features the 1944 Kansas City Six in which Young (sticking to tenor) and trumpeter Bill Coleman are joined by a three-piece rhythm section and trombonist Dickie Wells. Wells, who takes some very colorful and nearly riotous solos, rarely sounded better, and the four selections are highlighted by three equally rewarding versions of "I Got Rhythm" and two of "Three Little Words." The CD concludes with the four titles by 1938's Kansas City Five, which was essentially the early Kansas City Six without Young. Clayton is once again in top form, and Durham's guitar solos were among the first worthwhile examples of the electric guitar on record. This gem is highly recommended for all jazz collections. Scott Yanow
Tracklist :
1    Kansas City Six–    Way Down Yonder In New Orleans (#2)    3:00
2    Kansas City Six–    Way Down Yonder In New Orleans    2:57
3    Kansas City Six–    Countless Blues    3:01
4    Kansas City Six–    Countless Blues (#2)    2:59
5    Kansas City Six–    Them There Eyes (#2) 2:57
Vocals – Freddie Green
6    Kansas City Six–    Them There Eyes 2:58
Vocals – Freddie Green
7    Kansas City Six–    I Want A Little Girl    2:53
8    Kansas City Six–    I Want A Little Girl (#2)    2:54
9    Kansas City Six–    Pagin' The Devil    2:57
10    Kansas City Six–    Pagin' The Devil (#2)    2:55
11    Kansas City Six–    Three Little Words (#2)    3:19
12    Kansas City Six–    Three Little Words    2:52
13    Kansas City Six–    Jo Jo    3:17
14    Kansas City Six–    I Got Rhythm (#3)    3:15
15    Kansas City Six–    I Got Rhythm (#2)    3:15
16    Kansas City Six–    I Got Rhythm    3:16
17    Kansas City Six–    Four O'Clock Drag    2:51
18    Kansas City Six–    Four O'Clock Drag (#3)    2:50
19    Kansas City Five–    Laughing At Life    3:05
20    Kansas City Five–    Good Mornin' Blues    2:51
21    Kansas City Five–    I Know That You Know    3:04
22    Kansas City Five–    Love Me Or Leave Me    2:47
Credits :
Bass – John Simmons (tracks: 11 to 18), Walter Page (tracks: 1 to 10, 19 to 22)
Drums – Jo Jones
Guitar – Freddie Green (tracks: 1 to 10, 19 to 22)
Piano – Joe Bushkin (tracks: 11 to 18)
Tenor Saxophone, Clarinet – Lester Young (tracks: 1 to 18)
Trombone – Dicky Wells (tracks: 11 to 18)
Trombone, Electric Guitar – Eddie Durham (tracks: 1 to 10, 19 to 22)
Trumpet – Bill Coleman (tracks: 11 to 18), Buck Clayton (tracks: 1 to 10, 19 to 22)
Notes.
Recorded in New York City.
Tracks 1 to 10 recorded September 28, 1938.
Tracks 11 to 18 recorded March 27, 1944.
Tracks 19 to 22 recorded March 16, 1938.

FREDDIE GREEN — Mr. Rhythm (1955-2007) RM | MONO | BMG Prime Jazz Series | FLAC (tracks+.cue), lossless

Freddie Green seldom led sessions and seldom played lead. Instead, he formed part of the classic rhythm section that gave the Count Basie band its steady pulse. This rare date finds Green with tenor Al Cohn, trumpeter Joe Newman, trombonist Henry Coker, pianist Nat Pierce, bassist Milt Hinton, and either Jo Jones or Osie Johnson on drums. Mr. Rhythm, in fact, will remind many of a good Basie set. The steady drums, bass, and guitar on "Back and Forth" and "Something's Gotta Give" push the music forward, swinging ever so lightly. Nat Pierce's minimalist piano work also owes something to Basie. He adds small flourishes to the rhythm of pieces like "Easy Does It," and only a scattering of tastefully chosen notes on his solo. Coker and Cohn deliver nice solos on "When You Wish Upon a Star," with the trombone's lovely tone and the tenor's deep, mellow pitch complimenting the romanticism of the piece. Newman offers a concise, discerning solos on "Free and Easy" and "Learnin' the Blues." He uses a mute for both solos, perfectly capturing a calm, bluesy mood. Of course Green doesn't solo, and while his guitar is often barely audible, his presence is always felt. This album shows him to be a fine leader who is happy to remain in his role as rhythm guitarist. For fans of Green, and for those who enjoy swinging jazz with great soloists, Mr. Rhythm is a fine release. Ronnie D. Lankford, Jr.
Tracklist :
1    Up In The Blues    2:34
 Freddie Green
2    Down For Double    3:58
 Freddie Green
3    Back And Forth    2:17
 Freddie Green
4    Free And Easy    3:25
 Freddie Green
5    Learnin The Blues    3:28
 Freddie Green / Delores Vicki Silvers
6    Feed Bag    2:58
 Freddie Green
7    Something's Gotta Give    2:51
 Freddie Green
8    Easy Does It    3:42
 Freddie Green / Sy Oliver / Trummy Young
9    Little Red    2:08
 Freddie Green
10    Swinging Back     3:21
 Freddie Green
11    A Date With Ray    4:52
 Freddie Green
12    When You Wish Upon A Star    2:38
 Freddie Green / Leigh Harline
Credits
Bass – Milt Hinton
Drums – Jo Jones, Osie Johnson
Guitar – Freddie Green
Piano – Nat Pierce
Tenor Saxophone, Clarinet – Al Cohn
Trombone – Henry Coker
Trumpet – Joe Newman

GIL EVANS — Gil Evans & Ten (1957-2003) SACD, Hybrid | MONO | FLAC (tracks+.cue), lossless

Although arranger Gil Evans had been active in the major leagues of jazz ever since the mid-'40s and had participated in Miles Davis' famous Birth of the Cool recordings, Gil Evans & Ten was his first opportunity to record as a leader. The set features a typically unusual 11-piece unit consisting of two trumpets, trombonist Jimmy Cleveland, Bart Varsalona on bass trombone, French horn player Willie Ruff, Steve Lacy on soprano, altoist Lee Konitz, Dave Kurtzer on bassoon, bassist Paul Chambers, and either Nick Stabulas or Jo Jones on drums, plus the leader's sparse piano. As good an introduction to his work as any, this program includes diverse works ranging from Leadbelly to Leonard Bernstein, plus Evans' own "Jambangle." The arranger's inventive use of the voices of his rather unique sidemen make this a memorable set. Scott Yanow   Tracklist & Credits :

ART TATUM — The Complete Pablo Group Masterpieces (1990) RM | 6CD BOX-SET | FLAC (tracks+.cue), lossless

Tatum spent most of his career as a solo pianist; in fact, it was often said that he was such an unpredictable virtuoso that it would be difficult for other musicians to play with him. Producer Norman Granz sought to prove that the theory was false, so between 1954 and 1956 he extensively recorded Tatum with a variety of other classic jazzmen, resulting originally in nine LPs of material that is now available separately as eight CDs and on this very full six-CD box set. In contrast to the massive solo Tatum sessions that Granz also recorded during this period, the group sides have plenty of variety and exciting moments, which is not too surprising when one considers that Tatum was teamed in a trio with altoist Benny Carter and drummer Louie Bellson; with trumpeter Roy Eldridge, clarinetist Buddy DeFranco, and tenor saxophonist Ben Webster in separate quartets; in an explosive trio with vibraphonist Lionel Hampton and drummer Buddy Rich; with a sextet including Hampton, Rich, and trumpeter Harry "Sweets" Edison; and on a standard trio session. Scott Yanow    Tracklist & Credits :

COUNT BASIE AND HIS ORCHESTRA – 1946-1947 | The Classics Chronological Series – 988 (1998) FLAC (tracks), lossless

Here's a crash course in the flashy post-WWII big band sound of Count Basie's Orchestra. This was a much different act from the Basie band of 1944-45. The entire presentation had changed considerably in just a couple of years. Arrangers had a lot to do with such rapid transformation, along with creative young players like J.J. Johnson, Paul Gonsalves and Illinois Jacquet. Basie himself was maturing already into that famously glib, tinkling pianist who could and did occasionally play his ass off. A number of stylistic modes are clearly at work during the summer of 1946. Two sentimental pop vocals, one lightweight novelty tune and a solid Jimmy Rushing blues are interspersed with several exciting instrumentals. Buster Harding cooked up a few heavy-handed boogies, Tadd Dameron contributed the stimulating, modern composition "Stay On It," and Harry "Sweets" Edison composed and arranged "Mutton Leg," a sizzling feature for Illinois Jacquet. This would be the saxophonist's last extroverted studio recording with this band, and the eight selections from 1946 were the last of Basie's mid-'40s Columbia sides. Signing up with Victor for the next three years, Basie continued to move in step with rapidly evolving developments in pop, bebop and rhythm and blues. The Victor sides have not been reissued very often, and have proved much more difficult to obtain than Basie's earlier recordings from the Columbia and Decca catalogs. The people in charge of the Classics chronological series are to be commended for making these historical recordings available. The Victor material is markedly varied, revealing an orchestra searching for its next stylistic identity. "Open the Door, Richard" is one of the coolest versions of this silly piece of neo-vaudeville ever recorded, mainly because of Harry "Sweets" Edison's very hip, high-voiced spoken delivery. "One O'Clock Boogie" is recognizable Basie, but two lush ballads, arranged by Hugo Winterhalter, of all people, are atypical for this band. "Futile Frustration," though nominally co-composed by Basie, is a jaggedly futuristic Raymond Scott-styled experiment by Jimmy Mundy. Two live V-Disc jams, each exceeding the four-minute mark, feature Basie and rhythm with a snappy front line of Roy Eldridge and Illinois Jacquet. Art Ford, square peg in a round universe, introduces "Lady Be Good." "Jammin' on a V-Disc," which has a line that sounds uncannily like Sun Ra's "Space is the Place," runs at a brisk clip with wonderful solos from both of the horns. Illinois bites the reed to make his sax squeal and everybody rocks. Buddy Rich is in his element here, as the assignment calls for furious drumming. This segment of the chronology ends with three excellent instrumentals including smart remakes of "St. Louis Boogie" and "Swingin' the Blues." The pianist switches over to Hammond organ in the middle of "Basie's Basement," an authentically low-down blues graced with echoes of Fats Waller's personality. The rest of the fine music recorded by Basie and his men during the month of May 1947 appears at the beginning of the next volume of the complete recordings of Count Basie in chronological order. arwulf arwulf   Tracklist + Credits :

KANSAS CITY 5, 6 & 7 – 1938-1944 | The Classics Chronological Series – 912 (1996) FLAC (image+.cue), lossless

Tracklist + Credits :

GENE AMMONS – 1949-1950 | The Chronogical Classics – 1329 (2003) FLAC (tracks+.cue), lossless

This leg of the Gene Ammons chronology begins with two pretty vocals by Christine Chapman. Jug is in the background, offering emotional support through the tenor sax. These tidbits are soon forgotten as several powerful blowing sessions unfold. The lush, theatrical renditions of "Ev'rything Depends on You" and "When You're Gone" are thrilling examples of where the jazz ballad was at in 1949. The elegant boppish swing of "Hot Springs" is liberating. "Little Slam" eventually reveals itself as a reconstituted "King Porter Stomp." The next session is even better: "Pennies From Heaven" is all delicacy and beatitude. "The Last Mile," also known as "Rockin' Rocker," does an impressive slow grind on simple blues changes. "Cha-Bootie" is definitive swaggering Gene Ammons, full of soul. During "Full Moon" the band bursts all restraints and lunges forward with horns blazing. On March 5th 1960, Ammons started laying down thunder tracks for the Prestige label. "Bye Bye" sounds like "Soft Winds" with salt and Tabasco. Ammons leads a hand-clapping moralistic singalong called "Let It Be." That's Sonny Stitt blowing down a baritone sax. He comes round front, switches to tenor and duels with Ammons on "Blues Up and Down," a showpiece that would be revived by Johnny Griffin and Eddie "Lockjaw" Davis during the early 1960s. How cool it is to hear the original version of this two-sax workout, followed by a brisk "You Can Depend On Me"? Great rhythm section in Duke Jordan, Tommy Potter and "Kansas City" Jo Jones. Teddy Williams must have opened his mouth abnormally wide when he sang with this band. It's kind of outrageous, like he's doing Billy Eckstine impressions. On "Dumb Woman Blues" his chortling makes a bit more sense but he's still really loud and overbearing. For this kind of singing, Eddie "Cleanhead" Vinson would be preferable. The Prestige rendering of "Chabootie" is a marvel of precision. Stitt was a capable baritone player, and Art Blakey has appeared as a worthy successor for Jones. "Who Put the Sleeping Pills in Rip Van Winkle's Coffee?" is surprisingly stupid, and no amount of hot blowing can rescue the song from itself after Gene leads the band in a stilted singalong. The melody is a turkey, which explains why this track rarely appears on reissues. "Gravy" is immediately recognizable as "Walkin'," that great durable anthem of hard bop. Once again, Stitt's baritone is a bitch. "Easy Glide" sparkles with a vintage early-'50s show time arrangement, very theatrical. The disc closes out with four sides issued on the Chess label. While "Tenor Eleven" is pleasantly stimulating, Jug really finds himself in the ballad groove with the help of primitive reverb and maybe something else to steady the nerves and enhance his mood. Three ballads and you're out. arwulf arwulf       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 :

BUCK CLAYTON – 1953, Vol. 2 | The Chronogical Classics – 1427 (2006) FLAC (tracks+.cue), lossless

This fourth volume in the Classics Buck Clayton chronology is mainly devoted to the excellent music he recorded in Paris during the first two weeks of November 1953. Much different from the old-fashioned jazz he blew with Mezz Mezzrow during the same tour, this material represents a fresh, modern approach to the traditions Clayton had helped to establish with (and without) Count Basie during the 1930s and '40s. Tracks one through five showcase informal jam bands co-led by Clayton and drummer Gerard Pochonet. There are several fine soloists featured here, including electrically amplified guitarist Jean-Pierre Sasson, clarinetist and baritone saxophonist Michel de Villers, trombonist Benny Vasseur, and pianist Andre Persiani. That's a short list -- these pleasantly loose blowing sessions involved some of the top jazz musicians available in Paris at that time. Back in New York and recording for Columbia on December 14 and December 16, 1953, Clayton led a ten-piece group that was essentially the Count Basie Orchestra with Sir Charles Thompson at the piano. Three extended romps close out this highly rewarding segment of the Buck Clayton story: "Lean Baby," a sultry blues by Billy May, cruises at a relaxed lope for eight-and-a-half minutes; the great Kansas City swing anthem "Moten Swing" rolls for twelve-and-a-half minutes, and a cool "Sentimental Journey" stretches out for nearly 14 minutes. Excellent music, superbly rendered. arwulf arwulf  
Tracklist :

EARL HINES AND HIS ORCHESTRA – 1942-1945 | The Classics Chronological Series – 876 (1996) FLAC (tracks+.cue), lossless

For Earl Hines fans looking beyond the bandleader's glory days of the '30s, this Classics chronological disc -- one of several Hines titles in the series -- is worth picking up. It's not as solid as Classics' 1941 survey, due in part to that disc's tighter, vintage-issue charts, but many of these 21 tracks still stand out, thanks to some fine Eckstine vocals and stealth backing by the likes of Wardell Gray, Johnny Hodges, Charlie Shavers, Budd Johnson, Red Norvo, and Oscar Pettiford -- not to mention a few Betty Roche vocal turns. A fine, if unessential, Hines collection. Stephen Cook
Tracklist :

MILDRED BAILEY – 1937-1938 | The Classics Chronological Series – 1114 (2000) FLAC (tracks+.cue), lossless

Volume three in Mildred Bailey's Classics chronology revives 24 excellent recordings she made for the Vocalion label between January 19, 1937 and March 14, 1938. During this period, Bailey sang on quite a number of recordings issued (and subsequently reissued) under the name of her third husband, xylophonist Red Norvo. Everything on this compilation came out under the name of Mildred Bailey & Her Orchestra. A glance at the enclosed discography substantiates a claim made by producer Anatol Schenker in his liner notes: "The small band recordings made by Mildred Bailey in the late thirties certainly bear comparison with those made by Billie Holiday." Alternating throughout the discography with sessions featuring Red Norvo's big band, the septets heard backing Mildred Bailey are populated with accomplished improvisers like Roy Eldridge, Chu Berry, Buck Clayton, Scoops Carey, Herschel Evans, Hank D'Amico and Edmond Hall. The rhythm sections were driven by such master musicians as Teddy Wilson, Zutty Singleton, Freddie Green, Walter Page and Dave Tough. Anyone seeking particularly wonderful examples of Tough's marvelously controlled percussion artistry needs to listen to "I See Your Face Before Me," "Thanks for the Memory," "From the Land of Sky Blue Water" and "Lover Come Back to Me." Mildred Bailey was among the very first people in showbiz to recognize Billie Holiday's unique abilities as a jazz vocalist. This compilation demonstrates some of the songs, moods and instrumentalists that the two singers had in common. A more far-reaching assessment of their parallel careers is sobering; Billie Holiday struggled against racism, patriarchal oppression, entrenched conventions that made her feel like her own voice was "not legitimate," and a swarm of pernicious addictions that ultimately slew her. Mildred Bailey pioneered the feminine art of jazz singing and enjoyed enormous popularity for a while during the '30s; then, obese and diabetic, she found herself marginalized as an insufficiently svelte anomaly and was ultimately discarded by an entertainment industry that has always valued physical glamour over artistic ability. arwulf arwulf  
Tracklist + Credits :

TEDDY WILSON AND HIS ORCHESTRA – 1936-1937 | The Classics Chronological Series – 521 (1990) FLAC (tracks+.cue), lossless

Swing collectors may very well find the Teddy Wilson series on Classics to be a bit troubling for, although it logically reissues all of the great swing pianist's recordings as a leader in order (skipping the alternate takes), many of the sides (those featuring Billie Holiday) are also available on Columbia's complete Lady Day program. This particular CD not only has 16 Holiday vocals (including "The Way You Look Tonight," "Pennies from Heaven," a version of "I Can't Give You Anything But Love" in which she shows off the influence of Louis Armstrong, and four wonderful titles from her first recorded meeting with tenor saxophonist Lester Young), but also three instrumentals and two rarities apiece from singers Redd Harper and Midge Williams which are sure to frustrate completists. Scott Yanow
Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1941 | The Classics Chronological Series – 1202 (2001) FLAC (tracks+.cue), lossless

All of the master takes from Benny Goodman's recordings from a two-month period in early 1941 are on this CD. Helen Forrest, one of the best big band singers, has 13 vocals, including "The Mem'ry of a Rose," "This Is New," and "Oh! Look at Me Now." Trumpeter Cootie Williams, trombonist Lou McGarity, and tenor saxophonist Georgie Auld have some brief solos with the big band, Teddy Wilson plays with the orchestra (which he did not get a chance to do during the early days), and Eddie Sauter contributes some of the arrangements. Charlie Christian is showcased on "Solo Flight," while "Scarecrow" (from Buster Harding) is memorable. But the best session included is by the Benny Goodman Sextet (Williams, Auld, Christian, bassist Artie Bernstein, and drummer Jo Jones) with Count Basie guesting on piano. "Breakfast Feud," "On the Alamo," "I Found a New Baby," and "Gone With What Draft" are all gems. Recommended. Scott Yanow
Tracklist :

BENNY GOODMAN AND HIS ORCHESTRA – 1941, Vol. 3 | The Classics Chronological Series – 1271 (2002) FLAC (tracks), lossless

Benny Goodman's 21st volume in his portion of the Classics Chronological Series contains all of the red label Columbia records the popular clarinetist and bandleader made in Chicago and New York between August 15 and October 8, 1941. This compilation contains Peggy Lee's very first recordings. Originally known as Norma Egstrom, she was singing at the Windy City's Hotel Ambassador when Goodman heard her while taking a break from his band's run at the Panther Room in the Hotel Sherman. Goodman, who needed a vocalist to fill the gap left by the sudden departure of Helen Forrest, hired her without hesitation. He also continued his struggle against bigotry by including in his band several uncommonly skilled Afro-American musicians -- trumpeter Cootie Williams, bassist John Simmons and drummers Jo Jones and Sid Catlett. Because of hassles with the Musicians' Union, Jones, who can be heard on two recently unearthed "test" takes, almost didn't get to record with Goodman at all on September 25, 1941; five of the tracks cut on that day have no drummer at all. For an interesting listening experience, compare both versions of "The Earl." Take one is powerfully propelled by Jones, who during take two may very well have been egging on the band from the sidelines as he did years later during the Ellington band's notoriously over-the-top performance at the Newport Jazz Festival. Both takes feature the piano of Mel Powell, who composed and arranged this exciting number. Jones was borrowed from Count Basie to fill in for Catlett, who had quarreled with Goodman during an appearance at Meadowbrook in New Jersey and quit shortly afterwards, only to return for the session of October 2. Another test recording that has existed for years in a sort of discographical no-man's-land devoid of matrix numbers is Goodman's two-part jam on Mary Lou Williams' "Roll 'Em." The producers of this series have determined that it belongs in this portion of the Classics Benny Goodman chronology. arwulf arwulf
Tracklist :

BILLY TAYLOR – 1950-1952 | The Classics Chronological Series – 1344 (2004) FLAC (tracks), lossless

This second volume covering Billy Taylor's pre-Prestige recordings opens with four sides cut for Brunswick Records in 1950, followed by eight tracks done for Atlantic, and concluding with an early LP of Cuban-inspired jazz, all of which will be of interest to collectors. Taylor's bop-inflected piano style remains elegant throughout, always with a veneer of swinging brightness, and two of the best pieces here, the self-penned "Double Duty" and "Good Groove," show an acute awareness of both time and space, areas Taylor would go on to explore with his subsequent trios. Steve Leggett
Tracklist + Credits :

CHARLIE VENTURA – 1951-1953 | The Classics Chronological Series – 1363 (2004) FLAC (tracks), lossless

This is the sixth volume of the complete recordings of Charlie Ventura reissued in chronological order. Four out of the five sessions represented here are strictly instrumental. This gives fans of Jackie Cain and Roy Kral a taste of that duo's kicky vocal routine without detracting from the overall instrumental jazz content. On August 8, 1951, the saxophonist made his only recordings under the banner of Charlie Ventura's Big Four, with pianist Teddy Napoleon, bassist Chubby Jackson, and drummer Buddy Rich, whose megalomania accelerated the speedy dissolution of this tight little group. In a bizarre turn of events, Rich sang "Love Is Just Around the Corner" while Mel Tormé sat in at the drums. On December 22, 1952, Ventura waxed seven beautiful sides using alto, tenor, and baritone saxophones in front of a rhythm trio for producer Norman Granz. Ventura's baritone work is particularly attractive on "Blue Prelude." A second date for Norgran Records took place on January 5, 1953, with Hank Jones at the piano and the great Jo Jones behind the drums. Ventura opens on tenor but switches to baritone on "Blues for Two" and sticks with the basement horn on "Somebody Loves Me." These are some radically advanced improvisations, signaling a profound ongoing artistic evolution. Moving over to Coral Records for most of the remainder of 1953, Ventura first chose to collaborate once again with Jackie Cain and Roy Kral. The band behind their vocals is superb, and Ventura hauls out his baritone for extra emphasis. Four romantic sax solos with orchestral accompaniment close out this segment of the Ventura chronology with all the subtlety of a sugary dessert wine garnished with a blood-red maraschino cherry. arwulf arwulf  
Tracklist + Credits :

MEADE "LUX" LEWIS - Cat House Piano (1998) FLAC (tracks+.cue), lossless

This single CD from 1998 has all of the music from boogie-woogie pianist Meade Lux Lewis' two Verve LPs of 1954-1955. The earlier date is a set of duets with drummer Louie Bellson, while the later session finds Lewis accompanied by bassist Red Callender and drummer Jo Jones. The packaging is perfect, and with 76-and-a-half minutes of playing, the amount of music is generous. The only problem is that there is a definite sameness to the 14 selections (which mostly clock in between four and seven minutes), the majority of which are medium-tempo blues romps. None of the melodies (all Lewis originals) are at all memorable. The romping momentum of the music overall is difficult to resist, but it is advisable to listen to this set in small doses. Scott Yanow
Tracklist :
1     The Pittsburgh Flyer 5:00
Meade "Lux" Lewis
2     Dragon Blues 4:54
Meade "Lux" Lewis
3     Jabouti 6:07
Meade "Lux" Lewis    
4     Torpedo Juice 5:14
Meade "Lux" Lewis
5     Joe Prein's Boogie 5:35
Meade "Lux" Lewis
6     620 Boogie 6:33
Meade "Lux" Lewis
7    Meade's Mambo 5:46
Meade "Lux" Lewis
8     San Francisco Shuffle 6:12
Meade "Lux" Lewis
9     Spoony Sam 3:57
Meade "Lux" Lewis
10     Mama's Bounce 5:48
Meade "Lux" Lewis
11     Shooboody 5:18
Meade "Lux" Lewis
12     Hangover Boogie 6:10
Meade "Lux" Lewis
13     Yancey's Last Ride 3:44
Meade "Lux" Lewis
14     Bush Street Boogie 5:26
Meade "Lux" Lewis
Credits :    
Artwork [Series Art Designed And Directed By] – Patricia Lie, Sung Lee
Bass – Red Callender (tracks: 1 to 8)
Drums – Jo Jones (tracks: 1 to 8), Louie Bellson (tracks: 9 to 14)
Piano – Meade Lux Lewis
Producer [Original Recordings] – Norman Granz
Notas.
Recorded June 28, 1954 at Radio Recorders, Hollywood (tracks 9 to 14), original LP issue: Boogie Woogie Piano And Drums
Recorded January 16, 1955 in Los Angeles (tracks 1 to 8), original LP issue: Cat House Piano

ZOOT SIMS - Four Classic Albums (2009) 2xCD | FLAC (tracks+.cue), lossless

DISC ONE
The Four Brothers... Together Again!    
1        Four And One More    4:04
2        So Blue    3:24
3        The Swinging Door    2:45
4        Four In Hand    3:10
5        A Quick One    3:47
6        Four Brothers    3:48
7        Ten Years Later    3:04
8        The Pretty One    3:30
9        Aged In Wood     2:55
10        Here We Go Again    3:46
From A To Z    
11        Mediolistic    3:30
12        Crimea River    3:09
13        A New Moon    3:52
14        A Moment's Notice    3:20
15        My Blues    3:14
16        Sandy's Swing     3:24
17        Somebody Loves Me    2:51
18        More Bread    3:05
19        Sherm's Terms    2:59
20        From A To Z    2:58
21        East Of The Sun    4:19
22        Tenor For Two Please, Jack    4:25
DISC TWO
Zoot   
1        9.20 Special    4:51
2        The Man I Love    5:13
3        55th And State    4:41
4        Blue Room    5:08
5        Gus's Blues    4:27
6        That Old Feeling    5:32
7        Bohemia After Dark    3:33
8        Woody'n You    5:20
Whooeeee     
9        The King    4:38
10        Lullaby Of The Leaves    5:10
11        I Can't Get Started    4:34
12        Snake Eyes    3:58
13        Morning Fun    5:01
14        Whooeee    5:05
15        Medley: Someone To Watch Over Me, My Old Flame    4:10
16        Box Cars    5:20

ZOOT SIMS | BOB BROOKMEYER - Morning Fun (1956-1989) APE (tracks+.cue), lossless

Although it claims on the back of this CD that the music was recorded in August 1956, discographies state February and that seems more logical since valve trombonist Bob Brookmeyer and tenor-saxophonist Zoot Sims did not team up for a very long period (although three records resulted from their valuable collaboration). With assistance from pianist John Williams, bassist Bill Crow and drummer Jo Jones, Sims and Brookmeyer are in fine form on such selections as a rollicking "The King," "Lullaby of the Leaves," a brief two-song ballad medley and Brookmeyer's "Whooeeeee!" Sims takes a rare (and fairly effective) vocal on "I Can't Get Started." Recommended, as is the other Black Lion Zoot Sims CD from the same period, Tonite's Music Today. Scott Yanow
Tracklist :
1     The King 4:44
Count Basie    
2     Lullaby of the Leaves 5:16
Bernice Petkere / Joe Young    
3     I Can't Get Started 4:40
Vernon Duke / Ira Gershwin    
4     Snake Eyes 4:03
Al Cohn    
5     Morning Fun 5:07
Al Cohn / Zoot Sims    
6     Whoooeeeee! 5:10
Bob Brookmeyer    
7     Someone to Watch over Me/My Old Flame 4:16
Sam Coslow / George Gershwin / Ira Gershwin / Arthur Johnston
8     Box Cars 5:24
Al Cohn
Credits :
Bass – Bill Crow
Drums – Jo Jones
Piano – Hank Jones
Tenor Saxophone – Zoot Sims
Valve Trombone – Bob Brookmeyer

FREDDIE GREEN | AL COHN - Natural Rhythm (1987) WV (image+.cue), lossless

Wonderful mid-50s date with Freddie Green (g) stepping outside Basie's orchestra; Joe Newman accenting things on trumpet.
Freddie Green - Mr. Rhythm - RCA Victor LPM-1210    
1    Up In The Blues    2:32
2    Down For Double    3:57
3    Back And Forth    2:16
4    Free And Easy    3:23
5    Learnin' The Blues    3:27
6    Feed Bag    2:57
7    Something's Gotta Give    2:52
8    Easy Does It    3:41
9    Little Red    2:07
10    Swinging Back    3:21
11    A Date With Ray    4:51
12    When You Wish Upon A Star    2:36
Al Cohn - The Natural Seven - RCA Victor LPM-1116    
13    Doggin' Around    2:59
14    Jump The Blues Away    2:54
15    Jack's Kinda Swing    3:33
16    The Natural Thing To Do    2:58
17    A. C. Meets Osie    2:40
18    Baby Please    3:02
19    9:20 Special    2:56
20    Pick A Dilly    3:28
21    Count Me In    3:32
22    Freddie's Tune    3:24
Notas.
Release combines tracks from 2 LPs as described in the headings.
The two LPs featured the same personnel except the trombonist.
Both LPs recorded in 1955.
Total playing time = 70:53 min
Tracks A-1 ("A Kiss To Build A Dream On") and B-6 ("Osie's Blues") from the LP "The Natural Seven" were not included in this CD..
Credits :
Bass – Milt Hinton
Drums – Osie Johnson
Piano – Nat Pierce
Rhythm Guitar – Freddie Green
Tenor Saxophone – Al Cohn
Trombone – Frank Rehak (pistas: 13 to 22), Henry Coker (pistas: 1 to 12)
Trumpet – Joe Newman