RAY BROWN — Brown's Bag (1976-1991) Concord Jazz Collector's Series | FLAC (tracks), lossless

Bassist Ray Brown's debut for Concord (and his first recording as a leader in six years) features him with two separate groups: a quintet also including trumpeter Blue Mitchell, tenor-saxophonist Richie Kamuca, pianist Art Hillery and drummer John Guerin and (on three of the seven songs) a quartet with keyboardist Dave Grusin, guitarist John Collins and drummer Jimmie Smith. While the former group has some hot moments (particularly on "Blues for Eddie Lee" and "Surrey with the Fringe on Top"), the latter band sticks to dreamy ballads. The fact that this CD reissue has less than 35 minutes is a minus; plus none of the selections are really all that memorable despite the strong playing. Not one of the more significant Ray Brown albums. Scott Yanow   Tracklist & Credits : 

DIZZY GILLESPIE AND HIS ORCHESTRA – 1949-1950 | The Classics Chronological Series – 1168 (2003) FLAC (tracks+.cue), lossless

This entry in the Classics label Chronological series features the final recordings by Dizzy Gillespie's 1940s big band, a few jump jazz titles geared toward the R&B market, and a session in which Dizzy's trumpet is backed by a string section arranged by Johnny Richards. It is definitely a mixed bag. The big band titles are generally weak ("You Stole My Wife, You Horsethief" would never be considered a classic), as Gillespie tried hard to come up with a hit to save his orchestra. The jump titles are more fun, with "She's Gone Again" being particularly catchy. Richards' string arrangements are not very creative, although Gillespie plays well throughout. This set is not without interest overall, but is mostly for Dizzy completists and is far from essential. Scott Yanow  Tracklist :

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 :

KENNY CLARKE – 1946-1948 | The Chronogical Classics – 1171 (2001) FLAC (tracks), lossless

Although issued on the Swing label -- a French enterprise -- the four selections that open this exciting collection are full-force American bebop, recorded in New York during September of 1946. With Fats Navarro, Kenny Dorham, Sonny Stitt, and Bud Powell in the band, the energy is so powerful that sensitive listeners may experience gooseflesh. "Epistrophy" sounds profoundly modern, far ahead of nearly anything else on the scene in 1946. "52nd Street Theme" is a brave essay in a new form. The trumpets dance circles around each other and the whole session comes off like the grand achievement that it surely was. Although this is considered Vol. 1 of the Kenny Clarke chronology, his discography really begins with pianist and bandleader Edgar Hayes. Clarke's excellent drumming and his work as a skilled vibraphonist are well documented on both Edgar Hayes volumes in the Chronological series (Classics 730 and 1053). In March of 1938 Kenny Clarke's "Kvintet," with Hayes at the piano and Clarke playing vibes, made four records in Stockholm, only one of which -- the instrumental -- was memorable. Almost exactly ten years later Clarke was entrusted with the task of touring Scandinavia with a group composed of players from the Dizzy Gillespie big band. Financial hassles curtailed their plans and they landed instead in Paris, where most of the material on this CD was recorded. The session recorded March 2, 1948, is notable for the presence of trumpeter Benny Bailey and baritone saxophonist Cecil Payne. It also provides an audible glimpse of sadly under-recorded alto saxophonist Joe Brown, an early follower of Charlie Parker. Note also the presence of pianist Ralph Schecroun, who would eventually change his name to Errol Parker and move to the U.S., developing a ferocious, almost chiropractic technique as he forged his own unique style of ultra-percussive modern piano. As Kenny Clarke continued to sow bop ideology among Parisians during the spring of 1948, it is fascinating how quickly and adroitly these young Frenchmen took it up without resorting to base mimicry. The most musically advanced material emerged during the session recorded on May 4, with violinist Andre Hodeir providing a wistful intro for Clarke's intriguing opus "Algerian Cynicism." The title refers to the enigma of French colonialism in North Africa, and reflects a political awareness every bit as progressive as the music itself. The material recorded on the following day is permeated with a Coleman Hawkins flavor, echoing that saxophonist's healthy response to the latest developments in jazz. "Working Eyes" sounds a little like "Raincheck" or any one of Billy Strayhorn's upbeat modern ideas. This outstanding collection of recordings -- rarely heard outside of Europe for many years -- reaffirms Kenny "Klook" Clarke's crucial role as a primal innovator in early modern jazz. arwulf arwulf
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KENNY CLARKE – 1948-1950 | The Chronogical Classics – 1214 (2001) FLAC (tracks+.cue), lossless

Bebop thrived on both sides of the Atlantic during the late '40s. While some Americans treated bop as nothing more than affected "hep talk" and a way of dressing up funny, there were profound artistic innovations at the heart of this new music. Kenny Clarke helped to establish bop in Europe, and the recordings he made in Paris document a wonderful flowering of early modern jazz that would have a decisive impact on the next half century of musical evolution worldwide. Trumpeter Howard McGhee was the prime focus of a session that came at the end of a full season of recording activity during the spring of 1948. This was quite an octet in that John Lewis was the pianist, Hubert Fol and Jimmy Heath played alto saxophones, and Jesse Powell -- featured on "I'm in the Mood for Love" -- played tenor sax. Anyone who's fond of bassist Percy Heath should hear him carrying the melodic line on "Out of Nowhere." Six sides waxed for the small-time Century label in New York on January 25, 1949, resound with Milt Jackson's vibraphone -- he also doubled on piano -- and Kenny Dorham's fine trumpeting combined with the unusual tonalities of a French horn played by Julius Watkins. Furthermore, Joe Harris expanded Clarke's percussion section by handling congas and timbale. The results are something like chamber bop, dignified and progressive. "You Go to My Head" features the vibes -- Jackson makes the ballad feel like a blues -- and "Roll 'Em Bags" sounds something like "Billie's Bounce." Back in Paris, Clarke's next recording date involved Hubert Fol and a facile trombonist by the name of Nat Peck. "Iambic Pentameter," a wild feature for the drums, closely resembles "Epistrophy," while famously opinionated jazz critic Hugo Panassie's name is sent up in an adventurous bop study called "Assy Pan Assy." On March 3, 1950, Clarke participated in a remarkable session with the brothers Hubert and Raymond Fol and bassist Pierre Michelot. Their version of "Out of Nowhere" is a gem. The first version of "These Foolish Things" is so bopped up it's hard to recognize. Version number two, a feature for the bassist, is similarly veiled through harmonic reconstruction. "Those Fol-ish Things" at last reveals the melody, played on alto by Hubert Fol. These variations survive as a pleasant example of the quirkiness of the boppers. The CD closes with two excellent tracks from the spring of 1950, with Gerald Wiggins, Nat Peck, and world-class saxophonist James Moody joining the pack. arwulf arwulf       Tracklist + Credits :

HOT LIPS PAGE AND HIS BAND – 1938-1940 | The Chronogical Classics – 561 (1991) FLAC (tracks+.cue), lossless

A veteran of territory bands from the Southwest and Midwest, Hot Lips Page struck out on his own in the latter half of the '30s to lead a big band. His experience with Bennie Moten and Count Basie's groups may not have translated into similarly stellar material and arrangements, but the rough-hewn yet fluid swing those outfits adhered to certainly found its way into his repertoire. This Classics disc finds Page during those early days from 1938-1940, and includes cuts both by his group and smaller combos featuring Kansas alto legend Buster Smith, pianist Pete Johnson, and tenor saxophonist Don Byas. There's plenty of Page's masterful blues and jazz singing ("Old Man Ben"), along with a fine array of his heated trumpet solos. A fine selection from one of the unwitting godfathers of jump blues and early R&B. Stephen Cook
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ROY ELDRIDGE – 1935-1940 | The Classics Chronological Series – 725 (1993) FLAC (image+.cue), lossless

Although the recordings made by the Delta Four on December 20, 1935, were not issued under the leadership of Roy Eldridge, they form the perfect beginning for a chronological survey of Eldridge's adventures as a major influential artist in the evolution of jazz trumpet between Louis Armstrong in the 1920s and Dizzy Gillespie in the 1940s. The Delta Four were one fine little swing machine. Their "Farewell Blues" has a solid bounce and Eldridge seems to sail over the heads of the rhythm players during "Swingin' at the Famous Door." In 1936 Eldridge's orchestra was equipped with Chu Berry, Buster Bailey, John Kirby, and Sid Catlett. A pity listeners only get to hear one example of this band's handiwork, as Decca rejected its recording of "Christopher Columbus" and apparently asked for nothing more out of this powerful ensemble. In January of 1937 Eldridge managed to make a handful of records for Vocalion. His brother Joe Eldridge wrote arrangements and played alto next to Scoops Carry in the reed department. With Dave Young blowing tenor and Truck Parham in the rhythm section alongside Zutty Singleton, this was one hell of a band. Eldridge cut a lot of versions of "After You've Gone" over the years. The one heard here, with a vocal by Gladys Palmer, predates the famous funny false-start versions of the '40s. Regarding the singers heard on this CD, they're OK but Eldridge is the best. His delightful rendition of "You're a Lucky Guy" feels like a sweet premonition of Billie Holiday's version, which was recorded a couple of months later for Vocalion. The Eldridge Orchestra as heard on the 1939 Varsity recordings featured reedmen Franz Jackson and Prince Robinson, with pianists Kenny Kersey and Clyde Hart. Bassist Ted Sturgis was highlighted during a hot stomp for big band entitled "Pluckin' the Bass." Milt Hinton had ground out his own version of this tune -- composed by the Eldridge brothers -- with Cab Calloway's Orchestra several months prior to the recording heard here. Eldridge's band also blew off some steam working up the old traditional numbers "High Society" and "Muskrat Ramble." This chronological grab bag finishes up with four handsome if conventional big-band recordings from February 1940 by Freddie Rich & His Orchestra. The vocal tracks are not especially substantial. What distinguished this band was the collective presence of Roy Eldridge, Benny Carter, Babe Russin, Clyde Hart, and Hayes Alvis. Only the instrumentals -- "Till We Meet Again" and "I'm Forever Blowing Bubbles" -- really carry any weight. arwulf arwulf
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MILDRED BAILEY – 1939-1940 | The Classics Chronological Series – 1225 (2002) FLAC (tracks), lossless

Volume Six in Mildred Bailey's Classics chronology is truly a mixed bag of recordings cut for Vocalion and Columbia between June 27, 1939 and January 25, 1940, with two initially rejected items from September 1938 tacked on like a couple of lost cabooses. The first four tracks feature the John Kirby Sextet-plus-Red Norvo combination that worked so well earlier in the year (see Mildred Bailey's previous volume on Classics). The first three in a series of titles associated with the tradition of American Negro Spirituals find Mildred Bailey collaborating with a vocal group known as the Charioteers. This is one of several sessions heard on this compilation that took place under the direction of composer and arranger Alec Wilder, using 'chamber' instrumentalists like that master of the oboe and Cor anglais, Mitch Miller. This kind of production worked best when Bailey's voice was able to wrap itself around truly wonderful lyrics and melodies like "All the Things You Are," "Easy to Love" and "They Can't Take That Away from Me." Jazz-wise, in addition to the aforementioned John Kirby tracks, the hippest recordings here are "Blue Rain" and "I Shoulda Stood In Bed" waxed on November 3, 1939 in the company of saxophonist Ben Webster and pianist Teddy Wilson. Although Mildred Bailey's duet with Roy Eldridge on "Wham" sounds a bit self-conscious, she manages quite well with that famous exercise in Yiddish hep talk, "A Bee Gezindt." arwulf arwulf  
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MILDRED BAILEY – 1940-1942 | The Classics Chronological Series – 1279 (2003) FLAC (tracks), lossless

Volume seven in the Classics Chronological survey of recordings originally released under the name of Mildred Bailey compiles what appear to be all of the titles produced between April 2, 1940 and February 12, 1942. During this period the singer performed with bands led by Alec Wilder and Harry Sosnick, and may be heard harmonizing with the Delta Rhythm Boys on "Jenny" and "When That Man Is Dead and Gone." Even as she spent part of her time bobbing around on the surface of Wilder's chamber pop ensemble (fortified with a flute, no less than three bass clarinets and Mitch Miller's oboe, and English horn), Mildred Bailey continued to interact with the some of the top jazz musicians on the scene at that time. This album's enclosed session discography indicates the presence of drummer Kenny Clarke, pianists Herman Chittison, Billy Kyle, and Teddy Wilson, and trumpeters Billy Butterfield and Roy "Little Jazz" Eldridge. The hipper arrangements were scored by Eddie Sauter, famous for his work with Benny Goodman and Mildred Bailey's ex-husband Red Norvo. arwulf arwulf  
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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
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SARAH VAUGHAN – 1947-1949 | The Classics Chronological Series – 1101 (2000) FLAC (tracks+.cue), lossless

Classics #1101 captures Sarah Vaughan early in her career from 1947-1949. These Musicraft and early Columbia sessions paved the way for her future success as a leading jazz vocalists. Featuring 23 tracks, Vaughan is backed by orchestras led by Ted Dale, Richard Maltby, Joe Lippman, and Hugo Winterhalter, while also recording more jazz oriented material with the Jimmy Jones Quartet featuring Al Mckibbon on bass and Kenny Clarke on drums. While these combination string arrangements/jazz sessions only contain a handful of essentials ("Just Friends," "I Cried For You," "Nature Boy") they represent the beginning of that commercial balance Sarah Vaughan would successfully bounce back and forth between during her long career. Al Campbell
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ART TATUM – 1940-1944 | The Classics Chronological Series – 800 (1995) FLAC (tracks+.cue), lossless

This wonderful compilation -- the third volume in the complete recordings of Art Tatum -- will delight seasoned Tatum lovers and may also serve as the perfect introduction for those who seek initiation. That's because this portion of the Tatum chronology just happens to feature the pianist in his very prime as soloist, accompanist, and bandleader. The first 11 tracks were originally issued on the Decca label. Three excellent piano solos from July 1940 are followed by two sessions' worth of swinging instrumentals and strongly steeped blues sung by Kansas City's Joe Turner. Trumpeter Joe Thomas and clarinetist Edmond Hall were perfect foils for this singer. Hall's sinewy solos enliven "Stompin' at the Savoy" and Tatum's fine piece of boogie, "Battery Bounce." Guitarists John Collins and Oscar Moore each bring a special sense of conviviality to the ensembles. Moving ahead to January 1944, Tatum is heard with Tiny Grimes and Slam Stewart on a series of dazzling trio sides, most of which first appeared on the Brunswick label. These stunning collaborations are prized for their wealth of invention and relaxed intimacy. arwulf arwulf
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BILLY TAYLOR – 1945-1949 | The Classics Chronological Series – 1137 (2000) FLAC (tracks+.cue), lossless

Many jazz fans don't realize how long ago Billy Taylor began his career; this French anthology assembles five separate sessions that he led as a young man between 1945 and 1949, as well as one date as a sideman. In 1945 he shows the influence of both Art Tatum and Teddy Wilson in the lightly swinging take of "Night and Day," while his campy approach to "Alexander's Ragtime Band" is rather refreshing. His lyrical solo interpretation of "The Very Thought of You" from 1946 demonstrates his considerable growth as a pianist. Taylor also wrote seven of the songs, which include two versions of his easygoing "Stridin' Down the Champs-Elysees," the flashy blues "Well Taylor-Ed," and two rare vocals by Taylor on the Nat King Cole-like "I Don't Ask Questions, I Just Have Fun" and "So You Think You're Cute." The four tracks featuring Taylor as a sideman in the Walter Thomas Orchestra find him pretty much relegated to a supporting role, although the presence of Doc Cheatham, Eddie Barefield, and Hilton Jefferson makes the music of interest. But Taylor's quintet session with the infrequently recorded tenor saxophonist John Hardee (who is in great form) is hampered somewhat by the unnecessary addition of organist Milt Page, who proves to be more of a distraction with his uninspired playing. Because so much of the valuable material within this collection has been next to impossible to find, it will be of significant interest to fans of Billy Taylor. Ken Dryden  
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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
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SLAM STEWART – 1945-1946 | The Classics Chronological Series – 939 (1997) FLAC (tracks+.cue), lossless

For all the appearances Slam Stewart made on other people's records, there weren't a whole lot of recordings issued under his name. What you get in this package are five different bands, each operating with one foot in the swing tradition and the other firmly planted on the new ground that critics and journalists called "be-bop." The Savoy session of January 30, 1945, is precious for the presence of Erroll Garner. "Play Fiddle Play" closely resembles "Bassology," recorded a few years earlier with Slim Gaillard. The resemblance comes during the last minute or so, as Stewart gradually works his way into the highest notes obtainable on the instrument until he has it sounding like a viola. "Laff Slam Slam" grows out of a simple set of variations on "Volga Boat Men." A quintet recording for the Continental label in May and July of 1945 featured Johnny Guarnieri and Red Norvo. The pianist sings "Honeysuckle Rose" in close imitation of Fats Waller, saying "Yaz!" so much that it almost becomes irritating. This mimetic act was probably entertaining at cocktail parties, but like most Waller impersonations, it probably won't feel right to anyone who really knows and loves Fats Waller. Still and all, Guarnieri was one hell of a piano player. Leonard Feather composed quite a number of the tunes heard here. His "Mood to Be Stewed" is a wistful walk, while "The Voice of the Turtle" moves boldly over modern bop terrain, something with which Norvo was quite comfortable at the time. "On the Upside Looking Down" is remarkably cool and magnetically charged. "A Bell for Norvo" is quite an excursion -- they really cook! "Haw Haw" sounds like it was based on "Paper Moon," "Dozin'" is an ethereal reverie, and "The One That Got Away" is fast and frisky, with Guarnieri demonstrating his ability to produce first-rate stride piano. Garner returned for a trio session with Harold "Doc" West in September of 1945, creating four sides that fit in nicely with everything else being recorded for the tiny Manor record label (see Dizzy Gillespie 1945, Classics 888). "Blue, Brown and Beige" feels a little bit like "Satin Doll" and the eccentric "Three Blind Micesky" is pure delight. The last four tracks on this wonderful collection were recorded in April of 1946 for the Musicraft label, with young Billy Taylor at the piano. The bop element is stronger than ever. "Doctor Foo" seems only circumstantially related to Coleman Hawkins' "Meet Doctor Foo," although a closer comparison of the two compositions is probably in order. "Coppin' Out" shares many modern characteristics with Dizzy Gillespie's "Be Bop" and with certain ideas then being developed by Bud Powell. "Oh Me, Oh My, Oh Gosh," with a vocal by Stewart and the band, is a rare example of Stewart taking a vocal without simultaneously bowing the bass. It comes as a pleasant surprise and a tasteful conclusion to this most enjoyable portrait of Leroy Elliott "Slam" Stewart. arwulf arwulf
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BERYL BOOKER – 1946-1952 | The Classics Chronological Series – 1415 (2006) FLAC (tracks+.cue), lossless

During a recording career that only spanned about 15 years, Philadelphia-born pianist and vocalizer Beryl Booker recorded some 45 titles. These fit nicely into two volumes released by the Classics label in 2006 and 2007. Recorded between October 8, 1946 and March 13, 1952, the 26 tracks that comprise the first installment elucidate Booker's stylistic solidarity with Erroll Garner. That similarity can clearly be heard in her upbeat playing on "I Wished on the Moon" and "Stay as Sweet as You Are," and on any of this compilation's 12 slow instrumental ballads. Also like Garner, Booker read no music and was almost entirely self-taught. Note that this compilation contains no less than seven examples of Beryl Booker the ballad singer. During the '50s she worked as an accompanist for Billie Holiday and Dinah Washington; their combined influences certainly colored her delivery, although Booker had her own earthily intimate style, which mingles beautifully with the mature Lady Day vibe on "You Better Go Now." As far as instrumentalists went, Booker almost invariably worked with some of the best on the scene. Tracks one through four -- her first session as a leader -- feature Booker in the company of guitarist Mary Osborne and bassist June Rotenberg. Recorded sometime during the year 1948, tracks five through ten bring on guitarist John Collins and bassist Slam Stewart, whose combo Booker joined in 1946 and with whom she would work on a semi-regular basis through 1952. Tracks eleven through fourteen represent recordings so rare as to be entirely absent from several standard discographical session indexes. Fifteen through eighteen showcase tenor saxophonist Budd Johnson and also feature Don Elliott, who blew the mellophonium and doubled on vibraphone. Only two of the last eight selections on this disc are upbeat; the rest are languid examples of Booker's dreamily lyrical approach to the art of the instrumental ballad, which again has a lot in common with the whimsicality of Garner. Perhaps the high point of her entire recording career was to take place in Paris in February 1954 when she had the opportunity to collaborate with tenor saxophonist Don Byas. Those recordings -- and what appears to be the rest of this woman's recorded legacy -- can be found on volume two of her complete works on the Classics Chronological Series. arwulf arwulf  
Tracklist & Credits :

ZOOT SIMS - Passion Flower : Zoot Sims Plays Duke Ellington (1980-1997) RM | WAV (tracks), lossless

Benny Carter provided the arrangements for the 16-piece band that accompanies the great tenor Zoot Sims on this set of Duke Ellington songs. The album is highlighted by "In a Mellow Tone," "I Got It Bad," "Passion Flower" and "Bojangles," but all nine selections are enjoyable and Sims is in top form. In fact it can easily be argued that Zoot Sims never made an indifferent or unswinging album, so it is not much of a surprise that this date is quite successful and should greatly appeal to straightahead jazz fans. Scott Yanow
Tracklist :
1     It Don't Mean a Thing (If It Ain't Got That Swing) 5:02
Duke Ellington / Irving Mills
2     In a Mellow Tone 2:58
Duke Ellington / Milt Gabler    
3     I Got It Bad (And That Ain't Good) 4:47
Duke Ellington / Paul Francis Webster    
4     I Let a Song Go Out of My Heart 2:58
Duke Ellington / Irving Mills / Henry Nemo / John Redmond
5     Black Butterfly 3:51
Duke Ellington / Irving Mills
6     Do Nothin' Till You Hear from Me 6:46
Duke Ellington / Bob Russell    
7     Your Love Has Faded 4:45
Duke Ellington / Billy Strayhorn    
8     Bojangles 4:46
Duke Ellington / Jerome Kern    
9     Passion Flower 4:11
Milt Raskin / Billy Strayhorn
Credits :
Alto Saxophone – Marshall Royal
Alto Saxophone, Flute – Frank Wess
Bass – Andy Simpkins, John Heard, Michael Moore
Conductor, Arranged By – Benny Carter
Drums – Grady Tate, John Clay, Shelly Manne
Guitar – John Collins
Leader – Zoot Sims
Piano – Jimmy Rowles
Producer – Norman Granz
Tenor Saxophone – Buddy Collette, Plas Johnson
Trombone – Benny Powell, Britt Woodman, Grover Mitchell, J.J. Johnson
Trumpet – Al Aarons, Bobby Bryant, Earl Gardner, Oscar Brashear

BENNY CARTER AND HIS ORCHESTRA - Further Definitions (1966-1997) FLAC (tracks+.cue), lossless

Altoist/arranger Benny Carter's classic Further Definitions is a revisiting, instrumentation-wise, to the famous 1937 session that Carter and tenor saxophonist Coleman Hawkins made in France with two top European saxophonists (Andre Ekyan and Alix Combelle) and guitarist Django Reinhardt. The all-star group (which also includes Hawkins, altoist Phil Woods, Charlie Rouse on second tenor, pianist Dick Katz, guitarist John Collins, bassist Jimmy Garrison, and drummer Jo Jones) performs a particularly inspired repertoire. Carter's charts, which allow Hawkins to stretch out on "Body and Soul," give everyone a chance to shine. "Honeysuckle Rose" and "Crazy Rhythm" hold their own with the 1937 versions, and "Blue Star" and "Doozy" prove to be two of Carter's finest originals. Although Benny Carter was not actively playing much at the time (this was his only small-group recording during 1963-1975), he is heard in typically prime form. Very highly recommended. Scott Yanow
Tracklist :
1     Honeysuckle Rose 3:54
Andy Razaf / Fats Waller    
2     The Midnight Sun Will Never Set 4:01
Dorcas Cochran / Quincy Jones / Henri Salvador    
3     Crazy Rhythm 3:26
Irving Caesar / Roger Wolfe Kahn / Joseph Meyer    
4     Blue Star 5:23
Benny Carter    
5     Cotton Tail 4:27     
Duke Ellington    
6     Body and Soul 4:13
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour    
7     Cherry 4:56
Ray Gilbert / Don Redman    
8     Doozy 3:36
Benny Carter    
9     Fantastic, That's You 6:15
George Cates / Mort Greene    
10     Come on Back 4:18
Benny Carter    
11     We Were in Love 4:31
Benny Carter    
12     If Dreams Come True 5:53
Benny Goodman / Irving Mills / Edgar Sampson    
13     Prohibido 3:25
Benny Carter     
14     Doozy 5:37
Benny Carter    
15     Rock Bottom 4:19     
Benny Carter    
16     Titmouse 3:02
Benny Carter
Credits :    
Alto Saxophone – Benny Carter, Phil Woods
Bass – Jimmy Garrison
Drums – Jo Jones
Guitar – John Collins
Piano – Dick Katz
Producer – Bob Thiele
Tenor Saxophone – Charles Rouse, Coleman Hawkins

EDDIE 'LOCKJAW' DAVIS - 1946-1947 {CC, 1012} (1998) FLAC (tracks+.cue), lossless

Now why do you suppose they called him '"Lockjaw"'? Just listen. Eddie Davis based much of his style on the tough extremities of Ben Webster's gritty gutbucket tenor sax. Picking up where Ben left off, Jaws would growl, shriek and rock in ways that landed him on the cusp between bebop and rhythm & blues. Over many years he developed into a mature performer who was capable of great subtleties. We are fortunate to have this opportunity to hear his earliest recordings as a leader. Some of this stuff is startling. "Surgery," a smooth, searching, walking blues, exists in the same harmonic/thematic realm as Boyd Raeburn's quirky study for big band, "Tonsillectomy." The piece called "Lockjaw" is more of a muscle tussle, and "Afternoon in a Doghouse" is a simple finger-pop bop groove. As Gene Ramey rarely took bass solos, it's good to hear him grab a few bars during "Athlete's Foot." By December of 1946 Lockjaw was ready for two full-blown Savoy bebop sessions in the company of Theodore "Fats" Navarro. This pair of characters maintained a stimulating balance as Fats blew long bop lines of exquisite ingenuity while Jaws wrestled with his own funky textural dynamics. Wildly titled, each of these three-minute records hits you hard, right between the ears. "Hollerin' and Screaming" is the most outrageous example of this band's explosive chemistry. The record starts with a hoarse shriek from the tenor sax. The melody erupts like two cans of Sterno knocking around on the hood of an overheated bright red Chevy convertible. A sudden outburst from the trumpet is repeated verbatim on the drums. Fats and Lockjaw bark back and forth, jostling each other in cycles of friendly aggression. It's like listening in on a casual exchange of good-natured insults and creative cussing, the benevolent sort of everyday rudeness that enables trust and cooperation between individuals who exist outside of the dominant social group. In April of 1947, Jaws baked four sides for the Apollo label, sharing the melodic line with guitarist John Collins and blowing an exceptionally extroverted tenor. The extreme grooviness of both the Savoy and Apollo sessions were aided and abetted by the combination of Al Haig, Gene Ramey and Denzil Best. Now for the really rare stuff -- eight sides issued on the Lenox, Plymouth and Remington labels. "Real Gone Guy," a tasty hunk of rhythm and blues, was written by Nellie Lutcher. Lockjaw puts it to the torch, and Butch Ballard's drumming fans the flames. "But Beautiful" is the earliest example we have of Lockjaw Davis the interpreter of slow ballads. He smokes the melody with long puffs, savoring every breath. "Leapin' on Lenox," to use what would have been the correct spelling, is a strut by anybody's definition. Jaws bites his tenor until it begs for mercy. The rowdy "Minton's Madhouse" includes a long sax testimonial accompanied only by handclapping. "Ravin' at the Haven" is largely composed of frantic bop lines. The saxophone howls without restraint. "Music Goes Down Around" is recognizable as a quaint Tin Pan Alley pop tune, fitted with a new set of fangs as this gang of young toughs put new meaning on an old refrain. Gripping the mouthpiece between his chops, Lockjaw squeezes extra hard "and it comes out here." arwulf arwulf  
Tracklist :
1    Surgery    2:58
2    Lockjaw    2:40
3    Afternoon In A Doghouse    3:03
4    Athlete's Foot    2:51
5    Callin' Dr. Jazz    2:47
6    Fracture    2:50
7    Hollerin And Screaming    2:38
8    Stealin' Trash    2:45
9    Just A Mystery    2:12
10    Red Pepper    3:02
11    Spinal    2:29
12    Maternity    3:00
13    Lover    2:28
14    Licks A Plenty    2:40
15    Foxy    2:49
16    Sheila    3:05
17    Real Gone Guy    3:01
18    But Beautiful    3:05
19    Leapin' On Lenox    3:10
20    Ravin' At The Haven    2:23
21    Minton's Madhouse    2:21
22    Huckle Bug    3:07
23    Music Goes Down Around    2:55
24    Lockjaw's Bounce    2:37