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.

COLEMAN HAWKINS - 1945 | The Classics Chronological Series – 926 (1997) FLAC (tracks+.cue), lossless

 Covering in detail a timeline from January 1944 to October 1945, this chapter in the Classics Coleman Hawkins chronology presents recordings he made for the Asch, Selmer, Capitol, Super Disc and V-Disc labels during what was an exciting and transitional period in the evolution of jazz. During the '40s Hawkins was deliberately aligning himself with young and innovative players; four of the sessions feature trumpeter Howard McGhee and pianist Sir Charles Thompson; bassist Oscar Pettiford was also an integral part of Hawk's mid-'40s West Coast band. Lush ballads and upbeat jam structures make for excellent listening throughout. Hawk is also heard sitting in with drummer Sid Catlett's all-stars, leading a quintet with the great Art Tatum at the piano, and working up his own extended set of "Variations" for solo tenor saxophone. While some commentators have focused unnecessary attention upon all-too-human drawbacks like Howard McGhee's addictions and occasional bouts of quarreling between Pettiford and Sir Charles, the music contained in this compilation stands squarely in its own light, unsullied by gossip or untoward circumstances.  arwulf arwulf     Tracklist + Credits :

THELONIOUS MONK – 1947-1948 | The Classics Chronological Series – 1118 (2000) FLAC (tracks+.cue), lossless

 The first recordings ever issued under Thelonious Monk's name are presented as volume one in the Classics Thelonious Monk chronology. Although he'd been an active catalyst on the jazz scene for many years it wasn't until the autumn of 1947 that Monk was able to begin making records as a leader. These 20 Blue Note sides are uniformly excellent; each of the pianist's original compositions would soon begin to form a musical canon of strikingly creative works that would completely transform the ways in which jazz was conceived, structured, played, received and understood. During this period, Monk's groups included such vital players as Milt Jackson, Art Blakey, Shadow Wilson, Gene Ramey, Idrees Sulieman, Sahib Shihab and Ike Quebec's cousin Danny Quebec West. Monk's quartet session of July 2, 1948 features two pleasant vocals by Kenny "Pancho" Hagood. Note that "Evidence," based upon the chord progressions of "Just You, Just Me," was originally titled "Just Us." Legend has it that after he realized that the recording engineer had mistakenly written down "Justice," Monk decided that if he was going to court he'd be sure and bring along the Evidence. arwulf arwulf      Tracklist :

BEN WEBSTER – 1944-1946 | The Chronogical Classics – 1017 (1998) FLAC (tracks+.cue), lossless

Most Ben Webster albums on the market today seem to be reissues from his magnificent autumnal years, majestically lush or bearishly brusque. It's good to have a chronological sampling of Webster's work from the mid-'40s, in order to appreciate exactly how he developed into the Ben Webster of 1959 and 1969. After popping up on early big band swing records by Bennie Moten and Willie Bryant, Webster came into his own as the first really exceptional tenor saxophonist to be featured with Duke Ellington's Orchestra. What we have here is the post-Ellington Ben Webster. His tone has gotten bigger and wider, grittily sensuous and invariably warm like a pulse in the jugular. The first eight tracks were made for radio broadcast purposes in February of 1944. The combination of Hot Lips Page and Ben Webster is a bitch. There are strolling romps with titles like "Woke Up Clipped," "Dirty Deal" and "'Nuff Said," lively stomps built on to the changes of "Tea for Two" and "I Got Rhythm," and two choice examples of Webster developing his ballad chops. "Perdido," from a quartet session recorded near the end of March 1944, is positively stunning. Webster has definitely tapped into something primal, and no one can hear him without being at least partially transformed by the sounds of his saxophone. April Fool's day, 1944 found Webster in the company of tenors Budd Johnson and Walter "Foots" Thomas, with trumpeter Emmett Berry and a modern rhythm section. "Broke but Happy" is a sweet jaunt, real solid, especially when the saxes take over in unison. But the main reason to get your own copy of Classics 1017 is to have the Savoy session of April 17th, 1944. Gracefully accompanied by Johnny Guarnieri, Oscar Pettiford and David Booth, Webster blows four of the greatest three-minute recordings of his entire career. "Kat's Fur" is a goosed up, improved version of "'Nuff Said." "I Surrender Dear" runs even deeper than the two other versions included on this disc. "Honeysuckle Rose" and especially "Blue Skies" each represent Ben Webster at his toughest and truest. This is a rare blend of musk, and it's not synthetic. It's the real thing. arwulf arwulf  
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ILLINOIS JACQUET – 1945-1946 | The Chronogical Classics – 948 (1997) FLAC (tracks+.cue), lossless

Although the Delmark label has done a fine job of reissuing Illinois Jacquet's Apollo recordings, a genuine understanding of this exciting music requires a more systematic appraisal of the recorded evidence. Being able to digest an entire segment of Jacquet's career, with the recordings chronologically arranged and garnished with complete discographical information, is a major treat for anyone wishing to place the music in context. This also expands the picture well beyond Apollo to include material recorded for the Philo, Savoy, and ARA labels, and clears up a few mysteries regarding personnel. The first four tracks were recorded in July of 1945 and set a standard for modern jump music combining elements that would soon be tagged as bebop and R&B. The steamy "Flying Home" was carefully arranged to fit on two sides of a 10" 78-rpm record. "Uptown Boogie" features pianist Sir Charles Thompson bolstered by excellent rhythmic support from drummer Johnny Otis. Illinois himself was always a commanding presence whether laying down a cool blues, smoothing out a ballad, or applying a blowtorch to one of his rowdy jump tunes. Trumpeter Russell Jacquet is heard singing the only two vocal tracks on the entire album, "Throw It Out of Your Mind Baby" and "Wondering and Thinking of You." The two Apollo sessions from August 1945 are driven by the pulsing bass of young Charles Mingus, Bill Doggett's double-fisted piano, and some feisty drumming by Al "Cake" Wichard. For a precious glimpse into the developing ballad philosophy of Mr. Mingus, listen carefully to his accompaniment behind Jacquet's passionate sax on "Memories of You" and "Ghost of a Chance." Ming walks briskly through "Bottoms Up," a rocking re-bop dance with howling horns and strutting rhythm. "Merle's Mood" seems to have been based upon "Paper Moon," and Mingus crowds the microphone to provide extra pushes during Bill Doggett's "What's This." Two sides waxed for ARA at the end of the same month and issued as by the Jacque Rabbits are graced with the return of Sir Charles, whose composition "Ladies Lullaby" is actually another jump tune fortified with bop ideas. "Illinois Stomp" is a very sophisticated bounce. The closing eight tracks were originally issued bearing the Savoy label, and feature trumpeter Emmett Berry, an interesting blend with the salty and often florid Mr. Jacquet. (The last three selections in fact were issued under the name of Emmett Berry's Hot Six.) "Don't Blame Me" is one of this saxophonist's great triumphs of ballad artistry. The spicy "Jumpin' Jacquet" is driven by rhythm guitarist Freddie Green, bassist John Simmons, and master percussionist Shadow Wilson, while Berry percolates using a mute. "Blue Mood" is a meditative masterpiece. Every single track on this CD is strongly presented and well worth experiencing again and again, with best wishes for loosening up, nodding your head, popping your fingers, and cracking a smile. arwulf arwulf     Tracklist :

HOT LIPS PAGE – 1940-1944 | The Chronogical Classics – 809 (1995) FLAC (tracks+.cue), lossless

For fans of small-combo jazz from the '40s (pre-bebop, that is), Hot Lips Page's many sides offer that perfect marriage of jazz licks and blues atmospherics. And although Page wasn't necessarily a trumpet ace in the league of Armstrong or Cootie Williams, his irrepressible style and raspy-to-bright tone usually enlivened most every date he graced (just check out his early work on Bennie Moten's epochal 1932 recordings). Page also could have made a handsome living just as a blues singer; his was a gruff and driving voice equally at home on both the serious and novelty end of the form. This Classics release brings together a fetching mix from Page's 1940-1944 freelancing prime, with a large dose of his vocal work getting nicely framed by the day's top jazz players. Two highlights from the first part here include "Evil Man Blues" and "Just Another Woman," two of Page's best vocals featuring Leonard Feather on piano and Teddy Bunn on guitar. The majority of the remaining tracks are ones Page and his band cut in 1944. Amidst the prevailing after-hours mood, there's a wealth of fine soloing by the likes of Don Byas, Chu Berry, Lucky Thompson, and Vic Dickenson. This disc might not make it into any jazz polls, but it's a solid collection for those who love Page's infectious style and sophisticated jump grooves. Stephen Cook
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NAT "KING" COLE – 1945 | The Chronogical Classics – 893 (1996) FLAC (tracks+.cue), lossless

Volume Six in the meticulously researched Classics Nat King Cole chronology presents all of the Capitol, Sunset and V-Disc recordings he made between May 23 and December 4, 1945. While most of these sessions were trio dates involving guitarist Oscar Moore and bassist Johnny Miller, the Sunset engagement brought together trumpeter Charlie Shavers, tenor saxophonist Herbie Haymer, bassist John Simmons and drummer Buddy Rich. Two of the six sides -- parts one and two of "Nat's Kick" -- were issued by the French on their Swing label as by the King Cole Quintet. The other titles were released by Sunset under the name of the Herbie Haymer Quintet. "Black Market Stuff" picks up where Fats Waller and His Rhythm left off in 1941 with "Pantin' in the Panther Room." arwulf arwulf  
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BUDDY TATE – 1945-1950 | The Classics Chronological Series – 1207 (2001) FLAC (tracks+.cue), lossless

Buddy Tate gained his initial fame as one of the tenor saxophonists with Count Basie's Orchestra during 1938-1948, replacing Herschel Evans. All of his early dates as a leader are on this CD, and most of the sessions were formerly quite rare. Tate is heard as a sideman in 1945 with trumpeter Karl George's swing-to-bop octet (which also starred trombonist J.J. Johnson), with pianist Skip Hall's combo in 1949 (four instrumentals featuring trumpeter Buck Clayton), and on four sessions of his own. Thirteen songs are from two dates near the end of 1947 and feature some excellent Emmett Berry trumpet, pianist Bill Doggett's arrangements, and a couple of early vocals by Jimmy Witherspoon; Tate comes across effectively in an Illinois Jacquet jump/jazz role. His other two dates (from 1949-1950) are in a similar vein, with Buck Clayton and trombonist Tyree Glenn helping out. A few songs along the way have vocals (a pair by Eddie Fullylove are essentially middle-of-the-road pop), but most of the music is quite worthwhile and swinging. Recommended. Scott Yanow
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ERROLL GARNER – 1944, Vol. 2 | The Classics Chronological Series – 818 (1995) FLAC (tracks+.cue), lossless

The second in the Classics label's Erroll Garner series has nine unusual piano solos recorded privately at Baron Timme Rosenkrantz's apartment (ranging from the 2-1/2 minute novelty "Twisting the Cat's Tail" to an extensive eight-minute exploration of "I Hear a Rhapsody"), along with the ten songs that comprised Garner's first officially recorded session. The latter were originally cut as piano solos for the Rex label (later put out by Atlantic), but had bass (John Simmons) and drums (Doc West) overdubbed, which explains why they are better recorded than the piano. Overall, this is an interesting but not overly essential release. Scott Yanow
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ERROLL GARNER – 1947-1949 | The Classics Chronological Series – 1109 (2000) FLAC (tracks+.cue), lossless

Here's one package that demonstrates the piano artistry of Erroll Garner in several settings -- as a solo act, with trio and quartet, and as an integral part of a jumpin' sextet caught live in concert. The Just Jazz series was producer Gene Norman's answer to Norman Granz's Jazz at the Philharmonic. Beginning with a jam on Edgar Sampson's "Blue Lou," the main attraction here is tenor saxophonist Wardell Gray. "One O'Clock Jump" and its three sequels bring on trumpeter Howard McGhee, trombonist Vic Dickenson, and Benny Carter on alto sax. (Neither the bassist nor the excellent guitarist are even mentioned let alone identified in the enclosed discography.) In a tasty example of resourceful editing, tracks three through six have been seamlessly linked into one more or less continuous performance. The same trick was accomplished with both halves of "Lover" (tracks seven and eight), which was performed by the rhythm section only. Garner's next recordings were made almost exactly one year later in front of a live audience with guitarist Ulysses Livingston and bassist John Simmons. Four beautiful, superbly crafted studies for solo piano were recorded for the Vogue label in Paris on May 15, 1948. These tracks, which might be new to some U.S. listeners, are a real treat for the Garner connoisseur. Garner was back in California two months later, punching out a version of "Just You, Just Me" at another Just Jazz concert with guitarist Oscar Moore, bassist Nelson Boyd, and drummer Teddy Stewart. This excellent compilation concludes with seven relaxed ballads and one feisty take of "Stompin' at the Savoy" recorded for the Savoy label in February and March 1949. Alvin Stoller and John Simmons interact marvelously with Garner, who was now developing into a purveyor of what has been accurately described as the "rhapsodic ballad." The wide range of styles and instrumentation on this disc mark it as an excellent choice for those who wish to experience the art of Erroll Garner from a variety of musical perspectives. arwulf arwulf  
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ERROLL GARNER – 1949 | The Classics Chronological Series – 1138 (2000) FLAC (tracks+.cue), lossless

Errol Garner's textured, expressive piano playing is featuring on the 2001 compilation 1949. Garner is an interesting player; at times he can be quite powerful and intense as he bangs away on old standards like "All of Me" and "I'm in the Mood for Love." At other times he really adds nothing to the songs, instead just playing the straight melody and letting the original composition speak for itself. These are the moments where he is at his weakest; despite his excellent playing skills, these are songs that are fairly simple and have been performed many times before, and his excellent flourishes would have helped the music out greatly. But then there are the other tracks, which at least balance out the album. The other problem here is the sound quality, something that curses many jazz recordings from this era. Some songs simply sound bad; the album is quite fuzzy and scratchy at times. But, overall, the music on the album manages to impress for a good portion of the album, and fans of Garner can at least get more of his recordings from this era. Bradley Torreano  
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ERROLL GARNER – 1949, Vol. 2 | The Classics Chronological Series – 1182 (2001) FLAC (tracks+.cue), lossless

One of Erroll Garner's very best albums, The Greatest Garner (Atlantic LP 1227), drew heavily upon the pianist's outstanding session of July 20, 1949. This ninth installment in the complete recordings of Erroll Garner on Classics places that session in context by presenting eight titles recorded for Savoy exactly one month earlier, together with four selections gleaned from a Gene Norman Just Jazz concert in Los Angeles. These are enjoyable tidbits, but the previously mentioned Atlantic session is the real treasure. This is chamber jazz of the highest order. While some critics and commentators seem to chafe at Garner's ethereal tendencies during ballads and introspective interludes, it is precisely these graceful moments that contrast so nicely with his familiar rambunctious manner. Maybe that's why this particular compilation feels so wonderfully well balanced. Garner gets his licks in with Rodgers & Hart and Fields & McHugh, floats through a Ravel "Pavanne" and a Debussy "Reverie," answers these mysteries with his own "Impressions" and private visions of "Twilight" and "Turquoise," muses over Hoagy Carmichael's "Skylark," and closes with Jerome Kern's "The Way You Look Tonight," a beautiful rendering that belongs among his very greatest achievements on record for its theatrical timing, ebullient pacing, and immaculate execution. arwulf arwulf  
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ERROLL GARNER – 1949-1950 | The Classics Chronological Series – 1205 (2001) FLAC (tracks+.cue), lossless

The four tracks that open this tenth volume in the Classics Erroll Garner chronology represent a sort of distilled essence of Garner. They are a marvelous byproduct of a special sort of artistic chemistry that existed between the diminutive Pittsburgh pianist, bassist John Simmons, and drummer Alvin Stoller. 

Soon after these two rosy bounces, each backed with a pair of lush ballads, were brought out on the modest Portrait record label, the masters were snapped up, reissued, and widely disseminated by Savoy. On August 23, 1949, Erroll Garner's trio provided musical accompaniment for mellifluous crooner Johnny Hartman. These four Mercury recordings, rare examples of Garner the accompanist, form a languid bridge between Hartman's formative years with Earl Hines and Dizzy Gillespie and his magnificent later work with Howard McGhee and John Coltrane. Using the same players, bassist Leonard Gaskin and drummer Charlie Smith, Garner polished off eight delightful sides for the 3 Deuces label on September 8, 1949. "Scatter Brain," made famous by saxophonist and bandleader Freddy Martin, here seems as rambunctious as the personality of the pianist who has gotten a hold of it. His "What Is This Thing Called Love?" is almost as magical as James P. Johnson's groundbreaking version of 1930. Garner's wonderfully slow treatment of "I Let a Song Go Out of My Heart" carries with it a cloud of blues and soul that might not have materialized at a quicker tempo. This artist's full majesty is in evidence during ruminative readings of Gordon Jenkins' "Goodbye" and Thomas Waller's "Jitterbug Waltz." A rare 1950 piano solo, originally issued on the Futurama label, is followed with eight equally uncommon sides from the Royal Roost catalog featuring once again bassist John Simmons and now drummer Harold "Doc" West. "Bonny Boy" is of course Garner's private approach to "Danny Boy," the Irish air from County Derry. In addition to initiating a smart stroll up Hoagy Carmichael's "Lazy River," this excellent session enabled the pianist to stretch out and explore several bop-informed improvisation vehicles of his own devising: "Minor with the Trio," "Tippin' Out with Erroll," and "Relaxin' at Sugar Ray's." This volume of vintage mid-20th century piano jazz belongs among the best Erroll Garner compilations in the Classics catalog, or anywhere else for that matter. As an extra treat the CD packaging provides a friendly snapshot of Erroll Garner relaxing in the company of Sarah Vaughan and Mitch Miller. arwulf arwulf  
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ERROLL GARNER – 1950 | The Classics Chronological Series – 1240 (2002) FLAC (tracks+.cue), lossless

The music on this CD was formerly put out by Atlantic (including an obscure LP), Columbia (the final four titles), and National. The latter is the rarest track, one in which Garner and an unidentified rhythm section accompany singer Florence Wright on "The Real Gone Tune." Otherwise, the great Garner performs with bassist John Simmons and either Doc West or Shadow Wilson on a marathon 15-song and the four Columbia titles. Most of these performances were formerly quite rare and they find Garner, whose style was very much together by 1950, sounding as joyous and swinging as always. Among the many highlights are "Margie," "Ramona," "The Sheik of Araby," "Trees," "When Johnny Comes Marching Home," and "It Could Happen to You." Scott Yanow
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ERROLL GARNER – 1950-1951 | The Classics Chronological Series – 1310 (2003) FLAC (tracks+.cue), lossless

It's easy to understand why Erroll Garner became so popular during the 1950s. There's nothing very challenging about him. He appears to delight in each and every melody that he can get his fingers into. There's lots going on here, but nothing that couldn't be presented in a nightclub or steak house. Most people want jazz to be interesting enough to distinguish itself, yet there is an expectation that for general consumption purposes, it had better stay in the background and serve as a "music bed" that can be talked over. On the other hand, for shutting up and listening to, this is gorgeous chamber music in its own light. There are the usual number of gentle reveries, interspersed with bounces, prances and cookers. Each three- or four- minute performance turns out nicely. "The Petite Waltz" is almost a bit too nice, it seems, until one realizes that much of Garner's approach consisted of sending conventionally accepted ideas of music right up the flagpole like a pair of long johns hoisted bravely and merrily into the air. "Petite Waltz Bounce" is the antidote, providing a textbook example of how Garner could take any piece of pop music and transform it into jazz music of remarkable merit. Hearing this session unfold, one is likely to become possessed by Garner's best, most exciting energies. "Lover" really cooks, and suddenly we're reminded that legendary be bop drummer Shadow Wilson is in the house. Bassist John Simmons is in here too, although on the previous quieter numbers it was easy to mistake this for a solo piano recital. "The Way You Look Tonight" is nice, not as immaculate as the 1949 version, but who cares. "Body and Soul" and "Honeysuckle Rose" are filled with rhythmic surprises. This is Garner at the top of his form. A highly developed theatrical sense percolates throughout Garner's original vampish compositions, represented here by "Play, Piano, Play" and "Garner in Hollywood." Be it oil, acrylic, charcoal, or gouache, this is the art of Erroll Garner. There never was nor will there ever be anyone else quite like him. arwulf arwulf  
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ERROLL GARNER – 1951-1952 | The Classics Chronological Series – 1341 (2004) FLAC (tracks+.cue), lossless

The 13th installment in the massively comprehensive Classics Erroll Garner chronology opens with three eloquently rhapsodic unaccompanied piano solos he cut for the Recorded in Hollywood label in Los Angeles in February 1951, during one of his happy-go-lucky deviations from contractual commitments to a major company (in this case, Columbia Records). Six months later, bolstered by bassist John Simmons and drummer Rossiere "Shadow" Wilson, Garner dished up eight beautiful performances that either softly glow with a gentle languor ("Sophisticated Lady," "You're Blasé") or emit sparks of rambunctious merriment ("Margin for Erroll" and "Robbins Nest"). The interplay among the three men is a marvel to behold; the almost rascally flavor of "Ain't She Sweet?" is guaranteed to please. On January 3, 1952, this trio waxed another ten sides for Columbia, including two extended tracks -- four minutes each -- for issue on the new LP format. This slice of the Garner chronology is exceptionally satisfying, particularly on account of the presence of master percussionist Shadow Wilson. If you're looking for dignified, well-played piano jazz, warmly laid-back at times but regularly spiced with bursts of joyous invention, try this. arwulf arwulf  
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TEDDY WILSON AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 548 (1990) FLAC (tracks+.cue), lossless

This Classics CD traces pianist Teddy Wilson's recordings during a seven-month period. He backs singer Billie Holiday on eight memorable performances (including "My Man," "Can't Help Lovin' Dat Man," "When You're Smiling," and "I Can't Believe That You're in Love with Me"), is showcased on a pair of piano solos, accompanies singer Sally Gooding on four songs that were not initially released until the 1980s, and is heard on four almost-as-rare numbers with vocalist Nan Wynn. Most significant among the occasional instrumentals are a few tunes (including the two-part "Just a Mood" and "Honeysuckle Rose") that Wilson performs in an exquisite quartet with trumpeter Harry James, xylophonist Red Norvo, and bassist John Simmons. Among the other sidemen heard on this valuable CD are trumpeters Buck Clayton, Hot Lips Page, and Bobby Hackett, clarinetist Pee Wee Russell, the tenors of Chu Berry and Lester Young, and altoist Tab Smith.  Scott Yanow
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TEDDY WILSON – 1952-1953 | The Classics Chronological Series – 1364 (2004) FLAC (tracks+.cue), lossless

Between the years 1946 and 1952, pianist Teddy Wilson made few recordings as a leader, spending most of his time and energy teaching music at Juilliard, working as an all-purpose utility pianist at radio station WNEW, and gigging occasionally with Benny Goodman. On October 6, 1952, Wilson cut eight tracks for the Metronome label in Stockholm, Sweden with excellent support from bassist Yngve Akerberg and a feisty drummer by the name of Jack Noren. In keeping with personal artistic patterns established over his first 20 years of professional musicianship, Wilson concentrated upon jazz standards, breathing new life into each melody. Volume 12 in the Classics Teddy Wilson chronology also contains the excellent recordings Wilson made for the Mercury and Clef labels from December 1952 through early September 1953 under the auspices of producer Norman Granz. At each session, Wilson found himself grouped with his musical peers: bassists John Simmons, Aaron Bell, and Arvell Shaw as well as drummers Buddy Rich, Denzil Best, and J.C. Heard. With ingredients like these, it's no wonder the music came out so well. arwulf arwulf  
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BENNY GOODMAN AND HIS ORCHESTRA – 1941, Vol. 2 | The Classics Chronological Series – 1236 (2002) FLAC (tracks+.cue), lossless

This CD in Classics' extensive Benny Goodman series starts out with the last Sextet date to feature Charlie Christian, including two songs ("Blues In B" and "Waitin" For Benny") performed by the band without Goodman during a rehearsal that was taped by an alert engineer. Otherwise, this CD consists of big band performances from Goodman's still-mighty orchestra, featuring trumpeters Cootie Williams (showcased on "Fiesta In Blue") and Jimmy Maxwell, trombonist Lou McGarity, and Georgie Auld on tenor. Helen Forrest has seven excellent vocals including "When The Sun Comes Out" and "Smoke Gets In Your Eyes," and there are diverse arrangements by the likes of Eddie Sauter, Jimmy Mundy, Edgar Sampson, and Margie Gibson. Several of these numbers are rarely reissued despite their high quality, so it is a pleasure to hear the complete sessions in chronological order by this memorable big band. Scott Yanow  
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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
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