LOUIS ARMSTRONG AND HIS ALL STARS – 1947 | The Classics Chronological Series – 1072 (1999) FLAC (tracks+.cue), lossless

In 1947, Armstrong put together his first set of all-stars, including many old friends and colleagues. With Jack Teagarden as the constant on the majority of these sides, we see the personnel shift by year's end, bringing Peanuts Hucko and Barney Bigard into the clarinet seat, with drumming chores split between George Wettling, Cozy Cole (on a four-song orchestra date), and Big Sid Catlett. Kicking off with six tunes from the May 1947 New York Town Hall concert, the set also features a two-song Giants of Jazz session, with Pops in the company of Benny Goodman, Tommy Dorsey, Charlie Barnet, Lionel Hampton, Mel Powell, and Louis Bellson, and finishes up with four more studio sides and four performances from a 1947 Decca concert album recorded at Boston's Symphony Hall. This is Pops moving from his big-band sound to a smaller, more comfortable group, getting ready for another run at success. Cub Koda     Tracklist + Credits :

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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IKE QUEBEC – 1944-1946 | The Chronogical Classics – 957 (1997) FLAC (tracks+.cue), lossless

Ike Quebec was something like Ben Webster in his ability to play lush ballads or to scream like a smokestack when the band was cooking. After working for Roy Eldridge and Frankie Newton, Quebec became Cab Calloway's star tenor man in 1944, making everyone sit up and take notice when he wailed over Cab's band in a wonderfully raspy tone utilizing the instrument's extremities for maximum effect. Each of Quebec's sessions as a leader produced staggeringly potent records. J.C. Heard is the drummer on all 20 tracks -- check him out on "Indiana" -- and for bassists you have Milt Hinton, Grachan Moncur II, or Oscar Pettiford. While Roger Ramirez was an excellent pianist, it is a gas hearing Johnny Guarnieri on the Savoy session. Guest horn players are Buck Clayton, Keg Johnson, Jonah Jones, and Tyree Glenn. Guitarist Tiny Grimes is present on three of these dates. His "Tiny's Exercise" is one of the high points of the whole collection. The repertoire throughout is excellent. Languid blues and ballads mingle with piping-hot jam structures. Two very pleasant surprises arrive in a smoothly swung version of Fats Waller's "Blue Turning Grey Over You" and the pleasant "Girl of My Dreams," scheduled to resurface in 1959 as a streamlined vehicle driven by the Charles Mingus Jazz Workshop. With all due respect to the Mosaic label and their exhaustively compiled Ike Quebec/John Hardee box, it's good to have these Blue Note master takes together on one disc along with the magnificent Savoy All Stars session that concludes this portion of the chronology. In just a little over one year, Ike Quebec made all of these great jazz records. Each one is a knockout performance guaranteed to blow you away every time you go back and get another taste. arwulf arwulf             Tracklist + Credits :

JOHNNY GUARNIERI – 1944-1946 | The Chronogical Classics – 956 (1997) FLAC (image+.cue), lossless

In addition to recording prolifically in the 1940s, pianist Johnny Guarnieri led a few record dates. This Classics CD has four septet numbers from 1944 that feature tenor saxophonist Lester Young and trumpeter Billy Butterfield as sidemen, four songs with tenorman Don Byas in superb form, and three trio sessions, including two that co-star bassist Slam Stewart. Guarnieri, who was versatile enough to be able to closely emulate Count Basie, Teddy Wilson, Fats Waller, and Art Tatum, also had his own swing-based style and is consistently creative throughout the performances. Highlights include "Salute to Fats," "Bowin' Singin' Slam," "Gliss Me Again," "I'd Do Anything for You," and "Make Believe"; all 22 selections are enjoyable. Scott Yanow   Tracklist + Credits :

JOHNNY GUARNIERI – 1946-1947 | The Chronogical Classics – 1063 (1999) FLAC (tracks+.cue), lossless

Johnny Guarnieri first attracted attention as a wonderfully facile pianist -- and harpsichordist -- with Artie Shaw's Gramercy Five. He then became the Keynote record label's all-purpose piano man. Classically trained, then strongly influenced at any early age by Fats Waller and James P. Johnson, Guarnieri was a gifted improviser whose bag of tricks was never empty. This disc delivers a deep dose of the pianist's work for the Majestic label. Fresh from many months of active service at Keynote, Johnny sails into "All the Things You Are" almost as if running Jerome Kern through a set of Beethoven variations. The rest of the quartet enters, the song develops into a tidy bounce, and Johnny renders up a majestic unaccompanied finale. "Carioca" is a very cool demonstration of this excellent quartet in action. "Swing for Yourself, John" walks in 4/4, its early modern harmonic runs sounding exactly contemporary for 1946. "My Gal Sal" deliberately references 1890s saloon piano, then chucks it for ultra-modern cool swing, bristling with boppish licks. Eloquently cool, "Temptation" receives an almost film noir treatment, and guitarist Tony Mottola gets most of "Guilty" to himself. Bassist Trigger Alpert is spotlighted on his own invention, "Trigger Fantasy." Accompanied only by his brother Leo and drummer Morey Feld, Johnny demonstrates what Fats Waller might have done with "Flying Home." Waller was undoubtedly on his mind as he launched "Believe It, Beloved" and chased it down with two lovely ballads. Just imagine what kind of four-handed piano records the two men could have made together had Fats lived longer than 39 years. Luckily, Johnny thrived for decades as a living extension of his Harlem stride piano heroes. Sitting in with the Tony Mottola Four, the pianist provided backing for two unnecessarily cutesy vocals by Rosemary Calvin and a bop-flavored feature for the guitar. The rest of this package consists of unaccompanied piano solos. "Nice Work" and "Mean to Me" sound to some extent like the work of Art Tatum. "Exactly Like You" has full-tilt James P. Johnson passages nestled between Tatum-like arpeggios. "Sorry, I Lost My Head" continues this fascinating blend of styles. After a couple of reflective reveries, Johnny bravely sings "Bobo the Bowery Barber" in his thin little voice. He sounds at first a lot like Fats Waller, then mimics Jerry Colonna lampooning Italian opera at the top of his lungs, and finally anticipates the weirdly cornball humor of Lenny Bruce as a homicidal Bobo brandishes his razor! The song ends with a loud, high-pitched scream and maniacal laughter. This side of Guarnieri's personality would surface periodically in the form of strange originals like "Santa Claus Is Smoking Reefers." The rest of the tracks on this album are 110 percent piano. "Plenty of Money" is delightful, "Stardust" and "Smoke Gets in Your Eyes" are ethereal, and "Tiger Rag" clearly references its French quadrille origins, with lovely embellishments similar to what he did with "All the Things You Are" but even more stunning, as this old-time stomp would naturally demand. This, then, is a precious stash of rare recordings by an unjustly neglected master of traditional swing and transitional early modern jazz piano. arwulf arwulf    Tracklist + Credits :

BUCK CLAYTON – 1945-1947 | The Chronogical Classics – 968 (1997) FLAC (tracks+.cue), lossless

Buck Clayton played smooth trumpet, warm and precise every step of the way. The first session included here appeared under the nominal leadership of Count Basie's rhythm guitarist, Freddie Green. After Lucky Thompson introduces "I'm in the Mood for Love," Sylvia Sims sings the lyric in attractive, easygoing tones. The flip side, an uncredited original called "Sugar Hips," is a typical mid-1945 exercise in what was at the time called both "rebop" and "bebop." Swing was now ready to morph into music of greater rhythmic and harmonic complexity. This track provides a fine example of Shadow Wilson's superb handling of hi-hat and drums. Sammy Benskin demonstrates a fine, muscular pianism. Dicky Wells seems to enjoy riding along on a tide of what were at the time decisively modern changes. Recorded exactly one month later for the small-time Melrose label, the Buck Clayton Quintet session introduces tenor man Flip Phillips, with Teddy Wilson appearing as "Theodocius," roundly supported by Slam Stewart and Danny Alvin. After a snappy romp through "Diga Diga Doo," "Love Me or Leave Me" is taken at a much more relaxed tempo than usual. This gives everyone a chance to savor the melody rather than chasing about. "We're in the Money" bounces along in an updated groove, much hipper than the Busby Berkeley original. Flip is exceptionally helpful here. The date closes with a stunningly solid piece of blues bearing Buck Clayton's initials. Slam bows his bass in an uncharacteristically low register, and the combination of horns and piano during the out chorus is really amazing. The only thing that could top it is the J.C. Heard Quintet session recorded for Keynote on August 17, 1945. Buck and Flip are now backed by three of the best rhythm section mates in all of early modern jazz: Johnny Guarnieri, Milt Hinton, and the immaculate J.C. Heard. The quintet's approach to Jerome Kern's "Why Do I Love You" is refreshingly brisk and inventive. "All My Life" is still sometimes associated with Fats Waller; in 1945 a lot of people probably thought that he had written it. What you get here is a magnificent sensitive rendering, beautifully phrased. "Groovin' With J.C." begins with jaunty walking bass and eases into a steady lope, very groovy as the title implies. "What's the Use" further demonstrates the perfect balance of this little band, wherein the rhythm section is so strong that the horns fit in uncommonly well. Nobody ever gets stepped on or overshadowed. As for the Hot Record Society sessions, there was always a lot of "original" material on these dates, and some of the melodies sound like attempts at modernity without a whole lot of innovation. This is not to imply that the music is inferior. It's just a bit short on genuine melodic substance. The Big Four session is mostly memorable for Tiny Grimes and his electrified guitar, while the Big Eight date is notable for the combined presence of trombonists Dicky Wells and Trummy Young. Funny thing: "Sentimental Summer" has a bridge identical to that of "I Don't Want to Set the World On Fire." A fascinating addition to this CD is a children's record narrated by the actor Canada Lee. This 1947 recording traces the root system of jazz back to Africa (with authentic African drumming and chanting!) describing abduction, enslavement, emancipation, and the development of jazz in the 20th century. During part two of the story, Buck Clayton, Ed Hall, Teddy Wilson, and Jimmy Crawford provide a blues and a hot stomp. This is an uncommonly hip kiddie record, infinitely more accurate and intelligent than anything else on the market in its day. How thoughtful of the producers to include it on Buck Clayton's CD. arwulf arwulf  
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HENRY "RED" ALLEN – 1944-1947 | The Chronogical Classics – 1067 (1999) FLAC (tracks+.cue), lossless

Having served heroically as a front-liner in so many hot bands during the 1920s and '30s, the mighty Red Allen waded into the middle of the 1940s ready to cook like a merry demon. Listeners are very fortunate to have the entire session of May 5, 1944, as it includes "The Theme," a six-minute jam that suggests part of the root system of R&B. An interesting thing occurs during Red's solo: the piano starts vamping on the bassline to "Call of the Freaks," a piece that both Red and trombonist J.C. Higginbotham had recorded some 15 years earlier with Luis Russell's orchestra. "Ride! Red! Ride!" is fast and frantic, a raucous two and a half minutes of over the top blowing and shouting. The transition from this rumble in the parking lot to the relaxation of the following track might cause whiplash. "Just a Feeling" features alto saxophonist Don Stovall, keening in a languid, Johnny Hodges sort of way. "Dark Eyes" begins as a sort of rhumba, with an incredibly funny vocal by Red and another member of the band who plies him with questions. They then pick it up and shake it hard. "Dear Old Southland" features J.C. Higginbotham's trombone. "Red Jump" is the perfect embodiment of the phrase "swing to bop." Boogie-woogie manifests as "Get the Mop," a shout-along stomp soon to be plagiarized by certain opportunistic white musicians for their own financial benefit. Red Allen quietly sued and won the case. This is the story behind the pop novelty "Rag Mop." With a cry of "wamp! wamp!," Red Allen charges into "The Crawl," a blistering ride that ends with basement blasts from the trombone. Red also "wamps" his way into "Buzz Me," a song strongly associated with Louis Jordan. Red's version is nastier and tougher, a bit like full-force Hot Lips Page.

"Drink Hearty" was used in a "soundie," one of those short movies featuring the band lip-syncing over their own record. Red seems to have employed the "wamp!" whenever possible during this time period. It was how he counted off each tune. An updated "Get the Mop" sprints at an insane pace, setting the stage for "Count Me Out" and "Check Up," two boppish runs during which Red sounds almost like Fats Navarro. When he sings the blues or belts out a ballad, Red has a lot of class, as he does on the two titles finishing off his 1946 Victor recordings (and on "A Shanty in Old Shanty Town" from 1947). The next session has apparently languished for years, having never been issued before. A chump announcer introduces Red's band to a live audience during the "Saturday Night Swing Session" in 1947. Higginbotham is still on board, along with Buster Bailey, Johnny Guarnieri, and jazz accordionist Roy Ross, who vamps neatly behind the horns. Allen really stretches out, taking all kinds of chances with his horn, particularly during eight and a half minutes of "Indiana." Switching over to the Apollo label, Red actually becomes "Mr. Wamp" on a very cool walk that seems to have sprouted directly from the "9:20 Special" (aka "Tush") by Earle Warren. "Old Fool" has more of that two-voiced comedy exchange with coordinated hollering from the band. Always willing to pursue an idea to its logical extreme, Red makes room for a comprehensive list of every kind of fool. arwulf arwulf  
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COZY COLE – 1944 | The Chronogical Classics – 819 (1995) FLAC (tracks+.cue), lossless

Check this out -- probably the best overall Cozy Cole collection, and possibly one of the top picks for mid-'40s small-group swing. There are distinct reasons for such a strongly stated claim. They are, specifically: Coleman Hawkins, Ben Webster, Budd Johnson, and Don Byas. Got that? Three additional reasons are Teddy Wilson, Johnny Guarnieri, and Earl Hines. This is no offhand list of incidental participants, but a pantheon of indispensable figures in mid-20th century jazz. Their combined experience and influence add up to direct involvement with the heart and soul of this music, from Armstrong and Ellington to Bird and Diz. Glance at the rest of the collective personnel and you're confronted with a stunning lineup containing some of the most accomplished jazz musicians on the scene during the year 1944. The Cozy Cole All Stars session recorded for Keynote on the 22nd of February still stands near the apex of that label's best achievements, especially because of the electromagnetic field created by putting Hawkins and Hines into the same room at the same time. These Keynotes sound better than ever presented, with 17 vivid sides issued on the Savoy label, which like Commodore and Keynote granted the musicians absolute artistic control. This is precisely why the music holds up so well regardless of the passage of time. Johnny Guarnieri is particularly well represented, as is Teddy Wilson, who sparkles during the Buck Ram All Stars session. There are a couple of percussion feature numbers where attention is deliberately focused upon Cole, but generally speaking every selection is defined, supported, and shaken to its roots by the energetic presence of this indefatigable drummer. arwulf arwulf
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COZY COLE – 1944-1945 | The Chronogical Classics – 865 (1992) FLAC (tracks+.cue), lossless

This Classics CD reissues drummer Cozy Cole's sessions for Continental, Keynote, and Guild, most of which have been out of print for years. The two Continental dates feature overlapping all-star groups (with trumpeter Charlie Shavers, clarinetist Hank D'Amico, Coleman Hawkins, Walter "Foots" Thomas, and/or Don Byas on tenors, Clyde Hart or Johnny Guarnieri on piano, guitarist Tiny Grimes, bassist Slam Stewart, and the drummer/leader), but are sometimes a bit frustrating. Since every player is a potential soloist and the performances are limited to around three minutes apiece, the solos are almost cameos, generally eight or 16 bars apiece. The most memorable spot, Hawkins' exploration of "When Day Is Done," finds the great tenor doing what he can with his half chorus. The Keynote session is most notable for Don Byas' solos and for the recording debut of 20-year-old trumpeter Shorty Rogers. The Guild sides have Byas well showcased in a quintet, two extensive drum features ("Stompin" and "Strictly Drums"), and three dramatic vocals from June Hawkins. Overall, this is an interesting and enjoyable CD -- swing music with slight touches of bop. Scott Yanow  
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ROY ELDRIDGE – 1943-1944 | The Classics Chronological Series – 920 (1998) FLAC (tracks+.cue), lossless

Roy Eldridge worked with Gene Krupa for a couple of years, then made a series of hot sides with a great seven-piece band, featuring tenor saxophonists Ike Quebec and Tom Archia. "After You've Gone" begins with a funny false-start introduction that Eldridge seems to have developed while working with Krupa. "The Gasser," a hot-to-trot walking blues, was based on the chord changes of "Sweet Georgia Brown." Also included here are two lovely, passionate ballads and an incomplete take of "Oh, Lady Be Good." The Esquire Metropolitan Opera House V-Disc Jam Session turned into a real all-star blowout on "Tea for Two," the conglomerated ensemble sounding pretty crowded by the time it works up to the out chorus. Eldridge's next adventure occurred with Lionel Hampton's V-Disc All-Stars. "Flyin' on a V-Disc" is, of course, Hamp's big hit "Flyin' Home." He hammers the vibes while saying "heyyy!' and keeps on saying it, clapping his hands and braying like a goat throughout all subsequent solos by the horn players, eventually leading the pack into an inevitable grandstand conclusion. The Little Jazz Trumpet Ensemble is heard on one of the earliest of all Keynote sessions, and the very first of producer Harry Lim's instrument-oriented dates, setting a precedent for the Coleman Hawkins Sax Ensemble and the Benny Morton Trombone Choir. Emmett Berry's inspiration was Roy Eldridge himself, while Joe Thomas patterned himself after Louis Armstrong. "St. Louis Blues" in particular is amazing. They work it up to a fine finish. Eldridge's working relationship with Decca Records bore fruit briefly in June of 1944 with another big-band date. This particular group included former Fats Waller trumpeter John "Bugs" Hamilton, ace trombonist Sandy Williams, and a pair of strong tenor players -- Franz Jackson and Hal Singer. Two dramatic ballads resulted, along with yet another patented stampede version of "After You've Gone." The orchestra assembled on October 13, 1944, had a formidable trombone section, as Williams found himself flanked by noteworthy slip horn agents Wilbur DeParis and Vic Dickenson. This band was also fortified with the presence of trumpeter Sidney DeParis, drummer Cozy Cole, and flashy amplified guitarist Napoleon "Snags" Allen, who is heavily featured on "Fish Market," a rocking blues that sounds a bit like "Tuxedo Junction." After Eldridge savors a pretty air called "Twilight Time," he leads a charge through "St. Louis Blues." Running the changes as fast as he can through a muted horn, Eldridge fires off a rapid stream of lyrics, turns Franz Jackson loose for a scorching hot tenor solo, and heads up an explosive hot finale. arwulf arwulf
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BENNY GOODMAN AND HIS ORCHESTRA – 1939, Vol. 2 | The Classics Chronological Series – 1064 (1999) FLAC (tracks+.cue), lossless

1939 was most significant in Benny Goodman's history for the discovery of electric guitarist Charlie Christian, who became a part of the clarinetist's new sextet with Lionel Hampton, Fletcher Henderson, Artie Bernstein, and Nick Fatool. On this CD, Christian is featured on such numbers as the earliest version of "Flying Home," "Rose Room," "Stardust," "Memories of You," "Soft Winds," and "Seven Come Eleven," plus the big band version of "Honeysuckle Rose." The Goodman orchestra (which still featured trumpeter Ziggy Elman) is heard on the majority of the selections, including the earliest full-length recording of Goodman's theme "Let's Dance" and a few numbers with singer Mildred Bailey. These Columbia sessions have not often been reissued in full, so this disc makes for a fine acquisition for listeners not already owning the Christian sextet tracks. Scott Yanow  

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

Despite competition from Glenn Miller, Artie Shaw, Count Basie, and Tommy Dorsey, Benny Goodman largely held on to his popularity during the 1939-1940 period. The personnel was changing in his big band, but it was still a strong outfit with trumpeters Ziggy Elman and Jimmy Maxwell, trombonist Vernon Brown, Jerry Jerome on tenor, pianist Johnny Guarnieri, and singer Helen Forrest being significant voices. Among the better big band selections on this consistently swinging CD are "Zaggin' With Zig," "The Fable of the Rose," "Shake Down the Stars," and "I'm Nobody's Baby"; however, it is the three sextet numbers that take honors. "Till Tom Special," "The Sheik of Araby," and "Poor Butterfly" feature Goodman with guitarist Charlie Christian, Lionel Hampton, and either Count Basie or Guarnieri on piano. All of the Benny Goodman recordings from this era are well worth acquiring by swing fans. Scott Yanow  
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BENNY GOODMAN AND HIS ORCHESTRA – 1940 | The Classics Chronological Series – 1131 (2000) FLAC (tracks+.cue), lossless

During the time covered by this CD, Benny Goodman was stricken with sciatica and had to break up his big band for a few months. When he came back, his new orchestra only retained a few of the earlier musicians. This disc has the last recordings by his original big band (which he had formed in 1934) and has two different versions of his small group; his new big band did not record until November 13. Fortunately, Benny Goodman was wise enough to retain the services of the great electric guitarist Charlie Christian, who is heard in the earlier sextet with Lionel Hampton and the later septet with trumpeter Cootie Williams, tenor saxophonist Georgie Auld, and guest pianist Count Basie. The combo tracks include "Air Mail Special" and "Boy Meets Goy," "Royal Garden Blues," "As Long As I Live," and the riff-filled "Benny's Bugle." The better big band selections include "Crazy Rhythm" and "Mister Meadowlark" (featuring Helen Forrest). Fred Astaire has a guest vocal (and a bit of tap dancing) on "Who Cares." Scott Yanow  
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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
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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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COOTIE WILLIAMS AND HIS ORCHESTRA – 1941-1944 | The Classics Chronological Series – 827 (1995) FLAC (tracks+.cue), lossless

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DON BYAS – 1944-1945 | The Classics Chronological Series – 882 (1996) FLAC (tracks+.cue), lossless

Don Byas was one of the great tenor saxophonists of the 1940s, a Coleman Hawkins-influenced improviser who developed a complex style of his own. His permanent move to Europe in 1946 cut short any chance he had of fame, but Byas recorded many worthy performances during the two years before his departure. On Classics' first Don Byas CD (which contains his first 21 numbers as a leader), Byas matches wits and power with trumpeter Charlie Shavers on two heated sessions that include pianist Clyde Hart and bassist Slam Stewart. He also plays swing with trumpeter Joe Thomas and pianist Johnny Guarnieri in a 1945 quintet and leads a quartet that, on four of its eight numbers, welcomes the great blues guitarist/singer Big Bill Broonzy. Highlights include "Riffin' and Jivin'," "Don's Idea," the two-part "Savoy Jam Party," "1944 Stomp" (which has been adopted by 1990s saxophonist James Carter), "Pennies From Heaven," "Jamboree Jump," and "Just a Dream." This music was originally put out by Savoy, Jamboree, and Hub. Highly recommended. Scott Yanow  

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DON BYAS – 1945 | The Classics Chronological Series – 910 (1996) FLAC (tracks+.cue), lossless

Bookended by several pleasant yet minor blues and pop vocals by Albina Jones and Ruble Blakey, this Classics Don Byas disc finds the unsung tenor great on the eve of his indefinite stay in Europe. Having cut his teeth in the bands of Lionel Hampton, Andy Kirk, and Count Basie, among others, Byas marked the end of the war with several fine combo recordings spotlighting his boppish swing blowing style. Here is a generous chunk from 1945, featuring a few different lineups and the likes of Dizzy Gillespie, Buck Clayton, Errol Garner, Slam Stewart, and Sid Catlett. Byas is in top form throughout, plying his smoky and slightly tart tone on ballads like "Laura," while showing off a lithe brand of swing on an up-tempo "The Sheik of Araby." Not as solid as Classics' 1944-1945 volume, but still a fine selection for Byas completists. Stephen Cook
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DON BYAS – 1945, Vol. 2 | The Classics Chronological Series – 959 (1997) FLAC (tracks+.cue), lossless

Carlos Wesley "Don" Byas openly claimed to represent a third stream of tenor sax, somewhere between Coleman Hawkins and Lester Young. In truth, he sounded most like the mature Hawkins, also sharing stylistic traits with Pres, Budd Johnson, Lucky Thompson and Ben Webster. Most importantly, he sounded like himself. Four sides recorded for the "Jamboree" label in October 1945 feature the extraordinary piano of Johnny Guarnieri. "Once in a While" comes across like a lullaby compared to the rip-snorting "Avalon," notable for J.C. Heard's fiery drumming. "Blue and Sentimental," forever associated with Count Basie's star tenor saxophonist Herschel Evans, is soulfully rendered here. "Melancholy Baby" sounds a lot like the kind of records Hawkins was making for the Keynote label in 1945 -- this recording, in fact, could effectively be used to stump jazz experts during blindfold tests. In a remarkable follow-up, the next session turns Erroll Garner loose in the company of Slam Stewart and Harold "Doc" West. The Savoy session (after Byas stretches out with "Candy" all to himself) features trumpeter Benny Harris. "How High the Moon" bristles with be bop changes, and "Donby" is recognizable as Byas' extension of Juan Tizol's "Perdido." "Byas a Drink" is a sort of be bop rhumba. In a strange chronology defying maneuver -- and without altering the title of the CD -- Classics has tacked on two sessions from 1944. Throughout his career, trumpeter Emmett Berry was almost never designated as a leader. On August 31 1944, the quintet bearing his name was graced with a rhythm section consisting of Dave Rivera, Milt Hinton and J.C. Heard. The music speaks of new ideas in the making, even if Berry swings rather than bops. Recorded on 12 " 78 rpm records allowing for nearly four minutes per side, the Cyril Haynes Sextet, starring Byas and the nearly forgotten trumpeter Dick Vance, featured electrified guitar solos by Al Casey with strong rhythmic support from -- once again -- Harold "Doc" West. Here, then, is a fat parcel of solid sessions from the life of Don Byas, well-worth hearing again and again. arwulf arwulf  
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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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