STUFF SMITH AND HIS ONYX CLUB BOYS – 1936-1939 | The Classics Chronological Series – 706 (1993) FLAC (tracks+.cue), lossless

This delightful CD has the first 24 titles ever led by violinist Stuff Smith, virtually all of Smith's prewar recordings and the complete output of the violinist's Onyx Club Boys (other than four songs from 1940). With trumpeter Jonah Jones and occasional drummer Cozy Cole the stars of the supporting cast, this was one of the top swing combos of the era. Smith's hard-swinging violin, his enthusiastic vocals, and his interplay with Jones made this a particularly hot unit. In addition to the hit "I'se A-Muggin'," highlights of the disc include "I Hope Gabriel Likes My Music," "After You've Gone," "You'se a Viper," "Old Joe's Hittin' the Jug," "Twilight in Turkey," and the classic "Here Comes the Man With the Jive." Highly recommended Scott Yanow      Tracklist + Credits :

STUFF SMITH – 1939-1944 | The Classics Chronological Series – 1054 (1999) FLAC (tracks), lossless

This segment of the Stuff Smith story finds the fiddler facing personal and professional difficulties that prevented him from recording as much as he'd have liked to. The music that did get committed to wax is more or less uniformly satisfying. The first five selections heard here benefit greatly from the presence of trumpet ace Jonah Jones. "Big Wig in the Wigwam," a song with little redeeming social value when presented by Lionel Hampton, became a solid piece of swing when Stuff's band got a hold of it. Here it bristles with elements of "Diga Diga Doo" and Stuff's earlier rowdy masterpiece "Old Joe's Hittin' the Jug." Four titles released on the budget Varsity label in 1940 include a Grenadine-flavored sob story by Stella Brooks, two high-spirited group vocals, and a wild "Crescendo in Drums," with violin improvisations that seem like premonitions of the sound currents that Leroy Jenkins would be generating with his violin many years later. In November of 1943, Stuff Smith & His Trio made ten sides for the World Broadcasting Service, with Stuff's solos resembling some of Eddie South's best work, with flourishing touches worthy of Florian Zabach. Featured here and on the following two sessions were bassist John Levy and pianist Jimmy Jones, both excellent improvisers who were perfectly suited to Stuff Smith's style and persona. A quartet date with amplified guitarist Mary Osborne sports a pair of modernistic studies in blue, and the vocal duet between Stuff and Osbourne is deservedly famous among people who are interested in historical collaborations. This fine CD closes with six additional trio sides produced by Moses Asch, sounding pleasantly progressive for 1944. arwulf arwulf       Tracklist + Credits :

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 :

LIONEL HAMPTON AND HIS ORCHESTRA – 1937-1938 | The Chronogical Classics – 524 (1990) FLAC (image+.cue), lossless

In 1937, vibraphonist Lionel Hampton began leading a series of all-star swing recording dates. Although he would still be a member of Benny Goodman's organization for another three years, Hampton was a natural-born leader and his record dates featured top sidemen from a variety of major jazz bands. This CD begins the chronological reissue of all of this music (except alternate takes). Hampton is teamed with players from the Benny Goodman and Duke Ellington orchestras plus a large assortment of guests. Among the many highlights are "Hampton Stomp" (featuring Hampton playing rapid lines on the piano with two fingers), "Stompology," Johnny Hodges on "On the Sunny Side of the Street," and some good spots for Jonah Jones' trumpet. Scott Yanow
Tracklist + Credits :

EARL HINES – 1949-1952 | The Classics Chronological Series – 1288 (2003) FLAC (tracks+.cue), lossless

This disc begins with five excellent recordings that Earl Hines made for the Royal Jazz label in Paris. These joyous, optimistic trio renderings of "Honeysuckle Rose" and "Fine and Dandy" were part of a sizable bundle of great music recorded on November 4, 1949, the balance of which occupies the final eight tracks of Classics 1120. Two days later, Hines created three interesting piano solos for Royal: a relaxed revisit with Maceo Pinkard's old-fashioned love song "Sugar," a tough and powerful remake of "Boogie Woogie on the St. Louis Blues," and "Singing for My French Brothers," during which the pianist scats amiably. In July of 1950, Hines recorded eight outstanding trio performances to be issued on Columbia's newly developed long-playing 33-and-1/3-rpm format. The combination of Hines with bassist Al McKibbon and the impeccable J.C. Heard was remarkably fruitful. "These Foolish Things" seems to unfold as gradually as the dawn, "Velvet Moon" and "When I Dream of You" are slow and reflective, and the rest of this trio's work swings marvelously. "Diane" develops something like a Cuban rhythm halfway through, then prances the rest of the way home. In December of 1952 Hines was able to wax seven sides for the D'Oro label, which was created especially to record the Earl Hines Sextet, with a front line of trumpeter Jonah Jones, trombonist Bennie Green, and Aaron Sachs, who played clarinet and tenor sax. Vocalists heard here are Helen Merrill (this was her very first appearance on record), Lonnie Sattin (who bellows and croons like an Eckstine caricature), and a soulful Etta Jones (who has a lot of fun hollering "Stop"). Hines himself sings over a rhumba called "Ella's Fella," and "Whirl on a Whirl" also has a bit of that rhythmic Caribbean energy running through it. "Green's Corner" -- which in fact uses the bridge from "Love Is Just Around the Corner" -- is a friendly study for trumpet, tenor sax, and trombone with rhythm accompaniment, including brief solos from bassist Tommy Potter and Earl "Fatha" Hines. arwulf arwulf
Tracklist :

TEDDY WILSON AND HIS ORCHESTRA – 1935-1936 | The Classics Chronological Series – 511 (1990) FLAC (tracks+.cue), lossless

The second CD in Classics' Teddy Wilson series features the definitive swing pianist on two piano solos and leading all-star groups. There are seven generally familiar Billie Holiday vocals (including classic renditions of "I Cried for You" and "These Foolish Things"), a pair from Ella Fitzgerald (her first recordings outside of the Chick Webb Orchestra), two rare ones from Helen Ward, a vocal by Roy Eldridge on a heated "Mary Had a Little Lamb" and seven instrumentals. The strong supporting cast includes such players as altoist Johnny Hodges, trumpeters Frankie Newton, Jonah Jones and Eldridge, trombonist Benny Morton, clarinetist Buster Bailey, tenorman Chu Berry, and baritonist Harry Carney; Benny Goodman makes guest appearances on the two Helen Ward titles. Classic music although most of it is also easily available elsewhere. Scott Yanow
Tracklist + Credits :

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

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

TEDDY WILSON AND HIS ORCHESTRA – 1938 | The Classics Chronological Series – 556 (1990) FLAC (tracks+.cue), lossless

In addition to ten Billie Holiday vocals that are easily available elsewhere (best is "They Say"), this CD has some Wilson piano solos, a few rare Nan Wynn vocals and a band instrumental of "Jungle Love" with cornetist Bobby Hackett, clarinetist Pee Wee Russell, and altoist Johnny Hodges. Excellent music, but the best tracks have been reissued many times, making this CD of less interest than most of the other Classics. Scott Yanow
Tracklist + Credits : 

JONAH JONES – 1936-1945 | The Classics Chronological Series – 972 (1997) FLAC (tracks+.cue), lossless

While the first six recordings presented in this initial volume of the chronologically reissued recordings of Jonah Jones are undeniably rare and worth having access to, the reason for their obscurity is immediately apparent. Dick Porter, the nominal leader of both bands responsible for these Vocalion sides, was a Fats Waller imitator of the worst sort. He patterned his act so closely on Waller's jubilant vocal delivery that it is impossible to ascertain what -- if any -- originality existed in the person of Mr. Porter. Seizing upon Waller's habitual exclamations, Porter overused the outburst "Aha!" until it lost every ounce of its novelty or effectiveness. He even absconded with an entire punch line that Waller had used at the end of his own cheerfully misogynistic version of "I Adore You" -- not to be confused with Waller's "I Simply Adore You." The phrase in question -- "To the pound with the beautiful hound" -- required some form of theatrical buildup. While Waller was making canine references all throughout "I Adore You," Porter chucked the line in at the end of "There's No Two Ways About It" as if he couldn't think of anything else to steal from Waller. The effect of all this upon anyone who knows and loves Waller's work is maddening, and Porter sticks in the mind as a primal irritant to be avoided at all costs. What does this have to do with ace trumpeter Jonah Jones? Well, he played on both of these sessions, striving with the other players to deliver solid swing as desired by the public in the middle 1930s. And yet let it be said that the inclusion of two outstanding Keynote dates and one Commodore blowing session more than make up for the itching, burning sensation created by Dick Porter. Jonah Jones & His Orchestra, consisting of only six players, made four wonderful sides for Harry Lim's Keynote label in September of 1944. Having emerged from Cab Calloway's big band, Jones had a healthy habit of including his friends from Calloway's horde. Tyree Glenn played both vibraphone and trombone. Hilton Jefferson, featured soloist on the creamy "Just Like a Butterfly (That's Caught in the Rain)," also cooked when heat was needed. "Lust for Licks" was based on the changes of "Exactly Like You," and "B.H. Boogie" was a tip of the hat to Buster Harding, whose arrangement of "Twelfth Street Rag" inspired some serious jamming. The 1945 Milt Hinton Sextet, also billed by Keynote as an "Orchestra," shared three crucial players with the previous band: Tyree Glenn, the honorable Mr. Hinton, and the immaculate J.C. Heard. Hinton's "Beefsteak Charlie" got its name from a bar in Manhattan that was preferred by jazz musicians. The reissuing of these Keynote recordings is a serious matter, and the producers of the Classics Chronological Series are to be commended for making them digitally available to the public in the same package with Jones' Commodore session from July 31, 1945. For here are the very best elements from both of the previous bands -- Glenn, Jefferson, Hinton, and Heard -- bundled in with several other strong players including clarinetist Buster Bailey and smokestack tenor Ike Quebec. Jefferson is handed another elegant ballad in "You Brought a New Kind of Love to Me," and the band deep-fries the "Rose of the Rio Grande." "Hubba Hubba Hub" seems at first a bit short on melodic invention but quickly evolves into a perfectly satisfying jam vehicle, closing with one of Jones' hottest solos on record. "Stompin' at the Savoy" is set up as a march by Heard, then struts itself silly. arwulf arwulf
Tracklist :

VALAIDA SNOW – 1940-1953 | The Classics Chronological Series – 1343 | (2004) FLAC (tracks+.cue), lossless

When Valaida Snow made a handful of hot records in Copenhagen during October of 1940, she had no idea that her recording career was about to be violently interrupted for nearly five years by people working for Adolf Hitler. Nazi Germany had already occupied Denmark when these "degenerate" jazz records were surreptitiously created in violation of the Nuremberg laws. In a horrible twist of fate, Snow was arrested by the Gestapo, charged with theft and drug use -- two activities at which the Nazis themselves excelled -- and spent many months in a concentration camp before being rescued by influential friends and sent back to the U.S. weighing about 70 lbs. Everything she'd owned had been confiscated, including the gold trumpet given her by Queen Wilhelmina. It took Snow several years to recuperate and gather her strength for a comeback. Her last two authentic swing records are placed at the beginning of this disc. These are amazingly gutsy performances of nice old songs, and she scats beautifully during "Carry Me Back to Old Virginny." The contrast between this pair of pleasant, cheerful stomps and the rest of the material in the chronology -- beginning with the Apollo session of 1945 -- is startling. Recording in New York for the first time since 1933 and sounding at times like young Dinah Washington, Snow sings three torchy ballads and a novelty bounce backed by Bobby Smith, his alto sax and orchestra. The bounce in question is called "Around the World" and features two harmonizing Valaidas in an early example of overdubbing. Her next couple of recording dates took place in Los Angeles, where prevailing pop production values seem to have infected the atmosphere alarmingly. Eight sides issued on the Bel-Tone label prove that Snow was a powerful singer who could flourish in front of any ensemble, even the huge orchestra with strings, flutes, and a keening vocal group billed as the Daydreamers. Snow prevails throughout, especially on "Lonesome Road," where her passionate singing transcends the entire ungainly production menagerie. On the second Bel-Tone session, Snow navigates well through the "exotic" orchestral score of "Caravan." Her ominously paced version of "Solitude" makes for an interesting comparison with Billie Holiday's approach to this Ellington opus. After a pokey, pouty, and slightly insane-sounding lament bearing the almost too-appropriate title "Frustration," Snow sails into "I Must Have That Man." With a brassy big band behind her, the singer sounds more at home than on any of the previous seven selections. From here on out Valaida Snow's story shifts into R&B territory. Recording for the Derby label in January of 1950, she was backed with a rocking jump band led by Jimmy Mundy, spiked with the fiery presences of baritone saxophonist Dave McRae and hot trumpeter Jonah Jones. "Tell Me How Long the Train's Been Gone" is the cooker. "Chloe" begins with bass clarinet tones and delivers an incredible emotional charge as Snow belts out the lyrics with theatrical intensity. "Coconut Head" is a calypso novelty number, somewhat of a trend in 1950 -- even Sarah Vaughan did a number like this back then. The saga of Valaida Snow tapers off abruptly with two exciting R&B performances recorded in Chicago in 1953. "I Ain't Gonna Tell," a funky baritone sax rocker, is a tantalizing taste of further developments the world would never get to hear from this tough little woman. Underappreciated and grievously underpaid, she struggled to establish herself as a performer in a country where the public had never been all that aware of her existence. Following a performance at New York's Palace Theatre she was felled by a stroke and passed away at the age of 50 in a Brooklyn hospital on the 30th of May 1956. arwulf arwulf   
Tracklist :
1 Some of These Days 2:36
Shelton Brooks
 2 Carry Me Back to Old Virginny 2:49
James A. Bland
 3 The More I Know About Love 2:21
Valaida Snow
4 Around the World  2:33
Bennie Benjamin / George David Weiss
5 Porgy 2:45
Dorothy Fields / Jimmy McHugh
6 My Heart Is Such a Fool 2:00
Valaida Snow
7 Fool That I Am 3:04
Floyd Hunt
 8 It's the Talk of the Town 2:57
Jerry Livingston / Al J. Neiburg / Marty Symes
 9 Lonesome Road 2:55
Gene Austin / Nat Shilkret
 10 If I Only Had You 2:42
Valaida Snow
11 Caravan 2:55
Duke Ellington / Irving Mills / Juan Tizol
 12 Solitude 2:52
Eddie DeLange / Duke Ellington / Irving Mills
 13 Frustration 2:54
Irving Mills
 14 I Must Have That Man 2:10
Dorothy Fields / Jimmy McHugh
 15 Tell Me How Long the Train's Been Gone 3:07
Traditional
 16 When a Woman Loves a Man 2:34
Bernie Hanighen / Gordon Jenkins / Johnny Mercer
 17 Chloe 3:08
Neil Moret (Chas. N. Daniels)
 18 Coconut Head 2:55
Valaida Snow
19 I Ain't Gonna Tell 2:36
Rudy Toombs
 20 If You Don't Mean It 2:56
Valaida Snow
Credits :    
Alto Saxophone, Leader – Bobby Smith (3) (tracks: 7 to 10)
Baritone Saxophone – Dave McRae (tracks: 15 to 18)
Bass – Willy Sorensen (tracks: 1, 2)
Clarinet, Alto Saxophone, Baritone Saxophone – Aage Voss (tracks: 1, 2)
Clarinet, Tenor Saxophone – Henry Hagemann-Larsen* (tracks: 1, 2)
Directed By – Jimmy Mundy (tracks: 15 to 18)
Drums, Vibraphone – Eric Kragh
Piano – Bertrand Beck (tracks: 1, 2)
Trumpet – Jonah Jones (tracks: 15 to 18), Tage Rasmussen (tracks: 1, 2)
Vocals – The Day Dreamers (tracks: 7 to 10), Valaida Snow (tracks: 3 to 6)
Vocals, Trumpet – Valaida Snow (tracks: 1, 2, 7 to 20)

LIL HARDIN ARMSTRONG AND HER SWING ORCHESTRA – 1936-1940 | The Classics Chronological Series – 564 (1991) FLAC (tracks+.cue), lossless

Years before Joe Glaser assumed unmitigated control over Louis Armstrong's professional existence, Lil Hardin Armstrong essentially served as her husband's manager. She taught him music theory, and advised him how to dress in style and conduct himself with dignity in public. She also suggested when the time was ripe for Louis to break away from King Oliver's band and venture out on his own. Had it not been for Lil Hardin Armstrong, the Hot Five and Hot Seven recordings would never have come together the way they did, and Louis Armstrong's career would have unfolded much differently. Lil was a brilliant pianist. She sang in a gutsy manner, often using lyrics that were disarmingly funny. "Or Leave Me Alone" is one of the best examples of her knuckly humor that you'll ever hear. It also anticipates a song that Groucho Marx would present many years later as an elderly man singing softly under the spotlight at Carnegie Hall. "Show me a rose, and I'll show you a stag at bay...Show me a rose, or leave me alone," he sang, along with other lyrics that can only be described as surreal. Who wrote Groucho's song, and wasn't it closely based upon this spunky bit of fun from 1936? In another surprising premonition, "Brown Gal" is clearly the direct ancestor of "Bad Boy," a big hit for the Jive Bombers during the 1950s. Chu Berry is all over the first six selections, and Buster Bailey's clarinet lights up the first 14. Berry is succeeded by Robert Carroll, Prince Robinson, Tony Zimmers, and Russell Johns. Let's hear it for the great forgotten tenor players! When Wellman Braud showed up to play bass on April 15, 1937, Pops Foster retreated to the drums. It's the kind of a reaction you'd expect out of any sensible bassist, although Foster could have stood his ground. Maybe they flipped a coin. In any case, Foster uses the hi-hat with great success. These songs are all typical of the 1930s, a time when anybody could float a three-minute song regardless of lyrical content. Lil plays no piano on this collection until the session of September 9, 1939. And it isn't until March 18, 1940, that listeners get to enjoy a pair of instrumentals. In spite of the band being identified as Lil's Dixielanders, "Sixth Street" and "Riffin' the Blues" sound like pure unadulterated Harlem swing. The next place to go is Lil's fabulous 1961 session for Riverside Records, a strong installment in that marvelous series entitled Chicago: The Living Legends.  arwulf arwulf   
Tracklist :
1    Lil Armstrong And Her Swing Orchestra–    Or Leave Me Alone 2:58
Clarinet – Buster Bailey
Double Bass [String Bass] – John Frazier
Guitar – Huey Long
Piano – Teddy Cole
Tenor Saxophone – Chu Berry
Trumpet – Joe Thomas
Vocals – Lil Armstrong
Written-By – Buck
2    Lil Armstrong And Her Swing Orchestra–    My Hi-De-Ho Man 2:39
Clarinet – Buster Bailey
Double Bass [String Bass] – John Frazier
Guitar – Huey Long
Piano – Teddy Cole
Tenor Saxophone – Chu Berry
Trumpet – Joe Thomas
Vocals Written-By – Lil Armstrong
3    Lil Armstrong And Her Swing Orchestra–    Brown Gal 2:43
Clarinet – Buster Bailey
Double Bass [String Bass] – John Frazier
Guitar – Huey Long
Piano – Teddy Cole
Tenor Saxophone – Chu Berry
Trumpet – Joe Thomas
Vocals – Lil Armstrong
Written-By – Avon, Armstrong
4    Lil Armstrong And Her Swing Orchestra–    Doin' The Suzie-Q 2:48
Clarinet – Buster Bailey
Double Bass [String Bass] – John Frazier
Guitar – Huey Long
Piano – Teddy Cole
Tenor Saxophone – Chu Berry
Trumpet – Joe Thomas
Vocals, Written-By – Lil Armstrong
5    Lil Armstrong And Her Swing Orchestra–    Just For A Thrill 2:48
Clarinet – Buster Bailey
Double Bass [String Bass] – John Frazier
Guitar – Huey Long
Piano – Teddy Cole
Tenor Saxophone – Chu Berry
Trumpet – Joe Thomas
Vocals, Written-By – Lil Armstrong
6    Lil Armstrong And Her Swing Orchestra–    It's Murder 2:18
Clarinet – Buster Bailey
Double Bass [String Bass] – John Frazier
Guitar – Huey Long
Piano – Teddy Cole
Tenor Saxophone – Chu Berry
Trumpet – Joe Thomas (4)
Vocals – Lil Armstrong
Written-By – Buck, Armstrong
7    Lil Armstrong And Her Swing Orchestra–    Born To Swing 2:33
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – George "Pop" Foster
Guitar – Arnold Adams
Piano – James Sherman
Tenor Saxophone – Robert Carroll
Trumpet – Joe Thomas
Vocals – Lil Armstrong
Written-By – Avon, Armstrong
8    Lil Armstrong And Her Swing Orchestra–    (I'm On A) Sit-Down Strike For Rhythm 2:41
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – George "Pop" Foster
Guitar – Arnold Adams
Piano – James Sherman
Tenor Saxophone – Robert Carroll
Trumpet – Joe Thomas
Vocals – Lil Armstrong
Written-By – Avon, Armstrong
9    Lil Armstrong And Her Swing Orchestra–    Bluer Than Blue 3:08
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – George "Pop" Foster
Guitar – Arnold Adams
Piano – James Sherman
Tenor Saxophone – Robert Carroll
Trumpet – Joe Thomas
Vocals – Lil Armstrong
Written-By – Avon, Armstrong
10    Lil Armstrong And Her Swing Orchestra–    I'm Knockin' At The Cabin Door 2:54
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – George "Pop" Foster
Guitar – Arnold Adams
Piano – James Sherman
Tenor Saxophone – Robert Carroll
Trumpet – Joe Thomas
Vocals – Lil Armstrong
Written-By – Avon, Armstrong
11    Lil Armstrong And Her Swing Orchestra–    Lindy Hop 2:49
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – Manzie Johnson
Guitar – Arnold Adams
Piano – James Sherman
Tenor Saxophone – Prince Robinson
Trumpet – Shirley Clay
Vocals – Lil Armstrong
Written-By – Avon, Armstrong
12    Lil Armstrong And Her Swing Orchestra–    When I Went Back Home 2:37
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – Manzie Johnson
Guitar – Arnold Adams
Piano – James Sherman
Tenor Saxophone – Prince Robinson
Trumpet – Shirley Clay
Vocals – Lil Armstrong
Written-By – Avon, Armstrong
13    Lil Armstrong And Her Swing Orchestra–    Let's Call It Love 3:00
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – Manzie Johnson
Guitar – Arnold Adams
Piano – James Sherman
Tenor Saxophone – Prince Robinson
Trumpet – Shirley Clay
Vocals – Lil Armstrong
Written-By – Armstrong, Matthews
14    Lil Armstrong And Her Swing Orchestra–    You Mean So Much To Me 2:50
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – Manzie Johnson
Guitar – Arnold Adams
Piano – James Sherman
Tenor Saxophone – Prince Robinson
Trumpet – Shirley Clay
Vocals – Lil Armstrong
Written-By – Jackson
15    Lil Armstrong And Her Swing Orchestra–    Let's Get Happy Together 2:54
Clarinet, Tenor Saxophone – Tony Zimmers
Double Bass [String Bass] – Haig Stephens
Drums – Sam Weiss
Guitar – Dave Barbour
Piano – Frank Froeba
Trombone – Al Philburn
Trumpet [or] – Johnny McGee, Ralph Muzillo
Vocals, Written-By – Lil Armstrong
16    Lil Armstrong And Her Swing Orchestra–    Happy Today, Sad Tomorrow 3:09
Clarinet, Tenor Saxophone – Tony Zimmers
Double Bass [String Bass] – Haig Stephens
Drums – Sam Weiss
Guitar – Dave Barbour
Piano – Frank Froeba
Trombone – Al Philburn
Trumpet [or] – Johnny McGee, Ralph Muzillo
Vocals – Lil Armstrong
Written-By – Armstrong, Livingston
17    Lil Armstrong And Her Swing Orchestra–    You Shall Reap What You Sow 2:59
Clarinet, Tenor Saxophone – Tony Zimmers
Double Bass [String Bass] – Haig Stephens
Drums – Sam Weiss
Guitar – Dave Barbour
Piano – Frank Froeba
Trombone – Al Philburn
Trumpet [or] – Johnny McGee*, Ralph Muzillo
Vocals – Lil Armstrong
Written-By – Robinson
18    Lil Armstrong And Her Swing Orchestra–    Oriental Swing 2:58
Clarinet, Tenor Saxophone – Tony Zimmers
Double Bass [String Bass] – Haig Stephens
Drums – Sam Weiss
Guitar – Dave Barbour
Piano – Frank Froeba
Trombone – Al Philburn
Trumpet [or] – Johnny McGee, Ralph Muzillo
Vocals – Lil Armstrong
Written-By – Spencer
19    Lil Armstrong And Her Swing Orchestra–    Safely Locked Up In My Heart 2:54
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – O'Neil Spencer
Piano, Vocals – Lil Armstrong
Trombone – J.C. Higginbotham
Trumpet – Reunald Jones
Written-By – Avon, Armstrong
20    Lil Armstrong And Her Swing Orchestra–    Everything's Wrong, Ain't Nothing Right 3:02
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – O'Neil Spencer
Piano, Vocals – Lil Armstrong
Trombone – J.C. Higginbotham
Trumpet – Reunald Jones
Written By – Evans
Written-By – Armstrong
21    Lil Armstrong And Her Swing Orchestra–    Harlem On Saturday Night 2:40
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – O'Neil Spencer
Piano, Vocals – Lil Armstrong
Trombone – J.C. Higginbotham
Trumpet – Reunald Jones
Written-By – Smith, Johnson
22    Lil Armstrong And Her Swing Orchestra–    Knock-Kneed Sal (On The Mourner's Bench) 2:31
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – O'Neil Spencer
Piano, Vocals – Lil Armstrong
Trombone – J.C. Higginbotham
Trumpet – Reunald Jones
Written-By – Armstrong, Randolph
23    Lil "Brown Gal" Armstrong And Her Dixielanders–    Sixth Street 2:47
Alto Saxophone – Don Stovall
Double Bass [String Bass] – Wellman Braud
Drums – Manzie Johnson
Piano – Lil Armstrong
Tenor Saxophone – Russell Johns
Trumpet – Jonah Jones
Written By – Fitzpatrick
24    Lil "Brown Gal" Armstrong And Her Dixielanders–    Riffin' The Blues 2:37
Alto Saxophone – Don Stovall
Double Bass [String Bass] – Wellman Braud
Drums – Manzie Johnson
Piano – Lil Armstrong
Tenor Saxophone – Russell Johns
Trumpet – Jonah Jones
Written By – Fitzpatrick
25    Lil "Brown Gal" Armstrong And Her Dixielanders–    Why Is A Good Man So Hard To Find? 3:00
Alto Saxophone – Don Stovall
Double Bass [String Bass] – Wellman Braud
Drums – Manzie Johnson
Piano – Lil Armstrong
Tenor Saxophone – Russell Johns
Trumpet – Jonah Jones
Vocals – Midge Williams
Written-By – Davis
26    Lil "Brown Gal" Armstrong And Her Dixielanders–    My Secret Flame 3:09
Alto Saxophone – Don Stovall
Double Bass [String Bass] – Wellman Braud
Drums – Manzie Johnson
Piano – Lil Armstrong
Tenor Saxophone – Russell Johns
Trumpet – Jonah Jones
Vocals – Hilda Rogers
Written-By – Avon, Armstrong

CAB CALLOWAY AND HIS ORCHESTRA – 1940-1941 (1992) The Classics Chronological Series – 629 | FLAC (tracks+.cue), lossless

Cab Calloway is in superior form throughout this CD (the tenth of 12 Calloway releases from the European Classics label), but it is often the short solos by his sidemen that attract one's interest, particularly those of trumpeter Dizzy Gillespie and tenor Chu Berry. By the last ten numbers (including his feature "Jonah Joins the Cab"), trumpeter Jonah Jones had become a member of the powerful band which could rank at the top echelon of swing orchestras. Calloway is also heard near the peak of his powers, and the highlights of this fine set include Benny Carter's "Lonesome Nights" (one of six instrumentals among the 22 numbers), "A Chicken Ain't Nothin' but a Bird," "Ebony Silhouette," "Hep Cat's Love Song," and two versions of "St. James Infirmary." Scott Yanow

Tracklist :
1     Goin' Conga 2:52
Alberto Iznaga    
2     Hot Air 2:54
Cab Calloway / Gene Novello
3     Lonesome Nights 3:01
Benny Carter / Irving Mills    
4     A Chicken Ain't Nothin' But a Bird 2:54
Emmett "Babe" Wallace
5     The Workers' Train 3:17
Cab Calloway / Arthur Shaftel / Sunny Skylar
6     North of the Mohawk Trail 3:26
7     Make Yourself at Home 2:52
Walter Bullock / Jule Styne
8     Run Little Rabbit 3:12
Andy Gibson
9     Willow Weep for Me 3:24
Ann Ronell
10     You Are the One in My Heart 3:12
Cab Calloway
11     Are You All Reet? 3:05
Cab Calloway / Jack Palmer
12     Ebony Silhouette 2:48
Milt Hinton / Benny Payne
13     Hep Cat's Love Song 3:05
Max Boyd / Cab Calloway / Andy Gibson
14     Jonah Joins the Cab 2:35
Cab Calloway
15     Geechy Joe 3:07
Cab Calloway / Andy Gibson / Jack Palmer
16     Special Delivery 2:58
Cab Calloway / Andy Gibson
17     Take the "A" Train 3:05
Billy Strayhorn    
18     Chattanooga Choo Choo 2:41
Mack Gordon / Harry Warren    
19     My Gal 2:43
Al Bernard
20     St. James Infirmary 3:20
Joe Primrose / Traditional    
21     St. James Infirmary 2:46
Joe Primrose / Traditional    
22     We Go Well Together 3:07
Walter Kent / Leo Robin

CAB CALLOWAY AND HIS ORCHESTRA – 1941-1942 (1991) The Classics Chronological Series – 682 | FLAC (tracks+.cue), lossless

The 11th of the European Classics label's 12 Complete Cab Calloway CDs (reissuing all of his studio recordings of 1930-42) has the last recordings of trumpeter Dizzy Gillespie and tenor Chu Berry with Cab; other soloists include trumpeter Jonah Jones and trombonist Tyree Glenn. Calloway retained his popularity throughout the World War II years and was still in prime form during these 22 recordings. Highlights include a memorable "Blues in the Night," "A Smo-o-o-oth One," "Virginia, Georgia and Caroline" and a new version of "Minnie the Moocher." All of the 12 Classics CDs are highly recommended to Cab Calloway and swing fans; they are perfectly done. Scott Yanow
Tracklist :
1 Hey, Doc! 3:16
Kim Gannon / Edgar Sampson
2 I See a Million People (But All I Can See Is You) 3:01
Una Mae Carlisle / Robert Sour
3 Conchita (Cares Nothing About Love) 2:51
Cab Calloway
4 Blues in the Night (My Mama Done Tol' Me) 3:10
Harold Arlen / Johnny Mercer
5 Mrs. Fiinnigan 2:48
J.C. Higginbotham / Redman
6 My Coo-Coo Bird (Could Swing) 2:51
Buster Harding
7 Says Who? Says You, Says I! 2:27
Harold Arlen / Johnny Mercer
8 The Mermaid Song 2:47
Cab Calloway & His Orchestra
9 Who Calls? 3:11
Stanley Hill / Johnny Marks
10 Nain Nain (No No) 3:15
Cab Calloway / Buck Ram
11 Tappin' Off 2:42
Buster Harding
12 A Smo-o-o-oth One 3:08
Benny Goodman
13 The Moment I Laid Eyes on You 3:17
Harold Arlen / Ted Koehler
14 Virginia, Georgia and Caroline 2:34
Cab Calloway / George A. Little / Larry Shay
15 Lordy 2:54
Oscar Hammerstein II / Sigmund Romberg
16 I Want to Rock 2:52
Larry Clinton / Buster Harding
17 I'll Be Around 3:10
Alec Wilder 
18 'Tain't No Good 3:13
Roy Jacobs / Leo Wood
19 Minnie the Moocher 3:15
Cab Calloway / Clarence Gaskill / Irving Mills
20 Let's Go Joe 3:09
Cab Calloway / Jack Palmer / J. Eric Smith
21 Ogeechee River Lullaby 3:37
Cab Calloway / Jack Palmer / Leo Wood
22 I Get the Neck of the Chicken 2:45
Frank Loesser / Jimmy McHugh

CAB CALLOWAY AND HIS ORCHESTRA – 1942-1947 (1998) The Classics Chronological Series – 996 | FLAC (tracks+.cue), lossless

The final CD of the Classic label's complete reissuance of Cab Calloway's 1930-47 recordings also includes the last recordings of Cab with his regularly working big band. This 1998 CD starts out with a couple of superior but originally rejected numbers ("What's Buzzin', Cousin?" and "Chant of the Jungle") from 1942, followed by a couple of rare V-disc numbers from 1944. Otherwise, the material dates from 1945 or 1947 with just two selections from 1946. During this era, the still-popular Calloway was finding it increasingly difficult to keep his orchestra together, as were all the other bandleaders, but the quality of his music remained fairly high, even touched slightly by bop in some of the arranged passages. Some of the vocals are a bit silly, particularly "Dawn Time and "Afternoon Moon," but there are also a few near-classic jive numbers. Highlights include the snobbish "A Blue Serge Suit With a Belt in the Back," "Don't Falter at the Altar" (released here for the first time), "The Jungle King" (one of two numbers done with a septet called the Cab-Jivers), "Give Me Twenty Nickels for a Dollar," "Two Blocks Down, Turn to the Left," "The Calloway Boogie," "Everybody Eats When They Come To My House," and the somewhat bizarre "The San Francisco Fan." Although Calloway dominates the music, there are scattered and consistently worthwhile solos by trumpeter Jonah Jones and tenors Ike Quebec and Sam "The Man" Taylor. Virtually all of these recordings are obscure, making the release of this music quite noteworthy both for swing collectors and Calloway fans. Recommended, as are all of the CDs in Classics' perfectly done Cab Calloway series. Scott Yanow  
Tracklist  :
1    Cab Calloway And His Orchestra–    What's Buzzin', Cousin? 2:38
Mack Gordon / Harry Owens
Vocals – The Cabaliers
2    Cab Calloway And His Orchestra–    Chant Of The Jungle    3:18
 Nacio Herb Brown / Arthur Freed
3    Cab Calloway And His Orchestra–    I'm Making Believe 1:50
Vocals – Dotty Salters
 Mack Gordon / James V. Monaco
4    Cab Calloway And His Orchestra–    Foo A Little Ballyhoo    3:01
 Cab Calloway / Buster Harding / Jack Palmer
5    Cab Calloway And His Orchestra–    Let's Take The Long Way Home    2:36
 Harold Arlen / Johnny Mercer
6    Cab Calloway And His Orchestra–    Foo A Little Bally-hoo    3:01
 Cab Calloway / Buster Harding / Jack Palmer
7    Cab Calloway And His Orchestra–    All At Once    2:50
 Ira Gershwin / Kurt Weill
8    Cab Calloway And His Orchestra–    Dawn Time    3:01
 Eddie DeLange / Buster Harding
9    Cab Calloway And His Orchestra–    If This Isn't Love    2:57
 Cab Calloway
10    Cab Calloway And His Orchestra–    A Blue Serge Suit With A Belt In The Back    2:26
 John Fortis / Max Spickol
11    Cab Calloway And His Orchestra–    Here I Go Just Dreamin' Away    2:47
 Al J. Neiburg / William Henri Woode
12    Cab Calloway And His Orchestra–    The Honeydripper    2:55
 Joe Liggins
13    Cab Calloway And His Orchestra–    Afternoon Moon    3:09
 Eddie DeLange / Duke Ellington
14    Cab Calloway And His Orchestra–    Hey Now, Hey Now    2:55
 Cab Calloway / Stanley Hill
15    Cab Calloway And His Orchestra–    I Got A Gal Named Nettie    3:06
 Cab Calloway
16    Cab Calloway And His Orchestra–    Hi-De-Ho Man    2:59
 Cab Calloway / Buster Harding / Jack Palmer
17    Cab Calloway And His Orchestra–    Necessity    2:52
 E.Y. "Yip" Harburg / Burton Lane
18    Cab Calloway And His Orchestra–    Oh Grandpa    2:59
 Cab Calloway / Stanley Hill / Bill Tennyson
19    Cab Calloway And His Orchestra–    Don't Falter At The Alter    2:40
 Cab Calloway
20    Cab Calloway And His Cab-Jivers–    Give Me Twenty Nickels For A Dollar    3:01
Wolf / Brandt
21    Cab Calloway And His Cab-Jivers–    The Jungle King    3:14
 Mort Dixon
22    Cab Calloway And His Orchestra–    Two Blocks Down, Turn To The Left    3:10
 Teddy Powell / Alex Rogers
23    Cab Calloway And His Orchestra–    San Francisco Fan    3:17
 Sammy Mysels / Dick Sanford
24    Cab Calloway And His Orchestra–    The Calloway Boogie    3:00
 Cab Calloway
25    Cab Calloway And His Orchestra–    Everybody Eats When They Come To My House    2:43
 Jeanne Burns / Cab Calloway
Credits
Alto Saxophone – Hilton Jefferson
Alto Saxophone, Baritone Saxophone – Andrew Brown (tracks: 1, 2), Charles Frazier (tracks: 16 to 19, 22 to 25), Rudy Powell (tracks: 7 to 15)
Baritone Saxophone – Greely Walton (tracks: 3 to 6)
Bass – Milt Hinton
Clarinet, Alto Saxophone – Alfred Gibson (tracks: 2 to 15), Jerry Blake (tracks: 1)
Directed By – Cab Calloway
Drums – Buford Oliver (tracks: 12, 13), Cozy Cole (tracks: 1, 2, 14, 15), J.C. Heard (tracks: 3 to 11), Panama Francis (tracks: 16 to 25)
Guitar – Danny Barker (tracks: 1 to 13), John Smith (tracks: 14 to 25)
Piano – Bennie Payne (tracks: 1, 2, 14, 15), Dave Rivera (tracks: 3 to 13, 16 to 25)
Tenor Saxophone – Bob Dorsey (tracks: 7 to 15), Ike Quebec (tracks: 3 to 15), Irving "Skinny" Brown (tracks: 2 to 6), Sam Taylor (tracks: 16 to 25), Ted McRae (tracks: 1), Walter "Foots" Thomas (tracks: 1, 2)
Trombone – Earl Hardy (tracks: 14 to 19, 22 to 25), Fred Robinson (tracks: 3 to 13), James Buxton (2) (tracks: 16 to 19, 22 to 25), John Haughton (tracks: 9 to 11), Keg Johnson (tracks: 1 to 8, 12 to 19, 22 to 25), Quentin Jackson (tracks: 1 to 19, 22 to 25)
Trombone, Vibraphone – Tyree Glenn (tracks: 1 to 15)
Trumpet – Johnny Letman (tracks: 16 to 19, 22 to 25), Jonah Jones, Lammar Wright (tracks: 1, 2, 16 to 19, 22 to 25), Paul Webster (tracks: 3 to 13, 16 to 19,to 25), Roger Jones (tracks: 5 to 15), Russell Smith (tracks: 1 to 15), Shad Collins (tracks: 1 to 15)
Vocals – Cab Calloway (tracks: 1, 2, 4 to 25)

CAB CALLOWAY AND HIS ORCHESTRA – 1949-1955 (2003) The Classics Chronological Series – 1287 | FLAC (tracks+.cue), lossless

Having spent years showcasing his own personality while diminishing the importance of the instrumentalists in his bands, Cab Calloway groveled during the early '50s, resorting to every imaginable gimmick and often sounding positively desperate. Two rather forced duets with Eugenie Baird employ exactly the same material as Pearl Bailey and Hot Lips Page were using during that same time period. These somewhat irritating covers are as different as can be from the fine artistry of Pearl and Page. "Rooming House Boogie" actually rocks, and Sam Taylor has a good hot solo. An overbearing tribute to Joe Louis is followed by the misogynistic "Your Voice." Notoriously intolerant of new musical ideas when young Dizzy Gillespie worked in his orchestra, by 1949 Cab had the unmitigated gall to sing a stupid novelty called "I Beeped When I Shoulda Bopped." This in itself was a gross imitation of Dizzy Gillespie's hit record "He Beeped When He Shoulda Bopped." Musical genres alternate as if Cab's career has been stuffed into a Waring blender. "Pero Que Jelengue," "La Mucura," and to some extent "Que Pasa Chica" are interesting examples of Calloway getting in touch with his Latino background. Cab should have done this more often! "The Duck Trot" has a bit of conga drumming and the tough tenor sax of Ike Quebec. On "Shotgun Boogie," Cab attempts to emulate Tennessee Ernie Ford. "One for My Baby" depicts a pathetic, lonely man trying to bond with his bartender. In 1952 Calloway began recording as a star vocalist backed by various orchestras rather than his own. Some of these tunes sound as if they were written expressly for Webb Pierce or Lefty Frizzell. There's a significant influx of material from the country & western market. "Hey Joe" was sent up by Homer & Jethro under the title "Hay Schmo." Why Cab Calloway tried to sing these songs, or indeed more than half of the material gathered together on this disc, is a mystery that can only be explained by economic straits and the often horrifying pop culture landscape of the 1950s. While Ray Charles was able to triumph with this kind of music, Calloway merely sounded like he was cornered by circumstances. arwulf arwulf  
Tracklist  :
1    Cab Calloway And His Orchestra–    Baby It's Cold Outside 2:17
Vocals – Eugenie Baird
2    Cab Calloway And His Orchestra–    The Huckle-Buck    2:27
3    Cab Calloway And His Cab Jivers–    Ol' Joe Louis 2:31
Choir [Uncredited] – The Cab Jivers
4    Cab Calloway And His Cab Jivers–    Your Voice 2:36
Speech [Uncredited] – Maud McElroy
5    Cab Calloway And His Cab Jivers–    Rooming House Boogie    3:20
6    Cab Calloway And His Cab Jivers–    I Beeped When I Shoulda Bopped    2:35
7    Cab Calloway And His Orchestra–    The Duck Trot    3:10
8    Cab Calloway And His Orchestra–    Pero Que Jelengue    2:44
9    Cab Calloway And His Orchestra–    The Keeper Of The Blues    2:44
10    Cab Calloway And His Orchestra–    La Mucura    2:51
11    Cab Calloway And His Orchestra–    Que Pasa Chica    2:31
12    Cab Calloway And His Orchestra–    Shot Gun Boogie    3:00
13    Cab Calloway And His Orchestra–    Frosty Morning    2:35
14    Cab Calloway And His Orchestra–    One For My Baby    3:28
15    Cab Calloway Acc. By Jimmy Carroll And His Orchestra–    I'll Get By    2:47
16    Cab Calloway Acc. By Jimmy Carroll And His Orchestra–    Minnie The Moocher    3:05
17    Cab Calloway Acc. By Jimmy Carroll And His Orchestra–    Gambler's Guitar (Gamblers' Blues)    2:31
18    Cab Calloway Acc. By Jimmy Carroll And His Orchestra–    Hey Joe    2:25
19    Cab Calloway Acc. By Sy Oliver And His Orchestra–    Jilted    2:06
20    Cab Calloway Acc. By Sy Oliver And His Orchestra–    Such A Night    2:07
21    Cab Calloway Acc. By Sy Oliver And His Orchestra–    Unchained Melody    2:45
22    Cab Calloway Acc. By Sy Oliver And His Orchestra–    Learning The Blues    2:35
Credits
Alto Saxophone – Bernie Peacock (tracks: 1, 2), Hilton Jefferson (tracks: 5, 6)
Bass – Milt Hinton (tracks: 1 to 6)
Drums – Panama Francis (tracks: 1 to 6)
Piano – Dave Rivera (tracks: 1 to 10)
Reeds – Leon "Diamond" Washington (tracks: 3, 4), S.A. Stewart (tracks: 3, 4)
Tenor Saxophone – Ike Quebec (tracks: 7 to 10), Sam "The Man" Taylor (tracks: 1, 2, 5, 6)
Trombone – John "Streamline" Ewing (tracks: 3, 4), Keg Johnson (tracks: 1, 2), Tyree Glenn (tracks: 5, 6)
Trumpet – Jonah Jones (tracks: 1 to 10)
Vocals – Cab Calloway

CHARLIE SHAVERS – 1944-1945 (1997) The Classics Chronological Series – 944 | FLAC (tracks+.cue), lossless

After dramatically altering the course of human evolution by making dozens of hot records with the John Kirby Sextet, Charlie Shavers went to work for Harry Lim's amazing Keynote label. The music made on June 8, 1944, is typical of the no-nonsense jam atmosphere that usually prevailed at Keynote. Fronting with Jonah Jones and Budd Johnson, and wonderfully supported by Johnny Guarnieri, Milt Hinton, and J.C. Heard, Shavers sautés his way through each four-minute performance. Edgar Sampson's "Blue Lou" is particularly spicy with its interplay between Hinton and Heard. "I Found a New Baby" is the hottest of all. A V-Disc jam tosses Shavers into the midst of a group of individuals from different stylistic backgrounds. "Rosetta" positively percolates, with exceptionally fine solos from Don Byas' tenor sax and Ernie Caceres' wonderfully soulful clarinet. The mood shifts down to first gear for Linda Keene's session for Black and White Records. Shavers is able to relax and provide easygoing support for this pleasant vocalist. Note the presence of early modern clarinetist Aaron Sachs. A fiery blowing session led by Walter "Foots" Thomas puts listeners back on the fast track with "The Bottle's Empty." This band is fascinating. Ben Webster is at the peak of his powers. Alto saxophonist Milt Yaner turns in a couple of very nice solos, then apparently evaporates from the scene forever. (Who was he?) Billy Taylor and Slam Stewart each show off their best colors. The Classics label has done a wonderful job reissuing material originally brought out on small-time labels. The Vogue Picture Record Company, a division of Detroit's Sav-Way Industries, put out 78-rpm discs with colorful illustrations displayed beneath transparent grooves. Collectors will testify that some of these relics have terrible music on them, but the six titles reissued here are all spectacular early modern jazz. Charlie shares the date with clarinetist Buddy DeFranco, presenting four Shavers originals and two ballads. It's a pleasant surprise to hear Shavers sing "She's Funny That Way," but the sparks really fly during "Dizzy's Dilemma" and "Broadjump." "Musicomania" trots at an easier pace, as does "Serenade to a Pair of Nylons." Fortunately, Classics has included the original illustration displayed on this particular disc: a splendidly rendered pair of stocking-encased "gams" in high heels with a photo of Shavers' rather bemused face superimposed near the pretty left foot. arwulf arwulf  
Tracklist
1    The Keynoters–    You're Driving Me Crazy    4:10
2    The Keynoters–    I'm In The Market For You    4:33
3    The Keynoters–    Blue Lou    4:26
4    The Keynoters–    I Found A New Baby    4:15
5    V-Disc All Star Jam Session–    Rosetta    4:42
6    Linda Keene–    Gee Baby, Ain't I Good To You    2:50
7    Linda Keene–    I Don't Stand A Ghost Of A Chance With You    2:31
8    Linda Keene–    Blues On My Weary Mind    2:53
9    Linda Keene–    I Must Have That Man    2:36
10    Sir Walter Thomas And His All Stars–    The Bottle's Empty    2:49
11    Sir Walter Thomas And His All Stars–    Save It, Pretty Mama    3:08
12    Sir Walter Thomas And His All Stars–    For Lovers Only     2:58
13    Sir Walter Thomas And His All Stars–    Peach Tree Street Blues     3:15
14    The Charlie Shavers Quintet–    She's Funny That Way    3:37
15    The Charlie Shavers Quintet–    Serenade To A Pair Of Nylons    3:33
16    The Charlie Shavers Quintet–    Dizzy's Dilemma    2:57
17    The Charlie Shavers Quintet–    Broadjump    3:05
18    The Charlie Shavers Quintet–    Musicomania    2:40
19    The Charlie Shavers Quintet–    If I Had You    3:24
Credits :    
Alto Saxophone – Milt Yaner (faixas: 10 to 13)
Baritone Saxophone – Ernie Caceres (faixas: 10 to 13)
Bass – Bob Haggart (faixas: 5), Clyde Lombardi (faixas: 6 to 9), Milt Hinton (faixas: 1 to 4), Sandy Block (faixas: 14 to 19), Slam Stewart (faixas: 10 to 13)
Clarinet – Aaron Sachs (faixas: 6 to 9), Buddy DeFranco (faixas: 14 to 19), Ernie Caceres (faixas: 5)
Drums – Alvin Stoller (faixas: 14 to 19), Cozy Cole (faixas: 10 to 13), Eddie Dell (faixas: 6 to 9), J.C. Heard (faixas: 1 to 4), Specs Powell (faixas: 5)
Guitar – Herb Ellis (faixas: 5)
Piano – Bill Clifton (faixas: 5), Billy Taylor (faixas: 10 to 13), Joe Springer (faixas: 6 to 9), Johnny Guarnieri (faixas: 1 to 4), Johnny Potoker (faixas: 14 to 19)
Tenor Saxophone – Ben Webster (faixas: 10 to 13), Budd Johnson (faixas: 1 to 4), Don Byas (faixas: 5), Walter Thomas (faixas: 10 to 13)
Trumpet – Charlie Shavers, Jonah Jones (faixas: 1 to 4)
Vocals – Charlie Shavers (faixas: 14), Linda Keene (faixas: 6 to 9)

BENNY CARTER AND HIS ORCHESTRA – 1940-1941 | The Classics Chronological Series – 631 (1992) FLAC (tracks+.cue), lossless

Most of the selections on the sixth and final Classics' CD to reissue all of Benny Carter's pre-war recordings as a leader feature the altoist's commercially unsuccessful big band. With such major soloists as the leader, trumpeter Jonah Jones and Sidney DeParis, trombonists Benny Morton and Jimmy Archey and pianist Sonny White, it is surprising that this orchestra did not make it. The October 23, 1940 recording session (which has three vocals by Roy Felton including one in which he is joined by the Mills Brothers) is quite rare while the opening set from eight days earlier is a small group date with Bill Coleman and Benny Morton that features a pair of W.C. Handy blues sung by Big Joe Turner. Excellent swing music overall. Scott Yanow
Tracklist :
1     I Can't Believe That You're in Love With Me 4:05
Clarence Gaskill / Jimmy McHugh   
2     Joe Turner Blues 2:42
W.C. Handy   
3     Beale Street Blues 2:34
W.C. Handy   
4     By the Watermelon Vine, Lindy Lou 3:13
5     The Last Kiss You Gave Me 3:12
Harry Ruby   
6     Boogie Woogie Sugar Blues 3:04
7     I've Been in Love Before 3:08
Frederick Hollander / Frank Loesser   
8     All of Me 3:18
Gerald Marks / Seymour Simons   
9     The Very Thought of You 3:05
Ray Noble   
10     Cocktails for Two 3:03
Sam Coslow / Arthur Johnston   
11     Takin' My Time 3:21
Benny Carter   
12     Cuddle up, Huddle Up 2:44
Benny Carter   
13     Ev'ry Goodbye Ain't Gone 3:13
Benny Carter   
14     Babalu 3:04
Margarita Lecuona   
15     There! I've Said It Again 3:03
Redd Evans / Dave Mann   
16     Midnight 3:16
Johnny Gomez / Charlie Parker   
17     My Favorite Blues 3:06
Benny Carter   
18     Lullaby to a Dream 3:07
Benny Carter / Johnny Gomez   
19     What a Diff'rence a Day Made 3:02
Stanley Adams / María Mendez Grever   
20     Sunday 2:41
Chester Conn / Benny Krueger / Ned Miller / Jule Styne
21     Ill Wind 3:00
Harold Arlen / Ted Koehler   
22     Back Bay Boogie 2:52
Benny Carter   
23     Tree of Hope 2:49
Benny Carter       
Credits :   
Alto Saxophone – Bill White (tracks: 12 to 15), Chauncey Haughton (tracks: 4 to 11), Eddie Barefield (tracks: 16 to 19), Ernie Purce (tracks: 16 to 23)
Alto Saxophone, Baritone Saxophone – George James (tracks: 4 to 11, 20 to 23)
Alto Saxophone, Piano, Clarinet, Trumpet, Arranged By – Benny Carter
Bass – Charles Drayton (tracks: 16 to 23), Hayes Alvis (tracks: 4 to 11), John Kirby (tracks: 1), Ted Sturgis (tracks: 12 to 15), Wilson Myers (tracks: 2, 3)
Drums – Al Taylor (tracks: 16 to 19), J.C. Heard (tracks: 12 to 15), William "Keg" Purnell (tracks: 4 to 11), Berisford Shepherd (tracks: 20 to 23), Sidney Catlett (tracks: 1), Yank Porter (tracks: 2, 3)
Electric Guitar – William Lewis (tracks: 20 to 23)
Guitar – Bernard Addison (tracks: 1), Everett Barksdale (tracks: 4 to 11), Herb Thomas (tracks: 12 to 19), Ulysses Livingston (tracks: 2, 3)
Piano – Sonny White (tracks: 2 to 23)
Tenor Saxophone – Alfred Gibson (tracks: 20 to 23), Coleman Hawkins (tracks: 1), Ernie Powell (tracks: 16 to 23), Fred Williams (tracks: 16 to 19), Fred Mitchell (tracks: 12 to 15), George Irish (tracks: 4 to 15), George Auld (tracks: 2, 3), Stafford Simon (tracks: 4 to 11)
Trombone – Benny Morton (tracks: 2, 3, 8 to 11, 20 to 23), Jimmy Archey (tracks: 12 to 23), Joe Britton (tracks: 12 to 19), John McConnell (tracks: 20 to 23), Madison Vaughan (tracks: 4 to 11), Milton Robinson (tracks: 4 to 11), Vic Dickenson (tracks: 12 to 19)
Trumpet – Bill Coleman (tracks: 2, 3), Bobby Williams (tracks: 4 to 11), Doc Cheatham (tracks: 16 to 19), Emmett Berry (tracks: 20 to 23), Jonah Jones (tracks: 4 to 7, 12 to 15), Lincoln Mills (tracks: 16 to 19), Nathaniel Williams (2) (tracks: 20 to 23), Rostelle Reese (tracks: 20 to 23), Roy Eldridge (tracks: 1), Russell Smith (tracks: 4 to 15), Sidney De Paris (tracks: 8 to 19)
Vocals – Joe Turner (tracks: 2, 3), Maxine Sullivan (tracks: 19), Roy Felton (tracks: 15)

COLEMAN HAWKINS – 1944-1945 | The Classics Chronological Series – 863 (1996) FLAC (tracks+.cue), lossless

Some of Hawkins' best combo work was cut during the '40s. Having returned from an extended European stay, Hawkins fell in with his old swing pals and also headed up quite a few outfits with emerging beboppers. This Classics disc reveals the contrasting mix with 23 sides featuring the tenor great with the likes of both swing trumpeter Charlie Shavers and bop iconoclast Thelonious Monk. The four Monk tracks, while not especially revealing, do contain some fine playing, especially on "Recollections" and "Drifting on a Reed." In addition to several quality performances with Shavers, the program also includes four excellent bluesy ballads featuring Hawkins with Buck Clayton, Teddy Wilson, Slam Stewart, and Denzil Best. And for early jump blues fans, there's even a clutch of numbers by Hawkins and Walter Thomas & His Jump Cats ("Lookout Jack!"). Lookout, indeed. Stephen Cook
Tracklist :
1     All the Things You Are 2:58
Jerome Kern    
2     Step on It 3:08     
Unknown Artist    
3     Riding on 52nd Street 2:51    
Unknown Artist    
4     Memories of You 2:57
Eubie Blake / Andy Razaf    
5     Out to Lunch 2:54
Jimmy Davis / Joe Davis / Walter Thomas    
6     In the Hush of the Night 2:57
Dorsey, Davis, Dorsey
7     Look Out Jack! 2:47
Jimmy Davis / Irene Higginbotham    
8     Every Man for Himself 2:52
Jimmy Davis / Walter Thomas    
9     I'm Yours 3:29
Johnny Green / E.Y. "Yip" Harburg    
10     Under a Blanket of Blue 3:10
Jerry Livingston / Al J. Neiburg / Marty Symes    
11     Beyond the Blue Horizon 2:58
W. Frank Harling / Richard A. Whiting    
12     A Shanty in Old Shanty Town 2:58
Jack Little / Little Jack Little / John Siras / Joe Young / Joseph Young    
13     My Man 3:14
Jacques Charles / Channing Pollack / Albert Willemetz / Maurice Yvain    
14     El Salon de Gutbucket 2:59
Charlie Shavers    
15     Embraceable You 3:02
George Gershwin    
16     Undecided 3:05     
Sydney Robin / Charlie Shavers    
17     Recollections 2:54
Walter Thomas    
18     Drifiting on a Reed 3:04
Charlie Parker    
19     Flyin' Hawk 2:50
Walter Thomas    
20     On the Bean 2:41
Walter Thomas    
21     Sportsman's Hop 3:00     
Sir Charles Thompson    
22     Bean Stalking 3:08
Coleman Hawkins / Erskine Hawkins    
23     Ready for Love 2:59
Howard McGhee