LEE WILEY — Night in Manhattan (1952-2007) MONO | FLAC (image+.cue), lossless

Collectors' Choice Music presents a rare compilation featuring Lee Wiley's most prolific and oft-requested post-World War II extended-play platter, including three complete 10" discs that the vocalist cut for Columbia in the early '50s. When initially issued, Wiley had already experienced significant success as a traditional pop and torch singer circa the '30s. During this era she was supported by such notables as Jimmy Dorsey, Tommy Dorsey, and the Johnny Green-led Casa Loma Orchestra. Due to its thematic nature, this project could rightly be considered as an early Songbook or concept album. That said, it is Night in Manhattan that perhaps most accurately exemplifies the moods, sounds,and auras of The Big Apple after hours. Wiley's unmistakable voice yields a distinct, organic,and otherwise full-bodied timbre. She unleashes varying degrees of that charm, bringing to life the Great American Songbook classics "Any Time, Any Day, Anywhere" and "(I Don't Stand) A Ghost of a Chance (With You)" with her trademark sense of a distant and at times flawed vulnerability. Wiley is joined by Bobby Hackett and Joe Bushkin's Swinging Strings on Night in Manhattan. Comparatively, the Vincent Youmans and Irving Berlin anthologies offer collaborations with Stan Freeman and Cy Walter, who collectively continue building upon Wiley's considerable back catalog of similar "songbooks" cut throughout the '40s. These centered on the works of Rodgers & Hart, Cole Porter, and George & Ira Gershwin. The original decision to cover both high-profile and obscure titles alike -- such as the elegant "Tea for Two" compared to the equally engaging "Why Oh Why" -- was an inspired one to be sure. Yet it is unquestionably Sings Irving Berlin that serves up one of the finest examples of the magic that can occur when a performer is given access to songs that at times sound as if they were penned specifically for them. Supported by a single keyboard, the classics "I Got Lost in His Arms," "Fools Fall in Love" and "How Deep Is the Ocean (How High Is the Sky)" are haunting and ethereal -- much like Manhattan herself. Lindsay Planer
Tracklist :
1    Manhattan 3:24
Written-By – Rodgers-Hart
2    I've Got A Crush On You 3:25
Written-By – I. Gershwin-G. Gershwin
3    A Ghost Of A Chance 3:16
Written-By – Crosby, N. Washington, V. Young

4    Oh! Look At Me Now 3:08
Written-By – Bushkin, De Vries
5    How Deep Is The Ocean 2:51
Written-By – Berlin
6    Time On My Hands 2:47
Written-By – Adamson, M. Gordon, Youmans
7    Street Of Dreams 3:13
Written-By – S. Lewis, V. Young
8    A Woman's Intuition 3:31
Written-By – N. Washington, V. Young
9    Sugar 3:07
Written-By – Alexander, Pinkard, Mitchell
10    Any Time, Any Day, Anywhere 2:25
Written-By – Wiley, N. Washington, V. Young
11    Soft Lights And Sweet Music 2:32
Written-By – Berlin
12    More Than You Know 3:12
Written-By – W. Rose, Eliscu, Youmans
Credits :
Piano – Cy Walter, Joe Bushkin, Stan Freeman
Trumpet – Bobby Hackett
Vocals – Lee Wiley

EDDIE CONDON – 1944-1946 | The Chronogical Classics – 1033 (1998) FLAC (image+.cue), lossless

This is how traditional Chicago-style jazz sounded in New York during the mid-1940s. When he wasn't brusquely emceeing these bands on-stage at Town Hall, guitarist and organizer Eddie Condon presented this music on the air and in the recording studio. The phonographic evidence, chronologically arranged and carefully documented, makes for enjoyable listening. Three V-Disc sides for the armed forces have Hot Lips Page lined up next to Sterling Bose, Miff Mole and Pee Wee Russell. This interesting blend of musicians from radically different social and ethnic backgrounds is typical of Condon. Lips sings on a nearly four-and-a-half-minute version of the "Uncle Sam Blues," a wry ode to military conscription. The old "Tin Roof" is summed up in a mere 126 seconds, followed by a slightly longer "Ballin' the Jack." It seems as though V-Disc encouraged short takes so as to be able to squeeze as many tracks as possible on to their newly devised 'unbreakable' lightweight 12" 78rpm records. The Decca session of December 12, 1944 sounds a lot like the Town Hall mixture of pressure cookers and attractive love songs. Bobby Hackett turns "When Your Lover Has Gone" into a prayer. Lee Wiley (who was Eddie Condon's idea of the Perfect Woman) sings a couple of sweet numbers, and the band kicks the stuffing out of a theme only identified as "Impromptu Ensemble." Here Jack Teagarden blows hot trombone and sings up a parcel of lyrics he first used on a "Chicagoans" session back in 1929. Special mention should be made of baritone saxophonist Ernie Caceres who blows mellow for Lee and very hot during the stomps. Two days later the band emitted 59 seconds of "jump" music and 33 seconds of "blues" for radio broadcast purposes. Lee sang two more ballads and Teagarden hammed up the "Sheik of Araby" with strange new novelty lyrics before they swung it to pieces. Jack also sings and plays handsomely on "Somebody Loves Me." Speaking of melodies composed by George Gershwin, the 1945 sessions include what might be the loveliest version of "My One And Only" ever recorded, starring Bobby Hackett. "Lady Be Good" and "Swanee" take on an almost Dixieland flavor. On March 27, 1946 Wild Bill Davison, Gene Schroeder and Davey Tough incited a grand "Farewell Blues" with the bridge from "Weary Blues" grafted on to its midsection. "Improvisation for the March of Time" was built across the familiar slow blues/fast blues formula, and a couple of very attractive pop songs were magically transformed into honest instrumental jazz before the band knocked off for the day. The session of July 17th, 1946 is memorable for the presence of pianist James P. Johnson, who sends out sparks during "Just You, Just Me," and the voice of John "Bubbles" Sublett, one-time musical cohort of Buck Washington. Sublett is heard singing W.C. Handy's "Atlanta Blues," also known as "Make Me a Pallet on the Floor." That's the great thing about an Eddie Condon date: you never know who's going to show for the gig. arwulf arwulf  
Tracklist + Credits :

JESS STACY – 1944-1950 | The Classics Chronological Series – 1175 (2001) FLAC (tracks+.cue), lossless

Real jazz happens when the musicians really listen to one another. You, the listener after the fact, can hear this communication woven into the music itself. "D.A. Blues," played by Pee Wee Russell's Hot 4 with Jess Stacy at the piano, moves slowly enough for this dynamic to be spelled out as big as skywriting. "Keepin' Out of Mischief Now" works like a charm. The interplay among the four -- and especially between pianist and clarinetist -- is remarkable. It's emblematic of everything that Commodore Records ever stood for. The next session in the Jess Stacy chronology resulted in a fine crop of piano and drum duets. It is strange that Commodore didn't issue them at the time, but such decisions often seem odd many years later. These are really piano solos with gently percussive accompaniment -- about as gentle as Specs Powell ever played on record, in fact. That is, until the fast-paced "Ridin' Easy" and "Song of the Wanderer," where Stacy runs his hands like lightning over the keys and Powell responds with steamy licks of his own. What a shame it is that Jess Stacy's big band only managed to record enough music to fit on both sides of a single, 10" 78 rpm platter. "Daybreak Serenade" is a very pretty instrumental and Stacy's wife Lee Wiley sings "Paper Moon" splendidly. Just imagine what they could have accomplished given the opportunity to wax a few more sides. Instead what we get are one dozen examples of the Jess Stacy Quartet, recording for Capitol and Columbia during the summer of 1950. These are gorgeous reveries, heavily featuring the guitar of George Van Eps. This makes the second-half of the CD decidedly cool and relaxing, friendly and unobtrusive. Bassist Morty Corb walks briskly through the changes of "I'm Gonna Sit Right Down and Write Myself a Letter," a melody still associated with Fats Waller even though he didn't write it. Waller's "Keepin' Out of Mischief Now" reappears, joyously stir-fried to perfection. This handsome collection of top-notch piano jazz ends with a virtuoso realization of Bix Beiderbecke's "In a Mist," something like Chantilly cream over strawberries after four courses. arwulf arwulf
Tracklist + Credits :

LEE WILEY - West of the Moon (1956-2007) RM / FLAC (image+.cue), lossless

Lee Wiley was still in prime form during the 1950s, although she was disappointed that she did not become a major commercial success. On this LP (all but two cuts have since been reissued on CD), Wiley is joined by three different orchestras arranged by Ralph Burns. Her renditions of "You're a Sweetheart," "Who Can I Turn to Now," "Can't Get Out of This Mood," "East of the Sun," and "Moonstruck" are particularly memorable. Despite the passing of time, Wiley's voice was still sensuous and haunting, lightly swinging and full of subtlety. With trumpeter Nick Travis, trombonist Urbie Green, trumpeter Billy Butterfield, trombonist Lou McGarity, and clarinetist Peanuts Hucko helping out with a few short solos, Wiley sounds inspired throughout this memorable set. by Scott Yanow
Tracklist :
1     You're a Sweetheart    2:57
Harold Adamson / Jimmy McHugh
2     This Is New    2:59
Ira Gershwin / Kurt Weill
3     You Must Have Been a Beautiful Baby    3:02
Johnny Mercer / Harry Warren
4     Who Can I Turn to Now?    3:56
William Engvick / Alec Wilder
5     My Ideal    3:26
Newell Chase / Leo Robin / Richard A. Whiting / Alec Wilder
6     Can't Get out of This Mood    3:16
Frank Loesser / Jimmy McHugh
7     East of the Sun    3:34
Brooks Bowman
8     I Left My Sugar Standing in the Rain    3:48
Sammy Fain / Irving Kahal
9     Moonstruck    3:43
Sam Coslow / Arthur Johnston
10     Limehouse Blues    3:06
Philip Braham / Douglas Furber
11     As Time Goes By    3:16
Herman Hupfeld
12     Keepin' out of Mischief Now    2:45
Andy Razaf / Fats Waller
- Bonus Tracks -
13     Stars Fell On Alabama    4:05
 Written-By – F. Perkins, M. Parish
14     Do You Know What It Means To Miss New Orleans?    4:06
Written-By – DeLange, Alter
Credits :
Arranged By – Deane Kincaide (tracks: 13, 14), Ralph Burns (tracks: 1 To 12)
Baritone Saxophone – Danny Bank (tracks: 2, 6, 9, 10), Deane Kincaide (tracks: 13, 14)
Bass – Bob Haggart (tracks: 13, 14), Milt Hinton (tracks: 1 To 12)
Clarinet – Peanuts Hucko (tracks: 1, 3, 8, 12, 13, 14)
Drums – Cliff Leeman (tracks: 13, 14), Don Lamond (tracks: 1 To 12)
Flute, Clarinet, Alto Saxophone – Ray Beckenstein (tracks: 4, 5, 7, 11)
Flute, Oboe, English Horn – Romeo Penque (tracks: 4, 5, 7, 11)
Guitar – Barry Galbraith
Harp – Jane Putnam (tracks: 4, 5, 7, 11)
Piano – Lou Stein (tracks: 13, 14), Moe Wechsler (tracks: 1 To 12)
Reeds – Ray Beckenstein (tracks: 2, 6, 9, 10), Romeo Penque (tracks: 2, 6, 9, 10)
Tenor Saxophone – Al Epstein (tracks: 2, 6, 9, 10), Al Klink (tracks: 1, 3, 8, 12)
Trombone – Cutty Cutshall (tracks: 13, 14), Lou McGarity (tracks: 1, 3, 8, 12), Bob Alexander (tracks: 2, 6, 9, 10), Urbie Green (tracks: 2, 6, 9, 10)
Trumpet – Bernie Glow (tracks: 2, 6, 9, 10), Billy Butterfield (tracks: 1, 3, 8, 12, 13, 14), Nick Travis (tracks: 2, 6, 9, 10)
Viola – Dave Schwartz (tracks: 4, 5, 7, 11)
Violin – Leo Kruczek (tracks: 4, 5, 7, 11), Paul Winter (tracks: 4, 5, 7, 11)
Vocals – Lee Wiley 

LEE WILEY WITH BILLY BUTTERFIELD - A Touch of the Blues (1958) Mp3