GENE AMMONS – 1947-1949 | The Chronogical Classics – 1251 (2002) FLAC (tracks+.cue), lossless

 Gene Ammons, son of Albert, was a warm, approachable tenor saxophonist who existed at the fulcrum of several genres, and styles within genres. He swung, bopped, rocked, rolled, preached, and dished out sensuous songs of love and heartbreak. These are his first recordings as a leader. "Red Top," a portrait of Gene's wife Mildred (who was also T-Bone Walker's niece), was to be the inspiration for a milestone vocalese rendition recorded six years later by King Pleasure and Betty Carter, who sang words based upon Gail Brockman's trumpet solo. Here on the original track, Ammons quotes "Alice Blue Gown" at the beginning of his solo. This would become "Alice Rosetta" in King Pleasure's translation. Even if there weren't any vocals for comparison, "Red Top" is a masterpiece and "Idaho" the perfect flip side. These are object lessons in bop groove logic. Repeated exposure to jazz of this sort will permanently alter your brain in all of the hippest ways. "Concentration" does everything modern jazz was supposed to do. It's intricate, fresh and inventive. We're lucky to have contrasting versions from two different ensembles. "Blowing Red's Bop" should have been called "Blowing Red's Top," as it is clearly a remake of "Red Top." Twelve sides from October and December 1947 paint a picture of Chicago's jazz scene in rapid transition. "Shermanski" contains a wild ensemble vamp behind the sax that might rile your blood. "Jeet Jet" is a ferocious bop line that includes a swift succession of nine hammer strokes. The magnificently titled "Blowing the Family Jewels" rolls at about 65 mph. Earl Coleman sings like Billy Eckstine on "Hold That Money." Contrary to what the discography says, Coleman is not heard on "Dues in Blues," a sultry cooker that walks its way into "Night Train" territory. The session from February 1949 is a good example of bebop you could dance to if you felt like it. "Brother Jug's Sermon" has a spoken intro and handclaps behind a "preaching" tenor sax. Two sentimental vocals, one by pianist Christine Chatman and the other by Mary F. Graham, are included in the package to place Ammons' music in context for the year 1949. But the instrumentals are the gravy. "Stuffy," a percolator by Coleman Hawkins, comes across nice and solid. Ammons' handling of "Once in a While" is gorgeous, honest, personable and very, very cool. arwulf arwulf         Tracklist + Credits :

DEXTER GORDON – 1947-1952 | The Chronogical Classics – 1295 (2003) FLAC (tracks+.cue), lossless

A Classics collection of tenor saxophonist Dexter Gordon, 1947-1952 features some of the mellow jazzman's most identifiable recordings from that period. Beginning with an extended version of "The Duel," the disc also includes Gordon's epic tenor battle with Wardell Gray on "The Chase." Matt Collar
Tracklist :

ILLINOIS JACQUET – 1946-1947 | The Chronogical Classics – 1019 (1998) FLAC (tracks+.cue), lossless

Unlike so many previous reissues, this portion of the Illinois Jacquet chronology places these historical sessions side by side rather than sorting them out by label. Bringing together the last of Jacquet's Aladdin and Apollo recordings in this way is illuminating, informative, and entertaining. Jacquet's Apollo All Stars octet that recorded in August 1946 had a fine front line in trumpeter Joe Newman, trombonist Trummy Young, and alto saxophonist Ray "King" Perry alongside Jacquet's powerful tenor, supported by John Simmons, Freddie Green, Bill Doggett, and the amazing Denzil Best. "Jumpin' at Apollo" and "12 Minutes to Go" are the obligatory cookers, tempered with the walking "Jacquet Bounce" and "She's Funny That Way," a cool addition to Jacquet's marvelous catalog of ballads. As part of a heat wave of postwar tenor saxophony, Illinois blazed his own trail through stylistic terrain also traversed by Wardell Gray and Lucky Thompson. Like everything heard on this disc, Jacquet's 16-piece Aladdin big-band session from January 1947 reflects the Count Basie experience in high relief. While the trumpet section -- fortified with Joe Newman, Fats Navarro, and Miles Davis -- makes this a formidable listening experience, the star of the upbeat numbers -- and, in a way, of every session for the remainder of this collection -- is master percussionist Shadow Wilson, who thunders and shakes on "Big Dog" and "Jivin' with Jack the Bellboy," a reference to an extroverted drum feature recorded in 1940 by Lionel Hampton. Anyone who is lucky enough to possess the original 78-rpm Aladdin recording of "Blow, Illinois, Blow" can testify to the excitement of hearing a tenor saxophone wailing in front of a nine-piece band, coming up through the surface noise of a rapidly rotating platter. Digitally cleansed, this track sounds stunningly immediate as the ensemble seems to surround the listener and gradually close in. "Illinois Blows the Blues" knocks the band down to tenor and rhythm for one of Jacquet's definitive statements on record, feeling at times almost like a duet with Sir Charles Thompson. Back with Apollo for the last time in May of 1947, Jacquet retained certain key players from his previous couple of dates. Mention must be made of Leo Parker's exceptionally fine baritone sax outbursts. Jacquet regularly engages in his signature high-pitched wailing, a sound that some critics disparage but most open-minded listeners will enjoy as a necessary optional response to everyday life in the 20th century. Sir Charles, who plays on all of the dates from April 1, 1947, onward, exerted a marvelous influence upon Mr. Jacquet. Exhibit A would be Thompson's "Robbin's Nest" -- the version heard here is an easygoing delight. "Jumpin' at the Woodside," on the other hand, is almost frightening in its intensity, largely on account of Parker's snarling baritone. As the saga of Illinois Jacquet enters into the autumn of 1947, J.J. Johnson fans will want to listen for the trombone during the final eight tracks on this exceptionally satisfying album of early modern jazz. arwulf arwulf         Tracklist :

ILLINOIS JACQUET – 1947-1951 | The Chronogical Classics – 1254 (2002) FLAC (tracks+.cue), lossless

These recordings from Illinois Jacquet all showcase him in the context of his name orchestra recording for Bluebird and Apollo. Tadd Dameron arranged all of this material -- most of which was written by Jacquet. The band's varying personnel on these stellar sides includes Sir Charles Thompson, J.J. Johnson, J.C. Heard, John Lewis, Henry Coker, Red Callender, Shadow Wilson, Carl Perkins, Oscar Moore, and others. Standout cuts form these sides include "Symphony in Sid," "Riffin' at 24th Street," "Slow Down Baby," "My Old Gal," and a smoking rendition of Count Basie's "Mutton Leg."
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist + Credits :

ILLINOIS JACQUET – 1953-1955 | The Chronogical Classics – 1451 (2007) FLAC (tracks+.cue), lossless

The mid-'50s were a fruitful time for Illinois Jacquet, as he was about age 30. A popular and distinctive tenor saxophone soloist who could easily fit into a swing, big-band, bop, blues, or rhythm & blues context, he was also asserting himself as a bandleader. These sessions, the fifth in a series of Classics label reissues for Jacquet, are all originally from the Clef label and produced by Norman Granz. Mostly done in New York City, they feature his five-years-older brother, trumpeter Russell Jacquet, in a series of mid-sized ensembles that were hype-dubbed an orchestra. As Jacquet was involved with Granz in his Jazz at the Philharmonic traveling shows, these tunes naturally have a jam session feel. The first eight tracks, from 1953, feature a dynamite rhythm session of pianist Johnny Acea, bassist Al Lucas, and drummer Shadow Wilson. Trombonist Matthew Gee and baritone saxophonist Cecil Payne round out the "orchestra." There's some crazed, frantic bop on the "Out of This World" variation "On Your Toes," the lithe and fast hard bop with low-end bari and high-end brass of "Jacquet Jumps" and "Heads," the easy swing of Acea buoying "It's the Talk of the Town," and the totally bluesy counterpointed trumpet of Russell Jacquet as a foil for his brother during "R.U. One," minus Payne. Percussive tongue pops inspire the calypso beat of the unusual, near-novelty item "Jatap Conga." On the next four cuts, from 1954, Leo Parker replaces Payne, and Osie Johnson is the drummer man. Conga legend Chano Pozo joins in on the hot and joyous "Mambocito Mio," with group vocals, and there's the richly arranged "Jacquet's Dilemma" and the famous ballad "September Song," where the tenor of Jacquet explores the deepest blue spectrum. Two more cuts from 1954 team Ben Webster and Jacquet's unison tenors with Pozo on the Latinized bopper "The Kid and the Brute" and the follow-up slinky blues "I Wrote This for the Kid." The 1955 sessions are from Los Angeles with West Coasters Gerald Wiggins and Carl Perkins playing organ and piano, respectively. This combination breeds a neat energy, and with guitarist Irving Ashby, the band takes a different tack. Trumpeter Harry "Sweets" Edison is the tenor's foil, sliding easily through "Love Is Here to Stay" and the ballad "East of the Sun," while swinging hard on the fun tune "Empathy" and doing the groove biscuit similar to "Let the Good Times Roll," here dubbed "Cool Bill" (perhaps for Bill Doggett), minus Perkins. This short but potent time capsule in what must be considered the near prime of Illinois Jacquet is as precious as mid-period straight-ahead jazz gets, and is highly recmmended. Michael G. Nastos
Tracklist :

BILLY ECKSTINE AND HIS ORCHESTRA – 1944-1945 | The Chronogical Classics – 914 (1996) FLAC (tracks+.cue), lossless

One of the most glaring gaps in the jazz reissue boom is a thorough chronicle of Billy Eckstine's bop era work with both Earl Hines' group and his own innovative outfits. A veritable workshop for the era's teaming bop talent, Eckstine's big bands captured Charlie Parker's and Dizzy Gillespie's advances in a swing framework, which provided a challenging yet ultimately perfect setting for the singer's luxurious baritone. So, considering what's to be missed, listeners shouldn't hesitate in checking out this Classics collection of Eckstine's 1944-1945 sides, especially since Savoy's chronicle of the same material is in dire need of an audio upgrade. Effortlessly ranging between ballads, blues, and swingers, Eckstine delivers both hit covers ("Prisoner of Love," "Cottage for Sale") and indelible originals ("I Want to Talk About You," "Blowin' the Blues Away"). And with the likes of Fats Navarro, Dexter Gordon, Sonny Stitt, and Art Blakey on hand -- not to mention Tadd Dameron and Budd Johnson handling the charts and a young Sarah Vaughan contributing vocals -- the high standards are maintained throughout. A perfect companion collection to both Classics' followup disc of 1946-1947 tracks and Xanadu's roundup of Eckstine sides form the first half of the '40s. Stephen Cook  
Tracklist + Credits : 

SARAH VAUGHAN – 1944-1946 | The Classics Chronological Series – 958 (1997) FLAC (tracks+.cue), lossless

This first installment in the complete chronological recordings of Sarah Vaughan is a gold mine of great jazz dating from turbulent and transitional times. It's also one of the very best Sarah Vaughan retrospectives ever made available to the public. Vaughan positively glows in front of every ensemble lucky enough to back her, as she performs in an almost bewildering series of outstanding recordings on the De Luxe, Continental, Guild, Crown, Gotham, H.R.S., and Musicraft labels. She appears as a 20-year-old featured with Billy Eckstine's Orchestra, then sitting in with Dizzy Gillespie and Charlie Parker, with violinist Stuff Smith's Trio, and with the amazing John Kirby Sextet (here billed as his orchestra). She rubs shoulders with Trummy Young, Dicky Wells, Tony Scott, Ben Webster, Freddy Webster, Al Cohn, Serge Chaloff, Flip Phillips, Tadd Dameron, Bud Powell, Dexter Gordon, Gene Ammons, Leo Parker, Georgie Auld, Art Blakey, Max Roach, Sid Catlett, Max Roach, and pianist Jimmy Jones, destined to accompany Vaughan intermittently until 1958. The jazz talent assembled on this one disc is nothing short of formidable. Sarah Vaughan began her recording career in the eye of the hurricane of jazz in New York during the mid-'40s. This incredible compilation documents exactly how she went about it. arwulf arwulf
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J. J. JOHNSON – 1946-1949 | The Classics Chronological Series – 1176 (2001) FLAC (tracks+.cue), lossless

Coming up in the big bands led by Benny Carter and Count Basie, trombonist J.J. Johnson was among the first of the truly modern trombonists. For his first recording session as a leader, Johnson chose pianist Bud Powell, bassist Leonard Gaskin, drummer Max Roach, and the mighty Cecil Payne -- later famous as a baritone saxophonist -- blowing a really fine alto. Each of these Savoy sides bubbles with the fresh new energy of a vibrant, creative music reinventing itself. Johnson's next opportunity to lead occurred on December 24, 1947, with stellar bop baritone Leo Parker and a fine rhythm section in Hank Jones, Al Lucas, and Shadow Wilson. The sheer presence of so many great musical minds is thrilling as Sonny Rollins, John Lewis, and Gene Ramey show up at the third Savoy session on May 11, 1949. With the exception of six sides with Babs Gonzales earlier that year (as heard on Classics 1124, the 1947-1949 volume of the label's Gonzales chronology), these are the earliest recordings ever made by Sonny Rollins. Johnson's next two dates would result in eight sides for the New Jazz label, combining Rollins with Kenny Dorham and then in October of 1949 teaming up with alto saxophonist Sonny Stitt. This is exceptionally satisfying primal bop, with no unnecessary or superfluous chaff, an impressive beginning to an illustrious career. arwulf arwulf
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LEO PARKER – 1947-1950 | The Classics Chronological Series – 1203 (2001) FLAC (tracks+.cue), lossless

There's something about the purling, snarling and booting of a baritone sax that can create pleasant disturbances in the listener's spine and rib cage. Leo Parker came up during the simultaneous explosions of bebop and rhythm & blues. Everything he touched turned into a groove. Recording for Savoy in Detroit during the autumn of 1947, Leo was flanked by Howard McGhee and Gene Ammons, who at this point seems to have been operating under the influence of Lester Young. Leo does his own share of Prez-like one-note vamping, bringing to mind some of Lester's Aladdin recordings made during this same time period. Leo's Savoys originally appeared on 78 rpm platters, then on 10" long-playing records. Anyone who has ever heard one of these relics played on period equipment can testify to the sensation of hearing an old-fashioned phonograph wrestling with the extra fidelity contained in the voice of that king-sized sax. The next session happened in New York two months later. J.J. Johnson was on hand to supervise a smart recording of his own soon-to-be-famous "Wee Dot." Dexter Gordon is in fine form and it's nice to hear Joe Newman blowing so much gutsy bebop through his trumpet. Everything smoothes out for a gorgeous rendition of Duke Ellington's "Solitude," a lush feature for the baritone. The rhythm section of Curly Russell, Hank Jones and Shadow Wilson makes this particular session even more solid than usual. Leading his "Quintette" in Detroit on March 23rd, 1948, Leo races into "Dinky" with a run straight out of Herschel Evans' "Doggin' Around." Sir Charles Thompson tosses off some of his most fragmented playing, splattering the walls with abrupt block chords and tiny whirlpools of truncated riffs. "Señor Leo" cruises at a very cool, almost subterranean Latin tempo, a mood that brings to mind Bud Powell's hypnotic opus "Comin' Up." You get to hear the voices of Parker and Thompson at the beginning of "Chase 'n' the Lion," a fine bit of updated boogie-woogie. Apparently, Sir Charles was also known at that time as "Chase." A second session recorded on the same day adds Charlie Rouse to an already steaming band. Leo gnaws his way through four tunes of his own devising. Nothing brilliant here, just good hot jamming. The people at Prestige Records were smart enough to line up a date with the Leo Parker Quartet in July of 1950, resulting in what has got to be the hippest version of "Mona Lisa" ever put on record. The quartet hatched two other handsome ballads and a pair of kickers. "Who's Mad" is a sort of sequel to the famous "Mad Lad," made when Leo was recording for the Apollo label under Sir Charles' leadership. That makes "Mad Lad Returns" a sequel to the sequel. Unable or unwilling to shake this particular thematic, Leo called his next recording band "the Mad Lads." Two out of four sides were issued on the little Gotham label. Meet the all-but-forgotten Henri Durant, a bop tenor who made all the right moves and promptly split the scene. Good thing he at least made it on to this blowing session. Finally, get a load of Leo's creatively reconstituted "Solitude," rejected by Gotham but included by Classics at the tail-end of this mother lode of vintage recordings by the amazing Leo Parker. arwulf arwulf
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FATS NAVARRO – 1947-1949 | The Classics Chronological Series – 1108 (2000) FLAC (tracks+.cue), lossless

Trumpeter Fats Navarro's reign in jazz was short lived. He died in 1950 at a young age due to living the Charlie Parker lifestyle. In the short period that he made records as a leader in the late '40s, it was obvious had he not burned out, he was on his way to legendary status. Along with Dizzy Gillespie, Navarro was the premiere bebop trumpet innovator, influencing Clifford Brown and everyone who followed him. These recordings captured on Classics #1108 from 1947-1949 highlight Navarro (or Fat Girl as he was often referred) at his height. Navarro leads combos on these sessions (some live) that include Tadd Dameron, Charlie Ventura, Charlie Rouse, Buddy Rich, and Art Blakey. Navarro is also heard on four cuts backing up vocalist Earl Coleman and his all-stars with drummer Max Roach. Al Campbell
Tracklist :
1     Fat Girl 2:21
Fats Navarro
2    Ice Freezes Red 2:41
Tadd Dameron / Fats Navarro
3     Eb-Pob 2:24
Fats Navarro / Leo Parker
4     Goin' to Minton's 2:52
Fats Navarro
5     Sweet Georgia Brown, Pt. 1 2:33
Ben Bernie / Kenneth Casey / Maceo Pinkard
6     Sweet Georgia Brown, Pt. 2 2:21
Ben Bernie / Kenneth Casey / Maceo Pinkard
7     Sweet Georgia Brown, Pt. 3 2:45
Ben Bernie / Kenneth Casey / Maceo Pinkard
8     High on an Open Mike, Pt. 1 2:59
Dennis Sandole / Charlie Ventura
9     High on an Open Mike, Pt. 2 2:56
Dennis Sandole / Charlie Ventura
10     High on an Open Mike, Pt. 3 2:24
Dennis Sandole / Charlie Ventura
11     Nostalgia 2:45
Fats Navarro
12     Barry's Bop 2:40
Fats Navarro
13     Be-Bop Romp 2:37
Fats Navarro
14     Fats Blows 2:51
Fats Navarro
15     Guilty 3:04
Harry Akst / Gus Kahn / Richard A. Whiting
16     Yardbird Suite 2:34
Charlie Parker
17     Stranger in Town 3:04
Johnny Hawksworth
18     As Time Goes By 3:07
Herman Hupfeld
19     Move 2:36
Denzil Best
20     Wailing Wall 3:56
Fats Navarro
21     Go 3:28
Don Lanphere
22     Infatuation 3:38
Fats Navarro
23     STP 4:03

ILLINOIS JACQUET AND BEN WEBSTER - The Kid and the Brute (1954-1998) RM | FLAC (image+.cue), lossless

This single CD reissues all of the music from a former LP and a ten-inch LP. Of greatest interest are two fairly long selections (the blues "I Wrote This for the Kid" and a stomping "The Kid and the Brute") that match Illinois Jacquet with fellow tenor great Ben Webster. Since they have equally passionate and distinctive sounds, their "battle" is a draw. Otherwise, this 1998 CD finds Jacquet with his band of the mid-1950s, featuring short solos and fine support from trumpeter Russell Jacquet, trombonist Matthew Gee and either Leo Parker or Cecil Payne on baritone. Jacquet is at his best on the uptempo numbers, such as "Jacquet Jumps" and two versions of "On Your Toes," where he gets to honk in strategic places. An excellent example of Illinois Jacquet's hard-swinging and accessible music. Scott Yanow
Tracklist :
1     I Wrote This For the Kid 11:53
Illinois Jacquet
2     Saph 2:42
Johnny Acea / Illinois Jacquet
3     Mambocito Mio 2:51
Illinois Jacquet / Osie Johnson
4     The Kiid and the Brute 8:26
Illinois Jacquet
5     September Song 4:31
Maxwell Anderson / Kurt Weill
6     Jacquet's Dilemma 3:09
Johnny Acea / Illinois Jacquet
7     Little Jeff 2:41
Johnny Acea / Illinois Jacquet
8     Jacquet Jumps 1:49
Johnny Acea / Illinois Jacquet
9     Blue Nocturne 3:07
Johnny Acea / Elwyn Frazier / Illinois Jacquet
10     On Your Toes 3:16
Illinois Jacquet / A.K. Salim
11     R.U. One 2:53
Illinois Jacquet / A.K. Salim
12     Jatap La Conga 2:54
Illinois Jacquet / John Lewis
13     It's the Talk of the Town 3:27
Jerry Livingston / Al J. Neiburg / Marty Symes
14     Heads 3:20
Illinois Jacquet
15     On Your Toes 3:18
Illinois Jacquet / A.K. Salim
Credits :
Russel Jaquet (Trumpet)
Shadow Wilson (Drums)
Al Lucas (Bass)
Chano Pozo (Conga, Vocals)
John "Johnny" Adriano Acea (Piano)
Osie Johnson (Drums)
Illinois Jacquet (Sax (Alto), Sax (Tenor), Vocals, Mouth Percussion, Main Performer)
Leo Parker, Cecil Payne (Sax (Baritone)
Ben Webster (Sax (Tenor)
Matthew Gee (Trombone, Vocals)