LESTER YOUNG — The "Kansas City" Sessions (1997) FLAC (image+.cue), lossless

This is a CD overflowing with classic performances. The great Lester Young is heard with the 1938 version of the Kansas City Six, a group also including trumpeter Buck Clayton (in prime form), Eddie Durham on electric guitar (where he preceded Charlie Christian) and trombone, the rhythm guitar of Freddie Green, bassist Walter Page, and drummer Jo Jones. The four selections (all of which are joined by an alternate take apiece) are most notable for Young's switching to clarinet on some of the pieces. His clarinet solo on "I Want a Little Girl" sounds eerily like Paul Desmond's alto of 15 years later. These classic cool jazz performances have delightful interplay between the two horns. The second part of the reissue features the 1944 Kansas City Six in which Young (sticking to tenor) and trumpeter Bill Coleman are joined by a three-piece rhythm section and trombonist Dickie Wells. Wells, who takes some very colorful and nearly riotous solos, rarely sounded better, and the four selections are highlighted by three equally rewarding versions of "I Got Rhythm" and two of "Three Little Words." The CD concludes with the four titles by 1938's Kansas City Five, which was essentially the early Kansas City Six without Young. Clayton is once again in top form, and Durham's guitar solos were among the first worthwhile examples of the electric guitar on record. This gem is highly recommended for all jazz collections. Scott Yanow
Tracklist :
1    Kansas City Six–    Way Down Yonder In New Orleans (#2)    3:00
2    Kansas City Six–    Way Down Yonder In New Orleans    2:57
3    Kansas City Six–    Countless Blues    3:01
4    Kansas City Six–    Countless Blues (#2)    2:59
5    Kansas City Six–    Them There Eyes (#2) 2:57
Vocals – Freddie Green
6    Kansas City Six–    Them There Eyes 2:58
Vocals – Freddie Green
7    Kansas City Six–    I Want A Little Girl    2:53
8    Kansas City Six–    I Want A Little Girl (#2)    2:54
9    Kansas City Six–    Pagin' The Devil    2:57
10    Kansas City Six–    Pagin' The Devil (#2)    2:55
11    Kansas City Six–    Three Little Words (#2)    3:19
12    Kansas City Six–    Three Little Words    2:52
13    Kansas City Six–    Jo Jo    3:17
14    Kansas City Six–    I Got Rhythm (#3)    3:15
15    Kansas City Six–    I Got Rhythm (#2)    3:15
16    Kansas City Six–    I Got Rhythm    3:16
17    Kansas City Six–    Four O'Clock Drag    2:51
18    Kansas City Six–    Four O'Clock Drag (#3)    2:50
19    Kansas City Five–    Laughing At Life    3:05
20    Kansas City Five–    Good Mornin' Blues    2:51
21    Kansas City Five–    I Know That You Know    3:04
22    Kansas City Five–    Love Me Or Leave Me    2:47
Credits :
Bass – John Simmons (tracks: 11 to 18), Walter Page (tracks: 1 to 10, 19 to 22)
Drums – Jo Jones
Guitar – Freddie Green (tracks: 1 to 10, 19 to 22)
Piano – Joe Bushkin (tracks: 11 to 18)
Tenor Saxophone, Clarinet – Lester Young (tracks: 1 to 18)
Trombone – Dicky Wells (tracks: 11 to 18)
Trombone, Electric Guitar – Eddie Durham (tracks: 1 to 10, 19 to 22)
Trumpet – Bill Coleman (tracks: 11 to 18), Buck Clayton (tracks: 1 to 10, 19 to 22)
Notes.
Recorded in New York City.
Tracks 1 to 10 recorded September 28, 1938.
Tracks 11 to 18 recorded March 27, 1944.
Tracks 19 to 22 recorded March 16, 1938.

LESTER YOUNG — The Complete Lester Young Studio Sessions on Verve (2006) RM | 8xCD BOX-SET | FLAC (tracks+.cue), lossless

All too often, jazz critics have promoted the myth that Lester Young's playing went way downhill after World War II -- that the seminal tenor man was so emotionally wounded by the racism he suffered in the military in 1944-1945 that he could no longer play as well as he had in the '30s and early '40s. To be sure, Young went through hell in the military, and his painful experiences took their toll in the form of alcohol abuse, severe depression, and various health problems. But despite Young's mental decline, he was still a fantastic soloist. This eight-CD set, which gathers most of the studio recordings that he made for Norman Granz's Clef, Norgran, and Verve labels from 1946-1959, underscores the fact that much of his postwar output was superb. At its worst, this collection is at least decent, but the Pres truly excels on sessions with Nat "King" Cole and Buddy Rich in 1946, Oscar Peterson and Barney Kessel in 1952, Roy Eldridge and Teddy Wilson in 1956, and Harry "Sweets" Edison in 1957. Disc 8 contains two recorded interviews with the saxman -- one conducted by Chris Albertson in 1958 for WCAU radio in Philadelphia, the other by French jazz enthusiast Francois Postif in Paris on February 6, 1959 (only five or six weeks before Young's death on March 15 of that year). The contrast between the fascinating interviews is striking; in Philly, Young is polite and soft-spoken, whereas in Paris, the effects of the alcohol are hard to miss. Sounding intoxicated and using profanity liberally, Young candidly tells Postif about everything from his experiences with racism to his associations with Billie Holiday and Count Basie. But as much as the set has going for it, The Complete Lester Young Studio Sessions on Verve isn't for novices, casual listeners, or those who are budget-minded (Verve's suggested retail price in the U.S. was $144). Collectors are the ones who will find this CD to be a musical feast. Alex Henderson   Tracklist & Credits :

KANSAS CITY 5, 6 & 7 – 1938-1944 | The Classics Chronological Series – 912 (1996) FLAC (image+.cue), lossless

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 :

NAT "KING" COLE – 1941-1943 | The Chronogical Classics – 786 (1994) FLAC (tracks+.cue), lossless

The King Cole Trio cut a total of 16 sides for the Decca label beginning in December of 1940 (see Nat King Cole 1940-1941 -- Classics 773). Volume Three in the Classics Nat King Cole chronology gathers together perhaps for the first time all of the recordings he made between July 16, 1941 and November 2, 1943. The first eight tracks constitute the second half of Cole's Decca discography. "Hit the Ramp" is a finely crafted instrumental; the trio sings several hip novelties: "Call the Police," "Stop, the Red Light's On," "Are You Fer It?" and a soon-to-be-famous rendition of Skeets Tolbert's "Hit That Jive, Jack." Cole handled the sentimental "This Will Make You Laugh" and his own original blues, "That Ain't Right," soon to be smoothly covered by Slim Gaillard after being transformed into a boisterous duet by Fats Waller and Ada Brown in the 1943 motion picture Stormy Weather. Nathaniel Coles would not record again until July 15, 1942, when he collaborated with bassist Red Callender and tenor saxophonist Lester Young. The recordings that resulted from this unparalleled combination of musical minds were each around five minutes in length; on both the original 12" Philo 78 rpm double-disc album and the subsequent 10" Aladdin LP, the covers read "King Cole Lester Young Red Callender Trio" while the labels on the records identified the group as the "Lester Young Trio." This session resulted in music that belongs among the best jazz that any of the three participants ever performed in a recording studio. It is a prelude to Prez's excellent 1946 trio session with Cole and Buddy Rich. The remainder of this compilation makes available to the public the King Cole trio's little-known recordings made in October 1942 and March and November 1943 for the Excelsior and Premier labels. The next volume in the series opens with this group's very first Capitol recordings, cut at the end of November 1943. arwulf arwulf  
Tracklist + Credits :

HELEN HUMES – 1945-1947 | The Classics Chronological Series – 1036 (1998) FLAC (tracks+.cue), lossless

This second installment in the excellent Classics Helen Humes chronology covers the exciting material she recorded for the Philo (soon to become Aladdin), Black & White, and Mercury labels, first with her All-Stars in Los Angeles during 1945-1946 and then with Buck Clayton's band in New York in 1946 and 1947. Alternating between ballads, blues, and boogie-woogie, the singer exudes a wonderful passionate glow that sometimes borders on the sensual. The front lines of her West Coast bands were richly staffed with excellent players in trumpeter Snooky Young and saxophonists Willie Smith, Tom Archia, Corky Corcoran, Maxwell Davis, Wild Bill Moore, and -- fresh out of the Army -- Lester Young! Dig his beautiful solo on "Pleasing Man Blues." Note also the presence of some of the top rhythm section men in the Los Angeles area at that time: guitarists Allan Reuss, Dave Barbour, and Irving Ashby; bassist Red Callender; drummers Chico Hamilton and Henry Tucker Green; and pianists Arnold Ross, Eddie Beal, and the great Meade "Lux" Lewis, who adds a little mustard to the singer's sequel to her earlier hit record, "Be-Baba-Leba." Over on the East Coast, the Buck Clayton-led ensembles had equally strong support in tenor saxophonist John Hardee (his velvety introduction to "Blue and Sentimental" is nothing less than a tribute to Herschel Evans), pianists Ram Ramirez and Teddy Wilson, and the winning Kansas City combination of bassist Walter Page and drummer Jo Jones. Is this the best of Helen Humes? Pretty close to it; she's in the prime of her early maturity and the musicians are uniformly excellent. arwulf arwulf  
Tracklist :

TEDDY WILSON AND HIS ORCHESTRA – 1937 | The Classics Chronological Series – 531 (1990) FLAC (tracks+.cue), lossless

For this Classics CD (one in a series of Teddy Wilson releases that reissue all of the pianist's early recordings as a leader), Billie Holiday is featured on nine of the titles including "I'll Get By," "Mean to Me," "Foolin' Myself," and "Easy Living"; all of those gems also feature tenor saxophonist Lester Young. Much rarer are three songs with singer Helen Ward, a vocal by Frances Hunt ("Big Apple"), three by the forgotten vocalist Boots Castle, and five instrumentals. It is a pity that the selections without Holiday were not reissued separately since the Lady Day performances are generally quite common. Such immortal sidemen are heard from as Young, trumpeters Cootie Williams, Harry James and Buck Clayton, altoist Johnny Hodges, baritonist Harry Carney, and clarinetists Buster Bailey and Benny Goodman; this music is essential in one form or another. Scott Yanow
Tracklist + Credits :

TEDDY WILSON AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 548 (1990) FLAC (tracks+.cue), lossless

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

BENNY GOODMAN AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 899 (1996) FLAC (tracks), lossless

During the period covered by this CD, Benny Goodman & His Orchestra reached the height of their success with their historic January 12, 1938, Carnegie Hall concert. Shortly after, Gene Krupa had a personality conflict with Goodman and left the band, being replaced initially by Dave Tough. But Goodman still had such stars as Harry James, Ziggy Elman, Jess Stacy, Martha Tilton, Lionel Hampton, and Teddy Wilson plus himself, so his commercial success continued throughout 1938 despite competition from many other bands. This CD has the final numbers with Krupa (including "Life Goes to a Party," a hot quartet version of "I'm a Ding Dong Daddy From Dumas," "Don't Be That Way," and "One O'Clock Jump") and some worthy post-Krupa performances, including "The Blue Room" and "Make Believe," showing that Benny Goodman was still the king of swing. Scott Yanow
Tracklist : 

SAM PRICE AN HIS TEXAS BLUSICIAN – 1929-1941 | The Classics Chronological Series – 696 (1993) FLAC (tracks+.cue), lossless

This single CD from the European Classics label collects all of pianist Sammy Price's prewar recordings as a leader. Despite its title, only two titles preceded the 1940-41 period: "Blue Rhythm Stomp" by Price's Four Quarters in 1929, and "Nasty But Nice," which finds Price on the same day accompanying trombonist Bert Johnson. Otherwise, the music features Price's Texas Blusicians, New York-based septets and octets put together especially for recordings. The emphasis is on blues, with Price taking several vocals, but such notable guests as altoist Don Stovall, trumpeters Shad Collins and Emmett Berry and (on four songs) tenor great Lester Young uplift the music. Recommended to small-group swing collectors. Scott Yanow
Tracklist + Credits :

UNA MAE CARLISLE – 1938-1941 | The Classics Chronological Series – 1209 (2001) FLAC (tracks+.cue), lossless

A native of Xenia, Ohio, 17-year-old Una Mae Carlisle was performing in Cincinnati when Fats Waller heard her in 1932 and decided to give the young lady a boost into show business. It's not surprising then that she emulated Waller in style and repertoire. Her first recording date as a leader occurred in London on May 20th 1938. Una Mae takes "Don't Try Your Jive on Me" at a faster clip than the famous version by Fats Waller and His Continental Rhythm. Her piano is solid, the band swings and she has a pleasantly smooth voice. These qualities blossom during "I Would Do Anything for You" and especially throughout George Gershwin's "Love Walked In." Leonard Feather, composer of "My Fightin' Gal" and several other abject blues numbers based on unsavory topics, collaborated with Carlisle on "Hangover Blues." Una's hot and humorous handling of "Mean to Me" is light years away from the original weepy pop hit by Ruth Etting. Fats Waller had many imitators over the years, and Una Mae was one of the very best. When she urges the band on with a stream of friendly comments, even using authentic Waller phrases like "swing it on out there," the results are usually excellent. When she sinks her teeth into Waller's "Crazy 'Bout My Baby" she is a healthy off-shoot seeking out arable turf, ready to put down some original roots of her own. Legend has it the two of them became entangled in a tempestuous love affair, during which Una Mae's mother threatened Fats with violent retaliation after her daughter came home with a blackened eye! This adds a layer of subtext to Una Mae's duet with Waller, backed by His Rhythm on November 3 1939. It is one of the best recordings either of them ever made. Listen to the sultry texture of this woman's velvety voice, Waller's perfectly timed salty commentary, and his gleeful dismembering of the lyrics during his own vocal chorus. This was more than enough to secure steady work for Carlisle as a Bluebird recording artist. A quartet of Waller's best players supported her on four sides cut in August of 1940. "Papa's in Bed" is a bit silly but she makes it work. The gorgeous delicacy of "You Made Me Love You" and "If I Had You" make these two performances more substantial and timeless than the cute stuff. "Walkin' by the River" is Carlisle's best composition, and her little band renders it up delicately, Benny Carter's muted trumpet mingling nicely with her voice. Shad Collins and Lester Young showed up on her session of March 10 1941, during which Clyde Hart handled the piano. "There'll Be Some Changes Made" was made famous by Fats Waller in 1935. For her own rendition Una sings the often-deleted verse. Aside from being an almost high camp example of hip WWII topicality, "Blitzkrieg Baby (You Can't Bomb Me)" has a very relaxed solo by Lester Young. Compare these sides with the many records Pres made in the company of Billie Holiday. Volume one of the Carlisle chronology finishes up with four examples of what Carlisle sounded like when backed by the John Kirby Sextet. "Booglie Wooglie Piggy" with its incidental chorus of "Oink! Oink!" makes one wish that this Ohio native would have recorded "Cincinnati Dancing Pig" instead. "Oh I'm Evil" is very catchy and a bit nasty as Una Mae brandishes a "brand new shotgun" declaring that she's "got to do it now!"  arwulf arwulf   

Tracklist :
1 Don't Try Your Jive on Me 2:52
Leonard Feather / Edgar Sampson
2 I Would Do Anything for You 2:56
Alexander Hill / Claude Hopkins / Bobby Williams
 3 Hangover Blues  2:51
Una Mae Carlisle / Leonard Feather
4 Love Walked In 2:38
George Gershwin / Ira Gershwin
 5 Mean to Me 2:40
Fred E. Ahlert / Roy Turk
 6 I'm Crazy 'Bout My Baby 2:40
Alex Hill / Fats Waller
 7 I Can't Give You Anything but Love 2:57
Dorothy Fields / Jimmy McHugh
 8 Now I Lay Me Down to Dream 3:04
Eddie Howard, Jr.
 9 Papa's in Bed With His Britches On 2:42
J. Stone
 10 If I Had You 3:27
Jimmy Campbell / Reginald Connelly / Ted Shapiro
 11 You Made Me Love You 2:54
Joseph McCarthy / James V. Monaco
 12 Walkin' by the River 3:04
Una Mae Carlisle / Robert Sour
13 I Met You Then, I Know You Now 2:53
Una Mae Carlisle
14 Blitzkrieg Baby (You Can't Bomb Me) 3:21
Una Mae Carlisle
15 Beautiful Eyes 3:03
Ted Snyder / George A. Whiting
16 There'll Be Some Changes Made 2:45
Billy Higgins / W. Benton Overstreet
17 It's Sad But True 3:31
Martin Block
18 I See a Million People 3:03
Una Mae Carlisle / Robert Sour
19 Oh I'm Evil 2:25
Una Mae Carlisle
20 You Mean So Much to Me 2:51
Una Mae Carlisle
21 The Booglie Wooglie Piggy 2:42
Roy Jacobs

DICKIE WELLS – 1927-1943 (1997) The Classics Chronological Series – 937 | FLAC (tracks), lossless

This is the definitive Dickie Wells collection, presenting three very distinct periods in his remarkable career. As an appetizer for five sessions led by this fine trombonist, listeners get to hear his very first recordings, with Springfield, OH, native Lloyd Scott's orchestra in 1927 and Lloyd's brother Cecil Scott's Bright Boys -- featuring trumpeters Frankie Newton and Bill Coleman -- in 1929. This shot of seven outstanding old-fashioned numbers is a perfect example of great music from the late '20s, all but forgotten by the public today but available to dedicated early jazz addicts as part of the Classics Chronological Series. Dickie Wells spent the first half of the 1930s working in bands led by Elmer Snowden, Benny Carter, Chick Webb, and Fletcher Henderson. He joined Teddy Hill's band in 1934 and it was with Hill that Wells traveled to Paris during the summer of 1937. At the heart of this collection lie 12 marvelous recordings waxed during that tour, with the great Django Reinhardt and a few of his French friends sitting in with Wells (billed here as "Dicky") and a small team of seasoned North American swing musicians. Bill Coleman made himself at home, scat singing with gutsy nonchalance on "Hangin' Around Boudon." Additional trumpeters were Bill Dillard and Shad Collins, with further U.S. input from alto saxophonist Howard Johnson, pianist Sam Allen, bassist Richard Fullbright, and ace drummer Bill Beason. Dickie Wells was an accomplished trombonist, capable of expressing a full range of human emotions using growls, smears, glissandi, and honest, straight-up melodic candor. "Oh, Lady Be Good" and "Dicky Wells Blues" feature the trombone backed by a rhythm trio, highlighting his musical personality in living color. A veritable chasm lies between these 1937 recordings and the next session, recorded in December 1943 for Bob Thiele's Signature label. By this time, Wells had come through the fire of the Count Basie Orchestra, bringing with him several key players from that formidable swing machine. Most importantly, listeners get to hear Lester Young only months before his ill-fated encounter with the U.S. Army. Prez, Dickie, and Bill Coleman are each in fine form, jamming hard with solid support from a fine rhythm section in pianist Ellis Larkins, guitarist Freddie Green, bassist Al Hall, and master drummer Jo Jones. Because of Wells' nominal leadership and the fact that it was originally issued by a small independent label, this session is less well-known than Young's work with Basie and his Aladdin and Verve recordings. It is essential listening for all Lester Young fans, and should be digested along with Young's remarkable Keynote Quartet session that took place one week later. arwulf arwulf  
Tracklist :
1 Harlem Shuffle 3:03    
Kenneth Roane
Dicky Wells / feat: Lloyd Scott & His Orchestra
2 Symphonic Screach (Symphonic Scronch) 2:50    
Don Frye / Hubert Mann / Lloyd Scott
Dicky Wells / feat: Lloyd Scott & His Orchestra
3 Happy Hour Blues 2:40    
Don Frye / Lloyd Scott
Dicky Wells feat: Lloyd Scott & His Orchestra
4 Lawd, Lawd 3:07    
Cecil Scott
Dicky Wells feat: Cecil Scott & His Bright Boys
5 In a Corner 2:54    
Cecil Scott
Dicky Wells feat: Cecil Scott & His Bright Boys
6 Bright Boy Blues 3:06    
Don Frye / Cecil Scott
Dicky Wells feat: Cecil Scott & His Bright Boys
7 Springfield Stomp 3:07    
Don Frye / Cecil Scott
Dicky Wells feat: Cecil Scott & His Bright Boys
8 Bugle Call Rag 2:40    
Billy Meyers / Jack Pettis / Elmer Schoebel
 9 Between the Devil and the Deep Blue Sea 2:45    
Harold Arlen / Ted Koehler
 10 I Got Rhythm 2:11    
George Gershwin / Ira Gershwin
 11 Sweet Sue 3:03    
Will J. Harris / Victor Young
 12 Hangin' Around Boudon 2:52    
Dicky Wells
13 Japanese Sandman 2:56    
Richard A. Whiting / Albert Willemetz
 14 I've Found a New Baby 2:50    
Jack Palmer / Spencer Williams
 15 Dinah 2:46    
Harry Akst / Sam M. Lewis / Joe Young
 16 Nobody's Blues But My Own 3:00    
Dicky Wells
 17 Hot Club Blues 3:06    
Dicky Wells
 18 Oh, Lady Be Good 2:55    
George Gershwin / Ira Gershwin
 19 Dicky Wells Blues 3:18    
Dicky Wells
 20 I Got Rhythm 4:13    
George Gershwin / Ira Gershwin
21 I'm Fer It, Too 4:10    
Dicky Wells
22 Linger Awhile 3:05    
Harry Owens / Vincent Rose
23 Hello Babe 3:06
Dicky Wells

V.A. - The Complete Keynote Collection (1986) 334 Immortal Jazz Performances of the 40's | 21 x Vinyl, LP | MONO | FLAC (tracks), lossless

Tracklist :
• Record 1
George Hartman and his Orchestra
Lester Young Quartet
Lionel Hampton Sextet with Dinah Washington
• Record 2
"Little Jazz" (Roy Eldridge) and his Trumpet Ensemble
Coleman Hawkins Quintet ft.Teddy Wilson
Coleman Hawkins Quartet
• Record 3
Cozy Cole All Stars
• Record 4
Kansas City Seven
• Record 5
The Charlie Shavers Quintet ft. Earl Hines
• Record 6
Coleman Hawkins And His Sax Ensemble
Coleman Hawkins' All American Four
• Record 7
Benny Morton's Trombone Choir
Rex Stewart's Big Eight
• Record 8
The Keynoters
Pete Brown's All-Star Quintet ft. Kenny Kersey
• Record 9
Red Norvo All-Star Sextet
Billy Taylor's Big Eight
• Record 10
Jonah Jones And His Orchestra
George Hartman And His Orchestra ft. Frank Froeba
Red Norvo All Star Septet
• Record 11
Coleman Hawkins Quintet
Charlie Shavers' All American Five
• Record 12
George Wettling's New Yorkers
Cozy Cole And His Orchestra
Barney Bigard Quintet
• Record 13
Willie Smith And His Orchestra
Corky Corcoran & His Orchestra ft. Emmett Berry
Chubby Jackson And His Orchestra Orchestra
Bill Harris Septet
• Record 14
Milt Hinton And His Orchestra
J.C. Heard Quintet
Irving Fazola's Dixielanders
• Record 15
Bud Freeman And His Orchestra
Bud Freeman's All Star Orchestra
Jonah Jones And His Orchestra
• Record 16
Chubby Jackson's Rhythm
Ted Nash Quintet
The Keynoters
Babe Russin Quartet
• Record 17
Manny Klein's All Stars
Babe Russin Quintet
Herbie Haymer's Orchestra
Clyde Hurley And His Orchestra
Arnold Ross Quintet
• Record 18
Juan Tizol And His Orchestra
Benny Carter Quintet
Marie Bryant
Ann Hathaway With Ellis Larkins And His Orchestra
Gene Sedric & His Orchestra
• Record 19
Bernie Leighton Quintet
Bernie Leighton Quartet
Joe Thomas And His Orchestra
George Barnes Sextet
Danny Hurd Orchestra
• Record 20
Bill Harris And His New Music
Dave Lambert and Buddy Stewart with Red Rodney's Be-Boppers
Neal Hefti And His Orchestra
• Record 21
Lennie Tristano Trio
All Tracks & Credits :

BILLIE HOLIDAY AND HER ORCHESTRA — 1933-1937 (1991) The Classics Chronological Series – 582 | FLAC (tracks+.cue), lossless

Two things stand out in these early recordings. One, of course, is Lady Day's already fully mature style. The other is the superb quality of the musicians who backed her. A Benny Goodman combo; Bunny Berigan and Artie Shaw with Joe Bushkin and Cozy Cole; Jonah Jones with Ben Webster and Teddy Wilson; Buster Bailey; a bunch of Basie-ites including the superb Lester Young. Even without her this would be a gem. John Storm Roberts
Tracklist :
1 Your Mother's Son-In-Law 2:43
Mann Holiner / Alberta Nichols
2 Riffin' the Scotch 2:33
Fred Buck / Benny Goodman / Dick McDonough / Johnny Mercer
3 Did I Remember? 2:50
Harold Adamson / Walter Donaldson
4 No Regrets 2:35
Roy Ingraham / Harry Tobias
5 Summertime 2:54
George Gershwin / Ira Gershwin / DuBose Heyward
6 Billie's Blues 2:38
Billie Holiday
7 A Fine Romance 2:50
Dorothy Fields / Jerome Kern
8 I Can't Pretend 3:03
Harry Tobias
9 One, Two, Button Your Shoe 2:48
Johnny Burke / Arthur Johnston
10 Let's Call a Heart a Heart 3:01
Johnny Burke / Arthur Johnston
11 One Never Knows, Does One? 3:02
Mack Gordon / Harry Revel
12 I've Got My Love to Keep Me Warm 2:54
Irving Berlin
13 If My Heart Could Only Talk 3:02
Teddy Powell / Walter Samuels / Leonard Whitcup
14 Please Keep Me in Your Dreams 2:18
Vee Lawnhurst / Tot Seymour
15 Where Is the Sun? 2:46
Lee David / David Lee / John Redmond
16 Let's Call the Whole Thing Off 3:36
George Gershwin / Ira Gershwin
17 They Can't Take That Away from Me 3:02
George Gershwin / Ira Gershwin
18 Don't Know If I'm Comin' or Goin' 2:45
Lee Wainer
19 Me, Myself and I 2:35
Irving Gordon / Alvin Kaufman / Allan Roberts
20 A Sailboat in the Moonlight 2:49
John Jacob Loeb / Carmen Lombardo
21 Born to Love 2:38
J.K. Jerome / Jack Scholl
22 Without Your Love 2:52
John Lange / Fred Stryker
23 Getting Some Fun Out of Life 3:01
Joe Burke / Edgar Leslie
24 Who Wants Love? 2:33
Gus Kahn / Franz Waxman

BILLIE HOLIDAY AND HER ORCHESTRA — 1937-1939 (1991) The Classics Chronological Series – 592 | FLAC (tracks+.cue), lossless

While this Classics disc of Billie Holiday's 1937-1939 sides beats out Columbia's Quintessential titles for sound quality, it does pale a bit as far as top-notch material goes. That said, the 24 tracks here still boast fine performances, like "Trav'lin' All Alone," "You Go to My Head," and "I Can't Get Started." And the likes of Teddy Wilson, Lester Young, Buck Clayton, and Dicky Wells provide stellar backing. So, with the knowledge that this is part of a chronological run through Holiday's catalog -- bad songs and all -- one can still enjoy the disc with its more than merely adequate store of memorable cuts. Stephen Cook
Tracklist :
1 Trav'lin' All Alone 2:12
J.C. Johnson
2 He's Funny That Way 2:38
Neil Moret (Chas. N. Daniels) / Richard A. Whiting
3 Now They Call It Swing 2:59
N. Cloutier / Vaughn DeLeath / Lou Handman / Walter Hirsch
4 On the Sentimental Side 3:03
Johnny Burke / James V. Monaco
5 Back in Your Own Backyard 2:40
Dave Dreyer / Al Jolson / Billy Rose
6 When a Woman Loves a Man 2:24
Bernie Hanighen / Gordon Jenkins / Johnny Mercer
7 You Go to My Head 2:52
J. Fred Coots / Haven Gillespie
8 The Moon Looks Down and Laughs 2:53
Bert Kalmar / Harry Ruby / Sid Silvers
9 If I Were You 2:33
Buddy Bernier / Bob Emmerich
10 Forget If You Can 2:49
Leonard Joy / Jack Manus / Ken Upham
11 Havin' Myself a Time 2:29
Ralph Rainger / Leo Robin
12 Says My Heart 2:50
Burton Lane / Frank Loesser
13 I Wish I Had You 2:47
Bud Green / Al Stillman / Claude Thornhill
14 I'm Gonna Lock My Heart (And Throw Away the Key) 2:07
Jim Eaton / Terry Shand
15 Any Old Time 3:11
Artie Shaw
16 The Very Thought of You 2:44
Ray Noble
17 I Can't Get Started 2:46
Vernon Duke / Ira Gershwin
18 I've Got a Date With a Dream 2:42
Mack Gordon / Harry Revel
19 You Can't Be Mine (And Someone Else's Too) 2:20
J.C. Johnson / Chick Webb
20 That's All I Ask of You 2:55
Odean Pope
21 Dream of Life 2:43
Luther Henderson / Carmen McRae
22 You're Too Lovely to Last 2:47
Teddy McRae
23 Under a Blue Jungle Moon 2:55
Billie Holiday
24 Everything Happens for the Best 2:47
Billie Holiday / Tab Smith

BILLIE HOLIDAY AND HER ORCHESTRA — 1939-1940 (1991) The Classics Chronological Series – 601 | FLAC (tracks+.cue), lossless

This volume of the Classics Chronological series places Billie Holiday's music in historical context to an unusual degree, as her recordings for the Columbia and Commodore labels have until now been reissued separately because of copyright and catalog ownership. The songs parceled together here were recorded at a crossroads in Holiday's career. The setting for the first -- in what would constitute great changes in her life and music -- was Barney Josephson's Café Society Downtown. Located at 2 Sheridan Square, this was Manhattan's first fully integrated nightclub. Its clientele included a number of politically progressive intellectuals and social activists. When she first appeared at the club on December 30, 1938, Billie Holiday was known as a spunky vocalist who presented lively renditions of pop and jazz standards in what was considered an unusual yet accessible style. It was in the year 1939 that Lady Day gradually began to create a subtler if at times more provocative persona. Part of this equation was profoundly political, and the singer's activism is most stunningly present in "Strange Fruit," a powerfully disturbing setting of a poem by Lewis Allen describing in careful detail the appearance of a lynching victim. The specter of a black body hanging from a poplar tree was and still is a powerful image that can and should haunt the listener long after the song has ended. The fact that Holiday chose to incorporate this piece into her live performances puts her in a much different category from her preexisting cabaret image of a cheerful young jazz vocalist. It is a fact that after she began presenting "Strange Fruit" to the public -- and singing at benefits for politically progressive causes -- Billie Holiday became an object of FBI surveillance. John Hammond, generally regarded as the man who discovered Holiday and helped develop her career, is known to have disliked "Strange Fruit" and was behind Columbia's refusal to record this controversial song. Fortunately for posterity, Billie, backed by an ensemble drawn from the house band at Café Society, was able to wax four of her all-time best records -- including "Strange Fruit" -- on April 20, 1939, for Milt Gabler's innovative Commodore label. On the other hand, even when heard without the benefit of these historical insights, the music included in this part of the chronology is simply some of the best jazz of its day, rendered by some of the greatest players on the scene. An overview of the trumpeters, for example, includes Frankie Newton, Hot Lips Page, Charlie Shavers, Buck Clayton, Roy Eldridge, and Harry "Sweets" Edison. Billie's first collaborations with a tenor sax player were with Kenneth Hollon during the early '30s. Hollon was on hand at Café Society and can be heard on the first three sessions presented here. Tab Smith sounds particularly fine on soprano sax during "Long Gone Blues." The band backing Billie on December 13, 1939, was essentially Count Basie's Orchestra with Joe Sullivan sitting in at the piano. And the most precious element of all is the presence of Lester Young. The combined personalities of Pres and Lady Day transformed every song into a collective ritual filled with magic and poetic grace. arwulf arwulf  
Tracklist :
1 Why Did I Always Depend on You? 2:35
Paul Greenwood / Teddy McRae / R. Smith
2 Long Gone Blues 3:09
Billie Holiday feat: Billie Holiday & Her Orchestra
3 Strange Fruit 3:09
Lewis Allan
4 Yesterdays 3:21
Otto Harbach / Jerome Kern
5 Fine and Mellow 3:13
Billie Holiday feat: Billie Holiday & Her Orchestra
6 I Gotta Right to Sing the Blues 2:50
Harold Arlen / Ted Koehler
7 Some Other Spring 3:04
Arthur Herzog, Jr. / Irene Kitchings
8 Our Love Is Different 3:17
Billie Holiday / S. White
9 Them There Eyes 2:53
Maceo Pinkard / Doris Tauber / William Tracey
10 Swing, Brother, Swing 2:59
Lewis Raymond / Walter Bishop, Sr. / Clarence Williams
11 Night and Day 3:01
Cole Porter
12 The Man I Love 3:08
George Gershwin / Ira Gershwin
13 You're Just a No Account 3:01
Sammy Cahn / Saul Chaplin
14 You're a Lucky Guy 2:48
Sammy Cahn / Saul Chaplin
15 Ghost of Yesterday 2:41
Arthur Herzog, Jr. / Irene Kitchings / Wesley Wilson
16 Body and Soul 3:02
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
17 What Is This Going to Get Us? 2:43
Arthur Herzog, Jr. / Irene Kitchings
18 Falling in Love Again 2:53
Frederick Hollander / Sammy Lerner
19 I'm Pulling Through 3:13
Arthur Herzog, Jr. / Irene Kitchings / Irene Wilson
20 Tell Me More 3:11
Billie Holiday feat: Billie Holiday & Her Orchestra
21 Laughing at Life 2:57
Charles F. Kenny / Nick A. Kenny / Bob Todd / Cornell Todd
22 Time on My Hands 3:04
Harold Adamson / Mack Gordon / Vincent Youmans

BILLIE HOLIDAY – 1940-1942 (1993) The Classics Chronological Series – 680 | FLAC (tracks+.cue), lossless

Tracklist:
1. I'm All For You (3:13)
2. I Hear Music (2:43)
3. It's The Same Old Story (3:13)
4. Practice Makes Perfect (2:38)
5. St. Louis Blues (2:55)
6. Loveless Love (3:17)
7. Let's Do It (2:59)
8. Georgia On My Mind (3:21)
9. Romance In The Dark (2:17)
10. All Of Me (3:03)
11. I'm In A Low-Down Groove (3:10)
12. God Bless The Child (2:58)
13. Am I Blue? (2:51)
14. Solitude (3:16)
15. Jim (3:11)
16. I Cover The Waterfront (2:59)
17. Love Me Or Leave Me (3:22)
18. Gloomy Sunday (3:14)
19. Wherever You Are (3:02)
20. Mandy Is Two (3:01)
21. It's A Sin To Tell A Lie (3:05)
22. Until The Real Thing Comes Along (3:11)
23. Trav'lin' Light (3:14)

BILLIE HOLIDAY – 1949-1951 (2002) The Classics Chronological Series – 1220 | FLAC (tracks), lossless

Lady Day's Decca recordings of 1949 and 1950 find her working in front of loud, rather pushy big bands under the direction of Buster Harding and Sy Oliver, and ultimately performing in weird collusion with white-bread pop entity Gordon Jenkins. Porter Grainger's "'Tain't Nobody's Bizness if I Do" has been closely associated with Fats Waller since he recorded it in 1940. Lady Day sings it sweet and spicy, with showy brass accenting her every phrase. Everyone who has ever sung this number puts a personal spin on the lyrics. Tellingly, Billie Holiday insists that even if she finds herself being battered by her male companion, she will never seek help from the police and that's a personal matter of her own. This has a grim aftertaste if you reflect upon her story up close, but Billie was not alone in taking this sort of a stand -- Victoria Spivey's "Let Him Beat Me" comes to mind, and there's nothing for the listener to do but reflect upon human nature, which is what music -- especially blues and jazz -- is all about. The folks at Decca seem to have had in mind an entire Holiday album of songs associated with Bessie Smith, but unfortunately only three such numbers made it to completion. Just think how nice it would be to have on hand Billie's renditions of "Me and My Gin," "You've Got to Give Me Some," "Backwater Blues," "Wasted Life Blues," "Put It Right Here," and "Send Me to the 'Lectric Chair"! Thank goodness she completed the three Bessie Smith covers heard here. Lady Day's handling of "Keeps On A-Rainin'" is exquisite. "Do Your Duty" seems almost like a burlesque because of the brassy arrangement, and this singer substitutes "buck" for Smith's copulative term used on the original recording. Billie sounds delighted to be singing "Gimme a Pigfoot" even if the prevailing social atmosphere did not permit her to echo Bessie's inclusion of the word "reefer," however accurate that might have been coming from the marijuana-reliant Holiday. The players in the bands backing her in August and September of 1949 form a strong contingent from the swing scene of the previous decade, with a couple of Young Lions -- George Duvivier and Shadow Wilson -- thrown in for good measure. On September 30th of that year Billie Holiday recorded two duets with her idol, Louis Armstrong, their two voices mingling more on "My Sweet Hunk o' Trash" than on the flip side. In a way these performances resemble Armstrong's humorous collaborations with Jack Teagarden. Four selections from October 1949 find our Lady backed with a small band augmented with strings under the direction of Gordon Jenkins. While some may regard these sides as too schmaltzy, anyone truly in love with this singer's voice will be able to relax and enjoy the ride. The Gordon Jenkins Singers, on the other hand, are so square-sounding that most jazz fans will struggle with the incongruity of it all. Billie herself manages to sound wonderful even under these circumstances. Finally, four titles recorded in April of 1951 for the Aladdin label provide a much-needed antidote after all that fluff. Here the singer is backed by the Tiny Grimes Sextette, the only identified members being gutsy saxophonist Haywood Henry, pianist Bobby Tucker, and Grimes himself. Two tasty blues are followed by a magnificent version of Fats Waller's "Blue Turning Grey Over You" and the wistful "Detour Ahead." arwulf arwulf   
Tracklist :
1 'Tain't Nobody's Bizness if I Do 3:22
Porter Grainger / Robert Prince / Clarence Williams
2 Baby Get Lost 3:16
Leonard Feather / Billy Moore Jr.
3 Keeps On A-Rainin' 3:17
Max Kortlander / Spencer Williams
4 Them There Eyes 2:51
Maceo Pinkard / Doris Tauber / William Tracey
5 Do Your Duty 3:17
Wesley Wilson
6 Gimme a Pigfoot (And a Bottle of Beer) 2:46
Wesley Wilson
7 You Can't Lose a Broken Heart 3:16
James P. Johnson / F.E. Miller
Billie Holiday feat: Louis Armstrong
8 My Sweet Hunk o' Trash 3:21
James P. Johnson / F.E. Miller
Billie Holiday feat: Louis Armstrong
9 Now or Never 3:18
Peter DeRose / Billie Holiday / Curtis Lewis
10 You're My Thrill 3:26
Sidney Clare / Jay Gorney
11 Crazy He Calls Me 3:06
Bob Russell / Carl Sigman
12 Please Tell Me Now 3:15
Arnold Clawson / Toussaint Pope
13 Somebody's On My Mind 2:58
Billie Holiday / Arthur Herzog, Jr.
14 God Bless the Child 3:11
Billie Holiday / Arthur Herzog, Jr.
15 This Is Heaven to Me 2:53
Frank Reardon / Ernest Schweikert
16 Be Fair to Me 2:43
Larry Darnell / Ravon Darnell / Johnny Mercer / David Messner
Billie Holiday feat: Tiny Grimes Sextette
17 Rocky Mountain Blues 3:11
Frank Haywood / M. Tucker
Billie Holiday feat: Tiny Grimes Sextette
18 Blue Turning Grey Over You 2:06
Andy Razaf / Fats Waller
Billie Holiday feat: Tiny Grimes Sextette
19 Detour Ahead 3:06
Lou Carter / Ron Carter / Herb Ellis / Rev. Walter Ellis / John Freigo / Johnny Frigo
Billie Holiday feat: Tiny Grimes Sextette

COUNT BASIE AND HIS ORCHESTRA – 1936-1938 – The Classics Chronological Series – 503 (1990) FLAC (tracks+.cue), lossless

Bill (Count) Basie first shows up on record at the end of the 1920s, playing piano with Bennie Moten & the Kansas City Orchestra. Legend has it that Basie became a "Count" after Moten teasingly referred to him as "that no-account Basie." Classics No. 503 presents Basie's first recordings as a leader. On October 9th, 1936, a five-piece band cut two instrumental stomps and a pair of blues with vocals by Jimmy Rushing. Since Basie was breaking a contract by recording for the Vocalion label, the band was billed as "Jones-Smith, Inc." The "Jones" was drummer Jo Jones, and the "Smith" was trumpeter Carl Smith, filling in that day for Buck Clayton, who had a split lip. Basie opened up "Shoe Shine Boy" with a bit of his own brand of Harlem stride piano, powerfully supported by Walter Page's bass fiddle. Lester Young, shining like the rising sun, was making his very first appearance on phonograph record. Strong as nails, full of ideas and rhythmic enthusiasm, Young was obviously happy to be cooking in front of the microphone that day. On the 21st of January, 1937 the Count Basie Orchestra became a phonographic reality, utilizing former members of Walter Page's Blue Devils and Bennie Moten's Kansas City Orchestra. Basie honored his Harlem roots by dishing up a smart instrumental treatment of Fats Waller's "Honeysuckle Rose," and a stomp dedicated to Waller's preferred cathouse, the Daisy Chain. "Roseland Shuffle" is remarkable for the extended "conversation" between Lester Young's sax and Basie's piano. Jimmy Rushing is often narrowly categorized as a blues singer rather than a versatile jazz vocalist who could sing anything, including the blues, with extraordinary passion. Rushing had developed himself as a singer of pop songs with Moten, so it's not surprising that he does so well with "Pennies From Heaven." Rushing often made it seem as though he himself had written the songs he sang. He did all he could with "Boo Hoo," a cutesy Guy Lombardo hit made into a smoking instrumental in 1937 by Fats Waller His Rhythm & His Orchestra. Waller sang on his own version of "Smarty," while Basie was wise enough to keep it instrumental. This left more room for a solo by Herschel Evans, who shared clarinet and tenor sax responsibilities with Lester Young. The March 26, 1937 version of "Boogie Woogie" is a big band expansion of the blues shuffle recorded with the small group five months earlier, and the effect is anything but redundant. What an amazing band! "One O'Clock Jump" made its very first appearance in July of '37, featuring Lester Young in all his glory. Compare his solo with that of Herschel Evans' on "John's Idea" and you'll be savoring one of the greatest tenor sax dichotomies in the history of big band jazz. Evans sounds like Coleman Hawkins or Chu Berry. Young sounds like Young and nobody else. In just a few years, half the tenors in the world would be trying to sound exactly like him. 1937 and '38 were wonderful years for this group of musicians. Things evolved steadily. New energies gradually began to pervade the ensemble: Earle Warren, Freddie Green, Eddie Durham, Benny Morton. Each man brought his personality along with his chops. The future looked, and was, very bright for Basie's Orchestra. What a treat to catch this wonderful band as it perpetually reinvented itself for all to hear. arwulf arwulf