ELLA FITZGERALD — Whisper Not (1966-2002) RM | LP Reproduction Series | Two Version | FLAC (image+.tracks+.cue), lossless

Whoever decided to put pianist Marty Paich and Ella Fitzgerald together in the studio in 1966 deserves a bit of credit for the great music on Whisper Not. Together, Fitzgerald and Paich deliver a dozen beautifully sung, carefully arranged standards. An orchestra tastefully backs Fitzgerald's vocals, offering cushy support without overdoing it. Even lighter pieces like "Sweet Georgia Brown" and "Old MacDonald" are given stately renditions. There's a fun version of "I Said No," filled with silly double entendres, and a relaxed take on "Thanks for the Memory." Norman Granz takes full advantage of stereo capabilities, creatively mixing the instruments to the right and left tracks while leaving Fitzgerald's voice front and center. Paich adds to the overall sound quality by varying the arrangements from song to song, carefully wrapping each tune in the right package. These fine-tuned arrangements also provide the perfect launching pad for Fitzgerald to place her own stamp on material associated with other singers. While both "Lover Man (Oh Where Can You Be)" and "You've Changed" will be recognized as Billie Holiday classics, Fitzgerald delivers light, elegant versions that are distinctly her own. Whisper Not captures two intelligent artists working toward a common goal and creating beautiful music in the process. Ronnie D. Lankford
Tracklist :
1. Sweet Georgia Brown 3:35
 Ben Bernie / Kenneth Casey / Maceo Pinkard
2. Whisper Not 3:04
 Leonard Feather / Benny Golson
3. I Said No 4:04
 Frank Loesser / Jule Styne
4. Thanks for the Memory 4:05
 Ralph Rainger / Leo Robin
5. Spring Can Really Hang You Up the Most 3:51
 Fran Landesman / Tommy Wolf
6. Old MacDonald 2:19
  Traditional
7. Time After Time 3:31
 Sammy Cahn / Jule Styne
8. You've Changed 3:19
 Bill Carey / Carl Fischer
9. I've Got Your Number 3:16
 Cy Coleman / Carolyn Leigh
10. Lover Man (Oh Where Can You Be?) 4:24
 Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
11. Wives and Lovers 2:24
 Burt Bacharach / Hal David
12. Matchmaker 2:49
 Jerry Bock / Sheldon Harnick
Credits :
Ella Fitzgerald - Vocal
Marty Paich - Piano, Arranger
Chuck Berghofer - Double Bass
Louie Bellson - Drums
Harry "Sweets" Edison - Trumpet
Shelly Manne - Drums
Joe Mondragon - Double Bass
Bill Perkins - Tenor Saxophone
Jimmy Rowles - Piano
Al Viola - Guitar
Stu Williamson - Trumpet

SARAH VAUGHAN — How Long Has This Been Going On? (1978) Three Version (1985, RM | Pablo Records – J33J 20044 JP) + (1987, RM | Pablo Records – 98.848 EU) + (2003, RM | XRCD, Heritage Of Jazz by XRCD – 40) FLAC (image+tracks+.cue), lossless

This set features the great Sarah Vaughan in a typically spontaneous Norman Granz production for Pablo with pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown, and drummer Louie Bellson. Sassy sounds wonderful stretching out on such songs as "Midnight Sun," "More Than You Know," "Teach Me Tonight," and "Body and Soul," among others. All ten of the melodies are veteran standards that she knew backwards but still greeted with enthusiasm. A very good example of late-period Sarah Vaughan. Scott Yanow
Tracklist :
1    I've Got The World On A String    5:35
 Harold Arlen / Ted Koehler
2    Midnight Sun    4:36
 Sonny Burke / Lionel Hampton / Johnny Mercer

3    How Long Has This Been Going On?    5:58
 George Gershwin / Ira Gershwin
4    You're Blase    5:06
 Ord Hamilton / Bruce Sievier
5    Easy Living    4:37
 Ralph Rainger / Leo Robin
6    More Than You Know    6:42
 Edward Eliscu / Vincent Youmans
7    My Old Flame    6:11
 Sam Coslow / Arthur Johnston
8    Teach Me Tonight    3:03
 Sammy Cahn / Gene DePaul
9    Body And Soul    3:40
 Frank Eyton / Edward Heyman / Robert Sour
10    When Your Lover Has Gone     2:54
 Einar A. Swan
Credits :
Sarah Vaughan - Vocals
Oscar Peterson - Piano
Joe Pass - Guitar
Ray Brown - Bass
Louie Bellson - Drums

COUNT BASIE • JOE TURNER — The Bosses (1974-1994) RM | FLAC (tracks+.cue), lossless

Count Basie and an all-star band (including trumpeter Harry Edison, trombonist J.J. Johnson and the tenors of Eddie Davis and Zoot Sims) back up veteran Kansas City blues singer Big Joe Turner on one of his better later albums. The many fine solos inspire Turner, who is in top form on such tunes as "Night Time Is the Right Time," "Wee Baby Blues" and "Roll 'Em Pete." Scott Yanow
Tracklist :
1. Honeydripper 6:42
 Joe Liggins
2. Honey Hush 2:37
 Lou Willie Turner
3. Cherry Red 4:42
 Pete Johnson / Big Joe Turner
4. Night Time Is The Right Time 3:54
 Leroy Carr
5. Blues Around The Clock 4:58
 Willie Bryant
6. Since I Fell For You 3:55
 Buddy Johnson
7. Flip, Flop And Fly    3:28
 Charles E. Calhoun / Chuck Calhoun / Lou Willie Turner
8. Wee Baby Blues 5:37
 Pete Johnson / Big Joe Turner
9. Good Mornin' Blues 3:50
 Count Basie / Eddie Durham / Jimmy Rushing
10. Roll 'Em Pete 4:16
 Pete Johnson / Big Joe Turner
Credits :
Bass – Ray Brown
Drums – Louis Bellson
Guitar – Irving Ashby
Piano, Organ – Count Basie
Tenor Saxophone – Eddie Davis, Zoot Sims
Trombone – J.J. Johnson
Trumpet – Harry Edison
Vocals – Joe Turner

COUNT BASIE Encounters OSCAR PETERSON — Satch and Josh (1974-1998) RM | FLAC (image+.cue), lossless

Producer Norman Granz occasionally got carried away with the quantity of his recording projects. In 1974 he recorded a full album teaming fellow pianists Count Basie and Oscar Peterson in a rhythm quintet; little did anyone realize that this then-unique matchup would eventually result in five albums. This first one, which finds Basie doubling on organ, is among the best. Peterson's virtuosic style somehow worked very well with Basie's sparse playing and these ten numbers really swing. Scott Yanow
Tracklist :
 1. Buns Blues [4:37]
Written-By – Basie, Peterson
2. These Foolish Things (Remind Me Of You) [5:45]
Written-By – Link, Marvell, Strachey
3. R B [5:35]
Written-By – Basie, Peterson
4. Burning [4:15]
Written-By – Basie, Peterson
5. Exactly Like You [6:19]
Written-By – Fields/McHugh
6. Jumpin' At The Woodside [2:54]
Written-By – Basie, Peterson
7. Louie B. [6:21]
Written-By – Basie, Peterson
8. Lester Leaps In [4:09]
Written-By – Lester Young
9. Big Stockings [4:29]
Written-By – Basie, Peterson
10. S & J Blues [7:53]
Written-By – Basie, Peterson
Credits :
Bass – Ray Brown
Drums – Louie Bellson
Guitar – Freddie Green
Organ – Count Basie
Piano – Count Basie, Oscar Peterson
Producer – Norman Granz
Remastered By – Phil De Lancie

OSCAR PETERSON and COUNT BASIE — Satch and Josh Again! (1978-1998) RM | FLAC (image+.cue), lossless

Recorded three years after their first full album together, this second encounter between Count Basie and Oscar Peterson on twin pianos (this time with a quartet) is as strong as the original, alternating standards with blues. Both Peterson and Basie have one number apiece on electric piano, making this album historic as well as quite musical. Scott Yanow
Tracklist :
1.    Roots 6:44
Count Basie / Oscar Peterson
2.    Red Wagon 5:37
Gene DePaul / Richard M. Jones / Don Raye
3.    Home Run 2:40
Count Basie / Oscar Peterson
4.    Sweethearts on Parade 6:37
Carmen Lombardo / Charles Newman
5.    Lil' Darlin' 4:28
Neal Hefti
6.    The Time Is Right 4:31
Oscar Peterson
7.    Cherry 5:50
Don Redman
8.    Lester Leaps In 4:49
Lester Young
9.    She's Funny That Way 5:38
Neil Moret / Richard A. Whiting
10.    Lady Fitz 4.46
Count Basie / Oscar Peterson
Credits :
Bass – John Heard
Drums – Louis Bellson
Electric Piano – Count Basie (tracks: 10), Oscar Peterson (tracks: 5)
Piano – Count Basie (tracks: 1 to 9), Oscar Peterson (tracks: 1 to 4, 6 to 10)
Producer – Norman Granz
Remastered By – Joe Tarantino

ART TATUM — The Complete Pablo Group Masterpieces (1990) RM | 6CD BOX-SET | FLAC (tracks+.cue), lossless

Tatum spent most of his career as a solo pianist; in fact, it was often said that he was such an unpredictable virtuoso that it would be difficult for other musicians to play with him. Producer Norman Granz sought to prove that the theory was false, so between 1954 and 1956 he extensively recorded Tatum with a variety of other classic jazzmen, resulting originally in nine LPs of material that is now available separately as eight CDs and on this very full six-CD box set. In contrast to the massive solo Tatum sessions that Granz also recorded during this period, the group sides have plenty of variety and exciting moments, which is not too surprising when one considers that Tatum was teamed in a trio with altoist Benny Carter and drummer Louie Bellson; with trumpeter Roy Eldridge, clarinetist Buddy DeFranco, and tenor saxophonist Ben Webster in separate quartets; in an explosive trio with vibraphonist Lionel Hampton and drummer Buddy Rich; with a sextet including Hampton, Rich, and trumpeter Harry "Sweets" Edison; and on a standard trio session. Scott Yanow    Tracklist & Credits :

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 :

ROY ELDRIDGE | DIZZY GILLESPIE — Roy And Diz (1954-1994) RM | FLAC (tracks+.cue), lossless

This set features two sizzling horns mingling in a decidedly frenetic dance contest. These songs hop and bounce with enduring vitality. A definite coolness exists within the searing solos of the two trumpet kings as they empty their lungs, executing mind-spinning, scale-like passages and high notes, and there's a palpable sense of competition as they take turns performing their acrobatic brass-work. They can both propel notes from their horns like nobody's business, yet their tonal and stylistic differences create two distinct elements within the music.

Bassist Ray Brown's tempos provide a cool structure for the flurries of notes the trumpets cast forth. Some of the most poetic moments from these 1954 recordings are when their collaboration intertwines them within the passages, but their supercharged blowing naturally finds a subtler ground and tact when they come together in a musical braid work that's no less affecting than their solos. AllMusic   Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1950-1951 | The Classics Chronological Series – 1258 (2002) FLAC (tracks+.cue), lossless

Volume 40 in the complete sequential recordings of Duke Ellington, as compiled and reissued in 2002 as part of the Classics Chronological Series, covers about a half-year's time from December 18, 1950 to May 24, 1951, beginning with two extended tracks initially issued on the Columbia LP Masterpieces by Ellington. With Sophisticated Lady and Solitude, Ellington took advantage of the new long-playing format to allow the band to stretch out as they'd been doing in live performance for many years. The vocalist on Sophisticated Lady was Yvonne Lanauze. In addition to the usual rich palette of Ellington and Strayhorn compositions, this portion of the chronology contains original works by trumpeters Charlie Shavers and William "Cat" Anderson; by valve trombonist and arranger Juan Tizol, tenor saxophonist Paul Gonsalves, and Luigi Paulino Alfredo Francesco Antonio Balassoni, commonly known as drummer Louie Bellson, who had recently migrated from the Harry James Orchestra with Tizol and alto saxophonist Willie Smith. The music heard on this disc was recorded at a time when all of the big bands -- even those led by Count Basie and Duke Ellington -- were struggling to keep their heads above water. This explains the inclusion of seven selections that were released on Mercer records -- a short-lived independent label managed by Mercer Ellington, and Leonard Feather -- featuring a scaled down group known as Duke Ellington's Coronets. The titles credited to the Coronets are "Night Walk (Cat Walk)," "Moonlight Fiesta," "She (Sensuous)," "Swamp Drum," "Sultry Serenade," "Indian Summer," and the "Britt and Butter Blues" which referred to a pair of master trombonists, Britt Woodman and Quentin "Butter" Jackson. arwulf arwulf        Tracklist + Credits : 

DUKE ELLINGTON AND HIS ORCHESTRA – 1951 | The Classics Chronological Series – 1282 (2003) FLAC (tracks+.cue), lossless

Volume 41 in the complete chronological recordings of Duke Ellington as reissued by the Classics label contains 16 master takes that came together during the second half of 1951, the year that saw the release of Duke's marvelous Uptown album. Although big bands were struggling to stay together during this period and Johnny Hodges was off making records with producer Norman Granz, the Ellington Orchestra sounds exceptionally fine throughout. Billy Strayhorn had a lot to do with the elegance that characterizes the 1951 recordings, and the soloists are in extraordinarily good form. "Deep Night" features trombonists Juan Tizol, Quentin "Butter" Jackson, and Britt Woodman. "Please Be Kind" belongs to alto saxophonist Willie Smith, an alumnus of the Jimmie Lunceford Orchestra. The "Duet" between bassist Wendell Marshall and clarinetist Jimmy Hamilton is mostly an orchestral number that ends as a duo. Hamilton also plays tenor sax on "Bensonality." "Jumpin' with Symphony Sid," a tune rarely associated with Ellington, here becomes a solid steady groove that you'll want to slip into more than once. "Before My Time" from the "Controversial Suite" was Duke's whimsical response to the language of music critics who used up a lot of energy defining Tradition and Modernity; the Suite's title also referred to the flashy progressivism of Stan Kenton. The vocalist on "Blues at Sundown" is Jimmy Grissom, a steady customer who also handles Strayhorn's "Something to Live For" and "Azalea," a love song that Ellington claimed to have designed for Louis Armstrong, who subsequently recorded it with Duke about ten years later on that utterly essential Roulette album, The Great Summit. arwulf arwulf       Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1952 | The Classics Chronological Series – 1320 (2003) FLAC (tracks+.cue), lossless

Here's a treat. Vol. 42 of the chronologically reissued recordings of Duke Ellington opens with some 56 minutes of music recorded live at the Civic Auditorium in Seattle, WA, on March 25, 1952. This document fully conveys the excitement of hearing Duke's orchestra in person, on tour in the great Northwest. Ellington enthusiasts have cherished these recordings for years, and this concert is particularly satisfying. "Skin Deep" is an extroverted exercise for drum kit by Louie Bellson. After this percussive fireworks display the leader provides eloquent spoken introductions, acknowledging the musician chosen as soloist on each selection. Conservatory-trained trombonist Britt Woodman -- a favorite of Charles Mingus -- expresses himself beautifully throughout "Sultry Serenade." "Sophisticated Lady" spotlights "internationally celebrated alto saxophonist" Willie Smith. Clark Terry is the star soloist on a smoky ride through Juan Tizol's "Perdido," after which that valve trombonist elucidates another of his marvelous compositions, "Caravan." Ellington composed his majestic "Harlem Suite" for the NBC Symphony Orchestra. He briefly explains the concept of the piece and reminds his audience that Harlem has "more churches than cabarets." This was in keeping with Duke's lifelong dedication to improving the public's understanding and appreciation of Afro-American culture. Louie Bellson's zippy offering, "The Hawk Talks," has a rowdy piano introduction, whereupon the band generates quite a head of steam. There is a very showy crowd-pleasing medley of Ellington hits and lastly the famous "Jam With Sam," during which Ellington briefly introduces each soloist. This may serve as a listening lexicon of more than half of the wind players in the band at that time, enabling the listener to become better acquainted with the specific sounds of Willie Cook, Russell Procope, and Quentin "Butter" Jackson, as well as the familiar tones of Paul Gonsalves and Cat Anderson. On the cusp of June and July 1952, the Ellington orchestra concentrated its energies on the art of making extended LP recordings. Betty Roche added her scat singing to eight glorious minutes of "Take the 'A' Train" and did up "I Love My Lovin' Lover" in what at times seems a fairly close imitation of Dinah Washington. Jimmy Grissom goes out of his way to sound like Al Hibbler during "Come On Home." This full helping of Ellington jazz closes with an exquisitely expanded rendition of Duke's hit of 1928, "The Mooche," with breathtaking solos by Jimmy Hamilton, Quentin Jackson, Willie Smith, Ray Nance, and the mighty Harry Carney. arwulf arwulf    Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1952-1953 | The Classics Chronological Series – 1350 (2004) FLAC (tracks+.cue), lossless

You've got to hand it to the folks at Classics. This is Vol. 43 in their meticulous chronological survey of the recorded works of Duke Ellington. Opening with eight and a half glorious minutes of Juan Tizol's "Perdido," this disc provides a glimpse of Duke's orchestra at a time when the music industry was allowing a lot of big bands to dry up and blow away. How sweet -- and hot -- it is to hear this particular ensemble, bristling with a brass menagerie including Clark Terry, Cat Anderson, Butter Jackson, and Britt Woodman. Drummer Louie Bellson is prominently featured on his nearly seven-minute percussion showcase, "Skin Deep." These two extended LP tracks are followed by a series of lesser-known three-minute recordings. "Ballin' the Blues," with shout vocal by Jimmy Grissom, sounds almost like Wynonie Harris. A second version from 1953 provides a rare example of Ellington the boogie-woogie pianist. "Body and Soul," eloquently sung by Betty Roche, comes across majestically cool. "Primpin' for the Prom" turns on the magical Ellington light show, evoking a breathtaking sunset over any large city's skyline. Grissom grinds out a rather neurotic-sounding "Vulture Song," most memorable for Jimmy Hamilton's clarinet runs. "Satin Doll" is charming in this early incarnation. Grissom keeps returning with fairly gruesome existential offerings that make one wish for the stylistic exaggerations of Al Hibbler. But the instrumentals are exquisitely rendered. "Cocktails for Two" unfolds beautifully, and Paul Gonsalves shares "My Old Flame" with Hamilton's clarinet. Duke lays down a few delightfully eccentric chords at the piano during the opening of a marvelous rendition of "I Can't Give You Anything But Love." "Three Little Words" is particularly handsome. "Orson," apparently a portrait of a certain Hollywood director, has an appropriately film noir flavor. "Boo-Dah" features Billy Strayhorn at the piano. "Blossom," an Ellington/Strayhorn collaboration, breathes with beatific calm. The disc ends with an updated "Warm Valley," featuring the milky tenor saxophone of Paul Gonsalves. arwulf arwulf    Tracklist + Credits :

BEN WEBSTER – 1953-1954 | The Chronogical Classics – 1458 (2008) FLAC (tracks+.cue), lossless

Almost 25 years into his recording career, tenor saxophonist Ben Webster made a series of studio recordings under the supervision of producer Norman Granz. These marvelous performances were reissued in chronological sequence by the Classics label in 2008. Each volume of Ben Webster on Classics is richly packed with satisfying ballads, blues, and swing. This installment borders between superb and divine. Three titles recorded for Mercury on January 22, 1953, find Webster soloing in front of an orchestra conducted by Johnny Richards, a student of Arnold Schoenberg who served as an arranger for Stan Kenton. Recorded at sessions that took place in April and December 1953, tracks four through 12 were originally released on the Norgran album King of the Tenors. The collective personnel from these dates is typical of the Granz "embarrassment of riches" approach, for here were trumpeter Harry "Sweets" Edison, alto saxophonist Benny Carter, pianist Oscar Peterson, guitarists Barney Kessel and Herb Ellis, bassist Ray Brown, and drummer J.C. Heard. Tracks 13-16 were recorded on March 30, 1954, with the assistance of pianist Teddy Wilson, bassist Ray Brown, and drummers Alvin Stoller and Jo Jones. This material, along with the rest of the titles on the collection, formed the Verve album Music for Loving. On tracks 17-21, Ben Webster interprets sensuous ballads backed by the Ralph Burns Orchestra. In addition to a string section, the ensemble included clarinetist Tony Scott, bassist George Duvivier, drummer Louis Bellson, and composer/pianist/arranger Billy Strayhorn. arwulf arwulf         Tracklist :

BENNY GOODMAN AND HIS ORCHESTRA – 1946 | The Classics Chronological Series – 1375 (2004) FLAC (tracks), lossless

Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1946-1947 | The Classics Chronological Series – 1385 (2005) FLAC (tracks+.cue), lossless

Volume 29 in the Classics Benny Goodman chronology lands right on the cusp of this bandleader's transition from Columbia to Capitol and his stylistic progression from swing to bop. The Columbia sides, cut between August 29 and October 22, 1946, are a mixed bag of vocal pop, mood music with strings, jazz standards played by a sextet and big-band dance tunes including a lively version of "Under the Double Eagle," arranged by pianist Joe Bushkin and newly titled as "Benjie's Bubble." Audible only as one-fifth of the unified sax section, tenor saxophonist and Lester Young devotee Zoot Sims worked with Goodman during October 1946 without ever getting a chance to solo on record. Guitarist Barney Kessel did, right after Eve Young's vocal on "That's the Beginning of the End." Recorded at the tail-end of that same session on October 22, 1946, two energetic, bop-inflected sextet performances clearly preface the stylistic territory that lay ahead. Here Kessel sounds at home in the company of vibraphonist Johnny White, pianist Joe Bushkin, bassist Harry Babasin and drummer Louie Bellson. The beginning of Goodman's tenure as a Capitol recording artist is documented here with records he made between January 28 and March 28, 1947. The first Capitol session opens with Mary Lou Williams' delightfully modernistic opus "Lonely Moments." The flip side features group whistling scored for the entire band on her "Whistle Blues." A survey of personnel reveals an almost entirely reconstituted 17-piece ensemble, with vocals by Johnny Mercer and Matt Dennis. Tracks 15 through 25 are trio, quartet and quintet exercises largely featuring the facile jazz accordion of Ernice Felice, a squeezebox innovator who came up in San Jose, CA. Quite different from Goodman's more conventional Columbia recordings. arwulf arwulf  
Tracklist :

BENNY GOODMAN AND HIS ORCHESTRA – 1947, Vol. 2 | The Classics Chronological Series – 1407 (2005) FLAC (tracks+.cue), lossless

Benny Goodman's 31st volume in the Classics Chronological Series documents his stylistically diverse adventures as a Capitol recording artist with 22 titles resulting from eight different sessions that took place in New York and Los Angeles between August 11 and November 25, 1947. Jazz, like the careers of those who perform it, has never evolved in a precise and linear manner; while during this period Goodman was certainly incorporating progressive bop elements into his repertoire, he also continued his lifelong involvement with swing tropes and old-time melodies. "Nagasaki" and "Varsity Drag" are examples of old material interpreted with breathtaking modernity. The three sextet sessions reissued here feature xylo/vibraphonist Red Norvo and pianist Mel Powell. Guitarist Al Hendrickson, who specialized in pleasantly laid-back romantic vocals, is heard with both the sextet and the big band. On September 12, Goodman sat in with the Paul Weston orchestra for one of Irving Berlin's ultra-patriotic ditties entitled "The Freedom Train." This flag-waver, sung by Johnny Mercer, Peggy Lee, Margaret Whiting and a cheery vocal group known as the Pied Pipers, contains a set of lyrics that could easily have been misinterpreted by the House Un-American Activities Committee: "You can shout your anger from a steeple, you can shoot the system full of holes." (Try that one on J. Edgar Hoover.) Tracks 12 through 21 scale the action down to an intimate trio involving pianist Teddy Wilson and longtime Jimmie Lunceford drummer Jimmy Crawford. arwulf arwulf
Tracklist :

MEADE "LUX" LEWIS - 1946-1954 (2005) The Classics Chronological Series – 1401 | FLAC (image+.cue), lossless

In 2005 the Classics Chronological Series, in a continuous effort to reissue the complete recordings of boogie-woogie piano ace Meade "Lux" Lewis, released a fourth volume containing material dating from between 1946 and 1954. Opening with a solo Lewis set recorded by Norman Granz for the Mercury label at a Jazz at the Philharmonic concert inside of the Embassy Auditorium in Los Angeles on April 22, 1946, this delightful album also features the work of bassist Israel Crosby and drummer Louie Bellson. These are some of Lewis' very best recordings; the tonal palette is richly varied as he pays homage to his influences and contemporaries in the pantheon of classic blues and boogie-woogie piano. They include Pete Johnson, Albert Ammons, Cow Cow Davenport, Jimmy Yancey, Clarence Pinetop Smith, Hersal Thomas, and Freddie Shayne. arwulf arwulf
Tracklist :
1    Medium Boogie (Yancey Special)    3:15
2    Fast Boogie    1:55
3    Slow Boogie (Dupree Blues)    3:25
4    Honkey Tonk Train Blues    2:33
5    Jumpin' With Pete    3:00
6    Riff Boogie    3:05
7    Cow Cow Blues    3:12
8    Yancey Special    2:54
9    Honky Tonk Train Blues    2:49
10    Albert's Blues    3:02
11    Pinetop's Boogie Woogie    3:09
12    Mr. Freddie's Blues    3:31
13    Suitcase Blues    3:02
14    Spooney Sam    3:58
15    Mama's Bounce    5:49
16    Shooboody    5:19
17    Hangover Boogie    6:11
18    Yancey's Last Ride    3:45
19    Bush Street Boogie    5:28
Credits :    
Bass – Israel Crosby (tracks: 5 to 13)
Drums – Frank Williams (tracks: 5 to 13), Louis Bellson (tracks: 14 to 19)
Piano – Meade Lux Lewis

MEADE "LUX" LEWIS - Cat House Piano (1998) FLAC (tracks+.cue), lossless

This single CD from 1998 has all of the music from boogie-woogie pianist Meade Lux Lewis' two Verve LPs of 1954-1955. The earlier date is a set of duets with drummer Louie Bellson, while the later session finds Lewis accompanied by bassist Red Callender and drummer Jo Jones. The packaging is perfect, and with 76-and-a-half minutes of playing, the amount of music is generous. The only problem is that there is a definite sameness to the 14 selections (which mostly clock in between four and seven minutes), the majority of which are medium-tempo blues romps. None of the melodies (all Lewis originals) are at all memorable. The romping momentum of the music overall is difficult to resist, but it is advisable to listen to this set in small doses. Scott Yanow
Tracklist :
1     The Pittsburgh Flyer 5:00
Meade "Lux" Lewis
2     Dragon Blues 4:54
Meade "Lux" Lewis
3     Jabouti 6:07
Meade "Lux" Lewis    
4     Torpedo Juice 5:14
Meade "Lux" Lewis
5     Joe Prein's Boogie 5:35
Meade "Lux" Lewis
6     620 Boogie 6:33
Meade "Lux" Lewis
7    Meade's Mambo 5:46
Meade "Lux" Lewis
8     San Francisco Shuffle 6:12
Meade "Lux" Lewis
9     Spoony Sam 3:57
Meade "Lux" Lewis
10     Mama's Bounce 5:48
Meade "Lux" Lewis
11     Shooboody 5:18
Meade "Lux" Lewis
12     Hangover Boogie 6:10
Meade "Lux" Lewis
13     Yancey's Last Ride 3:44
Meade "Lux" Lewis
14     Bush Street Boogie 5:26
Meade "Lux" Lewis
Credits :    
Artwork [Series Art Designed And Directed By] – Patricia Lie, Sung Lee
Bass – Red Callender (tracks: 1 to 8)
Drums – Jo Jones (tracks: 1 to 8), Louie Bellson (tracks: 9 to 14)
Piano – Meade Lux Lewis
Producer [Original Recordings] – Norman Granz
Notas.
Recorded June 28, 1954 at Radio Recorders, Hollywood (tracks 9 to 14), original LP issue: Boogie Woogie Piano And Drums
Recorded January 16, 1955 in Los Angeles (tracks 1 to 8), original LP issue: Cat House Piano

JOHNNY HODGES - Three Classic Albums Plus (Second Set) : The Blues | More Of Johnny Hodges | In A Tender Mood | Johnny Hodges And His Strings Play The Prettiest Gershwin (2011) 2xCD | FLAC (tracks+.cue), lossless

The Blues
1-1    Rosanne 3'09
1-2    Hodge-Podge 3'35
1-3    Jappa 3'52
1-4    Through For The Night 3'17
1-5    Sheik Of Araby 3'14
1-6    Latino 2'54
1-7    Johnny's Blues 7'02
1-8    Indiana 3'51
1-9    Easy Going Bounce 3'32
1-10    Burgundy Walk 7'08
More to Johnny Hodges
1-11    Ballad Medley: Autumn In New York / Sweet Lorraine / Time On My Hands / Smoke Gets In Your Eyes / If You Were Mine / Poor Butterfly / All Of Me 18'01
1-12    On The Sunny Side Of The Street 2'56
1-13    Warm Valley 3'21
1-14    Madam Butterfly 3'14
1-15    Skokiaan 2'32
1-16    Used To Be Duke 7'23
In a Tender Mood
2-1    Who's Excited 3'02
2-2    Sweepin' The Blues Away 3'18
2-3    Standing Room Only 2'46
2-4    Below The Azores 3'03
2-5    Sweet Georgia Brown 6'00
2-6    Duke's Blues 6'05
2-7    Tenderly 3'18
2-8    Tea For Two 2'59
2-9    What's I'm Gotchere 3'23
2-10    Nothin' Yet 2'39
2-11    Sweet As Bear Meat 3'19
Johnny Hodges And His Strings Play The Prettiest Gershwin
2-12    Love Is Here To Stay 2'41
2-13    Nice Work If You Can Get It 3'09
2-14    'S Wonderful 2'47
2-15    Summertime 2'55
2-16    Soon 2'55
2-17    But Not For Me 2'39
2-18    Somebody Loves Me 2'28
2-19    They Can't Take That Away From Me 3'13
2-20    Someone To Watch Over Me 3'11
2-21    They All Laughed 2'50
2-22    The Man I Love 2'54
2-23    Oh, Lady Be Good 2'36

JOHNNY HODGES AND HIS ORCHESTRA - Used to Be Duke (1954-2009) Verve Originals | FLAC (tracks+.cue), lossless

Recorded during his five year "vacation" from Duke Ellington's orchestra, this Johnny Hodges set features his band sticking mostly to standards. With trumpeter Harold "Shorty" Baker, trombonist Lawrence Brown, baritonist Harry Carney, pianist Call Cobbs, or Richie Powell, bassist John Williams, drummer Louis Bellson, and either Jimmy Hamilton or John Coltrane (who unfortunately does not solo) on tenor, Hodges had a particularly strong group. High points include "On the Sunny Side of the Street," the title track and a seven-song ballad medley. Scott Yanow
Tracklist :
1    Used To Be Duke 7'22
Written By – Johnny Hodges
2    On The Sunny Side Of The Street 2'58
Written By – Dorothy Fields, James Francis McHugh
3    Sweet As Bear Meat3'21
Written By – Johnny Hodges
4    Madam Butterfly 3'16
Written By – Jimmy Hamilton, Johnny Hodges
5    Warm Valley 3'23
Written By – Edward Kennedy Ellington, Sidney Keith Russell
6    Medley: 1. Autumn In New York - 2. Sweet Lorraine, mistitled on CD as: Autumn in New York 3'37
Written By – 1. Vernon Duke / 2. Clifford R. Burwell, Mitchell Parish
7    Medley: 3. Time On My Hands (You In My Arms), mistitled on CD as: Sweet Lorraine 2'04
Written By – Mack Gordon, Harold Campbell Adamson, Vincent Millie Youmans
8    Medley: 4. Smoke Gets In Your Eyes, mistitled on CD as: Time On My Hands 2'13
Written By – Jerome David Kern, Otto Harbach
9    Medley: 5. If You Were Mine, mistitled on CD as: Smoke Gets In Your Eyes 4'02
Written By – Johnny Mercer / Matthew Michael Malneck
10    Medley: 6. Poor Butterfly, mistitled on CD as: If You Were Mine 2'52
Written By – John Golden, Raymond Hubbell
11    Medley: 7. All Of Me, mistitled on CD as: Poor Butterfly 3'05
Written By – Seymour Simons, Gerald Marks
Credits :
Alto Saxophone – Johnny Hodges
Baritone Saxophone – Harry Carney (pistas: 1, 4 to 11)
Bass – John Williams
Clarinet – Jimmy Hamilton (pistas: 1, 9)
Drums – Louis Bellson
Piano – Call Cobbs (pistas: 1 to 5), Richard Powell (pistas: 6 to 11)
Tenor Saxophone – Jimmy Hamilton (pistas: 4, 5)
Trombone – Lawrence Brown
Trumpet – Harold Baker