THE LUCKY THOMPSON QUARTET — Lucky Strikes (1964-1987) RM | FLAC (tracks+.cue), lossless

This CD reissue serves as a perfect introduction to the talents of the underrated saxophonist Lucky Thompson. Heard on four songs apiece on tenor and soprano (he was one of the first bop-oriented soprano players), Thompson plays two standards and six originals in a quartet with pianist Hank Jones, bassist Richard Davis, and drummer Connie Kay. The playing time on this straight reissue of an earlier LP is a bit brief (just over 38 minutes), but the quality is quite high. Thompson's soprano solos in particular are quite memorable. Scott Yanow
Tracklist :
1 In a Sentimental Mood 5:49
Duke Ellington / Manny Kurtz / Irving Mills
2 Fly With the Wind 4:01
Lucky Thompson
3 Mid-Nite Oil 5:08
Lucky Thompson
4 Reminiscent 4:04
Lucky Thompson
5 Mumba Neua 4:47
Lucky Thompson
6 I Forgot to Remember 6:36
Lucky Thompson
7 Prey-Loot 4:05
Lucky Thompson
8 Invitation 4:55
Bronislaw Kaper
Credits :
Bass – Richard Davis
Drums – Connie Kay
Piano – Hank Jones
Soprano Saxophone, Tenor Saxophone – Lucky Thompson

KING PLEASURE | ANNIE ROSS — King Pleasure Sings | Annie Ross Sings (1958-1987) APE (image+.cue), lossless

The brief life span of classic jazz vocalese singing found its first inspiration in these King Pleasure sides. Pleasure vocalized many bebop solos by the likes of James Moody, Charlie Parker, and Lester Young, often adding his own hip and witty lyrics to the mix. Initially issued on his debut, Moody's Mood for Love, the first eight sides here include solid senders like "Parker's Mood," "Red Top" (based on a Gene Ammons solo and featuring singer Betty Carter), and "Jumpin' With Symphony Sid" (Lester Young). Balancing out the boppish fare, Pleasure also delivers ballads like "This Is Always" (featuring the Dave Lambert Singers) and his own composition, "Don't Be Scared" (up-and-coming vocalese star Jon Hendriks guests). Future Hendriks cohort Annie Ross co-headlines this LP, matching Pleasure's best with hits like "Twisted" (Wardell Gray) and "Farmer's Market" (Art Farmer). Her wordless scat feature, "Annie's Lament," is a highlight as well. A must for bop and vocal jazz fans. Stephen Cook 
Tracklist :
King Pleasure Sings
King Pleasure - Red Top 3:12
Bass – Peck Morrison
Drums – Herbie Lovelle
Piano – Ed Swanston
Tenor Saxophone – Charlie Ferguson
Trumpet – Eddie Lewis
Vocals – Betty Carter
King Pleasure - Jumpin' With Symphony Sid 2:34
Bass – Peck Morrison
Drums – Herbie Lovelle
Piano – Ed Swanston
Tenor Saxophone – Charlie Ferguson
Trumpet – Eddie Lewis
King Pleasure - Sometimes I'm Happy 2:55
Bass – Percy Heath
Drums – Kenny Clarke
Piano – John Lewis 
Vocals – Dave Lambert Singers
King Pleasure - This Is Always 3:12
Bass – Percy Heath
Drums – Kenny Clarke
Piano – John Lewis 
Vocals – Dave Lambert Singers
King Pleasure - What Can I Say Dear 3:09
Bass – Percy Heath
Drums – Kenny Clarke
Piano – John Lewis 
King Pleasure - Don't Get Scared 3:18
Baritone Saxophone – Danny Bank
Bass – Paul Chambers 
Drums – Joe Harris 
Piano – Jimmy Jones 
Tenor Saxophone – Lucky Thompson
Trombone – J.J. Johnson, Kai Winding
Vocals – Eddie Jefferson, Jon Hendricks
King Pleasure - Parker's Mood 2:55
Bass – Percy Heath
Drums – Kenny Clarke
Piano – John Lewis 
King Pleasure - I'm Gone 3:27
Baritone Saxophone – Danny Bank
Bass – Paul Chambers 
Drums – Kenny Clarke
Piano – Jimmy Jones 
Tenor Saxophone – Lucky Thompson
Trombone – J.J. Johnson, Kai Winding
Vocals – Eddie Jefferson, The Three Riffs
Annie Ross Sings
Annie Ross - Twisted 2:37
Bass – Percy Heath
Drums – Art Blakey
Organ – Ram Ramirez
Piano – Teacho Wiltshire
Annie Ross - Farmer's Market 2:43
Bass – Percy Heath
Drums – Art Blakey
Organ – Ram Ramirez
Piano – Teacho Wiltshire
Annie Ross - The Time Was Right 3:16
Bass – Percy Heath
Drums – Art Blakey
Organ – Ram Ramirez
Piano – George Wallington
Annie Ross - Annie's Lament 2:58
Bass – Percy Heath
Drums – Art Blakey
Organ – Ram Ramirez
Piano – George Wallington

MILT JACKSON — Ballads & Blues (1956-2012) RM | Jazz Best Collection 1000 Series | MONO | FLAC (image+.cue), lossless

Comes with a mini description. Ballads & Blues is an album by American jazz vibraphonist Milt Jackson featuring performances recorded in 1956 and released on the Atlantic label. The unassuming title of this compilation understates the fact that Milt Jackson is a master of ballad and blues forms, and an inspired collaborator when working flautists.
The small group settings for these performances allow the players – some of the very best in jazz and all in top form – to be heard to full advantage. The guitarists are particularly effective, the crisp, cool tones of Skeeter Best, Barry Galbraith, Barney Kessel, and Kenny Burrell complementing the rich, ringing cascade from Jackson's vibes. Of note from 1956's Ballads and Blues are two performances with tenor saxophonist Lucky Thompson. These will be appreciated by anyone who has enjoyed Jackson's work with Thompson on the Savoy label. The 1956 date also has three Ralph Burns arrangements that augment the players with a woodwind quintet. While neither overly lush or cloying, the oboes, etc., still don't add a lot to what the core group has to say.
Tracklist :
1    So In Love 3:11

Written-By – Cole Porter
2    These Foolish Things 4:26
Written-By – Harry Link, Holt Marvell
3    Solitude 4:39
Written-By – Duke Ellington, Eddie de Lange, Irving Mills
4    The Song Is Ended 4:39
Written-By – Irving Berlin
5    They Didn't Believe Me 3:44
Written-By – Jerome Kern, M. E. Rourke
6    How High The Moon 6:12
Written-By – M. Lewis, Nancy Hamilton
7    Gerry's Blues 5:00
Written-By – Milt Jackson
8    Hello 3:44
Written-By – Milt Jackson
9    Bright Blues 6:11
Written-By – Milt Jackson
Personnel :
Milt Jackson – Vibes
Lucky Thompson - Tenor Saxophone (tracks 6, 8 & 9)
John Lewis - Piano (tracks 1, 3, 5, 6, 8 & 9)
Skeeter Best (tracks 6, 8 & 9), Barry Galbraith (tracks 1, 3 & 5), Barney Kessel (tracks 2, 4 & 7) – Guitar
Percy Heath (tracks 2, 4 & 7), Oscar Pettiford (tracks 1, 3, 5, 6, 8 & 9) - Bass
Kenny Clarke (tracks 1, 3, 5, 6, 8 & 9), Lawrence Marable (tracks 2, 4 & 7) – Drums

DIZZY GILLESPIE — Afro (1955-2002) RM | Serie LP Reproduction | FLAC (tracks+.cue), lossless

Pairing Dizzy Gillespie with Cuban arranger/composer Chico O'Farrill produced a stunning session which originally made up the first half of a Norgran LP. O'Farrill conducts an expanded orchestra which combines a jazz band with a Latin rhythm section; among the participants in the four-part "Manteca Suite" are trumpeters Quincy Jones and Ernie Royal, trombonist J.J. Johnson, tenor saxophonists Hank Mobley and Lucky Thompson, and conga player Mongo Santamaria. "Manteca," written during the previous decade, serves as an exciting opening movement, while the next two segments build upon this famous theme, though they are jointly credited to O'Farrill as well. "Rhumba-Finale" is straight-ahead jazz with some delicious solo work by Gillespie. A later small-group session features the trumpeter with an all-Latin rhythm section and flutist Gilberto Valdes, who is heard on "A Night in Tunisia" and "Caravan." Both of the Latin versions of these pieces are far more interesting than "Con Alma," as the excessive percussion and dull piano accompaniment add little to this normally captivating theme. Long out of print, this 2002 CD reissue will only be available until May 2005; it is well worth acquiring. Ken Dryden 
Tracklist :
1 Manteca Theme 4:11
2 Contrastes 2:46
3 Jungla 4:44
4 Rhumba-Finale 4:39
5 A Night In Tunisia 4:15
6 Con Alma 5:01
7 Caravan 7:20
Credits :
Alto Saxophone – George Dorsey (tracks: 1 to 4), Hilton Jefferson (tracks: 1 to 4)
Arranged By, Conductor – Chico O'Farrill (tracks: 1 to 4)
Baritone Saxophone – Danny Bank (tracks: 1 to 4)
Bass – Roberto Rodriguez, Lou Hackney (tracks: 1 to 4)
Bongos – José Manguel
Congas – Candido Camero, Mongo Santamaria (tracks: 1 to 4)
Drums – Charlie Persip (tracks: 1 to 4)
Flute – Gilberto Valdez (tracks: 5, 7)
Percussion – Rafael Miranda (tracks: 5 to 7)
Piano – Ray Concepcion (tracks: 1 to 4), Rene Hernandez (tracks: 5 to 7), Wade Legge (tracks: 1 to 4)
Tenor Saxophone – Hank Mobley (tracks: 1 to 4), Lucky Thompson (tracks: 1 to 4)
Timbales – Ubaldo Nieto
Trombone – George Matthews (tracks: 1 to 4), J.J. Johnson (tracks: 1 to 4), Leon Comegys (tracks: 1 to 4)
Trumpet – Dizzy Gillespie, Ernie Royal (tracks: 1 to 4), Jimmy Nottingham (tracks: 1 to 4), Quincy Jones (tracks: 1 to 4)
Notes
Tracks 1-4: Recorded May 24, 1954 at Fine Sound, New York City
Tracks 5-7: Recorded June 3, 1954 at Fine Sound, New York City

COUNT BASIE AND HIS ORCHESTRA – 1943-1945 | The Classics Chronological Series – 801 (1995) FLAC (tracks+.cue), lossless

This interesting CD mostly reissues the V-Discs of Count Basie's Orchestra, performed during a time when the musicians' union strike kept the Basie band off records. Lester Young is heard back with Basie on five numbers from May 27, 1944. Otherwise, the band was much more stable than most swing bands of the war years, making it to December 1944 when it was able to resume its recordings for the Columbia label. There was not much change in the orchestra's swinging style during this era, as can be heard on such enjoyable pieces as "G.I. Stomp," "Yeah Man!," "Circus in Rhythm," two versions of "Taps Miller," and "Old Manuscript." Scott Yanow  Tracklist + Credits :

THELONIOUS MONK – 1951-1952 | The Classics Chronological Series – 1430 (2007) FLAC (tracks+.cue), lossless

During a three year period following his Blue Note session of July 2, 1948, Thelonious Monk made no studio recordings as a leader. This second installment in the complete recordings of Monk as reissued in the Classics Chronological Series presents the master takes from Monk's Blue Note and Prestige sessions dating from July 23, 1951 through December 18, 1952. This portion of Monk's discography is a rich blend of 15 original compositions and five jazz standards, performed in the company of skilled improvisers like vibraphonist Milt Jackson, trumpeter Kenny Dorham, and saxophonists Lou Donaldson, Sahib Shihab, and Lucky Thompson. Monk's bassists during this 17-month period were Al McKibbon, Nelson Boyd, and Gary Mapp. His drummers were Art Blakey and Max Roach. Monk would continue to record for Prestige until September 1954; his fruitful working relationship with Riverside would commence in July 1955. By concentrating on master takes and combining the all too often separated selections from the Blue Note and Prestige catalogs, Classics has once again done a splendid job of reissuing great historic jazz recordings with a detailed disocgraphical session index and insightful liner notes that will enable the listener to better understand and fully enjoy this great music. arwulf arwulf       Tracklist :

DIZZY GILLESPIE – 1945-1946 | The Classics Chronological Series – 935 (1997) FLAC (tracks+.cue), lossless

The 1945-1946 edition of Gillespie's Classics series finds the bop trumpeter in the kind of top-notch company he kept throughout most of the '40s. Leaving sideman dates for other discs, the 23-track set spotlights Gillespie with his Tempo Jazzmen and an early version of his orchestra; while the former included the stunning likes of Lucky Thompson, Milt Jackson, Al Haig, and Ray Brown, the latter slightly altered the tonal landscape with swing and bop tenor great Don Byas replacing Thompson. Besides fine renditions of "Confirmation," "'Round Midnight," and "Anthropology" by these groups, the disc also includes a handful of enjoyable enough vocal sides featuring vocalist/arranger Johnny Richards. Best for jazz fans who want it all and in chronological order. Stephen Cook              Tracklist + Credits :

DIZZY GILLESPIE – 1953-1954 | The Classics Chronological Series – 1424 (2006) FLAC (image+.cue), lossless

Volume ten in the Classics Dizzy Gillespie chronology documents this trumpeter's recording activities from December 9, 1953 to June 8, 1954. As one of producer Norman Granz's many star players, Diz was able to organize both hard bop and Cuban-styled bop bands comprised of able improvisers. The opening track, "Impromptu," is a nearly-eight-minute jam taken at 75mph by the "Dizzy Gillespie-Stan Getz Sextet" with lightning-fingered pianist Oscar Peterson, guitarist Herb Ellis (heard here in an unusually rambunctious mood); bassist Ray Brown, and drummer Max Roach. The 20-piece big band assembled on May 24, 1954 recorded a piquant 16-and-a-half-minute "Manteca" suite in five movements using arrangements by Chico O'Farrill. The personnel listing is extraordinary, with J.J. Johnson, Ernie Royal and Quincy Jones in the brass section with Diz; Hilton Jefferson, Hank Mobley, Lucky Thompson and Danny Bank in the reed department, as well as two bassists and four expert Latin American percussionists augmenting the kit drumming of Charlie Persip. On the following day, four members of this mammoth ensemble returned to form a quintet; in addition to pianist Wade Legge and bassist Lou Hackney, Hank Mobley was the designated saxophonist for this assignment, a relaxed blowing session with two vocals by the leader. Gillespie put together an octet for the next date, which took place on June 3, 1954, using flautist Gilbert Valdez and a lively Latino rhythm section including conga master Candido Camero. Four titles cut on June 8, 1954 by the Dizzy Gillespie Sextet featured trombonist Jimmy Cleveland in addition to the five men who comprised the Quintet from two weeks earlier. (Although a note in the enclosed discography claims that Cleveland is omitted on "Rumbola," he is clearly audible throughout). This last session, and indeed this entire segment of Gillespie's career, resulted in substantial music of great passion and depth. "Blue Mood" is particularly satisfying because Gillespie, like Charlie Parker, was an adept bluesman. arwulf arwulf    Tracklist :

CHARLIE PARKER – 1945-1947 | The Chronogical Classics – 980 (2000) FLAC (tracks+.cue), lossless

This features Bird's first solo sides: the legendary early Savoy and Dial sides. Although most of this material has been reissued ad nauseam in various packages and in varying fidelity, Classics gets all the BB's in the right holes, with great annotation and stellar transfers of the material. No alternate takes -- just the issued sides in that space of compressed genius between 1945 and early 1947. As such, a major document of jazz history. Cub Koda    Tracklist + Credits :

BUCK CLAYTON – 1945-1947 | The Chronogical Classics – 968 (1997) FLAC (tracks+.cue), lossless

Buck Clayton played smooth trumpet, warm and precise every step of the way. The first session included here appeared under the nominal leadership of Count Basie's rhythm guitarist, Freddie Green. After Lucky Thompson introduces "I'm in the Mood for Love," Sylvia Sims sings the lyric in attractive, easygoing tones. The flip side, an uncredited original called "Sugar Hips," is a typical mid-1945 exercise in what was at the time called both "rebop" and "bebop." Swing was now ready to morph into music of greater rhythmic and harmonic complexity. This track provides a fine example of Shadow Wilson's superb handling of hi-hat and drums. Sammy Benskin demonstrates a fine, muscular pianism. Dicky Wells seems to enjoy riding along on a tide of what were at the time decisively modern changes. Recorded exactly one month later for the small-time Melrose label, the Buck Clayton Quintet session introduces tenor man Flip Phillips, with Teddy Wilson appearing as "Theodocius," roundly supported by Slam Stewart and Danny Alvin. After a snappy romp through "Diga Diga Doo," "Love Me or Leave Me" is taken at a much more relaxed tempo than usual. This gives everyone a chance to savor the melody rather than chasing about. "We're in the Money" bounces along in an updated groove, much hipper than the Busby Berkeley original. Flip is exceptionally helpful here. The date closes with a stunningly solid piece of blues bearing Buck Clayton's initials. Slam bows his bass in an uncharacteristically low register, and the combination of horns and piano during the out chorus is really amazing. The only thing that could top it is the J.C. Heard Quintet session recorded for Keynote on August 17, 1945. Buck and Flip are now backed by three of the best rhythm section mates in all of early modern jazz: Johnny Guarnieri, Milt Hinton, and the immaculate J.C. Heard. The quintet's approach to Jerome Kern's "Why Do I Love You" is refreshingly brisk and inventive. "All My Life" is still sometimes associated with Fats Waller; in 1945 a lot of people probably thought that he had written it. What you get here is a magnificent sensitive rendering, beautifully phrased. "Groovin' With J.C." begins with jaunty walking bass and eases into a steady lope, very groovy as the title implies. "What's the Use" further demonstrates the perfect balance of this little band, wherein the rhythm section is so strong that the horns fit in uncommonly well. Nobody ever gets stepped on or overshadowed. As for the Hot Record Society sessions, there was always a lot of "original" material on these dates, and some of the melodies sound like attempts at modernity without a whole lot of innovation. This is not to imply that the music is inferior. It's just a bit short on genuine melodic substance. The Big Four session is mostly memorable for Tiny Grimes and his electrified guitar, while the Big Eight date is notable for the combined presence of trombonists Dicky Wells and Trummy Young. Funny thing: "Sentimental Summer" has a bridge identical to that of "I Don't Want to Set the World On Fire." A fascinating addition to this CD is a children's record narrated by the actor Canada Lee. This 1947 recording traces the root system of jazz back to Africa (with authentic African drumming and chanting!) describing abduction, enslavement, emancipation, and the development of jazz in the 20th century. During part two of the story, Buck Clayton, Ed Hall, Teddy Wilson, and Jimmy Crawford provide a blues and a hot stomp. This is an uncommonly hip kiddie record, infinitely more accurate and intelligent than anything else on the market in its day. How thoughtful of the producers to include it on Buck Clayton's CD. arwulf arwulf  
Tracklist + Credits :

HOT LIPS PAGE – 1940-1944 | The Chronogical Classics – 809 (1995) FLAC (tracks+.cue), lossless

For fans of small-combo jazz from the '40s (pre-bebop, that is), Hot Lips Page's many sides offer that perfect marriage of jazz licks and blues atmospherics. And although Page wasn't necessarily a trumpet ace in the league of Armstrong or Cootie Williams, his irrepressible style and raspy-to-bright tone usually enlivened most every date he graced (just check out his early work on Bennie Moten's epochal 1932 recordings). Page also could have made a handsome living just as a blues singer; his was a gruff and driving voice equally at home on both the serious and novelty end of the form. This Classics release brings together a fetching mix from Page's 1940-1944 freelancing prime, with a large dose of his vocal work getting nicely framed by the day's top jazz players. Two highlights from the first part here include "Evil Man Blues" and "Just Another Woman," two of Page's best vocals featuring Leonard Feather on piano and Teddy Bunn on guitar. The majority of the remaining tracks are ones Page and his band cut in 1944. Amidst the prevailing after-hours mood, there's a wealth of fine soloing by the likes of Don Byas, Chu Berry, Lucky Thompson, and Vic Dickenson. This disc might not make it into any jazz polls, but it's a solid collection for those who love Page's infectious style and sophisticated jump grooves. Stephen Cook
Tracklist + Credits :

HOT LIPS PAGE – 1944-1946 | The Chronogical Classics – 950 (1997) FLAC (tracks+.cue), lossless

Always to be found smack in the middle of the hottest developments in jazz, Oran Thaddeus "Hot Lips" Page worked comfortably with both old-fashioned and modern young musicians during the mid-'40s. On November 30, 1944, Page's band included busy-fingered tenor man Lucky Thompson and a brilliant young pianist from Pontiac, MI, named Hank Jones. One week later, Page cut a couple of sides for V-Discs with an ensemble that sounded a lot like one of Eddie Condon's Town Hall traditional jam bands. "Sheik of Araby" is notable for Gordon "Specs" Powell's exceptional drumming. Page seems not to have recorded again until September 1945, once again in the company of younger guys with progressive ideas. "Happy Medium" and "Bloodhound" are full of modern moves. How interesting to hear Hank Jones as a young innovator. Saxophonists Dave Matthews and Earle Warren demonstrate how the art of swing stood at the crossroads of modernity in 1945. Contrary to what the discography says, there are no vocals on these two tracks. Dave Matthews sounds like Chu Berry and Don Byas. He shushes down to Ben Webster's level of suavity on "You Come In Here Woman," a misogynistic blues containing the line "Like the butcher told the goat, you've had your fun, now I'm cuttin' your throat." Just in case we don't get the picture, Lips puts his horn to his lips and quotes Chopin's funeral march for a nasty coda. Leonard Feather's "The Lady in Debt," a distant relative of "The Lady in Red," is also apparently a cousin to Page's 1944 enigma, "The Lady in Bed," which was yet another creation of Feather, who seems to have enjoyed writing topical blues novelties for Page. More material from September of 1945 places Page at the front of a larger band, fortified with Buck Clayton, three outstanding trombonists (Benny Morton, Sandy Williams, and J.C. Higginbotham), and three of the toughest saxophonists on the scene at that time (Don Byas, Ben Webster, and Earl Bostic). "Corsicana" cooks itself to a gravy. "They Raided the Joint" is funny if you like songs about alcohol poisoning and police raids. This CD's hottest sides from 1946 are without question "Kansas City Jive" and the rockin' "Birmingham Boogie," featuring Earl Bostic and a solid tenor player by the name of John Hartzfield. "Open the Door Richard" is very funny, beginning with Page's imitation of a drunken person being forcibly ejected from a party. The scenario eventually develops into a rowdy group vocal as Page's band eggs him on into a violent trumpet solo. In a premonition of later developments, Hot Lips distorts his voice into a higher-pitched version of what would eventually become a sandblasted contrabasso, lower than that of Louis Armstrong, closer in fact to Popeye's tonalities. By the early '50s, Hot Lips Page's voice could curdle milk and frighten pigeons. arwulf arwulf  
Tracklist + Credits :

DODO MARMAROSA – 1945-1950 | The Classics Chronological Series – 1165 (2001) FLAC (tracks+.cue), lossless

Michael "Dodo" Marmarosa was a marvelous, flexible pianist. He could cook passionately in the middle of a steaming hot band or ease into an ethereal mood with hardly anybody else in the room. Classically trained, Dodo hung out with young Erroll Garner when they were still figuring themselves out back home in Pittsburgh. He made great records with Artie Shaw, Slim Gaillard, Lester Young, Charlie Parker, Wardell Gray, and Howard McGhee. What you have here is a chronological grab bag of recordings from Dodo's most promising years. The Barney Kessel All-Stars session, resulting in four sides issued on the Atomic label in 1945, is an exciting discovery, notable for the reeds and vibes of Herbie Steward and Johnny White. Seven months later, the pianist led a pared-down group in concocting another four recordings for Atomic. Dodo has said that he composed "Mellow Mood" when he was only 14 years old. This version, waxed when he was all of 20, exudes a calm sophistication. "Dodo's Blues" is honest and cool, with nice brushwork from Jackie Mills. "How High the Moon" bristles with hot percussion and a wild tenor sax solo by Lucky Thompson. The flip side is a ballad to end all ballads. If you didn't know it was Lucky pouring Alfredo sauce over "I Surrender Dear," you'd think it was Coleman Hawkins himself. The tenth and last side issued by Atomic offers a rare example of Dodo Marmarosa the vocalist. It's worth having as a tasty curiosity, as are two sides cut about a year later with Dodo backing Miss Dana, a singer who really belts out Fats Waller's "Black and Blue." The definitive Dodo is heard on five trio sides recorded for the Dial label in Los Angeles on December 3, 1947. "Bopmatism" has a slightly manic quality that will stay with you long after the piece has ended. "Dodo's Dance" is a giddy, high-velocity workout. "Trade Winds" delivers a much cooler mood, bringing to mind the very beat legend that Dodo once painted the inside of his bathtub green so his bath water would more closely resemble a tropical ocean. Dodo's meditative side is beautifully languid and precious as true love and peace of mind. "Dary Departs," a simple study in relaxed 4/4, is one of his greatest achievements. "Cosmo Street" turns out to be nothing more than a friendly version of Rodgers & Hart's "Lover." The disc ends with four Savoy sides made back home in Pittsburgh during the summer of 1950. Anyone familiar with Marmarosa's discography will be puzzled by the gaps in this picture. Dodo's unaccompanied "Tone Paintings" of 1947 definitely belong in the chronology along with "Deep Purple" and "Tea for Two," fine solos from early 1946. Although other volumes in the Classics series offer plenty of initially "rejected" material, we are told that this volume contains "only those tracks that were actually issued at the time." As for ten additional sides made in collaboration with Barney Kessel and six more with Lucky Thompson, it would be logical to expect them to appear on the Classics label under those artists' names. An excellent survey of Marmarosa's recorded works from 1946 and 1947 was issued in 1991 by Fresh Sound [FSCD-1019], bearing the title Dodo's Bounce. arwulf arwulf  
Tracklist + Credits : 

LUCKY MILLINDER AND HIS ORCHESTRA – 1943-1947 | The Classics Chronological Series – 1026 (1998) FLAC (tracks+.cue), lossless

The Lucky Millinder Orchestra's best-known recordings are from 1941-42, making this Classics CD of great interest due to the many rarities and a lot of variety. First there are four V-discs from 1943 that showcase with Millinder (for the last time) the singing and guitar playing of Sister Rosetta Tharpe, who does remakes of four of her hits (including "That's All" and "Rock Daniel"). "Savoy," from the same period, is highlighted by one of trumpeter Joe Guy's best-recorded solos, and "Shipyard Social Junction" was one of the band's final top-notch instrumentals. Of the four numbers from 1944, two songs have the recording debut of singer Wynonie Harris, and on "Hurry, Hurry," the legendary trumpeter Freddy Webster can be heard briefly. There are also two okay numbers from 1945, six from 1946 (including singer Annisteen Allen on "There's Good Blues Tonight" and some good spots for the tenor of Sam "The Man" Taylor) and four vocal cuts from the following year. Many of the very interesting sidemen actually have no real solo space (including tenors Lucky Thompson and Eddie "Lockjaw" Davis), but most of the vocals are easy to take and the Millinder Orchestra was adjusting well to the rise of R&B. An interesting and often historic set. Scott Yanow  
Tracklist :

JIMMY MUNDY AND HIS ORCHESTRA – 1937-1947 | The Classics Chronological Series – 1200 (2001) FLAC (tracks+.cue), lossless

Jimmy Mundy was a valuable arranger during the swing era, contributing important charts to many big bands, particularly those of Earl Hines, Benny Goodman, and Count Basie. He had a short-lived orchestra of his own in 1939, but it did not make much of an impression. This CD has all of the sessions that Mundy led during the period. He is heard on two numbers with a septet that is mostly taken from Earl Hines' 1937 band, including trumpeter Walter Fuller on vocals, trombonist Trummy Young, guest drummer Chick Webb, and Mundy himself on tenor. His four selections with his 1939 orchestra are here (clarinetist Jimmy Hamilton, pianist Bill Doggett, and drummer Shadow Wilson are the only future names in the band), plus selections from three other ensembles from 1945-1947. Four numbers feature a novelty vocal group called the Ginger Snaps, one ensemble has trumpeter Ray Linn and Lucky Thompson on tenor, and four V-discs feature an all-star Los Angeles band with trumpeter Clyde Hurley, altoist Willie Smith, and Thompson. This formerly rare music should please swing fans. Scott Yanow
Tracklist + Credits :

LUCKY THOMPSON – 1944-1947 | The Classics Chronological Series – 1113 (2000) FLAC (tracks+.cue), lossless

Tenor saxophonist Eli "Lucky" Thompson came up in Detroit but made all of his earliest recordings in the Los Angeles area during the 1940s. This fascinating album of rare jazz opens with a mind-blowing Timme Rosenkrantz-sponsored jam session recorded on December 26, 1944. Thompson leads an ensemble combining violinist Stuff Smith, trombonist Bobby Pratt, pianist Erroll Garner, and drummer George Wettling. "Test Pilots" appears to be a collective improvisation during which, like many Stuff Smith dates, the mood is wonderfully relaxed and informal. Recording for the Excelsior label in September of 1945, Lucky Thompson's All-Stars consisted of trumpeter Karl George, trombonist J.J. Johnson, bop clarinetist Rudy Rutherford and a tough rhythm section in Bill Doggett, Freddie Green, Rodney Richardson, and Shadow Wilson. In August, 1946, Thompson appeared in a live performance with fellow tenor Jack McVea and trumpeter Howard McGhee, along with pianist Jimmy Bunn, guitarist Irving Ashby, bassist Red Callender and drummer Jackie Mills. The proceedings were recorded and issued on the Black and White label under the heading of "Ralph Bass' Junior Jazz Series." The five-minute "Oodle Coo Bop" is really "Ornithology." It is followed by a gutsy jam titled "Bopin' Bop," and a 12-minute blowout simply called "Big Noise." This begins with a detailed introduction by producer Ralph Bass, who speaks like a 1940s high school principal or camp counselor. "Body and Soul," a feature for Hilton Jefferson-styled alto saxophonist Les Robinson, was included for the sake of completeness even though Thompson is not heard on this track. His next date as a leader occurred on September 13, 1946 and is noteworthy for the presence of piano genius Dodo Marmarosa. Red Callender and Jackie Mills acted as the perfect "other half" of this smart little quartet. Dodo and Red were present at the "Lucky Moments" session on April 22, 1947, where Thompson delivered a masterpiece in tenor sax ballad artistry, "Just One More Chance." This inventive octet included Benny Carter, Neal Hefti, baritone saxophonist Bob Lawson, guitarist Barney Kessel, and Lester Young's brother Lee on the drums. It forms one rousing conclusion for this excellent collection of Lucky Thompson's earliest recordings. arwulf arwulf  
Tracklist + Credits :

SLIM GAILLARD – 1945 | The Classics Chronological Series – 864 (1996) FLAC (tracks+.cue), lossless

These 23 different selections recorded in Los Angeles for the Queen, 20th Century, Bee Bee, and Four Star labels feature Gaillard with partner/bassist/vocalist Bam Brown and a variety of different bands, from the Boogiereeners with Fletcher Smith or a quartet with Dodo Marmarosa on piano. A horn section with saxophonists Teddy Edwards, Wild Bill Moore, and Lucky Thompson and trumpeters Howard McGhee and Karl George back the band on four cuts. Gaillard is heard to good effect whether goofing off, playing boogie harpsichord, singing standards, or jamming hard and swinging steadily. The Smith-Gaillard (on harpsichord) combine gets eight shots. There's the wistful scat of the midtempo "Sighing Blues"; the upbeat, Smith-led "Queen's Boogie" and "Nightmare Boogie"; or the slower, occasionally shouted "Voot Boogie. "Sightseeing Boogie," a mellow song with a spoken-word reference to "Gates" aka Lionel Hampton; a straight instrumental, "Central Avenue Boogie"; a more interactive, Queen-rejected "Boogie"; and a more patient instrumental, "Slim's Cement Boogie," all speak to the center of Gaillard's unique approach. With the horns loading up on background charts and solos, Thompson cuts loose on both "Slim Gaillard's Boogie" and "Harlem Hunch," and Edwards gets the spotlight on the rootsy "Tutti Frutti." "Travelin' Blues" is the undisputed highlight, as Gaillard, in a hilarious, narcoleptic stupor, tries to decide at which "mellow" train stop to land: his ex-Detroit home, Cleveland, or Toledo, influenced by Moore and Thompson's solos. Two other cuts with trombonist Vic Dickenson and two unidentified horns are a slowed "Voot Orenee" and the standard postwar ballad "Please Wait for Me." Nine selections with the Marmarosa-Gaillard-Brown-Zutty Singleton (drums) tandem has the leader on guitar, vibes (for the hot yet soft instrumental "Ding Dong Orenee"), and piano. Well-known hits are here, such as "Laguna" ("lyin' in the sun and havin' fun"); "Laguna Orenee" (different key, rejected by Bee Bee); the static, food-referenced swinger "Dunkin' Bagel"; and dueling vocals and some crooning from Gaillard on the easy swinger "Buck Dance Rhythm." Dual pianos crop up on the instrumental "Boogin' at Berg's"; Gaillard sings the standard torch song "Don't Blame Me"; "Carne" is done in Gaillard's "Spanglish" dialect; and "Ya Ha Ha" is the ultimate fun tune. This CD is a companion to Classics label issues 1937-1938, 1939-1940, and 1940-1942. Because this is the latter period's music and is better recorded, it's perhaps Gaillard at his zenith and shows his most developed musical powers. Highly recommended. Michael G. Nastos  
Tracklist :
1    Slim Gaillard And His Boogiereeners–    Voot Orenee    3:01
2    Slim Gaillard And His Boogiereeners–    Please Wait For Me    2:30
3    Slim Gaillard And His Boogiereeners–    Sighing Boogie    2:52
4    Slim Gaillard And His Boogiereeners–    Queen's Boogie    2:51
5    Slim Gaillard And His Boogiereeners–    Voot Boogie    2:52
6    Slim Gaillard And His Boogiereeners–    Nightmare Boogie    2:47
7    Slim Gaillard And His Boogiereeners–    Slim Gaillard's Boogie    2:43
8    Slim Gaillard And His Boogiereeners–    Harlem Hunch    2:40
9    Slim Gaillard And His Boogiereeners–    Tutti Frutti    2:44
10    Slim Gaillard And His Boogiereeners–    Travelin' Blues    3:03
11    Slim Gaillard And His Boogiereeners–    Sightseeing Boogie    2:44
12    Slim Gaillard And His Boogiereeners–    Central Avenue Boogie    2:40
13    Slim Gaillard And His Boogiereeners–    Boogie    2:52
14    Slim Gaillard And His Boogiereeners–    Slim's Cement Boogie    2:40
15    Slim Gaillard Quartet–    Laguna    2:42
16    Slim Gaillard Quartet–    Dunkin' Bagel    2:47
17    Slim Gaillard Quartet–    Boogin' At Berg's    2:49
18    Slim Gaillard Quartet–    Don't Blame Me    3:05
19    Slim Gaillard Quartet–    Laguna Oroonee    2:35
20    Slim Gaillard Trio–    Ya Ha Ha    3:11
21    Slim Gaillard Trio–    Carne    2:49
22    Slim Gaillard Trio–    Ding Dong Oreeney    2:51
23    Slim Gaillard Trio–    Buck Dance Rhythm    3:10
Credits :    
Bass – Thomas "Bam" Brown (tracks: 1 to 23)
Drums – Leo Watson (tracks: 1, 2, 7 to 14), Zutty Singleton (tracks: 15 to 23)
Guitar – Slim Gaillard (tracks: 1, 2, 7 to 23)
Harpsichord – Slim Gaillard (tracks: 3)
Piano – Dodo Marmarosa (tracks: 15, 17 to 23), Fletcher Smith (tracks: 1 to 14), Slim Gaillard (tracks: 16)
Tenor Saxophone – Lucky Thompson (tracks: 7, 8, 10 to 14), Teddy Edwards (tracks: 9, 11 to 14), Wild Bill Moore (tracks: 10 to 14)
Trombone, Alto Saxophone – Vic Dickenson (tracks: 1, 2)
Trumpet – Howard McGhee (tracks: 7 to 14), Karl George (tracks: 7 to 14), Unknown Artist (tracks: 1, 2)
Vocals – Slim Gaillard, Thomas "Bam" Brown (tracks: 15 to 23

SLIM GAILLARD – 1946 | The Classics Chronological Series – 962 (1997) FLAC (tracks+.cue), lossless

The year 1946 saw Slim Gaillard's act diversifying like never before. This leg of his chronology finds Gaillard singing and playing guitar, piano, drums, and vibraphone. His guest performers included singing pianist Wini Brown, singing drummer Leo "Scat" Watson (an ideal match for Gaillard's bizarre temperament), bop geniuses Marshall Royal, Lucky Thompson, Dodo Marmarosa, and Howard McGhee, and Zutty Singleton or Scatman Crothers on the drums. Boogie woogie was an essential part of the hip end of popular music in 1946, and Gaillard did it up beautifully in the form of a four-handed piano duet with Wini Brown. "Riff City," a prime example of the "Slim & Bam" act in fourth gear, contains some of bassist Tiny "Bam" Brown's best scat singing. The instrumental "Santa Monica Jump" might be the best overall piece of jazz in this grab bag of recordings originally issued on the Bel-Tone, V-Disc, Atomic, Savoy, and Disc labels. Anyone collecting all of the various volumes of the Gaillard chronology on Classics will experience the thrill of amassing several versions of "Cement Mixer." The version heard here faithfully reproduces the Mexican radio announcer routine Gaillard used in live performance, while in fact "Fried Chicken O'Routee" (a remake of "Ya Ha Ha") seems to have actually been recorded in front of an appreciative audience. The live ambiance is even more pronounced during the "Groove Juice Symphony," also known as "Opera in Vout," presented amid much laughter, cheering, and applause on April 22, 1946, at the Shrine Auditorium. Gaillard and Brown open with Skeets Tolbert's "Hit That Jive, Jack," move into a wild version of Duke Ellington's "C Jam Blues" and cap the set with a fractured extension of Gaillard's own "Flat Foot Floogie" tempered with hints of "Big Noise from Winnetka." This disc contains two versions of "Chicken Rhythm," the second introduced by Bob Hope and issued by the Armed Forces on V-Disc. This interesting segment of the Slim Gaillard story ends with a handful of studio sides representing the full range of his musical persona -- cool love songs, hot jam tunes, and weirdly executed novelties with titles like "Oxydol Highball." arwulf arwulf  
Tracklist :
1    Wini Beatty With Slim Gaillard Trio–    Early Morning Boogie    2:55
2    Slim Gaillard Trio And Wini Beatty–    That Ain't Right, Baby    2:43
3    Slim Gaillard Trio–    Riff City    2:50
4    Slim Gaillard Trio–    Mean Mama Blues    2:50
5    Slim Gaillard And His Orchestra–    Chicken Rhythm    3:04
6    Slim Gaillard And His Orchestra–    Santa Monica Jump    3:01
7    Slim Gaillard And His Orchestra–    Mean Pretty Mama    3:03
8    Slim Gaillard And His Orchestra–    School Kids' Hop    2:55
9    The Slim Gaillard Trio–    Cement Mixer    2:19
10    The Slim Gaillard Trio–    Fried Chicken O'Routee    3:04
Slim Gaillard And Bam Brown    Opera In Vout (Groove Juice Symphony)    
11    –    Introduzione - Pianissimo    2:38
12    –    Recitativo E Finale    2:17
13    –    Andante Contabile In Modo De Blues    3:14
14    –    Presto Con Stomp    3:35
15    Slim Gaillard–    Chicken Rhythm 3:14
Speech [Introduction] – Bob Hope
16    Slim Gaillard Quartette–    Jam Man    2:34
17    Slim Gaillard Quartette–    I Don't Know Why    2:22
18    Slim Gaillard–    The Jam Man    3:02
19    Slim Gaillard–    Slim's Riff    1:53
20    Slim Gaillard–    I'm Confessin' (That I Love You)    3:10
21    Slim Gaillard–    Oxydol Highball    2:24
Credits :    
Bass – Bam Brown
Clarinet – Marshall Royal (tracks: 5 to 8)
Drums – Oscar Bradley (tracks: 18 to 21), Scatman Crothers (tracks: 16, 17), Slim Gaillard (tracks: 11 to 14), Zutty Singleton (tracks: 1 to 8)
Drums, Vocals – Leo Watson (tracks: 9, 10, 15)
Guitar – Slim Gaillard (tracks: 1 to 20)
Piano – Bill Early (tracks: 16, 17), Dodo Marmarosa (tracks: 5 to 8), Slim Gaillard (tracks: 10 to 14, 21), Wini Beatty (tracks: 1 to 4)
Piano [possibly] – Dodo Marmarosa (tracks: 18 to 21)
Speech [Introduction] – Bob Hope (tracks: 15)
Tenor Saxophone – Lucky Thompson (tracks: 5 to 8)
Trumpet – Howard McGhee (tracks: 5 to 8)
Vibraphone – Slim Gaillard (tracks: 1 to 4)
Vocals – Slim Gaillard (tracks: 1, 3 to 5, 7 to 18, 20, 21), Bam Brown (tracks: 5, 7 to 18, 20, 21), Wini Beatty (tracks: 1, 2)

LOU DONALDSON - Complete 1952 Blue Note Sessions (1952-2002) APE (image+.cue), lossless

Tracklist :
1    Tahiti 3'29
Milt Jackson
2    Lillie 3'15
Milt Jackson
3    Bag's Groove 3'04
Milt Jackson
4    What's New 3'12
Haggart-Burke
5    Don't Get Around Much Anymore 2'59
Ellington / Russell
6    On The Scene 2'43
Lou Donaldson
7    Skippy 3'02
T. Monk
8    Hornin' In 3'15
T. Monk
9    Sixteen 3'39
T. Monk
10    Carolina Moon 3'28
Davis / Burke
11    Let's Cool One 3'48
T. Monk
12    I'll Follow You 3'48
Turk / Ahlert
13    Roccus 3'24
H. Silver
14    The Things We Did Last Summer 3'20
Styne / Cahn
15    Cheek To Cheek 3'01
I. Berlin
16    Lou's Blues 3'44
Lou Donaldson
17    Sweet Juice 3'29
H. Silver
18    If I Love Again 2'38
Murray / Oakland
19    Down Home 3'19
Lou Donaldson
20    The Best Things In Life Are Free 3'22
De Sylva / Brown / Henderson
Credits :
Alto Saxophone – Lou Donaldson with
1-6
Bass – Percy Heath
Vibes - Milt Jackson
Piano - John Lewis
Drums – Kenny Clark
7-12
Trumpet - Kenny Dorham
Tenor Sax - Lucky Thompson
Piano - Thelonious Monk
Bass - Nelson Boyd
Drums - Max Roach
13-16
Piano - Horace Silver
Bass - Gene Ramey
Drums - Art Taylor
17-20
Trumpet - Blue Mitchell (except on # 17)
Piano - Horace Silver
Bass - Percy Heath
Drums - Art Blakey

BENNY CARTER AND HIS ORCHESTRA – 1952-1954 | The Classics Chronological Series – 1400 (2005) FLAC (tracks+.cue), lossless

Volume ten in the complete chronological recordings of Benny Carter, as compiled and presented on compact disc in 2006 by the Classics label, contains most of the originally issued master takes from his Verve and Victor sessions which transpired in New York and Los Angeles during the period between July 26, 1952 and January 4, 1954. What didn't make it onto this disc was a chunk of the Carter discography dating from August and October 1952, including the material released as the Alone Together album by "Benny Carter with the Oscar Peterson Trio and Buddy Rich" and a couple of tunes by Benny Carter's Orchestra with vocals by Savannah Churchill. Tracks one-three are performed by a solid little octet, while tracks four and six exhibit all the traits of polished early-'50s studio production, laying it on thickly using a large studio orchestra glazed with strings, a harp, and neatly harmonized group vocals. Even so, Carter sounds marvelous out in front with his creamy alto sax. Tracks five, seven, and eight are even better examples of Benny Carter's early-'50s sound. Tracks nine-twelve, played by Carter and a quartet led by pianist Oscar Peterson, were issued on a 10" long-playing Verve record with the word "Cosmopolite" on the cover. The remaining selections on this disc feature the Benny Carter Quartet augmented by a string and wind ensemble arranged and conducted by Joe Glover. At no point during this portion of his career did Carter sound like he was selling out or succumbing to convention. True, the addition of strings, beefed up orchestral charts, and especially the oozy vocals on "I Wanna Go Home" signal a momentary concession to perceived notions of popular taste, but in the larger scheme of things, and especially when placed into context as a relatively brief chapter in the remarkably long life and career of Benny Carter, this is pleasant enough stuff and it's precisely what Carter thought he needed to do during the early 1950s. arwulf arwulf  
Tracklist :
1    Benny Carter And His Orchestra–    Lullaby In Blue 2'45
2    Benny Carter And His Orchestra–    Rockin' Along (Rock Alone) 2'44
3    Benny Carter And His Orchestra–    Cruisin' 2'44
4    Benny Carter And His Orchestra–    I Wanna Go Home 2'49
5    Benny Carter And His Orchestra–    Georgia On My Mind 2'54
6    Benny Carter And His Orchestra–    You Belong To Me 2'25
7    Benny Carter And His Orchestra–    Love Is Cynthia 2'30
8    Benny Carter And His Orchestra–    Sunny Afternoon 2'57
9    Benny Carter Quintet–    Street Scene 3'22
10    Benny Carter Quintet–    Imagination 3'34
11    Benny Carter Quintet–    Pick Yourself Up 2'35
12    Benny Carter Quintet–    I Get A Kick Out Of You 2'54
13    Benny Carter And His Orchestra–    I'll Be Around 2'37
14    Benny Carter And His Orchestra–    Beautiful Love 2'53
15    Benny Carter And His Orchestra–    Blue Star 3'12
16    Benny Carter And His Orchestra–    Flamingo 2'53
17    Benny Carter And His Orchestra–    With A Song In My Heart 2'35
18    Benny Carter And His Orchestra–    Can't We Be Friends? 2'42
19    Benny Carter And His Orchestra–    Symphony 2'19
20    Benny Carter And His Orchestra–    Sorry 3'05
All Credits