DEXTER GORDON – 1943-1947 | The Chronogical Classics – 999 (1998) FLAC (tracks+.cue), lossless

This magnificent album of progressive jazz from the mid-'40s contains the earliest recordings released under Dexter Gordon's name. The opening session finds him in the company of Nat King Cole and Harry "Sweets" Edison. While Cole based much of his piano style on the creative accomplishments of Earl Hines, Gordon named Roy Eldridge and Lester Young as primary influences. The inspiration to emulate Prez, said Dex, "...came like a bolt out of the blue to me...I readily identified with his ideas and concepts...." This is superbly demonstrated in the relaxed jamming atmosphere of the first four tracks, particularly "I Blowed and Gone." Gordon said that by the time he joined the Lionel Hampton band in December of 1940, he'd been listening carefully to Prez "for three or four years." By 1943 Gordon's saxophone voice had ripened under that influence to the point where he was beginning to tell his own story. Then one night in 1944 at Minton's Playhouse, Gordon sat in literally between Lester Young and Ben Webster. Recording for Savoy in October of 1945, Gordon was teamed with adventurous pianist Sadik Hakim, backed by Gene Ramey and Ed Nicholson. These performances resemble Lester Young's Aladdin and early Clef recordings. The second Savoy session from January 1946 has Leonard Hawkins blowing trumpet and a wicked rhythm section in Bud Powell, Curly Russell, and Max Roach. As is the case with most of the groups heard on this collection, the combination of creative minds is stunning. And here Gordon establishes his wonderful personal regimen of delivering slow, full-feature tenor ballads. Back in 1943, "Sweet Lorraine" was shared with Nat Cole, who soon became closely identified with that melody. "I Can't Escape from You" is the first real example listeners have of Gordon the three-minute balladeer. Other forthcoming offerings in this vein are "Talk of the Town" and "I Don't Stand a Ghost of a Chance with You." His next session as a leader took place in Hollywood on June 5, 1947, with trombonist Melba Liston, who was soloing with and writing arrangements for Gerald Wilson's orchestra during this period (see Classics 976, the 1945-1946 volume of the label's Wilson chronology). "Mischievous Lady" and "Lullabye in Rhythm" contain what seem to be Liston's first solos recorded in a small-band environment. It's a shame that this group didn't cut a dozen more sides together. One week later, Gordon and Wardell Gray cut their famous two-part tenor blowout, "The Chase." Since Charlie Parker's "Klactoveedsedstene," with its distinctive opening clause, was recorded on October 28, 1947, it is interesting to hear the same lick used to open and close "The Chase," recorded nearly five months earlier. Which came first, the Bird or the egg? As "The Chase" proceeds, another riff emerges, forming the basis for the theme and the beginning of the first solo. It is based on Alphonse Picou's famous clarinet passage from "High Society," the old New Orleans jazz anthem. Here is the great multi-generational span dance, the new thing firmly grounded in the old. Every single record reissued here is worth its weight in gold. Gordon's Dial recordings, especially "Chromatic Aberration" and "Bikini," are full-blooded mature statements from a 24-year-old master improviser wise beyond his years. Even in the face of all the great records he would make in the years to come, this stash of Dexter Gordon's early work should be cherished among his very best. arwulf arwulf               Tracklist + Credits :

NAT "KING" COLE – 1936-1940 | The Chronogical Classics – 757 (1994) FLAC (tracks), lossless

Here's a parcel of rarities that chronicle the rise of Nathaniel Adams Cole, from his very first appearances on record as a pianist in his brother's swing sextet through a series of attempts to establish a distinctive style as vocalist and leader of his own trio. On July 28, 1936, Eddie Cole's Solid Swingers made four sides for Decca Records in Chicago. These are valuable not only on account of Nat King Cole, but also as fine examples of small-band swing from the mid-'30s. "Thunder" and "Stomping at the Panama" are energetic stomps. Nat's brother Eddie -- a proficient bassist -- sings his own composition, the bouncing "Honey Hush." There is a gorgeous tenor sax solo during the easygoing "Bedtime." Nat the 19-year-old pianist sounds at times like Earl "Fatha" Hines. It's a pity this band didn't wax another 20 sides. In 1937 Cole formed his first trio and began "rehearsing on the job at the public's expense," as Fats Waller would have said. Made in Hollywood on January 14, 1939, 12 recordings almost painfully illustrate the trio's search for a cohesive and possibly even dignified style. The first four numbers have lots of collective scat singing, and it is clear that this sort of group coordination would take a long time to perfect. "There's No Anesthetic for Love" is silly and surely would have turned into something more substantial if only Fats Waller had gotten his hands on it. "Let's Get Happy" is tight enough, but six other tracks feature whiny female vocalists. In a premonition of the act as it would sound by 1950, Cole sings "That Please Be Mineable Feeling" without anyone else's vocal backing. By February of 1940 this group had finally found its footing. "On the Sunny Side of the Street" -- or, as they sing it, "On the Side of the Street That's Sunny" -- is the first example on record of the mature, precise Nat King Cole Trio, augmented here with Lester Young's brother Lee at the drum kit. All of this would lead to Nat King Cole becoming a famous pop vocalist and nightclub personality. Although his amazing abilities earned him a place in the evolution of jazz piano somewhere between Earl Hines and Bud Powell, Cole would gradually sing more and play less until the point where most of his fans thought of him simply as a honey-voiced guy in a nice suit. Years later the great percussionist J.C. Heard would reflect upon the horror that jazz musicians felt when Cole all but abandoned the instrument. "Listen," said Heard, "when Nat Cole gave up playing piano, everybody got sick!" arwulf arwulf  
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NAT "KING" COLE – 1940-1941 | The Chronogical Classics – 773 (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  
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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  
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NAT "KING" COLE – 1943-1944 | The Chronogical Classics – 804 (1995) FLAC (tracks+.cue), lossless

Volume Four in the Classics Nat King Cole chronology opens with his very first recordings for Capitol, a small West Coast record company established in April 1942 by Johnny Mercer. Although at the time Capitol must have seemed like yet another two-bit enterprise, it was destined to become a major label with which Cole would be associated for the rest of his life. This segment of the chronology, covering a timeline from November 30, 1943 to March 6, 1944, mingles relatively obscure recordings with some of the King Cole Trio's early hits. Certainly Cole's own "Straighten Up and Fly Right" and Harold Arlen and Johnny Mercer's "It's Only a Paper Moon" are still among the most famous performances ever recorded by this group. "Straighten Up" placed them in the same league with Slim Gaillard & His Flat Foot Floogee Boys and The Cats and the Fiddle. It's hard to fathom why Capitol initially rejected Cole's updated treatment of Irving Berlin's amusing opus, "After You Get What You Want You Don't Want It"; this number dates back to the '20s and was originally interpreted by vaudeville acts such as Van and Schenck. The version of "Sweet Lorraine" heard here compares favorably with Cole's initial rendition of December 1940. Those who wish to concentrate upon his amazing abilities as a pianist will appreciate a half-dozen excellent Capitol instrumentals including "Jumpin' at Capitol" (an extension of Fats Waller's frantic stride piano opus "Zonky") and four rare selections recorded for the Disc label in February 1944 by the King Cole Quintette, a one-time-only ensemble comprised of bassist Gene Englund, drummer J.C. Heard, trumpeter Shad Collins and tenor saxophonist Illinois Jacquet. These extended jams, which were issued on 12" 78 rpm platters allowing for playback time between four and five minutes, are exceptionally satisfying. On the level, this compilation is one of the better installments in the complete recordings of Nat King Cole. It is highly recommended for newcomers and seasoned jazz heads alike. arwulf arwulf  
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NAT "KING" COLE – 1944-1945 | The Chronogical Classics – 861 (1996) FLAC (tracks+.cue), lossless

 Heads up, everybody! Here comes Volume Five in the Classics Nat King Cole chronology. This portion of the timeline runs from November 28, 1944 to May 23, 1945, charting the singing pianist's professional progress in trio sessions for Capitol and V-Disc as well as a date with the Capitol International Jazzmen, an all-star group composed of trumpeter Bill Coleman and reedmen Buster Bailey, Benny Carter and Coleman Hawkins backed by rhythm section mates Nat King Cole, Oscar Moore, John Kirby and Max Roach. Two of the four titles recorded by this group on March 30, 1945 have vocals by jazzwoman Kay Starr. During this period the King Cole Trio was at the height of their powers as a unit. While the leader's excellent vocals were now beginning to take center stage, the instrumental tracks, for example "A Pile O' Cole" and "A Trio Grooves in Brooklyn" are solid swinging small band jazz at its finest. The three instrumentals that close out this compilation are similarly rewarding. Two of them, Jacques Offenbach's "Barcarolle" and that gentle air from the 1890s, Edward MacDowell's "To a Wild Rose," were not issued to the public until years later. The third tune recorded that day, a flashy treatment of Maceo Pinkard's "Sweet Georgia Brown," came out on a 78 rpm platter as Capitol 239. It will satisfy anyone looking for a rousing example of how this trio sounded with the throttle wide open. arwulf arwulf
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NAT "KING" COLE – 1945 | The Chronogical Classics – 893 (1996) FLAC (tracks+.cue), lossless

Volume Six in the meticulously researched Classics Nat King Cole chronology presents all of the Capitol, Sunset and V-Disc recordings he made between May 23 and December 4, 1945. While most of these sessions were trio dates involving guitarist Oscar Moore and bassist Johnny Miller, the Sunset engagement brought together trumpeter Charlie Shavers, tenor saxophonist Herbie Haymer, bassist John Simmons and drummer Buddy Rich. Two of the six sides -- parts one and two of "Nat's Kick" -- were issued by the French on their Swing label as by the King Cole Quintet. The other titles were released by Sunset under the name of the Herbie Haymer Quintet. "Black Market Stuff" picks up where Fats Waller and His Rhythm left off in 1941 with "Pantin' in the Panther Room." arwulf arwulf  
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NAT "KING" COLE – 1946 | The Chronogical Classics – 938 (1997) FLAC (tracks+.cue), lossless

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NAT "KING" COLE – 1946-1947 | The Chronogical Classics – 1005 (1998) FLAC (tracks+.cue), lossless

 Volume Eight in the Classics Nat King Cole chronology follows his career from August 19, 1946 to July 2, 1947. By the summer of 1946 Cole was an exclusive Capitol recording artist and would remain so until his cigarette-induced death in 1965. As the postwar entertainment industry became increasingly obsessed with star vocalists, Nat King Cole's marvelously mellow voice proved to be intensely marketable. Echoes of Artie Shaw's sweet arrangements and a premonition of '50s production values occurred on what was actually Nat King Cole's second rendition of Mel Tormé's "Christmas Song" (recorded during a blistering August heat wave) with a string quartet plus harp added to a "trio" already enlarged to a quartet by the presence of drummer Jack "The Bear" Parker. Everything else on this compilation is played by the King Cole Trio, now serving more than ever as a backdrop for the voice of the leader. The only instrumentals are Cole's own "In the Cool of the Evening" (which sounds like a cousin to "Poinciana"), a gorgeous rumination on Jerome Kern's "Smoke Gets in Your Eyes" and a thrilling jam on Fats Waller's "Honeysuckle Rose," presented as a sequel to the King Cole Trio's earlier version recorded for Decca on December 6, 1940. arwulf arwulf  
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NAT "KING" COLE – 1947 | The Chronogical Classics – 1031 (1998) FLAC (tracks+.cue), lossless

 Nine volumes into the Classics Nat King Cole chronology, it is the summer of 1947 and the King Cole Trio is in the process of mutating into pop singer Nat King Cole "at the piano with rhythm accompaniment." Capitol was a growing enterprise, business was brisk and the 23 tracks on this compilation were recorded during a relatively short span of time -- between July 3 and August 13. Irving Berlin had composed "What'll I Do" in 1924; soon after Cole revived it with this recording, Frank Sinatra came out with a cover version on Columbia. Cole's warm and personable rendering of Richard Whiting and Johnny Mercer's "Too Marvelous for Words" is as magical and intimate as those recorded for producer Norman Granz by Billie Holiday and Lester Young. A wordless "Rhumba Azul" is an excellent example of the King Cole Trio's cool approach to early modern jazz. The final eight tracks are also entirely instrumental. This is a special treat for those who love the way this man handled the piano. Eventually he would practically abandon the instrument in order to focus entirely upon the art of crooning. arwulf arwulf
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NAT "KING" COLE – 1947, Vol. 2 | The Chronogical Classics – 1062 (1999) FLAC (tracks+.cue), lossless

 Volume Ten in the Classics Nat King Cole chronology documents a busy couple of weeks during the second half of August 1947. On August 15, Nat King Cole recorded three songs intended for a juvenile audience. These were "I Wanna Be a Friend of Yours" (which would have worked well years later as a vehicle for Mr. Rogers), the delightfully nonsensical "Ke Mo Ki," and a very smooth, stylish rendition of "Three Blind Mice" that was briefly disrupted by a "mouse" voice with artificially altered pitch. On the session of August 20, Cole shared the vocals with Johnny Mercer, that resourceful songwriter who had established the Capitol record label in 1942 in collaboration with record store owner Glenn Wallichs and Paramount Pictures producer Buddy DeSylva, himself a songwriter who was publishing hit songs out of Tin Pan Alley as early as 1918. By far the funniest of the Mercer/Cole duets is "Harmony," a lighthearted treatise celebrating the complexities of coexistence, carefully punctuated with deliberately chosen wrong notes. "Save the Bones for Henry Jones ('Cause Henry Don't Eat No Meat)" is also humorous but the lyrics are problematic because bones are patently carnivorous fare, as any vegetarian can and will testify. Since the idea that a vegetarian would eat bones is frankly insulting, some will hear this song as a manifestation of arrogant ignorance, while those who practically live on meat will likely chuckle and think nothing of it. The session that took place on August 22 found the King Cole Trio completely surrounded by a studio orchestra with strings. This was deemed appropriate for material like "Brahms' Lullabye" and the famous "Nature Boy." The session that took place on August 27 was one of the most unusual episodes of Nat King Cole's entire career. Once again performing material intended for prepubescent listeners, Nat King Cole sang a medley of nursery rhymes, rattled off a crazy version of "Old MacDonald Had a Farm" and told a story called "The Three Trees." The weirdest thing about these recordings was a series of sound effects and animal noises generated by Pinto Colvig, the internationally famous voice behind Bozo the Clown! As he headed towards a career as a full-time pop singer with only occasional ties to the jazz world, Cole recorded very few instrumentals. "Laguna Mood" and "Lament in Chords" are the only two wordless performances on this compilation. Note also that what's presented here are the last recordings that guitarist Oscar Moore ever made with the King Cole Trio. arwulf arwulf  
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NAT "KING" COLE – 1947, Vol. 3 | The Chronogical Classics – 1135 (2000) FLAC (tracks+.cue), lossless

 Boasting incredible sound quality and an impressive track listing, 1947, Vol. 3 is a wonderful collection of some of Nat King Cole's finest recordings from the late '40s. Despite his amazing piano playing, Cole's charming voice is the real star of this album. His smooth croon makes overplayed standards like "Dream a Little Dream of Me" feel fresh again. With minimal accompaniment and only one self-penned track (the humorous piano showcase "The Geek"), the arrangements had a lot of potential for failure. But instead these are some excellent renditions of songs that have mostly fallen out of the American public's interest. Anyone looking for a quality collection of Cole's performances, or even a good collection of classic vocal jazz, should definitely try to give this album a listen, as it really is quite good. Bradley Torreano
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NAT "KING" COLE – 1947-1949 | The Chronogical Classics – 1155 (2000) FLAC (tracks+.cue), lossless

 Nat King Cole could charm most listeners by simply singing a few lines from the phone book. His delivery is so intoxicating that even less-than-stellar material doesn't cause so much as a blink of the eye. This is true with Classics' collection of some of his 1947-1949 cuts, where hardly a classic standard or hit is in sight. What one does get, though, is a generous dose of Nat Cole and the trio's slow-riffin' best . While ranging from the ballad perfection of "How Lonely Can You Get" and "Lost April" to svelte blues sides like "My Mother Told Me," Cole, guitarist Irving Ashby, and bassist Johnny Miller show how they perfected the piano trio template forged by the singer's first group with guitarist Oscar Moore and bassist Wesley Prince. The disc also includes two boppish instrumentals: "Leap Here" and "Metronome Riff," featuring Cole with large combos stuffed with likes of Dizzy Gillespie, Buddy DeFranco, Bob Cooper, Art Pepper, Bill Harris, and Shelly Manne. Also included are two takes of "Portrait of Jennie," an early strings affair that nicely foreshadows Cole's symphonic run of hits in the '50s. This disc might not work too well as a prime introduction to the the Nat Cole Trio's '40s material -- check out Capitol's Vocal Classics titles for that -- but it certainly will please fans wanting to delve beyond the more popular tracks. And for those keen on getting a good share of Cole's instrumental and jazz-centric sides, check out Capitol's Instrumental Classics and Jazz Encounters collections. Stephen Cook
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NAT "KING" COLE – 1949 | The Chronogical Classics – 1196 (2001) FLAC (tracks), lossless

This thirteenth volume in the Classics Nat King Cole chronology gathers together all of his Capitol recordings made between March 22 and August 2, 1949. As one of Capitol's star attractions, Cole was now interacting with other musicians from the label's variegated roster of talent. Although the phrase 'King Cole Trio' was still appearing in print, Cole, his guitarist Irving Ashby and bassist Joe Comfort, now joined by bongo and conga drummer Jack Costanzo, were surrounded at times by an orchestra -- loaded with strings -- led by Pete Rugolo. This was actually a direct result of Stan Kenton having disbanded in December 1948. Exhausted and ill, Kenton wouldn't record again with his monster band until February 1950. Rugolo was Kenton's right-hand man and Costanzo was an essential component in the Kenton orchestra's Latin American percussion section. With Kenton in temporary retirement, the A&R directors at Capitol started combining talent, and that's how during the year 1949 the 'King Cole Trio' began to sound like an adjunct of the Stan Kenton orchestra. While the trio/quartet sides maintain a decent level of artistic integrity the larger ensembles, together with sugared group choral backgrounds by Alyce King's Vokettes and The Starlighters (also known by the cutesy name "Four Hits and a Miss") seemed to be announcing the arrival of that golden era of over-sweetened pop vocals, the 1950s. arwulf arwulf  
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NAT "KING" COLE – 1949-1950 | The Chronogical Classics – 914 (1996) FLAC (tracks), lossless

With his amazingly warm and intimate vocal style, Nat King Cole could handle any song he came across, transforming it into a cool expressive croon that is unsurpassed in the pop realm. This collection includes perhaps his most famous song, the string-drenched "Mona Lisa," but it also features several lesser known pieces, many of them falling into the novelty song category, a genre Cole practically defined with his assured singing and often innovative (and spare) arrangements. "The Horse Told Me" is a case in point. Essentially a game of whispers turned into a song, Cole's easy vocal puts it over while the odd arrangement, a mix of junkyard percussion and classy piano, keeps it fresh. Another highlight here is "Calypso Blues," which features a marvelously controlled vocal set over a sparse bongo track, and it indicates how versatile Cole was. There is really no song or style he couldn't make his own. While this release is relatively narrow in its focus, it shouldn't be passed over by Cole fans. Steve Leggett  
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LIONEL HAMPTON AND HIS ORCHESTRA – 1938-1939 | The Chronogical Classics – 534 (1990) FLAC (image+.cue), lossless

Lionel Hampton's series of record dates leading all-star swing bands produced some of the more exciting music of the late '30s. Just on this CD alone, Hampton led groups with musicians drawn from the Duke Ellington, Earl Hines, Cab Calloway, and Benny Goodman big bands, among others. Among the more notable performances are Benny Carter's "I'm in the Mood for Swing," a swing version of Jelly Roll Morton's "Shoe Shiner's Drag," tenor saxophonist Chu Berry having one of his best showcases on "Sweethearts on Parade," and a romp on "Twelfth Street Rag." Through it all, Hampton (whether on vibes, two-fingered piano, drums, or singing) often steals the show. Scott Yanow
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LIONEL HAMPTON AND HIS ORCHESTRA – 1939-1940 | The Chronogical Classics – 562 (1991) FLAC (tracks+.cue), lossless

During 1937-1940, Lionel Hampton led a series of exciting small-group swing dates featuring all-stars drawn from a variety of jazz orchestras. This reissue is one of the strongest. The first four songs alone have Hampton heading a group that includes altoist Benny Carter; tenors Coleman Hawkins, Chu Berry, and Ben Webster; and a 22-year old trumpeter named Dizzy Gillespie (who takes a solo on "Hot Mallets"). Also featured along the way are trumpeters Henry "Red" Allen and Ziggy Elman, trombonist J.C. Higginbotham, altoist Earl Bostic, and the Nat King Cole Trio. Three songs (including a classic version of "Dinah") feature Coleman Hawkins and (on trumpet) Benny Carter. This highly recommended set has more than its share of gems. Scott Yanow
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LIONEL HAMPTON AND HIS ORCHESTRA – 1940-1941 | The Chronogical Classics – 624 (1992) FLAC (tracks+.cue), lossless

In the period covered by this disc, Lionel Hampton led the last of his swing-era all-star sessions, left Benny Goodman's orchestra, and formed his own exciting big band. "Flying Home" was still in the near future, but there are a fair number of exciting selections on this transitional disc. Hampton's vibes are heard featured with the Nat King Cole Trio on four numbers (two of which also have the Hampton River Boys taking vocals) and the vibraphonist also jams with the 1941 version of the Spirits of Rhythm. After leaving Goodman, Hampton at first led a few small-group dates that included musicians drawn from his orchestra, including altoist/clarinetist Marshall Royal, pianist Sir Charles Thompson, and trumpeter Karl George. The big band's first, mostly uneventful session concludes this interesting disc. Scott Yanow
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STAN KENTON AND HIS ORCHESTRA – 1950-1951 | The Classics Chronological Series – 1255 (2002) FLAC (tracks+.cue), lossless

Illness, exhaustion and a national recording ban imposed by executives heading the American Federation of Musicians forced Stan Kenton to disband and withdraw from the music scene in December 1948. The hiatus lasted until February 1950, when he resumed making records for the Capitol label (see Classics 1185, Stan Kenton & His Orchestra 1950). Classics 1255, 1950-1951, which is the seventh volume in the Classics Kenton chronology, contains all of the recordings he made with his big band between May 18 1950 and March 20 1951. By and large, Kenton's music sounded better than ever during this period. His 37-piece Innovations Orchestra, which nearly bankrupted him when he took it on a national tour that set him back something like two hundred grand, performed attention-getting music using ambitiously conceived "progressive" arrangements. Kenton shared composing and arranging duties with Laurindo Almeida, Shorty Rogers and the ever-imaginative Pete Rugolo. In addition to dynamic studies focusing upon the brass and string sections, as well as the cello department in particular, a series of pieces were created as portraits of bandmembers June Christy, Art Pepper, Maynard Ferguson and Shelly Manne. Two tracks cut on August 16 1950 feature pianist and vocalist Nat King Cole, who maintained his composure amid blasts from the brass and shouts from the band during "Orange Colored Sky" -- note that the vocal routine used by the band is a precise word-for-word imitation of the famously rowdy version by that "Incendiary Blonde" Betty Hutton. Kenton bowed to convention by employing a resonant crooner and Billy Eckstine impersonator by the name of Jay Johnson; there is also a wistful band vocal on "September Song." Kenton continued to employ Latin American percussionists to spice up his Caribbean-style arrangements; Cole Porter's "Love for Sale" works very nicely under the influence of Miguel Ramon Rivera's conga drumming. Lest anyone should complain that this band didn't play enough melodies that could be whistled or hummed, Kenton's old chum Vido Musso's tenor sax was featured on the familiar "Santa Lucia" and a dramatic rendering of "Vesti la Giubba," the famous aria from Ruggero Leoncavallo's opera Pagliacci. After capping all of this with the delightful "Artistry in Tango" and savoring Bud Shank's graceful solo on Pete Rugolo's "Theme for Alto," one can begin to understand how and why Kenton's early-'50s band enjoyed increasing popularity in its day. Much of what he'd recorded during the previous decade pales by comparison. arwulf arwulf  
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