ILLINOIS JACQUET – 1951-1952 | The Chronogical Classics – 1376 (2004) FLAC (tracks+.cue), lossless

This fourth installment in the Classics Illinois Jacquet chronology contains some of his very best recordings from the early '50s, originally released on the Mercury and Clef labels. The first three tracks were recorded in Los Angeles on January 18, 1951, with excellent support from pianist Carl Perkins, guitarist Oscar Moore, bassist Red Callender, and master percussionist J.C. Heard. The next session took place in New York four months later with an equally outstanding group composed of Hank Jones on piano and celeste, guitarist John Collins, bassist Gene Ramey, and the mighty Art Blakey inside of the drums. The ballads are superb, the ambling grooves irresistible, and "Cotton Tail" is taken to the verge of a nice rolling boil. "Weary Blues" is not the famous old-time stomp by Artie Matthews but rather a relaxed original ambulation in blue, quite soulful and dignified. Its flip side, simply entitled "Groovin'," is a case study in jamming with all five burners lit. The next three tracks were recorded on March 21, 1952, using what was essentially the Count Basie Orchestra with John Acea at the 88s. Jacquet rolls along in front of this steamy 14-piece band, sounding completely at home and in command. This outstanding compilation closes with eight tracks recorded in July and December of 1952. On the July date, Jacquet's remarkable rhythm section consisted of Hank Jones, Freddie Green, Ray Brown, and Jimmy Crawford, augmented with Count Basie himself at the organ. The December band was an amazing variation on the previous ensemble: Hank Jones now played the organ with Sir Charles Thompson sitting in on piano along with guitarist Joe Sinacore, bassist Al Lucas, and ace drummer Shadow Wilson. Given the excellence of each and every performance, the jaw-dropping collective personnel, and the overall striking artistic integrity of the featured tenor saxophonist, this CD belongs among the very best recordings by this artist or anyone else who had a hand in the development of early modern jazz. 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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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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ART TATUM – 1940-1944 | The Classics Chronological Series – 800 (1995) FLAC (tracks+.cue), lossless

This wonderful compilation -- the third volume in the complete recordings of Art Tatum -- will delight seasoned Tatum lovers and may also serve as the perfect introduction for those who seek initiation. That's because this portion of the Tatum chronology just happens to feature the pianist in his very prime as soloist, accompanist, and bandleader. The first 11 tracks were originally issued on the Decca label. Three excellent piano solos from July 1940 are followed by two sessions' worth of swinging instrumentals and strongly steeped blues sung by Kansas City's Joe Turner. Trumpeter Joe Thomas and clarinetist Edmond Hall were perfect foils for this singer. Hall's sinewy solos enliven "Stompin' at the Savoy" and Tatum's fine piece of boogie, "Battery Bounce." Guitarists John Collins and Oscar Moore each bring a special sense of conviviality to the ensembles. Moving ahead to January 1944, Tatum is heard with Tiny Grimes and Slam Stewart on a series of dazzling trio sides, most of which first appeared on the Brunswick label. These stunning collaborations are prized for their wealth of invention and relaxed intimacy. arwulf arwulf
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ERROLL GARNER – 1947-1949 | The Classics Chronological Series – 1109 (2000) FLAC (tracks+.cue), lossless

Here's one package that demonstrates the piano artistry of Erroll Garner in several settings -- as a solo act, with trio and quartet, and as an integral part of a jumpin' sextet caught live in concert. The Just Jazz series was producer Gene Norman's answer to Norman Granz's Jazz at the Philharmonic. Beginning with a jam on Edgar Sampson's "Blue Lou," the main attraction here is tenor saxophonist Wardell Gray. "One O'Clock Jump" and its three sequels bring on trumpeter Howard McGhee, trombonist Vic Dickenson, and Benny Carter on alto sax. (Neither the bassist nor the excellent guitarist are even mentioned let alone identified in the enclosed discography.) In a tasty example of resourceful editing, tracks three through six have been seamlessly linked into one more or less continuous performance. The same trick was accomplished with both halves of "Lover" (tracks seven and eight), which was performed by the rhythm section only. Garner's next recordings were made almost exactly one year later in front of a live audience with guitarist Ulysses Livingston and bassist John Simmons. Four beautiful, superbly crafted studies for solo piano were recorded for the Vogue label in Paris on May 15, 1948. These tracks, which might be new to some U.S. listeners, are a real treat for the Garner connoisseur. Garner was back in California two months later, punching out a version of "Just You, Just Me" at another Just Jazz concert with guitarist Oscar Moore, bassist Nelson Boyd, and drummer Teddy Stewart. This excellent compilation concludes with seven relaxed ballads and one feisty take of "Stompin' at the Savoy" recorded for the Savoy label in February and March 1949. Alvin Stoller and John Simmons interact marvelously with Garner, who was now developing into a purveyor of what has been accurately described as the "rhapsodic ballad." The wide range of styles and instrumentation on this disc mark it as an excellent choice for those who wish to experience the art of Erroll Garner from a variety of musical perspectives. arwulf arwulf  
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CHARLES BROWN – 1944-1945 | The Classics Chronological Series – 894 (1996) FLAC (tracks+.cue), lossless

This Classics CD features pianist/vocalist Charles Brown on his first 22 recordings, when he was a sideman with guitarist Johnny Moore's Three Blazers. Brown already sounded quite distinctive, and as it turned out, the 21st song ("Drifting Blues") was his biggest hit. The music, due to the instrumentation (a trio/quartet with bassist Eddie Williams and sometimes Oscar Moore on second guitar), is a bit reminiscent at times of the Nat King Cole Trio, but it had a special soul and feeling of its own. Frankie Laine makes a couple of early appearances, but Brown takes care of the bulk of the vocals, and there are also eight excellent instrumentals. Recommended. Scott Yanow
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CHARLES BROWN – 1946-1947 | The Classics Chronological Series – 1088 (1999) FLAC (tracks+.cue), lossless

The 24 selections on this Classics CD (their third Charles Brown release) were all recorded by Johnny Moore's Three Blazers, a trio consisting of guitarist Moore, bassist Eddie Williams, and the real star, pianist-vocalist Charles Brown. The final three numbers add Moore's brother, Oscar Moore (formerly with the Nat King Cole Trio), on second guitar. Unlike with their earlier pre-"Driftin' Blues" material, the emphasis is generally on slower tempos with Brown having a vocal on every selection. Most notable is the hit version of "Merry Christmas Baby"; other highlights include "Was I to Blame for Falling in Love With You," "Huggin' Bug," "St. Louis Blues," "Juke Box Lil," and "New Orleans Blues." The Blazers' style, a more bluish version of the Nat King Cole Trio, is always pleasing. However, since Charles Brown was getting very little recognition for his talents (audience members often thought that he was Johnny Moore!), he would not be sticking around in the group much longer. Scott Yanow
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CHARLES BROWN – 1947-1948 | The Classics Chronological Series – 1147 (2000) FLAC (tracks), lossless

Although the 24 selections on this CD have been reissued under pianist/vocalist Charles Brown's name, he is actually the featured sideman with Johnny Moore's Three Blazers, a band also including guitarists Johnny Moore and Oscar Moore, plus bassist Eddie Williams. However, putting it under Brown's name is only fitting because he has vocals on all but one of the selections (the instrumental "Scratch Street") and is the most impressive soloist. These performances, cut for the small Los Angeles-based Exclusive label, are mostly little-known (making them formerly rare collector's items), and the set overall has more tempo and mood variation than the earlier classics; the band was not trying as hard to duplicate the success of "Driftin' Blues." Recommended. Scott Yanow
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