RED NORVO AND HIS ORCHESTRA – 1943-1944 | The Classics Chronological Series – 1306 (2003) FLAC (tracks), lossless

With chronological precision, this delightful disc covers eight months in the life of Red Norvo, who by November of 1943 had permanently switched from playing xylophone to the smoother, cooler, more modern vibraphone. Five V-Disc sides feature two attractive vocals by Helen Ward and excellent solos from rising tenor sax star Flip Phillips, clarinetist Aaron Sachs (who appears on four of the five sessions reissued here), trumpeter Dale Pearce, and trombonist Dick Taylor. A rhythm section of Ralph Burns, Clyde Lombardi, and Johnny Blowers rounds off this outstanding, up-to-date octet. Jazz-wise, the music recorded at this blowing session is strikingly superior to the stuff Norvo had produced only 18 months earlier, and vastly different from his big-band output during the late '30s. Norvo's next recording date took place in Chicago on April 5, 1944. Four exciting sides, originally issued on the Steiner Davis label, are distinguished by the easygoing interplay between Norvo, Lombardi, guitarist Remo Palmieri, and the great jazz violinist Stuff Smith. "Rehearsal" is exactly that -- three and a half minutes of impromptu jamming laced with laughter, discussion, and even a little scat singing. "Red's Stuff" is probably the creative apex of this incredible date, a rare treat for connoisseurs of vintage mid-20th century jazz. An authentically modern-sounding series of bop ideas, tonalities, and phrasing verify the radically progressive direction being pursued by the Red Norvo Sextet as they recorded for Brunswick in May of 1944. Their absorption of contemporary musical modes is evident in an amazing rendition of Denzil de Costa Best's "Dee Dee's Dance," a brand new approach to "Blue Skies," and especially the busy Benny Goodman/Charlie Christian jam vehicle "Seven Come Eleven." Three similarly advanced V-Discs from May of 1944 -- clocking in at nearly five minutes per side -- lead listeners to the threshold of Norvo's tenure as a Keynote recording artist. On July 27, 1944, at his first session for Harry Lim's ambitious modern jazz label, the vibraphonist and a small contingent from the previous date were joined by Teddy Wilson and Slam Stewart. The other half of the material from this session may be found on Classics 1356, the 1944-1945 volume in the label's Red Norvo chronology. arwulf arwulf  
Tracklist + Credits :

ANITA O'DAY – 1945-1950 | The Classics Chronological Series – 1274 (2002) FLAC (tracks+.cue), lossless

The Classics volume on Anita O'Day covering 1945 through 1950 takes her through the first five years of her solo career -- after her breakout with Gene Krupa (and "Let Me Off Uptown"), but before the immense success of her Verve years. The only hit present is the bright novelty "Hi Ho Trailus Boot Whip," but fortunately O'Day didn't record many castoffs then; instead, par for the course during the late '40s was her bluesy romp version of "What Is This Thing Called Love?," another Cole Porter tune recorded at the same session. Her sweetly swinging versions of "Them There Eyes" and "I Told Ya I Love You, Now Get Out" are excellent, and the backing includes high-caliber musicians Benny Carter, Dave Barbour, and pianist/arranger Ralph Burns. John Bush          Tracklist + Credits :

ANITA O'DAY – 1950-1952 | The Classics Chronological Series – 1336 (2003) FLAC (tracks+.cue), lossless

Compilations abound that center on Anita O'Day's work of the '40s and early '50s, before she set about recording one of the liveliest string of LPs ever seen on the planet (from 1955's This Is Anita to 1962's That Is Anita). With 1950-1952, the seminal Classics label reissued a string of titles that haven't seen light very often, a selection of her recordings for labels including London, Clef, and Norgran (the last two were Verve-associated labels). While they stand nowhere near the twin pinnacles of her career -- her big-band heyday and her solo revival yet to come -- O'Day recorded much wonderful music during these two years. In 1952 alone, she recorded three excellent sessions (the final two-thirds of the program), including a swinging date with her Krupa bandmate Roy Eldridge in New York and a sublime Chicago appearance with Roy Kral. John Bush
Tracklist + Credits : 

BEVERLY KENNEY - Come Swing with Me (1956-2003) RM / FLAC (tracks+.cue), lossless

Though a singer of uncommon emotional depth, Beverly Kenney could also cut loose with the best of them, and Come Swing with Me captures an effervescence and playfulness often absent from her later, more renowned sessions. Paired with arranger Ralph Burns, who likewise sidesteps his usual subtle refinement for a lighter, more lively approach, Kenney retains the thoughtful phrasing and sultry demeanor that are her signatures, but it's a pleasure to hear her tackle material like "You Make Me Feel So Young" and "You Go to My Head". by Jason Ankeny
Tracklist :
1    Give Me The Simple Life 2:19
Written By – Bloom-Ruby
2    I Guess I'll Hang My Tears Out To Dry 2:58
Written By – Cahn-Styne
3    The Trolley Song 1:52
Written By – Martin-Blane
4    Violets For My Furs 2:53
Written By – Adair-Dennis
5    This Can't Be Love 1:46
Written By – Rodgers-Hart
6    Scarlet Ribbons 1:57
Written By – Segal-Danzig
7    If I Were A Bell 2:07
Written By – F.Loesser
8    Why Try To Change Me Now 3:33
Written By – Coleman-McCarthy
9    Swinging On A Star 3:00
Written By – Burke-Van Heusen
10    You Go To My Head 2:37
Written By – Gillespie-Coots
11    It Ain't Necessarily So 1:31
Written By – I.Gershwin-G.Gershwin
12    You Make Me Feel So Young 2:09
Written By – Gordon-Myrow
Credits :
Bass – Milt Hinton
Clarinet – Al Epstein
Drums – Don Lamond, Teddy Sommer
French Horn – Julius Watkins
Guitar – Barry Galbraith, Billy Bauer
Harp – Janet Putnam
Piano – Moe Wechsler
Saxophone – Danny Banks, George Berg, Sam Marowitz
Trombone – Urbie Green
Trumpet – Nick Travis

LEE WILEY - West of the Moon (1956-2007) RM / FLAC (image+.cue), lossless

Lee Wiley was still in prime form during the 1950s, although she was disappointed that she did not become a major commercial success. On this LP (all but two cuts have since been reissued on CD), Wiley is joined by three different orchestras arranged by Ralph Burns. Her renditions of "You're a Sweetheart," "Who Can I Turn to Now," "Can't Get Out of This Mood," "East of the Sun," and "Moonstruck" are particularly memorable. Despite the passing of time, Wiley's voice was still sensuous and haunting, lightly swinging and full of subtlety. With trumpeter Nick Travis, trombonist Urbie Green, trumpeter Billy Butterfield, trombonist Lou McGarity, and clarinetist Peanuts Hucko helping out with a few short solos, Wiley sounds inspired throughout this memorable set. by Scott Yanow
Tracklist :
1     You're a Sweetheart    2:57
Harold Adamson / Jimmy McHugh
2     This Is New    2:59
Ira Gershwin / Kurt Weill
3     You Must Have Been a Beautiful Baby    3:02
Johnny Mercer / Harry Warren
4     Who Can I Turn to Now?    3:56
William Engvick / Alec Wilder
5     My Ideal    3:26
Newell Chase / Leo Robin / Richard A. Whiting / Alec Wilder
6     Can't Get out of This Mood    3:16
Frank Loesser / Jimmy McHugh
7     East of the Sun    3:34
Brooks Bowman
8     I Left My Sugar Standing in the Rain    3:48
Sammy Fain / Irving Kahal
9     Moonstruck    3:43
Sam Coslow / Arthur Johnston
10     Limehouse Blues    3:06
Philip Braham / Douglas Furber
11     As Time Goes By    3:16
Herman Hupfeld
12     Keepin' out of Mischief Now    2:45
Andy Razaf / Fats Waller
- Bonus Tracks -
13     Stars Fell On Alabama    4:05
 Written-By – F. Perkins, M. Parish
14     Do You Know What It Means To Miss New Orleans?    4:06
Written-By – DeLange, Alter
Credits :
Arranged By – Deane Kincaide (tracks: 13, 14), Ralph Burns (tracks: 1 To 12)
Baritone Saxophone – Danny Bank (tracks: 2, 6, 9, 10), Deane Kincaide (tracks: 13, 14)
Bass – Bob Haggart (tracks: 13, 14), Milt Hinton (tracks: 1 To 12)
Clarinet – Peanuts Hucko (tracks: 1, 3, 8, 12, 13, 14)
Drums – Cliff Leeman (tracks: 13, 14), Don Lamond (tracks: 1 To 12)
Flute, Clarinet, Alto Saxophone – Ray Beckenstein (tracks: 4, 5, 7, 11)
Flute, Oboe, English Horn – Romeo Penque (tracks: 4, 5, 7, 11)
Guitar – Barry Galbraith
Harp – Jane Putnam (tracks: 4, 5, 7, 11)
Piano – Lou Stein (tracks: 13, 14), Moe Wechsler (tracks: 1 To 12)
Reeds – Ray Beckenstein (tracks: 2, 6, 9, 10), Romeo Penque (tracks: 2, 6, 9, 10)
Tenor Saxophone – Al Epstein (tracks: 2, 6, 9, 10), Al Klink (tracks: 1, 3, 8, 12)
Trombone – Cutty Cutshall (tracks: 13, 14), Lou McGarity (tracks: 1, 3, 8, 12), Bob Alexander (tracks: 2, 6, 9, 10), Urbie Green (tracks: 2, 6, 9, 10)
Trumpet – Bernie Glow (tracks: 2, 6, 9, 10), Billy Butterfield (tracks: 1, 3, 8, 12, 13, 14), Nick Travis (tracks: 2, 6, 9, 10)
Viola – Dave Schwartz (tracks: 4, 5, 7, 11)
Violin – Leo Kruczek (tracks: 4, 5, 7, 11), Paul Winter (tracks: 4, 5, 7, 11)
Vocals – Lee Wiley 

RALPH BURNS & HIS ENSEMBLE - Bijou (1957-2014) Bethlehem Album Collection 1000 / RM / MONO / FLAC (tracks+.cue), lossless

Tracklist:
1 Bijou 4:03
Ralph Burns

2 Spring In Naples 3:20

Ralph Burns

3 Lover Come Back To Me 5:36
Oscar Hammerstein II / Sigmund Romberg
4 Gina 5:12
Ralph Burns
5 Perpetual Motion 4:04
Ralph Burns
6 Spring Sequence 6:12
Ralph Burns
7 Echo Of Spring 3:46
Willie "The Lion" Smith / Clarence Williams
8 Spring Is Here  3:35
Lorenz Hart / Richard Rodgers
9 Autobahn Blues 3:48
Ralph Burns
10 Sprang 3:56
Ralph Burns

Credits:

Bass – Clyde Lombardi
Drums – Osie Johnson
Guitar – Jimmy Raney
Piano – Ralph Burns

PAT SUZUKI - Looking At You [1960] RCA / LP / FLAC

 Pat Suzuki was the first

Japanese American singer signed to a recording contract to a major label in the U.S.

It's a shameful state of affairs when just about all of her classic albums are currently

out-of-print.

Take a listen to Ms. Suzuki's voice on this LP, accompanied by Ralph Burns and his orchestra (including Doc Severinsen and Milt Hinton), and you'll likely agree.

Pat Suzuki was born in 1934 in California's Central Valley, in the farming community of Cressey, where she sang in church and at community events as a child.

Born second-generation Japanese American, she and her family were relocated to the

Amache internment camp near Granada, Colorado during World War II.

Following the war, her family returned to California, where Pat graduated from San Jose State University in 1954.

During a return to San Jose State for postgraduate work in education, Pat sang at local jazz clubs.

Members of the teaching credential committee disapproved, and Pat was denied her teaching certification.

She soon moved to New York, where she began an acting career.

While appearing in the play 'Tea House of the August Moon', the touring company she was with traveled to Seattle, Washington.

Following one evening's show, the cast wound up at The Colony, a popular jazz club in Seattle.

After an impromptu performance on their stage, Pat was offered a regular gig by the club's manager, Norm Bobrow.

Pat Suzuki soon became a staple of Seattle's nightclub scene, and the story goes that it was while singing at The Colony in 1957 that she was 'discovered' by Bing Crosby, who helped her obtain a recording contract with RCA Victor, beginning with it's Vik subsidiary label.

Suzuki had her Broadway debut in Rodgers & Hammerstein's 'Flower Drum Song', which opened in December of 1958 and ran for 600 performances.

During the show's initial stage run and on the original cast album, she popularized the song 'I Enjoy Being A Girl' (though, unlike her co-star Miyoshi Umeki, she did not appear in the 1961 film version).

♫♪♫♪♫♪♫♪♫♪

Looking At You

Small World

Cheek To Cheek

He's My Guy

My Funny Valentine

You Better Go Now

You Brought A New Kind of Love To Me

I See Your Face Before Me

I Didn't Know About You

Easy Living

Don't Look At Me That Way

Let Me Love You

From the Pat Suzuki LP

'Looking At You'

(RCA Victor Records, 1960),

O Púbis da Rosa