DIZZY GILLESPIE – To Diz, With Love (Live At The Blue Note) (1992) APE (tracks+.cue), lossless

Dizzy Gillespie's final recording, taken from a month he spent featured at the Blue Note in New York, matches the aging giant with such fellow trumpeters as Jon Faddis, Wynton Marsalis, Claudio Roditi, Wallace Roney, Red Rodney, Charlie Sepulveda and the ancient -- but still brilliant -- Doc Cheatham (who cuts both Diz and Faddis on "Mood Indigo"). Although Gillespie was no longer up to the competition, the love that these fellow trumpeters had for him (and some fine solos) makes this historic CD worth getting. Scott Yanow              Tracklist + Credits :

CHARLIE PARKER – 1951-1952 | The Chronogical Classics – 1314 (2003) FLAC (tracks+.cue), lossless

There's a lot to be said for this kind of chronological survey when it's applied to someone like Charlie Parker. It forces you to take into account not only the critically accepted material but everything that Bird accomplished in his professional life -- that is, every commercially released studio recording from this time period. The music resulting from the sessions of January 17 and August 8, 1951, is universally regarded as substantial and masterful. Critics have been "legitimating" these wonderful recordings for decades. They've also complained ad nauseum about the rest of the material on this album. Time after time, issue after reissue, album liner notes hint wryly at Bird's "artistically unsuccessful" experiments with both Latin American percussion and a big band augmented by a chamber string ensemble. It is possible, after all, for listeners to honor Parker by saying to themselves, "This is what the artist felt compelled to do, and we are capable of being receptive to -- appreciative of -- his ideas and the recordings he has left behind." Forget all notions of what belongs or doesn't belong on a jazz record -- specifically on a Charlie Parker record. The South of the Border stuff is fun -- thrilling, even -- and at times beautiful. The selections from Bird with Strings are fascinating and rewarding for those who are not uptight or prejudicial. The wonderful truth is this: music invariably legitimates itself, and ultimately no critics are necessary provided the listener has ears and a heart through which to listen. arwulf arwulf          Tracklist + Credits :

GENE KRUPA AND HIS ORCHESTRA – 1945-1946 | The Chronogical Classics – 1231 (2002) FLAC (tracks+.cue), lossless

Although there are some moments of interest on this set of 25 performances, the Gene Krupa Orchestra's studio recordings are mostly weighed down by vocals. Bop trumpeter Red Rodney was with Krupa for part of 1946, but the band just recorded a dozen numbers during this period, with all but "How High the Moon" (which has an early swinging arrangement from Gerry Mulligan) featuring so-so vocals from Buddy Stewart and Carola Grey. Rodney sneaks in a few boppish licks here and there, but overall these are disappointing, particularly compared to the orchestra's radio transcriptions of the era. There are five cuts from 1945: three Anita O'Day vocals (including a fine "Tea for Two"), a good instrumental version of "Lover," and a bombastic Charlie Ventura tenor feature on "Yesterdays." In addition, there are also eight slightly later tracks. Charlie Kennedy gets in some boppish alto solos that sound similar to Charlie Parker, but vocals dominate five numbers, while the other three are not that essential. So this is a lesser release overall, mostly recommended to Gene Krupa completists. Scott Yanow  
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BUDDY RICH AND HIS ORCHESTRA – 1946-1948 | The Chronogical Classics – 1099 (1999) FLAC (tracks+.cue), lossless

This is the first CD from the French Classics reissue series showcasing drummer Buddy Rich as a big-band leader. These 22 titles were recorded between 1946 and 1948 with several of them being V-discs. The tight arrangements of Tadd Dameron, Neil Hefti, Eddie Finckel, Bill Channon, and Turk Van Lake are strict yet thoroughly swinging ensemble playing. Even though Rich led this big band, he does not take center stage over the entire outcome. His Frank Sinatra-influenced vocals are heard here along with those of Dorothy Reid and Linda Larkin. During this three-year period his bands included the likes of Johnny Mandel, Red Rodney, Hal McKusick, Jimmy Giuffre, Warne Marsh, and Allen Eager. With the proven talent heard here it's a shame Rich couldn't sustain his ensembles, but finding gigs as the big-band era was drawing to a close made it economically unfeasible. Rich would not attempt to lead another big band until 1966. Al Campbell  
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CHARLIE VENTURA – 1945-1946 | The Classics Chronological Series – 1044 (1999) FLAC (tracks+.cue), lossless

Philadelphia native Charlie Ventura was born Charles Venturo in 1916. Following in his father's footsteps, he worked at first for the Stetson hat company. Inspired by tenor saxophonist Leon "Chu" Berry, he took up the sax on his own and eventually made his first appearance on records as a member of Berry's ensemble. After extensive nocturnal gigging while working at the Philadelphia Navy Yard, Venturo sat in with Roy Eldridge and soon began recording with Gene Krupa's orchestra. It was Krupa who first brought Venturo to Los Angeles. This wonderful compilation presents a wealth of precious material recorded between March 1945 and March 1946 in both L.A. and New York. These are the first records that Venturo issued under his own name, and they all used the original spelling. He wasn't presented on records as "Charlie Ventura" until September of 1946. Teamed at first with Howard McGhee and then with Buck Clayton, Venturo cut eight sides for the small-time Sunset and Black & White labels. These were followed by five episodes for tenor and rhythm section recorded in New York for the rapidly rising Savoy label. While Chu Berry was his prime influence, Venturo's progress paralleled that of Coleman Hawkins as swing evolved rapidly into bop. Here Venturo demonstrates his remarkable prowess as both balladeer and front burner. The drumming of Gordon "Specs" Powell enhances and fortifies the two sessions from August of 1945. A loose-limbed live "Jam Session Honoring Charlie Venturo" resulted in extended versions of "The Man I Love" and "Stompin' at the Savoy," and were brought out on the Lamplighter and Crystalette labels by producer Ted Yerxa. The omission of Ventura's famous performance at Town Hall in 1945 -- issued on Commodore and reissued by Atlantic -- is puzzling and somewhat disappointing, but the rest of the material is so rare and excellent as to compensate for the gap. Back with Black & White in March of 1946, Venturo led a sextet including trumpeter Red Rodney and Jimmie Lunceford's star alto saxophonist, Willie Smith. There are several contenders for "best Charlie Ventura compilation," but this one, documenting his first year as leader of his own recording ensembles, rates among the very best. arwulf arwulf  
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CHARLIE VENTURA – 1946-1947 | The Classics Chronological Series – 1111 (2000) FLAC (tracks+.cue), lossless

Tenor saxophonist Charlie Ventura (born Charles Venturo) was a byproduct of the Chu Berry/Coleman Hawkins methodology of gutsy swing and early bop improvisation. The Classics Chronological Series did the world an enormous favor when they reissued Ventura's earliest recordings as a leader and followed suit with this fascinating second volume of rare material. Back in Los Angeles during the spring of 1946, Ventura -- still billed on record as "Charlie Venturo" -- paired up with master clarinetist Barney Bigard in front of a rhythm quartet anchored by bassist Red Callender. Two of the four sides waxed on this occasion feature an unidentified male vocalist who sings wistful ballads without doing too much damage. Four sides recorded for the Black & White label in May of 1946 are particularly satisfying for the exchange of ideas between "Venturo," alto saxophonist Charlie Kennedy, trumpeter Red Rodney, pianist Teddy Napoleon, guitarist Allan Reuss, drummer Nick Fatool, and once again bassist Red Callender, who is sometimes called upon to introduce the melody by himself. On September 6, 1946, "Venturo" began a 13-month engagement with the National record label in New York. This was a turning point in several ways: the spelling of the leader's name was altered for the first time to read "Ventura"; the ensemble was expanded to an unprecedented 18 pieces; and Lily Ann Carol, a smooth vocalist with bop touches, was added on two ballads, "Either It's Love or It Isn't" and "Please Be Kind," backed by two instrumentals, a captivating "Misirlou" and a brassy treatment of "How High the Moon." On Ventura's next session for National, more vocals, both cute and romantic and decorated with little bits of bop-flavored scat, were inserted. The rest of the material from this second big-band date features the leader's mellifluous saxophone and, on "Annie, Annie Over," trombonist Bennie Green and the marvelous bop clarinet of Aaron Sachs. This segment of the Ventura chronology closes with a smart bop session featuring Charlie Ventura's American Sextet. After Buddy Stewart sings a sweet ballad and executes a briskly bopped scat routine very closely patterned after the records being made at that time by Babs Gonzales, Ventura slowly pours out "Blue Champagne" and tears into a fiery jam called "Stop and Go." This one track is worth the cost of the entire CD, as Ventura wails along with trumpeter Charlie Shavers, trombonist Bill Harris, and an explosive rhythm section driven by bassist Chubby Jackson and drummer Dave Tough, who was living out the final months of a very turbulent life. It's worth having the entire album just to hear how Tough handles his cymbals on this last cut. arwulf arwulf  
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CHARLIE VENTURA – 1949-1951 | The Classics Chronological Series – 1309 (2003) FLAC (tracks), lossless

Most of the music on this CD from tenor saxophonist Charlie Ventura was formerly scarce. That is certainly true of his RCA recordings that feature his short-lived big band performing seven Duke Ellington compositions. While some of the solos are conventional, the arrangements of George Williams and particularly George Russell are certainly unusual in spots, quite impressionistic. In 1950 Ventura had another big band that also did not last. Its seven selections (five of which were previously unreleased) often utilize haunting vocals by the Honeydreamers and/or Lucy Reed, including "You've Got a Date With the Blues" and "Lonesome Darling." After that orchestra broke up, Ventura returned to playing with small groups. The final two dates on this CD were recorded for Norman Granz's Clef label; a quintet outing with trumpeter Conte Candoli that features boppish versions of six swing standards, and a quartet set with vocals from Betty Bennett, bassist Chubby Jackson, and the Blentones. Although not quite essential, this collection from Classics is valuable in making former rarities available. Scott Yanow
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LEE KONITZ NONET - Live at Laren (1984) FLAC (tracks+.cue), lossless

Lee Konitz revived his nonet for the occasion of this 1979 concert, with trumpeters Red Rodney and John Eckert, baritonist Ronnie Cuber, trombonist Jimmy Knepper, and tuba player/bass trombonist Sam Burtis joining him in the front line. Lennie Tristano's "April," a challenging reworking of the standard "I'll Remember April," proves to be an inspired opener, with great solos all around. Knepper's blues "Who You" has the flavor of Charles Mingus' early-'60s compositions. Konitz's scoring of "Without a Song" begins with an unaccompanied alto solo before taking on a Latin flavor. Pianist Benny Aronov switches to the electric keyboard for an intricate take of Chick Corea's "Times Lie," while the nonet charges head first into the lengthy exploration of Corea's "Matrix." One of the less familiar releases in Lee Konitz's extensive discography. Ken Dryden
Tracklist :
1    April 7:03
Written-By, Arranged By – Lennie Tristano
2    Who You 6:15
Written-By, Arranged By – Jimmy Knepper
3    Without A Song 9:32
Arranged By – Lee Konitz
Written-By – Billy Rose, Edward Eliscu, Vincent Youmans
4    Moon Dreams 3:45
Arranged By – Gil Evans
Written-By – Chummy McGregor, J. Chalmers, Johnny Mercer
5    Times Lie 10:54
Arranged By – Sy Johnson
Written-By – Chick Corea
6    Matrix 13:38
Arranged By – Sy Johnson
Written-By – Chick Corea
Credits :    
Alto Saxophone, Soprano Saxophone – Lee Konitz
Baritone Saxophone, Clarinet – Ronnie Cuber
Bass – Ray Drummond
Drums – Billy Hart
Piano, Electric Piano – Ben Aronov
Trombone – Jimmy Knepper
Trumpet, Flugelhorn – Red Rodney
Trumpet, Flugelhorn, Piccolo Trumpet – John Eckert
Tuba, Bass Trombone – Sam Burtis
Notas.
Recorded live at Laren Jazz Festival August 12, 1979 by the Dutch Broadcasting, NOS -Hilversum
Mastered at Polygram, Tribiano - Milano