SONNY STITT — Kaleidoscope (1992) FLAC (tracks+.cue), lossless

Deftly handling the alto, tenor, and baritone saxophone, bebop giant Sonny Stitt is heard to perfection here on a variety of early-'50s dates. Stitt not only shows off his patented speed throughout, but he goes a long way in dispelling criticisms of him being all fire and no grace. The 16-track disc kicks off with four tight, Latin-tinged swingers featuring an octet that includes trumpeter Joe Newman and timbales player Humberto Morales. Switching to piano quartet mode for the bulk of the disc, Stitt ranges effortlessly from frenetic blasts ("Cherokee") to golden-hued ballads ("Imagination"). Capping off the set with four bonus cuts featuring the likes of Gene Ammons and Junior Mance, Stitt delivers one of the top sets of performances from the late bebop era. Stephen Cook
Tracklist :
1    Stitt's It 2:35
Written-By – Massey, Stitt
2    Cool Mambo 2:40
Written-By – Massey, Stitt
3    Blue Mambo 2:25
Written-By – Massey, Stitt
4    Sonny Sounds 2:29
Written-By – Massey, Stitt
5    Ain't Misbehavin' 3:02
Written-By – Razaf, Waller, Brooks
6    Later 3:00
Written-By – Sonny Stitt
7    P.S. I Love You 3:00
Written-By – Jenkins, Mercer
8    This Can't Be Love 2:47
Written-By – Rodgers-Hart
9    Imagination 3:24
Written-By – Burke-Van Heusen
10    Cherokee 2:33
Written-By – Ray Noble
11    Can't We Be Friends 2:41
Written-By – Swift, James
12    Liza (All The Clouds'll Roll Away) 2:45
Written-By – Gershwin-Gershwin, Kahn
– BONUS TRACK –
13    To Think You've Chosen Me 3:11
Written-By – Benjamin, Weiss
14    After You've Gone 2:25
Written-By – Creamer, Layton
15    Our Very Own 3:05
Written-By – Elliot, Young
16    'S Wonderful 2:24
Written-By – Gershwin-Gershwin
Credits :
Alto Saxophone, Tenor Saxophone, Baritone Saxophone – Sonny Stitt
Baritone Saxophone – Gene Ammons (tracks: 13 to 16)
Bass – Ernie Sheppard (tracks: 1 to 4), Gene Wright (tracks: 7 to 16), Tommy Potter (tracks: 5, 6)
Drums – Art Blakey (tracks: 5, 6, 9, 10), Shadow Wilson (tracks: 1 to 4), Teddy Stewart (tracks: 7, 8, 11, 12), Wesley Landers (tracks: 13 to 16)
Engineer [Recording] – Rudy Van Gelder
Piano – Charlie Bateman (tracks: 7, 8, 11, 12), John Houston (tracks: 1 to 4), Junior Mance (tracks: 9, 10, 13 to 16), Kenny Drew (tracks: 5, 6)
Timbales – Humberto Morales (tracks: 2, 3)
Trombone – Matthew Gee (tracks: 13 to 16)
Trumpet – Bill Massey (tracks: 1 to 4, 13 to 16), Joe Newman (tracks: 1 to 4), John Hunt (tracks: 1 to 4)
Vocals – Larry Townsend (tracks: 13 to 16)
Nota.
Selections #1-4 recorded on March 25, 1952; #5-6 February 17, 1950; #7-8 February 1, 1951; #9-10 December 15, 1950; #11-12 January 31, 1951; #13-16 October 8, 1950. All selections recorded in New York City.
NoNOISE reprocessing by Sonic Solutions.
Audio restoration and digital remastering, 1992 (Fantasy Studios, Berkeley).
Selections #13-16 previously released on Stitt’s Bits (Prestige 7585).

COUNT BASIE AND HIS ORCHESTRA – 1946-1947 | The Classics Chronological Series – 988 (1998) FLAC (tracks), lossless

Here's a crash course in the flashy post-WWII big band sound of Count Basie's Orchestra. This was a much different act from the Basie band of 1944-45. The entire presentation had changed considerably in just a couple of years. Arrangers had a lot to do with such rapid transformation, along with creative young players like J.J. Johnson, Paul Gonsalves and Illinois Jacquet. Basie himself was maturing already into that famously glib, tinkling pianist who could and did occasionally play his ass off. A number of stylistic modes are clearly at work during the summer of 1946. Two sentimental pop vocals, one lightweight novelty tune and a solid Jimmy Rushing blues are interspersed with several exciting instrumentals. Buster Harding cooked up a few heavy-handed boogies, Tadd Dameron contributed the stimulating, modern composition "Stay On It," and Harry "Sweets" Edison composed and arranged "Mutton Leg," a sizzling feature for Illinois Jacquet. This would be the saxophonist's last extroverted studio recording with this band, and the eight selections from 1946 were the last of Basie's mid-'40s Columbia sides. Signing up with Victor for the next three years, Basie continued to move in step with rapidly evolving developments in pop, bebop and rhythm and blues. The Victor sides have not been reissued very often, and have proved much more difficult to obtain than Basie's earlier recordings from the Columbia and Decca catalogs. The people in charge of the Classics chronological series are to be commended for making these historical recordings available. The Victor material is markedly varied, revealing an orchestra searching for its next stylistic identity. "Open the Door, Richard" is one of the coolest versions of this silly piece of neo-vaudeville ever recorded, mainly because of Harry "Sweets" Edison's very hip, high-voiced spoken delivery. "One O'Clock Boogie" is recognizable Basie, but two lush ballads, arranged by Hugo Winterhalter, of all people, are atypical for this band. "Futile Frustration," though nominally co-composed by Basie, is a jaggedly futuristic Raymond Scott-styled experiment by Jimmy Mundy. Two live V-Disc jams, each exceeding the four-minute mark, feature Basie and rhythm with a snappy front line of Roy Eldridge and Illinois Jacquet. Art Ford, square peg in a round universe, introduces "Lady Be Good." "Jammin' on a V-Disc," which has a line that sounds uncannily like Sun Ra's "Space is the Place," runs at a brisk clip with wonderful solos from both of the horns. Illinois bites the reed to make his sax squeal and everybody rocks. Buddy Rich is in his element here, as the assignment calls for furious drumming. This segment of the chronology ends with three excellent instrumentals including smart remakes of "St. Louis Boogie" and "Swingin' the Blues." The pianist switches over to Hammond organ in the middle of "Basie's Basement," an authentically low-down blues graced with echoes of Fats Waller's personality. The rest of the fine music recorded by Basie and his men during the month of May 1947 appears at the beginning of the next volume of the complete recordings of Count Basie in chronological order. arwulf arwulf   Tracklist + Credits :

THELONIOUS MONK – 1947-1948 | The Classics Chronological Series – 1118 (2000) FLAC (tracks+.cue), lossless

 The first recordings ever issued under Thelonious Monk's name are presented as volume one in the Classics Thelonious Monk chronology. Although he'd been an active catalyst on the jazz scene for many years it wasn't until the autumn of 1947 that Monk was able to begin making records as a leader. These 20 Blue Note sides are uniformly excellent; each of the pianist's original compositions would soon begin to form a musical canon of strikingly creative works that would completely transform the ways in which jazz was conceived, structured, played, received and understood. During this period, Monk's groups included such vital players as Milt Jackson, Art Blakey, Shadow Wilson, Gene Ramey, Idrees Sulieman, Sahib Shihab and Ike Quebec's cousin Danny Quebec West. Monk's quartet session of July 2, 1948 features two pleasant vocals by Kenny "Pancho" Hagood. Note that "Evidence," based upon the chord progressions of "Just You, Just Me," was originally titled "Just Us." Legend has it that after he realized that the recording engineer had mistakenly written down "Justice," Monk decided that if he was going to court he'd be sure and bring along the Evidence. arwulf arwulf      Tracklist :

ILLINOIS JACQUET – 1945-1946 | The Chronogical Classics – 948 (1997) FLAC (tracks+.cue), lossless

Although the Delmark label has done a fine job of reissuing Illinois Jacquet's Apollo recordings, a genuine understanding of this exciting music requires a more systematic appraisal of the recorded evidence. Being able to digest an entire segment of Jacquet's career, with the recordings chronologically arranged and garnished with complete discographical information, is a major treat for anyone wishing to place the music in context. This also expands the picture well beyond Apollo to include material recorded for the Philo, Savoy, and ARA labels, and clears up a few mysteries regarding personnel. The first four tracks were recorded in July of 1945 and set a standard for modern jump music combining elements that would soon be tagged as bebop and R&B. The steamy "Flying Home" was carefully arranged to fit on two sides of a 10" 78-rpm record. "Uptown Boogie" features pianist Sir Charles Thompson bolstered by excellent rhythmic support from drummer Johnny Otis. Illinois himself was always a commanding presence whether laying down a cool blues, smoothing out a ballad, or applying a blowtorch to one of his rowdy jump tunes. Trumpeter Russell Jacquet is heard singing the only two vocal tracks on the entire album, "Throw It Out of Your Mind Baby" and "Wondering and Thinking of You." The two Apollo sessions from August 1945 are driven by the pulsing bass of young Charles Mingus, Bill Doggett's double-fisted piano, and some feisty drumming by Al "Cake" Wichard. For a precious glimpse into the developing ballad philosophy of Mr. Mingus, listen carefully to his accompaniment behind Jacquet's passionate sax on "Memories of You" and "Ghost of a Chance." Ming walks briskly through "Bottoms Up," a rocking re-bop dance with howling horns and strutting rhythm. "Merle's Mood" seems to have been based upon "Paper Moon," and Mingus crowds the microphone to provide extra pushes during Bill Doggett's "What's This." Two sides waxed for ARA at the end of the same month and issued as by the Jacque Rabbits are graced with the return of Sir Charles, whose composition "Ladies Lullaby" is actually another jump tune fortified with bop ideas. "Illinois Stomp" is a very sophisticated bounce. The closing eight tracks were originally issued bearing the Savoy label, and feature trumpeter Emmett Berry, an interesting blend with the salty and often florid Mr. Jacquet. (The last three selections in fact were issued under the name of Emmett Berry's Hot Six.) "Don't Blame Me" is one of this saxophonist's great triumphs of ballad artistry. The spicy "Jumpin' Jacquet" is driven by rhythm guitarist Freddie Green, bassist John Simmons, and master percussionist Shadow Wilson, while Berry percolates using a mute. "Blue Mood" is a meditative masterpiece. Every single track on this CD is strongly presented and well worth experiencing again and again, with best wishes for loosening up, nodding your head, popping your fingers, and cracking a smile. arwulf arwulf     Tracklist :

ILLINOIS JACQUET – 1946-1947 | The Chronogical Classics – 1019 (1998) FLAC (tracks+.cue), lossless

Unlike so many previous reissues, this portion of the Illinois Jacquet chronology places these historical sessions side by side rather than sorting them out by label. Bringing together the last of Jacquet's Aladdin and Apollo recordings in this way is illuminating, informative, and entertaining. Jacquet's Apollo All Stars octet that recorded in August 1946 had a fine front line in trumpeter Joe Newman, trombonist Trummy Young, and alto saxophonist Ray "King" Perry alongside Jacquet's powerful tenor, supported by John Simmons, Freddie Green, Bill Doggett, and the amazing Denzil Best. "Jumpin' at Apollo" and "12 Minutes to Go" are the obligatory cookers, tempered with the walking "Jacquet Bounce" and "She's Funny That Way," a cool addition to Jacquet's marvelous catalog of ballads. As part of a heat wave of postwar tenor saxophony, Illinois blazed his own trail through stylistic terrain also traversed by Wardell Gray and Lucky Thompson. Like everything heard on this disc, Jacquet's 16-piece Aladdin big-band session from January 1947 reflects the Count Basie experience in high relief. While the trumpet section -- fortified with Joe Newman, Fats Navarro, and Miles Davis -- makes this a formidable listening experience, the star of the upbeat numbers -- and, in a way, of every session for the remainder of this collection -- is master percussionist Shadow Wilson, who thunders and shakes on "Big Dog" and "Jivin' with Jack the Bellboy," a reference to an extroverted drum feature recorded in 1940 by Lionel Hampton. Anyone who is lucky enough to possess the original 78-rpm Aladdin recording of "Blow, Illinois, Blow" can testify to the excitement of hearing a tenor saxophone wailing in front of a nine-piece band, coming up through the surface noise of a rapidly rotating platter. Digitally cleansed, this track sounds stunningly immediate as the ensemble seems to surround the listener and gradually close in. "Illinois Blows the Blues" knocks the band down to tenor and rhythm for one of Jacquet's definitive statements on record, feeling at times almost like a duet with Sir Charles Thompson. Back with Apollo for the last time in May of 1947, Jacquet retained certain key players from his previous couple of dates. Mention must be made of Leo Parker's exceptionally fine baritone sax outbursts. Jacquet regularly engages in his signature high-pitched wailing, a sound that some critics disparage but most open-minded listeners will enjoy as a necessary optional response to everyday life in the 20th century. Sir Charles, who plays on all of the dates from April 1, 1947, onward, exerted a marvelous influence upon Mr. Jacquet. Exhibit A would be Thompson's "Robbin's Nest" -- the version heard here is an easygoing delight. "Jumpin' at the Woodside," on the other hand, is almost frightening in its intensity, largely on account of Parker's snarling baritone. As the saga of Illinois Jacquet enters into the autumn of 1947, J.J. Johnson fans will want to listen for the trombone during the final eight tracks on this exceptionally satisfying album of early modern jazz. arwulf arwulf         Tracklist :

ILLINOIS JACQUET – 1947-1951 | The Chronogical Classics – 1254 (2002) FLAC (tracks+.cue), lossless

These recordings from Illinois Jacquet all showcase him in the context of his name orchestra recording for Bluebird and Apollo. Tadd Dameron arranged all of this material -- most of which was written by Jacquet. The band's varying personnel on these stellar sides includes Sir Charles Thompson, J.J. Johnson, J.C. Heard, John Lewis, Henry Coker, Red Callender, Shadow Wilson, Carl Perkins, Oscar Moore, and others. Standout cuts form these sides include "Symphony in Sid," "Riffin' at 24th Street," "Slow Down Baby," "My Old Gal," and a smoking rendition of Count Basie's "Mutton Leg."
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist + Credits :

ILLINOIS JACQUET – 1953-1955 | The Chronogical Classics – 1451 (2007) FLAC (tracks+.cue), lossless

The mid-'50s were a fruitful time for Illinois Jacquet, as he was about age 30. A popular and distinctive tenor saxophone soloist who could easily fit into a swing, big-band, bop, blues, or rhythm & blues context, he was also asserting himself as a bandleader. These sessions, the fifth in a series of Classics label reissues for Jacquet, are all originally from the Clef label and produced by Norman Granz. Mostly done in New York City, they feature his five-years-older brother, trumpeter Russell Jacquet, in a series of mid-sized ensembles that were hype-dubbed an orchestra. As Jacquet was involved with Granz in his Jazz at the Philharmonic traveling shows, these tunes naturally have a jam session feel. The first eight tracks, from 1953, feature a dynamite rhythm session of pianist Johnny Acea, bassist Al Lucas, and drummer Shadow Wilson. Trombonist Matthew Gee and baritone saxophonist Cecil Payne round out the "orchestra." There's some crazed, frantic bop on the "Out of This World" variation "On Your Toes," the lithe and fast hard bop with low-end bari and high-end brass of "Jacquet Jumps" and "Heads," the easy swing of Acea buoying "It's the Talk of the Town," and the totally bluesy counterpointed trumpet of Russell Jacquet as a foil for his brother during "R.U. One," minus Payne. Percussive tongue pops inspire the calypso beat of the unusual, near-novelty item "Jatap Conga." On the next four cuts, from 1954, Leo Parker replaces Payne, and Osie Johnson is the drummer man. Conga legend Chano Pozo joins in on the hot and joyous "Mambocito Mio," with group vocals, and there's the richly arranged "Jacquet's Dilemma" and the famous ballad "September Song," where the tenor of Jacquet explores the deepest blue spectrum. Two more cuts from 1954 team Ben Webster and Jacquet's unison tenors with Pozo on the Latinized bopper "The Kid and the Brute" and the follow-up slinky blues "I Wrote This for the Kid." The 1955 sessions are from Los Angeles with West Coasters Gerald Wiggins and Carl Perkins playing organ and piano, respectively. This combination breeds a neat energy, and with guitarist Irving Ashby, the band takes a different tack. Trumpeter Harry "Sweets" Edison is the tenor's foil, sliding easily through "Love Is Here to Stay" and the ballad "East of the Sun," while swinging hard on the fun tune "Empathy" and doing the groove biscuit similar to "Let the Good Times Roll," here dubbed "Cool Bill" (perhaps for Bill Doggett), minus Perkins. This short but potent time capsule in what must be considered the near prime of Illinois Jacquet is as precious as mid-period straight-ahead jazz gets, and is highly recmmended. Michael G. Nastos
Tracklist :

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 :

LOUIS JORDAN AND HIS TYMPANY FIVE – 1941-1943 | The Chronogical Classics – 741 (1994) FLAC (tracks+.cue), lossless

During the era covered by this Classics CD (the third in their "complete" Louis Jordan series), Jordan and his Tympani Five became major successes. Among the 24 selections are such hits as "Knock Me a Kiss," "I'm Gonna Move to the Outskirts of Town," "Five Guys Named Moe" and "Is You Is or Is You Ain't My Baby." In addition to the regular Decca recordings, the set includes four numbers originally rejected, plus six Jordan V-Disc performances. Louis Jordan's music (featuring his alto and vocals, plus hot backup work from trumpeter Eddie Roane and a swinging rhythm section) acted as a bridge between small-group swing and early R&B. Highly recommended. Scott Yanow  
Tracklist + Credits :

LOUIS JORDAN AND HIS TYMPANY FIVE – 1943-1945 | The Chronogical Classics – 866 (1996) FLAC (tracks), lossless

Although Louis Jordan's greatest hits are continually reissued, this Classics CD (the fourth in the series) gives listeners an opportunity to hear many of his lesser-known recordings, quite a few of which sound as if they could have been hits too. Jordan, a fine R&Bish altoist who was an underrated singer and a brilliant comedic talent who knew a good line when he heard one (there are many memorable ones throughout this program), is heard in peak form. The 23 performances are Decca sides (including five not originally released), some V-Discs and the privately recorded "Louis' Oldsmbile Song." Bing Crosby sings duets with Jordan on "My Baby Said Yes" and "Your Socks Don't Match," there are two major hits ("G.I. Jive" and "Caldonia") and among the sidemen are the fine trumpeter Eddie Roane, the forgotten but talented pianist Tommy Thomas, trumpeter Idrees Sulieman (on the January 19, 1945 session) and (for the final two songs) pianist Wild Bill Davis. Other highlights include "You Can't Get That No More," "I Like 'Em Fat like That," "Deacon Jones" and "They Raided the House." Highly recommended. Scott Yanow  
Tracklist + Credits :

ERROLL GARNER – 1950 | The Classics Chronological Series – 1240 (2002) FLAC (tracks+.cue), lossless

The music on this CD was formerly put out by Atlantic (including an obscure LP), Columbia (the final four titles), and National. The latter is the rarest track, one in which Garner and an unidentified rhythm section accompany singer Florence Wright on "The Real Gone Tune." Otherwise, the great Garner performs with bassist John Simmons and either Doc West or Shadow Wilson on a marathon 15-song and the four Columbia titles. Most of these performances were formerly quite rare and they find Garner, whose style was very much together by 1950, sounding as joyous and swinging as always. Among the many highlights are "Margie," "Ramona," "The Sheik of Araby," "Trees," "When Johnny Comes Marching Home," and "It Could Happen to You." Scott Yanow
Tracklist + Credits :

ERROLL GARNER – 1950-1951 | The Classics Chronological Series – 1310 (2003) FLAC (tracks+.cue), lossless

It's easy to understand why Erroll Garner became so popular during the 1950s. There's nothing very challenging about him. He appears to delight in each and every melody that he can get his fingers into. There's lots going on here, but nothing that couldn't be presented in a nightclub or steak house. Most people want jazz to be interesting enough to distinguish itself, yet there is an expectation that for general consumption purposes, it had better stay in the background and serve as a "music bed" that can be talked over. On the other hand, for shutting up and listening to, this is gorgeous chamber music in its own light. There are the usual number of gentle reveries, interspersed with bounces, prances and cookers. Each three- or four- minute performance turns out nicely. "The Petite Waltz" is almost a bit too nice, it seems, until one realizes that much of Garner's approach consisted of sending conventionally accepted ideas of music right up the flagpole like a pair of long johns hoisted bravely and merrily into the air. "Petite Waltz Bounce" is the antidote, providing a textbook example of how Garner could take any piece of pop music and transform it into jazz music of remarkable merit. Hearing this session unfold, one is likely to become possessed by Garner's best, most exciting energies. "Lover" really cooks, and suddenly we're reminded that legendary be bop drummer Shadow Wilson is in the house. Bassist John Simmons is in here too, although on the previous quieter numbers it was easy to mistake this for a solo piano recital. "The Way You Look Tonight" is nice, not as immaculate as the 1949 version, but who cares. "Body and Soul" and "Honeysuckle Rose" are filled with rhythmic surprises. This is Garner at the top of his form. A highly developed theatrical sense percolates throughout Garner's original vampish compositions, represented here by "Play, Piano, Play" and "Garner in Hollywood." Be it oil, acrylic, charcoal, or gouache, this is the art of Erroll Garner. There never was nor will there ever be anyone else quite like him. arwulf arwulf  
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ERROLL GARNER – 1951-1952 | The Classics Chronological Series – 1341 (2004) FLAC (tracks+.cue), lossless

The 13th installment in the massively comprehensive Classics Erroll Garner chronology opens with three eloquently rhapsodic unaccompanied piano solos he cut for the Recorded in Hollywood label in Los Angeles in February 1951, during one of his happy-go-lucky deviations from contractual commitments to a major company (in this case, Columbia Records). Six months later, bolstered by bassist John Simmons and drummer Rossiere "Shadow" Wilson, Garner dished up eight beautiful performances that either softly glow with a gentle languor ("Sophisticated Lady," "You're Blasé") or emit sparks of rambunctious merriment ("Margin for Erroll" and "Robbins Nest"). The interplay among the three men is a marvel to behold; the almost rascally flavor of "Ain't She Sweet?" is guaranteed to please. On January 3, 1952, this trio waxed another ten sides for Columbia, including two extended tracks -- four minutes each -- for issue on the new LP format. This slice of the Garner chronology is exceptionally satisfying, particularly on account of the presence of master percussionist Shadow Wilson. If you're looking for dignified, well-played piano jazz, warmly laid-back at times but regularly spiced with bursts of joyous invention, try this. arwulf arwulf  
Tracklist + Credits :

J. J. JOHNSON – 1946-1949 | The Classics Chronological Series – 1176 (2001) FLAC (tracks+.cue), lossless

Coming up in the big bands led by Benny Carter and Count Basie, trombonist J.J. Johnson was among the first of the truly modern trombonists. For his first recording session as a leader, Johnson chose pianist Bud Powell, bassist Leonard Gaskin, drummer Max Roach, and the mighty Cecil Payne -- later famous as a baritone saxophonist -- blowing a really fine alto. Each of these Savoy sides bubbles with the fresh new energy of a vibrant, creative music reinventing itself. Johnson's next opportunity to lead occurred on December 24, 1947, with stellar bop baritone Leo Parker and a fine rhythm section in Hank Jones, Al Lucas, and Shadow Wilson. The sheer presence of so many great musical minds is thrilling as Sonny Rollins, John Lewis, and Gene Ramey show up at the third Savoy session on May 11, 1949. With the exception of six sides with Babs Gonzales earlier that year (as heard on Classics 1124, the 1947-1949 volume of the label's Gonzales chronology), these are the earliest recordings ever made by Sonny Rollins. Johnson's next two dates would result in eight sides for the New Jazz label, combining Rollins with Kenny Dorham and then in October of 1949 teaming up with alto saxophonist Sonny Stitt. This is exceptionally satisfying primal bop, with no unnecessary or superfluous chaff, an impressive beginning to an illustrious career. arwulf arwulf
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BILLY TAYLOR – 1945-1949 | The Classics Chronological Series – 1137 (2000) FLAC (tracks+.cue), lossless

Many jazz fans don't realize how long ago Billy Taylor began his career; this French anthology assembles five separate sessions that he led as a young man between 1945 and 1949, as well as one date as a sideman. In 1945 he shows the influence of both Art Tatum and Teddy Wilson in the lightly swinging take of "Night and Day," while his campy approach to "Alexander's Ragtime Band" is rather refreshing. His lyrical solo interpretation of "The Very Thought of You" from 1946 demonstrates his considerable growth as a pianist. Taylor also wrote seven of the songs, which include two versions of his easygoing "Stridin' Down the Champs-Elysees," the flashy blues "Well Taylor-Ed," and two rare vocals by Taylor on the Nat King Cole-like "I Don't Ask Questions, I Just Have Fun" and "So You Think You're Cute." The four tracks featuring Taylor as a sideman in the Walter Thomas Orchestra find him pretty much relegated to a supporting role, although the presence of Doc Cheatham, Eddie Barefield, and Hilton Jefferson makes the music of interest. But Taylor's quintet session with the infrequently recorded tenor saxophonist John Hardee (who is in great form) is hampered somewhat by the unnecessary addition of organist Milt Page, who proves to be more of a distraction with his uninspired playing. Because so much of the valuable material within this collection has been next to impossible to find, it will be of significant interest to fans of Billy Taylor. Ken Dryden  
Tracklist + Credits :

BILLY TAYLOR – 1950-1952 | The Classics Chronological Series – 1344 (2004) FLAC (tracks), lossless

This second volume covering Billy Taylor's pre-Prestige recordings opens with four sides cut for Brunswick Records in 1950, followed by eight tracks done for Atlantic, and concluding with an early LP of Cuban-inspired jazz, all of which will be of interest to collectors. Taylor's bop-inflected piano style remains elegant throughout, always with a veneer of swinging brightness, and two of the best pieces here, the self-penned "Double Duty" and "Good Groove," show an acute awareness of both time and space, areas Taylor would go on to explore with his subsequent trios. Steve Leggett
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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 :

LEE KONITZ - Very Cool (1957-1990) RM | MONO | Serie : Verve Best 50 Part II – 83 | FLAC (tracks+.cue), lossless

Tracklist :
1    Sunflower 8:05
Written-By – Don Ferrara
2    Stairway To The Stars 5:21
Written-By – Signorelli, Malneck, Parish
3    Movin' Around 7:47
Written-By – Don Ferrara
4    Kary's Trance 7:11
Written-By – Lee Konitz
5    Crazy She Calls Me 7:24
Written By – Meyer/Kahn/Caesar
Written-By [Uncredited] – Bob Russell, Carl Sigman
6    Billie's Bounce 6:10
Written-By – C. Parker
Credits :    
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Shadow Wilson
Piano – Sal Mosca
Producer [Original Sessions] – Norman Granz
Trumpet – Don Ferrara
Notas.
Recorded NYC, May 5, 1957.
Track 5 is miscredited to Meyer/Kahn/Caesar, the writers of "Crazy Rhythm".

GERRY MULLIGAN & THELONIOUS MONK - Mulligan Meets Monk (1957-1987) RM / FLAC (tracks+.cue), lossless

Mulligan Meets Monk documents the 1957 meeting of two sharp musical minds. Though the pairing may seem unlikely, baritone saxophonist Gerry Mulligan -- whose cool, West Coast style blends dexterity with laid-back grace -- and Thelonious Monk -- whose radical, angular piano playing and thoroughly modern compositions are blueprints for the possibilities of bop -- sound remarkable together. In fact, it is the contrast between the players' styles that lends this set its balance and appeal. The program, which includes four compositions by Monk and one by Mulligan, is unassailable. Mulligan acquits himself admirably on the Monk classics "'Round Midnight," "Rhythm-a-ning," and "Straight, No Chaser," unfurling his smooth tone over their zigzagging melodies and ambitious scalar architecture. Mulligan's "Decidedly," a bright bop workout, fits easily alongside Monk's tunes, especially with the help of Monk's off-kilter, accented comping. Bassist Wilbur Ware and drummer Shadow Wilson lend solid support to the spirited playing of the two leaders, making this top-notch session -- with its great tunes, chemistry, and soloing -- a true classic. [Some reissues include a handful of alternate takes.] by Anthony Tognazzini
Tracklist
1. 'Round Midnight 8:29
Bernie Hanighen / Thelonious Monk / Cootie Williams
2. Rhythm-A-Ning 5:20
Thelonious Monk
3. Sweet And Lovely 7:17
Gus Arnheim / Jules LeMare (Chas. N. Daniels) / Harry Tobias
4. Decidedly (Take 4) 5:54
Gerry Mulligan
5. Decidedly (Take 5) 6:38
Gerry Mulligan
6. Straight, No Chaser (Take 3) 7:00
Thelonious Monk
7. Straight, No Chaser (Take 1) 5:30
Thelonious Monk
8. I Mean You (Take 4) 6:53
Coleman Hawkins / Thelonious Monk
9. I Mean You (Take 2) 6:31
Coleman Hawkins / Thelonious Monk
Credits
Baritone Saxophone – Gerry Mulligan
Bass – Wilbur Ware
Drums – Shadow Wilson
Piano – Thelonious Monk

THELONIOUS MONK WITH JOHN COLTRANE — The Complete 1957 Riverside Recordings (2006) 2CD | APE (image+.cue), lossless

Hardcore jazzheads with no doubt be delighted with this double-disc set that includes all the recordings Thelonious Monk and John Coltrane did together in 1957 for Riverside. Never mind that the vast majority of this material has been issued several times. There are two cuts that have never appeared before: an alternate of "Crepuscule with Nellie" from the septet sessions for Monk's Music on June 25 and 26 ( with Gigi Gryce, Coleman Hawkins, bassist Wilbur Ware, and drummer Shadow Wilson), and an alternate of "Abide with Me" with just Trane, Hawkins, and Gryce. There are also two tracks -- one of them a false start with Ware and Coltrane -- of "Monk's Mood," recorded on April 12 for inclusion on the otherwise solo Thelonious Himself album. The remaining three cuts with Ware, Wilson, and Coltrane were taken form the At the Five Spot live recording. Orrin Keepnews compiled this collection and wrote a wonderful and insightful essay about recording this music. It was all arranged chronologically, meaning there are no less than five takes in total of "Crepuscule with Nellie" taking up the vast majority of disc one. For those who have to have absolutely everything.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist 1 :
1    Monk's Mood [False Start] 0:55  
Thelonious Monk
2    Monk's Mood 7:52
Thelonious Monk
3    Crepuscule with Nellie [Take 1] 4:35
Thelonious Monk
4    Crepuscule with Nellie [Take 2] 4:43  
Thelonious Monk
5    Crepuscule with Nellie [Breakdown] 0:55  
Thelonious Monk
6    Blues for Tomorrow [first stereo release] 13:34 
Gigi Gryce
7    Crepuscule with Nellie [Takes 4 & 5] 4:47 
Thelonious Monk
8    Crepuscle with Nellie 4:39  
Thelonious Monk
9    Off Minor [Take 4] 5:16 
Thelonious Monk
10    Off Minor [Take 5] 5:10  
Thelonious Monk
Tracklist 2 :
1    Abide with Me [Take 1] 0:54 
Thelonious Monk / William Henry Monk
2    Abide with Me 0:55  
Thelonious Monk / William Henry Monk
3    Epistrophy [Alternate take] 3:09  
Kenny Clarke / Thelonious Monk
4    Epistrophy 10:47  
Kenny Clarke / Thelonious Monk
5    Well You Needn't [Opening] 1:26   
Thelonious Monk
6    Well You Needn't 11:24     
Thelonious Monk
7    Ruby, My Dear 5:26  
Thelonious Monk
8    Ruby, My Dear [with John Coltrane] 6:21
Thelonious Monk
9    Nutty 6:38  
Thelonious Monk
10    Trinkle, Tinkle  6:42
Thelonious Monk
Credits :
Alto Saxophone – Gigi Gryce (tracks: 1-3 to 2-7)
Double Bass – Wilbur Ware (tracks: 1-1 to 1-10, 2-3 to 2-10)
Drums – Art Blakey (tracks: 1-3 to 1-10, 2-3 to 2-7), Shadow Wilson (tracks: 2-8 to 2-10)
Piano – Thelonious Monk
Producer, Compiled By – Orrin Keepnews
Tenor Saxophone – Coleman Hawkins (tracks: 1-3 to 2-7), John Coltrane
Trumpet – Ray Copeland (tracks: 1-3 to 2-7)
Written-By – Thelonious Monk (tracks: 1-1 to 1-5, 1-7 to 1-10, 2-3 to 2-10)
Note:
Tracks 1-1 and 1-2 recorded April 12 1957 (Trio)
Tracks 1-3 to 1-6 recorded June 25th 1957 (Septet)
Tracks 1-7 to 2-7 recorded June 26th 1957 (Septet)
Tracks 2-8 to 2-10 recorded July 1957 (Quartet)