JOHNNY GUARNIERI – 1944-1946 | The Chronogical Classics – 956 (1997) FLAC (image+.cue), lossless

In addition to recording prolifically in the 1940s, pianist Johnny Guarnieri led a few record dates. This Classics CD has four septet numbers from 1944 that feature tenor saxophonist Lester Young and trumpeter Billy Butterfield as sidemen, four songs with tenorman Don Byas in superb form, and three trio sessions, including two that co-star bassist Slam Stewart. Guarnieri, who was versatile enough to be able to closely emulate Count Basie, Teddy Wilson, Fats Waller, and Art Tatum, also had his own swing-based style and is consistently creative throughout the performances. Highlights include "Salute to Fats," "Bowin' Singin' Slam," "Gliss Me Again," "I'd Do Anything for You," and "Make Believe"; all 22 selections are enjoyable. Scott Yanow   Tracklist + Credits :

COZY COLE – 1944-1945 | The Chronogical Classics – 865 (1992) FLAC (tracks+.cue), lossless

This Classics CD reissues drummer Cozy Cole's sessions for Continental, Keynote, and Guild, most of which have been out of print for years. The two Continental dates feature overlapping all-star groups (with trumpeter Charlie Shavers, clarinetist Hank D'Amico, Coleman Hawkins, Walter "Foots" Thomas, and/or Don Byas on tenors, Clyde Hart or Johnny Guarnieri on piano, guitarist Tiny Grimes, bassist Slam Stewart, and the drummer/leader), but are sometimes a bit frustrating. Since every player is a potential soloist and the performances are limited to around three minutes apiece, the solos are almost cameos, generally eight or 16 bars apiece. The most memorable spot, Hawkins' exploration of "When Day Is Done," finds the great tenor doing what he can with his half chorus. The Keynote session is most notable for Don Byas' solos and for the recording debut of 20-year-old trumpeter Shorty Rogers. The Guild sides have Byas well showcased in a quintet, two extensive drum features ("Stompin" and "Strictly Drums"), and three dramatic vocals from June Hawkins. Overall, this is an interesting and enjoyable CD -- swing music with slight touches of bop. Scott Yanow  
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FATS WALLER – 1942-1943 | The Classics Chronological Series – 1097 (1999) FLAC (tracks+.cue), lossless

These are the last recordings in the Fats Waller legacy. The 22 tracks are drawn from sessions recorded in March and July of 1942 and January and September of 1943. Featuring the last recordings with his rhythm, a version of "That Ain't Right" with Ada Brown on vocals and V-disc recordings made for soldiers overseas during World War II. It is the V-disc material that proved Waller wasn't just a jovial clown, which he makes obvious on his version of "Sometimes I Feel Like a Motherless Child" performed on organ. Anyone only familiar with the Waller hits like "Ain't Misbehavin'" (included here in two separate versions) should hear this to gain perspective on his career. Al Campbell
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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  
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RED NORVO AND HIS ORCHESTRA – 1944-1945 | The Classics Chronological Series – 1356 (2004) FLAC (tracks+.cue), lossless

Anyone who listens through the previous six volumes of Red Norvo on Classics will likely experience a visceral sense of excitement from 1943 onward as Norvo switches from xylophone to vibraphone and adopts a noticeably modern attitude toward the music. Norvo underwent a profound artistic transformation in 1944-1945, his many years of experience enabling him to settle into a new role as established recording artist and bandleader with an open-minded respect for young artists bearing new ideas. Norvo's remarkable skills as an improviser coupled with a willingness to participate in what music critics call the bop revolution often placed him squarely within the eye of the rapidly evolving cultural hurricane of modern music. This seventh album in the Norvo chronology delivers an unprecedented dosage of top-notch jazz, documenting the historical swing-to-bop phenomenon in 16 wonderful tracks. With five Keynote sides, two V-Discs, and an epochal meeting with Charlie Parker and Dizzy Gillespie, topped off by Norvo's Nonet/Quintet set at the fabulous 1945 Town Hall Jazz Concert, this is by far the best volume in the Classics chronology of his recorded works, and might very well be the greatest all-purpose Red Norvo album ever released to the public. arwulf arwulf  
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RED NORVO AND HIS ORCHESTRA – 1945-1947 | The Classics Chronological Series – 1386 (2005) FLAC (tracks+.cue), lossless

 Volume eight in the Classics Red Norvo chronology opens with two extended jams from Timme Rosenkrantz's Town Hall Jazz Concert of June 9, 1945. A wild romp on "Seven Come Eleven" runs for ten-and-a-half minutes while "In a Mellotone" lasts more than a quarter-of-an-hour. This particular Town Hall event was audio-documented by Milt Gabler and the recordings eventually appeared on his Commodore record label. Unlike most of the concerts held at Town Hall during the '40s and organized by staunch traditionalist Eddie Condon, this gig resounded with music of a slightly more modern and bop-informed nature, with Specs Powell, Slam Stewart, Remo Palmieri, Teddy Wilson, and Red Norvo providing steamy support for trumpeter Shorty Rogers, trombonist Eddie Bert, clarinetist Aaron Sachs, and tenor saxophonist Flip Phillips, who cuts loose in ways that anticipate his behavior at JATP concerts a few years later. The inclusion of these two precious live jams makes this installment in the Norvo chronology extra special. Most of the rest of the material was recorded for the Capitol label in Los Angeles between October 13 and December 18, 1947. For the October 13 session the band, billed as "Ten Cats and a Mouse," engaged in a peculiar experiment, as everybody swapped instruments. This meant, for example, that Red Norvo played piano, Paul Weston blew the clarinet, Benny Carter played tenor sax, and Peggy Lee (the "Mouse") played drums! On the following day, the instruments all returned to their rightful owners and Kansas City legend Jesse Price was behind the drum kit. On November 28, 1947, Norvo's Septet included cool guitarist Barney Kessel and young saxophonists Dexter Gordon and Jimmy Giuffre, as well as visionary pianist Dodo Marmarosa. Both "I'll Follow You" and "Bop!" are more modern-sounding than anything Norvo had previously presented to the public. The fascinating overlap between bop and R&B is evident on the other two tracks from this date, issued as by Jesse Price and his Blues Band, with shout blues vocals by Price. For the two ultra-modern sessions from mid-December 1947, Norvo switched back to the drier sound of the xylophone in front of smooth ensembles playing arrangements (suitable for film noir soundtrack purposes) written by Johnny Thompson. Even the old "Twelfth Street Rag," handled here by an ensemble equipped with a pair of French horns, comes across as bracingly futuristic. One expects Art Pepper and Warned Marsh to come in at any moment. This excellent compilation closes with two previously omitted V-Disc jams from November 1944 and February 1945, originally issued under Paul Baron's name but featuring the vibraphone of Red Norvo. arwulf arwulf  
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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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ART TATUM – 1944 | The Classics Chronological Series – 825 (1995) FLAC (tracks+.cue), lossless

Here's a superb segment of the Art Tatum story, beginning with ten trio sides featuring guitarist Tiny Grimes and bowing, singing bassist Slam Stewart. Six marvelous selections recorded May 1, 1944, were subsequently issued on the Comet label. Each of these performances appeared on 12" 78-rpm records, allowing for well over four minutes of playing time. Weeks later -- on the summer solstice -- this inventive little group waxed four additional 12" sides for an independent recording company owned and operated by Moses Asch. As if obeying some cosmic rule of thumb, Tatum returned by himself to the Asch studios on the winter solstice to record six dazzling solos of incredible substance and depth. Vintage Tatum, beautifully played and intelligently presented. arwulf arwulf
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ART TATUM – 1949-1953 | The Classics Chronological Series – 1411 (2006) FLAC (tracks), lossless

The seventh in Classics' chronological survey of pianist Art Tatum's complete recorded work, this one covers the end of 1949 through 1953 and features mostly solo pieces from Tatum, who was simply the most amazing piano player in the whole history of jazz. His explosiveness, speed, and endlessly inventive arrangements make his recordings a thing apart, and this set is no exception. Try the familiar standards here like "Blue Skies" or "Tea for Two" to hear what Tatum brings to the table. Amazing. Steve Leggett
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ERROLL GARNER – 1944-1945 | The Classics Chronological Series – 873 (1996) FLAC (tracks+.cue), lossless

The fourth in Classics' reissuance of all of the early recordings by the great pianist Erroll Garner has some unusual performances. The first eight numbers were private recordings cut during a jam session at Timme Rosenkrantz's apartment. Garner (who at that point in time only hinted at his emerging distinctive style and showed the influence of Fats Waller) and trumpeter Charlie Shavers constantly inspire each other and are assisted by trombonist Vic Dickenson, altoist Lem Davis, bassist Slam Stewart (in top form), drummer Cliff Leeman and on one song clarinetist Hank D'Amico. Those selections are quite extended (two songs exceed ten minutes) and sometimes a little loose but filled with excitement; the ad-lib ending of "Red Cross" is pretty humorous. Wrapping up this CD are Garner's first studio recordings: four selections cut with a trio for the Black & White label and four piano solos made for Signature. Although performed only a short time after the earlier jam session, Garner was already starting to play in his own familiar style. Recommended. Scott Yanow
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BENNY GOODMAN AND HIS ORCHESTRA – 1944-1945 | The Classics Chronological Series – 1345 (2004) FLAC (tracks), lossless

This segment of the Benny Goodman chronology documents the recordings he made with his trio, quartet, quintet, sextet, and "All Star Band" for V-Disc and Columbia from the end of June 1944 through the first week of February 1945. The disc opens with a magnificent instrumental version of "After You've Gone" played by a 16-piece ensemble featuring trumpeters Roy Eldridge, Charlie Shavers, and Yank Lawson; baritone saxophonist Ernesto "Ernie" Caceres; Teddy Wilson at the piano; and Gordon "Specs" Powell behind the drums. As if to preface the recording industry's postwar infatuation with star vocalists, Goodman waxed a side with ex-Ted Weems crooner Perry Como and two additional titles with vocalist Mildred Bailey. Backed only by his rhythm section, Goodman concluded the day's work by frying up one of the hottest versions of Vincent Youmans' "Hallelujah" ever captured on record. The rest of this compilation is devoted to a wonderful series of small-group V-Disc and Columbia sessions, most of which feature Mildred Bailey's ex-husband Red Norvo on the vibraphone. Interspersed with occasional sweet vocals by Jane Harvey and Peggy Mann, the instrumental numbers are small-band swing of the highest order. The Goodman sextet in particular was greatly enhanced by the presence of bassist Slam Stewart. arwulf arwulf  
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BENNY GOODMAN AND HIS ORCHESTRA – 1945 | The Classics Chronological Series – 1355 (2004) FLAC (tracks), lossless

It's easy to understand why Benny Goodman's recordings were so popular during the 1940s. The music was uplifting, the orchestra ran like a top, the leader was an exceptionally fine clarinetist, and he regularly employed pop vocalists with varying degrees of jazz ability, represented here by Jane Harvey, Bob Hayden, Kay Penton, and Dottie Reid. From the jazz head's point of view, this segment of the Goodman chronology is greatly enhanced by the presence of trombonist Trummy Young on all of the big-band tracks. Furthermore, Fletcher Henderson wrote the arrangements for "It's Only a Paper Moon" and "You Brought a New Kind of Love to Me." On the initial recording of Sunny Skylar's swanky "Gotta Be This or That," Goodman shared the vocal with Jane Harvey. The well-known two-part master take was sung by Goodman alone with a Red Norvo vibe solo and a brief episode for bowed bass and voice by Slam Stewart, whose every passage was mimicked vocally by Kay Penton and members of the band. A previously unreleased take, featuring a trombone solo and smooth vocal by Trummy Young, swings for five frowsy minutes and tapers off suddenly as the engineer runs out of room on the record. There are five excellent instrumental tracks on this compilation. Two sides played by the Sextet feature Teddy Wilson, Slam Stewart, and Red Norvo. Entrusted with the tasks of composing and arranging for the large ensemble, Mel Powell devised an intricate feature for Goodman's clarinet and called it "Clarinade"; this package contains a V-Disc version and the familiar Columbia take. The other big-band instrumental is a gorgeous rendition of "Love Walked In" arranged by Eddie Sauter. arwulf arwulf  
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BENNY GOODMAN AND HIS ORCHESTRA – 1945, Vol. 2 | The Classics Chronological Series – 1366 (2004) FLAC (tracks), lossless

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DON BYAS – 1944-1945 | The Classics Chronological Series – 882 (1996) FLAC (tracks+.cue), lossless

Don Byas was one of the great tenor saxophonists of the 1940s, a Coleman Hawkins-influenced improviser who developed a complex style of his own. His permanent move to Europe in 1946 cut short any chance he had of fame, but Byas recorded many worthy performances during the two years before his departure. On Classics' first Don Byas CD (which contains his first 21 numbers as a leader), Byas matches wits and power with trumpeter Charlie Shavers on two heated sessions that include pianist Clyde Hart and bassist Slam Stewart. He also plays swing with trumpeter Joe Thomas and pianist Johnny Guarnieri in a 1945 quintet and leads a quartet that, on four of its eight numbers, welcomes the great blues guitarist/singer Big Bill Broonzy. Highlights include "Riffin' and Jivin'," "Don's Idea," the two-part "Savoy Jam Party," "1944 Stomp" (which has been adopted by 1990s saxophonist James Carter), "Pennies From Heaven," "Jamboree Jump," and "Just a Dream." This music was originally put out by Savoy, Jamboree, and Hub. Highly recommended. Scott Yanow  

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DON BYAS – 1945 | The Classics Chronological Series – 910 (1996) FLAC (tracks+.cue), lossless

Bookended by several pleasant yet minor blues and pop vocals by Albina Jones and Ruble Blakey, this Classics Don Byas disc finds the unsung tenor great on the eve of his indefinite stay in Europe. Having cut his teeth in the bands of Lionel Hampton, Andy Kirk, and Count Basie, among others, Byas marked the end of the war with several fine combo recordings spotlighting his boppish swing blowing style. Here is a generous chunk from 1945, featuring a few different lineups and the likes of Dizzy Gillespie, Buck Clayton, Errol Garner, Slam Stewart, and Sid Catlett. Byas is in top form throughout, plying his smoky and slightly tart tone on ballads like "Laura," while showing off a lithe brand of swing on an up-tempo "The Sheik of Araby." Not as solid as Classics' 1944-1945 volume, but still a fine selection for Byas completists. Stephen Cook
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DON BYAS – 1945, Vol. 2 | The Classics Chronological Series – 959 (1997) FLAC (tracks+.cue), lossless

Carlos Wesley "Don" Byas openly claimed to represent a third stream of tenor sax, somewhere between Coleman Hawkins and Lester Young. In truth, he sounded most like the mature Hawkins, also sharing stylistic traits with Pres, Budd Johnson, Lucky Thompson and Ben Webster. Most importantly, he sounded like himself. Four sides recorded for the "Jamboree" label in October 1945 feature the extraordinary piano of Johnny Guarnieri. "Once in a While" comes across like a lullaby compared to the rip-snorting "Avalon," notable for J.C. Heard's fiery drumming. "Blue and Sentimental," forever associated with Count Basie's star tenor saxophonist Herschel Evans, is soulfully rendered here. "Melancholy Baby" sounds a lot like the kind of records Hawkins was making for the Keynote label in 1945 -- this recording, in fact, could effectively be used to stump jazz experts during blindfold tests. In a remarkable follow-up, the next session turns Erroll Garner loose in the company of Slam Stewart and Harold "Doc" West. The Savoy session (after Byas stretches out with "Candy" all to himself) features trumpeter Benny Harris. "How High the Moon" bristles with be bop changes, and "Donby" is recognizable as Byas' extension of Juan Tizol's "Perdido." "Byas a Drink" is a sort of be bop rhumba. In a strange chronology defying maneuver -- and without altering the title of the CD -- Classics has tacked on two sessions from 1944. Throughout his career, trumpeter Emmett Berry was almost never designated as a leader. On August 31 1944, the quintet bearing his name was graced with a rhythm section consisting of Dave Rivera, Milt Hinton and J.C. Heard. The music speaks of new ideas in the making, even if Berry swings rather than bops. Recorded on 12 " 78 rpm records allowing for nearly four minutes per side, the Cyril Haynes Sextet, starring Byas and the nearly forgotten trumpeter Dick Vance, featured electrified guitar solos by Al Casey with strong rhythmic support from -- once again -- Harold "Doc" West. Here, then, is a fat parcel of solid sessions from the life of Don Byas, well-worth hearing again and again. arwulf arwulf  
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SLAM STEWART – 1945-1946 | The Classics Chronological Series – 939 (1997) FLAC (tracks+.cue), lossless

For all the appearances Slam Stewart made on other people's records, there weren't a whole lot of recordings issued under his name. What you get in this package are five different bands, each operating with one foot in the swing tradition and the other firmly planted on the new ground that critics and journalists called "be-bop." The Savoy session of January 30, 1945, is precious for the presence of Erroll Garner. "Play Fiddle Play" closely resembles "Bassology," recorded a few years earlier with Slim Gaillard. The resemblance comes during the last minute or so, as Stewart gradually works his way into the highest notes obtainable on the instrument until he has it sounding like a viola. "Laff Slam Slam" grows out of a simple set of variations on "Volga Boat Men." A quintet recording for the Continental label in May and July of 1945 featured Johnny Guarnieri and Red Norvo. The pianist sings "Honeysuckle Rose" in close imitation of Fats Waller, saying "Yaz!" so much that it almost becomes irritating. This mimetic act was probably entertaining at cocktail parties, but like most Waller impersonations, it probably won't feel right to anyone who really knows and loves Fats Waller. Still and all, Guarnieri was one hell of a piano player. Leonard Feather composed quite a number of the tunes heard here. His "Mood to Be Stewed" is a wistful walk, while "The Voice of the Turtle" moves boldly over modern bop terrain, something with which Norvo was quite comfortable at the time. "On the Upside Looking Down" is remarkably cool and magnetically charged. "A Bell for Norvo" is quite an excursion -- they really cook! "Haw Haw" sounds like it was based on "Paper Moon," "Dozin'" is an ethereal reverie, and "The One That Got Away" is fast and frisky, with Guarnieri demonstrating his ability to produce first-rate stride piano. Garner returned for a trio session with Harold "Doc" West in September of 1945, creating four sides that fit in nicely with everything else being recorded for the tiny Manor record label (see Dizzy Gillespie 1945, Classics 888). "Blue, Brown and Beige" feels a little bit like "Satin Doll" and the eccentric "Three Blind Micesky" is pure delight. The last four tracks on this wonderful collection were recorded in April of 1946 for the Musicraft label, with young Billy Taylor at the piano. The bop element is stronger than ever. "Doctor Foo" seems only circumstantially related to Coleman Hawkins' "Meet Doctor Foo," although a closer comparison of the two compositions is probably in order. "Coppin' Out" shares many modern characteristics with Dizzy Gillespie's "Be Bop" and with certain ideas then being developed by Bud Powell. "Oh Me, Oh My, Oh Gosh," with a vocal by Stewart and the band, is a rare example of Stewart taking a vocal without simultaneously bowing the bass. It comes as a pleasant surprise and a tasteful conclusion to this most enjoyable portrait of Leroy Elliott "Slam" Stewart. arwulf arwulf
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BERYL BOOKER – 1946-1952 | The Classics Chronological Series – 1415 (2006) FLAC (tracks+.cue), lossless

During a recording career that only spanned about 15 years, Philadelphia-born pianist and vocalizer Beryl Booker recorded some 45 titles. These fit nicely into two volumes released by the Classics label in 2006 and 2007. Recorded between October 8, 1946 and March 13, 1952, the 26 tracks that comprise the first installment elucidate Booker's stylistic solidarity with Erroll Garner. That similarity can clearly be heard in her upbeat playing on "I Wished on the Moon" and "Stay as Sweet as You Are," and on any of this compilation's 12 slow instrumental ballads. Also like Garner, Booker read no music and was almost entirely self-taught. Note that this compilation contains no less than seven examples of Beryl Booker the ballad singer. During the '50s she worked as an accompanist for Billie Holiday and Dinah Washington; their combined influences certainly colored her delivery, although Booker had her own earthily intimate style, which mingles beautifully with the mature Lady Day vibe on "You Better Go Now." As far as instrumentalists went, Booker almost invariably worked with some of the best on the scene. Tracks one through four -- her first session as a leader -- feature Booker in the company of guitarist Mary Osborne and bassist June Rotenberg. Recorded sometime during the year 1948, tracks five through ten bring on guitarist John Collins and bassist Slam Stewart, whose combo Booker joined in 1946 and with whom she would work on a semi-regular basis through 1952. Tracks eleven through fourteen represent recordings so rare as to be entirely absent from several standard discographical session indexes. Fifteen through eighteen showcase tenor saxophonist Budd Johnson and also feature Don Elliott, who blew the mellophonium and doubled on vibraphone. Only two of the last eight selections on this disc are upbeat; the rest are languid examples of Booker's dreamily lyrical approach to the art of the instrumental ballad, which again has a lot in common with the whimsicality of Garner. Perhaps the high point of her entire recording career was to take place in Paris in February 1954 when she had the opportunity to collaborate with tenor saxophonist Don Byas. Those recordings -- and what appears to be the rest of this woman's recorded legacy -- can be found on volume two of her complete works on the Classics Chronological Series. arwulf arwulf  
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BERYL BOOKER – 1953-1954 | The Classics Chronological Series – 1442 (2007) MONO | FLAC (tracks+.cue), lossless

Volume two in the complete recordings of Beryl Booker as presented in the Classics Chronological Series documents the adventures of the Beryl Booker Trio with eight titles recorded for Discovery Records in Los Angeles on October 14, 1953, material from two Vogue sessions that took place in Paris during February 1954, and six selections recorded for Cadence in New York during the summer of 1954. Booker's approach to the piano recalls her contemporary Erroll Garner; like him, she was a brilliant autodidact who didn't read music. Garner and Booker exist in the same swing-to-bop-to-cool constellation with Herman Chittison, Johnny Guarnieri, Mary Lou Williams, Bud Powell, Dodo Marmarosa, Al Haig, and Ahmad Jamal. Teamed with bassist Bonnie Wetzel and drummer Elaine Leighton, Booker handled jazz and pop standards with dazzling dexterity, humor, warmth and soul. When she sang she sounded more than a little like Dinah Washington, for whom she served as accompanist at the beginning and the end of the decade; on "One for My Baby" the similarity is uncanny. Be sure and cop a listen on the two instrumental selections recorded at the second Parisian Vogue date with tenor saxophonist Don Byas. Thanks to the increasingly popular LP format, each Booker/Byas performance is a little under five minutes in duration, allowing for longer solos and a more relaxed mood than was usually possible under 78 rpm three-minute constraints. Users are warned that "Beryl Booker's Byased Blues" and "Makin' Whoopee" will immediately seep into your bones and groove you out before you realize what has happened. Those two tracks are worth double the price of admission all by themselves. arwulf arwulf  
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TRUMMY YOUNG – 1944-1946 | The Classics Chronological Series – 1037 (1998) FLAC (tracks+.cue), lossless

Compare Trummy Young's vocal on Jimmie Lunceford's "Easy Street," or the songs he sang in front of his own All-Stars in 1945 (see Classics 888) with the infrequently heard speech and singing voice of Lester Young. Trummy had a high, smooth delivery that sounded quite similar to Lester's speaking tone as heard on live broadcasts and Prez's outrageously naughty improvised singing on his Verve recording of "It Takes Two to Tango." These men had a lot in common. They both hung out with Billie Holiday, not as her boyfriends but as pals, drinking and smoking companions who could be trusted. The fundamental common denominator was: hipness. Trummy and Prez were definitively hip. They both eased into early modern jazz without any problems whatsoever. Trummy's activity during the mid-'40s is outlined in detail by this core sample of rare recordings. Listen to Trummy's passionate singing on "Talk of the Town," a shaming and blaming exercise that could never have been written by a woman. Rather than merely hassling his ex, Trummy seems to be demonstrating the loneliness that all people have in common. "Hollywood" is a jam, but the band on "Good 'n Groovy" is considerably tougher. Ike Quebec, for example, sounds as truculent as a truckload of nails. Buck Clayton's been lifting weights. It's 1945 and the music is changing. There's bop in the air, and R&B is everywhere. The phrase "Rattle and Roll" describes a throw of the dice but the music is about carousing and getting into harmless trouble. "I'm Living for Today" is Trummy's ode to feeling good and refusing to worry about anything. Keynote recording artist Kenny Kersey drives "Behind the Eight Bar" with exceptionally fine boogie piano, and the band rocks out. Just in case you thought "Four or Five Times" was antiquated, check out Trummy's ultra cool version with lyrics describing DTs and military insubordination, a special treat for the V-Disc audience. A fabulous five-minute "Tea for Two" boils over largely because Roy Eldridge puts it in the broiler. Some of the white singers included in this part of the chronology sound terribly square. The hip antidote to the white vocal group billed as the Holidays can be found on "Tidal Wave" (no relation to the Fletcher Henderson tune), which is a big-band boppish feature for Herbie Fields, who disturbs the peace using both alto and tenor saxophones. The Hot Record Society proceedings of Trummy Young's Big Seven, like most of the material brought out on HRS, have plenty of solid solos based upon original compositions of inconsistent creative merit. George Johnson's "Frutie Cutie" and "Johnson Rock" are simple melodies designed for uncomplicated jamming. On the other hand, "Blues Triste" and "Lucky Draw," composed by pianist Jimmy Jones, are beautiful, elegant mood pieces, every bit cool as Trummy and Prez and Lady Day. arwulf arwulf  
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