GENE AMMONS – 1950-1951 | The Chronogical Classics – 1367 (2004) FLAC (tracks+.cue), lossless

Tracklist + Credits :

DEXTER GORDON – 1947-1952 | The Chronogical Classics – 1295 (2003) FLAC (tracks+.cue), lossless

A Classics collection of tenor saxophonist Dexter Gordon, 1947-1952 features some of the mellow jazzman's most identifiable recordings from that period. Beginning with an extended version of "The Duel," the disc also includes Gordon's epic tenor battle with Wardell Gray on "The Chase." Matt Collar
Tracklist :

GERALD WILSON AND HIS ORCHESTRA – 1946-1954 | The Chronogical Classics – 1444 (2007) FLAC (image+.cue), lossless

After leaving Detroit and arriving in Los Angeles, Gerald Wilson formed his first big band in 1944. By 1946 he was firmly established as a fine trumpet player, arranger, and composer, and was developing a style fit not only for modern jazz, but also eventually film scores. The dramatics apropos for both formats is evident on this second installment of Wilson's chronological recordings for the Classics reissue label, culled from recordings originally on the Black & White, United Artists, Excelsior, Federal, King, and Audio Lab labels. There are five different mid-sized orchestras with musicians from L.A., all quite literate and displaying different areas of expertise, and Wilson writes with each player's individual sound in mind. Of course they work as a unified whole, and you get to hear a lot of Wilson's trumpet work. The Black & White sessions from 1946 have the band swinging very hard on the happy bop-bop "Et-ta," while hoppin' and barkin' for "The Saint." The opposite slow side is shown on "Pensive Mood" and the sad, dreary "The Moors." These tracks feature then-young trombonist, composer, and arranger Melba Liston, who of course would go on to great acclaim. Recordings from 1947 for United Artists and Excelsior feature vocalist Dan Grissom and there's a finger-snappin' group vocal with Grissom, Liston, and Trummy Young, "Va-ance," that approaches the territory of the Modernaires. Four more for Excelsior in 1949 reveal Wilson moving into film noir, hinted at by the spy movie piece "Dissonance in Blues" from the 1947 cuts, but more pronounced here. Wilson is assertive on his horn, and ramps up the dramatic tension on the stairstep motif of "The Black Rose" while also offering an expanded version of "Guarachi-Guaro," the second section infusing expansive oboe and flute. Here the outstanding West Coast alto saxophonist Buddy Collette also enters the fray. Jumping up to 1954, Wilson offers up three two-part pieces all prominently showcasing the exotic vibrato flute sound of Bill Green -- the hot and spicy "Mambo Mexicano," dynamic up-and-down desert dune caravan-ish "Algerian Fantasy," and slow-as-sunset "Lotus Land." These are much more provocative, but in addition, the band is loaded with all-stars like trumpeter Clark Terry, trombonist Britt Woodman, tenor saxophonists Paul Gonsalves and Teddy Edwards, and a very young Jerry Dodgion on alto sax. These cuts use pronounced world music elements in a way that Duke Ellington hinted at, and all are exuberant and levitating. The remaining pieces are the contradictory titled hard bopper "Romance," Khachaturian's famous Spanish classical ballad "Bull Fighter," and a different "Black Rose" (unknown author) than the one written by Wilson heard earlier on the CD. This collection really drives home how this group, unique unto itself, was able to stretch stereotypical big-band jazz and take it into a new arena, fueled by the vast imagination of Gerald Wilson. The only unsolved mystery: unattributed credits about various clearly audible Latin percussionists who are never identified. Michael G. Nastos  
Tracklist + Credits :

ERROLL GARNER – 1949 | The Classics Chronological Series – 1138 (2000) FLAC (tracks+.cue), lossless

Errol Garner's textured, expressive piano playing is featuring on the 2001 compilation 1949. Garner is an interesting player; at times he can be quite powerful and intense as he bangs away on old standards like "All of Me" and "I'm in the Mood for Love." At other times he really adds nothing to the songs, instead just playing the straight melody and letting the original composition speak for itself. These are the moments where he is at his weakest; despite his excellent playing skills, these are songs that are fairly simple and have been performed many times before, and his excellent flourishes would have helped the music out greatly. But then there are the other tracks, which at least balance out the album. The other problem here is the sound quality, something that curses many jazz recordings from this era. Some songs simply sound bad; the album is quite fuzzy and scratchy at times. But, overall, the music on the album manages to impress for a good portion of the album, and fans of Garner can at least get more of his recordings from this era. Bradley Torreano  
Tracklist + Credits :

SLIM GAILLARD – 1945 | The Classics Chronological Series – 864 (1996) FLAC (tracks+.cue), lossless

These 23 different selections recorded in Los Angeles for the Queen, 20th Century, Bee Bee, and Four Star labels feature Gaillard with partner/bassist/vocalist Bam Brown and a variety of different bands, from the Boogiereeners with Fletcher Smith or a quartet with Dodo Marmarosa on piano. A horn section with saxophonists Teddy Edwards, Wild Bill Moore, and Lucky Thompson and trumpeters Howard McGhee and Karl George back the band on four cuts. Gaillard is heard to good effect whether goofing off, playing boogie harpsichord, singing standards, or jamming hard and swinging steadily. The Smith-Gaillard (on harpsichord) combine gets eight shots. There's the wistful scat of the midtempo "Sighing Blues"; the upbeat, Smith-led "Queen's Boogie" and "Nightmare Boogie"; or the slower, occasionally shouted "Voot Boogie. "Sightseeing Boogie," a mellow song with a spoken-word reference to "Gates" aka Lionel Hampton; a straight instrumental, "Central Avenue Boogie"; a more interactive, Queen-rejected "Boogie"; and a more patient instrumental, "Slim's Cement Boogie," all speak to the center of Gaillard's unique approach. With the horns loading up on background charts and solos, Thompson cuts loose on both "Slim Gaillard's Boogie" and "Harlem Hunch," and Edwards gets the spotlight on the rootsy "Tutti Frutti." "Travelin' Blues" is the undisputed highlight, as Gaillard, in a hilarious, narcoleptic stupor, tries to decide at which "mellow" train stop to land: his ex-Detroit home, Cleveland, or Toledo, influenced by Moore and Thompson's solos. Two other cuts with trombonist Vic Dickenson and two unidentified horns are a slowed "Voot Orenee" and the standard postwar ballad "Please Wait for Me." Nine selections with the Marmarosa-Gaillard-Brown-Zutty Singleton (drums) tandem has the leader on guitar, vibes (for the hot yet soft instrumental "Ding Dong Orenee"), and piano. Well-known hits are here, such as "Laguna" ("lyin' in the sun and havin' fun"); "Laguna Orenee" (different key, rejected by Bee Bee); the static, food-referenced swinger "Dunkin' Bagel"; and dueling vocals and some crooning from Gaillard on the easy swinger "Buck Dance Rhythm." Dual pianos crop up on the instrumental "Boogin' at Berg's"; Gaillard sings the standard torch song "Don't Blame Me"; "Carne" is done in Gaillard's "Spanglish" dialect; and "Ya Ha Ha" is the ultimate fun tune. This CD is a companion to Classics label issues 1937-1938, 1939-1940, and 1940-1942. Because this is the latter period's music and is better recorded, it's perhaps Gaillard at his zenith and shows his most developed musical powers. Highly recommended. Michael G. Nastos  
Tracklist :
1    Slim Gaillard And His Boogiereeners–    Voot Orenee    3:01
2    Slim Gaillard And His Boogiereeners–    Please Wait For Me    2:30
3    Slim Gaillard And His Boogiereeners–    Sighing Boogie    2:52
4    Slim Gaillard And His Boogiereeners–    Queen's Boogie    2:51
5    Slim Gaillard And His Boogiereeners–    Voot Boogie    2:52
6    Slim Gaillard And His Boogiereeners–    Nightmare Boogie    2:47
7    Slim Gaillard And His Boogiereeners–    Slim Gaillard's Boogie    2:43
8    Slim Gaillard And His Boogiereeners–    Harlem Hunch    2:40
9    Slim Gaillard And His Boogiereeners–    Tutti Frutti    2:44
10    Slim Gaillard And His Boogiereeners–    Travelin' Blues    3:03
11    Slim Gaillard And His Boogiereeners–    Sightseeing Boogie    2:44
12    Slim Gaillard And His Boogiereeners–    Central Avenue Boogie    2:40
13    Slim Gaillard And His Boogiereeners–    Boogie    2:52
14    Slim Gaillard And His Boogiereeners–    Slim's Cement Boogie    2:40
15    Slim Gaillard Quartet–    Laguna    2:42
16    Slim Gaillard Quartet–    Dunkin' Bagel    2:47
17    Slim Gaillard Quartet–    Boogin' At Berg's    2:49
18    Slim Gaillard Quartet–    Don't Blame Me    3:05
19    Slim Gaillard Quartet–    Laguna Oroonee    2:35
20    Slim Gaillard Trio–    Ya Ha Ha    3:11
21    Slim Gaillard Trio–    Carne    2:49
22    Slim Gaillard Trio–    Ding Dong Oreeney    2:51
23    Slim Gaillard Trio–    Buck Dance Rhythm    3:10
Credits :    
Bass – Thomas "Bam" Brown (tracks: 1 to 23)
Drums – Leo Watson (tracks: 1, 2, 7 to 14), Zutty Singleton (tracks: 15 to 23)
Guitar – Slim Gaillard (tracks: 1, 2, 7 to 23)
Harpsichord – Slim Gaillard (tracks: 3)
Piano – Dodo Marmarosa (tracks: 15, 17 to 23), Fletcher Smith (tracks: 1 to 14), Slim Gaillard (tracks: 16)
Tenor Saxophone – Lucky Thompson (tracks: 7, 8, 10 to 14), Teddy Edwards (tracks: 9, 11 to 14), Wild Bill Moore (tracks: 10 to 14)
Trombone, Alto Saxophone – Vic Dickenson (tracks: 1, 2)
Trumpet – Howard McGhee (tracks: 7 to 14), Karl George (tracks: 7 to 14), Unknown Artist (tracks: 1, 2)
Vocals – Slim Gaillard, Thomas "Bam" Brown (tracks: 15 to 23

GLORIA SMYTH + HELYNE STEWART - Like Soul! + Love Moods (2019) M4A (tracks) lossless [16bits 44.1khz]

"This release in Fresh Sound’s Best Voices Time Forgot series sees the pairing of two more overlooked albums from the late 50s and early 60s: Gloria Smyth’s Like Soul! and Helyne Stewart’s Love Moods.
The Gloria Smyth album, from World Pacific, is mixed – some of the uptempo tracks don’t sound that convincing, and although she has a forceful and strong voice, some of the inflections seem a little forced. I feel she is at her best on the slower ones and the ballads, and it is on these that her voice sounds more assured and controlled. She sings attractively on Sittin’ And Sighin’, on which she benefits from the presence of Teddy Edwards’ sensitive tenor accompaniment, and on I’ll Remember April, where both singer and saxophonist use some imaginative phrasing.
Helyne Stewart is a more rounded and stylish vocalist, with good range and accurate pitch, and a voice at times reminiscent of Dinah Washington. Once more Teddy Edwards is involved, both as arranger and as a featured soloist, with a quartet and an all-star septet that includes fellow West Coast players Frank Butler, Art Pepper, Jack Sheldon and Frank Rosolino.
Issued originally on Contemporary Records, the material is a strong selection of standards and well-known numbers and Stewart handles them well, with straightforward interpretations and good accompanying solos – Why Don’t You Do Right is an example in point. A fine follow-on from the Lil Green and Peggy Lee versions, this has blues-tinged contributions from Edwards and pianist Phineas Newborn Jr. How Deep Is The Ocean is notable for her warm and rich delivery and for Pete Jolly’s unobtrusive but soulful background piano, the higher keys riding the wave of the lush horn arrangement." by Matthew Wright
Tracklist :
GLORIA SMYTH - LIKE SOUL! (1960)
1. Running Wild  2:14
(Gibbs-Grey-Wood)
2. Billy 1:59
(Paley-Kendis-Goodwin)
3. Sittin’ and Sighin’ (Prison) 3:35
(D’Vogna White)
4. Imagination 2:59
(Burke-Van Heusen)
5. Sometimes I Feel Like a Motherless Child  2:02
(Traditional)
6. I’ll Remember April  3:20
(Raye-DePaul-Johnson)
7. I’ll Be Over  2:10
(Gloria Smyth)
8. Bye Bye Blackbird 2:13
(Henderson-Dixon)
9. When You’re Smiling  2:44
(Shay-Fisher-Goodwin)
10. Gee Baby Ain’t I Good to You  2:34
(Redman-Razaf)
11. Sometimes I’m Happy  3:29
(Youmans-Caesar-Grey)
12. Time After Time 3:44
(Styne-Cahn)
13. It Don’t Mean a Thing 2:32
(Ellington-Mills)
Personnel on “Like Soul!":
Gloria Smyth, vocals
Tracks #4,6,9,12: Teddy Edwards, tenor sax; Les McCann, piano; Leroy Vinnegar, bass; Ron Jefferson, drums.
Recorded at Rex Productions Studio, Los Angeles, May 2, 1960
Tracks #1,11,13: Donald Sleet, trumpet; Daniel Jackson, tenor sax; Terry Trotter, piano; Herbie Lewis, bass; Lenny McBrowne, drums.
Recorded at Rex Productions Studio, Los Angeles, March 1960
Tracks #2,3,8: Teddy Edwards, tenor sax (out #2); Ronnie Ball, piano; Ben Tucker, bass; Al Levitt, drums.
Recorded at Sound Enterprises, Los Angeles, September 12, 1959
Tracks #7,10: Teddy Edwards, tenor sax; Joe Castro, piano; Leroy Vinnegar, bass; Billy Higgins, drums.
Recorded at Sound Enterprises, Los Angeles, September 12, 1959
Track #5: Terry Trotter, piano; Herbie Lewis, bass.
Recorded at Rex Productions Studio, Los Angeles, March 1960
HELYNE STEWART - LOVE MOODS (1961)
14. Love Is Here To Stay 3:22
(George Gershwin / Ira Gershwin)
15. I Hadn't Anyone 'Til You 3:49
(Ray Noble)
16. My Heart Belongs To Daddy 2:04
(Cole Porter)
17. That Old Feeling 3:01
(Lew Brown / Sammy Fain)
18. This Love Of Mine 3:48
(Henry W. Sanicola, Jr. / Sol Parker / Frank Sinatra)
19. The Man I Love 3:11
(George Gershwin / Ira Gershwin)
20. Why Don't You Do Right? (Give Me Some Money Too) 2:56
(Kansas Joe McCoy)
21. How Deep Is The Ocean 3:25
(Irving Berlin)
22. Easy To Love 3:35
(Cole Porter)
23. Besame Mucho 3:24
(Sunny Skylar / Consuelo Velázquez)
24. My Silent Love 3:05
(Edward Heyman / Dana Suesse)
25. This Can't Be Love 2:13
(Lorenz Hart / Richard Rodgers)
Personnel on "Love Moods":
Helyne Stewart, vocals
Tracks #14,19,21,24: Teddy Edwards Septet
Jack Sheldon, trumpet; Frank Rosolino, trombone; Art Pepper, alto sax; Teddy Edwards, tenor sax, arranger; Pete Jolly, piano; Jimmy Bond, bass; Frank Butler, drums.
Recorded at Contemporary Records, Los Angeles, January 20, 1961
Tracks #15,16,17,18,20,22,23,25: Teddy Edwards Quartet
Teddy Edwards, tenor sax, arranger; Phineas Newborn, Jr., piano; Leroy Vinnegar, bass; Milt Turner, drums.
Recorded at Contemporary Records, Los Angeles, August 21 & 22, 1961

JACINTHA - Here's To Ben : A Vocal Tribute To Ben Webster (1999) APE (image+.cue), lossless

When you link your musical objective to a jazz icon like Ben Webster, certain expectations are created and, as here, rarely are these expectations met. Certainly, Jacintha sings songs Webster played, and she sings them very nicely. But there's none of the raspy timbre in her voice that made Webster's saxophone immediately recognizable. Jacintha confuses raspy with singing softly. She and the producers would have been better served by presenting these songs as hers, not Webster's. The focus then would be where it belongs (i.e., what she does with these classics). With excellent pitch, good diction, and sensitive interpretations of the lyrics, she makes these songs her own. One highlight is her a cappella treatment of "Danny Boy." Throughout the session, Jacintha receives solid support from veteran Teddy Edwards' blues-drenched saxophone (he's a lot closer to Webster than Jacintha is). He and Jacintha work well together, as on "How Long Has This Been Going On?" The venerable drummer Larance Marable and bass player Darek Oles combine to lay a solid, sensitive foundation for the proceedings. Oles' bass is especially prominent on "Over the Rainbow." Former Miles Davis pianist Kei Akagi is a capable accompanist. This album is a solid enough effort solely on the strength of Jacintha's natural talent. The obeisance to Webster was not only unnecessary, but distracting. by Dave Nathan
Tracklist:
1. Georgia on My Mind - 5:18
(Hoagy Carmichael / Stuart Gorrell)
2. Love Is Here to Stay - 3:18
(George Gershwin / Ira Gershwin)
3. Tenderly - 5:23
(Walter Gross / Jack Lawrence) 
4. Over the Rainbow - 9:41
(Harold Arlen / E.Y. "Yip" Harburg)
5. How Long Has This Been Going On? - 5:26
(George Gershwin / Ira Gershwin)
6. Stardust - 6:38
(Hoagy Carmichael / Mitchell Parish)
7. In the Wee Small Hours of the Morning - 4:12
(Bob Hilliard / David Mann)
8. Pennies From Heaven - 3:13
(Johnny Burke / Arthur Johnston)
9. Danny Boy - 7:25
(Frederick Edward Weatherly)
Credits:
Jacintha - Vocals
Kei Akagi - Piano
Teddy Edwards - Sax (Tenor)
Larance Marable - Drums
Darek Oles - Bass
Joe Harley - Producer

JACINTHA - Autumn Leaves : The Songs of Johnny Mercer (2000) APE (image+.cue), lossless

Nine of the 11 tracks here are ballads. Their uncluttered arrangements spotlight Jacintha's smooth and sensuous voice, while her expressive phrasing draws the most from the classic Johnny Mercer lyrics. Jacintha includes the original lyrics to "Autumn Leaves," done in soft and flawless French; otherwise, her primary innovation is to deliver the tunes straight and sincerely, with minimal improvisation and maximum tenderness. There's no trace of the customary bitterness in "One More for the Road," and her unaccompanied reading of "Moon River" liberates that song from any prior goopy associations. In fact, her version brings out the poignancy of the lyrics so purely that her additional chorus, coming after a rather wandering piano interlude, seems redundant. The band is good but pretty restrained throughout, supplying subtle commentary and close support, then breaks out nicely on the two up-tempo tracks: "And the Angels Sing" and "Something's Got to Give." Jacintha's measured, legato approach isn't very conducive to swinging, but listening to "Skylark"and "Midnight Sun," in particular, is like sipping cool champagne in a fragrant hot tub. Another highlight is the bonus track, "Here's to Life," a signature tune for Shirley Horn, which Jacintha takes at a slightly faster tempo. While it's not a Mercer lyric, its beautiful sentiments and melody fit nicely into this relaxed and intimate set. Whatever this CD may lack in fire, it makes up for in warmth. by Judith Schlesinger  
Tracklist :
1     And the Angels Sing 3:30
Ziggy Elman / Johnny Mercer
Drums – Joe LaBarbera
2     Skylark 5:17
Hoagy Carmichael / Johnny Mercer
Drums – Larance Marable
Guitar – Anthony Wilson
3     One for My Baby (And One More for the Road) 5:19
Harold Arlen / Johnny Mercer
Drums – Larance Marable
Guitar – Anthony Wilson
4     Midnight Sun 3:55
Sonny Burke / Lionel Hampton / Johnny Mercer
Drums – Joe LaBarbera
5     Autumn Leaves 7:45
Joseph Kosma / Johnny Mercer / Jacques Prévert
Drums – Larance Marable
Trumpet – Will Miller
6     Days of Wine and Roses 5:26
Henry Mancini / Johnny Mercer
Drums – Larance Marable
Guitar – Anthony Wilson
7     I Remember You 5:33
Johnny Mercer / Victor Schertzinger
8     Trav'lin' Light 6:30
Johnny Mercer / Jimmy Mundy / Trummy Young
Drums – Larance Marable
Trumpet – Will Miller
9     Something's Gotta Give 4:04
Johnny Mercer
Drums – Larance Marable
Trumpet – Will Miller
10     Moon River 8:29
Henry Mancini / Johnny Mercer
Drums – Joe LaBarbera
- Bonus Track -
11     Here's to Life 4:48
Artie Butler / Phyllis Molinary
Drums – Larance Marable
Organ [Hammond B-3] – Artie Butler
Credits :
Bass – Darek Oles
Piano – Kei Akagi
Tenor Saxophone – Teddy Edwards
Vocals – Jacintha

JIMMY SMITH - Bluesmith (1972-2006) APE (image+.cue), lossless

It is ironic that one of Jimmy Smith's best Verve releases would be his next-to-last for the label. This surprisingly freewheeling but relaxed jam session also features Teddy Edwards on tenor, guitarist Ray Crawford, bassist Leroy Vinnegar, drummer Donald Dean, and the congas of Victor Pantoja. Together they perform five of Smith's fairly basic originals and Harvey Siders's "Mournin' Wes," a tribute for Wes Montgomery. Fine straight-ahead music. by Scott Yanow
Tracklist :
1    Straight Ahead 5:25
Oliver Nelson / Jimmy Smith
2    Absolutely Funky 9:12
Jimmy Smith
3    Lolita 6:23
Jimmy Smith
4    Mournin' Wes 10:00
Harvey Siders
5    Blues for 3+1 4:52
Jimmy Smith
6    Bluesmith 6:41
Jimmy Smith
Credits :
Bass – Leroy Vinnegar
Congas – Victor Pantoja (tracks: 3, 5)
Drums – Donald Dean
Guitar – Ray Crawford (tracks: 1 to 4, 6)
Organ – Jimmy Smith
Tenor Saxophone – Teddy Edwards (tracks: 1 to 4, 6) 

HOWARD McGHEE – 1945-1946 | The Classics Chronological Series – 1125 (2000) FLAC (tracks+.cue), lossless

Howard McGhee was one of the most significant and underrated trumpeters of the bebop era, a transitional player who led the way from Roy Eldridge to Fats Navarro. In 1945 he came to the West Coast as a member of the Coleman Hawkins Quintet and decided to stay for a couple years, helping to introduce bebop to Los Angeles. Most of his recordings from the period are rare, so the release of the 22 selections on this CD is quite welcome. First there are four selections recorded for Philo in a sextet with tenors Teddy Edwards and James D. King. There are four sessions for Modern, including three with similar personnel (with bassist Charles Mingus on "Deep Meditation," four vocals by Pearl Taylor, and one by Estelle Edison). In addition, there is a big-band date and three of the selections from Charlie Parker's ill-fated "Lover Man" Dial date (two up-tempo McGhee features and a faltering "Be-Bop") that were originally released under McGhee's name. Overall, the music on this CD is quite boppish, sometimes a little ragged but always full of fire and energy. Highlights include "Stardust," "Mad Hype," the two-part "Around The Clock," "McGhee Special," and the haunting "Night Mist." Historic and often exciting music. Scott Yanow          Tracklist + Credits :

HOWARD McGHEE – 1946-1948 | The Classics Chronological Series – 1089 (1999) FLAC (tracks+.cue), lossless

This two-year examination of McGhee's recorded work finds the trumpeter performing dates from the West Coast to New York and Chicago. The playing is stellar, and the bands feature notables like Dodo Marmarosa, James Moody, Hank Jones, Ray Brown, J.C. Heard, Milt Jackson, and Percy Heath. Highlights include "Midnight at Minton's," "Up in Dodo's Room," "Night Mist," "Messin' With Fire," and "Bass C Jam." A nice chunk of McGhee's best work. Cub Koda

RICHARD 'GROOVE' HOLMES - Blue Groove (1994) APE (image+.cue), lossless