GENE AMMONS – 1951-1953 | The Chronogical Classics – 1406 (2005) FLAC (tracks+.cue), lossless

This fourth installment in the Classics Gene Ammons chronology sews together everything recorded and released under his name for the Prestige, Decca, and United record labels between June 1951 and June 1953. Instrumental highlights, in addition to Ammons' sensually charged tenor saxophone, include Sonny Stitt on supporting tenor (on tracks 13-16, Stitt plays baritone sax); trombonist J.J. Johnson (tracks 13-16); and trumpeter supreme Johnny Coles, who was destined to make outstanding records with James Moody and Charles Mingus (tracks 17-24). This particular slice of Gene Ammons' career is delightfully gutsy and easy to relate to. The Prestige material is classic Jug; his brief involvement with Decca is a thrilling sideshow, and those sanguine, sultry, scruffy sides for Chicago's tiny United record label are precious artifacts of inestimable worth. Note that the rocking "Jim Dawgs" is an entirely different entity from a similarly titled bop exercise recorded by Ike Quebec for Savoy Records in August of 1945. During his heyday, Gene Ammons represented the perfect blend of swing, bop, and R&B. This wonderful compilation presents a healthy stripe of vivid material from his label-hopping period during the years immediately preceding the Eisenhower era. arwulf arwulf       Tracklist + Credits :

JAMES MOODY – 1951-1954 | The Chronogical Classics – 1410 (2006) FLAC (tracks+.cue), lossless

Back in New York after three years spent gigging and recording in Europe, a mature and rejuvenated James Moody resumed the endless North American scuffle to get by as a contemporary jazz musician. Volume five in the Classics James Moody chronology presents 16 rare Mercury recordings made between October 1951 and June 1953, followed by eight Prestige titles from January and April, 1954. The first four tracks feature baritone saxophonist Cecil Payne; high points include the rowdy, bristling "Moody's Home" and "Wiggle Waggle," an R&B rocker that sounds like something right up out of the King record catalog. Beginning with the material recorded on May 21, 1952, Moody is heard leading a group largely composed of players who, like him, had worked in Dizzy Gillespie's big band. Two of these individuals -- trumpeter Dave Burns and baritone saxophonist Numa "Pee Wee" Moore -- show up regularly in the front line of Moody's excellent recording ensembles between 1952 and 1955. Special mention should be made of pianist Sadik Hakim as well as hip vocalists Iona Wade, Babs Gonzales, and the amazing Eddie Jefferson, who also served as Moody's band boss and road manager. If the Mercury titles are uniformly excellent, early modern jazz, James Moody's 1954 Prestige recordings, particularly his gorgeous rendition of "Over the Rainbow" and the breathtakingly vivid, dangerously danceable "Mambo With Moody" are enduring masterworks that warrant repeated listening. arwulf arwulf  
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ERROLL GARNER – 1947-1949 | The Classics Chronological Series – 1109 (2000) FLAC (tracks+.cue), lossless

Here's one package that demonstrates the piano artistry of Erroll Garner in several settings -- as a solo act, with trio and quartet, and as an integral part of a jumpin' sextet caught live in concert. The Just Jazz series was producer Gene Norman's answer to Norman Granz's Jazz at the Philharmonic. Beginning with a jam on Edgar Sampson's "Blue Lou," the main attraction here is tenor saxophonist Wardell Gray. "One O'Clock Jump" and its three sequels bring on trumpeter Howard McGhee, trombonist Vic Dickenson, and Benny Carter on alto sax. (Neither the bassist nor the excellent guitarist are even mentioned let alone identified in the enclosed discography.) In a tasty example of resourceful editing, tracks three through six have been seamlessly linked into one more or less continuous performance. The same trick was accomplished with both halves of "Lover" (tracks seven and eight), which was performed by the rhythm section only. Garner's next recordings were made almost exactly one year later in front of a live audience with guitarist Ulysses Livingston and bassist John Simmons. Four beautiful, superbly crafted studies for solo piano were recorded for the Vogue label in Paris on May 15, 1948. These tracks, which might be new to some U.S. listeners, are a real treat for the Garner connoisseur. Garner was back in California two months later, punching out a version of "Just You, Just Me" at another Just Jazz concert with guitarist Oscar Moore, bassist Nelson Boyd, and drummer Teddy Stewart. This excellent compilation concludes with seven relaxed ballads and one feisty take of "Stompin' at the Savoy" recorded for the Savoy label in February and March 1949. Alvin Stoller and John Simmons interact marvelously with Garner, who was now developing into a purveyor of what has been accurately described as the "rhapsodic ballad." The wide range of styles and instrumentation on this disc mark it as an excellent choice for those who wish to experience the art of Erroll Garner from a variety of musical perspectives. arwulf arwulf  
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