ELLA FITZGERALD – 1947-1948 | The Classics Chronological Series – 1049 (1999) FLAC (tracks+.cue), lossless

This segment of the Classics Ella Fitzgerald chronology focuses upon the recordings she made for the Decca label between March 1947 and November 1948. Most of these sides include polished group background vocals, generating a certain campy slickness that some listeners might find overly affected. This kind of ensemble singing rose to prominence with Tommy Dorsey and Glenn Miller and manifested itself throughout the late '40s and early '50s, even popping up in the form of the Dave Lambert Singers behind Charlie Parker. Bop scatting at times like a Roman candle, Ella sounds fully in command, a seasoned improviser well on the way to stylistic maturity. Nothing interferes with her honeyed, seamless delivery, not even the Andy Love Quintet, the Song Spinners, or the Day Dreamers. The collective instrumental personnel includes bassists Bob Haggart and Ray Brown, trumpeter Idrees Sulieman, saxophonists Illinois Jacquet and Ernie Caceres, organist Sir Charles Thompson, pianist Hank Jones, and drummer J.C. Heard. Ella imitates a Slam Stewart bass solo on "Oh, Lady Be Good" and tears up "How High the Moon" in a manner that would serve her well for the rest of her illustrious career. A fascinating chunk of history is here to be savored. Just don't be surprised if a mixed choir begins hooting and harmonizing behind Ella Fitzgerald. arwulf arwulf  
Tracklist :

PEARL BAILEY – 1944-1947 | The Classics Chronological Series – 1213 (2001) FLAC (tracks), lossless

Pearl Bailey was a magnificent jazz singer and comedienne. Check her out in front of the Cootie Williams Orchestra! That's Bud Powell back there behind the piano. Cleanhead Vinson and Lockjaw Davis are in the reed section. Pearl seems perfectly at home with this early modern-sounding big band, and Cootie puts extra sass in his horn to complement the lady's personality. Herman Chittison leads a much smaller and more intimate ensemble for "He Didn't Ask Me," a subtly soft-spoken lament with wistful incidental whistling. Pearl attracted a lot of attention by being unusually tough, candid, and outspoken in ways that few pop vocalists had ever dared to pursue. For a black woman to assert herself in this way anywhere near the mainstream was particularly refreshing during the late '40s. Pearl's high-stepping improvisations on "St. Louis Blues" are spectacular, but her relaxed conversational musings on "Tired" are perfectly timed theater, naturally hip and funny as hell. "I Ain't Talkin'" has a similar easy perfection about it. Some of this material is pure entertainment. "Personality" turns out to be a metaphor for booty. "That's Good Enough for Me," "Say It Simple," and "Get It Off Your Mind" are clever routines. Some of this stuff seems like it was inspired by Cole Porter's high camp. The Mitchell Ayres Orchestra likes to pour on a little extra glitz, and low-tech reverb makes it seem like Pearl is performing in a gymnasium. Finally, there's a two-part duet with Frank Sinatra. They sound at ease with each other: two actors with seasoned pipes who enjoy tearing apart a slow song note for note and phrase by phrase. arwulf arwulf
Tracklist + Credits :

PEARL BAILEY – 1947-1950 | The Classics Chronological Series – 1293 (2003) FLAC (tracks+.cue), lossless

The second volume in Classics' welcome wrap-up of Pearl Bailey's early career begins at the end of 1947, with Bailey fresh from the success of her film debut, Variety Girl, and its career-making song, "Tired." During the next two years, she would refine her approach to jive rhythm and sweet singing, a relaxed sense of vocal cool that fused the exquisite phrasing of Billie Holiday to the hip majesty of Cab Calloway. The first two sessions include her usual studio orchestra of the time, led by Mitchell Ayres and featuring great work from Peanuts Hucko on clarinet and the Charioteers on vocal backing. Most of the rest are small-group dates, during which she recorded some of her finest material; present are two of her best performances, the gloriously swinging, exuberant duets "Baby, It's Cold Outside" featuring Hot Lips Page and "Saturday Night Fish Fry" featuring Moms Mabley. Even the obscure songs from this period are filled with great moments, as on the solos "Johnson Rag" and "Not Tonight," as well as her appearance with Tony Pastor on "Mamie Is Mimi." Fans looking to find more excellent material after enjoying a collection like Ain't She Sweet! will find much to love here on these sides, originally recorded for Columbia and Harmony. John Bush
Tracklist :

SARAH VAUGHAN – 1951-1952 | The Classics Chronological Series – 1296 (2003) FLAC (tracks+.cue), lossless

Aficionados of Classics' chronological series of compilations may be disheartened by this volume of Sarah Vaughan sides, taken from her early-'50s stint on Columbia. After years of perfection, listeners soon came to expect the best from Classics -- thorough compilations, faithful sound, and dozens of hot sides by some of the best jazz artists of the swing era. Unfortunately, while few female vocalists swung as righteously as Sarah Vaughan, there's no evidence of it here. The compilation includes two dozen sides, from the beginning of 1951 through the very end of 1952, at a time when Columbia was marketing her as a "serious" vocalist, neither jazz fire nor pop novelty but straight, trad balladry. Backed by large, string-filled orchestras (most led by Paul Weston or Percy Faith), Vaughan doesn't shine. Her voice, majestic and filled with drama, should be perfect in this setting, but the gauzy arrangements and often subpar material make a difficult task nearly impossible. Since Vaughan's delivery was usually direct, it was difficult for her to fight poor material and lackluster backing (unlike Billie Holiday, that notoriously excellent singer of bad material). She performs the opener, "Ave Maria," with operatic precision, and exercises her deep, low vibrato on "My Reverie," but shows little interest in anything more than straightforward readings. "Street of Dreams," one of the few songs here that outlasted the '50s, is one of the few bright spots amidst the gloom. John Bush  
Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1934-1935 | The Classics Chronological Series – 744 (1994) FLAC (tracks+.cue), lossless

 With the exception of the final two titles, all of the music on this CD is from 1934, a period when Benny Goodman first formed his big band and appeared regularly on the Let's Dance radio series. Still virtually unknown to the general public, Goodman at 25 was ready for stardom, but the world was not quite yet ready for swing. The first four selections are from a fascinating combo date with the great tenor Coleman Hawkins and Mildred Bailey (who has vocals on three songs, including "Ol' Pappy" and "Emaline"). Another small-group session that features trombonist/singer Jack Teagarden and pianist Teddy Wilson precedes the Goodman Music Hall Orchestra's recordings for Columbia. The band is heard gradually developing their musical identity despite the lack of any major soloists other than the leader and (starting in November 1934) trumpeter Pee Wee Erwin. Helen Ward takes three vocals, and with "The Dixieland Band" in January 1935, the Goodman sound was almost together. Scott Yanow
Tracklist :

BENNY GOODMAN AND HIS ORCHESTRA – 1935 | The Classics Chronological Series – 769 (1994) FLAC (tracks+.cue), lossless

This CD traces the evolution of Benny Goodman's orchestra from the beginning of 1935 when they were comparatively unknown to the beginning of July when they were on the brink of success, even though Benny Goodman was no longer appearing on the Let's Dance radio series and was about to embark on a risky cross-country trip. Singer Helen Ward, drummer Gene Krupa, and trumpeter Pee Wee Erwin were the key voices (along with the clarinetist/leader) at the beginning of the year, but by the time the band recorded the last eight numbers on this disc, Bunny Berigan was Benny Goodman's star trumpeter. His solos on "King Porter Stomp" and "Sometimes I'm Happy" (along with Fletcher Henderson's swinging arrangements) would make Goodman a major star. Berigan also has hot spots on "Blue Skies" and "Jingle Bells." Swing was almost ready to catch on big. Scott Yanow
Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1939 | The Classics Chronological Series – 1025 (1998) FLAC (tracks+.cue), lossless

This CD traces Benny Goodman & His Orchestra during their final Victor recordings and their first sessions for the Columbia label. The band did not change all that much during this time style-wise, although such fixtures as trumpeter Chris Griffin, pianist Jess Stacy, drummer Buddy Schutz, and singer Martha Tilton departed. Along the way the key soloists are trumpeter Ziggy Elman, Jerry Jerome on tenor, and Goodman, while Fletcher Henderson spent a period filling in on piano. There are no small-group performances on this CD, but such fine killer-dillers as "The Kingdom of Swing," "There'll Be Some Changes Made," "Jumpin' at the Woodside," "Stealin' Apples," and "Spring Song." Scott Yanow  
Tracklist + Credits : 

BENNY GOODMAN AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 1098 (1999) FLAC (tracks+.cue), lossless

Despite competition from Glenn Miller, Artie Shaw, Count Basie, and Tommy Dorsey, Benny Goodman largely held on to his popularity during the 1939-1940 period. The personnel was changing in his big band, but it was still a strong outfit with trumpeters Ziggy Elman and Jimmy Maxwell, trombonist Vernon Brown, Jerry Jerome on tenor, pianist Johnny Guarnieri, and singer Helen Forrest being significant voices. Among the better big band selections on this consistently swinging CD are "Zaggin' With Zig," "The Fable of the Rose," "Shake Down the Stars," and "I'm Nobody's Baby"; however, it is the three sextet numbers that take honors. "Till Tom Special," "The Sheik of Araby," and "Poor Butterfly" feature Goodman with guitarist Charlie Christian, Lionel Hampton, and either Count Basie or Guarnieri on piano. All of the Benny Goodman recordings from this era are well worth acquiring by swing fans. Scott Yanow  
Tracklist :

MIFF MOLE – 1928-1937 | The Classics Chronological Series – 1298 (2003) FLAC (tracks+.cue), lossless

Less jaunty than Kid Ory and not as funky as Charlie Irvis, Miff Mole's trombone had a sound all its own. His calm, assertive presence transformed any ensemble, and the bands he led were usually dependable and solid. If you're not yet a devoted follower, this excellent package might grab you for keeps. The opening session features an inspired Frank Teschemacher, who really shines on "Shim-Me-Sha-Wabble." The rest of the material from 1928 is delightful, sounding a lot like fully arranged small band swing from the mid-'30s. The piano lineup is marvelous throughout: Joe Sullivan, Arthur Schutt, and Frank Signorelli, composer of "I'll Never Be The Same" and "A Blues Serenade." Tuba legend Joe Tarto anchors three different ensembles and sounds particularly comfortable behind the trombone solos. Because they wisely chose not to feature any vocalists on the 1928-1929 sides, the magical interaction between instrumentalists proceeds without interruption. We get a good taste of Jimmy Dorsey's clarinet while Matt Malneck saws away on a hot violin. Dick McDonough's guitar solo on "Playing the Blues" is dazzling. Eddie Lang, however, plays hardly audible straight rhythm guitar on the April 19, 1929, session, restraining himself while the horns bubble and smoke out front. "That's a Plenty" is a prime example of how hot these guys could blow, and Dorsey is joined by tenor man Babe Russin for a wild version of "After You've Gone."
Those 14 hot sides are followed by a session from 1930. It's amazing how ensembles began to congeal and sweeten once the new decade (and the Great Depression) was on. Mole does some stuffy work with a mute and Scrappy Lambert's vocals are a bit fluffy, but the exciting presence of Adrian Rollini's bass saxophone is consoling, much as it was on the Venuti/Lang recordings from this same period. Luckily, we are given the option of skipping the vocal selections and choosing instrumental alternates, which were originally issued on Odeon instead of Okeh. These are as worthy as any of the other instrumental numbers included here.
The material from 1937 is thicker and more heavily arranged, with vocals by Midge Williams, who could be charming, and Chick Bullock, who wasn't. This is an entirely different world from the earlier sides. The presence of Glenn Miller constitutes a manifestation of mainstream big band music ready at that point to seize the market. Mole sounds great once Bullock runs out of lyrics, and even six marginally appealing vocal episodes cannot detract from the simple majesty of this chronologically stacked retrospective. Mole deserves to be remembered and Classics is to be commended for having the gumption to issue his music in this manner. arwulf arwulf  
Tracklist :
1    Miff Mole's Molers–    One Step To Heaven    2:58
2    Miff Mole's Molers–    Shim-Me-Sha-Wabble    3:00
3    Miff Mole's Molers–    Crazy Rhythm     2:58
4    Miff Mole's Molers–    You Took Advantage Of Me    3:16
5    Miff Mole's Molers–    You're The Cream In My Coffee    2:56
6    Miff Mole's Molers–    Wild Oat Joe    2:58
7    New Orleans Black Birds–    Red Head    3:01
8    New Orleans Black Birds–    Playing The Blues    2:37
9    Miff Mole's Molers–    I've Got A Feeling I'm Falling    2:54
10    Miff Mole's Molers–    That's A Plenty    2:46
11    Miff Mole's Molers–    Birmingham Bertha    3:10
12    Miff Mole's Molers–    Moanin' Low    3:15
13    Miff Mole's Molers–    You Made Me Love You    2:58
14    Miff Mole's Molers–    After You've Gone    3:18
15    Miff Mole's Molers–    Navy Blues (Vocal)    3:26
16    Miff Mole's Molers–    Lucky Little Devil (Vocal)    3:28
17    Miff Mole's Molers–    Navy Blues (Instr.)    3:21
18    Miff Mole's Molers–    Lucky Little Devil (Instr.)    3:28
19    Miff Mole's Molers–    On A Little Bamboo Bridge    2:43
20    Miff Mole's Molers–    How Could You?    2:49
21    Miff Mole's Molers–    I Can't Break The Habit Of You    2:13
22    Miff Mole's Molers–    Love And Learn    2:24
Credits :    
Alto Saxophone – Toots Mondello (tracks: 19 to 22)
Bass – Sid Weiss (tracks: 19 to 22)
Bass Saxophone – Adrian Rollini (tracks: 15 to 18)
Bass Tuba – Joe Tarto (tracks: 3, 4, 7, 8)
Clarinet – Frank Teschmacher, Paul Ricci (tracks: 19 to 22)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 7 to 16)
Clarinet, Tenor Saxophone – Fud Livingston (tracks: 3 to 6)
Drums – Gene Krupa, Sam Weiss (tracks: 19 to 22), Stan King (tracks: 3, 4, 9 to 14), Ted Napoleon (tracks: 7, 8)
Guitar – Carl Kress (tracks: 3, 4, 15 to 22), Dick McDonough (tracks: 7, 8, 13, 14), Eddie Condon (tracks: 1, 2), Eddie Lang (tracks: 9, 10), Tommy Felline (tracks: 11, 12)
Mellophone – Dudley Fosdick (tracks: 3, 4)
Piano – Arthur Schutt (tracks: 3 to 6, 9 to 14), Frank Signorelli (tracks: 7, 8, 19 to 22), Joe Sullivan (tracks: 1, 2), Lenny Hayton (tracks: 15 to 18)
Tenor Saxophone – Babe Russin (tracks: 13, 14)
Trombone – Glenn Miller (tracks: 19 to 22), Miff Mole, Vincent Grande (tracks: 19 to 22)
Trumpet – Gordon Griffin (tracks: 19 to 22), Harry James (tracks: 19 to 22), Leo McConville (tracks: 3, 4, 9 to 12), Manny Klein (tracks: 9, 10), Phil Napoleon (tracks: 11 to 14), Phil Napoleon (tracks: 5 to 8), Red Nichols (tracks: 1 to 4), Tony Tortomas (tracks: 19 to 22)
Violin – Matt Malneck (tracks: 7, 8)
Vocals – Chick Bullock (tracks: 21, 22), Scrappy Lambert (tracks: 15, 16), Midge Williams (tracks: 19, 20)

BUNNY BERIGAN AND HIS ORCHESTRA – 1936-1937 | The Classics Chronological Series – 749 (1994) FLAC (tracks+.cue), lossless

These 23 Berigan sides chronicle a time when the trumpeter was in between being a sideman and putting together his own band. After scoring several solo triumphs with Tommy Dorsey's outfit in 1937 ("Marie," "Song of India"), Berigan organized a mid-sized combo which included such standouts as tenor saxophonist George Auld, pianist Joe Bushkin, and drummer George Wettling. The heyday to come, with Buddy Rich behind the drum kit and a signature reading of "I Can't Get Started," were still about a year off. In the meantime, Berigan and company made out fine with a mix of tight arrangements and the maestro's top-notch solo work. This Classics disc features a sampling of those small group recordings ("All God's Chillun' Got Rhythm," "Swanee River"), plus some of Berigan's first sides with his big band. In spite of a few questionable transfers here and there, the disc has good sound quality throughout. Be that as it may, this installment in Classics' chronological series is still best suited for seasoned Berigan fans. Stephen Cook  
Tracklist :
1     That Foolish Feeling 2:47
Harold Adamson / Jimmy McHugh
Vocals – Art Gentry
2     Where Are You? 3:08
Harold Adamson / Jimmy McHugh
Vocals – Art Gentry    
3     In a Little Spanish Town 2:42
Sam M. Lewis / Mabel Wayne / Joe Young
4     The Goona Goo 2:50
Fred E. Ahlert / Harry Reser / Joe Young
Vocals – Art Gentry    
5     Who's Afraid of Love? 2:47
Sidney Mitchell / Lew Pollack
Vocals – Art Gentry    
6     One in a Million 2:40
Sidney Mitchell / Lew Pollack
Vocals – Art Gentry
7     Blue Lou 2:46
Irving Mills / Edgar Sampson
8     I'm Gonna Kiss Myself Goodbye 2:27
Mack Gordon
Vocals – Johnny Hauser    
9     Big Boy Blue 2:13
Dan Howell / Jack Lawrence / Peter Tinturin
Vocals – Johnny Hauser
10     Dixieland Shuffle 2:54
Bob Haggart / Gil Rodin    
11     Let's Do It (Let's Fall in Love) 3:10
Cole Porter
12     You Can't Run Away from Love Tonight 3:00
Al Dubin / Harry Warren
Vocals – Carol McKay
13     'Cause My Baby Says It's So 2:48
Al Dubin / Harry Warren
Vocals – Bunny Berigan
14     Carelessly 3:06
Norman Ellis / Nick A. Kenny
Vocals – Carol McKay
15     All Dark People Are Light on Their Feet 2:22
Lorenz Hart / Richard Rodgers
Vocals – Ford Leary    
16     The First Time I Saw You 2:16
Allie Wrubel
Vocals – Ford Leary    
17     Love Is a Merry-Go-Round 3:00
Rube Bloom / Johnny Mercer
Vocals – Sue Mitchell     
18     The Image of You 2:50
Fred E. Ahlert / Joe Young
Vocals – Sue Mitchell     
19     I'm Happy, Darling, Dancing With You 2:59
Fred E. Ahlert / Joe Young
Vocals – Sue Mitchell
20     Swanee River 2:20
Stephen Foster
21     All God's Chillun Got Rhythm 2:20
Walter Jurmann / Gus Kahn / Bronislaw Kaper
Vocals – Ruth Bradley
22     The Lady from Fifth Avenue 2:26
Teddy Powell / Walter Samuels / Leonard Whitcup
Vocals – Ruth Bradley
23     Let's Have Another Cigarette 2:39
Herbert Magidson / Allie Wrubel
Vocals – Ruth Bradley

ZIGGY ELMAN AND HIS ORCHESTRA – 1938-1939 | The Classics Chronological Series – 900 (1996) FLAC (tracks+.cue), lossless

Ziggy Elman played trumpet beautifully and made lasting, significant contributions to the ripening of jazz and swing during the months immediately preceding the Second World War. As if to illustrate the point, this first segment of Elman's chronology contains his Bluebird recordings dating from December 28, 1938, through December 26, 1939. During this period, the trumpeter's band invariably consisted of two alto and two tenor saxophones with piano, guitar, bass, and drums. Over the course of 12 months a series of fine players passed through Elman's band. Among them were saxophonists Arthur Rollini, Babe Russin, Hymie Schertzer, Toots Mondello, and Jerry Jerome, and pianists Jess Stacy, Milt Raskin, and Johnny Guarnieri. The opening track, "Fralich in Swing," would soon become famous as Benny Goodman's hugely popular "And the Angels Sing." After playing it through at a languid pace, Elman accelerates the tempo to reveal the melody's origins as a Jewish wedding dance. For the flip side Elman chose "Bublitchki," an attractive update of a traditional Slavic air. In a strikingly hip maneuver, his next pair of tunes were drawn from the Richard M. Jones and Maceo Pinkard catalog, respectively. The tasteful repertoire presented throughout this compilation combines relaxing ballads ("I'll Never Be the Same" is particularly eloquent) and catchy dance tunes ("Zaggin' with Zig"). The Judaic element resurfaces nicely during the peculiarly titled "What Used to Was Used to Was (Now It Ain't)." This entire disc is packed with friendly, accessible jazz that swings. No gimmicks, no gags, no self-conscious singers. Ziggy didn't need 'em. arwulf arwulf   
Tracklist :
1 Fralich in Swing (And the Angels Sing) 3:18
 Ziggy Elman feat: Ziggy Elman & His Orchestra
2 Bublitchiki 3:06
Traditional
Ziggy Elman feat: Ziggy Elman & His Orchestra
3 29th and Dearborn 2:54
Richard M. Jones
 4 Sugar 2:57
Edna Alexander / Sidney Mitchell / Maceo Pinkard
5 You're Mine, You 3:17
Johnny Green / Edward Heyman
6 Let's Fall in Love 2:56
Harold Arlen / Ted Koehler
 7 Zaggin' with Zig 3:05
 Ziggy Elman feat: Ziggy Elman & His Orchestra
8 I'll Never Be the Same 3:01
Gus Kahn / Matty Malneck / Frank Signorelli
 9 You Took Advantage of Me 2:30
Lorenz Hart / Richard Rodgers
 10 I'm Yours 3:04
Johnny Green / E.Y. "Yip" Harburg
 11 Am I Blue? 2:35
Harry Akst / Grant Clarke
 12 I Have Everything to Live For 2:49
Noni Bernardi / Ziggy Elman
 13 What Used to Was Used to Was (Now It Ain't) 3:26
Sammy Cahn / Saul Chaplin / David Meyerowitz
 14 Bye 'n' Bye 3:12
 Ziggy Elman feat: Ziggy Elman & His Orchestra
15 Love Is the Sweetest Thing 2:39
Ray Noble
 16 Deep Night 3:30
Charles Henderson / Rudy Vallée
 17 Forgive My Heart (You Are My Happiness) 3:20
 Ziggy Elman feat: Ziggy Elman & His Orchestra
18 Tootin' My Baby Back Home 3:03
Noni Bernardi / Ziggy Elman
 19 I'm Through with Love 3:21
Gus Kahn / Fud Livingston / Matty Malneck
 20 Something to Remember You By 3:13
Howard Dietz / Arthur Schwartz
Credits
Alto Saxophone – Dave Matthews (tracks: 1 to 4), Hymie Schertzer (tracks: 5 to 12), Noni Bernardi, Toots Mondello (tracks: 13 to 20)
Double Bass [String Bass] – Artie Bernstein (tracks: 5 to 8; 13 to 20), Harry Goodman (tracks: 1 to 4), Joe Schwartzman (tracks: 9 to 12)
Drums – Al Kendis (tracks: 1 to 12), Nick Fatool (tracks: 13 to 20)
Guitar – Ben Heller
Piano – Jess Stacy (tracks: 1 to 12), Johnny Guarnieri (tracks: 17 to 20), Milt Raskin (tracks: 13 to 16)
Tenor Saxophone – Arthur Rollini (tracks: 1 to 8; 13 to 20), Babe Russin (tracks: 9 to 12), Jerry Jerome
Trumpet – Ziggy Elman