LOUIS ARMSTRONG & DUKE ELLINGTON — The Great Summit Complete Sessions (1961-2000) RM | 2CD Deluxe Edition | FLAC (tracks+.cue) lossless

Louis Armstrong and Duke Ellington were (and are) two of the main stems of jazz. Any way you look at it, just about everything that's ever happened in this music leads directly -- or indirectly -- back to them. Both men were born on the cusp of the 19th and 20th centuries, and each became established as a leader during the middle '20s. Although their paths had crossed from time to time over the years, nobody in the entertainment industry had ever managed to get Armstrong and Ellington into a recording studio to make an album together. On April 3, 1961, producer Bob Thiele achieved what should be regarded as one of his greatest accomplishments; he organized and supervised a seven-and-a-half-hour session at RCA Victor's Studio One on East 24th Street in Manhattan, using a sextet combining Duke Ellington with Louis Armstrong & His All-Stars. This group included ex-Ellington clarinetist Barney Bigard, ex-Jimmie Lunceford swing-to-bop trombonist Trummy Young, bassist Mort Herbert, and drummer Danny Barcelona. A second session took place during the afternoon of the following day. The music resulting from Thiele's inspired experiment is outstanding and utterly essential. That means everybody ought to hear this album at least once, and many will want to hear it again and again all the way through, for this is one of the most intriguing confluences in all of recorded jazz. Armstrong blew his horn with authority and sang beautifully and robustly. "Azalea" is a harmonically pixilated melody with complicated, peculiarly rhymed lyrics composed by Duke many years earlier with Armstrong in mind. Other highlights include the bluesy "I'm Just a Lucky So and So," a smoking hot, scat-laden rendition of "Cotton Tail," and "The Beautiful American," a marvelously modern exercise composed on the spot by Ellington that leaves one with the curious impression that Armstrong has just finished sitting in with Charles Mingus. It's also a premonition of the Ellington/Mingus/Roach Money Jungle session that would take place the following year. Since Thiele had "borrowed" Ellington from Columbia without permission, Roulette compensated by "lending" Count Basie & His Orchestra for the big-band blowout album entitled First Time! The Count Meets the Duke. The Armstrong/Ellington master takes were originally issued on two long-playing records; Together for the First Time came out on Roulette in 1961 and The Great Reunion appeared in 1963. Both albums later resurfaced as a Roulette LP two-fer entitled The Duke Ellington/Louis Armstrong Years. This material is also available in a Roulette Jazz Deluxe Edition with The Making of The Great Summit, a fascinating supplementary disc containing an hour's worth of rehearsals, conversations, and alternate takes. Those who truly love and respect Louis Armstrong and Duke Ellington will want to obtain, absorb, study, and cherish the Deluxe Edition of The Great Summit. arwulf arwulf
The Great Summit | The Master Takes    
1    Duke's Place    5:00
 Duke Ellington / Bob Katz / Bob Thiele
2    I'm Just A Lucky So And So    3:06
 Mack David / Duke Ellington
3    Cottontail    3:39
 Duke Ellington
4    Mood Indigo    3:54
 Barney Bigard / Duke Ellington / Irving Mills
5    Do Nothin' Till You Hear From Me    2:34
 Duke Ellington / Bob Russell
6    The Beautiful American    3:05
 Duke Ellington
7    Black And Tan Fantasy    3:57
 Duke Ellington / Bubber Miley
8    Drop Me Off In Harlem    3:46
 Duke Ellington / Nick A. Kenny
9    The Mooche    3:36
 Duke Ellington / Irving Mills
10    In A Mellow Tone    3:45
 Duke Ellington / Milt Gabler
11    It Don't Mean A Thing (If It Ain't Got That Swing)    3:56
 Duke Ellington / Irving Mills
12    Solitude    4:52
 Eddie DeLange / Duke Ellington / Irving Mills
13    Don't Get Around Much Anymore    3:29
 Duke Ellington / Bob Russell
14    I'm Beginning To See The Light    3:34
 Duke Ellington / Don George / Johnny Hodges / Harry James
15    Just Squeeze Me    3:56
 Duke Ellington / Lee Gaines
16    I Got It Bad (And That Ain't Good)    5:28
 Duke Ellington / Paul Francis Webster
17    Azalea    5:01
 Duke Ellington
The Making Of The Great Summit    
1 In A Mellow Tone    4:15
      a. warm-up
      b. take one - complete take
2 I'm Beginning To See The Light   6:56
      a. take one - false start
      b. take four - two false starts
      c. take five- complete take
      d. take six - conversation, false start
      e. take seven -long false start
3 Do Nothin' Till You Hear From Me    5:42
      a. take one - rehearsal, working out arrangement
      b. take two - discussion, complete take
      c. take three false start
4 Don't Get Around Much Anymore    10:43
      a. take two - breakdown
      b. take three breakdown
      c. take four - discussion, false start
      d. take five - complete take
      e. discussion and rehearsal of ending
5. Duke's Place    4:18
      take five - Lucky Roberts intro, complete take
6 Drop Me Off In Harlem    4:57
      take two - complete take
7 I'm Just A Lucky So And So    4:37
      a. conversation
      b. take one - false start
      c. take two - complete take,discussion
8. Azalea    8:05
      a. take eight - discussion, false start
      b. take nine - false start
      c. take ten - complete in two sections
9. Black and Tan Fantasy   7:13
      a. take three - false start
      b. conversation leading to take four
      c. take five - false start
      d. take six - complete take
      (this ending was usedwith take 4 as the master)
10 Band Discussion on Cottontail    1:08
Credits :
Bass – Mort Herbert
Clarinet – Barney Bigard
Drums – Danny Barcelona
Piano – Duke Ellington
Trombone – Trummy Young
Trumpet, Vocals – Louis Armstrong

LOUIS ARMSTRONG – 1952-1953 | The Classics Chronological Series – 1352 (2004) FLAC (tracks+.cue), lossless

This 21st chapter in the Classics Louis Armstrong chronology documents the great jazz trumpeter's steady development into a mainstream pop vocalist with recordings made for the Decca label between September 22, 1952, and October 22, 1953. The first four titles are among the most heavily sugared he ever recorded; although Pops could make even "White Christmas" and "Winter Wonderland" sound good, the Gordon Jenkins Orchestra & Chorus had a way of drenching everything in Karo syrup. It's a pity the voices were used on "Listen to the Mockingbird," as Louis sounds marvelous intoning the words to this old-fashioned melody, originally published in 1855 by a Philadelphian Afro-American music instructor named Septimus Winner. On February 23, 1953, Armstrong was in Detroit making records with an orchestra using arrangements by Sy Oliver; his performance of "Your Cheatin' Heart" was waxed only weeks after the sudden death of Hank Williams. During the spring and summer of 1953 Armstrong was able to record with a reasonable number of solid jazz players -- most importantly clarinetist Barney Bigard, trombonist Trummy Young, tenor saxophonist Sam Taylor, pianists Joe Bushkin and Marty Napoleon, bassist Arvell Shaw, and drummer Cozy Cole. Two extra-long performances, "Basin Street Blues" and "Otchi-Tchor-Ni-Ya," were recorded in Los Angeles during June of 1953 for intended inclusion in The Glenn Miller Story, a Universal motion picture starring Jimmy Stewart and June Allyson. Both tracks perk up halfway through with pyrotechnic drumming by Gene Krupa. Although Bigard, Young, Shaw, and Cole were with Armstrong on the session that took place on July 16, 1953, they had to contend with relatively corny material and square arrangements foisted upon the world by the Jack Pleis Orchestra. The following session, featuring a big band billed as Louis Armstrong & the Commanders, resulted in two more Christmas tunes and three perfectly reasonable big-band ballads, the best of which was Armstrong's own composition "Someday You'll Be Sorry." This itinerary is a good illustration of Armstrong's career as it stood in the early '50s, represented by a little bit of jazz surrounded by a whole lot of pop, some of it rather overbearing. While "Someday" is a record of which Armstrong was justifiably proud, "'Zat You, Santa Claus?" typifies the kitschy excesses of the U.S. entertainment industry during the Truman/Eisenhower era. arwulf arwulf       Tracklist + Credits :

LOUIS ARMSTRONG – 1954 | The Classics Chronological Series – 1402 (2005) FLAC (tracks+.cue), lossless

This 22nd volume in Classics Records' chronological survey of the complete recordings of Louis Armstrong is a bit of a transitional one. It features Armstrong's last recordings for Decca Records, opening with a handful of studio versions of songs that were featured in the movie The Glenn Miller Story (including yet another take on "Basin Street Blues") and moves on to a pair of novelty songs, the utterly goofy "Spooks?" and a completely unnecessary rendition of Joyce Kilmer's poem "Trees" turned into a song. The miracle is that Armstrong's vocal almost -- almost -- makes "Trees" work as a legitimate song, but in the end a boat won't float if its design prevents it from doing so, and "Trees" just leaves one shaking one's head. What makes this installment worthwhile, though, is that it closes out with nine of the 11 songs that were featured on Armstrong's marvelous 1954 Louis Armstrong Plays W.C. Handy LP from Columbia Records, including fine versions of "Ole Miss," "Beale Street Blues," "Loveless Love," and what may well be the definitive version of "St. Louis Blues," which comes in at just under nine minutes in length. The remaining two tracks from the 1954 Handy sessions, "Yellow Dog Blues" and "Sing 'Em Low," will presumably open Classics' 23rd installment of Armstrong's musical biography. The only truly essential tracks here are the Handy tunes, which have been reissued by Columbia anyway, complete with a full track listing and a couple of alternate takes, so unless you're collecting the complete Classics Armstrong series, this installment isn't particularly vital, although thanks to the Handy sides, it's a solid listen. Steve Leggett   Tracklist + Credits :  

DIZZY GILLESPIE – 1945 | The Classics Chronological Series – 888 (1996) FLAC (tracks+.cue), lossless

Here's a case where strict adherence to a chronology bears fascinating fruit. Classics 888 focuses only upon January and February of 1945, a small chunk of time during which Dizzy sat in with certain wild bands and made his very first recordings as a leader. On January 9th, a number of musicians from different stylistic backgrounds showed up late to record with Oscar Pettiford, who eventually admitted that he hadn't any idea of what they were going to use for material. Pianist Clyde Hart offered to slap a few charts together on the spot. "Something for You," known elsewhere as "Max Is Making Wax," came out brisk and boppish with powerful blowing from Don Byas, Diz and swing trombonist Benny Morton, who seems to have worked extra hard to fit in with this fast crowd. "Worried Life Blues," composed by blues and boogie-woogie pianist Big Maceo Merriweather, featured vocalist Rubberlegs Williams, who growled, howled and occasionally barked in a way that brings to mind one of Fats Waller's favorite habitual exclamations: "Get away from here!" "Empty Bed Blues," while attributed to Oscar Pettiford, is clearly a Bessie Smith cover. Diz growls ominously with his horn behind the vocal. Retaining some of the players from the Pettiford group, Dizzy's Sextet sounded very well-organized by comparison. The trumpeter's handling of "I Can't Get Started" is breathtakingly beautiful. Tadd Dameron's irresistible "Good Bait" sounds as solid and immediate as the day it was made. In his autobiography, To Be or Not to Bop, Gillespie said he had "composed a fast thing, and just named it ""Be Bop"" later on...it didn't have a name before the record date." "Be Bop" is one brilliant and bracing piece of work, surprisingly put together. After ripping through a whole lot of wild changes, each player contributes a brief note or two for a composite coda. Before the month of January had ended, a famously weird session came together and then blew apart at the seams. Nominally led by Clyde Hart, it began with several vocals by a louder-than-ever Rubberlegs Williams. Apparently seeking to maintain his edge, the blues shouter consumed many cups of coffee, unaware of the fact that the caffeine in question had been steeply fortified with Benzedrine by the ever-resourceful Charlie Parker. At first, Legs sounded only marginally manic, humorously gruff in the throes of his boisterous R&B showmanship. By the time they got around to recording "That's the Blues," the singer must have been completely geeked, as he began his vocal at full intensity, with nowhere left to build to. Halfway through the record, his voice started to disintegrate as Legs approached the vocal intensity of Screamin' Jay Hawkins. Dizzy swears that Legs never drank or smoked, while Trummy Young insisted the singer was also full of whiskey, which would have mixed horribly with the amphetamine. In any case, after he passed into a state of chemically induced psychosis, Williams was led away and the ensemble magically re-grouped itself as James "Trummy" Young's All-Stars. The mood changed to a very hip level of calmness as Trummy sang pleasant melodies in a soft and friendly voice. The contrast between this and the previously hard-hitting rhythm and blues material -- recorded by all but one of the same musicians on the same day -- is astonishing, as is the interplay between Sarah Vaughan and Ben Webster on "All Too Soon," between Diz and Dexter Gordon on "Blue 'n Boogie" and most of all, between Bird and Diz. Cherish every nuance of these early recordings of "Groovin' High" and "All the Things You Are"; they are intimate works of great poetic depth, existing at the heart of these amazing collaborative friendships. arwulf arwulf         Tracklist + Credits :

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 :

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  
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BILLY ECKSTINE AND HIS ORCHESTRA – 1944-1945 | The Chronogical Classics – 914 (1996) FLAC (tracks+.cue), lossless

One of the most glaring gaps in the jazz reissue boom is a thorough chronicle of Billy Eckstine's bop era work with both Earl Hines' group and his own innovative outfits. A veritable workshop for the era's teaming bop talent, Eckstine's big bands captured Charlie Parker's and Dizzy Gillespie's advances in a swing framework, which provided a challenging yet ultimately perfect setting for the singer's luxurious baritone. So, considering what's to be missed, listeners shouldn't hesitate in checking out this Classics collection of Eckstine's 1944-1945 sides, especially since Savoy's chronicle of the same material is in dire need of an audio upgrade. Effortlessly ranging between ballads, blues, and swingers, Eckstine delivers both hit covers ("Prisoner of Love," "Cottage for Sale") and indelible originals ("I Want to Talk About You," "Blowin' the Blues Away"). And with the likes of Fats Navarro, Dexter Gordon, Sonny Stitt, and Art Blakey on hand -- not to mention Tadd Dameron and Budd Johnson handling the charts and a young Sarah Vaughan contributing vocals -- the high standards are maintained throughout. A perfect companion collection to both Classics' followup disc of 1946-1947 tracks and Xanadu's roundup of Eckstine sides form the first half of the '40s. Stephen Cook  
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JAMES MOODY – 1948-1949 | The Chronogical Classics – 1116 (2000) FLAC (tracks+.cue), lossless

These earliest sessions recorded by saxophonist James Moody under his own leadership, follow his initial years with Dizzy Gillespie, an association that would be maintained off and on throughout Dizzy's life. The disc starts in chronological order with eight sides recorded for Blue Note in October 1948. Arranged by composer Gil Fuller and backed by Moody's Modernists, which were, in essence, musicians comprised of Dizzy Gillespie's band including baritone saxophonist Cecil Payne, alto saxophonist Ernie Henry, Chano Pozo, and Art Blakey. These sessions were recorded in New York before Moody left for Europe, not to return to the states until years later. The remaining 14 tracks find him jamming with European musicians and fellow American expatriates including fellow tenor saxophonist Don Byas, mixing bebop and standards recorded in Zurich, Paris, Lausanne, and Stockholm for Vogue, Blue Star, and Prestige. Al Campbell  
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EARL HINES AND HIS ORCHESTRA – 1932-1934 | The Classics Chronological Series – 514 (1990) FLAC (tracks+.cue), lossless

Hines began his career as a bandleader in 1928, the year in which he also started a lengthy residency at Chicago's Grand Terrace Club. During the Grand Terrace days, he did have his share of musical ups and downs, but this collection of 1932-1934 sides finds him in the first fertile patch of a long and distinguished career as a bandleader. Besides some fine piano work by the master himself, the music benefits greatly from the work of such topnotch arrangers as Jimmy Mundy, Walter Fuller, and Quinn Wilson. Mundy hits his spots with original versions of classics like "Cavernism," "Bubbling Over," and "Madhouse," while Wilson avails himself nicely with charts for "Japanese Sandman" and "Blue." There's also plenty of fine solo work from trombonist Trummy Young, clarinetist Omer Simeon, and tenor saxophonist Budd Johnson, among many others. The disc is spotty in parts but full of enough solid material to qualify as an essential collection. Stephen Cook  
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EARL HINES AND HIS ORCHESTRA – 1934-1937 | The Classics Chronological Series – 528 (1990) FLAC (tracks+.cue), lossless

Between his auspicious beginnings with Armstrong, Jimmie Noone, and Erskine Tate during the late '20s and his proto-bebop big band of the '40s, Earl Hines found his '30s stride with these fine recordings. Part of a clutch of Classics discs charting his solo and big-band sides from 1928-1947, this collection finds Hines in the stellar company of such top arrangers as Jimmy Mundy, Quinn Wilson, and Cecil Irwin. While Mundy was the only one to achieve fame beyond the group (with Count Basie), all these chart-makers flourished under Hines' watch. Mundy's work especially stands out: Four of his contributions here -- "Fat Babes," "Copenhagen," "Rock and Rye," and "Cavernism" -- count as pinnacles of the form, replete with inventive horn parts and streamlined yet driving rhythm tracks. Hines, of course, finds his own way quite nicely with a series of sparkling solo statements. And helping out on the bandstand are such luminaries as trombonist Trummy Young, trumpeter Walter Fuller, and tenor saxophonist Budd Johnson (later to provide Hines with some quality arrangements of his own). A high point in the Hines catalog. Stephen Cook  
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EARL HINES AND HIS ORCHESTRA – 1937-1939 | The Classics Chronological Series – 538 (1990) FLAC (tracks+.cue), lossless

Another chapter in the Classics label's impressive chronological account of Earl Hines' big-band and solo piano work from 1928-1947. By this time, Hines was slipping into a bit of a routine, but for the most part the material here maintains the high standards of his benchmark work from 1934 and 1935. His top arranger, Jimmy Mundy, is on hand again, joined by Horace Henderson (Fletcher Henderson's brother) and Budd Johnson. Johnson would later flower as one of Hines' main chart-makers, and here he ably displays his talents on the churning "XYZ" and the Hines showcase "Piano Man." Hines further displays his mammoth chops on two exciting solo tracks, "The Father's Getaway" and "Reminiscing at Blue Note." And making fine contributions of their own are clarinetist Omer Simeon and trumpeters George Dixon, Ray Nance (later of Ellington fame), and Freddy Webster. A highly enjoyable if unessential disc from the Hines catalog. Stephen Cook  
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TEDDY WILSON AND HIS ORCHESTRA – 1938 | The Classics Chronological Series – 556 (1990) FLAC (tracks+.cue), lossless

In addition to ten Billie Holiday vocals that are easily available elsewhere (best is "They Say"), this CD has some Wilson piano solos, a few rare Nan Wynn vocals and a band instrumental of "Jungle Love" with cornetist Bobby Hackett, clarinetist Pee Wee Russell, and altoist Johnny Hodges. Excellent music, but the best tracks have been reissued many times, making this CD of less interest than most of the other Classics. Scott Yanow
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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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GEORGE AULD – 1940-1945 | The Classics Chronological Series – 1322 (2003) FLAC (tracks+.cue), lossless

Smooth and sometimes flashy tenor saxophonist Georgie Auld was heavily featured with Benny Goodman, Bunny Berigan, and Artie Shaw, whose band Auld attempted to front after Shaw, suffering psychological distress at finding himself mobbed by hyper-appreciative fans, retreated to Mexico in order to obtain some sort of privacy. Eight sides from January and February 1940 sound a lot like the previous Shaw orchestra; Kay Foster's vocals sweeten up five of these, while "This Is Romance," "Juke Box Jump," and "Sweet Sue" are solid, danceable big-band instrumentals. The orchestra was not a success and soon threw in the towel, partly because, unlike Shaw's previous material, these records came out on the little Varsity label rather than Victor's Bluebird imprint. Cut to the spring of 1944, and music of an entirely different sort. A "saxtet" co-led by Auld, Ben Webster, and Coleman Hawkins makes four sides for the progressive Apollo label, with Charlie Shavers, Israel Crosby, and Specs Powell in the band, among others. Hawkins naturally steers, with Webster riding shotgun. "Porgy" and "Uptown Lullaby" are languid ballads, while the exciting "Pick-Up Boys," with its off-mike vocal interjections, is perfectly matched by "Salt Peanuts," which in 1944 placed these musicians on the cutting edge of new jazz. This exquisite session makes the whole package worth having. The rest of the chronological survey shows Auld leading his orchestra in an up-to-date fashion. Five sides were recorded for Apollo only five days after the "saxtet" date, now bolstered with groovin' arrangements by Budd Johnson. The presence of Al Cohn and Howard McGhee doesn't hurt, either. Auld shows off a bit on a luxuriant "Concerto for Tenor" and steams up the place during "Taps Miller." "I Can't Get Started," bifurcated so as to fit on either side of a 10" record, is essentially Auld's homage to Coleman Hawkins. In February and March of 1945, Auld gathered together an exceptionally hot band for a brief spate of recordings issued on the Guild label. Auld's perceptive personnel choices included Dizzy Gillespie, Billy Butterfield, Freddy Webster, Trummy Young, Al Cohn, Manny Albam, Chubby Jackson, Erroll Garner, and Shadow Wilson! Patti Powers had a pretty little voice while Gordon Drake, whose droopy balladeering bordered on the soporific, served as a sort of laudanum poultice on "I Fall in Love Too Easily." Not surprisingly, the instrumentals ("Georgie Porgie," "In the Middle," and "Co-Pilot") provide more excitement and gratification. arwulf arwulf
Tracklist + Credits :

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 :

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  
Tracklist & Credits : 

JIMMIE LUNCEFORD AND HIS ORCHESTRA – 1939 | The Classics Chronological Series – 532 (1990) FLAC (tracks+.cue), lossless

For this Classics CD, most of the Jimmie Lunceford Orchestra's earlier Vocalion recordings (owned by Columbia) are reissued. The loss of Sy Oliver in August 1939 (he was lured away by Tommy Dorsey) would soon hurt the band but they were still using Oliver's arrangemetns in the last session. "Baby, Won't You Please Come Home," "What Is This Thing Called Swing," a classic rendition of "Ain't She Sweet," "Well, All Right Then" and "Belgium Stomp" are among the more memorable selections on this CD which also has a few typically inferior Dan Grissom ballad vocals. Swing fans will want all of these CDs even if they do not include Lunceford's alternate takes. Scott Yanow
Tracklist :
1    Baby Won't You Please Come Home? 2:50
Arranged By – Sy Oliver
Vocals – Joe Thomas
2    You're Just A Dream 2:51
Arranged By – Sy Oliver
Vocals – Dan Grissom
3    The Lonesome Road 2:31
Arranged By – Sy Oliver
Vocals – Trummy Young
4    You Set Me On Fire 2:38
Arranged By – Sy Oliver
Vocals – Dan Grissom
5    I've Only Myself To Blame 2:45
Arranged By – Sy Oliver
Vocals – Dan Grissom
6    What Is This Thing Called Swing? 2:26
Arranged By – Sy Oliver
Vocals – Joe Thomas
7    Mixup 2:18
Arranged By – Sy Oliver
8    Shoemaker's Holiday 2:50
Arranged By – Sy Oliver
9    Blue Blazes 2:50
Arranged By – Sy Oliver
10    Mandy 2:52
Arranged By – Sy Oliver
11    Easter Parade 2:40
Arranged By – Sy Oliver
Vocals – Trummy Young
12    Ain't She Sweet? 2:27
Arranged By – Sy Oliver
Vocals – Trummy Young
13    White Heat 2:20
Arranged By – Will Hudson
14    Oh Why, Oh Why 2:49
Arranged By – Sy Oliver
Vocals – Dan Grissom
15    Well, All Right Then 2:42
Vocals – Orchestra
16    You Let Me Down 2:52
Arranged By – Sy Oliver
Vocals – Dan Grissom
17    I Love You 2:46
Arranged By – Sy Oliver
Vocals – Dan Grissom
18    Who Did You Meet Last Night? 2:35
Arranged By – Will Beines
Vocals – Dan Grissom
19    You Let Me Down 2:46
Arranged By – Sy Oliver
Vocals – Dan Grissom
20    Sassin' The Boss 2:43
Arranged By – Jesse Stone
Vocals – Willie Smith
21    I Want The Waiter (With The Water) 2:43
Arranged By – Sy Oliver
Vocals – Orchestra, Trummy Young
22    I Used To Love You (But It's All Over Now) 2:45
Arranged By – Milton Hill
Vocals – Joe Thomas
23    Belgium Stomp 2:29
Arranged By – Billy Moore, Jr.
24    You Can Fool Some Of The People (Some Of TheTime) 2:21
Arranged By – Billy Moore, Jr.
Vocals – Trummy Young
25    Think Of Me, Little Daddy 2:42
Arranged By – Edward Inge
Vocals – Trummy Young
26    Liza (All The Clouds'll Roll Away) 2:37
Arranged By – Edward Inge
Flute – Jimmie Lunceford, Joe Thomas, Ted Buckner
Credits :    
Alto Saxophone – Dan Grissom, Ted Buckner
Bass – Moses Allen
Clarinet, Alto Saxophone, Baritone Saxophone – Earl Carruthers, Willie Smith
Clarinet, Tenor Saxophone – Joe Thomas
Directed By – Jimmie Lunceford
Drums, Vibraphone – Jimmy Crawford
Guitar – Al Norris
Piano, Celesta – Edwin Wilcox
Trombone – Elmer Crumbley, Russell Bowles, James "Trummy" Young
Trumpet – Eddie Tompkins, Gerald Wilson (tracks: 18 to 26), Paul Webster, Sy Oliver (tracks: 1 to 17)

JIMMIE LUNCEFORD AND HIS ORCHESTRA – 1937-1939 | The Classics Chronological Series – 520 (1990) FLAC (tracks), lossless

For this entry in Classics' complete reissuance of Jimmie Lunceford's recordings, the biggest news for the band was the addition of trombonist Trummy Young who, in addition to being a major soloist, had vocal hits in "Margie" and "'Tain't What You Do (It's The Way That You Do It)." Other highlights of this well-rounded CD include "Annie Laurie," "Sweet Sue" and "By the River Saint-Marie." Scott Yanow
Tracklist :
1     Hell's Bells 3:10
Art Kassel
2     For Dancers Only 2:43
Sy Oliver / Don Raye / Vic Schoen
3     Posin' 3:00
Sammy Cahn / Saul Chaplin
4     The First Time I Saw You 2:47
Nathaniel Shilkret / Allie Wrubel
5     Honey, Keep Your Mind on Me 3:10
Jimmie Lunceford / Allan Roberts / Porter Roberts
6     Put on Your Old Grey Bonnet 2:49
Stanley Murphy / Percy Wenrich
7     Pigeon Walk 2:41
Sam M. Lewis / James V. Monaco
8     Like a Ship at Sea 2:47
Jimmie Lunceford
9     Teasin' Tessie Brown 2:56
Jimmie Lunceford / Andy Razaf
10     Annie Laurie 3:12
Traditional
11     Frisco Fog 3:12
Leon Carr / Bill Smith
12     Margie 3:09
Con Conrad / Benny Davis / J. Russel Robinson
13     The Love Nest 3:04
Otto Harbach / Walter Hirsch
14     I'm Laughing Up My Sleeve (Ha-Ha-Ha-Ha-Ha) 2:53
Jack Lawrence / Peter Tinturin
15     Down by the Old Mill Stream 3:00
Tell Taylor
16     My Melancholy Baby 3:06
Ernie Burnett / George Norton
17     Sweet Sue, Just You 2:49
Will J. Harris / Victor Young
18     By the River Sainte Marie 3:15
Edgar Leslie / Harry Warren
19     Rainin' 2:59
Sy Oliver
20     'Tain't What You Do (It's the Way That You Do It) 3:05
Sy Oliver / Trummy Young
21     Cheatin' on Me 2:47
Lew Pollack / Jack Yellen
22     Le Jazz Hot 2:43
Hal Mooney / Sy Oliver
23     Time's A-Wastin' 2:33
Jimmie Lunceford

JIMMIE LUNCEFORD AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 565 (1991) FLAC (tracks+.cue), lossless

The Jimmie Lunceford Orchestra was at the height of its power and fame during the period covered by this Classics CD. Arranger-trumpeter Sy Oliver's defection to Tommy Dorsey hurt but his charts were still in the books and his replacement Snooky Young proved to be a superior first trumpeter and soloist. With altoist Willie Smith, Joe Thomas on tenor and trombonist Trummy Young still around as stars, the band was in top form on such numbers as "Uptown Blues," "Lunceford Special," "Bugs Parade," "What's Your Story, Mornin' Glory" and "Swingin' On C." All of the releases in this series are well worth picking up by swing collectors. Scott Yanow
Tracklist :
1    Put It Away 2:41
Arranged By – Will Beines
Vocals – Orchestra, Willie Smith
2    I'm Alone With You 2:37
Arranged By – B. Estes
3    Rock It For Me 2:38
Arranged By – Billy Moore, Jr.
Vocals – Joe Thomas
4    I'm In An Awful Mood 2:46
Arranged By – Billy Moore, Jr.
Vocals – Trummy Young
5    Wham (Re Bop Boom Bam) 2:53
Arranged By – Eddie Durham
Vocals – Orchestra, Willie Smith
6    Pretty Eyes 2:40
Arranged By – Billy Moore, Jr.
Vocals – Dan Grissom
7    Uptown Blues    2:53
8    Lunceford Special 2:49
Arranged By – Eddie Durham
9    Bugs Parade 2:29
Arranged By – Billy Moore, Jr.
10    Blues In The Groove 2:33
Arranged By – Eddie Durham
11    I Wanta Hear Swing Songs 2:54
Arranged By – Billy Moore, Jr., Sy Oliver
Vocals – Trummy Young
12    It's Time To Jump And Shout 2:53
Arranged By – Eddie Durham
13    What's Your Story, Mornin' Glory? 3:09
Arranged By – Billy Moore, Jr.
14    Dinah (Part I) 2:14
Arranged By – Sy Oliver
15    Dinah (Part II) 2:12
Arranged By – Sy Oliver
Vocals – Joe Thomas
16    Sonata By L. Van Beethoven ("Pathetique" Op. 13) 3:16
Arranged By – Chappie Willett
17    I Got It 2:55
Arranged By – Billy Moore, Jr.
Vocals – Trummy Young
18    Chopin's Prelude N°7 2:49
Arranged By – Billy Moore, Jr., Jimmie Lunceford
19    Swingin' On C 2:22
Arranged By – Eddie Durham
20    Let's Try Again 3:03
Arranged By – Billy Moore, Jr.
Vocals – Dan Grissom
21    Monotony In Four Flats 2:53
Arranged By – Billy Moore, Jr.
22    Barefoot Blues 2:43
Arranged By – Billy Moore, Jr.
Vocals – Willie Smith
23    Minnie The Moocher Is Dead 2:28
Arranged By – Roger Segure
24    I Ain't Gonna Study War No More 2:55
Arranged By – Roger Segure
25    Pavanne 2:48
Arranged By – Roger Segure
Credits :    
Bass – Moses Allen
Clarinet, Alto Saxophone – Dan Grissom
Clarinet, Alto Saxophone, Baritone Saxophone – Earl Carruthers, Willie Smith
Clarinet, Alto Saxophone, Flute – Ted Buckner
Clarinet, Tenor Saxophone, Flute – Joe Thomas
Drums, Vibraphone – Jimmy Crawford
Guitar – Al Norris
Piano, Celesta – Edwin Wilcox
Trombone – Elmer Crumbley, Russell Bowles, James "Trummy" Young
Trumpet – Gerald Wilson (tracks: 9 to 25), Paul Webster, Eugene "Snooky" Young, Sy Oliver (tracks: 1 to 8)
Vocals – The Dandridge Sisters (tracks: 22 to 25)