BENNY CARTER AND HIS ORCHESTRA – 1937-1939 | The Classics Chronological Series – 552 (1990) FLAC (tracks+.cue), lossless

The fourth CD in Classics' complete chronological reissue of Benny Carter's early recordings as a leader finds Carter (on alto, trumpet, clarinet, tenor and even one vocal) leading orchestras in London, Laren, the Hague, Paris and (for the final three selections) New York. Highpoints include "Nagasaki," "I'm in the Mood for Swing," "Blues in My Heart," "I'm Coming Virginia" (from a three-song session that also features Django Reinhardt) and "Melancholy Lullaby." In addition, the great tenor Coleman Hawkins plays a prominent role on four of the performances. Carter is in top form throughout these often formerly rare but very vital swing recordings. His fans should quickly acquire all of these invaluable Classics releases. Scott Yanow     Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1946-1947 | The Classics Chronological Series – 1051 (1999) FLAC (tracks+.cue), lossless

This installment of the Classics label document of the Duke Ellington story highlights recordings for the Musicraft label in November and December 1946, four V-discs recorded in New York on May 10, 1947, and the first sessions for Columbia in August and September 1947. Considering the financial challenges of keeping a large ensemble performing in the late '40s (which would have an almost devastating effect in the early '50s,) Ellington not only managed to continue creating intriguing music but he maintained a legendary horn section. These dates feature Ray Nance, Taft Jordan, Shorty Baker, Cat Anderson, Jimmy Hamilton, Johnny Hodges, Russell Procope, Tyree Glenn, Wilbur De Paris, Al Sears, and Harry Carney. Six vocal pieces are also included: one each from Kay Davis and Chester Crumpler, two featuring Al Hibbler, and Ray Nance clowns around on "Tulip or Turnip" and "Women (They'll Get You). Al Campbell   Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1947 | The Classics Chronological Series – 1086 (1999) FLAC (tracks+.cue), lossless

The Ellington band was in transition when these sides were cut in 1947. The big-band scene was slowly winding down after World War II, but the group had just signed with Columbia, an assurance of better distribution. But the band was also being handed some pretty weird material -- commercial fare like "Kitty," "Cowboy Rhumba" (with Woody Herman guesting on vocals), and "Antidisestablishmentarianismist." There's some great music here, but file this volume under "for completists only." Cub Koda    Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1947-1948 | The Classics Chronological Series – 1119 (2000) FLAC (tracks+.cue), lossless

 With the exception of "The Tattooed Bride," an extensive work from Duke Ellington's 1948 Carnegie Hall concert that was originally released on V-Disc, all of the music on this CD is taken from November-December 1947. Ellington was quite busy in the recording studios during this period (as were many bands), since it was known that a recording strike would most likely be taking place the following year. In addition to fine remakes of "Do Nothin' Till You Hear From Me" and "Don't Get Around Much Anymore," and an atmospheric vehicle for Kay Davis' voice on "On a Turquoise Cloud," the year-end work included the memorable six-part "Liberian Suite" (one of Ellington's best extended pieces) and his nearly atonal piano exploration on the intriguing "The Clothed Woman." While much of this music is available elsewhere, the performances are of high quality and well worth acquiring one way or another. Scott Yanow   Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1949-1950 | The Classics Chronological Series – 1191 (2001) FLAC (tracks+.cue), lossless

With the end of the 1948 recording strike, Duke Ellington's orchestra appeared on record for the first time in 22 months on November 1, 1949. The classic band was still largely intact (although Al Sears had departed and the trumpet section was a bit weaker than earlier), but its label (Columbia) was clearly hoping for some new hits. This collection has some unusual pieces along the way, including "Joog, Joog" and "The Piano Roll Blues," but there is an excellent four-song date featuring former Ellington sideman Oscar Pettiford on cello. Oddest of all is a September 21, 1950, date that mixes together Ellington, altoist Johnny Hodges, baritonist Harry Carney, and bassist Wendell Marshall with boppish trumpeter Red Rodney, drummer Max Roach, and a variety of vocalists (Chubby Kemp, Sarah Ford, and Al Hibbler). Some of this material was formerly quite rare and, although it is not essential, Ellington completists may be particularly interested in this CD. Scott Yanow    Tracklist + Credits :

COLEMAN HAWKINS - 1945 | The Classics Chronological Series – 926 (1997) FLAC (tracks+.cue), lossless

 Covering in detail a timeline from January 1944 to October 1945, this chapter in the Classics Coleman Hawkins chronology presents recordings he made for the Asch, Selmer, Capitol, Super Disc and V-Disc labels during what was an exciting and transitional period in the evolution of jazz. During the '40s Hawkins was deliberately aligning himself with young and innovative players; four of the sessions feature trumpeter Howard McGhee and pianist Sir Charles Thompson; bassist Oscar Pettiford was also an integral part of Hawk's mid-'40s West Coast band. Lush ballads and upbeat jam structures make for excellent listening throughout. Hawk is also heard sitting in with drummer Sid Catlett's all-stars, leading a quintet with the great Art Tatum at the piano, and working up his own extended set of "Variations" for solo tenor saxophone. While some commentators have focused unnecessary attention upon all-too-human drawbacks like Howard McGhee's addictions and occasional bouts of quarreling between Pettiford and Sir Charles, the music contained in this compilation stands squarely in its own light, unsullied by gossip or untoward circumstances.  arwulf arwulf     Tracklist + Credits :

IKE QUEBEC – 1944-1946 | The Chronogical Classics – 957 (1997) FLAC (tracks+.cue), lossless

Ike Quebec was something like Ben Webster in his ability to play lush ballads or to scream like a smokestack when the band was cooking. After working for Roy Eldridge and Frankie Newton, Quebec became Cab Calloway's star tenor man in 1944, making everyone sit up and take notice when he wailed over Cab's band in a wonderfully raspy tone utilizing the instrument's extremities for maximum effect. Each of Quebec's sessions as a leader produced staggeringly potent records. J.C. Heard is the drummer on all 20 tracks -- check him out on "Indiana" -- and for bassists you have Milt Hinton, Grachan Moncur II, or Oscar Pettiford. While Roger Ramirez was an excellent pianist, it is a gas hearing Johnny Guarnieri on the Savoy session. Guest horn players are Buck Clayton, Keg Johnson, Jonah Jones, and Tyree Glenn. Guitarist Tiny Grimes is present on three of these dates. His "Tiny's Exercise" is one of the high points of the whole collection. The repertoire throughout is excellent. Languid blues and ballads mingle with piping-hot jam structures. Two very pleasant surprises arrive in a smoothly swung version of Fats Waller's "Blue Turning Grey Over You" and the pleasant "Girl of My Dreams," scheduled to resurface in 1959 as a streamlined vehicle driven by the Charles Mingus Jazz Workshop. With all due respect to the Mosaic label and their exhaustively compiled Ike Quebec/John Hardee box, it's good to have these Blue Note master takes together on one disc along with the magnificent Savoy All Stars session that concludes this portion of the chronology. In just a little over one year, Ike Quebec made all of these great jazz records. Each one is a knockout performance guaranteed to blow you away every time you go back and get another taste. arwulf arwulf             Tracklist + Credits :

REX STEWART – 1934-1946 | The Classics Chronological Series – 931 (1997) FLAC (tracks+.cue), lossless

On January 9, 1935, Rex Stewart made his first records with Duke Ellington. Clearly, Duke was already a very strong presence in the young cornetist's musical life. "Stingaree," recorded on December 12, 1934, by Rex Stewart & His Orchestra, sounds more than a bit like "Stompy Jones," recorded by Duke Ellington & His Orchestra on January 9, 1934. "Baby, Ain't You Satisfied" was the flip side of "Stingaree," issued on a 78-rpm Vocalion record bearing the serial number 2800. This is the kind of information that the Classics Chronological reissue series provides in its discographies, by the way. You can savor the gradual evolution of an artist's career while poring over recording data and neat little lists of personnel. One name that stands out from the "Stingaree" session is reedman Rudy Powell, who was distinguishing himself in the company of Fats Waller during this same time period. Powell's verbal expostulations during "Satisfied" are as funky and funny as those gruff outbursts usually spoken by Waller or Louis Armstrong. These two numbers are the perfect curtain-raiser for an unusually diverse musical profile. Many of Stewart's best and most often reissued recordings were made under the auspices of Irving Mills and Duke Ellington. Here at last is a collection that expands the lens to include music well outside of that familiar ground. Rex Stewart's Big Seven made four sides on behalf of the Hot Record Society in the summer of 1940. Stewart led his Big Eight on a Keynote date in June of 1944. A slightly reconstituted Big Eight slapped down three contemporary-sounding tracks for Capitol in January 1945. Another octet, now billed as Stewart's "Orchestra," made four records for Parlophone in July 1945. Finally, there is the wild and woolly Mercury session of February 8, 1946. Seldom has an essential segment of Rex Stewart's career been so carefully represented on one disc. The Hot Record Society session glows with the rhythmically magical combination of Wellman Braud and Davey Tough. A slow drag entitled "Solid Rock" is exceptionally passionate and blue. The Keynote sides, especially "Zaza" and "Swamp Mist," are marvelous pieces of chamber jazz, graced with the minds of pianist Johnny Guarnieri and the great Harry Carney, who brought along his bass clarinet. Great changes in style took place within the span of time represented by this CD. A particularly good year for the appearance of young whips who seemed always to be looking ahead, like Earl Bostic and Al Sears, was 1945. There is a smoky tenor sax solo by Stafford "Pazuzza" Simon on "That's Rhythm." A 1946 remake of the famous Ellington/Stewart collaboration "Boy Meets Horn," a funky "Jug Blues," and the outrageous "B.O. Blues" demonstrate Stewart's increasingly eccentric approach to artistic expression and musical entertainment. arwulf arwulf  
Tracklist + Credits :

BUDDY TATE – 1945-1950 | The Classics Chronological Series – 1207 (2001) FLAC (tracks+.cue), lossless

Buddy Tate gained his initial fame as one of the tenor saxophonists with Count Basie's Orchestra during 1938-1948, replacing Herschel Evans. All of his early dates as a leader are on this CD, and most of the sessions were formerly quite rare. Tate is heard as a sideman in 1945 with trumpeter Karl George's swing-to-bop octet (which also starred trombonist J.J. Johnson), with pianist Skip Hall's combo in 1949 (four instrumentals featuring trumpeter Buck Clayton), and on four sessions of his own. Thirteen songs are from two dates near the end of 1947 and feature some excellent Emmett Berry trumpet, pianist Bill Doggett's arrangements, and a couple of early vocals by Jimmy Witherspoon; Tate comes across effectively in an Illinois Jacquet jump/jazz role. His other two dates (from 1949-1950) are in a similar vein, with Buck Clayton and trombonist Tyree Glenn helping out. A few songs along the way have vocals (a pair by Eddie Fullylove are essentially middle-of-the-road pop), but most of the music is quite worthwhile and swinging. Recommended. Scott Yanow
Tracklist + Credits :

DON BYAS – 1946 | The Classics Chronological Series – 1009 (1998) FLAC (tracks+.cue), lossless

This fourth volume in the complete recordings of tenor saxophonist Don Byas opens with 13 sides recorded for the Savoy label in May of 1946. On the opening session, three gorgeous ballads are chased with a blistering version of Ray Noble's "Cherokee" and a mellow stroll through "September in the Rain." About three months later the saxophonist resumed recording for Savoy, now backed by a tougher rhythm section in drummer Max Roach, bassist Leonard Gaskin, and pianist Sanford Gold. These deservedly famous sides represent Byas at the very peak of his early maturity. A rare parcel of four recordings originally issued on the Gotham label finds Byas accompanied by a trio including pianist Beryl Booker. A rather ominous reading of the notoriously suicidal "Gloomy Sunday" is colored so darkly as to suggest the subterranean. By December of 1946 Byas was in Europe making records for the Swing label with a group of musicians from Don Redman's entourage. "Working Eyes," which came out under trombonist Tyree Glenn's name, was written by Glenn but popularized by Duke Ellington under the titles "Sultry Serenade" and "How Could You Do That to Me?" "Peanut Butter Blues," sung in the manner of Roy Eldridge by trumpeter Peanuts Holland, was issued under his name, while the two remaining tracks -- a lush ballad and the feisty "Mohawk Special" -- appeared under the heading of Don Byas & His Orchestra. arwulf arwulf  
Tracklist + Credits : 

DON BYAS – 1947 | The Classics Chronological Series – 1073 (1999) FLAC (tracks+.cue), lossless

A veteran of the Count Basie and Lionel Hampton bands and a player savvy to the bop innovations of the early '40s, tenor saxophonist Don Byas produced some of the most impressive yet underrated jazz sides during his '40s, '50s, and '60s prime. After a series of top sessions for Savoy and Commodore, Byas left for Europe with Don Redman's band in 1946, never to return, save for the rare trip. Some his first ex-pat sides -- cut while living in Paris -- are heard here on this Classics collection of 1947 material. Featuring fellow Redman alumni Billy Taylor on piano, Tyree Glenn on trombone, and Peanuts Holland on trumpet, not to mention a host of top Parisian players, the 24 tracks feature Byas leading both a variety of combos and his own orchestra. The material is mostly made up of swing standards like "Stormy Weather" and "Body and Soul," but Byas also gives a nod to his bebop leanings with Charlie Parker's "Red Cross" and "Billie's Bounce." A fine disc that's best heard after checking out the tenor great's classic pre-European recordings. Stephen Cook
Tracklist + Credits :

LUCKY MILLINDER AND HIS ORCHESTRA – 1947-1950 | The Classics Chronological Series – 1173 (2001) FLAC (tracks+.cue), lossless

This third volume of Lucky Millinder's complete works in chronological order brings together for the first time three Deccas from October 1947, 12 sides recorded for Victor between January and November 1949, and 12 titles waxed for the King label during the year 1950. Millinder is remembered as a shrewd bandleader who accurately assessed the prevailing trends in popular entertainment during the late '40s. His strategy seems to have involved a wide range of musical styles, a spectrum reflected in this grab bag compilation. Millinder clearly tailored the material to fit each record label and its assumed audience. Of course, Victor was selling to a more generalized public while King's clientele was predominately Afro-American. Listening through all 25 tracks is quite an experience. There is coy, bluesy jazz and there is jazzy blues sung by saucy, soulful Annisteen Allen. There's a surprise appearance by rowdy Myra Johnson, famous for her work with Fats Waller during the early '40s. There are crooners who exude oily sentimental ballads. There are several jump tunes on which Millinder himself sings boisterously along with the band. And there are just three instrumentals, groovy as can be but only three. "Bersark [sic] Boogie" is a progressively structured, pleasantly manic woogie set in a minor mode. The rocking, rolling "D Natural Blues" is really "Do the Hucklebuck," itself a pilfering of Charlie Parker's "Now's the Time." By January of 1949 half of the white bands in the country were making money off of this tune, so Mr. Lucky decided to get himself a piece of the action. (Naturally, nobody was paying Bird any royalties.) "Awful Natural" is a very cool piece of blues featuring the elegant clarinet of Tony Scott. Lucky Millinder's orchestra, in fact, was peppered with outstanding players like trumpeter Lamar Wright, trombonist Tyree Glenn, guitarist Danny Barker, drummer Art Blakey, and a formidable team of saxophonists including Rudy Powell (Musheed Karween), Bull Moose Jackson, Ike Quebec, Frank Wess, Paul Quinichette, Seldon Powell, John Hardee, and Numa "Pee Wee" Moore. While more uniformly satisfying Millinder retrospectives surely exist, the Classics Chronological Series provides an overview that is necessary for an accurate appraisal of this amazing all-purpose jazz/pop/R&B orchestra and the individuals who kept it going during a transitional time when many other big bands fell apart at the seams. arwulf arwulf  
Tracklist + Credits :

LUCKY MILLINDER AND HIS ORCHESTRA – 1951-1960 | The Classics Chronological Series – 1460 (2008) FLAC (tracks+.cue), lossless

Tracklist :

JONAH JONES – 1936-1945 | The Classics Chronological Series – 972 (1997) FLAC (tracks+.cue), lossless

While the first six recordings presented in this initial volume of the chronologically reissued recordings of Jonah Jones are undeniably rare and worth having access to, the reason for their obscurity is immediately apparent. Dick Porter, the nominal leader of both bands responsible for these Vocalion sides, was a Fats Waller imitator of the worst sort. He patterned his act so closely on Waller's jubilant vocal delivery that it is impossible to ascertain what -- if any -- originality existed in the person of Mr. Porter. Seizing upon Waller's habitual exclamations, Porter overused the outburst "Aha!" until it lost every ounce of its novelty or effectiveness. He even absconded with an entire punch line that Waller had used at the end of his own cheerfully misogynistic version of "I Adore You" -- not to be confused with Waller's "I Simply Adore You." The phrase in question -- "To the pound with the beautiful hound" -- required some form of theatrical buildup. While Waller was making canine references all throughout "I Adore You," Porter chucked the line in at the end of "There's No Two Ways About It" as if he couldn't think of anything else to steal from Waller. The effect of all this upon anyone who knows and loves Waller's work is maddening, and Porter sticks in the mind as a primal irritant to be avoided at all costs. What does this have to do with ace trumpeter Jonah Jones? Well, he played on both of these sessions, striving with the other players to deliver solid swing as desired by the public in the middle 1930s. And yet let it be said that the inclusion of two outstanding Keynote dates and one Commodore blowing session more than make up for the itching, burning sensation created by Dick Porter. Jonah Jones & His Orchestra, consisting of only six players, made four wonderful sides for Harry Lim's Keynote label in September of 1944. Having emerged from Cab Calloway's big band, Jones had a healthy habit of including his friends from Calloway's horde. Tyree Glenn played both vibraphone and trombone. Hilton Jefferson, featured soloist on the creamy "Just Like a Butterfly (That's Caught in the Rain)," also cooked when heat was needed. "Lust for Licks" was based on the changes of "Exactly Like You," and "B.H. Boogie" was a tip of the hat to Buster Harding, whose arrangement of "Twelfth Street Rag" inspired some serious jamming. The 1945 Milt Hinton Sextet, also billed by Keynote as an "Orchestra," shared three crucial players with the previous band: Tyree Glenn, the honorable Mr. Hinton, and the immaculate J.C. Heard. Hinton's "Beefsteak Charlie" got its name from a bar in Manhattan that was preferred by jazz musicians. The reissuing of these Keynote recordings is a serious matter, and the producers of the Classics Chronological Series are to be commended for making them digitally available to the public in the same package with Jones' Commodore session from July 31, 1945. For here are the very best elements from both of the previous bands -- Glenn, Jefferson, Hinton, and Heard -- bundled in with several other strong players including clarinetist Buster Bailey and smokestack tenor Ike Quebec. Jefferson is handed another elegant ballad in "You Brought a New Kind of Love to Me," and the band deep-fries the "Rose of the Rio Grande." "Hubba Hubba Hub" seems at first a bit short on melodic invention but quickly evolves into a perfectly satisfying jam vehicle, closing with one of Jones' hottest solos on record. "Stompin' at the Savoy" is set up as a march by Heard, then struts itself silly. arwulf arwulf
Tracklist :

ETHEL WATERS – 1935-1940 | The Classics Chronological Series – 755 (1994) FLAC (tracks+.cue), lossless

Classics does its usual stellar job in chronicling a five-year tenure of Ethel Waters, covering sides she made for Bluebird, Decca, and New York's Liberty Music Shop. It's an interesting mix of blues, pop, and jazz, with her inimitable style guiding it all. A few big jazz names like Tyree Glenn, Danny Barker, and Milt Hinton pop up in the various backing units, but ultimately, it's all Waters' show. Cub Koda

Tracklist :

1  Hottentot Potentate  3:24 

Howard Dietz / Arthur Schwartz

Ethel Waters

feat: Russell Wooding

2  Thief in the Night 3:13

Howard Dietz / Arthur Schwartz

Ethel Waters

feat: Russell Wooding

  3  You're a Sweetheart 2:58 

Harold Adamson / Jimmy McHugh

4  How Can I Face This Wearied World Alone? 2:33 

Eddie Mallory

5  I'll Get Along Somehow  2:29

Dorothy Fields / Gerald Marks

6  You're Mine 2:46 

Sam M. Lewis / Joseph Young

Ethel Waters

feat: Shirley Clay / Tyree Glenn / Eddie Mallory / Castor McCord / William Steiner

7  Frankie and Johnny 2:59 

Traditional

Ethel Waters

feat: Reginald Beane / Shirley Clay / Tyree Glenn / Eddie Mallory / Castor McCord / William Steiner

8  They Say  2:27 

Edward Heyman / Paul Mann / Stephen Weiss

Ethel Waters

feat: Reginald Beane / Shirley Clay / Tyree Glenn / Eddie Mallory / Castor McCord / William Steiner

9  Jeepers Creepers 2:47

Johnny Mercer / Harry Warren

Ethel Waters

feat: Reginald Beane / Shirley Clay / Tyree Glenn / Eddie Mallory / Castor McCord / William Steiner

  10  Lonesome Walls 2:34

DuBose Heyward / Jerome Kern

Ethel Waters

feat: Reginald Beane / Shirley Clay / Tyree Glenn / Eddie Mallory / Castor McCord / William Steiner

  11  If You Ever Change Your Mind 2:47 

Bud Green / Johnny Green / Maurice Sigler / Grady Watts / Mayme Watts

Ethel Waters

feat: Reginald Beane / Shirley Clay / Tyree Glenn / Eddie Mallory / Castor McCord / William Steiner

12  What Goes up Must Come Down 3:00 

Rube Bloom / Ted Koehler

Ethel Waters

feat: Shirley Clay / Tyree Glenn / Eddie Mallory / Castor McCord / William Steiner

13  Y' Had It Comin' to You  2:15

Alan Jay Lerner

Ethel Waters

feat: Reginald Beane / Shirley Clay / Tyree Glenn / Eddie Mallory / Castor McCord / William Steiner

  14  Bread and Gravy 2:52

Hoagy Carmichael

Ethel Waters

feat: Reginald Beane / Benny Carter / Shirley Clay / Tyree Glenn / Eddie Mallory / Castor McCord

   15  Down in My Soul 2:59 

Porter Grainger

Ethel Waters

feat: Benny Carter / Shirley Clay / Tyree Glenn / Eddie Mallory / Castor McCord

16  Georgia on My Mind 3:23

Hoagy Carmichael / Stuart Gorrell

Ethel Waters

feat: Reginald Beane / Benny Carter / Shirley Clay / Tyree Glenn / Eddie Mallory / Castor McCord

  17  Stop Myself from Worryin' over You 2:41 

Reginald Beane / Ethel Waters

Ethel Waters

feat: Reginald Beane / Benny Carter / Shirley Clay / Tyree Glenn / Eddie Mallory / Castor McCord

18  Old Man Harlem 2:52 

Hoagy Carmichael / Rudy Vallée

Ethel Waters

feat: Benny Carter / Shirley Clay / Tyree Glenn / Eddie Mallory / Castor McCord

19  Push Out  2:42 

Nathaniel Reed

Ethel Waters

feat: Reginald Beane / Benny Carter / Shirley Clay / Tyree Glenn / Eddie Mallory / Castor McCord

20  Baby, What Else Can I Do? 2:56 

Walter Hirsch / Gerald Marks

Ethel Waters

feat: Reginald Beane / Garvin Bushell / Benny Carter / Eddie Mallory / Charles Turner

21  I Just Got a Letter 2:22 

Dave Franklin / David Franklin

Ethel Waters

feat: Reginald Beane / Garvin Bushell / Benny Carter / Eddie Mallory / Charles Turner

22  Taking a Chance on Love3:03 

Vernon Duke / Ted Fetter / John Latouche

Ethel Waters

feat: Max Meth & His Orchestra

23  Honey in the Honeycomb 2:47 

Vernon Duke / John Latouche

Ethel Waters

feat: Max Meth & His Orchestra

24  Cabin in the Sky 3:14 

Vernon Duke / John Latouche

Ethel Waters

feat: Max Meth & His Orchestra

25  Love Turned the Light Out 2:52 

Vernon Duke / John Latouche

Credits :
Danny Barker – Guitar
Reginald Beane – Composer, Organ, Piano
Garvin Bushell  – Sax (Alto)
Benny Carter  – Clarinet
Shirley Clay  – Trumpet
Tyree Glenn – Trombone, Vocals (Background)
Milt Hinton  – Sax (Baritone)
Eddie Mallory – Composer, Conductor, Trumpet
Castor McCord – Clarinet
Max Meth – Conductor
Max Meth & His Orchestra
William Steiner  – Sax (Alto)
Ethel Waters – Composer, Vocals
Russell Wooding  – Conductor

CAB CALLOWAY AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 595 (1991) FLAC (image+.cue), lossless

Cab Calloway had one of his strongest orchestras during the period covered by this CD, the eighth of 12 put out by the European Classics label that reissue all of his studio recordings from 1930-42. Trumpeter Dizzy Gillespie joined the band by the time of its Aug. 30, 1939 session and he has several short solos on these tracks in addition to being well-featured on the adventurous "Pickin' the Cabbage." In addition, the great tenor Chu Berry gets plenty of solo space, the impressive rhythm section (with guitarist Danny Barker, bassist Milt Hinton and drummer Cozy Cole) really propels the ensembles and Cab Calloway is in typically exuberant voice. Among the highlights are "The Ghost of Smoky Joe," "Crescendo in Drums" (a feature for Cole), "Pluckin' the Bass" (Hinton's showcase) and even "Jiveformation Please." Scott Yanow
Tracklist :
1     A New Moon and an Old Serenade 2:36
Sam Coslow
2     One Look at You 2:46
 George Forrest / Herbert Stothart / Edward Ward / Robert Wright
3     The Ghost of Smokey Joe 2:46
Rube Bloom / Ted Koehler
4     Floogie Walk 2:19
Rube Bloom / Ted Koehler
5     Trylon Swing 2:48
Earl Bostic / Irving Mills
6     Utt da Zay (The Tailor's Song) 2:55
Irving Mills / Buck Ram
7     Crescendo in Drums 2:48
Edgar Battle / Cozy Cole / Lorenz Hart / Hezekiah Leroy Gordon Smith
8     (Hep-Hep!) The Jumpin' Jive 2:49
Cab Calloway / Frank Froeba / Jack Palmer
9     For the Last Time I Cried over You 2:51
Cab Calloway / Frank Froeba / Jack Palmer
10     Twee-Twee-Tweet 2:45
Robert Maxwell / Josef Myrow    
11     Pluckin' the Bass 2:46
Roy Eldridge
12     I Ain't Gettin' Nowhere Fast 2:47
Cab Calloway / Porter Grainger / Chappie Willett
13     Chili con Conga 3:02
Paul Girlando / Irving Mills / Abe Tuvim
14     Tarzan of Harlem 2:49
Lupin Fein / Irving Mills / Henry Nemo / Buck Ram
15     Jiveformation, Please 2:30
Lupin Fein / Irving Mills / Buck Ram
16     Vuelva 2:54
Patricia Platzman    
17     A Bee Gezindt 2:53
Henry Nemo    
18     Give, Baby, Give 2:37
Irv Carroll / Gladys Shelley / Otis Spencer
19     Sincere Love 2:44
Danny Barker
20     Do It Again 2:54
Kay Werner    
21     Pickin' the Cabbage 2:50
Dizzy Gillespie     
22     Chop, Chop, Charlie Chan (From China) 3:02
Cab Calloway / Jack Palmer / Buck Ram

CAB CALLOWAY AND HIS ORCHESTRA – 1940 | The Classics Chronological Series – 614 (1991) FLAC (tracks+.cue), lossless

With such soloists as trumpeter Dizzy Gillespie, Chu Berry on tenor and trombonist Tyree Glenn, along with a rhythm section that includes bassist Milt Hinton and drummer Cozy Cole, this was a particularly strong edition of the Cab Calloway Orchestra. There are six instrumentals among the 22 selections on this Classics CD (the ninth of 12 Calloway Complete sets) including Berry's famous version of "Ghost of a Chance" and a spot for Gillespie on "Bye Bye Blues," but nearly every performance has its interesting solos; most of the ones with short spots for Gillespie have rarely been reissued. Cab Calloway, who as usual is the main star, is in spirited form. The other highlights include "Hi-De-Ho Serenade," "Fifteen Minute Intermission," "Papa's in Bed with His Britches On" and "Are You Hep to the Jive?" It's recommended, as are all of the CD's in this important series. Scott Yanow
Tracklist:
1 Paradiddle 2:57
Cozy Cole / Dizzy Gillespie
2 Boog It 2:55
Cab Calloway / Jack Palmer / Buck Ram
3 Calling All Bars 2:43
Leonard Feather
4 Do I Care, No No 2:43
Cab Calloway / Lester Lee / Jerry Seelen / Dan Shapiro
5 The Lone Arranger 2:28
Benny Carter
6 Feelin' Tip Top 2:34
Buddy Feyne
7 Hard Times 3:14
Alex Rogers / Bert Williams
8 Hi-De-Ho Serenade 2:48
Cab Calloway / Battle Thomas
9 Who's Yehoodi? 3:02
Matt Dennis / Bill Seckler
10 Fifteen Minute Intermission 2:47
Buddy Cannon / Sunny Skylar
11 Rhapsody in Rhumba 2:42
Cab Calloway / Buster Harding
12 Come on with the "Come On" 2:51
Cab Calloway / Andy Gibson
13 I Don't Stand a Ghost of a Chance With You 2:55
Bing Crosby / Ned Washington / Victor Young
14 Bye Bye Blues 2:48
David Bennett / Chauncey Gray / Frederick Hamm / Bert Lown
15 Papa's in Bed With His Britches On 2:29
Jesse Stone
16 Silly Old Moon 3:00
Cab Calloway / Andy Gibson
17 Boo-Wah Boo-Wah 2:43
Larry Clinton / Buster Harding
18 Sunset 3:06
Cab Calloway / Buster Harding
19 Yo Eta Cansa 2:54
Albert Socarras
20 Cupid's Nightmare 2:35
Don Redman
21 Levee Lullaby 2:35
Edgar Battle / Cab Calloway / Francis Shuman
22 Are You Hep to the Jive? 2:44
Cab Calloway / Buck Ram

CAB CALLOWAY AND HIS ORCHESTRA – 1941-1942 (1991) The Classics Chronological Series – 682 | FLAC (tracks+.cue), lossless

The 11th of the European Classics label's 12 Complete Cab Calloway CDs (reissuing all of his studio recordings of 1930-42) has the last recordings of trumpeter Dizzy Gillespie and tenor Chu Berry with Cab; other soloists include trumpeter Jonah Jones and trombonist Tyree Glenn. Calloway retained his popularity throughout the World War II years and was still in prime form during these 22 recordings. Highlights include a memorable "Blues in the Night," "A Smo-o-o-oth One," "Virginia, Georgia and Caroline" and a new version of "Minnie the Moocher." All of the 12 Classics CDs are highly recommended to Cab Calloway and swing fans; they are perfectly done. Scott Yanow
Tracklist :
1 Hey, Doc! 3:16
Kim Gannon / Edgar Sampson
2 I See a Million People (But All I Can See Is You) 3:01
Una Mae Carlisle / Robert Sour
3 Conchita (Cares Nothing About Love) 2:51
Cab Calloway
4 Blues in the Night (My Mama Done Tol' Me) 3:10
Harold Arlen / Johnny Mercer
5 Mrs. Fiinnigan 2:48
J.C. Higginbotham / Redman
6 My Coo-Coo Bird (Could Swing) 2:51
Buster Harding
7 Says Who? Says You, Says I! 2:27
Harold Arlen / Johnny Mercer
8 The Mermaid Song 2:47
Cab Calloway & His Orchestra
9 Who Calls? 3:11
Stanley Hill / Johnny Marks
10 Nain Nain (No No) 3:15
Cab Calloway / Buck Ram
11 Tappin' Off 2:42
Buster Harding
12 A Smo-o-o-oth One 3:08
Benny Goodman
13 The Moment I Laid Eyes on You 3:17
Harold Arlen / Ted Koehler
14 Virginia, Georgia and Caroline 2:34
Cab Calloway / George A. Little / Larry Shay
15 Lordy 2:54
Oscar Hammerstein II / Sigmund Romberg
16 I Want to Rock 2:52
Larry Clinton / Buster Harding
17 I'll Be Around 3:10
Alec Wilder 
18 'Tain't No Good 3:13
Roy Jacobs / Leo Wood
19 Minnie the Moocher 3:15
Cab Calloway / Clarence Gaskill / Irving Mills
20 Let's Go Joe 3:09
Cab Calloway / Jack Palmer / J. Eric Smith
21 Ogeechee River Lullaby 3:37
Cab Calloway / Jack Palmer / Leo Wood
22 I Get the Neck of the Chicken 2:45
Frank Loesser / Jimmy McHugh

CAB CALLOWAY AND HIS ORCHESTRA – 1942-1947 (1998) The Classics Chronological Series – 996 | FLAC (tracks+.cue), lossless

The final CD of the Classic label's complete reissuance of Cab Calloway's 1930-47 recordings also includes the last recordings of Cab with his regularly working big band. This 1998 CD starts out with a couple of superior but originally rejected numbers ("What's Buzzin', Cousin?" and "Chant of the Jungle") from 1942, followed by a couple of rare V-disc numbers from 1944. Otherwise, the material dates from 1945 or 1947 with just two selections from 1946. During this era, the still-popular Calloway was finding it increasingly difficult to keep his orchestra together, as were all the other bandleaders, but the quality of his music remained fairly high, even touched slightly by bop in some of the arranged passages. Some of the vocals are a bit silly, particularly "Dawn Time and "Afternoon Moon," but there are also a few near-classic jive numbers. Highlights include the snobbish "A Blue Serge Suit With a Belt in the Back," "Don't Falter at the Altar" (released here for the first time), "The Jungle King" (one of two numbers done with a septet called the Cab-Jivers), "Give Me Twenty Nickels for a Dollar," "Two Blocks Down, Turn to the Left," "The Calloway Boogie," "Everybody Eats When They Come To My House," and the somewhat bizarre "The San Francisco Fan." Although Calloway dominates the music, there are scattered and consistently worthwhile solos by trumpeter Jonah Jones and tenors Ike Quebec and Sam "The Man" Taylor. Virtually all of these recordings are obscure, making the release of this music quite noteworthy both for swing collectors and Calloway fans. Recommended, as are all of the CDs in Classics' perfectly done Cab Calloway series. Scott Yanow  
Tracklist  :
1    Cab Calloway And His Orchestra–    What's Buzzin', Cousin? 2:38
Mack Gordon / Harry Owens
Vocals – The Cabaliers
2    Cab Calloway And His Orchestra–    Chant Of The Jungle    3:18
 Nacio Herb Brown / Arthur Freed
3    Cab Calloway And His Orchestra–    I'm Making Believe 1:50
Vocals – Dotty Salters
 Mack Gordon / James V. Monaco
4    Cab Calloway And His Orchestra–    Foo A Little Ballyhoo    3:01
 Cab Calloway / Buster Harding / Jack Palmer
5    Cab Calloway And His Orchestra–    Let's Take The Long Way Home    2:36
 Harold Arlen / Johnny Mercer
6    Cab Calloway And His Orchestra–    Foo A Little Bally-hoo    3:01
 Cab Calloway / Buster Harding / Jack Palmer
7    Cab Calloway And His Orchestra–    All At Once    2:50
 Ira Gershwin / Kurt Weill
8    Cab Calloway And His Orchestra–    Dawn Time    3:01
 Eddie DeLange / Buster Harding
9    Cab Calloway And His Orchestra–    If This Isn't Love    2:57
 Cab Calloway
10    Cab Calloway And His Orchestra–    A Blue Serge Suit With A Belt In The Back    2:26
 John Fortis / Max Spickol
11    Cab Calloway And His Orchestra–    Here I Go Just Dreamin' Away    2:47
 Al J. Neiburg / William Henri Woode
12    Cab Calloway And His Orchestra–    The Honeydripper    2:55
 Joe Liggins
13    Cab Calloway And His Orchestra–    Afternoon Moon    3:09
 Eddie DeLange / Duke Ellington
14    Cab Calloway And His Orchestra–    Hey Now, Hey Now    2:55
 Cab Calloway / Stanley Hill
15    Cab Calloway And His Orchestra–    I Got A Gal Named Nettie    3:06
 Cab Calloway
16    Cab Calloway And His Orchestra–    Hi-De-Ho Man    2:59
 Cab Calloway / Buster Harding / Jack Palmer
17    Cab Calloway And His Orchestra–    Necessity    2:52
 E.Y. "Yip" Harburg / Burton Lane
18    Cab Calloway And His Orchestra–    Oh Grandpa    2:59
 Cab Calloway / Stanley Hill / Bill Tennyson
19    Cab Calloway And His Orchestra–    Don't Falter At The Alter    2:40
 Cab Calloway
20    Cab Calloway And His Cab-Jivers–    Give Me Twenty Nickels For A Dollar    3:01
Wolf / Brandt
21    Cab Calloway And His Cab-Jivers–    The Jungle King    3:14
 Mort Dixon
22    Cab Calloway And His Orchestra–    Two Blocks Down, Turn To The Left    3:10
 Teddy Powell / Alex Rogers
23    Cab Calloway And His Orchestra–    San Francisco Fan    3:17
 Sammy Mysels / Dick Sanford
24    Cab Calloway And His Orchestra–    The Calloway Boogie    3:00
 Cab Calloway
25    Cab Calloway And His Orchestra–    Everybody Eats When They Come To My House    2:43
 Jeanne Burns / Cab Calloway
Credits
Alto Saxophone – Hilton Jefferson
Alto Saxophone, Baritone Saxophone – Andrew Brown (tracks: 1, 2), Charles Frazier (tracks: 16 to 19, 22 to 25), Rudy Powell (tracks: 7 to 15)
Baritone Saxophone – Greely Walton (tracks: 3 to 6)
Bass – Milt Hinton
Clarinet, Alto Saxophone – Alfred Gibson (tracks: 2 to 15), Jerry Blake (tracks: 1)
Directed By – Cab Calloway
Drums – Buford Oliver (tracks: 12, 13), Cozy Cole (tracks: 1, 2, 14, 15), J.C. Heard (tracks: 3 to 11), Panama Francis (tracks: 16 to 25)
Guitar – Danny Barker (tracks: 1 to 13), John Smith (tracks: 14 to 25)
Piano – Bennie Payne (tracks: 1, 2, 14, 15), Dave Rivera (tracks: 3 to 13, 16 to 25)
Tenor Saxophone – Bob Dorsey (tracks: 7 to 15), Ike Quebec (tracks: 3 to 15), Irving "Skinny" Brown (tracks: 2 to 6), Sam Taylor (tracks: 16 to 25), Ted McRae (tracks: 1), Walter "Foots" Thomas (tracks: 1, 2)
Trombone – Earl Hardy (tracks: 14 to 19, 22 to 25), Fred Robinson (tracks: 3 to 13), James Buxton (2) (tracks: 16 to 19, 22 to 25), John Haughton (tracks: 9 to 11), Keg Johnson (tracks: 1 to 8, 12 to 19, 22 to 25), Quentin Jackson (tracks: 1 to 19, 22 to 25)
Trombone, Vibraphone – Tyree Glenn (tracks: 1 to 15)
Trumpet – Johnny Letman (tracks: 16 to 19, 22 to 25), Jonah Jones, Lammar Wright (tracks: 1, 2, 16 to 19, 22 to 25), Paul Webster (tracks: 3 to 13, 16 to 19,to 25), Roger Jones (tracks: 5 to 15), Russell Smith (tracks: 1 to 15), Shad Collins (tracks: 1 to 15)
Vocals – Cab Calloway (tracks: 1, 2, 4 to 25)

CAB CALLOWAY AND HIS ORCHESTRA – 1949-1955 (2003) The Classics Chronological Series – 1287 | FLAC (tracks+.cue), lossless

Having spent years showcasing his own personality while diminishing the importance of the instrumentalists in his bands, Cab Calloway groveled during the early '50s, resorting to every imaginable gimmick and often sounding positively desperate. Two rather forced duets with Eugenie Baird employ exactly the same material as Pearl Bailey and Hot Lips Page were using during that same time period. These somewhat irritating covers are as different as can be from the fine artistry of Pearl and Page. "Rooming House Boogie" actually rocks, and Sam Taylor has a good hot solo. An overbearing tribute to Joe Louis is followed by the misogynistic "Your Voice." Notoriously intolerant of new musical ideas when young Dizzy Gillespie worked in his orchestra, by 1949 Cab had the unmitigated gall to sing a stupid novelty called "I Beeped When I Shoulda Bopped." This in itself was a gross imitation of Dizzy Gillespie's hit record "He Beeped When He Shoulda Bopped." Musical genres alternate as if Cab's career has been stuffed into a Waring blender. "Pero Que Jelengue," "La Mucura," and to some extent "Que Pasa Chica" are interesting examples of Calloway getting in touch with his Latino background. Cab should have done this more often! "The Duck Trot" has a bit of conga drumming and the tough tenor sax of Ike Quebec. On "Shotgun Boogie," Cab attempts to emulate Tennessee Ernie Ford. "One for My Baby" depicts a pathetic, lonely man trying to bond with his bartender. In 1952 Calloway began recording as a star vocalist backed by various orchestras rather than his own. Some of these tunes sound as if they were written expressly for Webb Pierce or Lefty Frizzell. There's a significant influx of material from the country & western market. "Hey Joe" was sent up by Homer & Jethro under the title "Hay Schmo." Why Cab Calloway tried to sing these songs, or indeed more than half of the material gathered together on this disc, is a mystery that can only be explained by economic straits and the often horrifying pop culture landscape of the 1950s. While Ray Charles was able to triumph with this kind of music, Calloway merely sounded like he was cornered by circumstances. arwulf arwulf  
Tracklist  :
1    Cab Calloway And His Orchestra–    Baby It's Cold Outside 2:17
Vocals – Eugenie Baird
2    Cab Calloway And His Orchestra–    The Huckle-Buck    2:27
3    Cab Calloway And His Cab Jivers–    Ol' Joe Louis 2:31
Choir [Uncredited] – The Cab Jivers
4    Cab Calloway And His Cab Jivers–    Your Voice 2:36
Speech [Uncredited] – Maud McElroy
5    Cab Calloway And His Cab Jivers–    Rooming House Boogie    3:20
6    Cab Calloway And His Cab Jivers–    I Beeped When I Shoulda Bopped    2:35
7    Cab Calloway And His Orchestra–    The Duck Trot    3:10
8    Cab Calloway And His Orchestra–    Pero Que Jelengue    2:44
9    Cab Calloway And His Orchestra–    The Keeper Of The Blues    2:44
10    Cab Calloway And His Orchestra–    La Mucura    2:51
11    Cab Calloway And His Orchestra–    Que Pasa Chica    2:31
12    Cab Calloway And His Orchestra–    Shot Gun Boogie    3:00
13    Cab Calloway And His Orchestra–    Frosty Morning    2:35
14    Cab Calloway And His Orchestra–    One For My Baby    3:28
15    Cab Calloway Acc. By Jimmy Carroll And His Orchestra–    I'll Get By    2:47
16    Cab Calloway Acc. By Jimmy Carroll And His Orchestra–    Minnie The Moocher    3:05
17    Cab Calloway Acc. By Jimmy Carroll And His Orchestra–    Gambler's Guitar (Gamblers' Blues)    2:31
18    Cab Calloway Acc. By Jimmy Carroll And His Orchestra–    Hey Joe    2:25
19    Cab Calloway Acc. By Sy Oliver And His Orchestra–    Jilted    2:06
20    Cab Calloway Acc. By Sy Oliver And His Orchestra–    Such A Night    2:07
21    Cab Calloway Acc. By Sy Oliver And His Orchestra–    Unchained Melody    2:45
22    Cab Calloway Acc. By Sy Oliver And His Orchestra–    Learning The Blues    2:35
Credits
Alto Saxophone – Bernie Peacock (tracks: 1, 2), Hilton Jefferson (tracks: 5, 6)
Bass – Milt Hinton (tracks: 1 to 6)
Drums – Panama Francis (tracks: 1 to 6)
Piano – Dave Rivera (tracks: 1 to 10)
Reeds – Leon "Diamond" Washington (tracks: 3, 4), S.A. Stewart (tracks: 3, 4)
Tenor Saxophone – Ike Quebec (tracks: 7 to 10), Sam "The Man" Taylor (tracks: 1, 2, 5, 6)
Trombone – John "Streamline" Ewing (tracks: 3, 4), Keg Johnson (tracks: 1, 2), Tyree Glenn (tracks: 5, 6)
Trumpet – Jonah Jones (tracks: 1 to 10)
Vocals – Cab Calloway