BASIE | BENNETT — Count Basie And His Orchestra Swings, Tony Bennett Sings (1959-1990) FLAC (tracks+.cue), lossless

The Roulette half of the two Bennett/Basie sessions is a band singer's paradise, with the Basie band caught at a robust and swinging peak and Bennett never sounding happier or looser in front of a microphone. The Count himself, alas, appears on piano only on two numbers ("Life Is a Song" and "Jeepers Creepers"), while Bennett's perennial pianist Ralph Sharon takes over on the remaining ten tracks and does all the charts. Yet Sharon writes idiomatically for the Count's style, whether on frantic rave-ups like "With Plenty of Money and You" and "Strike Up the Band" or relaxed swingers like "Chicago." Though not a jazz singer per se, the flavor of jazz is everywhere in Bennett's voice, which in those days soared like a trumpet. The 1990 CD included an atmospheric unissued Neal Hefti ballad "After Supper," but even this bonus track does little to extend the skimpy playing time (about 31 minutes) of what is still a great, desirable snapshot from American showbiz of the late 1950s. Richard S. Ginell
Tracklist :
1    Life Is A Song 2:55
Written By – Fred Ahlert, Joe Young
2    Plenty Of Money 1:35
Written By – Al Dubin, Harry Warren
3    Jeepers Creepers 2:09
Written By – Harry Warren, Johnny Mercer
4    Are You Havin' Any Fun 2:48
Written By – Jack Yellen, Sammy Fain
5    Anything Goes 2:21
Written By – Cole Porter
6    Strike Up The Band 1:34
Written By – George Gershwin, Ira Gershwin
7    Chicago 2:08
Written By – Fred Fisher
8    I've Grown Accustomed To Her Face 3:04
Written By – Alan Jay Lerner, Frederick Lowe
9    Poor Little Rich Girl 3:33
Written By – Noel Coward
10    Growing Pains 3:36
Written By – Arthur Schwartz, Dorothy Fields
11    I Guess I'll Have To Change My Plans 1:45
Written By – Arthur Schwartz, Howard Dietz
12    After Supper 3:36
Written By – Neil Hefti
Credits :
Arranged By – Ralph Sharon
Baritone Saxophone – Charlie Fowlkes
Bass – Eddie Jones
Drums – Sonny Payne
Guitar – Freddie Green
Piano – Count Basie (tracks: 1, 3), Ralph Sharon (tracks: 2, 4 to 12)
Tenor Saxophone – Billy Mitchell
Trombone – Al Grey, Benny Powell, Henry Coker
Trumpet – Joe Newman, Snooky Young, Thad Jones, Wendell Culley
Vocals – Tony Bennett

COUNT BASIE AND HIS ORCHESTRA – 1952 | The Classics Chronological Series – 1281 (2003) FLAC (tracks), lossless

This solid entry in the Classics Chronological Series contains all of the titles recorded by Count Basie and his orchestra between January 17 and July 25, 1952, a period during which this band was signed to Norman Granz's Clef record label. Basie, who had been forced to scale his group down to septet and octet dimensions for more than a year beginning in 1950, had begun recording with a powerful new 16-piece unit in April of 1951. Nine months on, this ensemble was well on the way to virtually redefining the art of big-band jazz. Input from arranger/composers Sy Oliver, Buster Harding, and Neal Hefti add a luster to the proceedings that cannot be diminished by the passage of time. Key participants include trumpeters Joe Newman and Charlie Shavers, trombonist Jimmy Wilkins, and reedmen Marshall Royal, Ernie Wilkins, Eddie "Lockjaw" Davis, and Paul Quinichette, whose Lester Young impersonations were positively uncanny. Small wonder that Pres suffered from an identity crisis on hearing his style replicated so deliberately right there in the reed section of an orchestra led by the same man in whose band he, Lester Young, had developed that style 15 years earlier. Quinichette sounds wonderful. He sounds like Lester Young.  arwulf arwulf   Tracklist :

LIONEL HAMPTON AND HIS ORCHESTRA – 1945-1946 | The Chronogical Classics – 922 (1997) FLAC (tracks), lossless

The sixth CD in Classics' series of Lionel Hampton records documents his music during a one-year period. Hampton's big band, riding high after "Flying Home," continued to grow in popularity during this era. The vibraphonist's showmanship and his sidemen's extroverted solos generated constant excitement, as can be heard throughout these 20 selections. With the exception of Dinah Washington's lone vocal on "Blow Top Blues" and the original version of "Hey! Ba-Ba-Re-Bop," most of the selections were formerly a bit rare, including a pair of rollicking V-disc performances ("Vibe Boogie" and "Screamin' Boogie"). Hampton is heard on 14 numbers with his big band (which included such key sidemen as trumpeter Joe Morris, tenorman Arnett Cobb, the eccentric Herbie Fields on alto and clarinet, and pianist Milt Buckner), four workouts with a septet, and two tunes (including a pair of vocals) with a rhythm quartet. Bing Crosby guests on so-so versions of "Pinetop's Boogie Woogie" and "On the Sunny Side of the Street" (sounding very much out of place), but otherwise, everything works. Stirring and accessible music. Scott Yanow
Tracklist  :

LIONEL HAMPTON AND HIS ORCHESTRA – 1947 | The Chronogical Classics – 994 (1998) FLAC (tracks+.cue), lossless

All of Lionel Hampton's studio recordings from 1947 (before the second recording strike) are on this intriguing CD. Hampton's big band at the time mixed together R&B with bebop, swinging hard and putting on exciting shows. "Hamp's Got a Duke," "Three Minutes on 52nd Street," and "Red Top" are typical of the ensemble's work, but there is also Charles Mingus' futuristic "Mingus Fingers" along with the original version of Hampton's classic ballad "Midnight Sun." In addition, there are three fairly obscure small-group sessions that mostly showcase Hampton's vibes but also include pianist Milt Buckner, tenor saxophonist Morris Lane, trumpeter Benny Bailey, and pianist Dodo Marmarosa. Well worth picking up by fans of 1940s jazz. Scott Yanow
Tracklist + Credits :

LIONEL HAMPTON AND HIS ORCHESTRA – 1949-1950 | The Chronogical Classics – 1161 (2001) FLAC (tracks+.cue), lossless

Although some of the personnel had changed in the interim, Lionel Hampton's big band sounded largely the same in 1949 as it had before the recording strike in late 1947. The main change was that there were now more vocals and the band had clearly shifted toward R&B and a bit away from bebop. But the excitement level remained quite high, as can be heard on such numbers as "Chicken Shack Boogie," "New Central Avenue Breakdown," "Hamp's Boogie No. 2," and "Rag Mop." The key sidemen are trumpeter Benny Bailey, tenors Gene Morris and Johnny Sparrow, guitarist Wes Montgomery (a decade before he became famous), and trombonist Al Grey. Boogie-woogie pianist Albert Ammons is on a few numbers and the vocalists include such future greats as Betty Carter and Little Jimmy Scott, who had a hit with "Everybody's Somebody's Fool." Scott Yanow
Tracklist :

ARNETT COBB AND HIS ORCHESTRA – 1946-1947 | The Classics Chronological Series – 1071 (1999) FLAC (tracks), lossless

For many, Arnett Cobb is the prototypical "Texas Tenor." His robust tone and aggressive playing were highlighted both with Lionel Hampton's band and later on his own recordings. This 20-track set chronicles all of Cobb's work under his own name, as well as sides with Milt Buckner and Herbie Fields with the Hamptone All Stars. Highlights include the bluesy "Down Home," "Still Flyin'," "Running With Ray," and "Cobb's Idea." Cub Koda
Tracklist + Credits :

SIDNEY BECHET – 1923-1936 | The Classics Chronological Series – 583 (1991) FLAC (tracks+.cue), lossless

The first in a series of Classics CDs focusing on the recordings of Sidney Bechet, this disc features the clarinetist/soprano-saxophonist on two early titles with blues singer Rosetta SissCrawford, his torrid 1932 session with The New Orleans Feetwarmers (which also features trumpeter Tommy Ladnier and is highlighted by "Shag" and "Maple Leaf Rag") and sides from Noble Sissle's somewhat commercial orchestra. Fortunately Sissle was wise enough to give Bechet plenty of solo space on some of his selections, most notably "Polka Dot Rag." Even with a few indifferent vocals, this CD is recommended to those not already owning this music. Scott Yanow
Tracklist :

SIDNEY BECHET – 1937-1938 | The Classics Chronological Series – 593 (1991) FLAC (tracks+.cue), lossless

The second in a series of CD reissues featuring Sidney Bechet has quite a bit of variety. The unique soprano-saxophonist is heard with Noble Sissle's showband, dominating a small group sponsored by Sissle, backing blues singer Trixie Smith and the team of Grant & Wilson, and leading his own session with a sextet that includes baritonist Ernie Caceres, and on "Hold Tight," a vocal by "The Two Fish Mongers." Enjoyable if not quite essential music. Scott Yanow
Tracklist + Credits :

WYNONIE HARRIS – 1945-1947 | The Classics Chronological Series – 1013 (1998) FLAC (tracks+.cue), lossless

The second Classics CD to feature blues singer Wynonie Harris' recordings as a leader finds him in the period right before he signed with the King label. The five four-song sessions on this disc (all quite jazz oriented) were cut for Hamp-Tone, Bullet, and Aladdin. First, Harris (who sounds quite enthusiastic in every setting) sings three numbers (including a two-part "Hey! Ba-Ba-Re-Bop") with a combo taken from the Lionel Hampton big band. The Bullet date was quite rare. Recorded in Nashville, it finds Harris backed by local players including Sun Ra in his first recording. Ra's piano is well featured throughout including on "Dig This Boogie." Harris is also heard with a Leonard Feather-organized band that includes trumpeter Joe Newman, altoist Tab Smith, and tenor-saxophonist Allen Eager ("Mr. Blues Jumped the Rabbit" is the best-known selection), with an obscure backup band in New York (including for "Ghost of a Chance," an odd departure with a vocal group) and sharing the spotlight with Big Joe Turner on three numbers (including a slightly disorganized two-part "Battle of the Blues"). Throughout, Wynonie Harris sounds like he was ready for stardom. Recommended. Scott Yanow
All Tracks & Credits :

CAB CALLOWAY AND HIS ORCHESTRA – 1930-1931 | The Classics Chronological Series – 516 (1990) FLAC (image+.cue), lossless

Cab Calloway is long overdue for a reappraisal. Long put down by some writers as a mere entertainer, he was actually a superior jazz-influenced singer whose vocal abilities were often overshadowed by his showmanship. The ideal way to acquire his best recordings are to get the 12 CDs in Classics' Complete series. Not only do these reissues include his hits, but also some jazz instrumentals and enjoyable obscurities that give one a more well-rounded picture of the "Hi-De-Ho Man." This particular Classics CD has his first 24 recordings; from the start, his colorful style was already fully formed. It is particularly interesting to hear Calloway performing some material associated with others, especially "Happy Feet" (Paul Whiteman), "The Viper's Drag" and "I'm Crazy 'Bout My Baby" (the latter two with Fats Waller), and several Duke Ellington hits. One of the better Harlem orchestras, Calloway's early band had formerly been known as the Missourians and included several fine soloists, particularly trumpeter Lammar Wright and Walter Thomas on tenor and baritone. Highlights include "St. Louis Blues," "Some of These Days," a classic rendition of "St. James Infirmary," "Nobody's Sweetheart" and the original version of "Minnie the Moocher." Scott Yanow
Tracklist :
1     Gotta Darn Good Reason Now (For Bein' Good) 3:09
De Priest Wheeler / Lamar Wright
2     St. Louis Blues 2:53
W.C. Handy
3     Sweet Jennie Lee! 3:06
Walter Donaldson
4     Happy Feet 2:35
Milton Ager / Jack Yellen
5     Yaller 3:24
Hubert Myers
6     The Viper's Drag 3:19
Fats Waller
7     Is That Religion? 2:52
Mitchell Parish / Maceo Pinkard
8     Some of These Days 2:54
Shelton Brooks
9     Nobody's Sweetheart 3:17
Ernie Erdman / Gus Kahn / Billy Meyers / Elmer Schoebel
10     St. James Infirmary 3:02
Joe Primrose / Traditional
11     Dixie Vagabond 3:02
Walter Donaldson / Gus Kahn
12     So Sweet 2:56
Haven Gillespie / Nelson Shawn
13     Minnie the Moocher 3:09
Cab Calloway / Clarence Gaskill / Irving Mills
14     Doin' the Rhumba 2:54
Charles F. Kenny / Nick A. Kenny / Irving Mills / Frank Perkins
15     Mood Indigo 2:26
Barney Bigard / Duke Ellington / Irving Mills    
16     Farewell Blues 2:33
Paul Mares / Leon Roppolo / Elmer Schoebel    
17     I'm Crazy 'Bout My Baby 2:36
Alex Hill / Fats Waller
18     Creole Love Song 2:53
Duke Ellington
19     The Levee Low Down 2:55
Shelton Brooks / Irving Mills    
20     Blues in My Heart 2:54
Benny Carter / Irving Mills    
21     Black Rhythm 3:11
Donald Heywood / Irving Mills     
22     Six or Seven Times 3:21
Irving Mills / Fats Waller
23     My Honey's Lovin' Arms 3:06
Joseph Meyer / Herman Ruby     
24     The Nightmare 2:49
Hubert Myers / Riley

COUNT BASIE AND HIS ORCHESTRA – 1952-1953 | The Classics Chronological Series – 1387 (2005) FLAC (image+.cue), lossless

From July 26, 1952 to December 12, 1953, Count Basie continued to record for Norman Granz's Clef label, variously utilizing a quintet, sextet, nonet, and 16-piece big band. Released in 2005, this volume in the Classics Chronological Series documents all of the issued studio titles from this time period, neatly omitting no less than 15 Birdland radio broadcasts so as to focus upon the Count's protean adventures within the intimate confines of recording studios in New York and Los Angeles. Basie's excellent instrumentalists include trumpeter Joe Newman, trombonist Henry Coker, reedmen Eddie "Lockjaw" Davis, Paul Quinichette, Marshall Royal, Ernie Wilkins, Frank Wess, Frank Foster, and Charlie Fowlkes. This album also features guest appearances by Oscar Peterson (he and Basie take turns playing organ and piano), vocalist Al Hibbler, bassist Ray Brown, and drummer Buddy Rich. arwulf arwulf

COUNT BASIE AND HIS ORCHESTRA – 1953-1954 | The Classics Chronological Series – 1446 (2007) FLAC (image+.cue), lossless

The 15th installment in the complete commercially issued studio recordings of Count Basie was released as a new segment of the Classics Chronological Series in 2007. The time line represented here begins on December 12, 1953, and ends either in June or August 1954, depending upon which discographical session index you opt for. The bright, snappy Basie big-band sound of the mid-'50s was largely the result of compositions and arrangements by Frank Foster, Frank Wess, Freddie Green, Ernie Wilkins, Neal Hefti, and Manny Albam. Four of these men also operated as crucial performers in the band, along with Joe Newman, Thad Jones, Benny Powell, and Marshall Royal. In addition to Green's "Right On" (a title that anticipates that phrase's rhetorical ubiquity among young Afro-Americans by at least ten years), noteworthy numbers include Hefti's "Two for the Blues," Foster's "Blues Backstage" and "Down for the Count," and Wilkins' "Sixteen Men Swinging," "Stereophonic," "The Blues Done Come Back," and "She's Just My Size." The Basie orchestra's rendition of Juan Tizol's "Perdido" comes as a pleasant surprise and registers as a tip of the hat to that other decisively influential bandleader who with Basie essentially defined the idiom during the 1950s, Duke Ellington. arwulf arwulf