Artist: Jack Teagarden
     Album: Think Well of Me
     Label: Verve
     Year: 1962, release: 1998
     Quality: MP3@320 kbps
     Size: 80,6 mb (sharebee)
     Total time: 35:58
     AMG Rating:

In the years between leaving Louis Armstrong's All-Stars and his death (1952-63), the great trombonist and singer Jack Teagarden led a Dixieland-oriented sextet. Most of his recordings during that time period, while quite worthy, featured the usual standards and swing songs that had been associated with Mr. T. since the 1930s. But this particular project, which in 1998 was reissued as a limited-edition CD, was something quite different. Willard Robison was an unusual composer whose nostalgic and wistful songs usually extolled the virtues of country life; best-known among his tunes are "Old Folks," "Cottage for Sale" and "Tain't So, Honey Tain't So." For what would be his next-to-last album, Teagarden in Jan. 1962 recorded ten Robison songs (plus the slightly out of place non-Robison standard "Where Are You") while backed by a string orchestra that included both a harp and his trumpeter Don Goldie. Bob Brookmeyer and Russ Case contributed all but one arrangement, and although the strings were certainly not necessary (since they do not add much to the music), the prestigious setting must have pleased the trombonist. All of the songs except for "I'm a Fool About My Mama" have vocals by Teagarden, and he puts plenty of restrained feeling into such obscure tunes as "Guess I'll Go Back Home This Summer," "Think Well of Me" and "'Round My Old Deserted Farm." His short solos are often quite exquisite, and this often touching, somewhat rare date is one of the strongest of his final period.

     Artist: Duke Ellington
     Album: Ellington Uptown
     Label: Columbia
     Year: Dec 7, 1951-Aug 12, 1952
     Release: 1987
     Format, bitrate: mp3, 320kb/s
     Time: 53:41
     Size: 114MB
     AMG Rating:

     Even back in the early '50s, Columbia Records took Duke Ellington seriously enough to place this album on its prestigious Masterworks label, heretofore reserved mostly for highbrow classical music and Broadway shows (later in the decade, though, it was retitled Hi-Fi Ellington Uptown and reissued on the pop series with an additional piece, "The Controversial Suite"). Also, this LP explodes the critical line that the early '50s was a relatively fallow period for the Duke; any of these smoking, concert-length tracks will torpedo that notion. The young Louis Bellson was powering the Ellington band at that time, and his revolutionary double-bass drum technique and rare ability to build coherent drum solos are put to astounding use on his self-penned leadoff track, "Skin Deep," which was quite a demonstration piece for audiophiles at the time. Old favorites from the Ellington hit parade are given extended treatments, with singer Betty Roche taking the A-train for a bebop-flavored ride, "The Mooche" spotlighting clarinetists Jimmy Hamilton and Russell Procope, and Ellington's boogie-woogie piano kicking off a super-charged "Perdido" for trumpeter Clark Terry. The centerpiece of the disc is a sharply drawn, idiomatically swinging, probably unbeatable performance of "A Tone Parallel to Harlem" that lays waste to any of the "symphonic" versions that turn up frequently at pop concerts. Another feature of this record is the great sound quality, a benefit of being entrusted to Columbia's best engineers. If you can locate an original Masterworks pressing, grab it and run, for the first-generation sound is astonishing for its age (the reissues in the 1980s on CD and LP had to rely upon later masterings and do not sound nearly as powerful as the original).

     Artist: Paul Whiteman
     Album: 50th Anniversary 2LP
     Label: Grand Award
     Year: 1956
     Quality: MP3@320 kbps (LP-rip)
     Size: 135 + 29,9 mb (sharebee)
     Total time: 76:21



Although Paul Whiteman's first permanent band was organized in 1918, he had had his first musical job back in 1906, and he used the excuse to celebrate his 50th anniversary in 1956. Never mind that Whiteman had been living off his past successes since the early 1940s; the double LP (which contains an excellent booklet) came off quite well. A large orchestra (with only a few surviving Whiteman alumni like trumpeter Charlie Margulis) performs one of the livelier versions of "Rhapsody In Blue," featuring pianist Buddy Weed, plus four shorter numbers, including "When Day Is Done" and "Limehouse Blues," but surprisingly none of the famous Bill Challis charts. There are individual features for former Whiteman stars Joe Venuti, Jimmy Dorsey, Tommy Dorsey (his last recording), Hoagy Carmichael ("Washboard Blues") and a few for Jack Teagarden and Johnny Mercer. The very intriguing (if hard-to-find) twofer concludes with a radio broadcast saved by Whiteman from 1943 that features a reunion by the Rhythm Boys (Bing Crosby, Harry Barris and Al Rinker) during which they sing "Mississippi Mud" with plenty of spirit and humor. Other than a 1960 television show celebrating his 70th birthday (its soundtrack was released by the Sounds Great label), this twofer is Paul Whiteman's swan song, and an excellent way to go out.

     Artists: Kid Ory & Red Allen
     Album: We've Got Rhythm
     Label: Verve
     Year: 1959
     Quality: MP3@320kbps (LP-rip)
     Size: 80,8 mb (sharebee)
     Total time: 36:50


Nothing all that monumental occurs and those wishing a better take on the pairing of trumpeter Allen and Ory are advised to advance to the 1959 sessions which were originally issued as Red Allen Meets Kid Ory and We've Got Rhythm. This is one of the greatest moments of the entire set, with Allen's bubbly trumpet a perfect match to Ory's liquid technique and juicy tone. Fourteen cuts strong, "Tishomingo Blues" and "Christopher Columbus" are just two highlights of a set that is really one tremendous victory. ~ allaboutjazz.com

     Artist: Bud Freeman
     Album: Chicago/ Austin High School Jazz In Hi-Fi
     Label: BMG Ariola
     Year: 1957, release: 1993
     Quality: MP3@320 kbps
     Size: 73,1 mb (sharebee)
     Total time: 44:05
     AMG Rating:

Three overlapping groups are heard from here, and they revisit the repertoire of the McKenzie & Condon's Chicagoans of 1927 (playing new versions of the four songs originally recorded) and Bud Freeman's 1939-1940 Summa Cum Laude Orchestra. The two septets and the octet feature such immortal Condonites as tenor saxophonist Bud Freeman; Jimmy McPartland and Billy Butterfield on trumpets; trombonists Tyree Glenn and Jack Teagarden (who also takes some vocals); clarinetists Pee Wee Russell and Peanuts Hucko; pianists Gene Schroeder and Dick Cary; rhythm guitarist Al Casamenti (but surprisingly no Eddie Condon); bassists Milt Hinton, Al Hall, and Leonard Gaskin; and drummer George Wettling. The veterans were all still in prime form at the time, and they sound quite inspired. Highlights include "Nobody's Sweetheart," "China Boy," "Chicago," "There'll Be Some Changes Made," and "Jack Hits the Road."

     Artist: Louis Armstrong
     Album: The Nice & Philadelphia Concerts 2CD
     Label: United Archives
     Years: 1948-1949, release: 2006
     Quality: MP3@320 kbps
     Size: 118+90,8 Mb
     Total time: 71:03+54:48




This double album is a strange concoction. It is called the Nice and Philadelphia concerts but four tracks were recorded elsewhere. And, as the sleeve-note points out, the tape machine used for the recordings at Nice only allowed three minutes of recording, so there are sudden endings to several tracks. In the first version of Royal Garden Blues, the recording suddenly cuts out in the middle of the bass solo but resumes with the trumpet. A further problem is that the sound quality is often poor and fuzzy. In the middle of the first CD, the sound is obscured by very audible surface noise. It is like listening to the music while someone is noisily sweeping the floor.

Nevertheless, it is good to have these recordings of Louis Armstrong's original All Stars, with Earl Hines at the piano and Sid Catlett on drums. The sleeve-notes quote some extraordinarily vituperative comments about this band but it was actually a fine ensemble which surrounded Louis with genuine stars and allowed us to enjoy his genius to the full - in a way that the earlier recordings with his big band failed to do. However often the All Stars played these tunes, they still sound fresh and inventive. Note, for instance, the glorious punctuations that Armstrong and Teagarden supply behind Velma Middleton's vocals on Velma's Blues. And the flirtatious duet between Louis and Velma on That's My Desire is a classic.

Earl Hines's piano is not always clearly audible but he is heard to advantage on Panama, which also has a beautifully shaped solo by Louis. Barney Bigard displays his complete mastery of the clarinet on many tracks - particularly in his feature on Body and Soul, ending with a glorious cadenza which closes with an immensely long-held note. And Jack Teagarden's trombone is mellow and melodic throughout.

     Artist: Jack Teagarden
     Album: Meet Me Where They Play The Blues
     Label: Bethelehem/Membran
     Year: 1954, release: 2005
     Quality: MP3@320 kbps
     Size: 106 mb (sharebee)
     Total time: 49:24
     AMG Rating:





For this LP, trombonist Jack Teagarden is heard with three different groups on a dozen titles recorded in Nov. 1954. Although the supporting cast on various selections includes trumpeter Jimmy McPartland, clarinetists Edmond Hall and Kenny Davern, and Dick Cary, Norma Teagarden and Leonard Feather on pianos, Teagarden is the main star throughout. His trombone playing was still in prime form and his vocals give spirit to the music. Highpoints of this enjoyable Dixieland set include "Original Dixieland One Step," "Blue Funk," "Eccentric" and "Milenburg Joys." ~ Scott Yanow, All Music Guide

     Artists: Rex Stewart, Dicky Wells
     Album: Chatter Jazz
     Label: RCA Victor
     Year: 1959, release: 1994
     Quality: MP3@320 kbps
     Size: 68,4 mb (sharebee)
     Total time: 31:24



These 1959 sessions paired two potent soloists, trumpeter Rex Stewart (an alum of Duke Ellington's band) and trombonist Dicky Wells (a veteran of Count Basie's orchestra). Backed by pianist John Bunch, bassist Leonard Gaskin, and drummer Charlie Masterpaolo, the two horn players exchange ideas through a series of "conversations" utilizing various mutes, never going for very long without giving time to the other. These friendly studio dates are somewhat low-key but consistently swinging; the only drawback is that the tracks are rather brief, with only two of the 12 songs exceeding three minutes. Highlights include their humorous exchanges in "Let's Call the Whole Thing Off" and "Show Me the Way to Go Home" (featuring some fine stride piano by Bunch). This long unavailable RCA Victor LP is extremely hard to find.

     Artist: Johnny Guarnieri
     Album: Johnny Guarnieri 1946 - 1947
     Label: Classics
     Years: 1946-1947, release: 1999
     Quality: MP3@320 kbps
     Size: 172 mb
     Total time: 77:46
     AMG Rating:

Johnny Guarnieri first attracted attention as a wonderfully facile pianist -- and harpsichordist -- with Artie Shaw's Gramercy Five. He then became the Keynote record label's all-purpose piano man. Classically trained, then strongly influenced at any early age by Fats Waller and James P. Johnson, Guarnieri was a gifted improviser whose bag of tricks was never empty. This disc delivers a deep dose of the pianist's work for the Majestic label. Fresh from many months of active service at Keynote, Johnny sails into "All the Things You Are" almost as if running Jerome Kern through a set of Beethoven variations. The rest of the quartet enters, the song develops into a tidy bounce, and Johnny renders up a majestic unaccompanied finale. "Carioca" is a very cool demonstration of this excellent quartet in ac[center][/center]tion. "Swing for Yourself, John" walks in 4/4, its early modern harmonic runs sounding exactly contemporary for 1946. "My Gal Sal" deliberately references 1890s saloon piano, then chucks it for ultra-modern cool swing, bristling with boppish licks. Eloquently cool, "Temptation" receives an almost film noir treatment, and guitarist Tony Mottola gets most of "Guilty" to himself. Bassist Trigger Alpert is spotlighted on his own invention, "Trigger Fantasy." Accompanied only by his brother Leo and drummer Morey Feld, Johnny demonstrates what Fats Waller might have done with "Flying Home." Waller was undoubtedly on his mind as he launched "Believe It, Beloved" and chased it down with two lovely ballads. Just imagine what kind of four-handed piano records the two men could have made together had Fats lived longer than 39 years. Luckily, Johnny thrived for decades as a living extension of his Harlem stride piano heroes. Sitting in with the Tony Mottola Four, the pianist provided backing for two unnecessarily cutesy vocals by Rosemary Calvin and a bop-flavored feature for the guitar. The rest of this package consists of unaccompanied piano solos. "Nice Work" and "Mean to Me" sound to some extent like the work of Art Tatum. "Exactly Like You" has full-tilt James P. Johnson passages nestled between Tatum-like arpeggios. "Sorry, I Lost My Head" continues this fascinating blend of styles. After a couple of reflective reveries, Johnny bravely sings "Bobo the Bowery Barber" in his thin little voice. He sounds at first a lot like Fats Waller, then mimics Jerry Colonna lampooning Italian opera at the top of his lungs, and finally anticipates the weirdly cornball humor of Lenny Bruce as a homicidal Bobo brandishes his razor! The song ends with a loud, high-pitched scream and maniacal laughter. This side of Guarnieri's personality would surface periodically in the form of strange originals like "Santa Claus Is Smoking Reefers." The rest of the tracks on this album are 110 percent piano. "Plenty of Money" is delightful, "Stardust" and "Smoke Gets in Your Eyes" are ethereal, and "Tiger Rag" clearly references its French quadrille origins, with lovely embellishments similar to what he did with "All the Things You Are" but even more stunning, as this old-time stomp would naturally demand. This, then, is a precious stash of rare recordings by an unjustly neglected master of traditional swing and transitional early modern jazz piano. ~ arwulf arwulf, All Music Guide

     Artist: World's Greatest Jazz Band
     Album:At Manchester's Free Trade Hall, England 1971
     Label: Arbors ARCD 19343
     Year: 1971
     Release: 2006
     Format, bitrate: MP3, 320 kb/s
     Time: CD 1- 47:26 CD 2-54:53
     Size: CD 1-106 MB CD 2-122MB

      With an over-the-top (and perhaps tongue in cheek) name like the World's Greatest Jazz Band, all modesty has been happily tossed out the window. Whether any band can actually live up to such a title is questionable, but At Manchester's Free Trade Hall, England 1971 does qualify as a fine recording of a vivacious live show. This rather large band (nine players), including trumpeters Yank Lawson and Billy Butterfield, and pianist Ralph Sutton, turns back the clock to a jazz form -- Dixieland -- that hadn't been "in" since the 1910s. The set list, "Ain't Misbehavin'," "Carolina in the Morning," and "Bourbon Street Parade," reflects this backward glance. The odd thing about this date for anyone immersed in contemporary jazz (anything from Coltrane on) is how melodic and fun jazz was before it became sophisticated. Sutton and clarinetist Bob Wilbur's freewheeling solos on "Ain't Misbehavin'" concoct an intoxicating mood, while the instrumental interchanges and intertwinings by the band throw the proceedings into high gear. The band offers quite a few variations on the Dixieland style, varying the arrangements and featuring different players on different cuts. This, plus the fact that most of the tracks hover around three- to five minutes, means that these two discs keep the listener tuned in. The only factor that seems a bit old-fashioned here are the song introductions, though they do provide a space to identify the featured musician(s) on each cut. At Manchester's Free Trade Hall, England 1971 delivers over an hour-and-a-half of spontaneous, effervescent jazz, and stands as a worthy testament to the World's Greatest Jazz Band.

     Artist: ‘Bunk’ Johnson & Leadbelly
     Album: Bunk & Leadbelly At New York Town Hall 1947
     Label: American Recordings
     Year: Sep 6, 1947
     Release: 1993
     Format, bitrate: mp3, 320kb/s
     Size: 137MB

     Released for the first time on this 1993 CD, this is an intriguing and quite erratic Town Hall concert that features a colorful cast of characters: trumpeter Bunk Johnson, both Omer Simeon and Edmond Hall on clarinets, trombonist Jimmy Archey, pianist Ralph Sutton, banjoist Danny Barker, Cyrus St. Clair on tuba and string bass, drummer Freddie Moore and (on three songs) the legendary folk singer/guitarist, Leadbelly. The wild card here is Bunk, who complains during the radio broadcast that he was tired and hungry. His playing ranges from moderately inspired to streaky, differing in quality from cut to cut. In some spots he takes full control and at other times his chops just are not up to the challenge. The recording balance, unfortunately, is not ideal with Freddie Moore's bass drum being too loud (and making the rhythm section sound inflexible). Cyrus St. Clair's tuba playing is overly wheezy but he is fine on bass. Ralph Sutton gets in a few good spots and Jimmy Archey is mostly on, but the two clarinetists are undermiked; it is odd to hear Edmond Hall in this type of setting. Leadbelly displays showmanship on "Good Morning Blues," "Yellow Gal" and "Bottle Up and Go." There are many odd moments, such as when the tempo of "Good Morning Blues" drastically slows down after Leadbelly's vocal (Bunk did not care for fast tempoes), some false endings and lots of missed cues. Even with its faults, this unusual concert does have its charm. But someone should have fed Bunk Johnson first!

     Artist - Billy Strayhorn
     Album - The Peaceful Side Of Jazz
     Label - Blue Note
     Year - 1961, release - 1991
     Quality - MP3@320kb/s
     Size - 74,4mb (sharebee)
     Total time - 35:03

    



Этот малоизвестный альбом довольно грустной музыки, фактически единственная запись Билли Стрэйхорна, очень далёкая от мира Дюка Эллингтона. В центре альбома фортепианное соло Билли. Все мелодии пронизаны грустью и только в Just A Sittin' And A-Rockin' слышны весёлые нотки.

This is a little-known and rather melancholy set, virtually Billy Strayhorn's only recording away from the world of Duke Ellington. The focus is totally on Strayhorn's piano throughout his interpretations of ten of his compositions (including "Lush Life," "Take the 'A' Train," and "Something to Live For"). Three selections have the Paris Blue Notes adding sparse wordless vocals, two other numbers add some quiet playing by the Paris String Quartet, and bassist Michel Goudret is on five of the ten selections (including one apiece with the strings and the voices). "Strange Feeling" and "Chelsea Bridge" are taken as unaccompanied piano solos. Of the ten songs, only "Just A-Sittin' and A-Rockin'" hints at happiness; otherwise, Strayhorn's melodic and concise playing is quite somber, peaceful in volume but filled with inner tension. ~ Scott Yanow, All Music Guide

     Artist: Jess Stacy
     Album: Jess Stacy 1944-1950
     Label: Classics
     Years: 1944-1950, release: 2002
     Quality: MP3@320 kbps
     Size: 112 mb
     Total time: 67:43



Real jazz happens when the musicians really listen to one another. You, the listener after the fact, can hear this communication woven into the music itself. "D.A. Blues," played by Pee Wee Russell's Hot 4 with Jess Stacy at the piano, moves slowly enough for this dynamic to be spelled out as big as skywriting. "Keepin' Out of Mischief Now" works like a charm. The interplay among the four -- and especially between pianist and clarinetist -- is remarkable. It's emblematic of everything that Commodore Records ever stood for. The next session in the Jess Stacy chronology resulted in a fine crop of piano and drum duets. It is strange that Commodore didn't issue them at the time, but such decisions often seem odd many years later. These are really piano solos with gently percussive accompaniment -- about as gentle as Specs Powell ever played on record, in fact. That is, until the fast-paced "Ridin' Easy" and "Song of the Wanderer," where Stacy runs his hands like lightning over the keys and Powell responds with steamy licks of his own. What a shame it is that Jess Stacy's big band only managed to record enough music to fit on both sides of a single, 10" 78 rpm platter. "Daybreak Serenade" is a very pretty instrumental and Stacy's wife Lee Wiley sings "Paper Moon" splendidly. Just imagine what they could have accomplished given the opportunity to wax a few more sides. Instead what we get are one dozen examples of the Jess Stacy Quartet, recording for Capitol and Columbia during the summer of 1950. These are gorgeous reveries, heavily featuring the guitar of George Van Eps. This makes the second-half of the CD decidedly cool and relaxing, friendly and unobtrusive. Bassist Morty Corb walks briskly through the changes of "I'm Gonna Sit Right Down and Write Myself a Letter," a melody still associated with Fats Waller even though he didn't write it. Waller's "Keepin' Out of Mischief Now" reappears, joyously stir-fried to perfection. This handsome collection of top-notch piano jazz ends with a virtuoso realization of Bix Beiderbecke's "In a Mist," something like Chantilly cream over strawberries after four courses. ~ arwulf arwulf, All Music Guide

     Artist: Woody Herman
     Album: The Fourth Herd / The New World Of Woody Herman
     Label: Mobile Fidelity Sound Lab
     Year: rec.Jul 31, 1959-Dec 27, 1962 / rel.1995
     Format: Flac + cue + scan
     Time: 70:23
     Size: 452 Mb

     Artist:Ella Fitzgerald & Louis Armstrong
     Album:Ella And Louis Again (MFSL) 2CD
     Label:Mobile Fidelity Sound Lab
     Year:rec.Jul 23, 1957-Aug 13, 1957 / rel.1995
     Format: Flac + cue + scan
     Time:44:31, 46:25
     Size: 274 Mb
     AMG rating:

     Artist: Erroll Garner
     Album: The Piano Player (Compilation)
     Label; Jazz Pack
     Years: 50th-60th,release: 2001
     Format; MP3, 320kbps
     Time; 40:11
     Size: 84.4 MB (with covers)



I always play what I feel. I always feel like me, but I'm a different me every day. I get ideas from everything. A big color, the sound of water and wind, or a flash of something cool. Playing is like life. Either you feel it or you don't. ~ ERROLL GARNER

Erroll Garner was a giant among jazz pianists. His ability to spontaneously create great musical works at the piano while performing for an audience was legendan/Inherent in that unique talent was his ability to make a personal musical statement that was as well constructed and logically organized as it would have been if he had preconceived it and planned every detail, In other words, Garner was a first rate composer who used musical theory and form in traditional ways, yet was inventive enough to create music instantly which contained all the elements of good composition. His music is melodic, rhythmic, rhapsodic, and original. As a musician he was one of a kind ~ Billy Taylor

The extraordinary thing about Erroll Garner and his ballads is that they are completely lyrical. They are incredibly durable, lasting, melodic and beautiful word pictures, no matter who does the singing. I'll never forget that it was Sarah Vaughan with that amazing pipe organ voice of hers that first introduced me to Erroll's ballads, and that introduction turned into a life-long love affair I've had with this man's music--a man who has left his indelible mark on the world of music. ~ Johnny Mathis

...Garner is the single most important piano stylist of the past 35 years .,.Most every piano player who has heard Erroll Garner owes him something... Garner epitomizes all that makes jazz the great music of our age... He is a natural... His music communicates to those who know nothing of the meaning of the word jazz. His music is serious, yet joyous, He has developed an individuality of style that has blessed only the greatest exponents of music... To put it simply, Erroll Garner is a great musical genius. He has given me some of the most memorable and musical moments of my life. ~ George Wein

     Artist:Count Basie And His Orchestra
     Album: This Time By Basie: Hits Of The 50's & 60's!
     Label: Warner Bros,archives
     Year:rec.Jan 21, 1963-Jan 24, 1963 / rel.1993
     Format:MP3 @ 320 Kb/s
     Time: 51:57
     Size: 112 Mb
     AMG rating:

     Artist: Oscar Peterson
     Album: Oscar Peterson 1950 - 1952
     Label: Classics
     Years: 1950-1951, release: 2003
     Quality: MP3@320 kbps
     Size: 159 mb
     Total time: 73:51
     AMG Rating

В 1950 году Питерсон записывается в серии дуэтов с басистами Рэйем Брауном и Мэйджором Холли. Талант Питерсона стал очень заметным, и в 1952 году он получил национальное признание, когда с басистом Рэйем Брауном и гитаристом Хербом Эллисом организовал популярное джазовое трио. В 50-е годы Питерсон, по опросам читателей и критиков ведущих
Oscar Peterson, after making his initial recordings in his native Montreal during 1945-1949, was presented by Norman Granz at a Jazz at the Philharmonic concert in 1950 and hit it big. At first he was featured in duos with either Ray Brown or Major Holley on bass. This CD begins with three selections from a Carnegie Hall concert on September 16, 1950, with Brown including extended versions of "Carnegie Blues" and "I Only Have Eyes for You." Seven studio recordings by the same duo precede the first five recordings by the Oscar Peterson Trio with Brown and guitarist Barney Kessel. This CD's final session has most of the selections recorded by Peterson and Brown with guitarist Irving Ashby on January 26, 1952; Kessel would not officially become the group's guitarist until the following month. Although more swing-oriented than he would become (and showing off the influence of Nat King Cole), Oscar Peterson was already a great virtuoso and rapidly developing his own voice on the piano. These formerly rare recordings are well worth acquiring.

     Artists: Earl Hines & Jonah Jones
     Album: Back On The Street
     Label:Chiaroscuro 118
     Year: 1972, release: 1995
     Format, bitrate:MP3 320
     Time:59:35
     Size: 133685 KB
     AMG rating



By the time trumpeter Jonah Jones teamed up with pianist Earl Hines and tenor-saxophonist Buddy Tate for this straightforward sextet date, Jones had been a star with his quartet for 15 years. On what would be one of Jones's last recording sessions from his prime, this Chiaroscuro reissue CD has a bit of slickness associated with the trumpeter's more commercial dates but also some very good jazz playing. Three previously unrelesed numbers have been added to the original seven-song program and the music falls between Dixieland and swing with an emphasis on familiar standards. A fine effort.

     Artist: Various Artists
     Album: Jazz Classics in Digital Stereo, Hot Town
     Label: ABC Music
     Year: 1992
     Format, bitrate: mp3, 320kb/s
     Time: 49:48
     Size: 104MB





     This CD sampler in the Robert Parker series mostly features territory bands from cities other than New York, Chicago and New Orleans. Other than a selection apiece from Jimmie Lunceford (1930's "In Dat Mornin'"), Duke Ellington, Andy Kirk and Benny Moten, all of the groups are quite obscure (such as those led by Alonzo Ross, Charley Williamson, Troy Floyd and Slatz Randall), making this release of greater than usual interest although unfortunately complete sessions are not reissued. Excellent music most highly recommended to listeners who want a general sampling of early rarities.