Artist: Clark Terry
     Album: Having Fun
     Label: Delos
     Year: 1999
     Quality: MP3@320 kbps
     Size: 158 mb
     Total time: 69:37
     AMG rating

     The title of this CD definitely fits not only its music but Clark Terry's career. The colorful flugelhornist is teamed with Red Holloway doubling on tenor and alto, bassist Major Holley (who sings along with his bass in his solos), pianist Jon Campbell and drummer Lewis Nash. Since C.T., Holloway and Holley were all humorists, the music is not only swinging, but quite enthusiastic. With titles like "Mumbles," "Meet the Flintstones," "The Snapper" and "Mule's Soft Claw," the humor isn't unexpected. An excellent and consistently swinging date. ~ Scott Yanow, All Music Guide

     Artist: Billy Kyle
     Album: Billy Kyle 1939-1946
     Label: Chronological Classics 941
     Year: 1939-1946, release 1997
     Format, bitrate: MP3@320 kbit/s
     Time: 1:06:03
     Size: 151 Mb
     AMG rating:

     The second of two Classics Billy Kyle CDs has all of the remaining titles the superior swing pianist led during his life (although he lived until 1966). Ten of the 23 numbers are lesser performances, with four featuring the dated organist Bob Hamilton and the vocals of O'Neil Spencer; two are jivey numbers by singer Jack Sneed and his Sneezers, and four others also emphasize O'Neil Spencer's singing along with the organ of Milt Herth. However, the other 13 selections are full of classic swing-oriented performances. The talented British trumpeter Nat Gonella is heard fronting a hot septet also including Kyle, clarinetist Buster Bailey and altoist Benny Carter (their version of "You Must Have Been a Beautiful Baby" is a highlight); Kyle leads a couple of high-quality trio sets from 1939 and 1946, and he also heads a 1946 octet also featuring trumpeter Dick Vance, trombonist Trummy Young, clarinetist Bailey and tenor saxophonist John Hardee. The better half of this CD is so strong that it makes the entire set well worth acquiring despite the organists.

     Artist: Woody Herman
     Album: Woody Herman 1936-1937
     Label: Classics
     Years: 1936-1937; release: 1999
     Quality: MP3@320 kbps
     Size: 145 mb
     Total time: 65:21

     Woody Herman led many big bands throughout his career. Some biographies give very little space to his earliest groups and start out with the First Herd of 1944-46, but Herman was a bandleader as early as 1936. This CD actually starts out with a few Herman appearances with Isham Jones during March 1936. The full orchestra performs "Stompin' At The Savoy" and then "Isham Jones' Juniors" (an octet taken from the big band) performs six numbers, four of which include Herman vocals. Virginia Verrell sings a spirited "Slappin' The Bass" and the only instrumental is "Nola" but the best number (and one that would reappear with Herman in the future) is "Fan It." By Nov. 1936 the clarinetist-altoist was leading his own big band, one that also included five other musicians from Isham Jones' orchestra which had broken up a few months earlier. Few listeners probably know that the very first Herman big band mostly featured his ballad vocalizing; "Woodchoppers Ball" would not change the orchestra's direction until 1939. Only one song among the 16 selections by Woody Herman's orchestra is an instrumental ("Mr. Ghost Goes To Town"). The leader' singing ranges from insipid and romantic to (in a few cases) swinging; best are "Doctor Jazz," "Trouble In Mind" and "It Happened Down In Dixieland." But this set is strictly for completists and Woody Herman collectors who are curious to know how he started out.

     Artist: Billy Kyle
     Album: Billy Kyle 1937-1938
     Label: Chronological Classics 919
     Year: 1937-1938, release 1996
     Format, bitrate: MP3@320 kbit/s
     Time: 54:56
     Size: 98,8 Mb
     AMG Rating:

     Pianist Billy Kyle spent most of his career as a sideman (most notably with John Kirby's Sextet and the Louis Armstrong All-Stars) and led relatively few sessions, all of which were formerly rare. That fact makes this CD reissue a major event for small-group swing collectors. Kyle's eight selections from 1937 with his "Swing Club Band" (which hints at times at the Kirby group) include two vocals apiece by the Palmer Brothers and Leon Lafell, but are most notable for the playing of trumpeter Charlie Shavers and altoist Tab Smith on the instrumentals. In addition, Kyle is prominent with the Spencer Trio (a group with clarinetist Buster Bailey and drummer O'Neil Spencer), Timme Rosenkrantz's Barrelhouse Barons (which include cornetist Rex Stewart, trombonist Tyree Glenn, tenorman Don Byas, and singer Inez Cavanaugh), and with Jack Sneed & His Sneezers. Sneed was a jazz-influenced calypso singer who was wise enough to use a backup quartet (which included Shavers) taken from the Kirby sextet. Overall, an excellent set of rarities. ~ Scott Yanow, Rovi

     Artist: 5 go Swing
     Album: Compilation
     Label: Autoproduction
     Year: 2009
     Quality: MP3 320 Kbps
     Size: 84 Mb.
     Total Time: 41:00


     5 Go Swing are an authentic four-piece band specialising in 1930's Gypsy jazz and Latin music drawing inspiration from the passion and beauty of Gypsy Swing. They thrill their audiences with an irresistible mix of beautiful melodies combined with compelling dynamic and rhythmic variety. Playing with a zest and intensity that expresses the passion and romance of the Gypsy tradition. Their repertoire moves between lyrical mid-tempo swing jazz tunes (popular standards such as Night and Day and Sweet Georgia Brown), profound ballads, traditional gypsy dances, exhilarating up-tempo swing, swaying bossa, bolero and waltz. As can be heard on their recent studio album 'La Traverse'. ~ socialvents.com

     Artist: Coleman Hawkins
     Album: Stanley Dance Sessions
     Label: Lonehill Jazz
     Years:1958, 1955 Release - 2006
     Quality: MP3@320 kbps
     Size : 169 mb
     Total time: 78:16

     In February 1958 Stanley Dance oversaw two recording sessions headed up by Coleman Hawkins. By this point in his long and eventful career, Hawkins was still an eminently sophisticated improviser. His tone was gradually beginning to harden and his way of handling the changes could swiftly become downright rambunctious when tempos and occasions called for extroverted exposition. There is, at times, a thrilling gruffness to the Hawkins of the late '50s. During the course of an extended jam like the 11-minute "Bird of Prey," the listener is pleasantly buffeted by Hawkins and trumpeter Buck Clayton and given a chance to recuperate during solos by bassist Ray Brown and pianist Hank Jones. Hawk's legendary ballad artistry is beautifully displayed on "My One and Only Love" and "You've Changed." Here he taps into the gentleness that enabled him, during the early '30s, to become the first truly dignified interpreter of ballads on his instrument. A session Hawk shared with Roy Eldridge has excellent work by bassist George Duvivier. The drummer on both dates was Mickey Sheen. "Honey Flower" and "Nabob" belong among the most laid-back extended romps that Hawkins and Eldridge ever participated in. For dessert, the producers of this reissue have included a segment of a live performance heard at the Phytian Temple in New York on November 7, 1955. Emcee Al "Jazzbo" Collins, after a bit of friendly hyperbole, asks Hawkins to deliver a brief unaccompanied solo ("Foolin' Around"), and a delicious seven-minute rendition of "The Man I Love" supported by Shadow Wilson, Wendell Marshall, and once again, the mighty Hank Jones. ~ arwulf arwulf, All Music Guide

     Artist: Don Redman And His Orchestra
     Album: Don Redman And His Orchestra 1931 - 1933
     Label: Classics
     Years: 1931-1933; release: 1990
     Quality: MP3@320 kbps
     Size: 117 mb
     Total time: 72:03
     AMG Rating:

     The first of three Don Redman Classics CDs consists of his orchestra's earliest sessions. Although Redman's big band never hit it as big as his former employers' (Fletcher Henderson and McKinney's Cotton Pickers), it was an impressive outfit, thanks to the leader's advanced arrangements. Among the key sidemen on these performances are trumpeters Red Allen (who is on the first two sessions) and Sidney DeParis, tenor saxophonist Robert Carroll, and pianist Horace Henderson. Highlights include "Chant of the Weed" (Redman's atmospheric theme song), "I Heard," "How'm I Doin'," and "Hot and Anxious." The main Don Redman CD to get. ~ Scott Yanow, All Music Guide

     Artist: Count Basie
     Album: The Complete Roulette Live Recordings of Count Basie and His Orchestra 8СD
     Label: Mosaic Records
     Years: 1959-1962; release: 1993
     Format: MP3@320
     Time: Disc 1 (73:29), Disc 2 (77:08), Disc 3 (62:56), Disc 4 (71:25), Disc 5 (64:40)
     Disc 6 (57:30), Disc 7 (67:06), Disc 8 (65:06)
     Size: Disc 1 (166MB), Disc 2 (171MB), Disc 3 (142MB), Disc 4 (162MB),
     Disc 5 (147MB), Disc 6 (130MB), Disc 7 (152MB), Disc 8 (147MB)

     Count Basie is one jazz musician who was amply recorded throughout his career and has been the subject of numerous domestic and foreign reissue lines; yet, Mosaic has managed to release Count Basie material in a valuable fashion. This eight-disc set contains Basie recordings for the Roulette label from 1959 to 1962, the first of a two-part series covering his full Roulette output. These are live recordings; the studio sessions are coming on their own set. There are plenty of blues, relaxed swingers, and superb vocals. There is nothing revolutionary about this music, but its consistency and celebratory fiber remain impressive through every disc. While eight discs is a lot of time for one band, no matter how great (and they do frequently repeat some songs), the set provides a chance to replicate the experience of life on the road for a touring band. ~ Ron Wynn, All Music Guide

     Artist: Count Basie
     Album: Legendary radio broadcasts
     Label: Storyville
     Year: 1930-1970
     Release: 2008
     Format, bitrate: MP3@320 kbit/s
     Size: 170 mb


     It was in the 30ies and 40ies when the radio was the most important media before television took over. There were many different radio broadcasts all over USA. Live programs from different concerts and studio recordings. Count Basie had nightly broadcasts from Reno Club in Kansas City. When John Hammond heard a broadcast he went to Kansas City to hear the band in person. He then decided to bring it to New York City where they opened at the Roseland. To be regular featured on the radio was the best promotion an artist could get. Storyville has found many fine radio programs with various artists that will be released in the Legendary Radio Broadcasts series.

     Artist: Count Basie
     Album: 1938 At The Famous Door, NYC
     Label: Jazz Hour
     Year: 1938; release: 1997
     Quality: MP3@320 kbps
     Size: 154 mb
     Total time: 72:47
     AMG Rating:

     The Basie band, with Harry James as the guest soloist and new arrival Harry Edison in the lineup, rocked New York's 52nd Street. The band is captured here in six late-night CBS broadcasts in the midst of its first big year of success, in an engagement that was supposed to last six weeks and ended up running four months, before an audience so taken with the group's sound that they willingly moved out onto the sidewalk while the group opened up to full volume for these broadcasts. There's hardly a note out of place, and the band shows its stuff behind renditions of "Jumping at the Woodside," "King Porter Stomp," and "One O'Clock Jump" (a killer finale) clocking in at between five and seven minutes with extended solos, double the length of their records of this era. Basie's piano gets some of the spotlight in a bracing version of "Lady Be Good." The fidelity is good to very good, and only "Everybody Loves My Baby" (a great number) is, alas, incomplete, a result of a transcription disc that was never found. That flaw aside, it is a release like this that transcends any of the criticism of the digital medium -- put simply, it's only the existence of digital audio and digital editing that permitted an engineer to remove more than 200 scratches per second from the original transcription discs that this CD came from.

     Artist: Dicky Wells
     Album: Dicky Wells 1927-1943
     Label: Classics
     Years: 1927-1943; release: 1997
     Quality: MP3@320 kbps
     Size: 144 mb
     Total time: 70:45
     AMG Rating:

     This is the definitive Dickie Wells collection, presenting three very distinct periods in his remarkable career. As an appetizer for five sessions led by this fine trombonist, listeners get to hear his very first recordings, with Springfield, OH, native Lloyd Scott's orchestra in 1927 and Lloyd's brother Cecil Scott's Bright Boys -- featuring trumpeters Frankie Newton and Bill Coleman -- in 1929. This shot of seven outstanding old-fashioned numbers is a perfect example of great music from the late '20s, all but forgotten by the public today but available to dedicated early jazz addicts as part of the Classics Chronological Series. Dickie Wells spent the first half of the 1930s working in bands led by Elmer Snowden, Benny Carter, Chick Webb, and Fletcher Henderson. He joined Teddy Hill's band in 1934 and it was with Hill that Wells traveled to Paris during the summer of 1937. At the heart of this collection lie 12 marvelous recordings waxed during that tour, with the great Django Reinhardt and a few of his French friends sitting in with Wells (billed here as "Dicky") and a small team of seasoned North American swing musicians. Bill Coleman made himself at home, scat singing with gutsy nonchalance on "Hangin' Around Boudon." Additional trumpeters were Bill Dillard and Shad Collins, with further U.S. input from alto saxophonist Howard Johnson, pianist Sam Allen, bassist Richard Fullbright, and ace drummer Bill Beason. Dickie Wells was an accomplished trombonist, capable of expressing a full range of human emotions using growls, smears, glissandi, and honest, straight-up melodic candor. "Oh, Lady Be Good" and "Dicky Wells Blues" feature the trombone backed by a rhythm trio, highlighting his musical personality in living color. A veritable chasm lies between these 1937 recordings and the next session, recorded in December 1943 for Bob Thiele's Signature label. By this time, Wells had come through the fire of the Count Basie Orchestra, bringing with him several key players from that formidable swing machine. Most importantly, listeners get to hear Lester Young only months before his ill-fated encounter with the U.S. Army. Prez, Dickie, and Bill Coleman are each in fine form, jamming hard with solid support from a fine rhythm section in pianist Ellis Larkins, guitarist Freddie Green, bassist Al Hall, and master drummer Jo Jones. Because of Wells' nominal leadership and the fact that it was originally issued by a small independent label, this session is less well-known than Young's work with Basie and his Aladdin and Verve recordings. It is essential listening for all Lester Young fans, and should be digested along with Young's remarkable Keynote Quartet session that took place one week later. ~ arwulf arwulf, All Music Guide

     Artist: Dicky Wells
     Album: The Stanley Dance Sessions 2LP/1CD
     Label: Lone Hill Jazz
     Years: 1958-1959; Release: 2005
     Format, bitrate: MP3 @320
     Time: 73:44
     Size: 146.24mb

     Trombonist Dicky Wells participated in three slip horn-centered sessions in February and April of 1958. All of this material has been compiled onto one disc by the Lone Hill Jazz label. The dominant trait throughout is the late-'50s swing groove formula associated with Count Basie. Collectively, Wells is joined in the front line by fellow trombonists Vic Dickenson, Benny Morton, and George Matthews, trumpeter Buck Clayton, and reedmen Rudy Rutherford and Buddy Tate. The rhythm sections include bassist Major Holley, drummer Jo Jones, and guitarists Everett Barksdale and Kenny Burrell. Skip Hall plays piano and organ on all tracks. The music accurately reflects what Kansas City swing sounded like after it mingled with mainstream jazz towards the end of the '50s. ~ arwulf arwulf, All Music Guide

     Artsts: Teddy Wilson & Lionel Hampton
     Label: UNIVERSE/Comet Records
     Year: 1977, release - 2004
     Quality: MP3@320kbps
     Size: 83,0mb
     Total time: 36:59
     AMG rating:

     Teddy Wilson and Lionel Hampton reunited for the last time for this 1977 studio session, which was initially issued by Who's Who in Jazz and later was re-released by Legends of Music, Aurophon and Cleo. Half of the session features the veteran pianist with bassist George Duvivier, drummer Teddy Wilson, Jr. (making his only recorded appearance with his famous father) and conga player Sam Turner added on some of the tracks. The addition of the conga gives a different sound to Wilson's typically blazing "One O'Clock Jump," which is unfortunately prematurely faded out by the engineer. The leader opens "I Can't Get Started" unaccompanied and offers a polished performance as the bass and drums are added. Hampton joins Wilson on the remaining four tracks, with clarinetist Jerry Fuller also added on "Dizzy Spells" and "Liza." Two takes of "Sweet Sue" were recorded that day, with the longer interpretation appearing on this CD and the shorter one on Lionel Hampton's Rare Recordings, Vol. 1 anthology released by Telarc. While Wilson's elegant swing is still going strong late in his career, Hampton plays with a bit more energy. In any case, this is an enjoyable, if not quite essential, session. ~ Ken Dryden, All Music Guide

     Artist: Andrej Hermlin And His Swing Dance Orchestra
     Album: Life Goes To A Party
     Label: BMG 7432-18938825
     Year: 2001
     Format, bitrate: Mp3 320 KPS
     Time:66:47
     Size: 157.4 MB


     Andrej Hermlin invites everybody to travel with him to America of 30-s to listen to swing-music which is in the period of renaissance!!!

     Artist: Nat "King" Cole
     Album: Jazz Encounters
     Label: Capitol Jazz
     Years: 1945-1950; release: 1992
     Quality: MP3@320 kbps
     Size: 124 mb
     Total time: 59:53
     AMG Rating:
    
     This CD has many of Cole's most interesting Capitol dates away from his trio. The great jazz pianist is heard with the 1947 Metronome All-Stars, jamming with the all-star Capitol International Jazzmen, backing the straight vocals of Jo Stafford, and collaborating with Nellie Lutcher, Woody Herman (on a remarkable version of "Mule Train"), and Johnny Mercer (highlighted by the joyful "Save the Bones for Henry Jones"). This colorful set is highly recommended.

     Artist: Count Basie
     Album: One More Time (music from the pen of Quincy Jones)
     Label: Roulette Jazz
     Year: Originally released in 1959
     Format: Flac
     Time: 37:06
     Size: 138 MB




     For this studio album from late 1958 and early 1959, the Count Basie Orchestra performs ten Quincy Jones compositions; he also contributed all of the arrangements. "I Needs to Be Beed With," "For Lena and Lennie" and "The Midnight Sun Never Sets" all caught on and Jones's charts helped expand the Basie sound without altering it. An excellent CD.

     Artist: Don Redman
     Album: Don Redman & His Orchestra 1933 - 1936
     Label: Classics
     Years: 1933-1936; release: 1990
     Quality: MP3@320 kbps
     Size: 157 mb
     Total time: 72:25
     AMG Rating:

     The great arranger Don Redman made Fletcher Henderson's Orchestra in the mid-1920s the first real swing band, but during the swing era itself, Redman was little known to the general public. His big band (heard here on the second of three "complete" Classics CDs) failed to really catch on, although it stayed together throughout the 1930s. After recording a bunch of sessions in 1933, Redman's orchestra only cut two sides in Jan. 1934 and then none until May 1936. There are vocals on 22 of the 25 selections on this CD; of the three instrumentals, this version of "Christopher Columbus" might not be by Redman. The leader's charming vocals are fine, but the nine by Harlan Lattimore are of lesser interest, and Chick Bullock dominates a six-song session. There are some good solos along the way, particularly by trumpeter Sidney DeParis, trombonists Benny Morton and Claude Jones and the forgotten tenor Robert Carroll, but this CD is primarily for completists. ~ Scott Yanow, All Music Guide

     Artists: Count Basie & Joe Turner
     Album: The Bosses
     Label: OJC/Pablo
     Year: 1973, release: 1995
     Quality: MP3@320 kbps
     Size: 106 mb
     Total time: 44:23
     AMG rating



     Count Basie and an all-star band (including trumpeter Harry Edison, trombonist J.J. Johnson and the tenors of Eddie Davis and Zoot Sims) back up veteran Kansas City blues singer Big Joe Turner on one of his better later albums. The many fine solos inspire Turner, who is in top form on such tunes as "Night Time Is the Right Time," "Wee Baby Blues" and "Roll 'Em Pete."

     Artist: Gene Krupa
     Album: The Great New Gene Krupa Quartet featuring Charlie Ventura
     Label: Verve
     Year: 1964
     Format, bitrate: FLAC, 764 kbps
     Time: 36:43
     Size: 211,89 MB


     Drummer Gene Krupa's final recording as a leader reunited him with the bombastic tenor saxophonist Charlie Ventura in a quartet with pianist John Bunch and bassist Nabil Totah. The group mostly performs brief versions of standards including &"Come Back to Sorrento," &"Take the 'A' Train," &"Flying Home," and even &"Hello Dolly." Ventura's extroverted playing (on tenor, alto and baritone) is not for everyone's taste but he is in generally good form, and even an aging Krupa still retains his youthful excitement and enthusiasm. This LP will be a difficult one to find.

     Artist: Charlie Christian
     Album: Electric
     Label: Uptown Jazz
     Years: 1939-1941; Release: 2011
     Format, bitrate: MP3 320 kbps CBR
     Time: 56:30 min
     Size: 125 MB

     Charlie Christian's career was all too brief, lasting a mere five years. After catching the attention of John Hammond, who recommended him to Benny Goodman, he appeared on fewer than 100 sessions between 1939 and 1941, mostly broadcasts, plus a few privately recorded sessions issued on various labels over the years, in addition to his well-known studio recordings and with Goodman. While the music in this compilation has been previously available, this collection has to much recommend it. First of all, new digital transfers have been made from original acetates from the Jerry Newhouse collection, rather than relying on later generation sources. Frank Driggs' detailed liner notes provide a wealth of historical background and there are also lots of photographs. But the most important factor is the music itself. The four performances by Christian with tenor saxophonist Jerry Jerome (who was working in Goodman's orchestra while Christian was playing in the clarinetist's sextet) are informal jam sessions made between concerts with Goodman, with two regional players, pianist Frankie Hines and a teenaged Oscar Pettiford, the latter still a few years away from achieving fame for his virtuoso playing. Following Jerome's opening solo in "Tea for Two," Christian dazzles with his confident playing and solid rhythmic support, while Hines also takes a chorus and Pettiford is barely audible. Christian's spacious, inventive solo is the highlight of "Stardust," while Christian's dominates the two takes of "I Got Rhythm." In the Goodman sextet broadcasts, much of the solo space goes to the leader and vibraphonist Lionel Hampton in these relatively brief performances (most of which run right around three minutes), though Christian makes himself known when he solos and with his presence in the rhythm section. Among Christian's features are a bluesy solo in a version of "Flying Home" and some tasty breaks in his "Shivers" (co-composed with Hampton), while he steals the show from the veterans with his playing in "Seven Come Eleven." It is tragic that Charlie Christian died far too young from tuberculosis, but this rewarding collection is an excellent investment. ~ Ken Dryden, All Music Guide