The Andrews Sisters - The Golden Age Of The Andrews Sisters (4 CD, 2002/FLAC)

 Since the 50-year limit on copyrights in Europe has led to a flurry of Andrews Sisters releases beginning in the early '90s, it's worth pointing out that the British Jasmine label is not just another fly-by-night outfit cobbling together a bunch of old 78s. The four-disc Golden Age of the Andrews Sisters, with a running time of more than four-and-three-quarters hours, contains more tracks -- 101 -- than any previously released Andrews Sisters compilation.

Fats Navarro (with Tadd Dameron Sextet, Howard McGhee Sextet, Bud Powell's Modernists) - Fats Navarro Memorial Album (1951/2015/FLAC)

 Along with other bebop sides Navarro did for Capitol and Blue Note, these Savoy cuts are part of the trumpeter's essential recordings. And being mindful of his early demise in 1950, it's amazing to realize that the Memorial album is one of several incredible sessions Navarro was able to produce in just over a two-year period during the late '40s. Teaming up with frequent musical partner Tadd Dameron, Navarro reels off fluid solos on both the outstanding Dameron original 'The Tadd Walk' and a second impressive swinger 'Be Bop Carroll.' The remaining sides from this date feature vocalist Kay Penton, who, while not being terribly exciting, delivers some beguilingly languid lines; the rest of the top-flight group includes altoist Ernie Henry, bassist Curly Russell, and drummer Kenny Clarke. The second Navarro session here includes classics like 'Webb City' and 'Fat Boy,' and features first-tier beboppers like trumpeter Kenny Dorham, altoist Sonny Stitt, pianist Bud Powell, and Clarke again on drums. As a sort of bonus, there are four additional tunes from this same session. Amazingly, though, Navarro is not on board, but the balance is quickly redressed with some high-quality originals and more incredible solo work by Dorham, Stitt, and Powell. A classic bebop session.

VA - Blue Note Explosion: Back Down tо the Tropics (2 CD, 2006/FLAC)

 A double CD collection of Blue Note music with a Latin American flavor.

Duke Ellington - The Complete 1936-1940 Variety, Vocalion and Okeh Small Group Sessions (7 CD, 2006/FLAC)

 

In 1936 Duke Ellington had been leading a big band for a little more than 10 years and he was an international star, possibly the highest-paid black entertainer in the United States. At this point he undertook a series of small-group sessions. Some of the standout tracks: "Tough Truckin'," "Indigo Echoes," "Love in My Heart," "Pyramid" "Chasin' Chippies" and "Delta Mood."

None of them are very famous; most are based on the templates of better-known Ellington songs. They are all marked by Ellingtonian arrangement methods, and in many places the band just flies. Most of these weren't issued as Ellington records. The most prominent of his sidemen -- Johnny Hodges, Cootie Williams, Barney Bigard -- were listed as bandleaders; on one session, the trumpeter Rex Stewart, new to the Ellington organization, was drafted as leader. (He ended up spending nine years with the band.) Why did this happen? To keep great, underpaid, underrecognized musicians with him for the long haul, Ellington needed strong diplomatic skills. And, it seems, making cheaper list-price records that could be aimed more directly at jukeboxes was also a factor. A hit kept the experiment going: "Caravan," from 1936, the first and very widely heard version of it.

Ellington's music tends to be consumed on CD these days either by canonical collections of his early music or by his later, more carefully programmed LPs; this is a giant serving of early work, with unreleased alternate takes, offering the real truth from a great period of a great band.

J.J. Johnson - The Complete Columbia J.J. Johnson Small Group Sessions (7 CD, 1996/FLAC)

 This seven-CD limited-edition box set from Mosaic is another mind-boggling collection. The masterful trombonist J.J. Johnson recorded steadily for Columbia during the 1956-61 period, heading groups that ranged from quartets to sextets that performed solid hard bop. Johnson is joined on various selections by tenors Bobby Jaspar (doubling on flute) and Clifford Jordan; cornetist Nat Adderley; the young trumpeter Freddie Hubbard; pianists Hank Jones, Tommy Flanagan, Cedar Walton, and Victor Feldman; bassists Percy Heath, Wilbur Little, Paul Chambers, Spanky DeBrest, Arthur Harper, and Sam Jones; and drummers Elvin Jones, Max Roach, Albert "Tootie" Heath, and Louis Hayes. The music was originally issued on nine LPs; plus, there are 21 previously unreleased selections. Johnson's high-quality and consistently inventive playing is quite impressive, making this box a true must for his greatest fans. 

Fletcher Henderson - A Study in Frustration (3 CD, 1994/FLAC)

 This four-LP set, which is now also available as a three-CD box, is easily the definitive Fletcher Henderson package. Between 1923-38, Henderson's orchestra was one of the finest swing bands in the world, and during 1923-27 (until Duke Ellington's emergence) it was the first and the best. The arrangements of Don Redman in the early days set the pace for jazz; Benny Carter and Horace Henderson also wrote some important charts before Henderson himself finally developed into a major arranger in 1932. This Columbia set is not complete, but it includes 64 selections, at least 60 of them gems. This essential box (which contains three wonderful versions of "King Porter Stomp") belongs in everyone's jazz collection.

Jerome Richardson solo discography [1959-1997]

 

Jerome Richardson was always a talented jazz improviser coming out of the bop tradition, displaying individuality on each of his reeds. But because he spent most of his career as a studio musician, he often maintained a low profile in the jazz world.

Clifford Brown – The Complete Blue Note And Pacific Jazz Recordings (4 CD, 1995/FLAC)

 

This four-CD set has the exact same music as an earlier Mosaic five-LP box, but is highly recommended to those listeners not already possessing the limited-edition set. Trumpeter Clifford Brown is heard on the most significant recordings from the first half of his tragically brief career. Whether co-leading a date with altoist Lou Donaldson, playing as a sideman with trombonist J.J. Johnson, interacting with an all-star group of West Coast players, or jamming with the first (although unofficial) edition of Art Blakey's Jazz Messengers (a two-disc live performance with a quintet that also includes the drummer/leader, Donaldson and pianist Horace Silver), Brown is the main star. Highlights are many, including versions of "Brownie Speaks," Elmo Hope's "De-Dah," "Cherokee," "Get Happy," "Daahoud" and "Joy Spring." The attractive packaging, with its 40 pages of text and many rare pictures, is an added bonus. 

VA - Blue Note Explosion: African Rhythms (2 CD, 2008/FLAC)

 

A double CD collection of mainly hard bop recordings from between 1954 and 1970 that are described as "Afrocentric homages to a spiritual homeland".

Tal Farlow - The Complete Verve Sessions [7 CD, 2004/FLAC]

  

These recordings should establish Tal Farlow's standing as one of the best jazz guitarists of all time. Farlow (1921-1998) wasn't consistently active as a performer throughout much of his adult life. In fact, his reputation is founded mainly on his recorded and live work from the Fifties, after which he appeared on the scene only intermittently until his death.

This 7-CD collection spanning 1951-59 is more than enough to solidify his legacy. Farlow's career began slowly. As a teenager he picked up tips from his father, an amateur musician, but otherwise, was self-taught. Originally, he drew inspiration from piano titan Art Tatum, especially Tatum's harmonic conception and use of substitute chords. Then he was fascinated by Charlie Christian playing hornlike lines with an electric guitar for Benny Goodman. He built his own electric guitar and played frequently with local dance bands, influenced by Lester Young and later Charlie Parker and Dizzy Gillespie. Farlow played gigs in New York as early as 1947 and was with vibist Red Norvo from 1950 to '53. He began recording with Norvo in the early Fifties, and the first tracks on this set are with Red, playing interesting arrangements of "Tenderly," "I Remember You," and "Skylark." The Norvo trio was an early chamber jazz band. Like it, Farlow relied on standards in his repertoire. Farlow sounds fine here; he'd already assimilated his influences and developed a unique style. Perhaps the easiest way to identify Farlow was by his amazing chops. He played rich lines even at very fast tempos, which most guitarists could barely make. Along the way he developed techniques of his own; he was especially good at playing harmonics and used his thumb in a manner similar to Wes Montgomery. (They came upon this technique independent of each other.) Here Farlow mostly plays in trio and quartet settings with bass, piano, and drums accompaniment. He's astounding. No matter how fast the tempos, he improvises lines loaded with fresh ideas. He brings all registers of the guitar into play stimulatingly and functions very well as an accompanist. On a few selections he performs admirably on acoustic guitar.