Peggy Lee - The Singles Collection (4 CD, 2002) [FLAC]

 Peggy Lee was a renaissance woman, a multi-talented singer and composer who achieved popular as well as critical success. Short of a complete recordings box set, The Singles Collection is the best Peggy Lee career anthology yet, and a big improvement over the oddly compiled and sequenced 1998 box set Miss Peggy Lee. The Singles Collection isn't complete -- Lee released hundreds of singles -- and it doesn't come close to compiling all of her hits (in fact, it doesn't even compile all of her Top Ten hits), but it does offer a chronological journey through her catalog from her early days with Benny Goodman and Bob Crosby all the way up to the '70s when she recorded for A&M. Although Capitol Records produced the box set, the selections include cuts from other labels, including Lee's Decca Records period. Nearly half of the box's 110 tracks are new to CD, and collectors will appreciate the glimpse into the studio afforded by a handful of bonus tracks that include false starts and studio chatter. Lee may have enjoyed commercial success with "ethnic" novelties ("Mañana" being the foremost example) and upbeat pop songs, but it is her interpretations of serious jazz and pop tunes that have made her a contender for the title of Best Vocalist of the 20th Century. The Singles Collection follows her artistic growth and demonstrates the breadth of her interpretive abilities, which gives a better picture of Lee's artistry than any single album or inferior anthology could do.

Fats Waller - Chronogical Classics 1922-1940 (10 CD/FLAC)

 

Fats Waller seems never to have suffered from seasickness. Every photograph and eyewitness account of his transatlantic nautical adventures indicates a strong constitution, unfazed by rough seas even if the rest of the passengers were hanging over the rails. When Waller invaded London in August 1938, a team of Anglo and European musicians were assigned the task of accompanying him through the grooves of six phonograph recordings. Known for the rest of time as "Fats Waller & His Continental Rhythm," this band hammered out one amazing performance after the next. "Don't Try Your Jive on Me" and "Ain't Misbehavin'" both feature the organ, cool at first but gradually gathering steam and finishing grandly with horns in the air. "Music, Maestro Please" is late-'30s sentimentality at its finest, with tinkling celeste and even a bit of romantic violin. After Dr. Jekyll goes off to mope behind the potted palms, Mr. Hyde bursts in on a riotous version of Slim Gaillard's "Flat Foot Floogie" and an alarming ode to disappointed hopes with the catchy title "Pent Up in a Penthouse." Here Waller threatens to "step out the window and turn left," a frightening proposition for anyone occupying a suite so many floors up from the street. Fats's maniacal treatment of "A-Tisket A-Tasket" surpasses even the original version, made famous by its composer Ella Fitzgerald. One week after this combustible session, Fats placed himself at the console of a pipe organ, that instrument so dear to his heart. It is a crying shame that no recordings were made when Waller was granted access to the organ of the Cathedral of Notre Dame in Paris. Fats later said he considered that to have been the greatest moment of his life. Back in London, the organist pointedly concentrated on spirituals, the music his father the Baptist preacher would have preferred. "Swing Low, Sweet Chariot" is gorgeous. Near the end the music, the song seems to become partially composed of light as Waller's fingers create swirling tides of heavenly tonalities. Before the session was over, Fats was given the opportunity to accompany the lovely Adelaide Hall, famous for her wordless vocal on Duke Ellington's original version of "Creole Love Call." Some music critics, unable to enjoy Hall's diva approach, insist that she was "not a jazz singer." This is a very odd assessment considering all the wonderful jazz recordings she made throughout her long life, much of which was spent in Scandinavia, where she always received respectful admiration. Here Fats teases her with quips that help to spice up a very sweet pair of love songs. Back in New York and bolstered by His Rhythm, Fats wrestled with his repertoire, still saddled with droopy titles like "I'll Never Forgive Myself." While "Two Sleepy People" is pleasant, it pales when compared with Waller's lusty V-Disc version of 1943. Here in the waning weeks of 1938, "You Look Good to Me" is the best of the vocal tracks, second only to the bouncy instrumental "Yacht Club Swing."

Benny Carter - Anthology : The Deluxe Collection (Remastered) [3 CD,2020/FLAC]

Benny Carter was a major figure in every decade of the 20th century since the 1920s, and his consistency and longevity were unprecedented. As an altoist, arranger, composer, bandleader, and occasional trumpeter, Carter was at the top of his field since at least 1928, and in the late '90s, Carter was as strong an altoist at the age of 90 as he was in 1936 (when he was merely 28). His gradually evolving style did not change much through the decades, but neither did it become at all stale or predictable except in its excellence. 

James "Blood" Ulmer discography [1977-2009]

Free jazz has not produced many notable guitarists. Experimental musicians drawn to the guitar have had few jazz role models; consequently, they've typically looked to rock-based players for inspiration. James "Blood" Ulmer is one of the few exceptions -- an outside guitarist who has forged a style based largely on the traditions of African-American vernacular music. Ulmer is an adherent of saxophonist/composer Ornette Coleman's vaguely defined Harmolodic theory, which essentially subverts jazz's harmonic component in favor of freely improvised, non-tonal, or quasi-modal counterpoint. Ulmer plays with a stuttering, vocalic attack; his lines are frequently texturally and chordally based, inflected with the accent of a soul-jazz tenor saxophonist. That's not to say his sound is untouched by the rock tradition -- the influence of Jimi Hendrix on Ulmer is strong -- but it's mixed with blues, funk, and free jazz elements. The resultant music is an expressive, hard-edged, loudly amplified hybrid that is, at its best, on a level with the finest of the Harmolodic school.

Duke Ellington - Never No Lament: The Blanton-Webster Band [3 CD, 2003]

Never No Lament: The Blanton-Webster Band is a 2003 three-disc compilation combining the master takes of all the recordings by Duke Ellington's Orchestra during the years of 1940 to 1942 with an additional nine tracks, including five alternative takes and four new masters. While essentially an expanded re-release of 1990s The Blanton–Webster Band, the packaging, sound and updated notes make this, according to Allmusic, "truly worth either an initial investment or reinvestment". All About Jazz: New York noted that these performances, from what is often considered "the band in its prime", "not only set the standard for big bands and jazz orchestras, but created an ideal near insurmountable to improve upon". The Penguin Guide to Jazz selected this compilation as part of its suggested "Core Collection."

Bassist Jimmy Blanton was only with the Ellington orchestra for two years, retiring in 1941 due to tuberculosis, and dying the following year at the age of 23. Despite this compilation's "Blanton-Webster Band" subtitle, Blanton does not appear on the final 17 tracks of the collection, having been replaced on bass by Alvin "Junior" Raglin. 

Anita O'Day - The Complete Anita O'Day Verve-Clef Sessions (9 CD, 2019) [FLAC]

 

This collection presents everything Anita O'Day recorded for Norman Granz' Clef and Verve labels, including her reunion with Gene Krupa in 1956, and her cameo number in "The Gene Krupa Story". Except that one track is missing - "Get Out Of Town", from the album "Anita O'Day Swings Cole Porter With Billy May", which was track 9 on disc 6 of the original Mosaic box set, is not here. Nevertheless, 197 tracks for just over a tenner is astonishing value. You can find a review of the music in this set here: Anita was a real jazz singer and her interpretations of the great American songbook are much more original than many of the time.

Stan Getz - The Complete Roost Recordings 1950-1954 [3CD, 1997/FLAC]

 

The Complete Roost Recordings is a 1997 compilation 3-CD set of sessions led by saxophonist and bandleader Stan Getz recorded for the Roost Records label between 1950 and 1954.The compilation includes material previously released on Getz's Roost LPs The Sound, The Getz Age, the two volumes of Stan Getz at Storyville and the album with guitarist Johnny Smith - Moonlight in Vermont along with alternate takes and previously unreleased performances.

Norah Jones discography [2002-2020] (FLAC)

 

Vocalist and pianist Norah Jones developed a unique blend of jazz and traditional vocal pop, with hints of bluesy country and contemporary folk, due in large part to her unique upbringing. The daughter of Ravi Shankar, Jones grew up in Texas with her mother. While she always found the music of Billie Holiday and Bill Evans both intriguing and comforting, she didn't really explore jazz until attending Dallas' Booker T. Washington High School for the Performing and Visual Arts. During high school, Jones won the Down Beat Student Music Awards for Best Jazz Vocalist and Best Original Composition in 1996, and earned a second Best Jazz Vocalist award in 1997. Putting her vocal talents on the back burner, Jones worked toward earning a degree in jazz piano at the University of North Texas for two years before accepting a friend's offer of a summer sublet in Greenwich Village during the summer of 1999.

(2002) Norah Jones - Come Away With Me (CD + Enhanced BonusCD, Limited Edition)

(2004) Norah Jones - Feels Like Home (Deluxe Edition)

(2007) Norah Jones - Not Too Late

(2009) Norah Jones - The Fall (Deluxe Edition)

(2010) Norah Jones -  ...Featuring

(2012) Norah Jones - Covers

(2012) Norah Jones - Little Broken Hearts (Deluxe Edition)

(2017) Norah Jones - Day Breaks

(2019) Norah Jones - Begin Again

(2020) Norah Jones - Pick Me Up Off The Floor

Dave Stryker - Blue to the Bone Vol. 1-4 (1996-2011/FLAC)

 

Dave Stryker (born March 30, 1957) is an American jazz guitarist. He has recorded over twenty-five albums as a leader and has been a featured sideman with Stanley Turrentine, Jack McDuff, and Kevin Mahogany.

Dave Stryker’s music is deeply rooted in blues, having performed with Jack McDuff in the 80s and Stanley Turrentine in the 90s. Dave’s special blend of jazz and blues culminated first time in 1996 in the form of “Blue To The Bone I”. Since then the project has become a popular on-going series.

Verve Jazz Masters series Vol. 21-30

 

 Jazz Masters is a series of mainly single artist compilations released by Polygram/Verve between 1994 and 1996. The compilations collect material that was originally released on Verve or on one of the labels that became part of the Polygram group. The 20th and 60th releases in the series were various artist collections.

VJM 21 - George Benson

VJM 22 - Billy Eckstine

VJM 23 - Gil Evans

VJM 24 - Ella Fitzgerald & Louis Armstrong

VJM 25 - Stan Getz & Dizzy Gillespie

VJM 26 - Lionel Hampton & Oscar Peterson

VJM 27 - Roland Kirk

VJM 28 - Charlie Parker Plays Standards

VJM 29 - Jimmy Smith

VJM 30 - Lester Young