4 3 2 1 Swing

Jazz in Paris: Swing 48 collects some of Django Reinhardt's best electric guitar performances from the late '40s, including "Pêche à la Mouche," "Minor Blues," "Night and Day," and "Swing 48." These lively numbers are balanced with quieter but no less inventive tracks such as "For Sentimental Reasons" and "I'm Confessin' (That I Love You)." Two takes on "Blues for Barclay" round out this compact collection, which may not be as thorough an exploration of this part of Reinhardt's career as Peche à la Mouche, but still offers a taste of his electric, bop-influenced years.

Swing This, Baby!, Vol. 2 concentrates on the sort of ironic swing-with-a-smirk that made up a not inconsiderable portion of that particular mid- to late-'90s retro craze. It does have "Jump, Jive An' Wail," but not the original by Louis Prima or the hit cover by the Brian Setzer Orchestra but rather a version by the Crescent City Maulers; it's good, but not quite up to the level of the former two. Other groups present include Hipster Daddy-O and the Handgrenades, the Atomic Fireballs, the Ray Gelato Giants, the Dino Martinis, and Blue Plate Special, among many others.

While he makes his fame and fortune cutting blues-rock, guitarist Duke Robillard periodically issues albums of stylish, restrained, subtly swinging jazzy material. This date includes guest appearances from swing-influenced contemporary instrumentalists such as tenor saxophonist Scott Hamilton and guitarist Chris Flory, who teams with Robillard on "Glide On" for some excellent twin guitar fireworks. Otherwise, it's Jim Kelly who matches licks with Robillard on "Jim Jam" and "What's Your Story, Morning Glory." It's relaxed, elegant music, with just enough grit to keep things interesting.

Jumping With the Big Swing Bands collects various swing-era tracks by such popular dance band leaders as Louis Prima, Jimmie Lunceford, and Harry James. Included here are such rare cuts as Lunceford's "Sit Back and Ree-Lax" and "Shut Out."

This volume of the Classics Django Reinhardt chronology was expressly dedicated by the producers to the memory of Philippe Brun, a fine and forceful trumpeter whose primary inspiration was Louis Armstrong. Brun, who passed away in 1994, seems to have recorded regularly with Django and company. In addition to a fascinating version of Larry Clinton's "Whoa Babe" - made famous among jazz fans after Lionel Hampton recorded it with Johnny Hodges and Cootie Williams in April 1937 - Brun's two essays on the blues are honest and subtle, while his "College Stomp" is a fine example of Parisian big-band swing…

Most jazz musicians are also travellers. Their places of work are the clubs and festivals of the world, so they are always on the go. Echoes of Swing, however, has another dimension: This quartet is also on a journey through time, going back to classic jazz from the 20’s to the 50’s, bringing it into the present day and shaping it for the future. This “tour de force” has been going on for 20 years. A reason then to celebrate, which is perhaps best done by re-tracing the journey, reviving memories of things experienced, and looking at all that travelling involves.

As the title implies, this is very much a swing set. Pianist Dick Hyman (a master of all pre-bop styles) has little difficulty emulating Teddy Wilson, Art Tatum and Count Basie (among others) plus his own style in an octet also featuring trumpeter Joe Wilder, trombonist Urbie Green, altoist-clarinetist Phil Bodner, baritonist Joe Temperley, rhythm guitarist Bucky Pizzarelli, bassist Milt Hinton, drummer Butch Miles and (on three tunes) altoist Frank Wess. The opening and closing numbers are ad-lib blues both titled "From the Age of Swing"; sandwiched in between are ten swing-era standards plus a couple of obscure Duke Ellington items. Among the highlights are "Topsy," "Them There Eyes," "Rose Room" and "Mean to Me." No real surprises occur, but mainstream fans should like this swinging set.