Charlie Ventura

Tenor saxophonist Charlie Ventura (born Charles Venturo) was a byproduct of the Chu Berry/Coleman Hawkins methodology of gutsy swing and early bop improvisation. The Classics Chronological Series did the world an enormous favor when they reissued Ventura's earliest recordings as a leader and followed suit with this fascinating second volume of rare material. Back in Los Angeles during the spring of 1946, Ventura - still billed on record as "Charlie Venturo" – paired up with master clarinetist Barney Bigard in front of a rhythm quartet anchored by bassist Red Callender. Two of the four sides waxed on this occasion feature an unidentified male vocalist who sings wistful ballads without doing too much damage…

The main reasons to investigate the recordings of Charlie Ventura are of course his wonderful handling of the tenor saxophone and the excellent ensembles he led. Ventura's recordings were predominately instrumental in 1945 and 1946. As the decade drew to a close, singers dominated the recording industry and many bandleaders chose to feature more and more of them. The third volume of the complete recordings of Charlie Ventura illustrates this process in high relief. Four sides recorded for the National label in September of 1947 spotlight the vocal talents of Buddy Stewart, an able crooner who sounded best when bop scatting like a third horn alongside Ventura and trombonist Kai Winding on "East of Suez" and the dynamic "Eleven Sixty," a masterpiece of high-energy bop that Ventura had recorded in March of 1947 as "Stop and Go"…

Charlie Ventura & Flip Phillips - The Complete Verve/Clef Studio Sessions (1998) {6CD Box Set Mosaic MD6-182 rec 1947-1957}
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© 1947-57, 1998 Verve / Clef / Mosaic Records / PolyGram | MD6-182
Jazz / Bop / Cool / Mainstream Jazz / Saxophone

Although they were never major influences, both Flip Phillips and Charlie Ventura had their moments of fame and were entertaining and hard-swinging tenor saxophonists. This 1998 limited-edition six-CD box set from Mosaic is typically wondrous with quite a few little-heard gems included among the 116 selections (five previously unreleased, three of which are alternate takes). The first two CDs feature Charlie Ventura during 1951-1954, right after his "Bop for the People" band broke up.

Charlie Ventura and Bill Harris made their mark among fellow jazz musicians but both died in obscurity. The reappearance of these historic live performances from 1947 are important parts of their discography, most of them transcribed by collector Jerry Newman during gigs at the Three Deuces. Unlike 78 rpm discs of the era, the musicians get a chance to stretch out at length. Ventura's boppish tenor sax shows the influence of swingers like Coleman Hawkins and Ben Webster, yet he is clearly speaking a new language on the instrument. Harris is a bit more economical with his notes but no less effective an improviser. The rhythm section features pianist/arranger Ralph Burns, bassist Bob Leininger and the tragic but gifted drummer Dave Tough. While this isn't a complete compilation of their material from this period, it represents most of the highlights.

Charlie Parker - Jazz at the Philharmonic "1946" (1996) {Giants Of Jazz CD53107 rel 1996}
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© 1946, 1996 Giants Of Jazz / Promo Sound AG | CD 53107
Jazz / Bebop / Bop / Saxophone

The 1946 Jazz at the Philharmonic concerts were true all-star events. This CD compiles portions of two different evenings. The first track, from January, includes trumpeters Dizzy Gillespie, Al Kilian, and Howard McGhee and saxophonists Charlie Parker, Willie Smith, Charlie Ventura, and Lester Young in the front line. Young, having recently gotten out of the military service, is still not at full strength, with Parker and Gillespie taking charge in the rousing "Sweet Georgia Brown." McGhee takes Dizzy's place on the remaining January numbers.

Charlie Parker - Intégrale Charlie Parker, Vol. 2, "Now's The Time", 1945-1946 (2011) {3CD Set Frémeaux & Associés FA1332}
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© 1945-46, 2011 Frémeaux & Associés | FA 1332
Jazz / BeBop / Bop / Saxophone

The Frémeaux label have done an admirable job of compiling the complete chronological recordings of major artists such as Django Reinhardt, Louis Armstrong and Mahalia Jackson. Now they turn their attention to Charlie Parker. This three CD set covers an exciting period when Parker and fellow bebop pioneer Dizzy Gillespie were shaking up the jazz world, not just at gigs but with widely distributed 78s. Most of the tracks, recorded in New York and Los Angeles, feature both men, in the studio and on radio broadcasts. A young Miles Davis also makes an appearance.

Charlie Parker & Lester Young - The Complete JATP Performances (1999) {2CD Set, Definitive Records DRCD11146 rec 1946, 1949}
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© 1946, 1949, 1999 Definitive Records / Disconforme | DRCD11146
Jazz / Bop / Bebop / Saxophone

This double CD contains the entire sessions featuring jazz legends Charlie Parker and Lester Young from the first two Jazz at the Philharmonic concerts in 1946 and the final concert in 1949. These saxophonists appear alongside other masters of the genre: Roy Eldridge, Dizzy Gillespie, Flip Phillips, Charlie Ventura, Al Killian, and Howard McGhee. These are consistently engaging performances that captured these creative musicians sparking each other into one fiery jam session after another. Ella Fitzgerald makes an appearance as vocalist on "How High the Moon," which closes out this set.

Carl Fontana - The Fifties (2010) {Uptown UPCD 27-61 rec 1956-1960}
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© 1956-60, 2010 Uptown Records | UPCD 27.61
Jazz / Cool / Bop / Trombone

Trombonist Carl Fontana spent the early part of his career playing with a number of different big bands, including groups led by Lionel Hampton, Woody Herman, and Stan Kenton, the latter being the leader with whom he grew his reputation. Tiring of travel, he settled in Las Vegas playing commercial music for several decades (still taking time out for some brief tours with jazz bands), though he started leading jazz gigs and occasionally recording as a leader beginning in the '80s. This compilation comes from several different radio and television broadcasts plus some studio dates. The first set features Fontana leading a quintet with tenorist Vido Musso (a last-minute substitute for an injured Charlie Ventura).