Don Byas Chronological

All of the music on this CD was recorded by trumpeter Dizzy Gillespie in Paris during a one-month period in 1952. The first half of the set teams Gillespie with tenor saxophonist Don Byas, who had moved to Europe from the U.S. six years earlier. The sextet alternates swing standards with some boppish originals and Afro-Cuban jazz pieces. The performances are pretty concise, and one wishes that Gillespie and Byas had had opportunities to really stretch out and inspire each other. The final dozen selections mostly feature the trumpeter backed by a string orchestra with arrangements from Jo Boyer or Daniel White. The repertoire is comprised of swing tunes, but Dizzy's melodic statements are still pretty adventurous…

All of the music on this CD was recorded by trumpeter Dizzy Gillespie in Paris during a one-month period in 1952. The first half of the set teams Gillespie with tenor saxophonist Don Byas, who had moved to Europe from the U.S. six years earlier. The sextet alternates swing standards with some boppish originals and Afro-Cuban jazz pieces. The performances are pretty concise, and one wishes that Gillespie and Byas had had opportunities to really stretch out and inspire each other. The final dozen selections mostly feature the trumpeter backed by a string orchestra with arrangements from Jo Boyer or Daniel White. The repertoire is comprised of swing tunes, but Dizzy's melodic statements are still pretty adventurous…

All of the music on this CD was recorded by trumpeter Dizzy Gillespie in Paris during a one-month period in 1952. The first half of the set teams Gillespie with tenor saxophonist Don Byas, who had moved to Europe from the U.S. six years earlier. The sextet alternates swing standards with some boppish originals and Afro-Cuban jazz pieces. The performances are pretty concise, and one wishes that Gillespie and Byas had had opportunities to really stretch out and inspire each other. The final dozen selections mostly feature the trumpeter backed by a string orchestra with arrangements from Jo Boyer or Daniel White. The repertoire is comprised of swing tunes, but Dizzy's melodic statements are still pretty adventurous…

Here's an example of the Classics Chronological Series serving as a valuable tool for savoring and comprehending a temporal segment of one artist's personal and professional development. Over a span of 27 months, Louis Armstrong waxed 21 sides that appeared on three different record labels, beginning with a set of V-Discs cut at New York's Metropolitan Opera House on January 18, 1944. How interesting and exciting it is to hear Louis Armstrong, Barney Bigard, and Jack Teagarden in the company of Roy Eldridge, Coleman Hawkins, Art Tatum, Al Casey, Oscar Pettiford, and Sidney Catlett. The opening track, a five-minute version of Hawkins' "Mop! Mop!," constitutes thrilling proof that two generations of jazz musicians had plenty of stylistic common ground regardless of any imaginary divisions invented and imposed by jazz critics…

Here's an example of the Classics Chronological Series serving as a valuable tool for savoring and comprehending a temporal segment of one artist's personal and professional development. Over a span of 27 months, Louis Armstrong waxed 21 sides that appeared on three different record labels, beginning with a set of V-Discs cut at New York's Metropolitan Opera House on January 18, 1944. How interesting and exciting it is to hear Louis Armstrong, Barney Bigard, and Jack Teagarden in the company of Roy Eldridge, Coleman Hawkins, Art Tatum, Al Casey, Oscar Pettiford, and Sidney Catlett. The opening track, a five-minute version of Hawkins' "Mop! Mop!," constitutes thrilling proof that two generations of jazz musicians had plenty of stylistic common ground regardless of any imaginary divisions invented and imposed by jazz critics…

Here's an example of the Classics Chronological Series serving as a valuable tool for savoring and comprehending a temporal segment of one artist's personal and professional development. Over a span of 27 months, Louis Armstrong waxed 21 sides that appeared on three different record labels, beginning with a set of V-Discs cut at New York's Metropolitan Opera House on January 18, 1944. How interesting and exciting it is to hear Louis Armstrong, Barney Bigard, and Jack Teagarden in the company of Roy Eldridge, Coleman Hawkins, Art Tatum, Al Casey, Oscar Pettiford, and Sidney Catlett. The opening track, a five-minute version of Hawkins' "Mop! Mop!," constitutes thrilling proof that two generations of jazz musicians had plenty of stylistic common ground regardless of any imaginary divisions invented and imposed by jazz critics…

André Francis and Jean Schwarz, two of the greatest lovers and connoisseurs of jazz, have designed this chronological anthology which brings together the greatest rare or essential masterpieces in the history of jazz, with its greatest creators, from 1944 to 1951.

Various Artists - From Middle Jazz To Be-Bop (1952-1955) - La Grande Histoire Du Jazz Vol. 2 (2010) {Box 25CD - 50 of 100}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 10.8 Gb | MP3 @320 -> 5.07 Gb
Full Artwork @ 300 dpi (png) -> 783 Mb | 5% repair rar
© 1952-55, 2010 Le Chant du Monde | 574 1925.49
Jazz / Classic Jazz / Middle Jazz / Be-Bop

An epic 100 CD chronological documentation of the history of jazz music from 1898 to 1959, housed in four boxed sets. Each box contains 25 slipcase CDs, a booklet (up to 186 pages) and an index. The booklets contain extensive notes (Eng/Fr) with recording dates and line-ups. 31 hours of music in each box, totalling 1677 tracks Each track has been restored and mastered from original sources.

The original blues shouter found a way to meld some of Jimmy Rushing's rambling jazz phrasing with the low-down tone he naturally bellowed out to Kansas City audiences - sometimes while behind the bar serving drinks. And before hitting the charts with several early rock & roll hits, Big Joe Turner did bedrock work with such fine stride and boogie-woogie pianists as Pete Johnson, Freddie Slack, and Willie "The Lion" Smith. On Classics' 1941-1946 chronological sampler of Turner's early prime, these and other luminaries of the after-hours fraternity sympathetically back Turner over the course of 22 gems. A good chunk of the material finds Turner ideally framed by just a piano trio, with highlights including "Nobody in Mind" (Sammy Price is at the keys for this cut), "Little Bittie Gal's Blues," and "Blues on Central Avenue"…