Jatp

Nat King Cole & Friends - Riffin': The Decca, JATP, Keynote and Mercury Recordings (1940-46) {3CD Verve Limited Edition 2010}
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© 1940-46, 2010 Verve / Hip-O-Select | B0013384-02
Jazz / Jazz Vocals / Piano / Traditional Pop

There’s much more to Nat King Cole than you know. Nat was surely a smooth singer and a gentle swinger. But he was also a consummate jazz piano player who recorded secretly as a sideman for Keynote and Mercury – using amusing pseudonyms – even as he rose to fame recording hit after hit for Capitol Records. Riffin’: The Decca, JATP, Keynote and Mercury Recordings, a 3-CD box set on Hip-oSelect.com’s Verve Select imprint, features Nat backing his many friends in the 1940s, as well as his original King Cole Trio singles on Decca – a total of 53 tracks significantly restored and remastered, and housed in a beautiful 7 3/8” square box set with a 30-page book stuffed with rare photos, a brilliant essay by David Ritz, detailed session notes and reproductions of the original releases’ artwork, from 78 RPM labels to 10-inch LP covers and much more.

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.

JATP concerts from the 1940s were documented in 1998 on a 10-CD Verve boxed set. But until now, the 1950s concerts have been passed over for a retrospective. In fact, since the CD era began very little of the material from that span has been available at all.

This set contains some of the hottest JATP sessions from 1944 through 1953.
J.J.Johnson, Shorty Sherock, Dizzy Gillespie, Al Killan, Buck Clayton, Billie Holiday, Roy Eldridge, Harry 'Sweets' Edison, Charlie Parker, Oscar Peterson, Coleman Hawkins and Gene Krupa.

Charlie Parker - Bird: The Complete Charlie Parker On Verve (1946-1954) {2005 10CD Box Set Verve-Universal 983 3382}
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© 1949-54, 2005 Verve / Universal Music Italia Srl | 983 3382
Jazz / Bop / Small Group / Big Band / Saxophone

As a leader, Charlie Parker recorded for Savoy and Dial during 1945-1948 and then for Verve exclusively (at least in the studios) during 1949-1954. This remarkable ten-CD box set, which adds quite a bit of material to an earlier ten-LP set, contains all of these recordings plus Bird's earlier appearances with Jazz at the Philharmonic. The JATP jams are highlighted by Parker's perfect solo on "Oh Lady Be Good," a ferocious improvisation on "The Closer," and a solo on "Embraceable You" that tops his more famous studio recording. In addition, this box has all of the "Bird and Strings" sides, his meetings with Machito's Cuban orchestra, the 1950 session with Dizzy Gillespie and Thelonious Monk, small-group dates (including a 1951 meeting with Miles Davis), odd encounters with voices and studio bands, the famous "Jam Blues" with fellow altoists Johnny Hodges and Benny Carter, and his final recordings, a set of Cole Porter tunes. The fact-filled 34-page booklet is also indispensable. Highly recommended.

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. 3, "Lover Man", 1946-1947 (2011) {3CD Set Frémeaux & Associés FA1333}
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© 1946-47, 2011 Frémeaux & Associés | FA 1333
Jazz / BeBop / Bop / Saxophone

When Bird left New York he was a king, but out in Los Angeles he was just another broke, weird, drunken nigger playing some strange music. "Los Angeles is a city built on celebrating stars and Bird didn’t look like no star". -Miles Davis. The aim of 'The Complete Charlie Parker', compiled for Frémeaux & Associés by Alain Tercinet, is to present (as far as possible) every studio-recording by Parker, together with titles featured in radio-broadcasts. Private recordings have been deliberately omitted from this selection to preserve a consistency of sound and aesthetic quality equal to the genius of this artist.

Various Artists - Jazz At The Hollywood Bowl (1956) {2CD Hip-O Select-Verve B0015738-02 rel 2011}
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© 1956, 2011 Hip-O Select / Verve | B0015738-02
Jazz / Cool / Bop / Swing

This double LP was the first jazz concert ever recorded at the Hollywood Bowl (and only the second one held at that L.A. institution). Although not an official Jazz at the Philharmonic concert, it has the same basic format and was also produced by Norman Granz. Trumpeters Roy Eldridge and Harry "Sweets" Edison, tenors Flip Phillips and Illinois Jacquet, the Oscar Peterson Trio and drummer Buddy Rich all jam on "Honeysuckle Rose" and "Jumpin' at the Woodside" and there is also a ballad medley and a drum solo by Rich. In addition the Oscar Peterson Trio plays two numbers, the remarkable pianist Art Tatum (in one of his final appearances) has four, Ella Fitzgerald sings six songs (including a scat-filled "Airmail Special") and collaborates with Louis Armstrong on two others. For the grand finale nearly everyone returns to the stage for "When the Saints Go Marching In" which Armstrong sings and largely narrates, cheerfully introducing all of the participants. This is a historic and very enjoyable release featuring more than its share of classic greats.

By sheer coincidence, this album was recorded a few months before and released just one month after the 1987 stock market crash; hence the upticking curve on the graph depicted on the jacket became a positive antidote of sorts to the financial screwups of the time. But without even seeing the jacket, one is always aware of the good vibes these tenor players generate in these small-combo contemporary swing sessions. Already in his 70s, Flip still plays with mature, husky soul, a slightly wailing upper register, and a feeling for space, while Hamilton's busier, directly booming tone becomes a neutral foil. Of the eight tunes, five of them are by Phillips, and the two rarely miss an opportunity to trade riffs good-naturedly in a friendly JATP manner. Good supporting cast, too, with guitarist Chris Flory making his mark as the ghost of Charlie Christian peers over the music stand.