Trumpet Decca

Ella Fitzgerald - The Complete Decca Singles, Vol. 3: 1942-1949 (2017) {3CD Set, Verve Reissues, Digital Only Issue}
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© 1942-49, 2017 Decca / Verve Reissues / UMG | Digital Only Issue
Jazz / Vocal Jazz / Bop / Standards / Swing

Come on folks, this is ELLA FITZGERALD we're talking about. Ella from her early years, recording for Decca Records. Oh the songs on this collection! Oh the memories! Every single song is fabulous and if you like music, you need to own this collection. Not just Jazz, not just Swing, not just Pop - but all Ella, all GREAT. Highly recommended.

Jacques Loussier, of course, moved on from ''Play Bach'' a long time ago, although the wider musical audience no doubt has little recollection of him away from that context. Yet the pianist always had a rigorous intellectual grasp of his musical ends and means, even when the average album by his group was capable of selling half a million copies. In a sense, Bach was never the focal point of his musical discourses, although the great man's music remained the bedrock of Loussier's questings.

Louis Armstrong - The Decca Singles 1949-1958 (2016) {4CD Set, Verve Reissues, Digital Only Issue}
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© 1949-58, 2016 Decca / Verve Reissues / UMG | Digital Only Issue
Jazz / Vocal Jazz / Swing / Early Jazz / Big Band / Trumpet

What can I say about Louis that has not been said before. Yes this is a mix that includes many pop songs from the 1950s, but, as Billie Holiday did with so many average to less than that songs, Pops brings a quality to them through the sheer genius of his performances. His singing was always superb, and the sound of his trumpet still is the most glorious sound that God ever created. These sides, many of which I already had, will be frequent visitors to my ears.

Louis Armstrong - The Complete Decca Studio Recordings of Louis Armstrong and The All Stars (1993) {6CD Box Set Mosaic MD6-146 rec 1950-1958}
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© 1950-58, 1993 Decca / MCA Records / Mosaic Records | MD6-146
Jazz / Swing / Classic Jazz / New Orleans Jazz / Trumpet

This attractive limited-edition six-CD set features all of the studio small-group sides done by Armstrong in the 1950s for Decca. The first disc in particular is quite rewarding for it contains a full program by his 1950 sextet with trombonist Jack Teagarden, clarinetist Barney Bigard, and pianist Earl Hines. While the second disc has a variety of odds and ends (including the first version of "A Kiss to Build a Dream On" and two vocal duets with Gary Crosby), most of the final four CDs are from an ambitious project (originally titled "A Musical Autobiography") in which the great trumpeter/vocalist revisited many of the songs that he had recorded in the 1920s and '30s; some of the newer versions are actually better than the earlier ones.

Only Everything, David Sanborn’s second album for Decca, feels like part two of his debut for the label, 2008’s Here & Gone. That set was a tribute to Ray Charles and Hank Crawford – the alto saxophonist who played with Charles in the '50s and early '60s, and influenced Sanborn tremendously. That set featured loads of vocals and tightly arranged tunes that were indicative of the performances of Charles' bands. Only Everything delves into more of that territory, but this time, Sanborn reflects more heavily on Crawford and David “Fathead” Newman, another legendary Charles ace from roughly the same period.

Dave Pike - Manhattan Latin (1964) {Decca–Verve DL74568 rel 2004}
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© 1964, 2004 Decca / Verve / Universal | DL 74568
Jazz / Straight-ahead jazz / Latin Jazz / Vibes

Manhattan Latin captures Dave Pike in flux between the straight-ahead approach of his earlier sessions and the psychedelic pop-jazz of his efforts for MPS: a playful yet methodical immersion into pure, sunkissed groove, its artful assimilation of global rhythms and textures anticipates the direction of Pike's most memorable work. Recorded with an impressive lineup including flautist Hubert Laws, drummer Willie Bobo and then-unknown pianist Chick Corea, the album largely eschews familiar Latin standards in favor of Pike originals. What's impressive is that the end result seems completely organic, living up to the album's title in terms of both sophistication and flavor. Phenomenal cover, too.

Composer/arranger/pianist Billy Strayhorn led surprisingly few sessions throughout his career, and this was only his second full-length album. Actually, the main star is altoist Johnny Hodges (who goes here under the pseudonym of "Cue Porter"), while Strayhorn (who plays piano on the seven songs) only co-wrote two basic tunes ("Cue's Blue Now" and "Watch Your Cue") with Hodges and played a fairly minor role. Also in the septet are three fellow Ellingtonians (trumpeter Shorty Baker, trombonist Quentin Jackson and clarinetist Russell Procope), along with bassist Al Hall and drummer Oliver Jackson. The results are a fine mainstream session (which has been reissued on this CD) with highlights including "Gone With the Wind," the ten-minute "Cue's Blue Now" and "Rose Room."

Louis Armstrong - The Complete Decca Studio Master Takes 1940-1949 (2000) {2CD Definitive Records DRCD11166}
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© 1940-49, 2000 Definitive Records / Disconforme | DRCD11166 / DRCD11172
Jazz / Early Jazz / Big Band / Swing / Vocal Jazz / Trumpet

The 43 tracks that make up the first part of the The Complete Decca Studio Master Takes 1940-1949 of Louis Armstrong are remarkable not only for the outstanding performances they reflect, but for the many settings Armstrong recorded in during the era. While none of this material will come as a surprise to collectors, those who are starting to check out Armstrong's post-New Orleans period would do themselves a favor in scoping this collection because the Decca years, even more so than his long tenure with Verve, showcase Armstrong at the pinnacle of American popular music, and that that music happens to be jazz is even more revelatory.

Rich, smooth, creamy, and very, very warm, Renée Fleming's soprano pours all over the music of George Frideric Handel like melting chocolate. From the voluptuous Oh sleep, why dost thou leave me through the luxurious Endless pleasure to the opulent Calm thou my soul, Fleming's voice fulfills the heart and soul of Handel's music. Better yet, Fleming sounds like she really means it. Each aria has its own emotional character and each aria has its own musical personality.