One of the most exciting trumpeters to emerge during the swing era, Roy Eldridge's combative approach, chancetaking style and strong musicianship were an inspiration (and an influence) to the next musical generation, most notably Dizzy Gillespie. Although he sometimes pushed himself farther than he could go, Eldridge never played a dull solo!... [+] Read More

One of the most exciting trumpeters to emerge during the swing era, Roy Eldridge's combative approach, chancetaking style and strong musicianship were an inspiration (and an influence) to the next musical generation, most notably Dizzy Gillespie. Although he sometimes pushed himself farther than he could go, Eldridge never played a dull solo!

Roy Eldridge started out playing trumpet and drums in carnival and circus bands. With the Nighthawk Syncopators he received a bit of attention by playing a note-for-note recreation of Coleman Hawkins' tenor solo on "The Stampede." Inspired by the dynamic playing of Jabbo Smith (Eldridge would not discover Louis Armstrong for a few years), Roy played with some territory bands including Zack Whyte and Speed Webb and in New York (where he arrive in 1931) he worked with Elmer Snowden (who nicknamed him "Little Jazz"), McKinney's Cotton Pickers and most importantly Teddy Hill (1935). Eldridge's recorded solos with Hill, backing Billie Holiday and with Fletcher Henderson (including his 1936 hit "Christopher Columbus") gained a great deal of attention. In 1937 he appeared with his octet (which included brother Joe on alto) at the Three Deuces Club in Chicago and recorded some outstanding selections as a leader including "Heckler's Hop" and "Wabash Stomp." By 1939 Roy had a larger group playing at the Arcadia Ballroom in New York. With the decline of Bunny Berigan and the increasing predictability of Louis Armstrong, Eldridge was arguably the top trumepter in jazz during this era.

During 1941-42 Eldridge sparked Gene Krupa's Orchestra, recording classic versions of "Rockin' Chair" and "After You've Gone" and interacting with Anita O'Day on "Let Me Off Uptown." The difficulties of travelling with a White band during a racist period hurt him as did some of the incidents that occurred during his stay with Artie Shaw (1944-45) but the music during both stints was quite memorable. Eldridge can be seen in several "soundies" (short promotional film devoted to single songs) of this era by the Krupa band, often in association with O'Day, including "Let Me Off Uptown" and "Thanks for the Boogie Ride." He is also very prominent in the band's appearance in Howard Hawks' Ball of Fire, in an extended performance of "Drum Boogie" mimed by Barbara Stanwyck, taking a long trumpet solo -- the clip was filmed soon after Eldridge joined the band in late April of 1941, and "Drum Boogie" was a song that Eldridge co-wrote with Krupa.

Eldridge had a short-lived big band of his own, toured with Jazz at the Philharmonic and then had a bit of an identity crisis when he realized that his playing was not as modern as the beboppers. A successful stay in France during 1950-51 restored his confidence when he realized that being original was more important than being up-to-date. Eldridge recorded steadily for Norman Granz in the 1950s, was one of the stars of JATP (where he battled Charlie Shavers and Dizzy Gillespie) and by 1956 was often teamed with Coleman Hawkins in a quintet; their 1957 appearance at Newport was quite memorable. The 1960s were tougher as recording opportunities and work became rarer. Eldridge had brief and unhappy stints with Count Basie's Orchestra and Ella Fitzgerald (feeling unnecessary in both contexts) but was leading his own group by the end of the decade. He spent much of the 1970s playing regularly at Ryan's and recording for Pablo and, although his range had shrunk a bit, Eldridge's competitive spirit was still very much intact. Only a serious stroke in 1980 was able to halt his horn. Roy Eldridge recorded throughout his career for virtually every label. ~ Scott Yanow, All Music Guide [-] Hide

One of the great swing/Dixieland cornetists, Ruby Braff went through long periods of his career unable to find work because his music was considered out-of-fashion, but his fortunes improved by the 1970s. A very expressive player who in later years liked to build his solos up to a low note, Braff's playing was instantly recognizable within... [+] Read More

One of the great swing/Dixieland cornetists, Ruby Braff went through long periods of his career unable to find work because his music was considered out-of-fashion, but his fortunes improved by the 1970s. A very expressive player who in later years liked to build his solos up to a low note, Braff's playing was instantly recognizable within seconds.

Braff mostly worked around Boston in the late '40s. He teamed up with Pee Wee Russell when the clarinetist was making a comeback (they recorded live for Savoy), and after moving to New York in 1953, he fit easily into a variety of Dixieland and mainstream settings. Braff recorded for Vanguard as a leader, and with Vic Dickenson, Buck Clayton, and Urbie Green. He was one of the stars of Buck Clayton's Columbia jam sessions, and in the mid-'50s worked with Benny Goodman. But, despite good reviews and occasional recordings, work was hard for Braff to come by at times. In the 1960s, he was able to get jobs by being with George Wein's Newport All-Stars and at jazz festivals, but it was not until the cornetist formed a quartet with guitarist George Barnes, in 1973, that he became more secure. Afterward, Braff was heard in many small-group settings, including duets with Dick Hyman and Ellis Larkins (he had first met up with the latter in the 1950s), quintets with Scott Hamilton, and matching wits with Howard Alden. He remained one of the greats of mainstream jazz until his death in 2003. ~ Scott Yanow, All Music Guide [-] Hide

Lester Young was one of the true jazz giants, a tenor saxophonist who came up with a completely different conception in which to play his horn, floating over bar lines with a light tone rather than adopting Coleman Hawkins' then-dominant forceful approach. A non-conformist, Young (nicknamed "Pres" by Billie Holiday) had the ironic experience in... [+] Read More

Lester Young was one of the true jazz giants, a tenor saxophonist who came up with a completely different conception in which to play his horn, floating over bar lines with a light tone rather than adopting Coleman Hawkins' then-dominant forceful approach. A non-conformist, Young (nicknamed "Pres" by Billie Holiday) had the ironic experience in the 1950s of hearing many young tenors try to sound exactly like him.

Although he spent his earliest days near New Orleans, Lester Young lived in Minneapolis by 1920, playing in a legendary family band. He studied violin, trumpet, and drums, starting on alto at age 13. Because he refused to tour in the South, Young left home in 1927 and instead toured with Art Bronson's Bostonians, switching to tenor. He was back with the family band in 1929 and then freelanced for a few years, playing with Walter Page's Blue Devils (1930), Eddie Barefield in 1931, back with the Blue Devils during 1932-1933, and Bennie Moten and King Oliver (both 1933). He was with Count Basie for the first time in 1934 but left to replace Coleman Hawkins with Fletcher Henderson. Unfortunately, it was expected that Young would try to emulate Hawk, and his laid-back sound angered Henderson's sidemen, resulting in Pres not lasting long. After a tour with Andy Kirk and a few brief jobs, Lester Young was back with Basie in 1936, just in time to star with the band as they headed East. Young made history during his years with Basie, not only participating on Count's record dates but starring with Billie Holiday and Teddy Wilson on a series of classic small-group sessions. In addition, on his rare recordings on clarinet with Basie and the Kansas City Six, Young displayed a very original cool sound that almost sounded like altoist Paul Desmond in the 1950s. After leaving Count in 1940, Young's career became a bit aimless, not capitalizing on his fame in the jazz world. He co-led a low-profile band with his brother, drummer Lee Young, in Los Angeles until re-joining Basie in December 1943. Young had a happy nine months back with the band, recorded a memorable quartet session with bassist Slam Stewart, and starred in the short film Jammin' the Blues before he was drafted. His experiences dealing with racism in the military were horrifying, affecting his mental state of mind for the remainder of his life.

Although many critics have written that Lester Young never sounded as good after getting out of the military, despite erratic health he actually was at his prime in the mid- to late-'40s. He toured (and was well paid by Norman Granz) with Jazz at the Philharmonic on and off through the '40s and '50s, made a wonderful series of recordings for Aladdin, and worked steadily as a single. Young also adopted his style well to bebop (which he had helped pave the way for in the 1930s). But mentally he was suffering, building a wall between himself and the outside world, and inventing his own colorful vocabulary. Although many of his recordings in the 1950s were excellent (showing a greater emotional depth than in his earlier days), Young was bothered by the fact that some of his white imitators were making much more money than he was. He drank huge amounts of liquor and nearly stopped eating, with predictable results. 1956's Jazz Giants album found him in peak form as did a well documented engagement in Washington, D.C., with a quartet and a last reunion with Count Basie at the 1957 Newport Jazz Festival. But, for the 1957 telecast The Sound of Jazz, Young mostly played sitting down (although he stole the show with an emotional one-chorus blues solo played to Billie Holiday). After becoming ill in Paris in early 1959, Lester Young came home and essentially drank himself to death. Many decades after his death, Pres is still considered (along with Coleman Hawkins and John Coltrane) one of the three most important tenor saxophonists of all time. ~ Scott Yanow, All Music Guide [-] Hide

Pianist, composer, and arranger Don Shirley was born in Kingston, Jamaica, on January 29, 1927. He began playing piano at age two and seven years later had developed his skills so rapidly, he was studying theory at the prestigious Leningrad Conservatory of Music. Shirley made his concert debut with the Boston Pops in 1945, while the following... [+] Read More

Pianist, composer, and arranger Don Shirley was born in Kingston, Jamaica, on January 29, 1927. He began playing piano at age two and seven years later had developed his skills so rapidly, he was studying theory at the prestigious Leningrad Conservatory of Music. Shirley made his concert debut with the Boston Pops in 1945, while the following year the London Philharmonic Orchestra performed one of his first major compositions. In the ensuing years between 1954 and 1968, Shirley performed as a soloist and as a member of several symphonies, including the Boston Pops, Detroit Symphony, Chicago Symphony, and the National Symphony Orchestra of Washington. Shirley also composed several organ symphonies, a piano concerto, two string quartets, and numerous pieces for piano. His musical language also encompassed tastefully mastered combinations of standards, show tunes, ballads, spirituals, and jazz performed with his own trio. Incredibly, Shirley also found time between performing and recording to obtain a doctorate of Music, Psychology, and Liturgical Arts. Throughout the '50s and '60s, Shirley released numerous albums on the Cadence label. In 1999, Collectables began reissuing several of those albums as two-for-one sets. ~ Al Campbell, All Music Guide [-] Hide

An excellent bandleader and accompanist for many vocalists, including Billie Holiday, Buck Clayton was a valued soloist with Count Basie Orchestra during the '30s and '40s, and later was a celebrated studio and jam session player, writer, and arranger. His tart, striking tone and melodic dexterity were his trademark, and Clayton provided several... [+] Read More

An excellent bandleader and accompanist for many vocalists, including Billie Holiday, Buck Clayton was a valued soloist with Count Basie Orchestra during the '30s and '40s, and later was a celebrated studio and jam session player, writer, and arranger. His tart, striking tone and melodic dexterity were his trademark, and Clayton provided several charts for Basie's orchestra and many other groups. Clayton began his career in California, where he organized a big band that had a residency in China in 1934. When he returned, Clayton led a group and played with other local bands. During a 1936 visit to Kansas City, he was invited to join Basie's orchestra as a replacement for Hot Lips Page. Clayton was also featured on sessions with Lester Young, Teddy Wilson, and Holiday in the late '30s. He remained in the Basie band until 1943, when he left for army service. After leaving the army, Clayton did arrangements for Basie, Benny Goodman, and Harry James before forming a sextet in the late '40s. He toured Europe with this group in 1949 and 1950. Clayton continued heading a combo during the '50s, and worked with Joe Bushkin, Tony Parenti, and Jimmy Rushing, among others. He organized a series of outstanding recordings for Columbia in the mid-'50s under the title Jam Session (compiled and reissued by Mosaic in 1993). There were sessions with Rushing, Ruby Braff, and Nat Pierce. Clayton led a combo with Coleman Hawkins and J.J. Johnson at the 1956 Newport Jazz Festival, then reunited with Goodman in 1957 at the Waldorf Astoria. There was another European tour, this time with Mezz Mezzrow. He appeared in the 1956 film The Benny Goodman Story and played the 1958 Brussels World Fair with Sidney Bechet. Clayton later made another European visit with a Newport Jazz Festival tour. He joined Eddie Condon's band in 1959, a year after appearing in the film Jazz on a Summer's Day. Clayton toured Japan and Australia with Condon's group in 1964, and continued to revisit Europe throughout the '60s, often with Humphrey Lyttelton's band, while playing festivals across the country. But lip and health problems virtually ended his playing career in the late '60s. After a period outside of music, Clayton once again became active in music, this time as a non-playing arranger, touring Africa as part of a State Department series in 1977. He provided arrangements and compositions for a 1974 Lyttleton and Buddy Tate album, and did more jam session albums for Chiaroscuro in 1974 and 1975. He also became an educator, teaching at Hunter College in the early '80s. Clayton led a group of Basie sidemen on a European tour in 1983, then headed his own big band in 1987 that played almost exclusively his compositions and arrangements. That same year Clayton's extensive autobiography Buck Clayton's Jazz World, with Nancy Miller-Elliot, was published. ~ Ron Wynn, All Music Guide [-] Hide

This limited-edition CD features small-group swing originally issued on the H.R.S. label from three different sessions in 1946. On one date, the great trumpeter Buck Clayton heads an octet with both Trummy Young and Dicky Wells on trombones; on another occasion he leads an unusual pianoless quartet that also includes clarinetist Scoville Brown,... [+] Read More

This limited-edition CD features small-group swing originally issued on the H.R.S. label from three different sessions in 1946. On one date, the great trumpeter Buck Clayton heads an octet with both Trummy Young and Dicky Wells on trombones; on another occasion he leads an unusual pianoless quartet that also includes clarinetist Scoville Brown, guitarist Tiny Grimes and bassist Sid Weiss. In addition, Clayton is heard as a sideman with Trummy Young's septet, which also features clarinetist Buster Bailey. Swing was going very much out of style at the time, and these somewhat obscure dates can be considered among the final small-group swing sessions of the classic era. More importantly, all of the principals sound creative and full of spirit. ~ Scott Yanow, All Music Guide [-] Hide

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With cooperation from the Verve and Columbia Legacy catalogs, the Ken Burns Jazz series on CD individually spotlights the musical excellence of 22 jazz originators whose careers and influence are explored in Burns' PBS documentary Jazz. Coleman Hawkins created the voice of the tenor saxophone in jazz, maintaining an open mind throughout his... [+] Read More

With cooperation from the Verve and Columbia Legacy catalogs, the Ken Burns Jazz series on CD individually spotlights the musical excellence of 22 jazz originators whose careers and influence are explored in Burns' PBS documentary Jazz. Coleman Hawkins created the voice of the tenor saxophone in jazz, maintaining an open mind throughout his career while playing an important part in the transition from swing to bebop. This compilation starts with Hawkins' early recordings as a member of the Fletcher Henderson Orchestra in 1926, and moves through "Picasso," "Body and Soul," and "The Man I Love," his solo triumphs in the '30s and '40s. The disc concludes with a number of Hawkins' companion dates in the late '50s and early '60s. Included are dates with Thelonious Monk (Hawkins gave Monk his first break on record, employing him when everyone else thought he was too weird), Ben Webster, Sonny Rollins, Duke Ellington, and Benny Carter, as well as Max Roach's powerful civil rights statement "Driva Man" from his We Insist date. While it's impossible to sum up the history of Coleman Hawkins on a single disc, the highlights here should make the listener interested enough to continue searching out more material. The Ken Burns Jazz series holds no new material the true aficionado. ~ Al Campbell, All Music Guide [-] Hide

Love is the central theme of this two CD compilation by Ruby Braff, as he explores memorable songs from the Great American Songbook and jazz standards, too. Twenty of the tracks were recorded in 1984 during a duo session with Canadian pianist Gene DiNovi. The cocky, outspoken cornetist silenced any critics every time he brought his horn to his... [+] Read More

Love is the central theme of this two CD compilation by Ruby Braff, as he explores memorable songs from the Great American Songbook and jazz standards, too. Twenty of the tracks were recorded in 1984 during a duo session with Canadian pianist Gene DiNovi. The cocky, outspoken cornetist silenced any critics every time he brought his horn to his lips, whether it was a show tune like "Says My Heart," an old chestnut such as "Sweethearts on Parade," or an oft-recorded war-horse like "Oh, Lady be Good!" DiNovi provides the perfect foil for Braff, never overplaying his hand, and adds friendly vocals to several songs. Braff and DiNovi each contributed enjoyable originals to the date as well. An outstanding Canadian rhythm section consisting of guitarist Ed Bickert, bassist Don Thompson, and drummer Terry Clarke joins Braff on the shorter 1979 session, again sticking to a collection of standards and jazz compositions with love as the central theme. This trio, known for their memorable work in several live sessions (from 1975) with alto saxophonist Paul Desmond, also provide consistently swinging support for Braff. The cornetist is at his most playful in his interpretation of Fats Waller's "I've Got a Feeling I'm Falling," while his approach to "My Funny Valentine" is anything but sentimental as he works his magic in a brisk arrangement. Any fan of Ruby Braff will be delighted with this reissue, which is also a worthwhile introduction to anyone not familiar with the cornetist's work. ~ Ken Dryden, All Music Guide [-] Hide

This is a pairing of two tenor saxophonists not known for their work on that instrument. Newsome played mostly alto in the Tonight Show Big Band, while Peplowski is a prominent clarinetist, with his own groups and with Mel Tormé. Together they play delightful mainstream jazz, mostly standards, in as mellifluous a manner as one could ever need.... [+] Read More

This is a pairing of two tenor saxophonists not known for their work on that instrument. Newsome played mostly alto in the Tonight Show Big Band, while Peplowski is a prominent clarinetist, with his own groups and with Mel Tormé. Together they play delightful mainstream jazz, mostly standards, in as mellifluous a manner as one could ever need. Consistent throughout, in instrumentation and musical stance, they trade melodies in riffs like good conversation, play beautifully in unison, and are respectful in not stepping on toes. Newsome is quite direct and forward, clipping off bebop phrases with precision and dexterity. Peplowski adds wisps of air to his solos, deft, meaningful, a bit staggered at times. Both are undeniably swinging, and the complementary underpinnings of large-body acoustic guitarist Mike Peters and economical yet simmering pianist Ben Aronov give the frontmen plenty of space to freewheel at will. The title track and Buck Clayton's "It's Sand Man" show the sextet at its cooperative best, while each tenor gets individual space -- Newsome with rhythm section on the poignant "Skylark," Peplowski during a tender version of "I'll Close My Eyes." There's some Ellington, Irving Berlin, a take on Horace Silver's "Opus de Funk," and a little wailing on "Lover, Come Back to Me," as well as an Aronov original amongst the 11 selections. Newsome and Peplowski are clearly having a good time. They perfectly represent the feeling of true partnership on this professional set of delightful classic jazz. Highly recommended. ~ Michael G. Nastos, All Music Guide [-] Hide