1. King Porter Stomp (Benny Goodman and His Orchestra, 1935)
2. Blueberry Hill (Glenn Miller and His Orchestra, 1940)
3. Tuxedo Junction (Erskine Hawkins and His Orchestra, 1939)
4. 'S Wonderful (Artie Shaw and His Orchestra, 1945)
5. Minnie the Moocher (Cab Calloway and His Cotton Club Orchestra,
1933)
6. Cherokee (Charlie Barnet and His Orchestra, 1939)
7. I Can't Get Started (Bunny Berrigan and His Orchestra, 1937)
8. Never No Lament - Don't Get Around Much Anymore (Duke Ellington
and his Famous Orchestra, 1940)
9. Marie (Tommy Dorsey and His Orchestra, 1937)
10. Little Brown Jug (Glenn Miller and His Orchestra, 1939)
11. Robbin's Nest (Count Basie and His Orchestra, 1947)
12. Good Bait (Dizzy Gillespie and His Orchestra, 1947)
13. Night Train (Buddy Morrow and His Orchestra, 1952)
14. The Loop (The Sauter-Finegan Orchestra, 1954)
Considering the amount of recording that the big bands made between
the 20s and 50s it is not surprising that there is a vast number of
compilations being produced to-day and 'Big Band 'swingin' through
the night'' is typical. For the individual who wants a fair yet obviously
small cross-section of the era this adequately covers it.
Track 2, 'Tuxedo Junction' is immediately associated with Glenn Miller
but here it is performed by the Erskine Hawkins band where it originated
as a 'head arrangement.' One of the more engaging items is ''S'Wonderful'
arranged by the late Ray Conniff and featuring Shaw, Dodo Marmarosa
on piano and Herbie Steward, tenor saxophone. Even though novelty
numbers such as Cab Calloway's, 'Minnie the Moocher' have at times
enjoyed great popularity they leave me cold. 'Never No Lament' is
a pointer to how Billy Strayhorn's arranging provided another exciting
facet to the Ellington band. The Dorsey band's 'Marie' has fine solos
by Bunny Berigan, Dorsey and Bud Freeman and Basie's ' Robbin's Nest'
features one of the many acknowledged saxophone players of that period
- Paul Gonsalves.
As the disc progresses towards the music of the 50s, via the inevitable
Glenn Miller, the post-war sound really begins to emerge as shown
in Dizzy's rendition of Tad Dameron's 'Good Bait.' Having said that
the 'Loop' which according to the accompanying notes 'is a tribute
to the many great big bands in Chicago in the 30s' is typical of the
Sauter-Finegan quirky arrangements - and in saying that I have to
include Joe Venuto's xylophone playing.
This is an interesting compilation and, besides featuring the bands
as a whole, shows the diversity of the arrangers and obvious talent
of the individuals who played in them. Many, because of the demise
of the big bands, later went on to enjoy successful careers as solo
musicians.
Jack Ashby
CD Reviews
RCA Bluebird
