Founded in 1950 by brothers Maynard and Seymour Solomon, Vanguard Records built up a catalogue of some of the most authentic collections of folk, blues, and jazz during its existence. By 1953, the label was under the direction of John Hammond, the man who introduced to American suburbia the likes of Benny Goodman, Billie Holiday, Charlie Christian, Count Basie all the way up to Bob Dylan and Bruce Springsteen. This limited edition 7 cd set reflects Hammond’s musical dna which was Kansas City Swing. And, while not all of the musicians come from the state of Tom Pendergast, the style, solos and pulse is always abundant. This, in Hammond’s worldview, I what jazz is essentially all about. Anyone willing to argue?
The small group sessions, collected during the Eisenhower years, includes a smoking septet led by trombonist Vic Dickenson along with Sir Charles Thompson/p, Edmond Hall/cl and Basie-ite Walter Page/b, with tunes like “Everybody Loves My Baby” and “Sir Charles At Home” radiant in j0y. Thompson himself leads a small combo with Basie alumni Joe Newman/tp and Benny Powell with “Bop This” and Coleman Hawkins jumps in for a gorgeous “It’s The Talk Of The Town”. Warm toned trumpeter Ruby Braff gets fluffy with Dickenson on ‘When You Wish Upon A Star” with the rhythm team of Nat Pierce/p, Walter Page/b and Jo Jones/dr flowing like the wind
Keeping with the 12th and Vine mode, Basie members take the lead on most sessions. Joe Newman brings in Atomic Band members Frank Wess and Frank Foster for “Blues For Slim” and charter trumpeter Buck Clayton teams with tenor saxist Buddy Tate for a hip “Love Is Just Around The Corner” and glowing “I Can’t Get Started”. Iconic drummer Jo Jones reunites with his classic rhythm team of Freddie Greene/g and Page for Lucky Thompson to take on Lester Young’s “Shoe Shine Boy” .
Most fun is blues shouter Jimmy Rushing, belting out red meat like “Goin’ To Chicago” and riding the 10 foot wave of “Boogie Woogie ( I May Be Wrong”, while rollicking with fellow Kansas City local pianist Pete Johnson for a heated “Roll “em Pete” and “Rock and Roll” that puts white boys like Elvis and Jerry Lee Lewis to shame.
Last of all is a gig at NYC’s Count Basie’s with Mr. Basie’s then current vocalist Joe Williams in molasses rich voice on “One Than One For My Baby” while Emmett Berry/tp and Dickenson close things up with a rocket launching “ Indiana”.
This collection captures an era when swing and 8 bar blues were in the marrow of every musician, completely unadulterated by rock and roll. The grooves and rivulets are irresistible, the solos all melodic without a hint of cacophony, and the melodies all memorable. This is the music that hooked a 19 year old college student bored with both the jarring sounds of punk rock and the sterile intellectualistic nihilism of progressive rock and heavy metal. It still sounds fresh, alive and vibrant. Where did we make a wrong turn?