01. Blue'n Boogie (Theme) [01:26]
02. Blowin' The Blues Away [01:58]
03. 'Deed I Do [02:39]
04. I Wanna Talk About You [03:18]
05. Blue'n Boogie (Theme) 1 [00:45]
06. Blue'n Boogie (Theme) 2 [00:47]
07. Together [04:00]
08. Mean To Me [04:26]
09. Without A Song [04:15]
10. Mr. Chips [03:00]
11. Blue 'n' Boogie (Theme) 3 [00:55]
12. Blue 'n' Boogie (Theme) 4 [01:21]
13. Air Mail Special [03:51]
14. Don't Blame Me [03:33]
15. If That's The Way You Feel [03:42]
16. Blue 'n' Boogie (Theme) 5 [01:13]
17. Blue 'n' Boogie (Theme) 6 [01:11]
18. Opus X [02:38]
19. Love Me Or Leave Me [04:25]
20. One O'Clock Jump [01:38]
21. Lonesome Lover Blues [02:47]
22. A Cottage For Sale [02:46]
23. I Love The Rhythm In A Riff [02:48]
24. Last Night [02:59]

Alto Saxophone – Bill Frazier, Albert "Budd" Johnson, Jimmy Powell, John Cobbs, John Jackson, Sonny Stitt
Baritone Saxophone – Leo Parker,  Elman "Rudy" Rutherford,  Teddy Cypron 
Bass – Oscar Pettiford, Tommy Potter 
Drums – Art Blakey , Rossiere "Shadow" Wilson
Guitar – Connie Wainwright
Piano – Clyde Hart, John Malachi, Richard Ellington
Tenor Saxophone – Arthur Sammons, Dexter Gordon , Gene Ammons ,Thomas Crump, Wardell Gray 
Trombone – Alfred "Chippy" Outcalt, Claude Jones, Gerald Valentine, Howard Scott, Taswell Baird, Trummy Young, Walter Knox 
Trombone [Valve Trombone] – Billy Eckstine 
Trumpet – Al Killian, Dizzy Gillespie, Fats Navarro, Freddie Webster, Gail Brockman, Marion "Boonie" Hazel, Raymond Orr, Maurice "Shorty" McConnell
Vocals, Conductor  – Billy Eckstine 

One of the most distinctive of all ballad singers, Eckstine was both a pivotal figure in the history of jazz (because of his commitment to bebop) and the first black singer to achieve lasting success in the pop mainstream. After winning a talent contest in 1930 by imitating Cab Calloway, Eckstine sang briefly with Tommy Myles’ band, before returning to college. On the recommendation of composer and tenor saxophonist Buddy Johnson he joined Earl Hines’ band in 1939 as singer and occasionally playing trumpet and in turn encouraged Hines to sign up Charlie Parker and Sarah Vaughan. Eckstine’s recordings with the band include ‘Stormy Monday Blues’ and his own ‘Jelly Jelly’. In 1943, he quit to go solo but in 1944 formed his own big band, a modern swing band committed almost exclusively to bebop, to the point where Eckstine’s stylized vocals regularly took second place to the playing of Dizzy Gillespie, Dexter Gordon, Art Blakey, Charlie Parker, Fats Navarro, Gene Ammons and Kenny Dorham, among others. The band was badly recorded and badly managed and in 1947 Eckstine folded it to go solo. However, the support Eckstine gave bop musicians at that time was crucial.

Even before folding his band, Eckstine had recorded solo to support it, scoring two million-sellers in 1945 with ‘Cottage for Sale’ and a revival of ‘Prisoner of Love’. Far more successful than his band recordings, though more mannered and pompously sung, these prefigured Eckstine’s future career. Where before black bands had played ballads, jazz and dance music, in the immediate post-war years they had to choose. Lacking an interest in the blues and frustrated by the failure of his big band, Eckstine, at first reluctantly, turned to ballads. Henceforth his successes would be in the pop charts.

In 1947, he was one of the first signings to the newly established MGM Records and had immediate hits with revivals of ‘Everything I Have Is Yours’ (1947), Richard Rodgers’ and Lorenz Hart’s ‘Blue Moon’ (1948), and Duke Ellington’s, Irving Mills and Juan Tizol’s ‘Caravan’ (1949). He had further success in 1950 with Victor Young’s theme song to ‘My Foolish Heart’ and a revival of the 1931 Bing Crosby hit, ‘I Apologize’. However, unlike Nat ‘King’ Cole who followed him into the pop charts, Eckstine’s singing, especially his exaggerated vibrato, sounded increasingly mannered and he was unable to sustain his recording success throughout the decade. His best record of the fifties was the thrilling duet with Sarah Vaughan, ‘Passing Strangers’, a minor hit in 1957.

Eckstine later concentrated on live appearances, regularly crossing the world, and recorded only intermittently. In 1967, he briefly joined Motown and in 1981 recorded the impressive ‘Something More’. ---vervemusicgroup.com

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01 I Apologise
02 My Foolish Heart
03 Blue Moon
04 As Long As I Live
05 Caravan
06 Fools Rush In
07 Everything I Have Is Yours
08 Life Is Just A Bowl Of Cherries
09 I Wanna Be Loved
10 How High The Moon
11 St. Louis Blues
12 April In Paris
13 Tenderly
14 Smoke Gets In Your Eyes
15 One For My Baby And One For The Road
16 Ill Wind
17 Laura
18 I Love You
19 Ev'ry Day I Fall In Love
20 I'm A Fool To Want You
21 Time On My Hands
22 Sophisticated Lady
23 Serenade In Blue
24 All The Things You Are

One of the most distinctive of all ballad singers, Eckstine was both a pivotal figure in the history of jazz (because of his commitment to bebop) and the first black singer to achieve lasting success in the pop mainstream. After winning a talent contest in 1930 by imitating Cab Calloway, Eckstine sang briefly with Tommy Myles’ band, before returning to college. On the recommendation of composer and tenor saxophonist Buddy Johnson he joined Earl Hines’ band in 1939 as singer and occasionally playing trumpet and in turn encouraged Hines to sign up Charlie Parker and Sarah Vaughan. Eckstine’s recordings with the band include ‘Stormy Monday Blues’ and his own ‘Jelly Jelly’. In 1943, he quit to go solo but in 1944 formed his own big band, a modern swing band committed almost exclusively to bebop, to the point where Eckstine’s stylized vocals regularly took second place to the playing of Dizzy Gillespie, Dexter Gordon, Art Blakey, Charlie Parker, Fats Navarro, Gene Ammons and Kenny Dorham, among others. The band was badly recorded and badly managed and in 1947 Eckstine folded it to go solo. However, the support Eckstine gave bop musicians at that time was crucial.

Even before folding his band, Eckstine had recorded solo to support it, scoring two million-sellers in 1945 with ‘Cottage for Sale’ and a revival of ‘Prisoner of Love’. Far more successful than his band recordings, though more mannered and pompously sung, these prefigured Eckstine’s future career. Where before black bands had played ballads, jazz and dance music, in the immediate post-war years they had to choose. Lacking an interest in the blues and frustrated by the failure of his big band, Eckstine, at first reluctantly, turned to ballads. Henceforth his successes would be in the pop charts.

In 1947, he was one of the first signings to the newly established MGM Records and had immediate hits with revivals of ‘Everything I Have Is Yours’ (1947), Richard Rodgers’ and Lorenz Hart’s ‘Blue Moon’ (1948), and Duke Ellington’s, Irving Mills and Juan Tizol’s ‘Caravan’ (1949). He had further success in 1950 with Victor Young’s theme song to ‘My Foolish Heart’ and a revival of the 1931 Bing Crosby hit, ‘I Apologize’. However, unlike Nat ‘King’ Cole who followed him into the pop charts, Eckstine’s singing, especially his exaggerated vibrato, sounded increasingly mannered and he was unable to sustain his recording success throughout the decade. His best record of the fifties was the thrilling duet with Sarah Vaughan, ‘Passing Strangers’, a minor hit in 1957.

Eckstine later concentrated on live appearances, regularly crossing the world, and recorded only intermittently. In 1967, he briefly joined Motown and in 1981 recorded the impressive ‘Something More’. --- vervemusicgroup.com

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A1 	Blowing The Blues Away 	
A2 	I Wanna Talk About You
A3 	Together
A4 	Mean To Me
A5 	Without A Song
A6 	Mr. Chips 	
B1 	Airmail Special 	
B2 	Don't Blame Me
B3 	If That's The Way You Feel
B4 	Opus X 	
B5 	Love Me Or Leave Me

Alto Saxophone – Bill Frazier, John Jackson
Baritone Saxophone – Leo Parker
Bass – Tommy Potter
Drums – Art Blakey
Guitar – Connie Wainwright
Piano, Arranged By – John Malachi
Tenor Saxophone – Gene Ammons
Tenor Saxophone, Arranged By – Budd Johnson
Trombone – Alfred "Chippy" Ourcalt, Howard Scott, Joe Baird
Trombone, Arranged By – Jerry Valentin
Trumpet – Fats Navarro, Gail Brockman, Marion "Boonie" Hazel, Shorty McConnell 
Trumpet, Valve Trombone – Billy Eckstine
Vocals - Billy Eckstine, Sarah Vaughan

In 1944, Eckstine formed his own big band and it became the finishing school for adventurous young musicians who would shape the future of jazz. Included in this group were Dizzy Gillespie, Dexter Gordon, Miles Davis, Art Blakey, Charlie Parker, and Fats Navarro, as well as vocalist Sarah Vaughan. Tadd Dameron, Gil Fuller and Jerry Valentine were among the band's arrangers. The Billy Eckstine Orchestra is considered to be the first bop big-band, and had Top Ten chart entries that included "A Cottage for Sale" and "Prisoner of Love". Both were awarded a gold disc by the RIAA. ---fredhallswingthing.com

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1. I Left My Hat In Haiti
2. My Foolish Heart
3. Imagination
4. Kiss Of Fire
5. Now It Can Be Told
6. I Apologize
7. Once
8. I Lost My Sugar In Salt Lake City
9. So Far
10. Jealousy
11. Everything I Have Is Yours
12. Strange Sensation
13. Because You're Mine
14. Sitting By The Window
15. Have A Good Time
16. Passing Strangers

Billy Eckstine - Trumpet, Vocals

Billy Eckstine's smooth baritone and distinctive vibrato broke down barriers throughout the 1940s, first as leader of the original bop big band, then as the first romantic black male in popular music. An influence looming large in the cultural development of soul and R&B singers from Sam Cooke to Prince, Eckstine was able to play it straight on his pop hits "Prisoner of Love," "My Foolish Heart" and "I Apologize." Born in Pittsburgh but raised in Washington, D.C., Eckstine began singing at the age of seven and entered many amateur talent shows. He had also planned on a football career, though after breaking his collar bone, he made music his focus. After working his way west to Chicago during the late '30s, Eckstine was hired by Earl Hines to join his Grand Terrace Orchestra in 1939. Though white bands of the era featured males singing straight-ahead romantic ballads, black bands were forced to stick to novelty or blues vocal numbers until the advent of Eckstine and Herb Jeffries (from Duke Ellington's Orchestra).

Though several of Eckstine's first hits with Hines were novelties like "Jelly, Jelly" and "The Jitney Man," he also recorded several straight-ahead songs, including the hit "Stormy Monday." By 1943, he gained a trio of stellar bandmates -- Dizzy Gillespie, Charlie Parker, and Sarah Vaughan. After forming his own big band that year, he hired all three and gradually recruited still more modernist figures and future stars: Wardell Gray, Dexter Gordon, Miles Davis, Kenny Dorham, Fats Navarro, and Art Blakey, as well as arrangers Tadd Dameron and Gil Fuller. The Billy Eckstine Orchestra was the first bop big-band group, and its leader reflected bop innovations by stretching his vocal harmonics into his normal ballads. Despite the group's modernist slant, Eckstine hit the charts often during the mid-'40s, with Top Ten entries including "A Cottage for Sale" and "Prisoner of Love." On the group's frequent European and American tours, Eckstine also played trumpet, valve trombone, and guitar.

Though he was forced to give up the band in 1947 (Gillespie formed his own bop big band that same year), Eckstine made the transition to string-filled balladry with ease. He recorded more than a dozen hits during the late '40s, including "My Foolish Heart" and "I Apologize." He was also quite popular in Britain, hitting the Top Ten there twice during the '50s -- "No One But You" and "Gigi" -- as well as several duet entries with Sarah Vaughan. Eckstine returned to his jazz roots occasionally as well, recording with Vaughan, Count Basie, and Quincy Jones for separate LPs, and the 1960 live LP No Cover, No Minimum featured him taking a few trumpet solos as well. He recorded several albums for Mercury and Roulette during the early '60s (his son Ed was the president of Mercury), and he appeared on Motown for a few standards albums during the mid-'60s. After recording very sparingly during the '70s, Eckstine made his last recording (Billy Eckstine Sings with Benny Carter) in 1986. He died of a heart attack in 1993. ---John Bush, Rovi

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