From a label with no shortage of first-rate jazz material come this very attractive vocal sampler. Staying true to the Compact Jazz ethos, Best of the Jazz Vocalists favors quality over hits and comes with a budget price tag. The majority of songs are from the label's prime '50s and '60s run, including a cloud-bound "Summertime" by Helen Merrill and one of the all-time great versions of "If You Could See Me Now," compliments of Billy Eckstine. Continuing with this balancing act between the sexes, the collection also includes fine work by Bill Henderson, Ella Fitzgerald, Louis Armstrong, Abbey Lincoln, Jon Hendricks, Shirley Horn, and Anita O'Day; latter-day entries include Lincoln's "I've Got Thunder and It Rings" from her 1990 Verve debut and Horn's "I Got Lost in His Arms" from 1988's Close Enough for Love. Nicely wrapped up with Nina Simone's Afro-percussion clarion call "Come Ye," this Verve roundup works as the perfect primer for more adventurous trips through the label's fertile stores of essential jazz.

Most of Mel's recordings have come out on CD, but not these! In fact, most of these (recorded in London while he was on tour in the UK) were never issued at all in the U.S.: Limehouse Blues; Time Was; Hooray for Love; Let There Be Love; These Foolish Things; Danny Boy; Greensleeves, and more. The twenty tracks on this CD sound as fresh now as it was when it was first created over fifty years ago and serve as a wonderful tribute to the great musicians and singer who recorded them.

Up until he suffered a stroke at age 70 in 1996, singer Mel Tormé continued to improve with age and seemed to have inexhaustible energy. This four-CD set from Rhino does a fine job of covering Tormé's pre-Concord output, although the omission of his Concord work of 1986-1995 is unfortunate for that catalog contains many of Tormé's most exciting recordings. In general, the earlier selections (some of which were with his vocal group the Mel-Tones) feature Tormé on hip (for the period) swing tunes and ballads. Things greatly improve once the singer reaches the year 1975 and there are enough high points throughout the set to justify its purchase by Tormé's many fans. Three previously unreleased selections (best is "Walkin' Shoes" with Shorty Rogers in 1962) are a plus and the colorful 84-page booklet is quite definitive.

This collection of Artie Shaw big band recordings comes from his brief association with the Musicraft label. Having assembled and broken up several earlier units, this edition, heard in recordings made between 1945 and 1946, is more of an arranger's band than one that features many soloists, other than the leader. During this period of Shaw's career, he was constantly changing the instrumentation of his band and making personnel substitutions. Fellow Musicraft artist Mel Tormé and his group the Mel-Tones are added on some tracks, though this was a studio relationship exclusively and they were not a part of Shaw's organization. The innovative blend of strings, voices and brass in the swinging arrangement of "What Is This Thing Called Love" is the highlight of the vocal selections, along with an updated instrumental version of the clarinetist's earlier hit, "Begin the Beguine." The only reservation about this compilation is that several tracks are abruptly faded or even truncated.