DUKE ELLINGTON AND HIS ORCHESTRA – 1927-1928 | The Classics Chronological Series – 542 (1990) FLAC (tracks+.cue), lossless

As usual with the Classics series, the music on this CD is released complete and in chronological order, covering the music originally released by several record labels but without including alternate takes. In the case of Duke Ellington, because he would frequently record the same song slightly rearranged on several occasions for different companies, there are multiple versions of some titles on this CD, but the alternate versions that he made for the labels have been left out. During the very important period covered by this disc, the Duke Ellington Orchestra (having recently found their sound) was hired by the Cotton Club as the house band and they hit the big time. Certainly it is obvious that they deserved fame since this set has classic versions of such songs as "Creole Love Call" (famous for being the first entirely wordless vocal, featuring Adelaide Hall), "Black and Tan Fantasy," their theme song "East St. Louis Toodle-Oo," "Jubilee Stomp," and other hot numbers. Featured along the way are such greats as trumpeter Bubber Miley, trombonist Joe Tricky Sam Nanton, and altoist Otto Hardwick. Scott Yanow    Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1932-1933 | The Classics Chronological Series – 626 (1992) FLAC (image+.cue), lossless

Not the best Classics disc of Ellington's 1920s and '30s work (look to the label's mid- to late-'30s titles), this 23-track round-up of the bandleader's 1932-1933 output still offers enough in the way of quality originals and stellar playing to keep most Duke enthusiasts happy. The first half contains the choicest selections, including such top-notch ensemble vehicles as Benny Carter's "Jazz Cocktail" (his arrangement is used, too) and superb Ellington charts like "Slippery Horn," "Blue Harlem," and "Lightnin'." The latter half does sag a bit with several vocal novelties featuring Ivie Anderson, the Mills Brothers, and Adelaide Hall, but the always excellent contributions of Johnny Hodges, Lawrence Brown, Barney Bigard, and Cootie Williams keep things in check. An enjoyable slice of early Ellingtonia that's may be best left to the more trench-friendly of early jazz lovers. Stephen Cook     Tracklist + Credits :

FATS WALLER – 1938 | The Classics Chronological Series – 913 (1996) FLAC (tracks+.cue), lossless

Fats Waller seems never to have suffered from seasickness. Every photograph and eyewitness account of his transatlantic nautical adventures indicates a strong constitution, unfazed by rough seas even if the rest of the passengers were hanging over the rails. When Waller invaded London in August 1938, a team of Anglo and European musicians were assigned the task of accompanying him through the grooves of six phonograph recordings. Known for the rest of time as "Fats Waller & His Continental Rhythm," this band hammered out one amazing performance after the next. "Don't Try Your Jive on Me" and "Ain't Misbehavin'" both feature the organ, cool at first but gradually gathering steam and finishing grandly with horns in the air. "Music, Maestro Please" is late-'30s sentimentality at its finest, with tinkling celeste and even a bit of romantic violin. After Dr. Jekyll goes off to mope behind the potted palms, Mr. Hyde bursts in on a riotous version of Slim Gaillard's "Flat Foot Floogie" and an alarming ode to disappointed hopes with the catchy title "Pent Up in a Penthouse." Here Waller threatens to "step out the window and turn left," a frightening proposition for anyone occupying a suite so many floors up from the street. Fats's maniacal treatment of "A-Tisket A-Tasket" surpasses even the original version, made famous by its composer Ella Fitzgerald. One week after this combustible session, Fats placed himself at the console of a pipe organ, that instrument so dear to his heart. It is a crying shame that no recordings were made when Waller was granted access to the organ of the Cathedral of Notre Dame in Paris. Fats later said he considered that to have been the greatest moment of his life. Back in London, the organist pointedly concentrated on spirituals, the music his father the Baptist preacher would have preferred. "Swing Low, Sweet Chariot" is gorgeous. Near the end the music, the song seems to become partially composed of light as Waller's fingers create swirling tides of heavenly tonalities. Before the session was over, Fats was given the opportunity to accompany the lovely Adelaide Hall, famous for her wordless vocal on Duke Ellington's original version of "Creole Love Call." Some music critics, unable to enjoy Hall's diva approach, insist that she was "not a jazz singer." This is a very odd assessment considering all the wonderful jazz recordings she made throughout her long life, much of which was spent in Scandinavia, where she always received respectful admiration. Here Fats teases her with quips that help to spice up a very sweet pair of love songs. Back in New York and bolstered by His Rhythm, Fats wrestled with his repertoire, still saddled with droopy titles like "I'll Never Forgive Myself." While "Two Sleepy People" is pleasant, it pales when compared with Waller's lusty V-Disc version of 1943. Here in the waning weeks of 1938, "You Look Good to Me" is the best of the vocal tracks, second only to the bouncy instrumental "Yacht Club Swing." arwulf arwulf
Tracklist + Credits :

ART TATUM – 1932-1934 | The Classics Chronological Series – 507 (1990) FLAC (tracks+.cue), lossless

This comprehensive CD contains Art Tatum's very first recording (a broadcast version of "Tiger Rag"), four selections in which he accompanies singer Adelaide Hall (along with a second pianist) and then his first 20 solo sides. To call his virtuosic piano style remarkable would be a major understatement; he has to be heard to be believed. His studio version of "Tiger Rag" may very well be his most incredible recording; he sounds like three pianists at once. Scott Yanow
Tracklist + Credits :

MILLS BLUE RHYTHM BAND – 1933-1934 | The Classics Chronological Series – 686 (1993) FLAC (tracks+.cue), lossless

By 1933, the Mills Blue Rhythm Band was entering its prime period. On the third of Classics' five "complete" CDs by the orchestra, the music is excellent, except for four okay vocals by Chuck Richards. Trumpeter Ed Anderson emerged as a strong soloist during the period; trombonist J.C. Higginbottham joined the band for the final 11 of these 23 selections; the great trumpeter Henry "Red" Allen signed up in time for the last nine numbers; tenor saxophonist Joe Garland was featured on some good spots; and the rhythm section proves that it could hold its own with most others of the time. In addition, guest singer Adelaide Hall is heard on two previously unreleased numbers that were previously unreleased. Such charts as "Ridin' In Rhythm," "Harlem After Midnight" (heard in two versions), "The Stuff Is Here (And It's Mellow)," "The Growl" and "Swingin' In E Flat" are quite enjoyable. Recommended. Scott Yanow
Tracklist + Credits :

WILLIE LEWIS AND HIS ENTERTAINERS – 1932-1936 (1995) The Classics Chronological Series – 822 | FLAC (tracks+.cue), lossless

Willie Lewis invaded Europe in 1925 as a member of Sam Wooding's explosive jazz orchestra, making hot records and stunning audiences throughout Berlin, Barcelona, and Paris. When Wooding's organization disintegrated, Lewis returned to New York in 1931 and assembled a group of musicians for the purpose of a brief European tour the following year. Willie Lewis & His Entertainers played the Merry Grill in Brussels, and made one wild phonograph recording. A 13-piece orchestra composed almost entirely of European musicians and augmented with a vaudevillian vocal quartet (including Lewis himself) presents "Who Taught You That?" This is funny stuff, something like the frantic singing heard on certain records by Sam Wooding, Fats Waller & His Buddies, or Bix Beiderbecke with Paul Whiteman. The rest of the material on this disc was recorded in Paris following Lewis' return to Europe in 1934, and constitutes a grab bag of Afro-American musical styles blended with popular music of the day. "Nagasaki" features another version of Lewis' vocal quartet and a hot solo by clarinetist Jerry Blake. Joe Hayman leads the band in singing "I Can't Dance (I Got Ants In My Pants)," his high voice anticipating the style of Louis Jordan. As if to purposefully present a wide range of Afro-American culture, two spirituals are sung a cappella. "Ezekiel Saw the Wheel" is particularly satisfying. Six records cut in January of 1936 find Lewis leading a smooth dance band very much in the manner of Jimmie Lunceford. With arrangements and trumpet/saxophone work by Benny Carter, a smooth vocal by bassist June Cole on "Stay Out of Love," and tasteful embellishments by Herman Chittison on piano and celeste, this is mid-'30s big band dance music at its finest. Four selections feature vocalist and professional stripper Joan Warner singing bouncy French pop melodies. At the heart of this CD lie two magnificent recordings waxed on April 28, 1936: Herman Chittison's arrangement of "Stompin' at the Savoy" with fine trumpeting from Bill Coleman, and Fletcher Henderson's arrangement of "Christopher Columbus" -- a masterpiece of swing. Next come two romantic numbers with pokey vocals by Willie Lewis and Alice Mann, and a pair of theatrically charged presentations by Adelaide Hall, a lovely woman who had made great records with Duke Ellington and Art Tatum, would soon record with Fats Waller in London, and was eventually to settle for the rest of her life in Scandinavia. For those who crave sophisticated sounds while practicing calisthenics, this remarkably varied disc ends with a two-part exercise record narrated in French, with musical accompaniment by the very classy Willie Lewis & His Entertainers. arwulf arwulf   

Tracklist :
 1 Who Taught You That? 2:48
Willie Lewis
2 Nagasaki 2:41
Mort Dixon / Harry Warren
3 I Can't Dance (I Got Ants in My Pants) 2:44
Charlie Gaines / Clarence Williams
4 Who'll Be a Witness 2:06
Traditional
5 Ezekiel 2:34
Traditional
6 I've Got a Feeling You're Fooling 3:20
Andy Razaf / Fats Waller
7 Stay Out of Love 3:17
Brent Gerlach
8 Rhythm Is Our Business 2:43
Sammy Cahn / Saul Chaplin / Jimmie Lunceford
9 Just a Mood 3:29
Benny Carter / Clarence Williams
10 All of Me 3:18
Gerald Marks / Seymour Simons
11 Stardust 3:14
Hoagy Carmichael / Mitchell Parish
12 Etre Parisienne 3:15
Marc Cab / Henri Varna
Willie Lewis feat: Joan Warner
13 Le Coo-Coo-Coo 2:32
Marc Cab / Henri Varna
Willie Lewis feat: Joan Warner
14 Magie de la Danse 3:19
Marc Cab / Henri Varna
Willie Lewis feat: Joan Warner
15 Mon Proces 3:31
Marc Cab / Henri Varna
Willie Lewis feat: Joan Warner
16 Stompin' at the Savoy 3:17
Benny Goodman / Andy Razaf / Edgar Sampson / Chick Webb
 17 Christopher Columbus 3:22
Chu Berry / Andy Razaf
 18 I'm Shooting High 3:13
Ted Koehler / Jimmy McHugh
 19 Lost 2:58
Johnny Mercer / Phil Ohman
 20 Alone 3:11
Nacio Herb Brown / Arthur Freed
 21 Say You're Mine 2:43
Willie Lewis
22 Au Rythme du Jazz: Culture Physique 1ere Partie  2:46
Irving Berlin
 23 Au Rythme du Jazz: Culture Physique 2eme Partie
Irving Berlin