FRANKIE TRUMBAUER AND HIS ORCHESTRA – 1927-1928 | The Chronogical Classics – 1188 (2001) FLAC (tracks+.cue), lossless

C-melody saxophonist Frankie Trumbauer is best remembered for the recordings he made in the late '20s with cornetist Bix Beiderbecke. Trumbauer's other lasting accomplishment was to inadvertently inspire Lester Young to develop an unusually subtle manner of handling the tenor saxophone. While most of this material may be found on various Beiderbecke-oriented compilations (the JSP box Bix & Tram is thriftily priced), there's nothing quite like having a Classics discography to organize one's cognition while following the trail of old records in precise chronological sequence. Informational details such as record labels, arranger credits, and recording dates are neatly presented for maximum clarity and comprehension. This first volume in the complete works of Frankie Trumbauer consists entirely of recordings made for the Okeh label between February 4, 1927, and January 20, 1928. The material ranges from archetypal masterpieces ("Singin' the Blues," "Ostrich Walk," "I'm Coming, Virginia," and "A Good Man Is Hard to Find") to marvelously stodgy milestones of timeworn pop music. "Sugar" -- not Maceo Pinkard's tune but a long-gone opus credited to Yellen & Ager -- is sung by a positively silly trio of comedians whereas "Just an Hour of Love" and "I'm Wonderin' Who" feature vaudeville-trained vocalist Irving Kaufman. Instrumentally speaking, there's never a dull moment. Adrian Rollini appears and disappears like a bass sax-toting will o' the wisp; Joe Venuti brandishes a fiddle and Eddie Lang plays both banjo and guitar, even appearing in a trio with Bix and Tram on "For No Reason at All in C" and Fats Waller's "Wringin' and Twistin'." Pee Wee Russell and Jimmy Dorsey each show up long enough to contribute their two bits, someone's sax whinnies like a horse at the end of "There'll Come a Time," and Bing Crosby merrily mouths the racist lyrics to "Mississippi Mud." Throughout all of this, Beiderbecke sounds like an angel playing hooky from heaven. arwulf arwulf  
Tracklist :

JOE VENUTI – 1926-1928 | The Chronogical Classics – 1211 (2001) FLAC (tracks), lossless

This particular slice of the Joe Venuti & Eddie Lang chronology presents some of their all-time best instrumental performances garnished with a small bouquet of precious novelties and sugary love songs with delightfully naïve vocals by Scrappy Lambert, Billy Hillpot, and Rube Bloom. The sweetest of these are sung in a manner so euphoric as to be almost nonsensically charming. This is true even of a suspiciously idyllic paean to the pleasures of "Pickin' Cotton," a faintly onerous song representing a tenebrous subgenre of Tin Pan Alley tunes that wistfully glorified the gallant bygone days of slave or cheap "emancipated" labor. Venuti's lyrically inspired handling of the violin and Lang's virtuosic guitar still sound surprisingly fresh and imaginative. These earliest Venuti and Lang collaborations exude a special sort of positive energy that is unique in all of classic jazz. Some of the instrumental tracks feel like well-organized, improvised hot chamber music. Fortunately, Venuti's "Kickin' the Cat" and "Beatin' the Dog" are presented without any nasty lyrics or cruel sound effects. arwulf arwulf  
Tracklist :

JOE VENUTI – 1928-1930 | The Chronogical Classics – 1246 (2002) FLAC (tracks), lossless

Even as the Joe Venuti/Eddie Lang instrumentals from the late '20s are worth their weight in gold, more than half of the fun in listening to an overview of this section of their complete recorded works is derivable from the often silly vocalists. Pianist Rube Bloom had a charmingly wobbly voice, preferable perhaps to the too-perfect, painfully innocent, but nevertheless endearing efforts of Smith Ballew. "Sensation," in addition to proving that Jimmy Dorsey could play the hell out of the baritone sax, contains Bloom's wildest vocal, consisting of bursts of scat singing mingled with dramatic moans and pleas for medical/musical assistance in what was apparently intended as a steamy sequel to "Hello Central Give Me Doctor Jazz." The delightful wordless vocal on the marvelous "I Must Have That Man" has often been attributed to Venuti himself. This CD's discography assigns it to drummer Chauncey Morehouse. Everyone agrees that the tuba solo is by the mighty Joe Tarto. Scrappy Lambert squeezes out two hilariously enigmatic love songs, "I Am Only Human After All" and "Out of Breath and Scared to Death of You." The last three tracks on this volume of the Classics Joe Venuti chronology are not so well known, probably because of the comparatively glib vocalists. Back to the instrumentals -- there are only five, but each one is a masterpiece. A 1928 remake of "Doin' Things," recorded with a smaller group the previous year, is refreshing. "Runnin' Ragged," recorded in October of 1929, features Frankie Trumbauer on bassoon. The idyllic "Apple Blossoms," a collectively composed serenade, is a study in perfect peace. Adrian Rollini, armed with bass sax, goofus, and hot fountain pen, enlivened the next Blue Four session, which took place during the spring of the following year. The musicianship on this collection is often astonishing, and the effect upon the central nervous system is known to be beneficial. Everything heard here is priceless for the fact that it is possible to derive from each performance a completely unfounded sense of well-being. In a jaded, postmodern world, that is a precious thing. arwulf arwulf  
Tracklist + Credits :

JOE VENUTI – 1930-1933 | The Chronogical Classics – 1276 (2002) FLAC (tracks+.cue), lossless

Tracklist :

JOE VENUTI – 1933 | The Chronogical Classics – 1348 (2004) FLAC (tracks+.cue), lossless

The recordings made under Joe Venuti's name during the years immediately following the sudden and premature death of Eddie Lang on March 26, 1933, often have a somewhat strange quality to them. Venuti was crushed by this personal loss and must have still been mourning the death of his friend and musical companion when the two opening tracks -- concluding the session that produced the thrilling "Vibraphonia" -- were recorded on May 8th. Six sides waxed in September of 1933 for the Banner label feature vocalist Don Elton, infinitely better on the upbeat novelties than as a crooner suspended in syrup. This smooth band had a young Max Kaminsky in the brass section and Bud Freeman in the reeds. The creamy, beautiful "Moon Glow" is one of Venuti's best-known sides from this period, and with good reason. The band on the completely instrumental Columbia session from one week later is the best group on the entire package, with Benny Goodman, Bud Freeman, and Adrian Rollini on the front line. It is worth noting that the great Dick McDonough was now established as Eddie Lang's replacement. His work on this session demonstrates exactly why. "In de Ruff" turns out to be King Oliver's "Dipper Mouth Blues," later known as "Sugar Foot Stomp." A Bluebird session from October 13th yielded four more instrumentals -- three of them by Will Hudson -- beginning with a rousing "Fiddlesticks." On "Phantom Rhapsody" and Benny Carter's "Everybody Shuffle," this band sounds a bit like Fletcher Henderson's, except of course for the fiddle. Venuti spent the rest of the year recording for Banner. Dolores Reade, presenting a couple of melodies by Irving Berlin, had more charm and substance than Howard Phillips and Slim Fortier put together. Even the least of these sides are fascinating for those who enjoy studying jazz and popular music from the early '30s. arwulf arwulf  
Tracklist + Credits :

BIX BEIDERBECKE – 1927-1930 | The Chronogical Classics – 788 (1994) FLAC (tracks+.cue), lossless

This is the second volume in the all-too-brief Classics Bix Beiderbecke chronology. It presents all 13 Okeh Records cut by Beiderbecke & His Gang between October 5, 1927 and September 21, 1928, followed by Beiderbecke's very last recordings, made between May 21 and September 15, 1930 for the Victor, Vocalion and Brunswick labels. He is heard leading his own band and sitting in with Hoagy Carmichael's orchestra as well as Irving Mills & His Hotsy Totsy Gang. Three years into his brief recording career, Beiderbecke was already beginning to feel confined by the artistic limitations of the entertainment industry. In his excellent and insightful novel-length tribute "Remembering Bix," Ralph Berton recalled his final encounter with Beiderbecke, which took place during the autumn of 1927 shortly before Bix began working for Paul Whiteman. Berton describes their conversation as they listened to the recently waxed Bix & His Gang sides. Although Berton rightfully perceived that some of these were among the hottest and best of Beiderbecke's recordings, Bix was not entirely happy with the results, and even threatened to destroy the master of "Goose Pimples" which was soon issued as Okeh 8544. During this performance he momentarily intruded upon the opening of Frank Signorelli's piano solo, became frustrated and tossed off what he later called a "phony Charleston lick," then responded to gesticulations made by an engineer urging him to finish up before they ran out of room on the disc by letting loose with a couple of very atypical high notes, sharp and fortissimo. Beiderbecke was horrified, incredulous and ultimately contemptuous when the session's producers went ahead and issued what is demonstrably a botched take. Yet in retrospect the excitement of hot jazz transforms even these obvious flaws into personable idiosyncrasies. All 13 sides are anchored with beefy bass saxophones, handled expertly by Adrian Rollini or ably by Min Leibrook. Like the turning of a page, the '30s began for Beiderbecke with a series of collaborations hinting at potential developments that either blossomed or withered away. With names like Benny Goodman, Jack Teagarden, Tommy and Jimmy Dorsey, Bud Freeman, Gene Krupa, Hoagy Carmichael and violinist Joe Venuti (who can be heard bawdily intoning the words "Barnacle Bill the Shit-head" in a raspy voice), this home stretch of the Beiderbecke discography reads like a "most likely to succeed" roster. Yet three gifted participants would soon be taken out 'way ahead of schedule; guitarist Eddie Lang was soon to die from complications following a tonsillectomy, Ellington's ex-trumpeter Bubber Miley was already in the process of drinking himself into an early grave, and Bix Beiderbecke's days were numbered. On August 6, 1931 he succumbed to alcoholism and pneumonia at the age of 28. The music on this compilation is an essential portion of his legacy. arwulf arwulf
Tracklist + Credits :

JACK TEAGARDEN AND HIS ORCHESTRA – 1930-1934 | The Classics Chronological Series – 698 (1993) FLAC (tracks+.cue), lossless

This Classics CD has the first 23 titles ever issued under the leadership of trombonist Jack Teagarden. Many of these selections were formerly rare, particularly the earlier titles on Domino, Banner and Crown. Best is the session that co-starred pianist/vocalist Fats Waller and, while some of the titles are a bit commercial, Teagarden's playing (and that of his better sidemen) uplift the music; "A Hundred Years from Today" is a classic. Scott Yanow
Tracklist :
1     Son of the Sun 2:25
Rudolf Friml
Vocals – Jack Teagarden
2     You're Simply Delish 2:42
Arthur Freed / Joseph Meyer
Vocals – Eddie Gale
3     Just a Little Dance, Mam'selle 3:02
Vocals – Jack Teagarden
Ben Gordon / Chas OFlynn / Pete Wendling
4     Rockin' Chair 3:00
Hoagy Carmichael
Vocals – Eddie Miller, Nappy Lamare
5     Loveless Love 2:49
W.C. Handy
Vocals – Jack Teagarden
6     You Rascal You 3:12
Sam Theard    
Vocals – Fats Waller, Jack Teagarden
7     That's What I Like About You 3:24
Walter Donaldson
Vocals – Fats Waller, Jack Teagarden
8    Chances Are 3:13
Gus Arnheim / Harry Barris / Arthur Freed
Vocals – Jack Teagarden
9     I Got the Ritz from the One I Love 3:25
Harry Barris / J.C. Lewis
Vocals – Jack Teagarden
10     China Boy 3:06
Phil Boutelje / Dick Winfree
11     Lies 3:10
Harry Barris / George E. Springer
Vocals – Gene Austin
12     I'm Sorry Dear 3:00
Raymond Scott / Charles Tobias / Harold Weeks
Vocals – Gene Austin
13     Tiger Rag 3:06
Harry Da Costa / Eddie Edwards / Nick LaRocca / Henry W. Ragas / Tony Sbarbaro / Larry Shields
14     I've Got It 3:08
David Rose / Jack Teagarden
15     Plantation Moods 3:24
Fred Rose / Jack Teagarden
16     Shake Your Hips 3:23
Fred Rose / Jack Teagarden
17     Someone Stole Gabriel's Horn 3:00
Edgar Hayes / Irving Mills / Ned Washington
Vocals – Jack Teagarden
18     Love Me 3:03
Ned Washington / Victor Young
Vocals – Jack Teagarden
19     Blue River 2:57
Ned Washington / Victor Young
Vocals – Jack Teagarden
20     A Hundred Years from Today 3:07
Ned Washington / Victor Young
Vocals – Jack Teagarden
21     I Just Couldn't Take It, Baby 2:55
Mann Holiner / Alberta Nichols
Vocals – Jack Teagarden
22     Fare-Thee-Well to Harlem 3:06
Bernie Hanighen / Johnny Mercer
Vocals – Jack Teagarden, Nappy Lamare
23     Ol' Pappy 3:03
Jerry Levinson / Marty Symes
Vocals – Jack Teagarden, Nappy Lamare
Credits :    
Alto Saxophone – Buddy Fisk (tracks: 14 to 17)
Banjo, Guitar – Nappy Lamare (tracks: 1 to 13)
Bass Saxophone – Adrian Rollini (tracks: 6 to 9)
Bass [String Bass] – Artie Bernstein (tracks: 6 to 9, 18 to 23), Eddie Gilbert (tracks: 14 to 17)
Bass [String Bass], Brass Bass – Harry Goodman (tracks: 1 to 5, 10 to 13)
Clarinet – Benny Goodman (tracks: 4, 5), Pee Wee Russell (tracks: 6 to 9)
Clarinet, Alto Saxophone – Chester Hazlett (tracks: 18 to 23), Gil Rodin (tracks: 1 to 5, 10 to 13), Jimmy Dorsey (tracks: 18 to 23), Matty Matlock (tracks: 1 to 3, 10 to 13), Rod Cless (tracks: 14 to 17)
Clarinet, Tenor Saxophone – Dale Skinner (tracks: 14 to 17), Eddie Miller (2) (tracks: 1 to 5, 10 to 13), Joe Catalyne (tracks: 6 to 9), Max Farley (tracks: 6 to 9), Mutt Hayes (tracks: 18 to 23)
Directed By – Victor Young (tracks: 18 to 23)
Drums – Bob Consolman (tracks: 14 to 17), Larry Gomar (tracks: 18 to 23), Ray Bauduc (tracks: 1 to 5, 10 to 13), Stan King (tracks: 6 to 9)
Guitar – Dick McPartland (tracks: 14 to 17), Frank Worrell (tracks: 22, 23), Perry Botkin (tracks: 18 to 21)
Piano – Charles LaVere (tracks: 14 to 17), Fats Waller (tracks: 6 to 10, 13), Gil Bowers (tracks: 1 to 5, 11, 12), Joe Meresco (tracks: 18 to 23)
Tenor Saxophone – Bud Freeman (tracks: 14 to 17)
Trombone – Jack Teagarden, Tom Moore (tracks: 14 to 17)
Trumpet – Charlie Spivak (tracks: 1 to 5), Charlie Teagarden (tracks: 6 to 17), Claude Whiteman (tracks: 14 to 17), Frank Guarente (tracks: 18 to 23), Sterling Bose (tracks: 4 to 13, 18 to 23), Tommy Thunen (tracks: 1 to 3)
Violin – Joe Venuti (tracks: 22, 23), Lou Kosloff (tracks: 22, 23), Walt Edelstein (tracks: 18 to 23)

RED NICHOLS – 1927-1928 | The Classics Chronological Series – 1241 (2002) FLAC (tracks+.cue), lossless

Loring "Red" Nichols was an expert cornet player, a solid improviser, and apparently a workaholic, since he is rumored to have appeared on over 4,000 recordings during the 1920s alone. One of the ways he managed this feat was by appearing under countless different names, and in the case of this collection covering the years 1927 and 1928, he made recordings as Red Nichols & His 5 Pennies, the Six Hottentots, Red & Mill's Stompers, and Red Nichols' Stompers. Pay no attention to whether there were five Pennies or six Hottentots, since Nichols' groups tended to be eight or ten pieces or more, no matter what the moniker read, and usually featured longtime associates Miff Mole on trombone, Jimmy Dorsey on clarinet or alto sax, and the marvelous Dudley Fosdick on mellophonium. This collection features one of the biggest hits of Nichols' career, "Ida, Sweet as Apple Cider," and like "Cornfed," also collected here, it effortlessly combines a sophisticated arrangement with a kind of easy, down-home feel that masks its complexities. Although critics often brush right by him, Nichols was always a fresh and innovative arranger and bandleader. Steve Leggett  
Tracklist :
1    Red Nichols And His Five Pennies–    Bugle Call Rag    2:51
2    Red Nichols And His Five Pennies–    Back Beats    2:50
3    The Six Hottentots–    I'm In Love Again    2:48
4    The Six Hottentots–    Sometimes I'm Happy    3:05
5    The Six Hottentots–    Rosy Cheeks    2:55
6    The Six Hottentots–    The Memphis Blues    3:09
7    The Six Hottentots–    Melancholy Charlie    2:57
8    The Six Hottentots–    Hurricane    3:01
9    Red Nichols And His Five Pennies–    Cornfed    2:50
10    Red Nichols And His Five Pennies–    Five Pennies    2:48
11    Red Nichols And His Five Pennies–    Mean Dog Blues    3:11
12    Red Nichols And His Five Pennies–    Riverboat Shuffle 3:01
Arranged By – Fud Livingston
13    Red Nichols And His Five Pennies–    Eccentric 2:58
Arranged By – Fud Livingston
14    Red Nichols And His Five Pennies–    Ida, Sweet As Apple Cider 2:47
Arranged By – Lennie Hayton
15    Red Nichols And His Five Pennies–    Feelin' No Pain 2:54
Arranged By – Fud Livingston
16    Red And Miff's Stompers–    Slippin' Around    2:45
17    Red And Miff's Stompers–    Feelin' No Pain    3:04
18    Red Nichols' Stompers–    Sugar    3:17
19    Red Nichols' Stompers–    Make My Cot Where The Cot-Cot-Cotton Grows    3:18
20    Red Nichols And His Five Pennies–    Nobody's Sweetheart    3:05
21    Red Nichols And His Five Pennies–    My Gal Sal    3:08
22    Red Nichols And His Five Pennies–    Avalon    3:07
23    Red Nichols And His Five Pennies–    Japanese Sandman    3:16
Credits :
Alto Saxophone – Max Farley (tracks: 18, 19)
Bass Saxophone, Instruments [Goofus] – Adrian Rollini (tracks: 9 to 15, 18, 19)
Brass Bass – Jack Hanson (tracks: 16 to 19), Joe Tarto (tracks: 3 to 8)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 1 to 11)
Clarinet, Tenor Saxophone – Fud Livingston (tracks: 11 to 17, 20 to 23), Pee Wee Russell (tracks: 11 to 23)
Drums – Chauncey Morehouse (tracks: 18, 19), Vic Berton (tracks: 1 to 17, 20 to 23)
Guitar – Carl Kress (tracks: 16 to 23), Dick McDonough (tracks: 12 to 15), Eddie Lang (tracks: 1, 2, 9 to 11)
Mellophone – Dudley Fosdick (tracks: 20 to 23)
Piano – Arthur Schutt (tracks: 1 to 11)
Piano [Either/Or] – Arthur Schutt (tracks: 18, 19), Lennie Hayton (tracks: 18, 19)
Piano, Celesta – Lennie Hayton (tracks: 12 to 17, 20 to 21)
Saxophone [C-Melody] – Frank Trumbauer (tracks: 18, 19)
Trombone – Bill Rank (tracks: 18, 19), Miff Mole (tracks: 1 to 15, 18 to 23), Unknown Artist (tracks: 18, 19)
Trumpet – Bo Ashford (tracks: 18, 19), Leo McConville (tracks: 12 to 15), Manny Klein (tracks: 12 to 15), Red Nichols
Violin – Joe Venuti (tracks: 1, 2, 9 to 11)
Vocals – Charlie Farrell (tracks: 18, 19), Irving Kaufman (tracks: 3 to 5), Jim Miller (17) (tracks: 18, 19)

RED NICHOLS – 1929 | The Classics Chronological Series – 1332 (2003) FLAC (tracks+.cue), lossless

By 1929, Red Nichols had been active as a recording artist for nearly eight years. He had been making a name for himself as a leader since 1925, usually in the company of a superhuman trombonist by the name of Miff Mole. While some folks might focus upon the presence of Jimmy Dorsey, seasoned early jazz addicts will also cherish the opportunity to commune with the spirits of Miff Mole, Vic Berton and Arthur Schutt. The first three selections reveal what these men were able to accomplish under optimal conditions,( i.e. without vocals or violins). The band is wonderful, especially when Adrian Rollini introduces "Allah's Holiday" with the bass saxophone or takes a weird solo during "Roses of Picardy" using an ebonite tube full of holes with a clarinet mouthpiece stuck in the end of it. This bizarre instrument was identified as the E flat "hot fountain pen." It has a reedy, often slightly congested sound. The Captivators session brings on a veritable sitz bath of early-'30s smooth dance band effects. The instrumental takes were shipped straight to Germany, while Scrappy Lambert's vocal tracks were foisted upon the American record-buying public. Glenn Miller sounds as though he's blowing his trombone into a wine bottle during the instrumental version of "I'm Marching Home to You." At their best these sides enable the listener to cultivate a pleasantly false sense of well-being. Miller, Jack Teagarden, Babe Russin and multi-instrumental Benny Goodman made for a perfectly reasonable Five Pennies until Scrappy showed up and started singing "On the Alamo." After he ran out of breath, they gagged the Lamb and recorded a perfectly good instrumental take. A 19-piece Five Pennies band -- including four violins -- deliberately created a movie soundtrack malaise before the arrangement kicked the band into a suitably rambunctious background for Teagarden's handsome vocal on "Sally, Won't You Come Back?." Two weeks later, swollen to 20 players with Lambert attached to its neck like a pilot fish, the band cut three more sentimentally disturbed numbers. On June 12 of 1929, Nichols carved his band down to 12 units. Apparently incapable of making more than a handful of records without singers, he now induced Red McKenzie to moan and groan his way through "Who Cares?." Fortunately, "Rose of Washington Square" came out as a hot instrumental, enabling the listener to enjoy the combined energies of Pee Wee Russell, Bud Freeman, Joe Sullivan and Dave Tough. By this time you might as well completely surrender to the pop music esthetic of mid- to late- 1929 and simply enjoy the lyrics to "I May Be Wrong, But I Think You're Wonderful." Lambert is, well, useful as a concise articulator of the words to "They Didn't Believe Me," one of the few songs Jerome Kern would be remembered for if he hadn't slept in and missed the boat when the Lusitania sailed off on its rendezvous with German torpedoes in 1915. If you forget that this is supposed to have something to do with jazz, it feels like a two-bit lieder recital. So what the hell. After all is said and done, it really is a lovely old tune. arwulf arwulf  
Tracklist
1    Red Nichols And His Five Pennies–    Alice Blue Gown    2:45
2    Red Nichols And His Five Pennies–    Allah's Holiday    3:18
3    Red Nichols And His Five Pennies–    Roses Of Picardy    2:38
4    The Captivators , Direction Of Red Nichols–    I'm Marching Home To You (Vocal) 3:08
Vocals – Scrappy Lambert
5    The Captivators , Direction Of Red Nichols–    I'm Marching Home To You (Instr.)    3:04
6    The Captivators , Direction Of Red Nichols–    Building A Nest For Mary (Vocal) 3:07
Vocals – Scrappy Lambert
7    The Captivators , Direction Of Red Nichols–    Building A Nest For Mary (Instr.)    3:06
8    The Captivators , Direction Of Red Nichols–    I Used To Love Her In The Moonlight (Vocal) 3:02
Vocals – Scrappy Lambert
9    The Captivators , Direction Of Red Nichols–    I Used To Love Her In The Moonlight (Instr.)    3:02
10    Red Nichols And His Five Pennies–    Indiana 2:40
Arranged By – Glenn Miller
11    Red Nichols And His Five Pennies–    Dinah    3:15
12    Red Nichols And His Five Pennies–    On The Alamo (Vocal) 3:04
Vocals – Scrappy Lambert
13    Red Nichols And His Five Pennies–    On The Alamo (Instr.)    3:05
14    Red Nichols And His Five Pennies–    Sally, Won't You Come Back? 4:19
Vocals – Scrappy Lambert, Jack Teagarden
15    Red Nichols And His Five Pennies–    It Had To Be You 4:46
Arranged By – Arthur Schutt
Vocals – Scrappy Lambert
16    Red Nichols And His Five Pennies–    I'll See You In My Dreams 4:36
Arranged By – Glenn Miller
Vocals – Scrappy Lambert
17    Red Nichols And His Five Pennies–    Some Of These Days 4:16
Arranged By – Herb Taylor, Red Nichols
Vocals – Scrappy Lambert, Jack Teagarden
18    Red Nichols And His Five Pennies–    Who Cares?    3:17
19    Red Nichols And His Five Pennies–    Rose Of Washington Square    2:51
20    Red Nichols And His Five Pennies–    I May Be Wrong, But I Think You're Wonderful 2:54
Vocals – Scrappy Lambert
21    Red Nichols And His Five Pennies–    The New Yorkers 3:05
Vocals – Red McKenzie
22    Red Nichols And His Five Pennies–    They Didn't Believe Me 2:55
Vocals – Scrappy Lambert
23    Red Nichols And His Five Pennies–    Wait For The Happy Ending 2:39
Arranged By – Fud Livingston
Vocals – Scrappy Lambert
24    Red Nichols And His Five Pennies–    Can't We Be Friends? 2:56
Vocals – Dick Robertson
Credits :
Alto Saxophone – Unknown Artist (tracks: 10 to 13)
Banjo – Tommy Felline (tracks: 18 to 24)
Bass – Art Miller (tracks: 4 to 13, 15 to 19), Jack Hansen (tracks: 20 to 24), Joe Tarto (tracks: 14 to 17)
Bass Saxophone, Instruments [Hot Fountain Pen] – Adrian Rollini (tracks: 1 to 3)
Clarinet – Fud Livingston (tracks: 1 to 3, 20 to 24), Pee Wee Russell (tracks: 18 to 24)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 1 to 3, 14 to 17, 20 to 24), Pete Pumiglio (tracks: 4 to 9)
Clarinet, Alto Saxophone, Baritone Saxophone – Benny Goodman (tracks: 9 to 13)
Clarinet, Alto Saxophone, Flute, Oboe, Bassoon – Alfie Evans (tracks: 4 to 9, 14), Arnold Brilhart (tracks: 14 to 17)
Clarinet, Tenor Saxophone – Jimmy Crossan (tracks: 4 to 9, 15 to 17)
Drums – Chick Condon (tracks: 4 to 9), Dave Tough (tracks: 18, 19), Gene Krupa (tracks: 10 to 13), George Beebe (tracks: 20 to 24), Vic Berton (tracks: 1 to 3, 14 to 17)
Guitar, Banjo – Carl Kress (tracks: 1 to 17)
Mellophone – Dudley Fosdick (tracks: 1 to 3)
Piano – Arthur Schutt (tracks: 1 to 17), Irving Brodsky (tracks: 20 to 24), Joe Sullivan (tracks: 18, 19)
Tenor Saxophone – Babe Russin (tracks: 10 to 13), Bud Freeman (tracks: 18, 19)
Tenor Saxophone, Flute, Oboe – Larry Binyon (tracks: 14 to 17)
Trombone – Bill Trone (tracks: 14), Glenn Miller (tracks: 4 to 24), Herb Taylor (tracks: 15 to 24), Jack Teagarden (tracks: 10 to 24), Miff Mole (tracks: 1 to 3)
Trombone [Either, Or] – Bill Trone (tracks: 10 to 13), Herb Taylor (tracks: 10 to 13)
Trumpet – John Egan* (tracks: 20 to 24), Leo McConville (tracks: 10 to 14), Manny Klein (tracks: 1 to 19), Red Nichols, Tommy Thunen (tracks: 15 to 24)
Violin – Henry Whiteman (tracks: 14 to 17, 20, 21, 23, 24), Joe Raymond (tracks: 14 to 17), Lou Raderman (tracks: 14 to 17), Maurice Goffin (tracks: 20, 21, 23, 24), Murray Kellner (tracks: 14 to 17)
Violoncello – Lucien Schmitt (tracks: 14 to 17)

RED NICHOLS – 1929-1930 | The Classics Chronological Series – 1369 (2004) FLAC (tracks+.cue), lossless

The fifth installment in the Classics Red Nichols chronology focuses upon records he made between September 9, 1929, and August 27, 1930. This was a particularly fruitful period for Nichols, as he was able to hire a number of excellent players who would all be leading their own bands throughout the next couple of decades: Jack Teagarden, Benny Goodman, Glenn Miller, Tommy Dorsey, Bud Freeman, and Gene Krupa. Other jazz aces found throughout this album are multi-instrumentalist Adrian Rollini, pianists Joe Sullivan and Rube Bloom, saxophonist Babe Russin, bassist Joe Tarto, and drummer Dave Tough. This veritable infestation of great jazz talent centered around (and partially resulted from) Nichols' high-profile gig as conductor of the pit orchestra that steered the George and Ira Gershwin show Strike Up the Band through 191 performances at New York's Times Square Theatre. Vocalists include Scrappy Lambert, Teg Brown, and the ever-amiable Jack Teagarden. arwulf arwulf  
Tracklist
1    Red Nichols And His Five Pennies–    Nobody Knows    2:40
2    Red Nichols And His Five Pennies–    Smiles    3:21
3    The Captivators–    Get Happy    3:06
4    The Captivators–    Somebody To Love Me    3:20
5    Red Nichols And His Five Pennies–    Say It With Music    3:24
6    Red Nichols And His Five Pennies–    Strike Up The Band 2:42
Vocals [Uncredited] – Chester Gaylord
7    Red Nichols And His Five Pennies–    Soon 3:27
Vocals [Uncredited] – Wes Vaughan
8    Red Nichols And His Five Pennies–    Sometimes I'm Happy    3:22
9    Red Nichols And His Five Pennies–    Hallelujah!    2:53
10    Red Nichols And His Five Pennies–    I'm Just Wild About Harry    3:09
11    Red Nichols And His Five Pennies–    After You've Gone 3:11
Vocals – Jack Teagarden
12    Red Nichols And His Five Pennies–    I Want To Be Happy    2:56
13    Red Nichols And His Five Pennies–    Tea For Two    3:03
14    Red Nichols And His Five Pennies–    Peg O' My Heart    3:11
15    Red Nichols And His Five Pennies–    Sweet Georgia Brown    2:47
16    Red Nichols And His Five Pennies–    China Boy    2:50
17    Red Nichols And His Five Pennies–    The Sheik Of Araby 3:15
Vocals – Jack Teagarden, Teg Brown
18    Red Nichols And His Five Pennies–    Shim-Me-Sha-Wabble    3:00
19    Red Nichols And His Five Pennies–    Carolina In The Morning    3:10
20    Red Nichols And His Five Pennies–    Who?    3:04
21    Red Nichols And His Five Pennies–    By The Shalimar    3:08
Credits :
Alto Saxophone – Sid Stoneburn (tracks: 6, 7, 14 to 18)
Banjo – Teg Brown (tracks: 6 to 9, 14 to 18), Tommy Felline (tracks: 1 to 5)
Bass – Art Miller (tracks: 14 to 18), Joe Tarto (tracks: 1 to 5)
Bass Saxophone, Xylophone – Adrian Rollini (tracks: 8 to 13, 19 to 21)
Brass Bass – Jack Hansen (tracks: 10 to 13)
Clarinet – Benny Goodman (tracks: 1, 2, 14 to 21)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 1 to 13)
Drums – Dave Tough (tracks: 1 to 5), Gene Krupa (tracks: 6 to 21)
Guitar – Weston Vaughan (tracks: 10 to 13)
Piano – Jack Russin (tracks: 6 to 13), Joe Sullivan (tracks: 14 to 21), Rube Bloom (tracks: 1 to 5)
Tenor Saxophone – Babe Russin (tracks: 6 to 21), Bud Freeman (tracks: 19 to 21), Larry Binyon (tracks: 6, 7)
Trombone – Bill Trone (tracks: 1, 2), Glenn Miller (tracks: 1 to 7, 10 to 21), Herb Taylor (2) (tracks: 3 to 5), Jack Teagarden (tracks: 1, 2, 10 to 21), Tommy Dorsey (tracks: 6 to 9)
Trumpet – Charlie Teagarden (tracks: 6, 7, 14 to 21), Manny Klein (tracks: 10 to 13), Mickey Bloom (tracks: 1 to 5), Red Nichols, Ruby Weinstein (tracks: 6 to 9, 14 to 18), Tommy Thunen (tracks: 1 to 5, 10 to 13)
Vocals – Scrappy Lambert (tracks: 1 to 5)

MIFF MOLE – 1927 | The Classics Chronological Series – 1269 (2002) FLAC (tracks+.cue), lossless

Trombonist Miff Mole gained some fame in the 1920s for his many recordings with cornetist Red Nichols. At a time when many other trombonists had a much more percussive approach, Mole had an unusual style full of staccato runs, unpredictable interval jumps and impressive technique. Mole led a series of sessions during the 1927-30 period with his Molers, which overlapped personnel with Nichols' bands, utilizing some of the top white studio players of the era. This superior British LP contains all 12 numbers cut at the trombonist's sessions of 1927, plus four tunes on which the band backs the popular singer Sophie Tucker. With Nichols, either Jimmy Dorsey or Pee Wee Russell on clarinet, usually pianist Arthur Schutt, guitarist Dick McDonough and drummer Vic Berton being among the key sidemen (bass saxophonist Adrian Rollini is an asset on the final six numbers), the music is quite advanced for the time, particularly in its arrangements. Highlights include "Alexander's Ragtime Band," "Hurricane," "Davenport Blues," Tucker's "After You've Gone," "Imagination" and "Original Dixieland One-Step." Scott Yanow  
Tracklist
1    The Arkansas Travellers–    Washboard Blues    2:42
2    The Arkansas Travellers–    That's No Bargain    2:52
3    The Arkansas Travellers–    Boneyard Shuffle    2:50
4    Miff Mole's Molers–    Alexander's Ragtime Band    2:47
5    Miff Mole's Molers–    Some Sweet Day    3:02
6    Miff Mole's Molers–    Hurricane    2:44
7    Miff Mole's Molers–    Davenport Blues    3:04
8    Miff Mole's Molers–    The Darktown Strutter's Ball    2:50
9    Miff Mole's Molers–    A Hot Time In The Old Town Tonight    2:49
10    Sophie Tucker Acc. By Miff Mole's Molers–    After You've Gone    2:45
11    Sophie Tucker Acc. By Miff Mole's Molers–    I Ain't Got Nobody    2:25
12    Sophie Tucker Acc. By Miff Mole's Molers–    One Sweet Letter From You    2:38
13    Sophie Tucker Acc. By Miff Mole's Molers–    Fifty Million Frenchmen Can't Be Wrong    2:45
14    The Arkansas Travellers–    Ja Da    3:04
15    The Arkansas Travellers–    Sensation    2:35
16    The Arkansas Travellers–    Stompin' Fool    3:03
17    Miff Mole's Molers–    Imagination    2:53
18    Miff Mole's Molers–    Feelin' No Pain    2:52
19    Miff Mole's Molers–    Original Dixieland One Step    2:47
20    Miff Mole's Molers–    My Gal Sal    3:05
21    Miff Mole's Molers–    Honolulu Blues    2:48
22    Miff Mole's Molers–    The New Twister    3:01
23    The Arkansas Travellers–    Birmingham Breakdown    2:44
24    The Arkansas Travellers–    Red Head Blues    2:37
25    The Arkansas Travellers–    I Ain't Got Nobody    2:41
Credits :
Alto Saxophone – Fred Morrow (tracks: 1 to 3, 14 to 16, 23 to 25)
Banjo, Guitar – Dick McDonough (tracks: 4 to 9, 17 to 22)
Bass Saxophone – Adrian Rollini (tracks: 17 to 22)
Brass Bass – Joe Tarto (tracks: 7 to 13)
Clarinet – Jimmy Dorsey (tracks: 1 to 3, 7 to 16), Pee Wee Russell (tracks: 17 to 25)
Clarinet, Tenor Saxophone – Fud Livingston (tracks: 17 to 25)
Drums – Ray Bauduc (tracks: 7 to 9), Vic Berton (tracks: 1 to 6, 10 to 25)
Guitar – Eddie Lang (tracks: 10 to 13, 17 to 22)
Piano – Arthur Schutt (tracks: 1 to 9, 14 to 22), Rube Bloom (tracks: 23 to 25), Ted Shapiro (tracks: 10 to 13)
Trombone – Miff Mole
Trumpet – Red Nichols
Vocals – Sophie Tucker (tracks: 10 to 13)