FATS WALLER – 1935 | The Classics Chronological Series – 746 (1994) FLAC (tracks+.cue), lossless

One of several Classics discs chronicling Waller's vast amount of Bluebird combo sides from the '30s and '40s, this roundup of some of the pianist's 1935 offerings includes many fine cuts but doesn't quite rank with the maestro's best work. Featuring Waller's longstanding Fats Waller & His Rhythm band, the 22 numbers may not include any original material, but there is still more than enough in the way of indelible performances. This is especially true for a wonderful "Lulu's Back in Town," the Coots and Gillespie rarity "Whose Honey Are You?," and "Rosetta." An enjoyable if non-essential Waller collection. Stephen Cook
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FATS WALLER – 1936 | The Classics Chronological Series – 797 (1994) FLAC (tracks+.cue), lossless

Often maligned, Waller's many sides from the mid-'30s actually qualify as some the pianist's most relaxed and enjoyable material. The groundbreaking solo and group work of the '20s behind him, Waller recorded reams of amusing and swinging combo tunes in the following decade for Bluebird; 23 of them are heard here. The fare ranges from the predictably tongue-in-cheek ("Big Chief De Sota") to classic standards ("Until the Real Thing Comes Along"). And finding room for some of that famous keyboard work, Waller lets loose on the instrumental "Fractious Fingering." Having fun the old fashioned way. Stephen Cook
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FATS WALLER – 1936-1937 | The Classics Chronological Series – 816 (1995) FLAC (tracks+.cue), lossless

Beginning in 1935 and continuing well into 1936, Fats Waller & His Rhythm occasionally cut two versions -- vocal and instrumental -- of the tunes they handled. This volume of the Classics Waller chronology opens with four such melodies spread over eight tracks. The effect is that of a band somewhat liberated from the time restraints of a three-minute record. During the instrumental sides the band is able to stretch out and exchange ideas without any lyrics getting in the way. Waller's vocals are delightful as ever, with his outbursts during the rowdy "Swingin' Them Jingle Bells" and repeated references to yard dogs and mutts during "I Adore You" bordering on the outrageous. Six sides cut on Christmas Eve 1936 reach even steeper heights of mischief. Waller sounds well oiled as he fricassees James P. Johnson's "Havin' a Ball," turns "One in a Million" into a riotous demand for unlimited cash, and pays hell-raising tribute to the emperor Nero as his hot little band boils over with ferocious drumming by Slick Jones. This group would make quite a number of outstanding records in 1937. Seven tracks from that year find Waller and his men doing everything they could do to make a series of Tin Pan Alley pop songs sound interesting. This relatively underappreciated segment of the Waller chronology is well worth exploring. arwulf arwulf
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FATS WALLER – 1937 | The Classics Chronological Series – 838 (1995) FLAC (tracks+.cue), lossless

1937 was an excellent year for Fats Waller, and volume twelve in his complete recordings as reissued in 1995 by the Classics Chronological Series focuses upon a relatively small portion of the year in question. Consisting of records cut between March 18 and June 11, 1937, this particular stash of goodies is remarkably satisfying, especially as 10 of the 22 performances are instrumental, which is an unusually high percentage given the fact that the men at Victor records exploited Waller's vocal talents with a vengeance once it became clear that his unorthodox delivery sold a lot of records. Waller the singer is at his very best on "Spring Cleaning," "You've Been Reading My Mail," "To a Sweet and Pretty Thing" and "Sweet Heartache"; he handles "Old Plantation" with dignity and ends it with a decisive invitation to "Drop the plow!" The wordless renditions of "Boo-Hoo," "The Love Bug Will Bite You," and the bluesy "San Anton" are remarkably satisfying. Fats Waller and His Rhythm as heard here included trumpeter Herman Autrey, reedman Gene Sedric, guitarist Al Casey, bassist Charles Turner, and drummer Wilmore Slick Jones, who takes a tidy vibraphone solo on the group's four-and-one-half-minute treatment of Waller's "Honeysuckle Rose." The other version of "Honeysuckle," backed with a superb take on the "Blues," comes from a "Jam Session at Victor" whereby Waller sat in with trumpeter Bunny Berigan, trombonist Tommy Dorsey, guitarist supreme Dick McDonough, and one of Eddie Condon's preferred drummers, George Wettling. This then is an invigorating ride through nearly three months of studio recording activity in the fast life of Thomas Fats Waller, and anyone lucky enough to glimpse a copy ought to pounce on it at once. arwulf arwulf
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FATS WALLER – 1937, Vol. 2 | The Classics Chronological Series – 857 (1995) FLAC (tracks+.cue), lossless

This might be a good choice for those who are just finding out about Fats Waller and want to hear him at the top of his form. Not every segment of the Waller chronology would necessarily serve as such an excellent introduction to the man's work. The second half of 1937 was an artistically fruitful time for Fats. On June 11, he rendered five very sensitive, ruminative piano solos, gracious and subtle, reflective and peaceful. This meditative persona is an aspect of Thomas Waller that is too often overlooked. On September 7, 1937, the Rhythm band spun out a series of delightfully rambunctious tunes. "Beat It Out" resounds with coordinated handclapping, "You've Got Me Under Your Thumb" has Waller timing his remarks perfectly over the music, and "I'd Rather Call You Baby" works up to a lather, all on account of a clever set of lyrics that were good enough for Fats to really do something with. "You're My Dish," containing a lot of involved descriptions of fancy foods, was fated to work perfectly as a vehicle for this man's merriment. The session of October 7, 1937, is important on a number of levels. On that day, Fats recorded two songs about heartbreak that should never be left out of introductory Waller studies: "How Can I?" and "What Will I Do in the Morning?" were both co-composed by Fats. Maybe that's why he seemed so comfortable, sounding completely natural as he took his singing down to the level of spoken conversation, as if arguing with the woman who had caused him such grief. Fats also had a hand in writing "How Ya, Baby?," which takes the form of a happier exchange with a prospective female party companion. But the real party tune from this session is the original version of "The Joint Is Jumpin'," made a bit more authentic by the inclusion of several invited guests who created a raucous atmosphere as the song worked itself up to a tussle topped by a police whistle. Waller soon hit the road and the next studio recordings he managed to make were waxed in Hollywood on December 16, 1937. Fats found himself working with an entirely different group from his usual Rhythm band; the drummer was Lester Young's little brother, Lee, and a fellow by the name of Ceele Burke sat in on steel guitar. This livened up the date, but the steel guitar presence didn't assert itself until the second half of the session, which appears on the next volume in the Waller chronology, Classics 875: 1937-1938. "Every Day's a Holiday" proves that sometimes Fats could take any trivial bit of pop and transform it into joyousness well beyond the potential of the song as originally written. And that's why some folks can't ever get enough of Fats Waller. arwulf arwulf
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FATS WALLER – 1937-1938 | The Classics Chronological Series – 875 (1996) FLAC (tracks+.cue), lossless

It is December 1937, Fats Waller has landed in Hollywood. Five musicians have been rounded up to form a sort of West Coast rhythm band. Waller plays the introduction to a pretty love song, one with enough merit that he will savor its nuances rather than ripping it to shreds. The very title, "Am I in Another World?," obviously appeals to the pianist's poetic sensibilities, and he handles the melody gently as the tune unfolds. Then, it happens. Ceele Burke moves his hands over the strings of a steel guitar, lazily sending ripples up through the simple structure of the song. Among hundreds of three-minute Fats Waller recordings, these are the only ones that feature steel guitar. "Why Do Hawaiians Sing Aloha?" is very funny and it gives Burke a chance to swing a little harder with his axe. After "turning the band loose" Waller scats up a bit of his own imitation "Hawaiian" dialect for a weird coda. Back in New York three months later, he remounts the Victor treadmill to grind out six more sides in the company of his regular working band. "I Love to Whistle" is outrageous enough to work well for Waller, and he finds ways to turn "You Went to My Head" and "Don't Try to Cry Your Way Back to Me" into entertaining performances that swing deliciously. Now it is April 12, 1938. Fats Waller & His Rhythm has been augmented by his orchestra. There are three trumpets, two trombones, five saxophones and the rhythm section. Fats always said that he preferred a smaller band on account of the fact that 12 pieces need to follow a chart and "this lacks a certain spontaneity, if you get what I mean." But here in the dismal post-modern landscape of the 21st century we should be grateful that Waller made more than just a few big band recordings. The dynamic works remarkably well: Fats roars at the band, they roar back at him. In the case of a beautiful instrumental like "In the Gloaming," this ensemble created a marvelous piece of work that will never tarnish or fade. "You Had an Evening to Spare" is surprisingly attractive and well-written. Waller brings out the best in each song. Too bad we don't get to hear the alternate take of "I Simply Adore You" where Fats sings "let me love you forever" in shrill imitation of a white pop vocalist. Duke Ellington's "Skrontch" was a natural choice for this band, and Fats does it up royally. "The Sheik of Araby" and "Hold My Hand" are both very exciting. If the band seems lightly tethered by its arrangements, Waller more than compensates with his inexhaustible supply of spontaneity. The small group recordings made on July 1, 1938 are suffused with this same refreshing energy. "There's Honey on the Moon Tonight" is gleefully romantic. "Wide Open Spaces" refers to New York nightclubs that apparently never close. This song served as a much-needed hedonistic rebuttal for hundreds of wholesome Tin Pan Alley cowboy songs. Fats looks forward to "getting high-oh -- silver off my chest," bluntly makes a reference to getting "high as a kite" and closes the song by addressing an imaginary bartender: "Tony? Fix me another one!" arwulf arwulf
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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
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FATS WALLER – 1938-1939 | The Classics Chronological Series – 943 (1997) FLAC (tracks+.cue), lossless

Fats Waller had become a bit of an institution by the end of 1938. As an internationally famous pianist, organist, vocalist and bandleader, he was also known as the man who could make an enjoyable three-minute jazz record out of nearly any lousy song that was put in front of him. For the true Waller devotee there is something magical about each and every recording. Sympathetic listeners are able to feel as if they are sitting in front of the band, breathing the same night air as the musicians, and finding the time to fully enjoy each song as it is performed. "Imagine My Surprise" is not a great tune, but it becomes worthwhile when Fats Waller puts his personality around it. "I Won't Believe It" would have been a weepy bit of tripe if anyone besides Fats tried to float it. "The Spider and the Fly" is even more interesting. Waller wrote it himself, he delights in presenting the tale, his band sings along, and the combined topics of seduction and entomology carry a bit more weight than the generic heartthrob ditties of Tin Pan Alley. "Patty Cake, Patty Cake" was the beginning of a trend for Fats. Over the next couple of years he would record quite a number of songs which appear to be puerile until you realize the musicians are swinging like crazy and Waller is referencing all kinds of adult topics. On paper this might seem to be about cake, but off the record it appears to have more to do with playing hot music, dancing with wild abandon and chasing after elusive pleasures. The session of January 19, 1939 was to yield even more substantial results. Beginning with the definitive "A Good Man Is Hard to Find" (possibly the best version ever recorded by anyone!) Waller relishes each song, polishing "You Outsmarted Yourself" until it positively glows with articulated irony and exquisite instrumentation. "Last Night a Miracle Happened," "Kiss Me With Your Eyes" and "Good for Nothin' but Love" are slow and romantically endearing, strong enough material for the band to develop relaxing and wistful moods, particularly when Fats trundles out the Hammond organ. Most people would consider "Hold Tight (Want Some Seafood Mama)" to be the best song of the entire session. It's certainly the funniest, liveliest and hottest of the lot. Pop crooner Gene Austin had a lasting friendship with Fats, and they managed to record together from time to time. The two sides included here are goofy fun for anybody who's not too uptight to relax and enjoy the unlikely combination of two very different artists. The session of March 9, 1939 is full of surprises. "You Asked For It -- You Got It" is fast and funny, full of vinegar, perfect kindling for Waller's mischievous mannerisms. "Some Rainy Day" is slower but just as spiteful, with Fats imitating the accents of a highfalutin pretty boy vocalist. "'Tain't What You Do" is outrageous compared to other versions of this big band hit. Fats, who always managed to infect the band with his own contagious strain of mayhem, squeaks as high as his voice will go on the syllable "do-it." Wistful and calm, "Got No Time" is an ode to relaxation and whimsy, the deliberately slow testimony of a man who refuses to be bothered by anything. "Undecided," composed by Charlie Shavers, unfolds at an unusually slow tempo, allowing the musicians to flesh out the melody while Fats carefully outlines each and every segment of the lyric. Well-known for finishing his songs with off-hand one-liners, he simply ends by quietly saying: "I got to know what you're gonna do." arwulf arwulf  
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FATS WALLER – 1939-1940 | The Classics Chronological Series – 1002 (1998) FLAC (tracks+.cue), lossless

Back in the 1920s and early '30s, Fats Waller sold a lot of songs for next to nothing. Much to his consternation, some of these melodies turned up later as hugely successful hits with other peoples' names attached. He adamantly insisted that he'd written both "On the Sunny Side of the Street" and "I Can't Give You Anything But Love," gorgeous tunes that do seem to be cut from the same fabric as "Honeysuckle Rose," "My Fate Is in Your Hands," and "Keepin' Out of Mischief Now." Bearing this in mind, Waller's magnificently cynical duet with Una Mae Carlisle is not only one of the most skillfully humorous records he ever made, but might also have served as a sort of artistic vengeance upon Jimmy McHugh and Dorothy Fields. In any case, Una Mae has a wonderfully sultry voice and Fats is remarkably funny. "The Darktown Strutters' Ball" features a non-electric taxi cab horn and a very hot band, goaded by Waller's shouting and piano plunking. "Swinga-Dilla Street" demonstrates his mature bouncing Hammond organ style. "At Twilight" was composed by Thomas and Anita Waller. It is romantic, soft, and lovely, like something from Duke Ellington. "Black Maria," that cheerful ode to a paddy wagon, swings hard. Rosy and idyllic, "Mighty Fine" is most memorable for its interesting punch line: "Exuberance is the spontaneity of life." Waller's band had already recorded two excellent versions of "The Moon Is Low" in 1939. The first 1940 take is a nice hasty jam, but nothing could top what they'd done with it a few months earlier. Unissued until the 1970s, "The Moon Is Low, Pt. 2" uses the Hammond organ in place of piano. Fats slips into in a strange key at one point, which is probably why this take was rejected. "Fat and Greasy" is a remake of a nasty tune recorded in 1935 by Waller's big band. This version actually includes the verse, for what it's worth. It's kind of strange to hear Fats making fun of obesity. "You Run Your Mouth" is famous for its prickly assertiveness. This is much better than the sloppy, apparently inebriated second take. Fats makes all kinds of weird noises with his lips during "Eep, Ipe, Wanna Piece of Pie," a very funny song for children or twisted adults. "My Mommie Sent Me to the Store" is even better, with a hilarious vocal exchange between the bandmembers and their fearless leader. Does the word "rye" refer to bread or liquids? Only mother knows for sure. "Dry Bones," cast in a minor mode, is wonderfully spooky and expertly timed. It's much better than anyone else's version of this old song. Deep in the throes of his own theater of the absurd, Fats invokes "fine neck bones and rice" with almost religious fervor. arwulf arwulf  
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FATS WALLER – 1940-1941 | The Classics Chronological Series – 1030 (1998) FLAC (tracks+.cue), lossless

Cut just few years prior to Waller's untimely death, these Bluebird sides find the irrepressible pianist and singer on yet another of the many combo dates which featured his rhythm band. Full of his usual wit and vigor, Waller dominates the program with a mix of his usual zingers ("All That Meat and No Potatoes") and some well-worn standards ("Everybody Loves My Baby"). With Waller in fine form on both the vocal and piano end of things, top-notch contributions by rhythm soloists Gene Sedric, Al Casey, and John "Bugs" Hamilton add some unexpected delights. Even with a generous 23 tracks to get through, the going is never less than enjoyable. Stephen Cook
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FATS WALLER – 1941 | The Classics Chronological Series – 1068 (1999) FLAC (tracks+.cue), lossless

Just a few days short of his 37th birthday, Thomas "Fats" Waller recorded five outstanding piano solos. These would turn out to be the last unaccompanied studio piano records of his career, with the exception of those somewhat alcohol-driven V-Disc platters from September of 1943. The 1941 Victor solos are studies in immaculate ease. The artist's choices are fascinating: two pleasantly reflective Hoagy Carmichael reveries, James P. Johnson's throw-down showpiece the "Carolina Shout," a delicate rendering of Duke Ellington's "Ring Dem Bells" and the ultimate interpretation of Waller's own "Honeysuckle Rose." The original 78rpm label bore the distinctive subtitle: "à la Bach-Beethoven-Brahms-Waller." Classics (1068) would be worth having just for the piano solos, even if it didn't convey all the excitement of Waller's small and large band recordings from this very transitional year. "Twenty Four Robbers" is particularly funny, and "Sad Sap Sucker" is an example of the kind of song Waller wrote in collaboration with his manager Ed Kirkeby. They also came up with several saucy numbers that Fats would record with his big band in Los Angeles during the summer of '41. The "Rump Steak Serenade" is an over-the-top paean to red meat, resounding with Waller's refrain: "let me stick my fork in the gravy!" The boisterous "Come and Get It" has more than vaguely sexual overtones, but "Ain't Nothing to It," which posed the question "Gettin' much lately?" was considered too near the bone and remained unissued until many years after Waller's demise. "Chant of the Groove" has a shouted scat intro by the pianist. Interestingly, his first two syllables come out as "be bop," but this is straightforward big band swing. The small group session of October 1, 1941 is most notable for Al Casey's guitar work on "Buck Jumpin'," Gene Sedric and John "Bugs" Hamilton's lively interplay in front of Waller's bubbly Hammond organ on "Clarinet Marmalade" and a lovely understated opus inspired by "The Bells of San Raquel." While "That Gets It, Mr. Joe" is rowdier, and the more-than-somewhat misogynistic "Bessie, Bessie, Bessie" is much saltier, "San Raquel" allows Waller to reveal the quieter side of his personality. For this reason the song never makes it on to any Waller "Best Of" collections. Be grateful that we have the Classics chronological series, for this is the only way to truly get to know someone who was so complex. "Winter Weather" is another heartwarming example of that marvelous creature, the relaxed Fats Waller. "Cash for Your Trash," an entire song devoted to the subject of metal recycling, was his first contribution to the war effort. By December 1943 he had literally worked himself to death by entertaining troops at all hours and selling U.S. bonds on the air. These 1941 sides could be considered the first of what would be his last studio recordings. arwulf arwulf  
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FATS WALLER – 1942-1943 | The Classics Chronological Series – 1097 (1999) FLAC (tracks+.cue), lossless

These are the last recordings in the Fats Waller legacy. The 22 tracks are drawn from sessions recorded in March and July of 1942 and January and September of 1943. Featuring the last recordings with his rhythm, a version of "That Ain't Right" with Ada Brown on vocals and V-disc recordings made for soldiers overseas during World War II. It is the V-disc material that proved Waller wasn't just a jovial clown, which he makes obvious on his version of "Sometimes I Feel Like a Motherless Child" performed on organ. Anyone only familiar with the Waller hits like "Ain't Misbehavin'" (included here in two separate versions) should hear this to gain perspective on his career. Al Campbell
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EARL HINES AND HIS ORCHESTRA – 1942-1945 | The Classics Chronological Series – 876 (1996) FLAC (tracks+.cue), lossless

For Earl Hines fans looking beyond the bandleader's glory days of the '30s, this Classics chronological disc -- one of several Hines titles in the series -- is worth picking up. It's not as solid as Classics' 1941 survey, due in part to that disc's tighter, vintage-issue charts, but many of these 21 tracks still stand out, thanks to some fine Eckstine vocals and stealth backing by the likes of Wardell Gray, Johnny Hodges, Charlie Shavers, Budd Johnson, Red Norvo, and Oscar Pettiford -- not to mention a few Betty Roche vocal turns. A fine, if unessential, Hines collection. Stephen Cook
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ROY ELDRIDGE – 1943-1944 | The Classics Chronological Series – 920 (1998) FLAC (tracks+.cue), lossless

Roy Eldridge worked with Gene Krupa for a couple of years, then made a series of hot sides with a great seven-piece band, featuring tenor saxophonists Ike Quebec and Tom Archia. "After You've Gone" begins with a funny false-start introduction that Eldridge seems to have developed while working with Krupa. "The Gasser," a hot-to-trot walking blues, was based on the chord changes of "Sweet Georgia Brown." Also included here are two lovely, passionate ballads and an incomplete take of "Oh, Lady Be Good." The Esquire Metropolitan Opera House V-Disc Jam Session turned into a real all-star blowout on "Tea for Two," the conglomerated ensemble sounding pretty crowded by the time it works up to the out chorus. Eldridge's next adventure occurred with Lionel Hampton's V-Disc All-Stars. "Flyin' on a V-Disc" is, of course, Hamp's big hit "Flyin' Home." He hammers the vibes while saying "heyyy!' and keeps on saying it, clapping his hands and braying like a goat throughout all subsequent solos by the horn players, eventually leading the pack into an inevitable grandstand conclusion. The Little Jazz Trumpet Ensemble is heard on one of the earliest of all Keynote sessions, and the very first of producer Harry Lim's instrument-oriented dates, setting a precedent for the Coleman Hawkins Sax Ensemble and the Benny Morton Trombone Choir. Emmett Berry's inspiration was Roy Eldridge himself, while Joe Thomas patterned himself after Louis Armstrong. "St. Louis Blues" in particular is amazing. They work it up to a fine finish. Eldridge's working relationship with Decca Records bore fruit briefly in June of 1944 with another big-band date. This particular group included former Fats Waller trumpeter John "Bugs" Hamilton, ace trombonist Sandy Williams, and a pair of strong tenor players -- Franz Jackson and Hal Singer. Two dramatic ballads resulted, along with yet another patented stampede version of "After You've Gone." The orchestra assembled on October 13, 1944, had a formidable trombone section, as Williams found himself flanked by noteworthy slip horn agents Wilbur DeParis and Vic Dickenson. This band was also fortified with the presence of trumpeter Sidney DeParis, drummer Cozy Cole, and flashy amplified guitarist Napoleon "Snags" Allen, who is heavily featured on "Fish Market," a rocking blues that sounds a bit like "Tuxedo Junction." After Eldridge savors a pretty air called "Twilight Time," he leads a charge through "St. Louis Blues." Running the changes as fast as he can through a muted horn, Eldridge fires off a rapid stream of lyrics, turns Franz Jackson loose for a scorching hot tenor solo, and heads up an explosive hot finale. arwulf arwulf
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ROY ELDRIDGE – 1945-1947 | The Classics Chronological Series – 983 (1998) FLAC (tracks+.cue), lossless

As far as Roy Eldridge's big bands go, this was the peak. With arrangements by Buster Harding and a stable of powerful young players, the Roy Eldridge Orchestra must have been formidable in live performance. Most of the recordings they made for the Decca label represent the ultimate in extroverted big-band swing. The explosive "Little Jazz Boogie" is one of the hottest records Roy Eldridge ever made. The flip side, "Embraceable You," bears witness to his profound abilities as an interpreter of ballads. Three sides by the Roy Eldridge Little Jazz Band recorded for V-Disc on November 14, 1945, allow for more intimate interplay. "Roy Meets Horn" -- the title is a takeoff on "Boy Meets Horn," Ellington's feature for Rex Stewart -- and "Old Rob Roy" are late-period swing or "prebop" numbers, anticipating stylistic changes that were in the wind at the time. With Nick Caiazza blowing tenor sax, Ernie Caceres wielding a clarinet, and Trigger Alpert and Specs Powell in the rhythm section, this was one exciting little jam band. "I've Found a New Baby" is a full-blown stomp employing traditional swing polyphony. Contrary to what the discography claims, there is no spoken introduction by Eddie "Rochester" Anderson. Back in the Decca studios on January 31, 1946, the big band generated huge gusts of sound, employing lots of in-your-face brass. "Ain't That a Shame" is a fine cool blues graced with one of Eldridge's hippest vocals. The session of May 7, 1946, opened with the rowdy "Hi Ho Trailus Boot Whip" and eased into "Tippin' Out" -- the apparent obverse of "Tippin' In," a big hit for Erskine Hawkins. During his solo on "Yard Dog," tenor saxophonist Tom Archia quotes from Fats Waller's hit record "There's Honey on the Moon Tonight." On the other hand, "Les Bounce" is not a very inventive melody. The band compensates by blowing hard and Eldridge tries using a portion of the melodic line from his famous "Little Jazz." The material recorded on September 24, 1946, signals a return to dependable jazz standards of the day. This band had alto saxophonists Sahib Shihab and Joe Eldridge, Cecil Payne on baritone, and pianist Duke Jordan. The disc closes with the WNEW Saturday Night Swing Session broadcast live on May 31, 1947. "Honeysuckle Rose" is played by just the rhythm section of Al Casey, Eddie Safranski, and Specs Powell. "Flip and Jazz" is nearly nine minutes of hot jamming in the company of tenor saxophonist Flip Phillips. "How High the Moon" is, well, a visit to bop city as Eldridge brings in the melody known as "Ornithology." "Lover" is played bright and fast with lots of block chords hammered out by pianist Mike Coluchio's right hand. "Buck Still Jumps," played once again just by the rhythm section, is Al Casey's sequel to "Buck Jumpin'," his famous feature number from Fats Waller days. arwulf arwulf
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MILDRED BAILEY – 1943-1945 | The Classics Chronological Series – 1316 (2003) FLAC (tracks+.cue), lossless

Most of Mildred Bailey's recordings have been reissued, but this CD is particularly special. With the exception of the final four songs, all of the music was originally out on fairly rare V-discs, making this a strong addition to swing and vocal jazz fans' collections. Bailey was one of the most distinctive singers of the 1930s and '40s and she was at the peak of her powers during the World War II years. Particularly worthy are the first four selections (including an extended version of "Rockin' Chair") in which she is accompanied by pianist Teddy Wilson. "Squeeze Me" is taken from the Esquire All-American concert of 1944. There are three songs in which Bailey is joined by a sextet led by her husband vibraphonist Red Norvo (clarinetist Aaron Sachs is in good form), ten songs on which Bailey is accompanied by Paul Baron's orchestra, a heated version of "Dinah" with Wilson and trumpeter Charlie Shavers, and the final studio date with a nonet. In addition to the first version of "Rockin' Chair," other highlights include "Sunday, Monday or Always," "More Than You Know," "Downhearted Blues," "From the Land of the Sky Blue Water," and "I'm Glad There Is You." Recommended. Scott Yanow  
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TEDDY WILSON AND HIS ORCHESTRA – 1939 | The Classics Chronological Series – 571 (1991) FLAC (tracks+.cue), lossless

This CD has quite a bit of variety. Teddy Wilson is featured on four of his better piano solos, backs Billie Holiday on one session (which resulted in superior versions of "More Than You Know" and "Sugar," and has some fine solo space for altoist Benny Carter and trumpeter Roy Eldridge) and is heard on 13 selections with his new (and unfortunately short-lived) big band. The Teddy Wilson Orchestra was impeccable, tasteful and swinging (just like its leader) but, despite the presence of such soloists as trumpeter Harold "Shorty" Baker and tenor saxophonist Ben Webster, it never really stood a chance in the competitive swing world of 1939; the orchestra would only record eight additional titles. However the music on this CD is quite enjoyable and not as common as most of the recordings reissued by the Classics label. Scott Yanow
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DON BYAS – 1945, Vol. 2 | The Classics Chronological Series – 959 (1997) FLAC (tracks+.cue), lossless

Carlos Wesley "Don" Byas openly claimed to represent a third stream of tenor sax, somewhere between Coleman Hawkins and Lester Young. In truth, he sounded most like the mature Hawkins, also sharing stylistic traits with Pres, Budd Johnson, Lucky Thompson and Ben Webster. Most importantly, he sounded like himself. Four sides recorded for the "Jamboree" label in October 1945 feature the extraordinary piano of Johnny Guarnieri. "Once in a While" comes across like a lullaby compared to the rip-snorting "Avalon," notable for J.C. Heard's fiery drumming. "Blue and Sentimental," forever associated with Count Basie's star tenor saxophonist Herschel Evans, is soulfully rendered here. "Melancholy Baby" sounds a lot like the kind of records Hawkins was making for the Keynote label in 1945 -- this recording, in fact, could effectively be used to stump jazz experts during blindfold tests. In a remarkable follow-up, the next session turns Erroll Garner loose in the company of Slam Stewart and Harold "Doc" West. The Savoy session (after Byas stretches out with "Candy" all to himself) features trumpeter Benny Harris. "How High the Moon" bristles with be bop changes, and "Donby" is recognizable as Byas' extension of Juan Tizol's "Perdido." "Byas a Drink" is a sort of be bop rhumba. In a strange chronology defying maneuver -- and without altering the title of the CD -- Classics has tacked on two sessions from 1944. Throughout his career, trumpeter Emmett Berry was almost never designated as a leader. On August 31 1944, the quintet bearing his name was graced with a rhythm section consisting of Dave Rivera, Milt Hinton and J.C. Heard. The music speaks of new ideas in the making, even if Berry swings rather than bops. Recorded on 12 " 78 rpm records allowing for nearly four minutes per side, the Cyril Haynes Sextet, starring Byas and the nearly forgotten trumpeter Dick Vance, featured electrified guitar solos by Al Casey with strong rhythmic support from -- once again -- Harold "Doc" West. Here, then, is a fat parcel of solid sessions from the life of Don Byas, well-worth hearing again and again. arwulf arwulf  
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GENE SEDRIC – 1938-1947 | The Classics Chronological Series – 1181 (2001) FLAC (tracks+.cue), lossless

Most people who are hip to Eugene "Honeybear" Sedric know him as the man who was Fats Waller's chosen handler of clarinet and tenor saxophone, usually paired with trumpeter Herman Autrey as the front line of the little "Rhythm" band, between the years 1934 and 1943. To be able to savor an entire CD containing virtually everything that Sedric recorded as a leader is a musical treat beyond belief. Any true Waller devotee would jump on this without hesitation. The first four tracks, recorded in November 1938, feature Waller's touring band, heard here with Hank Duncan at the piano and featuring spunky vocalist Myra Johnson, who livened up several of Waller's three-minute movies, including "The Joint Is Jumpin'." Sedric's version is fun enough, but Waller fans will get extra kicks from "Off Time," as it's rare to hear anybody singing this delightful tune, one of many great songs that the pianist composed but didn't live long enough to record for posterity. Also included in that category would be "Choo-Choo," co-written by Waller, Sedric, and Andy Razaf. It is a tight shuffle dolled up with toots from a small train whistle by Slick Jones, Waller's trusty percussionist and sound effects man. Gene sings pleasantly, seeming not at all ashamed to voice what others might have felt were foolish lyrics. "The Wail of the Scromph," a slow and easy blues by Sedric, opens with clarinet. Autrey is warm as always, Al Casey dexterous and cool. Now here's the curious part of the package: in August of 1946 Sedric's band accompanied vocalist Ruby Smith, who based her career on the fact that she was Bessie Smith's husband's niece. Sounding tough and somewhat brittle on "Chicago Woman Blues," Ruby's presence with Sedric seems surprising at first. "Baby, Baby, Baby Blues" is more subtle as Sedric talks back at her in the same way that Fats usually enjoyed cajoling his guest vocalists, particularly Una Mae Carlisle. Ruby in fact sounds more than a little like Una Mae on the moody "Sedric's Blues." Four more sides were cut on that same day without Ruby, giving this excellent band a chance to strut its stuff. "Forget It" and "Bootin' and Swingin'" are solid extensions of Fats Waller's early-1940 instrumental jam style. Eight sides recorded in New York for the Swing and Keynote labels represent Sedric's band at the apex of its creative success. Each instrumental track is outstanding, while the carefully rehearsed theatrically hip group vocals are dazzling in their complex fluidity. Sedric's last stand as a leader occurred in January of 1947, when his band once again found itself supporting Ruby Smith. Who wrote these tunes, and why? Never mind. It doesn't matter. What's important is that Al Casey seized upon the opportunity to play electrically amplified guitar behind the vocal on "You Satisfy," and "Hot Sauce Susie" enabled Sedric to yell about chops and corn bread, drawing once again upon the training he received throughout nine years of dedicated service as Thomas "Fats" Waller's right-hand man. arwulf arwulf  
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JAMES P. JOHNSON – 1938-1942 | The Classics Chronological Series – 711 (1993) FLAC (tracks+.cue), lossless

 Each volume in the James P. Johnson chronology is packed with music of great poetic depth. This particular installment opens with a pair of trio sides by "Pee Wee, Zutty and James P.," a vestigial core left over from Pee Wee Russell's Rhythmakers as heard on Classics 671. These intimate interactions make for exceptionally fine listening. Then there's the amazing JPJ Orchestra of 1939, resounding with an unforgettable front line of Red Allen, J.C. Higginbotham, and Gene Sedric, who with Al Casey was borrowed from the Fats Waller & His Rhythm band. Anna Robinson's vocal on "Harlem Woogie" is gloriously rowdy, with a scat that was all her own. "Hungry Blues," a selection from a politically charged stage show with words by Langston Hughes, is a beautiful statement against segregation and inequity, invoking "...a brand new world, so clean and fine, nobody's hungry and there ain't no color line...." The show was called De Organizer. It dealt with the plight of Afro-American workers as they attempted to unionize. Anna Robinson was remembered by Milt Hinton as a merry libertine who partied hard. Strung out on narcotics, she was brutally murdered in an alley. These are the only recordings Robinson ever made. An alternate version of "Hungry Blues" is historically valuable, although it's little more than a footnote to the other take. Ruby Smith, the niece of Bessie Smith's husband, tackles two helpings of the blues. "Backwater" was Bessie's eyewitness response after experiencing firsthand the devastation caused by floodwaters in the lowlands. James P. Johnson was Bessie's collaborator when the song was first recorded in February of 1927. This might be Ruby's best recorded performance. She couldn't have found a better backup band -- in fact she never did. Five days later, six solo piano inventions were recorded, using melodies composed by Johnson: "If Dreams Come True" is the very apex of what critics dubbed Harlem stride piano. "A Flat Dream," which is to say "Dream in the Key of A Flat," is one of Johnson's most attractive creations. It is spiritually connected with "The Dream (Slow Drag)" and "The Boogie Dream," both recorded in June of 1944 (see Classics 835). This particular version of "Blueberry Rhyme" is pure magic. The pianist's heart is wide open, and listeners are permitted access to a very personal private sanctum. Only one instrumental was recorded during the session of March 9, 1939. On June 15 the band reconvened with only slight adjustments in personnel, and this time the ratio was inverted. Four solid instrumentals, among the best that Johnson ever presided over, were followed by one vocal. "Havin' a Ball" opens with a rare example of Sidney Catlett operating a timpani drum. This is almost a pun on the title, as if an enormous inflated rubber ball has come bouncing into the room. arwulf arwulf
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