LOUIS ARMSTRONG AND HIS ORCHESTRA – 1929-1930 | The Classics Chronological Series – 557 (1990) FLAC (tracks+.cue), lossless

On March 1, 1929, Eddie Condon managed to assemble a completely unrehearsed band in a recording studio at Liederkranz Hall in New York City, where two of the greatest jazz records of the entire decade were waxed and soon issued under the name of Fats Waller & His Buddies. Four days later, Condon was in a different studio with a band led by Panamanian pianist Luis Russell. This ten-piece orchestra was identified on record as Louis Armstrong's Savoy Ballroom Five. Their "Mahogany Hall Stomp" perfectly embodies both the leader's personality and jazz itself at the end of the 1920s. The Armstrong chronology jumps to July of 1929 with four beautiful Fats Waller melodies and into September with a string of pretty tunes that seem to anticipate popular taste during the 1930s. In December of 1929 Armstrong made a series of records with Luis Russell's orchestra. This placed him in the same group with trumpeter Henry "Red" Allen, something that should have happened more often. Hoagy Carmichael sat in on December 13th to assist Armstrong in singing "Rockin' Chair." On January 24, 1930, the era of sweet bands seems to have officially opened with "Song of the Islands," garnished with three violins and vibraphone played by Paul Barbarin while the band's valet sat in on the drums. Moving into the spring of 1930, a duet rendition of "Dear Old Southland" paired the trumpeter with pianist Buck Washington. As the Great Depression settled over the listening public, Armstrong recorded numerous pop songs in front of a large, lightly sweetened orchestra. His trumpet and persona transform even the least of these ditties into precious delicacies that still nourish and satisfy many years after their creation. arwulf arwulf    Tracklist :

KING OLIVER's JAZZ BAND – 1923-1926 | The Chronogical Classics – 639 (1992) FLAC (tracks+.cue), lossless

We'd like to introduce the last 11 sides that Louis Armstrong made with Joe Oliver's Jazz Band. After listening through three or four of these, you'll have a pretty good idea why this group generated so much excitement in its heyday. Already the ensemble has begun to morph. Papa Charlie Jackson's bass saxophone adds an extra level of funk to "Buddy's Habit," a thrilling stomp gone slightly weird when Louis takes an entire chorus using a slippery "swanee whistle." Jackson played a worthy tuba but his bass sax was all prostate and peritoneum. This was a hot band and these are among the best records they ever managed to conjure. Two cornets harmonize in striking tandem during the breaks. Honore Dutrey's trombone is the perfect counterweight for Johnny Dodds' clarinet. We're experiencing authentic collective improvisation, eight people sharing one microphone. Each of these numbers will charm you if you give the music a chance. Go ahead. Spend more than a half-hour with this amazing band. Suddenly the chapter ends and we've entered a completely different phase of Oliver's life. The group has dissolved after a dispute over pay. Louis lingered longer than the rest but by December of 1924 he's off plowing his own turf. A full year has passed since the band's final session as a unit. King Oliver is heard in duet performance with Jelly Roll Morton, working up a gutsy "King Porter Stomp" and a "Tom Cat" which soon reveals itself as Morton's "Winin' Boy." Now we're wading into the year 1926. Oliver has put his name in front of a band, which is essentially Luis Russell & His Burning Eight. Suddenly there are a lot more reed players than have ever been heard on any of King Oliver's records. There's Albert Nicholas, Barney Bigard and an alto player from Detroit named Billy Paige. He wrote the arrangements for "Too Bad" and "Snag It." Vocals are by the venerably funky Richard M. Jones, the soulful Teddy Peters, the salty Georgia Taylor and the chronically blue Irene Scruggs. Albert Nicholas plays a mean soprano sax on "Home Town Blues." "Deep Henderson" kicks and shakes. "Jackass Blues" is a masterpiece of distorted reality. Gone is the precision of the Creole Jazz Band. The Dixie Syncopators blow hard and swing loose. "Sugar Foot Stomp" is a screamer. Conventional criticism is full of complaints about this band. Why compare it with the smaller, more disciplined ensembles of 1923? These big bumbling bands of 1926 are about feeling good. The records don't exist to authenticate some expert's theories of refined excellence. If Barney Bigard wants to slap his tongue against the reed and Stump Evans tries his luck with a soprano saxophone, well, good for them. It's all about having a good time. And this is good time music. arwulf arwulf  
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JELLY-ROLL MORTON – 1928-1929 | The Chronogical Classics – 627 (1992) FLAC (tracks), lossless

This CD traces Jelly Roll Morton's period in New York, starting with his second record date in the Big Apple. A few of the sessions have Morton joined by an excess of musicians, with the results certainly being spirited, if bordering on getting out of control. "Tank Town Bump" and "Red Hot Pepper Stomp" are the best of these numbers. In addition, Morton is heard on four excellent piano solos (including "Seattle Hunch" and "Freakish"), leading a nucleus taken from the Luis Russell Orchestra on four other songs, and playing as a sideman with vaudevillian clarinetist Wilton Crawley's pickup band, sometimes to hilarious effect. One of the true jazz giants, every recording by Jelly Roll Morton is well worth acquiring in one form or another. Scott Yanow  
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JELLY-ROLL MORTON – 1930-1939 | The Chronogical Classics – 654 (1992) FLAC (tracks+.cue), lossless

There are a lot of Jelly Roll Morton reissues kicking around, but few of them span the 1930s the way this one does. Mr. Jelly's chronology generally gets lopped off after the last Red Hot Peppers session, often entirely omitting the rest of his remarkable story. This, then, is a valuable bundle of ensemble stomps and slow drags garnished with a few piano solos. The first session is a whopper. Wilton Crawley was a peculiar vaudevillian who played laughing hyena clarinet. During the opening track he removes the mouthpiece from the instrument and cups his hands around it, generating a series of wah-wah-wah whinnies. This makes perfect sense in a twisted sort of way. Bruce Johnson plays the washboard with great precision, adding lots of little "dings" wherever he pleases. Most of the guys in the band knew each other from having worked in the Luis Russell Orchestra. There are fine solos from Red Allen, Charlie Holmes, and that marvelous guitarist Teddy Bunn. Contrary to what the discography says, Crawley does not vocalize on this date, and Pops Foster sternly puffs away at a tuba rather than using the string bass as listed. Jelly's Red Hot Peppers were on their last couple of go-rounds during the second half of 1930, but this was still a hot band, notable for Ward Pinkett's punchy trumpet, Morton's fabulous piano, and the agility of guitarists Howard Hill and Bernard Addison. "Strokin' Away" contains a wonderful tuba solo by the mighty Pete Briggs. "Blue Blood Blues" begins and finishes with glorious tones in both registers from clarinetist Albert Nicholas.
Years passed before Jelly was able to record again. When he sat down to record piano solos in 1938, his overdeveloped showmanship was bottled up and ready to come pouring out. According to Morton, the lightning-quick "Finger Buster" was supposed to be one of the most difficult pieces ever written for the piano. What it amounts to is a flashy display of technical dexterity. "Creepy Feeling" is a beautiful example of the Caribbean influence that Jelly was fond of demonstrating. "Honky Tonk Music" also breathes with a bit of the "Spanish tinge," along with a deliberate walking bassline, soon to be known as boogie-woogie. The first "New Orleans Jazzmen" session bristles with Sidney Bechet, Albert Nicholas, and Sidney DeParis. "High Society" sounds like they're taking it right down the middle of the street, which is where "Oh, Didn't He Ramble?" would also have taken place. Jelly then sings cleaned-up lyrics to a couple of slow drags, giving listeners a chance to savor the tenor saxophone of Happy Caldwell. While "Buddy Bolden" was originally a song about farting, the notorious "Winin' Boy" dates from Morton's tenure as a Storyville cathouse piano player. Jelly's Library of Congress recording of his erstwhile theme song contains some of the most sexually explicit lyrics ever sung into a recording microphone. "Winding Boy" was a term used to describe a "tireless stud." While we're on the subject, James Scott's "Climax Rag" is pleasantly stimulating, as are all eight selections from September of 1939. This wonderful disc ends with two delightful solos including "Original Rags," Scott Joplin's masterpiece of 1899. arwulf arwulf  
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JELLY-ROLL MORTON – 1939-1940 | The Chronogical Classics – 668 (1992) FLAC (tracks+.cue), lossless

This CD has (with the exception of two songs from a slightly later radio broadcast) the final recordings of pianist-composer Jelly Roll Morton. Best are his piano solos (such as "The Crave," "The Naked Dance," and "King Porter Stomp") and selections in which he backs his own vocals (including "I Thought I Heard Buddy Bolden Say," "Don't You Leave Me Here," and "Mamie's Blues"). Morton's three band dates (which resulted in the final dozen titles) are slightly disappointing because he was obviously trying to write a hit and not having any success. The songs are all forgettable except "Sweet Substitute" and the standard "Panama." But overall, this CD (along with the others in the Classics reissues series) are easily recommended to fans of vintage classic jazz who do not own the more complete five-CD Bluebird Morton set. Scott Yanow
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LUIS RUSSELL AND HIS ORCHESTRA – 1926-1929 | The Chronogical Classics – 588 (1991) FLAC (tracks+.cue), lossless

This Classics Russell collection and the label's later 1929-1934 disc round up the entire output by the Panamanian bandleader. And while some know them better for the fact they eventually morphed into Louis Armstrong's first big band in the early '30s, Russell's outfit originally cut some of the best sides to surface during the music's transition from early jazz to big band music. The cream of the tracks were recorded between 1929-1930, when the group included such top soloists as trumpeter Henry Allen, trombonist J.C. Higginbotham, saxophonists Charlie Holmes and Albert Nicholas, bassist Pops Foster, and drummer Paul Barbarin. The majority of the collection spotlights this period, with such standouts as "Jersey Lightning," "The New Call of the Freaks," and "African Jungle." Starting things off, though, are eight numbers from Russell's first sessions as a leader (this was while he was still with King Oliver). Featuring Victoria Spivey on vocals and two Jell Roll Morton alums in Kid Ory and George Mitchell, the Chicago-cut sides, while not on par with the later large-band tracks, still impress with their mix of New Orleans and Chicago styles. A quality disc that's best left to completists; newcomers should first consider JSP's superior-sounding Savoy Shout collection as a starting point. Stephen Cook  
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LUIS RUSSELL AND HIS ORCHESTRA – 1930-1934 | The Chronogical Classics – 606 (1991) FLAC (tracks+.cue), lossless

It's a shame this and the earlier Classics collection split up the bandleader's prime 1930 recordings, but such is the way of a strictly chronological series. Those wanting just one disc that covers most of Russell's best work will want to pick up JSP's Savoy Shout disc, which includes 22 cuts from 1929-1930. But for collectors in need of all of the recordings Russell cut before Louis Armstrong practically swallowed up his band whole in 1934, the two Classics discs will certainly do the trick. And while this later disc pales a bit to the 1926-1930 collection, its first half does feature classic work from Russell's band and its spin-off combo, J.C. Higginbotham and His Six Hicks. Along with Higginbotham's own irrepressible trombone work, these sides also offer a wealth of solo treats from such band standouts as trumpeter Henry Allen and saxophonists Charlie Holmes and Albert Nicholas. The later 1931 and 1934 recordings might not match up to earlier classics like "Panama" and "Song of the Swanee," but they still include enough fine performances amongst the filler to keep the quality level up. A worthwhile disc, but one that's probably best suited for Russell completists. Stephen Cook
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HENRY "RED" ALLEN AND HIS ORCHESTRA – 1929-1933 | The Chronogical Classics – 540 (1990) FLAC (tracks+.cue), lossless

The first of a five-volume CD series released by the European Classics label that reissues all of the recordings led by trumpeter Red Allen during 1929-41 is one of the best. The great trumpeter is first heard fronting the Luis Russell Orchestra for such classics as "It Should Be You" and "Biff'ly Blues," he interacts with blues singer Victoria Spivey, and on the selections from 1933 (two of which were previously unreleased) he co-leads a group with tenor-saxophonist Coleman Hawkins. Not all of the performances are gems but there are many memorable selections including "How Do They Do It That Way," "Pleasin' Paul," "Sugar Hill Function,," and "Patrol Wagon Blues." Other soloists include trombonists J.C. Higginbottham and Dicky Wells, clarinetist Albert Nicholas and altoist Charlie Holmes. Scott Yanow
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HENRY "RED" ALLEN AND HIS ORCHESTRA – 1933-1935 | The Chronogical Classics – 551 (1990) FLAC (tracks), lossless

The second of five CDs put out by the European Classics label that document trumpeter Red Allen's 1929-41 recordings has three titles from a session co-led with tenor-saxophonist Coleman Hawkins, eight songs from 1934 and a dozen from the following year. Allen takes vocals on most of the tracks and, even if not all of the songs are gems, there are many highlights including "Pardon My Southern Accent," "Rug Cutter Swing," "Believe It, Beloved," "Rosetta" and "Truckin'." The strong supporting cast includes trombonists Dickie Wells and J.C. Higginbotham, clarinetists Buster Bailey and Cecil Scott and, on one date, tenorman Chu Berry. All five of the Red Allen Classics CDs are recommended. Scott Yanow
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HENRY "RED" ALLEN AND HIS ORCHESTRA – 1935-1936 | The Chronogical Classics – 575 (1991) FLAC (tracks+.cue), lossless

The third of five Classics CDs that cover Red Allen's recordings of the 1930s has the contents of six complete sessions from a ten-month period. Allen (who has vocals on all but one of the 24 selections) is assisted by such classic players as trombonist J.C. Higginbotham, Cecil Scott (on tenor and clarinet), altoist Tab Smith and several strong rhythm sections. Among the more memorable swing performances are "On Treasure Island," "Take Me Back to My Boots and Saddle," "Lost," "Algiers Stomp" and "I'll Sing You a Thousand Love songs." The fairly obscure recordings (cut during an era when the big bands really ruled) have long been underrated. Scott Yanow
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FATS WALLER – 1929 | The Classics Chronological Series – 702 (1993) FLAC (tracks+.cue), lossless

Five years before the formation of his famous "Rhythm" band, Thomas "Fats" Waller created a body of solo piano recordings that proved to be only modestly successful with the record buying public of his day. Musicians, on the other hand, have always been affected -- transformed, really -- by Waller's astonishing subtlety, that powerful sensitivity inherited directly from James P. Johnson, Luckey Roberts and Willie "The Lion" Smith. Waller's profound influence upon Art Tatum and Bud Powell can be traced directly back to the piano solos included on this album. Each three-minute performance is a world unto itself, as poetic license is held in balance by the magnetic field of Waller's dramatic gravity. There is a majestic simplicity to each turn of his phrasing, informed by everything that the pianist experienced during the first 25 years of his short life. "Love Me or Leave Me" picks up where "I've Got a Feeling I'm Falling" left off. What had served as a lachrymose torch song for pop star Ruth Etting becomes in Waller's hands something more along the lines of a wistfully energetic stomp through the old neighborhood at three o'clock in the morning. Legend has it Waller's perky "Valentine Stomp" was dedicated to Hazel Valentine, proprietor of the pianist's favorite sporting house, the Daisy Chain. Irving Berlin's "Waiting at the End of the Road" is lonelier than "Love Me" but works itself up to a similar pitch of emotional intensity. "Smashing Thirds" and "Turn on the Heat" are, to use a dangerous word, masterpieces. Life simply doesn't get much better than this. Furthermore, let's always remember that Fats Waller was our first jazz organist. Most of his solo pipe organ recordings date from 1927. His 1929 solos on that instrument are less giddy than the earlier "Soothin' Syrup" and "Hog Maw" stomps. There is a ruminative quality to these slow meditations, something that is sure to get by anyone who is impatiently awaiting instantaneous kicks. The strikingly majestic "That's All" was the last pipe organ solo Waller would wax inside the little church in Camden, New Jersey that had been converted into a recording facility. By 1934 he had switched to the Hammond and stuck with it almost exclusively for the rest of his life. The strictly chronological approach to reissuing brings in two peculiar sides by Fats Waller & His Buddies, involving a silly frenetic barbershop quartet billed as the Four Wanderers. "Lookin' Good but Feelin' Bad" is both hyperactive humor and smoking hot jazz, during which Henry "Red" Allen seems about to make his trumpet come apart at the seams. Don't be surprised when pop star Gene Austin sings Waller's "My Fate Is In Your Hands," as the two men collaborated periodically, always with mutual respect. And brace yourself for "Big Business," nearly seven minutes of vintage Negro vaudeville with quite a bit of Jim Crow dialogue included. Listen in on the cast of "Hot Chocolates" as they make plans for "fixing" a prize fight while Fats Waller maintains a steady piano presence in the background. At the beginning of part two, one of the actors actually shouts at him to "cut out that plunkin' on that pianna and let me get my business straight!" arwulf arwulf  
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FATS WALLER – 1929-1934 | The Classics Chronological Series – 720 (1993) FLAC (tracks+.cue), lossless

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PETE JOHNSON – 1944-1946 | The Classics Chronological Series – 933 (1997) FLAC (image+.cue), lossless

The third "complete" Pete Johnson CD put out by the European Classics label features the great boogie-woogie pianist in three different settings. There are eight formerly rare piano solos from 1944 that cover a variety of moods, five selections with a hot Kansas City octet which includes trumpeter Hot Lips Page, tenorman Budd Johnson and two vocals from the young Etta Jones, and eight intriguing numbers in which Johnson is gradually joined by an additional musician on each track. "Page Mr. Trumpet" is an exciting outing for Hot Lips, and the other top players include clarinetist Albert Nicholas, trombonist J.C. Higginbotham and tenorman Ben Webster. A particularly exciting release. Scott Yanow
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KID ORY – 1945-1950 | The Classics Chronological Series – 1183 (2001) FLAC (tracks), lossless

As a prime surviving trombonist from the dawn of recorded jazz, Edward "Kid" Ory served as the eye of a hurricane driving the resurgence of traditional New Orleans entertainment during the mid-'40s. His radio broadcasts and the excellent studio recordings he cut during the second half of the 1940s helped to repopularize old-fashioned jazz and paved the way for a full-blown Dixieland revival during the 1950s. A healthy segment of those works are represented here in chronological detail. Trumpeter Mutt Carey blows some of his best solos on record, and fans of the Mutt should be grateful to Ory for all of this recorded evidence. One index for this leg of the Ory discography uses the clarinet players as coordinates. Darnell Howard was sturdy enough, even if he got a bit lost momentarily during his solo on "Ory's Creole Trombone." Albert Nicholas performed with characteristic eloquence during a 1946 V-Disc recording of the old Crescent City street anthem "High Society," and Barney Bigard shone like a comet throughout both of the Columbia sessions from October 1946. Joe Darensbourg, heard with Ory's band during the summer of 1950, managed to revive the use of slap-tongued clarinet without sounding foolish or dated. Bassist Morty Cobb was heavily featured during "Blues for Jimmie Noone." Ory himself was always dependably warm and gutsy, growling merrily on "Bucket's Got a Hole in It" and gurgling through his horn on "Mahogany Hall Stomp." Ory loved to sing Louisiana Creole French songs in his deep voice, cordially enunciating each lyric -- in a register lower than the trombone -- on "Eh, La Bas," "Creole Song," and "Creole Bo Bo" (the "Bo Bo" being a sort of dance). The other two singers are Helen Andrews, possessor of a booming voice corrugated with regular sheets of vibrato, and the soulful Lee Sapphire. Andrews was entrusted with a spiritual and a lament, while Sapphire handled the songs dealing with interpersonal relationships. Most importantly, perhaps, these 21 recordings represent a wealth of great old-time melodies. Here is "Bill Bailey" with the verse included. Here is "The World's Jazz Crazy," sounding a lot like "Ballin' the Jack." Here's "At a Georgia Camp Meeting" in all its 1890s splendor. And here is that harmless novelty "Yaaka Hula Hickey Dula," refreshingly brisk and brusque, with imitation "Polynesian" percussion provided by Minor "Ram" Hall. arwulf arwulf
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JAMES P. JOHNSON – 1945-1947 | The Classics Chronological Series – 1059 (1999) FLAC (tracks), lossless

These are the last recordings made by James P. Johnson, accomplished composer, pianist, bandleader, and mentor to Thomas "Fats" Waller. Unlike certain other reissues, this collection presents the precious material most carefully, without a lot of excessive surface noise. Poetically speaking, "Blues for Jimmy" is a sort of self-portrait, even an open letter from Johnson to himself -- in which case, everyone ought to enjoy such a peaceful relationship with his or her doppelgänger. Musically, this little study seems at first like an imaginary sequel to Fats Waller's "London Suite," with touches of Sergei Rachmaninov in the descending runs. Specifically, "Blues for Jimmy" is a condensed version of "Jazzamine Concerto," or at least its first movement. That work appears here in a six-and-a-half-minute rendering, along with three amiable stride piano exercises. Right in the middle of the set there erupts a surprising adventure in dissonance, "Jungle Drums," reminding listeners that the piano is, after all, a percussion instrument. The main theme begins with a repeated tattoo in the basement of the keyboard. The melody itself is exciting and hints at barely tapped resources of harmonic and rhythmic innovation. The session from May of 1945 is outstanding. "Liza" has often been singled out as a glowing example of Johnson's fully mature style. "Aunt Hagar's Blues" is solid as a mountain. "The Dream" rolls off of his fingers most elegantly, its tango rhythms soothing to the nerves. "St. Louis Blues" gets the boogie-woogie treatment. "Sweet Lorraine" reveals Johnson's personality with calm, passionate dignity. There is a gap in the chronology. Having survived a debilitating stroke, Johnson rested up and was back in front of the recording microphone in February and June of 1947. "Maple Leaf Rag" has all the rambunctious anarchy of a Fats Waller solo. "Daintiness Rag" allows for one last delightful glimpse of Johnson's famous ability to exercise his powerful touch in the most delicate ways imaginable. Every part of this last solo session is executed with immaculate ease. It is apparent that James P. Johnson influenced Thomas Waller, who in turn influenced James P. Johnson. If "Ain't Cha Got Music" doesn't make the point, "I'm Crazy 'Bout My Baby" certainly will. West Indian and Caribbean culture was an active component in the Harlem jazz scene. Both Willie "The Lion" Smith and James P. Johnson participated in recording dates that focused on music from the islands. The Creole Serenaders session led by Albert Nicholas was part of an interesting surge of blended New York/New Orleans traditions that found its way onto phonograph records during the years 1946 and 1947. A tasty overview of this phenomenon can be found on the CD Jazz à la Creole: The Baby Dodds Trio (GHB 50), issued in the year 2000. That disc contains a second version of "Salee Dame" that is not included on Classics 1059. arwulf arwulf  
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RICHARD M. JONES – 1923-1927 | The Classics Chronological Series – 826 (1995) FLAC (tracks+.cue), lossless

Richard M. Jones was more important as a talent scout and an organizer of bands than as a pianist. This Classics CD features Jones as a soloist on two numbers from 1923 ("Jazzin' Babies Blues" and "12th Street Rag"); with the Chicago Hottentots backing the mediocre singer Lillie Delk Christian; playing with Nelson's Paramount Serenaders and Hightower's Night Hawks; and leading his own Jazz Wizards. Among the other players are clarinetist Albert Nicholas, banjoist Johnny St. Cyr, cornetist Shirley Clay, and trombonist Preston Jackson. Although the music is generally not all that classic, this formerly rare material has its strong moments and gives one a good example of middle-of-the-road Chicago jazz of the mid-'20s. Scott Yanow
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CLARENCE WILLIAMS – 1933 | The Classics Chronological Series – 845 (1995) FLAC (tracks+.cue), lossless

The tenth CD in the Classics label's very valuable Clarence Williams series has its strong moments, although his band was starting to become somewhat predictable. Two titles feature clarinetist Albert Nicholas in a washboard-jug quintet, and six intriguing songs utilize both Herman Chittison and Willie "The Lion" Smith on piano (with Eva Taylor taking most of the vocals). But most of the other selections are by a quartet comprised of pianist Williams, cornetist Ed Allen (a terrible singer, as he shows on two songs), clarinetist Cecil Scott and the washboard of Floyd Casey. The music is fine, but not quite as special as Williams' slightly earlier recordings with more diverse and versatile bands. Still, this is worth picking up for classic jazz collectors. Scott Yanow
Tracklist :
1    Clarence Williams' Jug Band–    Mississippi Basin 3:02
Clarinet – Albert Nicholas
Guitar – Jimmy McLin
Jug – Clarence Williams
Piano – Unknown Artist
Vocals – Eva Taylor
Washboard – Willie Williams
Written-By – Razaf, Foresythe
2    Clarence Williams' Jug Band–    I Like To Go Back In The Evening 2:30
Clarinet – Albert Nicholas
Guitar – Jimmy McLin
Jug – Clarence Williams
Piano – Unknown Artist
Vocals – Eva Taylor
Washboard – Willie Williams
Written-By – Williams, Clint, Pascoe
3    Clarence Williams And His Orchestra–    Black-Eyed Susan Brown 2:47
Clarinet – Unknown Artist
Cornet, Vocals – Ed Allen
Piano – Clarence Williams
Tom Tom – Unknown Artist
Washboard, Vocals – Floyd Casey
Written-By – Goodhart, Hoffman, Magidson
4    Clarence Williams And His Orchestra–    Mama Stayed Out All Night Long 2:44
Clarinet – Unknown Artist
Cornet, Vocals – Ed Allen
Piano – Clarence Williams
Tom Tom – Unknown Artist
Washboard, Vocals – Floyd Casey
Written-By – Razaf, Wilson
5    Clarence Williams And His Orchestra–    High Society 2:37
Clarinet – Unknown Artist
Cornet – Ed Allen
Piano – Clarence Williams
Tom Tom – Unknown Artist
Washboard – Floyd Casey
Written-By – Steele, Melrose
6    Clarence Williams And His Orchestra–    I Like To Go In The Evening (To That Old Sweetheart Of Mine) 2:41
Clarinet – Unknown Artist
Cornet – Ed Allen
Piano – Clarence Williams
Tom Tom – Unknown Artist
Washboard – Floyd Casey
Written-By – Williams, Clint, Pascoe
7    Clarence Williams' Jug Band–    Shim Sham Simmy Dance 3:00
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug, Vocals – Clarence Williams
Kazoo, Vocals – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Vocals – Eva Taylor, The Lowland Singers
Washboard – Willie Williams
Written-By – Razaf, Williams
8    Clarence Williams' Jug Band–    Organ Grinder Blues 3:40
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug, Vocals – Clarence Williams
Kazoo, Vocals – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Vocals – Eva Taylor, The Lowland Singers
Washboard – Willie Williams
Written-By – Williams
9    Clarence Williams' Jug Band–    Chizzlin’ Sam 3:10
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug – Clarence Williams
Kazoo, Vocals – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Vocals – Eva Taylor
Washboard – Willie Williams
Written-By – Williams
10    Clarence Williams' Jug Band–    High Society 2:53
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug – Clarence Williams
Kazoo – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Vocals – Eva Taylor
Washboard – Willie Williams
Written-By – Piron, Williams
11    Clarence Williams' Jug Band–    Mister, Will You Serenade? 3:08
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug – Clarence Williams
Kazoo, Vocals – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Vocals – Eva Taylor
Washboard – Willie Williams
Written-By – Hill, Williams, Robinson
12    Clarence Williams' Jug Band–    You Ain’t Too Old 3:03
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug – Clarence Williams
Kazoo, Vocals – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Washboard – Willie Williams
Written-By – Hill, Williams
13    Clarence Williams And His Orchestra–    Beer Garden Blues 2:49
Clarinet – Cecil Scott
Cornet – Ed Allen
Piano – Clarence Williams
Washboard – Floyd Casey
Written-By – Williams, Raymond, Bishop
14    Clarence Williams And His Orchestra–    The Right Key But The Wrong Keyhole 2:36
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Piano – Clarence Williams
Washboard – Floyd Casey
Written-By – Green
15    Clarence Williams And His Orchestra–    Dispossessin’ Me 2:39
Clarinet – Cecil Scott
Cornet – Ed Allen
Piano – Clarence Williams
Washboard – Floyd Casey
Written-By – Schiller, Williams, Bishop
16    Clarence Williams And His Orchestra–    Breeze (Blow My Baby Back To Me) 3:03
Clarinet – Cecil Scott
Cornet – Ed Allen
Piano, Vocals – Clarence Williams
Washboard – Floyd Casey
Written-By – MacDonald, Hanley, Goodwin
17    Clarence Williams And His Orchestra–    She Just Got A Little Bit Left 2:57
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Guitar – Unknown Artist
Piano, Vocals – Clarence Williams
Washboard – Floyd Casey
Written-By – Unknown Artist
18    Clarence Williams And His Orchestra–    After Tonight 3:04
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Guitar – Unknown Artist
Piano, Vocals – Clarence Williams
Washboard – Floyd Casey
Written-By – Williams, Armstrong, Matthews
19    Clarence Williams And His Orchestra–    Bimbo 2:53
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Guitar – Unknown Artist
Piano, Vocals – Clarence Williams
Washboard – Floyd Casey
Written-By – Williams, Palmer
20    Clarence Williams And His Orchestra–    Chocolate Avenue 2:55
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Guitar – Unknown Artist
Piano, Vocals – Clarence Williams
Washboard – Floyd Casey
Written-By [Uncredited] – Sonny Blount
21    Clarence Williams And His Orchestra–    Harlem Rhythm Dance 2:46
Banjo, Guitar – Ikey Robinson
Brass Bass – Cyrus St. Clair
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Piano, Vocals – Clarence Williams
Written-By – Razaf, Williams
22    Clarence Williams And His Orchestra–    ‘Way Down Home 3:00
Banjo, Guitar – Ikey Robinson
Brass Bass – Cyrus St. Clair
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Piano, Vocals – Clarence Williams
Written-By – Williams, Dowell
23    Clarence Williams And His Orchestra–    For Sale (Hannah Johnson’s Big Jack Ass) 2:45
Banjo, Guitar – Ikey Robinson
Brass Bass – Cyrus St. Clair
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Piano, Vocals – Clarence Williams
Written-By – Williams, Troy

LOUIS ARMSTRONG AND HIS ORCHESTRA – 1929-1930 | The Classics Chronological Series – 557 (1990) FLAC (tracks+.cue), lossless

On March 1, 1929, Eddie Condon managed to assemble a completely unrehearsed band in a recording studio at Liederkranz Hall in New York City, where two of the greatest jazz records of the entire decade were waxed and soon issued under the name of Fats Waller & His Buddies. Four days later, Condon was in a different studio with a band led by Panamanian pianist Luis Russell. This ten-piece orchestra was identified on record as Louis Armstrong's Savoy Ballroom Five. Their "Mahogany Hall Stomp" perfectly embodies both the leader's personality and jazz itself at the end of the 1920s. The Armstrong chronology jumps to July of 1929 with four beautiful Fats Waller melodies and into September with a string of pretty tunes that seem to anticipate popular taste during the 1930s. In December of 1929 Armstrong made a series of records with Luis Russell's orchestra. This placed him in the same group with trumpeter Henry "Red" Allen, something that should have happened more often. Hoagy Carmichael sat in on December 13th to assist Armstrong in singing "Rockin' Chair." On January 24, 1930, the era of sweet bands seems to have officially opened with "Song of the Islands," garnished with three violins and vibraphone played by Paul Barbarin while the band's valet sat in on the drums. Moving into the spring of 1930, a duet rendition of "Dear Old Southland" paired the trumpeter with pianist Buck Washington. As the Great Depression settled over the listening public, Armstrong recorded numerous pop songs in front of a large, lightly sweetened orchestra. His trumpet and persona transform even the least of these ditties into precious delicacies that still nourish and satisfy many years after their creation. arwulf arwulf  
Tracklist :
1     Mahogany Hall Stomp 3:27
Spencer Williams
2     Ain't Misbehavin' 3:24
Harry Brooks / Andy Razaf / Fats Waller
3     Black and Blue 3:10
Harry Brooks / Andy Razaf / Fats Waller
4     That Rhythm Man 3:11
Harry Brooks / Andy Razaf / Fats Waller
5     Sweet Savannah Sue 3:15
Harry Brooks / Andy Razaf / Fats Waller
6     Some of These Days 2:54
Shelton Brooks
7     Some of These Days 3:15
Shelton Brooks
8     When You're Smiling (The Whole World Smiles with You) 2:59
Mark Fisher / Joe Goodwin / Larry Shay
9     When You're Smiling (The Whole World Smiles with You) 3:31
Mark Fisher / Joe Goodwin / Larry Shay
10     After You've Gone 3:24
Henry Creamer / Turner Layton
11     I Ain't Got Nobody 2:46
Roger Graham / Dave Peyton / Spencer Williams
12     Dallas Blues 3:17
Lloyd Garrett / Hart A. Wand
13     St. Louis Blues 3:02
W.C. Handy
14     Rockin' Chair 3:22
Hoagy Carmichael
15     Song of the Islands 3:29
Charles E. King
16     Bessie Couldn't Help It 3:22
Charles A. Bayha / Hoagy Carmichael / Jacques Richmond / Byron Warner
17     Blue Turning Grey Over You 3:28
Andy Razaf / Fats Waller
18     Dear Old Southland 3:20
Henry Creamer / Turner Layton
19     My Sweet Hunk o' Trash 3:22
James P. Johnson / F.E. Miller
20     I Can't Believe That You're in Love with Me 3:10
Clarence Gaskill / Jimmy McHugh
21     Indian Cradle Song 3:00
Gus Kahn / Mabel Wayne
22     Exactly Like You 3:28
Dorothy Fields / Jimmy McHugh

LOUIS ARMSTRONG AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 515 (1990) FLAC (tracks+.cue), lossless

22 of Armstrong's big-band recordings and a couple selections with The Mills Brothers are taken in chronological order. A few ("I Double Dare You," "On the Sunny Side of the Street" and his first version of "The Saints") are classics but mostly it is a matter of Armstrong joyfully uplifting mundane material, often higher up than it deserves. Scott Yanow
Tracklist :
1     In the Shade of the Old Apple Tree 2:19
Egbert VanAlstyne / Harry Williams
2     The Old Folks at Home 2:23
Stephen Foster
3     Public Melody Number One 3:09
Harold Arlen / Ted Koehler
4     Yours and Mine 2:42
Nacio Herb Brown / Arthur Freed
5     Red Cap 3:09
Louis Armstrong / Ben Hecht
6     She's the Daughter of a Planter from Havana 3:18
Sammy Cahn / Saul Chaplin
7     Alexander's Ragtime Band 2:36
Irving Berlin
8     Cuban Pete 3:08
Jose Norman
9     I've Got a Heart Full of Rhythm 3:08
Louis Armstrong / Horace Gerlach
10     Sun Showers 2:41
Nacio Herb Brown / Arthur Freed
11     Once in a While 3:08
Michael Edwards / Bud Green
12     On the Sunny Side of the Street 2:59
Dorothy Fields / Jimmy McHugh
13     Satchel Mouth Swing 2:35
Lil Hardin Armstrong / Louis Armstrong / Clarence Williams / Harry Williams
14     Jubilee 2:36
Stanley Adams / Hoagy Carmichael / Louis Jordan
15     Struttin' With Some Barbecue 2:58
Lil Hardin Armstrong / Louis Armstrong / Lil Hardin / Don Raye
16     The Trumpet Player's Lament 2:54
Johnny Burke / James V. Monaco
17     I Double Dare You 2:57
Jim Eaton / Terry Shand
18     True Confession 3:06
Sam Coslow / Frederick Hollander
19     Let That Be a Lesson to You 2:35
Johnny Mercer / Richard A. Whiting
20     Sweet as a Song 3:05
Mack Gordon / Harry Revel
21     So Little Time (So Much to Do) 2:44
Peter DeRose / Billy Hill
22     Mexican Swing 2:38
Terry Shand
23     As Long as You Live 2:15
Bernie Hanighen / Johnny Mercer
24     When the Saints Go Marching In 2:43
James Black / Traditional

LOUIS ARMSTRONG AND HIS ORCHESTRA – 1938-1939 | The Classics Chronological Series – 523 (1990) FLAC (tracks+.cue), lossless

A mixed bag of Armstrong, these 23 selections, if taken complete and in chronological order, include routine swing, three enjoyable numbers with The Mills Brothers, a few spirituals, an odd two-part sermon and some remakes of Armstrong's earlier classics. His career was drifting a bit but there is enough enjoyable music to make this a worthwhile acquisition. Scott Yanow
Tracklist :
1     On the Sentimental Side 2:24
Johnny Burke / James V. Monaco
2     It's Wonderful 2:34
Mitchell Parish / Stuff Smith / Robert Wells
3     Something Tells Me 2:32
Johnny Mercer / Harry Warren
4     Love Walked In 2:28
George Gershwin / Ira Gershwin
5     Flat Foot Floogie 2:57
Slim Gaillard / Bud Green / Slam Stewart
6     The Song Is Ended 3:09
Irving Berlin
7     My Walking Stick 2:40
Irving Berlin
8     Shadrack 2:28
Robert MacGimsey
9     Going to Shout All over God's Heaven 2:49
Traditional
10     Nobody Knows the Trouble I've Seen 3:11
Traditional
11     Jonah and the Whale 2:46
Traditional
12     Naturally 2:46
Harry Barris
13     I've Got a Pocketful of Dreams 2:52
Johnny Burke / James V. Monaco
14     I Can't Give You Anything But Love 2:54
Dorothy Fields / Jimmy McHugh
15     Ain't Misbehavin' 2:55
Harry Brooks / Andy Razaf / Fats Waller
16     Elder Eatmore's Sermon on Throwing Stones 4:17
Shorty Rogers
17     Elder Eatmore's Sermon on Generosity 4:21
Shorty Rogers
18     Jeepers Creepers 2:38
Johnny Mercer / Harry Warren
19     What Is This Thing Called Swing? 3:05
Louis Armstrong / Horace Gerlach
20     Rockin' Chair 3:15
Hoagy Carmichael
21     Lazy Bones 3:13
Hoagy Carmichael / Johnny Mercer
22     Hear Me Talkin' to Ya? 3:04
Louis Armstrong / Don Redman
23     Save It, Pretty Mama 2:58
Joe Davis / Paul Denniker / Don Redman