TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 2 • 1929 | DOCD-5074 (1991) RM | FLAC (tracks+.cue), lossless

The second volume in Document's series of Complete Recorded Works covers barely six months in the career of Tampa Red, though the range of material is quite wide. The slide guitar legend recorded a few guitar solos, led the Hokum Boys through several songs, did two sides of gospel, and invited high-profile guests including Georgia Tom, Frankie "Half Pint" Jaxon, and Lil Johnson. Thom Owens

Abridged from this album’s original booklet notes. The first session included here is a remake of a session that took place in December 1928. Why the original titles were not released, is not quite clear. Anyway, the January 1929 session showed a mixture of straight, low down blues and so-called “hokum blues”. This was to become Tampa Red’s trademark for the next three or four years. Following the success of “It’s Tight Like That”, Tampa Red and Georgia Tom recorded a couple of titles in mid-tempo with a refrain and double-entendre lyrics, often combined with a tongue-in-cheek-way of looking at things. (What about this as a definition for “hokum”?) On five titles we also hear Frankie “Half-Pint” Jaxon, an enigmatic singer, who fits perfectly in Tampa’s hokum concept. A good example for Tampa’s guitar style is the aptly titled Voice Of The Blues. Georgia Tom handles the vocals here, and Tampa Red can concentrate on his guitar playing. His delicate slide playing, full of subtleties, conveys the right atmosphere for a real low down blues. It becomes evident that Tampa could get across much more of his feelings to the listener by his slide than by his singing (he never was much of a singer). The last session on this album displays another specialty of Tampa Red. Under the name of “The Guitar Wizard” that was to reappear time and again in his long career, he demonstrated all his abilities as a solo guitarist. And a true “guitar wizard” he was indeed!. DOCD-5074
Tracklist :
1    Tampa Red "The Guitar Wizard" With Georgia Tom–    It's Tight Like That No. 3 2:48
Piano – Thomas A. Dorsey (Georgia Tom)
Vocals, Guitar – Tampa Red
2    Tampa Red "The Guitar Wizard" With Georgia Tom–    Uncle Bud (Dog-Gone Him) 2:37
Vocals, Guitar – Tampa Red
Vocals, Piano – Thomas A. Dorsey (Georgia Tom)
3    Tampa Red "The Guitar Wizard" With Georgia Tom–    Train Time Blues (Matrix TC-2792-A) 3:28
Piano – Thomas A. Dorsey (Georgia Tom)
Vocals, Guitar – Tampa Red
4    Tampa Red "The Guitar Wizard"–    How Long, How Long Blues 3:03
Guitar – Tampa Red
5    Tampa Red "The Guitar Wizard"–    It's Tight Like That 2:48
Guitar – Tampa Red "The Guitar Wizard"
6    The Hokum Boys–    Selling That Stuff (Matrix 21156-1) 2:50
Guitar – Tampa Red
Piano – Georgia Tom Dorsey
7    Tampa Red's Hokum Jug Band–    Mess, Katie, Mess 2:56
Bass – Bill Johnson
Guitar – Tampa Red
Horn [Jazzhorn], Jug – Carl Reid
Piano – Unknown Artist
Vocals – Frankie Jaxon
Washboard – Herman Brown
8    Tampa Red's Hokum Jug Band–    Sho' Is Hot 3:10
Bass – Bill Johnson
Guitar – Tampa Red
Horn [Jazzhorn], Jug – Carl Reid
Piano – Unknown Artist
Vocals – Frankie Jaxon
Washboard – Herman Brown
9    Tampa Red's Hokum Jug Band–    Boot It Boy 2:56
Bass – Bill Johnson
Guitar – Tampa Red
Horn [Jazzhorn], Jug – Carl Reid
Piano – Unknown Artist
Vocals – Frankie Jaxon
Washboard – Herman Brown
10    Tampa Red's Hokum Jug Band–    My Daddy Rocks Me (With One Steady Roll) 3:28
Bass – Bill Johnson
Guitar – Tampa Red
Horn [Jazzhorn], Jug – Carl Reid
Piano – Unknown Artist
Vocals – Frankie Jaxon
Washboard – Herman Brown
11    Tampa Red And Georgia Tom–    Givin' It Away 3:04
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
12    Tampa Red And Georgia Tom–    What You Gonna Do? 2:52
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
13    Tampa Red And Georgia Tom–    It's So Nice 3:17
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
14    Tampa Red And Georgia Tom–    Voice Of The Blues 3:00
Guitar – Tampa Red
Vocals, Piano – Georgia Tom
15    Gospel Camp Meeting Singers–    Come And Go To That Land 2:50
Guitar – Tampa Red
Piano [Poss.] – Georgia Tom Dorsey
Vocals [Vocal Group] – Unknown Artist
16    Gospel Camp Meeting Singers–    Hold To His Hand 2:57
Guitar – Tampa Red
Piano [Poss.] – Georgia Tom Dorsey
Vocals [Vocal Group] – Unknown Artist
17    Tampa Red, Georgia Tom–    The Duck Yas-Yas-Yas 2:52
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
18    Tampa Red, Georgia Tom–    Pat That Bread 2:37
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
19    Frankie "Half-Pint" Jaxon–    It's Heated 3:27
Guitar – Tampa Red
Piano [Prob.] – Georgia Tom Dorsey
Vocals, Scraper – Frankie "Half-Pint" Jaxon
20    Frankie "Half-Pint" Jaxon–    Jive Man Blues 2:48
Guitar – Tampa Red
Piano [Prob.] – Georgia Tom Dorsey
Vocals, Scraper – Frankie "Half-Pint" Jaxon
21    Tampa Red–    What Is It That Tastes Like Gravy? 2:48
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
22    Tampa Red–    You Better Tighten Up On It 2:44
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
23    Tampa Red "The Guitar Wizard"–    Prison Bound Blues 3:26
Guitar – Tampa Red "The Guitar Wizard"
24    Tampa Red "The Guitar Wizard"–    You Got To Reap What You Sow 3:17
Guitar – Tampa Red "The Guitar Wizard"
25    Lil Johnson–    House Rent Scuffle 2:47
Guitar – Tampa Red
Piano – Charles Avery
Vocals – Lil Johnson

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 3 • 1929-1930 | DOCD-5075 (1991) RM | FLAC (tracks+.cue), lossless

Document's Complete Recorded Works, Vol. 3 (1929-1930) wraps up a year in the life of Tampa Red, finding the Chicago bluesman recording a parade of blues, including "Chicago Moan Blues" and "Whiskey Drinkin' Blues." He also takes on several tracks of lighthearted hokum ("I Wonder Where My Easy Rider's Gone?," "Mama Don't Allow No Easy Riders Here"), along with the traditional standard "Corrine, Corrina."  Thom Owens

Abridged from this album’s original booklet notes. You might call it a period of transition, for after a fulminate start with their success of “It’s Tight Like That” and a period of follow-ups, the duo of Tampa Red and Georgia Tom gradually left the “hokum” genre and concentrated more and more on two easy things: the swinging, jazz-influenced up-tempo pieces like Easy Rider, and they got deeper and deeper into the real slow blues numbers, exploring several aspects of blues playing, and it is plain to hear that especially Tampa Red was getting more and more self confident in his playing refining his guitar style to a degree that he really became a champion, or in other words, a “guitar wizard”. The very first title included here, I Wonder Where My Easy Rider’s Gone (also known as “Easy Rider Blues), shows him as a leader of a small band that foreshadows his later “Chicago Five“. The flip side of this song was Come On Mama, Do That Dance it becomes evident that the swinging impetus of the two records comes not from the bass and washboard accompaniment, but from Tampa’s guitar. The same can be said for another track called Mama Don’t Allow to a degree that the listener doesn’t miss any rhythm instruments. Another side to Tampa Red‘s playing is revealed in the slow blues numbers such as Moanin’ Heart Blues, Chicago Moan Blues or I.C. Moan Blues. The moaning is not accomplished by his vocals, as is done by so many other blues singers, but by his guitar. Tampa is able to hold long notes with his slide, and then bend them in long melody bows. The two tracks Dying Mercy Blues and Black Hearted Blues have fine piano accompaniment, the later by Bill O’Bryant, a boogie specialist, plays the accompaniment. DOCD-5075
Tracklist :
1    Tampa Red And His Hokum Jug Band–    I Wonder Where My Easy Rider's Gone? 2:45
Bass – Bill Johnson
Guitar – Tampa Red
Piano – Georgia Tom Dorsey
Vocals – Frankie Jaxon
Washboard [Prob.] – Jasper Taylor
2    Tampa Red And His Hokum Jug Band–    Come On, Mama, Do That Dance 2:48
Bass – Bill Johnson
Guitar – Tampa Red
Piano – Georgia Tom Dorsey
Vocals – Frankie Jaxon
Washboard [Prob.] – Jasper Taylor
3    Tampa Red And Georgia Tom–    Friendless Blues 3:05
Bass [Poss.] – Bill Johnson
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
4    Tampa Red And His Hokum Jug Band–    Mama Don't Allow No Easy Riders Here 3:11
Kazoo, Jug – Unknown Artist
Piano [Prob.] – Cow Cow Davenport
Vocals – Frankie Jaxon
Vocals, Guitar – Tampa Red
Washboard [Prob.] – Jasper Taylor
5    Tampa Red And His Hokum Jug Band–    Saturday Night Scrontch 3:12
Guitar – Tampa Red
Kazoo, Jug – Unknown Artist
Piano [Prob.] – Cow Cow Davenport
Vocals – Frankie Jaxon
Washboard [Prob.] – Jasper Taylor
6    Tampa Red And Georgia Tom–    Mama Don't Allow No Easy Riders Here 2:53              
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
7    Tampa Red And Georgia Tom–    Strewin' Your Mess 2:48
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
8    Tampa Red "The Guitar Wizard"–    Dying Mercy Blues 3:07
Piano [Prob.] – Romeo Nelson
Vocals, Guitar – Tampa Red
9    Jenny Pope–    Whiskey Drinkin' Blues 3:12
Guitar – Tampa Red
Piano – Georgia Tom Dorsey
Vocals – Jenny Pope
10    Jenny Pope–    Doggin' Me Around Blues 3:04
Guitar – Tampa Red
Piano – Georgia Tom
11    Tampa Red–    Worried Man Blues 3:17
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
12    Tampa Red–    Mrs. Baker's Blues 3:10
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
13    Tampa Red And Georgia Tom–    Corrine Corrina 2:57
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
14    Georgia Tom, Tampa Red And Frankie Jaxon (The Black Hill Billies)–    Kunjine Baby 3:05
Vocals – Frankie Jaxon
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
15    Tampa Red–    That Stuff You Sell 2:17
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
16    Tampa Red–    Station Time Blues 3:02
Vocals, Guitar – Tampa Red
17    Tampa Red "The Guitar Wizard"–    Moanin' Heart Blues 2:48
Guitar – Tampa Red
18    Tampa Red "The Guitar Wizard"–    Chicago Moan Blues 3:15
Guitar – Tampa Red
19    Tampa Red–    Black Hearted Blues 2:57
Piano – Bill O'Bryant
Vocals, Guitar – Tampa Red
20    Tampa Red And Georgia Tom–    But They Got It Fixed Right On 2:54
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
21    Tampa Red And Georgia Tom–    Corinne Corinna No. 2 2:43
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
22    Tampa Red And Georgia Tom–    The Dirty Dozen No. 2 3:14
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
23    Tampa Red And Georgia Tom–    I. C. Moan Blues 2:58
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
24    Tampa Red And Georgia Tom–    Cryin' Shame Blues 3:04
Vocals – Georgia Tom
Vocals, Guitar – Tampa Red

ERSKINE HAWKINS AND HIS ORCHESTRA – 1938-1939 | The Chronogical Classics – 667 (1992) FLAC (tracks+.cue), lossless

The second in the Classics label's reissuance of all of trumpeter/bandleader Erskine Hawkins' early recordings features the orchestra in its early prime. Although underrated in the history books, Hawkins led one of the finest big bands of the era. Among the more memorable selections in this consistently exciting set are "Weary Blues," "King Porter Stomp," "Swing Out," "Swingin' On Lenox Avenue," "Gin Mill Special," and the original version of "Tuxedo Junction." All of the CDs in the valuable series are highly recommended to swing collectors. Scott Yanow
Tracklist + Credits :

ERSKINE HAWKINS AND HIS ORCHESTRA – 1939-1940 | The Chronogical Classics – 678 (1992) FLAC (tracks+.cue), lossless

The Erskine Hawkins Orchestra was riding high during the era covered by this Classics CD, and their recording of "After Hours" (included among this reissue's highlights), which features pianist Avery Parrish, would keep the momentum going. Such numbers as "Satan Does the Rhumba," "Uptown Shuffle," "Gabriel Meets the Duke" and "Junction Blues" show why the Hawkins band was one of the most popular in Harlem during the 1930s and '40s. Scott Yanow
Tracklist + Credits :

KING OLIVER AND HIS CREOLE JAZZ BAND – 1923 | The Chronogical Classics – 650 (1992) FLAC (tracks), lossless

There are more than a handful of undiluted jazz records that predate King Oliver's sessions of 1923, but few had managed to put it together in a recording studio quite so powerfully or, as it turned out, so very influentially. These primordial artifacts, now digitally remastered and chronologically assembled, form a substantial chunk of the bedrock of early recorded jazz. They're also remarkably liberating if, for just a few minutes, you make yourself into a fly on the wall of the Gennett studios. Note that young Louis Armstrong had to pretty well stand outside of the room so that he wouldn't overpower the rest of the players. Johnny Dodds interacted wonderfully with the brass, weaving wreaths of wooded filigree around the exhortations of Honore Dutrey's deep-voiced trombone. Lil Hardin, when you can hear her, is quite the majestic pianist, especially on "Chimes Blues." Baby Dodds couldn't use a full set of drums, as Gennett's Neolithic microphones couldn't handle anything beyond wood block or muffled snare and a small cymbal. Most previous issues of the 1923 Oliver Gennetts didn't include the OKeh sessions from June of that same year. These help to fill out the rest of the picture. The general recording ambience is less muddled, the clarinet seems to have been given greater opportunities for expressing itself in the lower register, and Lil's piano is more audible. Hardin and Armstrong's collaborative "Where Did You Stay Last Night?" sounds like a clear premonition of what Armstrong's Hot Five would be accomplishing by 1925. For years, jazz critics and historians have whined about the presence of Stump Evans, who blew C-melody saxophone on the session of October 5, 1923. As if being nicknamed "Stump" wasn't demeaning enough, Evans has been posthumously reviled for not sounding like Coleman Hawkins, although in 1923 young Hawk was hardly more facile than Stump, who sounds just fine on "Krooked Blues," slap tongue and all. Everything here bears repeated listening. Savor the wonderment of experiencing most of the best recordings King Oliver managed to make before pyorrhea forced him off the scene. Hearing those two cornets flying around the room together is an essential part of any classic jazz appreciation. A special treat lies within the melodic structure of "Camp Meeting Blues," which is clearly recognizable as the basis for Duke Ellington's "Creole Love Call." The inclusion of this and three other Columbia sides makes Classics 650 the ultimate early King Oliver survey, second to none. arwulf arwulf  
Tracklist + Credits :