DUKE ELLINGTON AND HIS ORCHESTRA – 1933-1935 | The Classics Chronological Series – 646 (1992) FLAC (tracks+.cue), lossless

Decades after these recordings were made, an LP appeared as part of RCA Victor's superb Vintage series bearing the title Daybreak Express. Focusing on much of his best work from the mid-'30s, that album was a perfect introduction to the music of Duke Ellington. Number 646 in the Classics Chronological series serves this purpose just as effectively, shifting the frame of reference to include the autumn and winter of 1933, a broad sweep through 1934, and two originally unissued tidbits from January of 1935. From the first few bars of "Harlem Speaks," you know you are in front of what Fats Waller always swore was the greatest jazz orchestra in the world. Wellman Braud pushes the band around the room, his bass fiddle chugging along in fourth gear. Joe Nanton blows "ya-ya" smoke rings through the trombone. The trumpets are a bitch. And the reed section is the very bloodstream of Duke's orchestra. This band could play anything. Even "In the Shade of the Old Apple Tree" becomes radiantly hip under such conditions. Legend has it that "Rude Interlude" got its title in honor of a request for "Rude Indigo." As for that "Daybreak Express," a life-sized steam locomotive is conjured with almost aggressive clarity. You can practically smell the oil and feel the tracks vibrating as the band roars by with horns in the air. "Solitude" appears in two lovely takes recorded eight months apart. Number two is fleshier. "Stompy Jones," named for a courier and valet who traveled with the band, is the definitive hot jam. While Louis Bacon and Ivie Anderson were both fine vocalists, the toy surprise inside of this package is the first version of "My Old Flame," recorded in Hollywood on April 23, 1934, and issued on the world-renowned Biltmore label. The vocalist is none other than Mae West! Whoever thought of putting her and Duke together on the same record should have ordered up a dozen more sides, as this is one fascinating combination of personalities. Both were notably sensual individuals, incredibly dignified and strong-willed. Having carefully made way for Mae, Ellington's instrumentalists are able to play more expressively on Ivie's turf. Interesting comparisons could be made between Mae's and Ivie's takes and Billie Holiday's stunning Commodore rendition of 1944. "Admiration" introduces cornetist Rex Stewart, a brand-new addition to the Ellington troupe. "Farewell Blues," so beautifully rendered in 1934 by the Claude Hopkins Orchestra, receives the full Ellington treatment. arwulf arwulf   Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1935-1936 | The Classics Chronological Series – 659 (1992) FLAC (tracks+.cue), lossless

All of the Duke Ellington Orchestra's recordings from 1935 plus their first two sessions from 1936 are on this enjoyable CD. The rise of the swing era may have resulted in many competing big bands being formed, but Ellington occupied his own private musical world and continued to flourish artistically and to an extent commercially. By 1935, his orchestra featured major soloists in Cootie Williams, Rex Stewart, Tricky Sam Nanton, Lawrence Brown, Johnny Hodges, Barney Bigard, and the leader on piano. During the era Ellington experimented by frequently using both Hayes Alvis and Billy Taylor on bass. Among the memorable selections that are on this disc are "In a Sentimental Mood," "Accent on Youth," "Clarinet Lament" (featuring Bigard), "Echoes of Harlem," and the melancholy four-part "Reminiscing in Tempo." The music may be available in more complete form elsewhere (since alternate takes are left out), but this is an excellent series nevertheless. Scott Yanow       Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1936-1937 | The Classics Chronological Series – 666 (1992) FLAC (tracks+.cue), lossless

Cut a few years before the Ellington band's golden run during the early '40s, this 24-track collection from 1936-1937 finds the group in top form. As is usual with any of Classics' chronological discs, the fare runs the gamut. In this case, the mix takes in novelties ("Love Is Like a Cigarette"), reprised classics ("East St. Louis Toodle-Oo"), and contemporary gems ("In a Jam"). And as a highlight, there are also several sides cut by clarinetist Barney Bigard and a small band made up of other Ellington sidemen ("Caravan," "Stompy Jones"). A treat. Stephen Cook     Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1937 | The Classics Chronological Series – 675 (1992) FLAC (tracks+.cue), lossless

In addition to seven selections by the Duke Ellington Orchestra, this interesting CD has a number released by Ivie Anderson's name ("The Old Plantation") and small-group dates full of Ellington stars but led by Cootie Williams, Barney Bigard, and Johnny Hodges, plus four numbers by the Gotham Stompers (which mixes together Ellington and Chick Webb sidemen). No matter who is leading the particular group, Ellington is very much under control, often using the more spontaneous combo settings as a way of trying out new tunes. Among the more memorable selections are "Blue Reverie," "Whispering Tiger" (which is really "Tiger Rag"), "Caravan," and "Azure." Scott Yanow   Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1938 | The Classics Chronological Series – 700 (1993) FLAC (tracks+.cue), lossless

1938 was a very busy year for Duke Ellington in the recording studios, whether making classics with his big band or being the pianist and organizer of sessions allegedly led by his sidemen. This disc has plenty of big-band sides and combo dates led by clarinetist Barney Bigard, trumpeter Cootie Williams, and altoist Johnny Hodges. Most notable among the selections are "Stepping Into Swing Society," "Echoes of Harlem," "The Gal From Joe's," "I Let a Song Go out of My Heart," and "Jeep's Blues," but there are no throwaways among these three-minute gems.  Scott Yanow      Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1938, Vol. 2 | The Classics Chronological Series – 717 (1993) FLAC (tracks+.cue), lossless

The music on this CD was all recorded within a four-month period, featuring performances by Duke Ellington's Orchestra and small groups led by trumpeter Cootie Williams and altoist Johnny Hodges that include Ellington as pianist, arranger, and organizer. Ellington fit right into the swing era yet his music was far too individual to be associated with any of the soon-dated fads the pervaded the era. In fact, these performances might be from 1938 but most still sound quite fresh today. Highlights include "I'm Slappin' Seventh Avenue," "Rose of the Rio Grande" (a longtime feature for trombonist Lawrence Brown), "Pyramid," "Empty Ballroom Blues," and "Jitterbug's Lullaby." Scott Yanow   Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1938, Vol. 3 | The Classics Chronological Series – 726 (1993) FLAC (image+.cue), lossless

Duke Ellington's very busy year of 1938 resulted in enough music (counting small group dates led by his sidemen) to fill up more than three CDs. This disc has big-band dates plus outings headed by Cootie Williams and Johnny Hodges. Although 1939-1942 is often thought of as the peak of Ellington's career, his output from 1938 was very impressive too. Among the high points of the sessions on this CD (which feature such soloists as trumpeter Cootie Williams, cornetist Rex Stewart, trombonists Lawrence Brown and Tricky Sam Nanton, altoist Johnny Hodges, clarinetist Barney Bigard, baritonist Harry Carney, and Duke on piano) are "Love in Swingtime," "Prelude to a Kiss," "The Jeep Is Jumpin'," "Mighty Like the Blues," "Battle of Swing," and "Hodge Podge." Scott Yanow          Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1938-1939 | The Classics Chronological Series – 747 (1994) FLAC (tracks+.cue), lossless

The 1938-1939 Duke Ellington Orchestra, even before bassist Jimmy Blanton and tenor saxophonist Ben Webster became members, was quite a strong band, having at least eight major soloists. With Ellington providing constant new material plus rearrangements of older tunes, there was a limitless amount of high quality music flowing from this band. On this CD, there are eight numbers from the small group of Cootie Williams, four from Johnny Hodges, and three by Rex Stewart in addition to eight big-band performances. Among the many gems are "Old King Dooji," Rex Stewart's famous feature on "Boy Meets Horn," "Slap Happy," "Dooji Wooji," "Pussy Willow," "Subtle Lament," and a pair of Duke Ellington piano solos. Scott Yanow         Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1939 | The Classics Chronological Series – 765 (1994) FLAC (tracks+.cue), lossless

The 1939 Duke Ellington Orchestra was a mighty force, with eight major soloists and a genius as their leader. Billy Strayhorn first worked with Ellington during this period and on this CD he contributes "Something to Live For" (which is surprisingly sung by Jean Eldridge rather than the band's regular vocalist, Ivie Anderson). This disc has ten selections from the full orchestra, eight from small groups led by altoist Johnny Hodges, two from clarinetist Barney Bigard's combo, and two vocal features for the Quintones. Highlights include "Rent Party Blues," "Portrait of the Lion" (Ellington's tribute to his idol, Willie "The Lion" Smith), a remake of "Cotton Club Stomp," and "Serenade to Sweden." Scott Yanow       Tracklist :

DJANGO REINHARDT – 1938-1939 | The Classics Chronological Series – 793 (1994) FLAC (tracks+.cue), lossless

Packed with three beautiful Reinhardt/Grappelli guitar/piano duets, one gorgeous unaccompanied guitar improvisation, 15 solid Quintet sides, and the legendary Rex Stewart "Feetwarmers" session of April 5, 1939, this excellent volume of chronologically reissued Django Reinhardt recordings occupies a position somewhere between "magnificent" and "essential." After a vigorous jam on "Them There Eyes" and a pleasantly swung "Three Little Words," intimations of developing modernity suddenly erupt during "Appel Direct," also known as "Appel Indirect" or "Direct Appeal." Django delivers some downright devilish picking during this brisk exercise in dexterity. Crossing the Channel for a return trip to England, Django and Stéphane's Quintette -- now billed as the "Quintet" on British and American Decca records -- waxed three sides on the 30th of August 1938. The French artists' vigilance and unwavering allegiance to Afro-American music is clearly spelled out in their choice of material. Slim Gaillard and Slam Stewart had recorded possibly their most famous song, "Flat Foot Floogie," in February of 1938. Fats Waller & His Continental Rhythm waxed their four-alarm version in London a few months later on August 28, and the Quintet's mellower rendering, with an arresting solo guitar intro, was set down for posterity two days later, along with "Lambeth Walk," which had been recorded by Duke Ellington on August 9th. Django's unaccompanied "Improvisation No. 2" is a sequel to a similarly striking experiment dating from April of 1937. Back in Paris in March of 1939, the Quintet waxed nine more choice sides, taking on a whole stretch of Tin Pan Alley while presenting various compositions of their own devising. But the real treasure in this package lies among the final five tracks. Rex Stewart, Barney Bigard, and bassist Billy Taylor collaborated with Monsieur Reinhardt on five exquisite performances that rate among the finest in the entire "Djangologie." The combination of three seasoned Ellingtonians and one gypsy jazz genius is a rare treat not to be missed. arwulf arwulf     Tracklist :

JOHNNY GUARNIERI – 1944-1946 | The Chronogical Classics – 956 (1997) FLAC (image+.cue), lossless

In addition to recording prolifically in the 1940s, pianist Johnny Guarnieri led a few record dates. This Classics CD has four septet numbers from 1944 that feature tenor saxophonist Lester Young and trumpeter Billy Butterfield as sidemen, four songs with tenorman Don Byas in superb form, and three trio sessions, including two that co-star bassist Slam Stewart. Guarnieri, who was versatile enough to be able to closely emulate Count Basie, Teddy Wilson, Fats Waller, and Art Tatum, also had his own swing-based style and is consistently creative throughout the performances. Highlights include "Salute to Fats," "Bowin' Singin' Slam," "Gliss Me Again," "I'd Do Anything for You," and "Make Believe"; all 22 selections are enjoyable. Scott Yanow   Tracklist + Credits :

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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McKINNEY'S COTTON PICKERS – 1929-1930 | The Chronogical Classics – 625 (1992) FLAC (tracks+.cue), lossless

On the second of three Classics CD's that releases the complete output of McKinney's Cotton Pickers (but without the alternate takes), there are many classic performances including "Wherever There's A Will There's A Way," "If I Could Be With You," "Honeysuckle Rose," "Baby Won't You Please Come Home" and "I Want A Little Girl." In addition to the band's regular soloists (trumpeters John Nesbitt, Joe Smith and Langston Curl, trombonist Ed Cuffee and tenorman George Thomas), some tunes also feature guests Coleman Hawkins on tenor, altoist Benny Carter and pianist Fats Waller. Timeless classic jazz. Scott Yanow
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LIONEL HAMPTON AND HIS ORCHESTRA – 1937-1938 | The Chronogical Classics – 524 (1990) FLAC (image+.cue), lossless

In 1937, vibraphonist Lionel Hampton began leading a series of all-star swing recording dates. Although he would still be a member of Benny Goodman's organization for another three years, Hampton was a natural-born leader and his record dates featured top sidemen from a variety of major jazz bands. This CD begins the chronological reissue of all of this music (except alternate takes). Hampton is teamed with players from the Benny Goodman and Duke Ellington orchestras plus a large assortment of guests. Among the many highlights are "Hampton Stomp" (featuring Hampton playing rapid lines on the piano with two fingers), "Stompology," Johnny Hodges on "On the Sunny Side of the Street," and some good spots for Jonah Jones' trumpet. Scott Yanow
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LIONEL HAMPTON AND HIS ORCHESTRA – 1938-1939 | The Chronogical Classics – 534 (1990) FLAC (image+.cue), lossless

Lionel Hampton's series of record dates leading all-star swing bands produced some of the more exciting music of the late '30s. Just on this CD alone, Hampton led groups with musicians drawn from the Duke Ellington, Earl Hines, Cab Calloway, and Benny Goodman big bands, among others. Among the more notable performances are Benny Carter's "I'm in the Mood for Swing," a swing version of Jelly Roll Morton's "Shoe Shiner's Drag," tenor saxophonist Chu Berry having one of his best showcases on "Sweethearts on Parade," and a romp on "Twelfth Street Rag." Through it all, Hampton (whether on vibes, two-fingered piano, drums, or singing) often steals the show. Scott Yanow
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COZY COLE – 1944-1945 | The Chronogical Classics – 865 (1992) FLAC (tracks+.cue), lossless

This Classics CD reissues drummer Cozy Cole's sessions for Continental, Keynote, and Guild, most of which have been out of print for years. The two Continental dates feature overlapping all-star groups (with trumpeter Charlie Shavers, clarinetist Hank D'Amico, Coleman Hawkins, Walter "Foots" Thomas, and/or Don Byas on tenors, Clyde Hart or Johnny Guarnieri on piano, guitarist Tiny Grimes, bassist Slam Stewart, and the drummer/leader), but are sometimes a bit frustrating. Since every player is a potential soloist and the performances are limited to around three minutes apiece, the solos are almost cameos, generally eight or 16 bars apiece. The most memorable spot, Hawkins' exploration of "When Day Is Done," finds the great tenor doing what he can with his half chorus. The Keynote session is most notable for Don Byas' solos and for the recording debut of 20-year-old trumpeter Shorty Rogers. The Guild sides have Byas well showcased in a quintet, two extensive drum features ("Stompin" and "Strictly Drums"), and three dramatic vocals from June Hawkins. Overall, this is an interesting and enjoyable CD -- swing music with slight touches of bop. Scott Yanow  
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FATS WALLER – 1934-1935 | The Classics Chronological Series – 732 (1993) FLAC (tracks+.cue), lossless

Looking for the perfect Fats Waller album? This just might be it. With the exception of eight titles recorded in May and August of 1934, these are the earliest recordings to be issued under the banner of Fats Waller & His Rhythm. By now, Waller had begun to settle into his role as pianist, vocalist, and bandleader, using his own vigorous presentational formula that was still fresh and stimulating. The band he used on the 28th of September was slightly expanded by the inclusion of trombonist Floyd O'Brien and clarinetist Mezz Mezzrow. On November 7th, Eugene Sedric was back playing tenor and Bill Coleman had replaced Herman Autrey as trumpeter. It is fascinating to ponder which numbers Waller sang relatively straight -- "Let's Pretend There's a Moon" comes out as a delightful love song -- and which were instead subjected to his mischievous manhandling, like "If It Isn't Love," a tune he initially refused to record. The material recorded on January 5, 1935, includes instrumental flip sides to complement the vocal versions of "Baby Brown" and "I'm a Hundred Per Cent for You." The lovely "Night Wind" was Waller's recording debut on the Hammond organ, an instrument he pioneered after making a number of jazz pipe organ recordings between the years 1926 and 1929. He was in fact the very first jazz organist. This part of the Fats Waller chronology just happens to contain some of the greatest records he ever made. Every single song is perfectly presented by his excellent little ensemble. When combined with four of his very best piano solos from November of 1934, the results constitute an even better choice for both Fats Waller initiates and longtime fans than any number of "greatest-hits" collections. This rewarding package of essential Waller performances is strongly recommended. arwulf arwulf  
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REX STEWART – 1934-1946 | The Classics Chronological Series – 931 (1997) FLAC (tracks+.cue), lossless

On January 9, 1935, Rex Stewart made his first records with Duke Ellington. Clearly, Duke was already a very strong presence in the young cornetist's musical life. "Stingaree," recorded on December 12, 1934, by Rex Stewart & His Orchestra, sounds more than a bit like "Stompy Jones," recorded by Duke Ellington & His Orchestra on January 9, 1934. "Baby, Ain't You Satisfied" was the flip side of "Stingaree," issued on a 78-rpm Vocalion record bearing the serial number 2800. This is the kind of information that the Classics Chronological reissue series provides in its discographies, by the way. You can savor the gradual evolution of an artist's career while poring over recording data and neat little lists of personnel. One name that stands out from the "Stingaree" session is reedman Rudy Powell, who was distinguishing himself in the company of Fats Waller during this same time period. Powell's verbal expostulations during "Satisfied" are as funky and funny as those gruff outbursts usually spoken by Waller or Louis Armstrong. These two numbers are the perfect curtain-raiser for an unusually diverse musical profile. Many of Stewart's best and most often reissued recordings were made under the auspices of Irving Mills and Duke Ellington. Here at last is a collection that expands the lens to include music well outside of that familiar ground. Rex Stewart's Big Seven made four sides on behalf of the Hot Record Society in the summer of 1940. Stewart led his Big Eight on a Keynote date in June of 1944. A slightly reconstituted Big Eight slapped down three contemporary-sounding tracks for Capitol in January 1945. Another octet, now billed as Stewart's "Orchestra," made four records for Parlophone in July 1945. Finally, there is the wild and woolly Mercury session of February 8, 1946. Seldom has an essential segment of Rex Stewart's career been so carefully represented on one disc. The Hot Record Society session glows with the rhythmically magical combination of Wellman Braud and Davey Tough. A slow drag entitled "Solid Rock" is exceptionally passionate and blue. The Keynote sides, especially "Zaza" and "Swamp Mist," are marvelous pieces of chamber jazz, graced with the minds of pianist Johnny Guarnieri and the great Harry Carney, who brought along his bass clarinet. Great changes in style took place within the span of time represented by this CD. A particularly good year for the appearance of young whips who seemed always to be looking ahead, like Earl Bostic and Al Sears, was 1945. There is a smoky tenor sax solo by Stafford "Pazuzza" Simon on "That's Rhythm." A 1946 remake of the famous Ellington/Stewart collaboration "Boy Meets Horn," a funky "Jug Blues," and the outrageous "B.O. Blues" demonstrate Stewart's increasingly eccentric approach to artistic expression and musical entertainment. arwulf arwulf  
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SARAH VAUGHAN – 1949-1950 | The Classics Chronological Series – 1166 (2001) FLAC (tracks+.cue), lossless

This fourth installment in the Classics Sarah Vaughan chronology demonstrates her extraordinary versatility during the first stages of a fully blossoming artistic maturity. Four exquisite sides with the Joe Lipman Orchestra are followed by an MGM session in duet with crooner Billy Eckstine, backed by Lipman's Orchestra and strings. Given the fact that it was Eckstine who gave Vaughan her first break in showbiz, the pairing has a special charm. Aside from this MGM deviation, Vaughan was a Columbia recording artist during this time period. By far the best jazz on this disc was recorded on May 18 and 19, 1950, with accompaniment by pianist Jimmy Jones and his band. The front line of Miles Davis, Benny Golson, Budd Johnson, and Tony Scott, backed by the rhythm section of Jones, bassist Billy Taylor, J.C. Heard, and either Mundell Lowe or Freddie Green, matches the vocalist's every nuance to perfection. The combination of Miles Davis and Sarah Vaughan is a marvel not to be missed. There is some confusion between discographies regarding various brassy big band sides, as some tracks are credited both to the Norman Leyden Orchestra (with Bud Powell at the piano!) and to Mitch Miller & His Orchestra. Miller, of course, was no stranger to modern jazz, having also participated in some of Charlie Parker's With Strings sessions. Whoever actually headed the band, Sarah Vaughan's "Perdido" is delightful and invigorating. This interesting disc closes with a wild surprise in the form of "De Gas Pipe She's Leakin' Joe," a campy calypso spoof on the topic of suicide, so atypical of Sarah Vaughan that it could easily fool almost anyone in a blindfold test. The word again is "versatility." arwulf arwulf  
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BESSIE SMITH – 1929-1933 | The Classics Chronological Series – 977 (1997) FLAC (tracks+.cue), lossless

These 24 tracks represent the last phase of Bessie Smith's recording career. Over the course of ten years and 160 great songs, Smith had without a doubt earned her place as the Empress of the Blues. Unfortunately, until her passing in 1937, she spent most of her time on the show circuit. For fans hungry for a healthy dose of her legacy, though, generous discs such as this provide a chance to revel in the classic female blues singing queen's lusty power. As usual, Smith is helped out by the day's jazz royalty. Featured over the course of the cuts here -- many penned by both Smith and pianist Clarence Williams -- are such top soloists as Benny Goodman, Chu Berry, James P. Johnson, and Frankie Newton. Of course, Smith grabs most of the attention, especially on definitive sides like "Gimme a Pigfoot" and "Black Mountain Blues," not to mention the ribald gem "Need a Little Sugar in My Bowl." And as far as sound quality goes, this and many other of the discs in the Classics chronological series provide a viable alternative to Columbia's celebrated Complete Recordings line. Stephen Cook  
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