EDDIE CONDON – 1951-1953 | The Chronogical Classics – 1354 (2004) FLAC (tracks), lossless

Oh, yeah! "Ringside At Condon's"! Here come those wonderful long-playing 10" Savoy albums recorded live during the early 1950s at Eddie Condon's nightclub in New York. Each track begins with cheering, applauding and lots of whistling from the uninhibited audience. The music is excellent, with Wild Bill Davison and Edmond Hall out in front playing as hard as they can. The rhythm section is strengthened by pianist Gene Schroeder's interaction with Bob Casey, a forceful bassist whose prodigiously powerful, Pops Foster-like plucking propels the band often even more strongly than Buzzy Drootin's drumming. Casey gets more room for soloing than most traditional jazz bassists were normally granted. "Riverboat Shuffle" fades abruptly during Cutty Cutshall's solo, but he returns immediately for a gorgeous stroll through "Makin' Whoopee." This is the beginning of a medley: Edmond creates a lovely version of "You Made Me Love You" and Wild Bill gently eases into "I Can't Give You Anything but Love," which gradually builds to a smoky climax. The rest of these Savoy recordings are consistently wonderful, particularly those easygoing numbers "The One I Love" and "Wrap Your Troubles in Dreams." In November of 1953, Condon's band was heard "Coast to Coast" on a national radio broadcast. Lucky for us, Columbia made an air check and brought out a long-playing record for posterity. The band is larger; Walter Page plays some of the best bass he ever put on record, and the closing blues jam clocks in at ten minutes, more than thrice as long as usual. Two of the performances allow us to eavesdrop on Condon, sounding more than ever like James Cagney, as he gives last minute instructions to the band: "Hold it, George! When we get through the preliminary action for piano, we'll skip into the clarinets. You take that ending, and back to the top. Don't forget: after the tramboon, you got two bars..." Condon sings and strums the guitar, the engineer announces "serial five-oh-three-dash-seven, take five." Condon mutters "Wrong number, call back later! Here we go, ready?" And they steam up "Riverboat Shuffle" as nice as can be. A bit further on, Walter Page moves a horse hair bow over the strings of his bass with resounding force throughout an exquisite medley of ballads. Eddie is heard issuing further instructions before leading the band into a final "Jam Session Blues/Ole Miss." As he nervously spouts last minute advice, Condon comes out with one of his all-time best rhetorical directives: "Let's try to make this as respectable as possible...we might have a chance!" arwulf arwulf  
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JOE MARSALA – 1944-1945 | The Classics Chronological Series – 902 (1996) FLAC (tracks+.cue), lossless

This is the story of a man who got his start with traditionally oriented musicians like Wingy Manone and Eddie Condon, then gradually evolved into a "modern" sounding artist who never completely turned his back on the old-fashioned music that had spawned him. Beginning with a typical Chicago jam formula blowing session, Joe's All-Timers -- essentially the Condon band with Joe as leader -- present the slow blues/fast blues pairing, sandwiched between two standard New Orleans stomps. A striking contrast occurs when we encounter the session of November 29, 1944 as Joe's wife Adele Girard opens several of the tunes with arpeggios from her harp. Sounding a bit like her contemporary Robert Maxwell, she swings a bit but also sends flurries of almost Harpo Marx-like effervescence into the air. This combines strangely with Chuck Wayne's amplified guitar and the mingling of trumpet and clarinet. The melodies themselves demonstrate a very modernized swing, with an unmistakable bop edge, right on the money for the mid-1940s, if not somewhat ahead of their time. The tempi are very quick, hasty enough to have given Eddie Condon a headache if he'd even listen to such stuff. During the dynamic "Joe-Joe Jump" Adele plays virtuosic swing harp, showing off her amazing technique. This must have been a very exciting act in person. On the second half of the date Adele takes a break while Linda Keene sings two interpersonal relationship blues, very slow and sultry, obviously inspired by Billie Holiday. Joe was an exceptionally sensitive bluesman, working in wonderfully understated ways with trumpeter Joe Thomas. Sitting in at the piano behind the singer was Leonard Feather, who also wrote the material for her. Leonard composed topical blues for a lot of musicians, most notably Hot Lips Page. "Don't Let It End" is Joe's own piece of blues, deep and clear, powerfully effective as an instrumental. The Joe Marsala Sextet had Dizzy Gillespie sitting in on January 12,1945. It's interesting to compare these sides with the other recordings Gillespie participated in during that same month (see Classics 888). "Perdido" is a creative delight and "Melancholy Baby" becomes a feisty swing-to-bop outing. Chuck Wayne is very plugged in and Diz enjoys himself, working up wild solos over these familiar melodies, signing his name all over "On the Alamo." Joe of course takes this in stride, sounding as comfortable as ever with the music evolving so rapidly all around him. "Cherokee" inevitably exudes bop juice, running rapid and sailing through frantic changes as Diz rips it up. On May 4, 1945 Adele Girard got feature billing with her husband's septet, integrating her swing harp into the ensemble as if it were the most natural thing in the world to do. "Southern Comfort" is a suave line, as cool as cukes. There's a spry run through Rodgers & Hart's "Lover," a welcome reinterpretation of "Don't Let It End" (sounding really nice with the addition of the harp), and a sassy version of "Gotta Be This or That," with vocal by Marsala himself. "East of the Sun" is all lavender and lace and "Slightly Dizzy" pours on the bop, showcasing the inventive piano of young Gene DiNovi. "I Would Do Anything for You" comes out elegant, sophisticated and calm. A marvelous finale for this fascinating portrait of a remarkable clarinetist and the unique bands that he led at the stylistic crossroads of 1944 and 1945. arwulf arwulf
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JOE SULLIVAN – 1945-1953 | The Classics Chronological Series – 1353 (2004) FLAC (tracks+.cue), lossless

In June and September of 1952, Joe Sullivan recorded eight versions of songs composed but never recorded by Thomas "Fats" Waller. Issued on a 10" LP entitled Fats Waller First Editions (Epic LG1003), this music soon drifted into obscurity. It resurfaced years later on Mosaic's The Columbia Jazz Piano Moods Sessions, a limited-edition box set of seven CDs. In January of 2004, the Classics Chronological series quietly released all eight of these magnificent trio renderings as part of the continuing saga of Joe Sullivan. Hardly anybody seems to have noticed this important historical development. Yet Fats Waller devotees everywhere should be notified, as they now have ready access to Waller melodies with titles like "What's Your Name," "Solid Eclipse," "Never Heard of Such Stuff," and "If You Can't Be Good, Be Careful." Classics 1353 also includes a powerful quartet session from December of 1945 with George Wettling, Pops Foster, and the mighty Sidney Bechet. There is a fine, relaxed treatment of King Oliver's "West End Blues," with Clarence Williams' lyrics sung by Stella Brooks. Three studies for trio and nine magnificent piano solos were recorded in San Francisco in 1953. Sullivan sounds relaxed and happy to stretch out. Listeners get something like a concert version of "Little Rock Getaway," a "Honeysuckle Rose" that feels a lot like a Joe Sullivan/Thomas Waller duet, and a whole stack of standards and originals. But the main reason to track this down and carry it with you at all times is the inclusion of those almost forgotten Waller originals, lovingly rendered with immaculate ease by the amazing Joe Sullivan. arwulf arwulf  
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CLIFF JACKSON – 1930-1945 | The Classics Chronological Series – 979 (1997) FLAC (tracks+.cue), lossless

None of this material has ever been easy to find. The selections by Cliff Jackson and his Krazy Kats are exceptionally rare. In addition to Jackson's occasional flourishes of dexterous Harlem piano, highlights include a trombonist named Noisy Richardson, trumpeter and scat vocalist Henry Goodwin and reedman Rudy Powell, who would make a lot of great records with Fats Waller in 1935. Some of these numbers are pleasantly frantic stomps, "Horse Feathers," "Torrid Rhythm" and "The Terror" sounding similar in some ways to recordings made between 1925 and 1930 by other large hot bands, such as Fess Williams, Charlie Johnson or Sam Wooding. Also issued bearing the names of the Tuxedo Syncopators and the Newport Syncopators, most of these early records came out on the Grey Gull record label under the name of Marvin Smolev and His Syncopators. Whoever the hell Smolev was, he had a hand in composing 8 out of 12 songs included here, and quite a number of these are quaint, conventional hotsy totsy stuff. It's a shame that this band didn't get around to making more records. The Krazy Kats (also billed as the Crazy Cats) first came on the scene in 1927 and were considered by other bands to be formidably awesome competition. Major phonograph companies apparently never figured this out. Like many worthy musicians, Jackson had to wait a long time -- March of 1944 -- before he could lead another band in a recording studio. Fortunately the quartet contained clarinetist Pee Wee Russell, bassist Bob Casey and drummer Jack "The Bear" Parker. They emitted a fairly rowdy number called "Quiet Please," Fats Waller's "Squeeze Me," James P. Johnson's "If I Could Be With You" and a wild rip through the "Weary Blues," with blistering runs on the piano and a good example of the Bear's percussive bravado. The eight remaining tracks are piano solos of great potency, allowing the listener to appreciate Jackson's Eastern Seaboard style in all its glory. "Royal Garden Blues" packs in just about everything that needs to be said in only a little over two minutes. "Limehouse Blues" is similarly hot, and places Jackson directly within the realm of what critics and historians call the Harlem Stride Piano tradition. "Who" and "Tea for Two" are dizzyingly executed, bringing on the inevitable question -- why wasn't this man given more opportunities to record? arwulf arwulf
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JAMES P. JOHNSON – 1944, Vol. 2 | The Classics Chronological Series – 856 (1995) FLAC (tracks), lossless

This installment in the James P. Johnson chronology includes no less than eight sides featuring the clarinet of Rod Cless, who didn't live long enough to make very many recordings. The first four selections are played by Max Kaminsky & His Jazz Band, a staunch Eddie Condon group recording for Commodore Records in June of 1944. Their music is warmly reassuring. Next comes a series of gorgeous piano solos, each one precious and iridescent as lapis lazuli. In the months that followed the sudden death of his close friend and protégé Fats Waller, Johnson created a series of interpretations of songs written by Waller ("Squeeze Me") or forever linked with him ("I'm Gonna Sit Right Down"). Johnson also set down on record a marvelous catalog of his own compositions, eight of which appear on this disc. Some of these melodies date back to before the 1920s, like "Carolina Shout," which was published in 1914. The Rod Cless Quartet, a combination of Cless and Johnson with a gifted trumpeter named Sterling Bose and bassist Pops Foster, made four records that rank among the best that any of these guys ever made it onto. Bose needs his own retrospective! Hardly anybody knows anything about him. Cless was a woodwind ace who showed great promise, and would have enjoyed some measure of success during the continuation of what became known as the Dixieland revival. What a pity he fell off a balcony and never woke up. James P. Johnson, who had only three partial years of creative activity ahead of him, sounds exceptionally fine throughout this collection of essential Harlem jazz. arwulf arwulf
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MUGGSY SPANIER – 1939-1942 | The Classics Chronological Series – 709 (1993) FLAC (tracks+.cue), lossless

Well, let's put it this way. If you were to choose one Muggsy Spanier collection out of his portion of the Classics Chronological Series (or any edition on any other label for that matter), let it be Classics 709, which contains all of the essential material from every session he led between July 7, 1939 and June 1, 1942. This includes the master takes from Spanier's Bluebird "Ragtime Band" sessions of 1939, which are generally considered to have been the apex of his entire career. Participants in these joyous and staunchly traditional proceedings included singing trombonist George Brunies, master clarinetist Rod Cless, tenor saxophonists Ray McKinstry, Bernie Billings and Nick Caiazza, and pianists Joe Bushkin and George Zack. From the languid reflectivity of "Relaxin' at the Touro" to the punchy rowdiness of "I Wish I Could Shimmy Like My Sister Kate," this is the very best of the music Muggsy Spanier left to posterity, and it virtually defines the entire genre of Chicago-style New Orleans-inspired traditional jazz. What makes this collection even finer and more useful is the addition of eight lesser-known Decca recordings cut in January and June 1942, with Caiazza joined at times by clarinetist Irving Fazola and someone named Benny Goodman operating both the black stick and the alto sax. Vocals throughout this delightful collection are as follows: George Brunies sings "Big Butter and Egg Man," "Dinah," and "Sister Kate"; trombonist Ford Leary arm wrestles Vernon Dalhart, as it were, in "The Wreck of the Old 97," and Dottie Reid croons "More Than You Know." The most important ingredient, of course, is the wonderful cornet of Muggsy Spanier, who Lester Young gently christened "Muddy Spaniels." arwulf arwulf
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MUGGSY SPANIER – 1944 | The Classics Chronological Series – 907 (1996) FLAC (tracks+.cue), lossless

Three high-powered Commodore sessions and a V-Disc blowout make this an exceptionally satisfying packet of Chicago-styled traditional jazz. Without a doubt, this music should be rated alongside Muggsy's all-time greatest recordings. Pee Wee Russell, gloriously soulful and inventive, is present throughout. Rock-solid trombonist Miff Mole made it onto two of the three Commodore dates. No matter how hard the band swung, nothing could shake the Mole. Saxophonists Ernie Caceres and Boomie Richmond were variously brought in to augment or replace the trombone. Muggsy demonstrates his full range of wails, growls, and muted shimmies. Some of these tunes run for more than four minutes, which in 1944 meant big beautiful 12" 78-rpm records. The overall mood is positive, spirited, and even optimistic. Caceres accomplished with his baritone what Adrian Rollini had achieved with a bass sax during the mid- to late '20s. A reed horn with a voice that deep has a way of nudging the whole band along with firm but friendly persuasion. Boomie sounded a lot like Bud Freeman, a good role model for a tenor sax operating within this kind of an ensemble. George Wettling pounds his drums with unusual fervor during "Sweet Sue," inciting a perfect riot of joyous jamming. Pee Wee's first chorus on "Memphis Blues" is so gritty and deep it's frightening! Every tune is rendered with passion. That's where all that satisfaction comes from. Comparing these sides with the highly revered 1939 "Ragtime Band" recordings, these seem just a bit more free and genuine, closer to what these guys must have sounded like in person. The V-Discs are each more than four minutes in duration. "Pee Wee Speaks" has Muggsy introducing the clarinetist as "our new vocalist." Russell grumbles the blues, referencing Muggsy's work ethic and tossing in references to butter and lard. As with every other existing example of Pee Wee Russell the Singer, our man sounds weirdly glib and a little bit sloshed. "Pat's Blues" begins with someone, apparently bassist Bob Haggart, whistling a full chorus of the blues through his teeth. It is a perfectly frowsy finale to this invigorating collection of hot records made by Muggsy Spanier at the height of his powers. arwulf arwulf
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BOBBY HACKETT – 1948-1954 | The Classics Chronological Series – 1403 (2005) FLAC (tracks), lossless

The third installment in the Classics Bobby Hackett chronology examines the recordings he made between June 22, 1948, and November 7, 1954. The compilation opens with two superb five-minute V-Disc jams introduced by Hackett and Eddie Condon, who organized this and dozens of other traditional jazz get-togethers during the 1940s. The front line of Hackett, Cutty Cutshall, Peanuts Hucko, and Ernie Caceres worked wonders. "You Do Something to Me" is a marvelous trumpet/piano duet with Joe Bushkin recorded during the second AFM recording ban; in their spoken introduction they even mention the organization's president, a Mr. Petrillo. Two quintet sessions for Columbia dating from the late summer and early autumn of 1950 combine Dixieland repertoire with relaxed swing standards; Hackett's rendering of "A Room with a View" is particularly beautiful. An unattributed vocal choir intrudes upon an unissued recording of "Sleepy Head"; this turns out to have been a premonition of production values yet to come, as Hackett's next date as a leader (Capitol Records, May 11,1953) would find him accompanied by a rhythm section augmented with four violas and a cello. This combination actually worked rather well; the fact that Hackett had Lou Stein, Billy Bauer, Arnold Fishkin, and Denzil Best in the group helped to temper the effect of the strings, which in any case were all low key, literally speaking. Hackett sounds as relaxed and sophisticated as ever on the concluding tracks, which were recorded on November 7, 1954. By this time the Capitol studios and conductor Glenn Osser were backing him with French horns, woodwinds (including flute and oboe), and a classical harp wafting away next to the rhythm section. Fortunately, the ensemble is kept under control and Hackett sounds just as happy here as he did with his old cohorts from the Condon Mob. arwulf arwulf  
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