LOUIS ARMSTRONG – 1954 | The Classics Chronological Series – 1402 (2005) FLAC (tracks+.cue), lossless

This 22nd volume in Classics Records' chronological survey of the complete recordings of Louis Armstrong is a bit of a transitional one. It features Armstrong's last recordings for Decca Records, opening with a handful of studio versions of songs that were featured in the movie The Glenn Miller Story (including yet another take on "Basin Street Blues") and moves on to a pair of novelty songs, the utterly goofy "Spooks?" and a completely unnecessary rendition of Joyce Kilmer's poem "Trees" turned into a song. The miracle is that Armstrong's vocal almost -- almost -- makes "Trees" work as a legitimate song, but in the end a boat won't float if its design prevents it from doing so, and "Trees" just leaves one shaking one's head. What makes this installment worthwhile, though, is that it closes out with nine of the 11 songs that were featured on Armstrong's marvelous 1954 Louis Armstrong Plays W.C. Handy LP from Columbia Records, including fine versions of "Ole Miss," "Beale Street Blues," "Loveless Love," and what may well be the definitive version of "St. Louis Blues," which comes in at just under nine minutes in length. The remaining two tracks from the 1954 Handy sessions, "Yellow Dog Blues" and "Sing 'Em Low," will presumably open Classics' 23rd installment of Armstrong's musical biography. The only truly essential tracks here are the Handy tunes, which have been reissued by Columbia anyway, complete with a full track listing and a couple of alternate takes, so unless you're collecting the complete Classics Armstrong series, this installment isn't particularly vital, although thanks to the Handy sides, it's a solid listen. Steve Leggett   Tracklist + Credits :  

TOMMY DORSEY AND HIS ORCHESTRA – 1936 | The Classics Chronological Series – 878 (1996) FLAC (tracks+.cue), lossless

Fans of legendary Chicago drummer Dave Tough will want to listen in on this third installment in the complete recordings of Tommy Dorsey presented in chronological order by Classics. Occurring between sentimental and novelty vocals by sugary Jack Leonard or snappy Edythe Wright, the Dorsey instrumentals of 1936 positively glow with a traditional jazz infusion worthy of Eddie Condon. Indeed, with Dave Tough, trumpeter Max Kaminsky, and tenor sax troubadour Bud Freeman in both the big band and the Clambake Seven, Dorsey was wise to record nice instrumental versions of "Ja-Da," "Royal Garden Blues," "That's a Plenty," "After You've Gone," "Maple Leaf Rag," and "Sleep," a sugary, soporific waltz from the 1920s that by 1936 was taking on new life as an upbeat jazz standard. Spunky Edythe Wright could sing just about anything, even material commonly associated with Shirley Temple. After cordially introducing Bud Freeman, she launches "At the Codfish Ball," a melody lifted directly from an earlier opus, Sam Coslow's "When Erastus Plays His Old Kazoo." As for "You've Gotta Eat Your Spinach, Baby," Wright sings the lyrics with gusto and the band cooks the tune to perfection. arwulf arwulf     Tracklist :

TOMMY DORSEY AND HIS ORCHESTRA – 1936-1937 | The Classics Chronological Series – 916 (1996) FLAC (tracks), lossless

The fourth installment in the Classics Tommy Dorsey chronology opens with the Dorsey Orchestra's last seven recordings of 1936. Fortified with trumpeter Max Kaminsky, tenor saxophonist Bud Freeman, guitarist Carmen Mastren, and master percussionist Dave Tough, this was a particularly fine band. Their instrumental rendition of Fats Waller's "Keepin' Out of Mischief Now" is one of Dorsey's all-time greatest recorded achievements. At her best, Edythe Wright sang a bit like Lee Wiley, and therefore her voice might grow on you if you sit still for it. This is more than can be said for either Jack Leonard or the goofy trio billed as the Three Esquires. Beginning on January 7, 1937, Dorsey hit the jackpot when he hired trumpeter Bunny Berigan, a man who had spent most of the first half of the 1930s backing up pop vocalists like Chick Bullock. The pleasant instrumentals on this disc all went over well with the record-buying public. Will Hudson's "Mr. Ghost Goes to Town" and something called "Who'll Buy My Violets?" are catchy tunes that benefit from the absence of vocalists. "Melody in F" receives a bouncy treatment that would certainly have startled its composer, Anton Grigorevich Rubinstein. Nikolai Rimsky-Korsakov's "Song of India" was a smash hit for Dorsey, who was now commercially clambering to the top of the heap. Yet his really big hit of 1937 was gleaned not from classical Russian composers but was filched from musicians of color in Philadelphia. Dorsey's famous version of Irving Berlin's "Marie" was based on a group vocal arrangement that originated in the mind of a banjoist, guitarist, vocalist, and arranger by the name of Steve Washington, a remarkable individual who had risen to prominence in the jazz world as a member of the Washboard Rhythm Kings. Washington died of pneumonia in January 1936. A few months later his arrangement of "Marie" was being performed at Nixon's Grand Theater in Philadelphia by the Sunset Royal Serenaders, an Afro-American jazz orchestra led at that time by trombonist Doc Wheeler. Dorsey was in the audience one night. He memorized the routine and used it in January 1937 to make a record that ended up earning him enormous quantities of money. This sort of racially informed cultural larceny would soon occur again as Glenn Miller scored his all-time biggest cash money hit by swiping "In the Mood" from Edgar Hayes. arwulf arwulf      Tracklist + Credits :

TOMMY DORSEY AND HIS ORCHESTRA – 1937 | The Classics Chronological Series – 955 (1997) FLAC (tracks), lossless

This fifth installment in the Classics Tommy Dorsey chronology presents recordings he made with the Dorsey Orchestra and the Clambake Seven during the spring of 1937. These ensembles benefited greatly from the presence of certain outstanding players. Bunny Berigan is heard on the first three tracks, but left the band soon thereafter to form his own orchestra. He would return briefly to work for Dorsey again in 1940. Speaking of brilliant musicians with tragically alcoholic temperaments, master percussionist Dave Tough stuck with this band for what was for him a remarkable stretch of uninterrupted professional involvement. Tommy Dorsey sold a lot of records during the mid- and late '30s. One thing hasn't changed very much since then: the public's interest in singers. Dorsey employed crooner Jack Leonard and a perky, interesting chanteuse named Edythe Wright, who seems to have had fun with the lyrics to "Jammin'," sounding almost as hip as Ivie Anderson. Instrumentally, this tune lives up to its name. Wright also did well with "The Milkman's Matinee," Dorsey's apparent attempt to elbow in on Charlie Barnet's turf. Bud Freeman, Pee Wee Erwin, and Johnny Mince turn in perfectly handsome solos on this curious number originally designed as a theme song for Stan Shaw's late-night radio show on WNEW. Dorsey also wisely chose to render a number of instrumentals to vary his recorded repertoire. Continuing to contribute to the popularity of European classical melodies arranged for jazz orchestra, he served up "Liebestraum" by Franz Liszt, Felix Mendelssohn's "Spring Song," and "Blue Danube" by Johann Strauss. Other intriguing performances heard here without vocalists are the popular Gypsy tune "Dark Eyes," "Twilight in Turkey" by Raymond Scott, "Nola" by Felix Arndt, and "Satan Takes a Holiday" by Larry Clinton. A delightfully warm and kicky "Stop, Look and Listen," representing one of the jazziest items in the entire Dorsey discography, swings for a full five and a half minutes. arwulf arwulf      Tracklist :

TOMMY DORSEY AND HIS ORCHESTRA – 1937, Vol. 3 | The Classics Chronological Series – 1035 (1998) FLAC (tracks), lossless

 The seventh installment in the Classics Tommy Dorsey chronology opens with four love songs swung by the Clambake Seven and sung by Edythe Wright. On the bluesy and slightly dissonant "After You," the leader plays his trombone using a trumpet mouthpiece, creating a sound somewhat similar to what Jack Teagarden would achieve on his "Glass Blues" of 1944 using nothing more than a trombone mouthpiece and a water glass. Bud Freeman's solo on this track is nothing short of marvelous. A light smattering of instrumentals include a majestic and swinging version of Cole Porter's "Night and Day" arranged by Paul Weston, Jerome Kern's "Smoke Gets in Your Eyes," "Canadian Capers," and Hoagy Carmichael's "I May Be Wrong, But I Think You're Wonderful." Most of the selections feature pert or sentimental vocals. The goofiest track is "The Big Apple," a slaphappy Clambake Seven call and response number describing a "new dance" combining characteristics of nearly every popular step of the day. The band carefully recites "my my, yes yes," a phrase lifted directly from Fats Waller. This segment of the Dorsey chronology closes with a weirdly out of step remnant from vaudeville days. Back in 1902 a guy by the name of Fred Fisher came up with a barrelhouse rag bearing the dubious title "If the Man in the Moon Were a Coon." This Jim Crow novelty was published by Chicago's Will Rossiter, a shrewd businessman destined to succeed in 1917 with Shelton Brooks' famous proto-jazz hit, "The Darktown Strutter's Ball." The fact that Tommy Dorsey thought it was OK to record Fisher's "Coon" song in 1937 with Jack Leonard merrily enunciating the words speaks volumes about the state of U.S. culture and ethics during the 20th century. The tune itself, which sounds a little like Tony Jackson's "Pretty Baby," is very catchy and lends itself to full throttle jamming. Bud Freeman runs fiendish riffs up and down the tenor and Johnny Mince's clarinet percolates while Gene Traxler slaps his bass. It's one of this group's hottest records. If only they'd omitted the lyrics. arwulf arwulf    Tracklist :

TOMMY DORSEY AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 1078 (1999) FLAC (tracks), lossless

Tommy Dorsey presided over no less than 22 recording sessions during the year 1937. His records were popular among both jazz heads and pop music fans who expected to hear singers in front of the band. This eighth installment in the Dorsey chronology offers predominately vocal tracks garnished with three pleasant instrumentals, "Just a Simple Melody," "Little White Lies," and "Oh, Promise Me." The leader wisely bolstered his trombone's famous tonality with such capable players as Pee Wee Erwin, Bud Freeman, and Johnny Mince. Gifted percussionist Dave Tough, a troubled individual who was eventually slain by his addiction to alcohol, lasted a remarkably long time with Dorsey, finally bailing after the session of December 6th. Syrupy-voiced Jack Leonard made off with eight ballads in addition to Kern/Hammerstein's "Who?," which was given the same group vocal treatment as Dorsey's hit record, "Marie." Edythe Wright, capable of singing prettily, was at her best with humorous upbeat numbers like Yip Harburg and Harold Arlen's anti-romantic "Down with Love." The nadir of her career was reached with the incredibly racist Rodgers & Hart tune "There's a Boy in Harlem." This nasty little air paints an archaic Jim Crow portrait of a musically gifted but sloppily dressed Afro-American composer who never leaves the 'hood but whose influence pervades the music industry. With Lorenz Hart's lyrics containing a thinly veiled reference to "this person in the woodpile," the song belongs in Tin Pan Alley's sociological chamber of horrors. Its appearance in the Dorsey discography casts a sickly light upon his periodically flawed ethical sensibilities. arwulf arwulf     Tracklist : 

TOMMY DORSEY AND HIS ORCHESTRA – 1938 | The Classics Chronological Series – 1117 (2000) FLAC (tracks), lossless

This ninth edition of the Classics Tommy Dorsey chronology opens with a splendid instrumental rendering of "Shine on Harvest Moon" but then gives way to numerous vocal performances by Jack Leonard, that grenadine-drenched crooner so favored by this bandleader in the years preceding the arrival of Frank Sinatra. Three more instrumentals, Ted Fiorito's "I Never Knew," Irving Berlin's "Oh, How I Hate to Get Up in the Morning," and "What'll I Do?" allowed tenor saxophonist Bud Freeman to administer an infusion of his own special warmth. Two more sides from the same session scaled the band down to Clambake Seven specifications and featured the beautiful Edythe Wright, who seems to have been capable of singing nearly any song placed in front of her. Freeman left Dorsey to join Benny Goodman after this session. He was replaced by two tenors, Skeets Herfurt and Deane Kincaide. Dorsey still had Pee Wee Erwin and Johnny Mince and his records continued to sell in large numbers. This was largely on account of his vocalists, the best of whom during this period was without a doubt Edythe Wright. arwulf arwulf   Tracklist : 

JOE VENUTI – 1933 | The Chronogical Classics – 1348 (2004) FLAC (tracks+.cue), lossless

The recordings made under Joe Venuti's name during the years immediately following the sudden and premature death of Eddie Lang on March 26, 1933, often have a somewhat strange quality to them. Venuti was crushed by this personal loss and must have still been mourning the death of his friend and musical companion when the two opening tracks -- concluding the session that produced the thrilling "Vibraphonia" -- were recorded on May 8th. Six sides waxed in September of 1933 for the Banner label feature vocalist Don Elton, infinitely better on the upbeat novelties than as a crooner suspended in syrup. This smooth band had a young Max Kaminsky in the brass section and Bud Freeman in the reeds. The creamy, beautiful "Moon Glow" is one of Venuti's best-known sides from this period, and with good reason. The band on the completely instrumental Columbia session from one week later is the best group on the entire package, with Benny Goodman, Bud Freeman, and Adrian Rollini on the front line. It is worth noting that the great Dick McDonough was now established as Eddie Lang's replacement. His work on this session demonstrates exactly why. "In de Ruff" turns out to be King Oliver's "Dipper Mouth Blues," later known as "Sugar Foot Stomp." A Bluebird session from October 13th yielded four more instrumentals -- three of them by Will Hudson -- beginning with a rousing "Fiddlesticks." On "Phantom Rhapsody" and Benny Carter's "Everybody Shuffle," this band sounds a bit like Fletcher Henderson's, except of course for the fiddle. Venuti spent the rest of the year recording for Banner. Dolores Reade, presenting a couple of melodies by Irving Berlin, had more charm and substance than Howard Phillips and Slim Fortier put together. Even the least of these sides are fascinating for those who enjoy studying jazz and popular music from the early '30s. arwulf arwulf  
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EDDIE CONDON – 1927-1938 | The Chronogical Classics – 742 (1994) FLAC (tracks+.cue), lossless

Here's a package that defines traditional Chicago-styled jazz from the roots on up. Closely patterned after the style of Bix Beiderbecke, four hot stomps recorded for the OKeh label in December of 1927 form a handsome keystone to the Eddie Condon chronology. It's the Austin High Gang, appearing on record as McKenzie & Condon's Chicagoans, and they swing hard. What a great front line: Frank Teschemacher, Jimmy McPartland, and Bud Freeman. Gene Krupa kicks like a mule. Legend has it Mezz Mezzrow played cymbals, although Condon claimed all Mezz did was hold on to the bass drum so Krupa wouldn't knock it across the room. In July of 1928, Condon, Krupa, and Tesch made a pair of records with pianist Joe Sullivan. "Oh Baby (Rain or Shine)" begins with a group scat vocal and cooks to a gravy. Teschemacher plays both clarinet and alto sax on this date. Shortly before his death in 1973, a mature Eddie Condon made this wry statement regarding both "Indiana," recorded for Parlophone on July 28, 1928, and the art of singing in general: "This record paid the rent at the Cumberland Hotel for one month; for all four guys in the band. I sing here. I was young and didn't know any better. I do now." Condon also sang on "I'm Sorry I Made You Cry," chirping the lyrics over Art Miller's delightful bowed bass. These innocent vocals are endearing and do not detract in any way from the musical entertainment. "Makin' Friends" has a vocal by Texas trombonist Jack Teagarden with whiny spoken interjections by Mezz Mezzrow. Was this the inspiration for Nappy Lamare's incessant chattering on Wingy Manone's records of the mid-'30s? Alarming thought. Great insights into the socioeconomic reality of jazz musicians can be found in Condon's autobiography, We Called It Music. It is there that Condon claims that the Victor session of February 8, 1929, was considered an "experiment" in racially mixed recording, possibly the first integrated date for a major label. The next "experiment" that Condon would put together for Victor was the notorious "Fats Waller & His Buddies" adventure, another racially mixed session that came together haphazardly one month later. Those sides appear as part of the Fats Waller chronology on Classics 689. The Condon story continues here on Classics 742 with a series of excellent recordings made for Brunswick in 1933 and Commodore in 1938. What's documented here is the flowering of Condon's career and those of the men who collaborated with him. The Brunswick sides are relatively rare. Here are Max Kaminsky, Pee Wee Russell, Bud Freeman, Floyd O'Brien, Artie Bernstein, Sid Catlett, and the great pianist Alex Hill, who really comes across beautifully. The Commodore material brings on George Brunies, Jess Stacy, Artie Shapiro, George Wettling, and Bobby Hackett, who renders up his famously gorgeous treatment of "Embraceable You." It is fitting that this disc ends with "Meet Me Tonight in Dreamland," an ancient saloon song gassed up into a perfect riot of joyous energy. It is the perfect closer for this cardinal Condon collection. arwulf arwulf  
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EDDIE CONDON – 1938-1940 | The Chronogical Classics – 759 (1994) FLAC (image+.cue), lossless

Here is a particularly tasty portion of old-fashioned Chicago-style jazz, calmly dished out by some of Condon's very best bands. "Jackson Teagarden and his trombone" deliver the nicest portrait of "Diane" ever painted. "Serenade to a Shylock" slowly ambles through Mr. T's vocal and suddenly kicks up into a stomp, sharpened at the edges by Pee Wee Russell's gloriously filthy clarinet. Bud Freeman glides effortlessly into "Sunday" and "California." Bud's relaxing influence bathes the entire band in rosy light even during upbeat finales. On August 11, 1939, Davey Tough actually made it into a recording studio. While George Wettling and Lionel Hampton had each served ably on the preceding tracks, it's invigorating to hear Mr. Tough driving the band the way he did. The same could be said for Joe Sullivan, with all due respect for Jess Stacy and Joe Bushkin. The chemistry on this little Decca date is really magical. "Friar's Point" gets low-down and dirty, a funky collective discourse on the human condition. Back with Commodore Records on November 30, 1939, Condon retained Max Kaminsky, Brad Gowans, and Pee Wee Russell for a real blowing session. While "Jelly Roll" bakes itself brown, during "Strut Miss Lizzie" the band sounds almost possessed. "It's Right Here for You" is just plain gorgeous. These really are among the best records Condon ever produced, and everybody ought to get a chance to hear them on a regular basis. On March 24, 1940, about 17 minutes' worth of "A Good Man Is Hard to Find" was spread over four 12" 78-rpm platters, with 11 musicians taking turns ritualistically hammering out every possible angle of the song. While conventional criticism regards this as a bit too much of a good thing, seasoned jazz heads are surely capable of enjoying dramatically extended solos without undue concern for "normal" parameters. Rules and preconceptions are made to be broken and dispelled. With this precept in mind, the session of November 11, 1940, is particularly tasty. Invading the Commodore studios, popular Victor recording artist Thomas "Fats" Waller cheerfully broke his contract by making records with Condon's band under the pseudonym "Maurice," a name borrowed from one of his sons. This music is exquisite. The combination of Pee Wee and Fats should have occurred much more often than it ever did. Waller and Condon first made records together in 1929 -- in the very same studio, by the way: the wonderful Liederkranz Hall. This, then, was a sort of reunion, bittersweet in retrospect, as Fats died in December of 1943, making this Commodore jam the last time the two men would get to play music together in front of the same microphone. arwulf arwulf  
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EDDIE CONDON – 1944-1946 | The Chronogical Classics – 1033 (1998) FLAC (image+.cue), lossless

This is how traditional Chicago-style jazz sounded in New York during the mid-1940s. When he wasn't brusquely emceeing these bands on-stage at Town Hall, guitarist and organizer Eddie Condon presented this music on the air and in the recording studio. The phonographic evidence, chronologically arranged and carefully documented, makes for enjoyable listening. Three V-Disc sides for the armed forces have Hot Lips Page lined up next to Sterling Bose, Miff Mole and Pee Wee Russell. This interesting blend of musicians from radically different social and ethnic backgrounds is typical of Condon. Lips sings on a nearly four-and-a-half-minute version of the "Uncle Sam Blues," a wry ode to military conscription. The old "Tin Roof" is summed up in a mere 126 seconds, followed by a slightly longer "Ballin' the Jack." It seems as though V-Disc encouraged short takes so as to be able to squeeze as many tracks as possible on to their newly devised 'unbreakable' lightweight 12" 78rpm records. The Decca session of December 12, 1944 sounds a lot like the Town Hall mixture of pressure cookers and attractive love songs. Bobby Hackett turns "When Your Lover Has Gone" into a prayer. Lee Wiley (who was Eddie Condon's idea of the Perfect Woman) sings a couple of sweet numbers, and the band kicks the stuffing out of a theme only identified as "Impromptu Ensemble." Here Jack Teagarden blows hot trombone and sings up a parcel of lyrics he first used on a "Chicagoans" session back in 1929. Special mention should be made of baritone saxophonist Ernie Caceres who blows mellow for Lee and very hot during the stomps. Two days later the band emitted 59 seconds of "jump" music and 33 seconds of "blues" for radio broadcast purposes. Lee sang two more ballads and Teagarden hammed up the "Sheik of Araby" with strange new novelty lyrics before they swung it to pieces. Jack also sings and plays handsomely on "Somebody Loves Me." Speaking of melodies composed by George Gershwin, the 1945 sessions include what might be the loveliest version of "My One And Only" ever recorded, starring Bobby Hackett. "Lady Be Good" and "Swanee" take on an almost Dixieland flavor. On March 27, 1946 Wild Bill Davison, Gene Schroeder and Davey Tough incited a grand "Farewell Blues" with the bridge from "Weary Blues" grafted on to its midsection. "Improvisation for the March of Time" was built across the familiar slow blues/fast blues formula, and a couple of very attractive pop songs were magically transformed into honest instrumental jazz before the band knocked off for the day. The session of July 17th, 1946 is memorable for the presence of pianist James P. Johnson, who sends out sparks during "Just You, Just Me," and the voice of John "Bubbles" Sublett, one-time musical cohort of Buck Washington. Sublett is heard singing W.C. Handy's "Atlanta Blues," also known as "Make Me a Pallet on the Floor." That's the great thing about an Eddie Condon date: you never know who's going to show for the gig. arwulf arwulf  
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EDDIE CONDON – 1954-1955 | The Chronogical Classics – 1464 (2008) 32-44.1Hz | FLAC (tracks), lossless

Because it taps into two of the best Eddie Condon albums of the 1950s, this installment in the Classics Chronological Series is right up there with the finest entries in the entire Condon discography. The first five tracks come from Jammin' at Condon's, a studio album cut on June 24 and July 1, 1954. Unlike the earlier LP Ringside at Condon's, the selections are not interspersed with applause, cheers, and whistling. What's conveyed here is the essence of the house band at Eddie Condon's, a traditional jazz-oriented nightclub that opened in 1945 at 47 West 3rd Street and moved uptown to East 56th Street in 1957. Recorded under the supervision of producer George Avakian at a studio inside what had previously been a church on 30thStreet, Jammin' at Condon's was Eddie's second album for Columbia. The formidable front line of trumpeter Billy Butterfield, cornetist Wild Bill Davison, trombonists Cutty Cutshall and Lou McGarity, clarinetists Edmond Hall and Peanuts Hucko, and tenor saxophonist Bud Freeman was buoyed by the alto peck horn of Dick Cary. The rhythm section supporting this hard-swinging wind ensemble consisted of pianist Gene Schroeder, bassist Al Hall, drummer Cliff Leeman, and Condon himself, who was a steady rhythm guitarist. What makes Classics 1464 one of the best Chicago-style jazz compilations ever placed before the public is the addition of Condon's next Columbia LP, Bixieland. Obviously a tribute to his friend and idol Bix Beiderbecke, this delightful album is worth tracking down for the sake of Condon's humorous, insightful, and informative liner notes, which include an excerpt from his indispensable autobiography, We Called It Music. The band assembled for the Bix tribute album included some carry-overs from the previous date, in addition to the Condon Mob's ace drummer George Wettling and legendary Kansas City bassist Walter Page, as well as trumpeter Pete Pesci, who was co-manager of the nightclub. Condon also lists Chivas Regal in the credits, along with the "utterly silent" Bud Freeman; although he was not present at the date, Condon wrote that "it's nice to see his name in print, especially for Bud." While Condon emphasizes that these recordings were not made in order to imitate Beiderbecke, he cites Pesci's work during the last chorus of "I'll Be a Friend with Pleasure" as "about as close to Beiderbecke as it's humanly possible for a living man to get." arwulf arwulf  
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BIX BEIDERBECKE – 1927-1930 | The Chronogical Classics – 788 (1994) FLAC (tracks+.cue), lossless

This is the second volume in the all-too-brief Classics Bix Beiderbecke chronology. It presents all 13 Okeh Records cut by Beiderbecke & His Gang between October 5, 1927 and September 21, 1928, followed by Beiderbecke's very last recordings, made between May 21 and September 15, 1930 for the Victor, Vocalion and Brunswick labels. He is heard leading his own band and sitting in with Hoagy Carmichael's orchestra as well as Irving Mills & His Hotsy Totsy Gang. Three years into his brief recording career, Beiderbecke was already beginning to feel confined by the artistic limitations of the entertainment industry. In his excellent and insightful novel-length tribute "Remembering Bix," Ralph Berton recalled his final encounter with Beiderbecke, which took place during the autumn of 1927 shortly before Bix began working for Paul Whiteman. Berton describes their conversation as they listened to the recently waxed Bix & His Gang sides. Although Berton rightfully perceived that some of these were among the hottest and best of Beiderbecke's recordings, Bix was not entirely happy with the results, and even threatened to destroy the master of "Goose Pimples" which was soon issued as Okeh 8544. During this performance he momentarily intruded upon the opening of Frank Signorelli's piano solo, became frustrated and tossed off what he later called a "phony Charleston lick," then responded to gesticulations made by an engineer urging him to finish up before they ran out of room on the disc by letting loose with a couple of very atypical high notes, sharp and fortissimo. Beiderbecke was horrified, incredulous and ultimately contemptuous when the session's producers went ahead and issued what is demonstrably a botched take. Yet in retrospect the excitement of hot jazz transforms even these obvious flaws into personable idiosyncrasies. All 13 sides are anchored with beefy bass saxophones, handled expertly by Adrian Rollini or ably by Min Leibrook. Like the turning of a page, the '30s began for Beiderbecke with a series of collaborations hinting at potential developments that either blossomed or withered away. With names like Benny Goodman, Jack Teagarden, Tommy and Jimmy Dorsey, Bud Freeman, Gene Krupa, Hoagy Carmichael and violinist Joe Venuti (who can be heard bawdily intoning the words "Barnacle Bill the Shit-head" in a raspy voice), this home stretch of the Beiderbecke discography reads like a "most likely to succeed" roster. Yet three gifted participants would soon be taken out 'way ahead of schedule; guitarist Eddie Lang was soon to die from complications following a tonsillectomy, Ellington's ex-trumpeter Bubber Miley was already in the process of drinking himself into an early grave, and Bix Beiderbecke's days were numbered. On August 6, 1931 he succumbed to alcoholism and pneumonia at the age of 28. The music on this compilation is an essential portion of his legacy. arwulf arwulf
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MEZZ MEZZROW – 1936-1939 | The Chronogical Classics – 694 (1993) FLAC (tracks+.cue), lossless

Considering the collective personnel and an unusually close communication between these players, this disc is a serious contender for the "Best of Mezz" award. By 1936, Mezz Mezzrow had developed into an able clarinetist and an expert at putting together strong traditional jazz ensembles. There are five sessions' worth of material gathered together to form this segment of the Mezzrow chronology. Each date produced top-notch small band swing, played by some of the best jazz musicians in the world at that time. None of this is exaggeration. On the opening session, for example, the clarinetist is flanked by trumpeter Frankie Newton and tenor sax man Bud Freeman, backed by a rhythm section including Al Casey, Wellman Braud, and Willie "The Lion" Smith! This group's two-part rendition of Stuff Smith's "I'se a-Muggin'" is a very close cover of the somewhat smoother version cut two days earlier by Jack Teagarden with the Three T's, a leisure service of Paul Whiteman. While Teagarden's timing and tone was impeccable, part one of Mezz's take has a rather gruff vocal by the Lion, who sounded like a friendly cigar-gnawing gangster whenever engaging in theatrical patter. In his liner notes, Anatol Schenker accuses these musicians of being stoned or at least under-rehearsed. According to that criterion, most of the records made by Fats Waller, Louis Armstrong, Billie Holiday, and Lester Young would be in artistic jeopardy simply on account of cannabis and spontaneity. Criticism of this sort is inaccurate, unfair, and misleading. Mezzrow's only 1937 session as a leader used three fine jam tunes that he composed in collaboration with arranger Edgar Sampson, and a formulaic stomp based on a simple but effective idea by Larry Clinton. This band swung hard with a front line of Sy Oliver, J.C. Higginbotham, Mezzrow, and tenor saxophonist Happy Caldwell, who expresses himself marvelously on these recordings. Like all the rhythm sections on this collection, the combination of Sonny White, Bernard Addison, Pops Foster, and Jimmy Crawford is first rate. Mezzrow was lucky, savvy, and well connected in lining himself up with Tommy Ladnier, Sidney de Paris, James P. Johnson, Teddy Bunn, Elmer James, and Zutty Singleton. Anyone familiar with this kind of music should be somewhat awed by that lineup. These were to be some of Ladnier's last recording dates, and should be savored along with the Bluebird sides he made with Mezzrow and Sidney Bechet during this same time period. "Comin' on with the Come On" is laid out in the classic Mezzrow two-part configuration of slow blues/fast blues. Sidney de Paris growls through his horn, mingling wonderfully with Ladnier. A second Bluebird session about one month later scaled the band down to a quintet with Ladnier and Mezzrow backed by Pops Foster, Teddy Bunn, and the no-nonsense drumming of Manzie Johnson. Bunn played guitar exquisitely and his vocal on "If You See Me Comin'" is a gem. The last four titles feature vocalist Rosetta Crawford in front of a band chosen from several of the previous sessions. Rosetta resurrects three old-time blues masterpieces by Perry Bradford and "Stop It Joe," a little-known novelty by the great James P. Johnson -- who is sitting in at the piano. arwulf arwulf  
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MAXINE SULLIVAN – 1938-1941 | The Classics Chronological Series – 991 (1998) FLAC (tracks+.cue), lossless

The second Classics CD in their Maxine Sullivan series has all of the subtle singer's recordings from a 2½-year period. Since "Loch Lomond" had been such a big hit, Sullivan was persuaded to record quite a few Scottish folk songs in a similar light swing style. Included on this CD from that idiom are such numbers as "I Dream of Jeanie With the Light Brown Hair," "Drink to Me With Thine Eyes," "Turtle Dove," "If I Had a Ribbon Bow," "Molly Malone," and "Barbara Allen." Although those performances are enjoyable, the actual high points of this release are such tunes as "It Ain't Necessarily So," "Ill Wind," "The Hour of Parting" and "What a Difference a Day Made." Sullivan, who was in her early prime during this era, is accompanied by five different units, including the John Kirby Sextet, Benny Carter's big band (for two numbers), such players as Bobby Hackett and Bud Freeman, and an octet that includes two clarinets, a bass clarinet, bassoon and Mitch Miller on oboe. Recommended, if not as essential as Sullivan's previous 1937-38 Classics CD. Scott Yanow  
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BENNY GOODMAN AND HIS ORCHESTRA – 1928-1931 | The Classics Chronological Series – 693 (1993) FLAC (tracks+.cue), lossless

 This CD reissues the first 22 selections led by Benny Goodman, spanning a three-year period when the clarinetist developed into a greatly in-demand studio musician during the Depression. The first ten titles feature him in hot, small groups with the likes of cornetist Jimmy McPartland, trombonist Glenn Miller, trumpeter Wingy Manone, and tenor saxophonist Bud Freeman. Included is "Wolverine Blues," "Jungle Blues" (during which Benny Goodman takes his only recorded trumpet solo), the satirical "Shirt Tail Stomp" (which makes fun of cornball bands), and a pair of trio features ("That's a Plenty" and "Clarinetitis"), recorded seven years before the Benny Goodman Trio debuted. The remaining dozen numbers, from 1930-1931, are strictly dance band performances with an emphasis on melodies and dull vocals (mostly by Scrappy Lambert and Paul Small) and only a few short spots for solos. Scott Yanow
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BENNY GOODMAN AND HIS ORCHESTRA – 1938 | The Classics Chronological Series – 925 (1997) FLAC (tracks+.cue), lossless

The 1938 version of Benny Goodman & His Orchestra was still a strong ensemble, featuring Goodman, Harry James, Ziggy Elman, tenor saxophonist Bud Freeman, Jess Stacy, Martha Tilton, and Dave Tough on drums, plus in the trio/quartet Teddy Wilson and Lionel Hampton. Gene Krupa might have been missed, but the ensemble still swung hard. Highlights of this chronological study include "Lullaby in Rhythm," "I Let a Song Go out of My Heart" (featuring Tilton), "Big John's Special," "Wrappin' It Up," and the quartet version of "Dizzy Spells." Scott Yanow
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BENNY GOODMAN AND HIS ORCHESTRA – 1938, Vol. 2 | The Classics Chronological Series – 961 (1997) FLAC (tracks+.cue), lossless

Benny Goodman was busy during the three-and-a-half-month period covered by this CD, cutting 22 selections for Victor including "Margie," "Bumble Bee Stomp," "My Honey's Loving Arms," and "Farewell Blues" with his big band and excellent quartet renditions of "Opus 1/2," "Sweet Georgia Brown," "'S Wonderful," and (as a trio) "I Must Have That Man." Artie Shaw may have been surpassing in the popularity polls by late 1938, but Goodman's band (with Harry James, Ziggy Elman, Martha Tilton, Jess Stacy, and Bud Freeman, not to mention Lionel Hampton and Teddy Wilson) was still a mighty swing machine. Scott Yanow
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BENNY GOODMAN AND HIS ORCHESTRA – 1945, Vol. 2 | The Classics Chronological Series – 1366 (2004) FLAC (tracks), lossless

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JESS STACY – 1935-1939 | The Classics Chronological Series – 795 (1994) FLAC (tracks+.cue), lossless

Pianist Jess Stacy did not lead that many recording sessions during the swing era since he spent long periods playing with the big bands of Benny Goodman and Bob Crosby. This excellent CD contains his 21 selections as a leader from a four-year period. Stacy's three numbers from 1935 include a solo Bix Beiderbecke medley and two songs with bassist Israel Crosby and drummer Gene Krupa. In addition, this set has Stacy's eight piano solos for Commodore, a duet with Bud Freeman on tenor ("She's Funny That Way"), and eight very rare performances (plus an alternate take) cut for Varsity in 1939 that also feature trumpeter Billy Butterfield, tenor saxophonist Eddie Miller, and either clarinetist Hank d'Amico or Irving Fazola in an octet. This CD contains more than its share of gems. Scott Yanow
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