FRANKIE "Half-Pint" JAXON — Complete Recorded Works In Chronological Order Volume 2 1929-1937 | RM | DOCD-5259 (1994) FLAC (tracks+.cue), lossless

Volume two in the complete recordings of Frankie "Half Pint" Jaxon contains all of the titles he is known to have cut between July 1929 and July 1937. During this period, Jaxon crossed over from the Vocalion label to Decca, working with a diverse range of musicians that included the Cotton Top Mountain Sanctified Singers, (a traditional-sounding choir who backed him on several spirituals) and cornetist Punch Miller & His Delegates of Pleasure. Most of these records were issued under the headings of Frankie "Half Pint" Jaxon and either his Hot Shots or his Quarts of Joy. Half Pint's jumpin' little bands included trumpeters Bob Schoffner and George Mitchell; trombonist Preston Jackson, and Cassino Simpson, a skilled pianist who made his best recordings with Jabbo Smith and ultimately ended up in a mental institution after trying to murder Half Pint, whose androgyny and well-known theatrical knack for female impersonation might well have driven Simpson over the edge. For awhile, Jaxon was accompanied by one of Chicago's hottest little bands, misleadingly billed as the Harlem Hamfats. With "No Need Knockin' on the Blind," the focus of the Half Pint Jaxon story has moved from his longtime stomping grounds in Chicago to the swinging environment in New York, where he was accompanied by a band that included clarinetist Buster Bailey, a mainstay in the Fletcher Henderson Orchestra who was on the verge of leading his own Rhythm Busters and would soon be prominently featured in the John Kirby Sextet. Maximum enjoyment is to be found in rambunctious performances like "Down Home in Kentucky," the spunky "Fifteen Cents," Half Pint's theme song "Fan It," and a very theatrical "Mortgage Blues" which begins with a brusque and spirited reference to Marcus Garvey, founder of the Universal Negro Improvement Association and spokesman for the Back to Africa Movement. Frankie Jaxon's gleefully outspoken pride in being a person of color was chiseled in high relief with the title "Chocolate to the Bone (I'm So Glad I'm Brownskin)," and he was fond of injecting little Black Nationalist references that probably got by any Caucasians but without a doubt resonated among his predominately African-American audience. His introduction to "Down Home in Kentucky," for example, describes a segregated social environment where "Mr. Charlie is still in the lead." arwulf arwulf
Tracklist :
1.    Cotton Top Mountain Sanctified Singers–    I Want Two Wings To Veil My Face 2:40
Banjo – Unknown Artist
Cornet – Punch Miller
Piano – Unknown Artist
Trombone – Unknown Artist
Vocals – Frankie "Half-Pint" Jaxon
Vocals [Vcl Group] – Unknown Artist
2.    Cotton Top Mountain Sanctified Singers–    Give Me That Old Time Religion 2:55
Banjo – Unknown Artist
Cornet – Punch Miller
Piano – Unknown Artist
Trombone – Unknown Artist
Vocals – Frankie "Half-Pint" Jaxon
Vocals [Vcl Group] – Unknown Artist
3.    Cotton Top Mountain Sanctified Singers–    Christ Was Born On Christmas Morn 3:25
Banjo – Unknown Artist
Brass Bass – Unknown Artist
Cornet – Punch Miller
Piano – Unknown Artist
Vocals – Frankie "Half-Pint" Jaxon
Vocals [Vcl Group] – Unknown Artist
4.    Frankie "Half-Pint" Jaxon*–    Take It Easy 3:11
Cornet – Punch Miller
Drums – Unknown Artist
Piano – Unknown Artist
Vocals – Frankie "Half-Pint" Jaxon
5.    Frankie "Half-Pint" Jaxon With Punches Delegates Of Pleasure–    You Got To Wet It 3:01
Clarinet [possibly] – Lem Johnson
Cornet – Punch Miller
Guitar – Charles Ducastaign
Piano – Unknown Artist
Vocals – Frankie "Half-Pint" Jaxon
6.    Frankie "Half-Pint" Jaxon With Punches Delegates Of Pleasure–    Down Home In Kentuck 3:12
Clarinet [possibly] – Lem Johnson
Cornet – Punch Miller
Guitar – Charles Ducastaign
Piano – Unknown Artist
Vocals – Frankie "Half-Pint" Jaxon
7.    Frankie "Half-Pint" Jaxon–    Scuddlin' 2:47
Drums – Unknown Artist
Guitar – Unknown Artist
Piano [probably] – Charlie Johnson
Vocals – Frankie "Half-Pint" Jaxon
8.    Frankie "Half-Pint" Jaxon–    Chocolate To The Bone 3:04
Drums – Unknown Artist
Guitar – Unknown Artist
Piano [probably] – Charlie Johnson
Vocals – Frankie "Half-Pint" Jaxon
9.    Frankie "Half-Pint" Jaxon And His Hot Shots–    Mama Don't Allow It  3:12
Acoustic Bass [probably] – Johnny Frazier
Alto Saxophone [probably] – Kenneth Anderson 
Clarinet [probably] – Dalbert Bright
Drums [probably] – Tubby Hall
Piano [probably] – Jerome Carrington
Tenor Saxophone [probably] – David Young
Trombone [probably] – Preston Jackson
Trumpet [probably] – Bob Shoffner, George Mitchell, Guy Kelly
Vocals – Frankie "Half-Pint" Jaxon
Vocals [2nd v.] – Unknown Artist
10.    Frankie "Half-Pint" Jaxon And His Hot Shots*–    Spank It 2:37
Acoustic Bass [probably] – Johnny Frazier
Alto Saxophone [probably] – Kenneth Anderson 
Clarinet [probably] – Dalbert Bright
Drums [probably] – Tubby Hall
Piano [probably] – Jerome Carrington
Tenor Saxophone [probably] – David Young
Trombone [probably] – Preston Jackson
Trumpet [probably] – Bob Shoffner, George Mitchell, Guy Kelly
Vocals – Frankie "Half-Pint" Jaxon
11.    Frankie "Half-Pint" Jaxon And His Hot Shots*–    The Mortgage Blues - Part 1 3:00
Drums [probably] – Tubby Hall
Piano [probably] – Jerome Carrington
Vocals – Frankie "Half-Pint" Jaxon
Vocals [2nd v.], Vocals [group] – Unknown Artist
12.    Frankie "Half-Pint" Jaxon And His Hot Shots*–    The Mortgage Blues - Part 2 2:53
Drums [probably] – Tubby Hall
Piano [probably] – Jerome Carrington
Vocals – Frankie "Half-Pint" Jaxon
Vocals [2nd v.] – Unknown Artist
Vocals [Group Vcl] – Unknown Artist
13.    Frankie "Half-Pint" Jaxon And His Hot Shots*–    Mama Don't Allow It 2:57
Acoustic Bass – Johnny Frazier
Alto Saxophone – Kenneth Anderson 
Clarinet – Dalbert Bright
Drums – Tubby Hall
Piano – Jerome Carrington
Tenor Saxophone – David Young
Trombone – Preston Jackson
Trumpet – Bob Shoffner, George Mitchell, Guy Kelly
Vocals – Frankie "Half-Pint" Jaxon
Vocals [2nd v.] – Unknown Artist
14.    Frankie "Half-Pint" Jaxon And His Hot Shots–    My Baby's Hot (Can't You Understand) 2:54
Acoustic Bass – Johnny Frazier
Alto Saxophone – Kenneth Anderson 
Clarinet – Dalbert Bright
Drums – Tubby Hall
Piano – Jerome Carrington
Tenor Saxophone – David Young
Trombone – Preston Jackson
Trumpet – Bob Shoffner, George Mitchell, Guy Kelly
Vocals – Frankie "Half-Pint" Jaxon
15.    Frankie "Half-Pint" Jaxon And His Hot Shots–    Fifteen Cents 3:07
Acoustic Bass – Johnny Frazier
Alto Saxophone – Kenneth Anderson
Clarinet – Dalbert Bright
Drums – Tubby Hall
Piano – Jerome Carrington
Tenor Saxophone – David Young
Trombone – Preston Jackson
Trumpet – Bob Shoffner, George Mitchell, Guy Kelly
Vocals – Frankie "Half-Pint" Jaxon
16.    Frankie "Half-Pint" Jaxon And His Hot Shots–    Fan It
Acoustic Bass – Johnny Frazier
Alto Saxophone – Kenneth Anderson 
Clarinet – Dalbert Bright
Drums – Tubby Hall
Piano – Jerome Carrington
Tenor Saxophone – David Young
Trombone – Preston Jackson
Trumpet – Bob Shoffner, George Mitchell, Guy Kelly
Vocals – Frankie "Half-Pint" Jaxon
17.    Frankie "Half-Pint" Jaxon* And The Harlem Hamfats–    The Dirty Dozen 2:56
Acoustic Bass – Ransom Knowling
Clarinet – Odell Rand
Drums – Pearlis Williams
Guitar – Joe McCoy
Guitar, Mandolin – Charlie McCoy 
Piano – Horace Malcolm
Trumpet – Herb Morand
Vocals – Frankie "Half-Pint" Jaxon
18.    Frankie "Half-Pint" Jaxon* And The Harlem Hamfats–    She Brings Me Down 2:45
Acoustic Bass – Ransom Knowling
Clarinet – Odell Rand
Drums – Pearlis Williams
Guitar – Joe McCoy
Guitar, Mandolin – Charlie McCoy 
Piano – Horace Malcolm
Trumpet – Herb Morand
Vocals – Frankie "Half-Pint" Jaxon
19.    Frankie "Half-Pint" Jaxon And The Harlem Hamfats–    Take It Easy, Greasy 2:53
Acoustic Bass – Ransom Knowling
Clarinet – Odell Rand
Drums – Pearlis Williams
Guitar – Joe McCoy
Guitar, Mandolin – Charlie McCoy 
Piano – Horace Malcolm
Trumpet – Herb Morand
Vocals – Frankie "Half-Pint" Jaxon
20.    Frankie "Half-Pint" Jaxon And The Harlem Hamfats–    Wet It (Let The Good Work Go On) 2:43
Acoustic Bass – Ransom Knowling
Clarinet – Odell Rand
Drums – Pearlis Williams
Guitar – Joe McCoy
Guitar, Mandolin – Charlie McCoy 
Piano – Horace Malcolm
Trumpet – Herb Morand
Vocals – Frankie "Half-Pint" Jaxon
21.    Frankie "Half-Pint" Jaxon And The Harlem Hamfats–    No Need Knockin' On The Blind 3:07
Acoustic Bass – Unknown Artist
Clarinet – Buster Bailey
Drums – Pearlis Williams
Guitar – Joe McCoy
Guitar, Mandolin – Charlie McCoy 
Piano – Horace Malcolm
Trumpet – Unknown Artist
Vocals – Frankie "Half-Pint" Jaxon
22.    Frankie "Half-Pint" Jaxon And The Harlem Hamfats–    You Certainly Look Good To Me 2:28
Acoustic Bass – Unknown Artist
Clarinet – Buster Bailey
Drums – Pearlis Williams
Guitar – Joe McCoy
Guitar, Mandolin – Charlie McCoy 
Piano – Horace Malcolm
Trumpet – Unknown Artist
Vocals – Frankie "Half-Pint" Jaxon
23.    Frankie "Half-Pint" Jaxon And The Harlem Hamfats–    She Sends Me 2:33
Acoustic Bass – Unknown Artist
Clarinet – Buster Bailey
Drums – Pearlis Williams
Guitar – Joe McCoy
Guitar, Mandolin – Charlie McCoy 
Piano – Horace Malcolm
Trumpet – Unknown Artist
Vocals – Frankie "Half-Pint" Jaxon
24.    Frankie "Half-Pint" Jaxon And The Harlem Hamfats–    Chocolate To The Bone (I'm So Glad I'm Brownskin) 2:59
Acoustic Bass – Unknown Artist
Clarinet – Buster Bailey
Drums – Pearlis Williams
Guitar – Joe McCoy
Guitar, Mandolin – Charlie McCoy 
Piano – Horace Malcolm
Trumpet – Unknown Artist
Vocals – Frankie "Half-Pint" Jaxon 

MAGGIE JONES — Volume 2 (May 1925 To June 1926) + GLADYS BENTLEY — Complete Recorded Works In Chronological Order 1928/1929 (1995) DOCD-5349 | FLAC (tracks+.cue), lossless

Two different blues-oriented vaudeville singers are featured on this CD, which is the follow-up to Maggie Jones, Vol. 1. Jones had a strong voice and is heard on the first 16 selections, backed by some Fletcher Henderson sidemen (including cornetist Joe Smith), the St. Louis Rhythm Kings, clarinetist Bob Fuller, trumpeter Louis Metcalf, and pianist Clarence Williams, among others. In addition, this CD has all eight recordings by singer-pianist Gladys Bentley, a male impersonator whose style is a bit of an acquired taste; guitarist Eddie Lang is fortunately on four of the numbers. This well-done release is not essential but has its moments of interest. Scott Yanow
Tracklist :
1.    Maggie Jones–    Cheatin' On Me 3:13
Orchestra – Henderson's Hot Six
2.    Maggie Jones–    Mamma (Won't You Come And Ma-Ma Me) 2:58
Orchestra – Henderson's Hot Six
3.    Maggie Jones–    He's Just A Horn-Tootin' Fool 3:08
Orchestra – St. Louis Rhythm Kings
4.    Maggie Jones–    Go Get 'Em Caroline 3:11
Orchestra – St. Louis Rhythm Kings
5.    Maggie Jones, Acc. Her Band–    Dallas Blues 3:01
Orchestra – Maggie Jones, Acc. Her Band
6.    Maggie Jones, Acc. Her Band–    South Street Blues 2:32
Orchestra – Maggie Jones, Acc. Her Band
7.    Maggie Jones, Acc. Her Band–    Never Drive A Beggar From Your Door 2:57
Orchestra – Maggie Jones, Acc. Her Band
8.    Maggie Jones, Acc. Her Band–    I'm A Back Bitin' Mama 2:58
Orchestra – Maggie Jones, Acc. Her Band
9.    Maggie Jones, Acc. Her Jazzers–    Single Woman's Blues 2:48
Orchestra – Maggie Jones, Acc. Her Jazzers
10.    Maggie Jones And Her Jazz Band–    Never Tell A Woman Friend 2:52
Orchestra – Maggie Jones, Acc. Her Jazzers
11.    Maggie Jones–    The Man I Love Is Oh So Good    3:01
12.    Maggie Jones–    I'm Leaving You    2:53
13.    Maggie Jones–    I'm A Real Kind Mama    2:57
14.    Maggie Jones–    You Ain't Gonna Feed My In Pasture Now    2:52
15.    Maggie Jones–    Mama Stayed Out The Whole Night Long    3:04
16.    Maggie Jones–    He Belongs To Me    2:58
17.    Gladys Bentley–    Ground Hog Blues    3:00
18.    Gladys Bentley–    Worried Blues    2:43
19.    Gladys Bentley–    How Long-How Long Blues    2:48
20.    Gladys Bentley–    Moanful Wailin' Blues    3:02
21.    Gladys Bentley–    Wild Geese Blues    3:00
22.    Gladys Bentley–    How Much Can I Stand?    3:05
23.    Gladys Bentley–    Big Gorilla Man    2:50
24.    Gladys Bentley–    Red Beans And Rice    2:57
Credits : 
Alto Saxophone – Bob Fuller (tracks: 7, 8, 10), Elmer Snowden (tracks: 7 to 10)
Banjo – Charlie Dixon (tracks: 1, 2), Elmer Snowden (tracks: 5, 7, 8)
Clarinet – Bob Fuller (tracks: 5, 7 to 9), Buster Bailey (tracks: 1, 2), Louis Maesto (tracks: 3, 4)
Compilation Producer – Johnny Parth
Cornet – Harry Cooper (tracks: 6), Joe Smith (tracks: 1, 2), Louis Metcalf (tracks: 11 to 14)
Drums – Christian Maesto (tracks: 3, 4)
Effects – Unknown Artist (tracks: 5)
Guitar – Eddie Lang (tracks: 19 to 22)
Liner Notes – John Wilby
Piano – Clarence Williams (tracks: 15, 16), Cliff Jackson (tracks: 11 to 14), Fletcher Henderson (tracks: 1, 2), Louis Hooper (tracks: 5 to 10), Nick Moleri (tracks: 3, 4), Unknown Artist (tracks: 23, 24)
Piano [Poss.] – Gladys Bentley (tracks: 17 to 20)
Remastered By – Gerhard Wessely
Trombone – Charlie Green (tracks: 1, 2), Jake Frazier (tracks: 11, 12), Pete Pellezzi (tracks: 3, 4)
Trumpet – Micky Bloom (tracks: 3, 4)
Vocals – Gladys Bentley (tracks: 17 to 24), Maggie Jones (tracks: 1 to 16)

MAMIE SMITH — Complete Recorded Works In Chronological Order ★ Volume 3 • 1922-1923 | DOCD-5359 (1995) RM | FLAC (tracks+.cue), lossless

 Mamie Smith's lavishly expensive wardrobe and over-the-top stage presence is reported to have been breathtaking, and a young aspiring blues woman named Victoria Spivey was so bowled over by the spectacle that it inspired her to pursue her own recording career. The third installment in Document's four-part chronological history of Mamie Smith brings together two-dozen sides dating from early May 1922 through mid-August 1923. This is a particularly rewarding collection as it combines instrumentals like "Stuttering," "Those Longing for You Blues," and "Strut Your Material," with songs destined to become warhorses in the barrelhouse and traditional jazz repertoire ( "That Da Da Strain," "Kansas City Man Blues," "You've Got to See Mama Ev'ry Night," and "I Ain't Gonna Give Nobody None O' This Jelly Roll"); in addition to three numbers perhaps best remembered among early jazz lovers for the piano roll versions by Fats Waller which appeared almost contemporaneously with Smith's phonograph recordings ("Got to Cool My Doggies Now," "You Can't Do What My Last Man Did," and "Do It, Mr. So-And-So"). These records also offer further proof that Mamie Smith's Jazz Hounds were almost as important to rising young talent in its day as would be Art Blakey's Jazz Messengers during the '50s. Future stars heard on these ancient platters include cornetists Bubber Miley, Joe Smith, and Johnny Dunn, as well as reedmen Buster Bailey, Garvin Bushell, Coleman Hawkins, and Sidney Bechet. arwulf arwulf
Tracklist :
1    Mamie Smith, Acc. Her Jazz Hounds–    New Orleans    2:58
2    Mamie Smith, Acc. Her Jazz Hounds–    Mamie Smith Blues    3:11
3    Mamie Smith, Acc. Her Jazz Hounds–    Alabama Blues    3:03
4    Mamie Smith's Jazz Hounds–    Stuttering    3:09
5    Mamie Smith's Jazz Hounds–    Those Longing For You Blues    2:54
6    Mamie Smith, Acc. Her Jazz Hounds–    Got To Cool My Doggies Now    2:50
7    Mamie Smith, Acc. Her Jazz Hounds–    You Can Have Him, I Don't Want Him, Didn't Love Him Anyhow Blues    2:58
8    Mamie Smith And Her Jazz Hounds–    Strut Your Material    3:01
9    Mamie Smith, Acc. Her Jazz Hounds–    Wish That I Could But I Can't Forgive You Blues    2:56
10    Mamie Smith, Acc. Her Jazz Hounds–    Sighin' Around With The Blues    3:02
11    Mamie Smith, Acc. Her Jazz Hounds–    That Da Da Strain    2:49
12    Mamie Smith, Acc. Her Jazz Hounds–    I Ain't Gonna Give Nobody None O' This Jelly Roll    3:03
13    Mamie Smith, Acc. Her Jazz Hounds–    Don't Mess With Me    3:09
14    Mamie Smith, Acc. Her Jazz Hounds–    Mean Man    2:56
15    Mamie Smith, Acc. Her Jazz Hounds–    The Darktown Flappers Ball    2:55
16    Mamie Smith, Acc. Her Jazz Hounds–    I'm Gonna Get You    2:55
17    Mamie Smith, Acc. Her Jazz Hounds–    You've Got To See Mamma Ev'ry Night (Or You Can't See Mamma At All)    2:48
18    Mamie Smith–    You Can't Do What My Last Man Did 2:41
Piano [Prob.] – J.C. Johnson
19    Mamie Smith–    Good Looking Papa 2:54
Piano – Clarence Williams
20    Mamie Smith–    Lady Luck Blues 3:09
Banjo – Buddy Christian
Orchestra – The Harlem Trio
Piano – Clarence Williams
Soprano Saxophone – Sidney Bechet
21    Mamie Smith–    Kansas City Man Blues 3:20
Banjo – Buddy Christian
Orchestra – The Harlem Trio
Piano – Clarence Williams
Soprano Saxophone – Sidney Bechet
22    Mamie Smith–    Plain Old Blues 2:46
Piano – Porter Grainger
23    Mamie Smith–    Mistreatin' Daddy Blues 3:17
Piano – Porter Grainger
24    Mamie Smith–    Do it, Mr. So-and-So 3:06
Piano – Porter Grainger

TRIXIE SMITH — Complete Recorded Works In Chronological Order • Volume 1 (1922-1924) DOCD-5332 (1995) FLAC (tracks+.cue), lossless

Part of the European Document label's giant prewar blues reissue series includes two Trixie Smith CDs that repackage all of her recordings. The second disc is the preferred acquisition, but Vol. 1 is not without interest. The majority of Smith's recordings (particularly in the early days) were vaudeville and pop songs, but on the relatively rare occasions when she sang a lowdown blues, she fared quite well. The first volume starts out with four numbers that are dated either January or March 1922 here, but are probably from September and November 1921. Trixie Smith improved on records as time went on; her first few numbers have rather dated accompaniment. In fact, despite the presence of pianist James P. Johnson (who is well buried on two numbers), her musicians do not get very stimulating until after the first 20 of the 25 numbers. Most notable among the selections are "He May Be Your Man" (which has some familiar lyrics), "My Man Rocks Me" (a song that would be among Trixie's most famous), the heated "Ride Jockey Ride," and a couple of train songs ("Freight Train Blues" and "Choo Choo Blues"), which would become one of her specialties. This is historic music that set the stage for Trixie's later, generally superior performances.  Scott Yanow
Tracklist :
1    Trixie Smith–    Desperate Blues (take 2) 3:13
2    Trixie Smith–    Trixies Blues 3:09
3    Trixie Smith–    You Missed A Good Woman When You Picked All Over Me (take 2) 3:09
Orchestra – James P. Johnson's Harmony Eight
4    Trixie Smith–    Long Lost, Weary Blues (take 3) 3:03
Orchestra – James P. Johnson's Harmony Eight
5    Trixie Smith–    He May Be Your Man    2:46
6    Trixie Smith–    Pensacola Blues    3:08
7    Trixie Smith–    Give Me That Old Slow Drag 2:51
Orchestra – The Jazz Masters
8    Trixie Smith–    My Man Rocks Me 2:52
Orchestra – The Jazz Masters
9    Trixie Smith, Acc. Her Down Home Syncopators–    "I'm Through" With You (As I Can Be) 3:22
10    Trixie Smith, Acc. Her Down Home Syncopators–    Take It Daddy, Its All Yours 2:45
11    Trixie Smith–    I'm Gonna Get You 3:06
12    Trixie Smith–    2 A.M. Blues 3:16
13    Trixie Smith, Acc. Her Down Home Syncopators–    Log Cabin Blues    3:15
14    Trixie Smith, Acc. Her Down Home Syncopators–    Voo Doo Blues    3:03
15    Trixie Smith, Acc. Her Down Home Syncopators–    Tired Of Waitin' Blues    3:06
16    Trixie Smith, Acc. Her Down Home Syncopators–    Triflin' Blues    2:53
17    Trixie Smith–    I Don't Know And I Don't Care Blues (take 1) 2:49
Orchestra – Fletcher Henderson's Orchestra
18    Trixie Smith, Acc. Her Down Home Syncopators*–    Freight Train Blues    3:05
19    Trixie Smith–    Sorrowful Blues 3:00
Orchestra – Fletcher Henderson's Orchestra
20    Trixie Smith–    Don't Shake It No More (take 2)    3:00
21    Trixie Smith, Acc. Her Down Home Syncopators–    Praying Blues (take 2) 3:10
22    Trixie Smith, Acc. Her Down Home Syncopators–    Ada Jane's Blues 3:06
23    Trixie Smith, Acc. Her Down Home Syncopators–    Ride Jockey Ride 2:55
24    Trixie Smith, Acc. Her Down Home Syncopators–    Choo Choo Blues (take 2) 3:08
25    Trixie Smith, Acc. Her Down Home Syncopators–    Choo Choo Blues (take 3) 3:04
Credits :
Banjo – Charlie Dixon (tracks: 17 to 19, 21 to 25)
Banjo [Prob.] – Charlie Dixon (tracks: 15, 16)
Clarinet – Buster Bailey (tracks: 23 to 25), Don Redman (tracks: 17 to 19, 21, 22)
Clarinet [Prob.] – Edgar Campbell (3) (tracks: 15, 16)
Cornet [Poss./Or] – Howard Scott (2) (tracks: 21, 22)
Cornet [Prob./Or] – Elmer Chambers (tracks: 21, 22)
Cornet [Prob.] – Elmer Chambers (tracks: 15, 16), Howard Scott (2) (tracks: 17 to 19)
Effects – Unknown Artist (tracks: 18, 24, 25)
Percussion – Unknown Artist (tracks: 22)
Piano – Fletcher Henderson (tracks: 17 to 19, 23 to 25), James P. Johnson (tracks: 3, 4), Unknown Artist (tracks: 20)
Piano [Presumably] – Fletcher Henderson (tracks: 7, 8)
Piano [Prob.] – Fletcher Henderson (tracks: 15, 16, 21, 22)
Tenor Saxophone [Prob.] – Walter Watkins (tracks: 3, 4)
Trombone – Charlie Green (tracks: 21 to 25)
Trombone [Poss.] – Ted Nixon* (tracks: 17 to 19)
Trombone [Prob.] – George Brashear (tracks: 15, 16)
Trumpet – Elmer Chambers (tracks: 23 to 25)
Trumpet [Poss.] – Russell Smith (tracks: 9, 10)
Violin – Unknown Artist (tracks: 20)
Vocals – Trixie Smith

TRIXIE SMITH — Complete Recorded Works In Chronological Order • Volume 2 (1925-1939) DOCD-5333 (1995) FLAC (tracks+.cue), lossless

Trixie Smith was a fine vaudeville-style singer who could also do a powerful job on the blues when called for. The second of two Document CDs that contain all of her recordings starts out with 13 selections from 1925. Smith is joined by her "Down Home Syncopators" (actually the Original Memphis Five) on the first two songs, "Everybody Loves My Baby" and "How Come You Do Me Like You Do." She is heard on two sets in which she is joined by a quintet that includes trombonist Charlie Green, clarinetist Buster Bailey and most notably Louis Armstrong, and is featured later in the year with several top Fletcher Henderson sidemen. On these dates, the more memorable selections include the masochistic "You've Got to Beat Me to Keep Me," "He Likes It Slow" and her classic train song "Railroad Blues." There are also two takes of "Messin' Around" from 1926 in which Trixie is heard as part of Jimmy Blythe's Ragamuffins, a band including clarinetist Johnny Dodds and the legendary cornetist Freddie Keppard. The final eight selections on this 23-cut CD are taken from Smith's May 26, 1938 session, with one number, "No Good Man," dating from the following year and finding her assisted by a band that includes trumpeter Henry "Red" Allen and clarinetist Barney Bigard. The 1938 set matches Trixie with the fiery young trumpeter Charlie Shavers, a restrained Sidney Bechet on soprano, and a four-piece rhythm section. Although she had not recorded in a dozen years, Trixie Smith is in prime form on such numbers as "Freight Train Blues," two versions of "My Daddy Rocks Me" and "He May Be Your Man (But He Comes to See Me Sometime)." Apparently an alcohol problem shortened both Smith's career and life, but one does not hear any decline during these excellent performances. Highly recommended, while the less essential Vol. 1 is worth picking up too. Scott Yanow
Tracklist :
1    Trixie's Down Home Syncopators – Everybody Loves My Baby (Take 6) 2:49
2    Trixie's Down Home Syncopators – How Come You Do Me Like You Do (Take 6) 3:00
3    Trixie Smith, Acc. Her Down Home Syncopators – You've Got To Beat Me To Keep Me    3:02
4    Trixie Smith, Acc. Her Down Home Syncopators –    Mining Camp Blues (Take 1) 3:00
5    Trixie Smith, Acc. Her Down Home Syncopators –    Mining Camp Blues (Take 2) 2:53
6    Trixie Smith, Acc. Her Down Home Syncopators –    The World's Jazz Crazy And So Am I (Take 1)    3:00
7    Trixie Smith, Acc. Her Down Home Syncopators –    The World's Jazz Crazy And So Am I (Take 2)    3:00
8    Trixie Smith, Acc. Her Down Home Syncopators –    Railroad Blues (Take 1)    2:56
9    Trixie Smith, Acc. Her Down Home Syncopators –    Railroad Blues (Take 2)    2:52
10    Trixie Smith–    Everybody's Doing That Charleston Now (Take 1) 3:07
Orchestra – Fletcher Henderson's Orchestra
11    Trixie Smith–    He Likes It Slow (Take 2) 2:51
Orchestra – Fletcher Henderson's Orchestra
12    Trixie Smith–    Black Bottom Hop 2:52
Orchestra – Fletcher Henderson's Orchestra
13    Trixie Smith–    Love Me Like You Used To Do 2:47
Orchestra – Fletcher Henderson's Orchestra
14    Jimmy Blythe And His Ragamuffins–    Messin' Around (Take 1)    2:55
15    Jimmy Blythe And His Ragamuffins–    Messin' Around (Take 2)    2:51
16    Trixie Smith–    Freight Train Blues    3:13
17    Trixie Smith–    Trixie Blues    3:09
18    Trixie Smith–    My Daddy Rocks Me    2:50
19    Trixie Smith–    My Daddy Rocks Me No. 2    2:47
20    Trixie Smith–    He May Be Your Man (But He Comes To See Me Sometime)    2:40
21    Trixie Smith–    Jack I'm Mellow    2:39
22    Trixie Smith–    My Unusual Man    2:43
23    Trixie Smith–    No Good Man    2:46
Credits :
Banjo – Charlie Dixon (tracks: 3 to 13)
Bass – Richard Fullbright (tracks: 16 to 22), Unknown Artist (tracks: 23)
Brass Bass – Ralph Escudero (tracks: 10 to 13)
Clarinet – Barney Bigard (tracks: 23), Buster Bailey (tracks: 3 to 13)
Clarinet [Prob.] – Jimmy Lytell (tracks: 1, 2)
Clarinet, Alto Saxophone – Johnny Dodds (tracks: 14, 15)
Clarinet, Soprano Saxophone – Sidney Bechet (tracks: 16 to 22)
Cornet – Freddie Keppard (tracks: 14, 15), Joe Smith (tracks: 10 to 13), Louis Armstrong (tracks: 3 to 9)
Drums – O'Neill Spencer (tracks: 16 to 22)
Drums [Prob.] – Jack Roth (tracks: 1, 2), Sidney Catlett (tracks: 23)
Guitar – Teddy Bunn (tracks: 16 to 22), Unknown Artist (tracks: 23)
Percussion [Tapping] – Unknown Artist (tracks: 11)
Piano – Fletcher Henderson (tracks: 3 to 13), Jimmy Blythe (tracks: 14, 15), Sammy Price (tracks: 16 to 22), Unknown Artist (tracks: 23)
Piano [Prob.] – Frank Signorelli (tracks: 1, 2)
Trombone – Charlie Green (tracks: 3 to 13), Miff Mole (tracks: 1, 2)
Trombone [Poss.] – Roy Palmer (tracks: 14, 15)
Trumpet – Charlie Shavers (tracks: 16 to 22)
Trumpet [Prob.] – Henry "Red" Allen (tracks: 23), Phil Napoleon (tracks: 1, 2)
Vocals – Trixie Smith
Wood Block – Jasper Taylor (tracks: 14, 15)

STUFF SMITH AND HIS ONYX CLUB BOYS – 1936-1939 | The Classics Chronological Series – 706 (1993) FLAC (tracks+.cue), lossless

This delightful CD has the first 24 titles ever led by violinist Stuff Smith, virtually all of Smith's prewar recordings and the complete output of the violinist's Onyx Club Boys (other than four songs from 1940). With trumpeter Jonah Jones and occasional drummer Cozy Cole the stars of the supporting cast, this was one of the top swing combos of the era. Smith's hard-swinging violin, his enthusiastic vocals, and his interplay with Jones made this a particularly hot unit. In addition to the hit "I'se A-Muggin'," highlights of the disc include "I Hope Gabriel Likes My Music," "After You've Gone," "You'se a Viper," "Old Joe's Hittin' the Jug," "Twilight in Turkey," and the classic "Here Comes the Man With the Jive." Highly recommended Scott Yanow      Tracklist + Credits :

EDDIE SOUTH – 1937-1941 | The Classics Chronological Series – 737 (1993) FLAC (tracks+.cue), lossless

The 20 recordings on the 1937-1941 volume were cut variously in Paris during 1937; Hilversum, Holland, in 1938; and New York in 1940 and 1941. The French and Dutch recordings represent South's final European sessions before his return to the United States in 1938 -- that's Django Reinhardt strumming along on the two Parisian sides, "Fiddle Blues" and "Interpretation Sing du Premier Mouvement du Concerto en Re Mineur de Jean-Sebastien Bach-Part 2," with Stephane Grappelli joining him on violin. South's own quintet (including the extraordinarily sweet piano of David Martin) is featured on the four Hilversum sides, all of which -- "Honeysuckle Rose," "On the Sunny Side of the Street," the delightful "Fiddleditty," and the extraordinary "Black Gypsy," a track worthy of Jascha Heifetz -- are worth the price of this disc. South's New York-based Columbia and Okeh sides never sold as well as what he did for Swing, but they're equally worthwhile. The disc closes out with his hot rendition of "Lady Be Good" and a mellow version of "Stompin' at the Savoy." Bruce Eder    Tracklist + Credits :

NAT "KING" COLE – 1944-1945 | The Chronogical Classics – 861 (1996) FLAC (tracks+.cue), lossless

 Heads up, everybody! Here comes Volume Five in the Classics Nat King Cole chronology. This portion of the timeline runs from November 28, 1944 to May 23, 1945, charting the singing pianist's professional progress in trio sessions for Capitol and V-Disc as well as a date with the Capitol International Jazzmen, an all-star group composed of trumpeter Bill Coleman and reedmen Buster Bailey, Benny Carter and Coleman Hawkins backed by rhythm section mates Nat King Cole, Oscar Moore, John Kirby and Max Roach. Two of the four titles recorded by this group on March 30, 1945 have vocals by jazzwoman Kay Starr. During this period the King Cole Trio was at the height of their powers as a unit. While the leader's excellent vocals were now beginning to take center stage, the instrumental tracks, for example "A Pile O' Cole" and "A Trio Grooves in Brooklyn" are solid swinging small band jazz at its finest. The three instrumentals that close out this compilation are similarly rewarding. Two of them, Jacques Offenbach's "Barcarolle" and that gentle air from the 1890s, Edward MacDowell's "To a Wild Rose," were not issued to the public until years later. The third tune recorded that day, a flashy treatment of Maceo Pinkard's "Sweet Georgia Brown," came out on a 78 rpm platter as Capitol 239. It will satisfy anyone looking for a rousing example of how this trio sounded with the throttle wide open. arwulf arwulf
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KING OLIVER AND HIS ORCHESTRA – 1930-1931 | The Chronogical Classics – 594 (1991) FLAC (tracks+.cue), lossless

 What you've got here are King Oliver's final recordings as a leader. Big bands were still figuring themselves out in 1930, moving from one decade's definitive flavor into another stylistic space as yet unspecified. Hovering over everything was the gruesome specter of fiscal disaster. This did strange things to the music business. Pop culture became partly mummified by a creeping sentimentality that would emerge again during the age of Cold War conformity. During the 1930s and the 1950s jazz endured and continued to evolve, as it always will under any circumstances. With his best decade behind him, King Oliver presided over an orchestra that occasionally sounds a bit sleepy. During their best moments, these guys are almost as solid as Bennie Moten's band, or maybe the Moten orchestra of 1927. "Mule Face Blues" and "Stingaree" are features for Henry "Red" Allen. "Boogie Woogie" is a high-potency stomp containing not one speck of the definitive eight-to-the-bar formula usually associated with the term. On "Stop Crying," Buster Bailey blows into his clarinet with unusual ferocity and Ward Pinkett launches into a frantic scat vocal. Speaking of singers, if you're going to listen back on music from around 1930, it is necessary to make concessions to notions of popular taste. Otherwise, you'll be operating with no historical context whatsoever. If you think George Bias was a silly vocalist, check out some of the singing on records from the same time period by Fats Waller & His Buddies or Duke Ellington. Not everybody is going to sound as hip as Frankie "Half-Pint" Jaxon or Baby Cox. When three members of the band formed a vocal trio and sang on some of the recordings made in 1931, the results were entertaining in ways that maybe we ought to allow ourselves to rediscover. It's a shame that King Oliver's recordings taper off at this point. Like most other bands on the scene at that time, this one could have picked up steam again as new players, composers and arrangers would have helped it adapt to changing times. By the end of the 1930s, Eddie Condon or the guys at the Library of Congress could have rekindled popular interest in Joe Oliver. Even if by then he'd given up blowing his horn he could have succeeded as nominal leader of a New Orleans-styled jazz band, or something more modern-sounding. But this is pure speculation. Papa Joe died in abject poverty in Savannah, Georgia on the 10th of April, 1938. With five volumes of his work available from Classics, there's a lot of King Oliver to explore, and it's all worth your while. arwulf arwulf
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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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HENRY "RED" ALLEN AND HIS ORCHESTRA – 1933-1935 | The Chronogical Classics – 551 (1990) FLAC (tracks), lossless

The second of five CDs put out by the European Classics label that document trumpeter Red Allen's 1929-41 recordings has three titles from a session co-led with tenor-saxophonist Coleman Hawkins, eight songs from 1934 and a dozen from the following year. Allen takes vocals on most of the tracks and, even if not all of the songs are gems, there are many highlights including "Pardon My Southern Accent," "Rug Cutter Swing," "Believe It, Beloved," "Rosetta" and "Truckin'." The strong supporting cast includes trombonists Dickie Wells and J.C. Higginbotham, clarinetists Buster Bailey and Cecil Scott and, on one date, tenorman Chu Berry. All five of the Red Allen Classics CDs are recommended. Scott Yanow
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HENRY "RED" ALLEN AND HIS ORCHESTRA – 1936-1937 | The Chronogical Classics – 590 (1991) FLAC (tracks+.cue), lossless

The fourth in the Classics label's five-CD series of Red Allen recordings reissues 20 obscure performances from a seven-month period. Although Red Allen was mostly playing with big bands during the 1930s, these small-group sides gave him a chance to be showcased quite a bit more than usual. Allen takes vocals on each of the tunes and, although many of the songs are long forgotten, his trumpet solos and the improvisations of altoist Tab Smith, clarinetist Buster Bailey and Ted McRae on tenor keep one's interest. This is actually the weakest of the five CDs but all are worth picking up. Scott Yanow
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HENRY "RED" ALLEN – 1944-1947 | The Chronogical Classics – 1067 (1999) FLAC (tracks+.cue), lossless

Having served heroically as a front-liner in so many hot bands during the 1920s and '30s, the mighty Red Allen waded into the middle of the 1940s ready to cook like a merry demon. Listeners are very fortunate to have the entire session of May 5, 1944, as it includes "The Theme," a six-minute jam that suggests part of the root system of R&B. An interesting thing occurs during Red's solo: the piano starts vamping on the bassline to "Call of the Freaks," a piece that both Red and trombonist J.C. Higginbotham had recorded some 15 years earlier with Luis Russell's orchestra. "Ride! Red! Ride!" is fast and frantic, a raucous two and a half minutes of over the top blowing and shouting. The transition from this rumble in the parking lot to the relaxation of the following track might cause whiplash. "Just a Feeling" features alto saxophonist Don Stovall, keening in a languid, Johnny Hodges sort of way. "Dark Eyes" begins as a sort of rhumba, with an incredibly funny vocal by Red and another member of the band who plies him with questions. They then pick it up and shake it hard. "Dear Old Southland" features J.C. Higginbotham's trombone. "Red Jump" is the perfect embodiment of the phrase "swing to bop." Boogie-woogie manifests as "Get the Mop," a shout-along stomp soon to be plagiarized by certain opportunistic white musicians for their own financial benefit. Red Allen quietly sued and won the case. This is the story behind the pop novelty "Rag Mop." With a cry of "wamp! wamp!," Red Allen charges into "The Crawl," a blistering ride that ends with basement blasts from the trombone. Red also "wamps" his way into "Buzz Me," a song strongly associated with Louis Jordan. Red's version is nastier and tougher, a bit like full-force Hot Lips Page.

"Drink Hearty" was used in a "soundie," one of those short movies featuring the band lip-syncing over their own record. Red seems to have employed the "wamp!" whenever possible during this time period. It was how he counted off each tune. An updated "Get the Mop" sprints at an insane pace, setting the stage for "Count Me Out" and "Check Up," two boppish runs during which Red sounds almost like Fats Navarro. When he sings the blues or belts out a ballad, Red has a lot of class, as he does on the two titles finishing off his 1946 Victor recordings (and on "A Shanty in Old Shanty Town" from 1947). The next session has apparently languished for years, having never been issued before. A chump announcer introduces Red's band to a live audience during the "Saturday Night Swing Session" in 1947. Higginbotham is still on board, along with Buster Bailey, Johnny Guarnieri, and jazz accordionist Roy Ross, who vamps neatly behind the horns. Allen really stretches out, taking all kinds of chances with his horn, particularly during eight and a half minutes of "Indiana." Switching over to the Apollo label, Red actually becomes "Mr. Wamp" on a very cool walk that seems to have sprouted directly from the "9:20 Special" (aka "Tush") by Earle Warren. "Old Fool" has more of that two-voiced comedy exchange with coordinated hollering from the band. Always willing to pursue an idea to its logical extreme, Red makes room for a comprehensive list of every kind of fool. arwulf arwulf  
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WILLIE "THE LION" SMITH – 1925-1937 | The Chronogical Classics – 662 (1992) FLAC (tracks+.cue), lossless

Willie "The Lion" Smith, one of stride piano's Big Three of the 1920s (along with James P. Johnson and Fats Waller), recorded a lot less than his two friends. In fact, with the exception of two selections apiece with the Gulf Coast Seven in 1925 (which features trombonist Jimmy Harrison and clarinetist Buster Bailey) and 1927's Georgia Strutters (starring singer Perry Bradford, Harrison, and cornetist Jabbo Smith), along with the rare and originally unreleased 1934 solo piano showcase "Finger Buster," this CD does not get started until 1935. Smith's Decca recordings of 1935 and 1937 were formerly quite obscure, showcasing his piano with three different versions of "His Cubs." The Lion is heard with a Clarence Williams-type quartet which includes cornetist Ed Allen and clarinetist Cecil Scott, matched up with trumpeter Dave Nelson and clarinetist Buster Bailey in a septet; and temporarily heading an early version of the John Kirby Sextet on a session dominated by drummer O'Neil Spencer's vocals. Highlights of this historic and enjoyable CD include "Santa Claus Blues," "Keep Your Temper," "Blues, Why Don't You Let Me Alone," and the earliest recording of the Lion's most famous composition, "Echo of Spring." Scott Yanow
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WILLIE "THE LION" SMITH – 1937-1938 | The Chronogical Classics – 677 (1992) FLAC (tracks+.cue), lossless

The second Classics CD in their Willie "The Lion" Smith series is surprisingly weak. Of the 25 selections, 21 actually feature the dated organ of Milt Herth. Smith's presence in the trio (with drummer-vocalist O'Neil Spencer) fails to uplift the music (Herth's wheezing organ mostly drowns him out) although guitarist Teddy Bunn helps a bit on the last seven numbers. Easily the best selections on the CD are two songs performed by Willie "The Lion" Smith and His Cubs (a septet with trumpeter Frankie Newton and clarinetist Buster Bailey) and a pair of duets with drummer Spencer on Smith's own "Passionette" and "Morning Air." But the preceding and following volumes in this program are much more valuable. Scott Yanow
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BUSTER BAILEY – 1925-1940 | The Classics Chronological Series – 904 (1996) FLAC (tracks+.cue), lossless

Other than four titles from 1959 and an obscure 1958 LP, all of clarinetist Buster Bailey's recordings as a leader are on this definitive CD from the European Classics label. Bailey -- a virtuoso whose occasional display of a wild sense of humor (best heard on "Man With a Horn Goes Berserk") was always a surprise when one considered his cool and subtle tone -- starts off the reissue with two rare (and scratchy) performances from 1925. Otherwise, he heads an all-star group filled with fellow Fletcher Henderson sidemen in 1934, backs singer Jerry Kruger, and heads several overlapping combos mostly consisting of members of John Kirby's Sextet; Kirby's influence is strongly felt throughout the later selections. Highlights overall include "Shanghai Shuffle," "Dizzy Debutante," "The Blue Room," and "Pine Top's Boogie Woogie." Highly recommended. Scott Yanow
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MILDRED BAILEY – 1938 | The Classics Chronological Series – 1160 (2001) FLAC (tracks), lossless

This fourth volume in the Classics Mildred Bailey chronology presents all of her Vocalion recordings made between April 19 and December 8, 1938. This was the big time for Bailey and her xylophonist husband Red Norvo; of the many records they made together, those issued under Norvo's name appear in his own Classics chronology, and everything that came out under the heading of Mildred Bailey & Her Orchestra has been assigned to her own portion of this label's historical reissue series. Most of Mildred's 1938 recordings found her comfortably backed by Red Norvo's big band; two important names in this well-knit ensemble were clarinetist Hank D'Amico and drummer George Wettling. On September 29, 1938, Red Norvo and Mildred Bailey made an excellent pair of recordings with the John Kirby Sextet. Certainly this little group's rendering of W.C. Handy's "St. Louis Blues" belongs with some of Mildred Bailey's all-time greatest recorded performances. Human error presents collectors with a potentially confusing conundrum: according to a footnote amended to Classics 1225 [Mildred Bailey 1939-1940], the version of "St. Louis Blues" heard here was actually recorded on January 18, 1939, which means it should have appeared on Classics 1187 [Mildred Bailey 1939]. Initially rejected by the folks at Vocalion, the "St. Louis Blues" recorded on September 29, 1938 has been grafted onto Classics 1225. Both versions are excellent. Got that? arwulf arwulf  
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BESSIE SMITH – 1924-1925 | The Classics Chronological Series – 812 (1995) FLAC (tracks+.cue), lossless

This portion of the Bessie Smith chronology begins on September 26, 1924, and follows her progress through August 19, 1925. Several of New York's best jazz musicians, most of whom were active with Fletcher Henderson & His Orchestra at that time, assisted the singer in making records that still sound remarkably colorful and dramatic. There are clarinet duets by Buster Bailey and Don Redman, passionate trombone passages by Big Charlie Green, and a series of nine collaborations with young Louis Armstrong. The Smith/Armstrong combination was powerful and in some ways formidable. "St. Louis Blues," rendered mysterious by Fred Longshaw's reed organ accompaniment, is perhaps their mutual masterpiece, along with "You've Been a Good Old Wagon," a barrelhouse slow drag published in 1895. On May 5 and 6, 1925, Bessie Smith waxed two of her all-time best records, W.C. Handy's "Yellow Dog Blues" and the bouncing "Cake Walkin' Babies (From Home)." She was backed by Henderson's Hot Six, a mob that included a young saxophonist by the name of Coleman Hawkins. The rowdiest moments of the entire compilation occur during "Soft Pedal Blues," a slow and hedonistic number describing a buffet flat where wild parties were held, sometimes featuring live sex shows. Several times during this song the singer seems to relish the memory of these events, as she hauls off and delivers a throaty "yaahoooo!" as if to prove that no worldly pleasure was off limits. arwulf arwulf  
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BESSIE SMITH – 1925-1927 | The Classics Chronological Series – 843 (1995) FLAC (tracks+.cue), lossless

The Empress of the Blues is heard here in all her prime from 1925-1927. While also touring the country in the Harlem Frolics tent show during this time, Smith laid down hundreds of tracks in New York studios. These 24 performances feature such jazz luminaries of the day as pianist Fletcher Henderson, trumpeter Joe Smith, trombonist Charlie Green, and clarinetist Buster Bailey (the latter three men all played in Henderson's groundbreaking band of the day). Also on hand are Gotham legend and pianist James P. Johnson and songwriter extraordinaire Clarence Williams (along with such '20s classics as "Royal Garden Blues," "'Taint Nobobdy's Business if I Do," and "Everybody Loves My Baby," Williams penned a handful of the tracks covered here, including his collaboration with Fats Waller, "Just Squeeze Me"). Smith is powerful and in total command throughout, churning out her jazz-tinged blues on such standouts as "Backwater Blues," "The Gin House Blues," and "Hard Driving Papa." A must for all Smith devotees. Stephen Cook  
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BESSIE SMITH – 1927-1928 | The Classics Chronological Series – 870 (1996) FLAC (tracks+.cue), lossless

By the spring of 1927 Bessie Smith was making some of the toughest records of her entire career. Whoever lined her up with a sextet led by Fletcher Henderson did the world a great service, for here we get to enjoy Smith's handling of selections directly from the heart of the jazz repertoire. "After You've Gone" takes on all the majesty of Smith's best blues, and she seems to relish providing us with the verse in addition to the familiar chorus. "Alexander's Ragtime Band" is suddenly more substantial than ever before. This woman could sing anything. Even "Muddy Water (A Mississippi Moan)" completely transcends its Tin Pan Alley origins, becoming a fine slow drag without any vestiges of kitsch. "There'll Be a Hot Time in the Old Town Tonight" has been described by military historians as the theme song for the Spanish-American War. Hearing Smith sing it is one of the cardinal experiences in all of traditional music. She made every song into something peculiarly her own. That's Coleman Hawkins back there with a clarinet. On the following day, March 3 1927, Smith teamed up with her tried-and-true Blue Boys. "Trombone Cholly" is a tribute to Charlie Green, also known as "Big Green." His well-timed interactions with the singer's powerful voice, supported by the cornet of Joe "Fox" Smith and Fletcher Henderson's piano, are a wonder to behold. Green lovingly nudges her along through the verses of "Send Me to the 'Lectric Chair," a harrowing tale of knife-inflicted double homicide. "Them's Graveyard Words" carries a similar murderous current, something Smith was always happy to convey. Few vocalists have ever been able to express honestly troubled feelings with this blend of gravity and humor. April 1, 1927 found the singer once again in the distinguished company of pianist James P. Johnson. Bessie Smith specialized in the artful portrayal of the pissed-off woman archetype. "Lock and Key," a hilarious indictment of a cheater, has Smith stripping her unfaithful man of nearly every article of clothing she bought him. At one point the scenario is garnished with a colorful threat: "I'll shoot them off if I hear you cough!" This is one of Smith's very best pieces of theatrical entertainment, especially on account of her excellent working relationship with James P. Johnson. "Mean Old Bed Bug Blues" takes things down to a funkier texture of piano and glib blues guitar. Smith's reading of "A Good Man Is Hard to Find" might be the most soulful version ever caught on record. "Homeless Blues," dealing specifically with Mississippi floodwater disaster, is an extension of "Back Water Blues." Even as her accompaniments change from date to date, Smith's blues are consistently fine, as when Tommy Ladnier's trumpet finds common ground with the tuba of June Cole. It simply doesn't get much better than this. arwulf arwulf  
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