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)

ROSA HENDERSON — Complete Recorded Works In Chronological Order Volume 1 (1923) DOCD-5401 (1995) FLAC (tracks+.cue), lossless

All of classic blues singer Rosa Henderson's recordings are available on four CDs from the Austrian Document label. The first volume mostly has Henderson accompanied by pianist Fletcher Henderson (no relation), with one number apiece with sidemen from Henderson's early band and the Virginians. The young tenor Coleman Hawkins pops up on "It Won't Be Long Now," while cornetist Thomas Morris and pianist Louis Hooper help out on two numbers. None of the 22 songs on this CD became hits but quite a few are memorable, including "I Ain't No Man's Slave," "So Long to You and the Blues," "He May Be Your Dog But He's Wearing My Collar," and "Got the World in a Jug, the Stopper's in My Hand." Scott Yanow
Tracklist :
1.    I'm Broke Fooling With You  3:15
Piano – Unknown Artist
Vocals – Rosa Henderson
2.    I Ain't No Man's Slave  3:16
Piano – Unknown Artist
Vocals – Rosa Henderson
3.    Good Woman's Blues  3:10
Piano – Wendell P. Talbert
Vocals – Rosa Henderson
4.    I'm Broke Fooling With You  3:01
Piano – Wendell P. Talbert
Vocals – Rosa Henderson
5.    Where (Can That Somebody Be)  2:52
Piano – Fletcher Henderson
Vocals – Rosa Henderson
6.    Down South Blues  3:09
Piano – Fletcher Henderson
Vocals – Rosa Henderson
7.    Afternoon Blues  3:09
Piano – Fletcher Henderson
Vocals – Rosa Henderson
8.    I Need You  3:15
Piano – Fletcher Henderson
Vocals – Rosa Henderson
9.    Midnight Blues (A Wee Hour Chant)  3:08
Alto Saxophone – Don Redman
Banjo – Charlie Dixon
Bass Saxophone – Coleman Hawkins
Clarinet – Edgar Campbell 
Cornet [Either/Or] – Elmer Chambers, Howard Scott 
Piano – Fletcher Henderson
Trombone – Teddy Nixon
Vocals – Rosa Henderson
10.    So Long To You And The Blues  3:26
Piano – Fletcher Henderson
Vocals – Rosa Henderson
11.    If You Don't Give Me What I Want (I'll Get It Somewhere Else)  3:10
Piano – Fletcher Henderson
Vocals – Rosa Henderson
12.    Low-Down Papa (Sweet Mamma's Blues)  3:02
Piano – Fletcher Henderson
Vocals – Rosa Henderson
13.    Struttin' Blues  3:08
Alto Saxophone – Don Clark, Hale Byers
Banjo – Mike Pingitore
Brass Bass – Jack Barsby
Clarinet – Ross Gorman
Cornet – Frank Siegrist, Henry Busse
Orchestra – The Virginians
Piano – Ferdie Grofe
Trombone – Sammy Lewis
Vocals – Rosa Henderson
14.    It Won't Be Long Now  3:06
Piano – Fletcher Henderson
Tenor Saxophone – Coleman Hawkins
Vocals – Rosa Henderson
15.    Every Woman's Blues (12070)  2:55
Piano – Fletcher Henderson
Vocals – Rosa Henderson
16.    Every Woman's Blues (12071)  2:49
Piano – Fletcher Henderson
Vocals – Rosa Henderson
17.    I Want My Sweet Daddy Now  3:15
Piano – Fletcher Henderson
Vocals – Rosa Henderson
18.    He May Be Your Dog But He's Wearing My Collar  3:06
Piano – Fletcher Henderson
Vocals – Rosa Henderson
19.    Got The World In A Jug (The Stopper's In My Hand)  3:10
Piano – Fletcher Henderson
Vocals – Rosa Henderson
20.    When You Walked Out (Someone Else Walked Right In)  3:15
Piano – Fletcher Henderson
Vocals – Rosa Henderson
21.    He's Never Gonna Throw Me Down 2:54
Piano – Louis Hooper
Vocals – Rosa Henderson
22.    Every Day Blues  2:43
Piano – Louis Hooper
Vocals – Rosa Henderson 

ROSA HENDERSON — Complete Recorded Works In Chronological Order Volume 2 (1924) DOCD-5402 (1995) FLAC (tracks+.cue), lossless

The second of four Document CDs that reissue all of the recordings of the classic blues singer Rosa Henderson mostly has the vocalist accompanied by the unrelated pianist Fletcher Henderson and his sidemen (including cornetist Joe Smith, altoist Don Redman, and tenor saxophonist Coleman Hawkins) or by the Choc Choo Jazzers, a small group with pianist Cliff Jackson. Best among the 23 selections are "I'm a Good Gal But I'm a Thousan' Miles From Home," "West Indies Blues," "My Papa Doesn't Two-Time No Time," "Strut Yo' Puddy," and "Somebody's Doing What You Wouldn't Do." Although she would eventually slip into obscurity, Rosa Henderson was one of the better blues singers of the period. Scott Yanow
Tracklist :
1.    Rosa Henderson–    I'm A Good Gal (But I'm A Thousan' Miles From Home)  3:10
Banjo – Charlie Dixon
Clarinet – Don Redman
Cornet – Elmer Chambers
Orchestra – Fletcher Henderson's Jazz Five
Piano – Fletcher Henderson
Trombone – Teddy Nixon
Vocals – Rosa Henderson
2.    Rosa Henderson–    Papa Will Be Gone  3:26
Banjo – Charlie Dixon
Clarinet – Don Redman
Cornet – Elmer Chambers
Orchestra – Fletcher Henderson's Jazz Five
Piano – Fletcher Henderson
Trombone – Teddy Nixon
Vocals – Rosa Henderson
3.    Rosa Henderson–    Hey Hey And He He, I'm Charleston Crazy  2:53
Cornet – Joe Smith 
Piano – Fletcher Henderson
Vocals – Rosa Henderson
4.    Rosa Henderson–    Do Right Blues  3:22
Cornet – Joe Smith 
Piano – Fletcher Henderson
Vocals – Rosa Henderson
5.    Rosa Henderson–    Goin' Home  2:12
Piano [Poss.] – Porter Grainger
Steel Guitar – Lincoln M. Conaway
Vocals – Rosa Henderson
6.    Rosa Henderson–    West Indies Blues (42602)  2:18
Piano [Poss.] – Porter Grainger
Steel Guitar – Lincoln M. Conaway
Vocals – Rosa Henderson
7.    Rosa Henderson–    How Come You Do Me Like You Do  3:18
Piano – Fletcher Henderson
Vocals – Rosa Henderson
8.    Rosa Henderson–    My Papa Doesn't Two-Time No Time  3:05
Piano – Fletcher Henderson
Vocals – Rosa Henderson
9.    Rosa Henderson–    Clearing House Blues  2:57
Banjo – Charlie Dixon
Clarinet – Don Redman
Cornet – Elmer Chambers
Orchestra – Fletcher Henderson's Jazz Five
Piano – Fletcher Henderson
Speech [Male], Vocals [Male] – Unknown Artist
Trombone – Teddy Nixon
Vocals – Rosa Henderson
10.    Rosa Henderson–    West Indies Blues (12846/47)  2:59
Banjo – Charlie Dixon
Clarinet – Don Redman
Cornet – Elmer Chambers
Orchestra – Fletcher Henderson's Jazz Five
Piano – Fletcher Henderson
Speech [Male], Vocals [Male] – Unknown Artist
Trombone – Teddy Nixon
Vocals – Rosa Henderson
11.    Rosa Henderson–    Back Woods Blues  2:42
Cornet [Prob.] – Howard Scott 
Orchestra – Henderson And His Orchestra
Piano – Fletcher Henderson
Vocals – Rosa Henderson
12.    Rosa Henderson–    Four-Flushin' Papa  3:09
Cornet [Prob.] – Howard Scott 
Orchestra – Henderson And His Orchestra
Piano – Fletcher Henderson
Vocals – Rosa Henderson
13.    Rosa Henderson–    Black Star Line (A West Indian Chant)  2:48
Piano – Edgar Dowell
Vocals – Rosa Henderson
14.    Rosa Henderson–    Barbadoes Blues  2:52
Effects – Unknown Artist
Piano – Edgar Dowell
Vocals – Rosa Henderson
15.    Rosa Henderson–    Chicago Monkey Man Blues  3:13
Piano – Edgar Dowell
Vocals – Rosa Henderson
16.    Rosa Henderson–    How'm I Gonna Get 'em (When You Keep On Holding 'Em Back)  3:11
Vocals – Rosa Henderson
17.    Rosa Henderson–    Barrel House Blues (13252)  3:03
Piano – Fletcher Henderson
Vocals – Rosa Henderson
18.    Rosa Henderson–    My Right Man  3:12
Piano – Fletcher Henderson
Vocals – Rosa Henderson
19.    Rosa Henderson Featured Vcl With Fletcher Henderson And His Club Alabam Orchestra–    Do That Thing  3:07
Banjo – Charlie Dixon
Brass Bass – Ralph Escudero
Clarinet, Alto Saxophone – Don Redman
Cornet – Elmer Chambers, Howard Scott 
Drums – Kaiser Marshall
Orchestra – Fletcher Henderson And His Club Alabam Orchestra
Piano – Fletcher Henderson
Tenor Saxophone – Coleman Hawkins
Trombone – Teddy Nixon
Vocals – Rosa Henderson
20.    Rosa Henderson–    I Can't Get The One I Want  2:54
Orchestra – Choo Choo Jazzers
Piano – Cliff Jackson
Trumpet – Harry Smith 
Vocals – Rosa Henderson
21.    Sally Ritz–    Barrel House Blues (5555)  3:16
Piano – Edgar Dowell
Vocals – Rosa Henderson
22.    Rosa Henderson And Choo Choo Jazzers–    Strut Yo' Puddy  2:53
Orchestra – Choo Choo Jazzers
Piano – Cliff Jackson
Trumpet [Prob.] – Rex Stewart
Vocals – Rosa Henderson
23.    Rosa Henderson And Choo Choo Jazzers–    Somebody's Doing What You Wouldn't Do 2:56
Clarinet – Bob Fuller
Orchestra – Choo Choo Jazzers
Piano – Cliff Jackson
Vocals – Rosa Henderson 

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)

BESSIE SMITH – 1928-1929 | The Classics Chronological Series – 897 (1996) FLAC (tracks+.cue), lossless

One of the greatest partnerships in all of recorded blues was the teaming up of Bessie Smith and champion trombone man Big Charlie Green. Their collaboration is well represented by the opening tracks on this volume of the chronologically reissued recordings of Bessie Smith. "Empty Bed Blues, Pt. 2" opens with a lurching, grinding trombone ostinato that matches perfectly the spirit and texture of Smith's testimonial. "Put It Right Here" could serve as the best example on record of this singer's irresistible way of presenting a song. The timing is perfect and the humorous lyrics are accentuated by the trombone with great precision. Somebody ought to put out a CD consisting of every record these two people ever made together. The next session in Smith's story took place on August 23, 1928. "Yes Indeed He Do" would be closely imitated four years later in the group singalong "Yes Suh!" as performed by Billy Banks and Jack Bland's Rhythmakers. Five records cut on August 24th handle the topics of social inequality, interpersonal relationships, and alcoholism. On "Poor Man's Blues" Smith speaks directly to the wealthy, and during "Washerwoman's Blues" she discusses the combined problems of race and class. "Me and My Gin" paints a grim portrait of the addict and her mental condition. Cornered and besotted, Smith vows to take on the Army and the Navy armed only with her bottle of fermented spirits. On May 8, 1929, guitarist Eddie Lang and pianist Clarence Williams assisted in the creation of three delightfully smutty sides dwelling on Smith's sexual appetite. The sound of Lang's guitar percolating along with her voice makes these selections especially nice. "I've Got What It Takes" and "Nobody Knows You" are two of Smith's toughest performances on record. Having what amounted to Clarence Williams' Blue Five backing her up seems to have given the singer solid support for self-expression. Anyone who has seen the motion picture St. Louis Blues will cherish the film soundtrack included in this chronology. The singer stands at the bar in a saloon, crying -- and singing -- into a mug of beer. The drama of a strong woman at the mercy of a man without any conscience is played out on the screen and can be envisioned by the listener. The 40-voice Hall Johnson Choir roars away behind Smith as she sways miserably. A hot band led by James P. Johnson wails with abandon as acrobatic waiters spin and tumble through the crowd without upsetting their trays full of drinks. Smith's no-good man shows up, appears to reconcile with her, and does a slow dance in her arms, but then pushes her away and laughs derisively while brandishing a wad of cash he has snatched from her purse! Everyone ought to see this film at least once. There are distortion problems with the soundtrack as presented here, and the nearly 11-minute sequence has been unnecessarily portioned into four segments -- a too-faithful reproduction of the Circle Records issue -- even though the uninterrupted soundtrack is available elsewhere. The disc closes with "Take It Right Back" -- featuring one of Clarence Williams' best piano accompaniments -- and a pair of lusty tunes with even finer piano by James P. Johnson. arwulf arwulf  
Tracklist + Credits :

FLETCHER HENDERSON AND HIS ORCHESTRA – 1921-1923 | The Classics Chronological Series – 794 (1994) FLAC (tracks+.cue), lossless

This Classics CD reissues the first 23 recordings of Fletcher Henderson and his orchestra. The music is generally pretty primitive, but historically, it is quite significant, since Henderson's group would develop into the first real jazz big band; also, the 1921-22 sides have rarely ever been reissued. Oddly enough, his only three solo piano recordings date from this period. The earliest orchestra recordings are essentially period dance-band performances, but by the end of this CD, Henderson's big band was already beginning to display a bit of its own musical personality. However, needless to say, the best years were still in the future. Scott Yanow
Tracklist :

FLETCHER HENDERSON AND HIS ORCHESTRA – 1923 | The Classics Chronological Series – 697 (1993) FLAC (tracks+.cue), lossless

Coleman Hawkins once said that Fletcher Henderson's band came across better when heard live than replayed off of old records. Hawkins insisted that Henderson's recordings sounded "like cats and dogs fighting." But this was Hawkins in 1956, consistently in denial about his age and the primal nature of the early sides he'd helped to wax more than thirty years earlier. Safely removed from personal responsibility or temporal proximity to the artifacts in question, the rest of us might be able to enjoy these rickety old sides for what they are: evidence of experimentation in a new musical genre, utilizing what was at the time relatively new technology. There's no question about it: these guys probably sounded a lot looser and hotter in a nightclub than they ever could have while trapped together in the stuffy little rooms designated as recording studios. Here's where a passion for the medium itself comes in handy. Today we can get our kicks from listening to old records because the records themselves are old and we like them that way. We can also enjoy hearing what Coleman Hawkins did with tenor or even bass saxophone behind a raggedy-sounding spasm band working up no less than three versions of "Dicty Blues" with its patented "descending chimes" lick, so specific to the early 1920s. Fats Waller, in fact, used a similar device on his player piano roll, "Your Time Now," also issued in 1923. Today we can marvel at the names of those old time record labels: Ajax, Puritan, Paramount, Vocalion and Pathe Actuelle. Or those four Edison recordings from November 1923 and April 1924 (making the title of this CD a misnomer), each containing more than four minutes' worth of vintage music, offering a full extra minute of entertainment per side. Here, Henderson's group sounds less like a jazz band, closer to a society dance orchestra. It was a calculated attempt to appeal to wider (whiter?) audiences. Most jazz musicians throughout several generations have made similar moves in order to succeed. It's a fact of life, yet jazz critics have always bitched about "commercialism" while ignoring both economic necessity and artistic liberty. Regarding this particular bundle of early Fletcher Henderson performances: they all fit into a larger panorama made up of every jazz record ever made, pressed, purchased, played and heard since the very beginnings of the tradition. None of these Henderson sides are irrelevant. Don Redman is on all but two of them. Americans and people all over the world listened to them in 1923 and have been listening ever since. A French label called Classics thought enough of them to restore and reissue them on this remarkable chronological series. You should probably immerse yourself in this music. Don't be shy. It's just a parcel of dance tunes embellished with hot solos. arwulf arwulf
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FLETCHER HENDERSON AND HIS ORCHESTRA – 1923-1924 | The Classics Chronological Series – 683 (1993) FLAC (tracks+.cue), lossless

In 1923, 1924, and 1925, dance bands that wanted to attract attention and make enough money to survive often felt compelled to insert "Charleston" licks into their arrangements, even surrendering entire song titles to the popular trend. Fletcher Henderson's recording of "Charleston Crazy" is a perfect example of this tactic in action. Everything on this CD is charmingly dated in that way. This stuff should not be measured against all the good jazz that's been recorded since then. To pick away at these relics and complain about solos that aren't developed enough for our postmodern sensibilities is a ridiculous waste of time. Don't even bother. Much better to suspend all preconceptions of how music is supposed to sound. Either find a way to place these performances in historical context or simply forget about everything and enjoy the mysterious theater of records so old that most people don't even know they exist. Savor the thrill of being in a different reality, where the band is breathing the air of 1923 and Coleman Hawkins is just beginning to design his own role in developing the saxophone as a dignified vehicle for creative improvisation. Don Redman is also blowing reeds with this band, but hold on a minute. Exactly whose band are we talking about? During the year 1923, Fletcher Henderson didn't really have a regular working band. Holding down the piano chair in an orchestra led by Shrimp Jones, Henderson managed to make phonograph records with members of that organization, billing the studio ensemble as Fletcher Henderson's Orchestra or even Henderson's Sawin' Six, which was really an eight-piece band if you count Henderson himself. It wasn't until the beginning of 1924 that Henderson actually led his own orchestra in public performance. This means that the 1923 recordings are experimental in nature. One of the most interesting numbers is Henderson's arrangement of "Bull Blues," composed by the great cornetist and bandleader Thomas Morris. This piece begins with a pretty air that would surface years later as "What Am I Here For?" by Duke Ellington. Other noteworthy composers represented on this disc are Porter Grainger, Maceo Pinkard, and Shelton Brooks. This is delightful music, old-fashioned and slightly hackneyed, yet well on its way to eventual maturity as big-band jazz. arwulf arwulf
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FLETCHER HENDERSON AND HIS ORCHESTRA – 1924 | The Classics Chronological Series – 673 (1992) FLAC (tracks+.cue), lossless

Originally appearing on the Pathe Actuelle, Brunswick, Ajax, Vocalion, Emerson, Columbia, and Banner phonograph labels, Fletcher Henderson's recordings from early 1924 make for peculiarly pleasant listening. It is possible to face up to these heavily arranged dance band records from the early '20s and actually enjoy the rickety arrangements. All you need to do is shed any preconceptions of what jazz is or ever was supposed to sound like. Anatol Schenker's liner notes point out that this music was intended to accompany theatrical performances. Even without that kind of historical perspective, this stuff sounds good with no context whatsoever, provided the listener surrenders to the weirdly wonderful world of thoroughly outmoded popular music. At the very least, these are funny old records. From the standpoint of early jazz, Coleman Hawkins and Don Redman are in here slogging away on their clarinets and saxophones, treading where few had ever set foot before them. Teddy Nixon periodically asserts himself with the slide trombone, and Kaiser Marshall proves to have been a spicy, resourceful percussionist. "Ghost of the Blues" appears to have been co-composed by Sidney Bechet, and sounds a lot like a product of that fine musician's mind. Redman's "Teapot Dome Blues" contains a rare example of Howard Scott soloing on the cornet. "Mobile Blues" allows room for a muffled solo by an unidentified kazoo player. Redman contributes a fine and sassy scat vocal on "My Papa Doesn't Two-Time No Time," which also exists elsewhere as a Rosa Henderson vocal backed only by Fletcher Henderson (no blood relation) at the piano. "Somebody Stole My Gal" bumps along marvelously and has a bass sax solo by Coleman Hawkins with Don Redman playing a weepy clarinet, even removing the mouthpiece from the instrument to achieve maximum cornball effects. "After the Storm" actually has segments of Rossini's William Tell Overture grafted into the chart, with someone blowing a siren whistle and Redman taking a solo on oboe. Nixon opens "Feeling the Way I Do" with growling trombone and Charlie Dixon demonstrates how a banjo could be used to propel nine other instruments by executing a series of well-timed blows across the strings. Together with piano and drums, the banjo was an agitator in these early ensembles. "Red Hot Mama" is an exciting illustration of how, during the first half of 1924, Henderson's band began to settle down and play something like real jazz. arwulf arwulf  
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FLETCHER HENDERSON AND HIS ORCHESTRA – 1924, Vol. 2 | The Classics Chronological Series – 657 (1992) FLAC (tracks+.cue), lossless

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FLETCHER HENDERSON AND HIS ORCHESTRA – 1924, Vol. 3 | The Classics Chronological Series – 647 (1992) FLAC (tracks+.cue), lossless

During the autumn of 1924, Fletcher Henderson's Orchestra continued to make hot little records for many different labels. The front line begins to look impressive, with trombonist Big Charlie Green sitting not far from Coleman Hawkins and Don Redman. "Forsaken Blues" has an ooh-wacka-ooh brass line and a big nasty bass sax solo by Hawkins after someone -- probably Redman -- makes a noise like an enraged ferret. On the catchy "Cold Mamas (Burn Me Up)," the bass sax is accompanied by a goofus, or melodica, played by the ever-resourceful Redman. Conventional jazz history states that the addition of Louis Armstrong to the Henderson orchestra in September of 1924 initiated a change in this organization's overall chemistry, which would soon become evident. This particular CD provides audible evidence. The diminutive trumpeter from New Orleans-cum-Chicago really did transform Henderson's band beginning with his participation in the session of October 7, 1924. First heard on "Manda," composed by Noble Sissle and Eubie Blake, Armstrong stands out as King Oliver's right-hand man. "Go 'Long, Mule" has a bizarre novelty solo by Redman using only the mouthpiece of his horn to generate a sort of Punch & Judy cartoon voice. Four tunes recorded for Pathe Actuelle on October 13, 1924, are notable for the insistent burping sound of Ralph Escudero's tuba. The exciting "Shanghai Shuffle" comes across in two distinctive interpretations, with an oboe solo by Redman on the first version. "Copenhagen" is real jazz with a hot solo from Armstrong, strong trombone breaks from Charlie Green, and a Redman arrangement to make it cook properly. The first of three versions of "Naughty Man" has a fine solo by Green, while on the second he seems to be getting his licks in quickly, and by version number three he muscles in for two solo breaks. But the real highlight here is definitely Armstrong. Everything he blows is remarkably fine, and it's easy to see why he quickly went from being an object of ridicule to the most imitated musician in all of jazz. The man had a lot of soul, and his solos -- along with Redman's arrangements -- quickly transformed Henderson's records from run-of-the-mill dance music into real jazz. The crowning glory on this CD is "Everybody Loves My Baby," both an instrumental take and Armstrong's very first recorded vocal, consisting of merrily shouted outbursts during the coda. Listening to all of these sides in sequence, it is obvious what a difference Louis Armstrong made in this band, and the chronology spells it out unmistakably. arwulf arwulf  
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FLETCHER HENDERSON AND HIS ORCHESTRA – 1925-1926 | The Classics Chronological Series – 610 (1991) FLAC (tracks+.cue), lossless

The Classics series has undergone the admirable task of reissuing on CD in chronological order every selection (although no alternate takes) of Fletcher Henderson's orchestra. This set finds the post-Armstrong edition of this pacesetting big band swinging hard on a variety of standards and obscurities. With cornetist Joe Smith, trombonist Charlie Green, clarinetist Buster Bailey and tenor great Coleman Hawkins contributing many fine solos and Don Redman's often-innovative arrangements inspiring the musicians, at this period Fletcher Henderson's orchestra had no close competitors among jazz-oriented big bands. Even the weaker pop tunes (like "I Want to See a Little More of What I Saw in Arkansas") have their strong moments. Scott Yanow
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