DUKE ELLINGTON AND HIS ORCHESTRA – 1924-1927 | The Classics Chronological Series – 539 (1990) FLAC (tracks+.cue), lossless

This CD contains the first 23 recordings released under Duke Ellington's name. The initial ten selections, dating from November 1924 to June 1926, are quite intriguing because, with the exception of the very first date (resulting in "Choo Choo" and "Rainy Nights"), the primitive band does not sound like Ellington's. While the first date has cornetist Bubber Miley, trombonist Charlie Irvis (Tricky Sam Nanton's predecessor), and altoist Otto Hardwick as the front line, the following eight numbers have shifting personnel and, despite the occasional presence of trombonist Jimmy Harrison (who takes two vocals) and clarinetist Don Redman, the music is under-rehearsed and rough. But on "East St. Louis Toodle-Oo" (the band's theme) and "Birmingham Breakdown" from November 29, 1926, the Ellington sound was finally together and from then on the band's output was often classic. Other highlights of this historic disc are "Hop Head" and the initial version of "Black and Tan Fantasy," with such soloists as Miley, Nanton, and Hardwick, and with Duke himself on piano. Scott Yanow    Tracklist + Credits :

JELLY-ROLL MORTON – 1928-1929 | The Chronogical Classics – 627 (1992) FLAC (tracks), lossless

This CD traces Jelly Roll Morton's period in New York, starting with his second record date in the Big Apple. A few of the sessions have Morton joined by an excess of musicians, with the results certainly being spirited, if bordering on getting out of control. "Tank Town Bump" and "Red Hot Pepper Stomp" are the best of these numbers. In addition, Morton is heard on four excellent piano solos (including "Seattle Hunch" and "Freakish"), leading a nucleus taken from the Luis Russell Orchestra on four other songs, and playing as a sideman with vaudevillian clarinetist Wilton Crawley's pickup band, sometimes to hilarious effect. One of the true jazz giants, every recording by Jelly Roll Morton is well worth acquiring in one form or another. Scott Yanow  
Tracklist + Credits :

FATS WALLER – 1926-1927 | The Classics Chronological Series – 674 (1992) FLAC (tracks+.cue), lossless

Fats Waller was the first jazz organist. He made the first jazz organ records inside a church in Camden, New Jersey that had been converted into a recording studio by the Southern Music Company. The organ solos came out on Victor Records. They form the basis for any true appreciation of Fats Waller's music; without this dimension of his work, you're only getting your kicks from hot piano, solid ensembles and funny vocals. Waller was one of several outstanding Harlem pianists whose stylistic innovations radically altered the way popular music sounded during the 1920s and '30s. Transferring that energy onto a pneumatic church instrument was Waller's most individualistic achievement. The pipe organ jazz recordings gathered together on Classics (674) are as precious as emeralds and saffron. "St. Louis Blues" takes on a profundity that is almost startling. "Lenox Avenue Blues" allows the listener direct access to a private, personal region of the soul of a place that Charles Mingus would one day describe as the artist's "innermost sacred temple." The sessions from January and February 1927 feature the pipe organ as a vehicle for rambunctious jamming. "Soothin' Syrup Stomp" is the definitive example of this wild aspect of Waller's personality. He pounds the keys of the instrument in ways that are wonderfully startling. Legend has it that Waller wanted to call one of these original pieces the Thunder Mug Stomp, until the man in charge of recording operations figured out that the title referred to a bed pan. One can only guess which tune almost got named for that noble piece of hardware. Most likely Thunder Mug became "Rusty Pail," the stomp that features a bit of stop-time tin can percussion. On May 20, 1927 Fats Waller doubled up with Alberta Hunter, a vibrant young mezzo-soprano who sang pop, blues and jazz with equal facility. "Sugar" and "Beale Street Blues" were each rendered as pipe organ solos and as vocals with organ accompaniment. Clarence Todd's beautiful, wistfully optimistic "I'm Goin' to See My Ma" was the third duet. The second-half of the May 20 recording session involved Waller as part of a quartet bearing the name of Thomas Morris & His Seven Hot Babies. Thomas Morris' cornet and Charlie Irvis' trombone interact bracingly with Waller's rapidly alternating piano and pipe organ; presumably the two keyboards were placed in close proximity to one another. The exhilarating effect of syncopated upbeat pipe organ spiked with percussion and a pair of hot horns is a treat not to be missed! The inclusion of four piano accompaniments for vocalist Maude Mills -- relatively rare stuff -- makes this disc a collector's paradise. For most of his career Waller was almost exclusively a Victor recording artist, which makes these sides unusual by virtue of having originally appeared on Banner Records. Victoria Spivey's "Black Snake Blues" comes across well enough, but "I've Got the Joogie Blues" is the real praline of the session, a worthy dessert for this essential album of early Fats Waller. arwulf arwulf  
Tracklist + Credits :

FATS WALLER – 1927-1929 | The Classics Chronological Series – 689 (1993) FLAC (tracks+.cue), lossless

Now this will give you an idea of how versatile Thomas "Fats" Waller had to be during the late 1920s. Classics 689 must be counted among the most stylistically diverse assortments of Waller recordings ever assembled on one collection. Most people who look for Fats Waller's music want to hear "Your Feets Too Big" "Ain't Misbehavin'" or "The Joint Is Jumpin'," and would be terribly confused or put off by the first four selections on this album. These are essentially Harlem lieder elegies, composed and recorded in memory of Florence Mills, a singing actress whose sudden death stunned the Afro-American population. "Bye Bye Florence" is the prettiest of these sad melodies, and its lyrics are very moving: "Little blackbird, all your friends are grieving for you." Two of the three vocalists trill their 'r's as if aspiring to be admitted into operatic society, while Carroll C. Tate sounds a bit more natural. We should be grateful to hear these very rare recordings, which sound a lot like European art songs. On December 1, 1927 Waller made two solo pipe organ records, one hot, one blue. On that day he also sat in with Morris' Hot Babies, alternating between hot pipe organ and Harlem stride piano. "He's Gone Away" is full of pepper, "Geechee" has a great "ooh-wacka-ooh" chorus, "Please Take Me Out Of Jail" is riotous fun, and "Red Hot Dan" contains Waller's very first recorded vocal, which he agreed to perform only after being urged on by Morris. We also get to experience the only two accompaniments that Fats ever performed on record behind his lyricist Andy Razaf. The next two sessions are chamber music of the most unusual sort: as a member of Shilkret's Rhyth-melodists, Waller the pipe organist is teamed with piano, violin, harp and sweetly muffled trombone. As one quarter of an ensemble calling themselves the Louisiana Sugar Babes, Waller's pneumatic pipe organ interacts magically with James P. Johnson's piano, Jabbo Smith's cornet and Garvin Bushell's clarinet, alto sax and bassoon. As one-tenth of an ensemble backing up Gene Austin, Waller gently operates piano and celeste. Participating for the very first time as the named leader of his own hot jazz band, Fats Waller spontaneously concocts a slow drag and a hot stomp. These are two of the best three-minute records made by anybody during the 1920s. For a humorous and detailed eye-and-ear-witness account of how this session almost didn't happen, consult Eddie Condon's autobiography We Called It Music. These musicians had never worked together as a unit, and had no idea what they were going to play when they entered the recording studio. Listen to Waller's piano and you can hear him demonstrating to the band exactly what to do next. After presiding over the creation of two entirely improvised masterpieces, Waller remained seated at the piano to record "Numb Fumblin'" and "Handful of Keys." Seldom has music of this potency and enduring value been recorded in single takes with so little preparation. That's what jazz, and Fats Waller, are all about. arwulf arwulf  
Tracklist + Credits :

CLARENCE WILLIAMS – 1921-1924 | The Classics Chronological Series – 679 (1992) FLAC (tracks+.cue), lossless

Although this is not the most essential of the Clarence Williams CDs released in the complete Classics series, all of the releases are highly recommended to fans of early jazz. Many of these titles are quite rare and historical. First Williams is heard as a singer on five period numbers from 1921 ("The Dance They Call the Georgia Hunch" is the most memorable) and has a vocal duet with Daisy Martin on "Brown Skin (Who You For)." Williams also takes four piano solos and on most of the other titles features the great soprano saxophonist Sidney Bechet (heard in his earliest recordings); "Wild Cat Blues" and "Kansas City Man Blues" are classics. In addition Louis Armstrong joins the group on three numbers, two of which have vocals from Eva Taylor. Scott Yanow
Tracklist :
1    Clarence Williams–    If You Don't Believe I Love You (Look What A Fool I've Been) 2:48
Vocals – Clarence Williams
Written-By – Clarence Williams
2    Clarence Williams–    Roumania 3:11
Vocals – Clarence Williams
Written-By – Williams, Peyton
3    Clarence Williams–    The Dance They Call The Georgia Hunch 3:07
Vocals – Clarence Williams
Written-By – Williams, Wade, Williams
4    Clarence Williams–    Pullman Porter Blues 3:02
Written-By – Clarence Williams
Written-By – Hamilton, Ulrich
5    Clarence Williams–    Decatur Street Blues 2:56
Vocals – Clarence Williams
Written-By – Clarence Williams
6    Clarence Williams–    Brown Skin (Who You For) 3:06
Vocals – Clarence Williams, Daisy Martin
Written-By – Piron, Williams
7    Clarence Williams–    Mixing The Blues 3:10
Written-By – Clarence Williams
8    Clarence Williams–    The Weary Blues 2:31
Written-By – Artie Mathews
9    Clarence Williams' Blue Five–    Wild Cat Blues 2:58
Written-By – Williams, Wiley
10    Clarence Williams' Blue Five–    Kansas City Man Blues 2:55
Written-By – Johnson, Williams
11    Clarence Williams' Blue Five–    Achin' Hearted Blues 2:56
Written-By – Johnson, Williams, Williams
12    Clarence Williams' Blue Five–    'Tain't Nobody's Bus'ness If I Do 2:47
Written-By – Robbins, Grainger
13    Clarence Williams' Blue Five–    New Orleans Hop Scop Blues 2:50
Written-By – George Thomas
14    Clarence Williams' Blue Five–    Oh Daddy! (You Won't Have No Mama At All) 3:07
Written-By – Herbert, Russell
15    Clarence Williams' Blue Five–    Shreveport Blues 2:58
Written-By – Annie Potter
16    Clarence Williams' Blue Five–    Old Fashioned Love 3:07
Written-By – Mack, Johnson
17    Clarence Williams' Blue Five–    House Rent Blues (The Stomp) 2:56
Written-By – De Koven-Thompson
18    Clarence Williams' Blue Five–    Mean Blues 2:56
Written-By – Gillham, Smythe
19    Clarence Williams–    My Own Blues 2:25
Written-By – Clarence Williams
20    Clarence Williams–    Gravier Street Blues 2:23
Written-By – Clarence Williams
21    Clarence Williams' Blue Five–    Texas Moaner Blues 3:10
Written-By – Williams, Barnes
22    Clarence Williams' Blue Five–    Of All The Wrongs You Done To Me 2:51
Vocals – Eva Taylor
Written-By – Smith, Davell, Leyton
23    Clarence Williams' Blue Five–    Everybody Loves My Baby (But My Baby Don't Love Nobody But Me) 2:33
Vocals – Eva Taylor
Written-By – Palmer, Williams
Credits :    
Alto Saxophone – Unknown Artist (tracks: 14, 15)
Alto Saxophone, Soprano Saxophone, Clarinet – Don Redman (tracks: 5 to 9, 12, 13, 16, 17)
Banjo – Buddy Christian (tracks: 1 to 18)
Banjo [prob.] – Leroy Harris (tracks: 16 to 20)
Brass Bass – Cyrus St. Clair (tracks: 16 to 20)
Clarinet – Bennie Motlto Saxophone – Unknown Artist (tracks: 5)
Banjo – Buddy Christian (tracks: 21 to 23)
Clarinet – Unknown Artist (tracks: 11)
Clarinet, Alto Saxophone – Joseph Samuels (tracks: 1 to 4, 6)
Clarinet, Soprano Saxophone – Sidney Bechet (tracks: 9, 10, 12 to 18)
Clarinet, Tenor Saxophone – Unknown Artist (tracks: 1 to 4, 6)
Cornet – Jules Levy Jr. (tracks: 1 to 4, 6), Louis Armstrong (tracks: 21 to 23), Thomas Morris (tracks: 9 to 18), Unknown Artist (tracks: 5)
Drums – Unknown Artist (tracks: 1 to 4, 6)
Piano – Clarence Williams (tracks: 7 to 23), Larry Briers (tracks: 1 to 4, 6), Unknown Artist (tracks: 5)
Soprano Saxophone – Buster Bailey (tracks: 21 to 23)
Trombone – Aaron Thompson (tracks: 21 to 23), John Mayfield (tracks: 9 to 18), Unknown Artist (tracks: 5)
Trombone [?] – Ephraim Hannaford (tracks: 1 to 4, 6)
Violin – Unknown Artist (tracks: 5)

CLARENCE WILLIAMS – 1924-1926 | The Classics Chronological Series – 695 (1993) FLAC (tracks+.cue), lossless

The second CD in the Classics label's "complete" Clarence Williams series traces the pianist/bandleader's recordings during a 14-month period. The first six titles feature soprano great Sidney Bechet (who has a unique sarrusophone solo on "Mandy Make up Your Mind") while the first 13 also have Louis Armstrong. The pairing of these two classic and competitive greats is at its zenith on a brilliant version of "Cake Walking Babies from Home"; Satch gets the edge. In addition there are notable contributions on these 23 performances by trombonist Charlie Irvis, tenor-saxophonist Coleman Hawkins, cornetists Joe Smith, Bubber Miley and Ed Allen, clarinetist Buster Bailey and singer Eva Taylor among others. Williams's series of hot performances really epitomized small-group 1920s jazz and every entry in this Classics series is highly recommended. Other highlights include "Coal Cart Blues," "Shake That Thing," "Dinah" (which features Hawkins on baritone), "I've Found a New Baby" and two versions of "Santa Claus Blues." Scott Yanow
Tracklist :
1    Clarence Williams' Blue Five–    Mandy, Make Up Your Mind 3:07
Written-By – Johnston, Meyer, Clarke, Turk
2    Clarence Williams' Blue Five–    I'm A Little Blackbird Looking For A Bluebird 3:13
Written-By – Johnston, Meyer, Clarke, Turk
3    Clarence Williams' Blue Five–    Cake Walking Babies From Home 2:59
Written-By – Smith, Williams, Troy
4    Eva Taylor–    Pickin' On Your Baby 3:17
Written-By – Jones, Reynolds
5    Eva Taylor–    Cast Away 2:51
Written-By – Brown, Stewart, Easton
6    Clarence Williams' Blue Five–    Papa De-Da-Da 3:02
Written-By – Todd, Williams, Williams
7    Clarence Williams' Blue Five–    Just Wait 'Till You See My Baby Do The Charleston 2:46
Written-By – Todd, Williams, Simmons
8    Clarence Williams' Blue Five–    Livin' High Sometimes 2:31
Written-By – Belledna, Pinkard
9    Clarence Williams' Blue Five–    Coal Cart Blues 2:50
Written-By – Hardin, Armstrong
10    Clarence Williams' Blue Five–    Santa Claus Blues 2:34
Written-By – Straight, Kahn
11    Clarence Williams' Trio–    Santa Claus Blues 3:15
Written-By – Straight, Kahn
12    Clarence Williams' Blue Five–    Squeeze Me 3:05
Written-By – Williams, Waller
13    Eva Taylor–    You Can't Shush Katie (The Gabbiest Girl In Town) 3:03
Written-By – Warren, White, Creamer
14    Clarence Williams' Blue Five–    Shake That Thing 2:54
Written-By – Jackson
15    Clarence Williams' Blue Five–    Get It Fixed 3:00
Written-By – Clarence Williams
16    Clarence Williams Stompers–    Spanish Shawl 3:07
Written-By – Elmer Schoebel
17    Clarence Williams Stompers–    Dinah 2:36
Written-By – Harry Akst
18    Eva Taylor–    I've Found A New Baby 3:01
Written-By – Palmer, Williams
19    Clarence Williams' Blue Five–    I've Found A New Baby 2:53
Written-By – Palmer, Williams
20    Clarence Williams' Blue Five–    Pile Of Logs And Stone (Called Home) 2:31
Written-By – Maceo Pinkard
21    Dixie Washboard Band–    Wait Till You See My Baby Do The Charleston 2:54
Written-By – Todd, Williams, Simmons
22    Dixie Washboard Band–    Livin' High 3:11
Written-By – Belledna, Pinkard
23    Dixie Washboard Band–    Wait Till You See My Baby Do The Charleston 2:32
Written-By – Todd, Williams, Simmons
Credits :    
Alto Saxophone – Unknown Artist (tracks: 14, 15)
Alto Saxophone, Soprano Saxophone, Clarinet – Don Redman (tracks: 5 to 9, 12, 13, 16, 17)
Banjo – Buddy Christian (tracks: 1 to 18)
Banjo [prob.] – Leroy Harris (tracks: 16 to 20)
Brass Bass – Cyrus St. Clair (tracks: 16 to 20)
Clarinet – Bennie Moten (tracks: 21 to 23), Buster Bailey (tracks: 14, 15)
Cornet – Charlie Thomas (tracks: 14, 15), Ed Allen (tracks: 21 to 23), Joe Smith (tracks: 16, 17), Louis Armstrong (tracks: 1 to 13)
Piano – Clarence Williams
Sarrusophone – Sidney Bechet (tracks: 1)
Soprano Saxophone – Buster Bailey (tracks: 5 to 10), Sidney Bechet (tracks: 1 to 6)
Tenor Saxophone, Baritone Saxophone, Clarinet – Coleman Hawkins (tracks: 12, 13, 16, 17)
Trombone – Charlie Irvis (tracks: 1 to 10, 12, 13, 16 to 20)
Vocals – Eva Taylor (tracks: 1 to 15, 18 to 20)
Washboard – Jasper Taylor (tracks: 21 to 23)

CLARENCE WILLIAMS – 1927 | The Classics Chronological Series – 736 (1993) FLAC (tracks+.cue), lossless

Pianist/bandleader Clarence Williams was at the height of his productivity in 1927; the 22 numbers on this CD were recorded within a 6 1/2 month period. With the exception of The Dixie Washboard Band, all of the performances were originally released under Clarence Williams's name but the personnel and instrumentation often differ from session to session. The fourth in Classics' complete reissuance of Williams's recordings features such top sideman as cornetists Ed Allen and Louis Metcalf, trumpeter Red Allen (in what was probably his earliest recording), trombonist Charlie Irvis, clarinetist Buster Bailey and a variety of lesser-known players with some of the best performances being "Cushion Foot Stomp" (which is heard three different times), "Shooting the Pistol," "Baby, Won't You Please Come Home" and Williams's solo version of "When I March in April with May." Highly recommended to collectors of vintage jazz. Scott Yanow
Tracklist
1    Clarence Williams And His Washboard Band–    Cushion Foot Stomp 2:59
Written-By – Clarence Williams
2    Clarence Williams And His Washboard Band–    P.D.Q. Blues 2:54
Written-By – Henry, Simson
3    Dixie Washboard Band–    Anywhere Sweetie Goes (I'll Be There) 2:58
Written-By – Williams, Waller
4    Dixie Washboard Band–    Cushion Foot Stomp 3:00
Written-By – Clarence Williams
5    Clarence Williams' Washboard Five–    Cushion Foot Stomp 3:20
Written-By – Clarence Williams
6    Clarence Williams' Washboard Five–    Take Your Black Bottom Outside 3:01
Written-By – Williams, Green
7    Clarence Williams' Blue Five–    Black Snake Blues 2:54
Written-By – Johnson, Spivey
8    Clarence Williams' Blue Five–    Old Folks Shuffle 2:49
Written-By – Williams, Waller
9    Clarence Williams' Blue Five Orchestra–    Baltimore 2:53
Written-By – Healy, Kahal, McHugh
10    Clarence Williams' Blue Five Orchestra–    Take Your Black Bottom Outside 3:02
Written-By – Williams, Green
11    Clarence Williams And His Bottomland Orchestra–    Slow River (Vocal) 3:13
Written-By – Clarence Williams
12    Clarence Williams And His Bottomland Orchestra–    Slow River (Instr.) 3:12
Written-By – Clarence Williams
13    Clarence Williams And His Bottomland Orchestra–    Zulu Wail (Vocal) 2:59
Written-By – Clarence Williams
14    Clarence Williams And His Bottomland Orchestra–    Zulu Wail (Instr.) 3:09
Written-By – Clarence Williams
15    Clarence Williams' Orchestra–    Shooting The Pistol 2:38
Written-By – Smith, Williams
16    Clarence Williams' Orchestra–    Bottomland 3:08
Written-By – Williams, Trent
17    Clarence Williams' Jazz Kings–    I'm Goin' Back To Bottomland 2:33
Written-By – Williams, Trent
18    Clarence Williams' Jazz Kings–    You'll Long For Me (When The Cold Winds Blow) 3:02
Written-By – Clarence Williams
19    Clarence Williams–    When I March In April With May 3:08
Written-By – Clarence Williams
20    Clarence Williams–    Shootin' The Pistol 2:53
Written-By – Clarence Williams
21    Clarence Williams' Blue Seven–    Baby, Won't You Please Come Home? 2:51
Written-By – Warfield, Williams
22    Clarence Williams' Blue Seven–    Close Fit Blues 2:58
Written-By – Clarence Williams
Credits :    
Alto Saxophone [?] – Alberto Socarras (tracks: 11 to 14)
Banjo – Leroy Harris (tracks: 7 to 10, 17, 18, 21, 22)
Clarinet – Buster Bailey (tracks: 5, 6)
Clarinet, Alto Saxophone – Alberto Socarras (tracks: 17, 18), Arville Harris (tracks: 7 to 10, 21, 22), Ben Whitted (tracks: 7, 8), Carmelo Jari (tracks: 1 to 4)
Clarinet, Alto Saxophone [?] – Arville Harris (tracks: 15, 16)
Clarinet, Soprano Saxophone, Flute [?] – Alberto Socarras (tracks: 15, 16)
Cornet – Ed Allen (tracks: 1 to 9, 15 to 18), Louis Metcalf (tracks: 21, 22)
Drums – Floyd Casey (tracks: 7 to 14)
Piano – Clarence Williams
Soprano Saxophone – Buster Bailey (tracks: 21, 22)
Sousaphone – Cyrus St. Clair (tracks: 5 to 8, 15 to 18, 21, 22)
Trombone – Charlie Irvis (tracks: 7 to 18, 21, 22)
Trumpet – Ed Anderson (tracks: 11 to 14), Henry "Red" Allen (tracks: 11 to 14)
Vocals – Clarence Lee (2) (tracks: 1, 2), Clarence Williams (tracks: 5, 6, 19, 20), Evelyn Preer (tracks: 11, 13), Katherine Henderson (3) (tracks: 9, 10), Shufflin' Sam
Washboard – Floyd Casey (tracks: 1 to 6)

THOMAS MORRIS – 1923-1927 (1996) The Classics Chronological Series – 823 | FLAC (tracks+.cue), lossless

Back in the 1970s, Vol. 126 of the French RCA Black and White series focused on Thomas Morris' recordings dating from the year 1926. Included on that album were two vocalists whose absence from this Classics package must be attributed to a planned compilation of rare vocal recordings from this period. While Margaret Johnson's "When a 'Gator Hollers, Folks Say It's a Sign of Rain" would have added a Ma Rainey touch, the non-inclusion of Evelyn Preer's "Make Me Know It," recorded September 7, 1926, is heartbreaking but only to the few who know of the existence of this beautifully wistful love song. Now that this very specialized disappointment has been registered, let it be known that even without the voice of Evelyn Preer, the earliest known recordings of Thomas Morris are outstanding and well worth experiencing. There are two ways to appreciate the music of this accomplished cornetist and bandleader: the recordings he made with and without Thomas "Fats" Waller. Despite the aforementioned omission, Classics 823 offers the perfect prologue to Morris' famous sessions with the young pianist/pipe organist. The real gold lies in eight sides from 1923, previously difficult to obtain. The only players who have been identified are trombonist Charlie Irvis (later to be a staunch component in Fats Waller's first "Buddies" session) and young Bubber Miley. To hear Morris and Miley merrily mingling their cornets is a delight, comparable to the joy to be gleaned from revisiting the duo runs executed during this same time period by King Oliver and Louis Armstrong. (Get this: "Bull Blues" has a passage that showed up years later as the opening line of Duke Ellington's "What Am I Here For?") The 1926 material is gloriously gutsy, with grand slip-horn parts by Geechie Fields then once again briefly by the mighty Charlie Irvis. A rambunctious banjo solo in "Georgia Grind" and the humorous dialogue cropping up in the middle of "Who's Dis Heah Stranger?" make these worth absorbing time and again. By November 1926 the all-important trombone position was filled by Joe "Tricky Sam" Nanton, destined to spend the remaining two decades of his life helping to define the sound of the Duke Ellington Orchestra, which he had joined some six months prior to these sessions. Morris' rendition of "The King of the Zulus" nearly surpasses Louis Armstrong's original, yet Morris' unissued take (36896-2) is even better than the master take issued here, and would be well worth pursuing if anyone is hopelessly smitten with the sounds of this ensemble. Lastly, a rare side by Morris' quartet, billed as the Nashville Jazzers: a smartly scruffy approach to W.C. Handy's "St. Louis Blues." This recording and its alternate take have been issued on Grey Gull Rarities (Jazz Oracle BDW 8038). Once you've developed a taste for the music of Thomas Morris, you might get hooked. Let's hope so. arwulf arwulf  
Tracklist :
1    Thomas Morris Past Jazz Masters–    E Flat Blues №2 3:10
Banjo – Unknown Artist
Cornet – Bubber Miley, Tom Morris
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trombone – Charlie Irvis
Written-By – Morris
2    Thomas Morris Past Jazz Masters–    Original Charleston Strut 2:47
Banjo – Unknown Artist
Cornet – Bubber Miley, Tom Morris
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trombone – Charlie Irvis
Written-By – Morris
3    Thomas Morris Past Jazz Masters–    Lonesome Journey Blues 2:48
Banjo – Unknown Artist
Cornet – Bubber Miley, Tom Morris
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trombone – Charlie Irvis
Written-By – Morris
4    Thomas Morris Past Jazz Masters–    When The Jazz Band Starts To Play 2:25
Banjo – Unknown Artist
Cornet – Bubber Miley, Tom Morris
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trombone – Charlie Irvis
Written-By – Morris
5    Thomas Morris Past Jazz Masters–    Just Blues, That's All 3:05
Banjo – Unknown Artist
Cornet – Bubber Miley, Tom Morris
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trombone – Charlie Irvis
Written-By – Morris
6    Thomas Morris Past Jazz Masters–    Bull Blues (E Flat №1 Blues) 2:44
Banjo – Unknown Artist
Cornet – Bubber Miley, Tom Morris
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trombone – Charlie Irvis
Written-By – Morris
7    Thomas Morris Past Jazz Masters–    Those Blues 3:22
Banjo – Unknown Artist
Brass Bass – Unknown Artist
Clarinet [?] – Ernest Elliott
Cornet – Bubber Miley, Tom Morris
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trombone – Charlie Irvis
Written-By – Miley
8    Thomas Morris Past Jazz Masters–    Beaucoupe De Jazz 2:57
Banjo – Unknown Artist
Brass Bass – Unknown Artist
Clarinet [?] – Ernest Elliott
Cornet – Bubber Miley, Tom Morris
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trombone – Charlie Irvis
Written-By – Morris
9    Thomas Morris And His Seven Hot Babies–    Lazy Drag 2:57
Banjo [?] – Lee Blair
Brass Bass – Bill Benford
Clarinet, Alto Saxophone, Baritone Saxophone – Ernest Elliott
Clarinet, Tenor Saxophone – Happy Caldwell
Piano [or] – Marlowe Morris, Mike Jackson
Trombone – Geechie Fields
Trumpet – Tom Morris, Ward Pinkett
Written-By – Morris
10    Thomas Morris And His Seven Hot Babies–    Jackass Blues 3:08
Banjo [?] – Lee Blair
Brass Bass – Bill Benford
Clarinet, Alto Saxophone, Baritone Saxophone – Ernest Elliott
Clarinet, Tenor Saxophone – Happy Caldwell
Piano [or] – Marlowe Morris, Mike Jackson
Trombone – Geechie Fields
Trumpet – Tom Morris, Ward Pinkett
Written-By – Kassel, Stitzel
11    Thomas Morris And His Seven Hot Babies–    Charleston Stampede 3:00
Banjo [?] – Lee Blair
Brass Bass – Bill Benford
Clarinet, Alto Saxophone, Baritone Saxophone – Ernest Elliott
Clarinet, Tenor Saxophone – Happy Caldwell
Piano [or] – Marlowe Morris, Mike Jackson
Trombone – Geechie Fields
Trumpet – Tom Morris, Ward Pinkett
Written-By – Peer
12    Thomas Morris And His Seven Hot Babies–    Georgia Grind 3:04
Banjo [?] – Lee Blair
Brass Bass – Bill Benford
Clarinet, Alto Saxophone, Baritone Saxophone – Ernest Elliott
Clarinet, Tenor Saxophone – Happy Caldwell
Piano [or] – Marlowe Morris
Piano [or], Vocals – Mike Jackson
Trombone – Geechie Fields
Trumpet – Tom Morris, Ward Pinkett
Written-By – Williams
13    Thomas Morris And His Seven Hot Babies–    Ham Gravy 3:01
Banjo [?] – Lee Blair
Brass Bass – Bill Benford
Clarinet, Alto Saxophone, Baritone Saxophone – Ernest Elliott
Clarinet, Tenor Saxophone – Happy Caldwell
Piano [or] – Marlowe Morris, Mike Jackson
Trombone – Geechie Fields
Trumpet – Tom Morris, Ward Pinkett
Written-By – Peer
14    Thomas Morris And His Orchestra–    Who's Dis Heah Stranger? 2:56
Clarinet – Bob Fuller
Cornet, Speech – Tom Morris
Piano – Mike Jackson
Trombone, Speech – Charlie Irvis
Written-By – Peer
15    New Orleans Blue Five–    My Baby Doesn't Squawk 3:19
Clarinet – Bob Fuller
Cornet – Tom Morris
Guitar – Buddy Christian
Piano – Mike Jackson
Trombone – Joe "Tricky Sam" Nanton
Written-By – Peer
16    New Orleans Blue Five–    The King Of The Zulus 2:42
Clarinet – Bob Fuller
Cornet, Speech – Tom Morris
Guitar – Buddy Christian
Piano – Mike Jackson
Speech – Helen Baxter
Trombone, Speech – Joe "Tricky Sam" Nanton
Written-By – Armstrong
17    New Orleans Blue Five–    South Rampart Street Blues 2:53
Cornet – Tom Morris
Guitar – Buddy Christian
Piano – Mike Jackson
Soprano Saxophone – Bob Fuller
Trombone – Joe "Tricky Sam" Nanton
Written-By – Fuller, Christian
18    Thomas Morris And His Seven Hot Babies–    Blues From The Everglades 3:08
Banjo – Buddy Christian
Clarinet, Tenor Saxophone – Ernest Elliott
Cornet – Tom Morris
Double Bass [String Bass] – Wellman Braud
Drums – Unknown Artist
Piano [or] – Mike Jackson, Phil Worde
Trombone – Joe "Tricky Sam" Nanton
Written-By – Peer
19    Thomas Morris And His Seven Hot Babies–    P.D.Q. Blues 3:18
Banjo – Buddy Christian
Clarinet, Tenor Saxophone – Ernest Elliott
Cornet – Tom Morris
Double Bass [String Bass] – Wellman Braud
Drums – Unknown Artist
Piano [or] – Mike Jackson, Phil Worde
Trombone – Joe "Tricky Sam" Nanton
Written-By – Henry, Simpson
20    Thomas Morris And His Seven Hot Babies–    The Mess 2:52
Clarinet, Alto Saxophone – Bob Fuller
Cornet – Tom Morris
Double Bass [String Bass] – Wellman Braud
Drums – Unknown Artist
Piano [or] – Mike Jackson, Phil Worde
Trombone – Joe "Tricky Sam" Nanton
Written-By – Peer
21    Thomas Morris And His Seven Hot Babies–    The Chinch 3:11
Clarinet, Alto Saxophone – Bob Fuller
Cornet – Tom Morris
Double Bass [String Bass] – Wellman Braud
Drums – Unknown Artist
Piano [or] – Mike Jackson, Phil Worde
Trombone – Joe "Tricky Sam" Nanton
Written-By – Worde
22    Nashville Jazzers–    St. Louis Blues 2:47
Banjo – Unknown Artist
Clarinet, Alto Saxophone – Bob Fuller
Cornet – Tom Morris
Piano [?] – Mike Jackson
Written-By – Handy