GENE KRUPA AND HIS ORCHESTRA – 1935-1938 | The Chronogical Classics – 754 (1994) APE (tracks+.cue), lossless

The first CD in the European Classics label's "complete" Gene Krupa series starts off with two all-star sessions that preceded the drummer's first dates as a big-band leader. Krupa, Benny Goodman, bassist Israel Crosby (featured on "Blues of Israel") and several sideman from Goodman's 1935 band jam four songs, and from the following year, Krupa is joined by trumpeter Roy Eldridge, tenor saxophonist Chu Berry, pianist Jess Stacy, guitarist Allan Reuss, Crosby and (on two of the four songs) singer Helen Ward. The two instrumentals ("I Hope Gabriel Likes My Music" and "Swing Is Here") are near-classics that are quite heated. Otherwise, this CD has Krupa's first 15 numbers with his big band, a promising outfit which during 1938 also featured tenor saxophonist Vido Musso, pianist Milt Raskin and the vocals of Irene Daye and Helen Ward. Highlights include "Feeling High and Happy," "Wire Brush Stomp" and the previously unissued "The Madam Swings It." Scott Yanow  Tracklist + Credits :

LIONEL HAMPTON AND HIS ORCHESTRA – 1938-1939 | The Chronogical Classics – 534 (1990) FLAC (image+.cue), lossless

Lionel Hampton's series of record dates leading all-star swing bands produced some of the more exciting music of the late '30s. Just on this CD alone, Hampton led groups with musicians drawn from the Duke Ellington, Earl Hines, Cab Calloway, and Benny Goodman big bands, among others. Among the more notable performances are Benny Carter's "I'm in the Mood for Swing," a swing version of Jelly Roll Morton's "Shoe Shiner's Drag," tenor saxophonist Chu Berry having one of his best showcases on "Sweethearts on Parade," and a romp on "Twelfth Street Rag." Through it all, Hampton (whether on vibes, two-fingered piano, drums, or singing) often steals the show. Scott Yanow
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LIONEL HAMPTON AND HIS ORCHESTRA – 1939-1940 | The Chronogical Classics – 562 (1991) FLAC (tracks+.cue), lossless

During 1937-1940, Lionel Hampton led a series of exciting small-group swing dates featuring all-stars drawn from a variety of jazz orchestras. This reissue is one of the strongest. The first four songs alone have Hampton heading a group that includes altoist Benny Carter; tenors Coleman Hawkins, Chu Berry, and Ben Webster; and a 22-year old trumpeter named Dizzy Gillespie (who takes a solo on "Hot Mallets"). Also featured along the way are trumpeters Henry "Red" Allen and Ziggy Elman, trombonist J.C. Higginbotham, altoist Earl Bostic, and the Nat King Cole Trio. Three songs (including a classic version of "Dinah") feature Coleman Hawkins and (on trumpet) Benny Carter. This highly recommended set has more than its share of gems. 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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ROY ELDRIDGE – 1935-1940 | The Classics Chronological Series – 725 (1993) FLAC (image+.cue), lossless

Although the recordings made by the Delta Four on December 20, 1935, were not issued under the leadership of Roy Eldridge, they form the perfect beginning for a chronological survey of Eldridge's adventures as a major influential artist in the evolution of jazz trumpet between Louis Armstrong in the 1920s and Dizzy Gillespie in the 1940s. The Delta Four were one fine little swing machine. Their "Farewell Blues" has a solid bounce and Eldridge seems to sail over the heads of the rhythm players during "Swingin' at the Famous Door." In 1936 Eldridge's orchestra was equipped with Chu Berry, Buster Bailey, John Kirby, and Sid Catlett. A pity listeners only get to hear one example of this band's handiwork, as Decca rejected its recording of "Christopher Columbus" and apparently asked for nothing more out of this powerful ensemble. In January of 1937 Eldridge managed to make a handful of records for Vocalion. His brother Joe Eldridge wrote arrangements and played alto next to Scoops Carry in the reed department. With Dave Young blowing tenor and Truck Parham in the rhythm section alongside Zutty Singleton, this was one hell of a band. Eldridge cut a lot of versions of "After You've Gone" over the years. The one heard here, with a vocal by Gladys Palmer, predates the famous funny false-start versions of the '40s. Regarding the singers heard on this CD, they're OK but Eldridge is the best. His delightful rendition of "You're a Lucky Guy" feels like a sweet premonition of Billie Holiday's version, which was recorded a couple of months later for Vocalion. The Eldridge Orchestra as heard on the 1939 Varsity recordings featured reedmen Franz Jackson and Prince Robinson, with pianists Kenny Kersey and Clyde Hart. Bassist Ted Sturgis was highlighted during a hot stomp for big band entitled "Pluckin' the Bass." Milt Hinton had ground out his own version of this tune -- composed by the Eldridge brothers -- with Cab Calloway's Orchestra several months prior to the recording heard here. Eldridge's band also blew off some steam working up the old traditional numbers "High Society" and "Muskrat Ramble." This chronological grab bag finishes up with four handsome if conventional big-band recordings from February 1940 by Freddie Rich & His Orchestra. The vocal tracks are not especially substantial. What distinguished this band was the collective presence of Roy Eldridge, Benny Carter, Babe Russin, Clyde Hart, and Hayes Alvis. Only the instrumentals -- "Till We Meet Again" and "I'm Forever Blowing Bubbles" -- really carry any weight. arwulf arwulf
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TEDDY HILL AND HIS ORCHESTRA – 1935-1937 | The Classics Chronological Series – 645 (1992) FLAC (tracks+.cue), lossless

Saxophonist, bandleader and entrepreneur Teddy Hill is often remembered mainly as the organizer of informal after-hours jam sessions at Minton's Playhouse in Harlem during the early '40s. Those who delve a bit more assiduously into the history of jazz eventually learn that Teddy Hill led an excellent big band during the '30s. He started out playing drums and trumpet, then took up clarinet, soprano and tenor saxophones. Hill developed his chops during the '20s accompanying the Whitman Sisters then worked with George Howe, Frank Bunch & His Fuzzy Wuzzies and the Luis Russell orchestra, a fine band in which he nevertheless found few opportunities to solo (this almost certainly inspired his later decision to organize open-ended blowing sessions at Minton's). Hill put together his own band in 1934; this group secured steady employment broadcasting over the NBC radio network. All of their 1935 and 1936 recordings were derived from their radio work; they began making records in the Victor studios in 1937. Some of the singing may seem quaint or even saccharine; "Big Boy Blue," however, is full of pep and the stylized group vocal on "The Love Bug Will Bite You if You Don't Watch Out" is a bubbly delight. Note the inclusion of several Hill originals and a perfectly matched pair of atmospheric novelties: Larry Clinton's "Study in Brown" and Raymond Scott's "Twilight in Turkey." Some of Hill's players have become jazz legends -- Roy Eldridge, Bill Coleman, Frankie Newton, Shad Collins, Dicky Wells, Russell Procope and Chu Berry. Yet some folks will consider the presence of young Dizzy Gillespie on the session of May 17, 1937 as the main attraction; "King Porter Stomp" contains his very first recorded solo. Teddy Hill's entire recorded output fits neatly onto one compact disc. While this exact body of work has also been reissued on the Hep and Jazz Archives labels, the easy-to-consult layout of the Classics discography speaks strongly in its favor. arwulf arwulf  
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RED NORVO AND HIS ORCHESTRA – 1933-1936 | The Classics Chronological Series – 1085 (1999) FLAC (tracks), lossless

Aside from a handful of early pioneers such as Harry A. Yerkes, Charles Hamilton Green, and Jimmy Bertrand, Red Norvo was the first person to regularly play jazz on the xylophone. He also led the way in presenting that kind of music on vibraphone and marimba. This first volume of his complete recordings in chronological order documents Norvo's outstanding experiments in chamber jazz and small group swing during the years 1933-1935. Also covered in detail is the next phase of Norvo's career, as he led a big band either graced with or encumbered by jazz/pop vocalists. The first two sessions, recorded for the Brunswick label during the spring and autumn of 1933, resulted in four pieces unlike anything else being presented to the public at that time. "Knockin' On Wood" and "Hole in the Wall" are zippy features for xylophone with support from clarinetist Jimmy Dorsey and a sympathetic trio of pianist Fulton McGrath, guitar virtuoso Dick McDonough, and bassist Artie Bernstein. "Dance of the Octopus" and Bix Beiderbecke's "In a Mist" are rendered by a quartet that positively glows with the fascinating combination of Norvo's sublime marimba and Benny Goodman's colorful bass clarinet. The Swing Septet sessions of 1934 are remarkable for the combined presence of four men remembered today for having helped to shape the course of musical history by leading their own swing bands during the 1930s and '40s: Teddy Wilson, Artie Shaw, Charlie Barnet, and Red Norvo. The lineup on the following session -- apparently Norvo's only date as a leader during the year 1935 -- is every bit as formidable, as Bunny Berigan and Chu Berry appear alongside Wilson, Bernstein, George Van Eps, and Gene Krupa. These first 12 tracks are worth the price of admission. A 13th selection, "Gramercy Square," is an instrumental sweet serenade with richly rumbling reeds behind the xylophone. Its original flip side, "Decca Stomp," is a smooth but caffeinated foxtrot, correctly appraised in the liner notes as a premonition of what John Kirby's Sextet would be playing by the end of the decade. But something has surely changed -- these sessions from January of 1936 were a turning point as Norvo now began leading a semi-sweet jazz orchestra gilded at first with weirdly chosen vocalists. The trio heard singing "Polly Wolly Doodle" also tried to handle "The Wedding of Jack and Jill" but this is terminally cute stuff, strangely disconcerting after all of the honest jazz heard earlier in the chronology. Things get even more bizarre with Mae Questal -- the original voice of Popeye's Olive Oyl -- squealing and giggling as she sings "The Music Goes 'Round and Around" in her overgrown little girl's voice. This Betty Boop routine actually works better than her attempt at presenting "The Broken Record," a clever song re-creating the exact pace of a skipping 78-rpm platter. While Wingy Manone's rendition of this song is charming [see Classics 828], Questal's alarming hiccup effect is distracting at best. Finally, six melodies recorded in February 1936 and subsequently issued on the Champion label are deadened by trumpeter Stew Pletcher's attempts at romantic vocalizing. If only he'd kept his horn glued to his lips, these would have been pleasant instrumentals, but there's nothing that can be done about it now. arwulf arwulf
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MILDRED BAILEY – 1932-1936 | The Classics Chronological Series – 1080 (1999) FLAC (tracks), lossless

Two dozen recordings made by Bailey between 1932 and 1936 form this important chapter in the chronological review of her best work. This is right at the time she left Paul Whiteman's band and started recording on her own, often in the company of top-notch jazz artists like the Dorsey Brothers, Bunny Berigan, Teddy Wilson, Johnny Hodges, Artie Shaw, and future husband Red Norvo. As always, Bailey's timing is impeccable, her intonation nigh perfect, and the songs -- even the poppier offerings -- all swing like crazy. Cub Koda
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MILDRED BAILEY – 1937-1938 | The Classics Chronological Series – 1114 (2000) FLAC (tracks+.cue), lossless

Volume three in Mildred Bailey's Classics chronology revives 24 excellent recordings she made for the Vocalion label between January 19, 1937 and March 14, 1938. During this period, Bailey sang on quite a number of recordings issued (and subsequently reissued) under the name of her third husband, xylophonist Red Norvo. Everything on this compilation came out under the name of Mildred Bailey & Her Orchestra. A glance at the enclosed discography substantiates a claim made by producer Anatol Schenker in his liner notes: "The small band recordings made by Mildred Bailey in the late thirties certainly bear comparison with those made by Billie Holiday." Alternating throughout the discography with sessions featuring Red Norvo's big band, the septets heard backing Mildred Bailey are populated with accomplished improvisers like Roy Eldridge, Chu Berry, Buck Clayton, Scoops Carey, Herschel Evans, Hank D'Amico and Edmond Hall. The rhythm sections were driven by such master musicians as Teddy Wilson, Zutty Singleton, Freddie Green, Walter Page and Dave Tough. Anyone seeking particularly wonderful examples of Tough's marvelously controlled percussion artistry needs to listen to "I See Your Face Before Me," "Thanks for the Memory," "From the Land of Sky Blue Water" and "Lover Come Back to Me." Mildred Bailey was among the very first people in showbiz to recognize Billie Holiday's unique abilities as a jazz vocalist. This compilation demonstrates some of the songs, moods and instrumentalists that the two singers had in common. A more far-reaching assessment of their parallel careers is sobering; Billie Holiday struggled against racism, patriarchal oppression, entrenched conventions that made her feel like her own voice was "not legitimate," and a swarm of pernicious addictions that ultimately slew her. Mildred Bailey pioneered the feminine art of jazz singing and enjoyed enormous popularity for a while during the '30s; then, obese and diabetic, she found herself marginalized as an insufficiently svelte anomaly and was ultimately discarded by an entertainment industry that has always valued physical glamour over artistic ability. arwulf arwulf  
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BESSIE SMITH – 1929-1933 | The Classics Chronological Series – 977 (1997) FLAC (tracks+.cue), lossless

These 24 tracks represent the last phase of Bessie Smith's recording career. Over the course of ten years and 160 great songs, Smith had without a doubt earned her place as the Empress of the Blues. Unfortunately, until her passing in 1937, she spent most of her time on the show circuit. For fans hungry for a healthy dose of her legacy, though, generous discs such as this provide a chance to revel in the classic female blues singing queen's lusty power. As usual, Smith is helped out by the day's jazz royalty. Featured over the course of the cuts here -- many penned by both Smith and pianist Clarence Williams -- are such top soloists as Benny Goodman, Chu Berry, James P. Johnson, and Frankie Newton. Of course, Smith grabs most of the attention, especially on definitive sides like "Gimme a Pigfoot" and "Black Mountain Blues," not to mention the ribald gem "Need a Little Sugar in My Bowl." And as far as sound quality goes, this and many other of the discs in the Classics chronological series provide a viable alternative to Columbia's celebrated Complete Recordings line. Stephen Cook  
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BLUE LU BARKER – 1938-1939 | The Classics Chronological Series – 704 (1993) FLAC (tracks+.cue), lossless

This is one of the lesser entries put out by the European Classics label. Blue Lou Barker was a so-so singer who had the novelty hit "Don't You Make Me High"; all 21 of her prewar recordings are included on this CD. The more memorable moments are provided by the sidemen, which include trumpeters Red Allen and Charlie Shavers, clarinetist Buster Bailey, tenor saxophonist Chu Berry, and her husband, guitarist Danny Barker. Scott Yanow  
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TEDDY WILSON AND HIS ORCHESTRA – 1934-1935 | The Classics Chronological Series – 508 (1990) FLAC (tracks+.cue), lossless

There have been several overlapping reissue programs covering the material in the Classics series, especially the many Teddy Wilson recordings in which the pianist accompanied Billie Holiday. This particular CD has Wilson's first five sessions as a leader. He is heard on four fairly rare piano solos from 1934 (a year before he became a member of the Benny Goodman Trio), six other solos from October 7 and November 22, 1935, and on two band dates that resulted in nine numbers (including seven Billie Holiday vocals); the sidemen include trumpeter Roy Eldridge, tenorman Ben Webster, and (on three songs) clarinetist Benny Goodman. Lady Day's "What a Little Moonlight Can Do" and "I Wished on the Moon" are famous classics. Scott Yanow
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TEDDY WILSON AND HIS ORCHESTRA – 1935-1936 | The Classics Chronological Series – 511 (1990) FLAC (tracks+.cue), lossless

The second CD in Classics' Teddy Wilson series features the definitive swing pianist on two piano solos and leading all-star groups. There are seven generally familiar Billie Holiday vocals (including classic renditions of "I Cried for You" and "These Foolish Things"), a pair from Ella Fitzgerald (her first recordings outside of the Chick Webb Orchestra), two rare ones from Helen Ward, a vocal by Roy Eldridge on a heated "Mary Had a Little Lamb" and seven instrumentals. The strong supporting cast includes such players as altoist Johnny Hodges, trumpeters Frankie Newton, Jonah Jones and Eldridge, trombonist Benny Morton, clarinetist Buster Bailey, tenorman Chu Berry, and baritonist Harry Carney; Benny Goodman makes guest appearances on the two Helen Ward titles. Classic music although most of it is also easily available elsewhere. Scott Yanow
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TEDDY WILSON AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 548 (1990) FLAC (tracks+.cue), lossless

This Classics CD traces pianist Teddy Wilson's recordings during a seven-month period. He backs singer Billie Holiday on eight memorable performances (including "My Man," "Can't Help Lovin' Dat Man," "When You're Smiling," and "I Can't Believe That You're in Love with Me"), is showcased on a pair of piano solos, accompanies singer Sally Gooding on four songs that were not initially released until the 1980s, and is heard on four almost-as-rare numbers with vocalist Nan Wynn. Most significant among the occasional instrumentals are a few tunes (including the two-part "Just a Mood" and "Honeysuckle Rose") that Wilson performs in an exquisite quartet with trumpeter Harry James, xylophonist Red Norvo, and bassist John Simmons. Among the other sidemen heard on this valuable CD are trumpeters Buck Clayton, Hot Lips Page, and Bobby Hackett, clarinetist Pee Wee Russell, the tenors of Chu Berry and Lester Young, and altoist Tab Smith.  Scott Yanow
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TEDDY WILSON AND HIS ORCHESTRA – 1938 | The Classics Chronological Series – 556 (1990) FLAC (tracks+.cue), lossless

In addition to ten Billie Holiday vocals that are easily available elsewhere (best is "They Say"), this CD has some Wilson piano solos, a few rare Nan Wynn vocals and a band instrumental of "Jungle Love" with cornetist Bobby Hackett, clarinetist Pee Wee Russell, and altoist Johnny Hodges. Excellent music, but the best tracks have been reissued many times, making this CD of less interest than most of the other Classics. Scott Yanow
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FLETCHER HENDERSON AND HIS ORCHESTRA – 1934-1937 | The Classics Chronological Series – 527 (1990) FLAC (tracks+.cue), lossless

In early 1935, Fletcher Henderson broke up his classic orchestra, but a year later, with the success of so many other big bands, he formed a new ensemble. This Classics CD includes four songs from 1934, Henderson's entire output from 1936, and his first recording of 1937. The main difference between the two units is that the later one boasted the trumpet of Roy Eldridge and tenor solos from Coleman Hawkins's potential successor, Chu Berry. "Christopher Columbus" became a hit, as did the band's new theme song ("Stealin' Apples") but the brief bit of glory would not last. However, Henderson's brand of swing music still sounds fresh today and this CD is easily recommended. Scott Yanow
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FLETCHER HENDERSON AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 519 (1990) FLAC (tracks+.cue), lossless

The Classics chronological reissue of Fletcher Henderson's recordings continues with this disc which traces the decline of his last "permanent" orchestra. With the departure of Roy Eldridge, Henderson for the first time since the early '20s lacked any major trumpet soloists, although he still featured the fine tenor of Chu Berry and a variety of up-and-coming players. Unfortunately the band was far overshadowed by other orchestras influenced by Henderson and since the quality of his recordings was declining, the breakup of his group was hardly noticed. The irony is that the founder of the swing era could not survive when his music (as played by Benny Goodman) caught on. Scott Yanow
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WINGY MANONE AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 952 (1997) FLAC (tracks), lossless

Wingy Manone was a magnetic vocalist and trumpeter whose sense of humor and husky New Orleans drawl could make even the shallowest Tin Pan Alley confection sound attractively hip. "You're Precious to Me" is a strong example of this sort of magic in action. The other two songs recorded on the same day are loaded with funny business but Jack LeMaire's falsetto interjections sound like cheap imitation Step'n Fetchit. This degrading patter upstages Wingy and spoils the timing. Maybe they figured that out and canned the corn; from this point onward, Wingy has the floor and anyone who chimes in does it without sounding idiotic. Instrumentally, Wingy's bands were always strong and tight. Joe Marsala and Babe Russin were excellent reed players. Wingy was fortunate to have them on board for both of these 1937 sessions, and he knew it. "I Ain't Got Nobody" is almost as hot as Fats Waller's version, and Wingy's jump treatment of "Getting Some Fun Out of Life" compares interestingly with Billie Holiday's approach to the same tune. And leave it to Wingy to pull off the relatively superfluous lyrics to "Jazz Me Blues." The session of January 12, 1938 might be familiar to collectors as having been reissued on RCA Black and White as Chu Berry's Indispensable, a package that was conspicuously riddled with Wingy Manone sessions. Chu made a lot of good records with Wingy, and these are among the best of them. After two Scottish airs and a lazy lament, we're treated to one of the funniest and most finely crafted of all Manone creations: "Where's the Waiter," a topic most everyone can relate to. The session culminates with two oddball novelties having something or other to do with being Italian. Using an almost entirely different band, Wingy ground out a half-dozen further sides for Bluebird on May 23, 1938. Brad Gowans, best remembered as Eddie Condon's all-purpose valve trombonist, combines well with an able clarinet and alto saxophonist named Al Kavich. "Let's Break the Good News" is every bit as rowdy as a rendition recorded by Fats Waller around this same time. Wingy and Fats often seem to have been on the same page: In 1939 Fats would record a solo piano version of "Ah! So Pure," an aria from Martha, Friedrich Von Flotow's operatic hit of 1847. Wingy, of course, turns this melody into a foot-stomping singalong. The "Mannone Blues" is actually Bessie Smith's "Backwater Blues," if you crank it up to 78 miles per hour and let Wingy put a few of his own words on it. Slim Gaillard's "Flat Foot Floogie" works well, although this is clearly a case where Waller cut Wingy (and everyone else for the rest of time) with his 'Continental Rhythm' version of the "Floy Floy." Mary Lou Williams' "Little Joe From Chicago" sounds almost as though it was written for Wingy and his scruffy little pack. Here then is another great album of Wingy's unique brand of good-time jazz, with jokes and warts included. arwulf arwulf
Tracklist & Credits :

WINGY MANONE AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 1023 (1998) FLAC (tracks+.cue), lossless

Wingy Manone's popular series of Dixieland-flavored combo records continued in 1939-40. This CD, the sixth in Classics' complete reissuance of Manone's recordings of the era, is most notable for having tenor saxophonist Chu Berry as a key sideman on three of the four sessions. Also heard in the supporting cast on some of the dates are clarinetist Buster Bailey, drummer Cozy Cole and guitarist Danny Barker, although the final four selections are done mostly with obscure players. Manone has his typical jivey vocals on 15 of the 22 selections including "Corrine Corrini," "Beale Street Blues," "The Saints," "My Honey's Lovin' Arms," "When My Sugar Walks Down the Street" and "The Mosquito Song." Not too surprisingly, it is the seven instrumentals that are of greatest interest, particularly "Jumpy Nerves" (which uses Manone's riff which would soon become the basis for "In the Mood"), "Royal Garden Blues," "Blue Lou" and "She's Crying for Me." In general, this was a strong period for Manone's recordings and there are plenty of fine solos from Wingy, Chu and Bailey. Scott Yanow  
Tracklist & Credits :

LIL HARDIN ARMSTRONG AND HER SWING ORCHESTRA – 1936-1940 | The Classics Chronological Series – 564 (1991) FLAC (tracks+.cue), lossless

Years before Joe Glaser assumed unmitigated control over Louis Armstrong's professional existence, Lil Hardin Armstrong essentially served as her husband's manager. She taught him music theory, and advised him how to dress in style and conduct himself with dignity in public. She also suggested when the time was ripe for Louis to break away from King Oliver's band and venture out on his own. Had it not been for Lil Hardin Armstrong, the Hot Five and Hot Seven recordings would never have come together the way they did, and Louis Armstrong's career would have unfolded much differently. Lil was a brilliant pianist. She sang in a gutsy manner, often using lyrics that were disarmingly funny. "Or Leave Me Alone" is one of the best examples of her knuckly humor that you'll ever hear. It also anticipates a song that Groucho Marx would present many years later as an elderly man singing softly under the spotlight at Carnegie Hall. "Show me a rose, and I'll show you a stag at bay...Show me a rose, or leave me alone," he sang, along with other lyrics that can only be described as surreal. Who wrote Groucho's song, and wasn't it closely based upon this spunky bit of fun from 1936? In another surprising premonition, "Brown Gal" is clearly the direct ancestor of "Bad Boy," a big hit for the Jive Bombers during the 1950s. Chu Berry is all over the first six selections, and Buster Bailey's clarinet lights up the first 14. Berry is succeeded by Robert Carroll, Prince Robinson, Tony Zimmers, and Russell Johns. Let's hear it for the great forgotten tenor players! When Wellman Braud showed up to play bass on April 15, 1937, Pops Foster retreated to the drums. It's the kind of a reaction you'd expect out of any sensible bassist, although Foster could have stood his ground. Maybe they flipped a coin. In any case, Foster uses the hi-hat with great success. These songs are all typical of the 1930s, a time when anybody could float a three-minute song regardless of lyrical content. Lil plays no piano on this collection until the session of September 9, 1939. And it isn't until March 18, 1940, that listeners get to enjoy a pair of instrumentals. In spite of the band being identified as Lil's Dixielanders, "Sixth Street" and "Riffin' the Blues" sound like pure unadulterated Harlem swing. The next place to go is Lil's fabulous 1961 session for Riverside Records, a strong installment in that marvelous series entitled Chicago: The Living Legends.  arwulf arwulf   
Tracklist :
1    Lil Armstrong And Her Swing Orchestra–    Or Leave Me Alone 2:58
Clarinet – Buster Bailey
Double Bass [String Bass] – John Frazier
Guitar – Huey Long
Piano – Teddy Cole
Tenor Saxophone – Chu Berry
Trumpet – Joe Thomas
Vocals – Lil Armstrong
Written-By – Buck
2    Lil Armstrong And Her Swing Orchestra–    My Hi-De-Ho Man 2:39
Clarinet – Buster Bailey
Double Bass [String Bass] – John Frazier
Guitar – Huey Long
Piano – Teddy Cole
Tenor Saxophone – Chu Berry
Trumpet – Joe Thomas
Vocals Written-By – Lil Armstrong
3    Lil Armstrong And Her Swing Orchestra–    Brown Gal 2:43
Clarinet – Buster Bailey
Double Bass [String Bass] – John Frazier
Guitar – Huey Long
Piano – Teddy Cole
Tenor Saxophone – Chu Berry
Trumpet – Joe Thomas
Vocals – Lil Armstrong
Written-By – Avon, Armstrong
4    Lil Armstrong And Her Swing Orchestra–    Doin' The Suzie-Q 2:48
Clarinet – Buster Bailey
Double Bass [String Bass] – John Frazier
Guitar – Huey Long
Piano – Teddy Cole
Tenor Saxophone – Chu Berry
Trumpet – Joe Thomas
Vocals, Written-By – Lil Armstrong
5    Lil Armstrong And Her Swing Orchestra–    Just For A Thrill 2:48
Clarinet – Buster Bailey
Double Bass [String Bass] – John Frazier
Guitar – Huey Long
Piano – Teddy Cole
Tenor Saxophone – Chu Berry
Trumpet – Joe Thomas
Vocals, Written-By – Lil Armstrong
6    Lil Armstrong And Her Swing Orchestra–    It's Murder 2:18
Clarinet – Buster Bailey
Double Bass [String Bass] – John Frazier
Guitar – Huey Long
Piano – Teddy Cole
Tenor Saxophone – Chu Berry
Trumpet – Joe Thomas (4)
Vocals – Lil Armstrong
Written-By – Buck, Armstrong
7    Lil Armstrong And Her Swing Orchestra–    Born To Swing 2:33
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – George "Pop" Foster
Guitar – Arnold Adams
Piano – James Sherman
Tenor Saxophone – Robert Carroll
Trumpet – Joe Thomas
Vocals – Lil Armstrong
Written-By – Avon, Armstrong
8    Lil Armstrong And Her Swing Orchestra–    (I'm On A) Sit-Down Strike For Rhythm 2:41
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – George "Pop" Foster
Guitar – Arnold Adams
Piano – James Sherman
Tenor Saxophone – Robert Carroll
Trumpet – Joe Thomas
Vocals – Lil Armstrong
Written-By – Avon, Armstrong
9    Lil Armstrong And Her Swing Orchestra–    Bluer Than Blue 3:08
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – George "Pop" Foster
Guitar – Arnold Adams
Piano – James Sherman
Tenor Saxophone – Robert Carroll
Trumpet – Joe Thomas
Vocals – Lil Armstrong
Written-By – Avon, Armstrong
10    Lil Armstrong And Her Swing Orchestra–    I'm Knockin' At The Cabin Door 2:54
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – George "Pop" Foster
Guitar – Arnold Adams
Piano – James Sherman
Tenor Saxophone – Robert Carroll
Trumpet – Joe Thomas
Vocals – Lil Armstrong
Written-By – Avon, Armstrong
11    Lil Armstrong And Her Swing Orchestra–    Lindy Hop 2:49
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – Manzie Johnson
Guitar – Arnold Adams
Piano – James Sherman
Tenor Saxophone – Prince Robinson
Trumpet – Shirley Clay
Vocals – Lil Armstrong
Written-By – Avon, Armstrong
12    Lil Armstrong And Her Swing Orchestra–    When I Went Back Home 2:37
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – Manzie Johnson
Guitar – Arnold Adams
Piano – James Sherman
Tenor Saxophone – Prince Robinson
Trumpet – Shirley Clay
Vocals – Lil Armstrong
Written-By – Avon, Armstrong
13    Lil Armstrong And Her Swing Orchestra–    Let's Call It Love 3:00
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – Manzie Johnson
Guitar – Arnold Adams
Piano – James Sherman
Tenor Saxophone – Prince Robinson
Trumpet – Shirley Clay
Vocals – Lil Armstrong
Written-By – Armstrong, Matthews
14    Lil Armstrong And Her Swing Orchestra–    You Mean So Much To Me 2:50
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – Manzie Johnson
Guitar – Arnold Adams
Piano – James Sherman
Tenor Saxophone – Prince Robinson
Trumpet – Shirley Clay
Vocals – Lil Armstrong
Written-By – Jackson
15    Lil Armstrong And Her Swing Orchestra–    Let's Get Happy Together 2:54
Clarinet, Tenor Saxophone – Tony Zimmers
Double Bass [String Bass] – Haig Stephens
Drums – Sam Weiss
Guitar – Dave Barbour
Piano – Frank Froeba
Trombone – Al Philburn
Trumpet [or] – Johnny McGee, Ralph Muzillo
Vocals, Written-By – Lil Armstrong
16    Lil Armstrong And Her Swing Orchestra–    Happy Today, Sad Tomorrow 3:09
Clarinet, Tenor Saxophone – Tony Zimmers
Double Bass [String Bass] – Haig Stephens
Drums – Sam Weiss
Guitar – Dave Barbour
Piano – Frank Froeba
Trombone – Al Philburn
Trumpet [or] – Johnny McGee, Ralph Muzillo
Vocals – Lil Armstrong
Written-By – Armstrong, Livingston
17    Lil Armstrong And Her Swing Orchestra–    You Shall Reap What You Sow 2:59
Clarinet, Tenor Saxophone – Tony Zimmers
Double Bass [String Bass] – Haig Stephens
Drums – Sam Weiss
Guitar – Dave Barbour
Piano – Frank Froeba
Trombone – Al Philburn
Trumpet [or] – Johnny McGee*, Ralph Muzillo
Vocals – Lil Armstrong
Written-By – Robinson
18    Lil Armstrong And Her Swing Orchestra–    Oriental Swing 2:58
Clarinet, Tenor Saxophone – Tony Zimmers
Double Bass [String Bass] – Haig Stephens
Drums – Sam Weiss
Guitar – Dave Barbour
Piano – Frank Froeba
Trombone – Al Philburn
Trumpet [or] – Johnny McGee, Ralph Muzillo
Vocals – Lil Armstrong
Written-By – Spencer
19    Lil Armstrong And Her Swing Orchestra–    Safely Locked Up In My Heart 2:54
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – O'Neil Spencer
Piano, Vocals – Lil Armstrong
Trombone – J.C. Higginbotham
Trumpet – Reunald Jones
Written-By – Avon, Armstrong
20    Lil Armstrong And Her Swing Orchestra–    Everything's Wrong, Ain't Nothing Right 3:02
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – O'Neil Spencer
Piano, Vocals – Lil Armstrong
Trombone – J.C. Higginbotham
Trumpet – Reunald Jones
Written By – Evans
Written-By – Armstrong
21    Lil Armstrong And Her Swing Orchestra–    Harlem On Saturday Night 2:40
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – O'Neil Spencer
Piano, Vocals – Lil Armstrong
Trombone – J.C. Higginbotham
Trumpet – Reunald Jones
Written-By – Smith, Johnson
22    Lil Armstrong And Her Swing Orchestra–    Knock-Kneed Sal (On The Mourner's Bench) 2:31
Clarinet – Buster Bailey
Double Bass [String Bass] – Wellman Braud
Drums – O'Neil Spencer
Piano, Vocals – Lil Armstrong
Trombone – J.C. Higginbotham
Trumpet – Reunald Jones
Written-By – Armstrong, Randolph
23    Lil "Brown Gal" Armstrong And Her Dixielanders–    Sixth Street 2:47
Alto Saxophone – Don Stovall
Double Bass [String Bass] – Wellman Braud
Drums – Manzie Johnson
Piano – Lil Armstrong
Tenor Saxophone – Russell Johns
Trumpet – Jonah Jones
Written By – Fitzpatrick
24    Lil "Brown Gal" Armstrong And Her Dixielanders–    Riffin' The Blues 2:37
Alto Saxophone – Don Stovall
Double Bass [String Bass] – Wellman Braud
Drums – Manzie Johnson
Piano – Lil Armstrong
Tenor Saxophone – Russell Johns
Trumpet – Jonah Jones
Written By – Fitzpatrick
25    Lil "Brown Gal" Armstrong And Her Dixielanders–    Why Is A Good Man So Hard To Find? 3:00
Alto Saxophone – Don Stovall
Double Bass [String Bass] – Wellman Braud
Drums – Manzie Johnson
Piano – Lil Armstrong
Tenor Saxophone – Russell Johns
Trumpet – Jonah Jones
Vocals – Midge Williams
Written-By – Davis
26    Lil "Brown Gal" Armstrong And Her Dixielanders–    My Secret Flame 3:09
Alto Saxophone – Don Stovall
Double Bass [String Bass] – Wellman Braud
Drums – Manzie Johnson
Piano – Lil Armstrong
Tenor Saxophone – Russell Johns
Trumpet – Jonah Jones
Vocals – Hilda Rogers
Written-By – Avon, Armstrong