Mostrando postagens com marcador Clarence Williams. Mostrar todas as postagens
Mostrando postagens com marcador Clarence Williams. Mostrar todas as postagens

19.2.26

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)

18.2.26

SARA MARTIN — In Chronological Order Volume 1 (1922-1923) DOCD-5395 (1995) FLAC (tracks+.cue), lossless

Sara Martin was active during the 1920s as both blues vocalist and talent scout. She made a considerable number of records for the Okeh label, sang backup for Afro-Mexican-American gospel pianist Arizona Dranes with Richard M. Jones, and personally brought about the first recording session to feature the vaudeville team of Butterbeans & Susie. Sara Martin's "complete" recorded works were reissued by Document during the '90s, in four volumes under her name and on various compilations with other artists. Volume one covers her recording activity from October 17, 1922 through June 27, 1923; everything heard on this collection was recorded in New York City. She is backed by pianist Clarence Williams (tracks 1-4, 12-24), with whom she sings a duet (track 14); with Williams and his wife Eva Taylor, with whom she sings duets (tracks 15, 20, and 21); with cornetist and aspiring bandleader Thomas Morris (who provides support for Martin and Taylor on the tracks just mentioned); with composer and publisher W.C. Handy and his orchestra (tracks 9-11), and with songwriter Shelton Brooks, remembered today as the man who penned "Some of These Days," "Walkin' the Dog," "At the Darktown Strutters' Ball," and "I Wonder Where My Easy Rider's Gone." Brooks, who also recorded with Ethel Waters, plays piano on tracks 5-8 and uses his voice during the "Original Blues" and "I Got What It Takes to Bring You Back." This all adds up to a fascinating core sample of early African-American urban blues with overtones of jazz. Missing, however, are two sides that Martin cut with her Brown-Skin Syncopators in November 1922; the group included pianist and future bandleader Claude Hopkins and two men with ties to young Duke Ellington: trumpeter Arthur Whetsol and banjoist Elmer Snowden. An even more conspicuous gap is represented by the absence of four songs with backing by young pianist Thomas "Fats" Waller recorded in December 1922. Her collaborations with Waller, which are among the earliest known recordings by either artist, have been reissued under his name, most notably perhaps on JSP's Complete Recorded Works, Vol. 1. Why they weren't included here is a real puzzler. arwulf arwulf
Tracklist :
1.    Sara Martin–    Sugar Blues    2:59
2.    Sara Martin–    Achin' Hearted Blues    3:15
3.    Sara Martin–    Keeps On A-Rainin' (Papa, He Can't Make No Time)    2:54
4.    Sara Martin–    Joe Turner Blues    2:53
5.    Sara Martin–    Michigan Water Blues    3:07
6.    Sara Martin–    If Your Man Is Like My Man (I Sympathize With You)    2:42
7.    Sara Martin - Shelton Brooks–    I Got What It Takes To Bring You Back 3:10
Piano, Speech – Shelton Brooks
Vocals – Sara Martin
8.    Sara Martin - Shelton Brooks–    Original Blues 3:14
Piano, Speech – Shelton Brooks
Vocals – Sara Martin

9.    Sara Martin–    Come Home Papa Blues 2:50
Alto Saxophone – Unknown Artist
Banjo – Unknown Artist
Cornet [Poss.] – Tick Gray
Drums – Unknown Artist
Orchestra – W. C. Handy's Orchestra
Piano – Charlie Hillman
Tenor Saxophone – Unknown Artist
Trombone – Sylvester Bevard
Vocals – Sara Martin

10.    Sara Martin–    It Takes A Long Time To Get 'em But You Can Lose 'em Overnight 2:27 
Alto Saxophone – Unknown Artist
Banjo – Unknown Artist
Cornet [Poss.] – Tick Gray*
Drums – Unknown Artist
Orchestra – W. C. Handy's Orchestra
Piano – Charlie Hillman
Tenor Saxophone – Unknown Artist
Trombone – Sylvester Bevard
Vocals – Sara Martin

11.    Sara Martin–    Laughin' Cryin' Blues 2:54
Alto Saxophone – Unknown Artist
Banjo – Unknown Artist
Cornet [Poss.] – Tick Gray
Drums – Unknown Artist
Orchestra – W. C. Handy's Orchestra
Piano – Charlie Hillman
Tenor Saxophone – Unknown Artist
Trombone – Sylvester Bevard
Vocals – Sara Martin

12.    Sara Martin–    Cruel Backbitin' Blues    3:23
13.    Sara Martin–    Leave My Sweet Daddy Alone    2:51
14.    Sara Martin - Clarence Williams–    Monkey Man Blues 3:24
Piano [Prob.] – Clarence Johnson 
Vocals – Clarence Williams, Sara Martin

15.    Sara Martin - Eva Taylor–    Yodeling Blues    3:00
16.    Sara Martin–    Where Can That Somebody Be    3:07
17.    Sara Martin–    Just Thinkin' Blues    2:57
18.    Sara Martin–    If You Don't Like It, Leave    2:59
19.    Sara Martin–    Nobody In Town Can Bake A Sweet Jelly Roll Like Mine    3:03
20.    Sara Martin - Eva Taylor–    That Free And Easy Papa O'Mine    2:54
21.    Sara Martin - Eva Taylor–    Hesitation Blues    3:19
22.    Sara Martin–    Tired O'Waitin' Blues    3:08
23.    Sara Martin–    You Just Can't Have No One Man By Yourself    2:46
24.    Sara Martin–    Goin' Down To The Levee    2:51 

SARA MARTIN — In Chronological Order Volume 2 (1923-1924) DOCD-5396 (1995) FLAC (tracks+.cue), lossless

Based on the music that Sara Martin recorded at the beginning of her career (and released on Vol. 1 of this four-CD series), she was primarily a superior vaudevillian performer. However, Vol. 2 shows that Martin was actually an even better blues singer. In general, the material that she recorded had improved by mid 1923, as had her singing, and there are many gems among the 23 songs included on this disc. Martin is accompanied on the first seven selections by pianist Clarence Williams, is joined on four numbers by small groups led by Williams (and including cornetist Tom Morris and soprano saxophonist Sidney Bechet), is backed by pianist Porter Grainger on six songs and then, most intriguingly, performs duets with Sylvester Weaver (heard on two numbers apiece on guitar and banjo). Other than the band numbers, the focus throughout is mostly exclusively on the singer who is heard in prime form on such tunes as "New Orleans Hop Scop Blues," "Mistreated Mama Blues," "Slow Down Sweet Papa, Mama's Catching Up with You" and "Everybody's Got the Blues." Formerly rare music that is both historical and quite strong for the period. Scott Yanow
Tracklist :
1.    Sara Martin–    Ye Shall Reap Just What You Sow  2:48
Piano – Clarence Williams
2.    Sara Martin–    New Orleans Hop Scop Blues 2:52
Piano – Clarence Williams
3.    Sara Martin–    Uncle Sam Blues  3:04
Piano – Clarence Williams
4.    Sara Martin–    Sweet Man Was The Cause Of It All  2:51
Piano – Clarence Williams
5.    Sara Martin–    Sympathizing Blues 3:01
Piano – Clarence Williams
6.    Sara Martin–    Mistreated Mama  3:05
Piano – Clarence Williams
7.    Sara Martin–    Runnin' 'Round With The Blues  3:07
Piano – Clarence Williams
8.    Sara Martin And Clarence Williams' Blue Five–    Blind Man Blues 3:06 
Banjo – Buddy Christian
Cornet – Tom Morris
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Soprano Saxophone – Sidney Bechet
Trombone – John Mayfield 

9.    Sara Martin, Clarence Williams' Blue Five–    Atlanta Blues 2:52
Banjo – Buddy Christian
Cornet – Tom Morris
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Soprano Saxophone – Sidney Bechet
Trombone – John Mayfield 

10.    Sara Martin–    My Good Man's Blues (Mahalia's Blues) 2:47
Piano – Porter Grainger
11.    Sara Martin–    Jelly's Blues  3:22
Piano – Porter Grainger
12.    Sara Martin–    Troubled Blues 2:56
Piano – Porter Grainger
13.    Sara Martin–    I'm Satisfied  2:43
Piano – Porter Grainger
14.    Sara Martin–    Blue Gum Blues  2:57
Piano – Porter Grainger
15.    Sara Martin–    Slow Down Sweet Papa Mama's Catching Up With You 3:01
Piano – Porter Grainger
16.    Sara Martin–    Graveyard Dream Blues 3:08
Accompanied By – Clarence Williams' Harmonizing Four
Banjo – Buddy Christian
Cornet – Tom Morris
Piano – Clarence Williams
Soprano Saxophone – Sidney Bechet

17.    Sara Martin–    A Green Gal Can't Catch On (Blues) 3:38
Accompanied By – Clarence Williams' Harmonizing Four
Banjo – Buddy Christian
Cornet – Tom Morris
Piano – Clarence Williams
Soprano Saxophone – Sidney Bechet

18.    Sara Martin–    Longing For Daddy Blues 3:03
Guitar – Sylvester Weaver
19.    Sara Martin–    I've Got To Go And Leave My Daddy Behind 2:40
Guitar – Sylvester Weaver
20.    Sara Martin–    Roamin' Blues 2:56
Guitar – Sylvester Weaver
21.    Sara Martin–    Good-Bye Blues 3:12
Guitar – Sylvester Weaver
22.    Sara Martin–    Everybody's Got The Blues 3:19
Banjo – Sylvester Weaver
23.    Sara Martin–    My Man Blues 3:19
Banjo – Sylvester Weaver
Credits : 
Vocals – Sara Martin
Compilation Producer – Johnny Parth
Liner Notes – Pen Bogert
Remastered By – Gerhard Wessely
 

SARA MARTIN — In Chronological Order Volume 3 (1924-1925) DOCD-5397 (1995) FLAC (tracks+.cue), lossless

The third of four Document CDs that reissue all of the classic blues singer Sara Martin recordings (except for a few numbers with famous musicians that have been reissued elsewhere) has the bulk of her 1924-25 performances. Martin is heard in several different settings: duets with guitarist Sylvester Weaver, small group dates with Clarence Williams, duets with Williams or pianist Lemuel Fowler and backing by a violin-guitar-banjo trio. Sara Martin's voice and emotional range grew gradually throughout the '20s and such numbers as "Got to Leave My Home Blues," "Some Blues," "I'd Rather Be Blue Than Green," "I Can Always Tell When a Man Is Treatin' Me Cool" and "Mournful Blues" are among the finest recordings of her career.  Scott Yanow
Tracklist :
1.    Pleading Blues    3:05
2.    Every Woman Needs A Man    3:07
3.    Got To Leave My Home Blues    2:41
4.    Poor Me Blues    2:41
5.    If I Don't Find My Brown I Won't Be Back At All (take A)    2:52
6.    Too Late Now To Get Your Baby Back    3:04
7.    He's Never Gonna Throw Me Down  3:04
Orchestra – Clarence Williams' Harmonizers
8.    What Kinda Man Is You    3:08
9.    Some Blues (No Name Blues)    3:12
10.    Old Fashioned Sara Blues    2:48
11.    Sobbin' Hearted Blues    3:00
12.    I'd Rather Be Blue Than Green    2:58
13.    Cage Of Apes    2:32
14.    Things Done Got Too Thick    2:51
Orchestra – Clarence Williams' Blue Five
15.    Eagle Rock Me, Papa  2:48
Orchestra – Clarence Williams' Blue Five
16.    Can't Find Nobody To Do Like My Old Daddy Do    2:31
17.    I'm Sorry Blues    3:01
18.    Daddy, Ease This Paine Of Mine    2:28
19.    Strange Lovin' Blues    2:56
20.    I Can Always Tell When A Man Is Treatin' Me Cool    3:09
21.    Down At The Razor Ball    2:38
22.     Mournful Blues    3:20
23.     Georgia Stockade Blues    2:54
24.     I'm Gonna Hoodoo You  3:04
Orchestra – Clarence Williams' Blue Five
Credits : 
Alto Saxophone – Unknown Artist (tracks: 14, 15, 24)
Banjo – Buddy Christian (tracks: 14, 15), Charles Washington (tracks: 16 to 20)
Banjo [Prob.] – Buddy Christian (tracks: 24)
Compilation Producer – Johnny Parth
Cornet – ... Thomas (tracks: 24), June Clark (tracks: 21 to 23), Tom Morris (tracks: 7), Unknown Artist (tracks: 14, 15)
Guitar – Sylvester Weaver (tracks: 1 to 5, 16 to 20)
Liner Notes – Pen Bogert
Piano – Clarence Williams (tracks: 6, 7, 10 to 15, 21 to 24), Lemuel Fowler (tracks: 8, 9)
Soprano Saxophone [Poss.] – Ernest Elliott (tracks: 7)
Trombone – Charlie Irvis (tracks: 7), Unknown Artist (tracks: 14, 15)
Trombone [Poss.] – Charlie Irvis (tracks: 24)
Trombone [Prob.] – Jimmy Harrison (tracks: 21 to 23)
Violin – E. L. Coleman (tracks: 19, 20)
Vocals – Clarence Williams (tracks: 24), Sara Martin

SARA MARTIN — In Chronological Order Volume 4 (1925-1928) DOCD-5398 (1995) FLAC (tracks+.cue), lossless

It is ironic that so many classic female blues singers recorded a ton of material between 1921 and 1924 and, when the recording techniques had advanced greatly and the musicianship of their accompaniments had vastly improved, the vocalists had much less opportunity to be documented. Sara Martin recorded three CDs worth of material during 1922-1925, and then just 23 tunes during the three years covered by this CD. Martin was at her best during the latter period, but she only had three recording sessions in 1926, one in 1927, and three in 1928 before her recording career came to an end. She was accompanied by many impressive players during this era including several groups led by Clarence Williams (which had such musicians as King Oliver, Charlie Irvis, Bubber Miley, and Benny Waters), Richard M. Jones' Jazz Wizards, the piano of Eddie Heywood on two duets, and three numbers with Harry's Happy Four, a hot quartet consisting of Harry Cooper and Louis Metcalf on cornets, pianist Earres Prince, and banjoist Bernard Addison. The diverse material is highlighted by "What More Can a Monkey Woman Do," a hot version of "Yes, Sir, That's My Baby," a rare vocal version of "The Last Time" (recorded two years later by Louis Armstrong's Savoy Ballroom Five), "What's the Matter Now," "Late Last Night," "Cushion Foot Stomp," and "Death Sting Me Blues." Vintage blues completists will want all four of the Sara Martin CDs, but others who just want a sampling of her best work are advised to get Vol. 4 and Vol. 3 first. Scott Yanow
Tracklist :
1.    Your Going Ain't Giving Me The Blues  3:11
Alto Saxophone – Unknown Artist
Banjo [Prob.] – Buddy Christian
Cornet – ... Thomas
Orchestra – Clarence Williams' Blue Five
Piano, Vocals – Clarence Williams
Trombone [Poss.] – Charlie Irvis
Vocals – Sara Martin

2.    What More Can A Monkey Woman Do  2:58
Alto Saxophone – Unknown Artist
Banjo [Prob.] – Buddy Christian
Cornet – ... Thomas
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone [Poss.] – Charlie Irvis
Vocals – Sara Martin

3.    Some Of These Mornings  3:07
Banjo – Bernard Addison
Cornet – Harry Cooper, Louis Metcalf
Orchestra – Harry's Happy Four
Piano – Earres Prince
Vocals – Sara Martin

4.    Yes, Sir, That's My Baby  3:09
Banjo – Bernard Addison
Cornet – Harry Cooper, Louis Metcalf
Orchestra – Harry's Happy Four
Piano – Earres Prince
Vocals – Sara Martin

5.    Alabamy Bound  2:43
Banjo – Bernard Addison
Cornet – Harry Cooper, Louis Metcalf
Orchestra – Harry's Happy Four
Piano – Earres Prince
Vocals – Sara Martin

6.    That Dance Called Messin' Around  3:19
Piano – Eddie Heywood
Vocals – Sara Martin

7.    The Last Time  2:38
Piano – Eddie Heywood 
Vocals – Sara Martin

8.    What's The Matter Now?  3:11
Alto Saxophone – Unknown Artist
Banjo – Unknown Artist
Brass Bass [Poss.] – Cyrus St. Clair
Cornet – Unknown Artist
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

9.    I Want Every Bit Of It I Don't Like It Second Hand  2:29
Alto Saxophone – Unknown Artist
Banjo – Unknown Artist
Brass Bass [Poss.] – Cyrus St. Clair
Cornet – Unknown Artist
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

10.    Brother Bem  3:05
Alto Saxophone [Poss./Or] – Don Redman, Otto Hardwicke
Banjo – Unknown Artist
Brass Bass [Poss.] – Cyrus St. Clair
Cornet – Bubber Miley
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

11.    The Prisoner's Blues  2:44
Alto Saxophone [Poss./Or] – Don Redman, Otto Hardwicke
Banjo – Unknown Artist
Brass Bass [Poss.] – Cyrus St. Clair
Cornet – Unknown Artist
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

12.    Careless Man Blues  3:05
Alto Saxophone [Poss./Or] – Don Redman, Otto Hardwicke
Banjo – Unknown Artist
Brass Bass [Poss.] – Cyrus St. Clair
Cornet – Bubber Miley
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

13.    How Could I Be Blue  2:44
Alto Saxophone [Poss./Or] – Don Redman, Otto Hardwicke
Banjo – Unknown Artist
Brass Bass [Poss.] – Cyrus St. Clair
Cornet – Bubber Miley
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

14.    Late Last Night  2:29
Clarinet, Alto Saxophone – Artie Starks
Cornet [Poss.] – Shirley Clay
Drums – Cliff Jones
Orchestra – Richard M. Jones' Jazz Wizards
Piano – Richard M. Jones
Tenor Saxophone [Prob.] – Barney Bigard
Vocals – Sara Martin

15.    Some Sweet Day  2:26
Clarinet, Alto Saxophone – Artie Starks
Cornet [Poss.] – Shirley Clay
Drums – Cliff Jones
Orchestra – Richard M. Jones' Jazz Wizards
Piano – Richard M. Jones
Tenor Saxophone [Prob.] – Barney Bigard
Vocals – Sara Martin

16.    Cushion Foot Stomp  3:10
Alto Saxophone – Arville Harris
Brass Bass – Cyrus St. Clair
Clarinet – Ben Waters
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone – Charlie Irvis
Vocals – Sara Martin

17.    Take Your Black Bottom Outside
Alto Saxophone – Arville Harris
Brass Bass – Cyrus St. Clair
Clarinet – Ben Waters
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone – Charlie Irvis
Vocals – Sara Martin

18.    Hole In The Wall  2:55
Brass Bass – Cyrus St. Clair
Clarinet – Arville Harris
Cornet – Ed Allen, King Oliver
Orchestra – Clarence Williams And His Orchestra
Piano – Clarence Williams
Trombone – Ed Cuffee
Vocals – Sara Martin

19.    Don't Turn Your Back On Me  2:47
Brass Bass – Cyrus St. Clair
Clarinet – Arville Harris
Cornet – Ed Allen, King Oliver
Orchestra – Clarence Williams And His Orchestra
Piano – Clarence Williams
Trombone – Ed Cuffee
Vocals – Sara Martin

20.    Death Sting Me Blues  2:43
Brass Bass – Cyrus St. Clair
Clarinet – Arville Harris
Cornet – King Oliver
Orchestra – Clarence Williams And His Orchestra
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

21.    Mean Tight Mama  2:56
Brass Bass – Cyrus St. Clair
Cornet – King Oliver
Orchestra – Clarence Williams And His Orchestra
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

22.    Mistreating Man Blues 2:44
Brass Bass – Cyrus St. Clair
Cornet – King Oliver
Orchestra – Clarence Williams And His Orchestra
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

23.    Kitchen Man Blues  2:31
Brass Bass – Cyrus St. Clair
Cornet – King Oliver
Orchestra – Clarence Williams And His Orchestra
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin
 

14.6.25

LIZZIE MILES — Complete Recorded Works In Chronological Order • 3 (1928-1939) DOCD-5460 (1996) FLAC (tracks), lossless

The third of three Document Lizzie Miles CDs has some of the finest recordings of the singer's career, particularly on the first half of this disc. After three numbers with a trio not helped by the presence of clarinetist Bob Fuller, Miles performs two superior songs ("You're Such a Cruel Papa to Me" and "My Dif'rent Kind of Man") while joined by cornetist King Oliver, Albert Socarras (doubling on flute and alto) and pianist Clarence Williams. Miles fits right in with a hot combo led by the unknown Jasper Davis (probably a pseudonym) that includes cornetist Louis Metcalf, altoist Charlie Holmes and pianist Cliff Jackson. She is also featured on two songs in duet with the great pianist Jelly Roll Morton, three tunes with pianist Harvey Brooks (including "My Man O' War" and "Electrician Blues") and joined by the trio of pianist Porter Grainger, guitarist Teddy Bunn and bassist Pops Foster (highlighted by "Yellow Dog Gal Blues") in 1930. Nine years passed before Lizzie Miles had an opportunity to record again. At the age of 44 she sounds fine on seven numbers with the Melrose Stompers (a Chicago swing septet whose personnel is long lost) from 1939; the band is also heard taking "Mellow Rhythm" as an instrumental. Highly recommended, particularly for the 1928-30 recordings, this CD has Lizzie Miles' last recordings before she began her comeback in 1952. Scott Yanow  

Tracklist :
1 –Lizzie Miles
         Shake It Down 2:40
Banjo – Unknown Artist
Clarinet – Bob Fuller
Piano – Louis Hooper
Written-By – Spencer Williams  
2 –Lizzie Miles
          Banjo Papa (Stop Pickin' On Me) 2:48
Banjo – Unknown Artist
Clarinet – Bob Fuller
Piano – Louis Hooper
Written-By – Andy Razaf
3 –Lizzie Miles
 Your Worries Ain't Like Mine 2:49
Banjo – Unknown Artist
Clarinet – Bob Fuller
Piano – Louis Hooper
Written-By – Andy Razaf
4 –Lizzie Miles
         You're Such A Cruel Papa To Me 3:10
Cornet – King Oliver
Flute, Alto Saxophone – Albert Socarras
Piano – Clarence Williams
5 –Lizzie Miles
          My Dif'rent Kind O' Man 3:03
Cornet – King Oliver
Flute, Alto Saxophone – Albert Socarras 
Piano – Clarence Williams
Written-By – Jack Palmer 
6 –Lizzie Miles
Georgia Gigolo 2:54
Alto Saxophone – Charlie Grimes
Banjo – Elmer Snowden
Clarinet, Alto Saxophone – Charlie Holmes
Cornet – Louis Metcalf, Unknown Artist
Leader – Jasper Davis
Orchestra – Jasper Davis And His Orchestra
Piano [Poss.] – Cliff Jackson
Sousaphone [Bb] – Bass Moore
Trombone – Henry Hicks
Written-By – Spencer Williams 
7 –Lizzie Miles
          It Feels So Good 3:01
Alto Saxophone – Charlie Grimes 
Banjo – Elmer Snowden
Clarinet, Alto Saxophone – Charlie Holmes
Cornet – Louis Metcalf, Unknown Artist
Leader – Jasper Davis
Orchestra – Jasper Davis And His Orchestra
Piano [Poss.] – Cliff Jackson
Sousaphone [Bb] – Bass Moore
Trombone – Henry Hicks
Written-By – Spencer Williams 
8 –Lizzie Miles
I Hate A Man Like You 3:22
Piano, Written-By – Jelly Roll Morton
9 –Lizzie Miles
Don't Tell Me Nothin' 'Bout My Man 2:57
Piano, Written-By – Jelly Roll Morton
10 –Lizzie Miles My Man O' War 3:28
Piano – Harvey Brooks  
Written-By – Andy Razaf, Spencer Williams  
11 –Lizzie Miles
Electrician Blues 3:12
Piano – Harvey Brooks 
12 –Lizzie Miles
Good Time Papa 3:36
Piano – Harvey Brooks 
Written-By – Lizzie Miles
13 –Lizzie Miles
The Man I Got Ain't The Man I Want 2:54
Bass – Pops Foster
Guitar – Teddy Bunn
Piano – Porter Grainger
14 –Lizzie Miles
Yellow Dog Gal Blues 2:55
Bass – Pops Foster
Guitar – Teddy Bunn
Piano – Porter Grainger
15 –Lizzie Miles And The Melrose Stompers
Mellow Rhythm 2:34
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
16 –Lizzie Miles And The Melrose Stompers
He's My Man  2:49
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
17 –Lizzie Miles And The Melrose Stompers
That's All Right Daddy 2:56
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
18 –Lizzie Miles And The Melrose Stompers
Hold Me, Parson 2:46
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
19 –Lizzie Miles And The Melrose Stompers
         Keep Knockin' No. 2 (But You Can't Come On) 2:50
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
20 –Lizzie Miles And The Melrose Stompers
          Stranger Blues 3:00
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
21 –Lizzie Miles And The Melrose Stompers
Twenty Grand Blues 2:49
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
22 –Lizzie Miles And The Melrose Stompers
          He's Red Hot To Me 2:49
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
Credits :
Teddy Bunn - Guitar
Pops Foster - Sax (Baritone)
Bob Fuller - Clarinet
Porter Grainger, Louis Hooper - Piano
Charlie Grimes - Sax (Alto)
Henry Hicks - Trombone
Charlie Holmes - Clarinet, Sax (Alto)
King Oliver - Conductor
Lizzie Miles - Composer, Vocals (tracks: 1 to 14, 16 to 22) 
Jelly Roll Morton - Composer, Piano
Albert Socarras - Flute, Sax (Alto)
Clarence Williams - Composer, Piano

5.2.25

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

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

21    Mamie Smith–    Kansas City Man Blues 3:20
Banjo – Buddy Christian
Orchestra – The Harlem Trio
Piano – Clarence Williams
Soprano Saxophone – Sidney Bechet

22    Mamie Smith–    Plain Old Blues 2:46
Piano – Porter Grainger
23    Mamie Smith–    Mistreatin' Daddy Blues 3:17
Piano – Porter Grainger
24    Mamie Smith–    Do it, Mr. So-and-So 3:06
Piano – Porter Grainger

8.8.23

LOUIS JORDAN AND HIS TYMPANY FIVE – 1934-1940 | The Chronogical Classics – 636 (1992) FLAC (tracks+.cue), lossless

There's a lot more to Louis Jordan than "Choo Choo Ch'Boogie." Here is an opportunity to check out the man's very earliest recordings, beginning with a series of rare treats that fill in the blank spots at the beginning of his story. It's worth having the entire disc just for the sake of "I Can't Dance (I Got Ants in My Pants)." This 1934 Clarence Williams record clearly demonstrates where Jordan would soon be heading as a performer, and what would distinguish him for the rest of his career. Jordan's exacting delivery and sense of timing are already evident, and Williams sounds delighted to be able to interact with someone with a distinct knack for humorous bantering. It's a shame they didn't knock off another dozen tunes together! Jordan's work with Chick Webb is represented here by three vocals from 1937. He sings very sweetly on "Gee But You're Swell" and "It's Swell of You," sounding so sugary that a lot of folks probably wouldn't even recognize him. "Rusty Hinge" is a bit livelier, and Jordan puts a tiny bit of cayenne in his honeyed vocal as the band swings out. Chick Webb's orchestra helped to define the big-band sound of the '30s, and "Hinge" is a good example of that archetypal style. The first records that Jordan made as a leader were cut in December of 1938. His band at that time was named after their regular jam spot, the Elk's Rendezvous Club, located at 484 Lenox Avenue in beautiful Harlem, U.S.A. It seems as though having recorded with Webb for Decca must have enabled Jordan to continue working for that label as a leader in his own right. Rodney Sturgis sings three pleasant tunes in a warm, smooth voice -- "So Good" is the catchiest -- then Jordan takes over as vocalist. "Honey in the Bee Ball" is much lighter fare than the punchy stuff Jordan would later become famous for. A very silly "Barnacle Bill the Sailor" has ridiculous falsetto vocals from both Jordan and the band. But then things start to coalesce. Did you ever wonder who put the "Tympany" in the Tympany Five? Well, here's the answer. On the session of March 29, 1939, Walter Martin augmented his regular drum kit with a kettledrum. The instrumental "Flat Face" has a whole lot of ascending and descending runs on the tympanum, and the instrument is marginally audible throughout the rest of the material on this disc. Even when you think it isn't there, Martin uses it like an enormous tom-tom to add ballast to the band. The pedal drum with variable pitch would gradually disappear but the band was to be called the Tympany Five for years to come. Ballsy tenor man Lemuel Fowler was eventually replaced by the equally tough Stafford "Pazuzza" Simon. Both of these saxophonists made good use of their lower registers. Courtney Williams plays smudge-pot trumpet and Jordan demonstrates what a kick-ass alto player he was. By 1940 all the ingredients are there, anticipating the well-known hit records this little band would soon be churning out in rapid succession. arwulf arwulf  
Tracklist + Credits :

28.7.23

FATS WALLER – 1922-1926 | The Chronogical Classics – 664 (1992) FLAC (tracks+.cue), lossless

Anyone who's fallen in love with Fats Waller's music and wants to delve a bit deeper than "greatest hits" should explore what young Mr. Waller managed to achieve on phonograph records during the 1920s. American labels have been frustratingly slow to release material from this fascinating period in Waller's artistic evolution, despite the fact that he began recording at the age of 18, a full 12 years before the first Fats Waller & His Rhythm sessions initiated his fairly rapid rise to fame. Two piano solos from 1922 grant listeners an exciting glimpse of a solidly able young Waller, fresh from his personal training under James P. Johnson's wing. These two solos belong at the head of any Fats Waller piano anthology, yet they didn't make it onto Bluebird's Turn on the Heat, an otherwise excellent double CD mainly devoted to the commercially issued Victor solos from 1927-1941.
Much of the material on Classics 664 consists of female vocals (mostly blues, a few topical jazz novelties, and a somber pair of spirituals) accompanied by Waller's piano. The art of accompanying was an essential component of the Harlem stride pianist's job description, and Waller did it as skillfully as James P. Johnson. Alberta Hunter's duet with Waller is one of the best examples here, along with two titles featuring the amazing Rosa Henderson. Even the sleepier numbers featuring less-punchy vocalists are still worth absorbing and appreciating. There's a very rare example of Porter Grainger taking a vocal on Waller's "In Harlem's Araby" and a pair of funny duets featuring Sara Martin and Clarence Williams. "Squabbling Blues" must be rare indeed, as the original 78 rpm platter used in this compilation has a very rough start and even skips briefly -- -collectors expect this sort of thing from the Document label, but never from Classics. Fortunately, the song is so satisfying, one quickly forgets the technical foibles.
But the main reason to obtain a copy of this CD is for the two titles featuring Clarence Williams and his friend Clarence Todd on kazoos, with Waller's sure-footed piano and an eccentric percussionist named Justin Ring (he shows up on certain Eddie Lang sessions from the late '20s). "West Indies Blues," in particular, is the prize in this package; the sound of two grown men unashamedly wailing away on their kazoos is guaranteed to help prevent listeners from taking reality too seriously. A must for collectors and a healthy experience for all who are interested in early jazz. arwulf arwulf  
Tracklist + Credits :

6.7.23

BESSIE SMITH – 1923 | The Classics Chronological Series – 761 (1994) FLAC (tracks+.cue), lossless

This document of Smith's first year in the studio reveals a blues giant in full command of her talents. And while later dates -- especially the epochal 1925 sessions with Louis Armstrong -- offer more in the way of the era's horn-blowing royalty, these early sides nicely showcase Smith in the unadorned company of a variety of top pianists like Clarence Williams and Fletcher Henderson. The Empress of the Blues flexes her vocal muscle throughout, ranging from Broadway fare like "Baby Won't You Please Come Home" to the dark-hued rumblings of "Graveyard Dream Blues." She also revels in the provocative ambiguities of "Nobody in Town Can Bake a Sweet Jelly Roll" and puts her stamp on the future blues warhorse "'Tain't Nobody's Bizness If I Do." From the opening strain of her first best-seller, "Downhearted Blues," until the end of the disc, lovers of classic female blues will find plenty here to keep them enthralled. Stephen Cook
Tracklist + Credits :

5.7.23

BESSIE SMITH – 1925-1927 | The Classics Chronological Series – 843 (1995) FLAC (tracks+.cue), lossless

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


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 :

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  
Tracklist + Credits :

26.5.23

JAMES P. JOHNSON – 1928-1938 | The Classics Chronological Series – 671 (1992) FLAC (tracks+.cue), lossless

Welcome to a dizzying tour of one man's adventures in the recording studios of New York over the span of ten very eventful years. This segment of the James P. Johnson chronology begins with the "Daylight Savin' Blues," a magnificent instrumental recorded in October of 1928. The Gulf Coast Seven were essentially an Ellington quintet with Perry Bradford and James P. Johnson. The most stunning component here is the soprano saxophone of Johnny Hodges, who had come up under the direct influence of Sidney Bechet. Perry Bradford does his share of singing, sounding particularly mellifluous in duet with Gus Horsley on "Put Your Mind Right on It." The key phrase in that song is the immortal refrain: "let's misbehave." There is something about these 1929 ensembles that tickles the brain. Two sides recorded for Victor on November 18 bear a strange resemblance to recordings made under the heading of Fats Waller & His Buddies nearly two months earlier, on September 24. For vocalists, Waller used three reed players and the banjoist from his band to form a sort of barbershop quartet, billed as the Four Wanderers. Johnson's orchestra featured King Oliver, had Waller sitting in with James P. at the piano, and crackled with frantic vocals by an unidentified group calling themselves the Keep Shufflin' Trio. Both singing groups are fairly outrageous and corny to almost bizarre extremes. The word "Modernistic" had exciting connotations in 1929, as culture and technology raced headlong into the unknown. Both the solo piano rendition and the almost ridiculous vocal version convey some measure of that excitement. This collection contains no less than six outstanding piano solos, including the first recording ever made by anyone of Cole Porter's "What Is This Thing Called Love?." Recycling a discarded melody from the Clarence Williams publishing catalog, "How Could I Be Blue?" is a priceless vaudevillian piano duet with comical cuckold dialogue between JPJ and Clarence Williams himself. While this precious recording has recently found its way on to various James P. Johnson reissues, seldom has the flip side been heard. "I've Found a New Baby" focuses upon Clarence's indigestion. James appears to have a half-pint of liquor in his hip pocket but after administering the "cure" he informs Clarence that he's been given a shot of foot medicine! This disc includes three vocals by Fats Waller's lyricist Andy Razaf, and then concludes with five smoky sides from 1938 under the banner of Pee Wee Russell's Rhythmakers. Convening on behalf of the Hot Record Society, this magnificent ensemble had elements of Eddie Condon, Duke Ellington and Count Basie, which is to say Chicago, New York and Kansas City. You'd also need to include New Orleans in the schematic, as Wellman Braud and Zutty Singleton represented everything that was strongest and best about the Crescent City. "Horn of Plenty Blues" is a majestic slow drag with vocal by the drummer. "There'll Be Some Changes Made" received such an in-depth treatment that it was recorded in two parts, allowing extra solo space for the more expressive members. Pee Wee's group swings like the dickens, finishing off this amazing retrospective with crowing vigor and collective enthusiasm. arwulf arwulf
Tracklist :

FRANKIE "Half-Pint" JAXON — Complete Recorded Works In Chronological Order Volume 3 · 1937-1940 (1994) FLAC (tracks+.cue), lossless

After cutting records with the Harlem Hamfats in Chicago during the years 1937 and 1938, Frankie "Half Pint" Jaxon made his final ...