DUKE ELLINGTON AND HIS ORCHESTRA – 1945 | The Classics Chronological Series – 915 (1996) FLAC (tracks+.cue), lossless

After starting off with a few valuable V-disc performances (including 13 minutes of the "Black, Brown and Beige" suite), this CD features some of Duke Ellington's studio recordings of April-May 1945. Although this particular band was not rated as high as their 1939-1942 counterpart, they still ranked near the top of their field. Among the gems are "The Kissing Bug," "Harlem Air Shaft," quite a few fine remakes (this version of "It Don't Mean a Thing" with singers Al Hibbler, Joya Sherrill, Kay Davis, and Marie Ellington is a classic), and a pair of unusual numbers. "Tonight I Shall Sleep" has trombonist Tommy Dorsey guesting with Duke Ellington's orchestra, while on "The Minor Goes Muggin'," Ellington sits in with Dorsey's band. Overall, there is a lot of rather interesting music to be heard on this CD from this underrated version of the Ellington big band. Scott Yanow   Tracklist :

JELLY-ROLL MORTON – 1930-1939 | The Chronogical Classics – 654 (1992) FLAC (tracks+.cue), lossless

There are a lot of Jelly Roll Morton reissues kicking around, but few of them span the 1930s the way this one does. Mr. Jelly's chronology generally gets lopped off after the last Red Hot Peppers session, often entirely omitting the rest of his remarkable story. This, then, is a valuable bundle of ensemble stomps and slow drags garnished with a few piano solos. The first session is a whopper. Wilton Crawley was a peculiar vaudevillian who played laughing hyena clarinet. During the opening track he removes the mouthpiece from the instrument and cups his hands around it, generating a series of wah-wah-wah whinnies. This makes perfect sense in a twisted sort of way. Bruce Johnson plays the washboard with great precision, adding lots of little "dings" wherever he pleases. Most of the guys in the band knew each other from having worked in the Luis Russell Orchestra. There are fine solos from Red Allen, Charlie Holmes, and that marvelous guitarist Teddy Bunn. Contrary to what the discography says, Crawley does not vocalize on this date, and Pops Foster sternly puffs away at a tuba rather than using the string bass as listed. Jelly's Red Hot Peppers were on their last couple of go-rounds during the second half of 1930, but this was still a hot band, notable for Ward Pinkett's punchy trumpet, Morton's fabulous piano, and the agility of guitarists Howard Hill and Bernard Addison. "Strokin' Away" contains a wonderful tuba solo by the mighty Pete Briggs. "Blue Blood Blues" begins and finishes with glorious tones in both registers from clarinetist Albert Nicholas.
Years passed before Jelly was able to record again. When he sat down to record piano solos in 1938, his overdeveloped showmanship was bottled up and ready to come pouring out. According to Morton, the lightning-quick "Finger Buster" was supposed to be one of the most difficult pieces ever written for the piano. What it amounts to is a flashy display of technical dexterity. "Creepy Feeling" is a beautiful example of the Caribbean influence that Jelly was fond of demonstrating. "Honky Tonk Music" also breathes with a bit of the "Spanish tinge," along with a deliberate walking bassline, soon to be known as boogie-woogie. The first "New Orleans Jazzmen" session bristles with Sidney Bechet, Albert Nicholas, and Sidney DeParis. "High Society" sounds like they're taking it right down the middle of the street, which is where "Oh, Didn't He Ramble?" would also have taken place. Jelly then sings cleaned-up lyrics to a couple of slow drags, giving listeners a chance to savor the tenor saxophone of Happy Caldwell. While "Buddy Bolden" was originally a song about farting, the notorious "Winin' Boy" dates from Morton's tenure as a Storyville cathouse piano player. Jelly's Library of Congress recording of his erstwhile theme song contains some of the most sexually explicit lyrics ever sung into a recording microphone. "Winding Boy" was a term used to describe a "tireless stud." While we're on the subject, James Scott's "Climax Rag" is pleasantly stimulating, as are all eight selections from September of 1939. This wonderful disc ends with two delightful solos including "Original Rags," Scott Joplin's masterpiece of 1899. arwulf arwulf  
Tracklist + Credits :

JELLY-ROLL MORTON – 1939-1940 | The Chronogical Classics – 668 (1992) FLAC (tracks+.cue), lossless

This CD has (with the exception of two songs from a slightly later radio broadcast) the final recordings of pianist-composer Jelly Roll Morton. Best are his piano solos (such as "The Crave," "The Naked Dance," and "King Porter Stomp") and selections in which he backs his own vocals (including "I Thought I Heard Buddy Bolden Say," "Don't You Leave Me Here," and "Mamie's Blues"). Morton's three band dates (which resulted in the final dozen titles) are slightly disappointing because he was obviously trying to write a hit and not having any success. The songs are all forgettable except "Sweet Substitute" and the standard "Panama." But overall, this CD (along with the others in the Classics reissues series) are easily recommended to fans of vintage classic jazz who do not own the more complete five-CD Bluebird Morton set. Scott Yanow
Tracklist + Credits :

McKINNEY'S COTTON PICKERS – 1928-1929 | The Chronogical Classics – 609 (1991) FLAC (tracks+.cue), lossless

 This is the first of three Classics CDs featuring all of the master takes by McKinney's Cotton Pickers, one of the finest big bands of the late '20s. The inventive arrangements of leader Don Redman (who also plays alto and clarinet in addition to taking some vocals) are even better than the individual solos. Highlighted by such numbers as "Four or Five Times," "Milenberg Joys," "Cherry," "Don't Be Like That," "There's a Rainbow 'Round My Shoulder," and a surprisingly hard-swinging version of "It's a Precious Little Thing Called Love," the Cotton Pickers feature tight ensembles, spirited vocals, and concise, hot solos. All three of their Classics CD's are well worth picking up. Scott Yanow
Tracklist + Credits :

DON REDMAN AND HIS ORCHESTRA – 1931-1933 | The Chronogical Classics – 543 (1990) FLAC (tracks+.cue), lossless

The first of three Don Redman Classics CDs consists of his orchestra's earliest sessions. Although Redman's big band never hit it as big as his former employers' (Fletcher Henderson and McKinney's Cotton Pickers), it was an impressive outfit, thanks to the leader's advanced arrangements. Among the key sidemen on these performances are trumpeters Red Allen (who is on the first two sessions) and Sidney DeParis, tenor saxophonist Robert Carroll, and pianist Horace Henderson. Highlights include "Chant of the Weed" (Redman's atmospheric theme song), "I Heard," "How'm I Doin'," and "Hot and Anxious." The main Don Redman CD to get. Scott Yanow
Tracklist + Credits :

DON REDMAN AND HIS ORCHESTRA – 1933-1936 | The Chronogical Classics – 553 (1990) FLAC (tracks+.cue), lossless

The great arranger Don Redman made Fletcher Henderson's Orchestra in the mid-1920s the first real swing band, but during the swing era itself, Redman was little known to the general public. His big band (heard here on the second of three "complete" Classics CDs) failed to really catch on, although it stayed together throughout the 1930s. After recording a bunch of sessions in 1933, Redman's orchestra only cut two sides in Jan. 1934 and then none until May 1936. There are vocals on 22 of the 25 selections on this CD; of the three instrumentals, this version of "Christopher Columbus" might not be by Redman. The leader's charming vocals are fine, but the nine by Harlan Lattimore are of lesser interest, and Chick Bullock dominates a six-song session. There are some good solos along the way, particularly by trumpeter Sidney DeParis, trombonists Benny Morton and Claude Jones and the forgotten tenor Robert Carroll, but this CD is primarily for completists. Scott Yanow 
Tracklist + Credits :

FLETCHER HENDERSON AND HIS ORCHESTRA – 1931 | The Classics Chronological Series – 555 (1990) FLAC (image+.cue), lossless

Even with such strong players as trumpeters Bobby Stark and Rex Stewart, trombonist Benny Morton and tenor-saxophonist Coleman Hawkins, the fortunes of Fletcher Henderson's orchestra were slipping during 1931. With the departure of Don Redman several years earlier, the group's arrangements were less innovative, and the pressure was on to perform commercial songs for the Depression audience. Even the jazz standards (such as "Tiger Rag" and "After You've Gone") are less interesting than those of their competitors, although this new version of "Sugar Foot Stomp" is a classic and the strong solos by the all-star cast make this CD well worth acquiring. Scott Yanow
Tracklist + Credits : 

FLETCHER HENDERSON AND HIS ORCHESTRA – 1931-1932 | The Classics Chronological Series – 546 (1990) FLAC (tracks+.cue), lossless

During this period Fletcher Henderson was often stuck recording commercial leftover like "My Sweet Tooth Says I Wanna (But My Wisdom Tooth Says No)," "I Wanna Count Sheep (Till the Cows Come Home)" and "Strangers," but in most cases his all-star orchestra was able to overcome the material. This CD, part of Classics' complete chronological reissue of Henderson's recordings, also finds the orchestra backing Baby Rose Marie on two songs in addition to attempting (with uneven success) to put its stamp on jazz standards made famous by other musicians (such as "12th Street Rag" and "Casa Loma Stomp"). The music is generally quite good if not essential Henderson. Scott Yanow
Tracklist + Credits :

CAB CALLOWAY AND HIS ORCHESTRA – 1934-1937 | The Classics Chronological Series – 554 (1990) FLAC (image+.cue), lossless

Cab Calloway, who first became popular in 1930, retained his popularity (despite a lot of competition) throughout the swing era. On this excellent CD (the fifth of 12 in the European label Classics' Complete Calloway series), highlights include "Keep That Hi-De-Hi in Your Soul," "Nagasaki," "Copper Colored Gal," "Frisco Flo" and a crazy "That Man Is Here Again." With fine soloists in trumpeters Lammar Wright and Shad Collins, trombonist Claude Jones and (by 1936) the great tenor Ben Webster (along with a top-notch rhythm section that includes bassist Milt Hinton), this was a much better swing orchestra than it is generally rated in jazz history books. Scott Yanow
Tracklist :
1     Weakness 3:09
Edwin Swayzee
2     Good Sauce from the Gravy Bowl 3:06
Cab Calloway / Irving Mills / Edwin Swayzee    
3     Keep That Hi-De-Hi in Your Soul 2:56
Cab Calloway / Irving Mills / Morris White    
4     Miss Otis Regrets 3:01
Cole Porter    
5     I Ain't Got Nobody (And Nobody Cares for Me) 3:01
Roger Graham / Dave Peyton / Spencer Williams
6     Nagasaki 2:54
Mort Dixon / Harry Warren
7     Baby Won't You Please Come Home 3:14
Charles Warfield / Clarence Williams
8     I Love to Sing-A 3:06
Harold Arlen / E.Y. "Yip" Harburg    
9     You're the Cure for What Ails Me 3:02
Harold Arlen / E.Y. "Yip" Harburg
10     Save Me, Sister
Harold Arlen / E.Y. "Yip" Harburg 3:02
11     Love Is the Reason 3:13
Otis Rene / Leon René
12     When You're Smiling 3:17
Mark Fisher / Joe Goodwin / Larry Shay
13     Jess's Natu'lly Lazy 3:09
Stone / Scharpe / Bishop
14     Are You in Love With Me Again? 3:08
Unknown
15     Copper Colored Gal 2:44
J. Fred Coots / Joe Davis    
16     Frisco Flo 3:25
J. Fred Coots / Joe Davis    
17     The Wedding of Mr. and Mrs. Swing 3:17
J. Fred Coots / Benny Davis
18     The Hi-De-Ho Miracle Man 3:14
J. Fred Coots / Joe Davis
19     Don't Know If I'm Comin' or Goin' 2:42
Lupin Fein / Lee Wainer    
20     My Gal Mezzanine 2:40
Ben Ellison / Otis Rene / Leon René    
21     That Man Is Here Again 3:35    
22     Peckin' 2:55
Harry James / Ben Pollack
23     Congo 2:33
Morris White

CAB CALLOWAY AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 568 (1991) FLAC (image+.cue), lossless

The swing era may have been at its height during the time covered by this CD (the sixth of 12 put out by the Classics label that reissue all of Cab Calloway's 1930-42 recordings) but the colorful vocalist held onto his audience and remained a household name. With such soloists as Ben Webster or Chu Berry on tenor, trumpeters Shad Collins and Lammar Wright and a rhythm section including guitarist Danny Barker and bassist Milt Hinton, Calloway had a particularly strong (if generally overlooked) orchestra. Among the more memorable selections of the 24 included on this CD are "Swing, Swing, Swing," "She's Tall, She's Tan, She's Terrific," "Bugle Blues" and "Hi-De-Ho Romeo." Scott Yanow
Tracklist :
1     Swing, Swing, Swing 2:43
Morris White
2     Wake up and Live 2:30
Mack Gordon / Harry Revel
3     Manhattan Jam 2:39
Cab Calloway    
4     Moon at Sea 3:00
Harry Pease / Vincent Rose / Larry Stock
5     I'm Always in the Mood for You 2:58
J. Fred Coots / Joe Davis
6     She's Tall, She's Tan, She's Terrific 2:35
J. Fred Coots / Benny Davis
7     Go South, Young Man 2:13
J. Fred Coots / Joe Davis
8     Mama, I Wanna Make Rhythm 3:05
Richard Byron / Jerome Jerome / Walter Kent
9     Hi De Ho Romeo 2:50
J. Fred Coots / Joe Davis
10     Queen Isabella 2:46
Joe Davis / Paul Denniker
11     Savage Rhythm 2:35
J. Fred Coots / Benny Davis
12     Every Day's a Holiday 2:29
Sam Coslow / Barry Trivers
13     Jubilee 2:33
Stanley Adams / Hoagy Carmichael
14     In an Old English Village 3:12
Edward Pola / Albert Sendrey    
15     (Just an) Error in the News 2:51
Will Hudson / Irving Mills / Henry Nemo
16     A Minor Breakdown (Rustle of Swing) 2:28
Unknown
17     Bugle Blues  2:28
Irving Mills / Jack Pettis / Elmer Schoebel
18     One Big Union for Two 2:56
Harold Rome
19     Doing the Reactionary 2:42
Harold Rome
20     Rustle of Swing 3:00
Cab Calloway / Ralph Yaw
21     Three Swings and Out 2:16
Cab Calloway / Ralph Yaw
22     I Like Music (Played With a Swing Like This) 2:37
Cab Calloway / Ralph Yaw
23     Foolin' With You 2:34
Morris White
24     Azure 2:48
Duke Ellington / Irving Mills
Credits :    
Directed By – Cab Calloway
Orchestra – Cab Calloway And His Orchestra
Tenor Saxophone – Ben Webster (tracks: 1 to 3, 7 to 24), Chu Berry (tracks: 4 to 6)
Vocals – Cab Calloway (tracks: 1, 2, 4 to 9, 12 to 15, 18, 19, 22 to 24)

BENNY MORTON – 1934-1945 (1999) The Classics Chronological Series – 906 | FLAC (tracks), lossless

Benny Morton didn't make very many recordings as a leader. What you've got here are apparently all of them. The 1934 band contained several musicians who had worked in Don Redman's orchestra. "Fare Thee Well to Harlem" is one of many preposterous Tin Pan Alley songs depicting a "negro" who yearns to go back to the noble South, in this case because of the questionable assumption that down there people go to church instead of hanging out in bars. Note that Duke Ellington always insisted there were more churches than nightclubs in Harlem. Ellington gave the world the diametric opposite of this song when in 1941 he composed "Jump For Joy," that ode to emancipation with its opening lyric: "Fare thee well, land of cotton, fare thee well." It's almost as if he was responding to this particular song! Will we ever know? "Tailor Made" was composed and arranged by bassist Billy Taylor, who chugs away behind the band without soloing. "The Gold Digger's Song," with its refrain of "We're in the money," came directly out of Busby Berkeley's Hollywood during the Great Depression. Nobody ever sang a hipper version of this giddy paean to economic denial than Henry "Red" Allen. Edward Inge quotes both "Yankee Doodle" and "Pagliacci" during his clarinet solo. Benny Morton's Trombone Choir was a follow-up for Roy Eldridge's Trumpet Ensemble and Coleman Hawkins & His Sax Ensemble, all brilliantly produced by Harry Lim for Keynote Records. The fact that four trombones were considered a choir is immediately understandable when you immerse yourself in their glowing tonalities. The music is sculpted with great precision, and the 'bones are able to strut their stuff largely because of the excellent rhythm section of Johnny Guarnieri, Al Hall and Sid Catlett. Although Leonard Feather is credited as the composer of "Sliphorn Outing," the tune is clearly recognizable as an upbeat version of "Avalon." You realize Al Jolson could have sued for royalties! "Sliphorn" is also a necessary blow-out after the beautifully controlled cooperation and perfectly blended harmonies of "Where or When," "Liza" and "Once in a While." The Blue Note recordings of Benny Morton's All Stars, featuring Barney Bigard and Ben Webster, are precious as lapis lazuli. "My Old Flame" comes across like an Ellington tune, for obvious reasons. "Conversing In Blue" might be one of the greatest collective improvisations in all of traditional jazz. Six men interact, three of them using wind instruments in strikingly expressive ways, carefully listening to each other while voicing their innermost feelings with honesty and passion. The ballad and the blues are perfectly matched by a pair of hot standards. All four sides were originally issued on 12" 78s, allowing additional time for extended solos and prolonged exchanges between the horns. The album ends with four obscure titles issued on the Stinson label. Benny Morton's gentle approach to the trombone is beautifully demonstrated on "Stardust." Prince Robinson's clarinet is a noticeable presence during "Boogie" and those quirkily titled romps, "Williphant Willie" and "Chicken at the Chester." Not a bad career retrospective for a man who spent most of his time playing in the brass section of other peoples' bands. arwulf arwulf 
Tracklist :
1    Benny Morton And His Orchestra–    Get Goin' 3:13
Arranged By – Jerry Blake
Vocals – Jerry Blake
Written-By – Oakland, Conrad, Drake
2    Benny Morton And His Orchestra–    Fare-Thee-Well To Harlem 3:05
Vocals – Jerry Blake
Written-By – Hanighen, Mercer
3    Benny Morton And His Orchestra–    Tailor Made 3:12
Written-By, Arranged By – Billy Taylor
4    Benny Morton And His Orchestra–    The Gold Digger's Song (We're In The Money) 3:10
Vocals – Henry "Red" Allen
Written-By – Dubin, Warren
5    Benny Morton's Trombone Choir–    Where Or When 4:38
Written-By – Rodgers - Hart
6    Benny Morton's Trombone Choir–    Liza
Written-By – Gershwin - Gershwin
7    Benny Morton's Trombone Choir–    Once In A While 4:42
Written-By – Green, Edwards
8    Benny Morton's Trombone Choir–    Sliphorn Outing 4:33
Written-By – Feather
9    Benny Morton's All Stars–    My Old Flame 4:14
Written-By – Johnson, Coslow
10    Benny Morton's All Stars–    Conversing In Blue 4:38
Written-By – Benny Morton
11    Benny Morton's All Stars–    The Sheik Of Araby 4:35
Written-By – Wheeler, Smith, Snyder
12    Benny Morton's All Stars–    Limehouse Blues 4:09
Written-By – Furber, Braham
13    Benny Morton–    Boogie 2:36
Written-By – Unknown Artist
14    Benny Morton–    Williphant Willie 2:25
Written-By – Unknown Artist
15    Benny Morton–    Stardust 2:57
Written-By – Hoagy Carmichael
16    Benny Morton–    Chicken At The Chester 2:23
Written-By – Unknown Artist
Credits :   
Bass – Al Hall (tracks: 5 to 8), Billy Taylor (tracks: 1 to 4), Israel Crosby (tracks: 9 to 12), Jimmy Butts (tracks: 13 to 16)
Clarinet – Barney Bigard (tracks: 9 to 12), Prince Robinson (tracks: 13 to 16)
Clarinet, Alto Saxophone – Edward Inge (tracks: 1 to 4), Jerry Blake (tracks: 1 to 4)
Drums – Eddie Dougherty (tracks: 9 to 16), Manzie Johnson (tracks: 1 to 4), Sid Catlett (tracks: 5 to 8)
Guitar – Bobby Johnson (tracks: 1 to 4)
Piano – Don Kirkpatrick (tracks: 1 to 4), Johnny Guarnieri (tracks: 5 to 8), Sammy Benskin (tracks: 9 to 16)
Tenor Saxophone – Ben Webster (tracks: 9 to 12), Ted McRae (tracks: 1 to 4)
Trombone – Benny Morton, Bill Harris (tracks: 5 to 8), Claude Jones (tracks: 5 to 8), Vic Dickenson (tracks: 5 to 8)
Trumpet – Bobby Stark (tracks: 13 to 16), Henry "Red" Allen (tracks: 1 to 4)

LOUIS ARMSTRONG AND HIS ORCHESTRA – 1940-1942 | The Classics Chronological Series –685 (1993) FLAC (tracks+.cue), lossless

While MCA continues to release incomplete samplers of his Decca recordings, the European Classics series has reissued the great trumpeter's performances the best possible way: complete and in chronological order. This final CD has 18 mostly rare big band selections from 1940-42 (highlighted by "I Cover the Waterfront," a remake of "When It's Sleepy Time down South," "Coquette" and "I Never Knew"), along with the four songs recorded by Armstrong during a reunion session with the great soprano saxophonist Sidney Bechet (including a heated "Down in Honky Tonk Town"). Ignore the better publicized MCA Louis Armstrong reissues, and get this series instead. Scott Yanow   
Tracklist :
1     Cut off My Legs and Call Me "Shorty" 2:33
Edna Alexander / Don Raye
2     Cain and Abel 3:01
Fensteck / Loman   
3     Perdido Street Blues 3:04
Lil Hardin
4     2:19 Blues 2:52
Mamie Desdume
5     Down in Honky Tonk Town 3:03
Chris Smith / Trixie Smith
6     Coal Cart Blues 2:55
Louis Armstrong / Lil Hardin
7     Ev'rything's Been Done Before 3:04
Harold Adamson / Charles E. King / Edwin Knopf
8     I Cover the Waterfront 3:12
Johnny Green / Edward Heyman
9     In the Gloaming 2:56
Annie Fortescue Harrison / Meta Orred
10     Long, Long Ago 2:51
Thomas Haynes Bayly
11     Hey, Lawdy Mama 2:57
Jim Eaton / Terry Shand
12     I'll Get Mine Bye and Bye 3:03
Jimmie Davis
13     Now, Do You Call That a Buddy? 3:18
W. Wilson
14     Yes, Suh! 2:19
Edgar Dowell / Andy Razaf
15     When It's Sleepy Time Down South 3:09
Clarence Muse / Otis Rene / Leon René
16     Leap Frog 2:57
Leo Corday / Joe Garland
17     I Used to Love You (But It's All over Now) 2:57
Lew Brown / Albert Von Tilzer
18     You Rascal You 2:58
Sam Theard
19     (Get Some) Cash for Your Trash 3:01
Ed Kirkeby / Fats Waller
20     Among My Souvenirs 2:44
Edgar Leslie / Horatio Nicholls
21     Coquette 2:34
Irving Berlin
22     I Never Knew 2:44
Gus Kahn / Ted Fio Rito