DUKE ELLINGTON AND HIS ORCHESTRA – 1930 | The Classics Chronological Series – 586 (1991) FLAC (tracks), lossless

Despite the rise of the Depression, Duke Ellington's orchestra was able to continue a hectic recording schedule, cutting the 23 selections on this CD (which are all master takes) within a four-and-a-half-month schedule. Some of the numbers are remakes or pop songs of the era (though those are usually excellent) and there are vocals by Irving Mills, Frank Marvin, and Dick Robertson that are not up to the level of Ellington's instrumentalists, but there are also such gems along the way as "When You're Smiling" (featuring Freddy Jenkins' trumpet), "Maori," "Sweet Jazz of Mine," "Jungle Nights in Harlem," and particularly "Shout 'Em Aunt Tillie." Scott Yanow  Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1930, Vol. 2 | The Classics Chronological Series – 596 (1991) FLAC (tracks), lossless

Although susceptible to some of the commercial pressures that other bands were feeling in 1930, which accounts for the inclusion of a few pop numbers and some added vocalists, in general the recordings of Duke Ellington were at the same high level in 1930 that they had been in 1929. There are many gems on this set, including "Double Check Stomp," a remake of "Black and Tan Fantasy," "Old Man Blues," and the two earliest recordings of "Mood Indigo," and even a throwaway such as "That Lindy Hop" is still worth hearing. The Rhythm Boys (Bing Crosby, Al Rinker, and Harry Barris) guest on "Three Little Words," and star soloists throughout the program include Cootie Williams, Tricky Sam Nanton, Barney Bigard, and Johnny Hodges. Scott Yanow     Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1930-1931 | The Classics Chronological Series – 605 (1991) FLAC (tracks+.cue), lossless

With the rise of the Depression, most big bands were being pressured to record more dance band-oriented pop music. Duke Ellington managed to keep his standards high despite occasional vocals from Sid Garry, Dick Robertson, Chick Bullock, and Frank Marvin. Along with some lightweight material, this chronological study of Ellington's work during a six-week period (which has all of the master takes but none of the alternates) is most significant for its early versions of "Rockin' in Rhythm" and "Mood Indigo," a rollicking "Twelfth Street Rag" (with Benny Payne on second piano with Duke), and Ellington's first extended work to be recorded, the moody "Creole Rhapsody." Scott Yanow  Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1931-1933 | The Classics Chronological Series – 719 (1993) FLAC (tracks+.cue), lossless

The first half of this chronological release of Benny Goodman's 1931-1933 recordings is comprised of dance band performances from 1931 -- 12 selections with vocals from Paul Small, Smith Ballew, and Dick Robertson that have little to recommend them except excellent musicianship. The jazz content is pretty low and even Goodman is not heard from much. This is from the era when the clarinetist earned his employment as a studio musician. The final ten numbers are from 1933 and are of greater interest. Trombonist/singer Jack Teagarden is well featured on six songs, Billie Holiday makes her hesitant recording debut on "Your Mother's Son-in-Law" and "Riffin' the Scotch," and there are some fine solos along the way by both Jack and Charlie Teagarden, pianist Joe Sullivan, and Goodman. This is still Benny Goodman pre-history, for he would not attempt to lead a big band until 1934. Scott Yanow
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MILLS BLUE RHYTHM BAND – 1931 | The Classics Chronological Series – 660 (1992) FLAC (tracks+.cue), lossless

The first of five CDs that reissue all of the recordings (other than a few alternate takes) by the Mills Blue Rhythm Band features spirited ensembles, some swinging moments, a few dated vocalists (including Chick Bullock, Dick Robertson and Charlie Lawman), and a no-name orchestra. Trombonist Harry White and pianist Edgar Hayes were the co-leaders, although the orchestra was actually organized by impresario Irving Mills. Since the group's best recordings tended to be in its later years, this CD is not essential, but fans of pre-swing big bands will want all five CDs. Scott Yanow  
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