LESTER YOUNG — The "Kansas City" Sessions (1997) FLAC (image+.cue), lossless

This is a CD overflowing with classic performances. The great Lester Young is heard with the 1938 version of the Kansas City Six, a group also including trumpeter Buck Clayton (in prime form), Eddie Durham on electric guitar (where he preceded Charlie Christian) and trombone, the rhythm guitar of Freddie Green, bassist Walter Page, and drummer Jo Jones. The four selections (all of which are joined by an alternate take apiece) are most notable for Young's switching to clarinet on some of the pieces. His clarinet solo on "I Want a Little Girl" sounds eerily like Paul Desmond's alto of 15 years later. These classic cool jazz performances have delightful interplay between the two horns. The second part of the reissue features the 1944 Kansas City Six in which Young (sticking to tenor) and trumpeter Bill Coleman are joined by a three-piece rhythm section and trombonist Dickie Wells. Wells, who takes some very colorful and nearly riotous solos, rarely sounded better, and the four selections are highlighted by three equally rewarding versions of "I Got Rhythm" and two of "Three Little Words." The CD concludes with the four titles by 1938's Kansas City Five, which was essentially the early Kansas City Six without Young. Clayton is once again in top form, and Durham's guitar solos were among the first worthwhile examples of the electric guitar on record. This gem is highly recommended for all jazz collections. Scott Yanow
Tracklist :
1    Kansas City Six–    Way Down Yonder In New Orleans (#2)    3:00
2    Kansas City Six–    Way Down Yonder In New Orleans    2:57
3    Kansas City Six–    Countless Blues    3:01
4    Kansas City Six–    Countless Blues (#2)    2:59
5    Kansas City Six–    Them There Eyes (#2) 2:57
Vocals – Freddie Green
6    Kansas City Six–    Them There Eyes 2:58
Vocals – Freddie Green
7    Kansas City Six–    I Want A Little Girl    2:53
8    Kansas City Six–    I Want A Little Girl (#2)    2:54
9    Kansas City Six–    Pagin' The Devil    2:57
10    Kansas City Six–    Pagin' The Devil (#2)    2:55
11    Kansas City Six–    Three Little Words (#2)    3:19
12    Kansas City Six–    Three Little Words    2:52
13    Kansas City Six–    Jo Jo    3:17
14    Kansas City Six–    I Got Rhythm (#3)    3:15
15    Kansas City Six–    I Got Rhythm (#2)    3:15
16    Kansas City Six–    I Got Rhythm    3:16
17    Kansas City Six–    Four O'Clock Drag    2:51
18    Kansas City Six–    Four O'Clock Drag (#3)    2:50
19    Kansas City Five–    Laughing At Life    3:05
20    Kansas City Five–    Good Mornin' Blues    2:51
21    Kansas City Five–    I Know That You Know    3:04
22    Kansas City Five–    Love Me Or Leave Me    2:47
Credits :
Bass – John Simmons (tracks: 11 to 18), Walter Page (tracks: 1 to 10, 19 to 22)
Drums – Jo Jones
Guitar – Freddie Green (tracks: 1 to 10, 19 to 22)
Piano – Joe Bushkin (tracks: 11 to 18)
Tenor Saxophone, Clarinet – Lester Young (tracks: 1 to 18)
Trombone – Dicky Wells (tracks: 11 to 18)
Trombone, Electric Guitar – Eddie Durham (tracks: 1 to 10, 19 to 22)
Trumpet – Bill Coleman (tracks: 11 to 18), Buck Clayton (tracks: 1 to 10, 19 to 22)
Notes.
Recorded in New York City.
Tracks 1 to 10 recorded September 28, 1938.
Tracks 11 to 18 recorded March 27, 1944.
Tracks 19 to 22 recorded March 16, 1938.

NANCY HARROW — Wild Women Don't Have The Blues (1961-1989) FLAC (tracks), lossless)

Although singer Nancy Harrow made a strong impression with this debut recording (which has been reissued on CD), she did not lead another record date until 1978 other than a lesser-known effort for Atlantic in 1966. Obviously the years of obscurity were not deserved, for this set is a near-classic. Harrow is heard in her early prime singing such veteran songs as "All Too Soon," "On the Sunny Side of the Street," the seven-minute "Blues for Yesterday," and the title cut (originally done by Ida Cox in the 1920s). A more modern stylist (although influenced by Billie Holiday a little) than the material she performed at the time, Harrow is joined by such top mainstream players as trumpeter Buck Clayton (who provided the arrangements), tenorman Buddy Tate, trombonist Dickie Wells, and pianist Dick Wellstood. Highly recommended, Harrow's debut date has plenty of spirit and enthusiasm. Scott Yanow
Tracklist :
1 Take Me Back, Baby  5:14
Count Basie / Buddy Bregman / Jimmy Rushing / Tab Smith2 All Too Soon 5:26
Duke Ellington / Carl Sigman
3 Can't We Be Friends? 5:16
Paul James / Kay Swift
4 On the Sunny Side of the Street 4:57
Dorothy Fields / Jimmy McHugh
5 Wild Women (Don't Have the Blues) 5:28
Ida Cox
6 I've Got the World on a String 4:29
Harold Arlen / Ted Koehler
7 I Don't Know What Kind of Blues I Got 3:56
Duke Ellington
8 Blues for Yesterday 7:31
Lester Carr
Credits
Baritone Saxophone – Danny Bank
Bass – Milt Hinton
Clarinet, Alto Saxophone – Tom Gwaltney
Vocals – Nancy Harrow
Drums – Oliver Jackson
Guitar – Kenny Burrell
Piano – Dick Wellstood
Tenor Saxophone – Buddy Tate
Trombone – Dickie Wells
Trumpet, Leader, Arranged By – Buck Clayton

COUNT BASIE AND HIS ORCHESTRA – 1943-1945 | The Classics Chronological Series – 801 (1995) FLAC (tracks+.cue), lossless

This interesting CD mostly reissues the V-Discs of Count Basie's Orchestra, performed during a time when the musicians' union strike kept the Basie band off records. Lester Young is heard back with Basie on five numbers from May 27, 1944. Otherwise, the band was much more stable than most swing bands of the war years, making it to December 1944 when it was able to resume its recordings for the Columbia label. There was not much change in the orchestra's swinging style during this era, as can be heard on such enjoyable pieces as "G.I. Stomp," "Yeah Man!," "Circus in Rhythm," two versions of "Taps Miller," and "Old Manuscript." Scott Yanow  Tracklist + Credits :

KANSAS CITY 5, 6 & 7 – 1938-1944 | The Classics Chronological Series – 912 (1996) FLAC (image+.cue), lossless

Tracklist + Credits :

ILLINOIS JACQUET – 1946-1947 | The Chronogical Classics – 1019 (1998) FLAC (tracks+.cue), lossless

Unlike so many previous reissues, this portion of the Illinois Jacquet chronology places these historical sessions side by side rather than sorting them out by label. Bringing together the last of Jacquet's Aladdin and Apollo recordings in this way is illuminating, informative, and entertaining. Jacquet's Apollo All Stars octet that recorded in August 1946 had a fine front line in trumpeter Joe Newman, trombonist Trummy Young, and alto saxophonist Ray "King" Perry alongside Jacquet's powerful tenor, supported by John Simmons, Freddie Green, Bill Doggett, and the amazing Denzil Best. "Jumpin' at Apollo" and "12 Minutes to Go" are the obligatory cookers, tempered with the walking "Jacquet Bounce" and "She's Funny That Way," a cool addition to Jacquet's marvelous catalog of ballads. As part of a heat wave of postwar tenor saxophony, Illinois blazed his own trail through stylistic terrain also traversed by Wardell Gray and Lucky Thompson. Like everything heard on this disc, Jacquet's 16-piece Aladdin big-band session from January 1947 reflects the Count Basie experience in high relief. While the trumpet section -- fortified with Joe Newman, Fats Navarro, and Miles Davis -- makes this a formidable listening experience, the star of the upbeat numbers -- and, in a way, of every session for the remainder of this collection -- is master percussionist Shadow Wilson, who thunders and shakes on "Big Dog" and "Jivin' with Jack the Bellboy," a reference to an extroverted drum feature recorded in 1940 by Lionel Hampton. Anyone who is lucky enough to possess the original 78-rpm Aladdin recording of "Blow, Illinois, Blow" can testify to the excitement of hearing a tenor saxophone wailing in front of a nine-piece band, coming up through the surface noise of a rapidly rotating platter. Digitally cleansed, this track sounds stunningly immediate as the ensemble seems to surround the listener and gradually close in. "Illinois Blows the Blues" knocks the band down to tenor and rhythm for one of Jacquet's definitive statements on record, feeling at times almost like a duet with Sir Charles Thompson. Back with Apollo for the last time in May of 1947, Jacquet retained certain key players from his previous couple of dates. Mention must be made of Leo Parker's exceptionally fine baritone sax outbursts. Jacquet regularly engages in his signature high-pitched wailing, a sound that some critics disparage but most open-minded listeners will enjoy as a necessary optional response to everyday life in the 20th century. Sir Charles, who plays on all of the dates from April 1, 1947, onward, exerted a marvelous influence upon Mr. Jacquet. Exhibit A would be Thompson's "Robbin's Nest" -- the version heard here is an easygoing delight. "Jumpin' at the Woodside," on the other hand, is almost frightening in its intensity, largely on account of Parker's snarling baritone. As the saga of Illinois Jacquet enters into the autumn of 1947, J.J. Johnson fans will want to listen for the trombone during the final eight tracks on this exceptionally satisfying album of early modern jazz. arwulf arwulf         Tracklist :

BUCK CLAYTON – 1945-1947 | The Chronogical Classics – 968 (1997) FLAC (tracks+.cue), lossless

Buck Clayton played smooth trumpet, warm and precise every step of the way. The first session included here appeared under the nominal leadership of Count Basie's rhythm guitarist, Freddie Green. After Lucky Thompson introduces "I'm in the Mood for Love," Sylvia Sims sings the lyric in attractive, easygoing tones. The flip side, an uncredited original called "Sugar Hips," is a typical mid-1945 exercise in what was at the time called both "rebop" and "bebop." Swing was now ready to morph into music of greater rhythmic and harmonic complexity. This track provides a fine example of Shadow Wilson's superb handling of hi-hat and drums. Sammy Benskin demonstrates a fine, muscular pianism. Dicky Wells seems to enjoy riding along on a tide of what were at the time decisively modern changes. Recorded exactly one month later for the small-time Melrose label, the Buck Clayton Quintet session introduces tenor man Flip Phillips, with Teddy Wilson appearing as "Theodocius," roundly supported by Slam Stewart and Danny Alvin. After a snappy romp through "Diga Diga Doo," "Love Me or Leave Me" is taken at a much more relaxed tempo than usual. This gives everyone a chance to savor the melody rather than chasing about. "We're in the Money" bounces along in an updated groove, much hipper than the Busby Berkeley original. Flip is exceptionally helpful here. The date closes with a stunningly solid piece of blues bearing Buck Clayton's initials. Slam bows his bass in an uncharacteristically low register, and the combination of horns and piano during the out chorus is really amazing. The only thing that could top it is the J.C. Heard Quintet session recorded for Keynote on August 17, 1945. Buck and Flip are now backed by three of the best rhythm section mates in all of early modern jazz: Johnny Guarnieri, Milt Hinton, and the immaculate J.C. Heard. The quintet's approach to Jerome Kern's "Why Do I Love You" is refreshingly brisk and inventive. "All My Life" is still sometimes associated with Fats Waller; in 1945 a lot of people probably thought that he had written it. What you get here is a magnificent sensitive rendering, beautifully phrased. "Groovin' With J.C." begins with jaunty walking bass and eases into a steady lope, very groovy as the title implies. "What's the Use" further demonstrates the perfect balance of this little band, wherein the rhythm section is so strong that the horns fit in uncommonly well. Nobody ever gets stepped on or overshadowed. As for the Hot Record Society sessions, there was always a lot of "original" material on these dates, and some of the melodies sound like attempts at modernity without a whole lot of innovation. This is not to imply that the music is inferior. It's just a bit short on genuine melodic substance. The Big Four session is mostly memorable for Tiny Grimes and his electrified guitar, while the Big Eight date is notable for the combined presence of trombonists Dicky Wells and Trummy Young. Funny thing: "Sentimental Summer" has a bridge identical to that of "I Don't Want to Set the World On Fire." A fascinating addition to this CD is a children's record narrated by the actor Canada Lee. This 1947 recording traces the root system of jazz back to Africa (with authentic African drumming and chanting!) describing abduction, enslavement, emancipation, and the development of jazz in the 20th century. During part two of the story, Buck Clayton, Ed Hall, Teddy Wilson, and Jimmy Crawford provide a blues and a hot stomp. This is an uncommonly hip kiddie record, infinitely more accurate and intelligent than anything else on the market in its day. How thoughtful of the producers to include it on Buck Clayton's CD. arwulf arwulf  
Tracklist + Credits :

LUIS RUSSELL AND HIS ORCHESTRA – 1930-1934 | The Chronogical Classics – 606 (1991) FLAC (tracks+.cue), lossless

It's a shame this and the earlier Classics collection split up the bandleader's prime 1930 recordings, but such is the way of a strictly chronological series. Those wanting just one disc that covers most of Russell's best work will want to pick up JSP's Savoy Shout disc, which includes 22 cuts from 1929-1930. But for collectors in need of all of the recordings Russell cut before Louis Armstrong practically swallowed up his band whole in 1934, the two Classics discs will certainly do the trick. And while this later disc pales a bit to the 1926-1930 collection, its first half does feature classic work from Russell's band and its spin-off combo, J.C. Higginbotham and His Six Hicks. Along with Higginbotham's own irrepressible trombone work, these sides also offer a wealth of solo treats from such band standouts as trumpeter Henry Allen and saxophonists Charlie Holmes and Albert Nicholas. The later 1931 and 1934 recordings might not match up to earlier classics like "Panama" and "Song of the Swanee," but they still include enough fine performances amongst the filler to keep the quality level up. A worthwhile disc, but one that's probably best suited for Russell completists. Stephen Cook
Tracklist + Credits :

HENRY "RED" ALLEN AND HIS ORCHESTRA – 1929-1933 | The Chronogical Classics – 540 (1990) FLAC (tracks+.cue), lossless

The first of a five-volume CD series released by the European Classics label that reissues all of the recordings led by trumpeter Red Allen during 1929-41 is one of the best. The great trumpeter is first heard fronting the Luis Russell Orchestra for such classics as "It Should Be You" and "Biff'ly Blues," he interacts with blues singer Victoria Spivey, and on the selections from 1933 (two of which were previously unreleased) he co-leads a group with tenor-saxophonist Coleman Hawkins. Not all of the performances are gems but there are many memorable selections including "How Do They Do It That Way," "Pleasin' Paul," "Sugar Hill Function,," and "Patrol Wagon Blues." Other soloists include trombonists J.C. Higginbottham and Dicky Wells, clarinetist Albert Nicholas and altoist Charlie Holmes. Scott Yanow
Tracklist + Credits :

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
Tracklist + Credits :

EARL HINES – 1953-1954 | The Classics Chronological Series – 1440 (2007) FLAC (tracks+.cue), lossless

The 11th installment in the Classics Earl Hines chronology charts the pianist and bandleader's professional progress during a time period running between May 1953 and August 1954. This entertaining segment of the Hines story includes eight excellent sides cut for the King label in New York, 14 selections recorded in Los Angeles for the Nocturne label, and lastly a five-and-a-half minute interview with Hines himself. The four King instrumentals ("Hot Soup," "Sleep Walking," "In the Attic," and "Space Ship") demonstrate how adaptable Hines was during these transitional years. This compilation opens with two surprisingly fine and funny vocals by world-famous pugilist Sugar Ray Robinson, while "A Pretty Girl Is Like a Melody" and "When I Dream of You" are sung by 30-year-old crooner Johnny Hartman. "Crazy Rhythm" was done up by four members of the band (including trombonist Dicky Wells!) who transformed themselves into a vocal group billed as the Hines Varieties, while "Almost Like Being in Love" and "I Don't Hear Sweet Music Any More" were sung by sax and flute man Jerome Richardson. Hines himself was the featured vocalist on "New Orleans," "Pennies from Heaven," "I Can't Believe That You're in Love with Me," and "I'm a Little Blackbird Looking for a Bluebird." (This last number dates back to the mid-'20s when it was first recorded by Eva Taylor and the Clarence Williams Blue Five with Louis Armstrong and Sidney Bechet.) All of these diverse treats, along with cameo appearances by reedmen Budd Johnson, Morris Lane, Aaron Sachs, and Haywood Henry, make this one of the great "variety packs" in the Earl Hines discography. arwulf arwulf
Tracklist + Credits :

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  
Tracklist + Credits :

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 :

BILL COLEMAN – 1951-1952 | The Classics Chronological Series – 1339 (2002) FLAC (tracks+.cue), lossless

Bill Coleman is woefully unsung in jazz circles, probably because he spent half his professional career as an expatriate American jazz musician living in Europe. An excellent swing trumpeter, Coleman had an affinity for the blues as well, and this collection of sides from 1951 and 1952 shows a wonderfully lyric player on such tracks as the opener, "Bing Bang Blues," and such classic standards as "Lester Leaps In," "Pennies From Heaven," and the two-part "St. Louis Blues." Coleman shows an affable and comfortable vocal style (although its good that he never set aside his horn) as well on a couple cuts here, the telling "The Blues Jumped and Got Me" and the set closer, the immortal "St. James Infirmary." Steve Leggett
Tracklist + Credits :

BILL COLEMAN – 1952-1953 | The Classics Chronological Series – 1381 (2005) FLAC (tracks+.cue), lossless

In addition to the friendliest photograph of Bill Coleman ever published, this fourth installment in the Classics Coleman chronology presents material performed live in Paris, France. The first 11 tracks were recorded on October 18, 1952, with Coleman as MC in front of a wildly appreciative audience at the Salle Pleyel, 252 Rue de Faubourg St-Honore. The opening number is an extended duet on "Out of Nowhere" played by pianist Randy Downes and bassist Alvin "Buddy" Banks. A brief crowd-pleasing take of "The Sheik" consists mostly of Zutty Singleton beating the hell out of a cymbal. Guy Lafitte is heard on clarinet and tenor sax (very nicely handled on "Ghost of a Chance") and Dicky Wells blows his trombone with either laconic eccentricity or a boisterous if somewhat dog-eared abandon. Coleman, as always, sounds like a trumpeter who was inspired by Louis Armstrong and gradually developed his own sound without ever deviating very far from the Armstrong influence. "Knuckle Head," composed by Coleman and Wells, is a solid example of what in 1945 was often referred to as "rebop." Coleman uses a mute most beautifully on Duke Ellington's "Solitude" and Lafitte demonstrates a Barney Bigard-like approach to the clarinet. "Perdido" heavily features bassist Buddy Banks. The author of the liner notes assumed that Wells was loaded and needed to be "rescued" by Coleman. This is debatable; on the excellent "Red Top" the trombonist sounds like he's fully in command of himself. Given the tastes of the average Parisian jazz head in 1952, it is not surprising that this band ended its gig with a singalong version of "When the Saints Go Marching In." Lafitte's very modern tenor solo on this historical New Orleans street stomp perfectly addresses the European fascination with the entire history of jazz. The rest of the material issued here was recorded at the Cluny Palace in the Cluny de Luxe Hotel on October 23, 1953, with trombonist Bill Tamper, veteran reedman Benny Waters, and a tight rhythm section propelled by percussionist Wallace Bishop. Coleman exercises his vocal chords on the last three tracks. Benny Waters takes one of the toughest solos of his career on Eddie "Cleanhead" Vinson's rocking "Old Maid Blues," a facetious tune addressed to a 35-year-old woman. arwulf arwulf  
Tracklist + Credits :

FLETCHER HENDERSON AND HIS ORCHESTRA – 1932-1934 | The Classics Chronological Series – 535 (1990) FLAC (tracks+.cue), lossless

Although the Fletcher Henderson Orchestra was struggling and missing opportunities during this era, its recordings greatly improved from the ones in 1931. Henderson had finally developed into a top arranger (as can be heard on "Honeysuckle Rose" and "Wrappin' It Up"), the band was full of top soloists (trumpeter Bobby Stark has his greatest moments on "The New King Porter Stomp") and even if Coleman Hawkins chose to move to Europe (after starring on "It's the Talk of the Town") the band should have been poised to flourish in the swing era. These recordings (from Classics' complete chronological program) prove that swing did not begin with Benny Goodman in 1935. Scott Yanow
Tracklist :

WINGY MANONE AND HIS ORCHESTRA – 1927-1934 | The Classics Chronological Series – 774 (1994) FLAC (tracks), lossless

A publicity photo of Wingy Manone shows him apparently poised in the act of doing the dance called a buck-and-wing, but that's not where the moniker came from. When Joe Manone was ten years old he lost his right arm in a trolley accident. In time he came to be called "Wingy," and wore a wooden limb with a glove over the end of it, securing his cornet between the wooden fingers and working its valves with his left hand. Wingy's bands swung hard. He developed a warm, gruff voice and almost invariably displayed a wild sense of humor. What Classics 774 delivers is a step-by-step synopsis of Manone's earliest work, including quite a bit of previously hard to find material. The four titles from 1927 were recorded in Wingy's home town of New Orleans. Earl Warner's twerpy vocal on the first selection illustrates exactly why listeners should be thankful for Wingy's decision to develop himself as a singer. Up in Chicago a year and a half later, Wingy fell in with a set of rough-and-tumble blokes who earnestly cooked each number to the bone. Next stop: the Gennett recording studio in Richmond, IN, where Manone led two sessions under the inspiring banner of Barbecue Joe & His Hot Dogs during the late summer and early autumn of 1930. Every single one of these sides is solid and catchy, especially the Hot Dogs' revival of Papa Charlie Jackson's "Shake That Thing." Most notably, "Tar Paper Stomp," also known as "Wingy's Stomp," is the earliest known recording involving a bouncy lick that would show up in Fletcher Henderson's book as "Hot and Anxious" and eventually earn a lot of money for Glenn Miller as "In the Mood." Here on Wingy's plate it comes across honest and natural as hash browns and scrambled eggs with a little bit of hot sauce. There is a discernible change in Wingy's voice over the span of just a few years. In 1928 he's earnest enough but doesn't attract a whole lot of attention. By 1930 he's sounding tougher. But the Wingy of 1934 calls out in a voice of magnetic, husky friendliness that would distinguish him for the rest of his days. Wingy's consistent front line of cornet (or trumpet after 1930), clarinet, and tenor sax was only occasionally beefed up with a trombone or extra trumpets. Three of the five tenors represented here languish in obscurity; Bud Freeman and Eddie Miller are familiar names, but who on earth was George Snurpus? This is exactly why early jazz studies are so adventuresome. You never know who is going to appear before your startled ears. Any hankering for famous and proven presences will be more than satisfied by the session of August 15, 1934. Wingy, Dicky Wells, Artie Shaw, and Bud Freeman are supported by Kaiser Marshall, John Kirby, guitarist Frank Victor, and your choice of pianists Teddy Wilson or Jelly Roll Morton. If that don't get it, nothing will. arwulf arwulf  
Tracklist + Credits :

CLARENCE WILLIAMS – 1934 | The Classics Chronological Series – 891 (1996) FLAC (tracks+.cue), lossless

In 1997, the Classics label released a twelfth volume in their unprecedented series devoted to the complete chronological recordings of Clarence Williams. Eighteen selections dating from a three-month segment of the year 1934 collectively feature Harlem stride pianists James P. Johnson and Willie "The Lion" Smith, cornetist Ed Allen, clarinetist Cecil Scott, guitarist Roy Smeck, banjoist Ikey Robinson, bassist Richard Fullbright, tuba technician Cyrus St. Clair, and drummer/washboard handler Floyd Casey. Vocals are by Williams, his wife Eva Taylor, Ed Allen, Ikey Robinson, and composer/comedian Clarence Todd. Tracks 11-18 are by the Alabama Jug Band, with Williams delivering substantial basslines using that old-time staple of down-home musical entertainment, a ceramic whiskey jug. Williams has been posthumously ridiculed for his vaudevillian sensibilities and hokum recordings, but the truth about this man is that he was one of the great publishers and producers of African-American music during the 1920s and '30s. Disparaging comments about his pianistic prowess are directly traceable to Willie "The Lion" Smith, one of the toughest critics who ever passed judgment upon his fellow musicians. Williams was a perfectly capable pianist and a rather shrewd and at times opportunistic businessman who produced Bessie Smith's earliest recording sessions and served as her accompanist, published Fats Waller's first important compositions, recorded comedic piano duets with James P. Johnson, and led a series of recording ensembles that included cornetists King Oliver and Louis Armstrong as well as powerhouse reedman Sidney Bechet. The recordings that Williams presided over between July 6 and October 3, 1934 are among his most sanguine and substantial, particularly the outrageous tale of "Jerry the Junker" and the gutsy "Jazz It Blues," which has a vocal refrain by the Ham and Cabbage Trio. arwulf arwulf
Tracklist :
1    Clarence Williams And His Orchestra–    Jerry The Junker 3:04
Vocals – Clarence Williams
Written-By – Clarence Stout
2    Clarence Williams And His Orchestra–    Organ Grinder Blues 3:07
Vocals – Clarence Williams, Eva Taylor
Written-By – Clarence Williams
3    Clarence Williams And His Orchestra–    I'm Gettin' My Bonus In Love 2:42
Vocals – Clarence Williams
Written-By – Williams, Grainger
4    Clarence Williams And His Orchestra–    Chizzlin' Sam 2:52
Vocals – Clarence Williams, Eva Taylor
Written-By – Clarence Williams
5    Clarence Williams And His Orchestra–    Big Fat Mama 2:45
Vocals – Eva Taylor
Written-By – Williams, Calaway, Roland
6    Clarence Williams And His Orchestra–    Ain’t Gonna Give You None Of My Jelly Roll 2:32
Vocals – Clarence Williams
Written-By – Williams, Williams
7    Clarence Williams And His Orchestra–    I Saw Stars 3:09
Vocals – Clarence Williams
Written-By – Goodhart, Hoffman, Sigler
8    Eva Taylor And Her Boy Friends–    Crazy Blues 2:23
Vocals – Clarence Williams
Written-By – Bradford
9    Eva Taylor And Her Boy Friends–    The Stuff Is Here And It’s Mellow 2:33
Written-By – Williams, Bishop, Smith
10    Clarence Williams And His Orchestra–    Rhapsody In Love 2:52
Vocals – Clarence Williams
Written-By – Williams, Trent
11    Alabama Jug Band–    "Ida" Sweet As Apple Cider 2:42
Vocals – Ikey Robinson
Written-By – Eddie Leonard
12    Alabama Jug Band–    My Gal Sal 2:48
Vocals – Ikey Robinson
Written-By – Paul Dresser
13    Alabama Jug Band–    Gulf Coast Blues 3:04
Vocals – Ikey Robinson
Written-By – Clarence Williams
14    Alabama Jug Band–    I Wish I Could Shimmy Like My Sister Kate 2:36
Vocals – Ikey Robinson
Written-By – Armand Piron
15    Alabama Jug Band–    Jazz It Blues 2:50
Vocals – Ham and Cabbage Trio
Written-By – Tom Delaney
16    Alabama Jug Band–    Somebody Stole My Gal 2:51
Written-By – Leo Wood
17    Alabama Jug Band–    Crazy Blues 3:14
Vocals – Clarence Williams
Written-By – Perry Bradford
18    Alabama Jug Band–    Sugar Blues 2:34
Vocals – Clarence Williams
Written-By – Williams, Fletcher
Credits :    
Banjo – Ikey Robinson (tracks: 11 to 18)
Brass Bass – Cyrus St. Clair (tracks: 15 to 18)
Clarinet – Cecil Scott
Cornet – Ed Allen
Double Bass [String Bass ?] – Richard Fullbright (tracks: 11 to 14)
Double Bass [String Bass] – Richard Fullbright (tracks: 5 to 10)
Drums – Floyd Casey (tracks: 5 to 10)
Guitar – Roy Smeck (tracks: 7 to 10)
Guitar [?] – Roy Smeck (tracks: 5, 6)
Kazoo – Clarence Todd (tracks: 15 to 18)
Piano – Clarence Williams (tracks: 5, 6), James P. Johnson (tracks: 1 to 4), Willie "The Lion" Smith (tracks: 7 to 10)
Trombone [?] – Dicky Wells (tracks: 7 to 10)
Washboard – Floyd Casey (tracks: 1 to 4, 11 to 14)

DICKIE WELLS – 1927-1943 (1997) The Classics Chronological Series – 937 | FLAC (tracks), lossless

This is the definitive Dickie Wells collection, presenting three very distinct periods in his remarkable career. As an appetizer for five sessions led by this fine trombonist, listeners get to hear his very first recordings, with Springfield, OH, native Lloyd Scott's orchestra in 1927 and Lloyd's brother Cecil Scott's Bright Boys -- featuring trumpeters Frankie Newton and Bill Coleman -- in 1929. This shot of seven outstanding old-fashioned numbers is a perfect example of great music from the late '20s, all but forgotten by the public today but available to dedicated early jazz addicts as part of the Classics Chronological Series. Dickie Wells spent the first half of the 1930s working in bands led by Elmer Snowden, Benny Carter, Chick Webb, and Fletcher Henderson. He joined Teddy Hill's band in 1934 and it was with Hill that Wells traveled to Paris during the summer of 1937. At the heart of this collection lie 12 marvelous recordings waxed during that tour, with the great Django Reinhardt and a few of his French friends sitting in with Wells (billed here as "Dicky") and a small team of seasoned North American swing musicians. Bill Coleman made himself at home, scat singing with gutsy nonchalance on "Hangin' Around Boudon." Additional trumpeters were Bill Dillard and Shad Collins, with further U.S. input from alto saxophonist Howard Johnson, pianist Sam Allen, bassist Richard Fullbright, and ace drummer Bill Beason. Dickie Wells was an accomplished trombonist, capable of expressing a full range of human emotions using growls, smears, glissandi, and honest, straight-up melodic candor. "Oh, Lady Be Good" and "Dicky Wells Blues" feature the trombone backed by a rhythm trio, highlighting his musical personality in living color. A veritable chasm lies between these 1937 recordings and the next session, recorded in December 1943 for Bob Thiele's Signature label. By this time, Wells had come through the fire of the Count Basie Orchestra, bringing with him several key players from that formidable swing machine. Most importantly, listeners get to hear Lester Young only months before his ill-fated encounter with the U.S. Army. Prez, Dickie, and Bill Coleman are each in fine form, jamming hard with solid support from a fine rhythm section in pianist Ellis Larkins, guitarist Freddie Green, bassist Al Hall, and master drummer Jo Jones. Because of Wells' nominal leadership and the fact that it was originally issued by a small independent label, this session is less well-known than Young's work with Basie and his Aladdin and Verve recordings. It is essential listening for all Lester Young fans, and should be digested along with Young's remarkable Keynote Quartet session that took place one week later. arwulf arwulf  
Tracklist :
1 Harlem Shuffle 3:03    
Kenneth Roane
Dicky Wells / feat: Lloyd Scott & His Orchestra
2 Symphonic Screach (Symphonic Scronch) 2:50    
Don Frye / Hubert Mann / Lloyd Scott
Dicky Wells / feat: Lloyd Scott & His Orchestra
3 Happy Hour Blues 2:40    
Don Frye / Lloyd Scott
Dicky Wells feat: Lloyd Scott & His Orchestra
4 Lawd, Lawd 3:07    
Cecil Scott
Dicky Wells feat: Cecil Scott & His Bright Boys
5 In a Corner 2:54    
Cecil Scott
Dicky Wells feat: Cecil Scott & His Bright Boys
6 Bright Boy Blues 3:06    
Don Frye / Cecil Scott
Dicky Wells feat: Cecil Scott & His Bright Boys
7 Springfield Stomp 3:07    
Don Frye / Cecil Scott
Dicky Wells feat: Cecil Scott & His Bright Boys
8 Bugle Call Rag 2:40    
Billy Meyers / Jack Pettis / Elmer Schoebel
 9 Between the Devil and the Deep Blue Sea 2:45    
Harold Arlen / Ted Koehler
 10 I Got Rhythm 2:11    
George Gershwin / Ira Gershwin
 11 Sweet Sue 3:03    
Will J. Harris / Victor Young
 12 Hangin' Around Boudon 2:52    
Dicky Wells
13 Japanese Sandman 2:56    
Richard A. Whiting / Albert Willemetz
 14 I've Found a New Baby 2:50    
Jack Palmer / Spencer Williams
 15 Dinah 2:46    
Harry Akst / Sam M. Lewis / Joe Young
 16 Nobody's Blues But My Own 3:00    
Dicky Wells
 17 Hot Club Blues 3:06    
Dicky Wells
 18 Oh, Lady Be Good 2:55    
George Gershwin / Ira Gershwin
 19 Dicky Wells Blues 3:18    
Dicky Wells
 20 I Got Rhythm 4:13    
George Gershwin / Ira Gershwin
21 I'm Fer It, Too 4:10    
Dicky Wells
22 Linger Awhile 3:05    
Harry Owens / Vincent Rose
23 Hello Babe 3:06
Dicky Wells

BUDD JOHNSON – 1944-1952 (2003) The Classics Chronological Series – 1307 | FLAC (tracks+.cue), lossless

One thing about these chronological compilations: if the featured musician only rarely acted as a bandleader, what listeners get is a core sample of nearly every recording date he happened to be in on. In the case of Texas tenor Budd Johnson, the people at Classics decided to begin his story with sessions waxed when he was 34 years of age and had been making records as a sideman for more than ten years. This is a pity, as a thorough survey could have begun with his bizarre vocal on Louis Armstrong's "Sweet Sue" (1933), then sampled his work with Lionel Hampton and Earl Hines, up through 1943. That would have lent context and background to this grab bag of primal bebop and R&B, designated as "the first volume of the recordings of Budd Johnson." Nevertheless, this segment of Johnson's career is exciting and full of surprises. Clyde Hart's Hot Seven, recording for Savoy in December of 1944, included legendary trumpeter Benny Harris and the wild alto sax of Herbie Fields. A Manor date led by squealing trumpeter Al Killian is extra solid due to the presence of Ellington's baritone, Harry Carney, who seems to enjoy weaving a bit of thunder into an already smoking ensemble. J.C. Heard & His Cafe Society Orchestra deliver four very concise, classy studies in boppish swing. George Treadwell's muted trumpet is notably attractive, and Johnson is able to shout or soothe as needed. James Charles Heard was a discerning artist, and his band's interpretation of Ellington's "Azure" is breathtakingly lovely. Of the three sides recorded in March of 1946 for the Hot Record Society by trombonist Dicky Wells & His Big Seven, "Bed Rock" is the cooker, but is somewhat upstaged by "Opera in Blue," a rhapsody built entirely around Johnson's lyrically inspired tenor.
Johnson led his own session in June of 1947 for the obscure Cyclone label. Included here are apparently the only two surviving sides. The tenor is very expressive on "My Heart's Doin' Time (For You)," and Mary Stafford belts out a smart little piece of blues on the flip side. A few months later, crooner Leslie Scott fronted a band with strings and a handful of jazz musicians, including drummer Denzil Best and a very sensuously laid-back Johnson. These sentimental numbers are oddly comforting, and fortunately the strings are not obtrusive. Johnson seems to have specialized in getting signed with small-time labels. In February 1951, working for Faith Records, he can be heard leading an all-star ensemble including Howard McGhee, J.J. Johnson, Cecil Payne, Kenny Drew, Oscar Pettiford, and Kansas Fields. Freddie Jackson sings a tough take on the blues called "Sometime I Feel Like Leaving Home," the band bounces through something called "Grooving in Birdland," and Johnson completely dominates the ballad "Talk of the Town." In March of 1952, Budd Johnson's All-Stars backed vocalist Johnny King on a pair of Louis Jordan-style numbers issued on the MGM label. The leader adapted unflinchingly to every stylistic trend during these years, always delivering gutsy, substantial solos. Here is an intriguing glimpse of one working tenor's professional evolution during a period notable for its many cultural transitions. arwulf arwulf   
Tracklist :
1    Clyde Hart's Hot Seven–    Smack That Mess 3:02
Vocals – Joe Gregory
2    Clyde Hart's Hot Seven–    Dee Dee's Dance    3:00
3    Clyde Hart's Hot Seven–    Little Bennie (King Kong)    2:40
4    Clyde Hart's Hot Seven–    Shoot The Arrow To Me Cupid    3:02
5    Al Killian And His Orchestra–    You're The One    3:00
6    Al Killian And His Orchestra–    Goin' Down     2:40
7    J.C. Heard And His Orchestra–    The Walk    3:00
8    J.C. Heard And His Orchestra–    Heard But Not Seen    2:38
9    J.C. Heard And His Orchestra–    Azure    2:49
10    J.C. Heard And His Orchestra–    Bouncing For Barney    2:54
11    Dickie Wells' Big Seven–    Bed Rock    2:50
12    Dickie Wells' Big Seven–    Opera In Blue    2:59
13    Dickie Wells' Big Seven–    Drag Nasty - The Walk    2:49
14    Budd Johnson–    My Heart's Doing Time    2:43
15    Budd Johnson–    I Just Can't Find That Kind 2:47
Vocals – Mary Stafford
16    Leslie Scott And His Orchestra–    So Long 3:11
Vocals – Leslie Scott
17    Leslie Scott And His Orchestra–    Blue And Sentimental 3:01
Vocals – Leslie Scott
18    Budd Johnson's All Stars–    Sometime I Feel Like Leaving Home 3:09
Vocals – Freddy Jackson
19    Budd Johnson's All Stars–    Grooving In Birdland    3:08
20    Budd Johnson's All Stars–    I'm All Alone 3:07
Vocals – Charlie Singleton
21    Budd Johnson's All Stars–    Talk Of The Town    2:52
22    Johnny King With Budd Johnson And His All Stars–    Where Were You ?    2:09
23    Johnny King With Budd Johnson And His All Stars–    Way Downtown At The Bottom Of The Hill    2:25
Credits
Alto Saxophone – George Dorsey (tracks: 14 to 15), Herbie Fields (tracks: 1 to 4), Hilton Jefferson (tracks: 22 to 23)
Baritone Saxophone – Cecil Payne (tracks: 18 to 23), Cecil Scott (tracks: 11 to 13), Harry Carney (tracks: 5 to 6)
Bass – Al McKibbon (tracks: 7 to 13), Joe Shulman (tracks: 5 to 6), Milt Hinton (tracks: 22 to 23), Oscar Pettiford (tracks: 1 to 4, 18 to 21), Trigger Alpert (tracks: 16 to 17)
Clarinet – Eddie Barefield (tracks: 14 to 15)
Clarinet, Alto Saxophone – Aaron Sachs (tracks: 5 to 6)
Directed By, Piano – Luther Henderson (tracks: 16 to 17)
Drums – Denzil Best (tracks: 1 to 4, 16 to 17), George Jones (tracks: 5 to 6), J.C. Heard (tracks: 7 to 13), Kansas Fields (tracks: 18 to 21), Kelly Martin (tracks: 22 to 23)
Guitar – Chuck Wayne (tracks: 1 to 4), Herman Mitchell (tracks: 16 to 17)
Piano – Billy Taylor (tracks: 22 to 23), Clyde Hart (tracks: 1 to 4), Jimmy Jones (tracks: 7 to 13), Kenny Drew (tracks: 18 to 21), Marty Napoleon (tracks: 5 to 6)
Tenor Saxophone – Budd Johnson, Charlie Singleton (tracks: 18 to 21)
Trombone – Dickie Harris (tracks: 7 to 10), Dicky Wells (tracks: 11 to 13), J.J. Johnson (tracks: 18 to 21), Trummy Young (tracks: 5 to 6)
Trumpet – Al Killian (tracks: 5 to 6), Little Benny Harris (tracks: 1 to 4), George Treadwell (tracks: 7 to 13), Howard McGhee (tracks: 18 to 21), Joe Newman (tracks: 22 to 23)

BENNY CARTER AND HIS ORCHESTRA – 1929-1933 | The Classics Chronological Series – 522 (1990) FLAC (tracks+.cue), lossless

The European Classics series has been reissuing on CD the complete output of many top jazz artists of the '20s and '30s. Benny Carter's music at last receives the treatment it deserves in this program. His first volume features the great altoist with a pickup group (the Chocolate Dandies) from 1929-30 that showcases sidemen from Fletcher Henderson's Orchestra, with his own orchestra in 1932-33 (three of the five numbers have rare vocals from Carter) and on 11 sides with Spikes Hughes's all-star band, an orchestra that also features trumpeter Red Allen, trombonist Dicky Wells, Wayman Carver on flute and the tenors of Coleman Hawkins and Chu Berry. This is wonderful and, in many cases, formerly rare music. Scott Yanow
Tracklist :
1    The Little Chocolate Dandies–    That's How I Feel Today 2:57
Alto Saxophone – Benny Carter
Alto Saxophone, Written-By – Don Redman
Banjo – Unknown Artist
Drums – George Stafford
Piano – Fats Waller
Tenor Saxophone – Coleman Hawkins
Trombone – J.C. Higginbotham
Trumpet – Leonard Davis, Rex Stewart
Tuba – Cyrus St. Clair
2    The Little Chocolate Dandies–    Six Or Seven Times 3:20
Alto Saxophone, Vocals – Benny Carter, Don Redman
Banjo – Unknown Artist
Drums – George Stafford
Piano, Written-By – Fats Waller
Tenor Saxophone – Coleman Hawkins
Trombone – J.C. Higginbotham
Trumpet – Leonard Davis, Rex Stewart
Tuba – Cyrus St. Clair
Written-By – Mills
3    Chocolate Dandies–    Goodbye Blues 3:17
Alto Saxophone, Arranged By, Vocals, Written-By – Benny Carter
Bass – John Kirby
Guitar – Benny Jackson
Piano – Horace Henderson
Tenor Saxophone – Coleman Hawkins
Trombone – Jimmy Harrison
Trumpet – Bobby Stark
4    Chocolate Dandies–    Cloudy Skies 2:55
Alto Saxophone, Arranged By – Benny Carter
Guitar – Benny Jackson
Piano – Horace Henderson
Tenor Saxophone, Written-By – Coleman Hawkins
Trombone – Jimmy Harrison
Trumpet – Bobby Stark
Tuba – John Kirby
5    Chocolate Dandies–    Got Another Sweetie Now 2:58
Alto Saxophone, Arranged By – Benny Carter
Guitar – Benny Jackson
Piano – Horace Henderson
Tenor Saxophone – Coleman Hawkins
Trombone, Vocals, Written-By – Jimmy Harrison
Trumpet – Bobby Stark
Tuba – John Kirby
6    Chocolate Dandies–    Bugle Call Rag 2:49
Alto Saxophone, Arranged By – Benny Carter
Guitar – Benny Jackson
Piano – Horace Henderson
Tenor Saxophone – Coleman Hawkins
Trombone – Jimmy Harrison
Trumpet – Bobby Stark
Tuba – John Kirby
Written-By – Schoebel, Mills, Pettis
7    Chocolate Dandies–    Dee Blues 2:54
Clarinet, Arranged By, Written-By – Benny Carter
Guitar – Benny Jackson
Piano – Horace Henderson
Tenor Saxophone – Coleman Hawkins
Trombone – Jimmy Harrison
Trumpet – Bobby Stark
Tuba – John Kirby
8    Benny Carter And His Orchestra–    Tell All Your Day Dreams To Me 2:54
Alto Saxophone, Flute – Wayman Carver
Bass [String Bass] – Richard Fullbright
Clarinet, Alto Saxophone, Directed By – Benny Carter
Drums – Sid Catlett
Guitar – Unknown Artist
Piano – Teddy Wilson
Tenor Saxophone – Chu Berry
Trombone – Dickie Wells
Trumpet – Frank Newton, Louis Bacon, Unknown Artist
Vocals – Unknown Artist
Written-By – James, Seitter
9    Benny Carter And His Orchestra–    Swing It 3:11
Alto Saxophone – Howard Johnson
Bass [String Bass] – Ernest Hill
Drums, Vibraphone – Sid Catlett
Guitar – Lawrence Lucie
Piano – Rod Rodriguez
Tenor Saxophone – Chu Berry
Trombone – George Washington, Wilbur De Paris
Trumpet – Bill Dillard, Leonard Davis, Shad Collins
Trumpet, Clarinet, Alto Saxophone, Vocals, Directed By – Benny Carter
Written-By – Bretz, Weitz
10    Benny Carter And His Orchestra–    Synthetic Love 3:28
Alto Saxophone – Howard Johnson
Bass [String Bass] – Ernest Hill
Drums, Vibraphone – Sid Catlett
Guitar – Lawrence Lucie
Piano – Rod Rodriguez
Tenor Saxophone – Chu Berry
Trombone – George Washington, Wilbur De Paris
Trumpet – Bill Dillard, Leonard Davis, Shad Collins
Trumpet, Clarinet, Alto Saxophone, Vocals, Directed By, Written-By – Benny Carter
Written-By – Mills, Washington
11    Benny Carter And His Orchestra–    Six Bells Stampede 2:39
Alto Saxophone – Howard Johnson
Bass [String Bass] – Ernest Hill
Drums, Vibraphone – Sid Catlett
Guitar – Lawrence Lucie
Piano – Rod Rodriguez
Tenor Saxophone – Chu Berry
Trombone – George Washington, Wilbur De Paris
Trumpet – Bill Dillard, Leonard Davis, Shad Collins
Trumpet, Clarinet, Alto Saxophone, Directed By – Benny Carter
Written-By – Hughes
12    Benny Carter And His Orchestra–    Love, You're Not The One For Me 3:32
Alto Saxophone – Howard Johnson
Bass [String Bass] – Ernest Hill
Drums, Vibraphone – Sid Catlett
Guitar – Lawrence Lucie
Piano – Rod Rodriguez
Tenor Saxophone – Chu Berry
Trombone – George Washington, Wilbur De Paris
Trumpet – Bill Dillard, Leonard Davis, Shad Collins
Trumpet, Clarinet, Alto Saxophone, Vocals, Directed By, Written-By – Benny Carter
13    Spike Hughes And His Negro Orchestra–    Nocturne 2:57
Bass [String Bass] – Ernest Hill
Clarinet, Alto Saxophone – Benny Carter, Howard Johnson, Wayman Carver
Clarinet, Tenor Saxophone – Coleman Hawkins
Directed By, Arranged By, Written-By – Spike Hughes
Drums – Kaiser Marshall
Guitar – Lawrence Lucie
Piano – Rod Rodriguez
Trombone – Dicky Wells, George Washington, Wilbur De Paris
Trumpet – Bill Dillard, Leonard Davis, Shad Collins
14    Spike Hughes And His Negro Orchestra–    Someone Stole Gabriel's Horn 3:03
Bass [String Bass] – Ernest Hill
Clarinet, Alto Saxophone – Howard Johnson, Wayman Carver
Clarinet, Alto Saxophone, Vocals – Benny Carter
Clarinet, Tenor Saxophone – Coleman Hawkins
Directed By, Arranged By – Spike Hughes
Drums – Kaiser Marshall
Guitar – Lawrence Lucie
Piano – Rod Rodriguez
Trombone – Dicky Wells, George Washington, Wilbur De Paris
Trumpet – Bill Dillard, Leonard Davis, Shad Collins
Written-By – Hayes, Mills, Washington
15    Spike Hughes And His Negro Orchestra–    Pastorale 3:10
Bass [String Bass] – Ernest Hill
Clarinet, Alto Saxophone – Benny Carter, Howard Johnson, Wayman Carver
Clarinet, Tenor Saxophone – Coleman Hawkins
Directed By, Arranged By, Written-By – Spike Hughes
Drums – Sid Catlett
Guitar – Lawrence Lucie
Piano – Rod Rodriguez
Trombone – Dicky Wells, George Washington, Wilbur De Paris
Trumpet – Bill Dillard, Leonard Davis, Shad Collins
16    Spike Hughes And His Negro Orchestra–    Bugle Call Rag 2:51
Bass [String Bass] – Ernest Hill
Clarinet, Alto Saxophone – Benny Carter, Howard Johnson, Wayman Carver
Clarinet, Tenor Saxophone – Coleman Hawkins
Directed By, Arranged By – Spike Hughes
Drums – Sid Catlett
Guitar – Lawrence Lucie
Piano – Rod Rodriguez
Trombone – Dicky Wells, George Washington, Wilbur De Paris
Trumpet – Bill Dillard, Leonard Davis, Shad Collins
Written-By – Meyer, Schoebel, Pettis
17    Spike Hughes And His Negro Orchestra–    Arabesque 3:03
Bass [String Bass] – Ernest Hill
Clarinet, Alto Saxophone – Benny Carter, Howard Johnson
Clarinet, Alto Saxophone, Flute – Wayman Carver
Clarinet, Tenor Saxophone – Coleman Hawkins
Directed By, Arranged By, Written-By – Spike Hughes
Drums – Sid Catlett
Guitar – Lawrence Lucie
Tenor Saxophone – Chu Berry
Trombone – Dicky Wells, George Washington, Wilbur De Paris
Trumpet – Bill Dillard, Leonard Davis
Trumpet, Vocals – Henry Allen
18    Spike Hughes And His Negro Orchestra–    Fanfare 2:52
Bass [String Bass] – Ernest Hill
Clarinet, Alto Saxophone – Benny Carter, Howard Johnson
Clarinet, Alto Saxophone, Flute – Wayman Carver
Clarinet, Tenor Saxophone – Coleman Hawkins
Directed By, Arranged By – Spike Hughes
Drums – Sid Catlett
Guitar – Lawrence Lucie
Piano – Luis Russell
Tenor Saxophone – Chu Berry
Trombone – Dicky Wells, George Washington, Wilbur De Paris
Trumpet – Bill Dillard, Leonard Davis
Trumpet, Vocals – Henry Allen
Traditional
19    Spike Hughes And His Negro Orchestra–    Sweet Sorrow Blues 3:02
Bass [String Bass] – Ernest Hill
Clarinet, Alto Saxophone – Benny Carter, Howard Johnson
Clarinet, Alto Saxophone, Flute – Wayman Carver
Clarinet, Tenor Saxophone – Coleman Hawkins
Directed By, Arranged By – Spike Hughes
Drums – Sid Catlett
Guitar – Lawrence Lucie
Piano – Luis Russell
Tenor Saxophone – Chu Berry
Trombone – Dicky Wells, George Washington, Wilbur De Paris
Trumpet – Bill Dillard, Leonard Davis
Trumpet, Vocals – Henry Allen
Written-By – Traditional
20    Spike Hughes And His Negro Orchestra–    Music At Midnight 2:42
Bass [String Bass] – Ernest Hill
Clarinet, Alto Saxophone – Benny Carter, Howard Johnson
Clarinet, Alto Saxophone, Flute – Wayman Carver
Clarinet, Tenor Saxophone – Coleman Hawkins
Directed By, Arranged By – Spike Hughes
Drums – Sid Catlett
Guitar – Lawrence Lucie
Piano – Luis Russell
Tenor Saxophone – Chu Berry
Trombone – Dicky Wells, George Washington, Wilbur De Paris
Trumpet – Bill Dillard, Leonard Davis
Trumpet, Vocals – Henry Allen
Written-By – Unknown Artist
21    Spike Hughes And His Negro Orchestra–    Sweet Sue - Just You 2:59
Bass [String Bass] – Spike Hughes
Clarinet, Alto Saxophone – Benny Carter
Clarinet, Alto Saxophone, Flute – Wayman Carver
Clarinet, Tenor Saxophone – Coleman Hawkins
Drums – Sid Catlett
Guitar – Lawrence Lucie
Piano – Rod Rodriguez
Tenor Saxophone – Chu Berry
Trombone – Dicky Wells
Trumpet, Vocals – Henry Allen
Written-By – Young, Harris
22    Spike Hughes And His Negro Orchestra–    Air In D Flat 3:00
Bass [String Bass] – Ernest Hill
Clarinet, Alto Saxophone – Howard Johnson
Clarinet, Alto Saxophone, Flute – Wayman Carver
Clarinet, Soprano Saxophone, Alto Saxophone – Benny Carter
Clarinet, Tenor Saxophone – Coleman Hawkins
Directed By, Arranged By – Spike Hughes
Drums – Sid Catlett
Guitar – Lawrence Lucie
Piano – Rod Rodriguez
Tenor Saxophone – Chu Berry
Trombone – Dicky Wells, George Washington, Wilbur De Paris
Trumpet – Howard Scott
Trumpet [Possibly] – Bill Dillard, Leonard Davis
Trumpet, Vocals – Henry Allen
Written-By – Unknown Artist
23    Spike Hughes And His Negro Orchestra–    Donegal Cradle Song 3:00
Bass [String Bass] – Ernest Hill
Clarinet, Alto Saxophone – Howard Johnson
Clarinet, Alto Saxophone, Flute – Wayman Carver
Clarinet, Soprano Saxophone, Alto Saxophone – Benny Carter
Clarinet, Tenor Saxophone – Coleman Hawkins
Directed By, Arranged By, Written-By – Spike Hughes
Drums – Sid Catlett
Guitar – Lawrence Lucie
Piano – Rod Rodriguez
Tenor Saxophone – Chu Berry
Trombone – Dicky Wells, George Washington, Wilbur De Paris
Trumpet – Howard Scott
Trumpet [Possibly] – Bill Dillard, Leonard Davis
Trumpet, Vocals – Henry Allen