MAGGIE JONES — Complete Recorded Works In Chronological Order Volume 1 · 1923-1925 (1995) DOCD-5348 | FLAC (tracks+.cue), lossless

Collecting up all of Maggie Jones' earliest recordings from August 1923 to April 1925, this 24-track compilation features her in a variety of settings. Starting out with simple piano accompaniment from Don Redman or Fletcher Henderson, her later sides in the set find her working with fuller combos counting up at various times contributions from Louis Armstrong and guitarists Sam Clark and Roy Smeck. Taken from rarer-than-rare original 78s in fairly battered shape, two of the tracks have skips in them that no amount of noise reduction can fix. A seasoned theater performer, Jones had a classic blues style that wears well. Here's where her story begins. Cub Koda

Tracklist :
1.    Fae Barnes–    Do It Long Time Papa    2:54
2.    Fae Barnes–    I Just Want A Daddy    3:03
3.    Maggie Jones–    You Can't Do What My Last Man Did    2:39
4.    Maggie Jones–    Don't Never Tell Nobody What Your Good Man Can Do    2:41
5.    Fae Barnes–    You Don't Know My Mind (take 1)    3:00
6.    Fae Barnes–    You Don't Know My Mind (take 3)    3:02
7.    Fae Barnes–    Good-Bye Blues (take 1)    3:05
8.    Fae Barnes–    Good-Bye Blues (take 2)    2:58
9.    Maggie Jones–    Four Flushing Papa (What Kind A Man Is You)    3:11
10.    Maggie Jones–    Jealous Mama Blues    3:09
11.    Maggie Jones–    Box Car Blues    3:03
12.    Maggie Jones–    Western Union Blues    3:00
13.    Maggie Jones–    Poor House Blues    3:01
14.    Maggie Jones–    Anybody Here Want To Try My Cabbage    3:14
15.    Maggie Jones–    Thunderstorm Blues    2:57
16.    Maggie Jones–    If I Lose, Let Me Lose (Mamma Don't Mind)    3:13
17.    Maggie Jones–    Screamin' The Blues    3:13
18.    Maggie Jones–    Good Time Flat Blues    3:05
19.    Maggie Jones–    You May Go, But You'll Come Back Some Day    3:00
20.    Maggie Jones–    Early Every Morn' (I Want My Lovin')    3:02
21.    Maggie Jones–    Dangerous Blues    3:07
22.    Maggie Jones–    Suicide Blues    3:05
23.    Maggie Jones–    Undertaker's Blues    3:12
24.    Maggie Jones–    North Bound Blues    3:09
Credits :
Compilation Producer – Johnny Parth
Cornet – Louis Armstrong (tracks: 13 to 20)
Effects – Unknown Artist (tracks: 15)
Guitar – Alabama Joe (J. M. "Doc" Miller Or Roy Smeck) (tracks: 21, 22), Sam Clark (tracks: 5 to 8)
Liner Notes – John Wilby
Piano – Donald M. Redmond (Don Redman?) (tracks: 1, 2), Fletcher Henderson (tracks: 3, 4, 11 to 20, 23, 24), Lemuel Fowler (tracks: 9, 10)
Remastered By – Gerhard Wessely
Trombone – Charlie Green (tracks: 11, 12, 23, 24)
Vocals – Maggie Jones  

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 

ROSA HENDERSON — Complete Recorded Works In Chronological Order Volume 1 (1923) DOCD-5401 (1995) FLAC (tracks+.cue), lossless

All of classic blues singer Rosa Henderson's recordings are available on four CDs from the Austrian Document label. The first volume mostly has Henderson accompanied by pianist Fletcher Henderson (no relation), with one number apiece with sidemen from Henderson's early band and the Virginians. The young tenor Coleman Hawkins pops up on "It Won't Be Long Now," while cornetist Thomas Morris and pianist Louis Hooper help out on two numbers. None of the 22 songs on this CD became hits but quite a few are memorable, including "I Ain't No Man's Slave," "So Long to You and the Blues," "He May Be Your Dog But He's Wearing My Collar," and "Got the World in a Jug, the Stopper's in My Hand." Scott Yanow
Tracklist :
1.    I'm Broke Fooling With You  3:15
Piano – Unknown Artist
Vocals – Rosa Henderson
2.    I Ain't No Man's Slave  3:16
Piano – Unknown Artist
Vocals – Rosa Henderson
3.    Good Woman's Blues  3:10
Piano – Wendell P. Talbert
Vocals – Rosa Henderson
4.    I'm Broke Fooling With You  3:01
Piano – Wendell P. Talbert
Vocals – Rosa Henderson
5.    Where (Can That Somebody Be)  2:52
Piano – Fletcher Henderson
Vocals – Rosa Henderson
6.    Down South Blues  3:09
Piano – Fletcher Henderson
Vocals – Rosa Henderson
7.    Afternoon Blues  3:09
Piano – Fletcher Henderson
Vocals – Rosa Henderson
8.    I Need You  3:15
Piano – Fletcher Henderson
Vocals – Rosa Henderson
9.    Midnight Blues (A Wee Hour Chant)  3:08
Alto Saxophone – Don Redman
Banjo – Charlie Dixon
Bass Saxophone – Coleman Hawkins
Clarinet – Edgar Campbell 
Cornet [Either/Or] – Elmer Chambers, Howard Scott 
Piano – Fletcher Henderson
Trombone – Teddy Nixon
Vocals – Rosa Henderson
10.    So Long To You And The Blues  3:26
Piano – Fletcher Henderson
Vocals – Rosa Henderson
11.    If You Don't Give Me What I Want (I'll Get It Somewhere Else)  3:10
Piano – Fletcher Henderson
Vocals – Rosa Henderson
12.    Low-Down Papa (Sweet Mamma's Blues)  3:02
Piano – Fletcher Henderson
Vocals – Rosa Henderson
13.    Struttin' Blues  3:08
Alto Saxophone – Don Clark, Hale Byers
Banjo – Mike Pingitore
Brass Bass – Jack Barsby
Clarinet – Ross Gorman
Cornet – Frank Siegrist, Henry Busse
Orchestra – The Virginians
Piano – Ferdie Grofe
Trombone – Sammy Lewis
Vocals – Rosa Henderson
14.    It Won't Be Long Now  3:06
Piano – Fletcher Henderson
Tenor Saxophone – Coleman Hawkins
Vocals – Rosa Henderson
15.    Every Woman's Blues (12070)  2:55
Piano – Fletcher Henderson
Vocals – Rosa Henderson
16.    Every Woman's Blues (12071)  2:49
Piano – Fletcher Henderson
Vocals – Rosa Henderson
17.    I Want My Sweet Daddy Now  3:15
Piano – Fletcher Henderson
Vocals – Rosa Henderson
18.    He May Be Your Dog But He's Wearing My Collar  3:06
Piano – Fletcher Henderson
Vocals – Rosa Henderson
19.    Got The World In A Jug (The Stopper's In My Hand)  3:10
Piano – Fletcher Henderson
Vocals – Rosa Henderson
20.    When You Walked Out (Someone Else Walked Right In)  3:15
Piano – Fletcher Henderson
Vocals – Rosa Henderson
21.    He's Never Gonna Throw Me Down 2:54
Piano – Louis Hooper
Vocals – Rosa Henderson
22.    Every Day Blues  2:43
Piano – Louis Hooper
Vocals – Rosa Henderson 

ROSA HENDERSON — Complete Recorded Works In Chronological Order Volume 2 (1924) DOCD-5402 (1995) FLAC (tracks+.cue), lossless

The second of four Document CDs that reissue all of the recordings of the classic blues singer Rosa Henderson mostly has the vocalist accompanied by the unrelated pianist Fletcher Henderson and his sidemen (including cornetist Joe Smith, altoist Don Redman, and tenor saxophonist Coleman Hawkins) or by the Choc Choo Jazzers, a small group with pianist Cliff Jackson. Best among the 23 selections are "I'm a Good Gal But I'm a Thousan' Miles From Home," "West Indies Blues," "My Papa Doesn't Two-Time No Time," "Strut Yo' Puddy," and "Somebody's Doing What You Wouldn't Do." Although she would eventually slip into obscurity, Rosa Henderson was one of the better blues singers of the period. Scott Yanow
Tracklist :
1.    Rosa Henderson–    I'm A Good Gal (But I'm A Thousan' Miles From Home)  3:10
Banjo – Charlie Dixon
Clarinet – Don Redman
Cornet – Elmer Chambers
Orchestra – Fletcher Henderson's Jazz Five
Piano – Fletcher Henderson
Trombone – Teddy Nixon
Vocals – Rosa Henderson
2.    Rosa Henderson–    Papa Will Be Gone  3:26
Banjo – Charlie Dixon
Clarinet – Don Redman
Cornet – Elmer Chambers
Orchestra – Fletcher Henderson's Jazz Five
Piano – Fletcher Henderson
Trombone – Teddy Nixon
Vocals – Rosa Henderson
3.    Rosa Henderson–    Hey Hey And He He, I'm Charleston Crazy  2:53
Cornet – Joe Smith 
Piano – Fletcher Henderson
Vocals – Rosa Henderson
4.    Rosa Henderson–    Do Right Blues  3:22
Cornet – Joe Smith 
Piano – Fletcher Henderson
Vocals – Rosa Henderson
5.    Rosa Henderson–    Goin' Home  2:12
Piano [Poss.] – Porter Grainger
Steel Guitar – Lincoln M. Conaway
Vocals – Rosa Henderson
6.    Rosa Henderson–    West Indies Blues (42602)  2:18
Piano [Poss.] – Porter Grainger
Steel Guitar – Lincoln M. Conaway
Vocals – Rosa Henderson
7.    Rosa Henderson–    How Come You Do Me Like You Do  3:18
Piano – Fletcher Henderson
Vocals – Rosa Henderson
8.    Rosa Henderson–    My Papa Doesn't Two-Time No Time  3:05
Piano – Fletcher Henderson
Vocals – Rosa Henderson
9.    Rosa Henderson–    Clearing House Blues  2:57
Banjo – Charlie Dixon
Clarinet – Don Redman
Cornet – Elmer Chambers
Orchestra – Fletcher Henderson's Jazz Five
Piano – Fletcher Henderson
Speech [Male], Vocals [Male] – Unknown Artist
Trombone – Teddy Nixon
Vocals – Rosa Henderson
10.    Rosa Henderson–    West Indies Blues (12846/47)  2:59
Banjo – Charlie Dixon
Clarinet – Don Redman
Cornet – Elmer Chambers
Orchestra – Fletcher Henderson's Jazz Five
Piano – Fletcher Henderson
Speech [Male], Vocals [Male] – Unknown Artist
Trombone – Teddy Nixon
Vocals – Rosa Henderson
11.    Rosa Henderson–    Back Woods Blues  2:42
Cornet [Prob.] – Howard Scott 
Orchestra – Henderson And His Orchestra
Piano – Fletcher Henderson
Vocals – Rosa Henderson
12.    Rosa Henderson–    Four-Flushin' Papa  3:09
Cornet [Prob.] – Howard Scott 
Orchestra – Henderson And His Orchestra
Piano – Fletcher Henderson
Vocals – Rosa Henderson
13.    Rosa Henderson–    Black Star Line (A West Indian Chant)  2:48
Piano – Edgar Dowell
Vocals – Rosa Henderson
14.    Rosa Henderson–    Barbadoes Blues  2:52
Effects – Unknown Artist
Piano – Edgar Dowell
Vocals – Rosa Henderson
15.    Rosa Henderson–    Chicago Monkey Man Blues  3:13
Piano – Edgar Dowell
Vocals – Rosa Henderson
16.    Rosa Henderson–    How'm I Gonna Get 'em (When You Keep On Holding 'Em Back)  3:11
Vocals – Rosa Henderson
17.    Rosa Henderson–    Barrel House Blues (13252)  3:03
Piano – Fletcher Henderson
Vocals – Rosa Henderson
18.    Rosa Henderson–    My Right Man  3:12
Piano – Fletcher Henderson
Vocals – Rosa Henderson
19.    Rosa Henderson Featured Vcl With Fletcher Henderson And His Club Alabam Orchestra–    Do That Thing  3:07
Banjo – Charlie Dixon
Brass Bass – Ralph Escudero
Clarinet, Alto Saxophone – Don Redman
Cornet – Elmer Chambers, Howard Scott 
Drums – Kaiser Marshall
Orchestra – Fletcher Henderson And His Club Alabam Orchestra
Piano – Fletcher Henderson
Tenor Saxophone – Coleman Hawkins
Trombone – Teddy Nixon
Vocals – Rosa Henderson
20.    Rosa Henderson–    I Can't Get The One I Want  2:54
Orchestra – Choo Choo Jazzers
Piano – Cliff Jackson
Trumpet – Harry Smith 
Vocals – Rosa Henderson
21.    Sally Ritz–    Barrel House Blues (5555)  3:16
Piano – Edgar Dowell
Vocals – Rosa Henderson
22.    Rosa Henderson And Choo Choo Jazzers–    Strut Yo' Puddy  2:53
Orchestra – Choo Choo Jazzers
Piano – Cliff Jackson
Trumpet [Prob.] – Rex Stewart
Vocals – Rosa Henderson
23.    Rosa Henderson And Choo Choo Jazzers–    Somebody's Doing What You Wouldn't Do 2:56
Clarinet – Bob Fuller
Orchestra – Choo Choo Jazzers
Piano – Cliff Jackson
Vocals – Rosa Henderson 

PEARL BAILEY — St. Louis Blues (1958) Vinyl, LP | FLAC (tracks) 24-192Hz

Tracklist
A1        St. Louis Blues 2:50
Written-By – W. C. Handy
A2        Hesitatin' Blues 3:32
Written-By – W. C. Handy
A3        Shine Like A Morning Star 2:56
Written-By – W. C. Handy
A4        Aunt Hager's Blues 2:55
Written-By – Brymn, Handy
A5        I'll Turn Back No More 2:01
Written-By – W. C. Handy
A6        Ole Miss 2:21
Written-By – W. C. Handy
B1        Long Gone 2:00
Written-By – Smith, Handy
B2        Friendless Blues 3:35
Written-By – Gilbert, W. C. Handy
B3        Careless Love 2:40
Written-By – Koenig, Williams, Handy
B4        Way Down South Where The Blues Began 2:45
Written-By – W. C. Handy
B5        I've Heard Of A City Called Heaven 1:45
Written-By – W. C. Handy
B6        Beale Street Blues 2:51
Written-By – W. C. Handy
Credits:
Orchestra Conducted – Don Redman
Vocals – Pearl Bailey

TRIXIE SMITH — Complete Recorded Works In Chronological Order • Volume 1 (1922-1924) DOCD-5332 (1995) FLAC (tracks+.cue), lossless

Part of the European Document label's giant prewar blues reissue series includes two Trixie Smith CDs that repackage all of her recordings. The second disc is the preferred acquisition, but Vol. 1 is not without interest. The majority of Smith's recordings (particularly in the early days) were vaudeville and pop songs, but on the relatively rare occasions when she sang a lowdown blues, she fared quite well. The first volume starts out with four numbers that are dated either January or March 1922 here, but are probably from September and November 1921. Trixie Smith improved on records as time went on; her first few numbers have rather dated accompaniment. In fact, despite the presence of pianist James P. Johnson (who is well buried on two numbers), her musicians do not get very stimulating until after the first 20 of the 25 numbers. Most notable among the selections are "He May Be Your Man" (which has some familiar lyrics), "My Man Rocks Me" (a song that would be among Trixie's most famous), the heated "Ride Jockey Ride," and a couple of train songs ("Freight Train Blues" and "Choo Choo Blues"), which would become one of her specialties. This is historic music that set the stage for Trixie's later, generally superior performances.  Scott Yanow
Tracklist :
1    Trixie Smith–    Desperate Blues (take 2) 3:13
2    Trixie Smith–    Trixies Blues 3:09
3    Trixie Smith–    You Missed A Good Woman When You Picked All Over Me (take 2) 3:09
Orchestra – James P. Johnson's Harmony Eight
4    Trixie Smith–    Long Lost, Weary Blues (take 3) 3:03
Orchestra – James P. Johnson's Harmony Eight
5    Trixie Smith–    He May Be Your Man    2:46
6    Trixie Smith–    Pensacola Blues    3:08
7    Trixie Smith–    Give Me That Old Slow Drag 2:51
Orchestra – The Jazz Masters
8    Trixie Smith–    My Man Rocks Me 2:52
Orchestra – The Jazz Masters
9    Trixie Smith, Acc. Her Down Home Syncopators–    "I'm Through" With You (As I Can Be) 3:22
10    Trixie Smith, Acc. Her Down Home Syncopators–    Take It Daddy, Its All Yours 2:45
11    Trixie Smith–    I'm Gonna Get You 3:06
12    Trixie Smith–    2 A.M. Blues 3:16
13    Trixie Smith, Acc. Her Down Home Syncopators–    Log Cabin Blues    3:15
14    Trixie Smith, Acc. Her Down Home Syncopators–    Voo Doo Blues    3:03
15    Trixie Smith, Acc. Her Down Home Syncopators–    Tired Of Waitin' Blues    3:06
16    Trixie Smith, Acc. Her Down Home Syncopators–    Triflin' Blues    2:53
17    Trixie Smith–    I Don't Know And I Don't Care Blues (take 1) 2:49
Orchestra – Fletcher Henderson's Orchestra
18    Trixie Smith, Acc. Her Down Home Syncopators*–    Freight Train Blues    3:05
19    Trixie Smith–    Sorrowful Blues 3:00
Orchestra – Fletcher Henderson's Orchestra
20    Trixie Smith–    Don't Shake It No More (take 2)    3:00
21    Trixie Smith, Acc. Her Down Home Syncopators–    Praying Blues (take 2) 3:10
22    Trixie Smith, Acc. Her Down Home Syncopators–    Ada Jane's Blues 3:06
23    Trixie Smith, Acc. Her Down Home Syncopators–    Ride Jockey Ride 2:55
24    Trixie Smith, Acc. Her Down Home Syncopators–    Choo Choo Blues (take 2) 3:08
25    Trixie Smith, Acc. Her Down Home Syncopators–    Choo Choo Blues (take 3) 3:04
Credits :
Banjo – Charlie Dixon (tracks: 17 to 19, 21 to 25)
Banjo [Prob.] – Charlie Dixon (tracks: 15, 16)
Clarinet – Buster Bailey (tracks: 23 to 25), Don Redman (tracks: 17 to 19, 21, 22)
Clarinet [Prob.] – Edgar Campbell (3) (tracks: 15, 16)
Cornet [Poss./Or] – Howard Scott (2) (tracks: 21, 22)
Cornet [Prob./Or] – Elmer Chambers (tracks: 21, 22)
Cornet [Prob.] – Elmer Chambers (tracks: 15, 16), Howard Scott (2) (tracks: 17 to 19)
Effects – Unknown Artist (tracks: 18, 24, 25)
Percussion – Unknown Artist (tracks: 22)
Piano – Fletcher Henderson (tracks: 17 to 19, 23 to 25), James P. Johnson (tracks: 3, 4), Unknown Artist (tracks: 20)
Piano [Presumably] – Fletcher Henderson (tracks: 7, 8)
Piano [Prob.] – Fletcher Henderson (tracks: 15, 16, 21, 22)
Tenor Saxophone [Prob.] – Walter Watkins (tracks: 3, 4)
Trombone – Charlie Green (tracks: 21 to 25)
Trombone [Poss.] – Ted Nixon* (tracks: 17 to 19)
Trombone [Prob.] – George Brashear (tracks: 15, 16)
Trumpet – Elmer Chambers (tracks: 23 to 25)
Trumpet [Poss.] – Russell Smith (tracks: 9, 10)
Violin – Unknown Artist (tracks: 20)
Vocals – Trixie Smith

LOUIS ARMSTRONG AND HIS ORCHESTRA – 1928-1929 | The Classics Chronological Series – 570 (1991) FLAC (tracks+.cue), lossless

By June of 1928 Louis Armstrong had refined himself and his ensemble to the point where nearly every record they made was a study in collective genius, as the mature edition of the Hot Five resounded with Zutty Singleton's popping cymbals and Earl Hines' modernistic piano. The entire idiom of classic jazz is defined in part by the lively, well-oiled precision of "Fireworks," the humorous dialogue leading into the leader's velvety vocal on "A Monday Date" and the stunning vocal trio harmonies laid over Fats Waller's "Squeeze Me." On July 5, 1928, the Five found themselves surrounded by six other players to form a big band designated for posterity as Carroll Dickerson's Savoyagers. This interesting experiment in upsizing pointed in the direction that Armstrong was headed, for within one year, with violinist Dickerson in tow, the trumpeter would be performing in front of a significantly larger ensemble. For the time being, Armstrong's sextet began calling itself his Orchestra or, when Don Redman was in on the gig, his Savoy Ballroom Five. This portion of the Armstrong chronology is deliciously packed with some of his greatest moments on record. "Weather Bird" is an especially satisfying Hines/Armstrong duet update of King Oliver's "Weather Bird Rag." At the beginning of 1929 Armstrong headed back to New York City, where on the 5th of March he recorded the famous "Knockin' a Jug" with Jack Teagarden, Happy Caldwell, Joe Sullivan, Kaiser Marshall, and Eddie Lang. On the same day a gorgeous rendition of "I Can't Give You Anything But Love" was presented by the Luis Russell Orchestra in one of its most dazzling incarnations: drummer Paul Barbarin, bassist Pops Foster, guitarist Lonnie Johnson, Eddie Condon on the banjo, Russell at the piano, and a front line of Teddy Hill, Charlie Holmes, Albert Nicholas, J.C. Higginbotham, and Louis Armstrong. arwulf arwulf    Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1924-1927 | The Classics Chronological Series – 539 (1990) FLAC (tracks+.cue), lossless

This CD contains the first 23 recordings released under Duke Ellington's name. The initial ten selections, dating from November 1924 to June 1926, are quite intriguing because, with the exception of the very first date (resulting in "Choo Choo" and "Rainy Nights"), the primitive band does not sound like Ellington's. While the first date has cornetist Bubber Miley, trombonist Charlie Irvis (Tricky Sam Nanton's predecessor), and altoist Otto Hardwick as the front line, the following eight numbers have shifting personnel and, despite the occasional presence of trombonist Jimmy Harrison (who takes two vocals) and clarinetist Don Redman, the music is under-rehearsed and rough. But on "East St. Louis Toodle-Oo" (the band's theme) and "Birmingham Breakdown" from November 29, 1926, the Ellington sound was finally together and from then on the band's output was often classic. Other highlights of this historic disc are "Hop Head" and the initial version of "Black and Tan Fantasy," with such soloists as Miley, Nanton, and Hardwick, and with Duke himself on piano. 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
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McKINNEY'S COTTON PICKERS – 1929-1930 | The Chronogical Classics – 625 (1992) FLAC (tracks+.cue), lossless

On the second of three Classics CD's that releases the complete output of McKinney's Cotton Pickers (but without the alternate takes), there are many classic performances including "Wherever There's A Will There's A Way," "If I Could Be With You," "Honeysuckle Rose," "Baby Won't You Please Come Home" and "I Want A Little Girl." In addition to the band's regular soloists (trumpeters John Nesbitt, Joe Smith and Langston Curl, trombonist Ed Cuffee and tenorman George Thomas), some tunes also feature guests Coleman Hawkins on tenor, altoist Benny Carter and pianist Fats Waller. Timeless classic jazz. Scott Yanow
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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
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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 
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DON REDMAN AND HIS ORCHESTRA – 1936-1939 | The Chronogical Classics – 574 (1991) FLAC (tracks+.cue), lossless

The third in the series of Don Redman Classics CDs finds the innovative arranger adjusting to the swing era. His big band is heard on sessions cut for ARC in 1936 ("Bugle Call Rag" is excellent), Variety in 1937 (including a previously unreleased "Swingin' With the Fat Man"), and Bluebird during 1938-39 (including "I Got Ya," "Down Home Rag" and "Milenberg Joys"). A lot of interesting names passed through the band during this era, including trumpeter Sidney DeParis, trombonist Quentin Jackson and singer Laurel Watson, and there is some pleasing music despite a fair amount of vocals. This series ended before Redman's last two big band sessions, but those have often been made available by RCA/Bluebird. The first CD in Classics' Redman series is the most essential. Scott Yanow
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McKINNEY'S COTTON PICKERS – 1930-1931 + DON REDMAN AND HIS ORCHESTRA – 1939-1940 | The Chronogical Classics – 649 (1992) FLAC (tracks+.cue), lossless

The Classics label's superb series of McKinney's Cotton Pickers releases continues with this set, which features recordings from the original group as well as performances from Don Redman's swing orchestra of the late 1930s. Jason Ankeny
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BESSIE SMITH – 1923-1924 | The Classics Chronological Series – 787 (1994) FLAC (tracks+.cue), lossless

For sheer power, substance and depth, there is nothing in the world quite like the voice of Bessie Smith. Any portion of her recorded legacy can be rewarding if the listener takes the time to contemplate the interplay between singer and accompanists while the theatrical tale of each song unfurls itself. This particular grouping of 24 recordings made between October 1923 and August 1924 reveals a visceral young woman on her way to completely dominating the scene as the definitive female blues singer of the 1920s. One of the great delights in studying Smith's music is the science of paying attention to her backing instrumentalists. Fletcher Henderson, who accompanied so many blues vocalists throughout the early '20s, sounds like he's in perfect accord with the singer on "Any Woman's Blues." Teamed with Don Redman on six titles, Henderson blows on a siren whistle during the "Haunted House Blues," causing Smith to holler "Lord, help us to get right!" Harry Reser, banjo/guitar ace and leader of various hunky-dory novelty groups including the Cliquot Club Eskimos, appears twice on this CD, providing exceptionally fine accompaniment and incidentally doing his part to break up the color line six years before Eddie Condon recorded with a racially mixed group for Victor. The disc finishes off with four selections featuring trombonist Big Charlie Green, arguably the most sympathetic instrumentalist that Smith ever worked with. arwulf arwulf  
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BESSIE SMITH – 1924-1925 | The Classics Chronological Series – 812 (1995) FLAC (tracks+.cue), lossless

This portion of the Bessie Smith chronology begins on September 26, 1924, and follows her progress through August 19, 1925. Several of New York's best jazz musicians, most of whom were active with Fletcher Henderson & His Orchestra at that time, assisted the singer in making records that still sound remarkably colorful and dramatic. There are clarinet duets by Buster Bailey and Don Redman, passionate trombone passages by Big Charlie Green, and a series of nine collaborations with young Louis Armstrong. The Smith/Armstrong combination was powerful and in some ways formidable. "St. Louis Blues," rendered mysterious by Fred Longshaw's reed organ accompaniment, is perhaps their mutual masterpiece, along with "You've Been a Good Old Wagon," a barrelhouse slow drag published in 1895. On May 5 and 6, 1925, Bessie Smith waxed two of her all-time best records, W.C. Handy's "Yellow Dog Blues" and the bouncing "Cake Walkin' Babies (From Home)." She was backed by Henderson's Hot Six, a mob that included a young saxophonist by the name of Coleman Hawkins. The rowdiest moments of the entire compilation occur during "Soft Pedal Blues," a slow and hedonistic number describing a buffet flat where wild parties were held, sometimes featuring live sex shows. Several times during this song the singer seems to relish the memory of these events, as she hauls off and delivers a throaty "yaahoooo!" as if to prove that no worldly pleasure was off limits. arwulf arwulf  
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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  
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BABS GONZALES – 1947-1949 | The Classics Chronological Series – 1124 (2000) FLAC (tracks+.cue), lossless

Confronted with a new, harmonically advanced music filled with rhythmic complexities, white audiences and entertainers were only able to cope with bebop by treating it as though it were a novel alternative to pig Latin. If anyone supplied the fuel for this trivialization it was Slim Gaillard and Babs Gonzales, great musicians who were also bizarre characters who invented their own forms of funny scat language. In these vintage Blue Note sides by Babs' Three Bips and a Bop, you can hear exactly where Charlie Barnet got the idea for "Bebop Spoken Here." The originals, of course, sound much better than the silly attempts of bop imitators. Babs' Blue Note vocal arrangements were by pianist Tadd Dameron, and Rudy Williams poured a whole lot of soul into his alto saxophone. "Play Dem Blues" seems to have a little bit of "Ornithology" built into its opening line. "Running Around" is a sudden switch to straight vocal ballad style. Babs sings about heartbreak. The band has been reduced to piano, bass, and guitar. With "Bab's Dream," listeners are back in full bop language mode, with reams of scat unfolding in every direction. Dameron takes fascinating solos during this easygoing minor romp, and on his own "Dob Bla Bli." Special mention should also be made of the exceptionally solid bassist Art Phipps. "Weird Lullaby" stretches out Babs' bop scat lingo to the point where listeners seem to be hearing a serenade sung by a character actor imitating a visitor from Mars. Moving over to the Apollo label, Tony Scott blows an authentic bop clarinet, Phipps continues to act as an upright axis, and Roy Haynes carries the entire band on his back. In December of 1948, Babs lined up a session with Manor, an important label in the development of early modern jazz. With a front line of James Moody, Dave Burns, and Bennie Green, this is a steamy little band. Precision arrangements make for surprisingly intricate runs. Moody sounds particularly stoked. If anyone comes looking for vestigial Fats Waller in "Honeysuckle Bop," forget about it. The reference seems to have been purely poetic. If this bop workout was somehow based upon the changes to Waller's "Honeysuckle Rose," the camouflage is so successful that nobody could ever sort it out. Jumping to Capitol Records in 1949, Babs is once again surrounded by awesome musicians: J.J. Johnson, a well-oiled Sonny Rollins, Erroll Garner's brother Linton, and Jack "The Bear" Parker. Art Pepper really cooks on "The Continental," which is one of Gonzales' most successful performances. Gonzales' voice has deepened and he seems to be growing tougher by the minute. "St. Louis Blues" is masterfully restructured and augmented with fluent bop embellishments. Hearing Don Redman and Sonny Rollins side by side with Wynton Kelly and Roy Haynes in back is a treat not to be missed. A fascinating slice of vintage bop culture, packed with restless creative energy. arwulf arwulf  
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FLETCHER HENDERSON AND HIS ORCHESTRA – 1921-1923 | The Classics Chronological Series – 794 (1994) FLAC (tracks+.cue), lossless

This Classics CD reissues the first 23 recordings of Fletcher Henderson and his orchestra. The music is generally pretty primitive, but historically, it is quite significant, since Henderson's group would develop into the first real jazz big band; also, the 1921-22 sides have rarely ever been reissued. Oddly enough, his only three solo piano recordings date from this period. The earliest orchestra recordings are essentially period dance-band performances, but by the end of this CD, Henderson's big band was already beginning to display a bit of its own musical personality. However, needless to say, the best years were still in the future. Scott Yanow
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FLETCHER HENDERSON AND HIS ORCHESTRA – 1923 | The Classics Chronological Series – 697 (1993) FLAC (tracks+.cue), lossless

Coleman Hawkins once said that Fletcher Henderson's band came across better when heard live than replayed off of old records. Hawkins insisted that Henderson's recordings sounded "like cats and dogs fighting." But this was Hawkins in 1956, consistently in denial about his age and the primal nature of the early sides he'd helped to wax more than thirty years earlier. Safely removed from personal responsibility or temporal proximity to the artifacts in question, the rest of us might be able to enjoy these rickety old sides for what they are: evidence of experimentation in a new musical genre, utilizing what was at the time relatively new technology. There's no question about it: these guys probably sounded a lot looser and hotter in a nightclub than they ever could have while trapped together in the stuffy little rooms designated as recording studios. Here's where a passion for the medium itself comes in handy. Today we can get our kicks from listening to old records because the records themselves are old and we like them that way. We can also enjoy hearing what Coleman Hawkins did with tenor or even bass saxophone behind a raggedy-sounding spasm band working up no less than three versions of "Dicty Blues" with its patented "descending chimes" lick, so specific to the early 1920s. Fats Waller, in fact, used a similar device on his player piano roll, "Your Time Now," also issued in 1923. Today we can marvel at the names of those old time record labels: Ajax, Puritan, Paramount, Vocalion and Pathe Actuelle. Or those four Edison recordings from November 1923 and April 1924 (making the title of this CD a misnomer), each containing more than four minutes' worth of vintage music, offering a full extra minute of entertainment per side. Here, Henderson's group sounds less like a jazz band, closer to a society dance orchestra. It was a calculated attempt to appeal to wider (whiter?) audiences. Most jazz musicians throughout several generations have made similar moves in order to succeed. It's a fact of life, yet jazz critics have always bitched about "commercialism" while ignoring both economic necessity and artistic liberty. Regarding this particular bundle of early Fletcher Henderson performances: they all fit into a larger panorama made up of every jazz record ever made, pressed, purchased, played and heard since the very beginnings of the tradition. None of these Henderson sides are irrelevant. Don Redman is on all but two of them. Americans and people all over the world listened to them in 1923 and have been listening ever since. A French label called Classics thought enough of them to restore and reissue them on this remarkable chronological series. You should probably immerse yourself in this music. Don't be shy. It's just a parcel of dance tunes embellished with hot solos. arwulf arwulf
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