TOMMY DORSEY AND HIS ORCHESTRA – 1928-1935 | The Classics Chronological Series – 833 (1995) FLAC (tracks+.cue), lossless

This is the first volume of the complete studio recordings of Tommy Dorsey as presented in the Classics Chronological Series. The first five tracks, relatively rare and gloriously instrumental, are worth the cost of the entire album. Four of these, recorded for the OKeh label in 1928 and 1929, feature "Tom Dorsey" playing the trumpet in the company of guitarist Eddie Lang with drummer Stan King and either tubaist/string bassist Jimmy Williams or pianist Frank Signorelli. The opening selection, an intimate rendering of Perry Bradford's "It's Right Here for You," has a lovely harmonium accompaniment by Arthur Schutt that mingles marvelously with Lang's reflective improvisations. Dorsey's expressive trumpeting pleasantly reflects the influence of Louis Armstrong and Bix Beiderbecke. His next opportunity to record under his own name occurred on Bastille Day in July of 1932. Billed now as "Tommy Dorsey," he presented his own composition, "Three Moods." Backed by a seven-piece "orchestra" that included brother Jimmy Dorsey, trumpeter Manny Klein, and Larry Binyon on tenor sax, the trombonist established a waltz and transformed it into a gavotte and then a swinging foxtrot. Beginning on September 26, 1935, Dorsey, billed for one last time as "Tom," made his first recordings as a leader for the Victor label. The three tunes waxed on that day represent in miniature an accurate condensation of Dorsey's stylistic output over the next few years: an innocent topical pop tune (in this case a rather glib cowboy reverie), a solidly swung traditional jazz stomp (here typified by Artie Matthews' "Weary Blues"), and the occasional dreaded blob of musical cotton candy (epitomized by "Santa Claus Is Coming to Town"). Anyone listening through the Tommy Dorsey chronology must contend with pop vocals and sidestep periodic outbursts of brain-numbing corn in order to locate and savor the pockets of real jazz that occur from time to time. If Eddie Condon were alive today he would counsel the truly jazz-inclined to listen for the second-chair trumpeting of Sterling Bose whenever the singers run out of lyrics. Two big-band instrumentals, "I'm Getting Sentimental Over You" and "Pagan Star," decisively established the Tommy Dorsey sound and provided the public with highly polished background music for all occasions. Several wonderful performances feature the tap dancing of Eleanor Powell, who sounds like she's been cross-dressing as she cheerfully spouts the lyrics to "Got a Bran' New Suit," makes an ass of herself speaking in a fake British accent during "That's Not Cricket," and redeems her dignity to some extent by hoofing her way through "What a Wonderful World." This vintage love song by Arthur Schwartz should not be confused with Bob Thiele's famous philosophical feel-good soliloquy sung by Louis Armstrong near the end of his life. arwulf arwulf    Tracklist + Credits :

FRANKIE TRUMBAUER AND HIS ORCHESTRA – 1927-1928 | The Chronogical Classics – 1188 (2001) FLAC (tracks+.cue), lossless

C-melody saxophonist Frankie Trumbauer is best remembered for the recordings he made in the late '20s with cornetist Bix Beiderbecke. Trumbauer's other lasting accomplishment was to inadvertently inspire Lester Young to develop an unusually subtle manner of handling the tenor saxophone. While most of this material may be found on various Beiderbecke-oriented compilations (the JSP box Bix & Tram is thriftily priced), there's nothing quite like having a Classics discography to organize one's cognition while following the trail of old records in precise chronological sequence. Informational details such as record labels, arranger credits, and recording dates are neatly presented for maximum clarity and comprehension. This first volume in the complete works of Frankie Trumbauer consists entirely of recordings made for the Okeh label between February 4, 1927, and January 20, 1928. The material ranges from archetypal masterpieces ("Singin' the Blues," "Ostrich Walk," "I'm Coming, Virginia," and "A Good Man Is Hard to Find") to marvelously stodgy milestones of timeworn pop music. "Sugar" -- not Maceo Pinkard's tune but a long-gone opus credited to Yellen & Ager -- is sung by a positively silly trio of comedians whereas "Just an Hour of Love" and "I'm Wonderin' Who" feature vaudeville-trained vocalist Irving Kaufman. Instrumentally speaking, there's never a dull moment. Adrian Rollini appears and disappears like a bass sax-toting will o' the wisp; Joe Venuti brandishes a fiddle and Eddie Lang plays both banjo and guitar, even appearing in a trio with Bix and Tram on "For No Reason at All in C" and Fats Waller's "Wringin' and Twistin'." Pee Wee Russell and Jimmy Dorsey each show up long enough to contribute their two bits, someone's sax whinnies like a horse at the end of "There'll Come a Time," and Bing Crosby merrily mouths the racist lyrics to "Mississippi Mud." Throughout all of this, Beiderbecke sounds like an angel playing hooky from heaven. arwulf arwulf  
Tracklist :

FRANKIE TRUMBAUER AND HIS ORCHESTRA – 1928-1929 | The Chronogical Classics – 1216 (2001) FLAC (tracks+.cue), lossless

Tracks one through 19 of this second volume in the complete works of Frankie Trumbauer represent the last recordings that "Tram" made in the company of his friend Bix Beiderbecke. For generations each of these performances has been studied and savored primarily for the cornet passages (check that intro to "Borneo"!) and for Trumbauer's gentle handling of the C melody saxophone. During this period, most of Trumbauer's records were decorated with vocal passages of sometimes laughably puerile quality, as heard here on "Lila" and "Our Bungalow of Dreams." This anonymous vocalist, a staunch advocate of the "gee-whiz" style of singing, hid behind the pseudonym of Noel Taylor, used by the OKeh company to camouflage their sometimes questionable talent. Other singers include Scrappy Lambert, a cottony specimen by the name of Charles Gaylord, Smith Ballew, and Trumbauer himself. Be advised that "Bless You! Sister," "Dusky Stevedore," and "Take Your Tomorrow" are each thickly larded with Jim Crow racial stereotyping, as white men in audio-blackface carry on in minstrel show fashion. Ethically speaking, together with Lambert's assessment of "bamboo babies" on "Borneo," this is a low point in the Trumbauer story, even if "Take Your Tomorrow" does contain some measure of humorous theatrical timing. What endears lovers of early jazz to this spotty body of works is the presence of Bix Beiderbecke and guitarist Eddie Lang. Recorded on April 30, 1929, "I Like That," Bix and Tram's last recorded collaboration, is rosy and uplifting. Despite the absence of Bix on the remaining tracks, the positive vibrations continue and before you know it violinist Matty Malneck has been replaced by the inventive Joe Venuti. "What a Day!," "Alabamy Snow," and the zany "Shivery Stomp" are tasty instrumental foxtrots that bear repeated listening. arwulf arwulf  
Tracklist :

FRANKIE TRUMBAUER AND HIS ORCHESTRA – 1929-1931 | The Chronogical Classics – 1245 (2002) FLAC (tracks+.cue), lossless

C-melody saxophonist Frankie Trumbauer will always be most famous for the recordings that he made with cornetist Bix Beiderbecke but he also led a series of fine sessions after Bix had departed the Paul Whiteman Orchestra. This CD features Trumbauer leading a large combo filled with Paul Whiteman sidemen during 1929-30 and a nonet in 1931. While some of the numbers are a bit commercial and there are vocals by Smith Ballew, Art Jarrett and Trumbauer himself, there are also some fine jazz solos from the leader, cornetist Andy Secrest, violinist Joe Venuti and trombonist Bill Rank. Among the better tracks are "Manhattan Rag" (which has Hoagy Carmichael on piano), "Happy Feet," "Get Happy" and "Honeysuckle Rose." Scott Yanow  
Tracklist :

JOE VENUTI – 1926-1928 | The Chronogical Classics – 1211 (2001) FLAC (tracks), lossless

This particular slice of the Joe Venuti & Eddie Lang chronology presents some of their all-time best instrumental performances garnished with a small bouquet of precious novelties and sugary love songs with delightfully naïve vocals by Scrappy Lambert, Billy Hillpot, and Rube Bloom. The sweetest of these are sung in a manner so euphoric as to be almost nonsensically charming. This is true even of a suspiciously idyllic paean to the pleasures of "Pickin' Cotton," a faintly onerous song representing a tenebrous subgenre of Tin Pan Alley tunes that wistfully glorified the gallant bygone days of slave or cheap "emancipated" labor. Venuti's lyrically inspired handling of the violin and Lang's virtuosic guitar still sound surprisingly fresh and imaginative. These earliest Venuti and Lang collaborations exude a special sort of positive energy that is unique in all of classic jazz. Some of the instrumental tracks feel like well-organized, improvised hot chamber music. Fortunately, Venuti's "Kickin' the Cat" and "Beatin' the Dog" are presented without any nasty lyrics or cruel sound effects. arwulf arwulf  
Tracklist :

JOE VENUTI – 1928-1930 | The Chronogical Classics – 1246 (2002) FLAC (tracks), lossless

Even as the Joe Venuti/Eddie Lang instrumentals from the late '20s are worth their weight in gold, more than half of the fun in listening to an overview of this section of their complete recorded works is derivable from the often silly vocalists. Pianist Rube Bloom had a charmingly wobbly voice, preferable perhaps to the too-perfect, painfully innocent, but nevertheless endearing efforts of Smith Ballew. "Sensation," in addition to proving that Jimmy Dorsey could play the hell out of the baritone sax, contains Bloom's wildest vocal, consisting of bursts of scat singing mingled with dramatic moans and pleas for medical/musical assistance in what was apparently intended as a steamy sequel to "Hello Central Give Me Doctor Jazz." The delightful wordless vocal on the marvelous "I Must Have That Man" has often been attributed to Venuti himself. This CD's discography assigns it to drummer Chauncey Morehouse. Everyone agrees that the tuba solo is by the mighty Joe Tarto. Scrappy Lambert squeezes out two hilariously enigmatic love songs, "I Am Only Human After All" and "Out of Breath and Scared to Death of You." The last three tracks on this volume of the Classics Joe Venuti chronology are not so well known, probably because of the comparatively glib vocalists. Back to the instrumentals -- there are only five, but each one is a masterpiece. A 1928 remake of "Doin' Things," recorded with a smaller group the previous year, is refreshing. "Runnin' Ragged," recorded in October of 1929, features Frankie Trumbauer on bassoon. The idyllic "Apple Blossoms," a collectively composed serenade, is a study in perfect peace. Adrian Rollini, armed with bass sax, goofus, and hot fountain pen, enlivened the next Blue Four session, which took place during the spring of the following year. The musicianship on this collection is often astonishing, and the effect upon the central nervous system is known to be beneficial. Everything heard here is priceless for the fact that it is possible to derive from each performance a completely unfounded sense of well-being. In a jaded, postmodern world, that is a precious thing. arwulf arwulf  
Tracklist + Credits :

JOE VENUTI – 1930-1933 | The Chronogical Classics – 1276 (2002) FLAC (tracks+.cue), lossless

Tracklist :

EDDIE LANG – 1927-1932 | The Chronogical Classics – 1357 (2004) FLAC (tracks+.cue), lossless

This delightful set collects the earliest sides released by jazz guitarist Eddie Lang under his own name (or as Blind Willie Dunn, but more on that in a moment), which means it doesn't include any of his famous duets with fellow guitarist Lonnie Johnson, since all of those were officially released under Johnson's name. Lang does play with Johnson here on two tracks, though, under the name Blind Willie Dunn as part of the Gin Bottle Four (which also included pianist J.C. Johnson and horn man King Oliver), and his two striking duets with guitarist Carl Kress ("Pickin' My Way" and "Feeling My Way") are also here. One can't help but wonder where Lang might have gone on his instrument as the era of the electric guitar dawned, but his early death leaves nothing but "what if" conjecture on that subject. Lang was a much sought-after session player during his short life, and the sides released under his own name aren't necessarily his most influential, but it's nice to have them all in one set like this. Steve Leggett
Tracklist + Credits :

MILDRED BAILEY – 1929-1932 | The Classics Chronological Series – 1061 (1999) FLAC (tracks), lossless

This is the first volume in the Classics label's chronological profile of vocalist Mildred Bailey. It documents the beginning of her recording career with 24 titles she waxed for the Parlophone, Okeh, Brunswick and Victor labels between October 5, 1929 and August 11, 1932. She was born Mildred Rinker on a wheat farm inside of an Indian reservation near the Idaho panhandle in Tekoa WA on February 27, 1907. Mildred and her family were members of the First Nation Coeur d'Alene or Schitsu'umsh tribe. Mildred's mother Josie Rinker was an accomplished pianist who specialized in ragtime. In 1913, the family moved to Spokane, where Mildred and her brothers befriended a boy named Harry Lillis "Bing" Crosby. By the age of 17, Mildred was living with relatives in Seattle and working as a singer demonstrating songs in a sheet music store. She entered showbiz using the surname of her first husband, Ted Bailey. After developing her skills by singing in speakeasies and over the radio in the Northwest, Mildred Bailey married a bootlegger named Benny Stafford and moved to Los Angeles where she began attracting a lot of attention by singing in nightclubs on the Sunset Strip. (Legend has it she also operated her own highly acclaimed illicit microbrewery.) In 1925, Bing Crosby and Al Rinker dropped out of college, hopped in a Model T and drove from Spokane to Hollywood where Mildred Bailey showed them around and hooked them up with her best showbiz contacts. By October 1926 Crosby and Rinker were working for society bandleader Paul Whiteman. Teamed with Harry Barris in a trio nationally recognized as The Rhythm Boys, they eventually expressed their gratitude by introducing Mildred Bailey to Whiteman in 1929. Whiteman hired her at once; her voice was soon heard on national radio broadcasts and by 1930 she was his highest-paid performer. (The ethical nadir of her discography occurred on November 30, 1931 when Whiteman had her sing "That's Why Darkies Were Born.") Apart from four attractive sides cut with the Casa Loma Orchestra in September 1931, most of the recordings making up this segment of Mildred Bailey's chronology involve either the Paul Whiteman Orchestra or smaller ensembles largely composed of musicians who were affiliated with the self-styled "King of Jazz." Mildred's first two session bands were led by guitarist Eddie Lang and saxophonist Frankie Trumbauer, with cornet passages by Andy Secrest that were carefully patterned after the style of Bix Beiderbecke, who had made his last recording with the Whiteman orchestra only weeks earlier on September 13, 1929. Beiderbecke's combined absence and presence are eerily evident. It's obvious why Mildred Bailey caught on so quickly as a vocalist; all of her best traits -- sweetness, charm, passion and poise -- were evident from the very beginning. Tougher than Annette Hanshaw and gutsier than Ruth Etting, sometimes Mildred let loose like a sassy American girl; on "I Like to Do Things for You" she even sounds like Helen Kane. At her best, Mildred Bailey was a gifted interpreter of ballads and topical amusements; her superb abilities as a jazz and pop vocalist are well represented by this first volume of her complete recorded works. arwulf arwulf  
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BESSIE SMITH – 1928-1929 | The Classics Chronological Series – 897 (1996) FLAC (tracks+.cue), lossless

One of the greatest partnerships in all of recorded blues was the teaming up of Bessie Smith and champion trombone man Big Charlie Green. Their collaboration is well represented by the opening tracks on this volume of the chronologically reissued recordings of Bessie Smith. "Empty Bed Blues, Pt. 2" opens with a lurching, grinding trombone ostinato that matches perfectly the spirit and texture of Smith's testimonial. "Put It Right Here" could serve as the best example on record of this singer's irresistible way of presenting a song. The timing is perfect and the humorous lyrics are accentuated by the trombone with great precision. Somebody ought to put out a CD consisting of every record these two people ever made together. The next session in Smith's story took place on August 23, 1928. "Yes Indeed He Do" would be closely imitated four years later in the group singalong "Yes Suh!" as performed by Billy Banks and Jack Bland's Rhythmakers. Five records cut on August 24th handle the topics of social inequality, interpersonal relationships, and alcoholism. On "Poor Man's Blues" Smith speaks directly to the wealthy, and during "Washerwoman's Blues" she discusses the combined problems of race and class. "Me and My Gin" paints a grim portrait of the addict and her mental condition. Cornered and besotted, Smith vows to take on the Army and the Navy armed only with her bottle of fermented spirits. On May 8, 1929, guitarist Eddie Lang and pianist Clarence Williams assisted in the creation of three delightfully smutty sides dwelling on Smith's sexual appetite. The sound of Lang's guitar percolating along with her voice makes these selections especially nice. "I've Got What It Takes" and "Nobody Knows You" are two of Smith's toughest performances on record. Having what amounted to Clarence Williams' Blue Five backing her up seems to have given the singer solid support for self-expression. Anyone who has seen the motion picture St. Louis Blues will cherish the film soundtrack included in this chronology. The singer stands at the bar in a saloon, crying -- and singing -- into a mug of beer. The drama of a strong woman at the mercy of a man without any conscience is played out on the screen and can be envisioned by the listener. The 40-voice Hall Johnson Choir roars away behind Smith as she sways miserably. A hot band led by James P. Johnson wails with abandon as acrobatic waiters spin and tumble through the crowd without upsetting their trays full of drinks. Smith's no-good man shows up, appears to reconcile with her, and does a slow dance in her arms, but then pushes her away and laughs derisively while brandishing a wad of cash he has snatched from her purse! Everyone ought to see this film at least once. There are distortion problems with the soundtrack as presented here, and the nearly 11-minute sequence has been unnecessarily portioned into four segments -- a too-faithful reproduction of the Circle Records issue -- even though the uninterrupted soundtrack is available elsewhere. The disc closes with "Take It Right Back" -- featuring one of Clarence Williams' best piano accompaniments -- and a pair of lusty tunes with even finer piano by James P. Johnson. arwulf arwulf  
Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1928-1931 | The Classics Chronological Series – 693 (1993) FLAC (tracks+.cue), lossless

 This CD reissues the first 22 selections led by Benny Goodman, spanning a three-year period when the clarinetist developed into a greatly in-demand studio musician during the Depression. The first ten titles feature him in hot, small groups with the likes of cornetist Jimmy McPartland, trombonist Glenn Miller, trumpeter Wingy Manone, and tenor saxophonist Bud Freeman. Included is "Wolverine Blues," "Jungle Blues" (during which Benny Goodman takes his only recorded trumpet solo), the satirical "Shirt Tail Stomp" (which makes fun of cornball bands), and a pair of trio features ("That's a Plenty" and "Clarinetitis"), recorded seven years before the Benny Goodman Trio debuted. The remaining dozen numbers, from 1930-1931, are strictly dance band performances with an emphasis on melodies and dull vocals (mostly by Scrappy Lambert and Paul Small) and only a few short spots for solos. Scott Yanow
Tracklist + Credits :

THE RED HEADS – 1925-1927 | The Classics Chronological Series – 1267 (2002) FLAC (tracks+.cue), lossless

The Red Heads was a pseudonym for Red Nichols & His Five Pennies whenever their recordings were released on the Melotone, Oriole, or Perfect labels during the years 1925-1927. Following in the wake of EPM Musique's 25-track Complete edition of 1998, Jazz Oracle's 74-track, three-CD set of 2004 augmented the main body of their work with a surprisingly large number of sides by pop vocalists Jay C. Flippen and Cliff Edwards with sweet and jazzy accompaniments by the Red Heads. Edwards, also known as Ukulele Ike, eventually achieved international fame as the voice of Jiminy Cricket. This exhaustively thorough chronological survey also features vocals by Frank Gould and Arthur Fields. Having all of these charming period pop vocals in the package should be regarded as a confectionary bonus rather than a distracting disadvantage. The producers have placed the instrumentals in full context by including harmless pleasantries like "You Should See My Tootsie" and "I'm 'Gonna' Hang Around My Sugar," with the word "gonna" in quotes. Instrumentalists of note in the Red Heads discography are trumpeters Red Nichols and Wingy Manone; cornetist Brad Gowans, trombonist Miff Mole, reed players Jimmy Dorsey and Fud Livingston; pianists Arthur Schutt and Rube Bloom; guitarists Dick McDonough and Eddie Lang, and ace percussionist Vic Berton. This amazing anthology is not exclusively intended or recommended for historians, specialists, or recluses. It is a thrilling magnum dose of great historic jazz, dance, and pop recordings from smack in the middle of the '20s. No one should be put off by the quantity of tracks, the modest helping of alternate takes, or the marvelously old-fashioned nature of the music within. It is perhaps most important that it be heard by people who do not specialize in music and culture from this period. The Red Heads can and will speak to anyone. arwulf arwulf

Tracklist + Credits :

CLARENCE WILLIAMS – 1928-1929 | The Classics Chronological Series – 771 (1994) FLAC (tracks+.cue), lossless

The sixth volume in the very valuable Classics Clarence Williams reissue program contains 22 numbers in its attractive CD, mostly from a four-month period. There is a lot of variety on these sessions with many of the best tracks featuring both King Oliver and Ed Allen on cornets along with tenorman Benny Waters. There are also numbers by Clarence Williams's Washboard Five, his Novelty Four (a quartet with Oliver and guitarist Eddie Lang) and a larger orchestra. Throughout all of the selections there are spirited ensembles, heated but coherent solos and plenty of joy and swing. The highpoints include "Organ Grinder Blues," "Have You Ever Felt That Way," "Wildflower Rag," "Bozo," "Bimbo" and "Beau-Koo Jack" (which is closely based on the Louis Armstrong recording). Scott Yanow
Tracklist
1    Clarence Williams And His Orchestra–    Long, Deep And Wide 2:51
Written-By – Fats Waller
2    Clarence Williams And His Orchestra–    Speakeasy 2:50
Written-By – Williams, Oliver
3    Clarence Williams And His Orchestra–    Squeeze Me 2:50
Written-By – Williams, Waller
4    Clarence Williams And His Orchestra–    New Down Home Blues 3:02
Written-By – Delaney
5    Clarence Williams' Orchestra–    Organ Grinder Blues 3:02
Written-By – Clarence Williams
6    Clarence Williams' Orchestra–    I’m Busy And You Can’t Come In 2:46
Written-By – Williams
7    Clarence Williams' Washboard Five–    Walk That Broad 3:02
Vocals – Clarence Williams
Written-By – Delaney, Frisino
8    Clarence Williams' Washboard Five–    Have You Ever Felt That Way? 3:03
Vocals – Clarence Williams
Written-By – Castleton, Williams-Spencer
9    Clarence Williams And His Orchestra–    Wildflower Rag 2:30
Written-By – Clarence Williams
10    Clarence Williams And His Orchestra–    Midnight Stomp 2:59
Written-By – Williams, Waller
11    Clarence Williams And His Orchestra–    I’m Through 2:50
Vocals – Clarence Williams
Written-By – Simmons, Bechet
12    Clarence Williams And His Orchestra–    Bozo 2:38
Written-By – Edward Hite
13    Clarence Williams And His Orchestra–    Bimbo 2:31
Written-By – Palmer, Williams
14    Clarence Williams And His Orchestra–    Longshoreman’s Blues 2:44
Written-By – Unknown Artist
15    Clarence Williams And His Novelty Four–    In The Bottle Blues
Written-By – Williams, Lang
16    Clarence Williams And His Novelty Four–    What Do You Want Me To Do? 2:46
Vocals – Clarence Williams
Written-By – Williams, Oliver
17    Clarence Williams' Orchestra–    Watchin’ The Clock 3:04
Written-By – Williams, Oliver
18    Clarence Williams' Orchestra–    Freeze Out 2:54
Written-By – Fats Waller
19    Clarence Williams And His Orchestra–    Beau-Koo-Jack 2:36
Written-By – Hill, Armstrong, Melrose
20    Clarence Williams And His Orchestra–    Sister Kate 2:54
Written-By – Armand Piron
21    Clarence Williams And His Orchestra–    Pane In The Glass 2:42
Written-By – Clarence Williams
22    Clarence Williams And His Orchestra–    Saturday Night Jag 3:01
Vocals – Laura Bryant
Written-By – Unknown Artist
Credits :    
Banjo – Leroy Harris (tracks: 1 to 6, 9 to 11, 19 to 21)
Banjo [?] – Charlie Dixon (tracks: 17, 18)
Brass Bass – Cyrus St. Clair (tracks: 1 to 6, 9 to 14, 19 to 21)
Brass Bass [?] – June Cole (tracks: 17, 18)
Celesta – Clarence Williams (tracks: 15, 16)
Clarinet – Buster Bailey (tracks: 12 to 14), Ernest Elliott (tracks: 22)
Clarinet, Alto Saxophone – Alberto Socarras (tracks: 5, 6), Unknown Artist (tracks: 17, 18)
Clarinet, Alto Saxophone [?] – Ben Whitted (tracks: 17, 18), Russell Procope (tracks: 5, 6)
Clarinet, Tenor Saxophone – Benny Waters (tracks: 1 to 4, 9 to 14, 19 to 21)
Clarinet, Tenor Saxophone, Alto Saxophone – Arville Harris (tracks: 1 to 14, 17 to 21)
Cornet – Ed Allen (tracks: 1 to 14, 19 to 22), King Oliver (tracks: 1 to 4, 9 to 16, 19 to 21)
Cornet [?] – Ed Anderson (tracks: 5, 6, 17, 18)
Drums – Floyd Casey (tracks: 6)
Drums [?] – Kaiser Marshall (tracks: 17, 18)
Guitar, Violin – Eddie Lang (tracks: 15, 16)
Liner Notes – Anatol Schenker
Percussion [?] – Justin Ring (tracks: 15, 16)
Piano – Clarence Williams, Claude Hopkins (tracks: 7, 8)
Trombone – Ed Cuffee (tracks: 1 to 6, 9 to 14, 17 to 21)
Washboard – Floyd Casey (tracks: 7, 8)

RED NICHOLS – 1925-1927 | The Classics Chronological Series – 1212 (2001) FLAC (tracks+.cue), lossless

This anthology collects sides released between 1925 and 1927 by Red Nichols under the usual assortment of monikers, including, this time around, Lanin's Red Heads, the Hottentots, Red & Miff's Stompers, and Red Nichols & His 5 Pennies. These combos usually included longtime associates Miff Mole on trombone and Jimmy Dorsey on clarinet and alto sax. As a cornet player, Nichols often gets dismissed as a version of Bix Beiderbecke lite, an assessment that isn't exactly fair, and he tackles Beiderbecke's own "Davenport Blues" here in his own easy style, showing allegiance more than competition. Other highlights here include the stripped-down "Jimtown Blues" and the intricate "Boneyard Shuffle." Nichols tackled more innovative and complicated arrangements a couple of years down the road from these recordings, and while this might not be the place to start to sample Nichols' massive 1920s output (he is rumored to have appeared on over 4,000 recordings during that decade alone), it is nonetheless a warm, bright, and pleasant listen. Steve Leggett 
Tracklist :
1    Lanin's Red Heads–    Jimtown Blues    3:08
2    Lanin's Red Heads–    King Porter Stomp    3:08
3    Lanin's Red Heads–    I Wouldn't Be Where I Am If You Hadn't Gone Away    2:55
4    Lanin's Red Heads–    Flag That Train    3:05
5    Lanin's Red Heads–    I'm Gonna Hang Around My Sugar    3:21
6    Lanin's Red Heads–    Five Foot Two, Eyes Of Blue 3:11
Vocals – Art Gillham
7    The Hottentots–    Down And Out Blues    2:59
8    The Hottentots–    The Camel Walk    2:54
9    The Hottentots–    Pensacola    2:36
10    The Hottentots–    Nobody's Rose    2:49
11    The Hottentots–    Lots O'Mama    2:40
12    Red And Miff's Stompers–    Alabama Stomp    3:47
13    Red And Miff's Stompers–    Stampede    4:38
14    Red And Miff's Stompers–    Hurricane    4:28
15    Red And Miff's Stompers–    Black Bottom Stomp    3:50
16    Red Nichols And His Five Pennies–    Washboard Blues    3:06
17    Red Nichols And His Five Pennies–    That's No Bargain    2:43
18    Red Nichols And His Five Pennies–    Buddy's Habits    2:51
19    Red Nichols And His Five Pennies–    Boneyard Shuffle    3:10
20    Red Nichols And His Five Pennies–    Alabama Stomp    2:55
21    Red Nichols And His Five Pennies–    Hurricane    2:56
22    Red And Miff's Stompers–    Delirium    3:04
23    Red And Miff's Stompers–    Davenport Blues    3:02
Credits :
Banjo – Tony Colucci (tracks: 1 to 6, 9, 10, 22, 23), Unknown Artist (tracks: 11)
Bass – Joe Tarto (tracks: 1 to 6, 12 to 15)
Clarinet – Dick Johnson (tracks: 7 to 10), Unknown Artist (tracks: 11)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 12 to 23)
Clarinet, Alto Saxophone, Soprano Saxophone – Alfie Evans (tracks: 1 to 6, 12 to 15), Clarence Heidke (tracks: 1 to 6)
Clarinet, Tenor Saxophone – George Slater (tracks: 1 to 6)
Cornet – Unknown Artist (tracks: 11)
Directed By – Sam Lanin (tracks: 1 to 6)
Drums – Unknown Artist (tracks: 11), Vic Berton (tracks: 1 to 10, 12 to 23)
Guitar – Eddie Lang (tracks: 16 to 21)
Piano – Art Gillham (tracks: 5, 6), Arthur Schutt (tracks: 12 to 23), Bill Krenz (tracks: 1 to 4), Rube Bloom (tracks: 7 to 10), Unknown Artist (tracks: 11)
Saxophone [C-Melody] – Unknown Artist (tracks: 11)
Trombone – Miff Mole (tracks: 1 to 10, 12 to 15, 18 to 23), Unknown Artist (tracks: 11)
Trumpet – Hymie Farberman (tracks: 1 to 6), Red Nichols (tracks: 1 to 10, 12 to 23)
Violin – Unknown Artist (tracks: 5, 6)

RED NICHOLS – 1927-1928 | The Classics Chronological Series – 1241 (2002) FLAC (tracks+.cue), lossless

Loring "Red" Nichols was an expert cornet player, a solid improviser, and apparently a workaholic, since he is rumored to have appeared on over 4,000 recordings during the 1920s alone. One of the ways he managed this feat was by appearing under countless different names, and in the case of this collection covering the years 1927 and 1928, he made recordings as Red Nichols & His 5 Pennies, the Six Hottentots, Red & Mill's Stompers, and Red Nichols' Stompers. Pay no attention to whether there were five Pennies or six Hottentots, since Nichols' groups tended to be eight or ten pieces or more, no matter what the moniker read, and usually featured longtime associates Miff Mole on trombone, Jimmy Dorsey on clarinet or alto sax, and the marvelous Dudley Fosdick on mellophonium. This collection features one of the biggest hits of Nichols' career, "Ida, Sweet as Apple Cider," and like "Cornfed," also collected here, it effortlessly combines a sophisticated arrangement with a kind of easy, down-home feel that masks its complexities. Although critics often brush right by him, Nichols was always a fresh and innovative arranger and bandleader. Steve Leggett  
Tracklist :
1    Red Nichols And His Five Pennies–    Bugle Call Rag    2:51
2    Red Nichols And His Five Pennies–    Back Beats    2:50
3    The Six Hottentots–    I'm In Love Again    2:48
4    The Six Hottentots–    Sometimes I'm Happy    3:05
5    The Six Hottentots–    Rosy Cheeks    2:55
6    The Six Hottentots–    The Memphis Blues    3:09
7    The Six Hottentots–    Melancholy Charlie    2:57
8    The Six Hottentots–    Hurricane    3:01
9    Red Nichols And His Five Pennies–    Cornfed    2:50
10    Red Nichols And His Five Pennies–    Five Pennies    2:48
11    Red Nichols And His Five Pennies–    Mean Dog Blues    3:11
12    Red Nichols And His Five Pennies–    Riverboat Shuffle 3:01
Arranged By – Fud Livingston
13    Red Nichols And His Five Pennies–    Eccentric 2:58
Arranged By – Fud Livingston
14    Red Nichols And His Five Pennies–    Ida, Sweet As Apple Cider 2:47
Arranged By – Lennie Hayton
15    Red Nichols And His Five Pennies–    Feelin' No Pain 2:54
Arranged By – Fud Livingston
16    Red And Miff's Stompers–    Slippin' Around    2:45
17    Red And Miff's Stompers–    Feelin' No Pain    3:04
18    Red Nichols' Stompers–    Sugar    3:17
19    Red Nichols' Stompers–    Make My Cot Where The Cot-Cot-Cotton Grows    3:18
20    Red Nichols And His Five Pennies–    Nobody's Sweetheart    3:05
21    Red Nichols And His Five Pennies–    My Gal Sal    3:08
22    Red Nichols And His Five Pennies–    Avalon    3:07
23    Red Nichols And His Five Pennies–    Japanese Sandman    3:16
Credits :
Alto Saxophone – Max Farley (tracks: 18, 19)
Bass Saxophone, Instruments [Goofus] – Adrian Rollini (tracks: 9 to 15, 18, 19)
Brass Bass – Jack Hanson (tracks: 16 to 19), Joe Tarto (tracks: 3 to 8)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 1 to 11)
Clarinet, Tenor Saxophone – Fud Livingston (tracks: 11 to 17, 20 to 23), Pee Wee Russell (tracks: 11 to 23)
Drums – Chauncey Morehouse (tracks: 18, 19), Vic Berton (tracks: 1 to 17, 20 to 23)
Guitar – Carl Kress (tracks: 16 to 23), Dick McDonough (tracks: 12 to 15), Eddie Lang (tracks: 1, 2, 9 to 11)
Mellophone – Dudley Fosdick (tracks: 20 to 23)
Piano – Arthur Schutt (tracks: 1 to 11)
Piano [Either/Or] – Arthur Schutt (tracks: 18, 19), Lennie Hayton (tracks: 18, 19)
Piano, Celesta – Lennie Hayton (tracks: 12 to 17, 20 to 21)
Saxophone [C-Melody] – Frank Trumbauer (tracks: 18, 19)
Trombone – Bill Rank (tracks: 18, 19), Miff Mole (tracks: 1 to 15, 18 to 23), Unknown Artist (tracks: 18, 19)
Trumpet – Bo Ashford (tracks: 18, 19), Leo McConville (tracks: 12 to 15), Manny Klein (tracks: 12 to 15), Red Nichols
Violin – Joe Venuti (tracks: 1, 2, 9 to 11)
Vocals – Charlie Farrell (tracks: 18, 19), Irving Kaufman (tracks: 3 to 5), Jim Miller (17) (tracks: 18, 19)

RED NICHOLS – 1928-1929 | The Classics Chronological Series – 1270 (2002) FLAC (tracks+.cue), lossless

This collection, drawn from recordings done by Red Nichols in 1928 and 1929, finds him in transition, struggling to deal with the advent of Dixieland and the coming big-band era. Nichols worked best with midsize bands (six to ten pieces), and his most successful arrangements (the lead track here, "Poor Butterfly," is a good example) feature unusual tonal placements that give each piece an edgy, cinematic feel. Dixieland made such touches far too subtle, and Nichols was unable to play to his strengths as the 1930s progressed. A valuable record of an interesting jazzman at the crossroads, this compilation will find its greatest appeal with serious jazz buffs, historians, and collectors. Steve Leggett
Tracklist :
1    Red Nichols And His Five Pennies–    Poor Butterfly (Vocal)    3:58
2    Red Nichols And His Five Pennies–    Poor Butterfly (Instr.)    4:01
3    Red Nichols And His Five Pennies–    Can't Yo' Hear Me Calling, Caroline? (Vocal)    4:05
4    Red Nichols And His Five Pennies–    Can't Yo' Hear Me Calling, Caroline? (Instr.)    4:04
5    Red Nichols And His Five Pennies–    Panama    3:02
6    Red Nichols And His Five Pennies–    There'll Come A Time    3:14
7    Red Nichols And His Five Pennies–    Dear Old Southland (Vocal)    4:27
8    Red Nichols And His Five Pennies–    Dear Old Southland (Instr.)    4:31
9    Red Nichols And His Five Pennies–    Limehouse Blues (Vocal)    4:38
10    Red Nichols And His Five Pennies–    Limehouse Blues (Instr.)    4:32
11    Red Nichols And His Five Pennies–    Whispering    3:03
12    Red Nichols And His Five Pennies–    I Can't Give You Anything But Love    2:49
13    Red Nichols And His Five Pennies–    Margie    2:56
14    Red Nichols And His Five Pennies–    Imagination    2:57
15    Red Nichols And His Five Pennies–    Original Dixieland One-Step    2:46
16    Red Nichols And His Orchestra–    Harlem Twist 2:51
Vocals – Chauncey Morehouse
17    Red Nichols And His Orchestra–    Five Pennies    3:25
18    Red Nichols And His Five Pennies–    A Pretty Girl Is Like A Melody    3:03
19    Red Nichols And His Five Pennies–    I Never Knew    2:58
20    Red Nichols And His Five Pennies–    Who's Sorry Now?    3:01
21    Red Nichols And His Five Pennies–    Chinatown, My Chinatown    3:13
Credits :
Bass – Art Miller (tracks: 1 to 15)
Clarinet, Alto Saxophone – Benny Goodman (tracks: 19 to 21), Jimmy Dorsey (tracks: 5, 6, 18)
Clarinet, Tenor Saxophone – Fud Livingston (tracks: 1 to 18, 21)
Drums – Vic Berton (tracks: 1 to 12, 18)
Drums, Vibraphone – Chauncey Morehouse (tracks: 13 to 17, 19 to 21)
Guitar – Carl Kress (tracks: 1 to 6, 13 to 21), Eddie Lang (tracks: 7 to 10)
Mellophone – Dudley Fosdick
Piano – Arthur Schutt (tracks: 1 to 20)
Piano, Celesta – Lennie Hayton (tracks: 21)
Trombone – Miff Mole
Trumpet – Leo McConville (tracks: 1 to 11, 13 to 17), Manny Klein (tracks: 1 to 10, 13 to 15, 18 to 21), Red Nichols
Violin – Joe Venuti (tracks: 11, 12), Murray Kellner (tracks: 1 to 10, 13 to 15)
Vocals – Scrappy Lambert (tracks: 1, 3, 7, 9)

MIFF MOLE – 1927 | The Classics Chronological Series – 1269 (2002) FLAC (tracks+.cue), lossless

Trombonist Miff Mole gained some fame in the 1920s for his many recordings with cornetist Red Nichols. At a time when many other trombonists had a much more percussive approach, Mole had an unusual style full of staccato runs, unpredictable interval jumps and impressive technique. Mole led a series of sessions during the 1927-30 period with his Molers, which overlapped personnel with Nichols' bands, utilizing some of the top white studio players of the era. This superior British LP contains all 12 numbers cut at the trombonist's sessions of 1927, plus four tunes on which the band backs the popular singer Sophie Tucker. With Nichols, either Jimmy Dorsey or Pee Wee Russell on clarinet, usually pianist Arthur Schutt, guitarist Dick McDonough and drummer Vic Berton being among the key sidemen (bass saxophonist Adrian Rollini is an asset on the final six numbers), the music is quite advanced for the time, particularly in its arrangements. Highlights include "Alexander's Ragtime Band," "Hurricane," "Davenport Blues," Tucker's "After You've Gone," "Imagination" and "Original Dixieland One-Step." Scott Yanow  
Tracklist
1    The Arkansas Travellers–    Washboard Blues    2:42
2    The Arkansas Travellers–    That's No Bargain    2:52
3    The Arkansas Travellers–    Boneyard Shuffle    2:50
4    Miff Mole's Molers–    Alexander's Ragtime Band    2:47
5    Miff Mole's Molers–    Some Sweet Day    3:02
6    Miff Mole's Molers–    Hurricane    2:44
7    Miff Mole's Molers–    Davenport Blues    3:04
8    Miff Mole's Molers–    The Darktown Strutter's Ball    2:50
9    Miff Mole's Molers–    A Hot Time In The Old Town Tonight    2:49
10    Sophie Tucker Acc. By Miff Mole's Molers–    After You've Gone    2:45
11    Sophie Tucker Acc. By Miff Mole's Molers–    I Ain't Got Nobody    2:25
12    Sophie Tucker Acc. By Miff Mole's Molers–    One Sweet Letter From You    2:38
13    Sophie Tucker Acc. By Miff Mole's Molers–    Fifty Million Frenchmen Can't Be Wrong    2:45
14    The Arkansas Travellers–    Ja Da    3:04
15    The Arkansas Travellers–    Sensation    2:35
16    The Arkansas Travellers–    Stompin' Fool    3:03
17    Miff Mole's Molers–    Imagination    2:53
18    Miff Mole's Molers–    Feelin' No Pain    2:52
19    Miff Mole's Molers–    Original Dixieland One Step    2:47
20    Miff Mole's Molers–    My Gal Sal    3:05
21    Miff Mole's Molers–    Honolulu Blues    2:48
22    Miff Mole's Molers–    The New Twister    3:01
23    The Arkansas Travellers–    Birmingham Breakdown    2:44
24    The Arkansas Travellers–    Red Head Blues    2:37
25    The Arkansas Travellers–    I Ain't Got Nobody    2:41
Credits :
Alto Saxophone – Fred Morrow (tracks: 1 to 3, 14 to 16, 23 to 25)
Banjo, Guitar – Dick McDonough (tracks: 4 to 9, 17 to 22)
Bass Saxophone – Adrian Rollini (tracks: 17 to 22)
Brass Bass – Joe Tarto (tracks: 7 to 13)
Clarinet – Jimmy Dorsey (tracks: 1 to 3, 7 to 16), Pee Wee Russell (tracks: 17 to 25)
Clarinet, Tenor Saxophone – Fud Livingston (tracks: 17 to 25)
Drums – Ray Bauduc (tracks: 7 to 9), Vic Berton (tracks: 1 to 6, 10 to 25)
Guitar – Eddie Lang (tracks: 10 to 13, 17 to 22)
Piano – Arthur Schutt (tracks: 1 to 9, 14 to 22), Rube Bloom (tracks: 23 to 25), Ted Shapiro (tracks: 10 to 13)
Trombone – Miff Mole
Trumpet – Red Nichols
Vocals – Sophie Tucker (tracks: 10 to 13)

MIFF MOLE – 1928-1937 | The Classics Chronological Series – 1298 (2003) FLAC (tracks+.cue), lossless

Less jaunty than Kid Ory and not as funky as Charlie Irvis, Miff Mole's trombone had a sound all its own. His calm, assertive presence transformed any ensemble, and the bands he led were usually dependable and solid. If you're not yet a devoted follower, this excellent package might grab you for keeps. The opening session features an inspired Frank Teschemacher, who really shines on "Shim-Me-Sha-Wabble." The rest of the material from 1928 is delightful, sounding a lot like fully arranged small band swing from the mid-'30s. The piano lineup is marvelous throughout: Joe Sullivan, Arthur Schutt, and Frank Signorelli, composer of "I'll Never Be The Same" and "A Blues Serenade." Tuba legend Joe Tarto anchors three different ensembles and sounds particularly comfortable behind the trombone solos. Because they wisely chose not to feature any vocalists on the 1928-1929 sides, the magical interaction between instrumentalists proceeds without interruption. We get a good taste of Jimmy Dorsey's clarinet while Matt Malneck saws away on a hot violin. Dick McDonough's guitar solo on "Playing the Blues" is dazzling. Eddie Lang, however, plays hardly audible straight rhythm guitar on the April 19, 1929, session, restraining himself while the horns bubble and smoke out front. "That's a Plenty" is a prime example of how hot these guys could blow, and Dorsey is joined by tenor man Babe Russin for a wild version of "After You've Gone."
Those 14 hot sides are followed by a session from 1930. It's amazing how ensembles began to congeal and sweeten once the new decade (and the Great Depression) was on. Mole does some stuffy work with a mute and Scrappy Lambert's vocals are a bit fluffy, but the exciting presence of Adrian Rollini's bass saxophone is consoling, much as it was on the Venuti/Lang recordings from this same period. Luckily, we are given the option of skipping the vocal selections and choosing instrumental alternates, which were originally issued on Odeon instead of Okeh. These are as worthy as any of the other instrumental numbers included here.
The material from 1937 is thicker and more heavily arranged, with vocals by Midge Williams, who could be charming, and Chick Bullock, who wasn't. This is an entirely different world from the earlier sides. The presence of Glenn Miller constitutes a manifestation of mainstream big band music ready at that point to seize the market. Mole sounds great once Bullock runs out of lyrics, and even six marginally appealing vocal episodes cannot detract from the simple majesty of this chronologically stacked retrospective. Mole deserves to be remembered and Classics is to be commended for having the gumption to issue his music in this manner. arwulf arwulf  
Tracklist :
1    Miff Mole's Molers–    One Step To Heaven    2:58
2    Miff Mole's Molers–    Shim-Me-Sha-Wabble    3:00
3    Miff Mole's Molers–    Crazy Rhythm     2:58
4    Miff Mole's Molers–    You Took Advantage Of Me    3:16
5    Miff Mole's Molers–    You're The Cream In My Coffee    2:56
6    Miff Mole's Molers–    Wild Oat Joe    2:58
7    New Orleans Black Birds–    Red Head    3:01
8    New Orleans Black Birds–    Playing The Blues    2:37
9    Miff Mole's Molers–    I've Got A Feeling I'm Falling    2:54
10    Miff Mole's Molers–    That's A Plenty    2:46
11    Miff Mole's Molers–    Birmingham Bertha    3:10
12    Miff Mole's Molers–    Moanin' Low    3:15
13    Miff Mole's Molers–    You Made Me Love You    2:58
14    Miff Mole's Molers–    After You've Gone    3:18
15    Miff Mole's Molers–    Navy Blues (Vocal)    3:26
16    Miff Mole's Molers–    Lucky Little Devil (Vocal)    3:28
17    Miff Mole's Molers–    Navy Blues (Instr.)    3:21
18    Miff Mole's Molers–    Lucky Little Devil (Instr.)    3:28
19    Miff Mole's Molers–    On A Little Bamboo Bridge    2:43
20    Miff Mole's Molers–    How Could You?    2:49
21    Miff Mole's Molers–    I Can't Break The Habit Of You    2:13
22    Miff Mole's Molers–    Love And Learn    2:24
Credits :    
Alto Saxophone – Toots Mondello (tracks: 19 to 22)
Bass – Sid Weiss (tracks: 19 to 22)
Bass Saxophone – Adrian Rollini (tracks: 15 to 18)
Bass Tuba – Joe Tarto (tracks: 3, 4, 7, 8)
Clarinet – Frank Teschmacher, Paul Ricci (tracks: 19 to 22)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 7 to 16)
Clarinet, Tenor Saxophone – Fud Livingston (tracks: 3 to 6)
Drums – Gene Krupa, Sam Weiss (tracks: 19 to 22), Stan King (tracks: 3, 4, 9 to 14), Ted Napoleon (tracks: 7, 8)
Guitar – Carl Kress (tracks: 3, 4, 15 to 22), Dick McDonough (tracks: 7, 8, 13, 14), Eddie Condon (tracks: 1, 2), Eddie Lang (tracks: 9, 10), Tommy Felline (tracks: 11, 12)
Mellophone – Dudley Fosdick (tracks: 3, 4)
Piano – Arthur Schutt (tracks: 3 to 6, 9 to 14), Frank Signorelli (tracks: 7, 8, 19 to 22), Joe Sullivan (tracks: 1, 2), Lenny Hayton (tracks: 15 to 18)
Tenor Saxophone – Babe Russin (tracks: 13, 14)
Trombone – Glenn Miller (tracks: 19 to 22), Miff Mole, Vincent Grande (tracks: 19 to 22)
Trumpet – Gordon Griffin (tracks: 19 to 22), Harry James (tracks: 19 to 22), Leo McConville (tracks: 3, 4, 9 to 12), Manny Klein (tracks: 9, 10), Phil Napoleon (tracks: 11 to 14), Phil Napoleon (tracks: 5 to 8), Red Nichols (tracks: 1 to 4), Tony Tortomas (tracks: 19 to 22)
Violin – Matt Malneck (tracks: 7, 8)
Vocals – Chick Bullock (tracks: 21, 22), Scrappy Lambert (tracks: 15, 16), Midge Williams (tracks: 19, 20)

ETHEL WATERS – 1929-1931 | The Classics Chronological Series – 721 (1993) FLAC (image+.cue), lossless

During the period covered in this CD from Classics' Complete Ethel Waters series, the singer was quickly developing into a top musical comedy and Broadway star. Although her backup was not as jazz-oriented as previously (despite the presence of such players as clarinetist Benny Goodman, trombonist Tommy Dorsey, Jimmy Dorsey on clarinet and alto and trumpeter Manny Klein), Waters's renditions of many of these future standards are definitive, particularly "True Blue Lou," "Waiting at the End of the Road," "Porgy," "You're Lucky to Me" and "When Your Lover Has Gone." Superior jazz-oriented singing from one of the very best. Scott Yanow
Tracklist:
1     Second-Handed Man    2:46    

Sidney Easton / Ethel Waters
2     True Blue Lou    2:58    
Sam Coslow / Leo Robin / Richard A. Whiting
3     Do I Know What I'm Doing?    2:47    
Sam Coslow / Leo Robin / Richard A. Whiting
4     Shoo Shoo Boogie Boo    2:47    
Sam Coslow / Leo Robin / Richard A. Whiting
5     Georgia Blues    3:21   
Billy Higgins / W. Benton Overstreet
6     I Like the Way He Does It    2:31
7     Waiting at the End of the Road    3:18    
Irving Berlin
8     Trav'lin' All Alone    2:56    
J.C. Johnson
9     Long Lean Lanky Mama    2:48 
10     Better Keep Your Eye on Your Man    2:54    
11     Porgy    3:30    
Dorothy Fields / Jimmy McHugh
12     Black and Blue    2:55    
Harry Brooks / Andy Razaf / Fats Waller
13     My Kind of Man    2:58    
14     You Brought a New Kind of Love to Me    3:20    
Sammy Fain / Irving Kahal / Peter Norman
15     You're Lucky to Me    3:07    
Eubie Blake / Andy Razaf
16     Memories of You    3:07    
Eubie Blake / Andy Razaf
17     I Got Rhythm    3:05    
George Gershwin / Ira Gershwin
18     Three Little Words 3:05   
Bert Kalmar / Harry Ruby  
19     When Your Lover Has Gone    3:07    
Einar A. Swan
20     Please Don't Talk About Me When I'm Gone    3:13    
Sidney Clare / Sam H. Stept
21     You Can't Stop Me from Loving You    3:19    
Mann Holiner / Alberta Nichols
22     Without That Gal!    2:51
Walter Donaldson
Credits :    
Bass Saxophone – Adrian Rollini (tracks: 13, 14)
Bass [String Bass] – Joe Tarto (tracks: 2 to 4, 11, 12), Unknown Artist (tracks: 15, 16)
Clarinet – Benny Goodman (tracks: 13, 14, 19 to 22)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 2 to 4, 17, 18)
Drums – Stan King (tracks: 2 to 4)
Guitar – Dick McDonough (tracks: 21, 22), Eddie Lang (tracks: 19, 20), Tony Colucci (tracks: 2 to 4, 11, 12), Unknown Artist (tracks: 7, 8, 17, 18)
Organ – Unknown Artist (tracks: 15, 16)
Piano – Frank Signorelli (tracks: 2 to 4, 11, 12), Pearl Wright (tracks: 1, 5 to 10), Rube Bloom (tracks: 13, 14, 19 to 22), Unknown Artist (tracks: 15 to 18)
Trombone – Tommy Dorsey (tracks: 2 to 4, 13, 14, 17 to 22)
Trumpet – Bob Effros (tracks: 2 to 4, 7, 8), Manny Klein (tracks: 13, 14, 17 to 22)
Trumpet [And/Or] – Manny Klein (tracks: 11, 12), Muggsy Spanier (tracks: 11, 12)
Violin – Ben Selvin (tracks: 2 to 4, 11 to 14, 17, 18), Joe Venuti (tracks: 19, 20), Unknown Artist (tracks: 7, 8, 15, 16)
Violoncello – Unknown Artist (tracks: 7, 8)
Vocals – Ethel Waters