GLENN MILLER AND HIS ORCHESTRA – 1935-1938 | The Classics Chronological Series – 1377 (2004) FLAC (tracks+.cue), lossless

This is the first volume in the Classics Glenn Miller chronology. It presents his earliest sessions as a leader, beginning with a very handsome session for Columbia that took place on April 25, 1935. The presence of trumpeter Bunny Berigan, clarinetist Johnny Mince, tenor saxophonist Eddie Miller, pianist Claude Thornhill, a well-behaved string quartet, and Miller's own buttery sounding trombone make this a surprisingly charming little date. The first two titles have vocals by Smith Ballew. "In a Little Spanish Town" and the excellent "Solo Hop" are swinging instrumentals propelled by drummer Ray Bauduc; these very danceable stomps clearly prefigure Glenn Miller's later achievements as a successful purveyor of big-band swing music. The second date in Miller's complete chronological recordings took place on March 22, 1937. Recorded for the Decca label, these tracks have all the qualities that would distinguish Glenn Miller's band during its wartime heyday. Without downplaying vocalists Doris Kerr, Jack Lathrop, and the Tune Twisters, let it be said that the instrumentals "Peg O' My Heart" and "I'm Sitting on Top of the World" are the cream of the crop. Miller's tenure with Brunswick records began on June 9, 1937 with four more exceptionally fine instrumental dance numbers. Over the next 11 months, Miller would feature a steady stream of good vocalists (Kathleen Lane, Gail Reese, and Ray Eberle) while fortifying the band with outstanding musicians like Dick McDonough, Charlie Spivak, Sterling Bose, Pee Wee Erwin, Hal McIntyre, Irving Fazola, and Tex Beneke. Even as Glenn Miller's later recordings seem always to attract more attention, these early sides illustrate what a solid leader, arranger, and soloist he was fairly early on in the game, before he became one of the most popular bandleaders in the country. arwulf arwulf   Tracklist :

FRANKIE TRUMBAUER AND HIS ORCHESTRA – 1936-1946 | The Chronogical Classics – 1331 (2003) FLAC (tracks+.cue), lossless

Despite the fact that, compared to his contemporaries like Jack Teagarden and Artie Shaw, there are relatively few Frankie Trumbauer recordings as a leader, this period, from the mid-'30s to the mid-'40s, is arguably his most satisfying. Here with the Three Ts (Trumbauer with Jack and Charlie Teagarden) and leading a few bands with Shaw, Pee Wee Erwin, Carl Kress, Matty Matlock, John Kiefer, Bob Haggart, and more as sidemen, Trumbauer laid down some of his most memorable sessions, recording tunes such as "'S Wonderful," "Ain't Misbehavin'," "I Don't Stand a Ghost of a Chance," and 18 more. Along with Teagarden's stunning vocal style, reaching its peak during these years, and the deep swinging blues approach, these sides have been ignored for far too long under Trumbauer's signature.
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LOUIS PRIMA AND HIS NEW ORLEANS GANG – 1934-1935 | The Chronogical Classics – 1048 (1999) FLAC (tracks+.cue), lossless

Born and raised in New Orleans, Louis Prima came up in his hometown gigging steadily in the clubs and doing his best to emulate Afro-American musicians. His number one role model was Louis Armstrong. After playing Cleveland with Red Nichols in 1932, Prima began recording in 1934 and thoroughly established himself on 52nd Street in New York City the following year. Prima was good looking and sang in a pleasantly hoarse voice. His humor was often heavy-handed, and his bands pushed hard to generate excitement among live audiences and the record-buying public. Prima's 1934 bands had strong players in George Brunies, Claude Thornhill, and Eddie Miller. "Jamaica Shout" is a rare example of instrumental Louis Prima: hot jazz with nobody yelling. "Breakin' the Ice" was the first in a series of Prima interpretations of songs made popular by Fats Waller. Bill "Bojangles" Robinson performed a lively version of "I'm Living in a Great Big Way" with Waller during the last reel of the 1935 RKO motion picture Hooray for Love. Waller never managed to make an actual phonograph recording of this song. Prima had fun with it and with every tune he grabbed onto, sometimes maybe too much fun. During "Let's Have a Jubilee," which was recorded twice during November of 1934, Prima spits out weird nicknames for each bandmember, including "Baboon Face" and "Liver Lips." This sort of talk was not uncommon among Afro-Americans, but it is particularly unsettling coming out of the (big) mouth of a (Southern) white musician. The real gold on this CD lies in the last six tracks, ground out by a band that had Pee Wee Russell as its artistic nucleus. Prima was the handsome leader, Prima sang and blew his trumpet, but Pee Wee was the light, the emulsion, and the pigment in this picture. "The Lady in Red" just might be the very best record that Louis Prima ever made, largely because of the magical presence of a gifted clarinetist with poetic sensibilities and a tone like nobody else. arwulf arwulf  
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JESS STACY – 1935-1939 | The Classics Chronological Series – 795 (1994) FLAC (tracks+.cue), lossless

Pianist Jess Stacy did not lead that many recording sessions during the swing era since he spent long periods playing with the big bands of Benny Goodman and Bob Crosby. This excellent CD contains his 21 selections as a leader from a four-year period. Stacy's three numbers from 1935 include a solo Bix Beiderbecke medley and two songs with bassist Israel Crosby and drummer Gene Krupa. In addition, this set has Stacy's eight piano solos for Commodore, a duet with Bud Freeman on tenor ("She's Funny That Way"), and eight very rare performances (plus an alternate take) cut for Varsity in 1939 that also feature trumpeter Billy Butterfield, tenor saxophonist Eddie Miller, and either clarinetist Hank d'Amico or Irving Fazola in an octet. This CD contains more than its share of gems. Scott Yanow
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BARNEY BIGARD – 1944 | The Classics Chronological Series – 896 (1996) FLAC (tracks+.cue), lossless

Barney Bigard is one of the great jazz clarinetists. Although most famous for playing in Duke Ellington's band, Bigard performed with a host of lesser bandleaders, giving a series of distinctive, lyrical performances with each. 1944 collects Bigard's performances with the Capitol International Jazzmen, Zutty Singleton's bands, and his time with Roger Kay. Although not as consistently revelatory as his playing with the Duke, these sessions show Bigard to be a master of his instrument, displaying fabulous technique and great lyricism throughout. The Classics label has done a fine job at remastering, and the excellent liner notes round off a nice package. Thomas Ward
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WINGY MANONE AND HIS ORCHESTRA – 1934-1935 | The Classics Chronological Series – 798 (1994) FLAC (tracks+.cue), lossless

You know what? Wingy Manone's best records were instrumental. That doesn't mean he wasn't a great singer. It's more of a commentary on the excellent bands he led, and the apparent ease with which the players interacted. Take for example the OKeh session of October 3, 1934. You've got Wingy the one-armed trumpeter, a New Orleans clarinetist by the name of Sidney Arodin (co-composer of the song "Lazy River"), and trombonist Santo Pecora, who wrote two of the four tunes recorded on that day. Wingy could have sung on any of these numbers -- even "Royal Garden Blues," which does in fact have lyrics. Instead, here is an opportunity to savor the sound of seven men swinging together, listening carefully and measuring out their individual contributions without having to work around a vocal line. Wingy seems to be savoring the experience, too. If Wingy's vocals alter the structural dynamics of the songs, Nappy Lamare's falsetto interjections distract and even detract. Nappy, who impersonates a nagging child during "On the Good Ship Lollipop," tended to come across that way regardless of subject matter. This Shirley Temple hit, by the way, does have redeeming social value when swung by Wingy's septet. But "Lollipop" would have been really outstanding without any vocals. If only they had recorded each song twice, side A as a vocal, backed with an instrumental take on the flip. Then listeners could have had it both ways. Fats Waller did up a few tunes in this manner, and the results were wonderful. Speaking of Waller, the great Wingy/Waller parallel of this package is a pretty love song with the title "I Believe in Miracles." Utilizing the Hammond organ, Fats recorded a sweet version on January 5, 1935. Wingy's more danceable interpretation was waxed on the 8th of March. Both artists seem to have enjoyed every word and in both cases the poetry makes for very pleasant listening. Four tunes, realized on the 8th of April 1935, are very satisfying instrumentals. It is easy to imagine what the effect would have been had Wingy sung the lyrics to these Tin Pan Alley creations. Some would smile at the naïvely rhyming stanzas, and everyone's ears would perk up when the instruments would take brief solos in the precious time remaining after an entire chorus had been eaten up by words, words, words. Instead, Wingy is heard putting all of his energy into blowing trumpet, Eddie Miller booting around with his tenor sax, and Matty Matlock garnishing the melody with attractive little clarinet runs. Without a doubt, a lot more from the piano of Gil Bowers is featured, simply because no space is taken up by vocals. When Wingy sings on two songs from May 27, 1935, it's nice to hear him again. "Every Little Moment" is charming and "Black Coffee" is a harrowing tale of misbehavior and confusion. Vocally or instrumentally, Wingy was always ready to show the people a good time. arwulf arwulf  
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WINGY MANONE AND HIS ORCHESTRA – 1935-1936 | The Classics Chronological Series – 828 (1995) FLAC (tracks), lossless

1935 and '36 were red-hot years for Fats Waller, and many musicians deliberately chose to record songs which had quickly become closely associated with him. Wingy Manone was capable of covering such tunes without sounding like an imitator. Unlike Waller's slow, almost erotic version, Wingy's "Sweet and Slow" trots along as briskly as "Lulu's Back in Town." Other songs popularized by Waller and revisited here are "I'm Gonna Sit Right Down and Write Myself a Letter" and the cheerful "I've Got My Fingers Crossed." Wingy's bands during this time period featured reedmen Bud Freeman, Eddie Miller, Matty Matlock and Joe Marsala, and two of the sessions were bolstered by the presence of trombonists Jack Teagarden and George Brunies. Teagarden plays exceptionally fine trombone on the records made in October of 1935. His vocal contributions, however, consist only of spoken interjections. Johnny Mercer is heard making his own remarks during both takes of "I've Got a Note." Teagarden engages in a bit of conversation with Wingy on take one. Take two is markedly faster and hotter. Wingy was capable of singing and playing practically any song that came along. He performs "The Music Goes 'Round and Around" as if it had been written just for him, and takes on Louis Armstrong's "Old Man Mose" without flinching. "The Broken Record" comes as a pleasant surprise, giving the singer and band a chance to imitate a skipping record as the phrases "you're gorgeous," "I kiss you" and "I love you" each get stuck and are repeated six times apiece. (Note that this immortalizes the hasty rate at which 78 rpm records skip. It's much different from a 33-and-1/3 rpm skip.) Finally, as the trombone gets stuck in the same repetitious manner, Wingy says "Man, take that broken record offa there, and throw it out the window!" arwulf arwulf
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WINGY MANONE AND HIS ORCHESTRA – 1936 | The Classics Chronological Series – 849 (1995) FLAC (tracks), lossless

The Classics series (along with the unrelated Collectors Classics label) has been reissuing all of trumpeter Wingy Manone's recordings of the 1930s, many of which did not even reappear during the LP era. By 1936, Manone's records were getting a bit predictable, but taken in small doses they are still quite fun. Manone sings on all of the 22 selections except "Panama," verbally urges on his sidemen (which at times include clarinetist Joe Marsala and tenor saxophonist Eddie Miller) and takes some Louis Armstrong-inspired solos. This CD is the fourth Manone set put out by Classics and has four sessions from a four-month period; highlights include "Is It True What They Say About Dixie," "Dallas Blues," "Swingin' at the Hickory House," "Sing Me a Swing Song" and "Panama." Scott Yanow
Tracklist + Credits : 

JACK TEAGARDEN AND HIS ORCHESTRA – 1930-1934 | The Classics Chronological Series – 698 (1993) FLAC (tracks+.cue), lossless

This Classics CD has the first 23 titles ever issued under the leadership of trombonist Jack Teagarden. Many of these selections were formerly rare, particularly the earlier titles on Domino, Banner and Crown. Best is the session that co-starred pianist/vocalist Fats Waller and, while some of the titles are a bit commercial, Teagarden's playing (and that of his better sidemen) uplift the music; "A Hundred Years from Today" is a classic. Scott Yanow
Tracklist :
1     Son of the Sun 2:25
Rudolf Friml
Vocals – Jack Teagarden
2     You're Simply Delish 2:42
Arthur Freed / Joseph Meyer
Vocals – Eddie Gale
3     Just a Little Dance, Mam'selle 3:02
Vocals – Jack Teagarden
Ben Gordon / Chas OFlynn / Pete Wendling
4     Rockin' Chair 3:00
Hoagy Carmichael
Vocals – Eddie Miller, Nappy Lamare
5     Loveless Love 2:49
W.C. Handy
Vocals – Jack Teagarden
6     You Rascal You 3:12
Sam Theard    
Vocals – Fats Waller, Jack Teagarden
7     That's What I Like About You 3:24
Walter Donaldson
Vocals – Fats Waller, Jack Teagarden
8    Chances Are 3:13
Gus Arnheim / Harry Barris / Arthur Freed
Vocals – Jack Teagarden
9     I Got the Ritz from the One I Love 3:25
Harry Barris / J.C. Lewis
Vocals – Jack Teagarden
10     China Boy 3:06
Phil Boutelje / Dick Winfree
11     Lies 3:10
Harry Barris / George E. Springer
Vocals – Gene Austin
12     I'm Sorry Dear 3:00
Raymond Scott / Charles Tobias / Harold Weeks
Vocals – Gene Austin
13     Tiger Rag 3:06
Harry Da Costa / Eddie Edwards / Nick LaRocca / Henry W. Ragas / Tony Sbarbaro / Larry Shields
14     I've Got It 3:08
David Rose / Jack Teagarden
15     Plantation Moods 3:24
Fred Rose / Jack Teagarden
16     Shake Your Hips 3:23
Fred Rose / Jack Teagarden
17     Someone Stole Gabriel's Horn 3:00
Edgar Hayes / Irving Mills / Ned Washington
Vocals – Jack Teagarden
18     Love Me 3:03
Ned Washington / Victor Young
Vocals – Jack Teagarden
19     Blue River 2:57
Ned Washington / Victor Young
Vocals – Jack Teagarden
20     A Hundred Years from Today 3:07
Ned Washington / Victor Young
Vocals – Jack Teagarden
21     I Just Couldn't Take It, Baby 2:55
Mann Holiner / Alberta Nichols
Vocals – Jack Teagarden
22     Fare-Thee-Well to Harlem 3:06
Bernie Hanighen / Johnny Mercer
Vocals – Jack Teagarden, Nappy Lamare
23     Ol' Pappy 3:03
Jerry Levinson / Marty Symes
Vocals – Jack Teagarden, Nappy Lamare
Credits :    
Alto Saxophone – Buddy Fisk (tracks: 14 to 17)
Banjo, Guitar – Nappy Lamare (tracks: 1 to 13)
Bass Saxophone – Adrian Rollini (tracks: 6 to 9)
Bass [String Bass] – Artie Bernstein (tracks: 6 to 9, 18 to 23), Eddie Gilbert (tracks: 14 to 17)
Bass [String Bass], Brass Bass – Harry Goodman (tracks: 1 to 5, 10 to 13)
Clarinet – Benny Goodman (tracks: 4, 5), Pee Wee Russell (tracks: 6 to 9)
Clarinet, Alto Saxophone – Chester Hazlett (tracks: 18 to 23), Gil Rodin (tracks: 1 to 5, 10 to 13), Jimmy Dorsey (tracks: 18 to 23), Matty Matlock (tracks: 1 to 3, 10 to 13), Rod Cless (tracks: 14 to 17)
Clarinet, Tenor Saxophone – Dale Skinner (tracks: 14 to 17), Eddie Miller (2) (tracks: 1 to 5, 10 to 13), Joe Catalyne (tracks: 6 to 9), Max Farley (tracks: 6 to 9), Mutt Hayes (tracks: 18 to 23)
Directed By – Victor Young (tracks: 18 to 23)
Drums – Bob Consolman (tracks: 14 to 17), Larry Gomar (tracks: 18 to 23), Ray Bauduc (tracks: 1 to 5, 10 to 13), Stan King (tracks: 6 to 9)
Guitar – Dick McPartland (tracks: 14 to 17), Frank Worrell (tracks: 22, 23), Perry Botkin (tracks: 18 to 21)
Piano – Charles LaVere (tracks: 14 to 17), Fats Waller (tracks: 6 to 10, 13), Gil Bowers (tracks: 1 to 5, 11, 12), Joe Meresco (tracks: 18 to 23)
Tenor Saxophone – Bud Freeman (tracks: 14 to 17)
Trombone – Jack Teagarden, Tom Moore (tracks: 14 to 17)
Trumpet – Charlie Spivak (tracks: 1 to 5), Charlie Teagarden (tracks: 6 to 17), Claude Whiteman (tracks: 14 to 17), Frank Guarente (tracks: 18 to 23), Sterling Bose (tracks: 4 to 13, 18 to 23), Tommy Thunen (tracks: 1 to 3)
Violin – Joe Venuti (tracks: 22, 23), Lou Kosloff (tracks: 22, 23), Walt Edelstein (tracks: 18 to 23)

RED NICHOLS – 1930-1931 | The Classics Chronological Series – 1462 (2008) FLAC (tracks+.cue), lossless

Volume six in the complete recordings of trumpeter Red Nichols as reissued by the Classics Chronological Series consists of 25 Victor and Brunswick recordings dating from September 1930 through January 1931, and is especially recommended to those who enjoy Depression-era jazz and pop vocals, with the pop outweighing the jazz by a considerable margin. "On Revival Day," a topical novelty originally released in two parts on flipsides of a 78 rpm record, trombonist Jack Teagarden is backed by a vocal group billed as the Foursome. Forthwith, Nichols' ensemble is garnished at times with a couple of violins and is almost invariably dusted with sugary vocals by Scrappy Lambert, Dick Robertson, Eddie Thomas, Paul Small, and songwriter Harold Arlen. If you're curious to hear what the composer of "Blues in the Night" sounded like as a crooner, that's him singing "How Come You Do Me Like You Do?" as well as his own compositions "Linda," "You Said It," and "Sweet and Hot." The jazziest vocals, even funkier than Teagarden's, are by trumpeter Wingy Manone, who puts his personal stamp on "Rockin' Chair," "Bugaboo," and "Corrine Corrina." Betwixt and between the vocals there exist smoothly coordinated ensemble passages and a number of fine solos, for almost every group that Nichols ever led was peppered with skilled jazz musicians. In addition to those already mentioned, Nichols is heard alongside clarinetist Benny Goodman, trombonist Glenn Miller, saxophonists Jimmy Dorsey and Eddie Miller, pianist Joe Sullivan, and drummer Gene Krupa. arwulf arwulf  
Tracklist :
1    On Revival Day - Part 1 2:40
2    On Revival Day - Part 2 2:38
3    Embraceable You 3:08
4    I Got Rhythm 2:56
5    A Girl Friend Of A Boy Friend Of Mine 2:48
6    Sweet Jennie Lee 2:44
7    Linda 3:06
8    Yours And Mine 2:55
9    That's Where The South Begins 2:44
10    I'm Tickled Pink With A Blue-Eyes Baby 2:48
11    My Honey's Lovin' Arms 2:56
12    Rockin' Chair 3:10
13    Bugaboo 3:12
14    Corrinne Corrina 3:02
15    How Come You Do Me Like You Do? 3:01
16    Blue Again 3:12
17    When Kentucky Bids The World "Good Morning" 3:09
18    What Good Am I Without You? 2:58
19    We're Friends Again 3:09
20    At Last I'm Happy 2:51
21    If You Haven't Got A Girl 2:56
22    You Said It 3:05
23    Sweet And Hot 3:02
24    The Peanut Vendor 2:47
25    Sweet Rosita 3:03
All Credits :

MOUND CITY BLUE BLOWERS – 1935-1936 (1996) The Classics Chronological Series – 895 | FLAC (tracks), lossless

The Mound City Blue Blowers originally made history with a dozen high-quality novelty recordings during 1924-25 that featured the trio of Red McKenzie's comb, Dick Slevin's kazoo and banjoist Jack Bland; guitarist Eddie Lang solidified the rhythm on their later six numbers. However, other than McKenzie's participation, those dates had little to do with the 25 recordings on this Classics CD, the last issued under the Mound City Blue Blowers' name. In fact, other than taking four vocals on the first date, McKenzie makes only cameo appearances on kazoo during the remainder of the program, although he had clearly organized the bands. The six sessions feature overlapping personnel with some hot playing from either Bunny Berigan (on four of the dates) or Yank Lawson on trumpet and Eddie Miller or Forrest Crawford on tenor and clarinet. In addition to McKenzie, guitarist Nappy Lamare has eight vocals; there are also five from Billy Wilson, four from Spooky Dickenson and two by a vocal group. Only "High Society" and "Muskrat Ramble" are instrumentals, although there are strong solos on nearly every number. The music falls between Dixieland and small-group swing and is most notable for the playing of Berigan. Scott Yanow  
Tracklist :     
1     What's the Reason (I'm Not Pleasing You?) 3:05
Jimmie Grier / Earl Hatch / Coy Poe / Pinky Tomlin
2     She's a Latin from Manhattan 2:59
Al Dubin / Harry Warren
3     You've Been Takin' Lessons 3:02
Tharpe / Watts   
4     (Back Home Again In) Indiana 2:44
James F. Hanley / Ballard MacDonald
5     Red Sails in the Sunset 2:48
Will Grosz / Jimmy Kennedy
6     I'm Sittin' High on a Hill Top 3:02
Arthur Johnston / Gus Kahn
7     On Treasure Island 3:01
Joe Burke / Edgar Leslie
8     Thanks a Million 2:40
Arthur Johnston / Gus Kahn
9     Eeny Meeny Meiny Mo 2:36
Matty Malneck / Johnny Mercer
10     A Little Bit Independent 2:49
Joe Burke / Edgar Leslie
11     I'm Shooting High 2:34
Ted Koehler / Jimmy McHugh
12     I've Got My Fingers Crossed 2:46
Ted Koehler / Jimmy McHugh
13     High Society 2:55
Armand Piron / Clarence Williams
14     Muskrat Ramble 2:52
Ray Gilbert / Kid Ory
15     The Broken Record 2:58
John Bunch / Cliff Friend / Harry Tobias
16     The Music Goes 'Round and Around 3:06
Eddie Farley / Mike Riley
17     I'm Gonna Sit Right Down (And Write Myself a Letter) 2:43
Fred E. Ahlert / Joe Young
18     Mama Don't Allow It 2:57
Cow Cow Davenport
19     (If I Had) Rhythm in My Nursery Rhymes 2:35
Sammy Cahn / Saul Chaplin / Jimmie Lunceford / Don Raye
20     I Hope Gabriel Likes My Music 2:46
David Franklin
21     You Hit the Spot 2:35
Mack Gordon / Harry Revel
22     Spreadin' Rhythm Around 2:35
Ted Koehler / Jimmy McHugh
23     Saddle Your Blues to a Wild Mustang 2:47
Buddy Bernier / George A. Whiting
24     Wah-Hoo! 3:02
Cliff Friend
25     I'm Gonna Clap My Hands 2:52
Eddie Farley / Mike Riley
Credits :    
Bass [String] – Bob Haggart (tracks: 5 to 8), Harry Goodman (tracks: 1 to 4), Mort Stuhlmaker (tracks: 15, 16), Pete Peterson (tracks: 9 to 14, 21 to 25), Sid Weiss (tracks: 17 to 20)
Clarinet, Tenor Saxophone – Eddie Miller (tracks: 1 to 14), Forrest Crawford (tracks: 15 to 25)
Drums – Dave Tough (tracks: 15, 16, 21 to 25), Ray Bauduc (tracks: 1 to 14), Stan King (tracks: 17 to 20)
Guitar – Carmen Mastren (tracks: 17 to 20), Dave Barbour (tracks: 15, 16, 21 to 25), Eddie Condon (tracks: 17 to 20), Nappy Lamare (tracks: 1 to 14)
Kazoo – Red McKenzie
Piano – Frank Signorelli (tracks: 21 to 25), Gil Bowers (tracks: 1 to 4)
Trombone – Al Philburn (tracks: 1 to 4, 21 to 25)
Trumpet – Bunny Berigan (tracks: 1 to 4, 15 to 25), Yank Lawson (tracks: 5 to 14)
Vocals – Billy Wilson (tracks: 21 to 25), Nappy Lamare (tracks: 5 to 12), Red McKenzie (tracks: 1 to 4), Spooky Dickenson (tracks: 17 to 20)
Vocals [Vocal Trio] – Unknown Artist (tracks: 15, 16)