JELLY-ROLL MORTON – 1939-1940 | The Chronogical Classics – 668 (1992) FLAC (tracks+.cue), lossless

This CD has (with the exception of two songs from a slightly later radio broadcast) the final recordings of pianist-composer Jelly Roll Morton. Best are his piano solos (such as "The Crave," "The Naked Dance," and "King Porter Stomp") and selections in which he backs his own vocals (including "I Thought I Heard Buddy Bolden Say," "Don't You Leave Me Here," and "Mamie's Blues"). Morton's three band dates (which resulted in the final dozen titles) are slightly disappointing because he was obviously trying to write a hit and not having any success. The songs are all forgettable except "Sweet Substitute" and the standard "Panama." But overall, this CD (along with the others in the Classics reissues series) are easily recommended to fans of vintage classic jazz who do not own the more complete five-CD Bluebird Morton set. Scott Yanow
Tracklist + Credits :

CHARLES BROWN – 1944-1945 | The Classics Chronological Series – 894 (1996) FLAC (tracks+.cue), lossless

This Classics CD features pianist/vocalist Charles Brown on his first 22 recordings, when he was a sideman with guitarist Johnny Moore's Three Blazers. Brown already sounded quite distinctive, and as it turned out, the 21st song ("Drifting Blues") was his biggest hit. The music, due to the instrumentation (a trio/quartet with bassist Eddie Williams and sometimes Oscar Moore on second guitar), is a bit reminiscent at times of the Nat King Cole Trio, but it had a special soul and feeling of its own. Frankie Laine makes a couple of early appearances, but Brown takes care of the bulk of the vocals, and there are also eight excellent instrumentals. Recommended. Scott Yanow
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CHARLES BROWN – 1946 | The Classics Chronological Series – 971 (1997) FLAC (tracks+.cue), lossless

With the great success of the slow blues ballad "Driftin' Blues," Johnny Moore's Three Blazers emphasized laidback material on record after record in 1946, looking for another hit. Ironically the main star of virtually all of the records, pianist-vocalist Charles Brown, was given second billing if he was mentioned at all, while guitarist Moore (who is joined by bassist Eddie Williams) was often mistaken as the singer. Brown would stick with Moore into 1947 and was largely responsible for the group's success. The second Classics CD to reissue all of the trio's recordings includes 23 enjoyable titles that mostly have a sameness to them in tempo and mood. All are vocal showcases for Brown except for the two-part "Warsaw Concerto" and "Nutmeg," the lone instrumentals. A worthwhile set but not as essential a release as the earlier volume in this series. Scott Yanow
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CHARLES BROWN – 1946-1947 | The Classics Chronological Series – 1088 (1999) FLAC (tracks+.cue), lossless

The 24 selections on this Classics CD (their third Charles Brown release) were all recorded by Johnny Moore's Three Blazers, a trio consisting of guitarist Moore, bassist Eddie Williams, and the real star, pianist-vocalist Charles Brown. The final three numbers add Moore's brother, Oscar Moore (formerly with the Nat King Cole Trio), on second guitar. Unlike with their earlier pre-"Driftin' Blues" material, the emphasis is generally on slower tempos with Brown having a vocal on every selection. Most notable is the hit version of "Merry Christmas Baby"; other highlights include "Was I to Blame for Falling in Love With You," "Huggin' Bug," "St. Louis Blues," "Juke Box Lil," and "New Orleans Blues." The Blazers' style, a more bluish version of the Nat King Cole Trio, is always pleasing. However, since Charles Brown was getting very little recognition for his talents (audience members often thought that he was Johnny Moore!), he would not be sticking around in the group much longer. Scott Yanow
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CHARLES BROWN – 1947-1948 | The Classics Chronological Series – 1147 (2000) FLAC (tracks), lossless

Although the 24 selections on this CD have been reissued under pianist/vocalist Charles Brown's name, he is actually the featured sideman with Johnny Moore's Three Blazers, a band also including guitarists Johnny Moore and Oscar Moore, plus bassist Eddie Williams. However, putting it under Brown's name is only fitting because he has vocals on all but one of the selections (the instrumental "Scratch Street") and is the most impressive soloist. These performances, cut for the small Los Angeles-based Exclusive label, are mostly little-known (making them formerly rare collector's items), and the set overall has more tempo and mood variation than the earlier classics; the band was not trying as hard to duplicate the success of "Driftin' Blues." Recommended. Scott Yanow
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CHARLES BROWN – 1948-1949 | The Classics Chronological Series – 1210 (2001) FLAC (tracks), lossless

Pianist/singer Charles Brown left Johnny Moore's Three Blazers in 1948 since Brown's vocals were chiefly responsible for the group's success, but he was receiving no credit; people thought that he was Johnny Moore. His first 24 records as a leader, with Chuck Norris or Tiny Mitchell on guitar and bassist Eddie Williams, are reissued on this disc. The music was all recorded for the Aladdin label and nine of the selections were previously unreleased. "Trouble Blues" and "Get Yourself Another Fool" were minor hits. The main problem with the music is that virtually every song is at the same medium-slow tempo, so listening to this set straight through can be a little tedious. But it is very good to have this formerly rare material available in such comprehensive form. Scott Yanow
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CHARLES BROWN – 1949-1951 | The Classics Chronological Series – 1272 (2000) FLAC (tracks), lossless

With an elegant piano style and a smooth voice that made him sound a little bit like a gruffer Nat King Cole, Charles Brown's jazz-tinged blues is the perfect music for a late-night wind-down. Unfortunately, as this disc of late sides cut for Aladdin Records shows, much of his material worked from the same template, an unhurried tempo that, although effective in small doses, just sort of blends together over the long haul, so much so that when the midtempo "Gee!" hits here at the middle of the set, it almost feels like speed metal. Still, this is a worthwhile compilation, because what Brown did well, he did very well, and underneath everything was that wonderful, jazzy piano style, which was central to the sound of West Coast blues. Steve Leggett
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LOU DONALDSON - Everything I Play Is Funky (1970-1995) Blue Note Rare Groove Series | FLAC (tracks+.cue), lossless

Although purists might not find it as much to their taste as Midnight Creeper, Everything I Play Is Funky is easily one of the best examples of Lou Donaldson's commercially accessible period of the late '60s and early '70s. Donaldson's forays into funk and R&B-driven soul-jazz could sometimes sound stiff, but the grooves here -- which feature many of the same players -- are consistently limber and unforced. And, typical of the style, the grooves (not adventurous improvisation) are what make the album tick. For once, Donaldson's attempt at an R&B cover -- in this case, the Lee Dorsey-sung, Allen Toussaint-penned "Everything I Do Gonna Be Funky (From Now On)" -- is pulled off well enough to make for an entirely convincing statement of purpose. That number kicks off an entertaining program also highlighted by three Donaldson originals -- the cooking funk number "Donkey Walk," which seems to inspire the fieriest solos on the record, the cheery calypso "West Indian Daddy," and the hard bop-flavored "Minor Bash." There's also a version of "Over the Rainbow" done in Donaldson's caressing, melodic ballad style, and the simple funk vamp "Hamp's Hump." It's a nicely varied assortment, all anchored by the percolating rhythm section of guitarist Melvin Sparks, bassist Jimmy Lewis, and drummer Idris Muhammad (Charles Earland and Dr. Lonnie Smith switch off on organ, and Blue Mitchell and Eddie Williams do the same on trumpet). This is the sort of record that modern-day Donaldson disciples like the Sugarman Three cherish, and one of his few truly consistent efforts in this style. Recommended wholeheartedly to funk and rare-groove fans. Steve Huey
Tracklist :
1. Everything I Do Gonna Be Funky (From Now On) 5'15
Allen Toussaint
2. Hamp's Hump 6'35
P. Hampton / Paul Hampton
3. Over The Rainbow 7'05
Harold Arlen / E.Y. "Yip" Harburg
4. Donkey Walk 6'32
Lou Donaldson
5. West Indian Daddy 6'22
Lou Donaldson
6. Minor Bash 6'08
Lou Donaldson
Credits :
Lou Donaldson - Alto Saxophone
Blue Mitchell - Trumpet (tracks 1-3, 6)
Eddie Williams - Trumpet (tracks 4,5)
Idris Muhammad - Drums
Melvin Sparks - Guitar
Jimmy Lewis - Bass Guitar
Charles Earland - Organ (tracks 4,5)
Lonnie Smith - Organ (tracka 1-3, 6)