HENRY "RED" ALLEN AND HIS ORCHESTRA – 1935-1936 | The Chronogical Classics – 575 (1991) FLAC (tracks+.cue), lossless

The third of five Classics CDs that cover Red Allen's recordings of the 1930s has the contents of six complete sessions from a ten-month period. Allen (who has vocals on all but one of the 24 selections) is assisted by such classic players as trombonist J.C. Higginbotham, Cecil Scott (on tenor and clarinet), altoist Tab Smith and several strong rhythm sections. Among the more memorable swing performances are "On Treasure Island," "Take Me Back to My Boots and Saddle," "Lost," "Algiers Stomp" and "I'll Sing You a Thousand Love songs." The fairly obscure recordings (cut during an era when the big bands really ruled) have long been underrated. Scott Yanow
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EDGAR HAYES AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 730 (1993) FLAC (tracks+.cue), lossless

Whatever happened to Orlando Roberson? He recorded with Fats Waller & His Buddies in December of 1929 and with Claude Hopkins in 1933 and 1934, then resurfaced in March 1937 crooning away in practically the same voice in front of a band led by Edgar Hayes -- but billed this one time as Orlando Roberson & His Orchestra. Many jazz fans would cringe at these two sentimental pop songs, but aside from serving as a fascinating circumstantial footnote to the Fats Waller story they form the first steps in the chronological recordings of Waller's exact contemporary, Edgar Hayes (1904-1979). The real springboard for this story is "Manhattan Jam," recorded at the same session as Roberson's sleepy confections. This lively stomp has a melody similar to Cab Calloway's notorious 1932 hit, "Reefer Man." Trombonist Robert Horton sounds a bit like Joe "Tricky Sam" Nanton -- next to him stands the great Clyde Bernhardt -- and that's young Kenny "Klook" Clarke knocking the stuffing out of his drums. This in fact was where Clarke's recording career began. The arrangements are wonderful, particularly Hayes' version of Ellington and Tizol's "Caravan." Each instrumental is a delight to behold. "Edgar Steps Out" has an irresistible rhythm that may very well result in toe-tapping or improvised dancing. During "Laughing at Life," the band sings back at Ralph Sawyer in a stylized routine known to have been developed by Steve Washington and stolen by Tommy Dorsey. "Stompin' at the Renny" was composed by tenor saxophonist Joe Garland, who during his solo uses a riff that would later surface as the theme of Lionel Hampton's smash hit "Flyin' Home." A second version of "Laughing at Life" has a considerably cooler vocal by trumpeter Bernie Flood. "Satan Takes a Holiday" contains a couple of lively vibraphone solos by Kenny Clarke. He sticks with the vibes on the following session, a quintet date with vocals by Bill Darnell. Present in this little band was clarinetist Rudy Powell, famous for his earlier recordings with Thomas "Fats" Waller. Fortunately, Darnell sings tolerably well, allowing the listener to stick with this band long enough to marvel at Clarke's vibraphone work and the sympathetic intonations of Powell's clarinet. Hayes himself was a capable pianist, with a surefooted swing style comparable to that of Count Basie. "Queen Isabella" is a solid instrumental, a valuable commodity nestled among no less than nine vocals by the ubiquitous Darnell. Somebody, presumably the dexterous Robert Horton, manages to emit "ya-ya" syllables from his trombone during "Old King Cole," making the Joe Nanton comparison even more accurate. Clarke trundles out the vibraphone from time to time, and Darnell won't stop singing. On January 14, 1938, the Edgar Hayes band made history by recording without any vocals by Bill Darnell. The band swings marvelously on the instrumental Joe Garland composition appropriately entitled "Meet the Band." What makes these 1938 sides work so well is the arranging -- and baritone sax work -- of Garland. "Fugitive from a Harem" and "Swingin' in the Promised Land" are big-band swing records suitable for jitterbugging and cutting the rug. arwulf arwulf  
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EDGAR HAYES AND HIS ORCHESTRA – 1938-1948 | The Classics Chronological Series – 1053 (1999) FLAC (tracks+.cue), lossless

The recordings of Edgar Hayes have long been scattered to the winds, tucked away in compilations and all but lost in obscure anthologies. The producers of the Classics Chronological Series have done the world a favor by gathering these rare sides together in two volumes for all to study and enjoy. The Edgar Hayes Orchestra sounds smooth and hot on the recordings made for Decca in February of 1938. On "Help Me," Eddie Gibbs contributes a "Hawaiian" guitar intro and Kenny Clarke plays the vibes but sounds like he's working over a xylophone. Clyde Bernhardt, sounding a bit like Jimmy Rushing, sings his own composition, "Without You." James Clay Anderson was a fluttery vocalist similar to Pha Terrell, and sounds silly coming after Bernhardt's soulful take. Hayes plays piano beautifully on this band's excellent instrumental renditions of Hoagy Carmichael's "Stardust" and Will Hudson's "Sophisticated Swing." Joe Garland's "In the Mood" really changed the face of popular music during the 1930s and early '40s. Based on a lick borrowed from Wingy Manone, the tune became an international hit after Glenn Miller came out with a close cover using the same arrangement about a year and a half after this version was recorded. It was Miller's big break. Meanwhile, Edgar Hayes took some of his band to Sweden, making four records in Stockholm on March 8, 1938, under the heading of Kenny Clarke's Kvintett. Clarke plays vibraphone wonderfully. There are hot solos from trumpeter Henry Goodwin and reedman Rudy Powell. Three of these records are awash with milky vocals by James Clay Anderson and the fourth is a stimulating jam version of "Sweet Sue." It's amazing how much stylistic ground can be covered by a chronological survey of one person's musical career. For a man who began by working with Fess Williams in 1924, led various bands under the names of the Blue Grass Buddies, the Eight Black Pirates, and the Symphonic Harmonists, who played piano and wrote arrangements for the Mills Blue Rhythm Band and led his own jazz orchestra in 1937 and 1938, it must have been frustrating for Hayes to have had to dissolve his band in 1941. According to this discography, eight years transpired before he was able to record again. Leading an intimate rhythm section billed as Edgar Hayes & His Stardusters, the pianist cut a version of "Stardust" for V-Disc in May of 1946 with a vocal by drummer Bryant Allen. The rest of the story took place in Los Angeles, where in 1948 Hayes laid down eight superb tracks with Allen, amplified guitarist Teddy Bunn, and legendary West Coast bassist Curtis Counce. Just as "In the Mood" had an enormous impact on popular music before and during the Second World War, "Fat Meat 'n Greens" would prove to be resoundingly influential throughout the 1950s. "Edgar's Boogie" and five additional groove tunes form a very hip finale to the Edgar Hayes story, with a strong shot of R&B and several unidentified horn players adding their sauce to the mix. arwulf arwulf  
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MILLS BLUE RHYTHM BAND – 1931 | The Classics Chronological Series – 660 (1992) FLAC (tracks+.cue), lossless

The first of five CDs that reissue all of the recordings (other than a few alternate takes) by the Mills Blue Rhythm Band features spirited ensembles, some swinging moments, a few dated vocalists (including Chick Bullock, Dick Robertson and Charlie Lawman), and a no-name orchestra. Trombonist Harry White and pianist Edgar Hayes were the co-leaders, although the orchestra was actually organized by impresario Irving Mills. Since the group's best recordings tended to be in its later years, this CD is not essential, but fans of pre-swing big bands will want all five CDs. Scott Yanow  
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MILLS BLUE RHYTHM BAND – 1931-1932 | The Classics Chronological Series – 676 (1993) FLAC (tracks+.cue), lossless

Although somewhat forgotten, the Mills Blue Rhythm Band was one of the better jazz orchestras of the early 1930s. Classics has reissued all of the big band's recordings over five CDs. In its early days, the band did not have an excess of famous soloists (altoist Charlie Holmes, from the Luis Russell, band was the first "name" to join), but the band improved with time and always featured excellent ensembles (with fine arrangements from trombonist Harry White), along with worthwhile solo statements. The second Classics Blue Rhythm CD is highlighted by "The Scat Song," "Doin' the Shake," "The Growl," "Rhythm Spasm" and "White Lightning." Scott Yanow  
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MILLS BLUE RHYTHM BAND – 1933-1934 | The Classics Chronological Series – 686 (1993) FLAC (tracks+.cue), lossless

By 1933, the Mills Blue Rhythm Band was entering its prime period. On the third of Classics' five "complete" CDs by the orchestra, the music is excellent, except for four okay vocals by Chuck Richards. Trumpeter Ed Anderson emerged as a strong soloist during the period; trombonist J.C. Higginbottham joined the band for the final 11 of these 23 selections; the great trumpeter Henry "Red" Allen signed up in time for the last nine numbers; tenor saxophonist Joe Garland was featured on some good spots; and the rhythm section proves that it could hold its own with most others of the time. In addition, guest singer Adelaide Hall is heard on two previously unreleased numbers that were previously unreleased. Such charts as "Ridin' In Rhythm," "Harlem After Midnight" (heard in two versions), "The Stuff Is Here (And It's Mellow)," "The Growl" and "Swingin' In E Flat" are quite enjoyable. Recommended. Scott Yanow
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MILLS BLUE RHYTHM BAND – 1934-1936 | The Classics Chronological Series – 710 (1993) FLAC (tracks+.cue), lossless

The fourth of the European Classics label's five CDs containing the complete output of the Mills Blue Rhythm Band captures the underrated orchestra at the peak of their powers. Formerly a no-name outfit, trumpeter Henry "Red" Allen, trombonist J.C. Higginbotham, clarinetist Buster Bailey, and tenor saxophonist Joe Garland were the group's star soloists by this time. In addition, by the last eight numbers on this highly recommended program, altoist Tab Smith was also part of the band. The CD starts off with three numbers on which singer Chuck Richards is backed by a sextet including Allen, Bailey, and trombonist Benny Morton. Otherwise the program features the full orchestra (directed by Lucky Millinder by this time). There are many exciting tracks along with a few ballad vocal features for Richards, with the more memorable performances including "Spitfire," "Ride Red Ride," "Congo Caravan," "There's Rhythm in Harlem" (which hints at the then-unwritten "In the Mood"), "Truckin'," and "E Flat Stride." This is the best of the five Classics Blue Rhythm releases. Scott Yanow  
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