GENE KRUPA – 1949-1951 | The Chronogical Classics – 1359 (2004) FLAC (tracks+.cue), lossless

 The 15th installment in the Classics Gene Krupa chronology opens with a big-band arrangement of a "madcap" melody by Soviet composer Dmitri Kabalevsky. The last of Krupa's Columbia records were cut in Los Angeles on May 9, 1949, with sanguine spoken outbursts and wild trumpet solos by Roy Eldridge. There's creamy singing from Bill Black and a stilted group vocal -- a routine borrowed from Tommy Dorsey -- during "Why Fall in Love with a Stranger." Delores Hawkins, heard at her sultriest on "Watch Out!," appears to be emulating Ella Fitzgerald. After more than ten years as a Columbia recording artist, Krupa switched over to Victor in March of 1950. Bassist Don Simpson wrote the arrangements for new versions of six melodies composed by Fats Waller, and for some strange reason known only to arranger George Williams, a big-band adaptation of Gene Autrey's "Dust" opens with a quote from Richard Strauss' tone poem Also Sprach Zarathustra. During the spring of 1950, Krupa began alternating his big-band dates with tight little blowing sessions featuring an old-fashioned Eddie Condon-type jazz band. Both bands featured vocalist Bobby Scoots, a lively specimen most appropriately chosen to sing the lyrics to that immortal discourse on the human condition, "Cincinnati Dancing Pig." The only antidote for this is a solid instrumental rendering of "I'm Forever Blowing Bubbles," one of the most popular hits of 1919, here given the ham-and-eggs treatment by a band assisting Krupa in returning to his Chicago-style roots. arwulf arwulf
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EDDIE CONDON – 1947-1950 | The Chronogical Classics – 1177 (2001) FLAC (tracks+.cue), lossless

 Eddie was one hard-boiled character. Dour, opinionated, set in his ways, and frankly suspicious of anything that deviated too wildly from the music he knew and loved. Critics and journalists invented a stylistic war between the 'Be Boppers' and the 'Moldy Figs', as progressive innovators and traditional jazz-heads were respectively dubbed. Condon was the archetypal Fig, deeply devoted to old-fashioned ideas of what music was supposed to sound like: melodies you could whistle and rhythms anybody could dance to. We Called It Music is the name of Eddie's excellent, hilarious, insightful, poetic, informative autobiography. It's also the title of a rather burlesque tune recorded in August 1947 by one of Condon's fine traditional jazz bands. While the book contains wonderful eyewitness accounts of hanging out with Bix Beiderbecke and Fats Waller, the song makes fun of musical categories, sneers briefly at "...something called Bleep Bloop," then demonstrates the individual and collective strengths of an authentic Chicago-style jazz band. What makes it work is Jack Teagarden, who could sing anything and make it good. His Texas drawl during the opening 'court room' dialogue might sound like Amos & Andy to those who are not accustomed to hearing this big exaggerated southern fellow acting the clown. Teagarden's other vocals are lovely; who else could sing so convincingly of tulips or sheltering palms? Ruby Braff once referred to 'The Adoration of the Melody'. That's where all of this music is at: each song is cherished and passed around the room. Eddie Condon's NBC Television Orchestra made two recordings for Atlantic in 1949. "Seems Like Old Times" is as beautiful as being alive. "Time Carries On," composed by Condon and arranged by Dick Cary, has a bit of the modernized Benny Goodman about it, particularly during those passages where Peanuts Hucko rides the current. Ralph Sutton is brought in for a couple of whole grain ragtime episodes. If the Dixieland revival wasn't full-blown yet, these records certainly must have helped to jack it up in a hurry. Cherry pie vocalist Jimmy Atkins should have gone on to work for Lawrence Welk after horning in over three otherwise perfectly good Dixieland tunes. Johnny Mercer's golly-gee lyrics to "At the Jazz Band Ball" might make you yearn to compose your own marginally obscene libretto. While we're on that subject: "Jazz Me Blues", which has been called the first X-rated song title to appear on a record (the Wolverines' version of 1924), didn't need lyrics anyway. Moreover: Peggy Ann Ellis sounds like one of them peroxide, lipstick and powder big band vocalists. What a relief when "Yellow Dog Blues" signals a blessed return to instrumental stomps. The band really pounds on it, with Gene Schroeder leading the way. Ralph Sutton assists in the execution of two wonderful relics: "Raggin' the Scale" and James Scott's aptly named "Grace and Beauty Rag." Then Cutty Cutshall takes the trombone out of his mouth and sings "Everybody Loves My Baby." Of course Cutty was no Teagarden but he's easier to take than 'powder and pie' were. And the band swings the hell out of the tune, which is what really matters. arwulf arwulf  
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EDDIE CONDON – 1951-1953 | The Chronogical Classics – 1354 (2004) FLAC (tracks), lossless

Oh, yeah! "Ringside At Condon's"! Here come those wonderful long-playing 10" Savoy albums recorded live during the early 1950s at Eddie Condon's nightclub in New York. Each track begins with cheering, applauding and lots of whistling from the uninhibited audience. The music is excellent, with Wild Bill Davison and Edmond Hall out in front playing as hard as they can. The rhythm section is strengthened by pianist Gene Schroeder's interaction with Bob Casey, a forceful bassist whose prodigiously powerful, Pops Foster-like plucking propels the band often even more strongly than Buzzy Drootin's drumming. Casey gets more room for soloing than most traditional jazz bassists were normally granted. "Riverboat Shuffle" fades abruptly during Cutty Cutshall's solo, but he returns immediately for a gorgeous stroll through "Makin' Whoopee." This is the beginning of a medley: Edmond creates a lovely version of "You Made Me Love You" and Wild Bill gently eases into "I Can't Give You Anything but Love," which gradually builds to a smoky climax. The rest of these Savoy recordings are consistently wonderful, particularly those easygoing numbers "The One I Love" and "Wrap Your Troubles in Dreams." In November of 1953, Condon's band was heard "Coast to Coast" on a national radio broadcast. Lucky for us, Columbia made an air check and brought out a long-playing record for posterity. The band is larger; Walter Page plays some of the best bass he ever put on record, and the closing blues jam clocks in at ten minutes, more than thrice as long as usual. Two of the performances allow us to eavesdrop on Condon, sounding more than ever like James Cagney, as he gives last minute instructions to the band: "Hold it, George! When we get through the preliminary action for piano, we'll skip into the clarinets. You take that ending, and back to the top. Don't forget: after the tramboon, you got two bars..." Condon sings and strums the guitar, the engineer announces "serial five-oh-three-dash-seven, take five." Condon mutters "Wrong number, call back later! Here we go, ready?" And they steam up "Riverboat Shuffle" as nice as can be. A bit further on, Walter Page moves a horse hair bow over the strings of his bass with resounding force throughout an exquisite medley of ballads. Eddie is heard issuing further instructions before leading the band into a final "Jam Session Blues/Ole Miss." As he nervously spouts last minute advice, Condon comes out with one of his all-time best rhetorical directives: "Let's try to make this as respectable as possible...we might have a chance!" arwulf arwulf  
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EDDIE CONDON – 1954-1955 | The Chronogical Classics – 1464 (2008) 32-44.1Hz | FLAC (tracks), lossless

Because it taps into two of the best Eddie Condon albums of the 1950s, this installment in the Classics Chronological Series is right up there with the finest entries in the entire Condon discography. The first five tracks come from Jammin' at Condon's, a studio album cut on June 24 and July 1, 1954. Unlike the earlier LP Ringside at Condon's, the selections are not interspersed with applause, cheers, and whistling. What's conveyed here is the essence of the house band at Eddie Condon's, a traditional jazz-oriented nightclub that opened in 1945 at 47 West 3rd Street and moved uptown to East 56th Street in 1957. Recorded under the supervision of producer George Avakian at a studio inside what had previously been a church on 30thStreet, Jammin' at Condon's was Eddie's second album for Columbia. The formidable front line of trumpeter Billy Butterfield, cornetist Wild Bill Davison, trombonists Cutty Cutshall and Lou McGarity, clarinetists Edmond Hall and Peanuts Hucko, and tenor saxophonist Bud Freeman was buoyed by the alto peck horn of Dick Cary. The rhythm section supporting this hard-swinging wind ensemble consisted of pianist Gene Schroeder, bassist Al Hall, drummer Cliff Leeman, and Condon himself, who was a steady rhythm guitarist. What makes Classics 1464 one of the best Chicago-style jazz compilations ever placed before the public is the addition of Condon's next Columbia LP, Bixieland. Obviously a tribute to his friend and idol Bix Beiderbecke, this delightful album is worth tracking down for the sake of Condon's humorous, insightful, and informative liner notes, which include an excerpt from his indispensable autobiography, We Called It Music. The band assembled for the Bix tribute album included some carry-overs from the previous date, in addition to the Condon Mob's ace drummer George Wettling and legendary Kansas City bassist Walter Page, as well as trumpeter Pete Pesci, who was co-manager of the nightclub. Condon also lists Chivas Regal in the credits, along with the "utterly silent" Bud Freeman; although he was not present at the date, Condon wrote that "it's nice to see his name in print, especially for Bud." While Condon emphasizes that these recordings were not made in order to imitate Beiderbecke, he cites Pesci's work during the last chorus of "I'll Be a Friend with Pleasure" as "about as close to Beiderbecke as it's humanly possible for a living man to get." arwulf arwulf  
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HENRY "RED" ALLEN AND HIS ORCHESTRA – 1937-1941 | The Chronogical Classics – 628 (1992) FLAC (tracks+.cue), lossless

The final of the five Classics CDs that document the early recordings of trumpeter Henry "Red" Allen covers music from three very different bands. Allen is first heard singing and playing trumpet on eight pop tunes he uplifts with a recording group in 1937 that features altoist Tab Smith. Allen also plays four Dixieland standards with a hot septet in 1940 that includes trombonist Benny Morton, clarinetist Edmond Hall and pianist Lil Armstrong. The final eight numbers (four of which were previously unreleased) showcases his regular band from 1941 (with trombonist J.C. Higginbottham and clarinetist Edmond Hall) really romping through some hard-swinging performances, including "K.K. Boogie" and a two-part version of "Sometimes I'm Happy." All five of these Classics CDs are easily recommended; this is one of the better ones. Scott Yanow
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MILDRED BAILEY – 1937-1938 | The Classics Chronological Series – 1114 (2000) FLAC (tracks+.cue), lossless

Volume three in Mildred Bailey's Classics chronology revives 24 excellent recordings she made for the Vocalion label between January 19, 1937 and March 14, 1938. During this period, Bailey sang on quite a number of recordings issued (and subsequently reissued) under the name of her third husband, xylophonist Red Norvo. Everything on this compilation came out under the name of Mildred Bailey & Her Orchestra. A glance at the enclosed discography substantiates a claim made by producer Anatol Schenker in his liner notes: "The small band recordings made by Mildred Bailey in the late thirties certainly bear comparison with those made by Billie Holiday." Alternating throughout the discography with sessions featuring Red Norvo's big band, the septets heard backing Mildred Bailey are populated with accomplished improvisers like Roy Eldridge, Chu Berry, Buck Clayton, Scoops Carey, Herschel Evans, Hank D'Amico and Edmond Hall. The rhythm sections were driven by such master musicians as Teddy Wilson, Zutty Singleton, Freddie Green, Walter Page and Dave Tough. Anyone seeking particularly wonderful examples of Tough's marvelously controlled percussion artistry needs to listen to "I See Your Face Before Me," "Thanks for the Memory," "From the Land of Sky Blue Water" and "Lover Come Back to Me." Mildred Bailey was among the very first people in showbiz to recognize Billie Holiday's unique abilities as a jazz vocalist. This compilation demonstrates some of the songs, moods and instrumentalists that the two singers had in common. A more far-reaching assessment of their parallel careers is sobering; Billie Holiday struggled against racism, patriarchal oppression, entrenched conventions that made her feel like her own voice was "not legitimate," and a swarm of pernicious addictions that ultimately slew her. Mildred Bailey pioneered the feminine art of jazz singing and enjoyed enormous popularity for a while during the '30s; then, obese and diabetic, she found herself marginalized as an insufficiently svelte anomaly and was ultimately discarded by an entertainment industry that has always valued physical glamour over artistic ability. arwulf arwulf  
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ART TATUM – 1940-1944 | The Classics Chronological Series – 800 (1995) FLAC (tracks+.cue), lossless

This wonderful compilation -- the third volume in the complete recordings of Art Tatum -- will delight seasoned Tatum lovers and may also serve as the perfect introduction for those who seek initiation. That's because this portion of the Tatum chronology just happens to feature the pianist in his very prime as soloist, accompanist, and bandleader. The first 11 tracks were originally issued on the Decca label. Three excellent piano solos from July 1940 are followed by two sessions' worth of swinging instrumentals and strongly steeped blues sung by Kansas City's Joe Turner. Trumpeter Joe Thomas and clarinetist Edmond Hall were perfect foils for this singer. Hall's sinewy solos enliven "Stompin' at the Savoy" and Tatum's fine piece of boogie, "Battery Bounce." Guitarists John Collins and Oscar Moore each bring a special sense of conviviality to the ensembles. Moving ahead to January 1944, Tatum is heard with Tiny Grimes and Slam Stewart on a series of dazzling trio sides, most of which first appeared on the Brunswick label. These stunning collaborations are prized for their wealth of invention and relaxed intimacy. arwulf arwulf
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TEDDY WILSON – 1942-1945 | The Classics Chronological Series – 908 (1996) FLAC (tracks+.cue), lossless

Pianist Teddy Wilson was the epitome of style in jazz. He stuck to his pristine brand of swing throughout a long career, never really seeming out of place in the process. After working with the likes of Billie Holiday, Roy Eldridge, and Benny Goodman, Wilson formed his own big band in 1939, only to have to fold it in 1940. Thankfully, Wilson returned to combo settings, which seemed to suit him best. This Classics disc features a mix of those small-group dates from the mid-'40s, along with some solo piano sides and a few vocal cuts featuring Helen Ward and Maxine Sullivan. Also on hand to contribute top-notch work are trumpeter Charlie Shavers, clarinetist Edmond Hall, tenor great Ben Webster, and trombonist Benny Morton. An optimal and highly enjoyable disc to start your Wilson collection. Stephen Cook
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EDMOND HALL – 1937-1944 | The Classics Chronological Series – 830 (1995) FLAC (tracks+.cue), lossless

Those who missed out on Mosaic's limited-edition reissue of Edmond Hall's superb Blue Note recordings may want to pounce on this segment of the clarinetist's chronology. Everything there is to love about small-group swing is present at full potency in these remarkably solid performances. For the session of February 5, 1941 Meade "Lux" Lewis put all of his best blues and boogie energies into a celeste, that tinkling little keyboard instrument that sounds like a glockenspiel. The combination of a celestial Lewis and the soulful Hall with guitarist Charlie Christian and bassist Israel Crosby resulted in music unlike anything heard before or since. On November 29, 1943 the Edmond Hall Blue Note Jazzmen had Vic Dickenson and a very inspired Sidney DeParis on the front line. The humbly majestic James P. Johnson makes the music feel like ritual. Three hot numbers are fountains of joy, but the real magic develops during two collectively improvised blues taken at relaxed tempos. Nothing could be finer or more pleasing than this confluence of master improvisers, drawing upon the highly evolved traditions of New York and New Orleans as they listened ever so carefully to each other while inventing their own grammar of straightforward blues, swing and boogie-woogie. The Edmond Hall Sextet recorded four sides for Commodore on December 18, 1943. Guitarist Al Casey sat in on this occasion, only three days after the passing of his mentor, Fats Waller. Eddie Heywood was a great pianist, much less humble than James P. Johnson but formidable enough to rock the hell out of the "Downtown Café Boogie." The piano introduction to a very relaxed "Uptown Café Blues" sounds similar to the beginning of Heywood's blues collaborations with Billie Holiday. Edmond Hall's way of handling the blues is unforgettably immediate and sincere. Both of the 1943 dates are towed into port by the exceptionally fine drumming of Big Sid Catlett. Back with Blue Note on January 25, Edmond Hall leads his All Star Quintet in developing four of his own original compositions. While "Rompin' in '44," the band moves with gently pronounced modernity, rooted in tradition but responding to new ideas and updated styles. Red Norvo, always aware of fresh influences, had something to do with this development. "Blue Interval" is something like a course in organic gardening; "Smooth Sailin'" is a solid upbeat piece of blues, as is the rocking restless jam called "Seein' Red." As a gesture of chronological completeness, Classics tacked on a pair of sides from 1937 with vocals by Henry Nemo. These would be more enjoyable if he didn't closely imitate Fats Waller's singing style, right down to the expostulations and tag lines. Considering the wealth of outstanding jazz on this one CD, these two oddities are a neat bonus. They do not detract in any way from the masterpieces gathered together in memory of the great Edmond Hall. arwulf arwulf  

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EDMOND HALL – 1944-1945 | The Classics Chronological Series – 872 (1996) FLAC (tracks), lossless

What you have here is a veritable audio lexicon of Edmond Hall's style and musical personality. From the first few bars of "It's Been So Long," the clarinetist conjures a disarming atmosphere of warmth and reassurance. The effect is quadrupled as Harry Carney enters, puffing away at his baritone saxophone. The entire Swingtet was in perfect form on May 5, 1944, and the recordings they made on that day are among the very best from Blue Note's first decade. Benny Morton's temperament was perfectly suited for the task of interacting with the other two horns. Their rhythm section was strong enough to provide unflinching support, even when Carney's baritone bellowed and chortled during "Steamin' and Beamin'." The Blue Note date is perfectly complemented by eight magnificent Commodore sides cut during the summer of 1944 in the company of Teddy Wilson. Hall is alternately gentle or briskly bracing. "Caravan" is a wild ride you'll not want to miss. The Swing Sextet session of December 4, 1944, begins with "Opus 15," a slightly modern set of vamps composed by the pianist Ellis Larkins. "Mouse" Randolph does some fine growling through his trumpet and the band runs it down with measured ease. Hall weaves a 45-second introduction to "The Sheik of Araby" before the guys cut loose with it. Four additional sides were cut by practically the same band on some unspecified day in 1945. Larkins contributed another very hip original called "Ellis Island," Hall dreamed up a feisty "Continental Blues," and Randolph shone during a second realization of his own creation, which he simply titled "Face." It sounds like something Lester Young would have enjoyed coasting through. This CD would bear up well under highway driving conditions, even heard twice or thrice through. Every consecutive track is pure pleasure. arwulf arwulf  
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JOE SULLIVAN – 1933-1941 | The Classics Chronological Series – 821 (1995) FLAC (tracks+.cue), lossless

All of pianist Joe Sullivan's early recordings as a leader are on this definitive CD. Sullivan is heard in a dozen solo performances from 1933, 1935, and 1941 (including the two earliest versions of his hit "Little Rock Getaway" along with memorable renditions of "My Little Pride and Joy" and "Honeysuckle Rose"), four selections with the Three Deuces (a trio with clarinetist Pee Wee Russell and drummer Zutty Singleton), and eight numbers with an octet featuring the underrated trumpeter Ed Anderson, trombonist Benny Morton, clarinetist Edmond Hall, and vocals by Big Joe Turner (who manages to turn "I Can't Give You Anything but Love" into a blues) and Helen Ward. This French import is essential for fans of the great stride pianist. Scott Yanow
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LEONARD FEATHER – 1937-1945 | The Classics Chronological Series – 901 (1996) FLAC (tracks+.cue), lossless

This very interesting CD reissues six diverse sessions organized and led by jazz critic Leonard Feather, who plays piano or celeste on 11 of the 22 selections (including all of the music during the final two dates). On their two dates, Feather's British Olde English Swynge Band performs swing versions of English folk songs in 1937 and 1938, including "There's a Tavern in the Town," "Colonel Bogey March," and "Drink to Me Only With Thine Eyes"; the tenor of Buddy Featherstonhaugh (on the earlier session) and trumpeter Dave Wilkins are the solo stars of the rare performances. Better known are Feather's two All Star Jam Bands, which feature such notables as cornetist Bobby Hackett, altoist Pete Brown, Benny Carter (doubling on alto and trumpet), and clarinetist Joe Marsala on some unusual material, including "Jammin' the Waltz." Eccentric singer Leo Watson's spots on "For He's a Jolly Good Feather" and "Let's Get Happy" (based on "Happy Birthday") are memorable. A 1944 all-star group finds Feather comping decently behind trumpeter Buck Clayton (featured on "Scram!"), clarinetist Edmond Hall, and tenor saxophonist Coleman Hawkins, while the final set has four basic chord changes (mostly blues) explored by both Feather and fellow writer Dan Burley on pianos; guitarist Tiny Grimes easily takes honors. Scott Yanow
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GEORGE WETTLING – 1940-1944 | The Classics Chronological Series – 909 (1996) FLAC (tracks), lossless

Chicago percussionist George Wettling was famous for his delightful old-fashioned rim-tapping and rock-solid support behind jazz bands both large and small. He was practically the house drummer for Commodore Records and appears on the majority of Eddie Condon's recordings. For the seasoned traditional jazz fanatic, an entire CD documenting a series of sessions led (or fortified) by George Wettling is like some sort of a dream come true. Although mostly typical of what music historians call Chicago-style traditional jazz, everything here was recorded in the Big Apple. On January 16, 1940, Wettling's Chicago Rhythm Kings ground out four excellent sides for release on the Decca label. The lineup is incredible -- trumpeter Charlie Teagarden, trombonist Floyd O'Brien, clarinetist Danny Polo, and Joe Marsala -- usually associated with the clarinet, heard here on tenor sax -- backed by Jess Stacy, Jack Bland, Artie Shapiro, and Wettling. In March of 1940, Wettling recorded a pair of fine duets with pianist Dick Cary. Rodgers & Hart's lively "You Took Advantage of Me" brings to mind the terrific version that Wettling made with Bud Freeman and Jess Stacy back in 1938. The Dick Cary records and four sides by the George Wettling Jazz Trio were issued by the Black & White label. The trio in question involved pianist Gene Schroeder and clarinetist Mezz Mezzrow. Although the Classics liner notes take potshots at Mezzrow's "technical shortcomings," an unbiased listener will sense no such deficiency and might even appreciate the refreshingly funky informality of this or any other session in which Mezzrow took part. By the way, this has got to be the slowest, most relaxed version of "China Boy" ever recorded, up until Wettling kicks it up into third gear and they cook it to a gravy. The George Wettling Rhythm Kings assembled again in an almost completely different incarnation on July 21, 1944. Four tasty sides were sautéed for the Commodore catalog, beginning with the old "Heebie Jeebies." Wettling, with pianist Dave Bowman and bassist Bob Haggart, supported a front line of Billy Butterfield, Wilbur DeParis, and Edmond Hall. Anybody who loves and respects the memory of DeParis will want to obtain this CD in order to have this session on hand at all times. It's also great to have four Keynote sides recorded on December 12th by George Wettling's New Yorkers. Harry Lim's Keynote project often mingled players from different backgrounds, and this band is an extreme example of this tendency at work. Jack Teagarden -- he sings two of these melodies in his warm, soothing voice -- is joined by trumpeter Joe Thomas, clarinetist Hank D'Amico, the mighty Coleman Hawkins, lightning pianist Herman Chittison, bassist Billy Taylor, and the always dependable George Wettling. If this band sounds as though it had little time for rehearsing, that's a good thing. It's what this kind of jazz is all about. arwulf arwulf  
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JAMES P. JOHNSON – 1944 | The Classics Chronological Series – 835 (1995) FLAC (tracks+.cue), lossless

What must it have been like for James P. Johnson to have taken young Thomas Waller under his wing, teaching him everything he knew about piano, watching him evolve into a brilliant composer and internationally famous performer, then to have him pass away suddenly at the age of 39? The best answer to this question lies within a series of Waller tribute recordings made by Johnson in late 1943 and early 1944. They are a striking example of grief and shock transformed into relaxed, enjoyable music. The duets with drummer Eddie Dougherty, recorded on June 8, 1944, are particularly satisfying, especially "My Fate Is in Your Hands." What's the best James P. Johnson session of all? Poetically, musically, emotionally, and fundamentally, the "New York Orchestra" session of June 12, 1944, is in fact unparalleled. Frankie Newton never sounded more elegant and sincere than he does during these beautiful sound etchings. Albert Casey, Pops Foster, and once again Eddie Dougherty participate in perfectly balanced communion with the other two men. A precious honesty materializes as Johnson sings the words to W.C. Handy's "Hesitation Blues" in a warm, hoarse voice. For dessert, Johnson ended the session with a marvelous reading of Scott Joplin's masterpiece of 1909, "Euphonic Sounds." All six sides were issued on 12" 78-rpm records in an album bearing the title New York Jazz. They reappeared years later on a cherry-red vinyl LP Stinson reissue, and some of the tracks show up on various compilations. Classics 835 is a gold mine containing the very heart of James P. Johnson's artistry. Note that certain other reissues of this material -- "Euphonic Sounds" in particular -- have suffered from hideous sound quality, even on CD. Here at last Johnson's best material can be properly heard. The Sidney DeParis Blue Note Jazzmen session of June 21, 1944, just happens to be the next leg of Johnson's chronology. After three hot stomps including nearly five minutes of "Ballin' the Jack," the listener is able to reflect upon "The Call of the Blues," possibly the strongest playing that this trumpeter ever blew onto a record. It is a fine finish for one of the best traditional Harlem jazz compilations ever assembled by anyone. arwulf arwulf
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JAMES P. JOHNSON – 1944-1945 | The Classics Chronological Series – 1027 (1998) FLAC (tracks), lossless

This beautifully proportioned sampling of Johnson's late recordings is instrumentally varied and covers a wide range of moods. Four jam tunes from the Blue Note catalog each exceed four minutes in duration, which was a big deal in 1944. There was no stopping a front line composed of Sidney DeParis, Vic Dickenson, and Edmond Hall. Much of the remaining material on this album was recorded by Moses Asch, and issued on LP many years later. Six songs composed by W.C. Handy are sung by his daughter, Katherine Handy, who sounds a bit like Mildred Bailey. Johnson the soloist creates what might be his most intensive improvisations on record: "Blue Moods 1," "Blue Moods 2," and "Blue Moods, Sex," amounting to just a little under 13 minutes of freely inventive piano reflections. A further 12 minutes of solo piano ensues, this time much more programmatically conceived. "Yamekraw," originally put together in 1927, was presented as "A Negro Rhapsody." "Yamecraw," to use the geographically authentic spelling, was the name of the rough-and-tumble waterfront district in Savannah, GA. Here Johnson has carefully painted an entire landscape in sound for posterity. The W.C. Handy songs, together with these nearly 26 minutes of solo piano, existed in a state of phonographic limbo for many years. The people behind the Classics reissue series are to be commended for having restored and presented these rare recordings for public perusal. Now for some finishing touches. Whether you identify them as "the Omer Simeon Trio with James P. Johnson" or as "the Carnival Three," it is entirely possible that Simeon and Johnson, in teaming up with bassist Pops Foster, made four little recordings that might be considered perfect. Perfect? What's perfect? Well, there's perfect symmetry. Simeon wrote an attractive piece of blues with Foster, and another even more haunting blues with Johnson. That makes two immaculate collaborative blues, rendered with collaborative immaculate ease. Balance them out with two lively jams -- piano, bass, and clarinet -- no drums required, no brass need apply. These were three of the greatest jazz musicians who ever lived, and on 1944-1945 they are heard expressing ideas and emotions as a unit comprised of individuals. Yet there must be an imperfection somewhere. Look carefully: "Harlem Hotcha" was composed by Johnson, to whom the discography incorrectly attributes "Bandana Days," which of course was a major hit for Noble Sissle and Eubie Blake. So the discography contains one minor error (very unusual for this label) but the music, like most of James P. Johnson's work, comes very close to perfection. arwulf arwulf  
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BILL COLEMAN – 1940-1949 | The Classics Chronological Series – 1256 (2002) FLAC (tracks), lossless

This second volume of the complete recordings of Bill Coleman presented in chronological order opens with ten vocal tracks of surprising warmth and intimacy. Remember those marvelous records that Coleman made with Fats Waller & His Rhythm in the mid-'30s? These rare and pleasant performances from 1940 and 1941 are faintly reminiscent of those Rhythm sides, although naturally neither of the vocalists heard here comes anywhere near Waller's candid charm and effervescence. Eddy Howard does sound remarkably cozy with his two little love songs, and Chick Bullock -- said to have been the most heavily recorded vocalist of the 1930s -- turns in what might well be his best performances on record. What really makes these pretty pop tunes sparkle and glow is the combination of great instrumentalists. Collectively speaking, trombonist Benny Morton, clarinetists Edmond Hall and Jimmy Hamilton, saxophonists Bud Freeman and George James, electric guitarist Charlie Christian, and pianist Teddy Wilson turn each of these songs into relatively substantial jazz. Even "Oh, How I Hate to Get Up in the Morning" -- once Irving Berlin's famous kvetching lyrics are out of the way -- swings with abandon largely thanks to the presence of master percussionist J.C. Heard. The Bill Coleman chronology leaps rather abruptly to a pair of swing-to-bop blowing sessions involving tenor saxophonist Don Byas recorded in Paris on January 4 and 5, 1949. Coleman sings his own "Bill's Brother's Blues" and wields his horn magnificently alongside Byas, particularly on "Liza," "What Is This Thing Called Love?," and "St. Louis Blues." This portion of the Bill Coleman story ends with a session led by pianist Jack Dieval and featuring smoky tenor saxophonist Paul Vernon. Coleman sings again, this time on "I Can't Get Started" and a briskly rendered "Tea for Two." arwulf arwulf
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CLAUDE HOPKINS AND HIS ORCHESTRA – 1932-1934 | The Classics Chronological Series – 699 (1993) FLAC (tracks+.cue), lossless

The first of three Classics CDs that contain all of pianist Claude Hopkins' big band recordings is the most essential of the trio. Although Hopkins was a masterful stride player, his orchestra never really had their own individual sound and therefore did not catch on. However, many of the selections on this set (particularly the Jimmy Mundy-arranged instrumentals) are quite memorable, with the eccentric "Mush Mouth" being a classic. Other highlights include Hopkins' theme "I Would Do Most Anything for You," "Three Little Words," "California Here I Come," and "Honeysuckle Rose." In addition to the leader, the main soloists in the band during the era were trumpeter/vocalist Ovie Alston, trombonist Fernando Arbello, up-and-coming clarinetist Edmond Hall, and underrated tenor Bobby Sands, but the most popular member of the orchestra was high-voiced singer Orlando Roberson. Highly recommended to swing and big band fans, this set of studio recordings also includes 11 numbers only previously out on a collectors' LP. Scott Yanow  
Tracklist & Credits :

CLAUDE HOPKINS AND HIS ORCHESTRA – 1934-1935 | The Classics Chronological Series – 716 (1993) FLAC (tracks+.cue), lossless

The second of three CDs documenting the history of the Claude Hopkins Orchestra does not quite reach the heights of the first set (too many Orlando Roberson high-note vocals and some erratic moments by the musicians) but still has many moments of interest. With trumpeter Ovie Alston (who takes four vocals), trombonist Fernando Arbello, clarinetist Edmond Hall (also heard on baritone), and tenorman Bobby Sands sharing the solo space with pianist Hopkins, some of the selections swing quite hard. Best are "Harlem Rhythm Dance," "Everybody Shuffle," "King Porter Stomp," "In the Shade of the Old Apple Tree" and "Zozoi." All of the numbers except for the last three are from 1934. Scott Yanow  
Tracklist & Credits :

SLIM GAILLARD – 1937-1938 | The Classics Chronological Series – 705 (1993) FLAC (tracks+.cue), lossless

Slim's story begins in Detroit, where Bulee Gaillard was born on January 4, 1916. He seems to have inherited a bizarre sense of recklessness from his father, an absent-minded cruise-ship employee who at one point misplaced little Bulee, sailing off and leaving the boy stranded on the island of Crete for half a year. Multi-instrumental and able to sing and tap dance, Slim began his performing career in the early '30s. He invaded New York in 1937 and made his first appearance on records in April of that year with Frank Newton's Uptown Serenaders. These two rare sides were issued on Classics 643, the Chronological series' outstanding Frankie Newton volume with the title 1937-1939. Their reappearance at the beginning of Slim's chronology is fortuitous rather than redundant. Slim had a warm and pleasant voice. He was archetypically hip; he scatted with ease and sounded perfectly at home in the company of Frankie Newton, Edmond Hall, Russell Procope, and Pete Brown. Slim Gaillard's most famous tune materialized ten months later, on February 17, 1938. This was the very first in a long series of lively duets with bassist Slam Stewart. Bolstered by piano, percussion, and an occasional saxophone, the act became known as Slim & Slam. Their bottle-rocket hit record was originally supposed to be called "Flat Foot Floozy" but the word "floozy," denoting an inexpensive prostitute, seemed immoral to the folks in charge at Vocalion Records, so Slim changed it to "Floogie." Confusing things even further, Vocalion issued the song as "The Flat Fleet Floogee." None of this interfered with the success of Gaillard's magnum opus. Its rowdiest incarnation was recorded in London on August 21, 1938, by Fats Waller & His Continental Rhythm, with all the subtlety of a merry brawl. Slim & Slam's original version set the pace and established a pattern for their many subsequent collaborations, which continued until Gaillard was inducted into the armed forces in 1943. These 1938 recordings are the freshest and most endearing of all. "Chinatown," in spite of its ethnic slurring, demonstrates Gaillard's incredible ability to run his mouth in hilarious and surprising ways. The two men's unique voices -- surrealistic Slim and bowing, singing Slam -- mingle most pleasantly. "Tutti Frutti" and "Look-A There" are good examples of the kind of a groove these guys liked to glide with. "Vol Vist du Gaily Star" is strangely attractive. "Laughin' in Rhythm" was attempted by other musicians, but nobody ever came close to the outrageousness of this recording. Gaillard's lifelong involvement with cannabis seems to be documented here in high relief. The hilarity is authentic, and Gaillard is in the throes of a coughing fit as the record fades out. arwulf arwulf  
Tracklist :
1    Frank Newton And His Uptown Serenaders–    There's No Two Ways About It 2:53
Vocals – Slim Gaillard
2    Frank Newton And His Uptown Serenaders–    'Cause My Baby Says It's So 2:40
Vocals – Slim Gaillard
3    Slim & Slam–    The Flat Foot Floogie    2:47
4    Slim & Slam–    Chinatown, My Chinatown    2:35
5    Slim & Slam–    That's What You Call Romance    2:47
6    Slim & Slam–    Ti-Pi-Tin    2:31
7    Slim & Slam–    8, 9, And 10    2:39
8    Slim & Slam–    Dancing On The Beach    3:04
9    Slim & Slam–    Oh, Lady, Be Good    2:39
10    Slim & Slam–    Ferdinand The Bull    2:51
11    Slim & Slam–    Tutti Frutti    2:35
12    Slim & Slam–    Look-A There    2:12
13    Slim & Slam–    Humpty Dumpty    2:28
14    Slim & Slam–    Jump Session    2:33
15    Slim & Slam–    Laughin' In Rhythm    2:35
16    Slim & Slam–    Vol Vist Du Gaily Star    2:41
17    Slim & Slam–    Dopey Joe    2:01
18    Slim & Slam–    Sweet Safronia    2:07
19    Slim & Slam–    It's Gettin' Kinda Chilly    2:29
20    Slim & Slam–    Buck Dance Rhythm    2:38
Credits :    
Acoustic Bass – Richard Fullbright (tracks: 1, 2)
Acoustic Bass, Vocals – Slam Stewart (tracks: 3 to 20)
Alto Saxophone – Pete Brown (tracks: 1, 2), Russell Procope (tracks: 1, 2)
Clarinet, Baritone Saxophone – Edmond Hall (tracks: 1, 2)
Clarinet, Tenor Saxophone – Cecil Scott (tracks: 1, 2)
Drums – Cozy Cole (tracks: 1, 2), Pompey "Guts" Dobson (tracks: 3 to 20), Slim Gaillard (tracks: 3 to 20)
Guitar – John Smith (tracks: 1, 2), Slim Gaillard (tracks: 3 to 20)
Piano – Don Frye (tracks: 1, 2), Sam Allen (tracks: 3 to 20)
Tenor Saxophone – Kenneth Hollon (tracks: 14 to 20)
Trumpet, Alto Saxophone – Frank Newton (tracks: 1, 2)
Vibraphone [occasional] – Slim Gaillard (tracks: 3 to 20)
Vocals – Slim Gaillard

MARY LOU WILLIAMS – 1944 | The Classics Chronological Series – 814 (1995) FLAC (tracks+.cue), lossless

Recorded at a time when Mary Lou Williams was performing regularly at Café Society downtown and sitting in at Minton's uptown, these two dozen tracks represent the heart of her 1944 artistic output as documented by Moses Asch on the record label bearing his own name. The opening piano solos are exceptionally fine and the Chosen Five sides are exquisitely rendered using a front line of trumpeter Frankie Newton, trombonist Vic Dickenson, and clarinetist Edmond Hall. With Al Lucas and Jack Parker working alongside her, Mary Lou Williams presided over this little band in the creation of a beautiful ballad, two boogies, and "Satchel Mouth Baby," a novelty bounce with group vocal. One additional track from this session, involving only the rhythm section, was issued under the same heading as the Chosen Five. Three more piano solos -- a boogie, a slow drag, and a delicious treatment of "St. Louis Blues" -- were recorded in April of this fruitful year. A few weeks later, Williams accompanied vocalist Nora Lee King as she sang a domestic blues embellished with scat syllables. Four tracks recorded on June 5, 1944, were released by Mary Lou Williams & Her Orchestra. This was a slightly expanded, reconstituted septet now featuring tenor saxophonist Don Byas and trumpeter Dick Vance. The mood established by the Williams/Byas composition "Man o' Mine" exquisitely conveys the sense of a wartime society in transition so peculiar to the mid-'40s. This ethereal tide also flows into an oddly bifurcated version of "Stardust," its halves weirdly separated here by an upbeat swing stomp called "Gjon Mili Jam Session." The only rationale for reissuing the tracks in this order -- with "Pt. 2" placed first and "Gjon Mili" interrupting the mood before "Pt. 1" -- is that the effect is something like a film soundtrack laid over contrasting scenes, with maybe a reprise of the earlier theme bringing the "plot" full circle. In any case, the music is excellent. Williams waxed six sides with bassist Al Hall and trumpeter Bill Coleman in August of 1944, beginning with solid renditions of two of Irving Berlin's most enduring melodies, "Russian Lullaby" and "Blue Skies." Both "Persian Rug" and "Night and Day" are delightful and Coleman sings "You Know Baby," a plea in a minor key for "a kiss and a hug." This wonderful trio session wraps up most inventively with an experimental version of "I Found a New Baby." And the disc itself closes with two comparatively brassy V-Discs (with a much different sound quality than those rusty old Asch sides!) featuring trumpeter Charlie Shavers, trombonist Trummy Young, guitarist Remo Palmieri, bassist Hall, and shuffle/bop drummer Gordon "Specs" Powell. It is an exhilarating finish for this outstanding album of vintage jazz recordings by our lady of the fine piano and solid arrangements, Mary Lou Williams. arwulf arwulf  
Tracklist :
1    Mary Lou Williams–    Blue Skies 2:20
Written-By – Berlin
2    Mary Lou Williams–    Caravan 2:30
Written-By – Tizol
3    Mary Lou Williams–    Yesterdays 2:14
Written-By – Kern, Harbach
4    Mary Lou And Her Chosen Five–    Lullaby Of The Leaves 3:42
Written-By – Petkere
5    Mary Lou And Her Chosen Five–    Little Joe From Chicago 2:51
Written-By – Wells, Williams
6    Mary Lou And Her Chosen Five–    Roll 'Em 2:47
Written-By – Williams
7    Mary Lou And Her Chosen Five–    Satchel Mouth Baby 2:51
Written-By – Williams
8    Mary Lou Williams' Chosen Five–    Yesterday's Kisses 2:43
Written-By – Williams
9    Mary Lou Williams–    Mary's Boogie 2:33
Written-By – Williams
10    Mary Lou Williams–    Drag 'Em 3:45
Written-By – Williams
11    Mary Lou Williams–    St. Louis Blues 3:11
Written-By – Hnady
12    Nora Lee King–    Until My Baby Comes Back Home 2:49
Vocals – Nora Lee King
Written-By – Unknown Artist
13    Mary Lou Williams And Her Orchestra–    Man O' Mine 4:07
Written-By – Byas, Williams
14    Mary Lou Williams And Her Orchestra–    Stardust - Part 2 3:49
Written-By – Carmichael
15    Mary Lou Williams And Her Orchestra–    Gjon Mili Jam Session 3:13
Written-By – Williams
16    Mary Lou Williams And Her Orchestra–    Stardust - Part 1 3:23
Written-By – Carmichael
17    Mary Lou Williams Trio–    Russian Lullaby 2:49
Written-By – Berlin
18    Mary Lou Williams Trio–    Blue Skies 2:39
Written-By – Berlin
19    Mary Lou Williams Trio–    Persian Rug 2:37
Written-By – Moret
20    Mary Lou Williams Trio–    Night And Day 2:44
Written-By – Porter
21    Mary Lou Williams Trio–    You Know Baby 2:38
Written-By – Lewis, Williams
22    Mary Lou Williams Trio–    I Found A New Baby 2:56
Written-By – Palmer, Williams
23    Mary Lou Williams–    Roll 'Em 2:40
Written-By – Williams
24    Mary Lou Williams–    Gjon Mili Jam Session 2:53
Written-By – Williams
Credits :    
Bass – Al Hall (tracks: 17 to 24), Al Lucas (tracks: 4 to 8, 13 to 16)
Clarinet – Claude Greene (tracks: 13 to 16), Edmond Hall (tracks: 4 to 8)
Drums – Jack Parker (tracks: 4 to 7, 13 to 16), Gordon "Specs" Powell (tracks: 23, 24)
Guitar – Remo Palmieri (tracks: 23, 24)
Piano – Mary Lou Williams
Tenor Saxophone – Don Byas (tracks: 13 to 16)
Trombone – Trummy Young (tracks: 23 to 24), Vic Dickenson (tracks: 4 to 7, 13 to 16)
Trumpet – Charlie Shavers (tracks: 23, 24), Dick Vance (tracks: 13 to 16), Frankie Newton (tracks: 4 to 7)
Trumpet, Vocals – Bill Coleman (tracks: 17 to 22)