TRIXIE SMITH — Complete Recorded Works In Chronological Order Volume 1 (1922-1924) DOCD-5332 (1995) FLAC (tracks+.cue), lossless

Part of the European Document label's giant prewar blues reissue series includes two Trixie Smith CDs that repackage all of her recordings. The second disc is the preferred acquisition, but Vol. 1 is not without interest. The majority of Smith's recordings (particularly in the early days) were vaudeville and pop songs, but on the relatively rare occasions when she sang a lowdown blues, she fared quite well. The first volume starts out with four numbers that are dated either January or March 1922 here, but are probably from September and November 1921. Trixie Smith improved on records as time went on; her first few numbers have rather dated accompaniment. In fact, despite the presence of pianist James P. Johnson (who is well buried on two numbers), her musicians do not get very stimulating until after the first 20 of the 25 numbers. Most notable among the selections are "He May Be Your Man" (which has some familiar lyrics), "My Man Rocks Me" (a song that would be among Trixie's most famous), the heated "Ride Jockey Ride," and a couple of train songs ("Freight Train Blues" and "Choo Choo Blues"), which would become one of her specialties. This is historic music that set the stage for Trixie's later, generally superior performances.  Scott Yanow
Tracklist :
1    Trixie Smith–    Desperate Blues (take 2) 3:13
2    Trixie Smith–    Trixies Blues 3:09
3    Trixie Smith–    You Missed A Good Woman When You Picked All Over Me (take 2) 3:09
Orchestra – James P. Johnson's Harmony Eight
4    Trixie Smith–    Long Lost, Weary Blues (take 3) 3:03
Orchestra – James P. Johnson's Harmony Eight
5    Trixie Smith–    He May Be Your Man    2:46
6    Trixie Smith–    Pensacola Blues    3:08
7    Trixie Smith–    Give Me That Old Slow Drag 2:51
Orchestra – The Jazz Masters
8    Trixie Smith–    My Man Rocks Me 2:52
Orchestra – The Jazz Masters
9    Trixie Smith, Acc. Her Down Home Syncopators–    "I'm Through" With You (As I Can Be) 3:22
10    Trixie Smith, Acc. Her Down Home Syncopators–    Take It Daddy, Its All Yours 2:45
11    Trixie Smith–    I'm Gonna Get You 3:06
12    Trixie Smith–    2 A.M. Blues 3:16
13    Trixie Smith, Acc. Her Down Home Syncopators–    Log Cabin Blues    3:15
14    Trixie Smith, Acc. Her Down Home Syncopators–    Voo Doo Blues    3:03
15    Trixie Smith, Acc. Her Down Home Syncopators–    Tired Of Waitin' Blues    3:06
16    Trixie Smith, Acc. Her Down Home Syncopators–    Triflin' Blues    2:53
17    Trixie Smith–    I Don't Know And I Don't Care Blues (take 1) 2:49
Orchestra – Fletcher Henderson's Orchestra
18    Trixie Smith, Acc. Her Down Home Syncopators*–    Freight Train Blues    3:05
19    Trixie Smith–    Sorrowful Blues 3:00
Orchestra – Fletcher Henderson's Orchestra
20    Trixie Smith–    Don't Shake It No More (take 2)    3:00
21    Trixie Smith, Acc. Her Down Home Syncopators–    Praying Blues (take 2) 3:10
22    Trixie Smith, Acc. Her Down Home Syncopators–    Ada Jane's Blues 3:06
23    Trixie Smith, Acc. Her Down Home Syncopators–    Ride Jockey Ride 2:55
24    Trixie Smith, Acc. Her Down Home Syncopators–    Choo Choo Blues (take 2) 3:08
25    Trixie Smith, Acc. Her Down Home Syncopators–    Choo Choo Blues (take 3) 3:04
Credits :
Banjo – Charlie Dixon (tracks: 17 to 19, 21 to 25)
Banjo [Prob.] – Charlie Dixon (tracks: 15, 16)
Clarinet – Buster Bailey (tracks: 23 to 25), Don Redman (tracks: 17 to 19, 21, 22)
Clarinet [Prob.] – Edgar Campbell (3) (tracks: 15, 16)
Cornet [Poss./Or] – Howard Scott (2) (tracks: 21, 22)
Cornet [Prob./Or] – Elmer Chambers (tracks: 21, 22)
Cornet [Prob.] – Elmer Chambers (tracks: 15, 16), Howard Scott (2) (tracks: 17 to 19)
Effects – Unknown Artist (tracks: 18, 24, 25)
Percussion – Unknown Artist (tracks: 22)
Piano – Fletcher Henderson (tracks: 17 to 19, 23 to 25), James P. Johnson (tracks: 3, 4), Unknown Artist (tracks: 20)
Piano [Presumably] – Fletcher Henderson (tracks: 7, 8)
Piano [Prob.] – Fletcher Henderson (tracks: 15, 16, 21, 22)
Tenor Saxophone [Prob.] – Walter Watkins (tracks: 3, 4)
Trombone – Charlie Green (tracks: 21 to 25)
Trombone [Poss.] – Ted Nixon* (tracks: 17 to 19)
Trombone [Prob.] – George Brashear (tracks: 15, 16)
Trumpet – Elmer Chambers (tracks: 23 to 25)
Trumpet [Poss.] – Russell Smith (tracks: 9, 10)
Violin – Unknown Artist (tracks: 20)
Vocals – Trixie Smith

TRIXIE SMITH — Complete Recorded Works In Chronological Order Volume 2 (1925-1939) DOCD-5333 (1995) FLAC (tracks+.cue), lossless

Trixie Smith was a fine vaudeville-style singer who could also do a powerful job on the blues when called for. The second of two Document CDs that contain all of her recordings starts out with 13 selections from 1925. Smith is joined by her "Down Home Syncopators" (actually the Original Memphis Five) on the first two songs, "Everybody Loves My Baby" and "How Come You Do Me Like You Do." She is heard on two sets in which she is joined by a quintet that includes trombonist Charlie Green, clarinetist Buster Bailey and most notably Louis Armstrong, and is featured later in the year with several top Fletcher Henderson sidemen. On these dates, the more memorable selections include the masochistic "You've Got to Beat Me to Keep Me," "He Likes It Slow" and her classic train song "Railroad Blues." There are also two takes of "Messin' Around" from 1926 in which Trixie is heard as part of Jimmy Blythe's Ragamuffins, a band including clarinetist Johnny Dodds and the legendary cornetist Freddie Keppard. The final eight selections on this 23-cut CD are taken from Smith's May 26, 1938 session, with one number, "No Good Man," dating from the following year and finding her assisted by a band that includes trumpeter Henry "Red" Allen and clarinetist Barney Bigard. The 1938 set matches Trixie with the fiery young trumpeter Charlie Shavers, a restrained Sidney Bechet on soprano, and a four-piece rhythm section. Although she had not recorded in a dozen years, Trixie Smith is in prime form on such numbers as "Freight Train Blues," two versions of "My Daddy Rocks Me" and "He May Be Your Man (But He Comes to See Me Sometime)." Apparently an alcohol problem shortened both Smith's career and life, but one does not hear any decline during these excellent performances. Highly recommended, while the less essential Vol. 1 is worth picking up too. Scott Yanow
Tracklist :
1    Trixie's Down Home Syncopators – Everybody Loves My Baby (Take 6) 2:49
2    Trixie's Down Home Syncopators – How Come You Do Me Like You Do (Take 6) 3:00
3    Trixie Smith, Acc. Her Down Home Syncopators – You've Got To Beat Me To Keep Me    3:02
4    Trixie Smith, Acc. Her Down Home Syncopators –    Mining Camp Blues (Take 1) 3:00
5    Trixie Smith, Acc. Her Down Home Syncopators –    Mining Camp Blues (Take 2) 2:53
6    Trixie Smith, Acc. Her Down Home Syncopators –    The World's Jazz Crazy And So Am I (Take 1)    3:00
7    Trixie Smith, Acc. Her Down Home Syncopators –    The World's Jazz Crazy And So Am I (Take 2)    3:00
8    Trixie Smith, Acc. Her Down Home Syncopators –    Railroad Blues (Take 1)    2:56
9    Trixie Smith, Acc. Her Down Home Syncopators –    Railroad Blues (Take 2)    2:52
10    Trixie Smith–    Everybody's Doing That Charleston Now (Take 1) 3:07
Orchestra – Fletcher Henderson's Orchestra
11    Trixie Smith–    He Likes It Slow (Take 2) 2:51
Orchestra – Fletcher Henderson's Orchestra
12    Trixie Smith–    Black Bottom Hop 2:52
Orchestra – Fletcher Henderson's Orchestra
13    Trixie Smith–    Love Me Like You Used To Do 2:47
Orchestra – Fletcher Henderson's Orchestra
14    Jimmy Blythe And His Ragamuffins–    Messin' Around (Take 1)    2:55
15    Jimmy Blythe And His Ragamuffins–    Messin' Around (Take 2)    2:51
16    Trixie Smith–    Freight Train Blues    3:13
17    Trixie Smith–    Trixie Blues    3:09
18    Trixie Smith–    My Daddy Rocks Me    2:50
19    Trixie Smith–    My Daddy Rocks Me No. 2    2:47
20    Trixie Smith–    He May Be Your Man (But He Comes To See Me Sometime)    2:40
21    Trixie Smith–    Jack I'm Mellow    2:39
22    Trixie Smith–    My Unusual Man    2:43
23    Trixie Smith–    No Good Man    2:46
Credits :
Banjo – Charlie Dixon (tracks: 3 to 13)
Bass – Richard Fullbright (tracks: 16 to 22), Unknown Artist (tracks: 23)
Brass Bass – Ralph Escudero (tracks: 10 to 13)
Clarinet – Barney Bigard (tracks: 23), Buster Bailey (tracks: 3 to 13)
Clarinet [Prob.] – Jimmy Lytell (tracks: 1, 2)
Clarinet, Alto Saxophone – Johnny Dodds (tracks: 14, 15)
Clarinet, Soprano Saxophone – Sidney Bechet (tracks: 16 to 22)
Cornet – Freddie Keppard (tracks: 14, 15), Joe Smith (tracks: 10 to 13), Louis Armstrong (tracks: 3 to 9)
Drums – O'Neill Spencer (tracks: 16 to 22)
Drums [Prob.] – Jack Roth (tracks: 1, 2), Sidney Catlett (tracks: 23)
Guitar – Teddy Bunn (tracks: 16 to 22), Unknown Artist (tracks: 23)
Percussion [Tapping] – Unknown Artist (tracks: 11)
Piano – Fletcher Henderson (tracks: 3 to 13), Jimmy Blythe (tracks: 14, 15), Sammy Price (tracks: 16 to 22), Unknown Artist (tracks: 23)
Piano [Prob.] – Frank Signorelli (tracks: 1, 2)
Trombone – Charlie Green (tracks: 3 to 13), Miff Mole (tracks: 1, 2)
Trombone [Poss.] – Roy Palmer (tracks: 14, 15)
Trumpet – Charlie Shavers (tracks: 16 to 22)
Trumpet [Prob.] – Henry "Red" Allen (tracks: 23), Phil Napoleon (tracks: 1, 2)
Vocals – Trixie Smith
Wood Block – Jasper Taylor (tracks: 14, 15)

BUSTER BAILEY – 1925-1940 | The Classics Chronological Series – 904 (1996) FLAC (tracks+.cue), lossless

Other than four titles from 1959 and an obscure 1958 LP, all of clarinetist Buster Bailey's recordings as a leader are on this definitive CD from the European Classics label. Bailey -- a virtuoso whose occasional display of a wild sense of humor (best heard on "Man With a Horn Goes Berserk") was always a surprise when one considered his cool and subtle tone -- starts off the reissue with two rare (and scratchy) performances from 1925. Otherwise, he heads an all-star group filled with fellow Fletcher Henderson sidemen in 1934, backs singer Jerry Kruger, and heads several overlapping combos mostly consisting of members of John Kirby's Sextet; Kirby's influence is strongly felt throughout the later selections. Highlights overall include "Shanghai Shuffle," "Dizzy Debutante," "The Blue Room," and "Pine Top's Boogie Woogie." Highly recommended. Scott Yanow
Tracklist + Credits :

BESSIE SMITH – 1923 | The Classics Chronological Series – 761 (1994) FLAC (tracks+.cue), lossless

This document of Smith's first year in the studio reveals a blues giant in full command of her talents. And while later dates -- especially the epochal 1925 sessions with Louis Armstrong -- offer more in the way of the era's horn-blowing royalty, these early sides nicely showcase Smith in the unadorned company of a variety of top pianists like Clarence Williams and Fletcher Henderson. The Empress of the Blues flexes her vocal muscle throughout, ranging from Broadway fare like "Baby Won't You Please Come Home" to the dark-hued rumblings of "Graveyard Dream Blues." She also revels in the provocative ambiguities of "Nobody in Town Can Bake a Sweet Jelly Roll" and puts her stamp on the future blues warhorse "'Tain't Nobody's Bizness If I Do." From the opening strain of her first best-seller, "Downhearted Blues," until the end of the disc, lovers of classic female blues will find plenty here to keep them enthralled. Stephen Cook
Tracklist + Credits :

BESSIE SMITH – 1923-1924 | The Classics Chronological Series – 787 (1994) FLAC (tracks+.cue), lossless

For sheer power, substance and depth, there is nothing in the world quite like the voice of Bessie Smith. Any portion of her recorded legacy can be rewarding if the listener takes the time to contemplate the interplay between singer and accompanists while the theatrical tale of each song unfurls itself. This particular grouping of 24 recordings made between October 1923 and August 1924 reveals a visceral young woman on her way to completely dominating the scene as the definitive female blues singer of the 1920s. One of the great delights in studying Smith's music is the science of paying attention to her backing instrumentalists. Fletcher Henderson, who accompanied so many blues vocalists throughout the early '20s, sounds like he's in perfect accord with the singer on "Any Woman's Blues." Teamed with Don Redman on six titles, Henderson blows on a siren whistle during the "Haunted House Blues," causing Smith to holler "Lord, help us to get right!" Harry Reser, banjo/guitar ace and leader of various hunky-dory novelty groups including the Cliquot Club Eskimos, appears twice on this CD, providing exceptionally fine accompaniment and incidentally doing his part to break up the color line six years before Eddie Condon recorded with a racially mixed group for Victor. The disc finishes off with four selections featuring trombonist Big Charlie Green, arguably the most sympathetic instrumentalist that Smith ever worked with. arwulf arwulf  
Tracklist + Credits :

BESSIE SMITH – 1924-1925 | The Classics Chronological Series – 812 (1995) FLAC (tracks+.cue), lossless

This portion of the Bessie Smith chronology begins on September 26, 1924, and follows her progress through August 19, 1925. Several of New York's best jazz musicians, most of whom were active with Fletcher Henderson & His Orchestra at that time, assisted the singer in making records that still sound remarkably colorful and dramatic. There are clarinet duets by Buster Bailey and Don Redman, passionate trombone passages by Big Charlie Green, and a series of nine collaborations with young Louis Armstrong. The Smith/Armstrong combination was powerful and in some ways formidable. "St. Louis Blues," rendered mysterious by Fred Longshaw's reed organ accompaniment, is perhaps their mutual masterpiece, along with "You've Been a Good Old Wagon," a barrelhouse slow drag published in 1895. On May 5 and 6, 1925, Bessie Smith waxed two of her all-time best records, W.C. Handy's "Yellow Dog Blues" and the bouncing "Cake Walkin' Babies (From Home)." She was backed by Henderson's Hot Six, a mob that included a young saxophonist by the name of Coleman Hawkins. The rowdiest moments of the entire compilation occur during "Soft Pedal Blues," a slow and hedonistic number describing a buffet flat where wild parties were held, sometimes featuring live sex shows. Several times during this song the singer seems to relish the memory of these events, as she hauls off and delivers a throaty "yaahoooo!" as if to prove that no worldly pleasure was off limits. arwulf arwulf  
Tracklist + Credits :

BESSIE SMITH – 1925-1927 | The Classics Chronological Series – 843 (1995) FLAC (tracks+.cue), lossless

The Empress of the Blues is heard here in all her prime from 1925-1927. While also touring the country in the Harlem Frolics tent show during this time, Smith laid down hundreds of tracks in New York studios. These 24 performances feature such jazz luminaries of the day as pianist Fletcher Henderson, trumpeter Joe Smith, trombonist Charlie Green, and clarinetist Buster Bailey (the latter three men all played in Henderson's groundbreaking band of the day). Also on hand are Gotham legend and pianist James P. Johnson and songwriter extraordinaire Clarence Williams (along with such '20s classics as "Royal Garden Blues," "'Taint Nobobdy's Business if I Do," and "Everybody Loves My Baby," Williams penned a handful of the tracks covered here, including his collaboration with Fats Waller, "Just Squeeze Me"). Smith is powerful and in total command throughout, churning out her jazz-tinged blues on such standouts as "Backwater Blues," "The Gin House Blues," and "Hard Driving Papa." A must for all Smith devotees. Stephen Cook  
Tracklist + Credits :

BESSIE SMITH – 1927-1928 | The Classics Chronological Series – 870 (1996) FLAC (tracks+.cue), lossless

By the spring of 1927 Bessie Smith was making some of the toughest records of her entire career. Whoever lined her up with a sextet led by Fletcher Henderson did the world a great service, for here we get to enjoy Smith's handling of selections directly from the heart of the jazz repertoire. "After You've Gone" takes on all the majesty of Smith's best blues, and she seems to relish providing us with the verse in addition to the familiar chorus. "Alexander's Ragtime Band" is suddenly more substantial than ever before. This woman could sing anything. Even "Muddy Water (A Mississippi Moan)" completely transcends its Tin Pan Alley origins, becoming a fine slow drag without any vestiges of kitsch. "There'll Be a Hot Time in the Old Town Tonight" has been described by military historians as the theme song for the Spanish-American War. Hearing Smith sing it is one of the cardinal experiences in all of traditional music. She made every song into something peculiarly her own. That's Coleman Hawkins back there with a clarinet. On the following day, March 3 1927, Smith teamed up with her tried-and-true Blue Boys. "Trombone Cholly" is a tribute to Charlie Green, also known as "Big Green." His well-timed interactions with the singer's powerful voice, supported by the cornet of Joe "Fox" Smith and Fletcher Henderson's piano, are a wonder to behold. Green lovingly nudges her along through the verses of "Send Me to the 'Lectric Chair," a harrowing tale of knife-inflicted double homicide. "Them's Graveyard Words" carries a similar murderous current, something Smith was always happy to convey. Few vocalists have ever been able to express honestly troubled feelings with this blend of gravity and humor. April 1, 1927 found the singer once again in the distinguished company of pianist James P. Johnson. Bessie Smith specialized in the artful portrayal of the pissed-off woman archetype. "Lock and Key," a hilarious indictment of a cheater, has Smith stripping her unfaithful man of nearly every article of clothing she bought him. At one point the scenario is garnished with a colorful threat: "I'll shoot them off if I hear you cough!" This is one of Smith's very best pieces of theatrical entertainment, especially on account of her excellent working relationship with James P. Johnson. "Mean Old Bed Bug Blues" takes things down to a funkier texture of piano and glib blues guitar. Smith's reading of "A Good Man Is Hard to Find" might be the most soulful version ever caught on record. "Homeless Blues," dealing specifically with Mississippi floodwater disaster, is an extension of "Back Water Blues." Even as her accompaniments change from date to date, Smith's blues are consistently fine, as when Tommy Ladnier's trumpet finds common ground with the tuba of June Cole. It simply doesn't get much better than this. arwulf arwulf  
Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1935 | The Classics Chronological Series – 769 (1994) FLAC (tracks+.cue), lossless

This CD traces the evolution of Benny Goodman's orchestra from the beginning of 1935 when they were comparatively unknown to the beginning of July when they were on the brink of success, even though Benny Goodman was no longer appearing on the Let's Dance radio series and was about to embark on a risky cross-country trip. Singer Helen Ward, drummer Gene Krupa, and trumpeter Pee Wee Erwin were the key voices (along with the clarinetist/leader) at the beginning of the year, but by the time the band recorded the last eight numbers on this disc, Bunny Berigan was Benny Goodman's star trumpeter. His solos on "King Porter Stomp" and "Sometimes I'm Happy" (along with Fletcher Henderson's swinging arrangements) would make Goodman a major star. Berigan also has hot spots on "Blue Skies" and "Jingle Bells." Swing was almost ready to catch on big. Scott Yanow
Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1935-1936 | The Classics Chronological Series – 789 (1994) FLAC (tracks+.cue), lossless

After a historic up-and-down, cross-country trip to Los Angeles, Benny Goodman & His Orchestra became a sensation, launching the swing era. This set has the first selections by the Benny Goodman Trio (featuring the clarinetist with pianist Teddy Wilson and drummer Gene Krupa) and the initial big band recordings after Benny Goodman was crowned the king of swing, including his closing theme song, "Goodbye," "When Buddha Smiles," "Stompin' at the Savoy," and "Goody Goody" (Helen Ward's biggest hit). The next few years found Benny Goodman at the top of the music world. Scott Yanow
Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1936 | The Classics Chronological Series – 817 (1995) FLAC (tracks+.cue), lossless

Here's a chronological survey of studio recordings made by Benny Goodman with his trio and orchestra for the Victor label during the spring and summer of 1936 in New York, Chicago, and Hollywood. Riding on solid arrangements by Horace Henderson ("Walk, Jennie, Walk"), Fletcher Henderson ("Remember," "I Would Do Anything for You," "I've Found a New Baby," "You Turned the Tables on Me," and "Down South Camp Meeting"), Spud Murphy, and Jimmy Mundy, it's obvious why this big band went over so well. Mundy's arrangements of Duke Ellington's "In a Sentimental Mood" and his own "House Hop" dramatically demonstrate the Goodman orchestra's famously fine approach to making music for slow dancers and jitterbugs alike. Two trio sessions with Teddy Wilson and Gene Krupa produced ripping hot versions of "China Boy" and "Nobody's Sweetheart," a rock-solid "Oh, Lady Be Good," a gorgeous and reflective "More Than You Know," and a pair of pretty love songs sung by Helen Ward, who also pipes up on five of the big-band tracks. At this point in the Goodman orchestra's evolution, the influence of Fletcher Henderson was strongly felt. Today, decades after his demise, Henderson is finally acknowledged as the concealed genius behind some of Benny Goodman's very best recorded performances. arwulf arwulf
Tracklist + Credits : 

BENNY GOODMAN AND HIS ORCHESTRA – 1936, Vol. 2 | The Classics Chronological Series – 836 (1995) FLAC (tracks+.cue), lossless

Volume seven in the Classics Benny Goodman chronology presents 22 sides recorded for the Victor label in Hollywood during August 1936 and in New York during October and November of that year. Three big band performances open this compilation; the first two used arrangements written by Fletcher Henderson. Next come four titles excellently rendered by the Benny Goodman trio and quartet with Teddy Wilson, Gene Krupa, and vibraphonist Lionel Hampton, who sings wonderfully on "Exactly Like You" and the "Vibraphone Blues." The big band session that took place on October 7 produced three vocals by Helen Ward and three instrumentals, including a Henderson-arranged "Alexander's Ragtime Band" as well as the solidly swung "Riffin' at the Ritz," during which Goodman melted into the reed section in a rare switch from clarinet to alto saxophone; the sax solo is by tenor man Vido Musso, who sounds a lot like Chu Berry or Coleman Hawkins. Henderson also arranged "Somebody Loves Me" and Jimmy Mundy drew up the charts for "Jam Session" and "Bugle Call Rag." These titles were waxed on November 5, 1936; on that same day Goodman sang "T'ain't No Use" and Chick Webb's star vocalist Ella Fitzgerald sat in on three recordings that generated flack from executives at Decca who protested that Ella was breaching her contract by getting with Victor. During a subsequent recall of product and reissuing of reshuffled titles, "Did You Mean It?" was pulled from the catalog entirely and would not reappear for many years. This segment of the chronology ends with two byproducts of a quartet session that occurred on November 18, 1936. The remaining titles from this date appear on the next volume in the series. arwulf arwulf  
Tracklist :

BENNY GOODMAN AND HIS ORCHESTRA – 1936-1937 | The Classics Chronological Series – 858 (1995) FLAC (tracks+.cue), lossless

The addition of Harry James to Benny Goodman & His Orchestra in January 1937 gave Benny Goodman one of the greatest trumpet sections ever with James, Ziggy Elman, and Chris Griffin all able to play both solos and lead. Gene Krupa's drumming became increasingly assertive during this period, adding excitement to the band even if Goodman was not sure that he enjoyed the change in the group's sound. Helen Ward's decision to retire at the end of 1936 was unfortunate (she would never regain the fame that she had at that moment) and it would take Goodman much of 1937 before finding the right vocalist. But with that trumpet section, Jess Stacy, Krupa, and the Benny Goodman Trio and quartet, not to mention the leader's clarinet, this was a classic band -- the most popular in the music world. Among the many highlights on this CD are the Benny Goodman Trio's version of "Tiger Rag," the Benny Goodman Quartet on "Stompin' at the Savoy," Ella Fitzgerald guesting on "Goodnight My Love," "Peckin'," and the original studio version of "Sing, Sing, Sing." Scott Yanow
Tracklist :

BENNY GOODMAN AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 899 (1996) FLAC (tracks), lossless

During the period covered by this CD, Benny Goodman & His Orchestra reached the height of their success with their historic January 12, 1938, Carnegie Hall concert. Shortly after, Gene Krupa had a personality conflict with Goodman and left the band, being replaced initially by Dave Tough. But Goodman still had such stars as Harry James, Ziggy Elman, Jess Stacy, Martha Tilton, Lionel Hampton, and Teddy Wilson plus himself, so his commercial success continued throughout 1938 despite competition from many other bands. This CD has the final numbers with Krupa (including "Life Goes to a Party," a hot quartet version of "I'm a Ding Dong Daddy From Dumas," "Don't Be That Way," and "One O'Clock Jump") and some worthy post-Krupa performances, including "The Blue Room" and "Make Believe," showing that Benny Goodman was still the king of swing. Scott Yanow
Tracklist : 

BENNY GOODMAN AND HIS ORCHESTRA – 1938 | The Classics Chronological Series – 925 (1997) FLAC (tracks+.cue), lossless

The 1938 version of Benny Goodman & His Orchestra was still a strong ensemble, featuring Goodman, Harry James, Ziggy Elman, tenor saxophonist Bud Freeman, Jess Stacy, Martha Tilton, and Dave Tough on drums, plus in the trio/quartet Teddy Wilson and Lionel Hampton. Gene Krupa might have been missed, but the ensemble still swung hard. Highlights of this chronological study include "Lullaby in Rhythm," "I Let a Song Go out of My Heart" (featuring Tilton), "Big John's Special," "Wrappin' It Up," and the quartet version of "Dizzy Spells." Scott Yanow
Tracklist :

BENNY GOODMAN AND HIS ORCHESTRA – 1938, Vol. 2 | The Classics Chronological Series – 961 (1997) FLAC (tracks+.cue), lossless

Benny Goodman was busy during the three-and-a-half-month period covered by this CD, cutting 22 selections for Victor including "Margie," "Bumble Bee Stomp," "My Honey's Loving Arms," and "Farewell Blues" with his big band and excellent quartet renditions of "Opus 1/2," "Sweet Georgia Brown," "'S Wonderful," and (as a trio) "I Must Have That Man." Artie Shaw may have been surpassing in the popularity polls by late 1938, but Goodman's band (with Harry James, Ziggy Elman, Martha Tilton, Jess Stacy, and Bud Freeman, not to mention Lionel Hampton and Teddy Wilson) was still a mighty swing machine. Scott Yanow
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BENNY GOODMAN AND HIS ORCHESTRA – 1939 | The Classics Chronological Series – 1025 (1998) FLAC (tracks+.cue), lossless

This CD traces Benny Goodman & His Orchestra during their final Victor recordings and their first sessions for the Columbia label. The band did not change all that much during this time style-wise, although such fixtures as trumpeter Chris Griffin, pianist Jess Stacy, drummer Buddy Schutz, and singer Martha Tilton departed. Along the way the key soloists are trumpeter Ziggy Elman, Jerry Jerome on tenor, and Goodman, while Fletcher Henderson spent a period filling in on piano. There are no small-group performances on this CD, but such fine killer-dillers as "The Kingdom of Swing," "There'll Be Some Changes Made," "Jumpin' at the Woodside," "Stealin' Apples," and "Spring Song." Scott Yanow  
Tracklist + Credits : 

BENNY GOODMAN AND HIS ORCHESTRA – 1939, Vol. 2 | The Classics Chronological Series – 1064 (1999) FLAC (tracks+.cue), lossless

1939 was most significant in Benny Goodman's history for the discovery of electric guitarist Charlie Christian, who became a part of the clarinetist's new sextet with Lionel Hampton, Fletcher Henderson, Artie Bernstein, and Nick Fatool. On this CD, Christian is featured on such numbers as the earliest version of "Flying Home," "Rose Room," "Stardust," "Memories of You," "Soft Winds," and "Seven Come Eleven," plus the big band version of "Honeysuckle Rose." The Goodman orchestra (which still featured trumpeter Ziggy Elman) is heard on the majority of the selections, including the earliest full-length recording of Goodman's theme "Let's Dance" and a few numbers with singer Mildred Bailey. These Columbia sessions have not often been reissued in full, so this disc makes for a fine acquisition for listeners not already owning the Christian sextet tracks. Scott Yanow  

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BENNY GOODMAN AND HIS ORCHESTRA – 1940 | The Classics Chronological Series – 1131 (2000) FLAC (tracks+.cue), lossless

During the time covered by this CD, Benny Goodman was stricken with sciatica and had to break up his big band for a few months. When he came back, his new orchestra only retained a few of the earlier musicians. This disc has the last recordings by his original big band (which he had formed in 1934) and has two different versions of his small group; his new big band did not record until November 13. Fortunately, Benny Goodman was wise enough to retain the services of the great electric guitarist Charlie Christian, who is heard in the earlier sextet with Lionel Hampton and the later septet with trumpeter Cootie Williams, tenor saxophonist Georgie Auld, and guest pianist Count Basie. The combo tracks include "Air Mail Special" and "Boy Meets Goy," "Royal Garden Blues," "As Long As I Live," and the riff-filled "Benny's Bugle." The better big band selections include "Crazy Rhythm" and "Mister Meadowlark" (featuring Helen Forrest). Fred Astaire has a guest vocal (and a bit of tap dancing) on "Who Cares." Scott Yanow  
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BENNY GOODMAN AND HIS ORCHESTRA – 1951-1952 | The Classics Chronological Series – 1450 (2007) FLAC (tracks+.cue), lossless

This is the 34th volume in the Classics Benny Goodman chronology. It combines four titles from the Capitol records session of October 27, 1949 (Goodman's last for that label) with seven tunes recorded for Columbia on October 10 and November 24, 1950 and ten previously hard-to-find selections from a broadcast that aired April 1, 1951. Although the band on the Capitol date had Zoot Sims in the reed section, slick vocals by Dolly Houston, Buddy Greco and the Heathertones seem to use up all the air in the room. The Columbia sessions employed the Goodman Sextet, featuring pianist Teddy Wilson, vibraphonist Terry Gibbs and guitarist Johnny Smith, these last two helping to emphasize a contemporary bop-to-cool stylistic emphasis that was still playing a prominent role in Goodman's approach to music during this period. Vocalists on this leg of the journey include Nancy Reed, a carefully rehearsed, mixed vocal group known as the Pastels, and a deep-voiced male singer billed as "Rickey." This was none other than Jimmy Ricks, bass singer for the Ravens. Issued as Columbia 39121, the two instrumentals -- "Lullaby of the Leaves" b/w "Temptation Rag" -- are stunning examples of the Goodman/Gibbs collaboration at its finest. Yet the real gold in this compilation lies in the ten more traditional jazz melodies that were performed on the air, recorded and sold on a limited-edition LP in order to raise funds to benefit Fletcher Henderson, Goodman's greatest arranger as well as a pioneer of big-band jazz, who made his first jazz recordings in 1923. Henderson was ill and in serious need of cash. The fact that Goodman held this exciting jam session as a benefit for him adds considerable ethical ballast to an already superb bundle of live jazz. Teaming with Goodman in various combinations throughout the session were pianist Teddy Wilson, drummer Gene Krupa, bassist Eddie Safranski, guitarist Johnny Smith, trombonist Lou McGarity and trumpeter Buck Clayton. arwulf arwulf
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