MEZZ MEZZROW – 1928-1936 | The Chronogical Classics – 713 (1993) FLAC (tracks+.cue), lossless

Mezz Mezzrow was never that strong a player. His technique was weak and although he played with enthusiasm and was decent on the blues, he fumbled a lot. However, Mezz did appear on a lot of significant recordings through the years, and some are on this Classics CD. Playing tenor, Mezzrow is heard in 1928 with the Chicago Rhythm Kings, the Jungle Kings (the same group under a different name), Frank Teschemacher's Chicagoans, and the Louisiana Rhythm Kings. Those six titles by overlapping bands feature such major players early in their careers as cornetist Muggsy Spanier, clarinetist Frank Teschemacher, pianist Joe Sullivan, Eddie Condon (on banjo), and drummer Gene Krupa; Red McKenzie takes a vocal on "There'll Be Some Changes Made." Also on this CD are eight swing-oriented numbers from 1933-1934 by a big band headed by Mezzrow and including such top musicians as trumpeter Max Kaminsky, trombonist Floyd O'Brien, altoist Benny Carter, Bud Freeman on tenor, and either Teddy Wilson or Willie "The Lion" Smith on piano. Despite the inclusion of such titles as "Free Love" and "Dissonance," the music is essentially no-nonsense swing. This CD is rounded off by four selections from Art Karle and His Boys (mainly showcases for the dated vocals of Chick Bullock, although trumpeter Frankie Newton is in the backup band) and two songs from Mezz's first 1936 session as a leader. The excellent and often essential music is obviously of greatest interest for the contributions of the many all-stars. Scott Yanow  
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MEZZ MEZZROW – 1936-1939 | The Chronogical Classics – 694 (1993) FLAC (tracks+.cue), lossless

Considering the collective personnel and an unusually close communication between these players, this disc is a serious contender for the "Best of Mezz" award. By 1936, Mezz Mezzrow had developed into an able clarinetist and an expert at putting together strong traditional jazz ensembles. There are five sessions' worth of material gathered together to form this segment of the Mezzrow chronology. Each date produced top-notch small band swing, played by some of the best jazz musicians in the world at that time. None of this is exaggeration. On the opening session, for example, the clarinetist is flanked by trumpeter Frankie Newton and tenor sax man Bud Freeman, backed by a rhythm section including Al Casey, Wellman Braud, and Willie "The Lion" Smith! This group's two-part rendition of Stuff Smith's "I'se a-Muggin'" is a very close cover of the somewhat smoother version cut two days earlier by Jack Teagarden with the Three T's, a leisure service of Paul Whiteman. While Teagarden's timing and tone was impeccable, part one of Mezz's take has a rather gruff vocal by the Lion, who sounded like a friendly cigar-gnawing gangster whenever engaging in theatrical patter. In his liner notes, Anatol Schenker accuses these musicians of being stoned or at least under-rehearsed. According to that criterion, most of the records made by Fats Waller, Louis Armstrong, Billie Holiday, and Lester Young would be in artistic jeopardy simply on account of cannabis and spontaneity. Criticism of this sort is inaccurate, unfair, and misleading. Mezzrow's only 1937 session as a leader used three fine jam tunes that he composed in collaboration with arranger Edgar Sampson, and a formulaic stomp based on a simple but effective idea by Larry Clinton. This band swung hard with a front line of Sy Oliver, J.C. Higginbotham, Mezzrow, and tenor saxophonist Happy Caldwell, who expresses himself marvelously on these recordings. Like all the rhythm sections on this collection, the combination of Sonny White, Bernard Addison, Pops Foster, and Jimmy Crawford is first rate. Mezzrow was lucky, savvy, and well connected in lining himself up with Tommy Ladnier, Sidney de Paris, James P. Johnson, Teddy Bunn, Elmer James, and Zutty Singleton. Anyone familiar with this kind of music should be somewhat awed by that lineup. These were to be some of Ladnier's last recording dates, and should be savored along with the Bluebird sides he made with Mezzrow and Sidney Bechet during this same time period. "Comin' on with the Come On" is laid out in the classic Mezzrow two-part configuration of slow blues/fast blues. Sidney de Paris growls through his horn, mingling wonderfully with Ladnier. A second Bluebird session about one month later scaled the band down to a quintet with Ladnier and Mezzrow backed by Pops Foster, Teddy Bunn, and the no-nonsense drumming of Manzie Johnson. Bunn played guitar exquisitely and his vocal on "If You See Me Comin'" is a gem. The last four titles feature vocalist Rosetta Crawford in front of a band chosen from several of the previous sessions. Rosetta resurrects three old-time blues masterpieces by Perry Bradford and "Stop It Joe," a little-known novelty by the great James P. Johnson -- who is sitting in at the piano. arwulf arwulf  
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COZY COLE – 1944 | The Chronogical Classics – 819 (1995) FLAC (tracks+.cue), lossless

Check this out -- probably the best overall Cozy Cole collection, and possibly one of the top picks for mid-'40s small-group swing. There are distinct reasons for such a strongly stated claim. They are, specifically: Coleman Hawkins, Ben Webster, Budd Johnson, and Don Byas. Got that? Three additional reasons are Teddy Wilson, Johnny Guarnieri, and Earl Hines. This is no offhand list of incidental participants, but a pantheon of indispensable figures in mid-20th century jazz. Their combined experience and influence add up to direct involvement with the heart and soul of this music, from Armstrong and Ellington to Bird and Diz. Glance at the rest of the collective personnel and you're confronted with a stunning lineup containing some of the most accomplished jazz musicians on the scene during the year 1944. The Cozy Cole All Stars session recorded for Keynote on the 22nd of February still stands near the apex of that label's best achievements, especially because of the electromagnetic field created by putting Hawkins and Hines into the same room at the same time. These Keynotes sound better than ever presented, with 17 vivid sides issued on the Savoy label, which like Commodore and Keynote granted the musicians absolute artistic control. This is precisely why the music holds up so well regardless of the passage of time. Johnny Guarnieri is particularly well represented, as is Teddy Wilson, who sparkles during the Buck Ram All Stars session. There are a couple of percussion feature numbers where attention is deliberately focused upon Cole, but generally speaking every selection is defined, supported, and shaken to its roots by the energetic presence of this indefatigable drummer. arwulf arwulf
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WILLIE "THE LION" SMITH – 1925-1937 | The Chronogical Classics – 662 (1992) FLAC (tracks+.cue), lossless

Willie "The Lion" Smith, one of stride piano's Big Three of the 1920s (along with James P. Johnson and Fats Waller), recorded a lot less than his two friends. In fact, with the exception of two selections apiece with the Gulf Coast Seven in 1925 (which features trombonist Jimmy Harrison and clarinetist Buster Bailey) and 1927's Georgia Strutters (starring singer Perry Bradford, Harrison, and cornetist Jabbo Smith), along with the rare and originally unreleased 1934 solo piano showcase "Finger Buster," this CD does not get started until 1935. Smith's Decca recordings of 1935 and 1937 were formerly quite obscure, showcasing his piano with three different versions of "His Cubs." The Lion is heard with a Clarence Williams-type quartet which includes cornetist Ed Allen and clarinetist Cecil Scott, matched up with trumpeter Dave Nelson and clarinetist Buster Bailey in a septet; and temporarily heading an early version of the John Kirby Sextet on a session dominated by drummer O'Neil Spencer's vocals. Highlights of this historic and enjoyable CD include "Santa Claus Blues," "Keep Your Temper," "Blues, Why Don't You Let Me Alone," and the earliest recording of the Lion's most famous composition, "Echo of Spring." Scott Yanow
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WILLIE "THE LION" SMITH – 1937-1938 | The Chronogical Classics – 677 (1992) FLAC (tracks+.cue), lossless

The second Classics CD in their Willie "The Lion" Smith series is surprisingly weak. Of the 25 selections, 21 actually feature the dated organ of Milt Herth. Smith's presence in the trio (with drummer-vocalist O'Neil Spencer) fails to uplift the music (Herth's wheezing organ mostly drowns him out) although guitarist Teddy Bunn helps a bit on the last seven numbers. Easily the best selections on the CD are two songs performed by Willie "The Lion" Smith and His Cubs (a septet with trumpeter Frankie Newton and clarinetist Buster Bailey) and a pair of duets with drummer Spencer on Smith's own "Passionette" and "Morning Air." But the preceding and following volumes in this program are much more valuable. Scott Yanow
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TEDDY HILL AND HIS ORCHESTRA – 1935-1937 | The Classics Chronological Series – 645 (1992) FLAC (tracks+.cue), lossless

Saxophonist, bandleader and entrepreneur Teddy Hill is often remembered mainly as the organizer of informal after-hours jam sessions at Minton's Playhouse in Harlem during the early '40s. Those who delve a bit more assiduously into the history of jazz eventually learn that Teddy Hill led an excellent big band during the '30s. He started out playing drums and trumpet, then took up clarinet, soprano and tenor saxophones. Hill developed his chops during the '20s accompanying the Whitman Sisters then worked with George Howe, Frank Bunch & His Fuzzy Wuzzies and the Luis Russell orchestra, a fine band in which he nevertheless found few opportunities to solo (this almost certainly inspired his later decision to organize open-ended blowing sessions at Minton's). Hill put together his own band in 1934; this group secured steady employment broadcasting over the NBC radio network. All of their 1935 and 1936 recordings were derived from their radio work; they began making records in the Victor studios in 1937. Some of the singing may seem quaint or even saccharine; "Big Boy Blue," however, is full of pep and the stylized group vocal on "The Love Bug Will Bite You if You Don't Watch Out" is a bubbly delight. Note the inclusion of several Hill originals and a perfectly matched pair of atmospheric novelties: Larry Clinton's "Study in Brown" and Raymond Scott's "Twilight in Turkey." Some of Hill's players have become jazz legends -- Roy Eldridge, Bill Coleman, Frankie Newton, Shad Collins, Dicky Wells, Russell Procope and Chu Berry. Yet some folks will consider the presence of young Dizzy Gillespie on the session of May 17, 1937 as the main attraction; "King Porter Stomp" contains his very first recorded solo. Teddy Hill's entire recorded output fits neatly onto one compact disc. While this exact body of work has also been reissued on the Hep and Jazz Archives labels, the easy-to-consult layout of the Classics discography speaks strongly in its favor. arwulf arwulf  
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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
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ELLA FITZGERALD – 1935-1937 | The Classics Chronological Series – 500 (1990) FLAC (tracks+.cue), lossless

The first of six Ella Fitzgerald CDs in the European label Classics "complete" series has her earliest 25 recordings with two numbers ("My Melancholy Baby" and "All My Life") from a session with Teddy Wilson, three songs (including "Goodnight My Love") cut with Benny Goodman's big band, four tunes from her initial session as a leader and the remainder with Chick Webb's Orchestra which mainly acted as a backup band for the young singer. Even at the age of 17, Ella Fitzgerald had a beautiful voice and a strong sense of swing (although she would not seriously scat for another decade). "I'll Chase the Blues Away," "When I Get Low I Get High," "Sing Me a Swing Song" and "You'll Have to Swing It" are among the highpoints of this fine set. Scott Yanow
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BESSIE SMITH – 1929-1933 | The Classics Chronological Series – 977 (1997) FLAC (tracks+.cue), lossless

These 24 tracks represent the last phase of Bessie Smith's recording career. Over the course of ten years and 160 great songs, Smith had without a doubt earned her place as the Empress of the Blues. Unfortunately, until her passing in 1937, she spent most of her time on the show circuit. For fans hungry for a healthy dose of her legacy, though, generous discs such as this provide a chance to revel in the classic female blues singing queen's lusty power. As usual, Smith is helped out by the day's jazz royalty. Featured over the course of the cuts here -- many penned by both Smith and pianist Clarence Williams -- are such top soloists as Benny Goodman, Chu Berry, James P. Johnson, and Frankie Newton. Of course, Smith grabs most of the attention, especially on definitive sides like "Gimme a Pigfoot" and "Black Mountain Blues," not to mention the ribald gem "Need a Little Sugar in My Bowl." And as far as sound quality goes, this and many other of the discs in the Classics chronological series provide a viable alternative to Columbia's celebrated Complete Recordings line. Stephen Cook  
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MIDGE WILLIAMS AND HER JAZZ JESTERS – 1937-1938 | The Classics Chronological Series – 745 (1994) FLAC (tracks+.cue), lossless

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MAXINE SULLIVAN – 1937-1938 | The Classics Chronological Series – 963 (1998) FLAC (tracks+.cue), lossless

The basic and pleasing vocals of Maxine Sullivan are quite enjoyable. This CD has her first 23 recordings, including three songs originally released under pianist Claude Thornhill's name; Thornhill (who helped discover the singer) is on all of the selections. The original version of "Loch Lomond" is among the highlights and became a huge hit, leading to Sullivan's lightly swinging renditions of other folk songs such as "Darling Nellie Gray" and "Dark Eyes." Joined by such fine musicians as trumpeters Manny Klein, Frank Newton, Charlie Shavers and Bobby Hackett (all of whom are heard from briefly), along with the future members of the John Kirby Sextet, Maxine Sullivan is heard throughout in her early prime (she was 26-27 years old during this period). Recommended. Scott Yanow  
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TEDDY WILSON AND HIS ORCHESTRA – 1935-1936 | The Classics Chronological Series – 511 (1990) FLAC (tracks+.cue), lossless

The second CD in Classics' Teddy Wilson series features the definitive swing pianist on two piano solos and leading all-star groups. There are seven generally familiar Billie Holiday vocals (including classic renditions of "I Cried for You" and "These Foolish Things"), a pair from Ella Fitzgerald (her first recordings outside of the Chick Webb Orchestra), two rare ones from Helen Ward, a vocal by Roy Eldridge on a heated "Mary Had a Little Lamb" and seven instrumentals. The strong supporting cast includes such players as altoist Johnny Hodges, trumpeters Frankie Newton, Jonah Jones and Eldridge, trombonist Benny Morton, clarinetist Buster Bailey, tenorman Chu Berry, and baritonist Harry Carney; Benny Goodman makes guest appearances on the two Helen Ward titles. Classic music although most of it is also easily available elsewhere. Scott Yanow
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SIDNEY BECHET – 1938-1940 | The Classics Chronological Series – 608 (1991) FLAC (tracks), lossless

This entry in Classics' chronological reissue of the master takes of Bechet's early recordings finds the soprano great playing with trumpeter Tommy Ladnier and Mezz Mezzrow on the famous "Really the Blues" session, performing a hit version of "Summertime," overshadowing the other members of the all-star Port of Harlem Seven and recording "Indian Summer" and a hot version of "One O'Clock Jump" in a 1940 session for Victor. However, half of this CD is taken up by an odd and surprisingly restrained marathon date with pianist Willie The Lion Smith in which they perform Haitian folk songs. Scott Yanow
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SIDNEY BECHET – 1945-1946 | The Classics Chronological Series – 954 (1997) FLAC (tracks+.cue), lossless

Many uptight critics and jazz historians who analyze Sidney Bechet's Blue Note recordings seem unable to avoid the annoying habit of informed nitpicking. The music deserves a more humble assessment, whereby the ego of the beholder withdraws, allowing breathing space for the true nature of jazz and collective creativity. The recordings made on January 29, 1945, for example, are exceptionally satisfying for anyone who is able to absorb the sound of informal New Orleans polyphony. Max Kaminsky, George Lugg, and Bechet form a strong front line, roundly supported by Art Hodes, Pops Foster, and Freddie Moore, who sings Papa Charlie Jackson's gruff opus "Salty Dog." Kaminsky growls into a mute during Mel Stitzel's definitive slow drag "Jackass Blues," and Artie Matthews' "Weary Blues" rolls at a brisk trot. "High Society" is a wonderful celebration for those who are able to relax and enjoy a good old-fashioned street parade. The next date, involving Bunk Johnson, has attracted quite a bit of contentious commentary. Yet Johnson of all people should not be evaluated using standards usually applied to musicians of other generations or social backgrounds. Here Bechet used only the clarinet, deferring to Johnson, who frankly disliked the soprano saxophone. Jelly Roll Morton's "Milenberg Joys" is a handsome opener, and "Days Beyond Recall" a thoughtful blues. Trombonist Sandy Williams occupies the spotlight during the other slow drag, "Up in Sidney's Flat." In keeping with the diversity of this variegated tradition, the band also delivered up an old-time spiritual and "Porto Rico," a rhumba/stomp that languished in obscurity for 40 years, probably because it didn't fit into someone's preconceived notion of what a traditional jazz band was supposed to sound like. Bechet's next pairing was with clarinet wizard Albert Nicholas. "Quincy Street Stomp" is a spirited strut, and "Old Stack O'Lee" a venerable blues fresh up from the marinade. "Bechet's Fantasy" is full of reflections exquisitely expressed, as if strolling through the Garden District naming each flower and shrub. "Weary Way Blues" was composed and recorded by Lovie Austin and Ida Cox in 1923. Bechet and Nicholas handle the relic gently, almost affectionately. This segment of the Sidney Bechet chronology closes with six sides recorded for the Disc label in May of 1946. Here Bechet is part of a six-piece band, accompanying vocalist Stella Brooks, who at her best sounded as good as Lee Wiley. "St. Louis Blues" is nice and tough, while the sexy "I'm a Little Piece of Leather" feels almost like a backroom burlesque. 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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CHARLIE BARNET AND HIS ORCHESTRA – 1937-1939 | The Classics Chronological Series – 1194 (2001) FLAC (tracks+.cue), lossless

Charlie Barnet started making records in 1933. While building his band and expanding its repertoire he used a lot of pop vocalists and even sang some of the songs himself. "Shame On You" is Barnet's 12th and last appearance on record as a vocalist in this part of the chronology. His prior experience as a movie actor served him well, as he warmly administered each song with what could be described as "stage presence." Many of the singers heard throughout the chronologically reissued recordings of Charlie Barnet are frankly less interesting to listen to than Barnet himself. Kathleen Long and Kurt Bloom are only incidental to the tracks they sing on; the best thing about "He Walked Right In" is the way the bandmembers swing as if they were participating in a jam session for the Commodore label. With all due respect for the singing abilities of Judy Ellington, real jazz heads might begin to feel that they keep stumbling over pop vocals while seeking out the excellent instrumentals that abound in Barnet's recordings of the late '30s. This particular volume contains a veritable gold mine in a full dozen selections uncluttered by singers mouthing Tin Pan Alley lyrics. Half of the tracks reissued here are instrumentals, more than on any of the other volumes in this series covering Barnet's output from 1933 through 1940. Five out of seven titles recorded for the Variety label in August of 1937 are lively jams without crooners, and the band is fortified by the presence of the great trumpeter Frankie Newton. Credited here to someone named Wrubel, "Emperor Jones" is better known as Duke Ellington and Juan Tizol's "Jubilesta," also known as "Moonlight Fiesta," also known as "Puerto Rican Chaos" (might as well slap a fourth title on it). Pianist Joe Myrow composed "Surrealism," a quirky study with Latin beats sounding like something by Raymond Scott or maybe Red Norvo in a strange mood. Barnet seems not to have made any commercial studio recordings during the year 1938. In January of 1939, his band began performing at the Famous Door, a popular nightclub on 52nd Street. They also resumed making records for Bluebird, grinding out three exceptionally fine instrumentals on January 20th. These include an elegant big-band swing adaptation of the old "Tin Roof Blues" and a wild, hard-swinging ride called "Knockin' at the Famous Door," during which Barnet takes a lot of nimble risks with his saxophone. February and March were hot times for this band, as it cooked up the "Swing Street Strut" -- a rolling boil for jitterbugs -- and managed excellent interpretations of Duke Ellington's "The Gal from Joe's," Slim Gaillard's "Jump Session," and Juan Tizol's beautiful "Night Song." arwulf arwulf
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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)

FRANKIE NEWTON – 1937-1939 (1992) The Classics Chronological Series – 643 | FLAC (tracks), lossless

Welcome to the incredibly solid and inexplicably overlooked music of Frankie Newton, a formidable trumpeter who led a series of bracingly hot swing bands during the late '30s. First comes a hotter than average version of "You Showed Me the Way," with Clarence Palmer singing in a voice that has just a bit of Frankie "Half Pint" Jaxon about it. Pete Brown, Cecil Scott, and Edmond Hall heat up the entire first session, and when you add Russell Procope the fur really flies. Listeners even get to hear clarinetist Hall doubling on baritone saxophone. Even more exciting is the presence of Bulee "Slim" Gaillard, making what must be two of his first appearances on record. Slim scats up a storm and the band wails back at him. On July 13, 1937, the Uptown Serenaders came out with the most notoriously weird and irrepressibly hot record ever to appear under Newton's name: "The Onyx Hop" begins as a scorcher, and then Frankie and Pete chant the following lyrics in a strange, stoned-out duet: "Come with me and smoke some tea and I shall carry on/Look out, fellow, let me pass, I shan't be out here long/Love my wife but what has that got to do with this song?/She stayed out one hour overtime, I stayed out all night long/Went down to the Onyx Club and had myself a ball/I got tight off of scotch and stuff and like not got home at all." This recitation quickly ignites a boiling out-chorus. It is one of the funniest and most dazzling uptown swing recordings of the 1930s, and here it is sandwiched between two globs of molasses as Leon LaFell groans out a pair of sentimental songs, probably perceived as necessary confections for the pop audience. But who cares! This incongruity is quickly forgotten as the session of January 13, 1939, appears in its entirety, with James P. Johnson, Pete Brown, and Mezz Mezzrow in addition to Al Casey, John Kirby, and Cozy Cole. Bits and pieces of this session have been reissued here and there over the years, but rarely has the entire session been made available in this way. Three of these tunes, two slow drags and a stomp, were devised by the Mighty Mezz, who more often than not proved to be a good source of solid grooves and funky atmosphere. The effect of six consecutive selections played by this incredible band is downright intoxicating, as is the rest of the material presented here. "Daybreak Blues" and "After Hour Blues," gently but firmly rendered by Newton in front of Albert Ammons, Teddy Bunn, Johnny Williams, and Sid Catlett, constitute the very beginnings of the Blue Note record label. They have previously appeared under the heading of the Port of Harlem Jazzmen, reissued however briefly by the good people at Mosaic Records. Frankie's Cafe Society Orchestra has Tab Smith playing soprano saxophone during the relaxing "Tab's Blues," while "Jitters," "Frankie's Jump," and "Jam Fever" are cookers. "Vamp" bases its dance rhythm on a very simple line. "Parallel Fifths," a walking blues with an underlying boogie-woogie attitude, provides a smooth finish to this almost perfect package of vintage uptown swing. arwulf arwulf  
Tracklist :
1    Frankie Newton And His Uptown Serenaders–    You Showed Me The Way 2:44
Alto Saxophone – Pete Brown
Clarinet – Edmond Hall
Double Bass [String Bass] – Richard Fullbright
Drums – Cozy Cole
Guitar – John Smith
Piano – Don Frye
Tenor Saxophone – Cecil Scott
Trumpet – Frank Newton
Vocals – Clarence Palmer
Written-By – Green, McCrae
2    Frankie Newton And His Uptown Serenaders–    Please Don't Talk About Me When I'm Gone 2:34
Alto Saxophone – Pete Brown
Clarinet – Edmond Hall
Double Bass [String Bass] – Richard Fullbright
Drums – Cozy Cole
Guitar – John Smith
Piano – Don Frye
Tenor Saxophone – Cecil Scott
Trumpet – Frank Newton
Written-By – Stept, Clare
3    Frankie Newton And His Uptown Serenaders–    Who's Sorry Now? 2:44
Alto Saxophone – Pete Brown
Clarinet – Edmond Hall
Double Bass [String Bass] – Richard Fullbright
Drums – Cozy Cole
Guitar – John Smith
Piano – Don Frye
Tenor Saxophone – Cecil Scott
Trumpet – Frank Newton
Written-By – Kalmar, Ruby, Snyder
4    Frankie Newton And His Uptown Serenaders–    I Found A New Baby 2:37
Alto Saxophone – Pete Brown, Russell Procope
Clarinet, Baritone Saxophone – Edmond Hall
Clarinet, Tenor Saxophone – Cecil Scott
Double Bass [String Bass] – Richard Fullbright
Drums – Cozy Cole
Guitar – John Smith
Piano – Don Frye
Trumpet – Frank Newton
Written-By – Palmer, Williams
5    Frankie Newton And His Uptown Serenaders–    The Brittwood Stomp (I'm A Ding Dong Daddy) 2:42
Alto Saxophone – Pete Brown, Russell Procope
Clarinet, Baritone Saxophone – Edmond Hall
Clarinet, Tenor Saxophone – Cecil Scott
Double Bass [String Bass] – Richard Fullbright
Drums – Cozy Cole
Guitar – John Smith
Piano – Don Frye
Trumpet, Written-By – Frank Newton
6    Frankie Newton And His Uptown Serenaders–    There's No Two Ways About It 2:53
Alto Saxophone – Pete Brown, Russell Procope
Clarinet, Baritone Saxophone – Edmond Hall
Clarinet, Tenor Saxophone – Cecil Scott
Double Bass [String Bass] – Richard Fullbright
Drums – Cozy Cole
Guitar – John Smith
Piano – Don Frye
Trumpet – Frank Newton
Vocals – Slim Gaillard
Written-By – Adamson, McHugh
7    Frankie Newton And His Uptown Serenaders–    'Cause My Baby Says It's So 2:40
Alto Saxophone – Pete Brown, Russell Procope
Clarinet, Baritone Saxophone – Edmond Hall
Clarinet, Tenor Saxophone – Cecil Scott
Double Bass [String Bass] – Richard Fullbright
Drums – Cozy Cole
Guitar – John Smith
Piano – Don Frye
Trumpet – Frank Newton
Vocals – Slim Gaillard
Written-By – Dubin, Warren
8    Frankie Newton And His Uptown Serenaders–    Easy Living 2:47
Alto Saxophone – Gene Johnson, Pete Brown
Clarinet – Edmond Hall
Double Bass [String Bass] – John Kirby
Drums – O'Neil Spencer
Guitar – Frank Rice
Piano – Don Frye
Tenor Saxophone – Cecil Scott
Trumpet – Frank Newton
Vocals – Leon LaFell
Written-By – Robin, Rainger
9    Frankie Newton And His Uptown Serenaders–    The Onyx Hop 2:44
Alto Saxophone – Gene Johnson
Alto Saxophone, Vocals – Pete Brown
Clarinet – Edmond Hall
Double Bass [String Bass] – John Kirby
Drums – O'Neil Spencer
Guitar – Frank Rice
Piano – Don Frye
Tenor Saxophone – Cecil Scott
Trumpet, Vocals, Written-By – Frank Newton
10    Frankie Newton And His Uptown Serenaders–    Where Or When 2:32
Alto Saxophone – Gene Johnson, Pete Brown
Clarinet – Edmond Hall
Double Bass [String Bass] – John Kirby
Drums – O'Neil Spencer
Guitar – Frank Rice
Piano – Don Frye
Tenor Saxophone – Cecil Scott
Trumpet – Frank Newton
Vocals – Leon LaFell
Written-By – Rodgers-Hart
11    Frankie Newton And Orchestra–    Rosetta
Alto Saxophone – Pete Brown
Clarinet – Mezz Mezzrow
Double Bass [String Bass] – John Kirby
Drums – Cozy Cole
Guitar – Albert Casey
Piano – James P. Johnson
Trumpet – Frank Newton
Written-By – Hines
12    Frankie Newton And Orchestra–    Minor Jive 3:05
Alto Saxophone – Pete Brown
Clarinet, Written-By – Mezz Mezzrow
Double Bass [String Bass] – John Kirby
Drums – Cozy Cole
Guitar – Albert Casey
Piano – James P. Johnson
Trumpet – Frank Newton
13    Frankie Newton And Orchestra–    The World Is Waiting For The Sunrise 3:11
Alto Saxophone – Pete Brown
Clarinet – Mezz Mezzrow
Double Bass [String Bass] – John Kirby
Drums – Cozy Cole
Guitar – Albert Casey
Piano – James P. Johnson
Trumpet – Frank Newton
Written-By – Seitz, Lockhart
14    Frankie Newton And Orchestra–    Who? 3:09
Alto Saxophone – Pete Brown
Clarinet – Mezz Mezzrow
Double Bass [String Bass] – John Kirby
Drums – Cozy Cole
Guitar – Albert Casey
Piano – James P. Johnson
Trumpet – Frank Newton
Written-By – Kern, Hammerstein, Harbach
15    Frankie Newton And Orchestra–    The Blues My Baby Gave To Me 3:12
Alto Saxophone – Pete Brown
Clarinet, Written-By – Mezz Mezzrow
Double Bass [String Bass] – John Kirby
Drums – Cozy Cole
Guitar – Albert Casey
Piano – James P. Johnson
Trumpet – Frank Newton
16    Frankie Newton And Orchestra–    Rompin' 2:33
Alto Saxophone – Pete Brown
Clarinet, Written-By – Mezz Mezzrow
Double Bass [String Bass] – John Kirby
Drums – Cozy Cole
Guitar – Albert Casey
Piano – James P. Johnson
Trumpet – Frank Newton
17    Frank Newton Quintet–    Daybreak Blues 2:38
Double Bass [String Bass] – Johnny Williams
Drums – Sidney Catlett
Guitar – Teddy Bunn
Piano – Albert Ammons
Trumpet – Frank Newton
18    Frankie Newton And His Café Society Orchestra–    Tab's Blues 2:54
Alto Saxophone – Stanley Payne
Double Bass [String Bass] – Johnny Williams
Drums – Eddie Dougherty
Guitar – Ulysses Livingston
Piano – Kenny Kersey
Soprano Saxophone, Alto Saxophone, Written-By – Tab Smith
Tenor Saxophone – Kenneth Hollon
Trumpet – Frank Newton
19    Frankie Newton And His Café Society Orchestra–    Jitters 3:00
Alto Saxophone – Stanley Payne
Double Bass [String Bass] – Johnny Williams
Drums – Eddie Dougherty
Guitar – Ulysses Livingston
Piano – Kenny Kersey
Soprano Saxophone, Alto Saxophone, Written-By – Tab Smith
Tenor Saxophone – Kenneth Hollon
Trumpet – Frank Newton
20    Frankie Newton And His Café Society Orchestra–    Frankie's Jump 2:46
Alto Saxophone – Stanley Payne
Double Bass [String Bass] – Johnny Williams
Drums – Eddie Dougherty
Guitar – Ulysses Livingston
Piano – Kenny Kersey
Soprano Saxophone, Alto Saxophone – Tab Smith
Tenor Saxophone – Kenneth Hollon
Trumpet, Written-By – Frank Newton
21    Frankie Newton And His Café Society Orchestra–    Jam Fever 3:06
Alto Saxophone – Stanley Payne
Double Bass [String Bass] – Johnny Williams
Drums – Eddie Dougherty
Guitar – Ulysses Livingston
Piano – Kenny Kersey
Soprano Saxophone, Alto Saxophone, Written-By – Tab Smith
Tenor Saxophone – Kenneth Hollon
Trumpet – Frank Newton
22    Frank Newton Quintet–    After Hour Blues 4:07
Double Bass [String Bass] – Johnny Williams
Drums – Sidney Catlett
Guitar – Teddy Bunn
Piano – Meade Lux Lewis
Trumpet – Frank Newton
23    Frankie Newton And His Café Society Orchestra–    Vamp 2:51
Alto Saxophone – Stanley Payne
Double Bass [String Bass] – Johnny Williams
Drums – Eddie Dougherty
Guitar – Ulysses Livingston
Piano – Kenny Kersey
Soprano Saxophone, Alto Saxophone, Written-By – Tab Smith
Tenor Saxophone – Kenneth Hollon
Trombone – Dicky Wells
Trumpet – Frank Newton
24    Frankie Newton And His Café Society Orchestra–    Parallel Fifths 3:15
Alto Saxophone – Stanley Payne
Double Bass [String Bass] – Johnny Williams
Drums – Eddie Dougherty
Guitar – Ulysses Livingston
Piano – Kenny Kersey
Soprano Saxophone, Alto Saxophone – Tab Smith
Tenor Saxophone – Kenneth Hollon
Trombone – Dicky Wells
Trumpet, Written-By – Frank Newton

DICKIE WELLS – 1927-1943 (1997) The Classics Chronological Series – 937 | FLAC (tracks), lossless

This is the definitive Dickie Wells collection, presenting three very distinct periods in his remarkable career. As an appetizer for five sessions led by this fine trombonist, listeners get to hear his very first recordings, with Springfield, OH, native Lloyd Scott's orchestra in 1927 and Lloyd's brother Cecil Scott's Bright Boys -- featuring trumpeters Frankie Newton and Bill Coleman -- in 1929. This shot of seven outstanding old-fashioned numbers is a perfect example of great music from the late '20s, all but forgotten by the public today but available to dedicated early jazz addicts as part of the Classics Chronological Series. Dickie Wells spent the first half of the 1930s working in bands led by Elmer Snowden, Benny Carter, Chick Webb, and Fletcher Henderson. He joined Teddy Hill's band in 1934 and it was with Hill that Wells traveled to Paris during the summer of 1937. At the heart of this collection lie 12 marvelous recordings waxed during that tour, with the great Django Reinhardt and a few of his French friends sitting in with Wells (billed here as "Dicky") and a small team of seasoned North American swing musicians. Bill Coleman made himself at home, scat singing with gutsy nonchalance on "Hangin' Around Boudon." Additional trumpeters were Bill Dillard and Shad Collins, with further U.S. input from alto saxophonist Howard Johnson, pianist Sam Allen, bassist Richard Fullbright, and ace drummer Bill Beason. Dickie Wells was an accomplished trombonist, capable of expressing a full range of human emotions using growls, smears, glissandi, and honest, straight-up melodic candor. "Oh, Lady Be Good" and "Dicky Wells Blues" feature the trombone backed by a rhythm trio, highlighting his musical personality in living color. A veritable chasm lies between these 1937 recordings and the next session, recorded in December 1943 for Bob Thiele's Signature label. By this time, Wells had come through the fire of the Count Basie Orchestra, bringing with him several key players from that formidable swing machine. Most importantly, listeners get to hear Lester Young only months before his ill-fated encounter with the U.S. Army. Prez, Dickie, and Bill Coleman are each in fine form, jamming hard with solid support from a fine rhythm section in pianist Ellis Larkins, guitarist Freddie Green, bassist Al Hall, and master drummer Jo Jones. Because of Wells' nominal leadership and the fact that it was originally issued by a small independent label, this session is less well-known than Young's work with Basie and his Aladdin and Verve recordings. It is essential listening for all Lester Young fans, and should be digested along with Young's remarkable Keynote Quartet session that took place one week later. arwulf arwulf  
Tracklist :
1 Harlem Shuffle 3:03    
Kenneth Roane
Dicky Wells / feat: Lloyd Scott & His Orchestra
2 Symphonic Screach (Symphonic Scronch) 2:50    
Don Frye / Hubert Mann / Lloyd Scott
Dicky Wells / feat: Lloyd Scott & His Orchestra
3 Happy Hour Blues 2:40    
Don Frye / Lloyd Scott
Dicky Wells feat: Lloyd Scott & His Orchestra
4 Lawd, Lawd 3:07    
Cecil Scott
Dicky Wells feat: Cecil Scott & His Bright Boys
5 In a Corner 2:54    
Cecil Scott
Dicky Wells feat: Cecil Scott & His Bright Boys
6 Bright Boy Blues 3:06    
Don Frye / Cecil Scott
Dicky Wells feat: Cecil Scott & His Bright Boys
7 Springfield Stomp 3:07    
Don Frye / Cecil Scott
Dicky Wells feat: Cecil Scott & His Bright Boys
8 Bugle Call Rag 2:40    
Billy Meyers / Jack Pettis / Elmer Schoebel
 9 Between the Devil and the Deep Blue Sea 2:45    
Harold Arlen / Ted Koehler
 10 I Got Rhythm 2:11    
George Gershwin / Ira Gershwin
 11 Sweet Sue 3:03    
Will J. Harris / Victor Young
 12 Hangin' Around Boudon 2:52    
Dicky Wells
13 Japanese Sandman 2:56    
Richard A. Whiting / Albert Willemetz
 14 I've Found a New Baby 2:50    
Jack Palmer / Spencer Williams
 15 Dinah 2:46    
Harry Akst / Sam M. Lewis / Joe Young
 16 Nobody's Blues But My Own 3:00    
Dicky Wells
 17 Hot Club Blues 3:06    
Dicky Wells
 18 Oh, Lady Be Good 2:55    
George Gershwin / Ira Gershwin
 19 Dicky Wells Blues 3:18    
Dicky Wells
 20 I Got Rhythm 4:13    
George Gershwin / Ira Gershwin
21 I'm Fer It, Too 4:10    
Dicky Wells
22 Linger Awhile 3:05    
Harry Owens / Vincent Rose
23 Hello Babe 3:06
Dicky Wells