FRANKIE TRUMBAUER AND HIS ORCHESTRA – 1927-1928 | The Chronogical Classics – 1188 (2001) FLAC (tracks+.cue), lossless

C-melody saxophonist Frankie Trumbauer is best remembered for the recordings he made in the late '20s with cornetist Bix Beiderbecke. Trumbauer's other lasting accomplishment was to inadvertently inspire Lester Young to develop an unusually subtle manner of handling the tenor saxophone. While most of this material may be found on various Beiderbecke-oriented compilations (the JSP box Bix & Tram is thriftily priced), there's nothing quite like having a Classics discography to organize one's cognition while following the trail of old records in precise chronological sequence. Informational details such as record labels, arranger credits, and recording dates are neatly presented for maximum clarity and comprehension. This first volume in the complete works of Frankie Trumbauer consists entirely of recordings made for the Okeh label between February 4, 1927, and January 20, 1928. The material ranges from archetypal masterpieces ("Singin' the Blues," "Ostrich Walk," "I'm Coming, Virginia," and "A Good Man Is Hard to Find") to marvelously stodgy milestones of timeworn pop music. "Sugar" -- not Maceo Pinkard's tune but a long-gone opus credited to Yellen & Ager -- is sung by a positively silly trio of comedians whereas "Just an Hour of Love" and "I'm Wonderin' Who" feature vaudeville-trained vocalist Irving Kaufman. Instrumentally speaking, there's never a dull moment. Adrian Rollini appears and disappears like a bass sax-toting will o' the wisp; Joe Venuti brandishes a fiddle and Eddie Lang plays both banjo and guitar, even appearing in a trio with Bix and Tram on "For No Reason at All in C" and Fats Waller's "Wringin' and Twistin'." Pee Wee Russell and Jimmy Dorsey each show up long enough to contribute their two bits, someone's sax whinnies like a horse at the end of "There'll Come a Time," and Bing Crosby merrily mouths the racist lyrics to "Mississippi Mud." Throughout all of this, Beiderbecke sounds like an angel playing hooky from heaven. arwulf arwulf  
Tracklist :

FRANKIE TRUMBAUER AND HIS ORCHESTRA – 1928-1929 | The Chronogical Classics – 1216 (2001) FLAC (tracks+.cue), lossless

Tracks one through 19 of this second volume in the complete works of Frankie Trumbauer represent the last recordings that "Tram" made in the company of his friend Bix Beiderbecke. For generations each of these performances has been studied and savored primarily for the cornet passages (check that intro to "Borneo"!) and for Trumbauer's gentle handling of the C melody saxophone. During this period, most of Trumbauer's records were decorated with vocal passages of sometimes laughably puerile quality, as heard here on "Lila" and "Our Bungalow of Dreams." This anonymous vocalist, a staunch advocate of the "gee-whiz" style of singing, hid behind the pseudonym of Noel Taylor, used by the OKeh company to camouflage their sometimes questionable talent. Other singers include Scrappy Lambert, a cottony specimen by the name of Charles Gaylord, Smith Ballew, and Trumbauer himself. Be advised that "Bless You! Sister," "Dusky Stevedore," and "Take Your Tomorrow" are each thickly larded with Jim Crow racial stereotyping, as white men in audio-blackface carry on in minstrel show fashion. Ethically speaking, together with Lambert's assessment of "bamboo babies" on "Borneo," this is a low point in the Trumbauer story, even if "Take Your Tomorrow" does contain some measure of humorous theatrical timing. What endears lovers of early jazz to this spotty body of works is the presence of Bix Beiderbecke and guitarist Eddie Lang. Recorded on April 30, 1929, "I Like That," Bix and Tram's last recorded collaboration, is rosy and uplifting. Despite the absence of Bix on the remaining tracks, the positive vibrations continue and before you know it violinist Matty Malneck has been replaced by the inventive Joe Venuti. "What a Day!," "Alabamy Snow," and the zany "Shivery Stomp" are tasty instrumental foxtrots that bear repeated listening. arwulf arwulf  
Tracklist :

FRANKIE TRUMBAUER AND HIS ORCHESTRA – 1929-1931 | The Chronogical Classics – 1245 (2002) FLAC (tracks+.cue), lossless

C-melody saxophonist Frankie Trumbauer will always be most famous for the recordings that he made with cornetist Bix Beiderbecke but he also led a series of fine sessions after Bix had departed the Paul Whiteman Orchestra. This CD features Trumbauer leading a large combo filled with Paul Whiteman sidemen during 1929-30 and a nonet in 1931. While some of the numbers are a bit commercial and there are vocals by Smith Ballew, Art Jarrett and Trumbauer himself, there are also some fine jazz solos from the leader, cornetist Andy Secrest, violinist Joe Venuti and trombonist Bill Rank. Among the better tracks are "Manhattan Rag" (which has Hoagy Carmichael on piano), "Happy Feet," "Get Happy" and "Honeysuckle Rose." Scott Yanow  
Tracklist :

FRANKIE TRUMBAUER AND HIS ORCHESTRA – 1932-1936 | The Chronogical Classics – 1275 (2002) FLAC (tracks+.cue), lossless

The 1930s recordings of C-melody saxophonist Frankie Trumbauer are fairly obscure, particularly compared to his classic 1927-29 collaborations with Bix Beiderbecke. This set starts with a couple sessions from 1932 that feature a large ensemble mostly taken from the Paul Whiteman Orchestra. A couple of interesting medleys benefit from fine arrangements and the band also sounds strong on "Business in Q" and "The Newest St. Louis Blues." There are two sessions from 1934 that feature trumpeter Charlie Teagarden and trombonist Jack Teagarden (who sings "Emaline" and "'Long About Midnight") and includes a version of Beiderbecke's "In a Mist." The other session from 1934 has spots for trumpeter Bunny Berigan and clarinetist Artie Shaw while the numbers from 1936 again include both Charlie and Jack Teagarden. The material is pretty jazz-oriented and some of the other memorable tracks are "China Boy," "Breakin' in a Pair of Shoes" and "Somebody Loves Me." This is excellent music that serves as a transition between the classic jazz of the 1920s and swing. Scott Yanow  
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FRANKIE TRUMBAUER AND HIS ORCHESTRA – 1936-1946 | The Chronogical Classics – 1331 (2003) FLAC (tracks+.cue), lossless

Despite the fact that, compared to his contemporaries like Jack Teagarden and Artie Shaw, there are relatively few Frankie Trumbauer recordings as a leader, this period, from the mid-'30s to the mid-'40s, is arguably his most satisfying. Here with the Three Ts (Trumbauer with Jack and Charlie Teagarden) and leading a few bands with Shaw, Pee Wee Erwin, Carl Kress, Matty Matlock, John Kiefer, Bob Haggart, and more as sidemen, Trumbauer laid down some of his most memorable sessions, recording tunes such as "'S Wonderful," "Ain't Misbehavin'," "I Don't Stand a Ghost of a Chance," and 18 more. Along with Teagarden's stunning vocal style, reaching its peak during these years, and the deep swinging blues approach, these sides have been ignored for far too long under Trumbauer's signature.
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JOE VENUTI – 1928-1930 | The Chronogical Classics – 1246 (2002) FLAC (tracks), lossless

Even as the Joe Venuti/Eddie Lang instrumentals from the late '20s are worth their weight in gold, more than half of the fun in listening to an overview of this section of their complete recorded works is derivable from the often silly vocalists. Pianist Rube Bloom had a charmingly wobbly voice, preferable perhaps to the too-perfect, painfully innocent, but nevertheless endearing efforts of Smith Ballew. "Sensation," in addition to proving that Jimmy Dorsey could play the hell out of the baritone sax, contains Bloom's wildest vocal, consisting of bursts of scat singing mingled with dramatic moans and pleas for medical/musical assistance in what was apparently intended as a steamy sequel to "Hello Central Give Me Doctor Jazz." The delightful wordless vocal on the marvelous "I Must Have That Man" has often been attributed to Venuti himself. This CD's discography assigns it to drummer Chauncey Morehouse. Everyone agrees that the tuba solo is by the mighty Joe Tarto. Scrappy Lambert squeezes out two hilariously enigmatic love songs, "I Am Only Human After All" and "Out of Breath and Scared to Death of You." The last three tracks on this volume of the Classics Joe Venuti chronology are not so well known, probably because of the comparatively glib vocalists. Back to the instrumentals -- there are only five, but each one is a masterpiece. A 1928 remake of "Doin' Things," recorded with a smaller group the previous year, is refreshing. "Runnin' Ragged," recorded in October of 1929, features Frankie Trumbauer on bassoon. The idyllic "Apple Blossoms," a collectively composed serenade, is a study in perfect peace. Adrian Rollini, armed with bass sax, goofus, and hot fountain pen, enlivened the next Blue Four session, which took place during the spring of the following year. The musicianship on this collection is often astonishing, and the effect upon the central nervous system is known to be beneficial. Everything heard here is priceless for the fact that it is possible to derive from each performance a completely unfounded sense of well-being. In a jaded, postmodern world, that is a precious thing. arwulf arwulf  
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BIX BEIDERBECKE – 1924-1927 | The Chronogical Classics – 778 (1994) FLAC (tracks+.cue), lossless

Bix Beiderbecke's earliest recordings open this first volume of his complete works as presented by the Classics chronological reissue label. While some other compilations actually skip the marvelous Gennett recordings that 21-year-old Beiderbecke made with the Wolverine Orchestra between February 18 and October 7, 1924, this wonderful edition presents these precious artifacts as a prelude to his first recordings as a leader. The Wolverine Orchestra stood for primal Chicago-styled New Orleans polyphony. One may turn to these old records again and again for solace, comfort and inspiration. "Jazz Me Blues," lovingly described by historian Ralph Berton as "an X-rated title," is a fundamental cornerstone of traditional jazz. "Royal Garden Blues" is a miracle of collective cooperation, and "Lazy Daddy" is prized for trombonist George Brunies' throaty kazoo solo. Beiderbecke's last Gennett recordings were made in October 1924 with a band, billed as the Sioux City Six, that included trombonist Miff Mole and C Melody saxophonist Frankie Trumbauer; then in January 1925 as Beiderbecke led his own Rhythm Jugglers with slip-horn sheik Tommy Dorsey close by. Some folks would pinpoint this little group's rendering of Beiderbecke's "Davenport Blues" as a high point of his career and maybe even of 20th century human endeavor. On September 9, 1927 Bix Beiderbecke recorded for the Okeh label a Debussy-inspired set of harmonic variations for solo piano titled "In a Mist" (later issued as "Bixology"). During September and October 1927 Beiderbecke sat in with a band identified on the Harmony record label as the Broadway Bell-Hops, and assisted the Chicago Loopers in the creation of two sides issued by Pathe Actuelle. A collective personnel inventory for these two groups is exciting for those who know their early jazz history. Highlights include violinist Joe Venuti, tuba titan Joe Tarto, guitarist Carl Kress, pianists Arthur Schutt and Frank Signorelli, as well as creative percussionist Vic Berton. Some jazz purists might get rankled hearing vaudevillian vocals by Irving Kaufman or the loopy Deep River Quartet, but these historical performances are well worth experiencing, particularly the Quartet's charming rendition of Fats Waller's catchy "I'm More Than Satisfied." Beiderbecke's best collaborations with Frankie Trumbauer appear in the Classics Trumbauer chronology because they were originally issued under Trumbauer's name. Most of the rest of the Beiderbecke story is documented under his name on four Classics compilations, beginning with this excellent first installment. arwulf arwulf  
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BIX BEIDERBECKE WITH PAUL WHITEMAN – 1927-1928 | The Chronogical Classics – 1208 (2001) FLAC (tracks+.cue), lossless

Although this is technically the third volume in the Classics Bix Beiderbecke chronology, close examination reveals that volumes three and four retrace a timeline already traversed by the earlier installments, resulting in a reshuffled, non-linear progression that is atypical of the Classics Chronological Series yet seems oddly appropriate for an authentically surreal character like Beiderbecke. This volume follows a timeline from November 18, 1927 to April 22, 1928. Because the producers of this series ladled most of the "Bix & Tram" collaborations into the Frankie Trumbauer portion of their label's catalog, the entire Classics "Bixology" initially fit into two volumes (issued in 1996) with two additional volumes (issued in 2002) documenting Beiderbecke's tenure as a sideman with the Paul Whiteman Orchestra during the years 1927-1929. Shunned for years by jazz purists unwilling to stoop so low as to listen to Whiteman's string-infested ensemble, these are the great, marginalized and misunderstood works of Bix Beiderbecke. With arrangements by Bill Challis and quaint vocals by Hoagy Carmichael, Bing Crosby and the Rhythm Boys (among others), the listener is advised to enjoy the antiquated charm of late-'20s pop music while listening carefully for Beiderbecke's hot cornet passages in and among the more conventional (but also Beiderbecke-informed) trumpet breaks by Henry Busse. Beiderbecke's tallies vary; eight bars during "Mary," 16 bars muted during "Changes" and an entire chorus of 32 bars in "Dardanella." Naturally, there's never enough Bix to fully satisfy, but there never was to begin with. And he wasn't acting alone. Some of Beiderbecke's running buddies show up in the Whiteman flock; reedmen Frankie Trumbauer, Min Leibrook and Jimmy Dorsey, trombonist Bill Rank and bassist Steve Brown were responsible for helping Beiderbecke to conjure most of the jazz that wormed its way into these harmless, pleasantly dated performances. The singers are fun and the instrumentals are fascinating, especially the excerpt from Ferde Grofé's "Metropolis." Repeated listening allows truly devout Bixologists to identify his wonderful contributions and savor each solo, nuance for nuance and note by note. arwulf arwulf
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BIX BEIDERBECKE WITH PAUL WHITEMAN – 1928-1929 | The Chronogical Classics – 1235 (2002) FLAC (tracks+.cue), lossless

This is the fourth volume in the Classics Bix Beiderbecke chronology, and the second volume documenting the recordings he made with society bandleader Paul Whiteman. It traces a timeline from April 23, 1928 to September 13, 1929. Because all of Beiderbecke's "legitimated" jazz recordings as a leader and with Frankie Trumbauer's orchestra were reissued by Classics years prior to the Beiderbecke/Whiteman volumes, this is a highly unusual example of a non-linear progression in the more or less tidily sequential Classics Chronological Series. (Stray tracks have been known to appear out of order in other artists' Classics chronologies, but a deviation of this magnitude is unprecedented). What you get here is a Beiderbecke retrospective that picks up where the old '60s Columbia compilation LP Whiteman Days left off. Beiderbecke didn't exist long enough to leave more than meager recorded evidence of his remarkable artistry, and there's no escaping the fact that some of his oeuvre involves a large pop orchestra sugared over with keening violins and peppered with pretentious pop vocals. Then again, the Whiteman/Beiderbecke recordings sound better than generations of jazz critics have ever cared to admit in public. This charmingly dated popular music is well worth experiencing because of the jazz musicians -- in this case Frankie Trumbauer and Bix Beiderbecke -- who made a living for a little while by signing on with this established bandleader. Then again, Whiteman was well known as an arrogant, egotistical, bigoted boor whose reputation among jazz musicians was permanently tarnished following his notorious brawl in the men's room at the Club Whiteman with percussionist Vic Berton and saxophonist Paul Cartwright, during which Whiteman coldly instructed one of his waiters to bust out Cartwright's teeth with a blackjack. Although this information makes Whiteman appear more repulsive than ever, those who are truly smitten by the cornet artistry of Leon Bix Beiderbecke are encouraged to listen to what he was capable of accomplishing even as a sideman in an artificially sweetened pop orchestra fronted by a bloated, tuxedoed anti-Semite. And now that the Whiteman/Beiderbecke records have been compiled and made available to the public, the only remaining portion of Bix's legacy still waiting to be reissued by the producers of the Classics Chronological Series are the recordings he made with the Jean Goldkette orchestra. arwulf arwulf
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MILDRED BAILEY – 1929-1932 | The Classics Chronological Series – 1061 (1999) FLAC (tracks), lossless

This is the first volume in the Classics label's chronological profile of vocalist Mildred Bailey. It documents the beginning of her recording career with 24 titles she waxed for the Parlophone, Okeh, Brunswick and Victor labels between October 5, 1929 and August 11, 1932. She was born Mildred Rinker on a wheat farm inside of an Indian reservation near the Idaho panhandle in Tekoa WA on February 27, 1907. Mildred and her family were members of the First Nation Coeur d'Alene or Schitsu'umsh tribe. Mildred's mother Josie Rinker was an accomplished pianist who specialized in ragtime. In 1913, the family moved to Spokane, where Mildred and her brothers befriended a boy named Harry Lillis "Bing" Crosby. By the age of 17, Mildred was living with relatives in Seattle and working as a singer demonstrating songs in a sheet music store. She entered showbiz using the surname of her first husband, Ted Bailey. After developing her skills by singing in speakeasies and over the radio in the Northwest, Mildred Bailey married a bootlegger named Benny Stafford and moved to Los Angeles where she began attracting a lot of attention by singing in nightclubs on the Sunset Strip. (Legend has it she also operated her own highly acclaimed illicit microbrewery.) In 1925, Bing Crosby and Al Rinker dropped out of college, hopped in a Model T and drove from Spokane to Hollywood where Mildred Bailey showed them around and hooked them up with her best showbiz contacts. By October 1926 Crosby and Rinker were working for society bandleader Paul Whiteman. Teamed with Harry Barris in a trio nationally recognized as The Rhythm Boys, they eventually expressed their gratitude by introducing Mildred Bailey to Whiteman in 1929. Whiteman hired her at once; her voice was soon heard on national radio broadcasts and by 1930 she was his highest-paid performer. (The ethical nadir of her discography occurred on November 30, 1931 when Whiteman had her sing "That's Why Darkies Were Born.") Apart from four attractive sides cut with the Casa Loma Orchestra in September 1931, most of the recordings making up this segment of Mildred Bailey's chronology involve either the Paul Whiteman Orchestra or smaller ensembles largely composed of musicians who were affiliated with the self-styled "King of Jazz." Mildred's first two session bands were led by guitarist Eddie Lang and saxophonist Frankie Trumbauer, with cornet passages by Andy Secrest that were carefully patterned after the style of Bix Beiderbecke, who had made his last recording with the Whiteman orchestra only weeks earlier on September 13, 1929. Beiderbecke's combined absence and presence are eerily evident. It's obvious why Mildred Bailey caught on so quickly as a vocalist; all of her best traits -- sweetness, charm, passion and poise -- were evident from the very beginning. Tougher than Annette Hanshaw and gutsier than Ruth Etting, sometimes Mildred let loose like a sassy American girl; on "I Like to Do Things for You" she even sounds like Helen Kane. At her best, Mildred Bailey was a gifted interpreter of ballads and topical amusements; her superb abilities as a jazz and pop vocalist are well represented by this first volume of her complete recorded works. arwulf arwulf  
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JACK TEAGARDEN AND HIS ORCHESTRA – 1934-1939 | The Classics Chronological Series – 729 (1993) FLAC (tracks+.cue), lossless

Shortly before selling his soul to Paul Whiteman for five long years, trombonist Weldon Leo "Jack" Teagarden and his orchestra made three beautiful recordings that still sound uncommonly cool, honest, and authentic. This session, which took place in New York on September 18, 1934, closes out Teagarden's early years as a bandleader. The instrumental "Junk Man" is a relaxed blues ambulation of remarkable depth and subtlety, featuring string harpist Casper Reardon who swung easily in a style similar to that of Robert Maxwell. Flanked by Benny Goodman and Frankie Trumbauer, Jack's brother Charlie Teagarden blew some of his best trumpet on record. Texas crooner Mr. T sang on two of the three records made that day, handsomely drawling the words to "Stars Fell on Alabama," as if lyricist Frank Perkins had devised them just for him. Years passed. The minute his contract with Whiteman expired, Teagarden resumed making records under his own name for the Brunswick label on April 14, 1939, collaborating with trumpeter Charlie Spivak in leading a 15-piece orchestra that operated in a sort of Dorsey/Goodman/Barnet groove, with lush harmonies emanating from the trombone section. Present in this band were arranger Fred Van Eps, Jr. and saxophonist John Van Eps, sons of legendary early 20th century ragtime banjoist Fred Van Eps and brothers of jazz guitar wizard George Van Eps. The other important participant here was the great Ernie Caceres, heard playing clarinet and tenor sax in addition to his customary baritone. "Persian Rug," which first entered the jazz repertoire back in 1928 as a sort of chamber jazz oddity by Fats Waller and the Louisiana Sugar Babes, here becomes a punchy big-band workout. Teagarden's vocals are invariably warm and delightful, and there are only occasional incursions by conventional big-band singers Jeanie Arnold and Linda Keene. Of the four remaining instrumentals, "Pickin' for Patsy" is a relatively modernistic feature for guitarist Allan Reuss, "Undertow" a soothing nocturne for jazz orchestra, "Blues to the Dole" a laid-back big-band embodiment of Teagarden's personality and most excitingly, a full ensemble arrangement of Willie "The Lion" Smith's masterpiece, "Rippling Waters." arwulf arwulf  
Tracklist :
1    Junk Man    3:04
 Frank Loesser / George W. Meyer
2    Stars Fell On Alabama 3:00
 Mitchell Parish / Frank Perkins
Vocals – Jack Teagarden
3    Your Guess Is As Good As Mine 2:45
 Al Goodhart / Al Hoffman / Maurice Sigler
Vocals – Jack Teagarden
4    Persian Rug 2:19
 Gus Kahn / Neil Moret
Arranged By – Red Bone
5    The Sheik Of Araby 2:37
 Harry Beasley Smith / Ted Snyder / Francis Wheeler
Vocals – Jack Teagarden, Meredith Blake
6    Class Will Tell 2:37
 Joe Burke / Edgar Leslie
Vocals – Jack Teagarden
7    If It's Good (Then I Want It) 2:51
 Walter Hirsch / Gerald Marks
Vocals – Jack Teagarden
8    Cinderella, Stay In My Arms 2:50
 Michael Carr / Jimmy Kennedy
Vocals – Jack Teagarden
9    I Gotta Right To Sing The Blues 2:40
 Harold Arlen / Ted Koehler
Vocals – Jack Teagarden
10    That's Right - I'm Wrong 2:22
 Stanley Adams / Hoagy Carmichael
Vocals – Jean Arnold
11    Yankee Doodle 2:54
 Traditional
Arranged By – Fred van Eps Jr.
Vocals – Jean Arnold
12    White Sails (Beneath A Silver Moon) 3:13
Archer / Kenny
Vocals – Linda Keene
13    Octoroon 3:23
 Harry Warren
Vocals – Jack Teagarden
14    Pickin' For Patsy    2:39
 Allan Reuss / Jack Teagarden
15    Undertow    3:20
 Edgar Battle / Glenn Miller
16    Especially For You 2:57
 Orrin Tucker
Vocals – Linda Keene
17    You Know (Just As Well As I Know) 2:47
 Joe King
Vocals – Jack Teagarden
18    You're The Moment In My Life 2:48
 Henry Nemo
Vocals – Linda Keene
19    The Little Man Who Wasn't There 2:43
 Harold Adamson / Bernie Hanighen
Vocals – Jack Teagarden
20    Puttin' And Takin' 3:00
 Gene DePaul / Al Jacobs
Vocals – Jack Teagarden
21    I Swung The Election 2:31
 Glenn Miller / Jack Teagarden
Vocals – Jack Teagarden
22    Blues To The Dole    2:48
 Edgar Battle / Franz Jackson
23    Aunt Hagar's Blues 2:45
 Tim Brymn / W.C. Handy
Vocals – Jack Teagarden
24    Rippling Waters    2:30
 Willie "The Lion" Smith
Credits :    
Bass [String Bass] – Art Miller
Clarinet – Benny Goodman (tracks: 1 to 3)
Clarinet, Alto Saxophone – Art St. John (tracks: 4 to 24), Clint Garvin (tracks: 4 to 24)
Clarinet, Tenor Saxophone – Hub Lytle (tracks: 4 to 24), John Van Eps (tracks: 4 to 24)
Clarinet, Tenor Saxophone, Baritone Saxophone – Ernie Caceres (tracks: 4 to 24)
Drums – Cubby Teagarden (tracks: 4 to 24), Herb Quigley (tracks: 1 to 3)
Guitar – Allan Reuss (tracks: 4 to 24)
Harp – Casper Reardon (tracks: 1 to 3)
Piano – John Anderson (tracks: 4 to 24), Terry Shand (tracks: 1 to 3)
Saxophone [C Melody] – Frankie Trumbauer (tracks: 1 to 3)
Trombone – Charles McCamish (tracks: 7 to 24), Jack Teagarden, Jose Gutierrez (tracks: 4 to 24), Mark Bennett (tracks: 4 to 24), Red Bone (tracks: 4 to 6)
Trumpet – Alec Fila (tracks: 4 to 6), Charlie Spivak (tracks: 4 to 24), Charlie Teagarden (tracks: 1 to 3), Carl Garvin (tracks: 4 to 24), Lee Castle (tracks: 7 to 24)

RED NICHOLS – 1927-1928 | The Classics Chronological Series – 1241 (2002) FLAC (tracks+.cue), lossless

Loring "Red" Nichols was an expert cornet player, a solid improviser, and apparently a workaholic, since he is rumored to have appeared on over 4,000 recordings during the 1920s alone. One of the ways he managed this feat was by appearing under countless different names, and in the case of this collection covering the years 1927 and 1928, he made recordings as Red Nichols & His 5 Pennies, the Six Hottentots, Red & Mill's Stompers, and Red Nichols' Stompers. Pay no attention to whether there were five Pennies or six Hottentots, since Nichols' groups tended to be eight or ten pieces or more, no matter what the moniker read, and usually featured longtime associates Miff Mole on trombone, Jimmy Dorsey on clarinet or alto sax, and the marvelous Dudley Fosdick on mellophonium. This collection features one of the biggest hits of Nichols' career, "Ida, Sweet as Apple Cider," and like "Cornfed," also collected here, it effortlessly combines a sophisticated arrangement with a kind of easy, down-home feel that masks its complexities. Although critics often brush right by him, Nichols was always a fresh and innovative arranger and bandleader. Steve Leggett  
Tracklist :
1    Red Nichols And His Five Pennies–    Bugle Call Rag    2:51
2    Red Nichols And His Five Pennies–    Back Beats    2:50
3    The Six Hottentots–    I'm In Love Again    2:48
4    The Six Hottentots–    Sometimes I'm Happy    3:05
5    The Six Hottentots–    Rosy Cheeks    2:55
6    The Six Hottentots–    The Memphis Blues    3:09
7    The Six Hottentots–    Melancholy Charlie    2:57
8    The Six Hottentots–    Hurricane    3:01
9    Red Nichols And His Five Pennies–    Cornfed    2:50
10    Red Nichols And His Five Pennies–    Five Pennies    2:48
11    Red Nichols And His Five Pennies–    Mean Dog Blues    3:11
12    Red Nichols And His Five Pennies–    Riverboat Shuffle 3:01
Arranged By – Fud Livingston
13    Red Nichols And His Five Pennies–    Eccentric 2:58
Arranged By – Fud Livingston
14    Red Nichols And His Five Pennies–    Ida, Sweet As Apple Cider 2:47
Arranged By – Lennie Hayton
15    Red Nichols And His Five Pennies–    Feelin' No Pain 2:54
Arranged By – Fud Livingston
16    Red And Miff's Stompers–    Slippin' Around    2:45
17    Red And Miff's Stompers–    Feelin' No Pain    3:04
18    Red Nichols' Stompers–    Sugar    3:17
19    Red Nichols' Stompers–    Make My Cot Where The Cot-Cot-Cotton Grows    3:18
20    Red Nichols And His Five Pennies–    Nobody's Sweetheart    3:05
21    Red Nichols And His Five Pennies–    My Gal Sal    3:08
22    Red Nichols And His Five Pennies–    Avalon    3:07
23    Red Nichols And His Five Pennies–    Japanese Sandman    3:16
Credits :
Alto Saxophone – Max Farley (tracks: 18, 19)
Bass Saxophone, Instruments [Goofus] – Adrian Rollini (tracks: 9 to 15, 18, 19)
Brass Bass – Jack Hanson (tracks: 16 to 19), Joe Tarto (tracks: 3 to 8)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 1 to 11)
Clarinet, Tenor Saxophone – Fud Livingston (tracks: 11 to 17, 20 to 23), Pee Wee Russell (tracks: 11 to 23)
Drums – Chauncey Morehouse (tracks: 18, 19), Vic Berton (tracks: 1 to 17, 20 to 23)
Guitar – Carl Kress (tracks: 16 to 23), Dick McDonough (tracks: 12 to 15), Eddie Lang (tracks: 1, 2, 9 to 11)
Mellophone – Dudley Fosdick (tracks: 20 to 23)
Piano – Arthur Schutt (tracks: 1 to 11)
Piano [Either/Or] – Arthur Schutt (tracks: 18, 19), Lennie Hayton (tracks: 18, 19)
Piano, Celesta – Lennie Hayton (tracks: 12 to 17, 20 to 21)
Saxophone [C-Melody] – Frank Trumbauer (tracks: 18, 19)
Trombone – Bill Rank (tracks: 18, 19), Miff Mole (tracks: 1 to 15, 18 to 23), Unknown Artist (tracks: 18, 19)
Trumpet – Bo Ashford (tracks: 18, 19), Leo McConville (tracks: 12 to 15), Manny Klein (tracks: 12 to 15), Red Nichols
Violin – Joe Venuti (tracks: 1, 2, 9 to 11)
Vocals – Charlie Farrell (tracks: 18, 19), Irving Kaufman (tracks: 3 to 5), Jim Miller (17) (tracks: 18, 19)