In 1995, Document Records devoted four CDs to the complete recorded works of legendary cabaret vocalist Mamie Smith. In the words of multi-instrumentalist Garvin Bushell, "Mamie Smith wasn't a real blues singer like Bessie Smith. She didn't get in between the notes like Bessie did. Mamie was what we called a shouter. But the white people called it blues!" A native of Cincinnati OH, Mamie Robinson came up in traveling variety shows, landed in Harlem in 1912 and obtained her second surname by marrying one William Smith, a theatrical tenor professionally known as Sweet Singing Smitty. One night in early 1920, William asked pianist Willie "The Lion" Smith to put together a band to accompany Mamie during an Okeh recording session at the General Phonograph Corporation on West 45th Street, in a time slot initially reserved for Sophie Tucker. The Lion went and heard Smith in performance at Digg's Cafe, noted that "she was O.K." and set about organizing a quintet using part of the house band at the Orient, a nightclub on 135th Street between Lenox and Fifth Avenues. The first group ever to record as Mamie Smith's Jazz Hounds consisted of The Lion, clarinetist Ernest Sticky Elliott, either Addington Major or Ed Cox on cornet, and trombonist Ward "Dope" Andrews, who had recorded with Noble Sissle and James Reese Europe in 1919; Andrews had a very talented and famous nephew in trumpeter Charlie Shavers. Partly because it was believed that the recording equipment wouldn't pick up the string bass and couldn't handle a full drum kit, the addition of violinist Leroy Parker was deemed sufficient to complete the ensemble. On February 14, 1920 this unit recorded "You Can't Keep a Good Man Down" and "That Thing Called Love", employing a subdued style that was typical of theater pit orchestras throughout New York. Conflicting theories abound as to the actual identity of this group; its rather staid accompaniments have led Brian Rust and others to conclude that it was really an unidentified white studio ensemble. Perhaps a more accurate assessment would take into account similar-sounding records made during this period by African American groups under the leadership of Wilbur Sweatman, W.C. Handy, James P. Johnson, and Fletcher Henderson.
Many of this singer's earliest recordings used material composed by Perry Bradford, a rather aggressive businessman who acted as her band's manager and conductor. It was Bradford who named them the Jazz Hounds. "Crazy Blues" has often been cited by jazz historians as the first record that proved to the people running the racially segregated recording industry that African American artists were capable of generating hit records; that a paying clientele existed for such stuff, and that money could apparently be made by selling any record with the word "blues" in the title. Within one month of its release "Crazy Blues" had sold 10,000 units and Mamie Smith had broken the color bar while helping Okeh get established as a viable recording enterprise. The melody was initially called "Harlem Blues," and like James P. Johnson's "Mama's and Papa's Blues" of 1916, had its roots in a bawdy old cathouse number called "Baby, Get That Towel Wet." The flipside, "It's Right Here for You" was revisited by young Tommy Dorsey in 1928 (on his first session as a leader, blowing trumpet) and by Eddie Condon's band in 1939. Smith's original vocal take stands as a pleasant prelude to those masterful cover versions. While Bradford and a pushy specimen named Ocie Wilson each tried to oust the other so as to prevail as Mamie Smith's manager, the Jazz Hounds were largely directed by Memphis cornetist Johnny Dunn throughout most of the period covered by this album, with appearances by clarinetist Buster Bailey, trombonist Herb Fleming, pianist Phil Worde, xylophonist Mort Perry, and tuba tackler Chink Johnson. Dunn conducted the Jazz Hounds at the Lafayette Theater while perched on a high stool with horn in hand. For those who would like to savor the sounds of the Jazz Hounds without Mamie Smith, the instrumental tracks on Volume 1 are "Royal Garden Blues," "Shim-Me-King's Blues," a remake of "That Thing Called Love," "Old Time Blues," "Baby, You Made Me Fall for You," and "You Can't Keep a Good Man Down." The final three tracks on this collection find Mamie Smith backed by a group of white men led by saxophonist Joseph Samuels, which accounts for the title "Sax-O-Phoney Blues." arwulf arwulf
Tracklist :
1 Mamie Smith– That Thing Called Love (7275) 3:09
Bass Saxophone – Unknown Artist
Clarinet – Ernest Elliott
Cornet – Ed Cox
Orchestra – Rega Orchestra
Piano – Willie "The Lion" Smith
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
2 Mamie Smith– You Can't Keep A Good Man Down 3:15
Bass Saxophone – Unknown Artist
Clarinet – Ernest Elliott
Cornet – Ed Cox (3)
Orchestra – Rega Orchestra
Piano – Willie "The Lion" Smith
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
3 Mamie Smith, Acc. Her Jazz Hounds– Crazy Blues 3:18
Clarinet – Ernest Elliott
Cornet [Either/Or] – Addington Major, Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Willie "The Lion" Smith
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
4 Mamie Smith, Acc. Her Jazz Hounds– It's Right Here For You 2:50
Clarinet – Ernest Elliott
Cornet [Either/Or] – Addington Major, Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Willie "The Lion" Smith
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
5 Mamie Smith, Acc. Her Jazz Hounds– Fare Thee Honey Blues 2:42
Clarinet – Ernest Elliott
Cornet [Either/Or] – Addington Major, Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Willie "The Lion" Smith
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
6 Mamie Smith, Acc. Her Jazz Hounds– The Road Is Rocky 3:01
Clarinet – Ernest Elliott
Cornet [Either/Or] – Addington Major, Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Willie "The Lion" Smith
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
7 Mamie Smith, Acc. Her Jazz Hounds– Mem'ries Of You Mammy 3:13
Clarinet – Ernest Elliott
Cornet – Johnny Dunn
Drums [Erroneous] – George Howell
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Porter Grainger
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
8 Mamie Smith, Acc. Her Jazz Hounds– If You Don't Want Me Blues 3:15
Clarinet – Ernest Elliott
Cornet – Johnny Dunn
Drums [Erroneous] – George Howell
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Porter Grainger
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
9 Mamie Smith, Acc. Her Jazz Hounds– Don't Care Blues 2:57
Banjo – Unknown Artist
Clarinet – Ernest Elliott
Clarinet, Alto Saxophone – Unknown Artist
Cornet – Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Porter Grainger
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
10 Mamie Smith, Acc. Her Jazz Hounds– Lovin' Sam From Alabam 2:42
Banjo – Unknown Artist
Clarinet – Ernest Elliott
Clarinet, Alto Saxophone – Unknown Artist
Cornet – Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Porter Grainger
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
11 Mamie Smith's Jazz Hounds– Royal Garden Blues 3:04
Clarinet – Garvin Bushell
Cornet – Johnny Dunn
Orchestra – Mamie Smith's Jazz Hounds
Piano – Unknown Artist
Trombone – Dope Andrews
Violin [Prob.] – Leroy Parker
Xylophone – Mort Perry
12 Mamie Smith's Jazz Hounds– Shim-Me-King's Blues 3:08
Clarinet – Garvin Bushell
Cornet – Johnny Dunn
Orchestra – Mamie Smith's Jazz Hounds
Piano – Unknown Artist
Trombone – Dope Andrews
Violin [Prob.] – Leroy Parker
Xylophone – Mort Perry
13 Mamie Smith, Acc. Her Jazz Hounds– Jazzbo Ball 2:56
Brass Bass [Either/Or] – Chink Johnson, Harry Hull
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Drums – Unknown Artist
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Phil Worde
Trombone – Unknown Artist
Violin – Leroy Parker
Vocals – Mamie Smith
14 Mamie Smith, Acc. Her Jazz Hounds– What Have I Done? 2:59
Brass Bass [Either/Or] – Chink Johnson, Harry Hull
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Drums – Unknown Artist
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Phil Worde
Trombone – Unknown Artist
Violin – Leroy Parker
Vocals – Mamie Smith
15 Mamie Smith, Acc. Her Jazz Hounds– That Thing Called Love (7790) 3:14
Brass Bass [Either/Or] – Chink Johnson, Harry Hull
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Drums – Unknown Artist
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Phil Worde
Trombone – Unknown Artist
Violin – Leroy Parker
16 Mamie Smith, Acc. Her Jazz Hounds– Old Time Blues 2:55
Brass Bass [Either/Or] – Chink Johnson, Harry Hull
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Drums – Unknown Artist
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Phil Worde
Trombone – Unknown Artist
Violin – Leroy Parker
17 Mamie Smith, Acc. Her Jazz Hounds– Baby, You Made Me Fall For You 3:24
Brass Bass [Either/Or] – Chink Johnson, Harry Hull
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Phil Worde
Trombone – Unknown Artist
Xylophone, Drums – Mort Perry
18 Mamie Smith, Acc. Her Jazz Hounds– You Can't Keep A Good A Good Man Down 3:14
Brass Bass [Either/Or] – Chink Johnson, Harry Hull
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Phil Worde
Trombone – Unknown Artist
Xylophone, Drums – Mort Perry
19 Mamie Smith, Acc. Her Jazz Hounds– Frankie Blues 2:57
Brass Bass [Either/Or] – Chink Johnson, Harry Hull
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Phil Worde
Trombone – Unknown Artist
Violin – Leroy Parker
Vocals – Mamie Smith
Xylophone, Drums – Mort Perry
20 Mamie Smith, Acc. Her Jazz Hounds– "U" Need Some Lovin' Blues 2:54
Brass Bass [Either/Or] – Chink Johnson, Harry Hull
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Phil Worde
Trombone – Unknown Artist
Violin – Leroy Parker
Vocals – Mamie Smith
Xylophone, Drums – Mort Perry
21 Mamie Smith, Acc. Her Jazz Band– Dangerous Blues 3:13
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Drums, Xylophone – Mort Perry
Orchestra – Mamie Smith, Acc. Her Jazz Band
Piano – Phil Worde
Trombone [Poss.] – Herb Flemming
Vocals – Mamie Smith
22 Mamie Smith, Acc. Her Jazz Band– Daddy, Your Mama Is Lonesome For You 2:54
Brass Bass – Unknown Artist
Clarinet – Unknown Artist
Cornet – Johnny Dunn, Unknown Artist
Orchestra – Mamie Smith, Acc. Her Jazz Band
Piano – Unknown Artist
Trombone [Poss.] – Herb Flemming
Violin [Poss.] – Leroy Parker
Vocals – Mamie Smith
23 Mamie Smith, Acc. Her Jazz Band– I Want A Jazzy Kiss 2:51
Brass Bass – Unknown Artist
Clarinet – Unknown Artist, Unknown Artist
Cornet – Johnny Dunn, Unknown Artist
Orchestra – Mamie Smith, Acc. Her Jazz Band
Piano – Unknown Artist
Trombone [Poss.] – Herb Flemming
Violin [Poss.] – Leroy Parker
Vocals – Mamie Smith
24 Mamie Smith, Acc. Her Jazz Band– Sax-O-Phoney Blues 2:51
Alto Saxophone – Unknown Artist
Bass Saxophone – Unknown Artist
Cornet – Unknown Artist, Unknown Artist
Orchestra – Mamie Smith, Acc. Her Jazz Band
Piano – Unknown Artist
Soprano Saxophone, Alto Saxophone – Unknown Artist
Violin – Unknown Artist
Vocals – Mamie Smith
5.2.25
MAMIE SMITH — Complete Recorded Works In Chronological Order ★ Volume 1 • 1920-1921 | DOCD-5357 (1995) RM | FLAC (tracks+.cue), lossless
MAMIE SMITH — Complete Recorded Works In Chronological Order ★ Volume 2 • 1921-1922 | DOCD-5358 (1995) RM | FLAC (tracks+.cue), lossless
Volume two in the complete recordings of Mamie Smith as reissued by Document in 1995 follows her career as an Okeh recording artist from August 18, 1921 through early May of 1922. Although her groups were almost invariably billed as the Jazz Hounds, the band accompanying her on tracks 1-13 (listed as her Jazz Band) was really the Joseph Samuels Orchestra, a well-behaved but capably hot Caucasian unit that also recorded as the Synco Jazz Band and the Tampa Blue Jazz Band. During the provocatively titled "Mamma Whip! Mamma Spank!," Smith seems to have been able to relax and deliver an artful performance that conveys a taste of what she must have sounded like when caught live on-stage. Other delights from this portion of the timeline include enjoyable treatments of Perry Bradford's "Down Home Blues," the catchy "Arkansas Blues," and that essential vaudevillian and traditional jazz staple, the "Wang Wang Blues." During the winter of 1921, Mamie Smith's Jazz Hounds (with young Bubber Miley temporarily replacing cornetist Johnny Dunn) toured the T.O.B.A. circuit, premiering at Pittsburgh's Pershing Theater as the last act in a vaudeville revue. Smith, who wore some of the fanciest and most rhinestone-encrusted outfits in the business, experienced unanticipated hook-and-eye trouble while attempting to execute one of her famous, lightning-quick off-stage costume changes. The band was told to keep playing "Royal Garden Blues" over and over again until she could get back on. As she became hopelessly entangled, Miley's lip gave out completely and the audience booed the band off the stage. Fortunately for those who value an opportunity to hear Miley years before his experiences with Duke Ellington, four instrumental selections from this period are included here. They are: "Rambling Blues," "Cubanita," "The Decatur Street Blues," and "Carolina Blues." Additionally, Smith tosses off a beautiful rendition of the old "Wabash Blues." The Jazz Hounds played the Avenue Theater in Chicago, where they were able to hear Freddie Keppard and King Oliver (major influences on Bubber Miley), followed by a series of engagements at the 12th Street Theater, a white burlesque house in Kansas City. Here the Hounds found themselves absorbed into a variety show billed as Mamie Smith and Company, with dancers, singers, comedians, and a prestidigitator. Soon the band was enlarged slightly by the addition of George Bell, a violinist from Detroit, and a very young C-Melody saxophonist from St. Joseph, MO named Coleman Hawkins who was already displaying unerringly fine musicianship. Deemed too young to leave home (according to his grandmother), Hawkins did not accompany the Jazz Hounds to Detroit, MI where they appeared with Smith at the S.H. Dudley and Copeland Theaters on Gratiot Avenue. The last three tunes on this second volume of vintage Mamie Smith date from May 1922 and feature Hawkins (now blowing tenor sax) alongside cornetist George Mullen, trombonist Cecil Carpenter, clarinetist Bob Fuller, the aforementioned fiddler Bell, pianist Charles Matson, and either Curtis Mosby or Cutie Perkins behind the drums. arwulf arwulf
Tracklist :
1 Mamie Smith, Acc. Her Jazz Band– Sweet Man O'Mine 3:15
2 Mamie Smith, Acc. Her Jazz Band– Mama Whip! Mama Spank! 3:12
3 Mamie Smith, Acc. Her Jazz Band– I'm Free, Single, Disengaged, Looking For Someone To Love 2:50
4 Mamie Smith, Acc. Her Jazz Band– Weepin' 3:00
5 Mamie Smith, Acc. Her Jazz Band– A Wearin' Away The Blues 3:08
6 Mamie Smith, Acc. Her Jazz Band– Down Home Blues 3:01
7 Mamie Smith, Acc. Her Jazz Band– Get Hot 3:04
8 Mamie Smith, Acc. Her Jazz Band– Oh, Joe (Please Don't Go) 3:07
9 Mamie Smith, Acc. Her Jazz Band– A Little Kind Treatment 3:10
10 Mamie Smith, Acc. Her Jazz Band– Arkansas Blues (A Down Home Chant) 3:06
11 Mamie Smith, Acc. Her Jazz Band– The Wang, Wang Blues 3:06
12 Mamie Smith, Acc. Her Jazz Band– Stop! Rest A While 2:56
13 Mamie Smith, Acc. Her Jazz Band– Sweet Cookie 3:06
14 Mamie Smith And Her Jazz Hounds– Let's Agree To Disagree 2:44
15 Mamie Smith, Acc. Her Jazz Hounds– Rambling Blues 3:06
16 Mamie Smith, Acc. Her Jazz Hounds– Cubanita 2:47
17 Mamie Smith, Acc. Her Jazz Hounds– The Decatur Street Blues 3:04
18 Mamie Smith, Acc. Her Jazz Hounds– Carolina Blues 3:05
19 Mamie Smith, Acc. Her Jazz Hounds– Dooh-Dah Blues 2:54
20 Mamie Smith, Acc. Her Jazz Hounds– There's Only One Man (That Satisfies Me) 2:53
21 Mamie Smith, Acc. Her Jazz Hounds– Wabash Blues 3:04
22 Mamie Smith, Acc. Her Jazz Hounds– Mean Daddy Blues 2:54
23 Mamie Smith, Acc. Her Jazz Hounds– Dem Knock-Out-Blues 2:43
24 Mamie Smith, Acc. Her Jazz Hounds– Lonesome Mama Blues 2:57
MAMIE SMITH — Complete Recorded Works In Chronological Order ★ Volume 3 • 1922-1923 | DOCD-5359 (1995) RM | FLAC (tracks+.cue), lossless
Mamie Smith's lavishly expensive wardrobe and over-the-top stage presence is reported to have been breathtaking, and a young aspiring blues woman named Victoria Spivey was so bowled over by the spectacle that it inspired her to pursue her own recording career. The third installment in Document's four-part chronological history of Mamie Smith brings together two-dozen sides dating from early May 1922 through mid-August 1923. This is a particularly rewarding collection as it combines instrumentals like "Stuttering," "Those Longing for You Blues," and "Strut Your Material," with songs destined to become warhorses in the barrelhouse and traditional jazz repertoire ( "That Da Da Strain," "Kansas City Man Blues," "You've Got to See Mama Ev'ry Night," and "I Ain't Gonna Give Nobody None O' This Jelly Roll"); in addition to three numbers perhaps best remembered among early jazz lovers for the piano roll versions by Fats Waller which appeared almost contemporaneously with Smith's phonograph recordings ("Got to Cool My Doggies Now," "You Can't Do What My Last Man Did," and "Do It, Mr. So-And-So"). These records also offer further proof that Mamie Smith's Jazz Hounds were almost as important to rising young talent in its day as would be Art Blakey's Jazz Messengers during the '50s. Future stars heard on these ancient platters include cornetists Bubber Miley, Joe Smith, and Johnny Dunn, as well as reedmen Buster Bailey, Garvin Bushell, Coleman Hawkins, and Sidney Bechet. arwulf arwulf
Tracklist :
1 Mamie Smith, Acc. Her Jazz Hounds– New Orleans 2:58
2 Mamie Smith, Acc. Her Jazz Hounds– Mamie Smith Blues 3:11
3 Mamie Smith, Acc. Her Jazz Hounds– Alabama Blues 3:03
4 Mamie Smith's Jazz Hounds– Stuttering 3:09
5 Mamie Smith's Jazz Hounds– Those Longing For You Blues 2:54
6 Mamie Smith, Acc. Her Jazz Hounds– Got To Cool My Doggies Now 2:50
7 Mamie Smith, Acc. Her Jazz Hounds– You Can Have Him, I Don't Want Him, Didn't Love Him Anyhow Blues 2:58
8 Mamie Smith And Her Jazz Hounds– Strut Your Material 3:01
9 Mamie Smith, Acc. Her Jazz Hounds– Wish That I Could But I Can't Forgive You Blues 2:56
10 Mamie Smith, Acc. Her Jazz Hounds– Sighin' Around With The Blues 3:02
11 Mamie Smith, Acc. Her Jazz Hounds– That Da Da Strain 2:49
12 Mamie Smith, Acc. Her Jazz Hounds– I Ain't Gonna Give Nobody None O' This Jelly Roll 3:03
13 Mamie Smith, Acc. Her Jazz Hounds– Don't Mess With Me 3:09
14 Mamie Smith, Acc. Her Jazz Hounds– Mean Man 2:56
15 Mamie Smith, Acc. Her Jazz Hounds– The Darktown Flappers Ball 2:55
16 Mamie Smith, Acc. Her Jazz Hounds– I'm Gonna Get You 2:55
17 Mamie Smith, Acc. Her Jazz Hounds– You've Got To See Mamma Ev'ry Night (Or You Can't See Mamma At All) 2:48
18 Mamie Smith– You Can't Do What My Last Man Did 2:41
Piano [Prob.] – J.C. Johnson
19 Mamie Smith– Good Looking Papa 2:54
Piano – Clarence Williams
20 Mamie Smith– Lady Luck Blues 3:09
Banjo – Buddy Christian
Orchestra – The Harlem Trio
Piano – Clarence Williams
Soprano Saxophone – Sidney Bechet
21 Mamie Smith– Kansas City Man Blues 3:20
Banjo – Buddy Christian
Orchestra – The Harlem Trio
Piano – Clarence Williams
Soprano Saxophone – Sidney Bechet
22 Mamie Smith– Plain Old Blues 2:46
Piano – Porter Grainger
23 Mamie Smith– Mistreatin' Daddy Blues 3:17
Piano – Porter Grainger
24 Mamie Smith– Do it, Mr. So-and-So 3:06
Piano – Porter Grainger
19.8.23
JELLY-ROLL MORTON – 1926-1928 | The Chronogical Classics – 612 (1991) FLAC (tracks+.cue), lossless
While Louis Armstrong was cutting some of jazz's bedrock material, fellow New Orleans native and pianist Jelly Roll Morton was making equally fine, yet long overshadowed, recordings with his Red Hot Peppers combo. And it's his 1926-1927 sides for Victor, cut during a handful of sessions in New York, that form the pinnacle of his '20s heyday. This Classics disc, one of several of the label's chronological Morton titles, includes a good share of those standout tracks, but unfortunately excludes several essential numbers like "Sidewalk Blues," "Black Bottom Stomp," and "Grandpa's Spells" (Classics' earlier 1924-1926 release picks up the slack). While completist Morton fans will no doubt be drawn to this series, curious listeners in search of a well-balanced introduction should check out JSP's superior-sounding Vol. 1 collection. Stephen Cook
Tracklist + Credits :
27.7.23
FATS WALLER – 1927-1929 | The Classics Chronological Series – 689 (1993) FLAC (tracks+.cue), lossless
Now this will give you an idea of how versatile Thomas "Fats" Waller had to be during the late 1920s. Classics 689 must be counted among the most stylistically diverse assortments of Waller recordings ever assembled on one collection. Most people who look for Fats Waller's music want to hear "Your Feets Too Big" "Ain't Misbehavin'" or "The Joint Is Jumpin'," and would be terribly confused or put off by the first four selections on this album. These are essentially Harlem lieder elegies, composed and recorded in memory of Florence Mills, a singing actress whose sudden death stunned the Afro-American population. "Bye Bye Florence" is the prettiest of these sad melodies, and its lyrics are very moving: "Little blackbird, all your friends are grieving for you." Two of the three vocalists trill their 'r's as if aspiring to be admitted into operatic society, while Carroll C. Tate sounds a bit more natural. We should be grateful to hear these very rare recordings, which sound a lot like European art songs. On December 1, 1927 Waller made two solo pipe organ records, one hot, one blue. On that day he also sat in with Morris' Hot Babies, alternating between hot pipe organ and Harlem stride piano. "He's Gone Away" is full of pepper, "Geechee" has a great "ooh-wacka-ooh" chorus, "Please Take Me Out Of Jail" is riotous fun, and "Red Hot Dan" contains Waller's very first recorded vocal, which he agreed to perform only after being urged on by Morris. We also get to experience the only two accompaniments that Fats ever performed on record behind his lyricist Andy Razaf. The next two sessions are chamber music of the most unusual sort: as a member of Shilkret's Rhyth-melodists, Waller the pipe organist is teamed with piano, violin, harp and sweetly muffled trombone. As one quarter of an ensemble calling themselves the Louisiana Sugar Babes, Waller's pneumatic pipe organ interacts magically with James P. Johnson's piano, Jabbo Smith's cornet and Garvin Bushell's clarinet, alto sax and bassoon. As one-tenth of an ensemble backing up Gene Austin, Waller gently operates piano and celeste. Participating for the very first time as the named leader of his own hot jazz band, Fats Waller spontaneously concocts a slow drag and a hot stomp. These are two of the best three-minute records made by anybody during the 1920s. For a humorous and detailed eye-and-ear-witness account of how this session almost didn't happen, consult Eddie Condon's autobiography We Called It Music. These musicians had never worked together as a unit, and had no idea what they were going to play when they entered the recording studio. Listen to Waller's piano and you can hear him demonstrating to the band exactly what to do next. After presiding over the creation of two entirely improvised masterpieces, Waller remained seated at the piano to record "Numb Fumblin'" and "Handful of Keys." Seldom has music of this potency and enduring value been recorded in single takes with so little preparation. That's what jazz, and Fats Waller, are all about. arwulf arwulf
Tracklist + Credits :
12.7.23
ELLA FITZGERALD – 1938-1939 | The Classics Chronological Series – 518 (1990) FLAC (tracks+.cue), lossless
After her giant hit of "A-Tisket, A-Tasket," the already-popular Ella Fitzgerald became the main attraction with the Chick Webb Orchestra and the majority of their recordings from 1938 feature the singer who was then 20. She is particularly strong on the ballads (such as "You Can't Be Mine") and had a hit in "Undecided" (the lone 1939 selection on this CD) although her work on the novelties is less memorable. All of these Classics releases are worth picking up for a definitive (and very complete) look at early Fitzgerald. Scott Yanow
Tracklist + Credits : 
5.7.23
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
Tracklist + Credits :
26.5.23
JAMES P. JOHNSON – 1921-1928 | The Classics Chronological Series – 658 (1992) FLAC (tracks+.cue), lossless
Oh man, this is it. The very earliest phonograph records ever made by the guy who taught Fats Waller how to stride with a piano. How much really great jazz is there on record dating from 1921? Not a hell of a lot, by anybody's estimation. Classics 658 opens up with three 1921 piano solos, one originally issued on the Black Swan label and two bearing the trademark OKeh. Johnson was already famous for his player piano rolls, which he'd begun to produce back in 1916. Getting to hear an audio recording of him at the keyboard so early in the game is an experience not to be missed by anyone who truly loves this part of our cultural heritage. Yet if the solo piano version of "Carolina Shout" makes for nearly three minutes of joyous listening, the impossibly rare eight-piece band rendition might cause vertigo among those who take this kind of historical material personally. Jimmie Johnson's Jazz Boys and James P. Johnson's Harmony Eight sound a bit like Eubie Blake's early-'20s ensembles, with that precious sort of pit orchestra ambience belonging to those distant days. Contemporary ensembles may reinterpret the material, but nobody will ever be able to re-create the sound of jazz in 1921 as heard on these historical recordings. Spread across three different recording labels, the six piano solos from 1923 provide a fascinating glimpse at where Johnson was at in his musical evolution during this important year. A quick jump to 1927 yields gorgeous solo readings of "Snowy Morning Blues" and Perry Bradford's "All That I Had Is Gone." Bradford himself makes a bit of noise kicking lyrics around on two sides by a seven-piece mob called the Original Jazz Hounds and two more by Johnson's Jazzers, consisting only of Johnson and cornet man Louis Metcalf. Four sides from 1928 round off this wonderful retrospective. Cornet ace Johnny Dunn leads his Original Jazz Hounds with reedman Garvin Bushell backed by both James P. Johnson and Fats Waller at the piano. "What's the Use of Being Alone?" is late-'20s New York jazz at its very finest. Two slow drags by Jimmy Johnson's Orchestra feature Fats Waller, Cootie Williams, and Charlie Holmes, along with train conductor impersonations by Perry Bradford. The entire ensemble sobs its way through "Mournful Tho'ts" without divulging the name of the trombonist, who momentarily does a marvelous job of submerging the mood under several inches of murky water. A staggering assortment of rare recordings covering seven years out of a decade that never ceases to amaze those who take the time to listen back on those recordings that have managed to survive. arwulf arwulf
Tracklist + Credits :
2.5.23
SLIM GAILLARD – 1939-1940 | The Classics Chronological Series – 724 (1993) FLAC (image+.cue), lossless
Volume two in the Classics Slim Gaillard chronology presents the Flat Foot Floogee Boys in all their pixilated glory. Well known for his silly and imaginative use of hip scat and cannabis-informed "viper talk," Gaillard was also one of a handful of individuals who pioneered the use of the electrically amplified guitar. This entertaining compilation presents Gaillard in the company of trumpeters Cyril Newman, Al Killian, and Henry Goodwin, lightning alto saxophonist Herman Flintall, Kenneth Hollon on tenor sax, the versatile Garvin Bushell on clarinet, pianist Loumell Morgan, bowing/singing bassist Slam Stewart, and dynamic drummer Herbert Pettaway (also known as "Hubert"). There are no sleepers among these vintage recordings, which were originally issued on the Okeh and Vocalion labels. Slow ballads come across as very cool and groovy while most of the vocal routines are based on simple riffs with lyrics derived from basic hip vernacular. A jam like "Beatin' the Board" is a miracle of collectivity and "Sploghm" is cherished by collectors and jazz heads as a masterpiece of rapid-fire small-group swing. The call and response "Broadway Jump" takes the art of nonsensical babble to new levels of silliness. Soon the public would come to associate Gaillard almost exclusively with this sort of eccentric novelty chatter rather than with the bop revolution with which in some ways he was closely aligned. Invariably tempered with Gaillard's peculiar sense of humor, the bop element would become significantly more pronounced in 1945 and 1946, as later volumes in this excellent series thoroughly demonstrate. arwulf arwulf
Tracklist :
1 Slim Gaillard & His Flat Foot Floogee Boys– That's A Bringer - That's A Hanger - That's A Drag 2:56
2 Slim Gaillard & His Flat Foot Floogee Boys– A-Well-A-Take-'Em-A-Joe (Crap Shooter's Jive) 3:01
3 Slim Gaillard & His Flat Foot Floogee Boys– Chicken Rhythm 2:52
4 Slim Gaillard & His Flat Foot Floogee Boys– Swingin' In The Key Of C 2:41
5 Slim Gaillard & His Flat Foot Floogee Boys– Boot-Ta-La-Za 3:23
6 Slim Gaillard & His Flat Foot Floogee Boys– (My Darling) It's You, Only You 3:10
7 Slim Gaillard & His Flat Foot Floogee Boys– Beatin' The Board 2:57
8 Slim Gaillard & His Flat Foot Floogee Boys– Look Out 2:52
9 Slim Gaillard & His Flat Foot Floogee Boys– Matzoh Balls 2:35
10 Slim Gaillard & His Flat Foot Floogee Boys– Early In The Morning 2:35
11 Slim Gaillard & His Flat Foot Floogee Boys– Chittlin' Switch Blues 2:48
12 Slim Gaillard & His Flat Foot Floogee Boys– Huh! Uh-Huh! 2:50
13 Slim Gaillard & His Flat Foot Floogee Boys– Windy City Hop 2:42
14 Slim Gaillard & His Flat Foot Floogee Boys– Baby, Be Mine 2:56
15 Slim Gaillard & His Flat Foot Floogee Boys– Sploghm 2:34
16 Slim Gaillard & His Flat Foot Floogee Boys– Fitzwater Street (Located In Philadelphia) 2:48
17 Slim Gaillard & His Flat Foot Floogee Boys– Don't Let Us Say Good-Bye 2:57
18 Slim Gaillard & His Flat Foot Floogee Boys– Rhythm Mad 2:44
19 Slim Gaillard & His Flat Foot Floogee Boys– Bongo 2:54
20 Slim Gaillard & His Flat Foot Floogee Boys– Broadway Jump 2:47
Credits :
Acoustic Bass – William Smith (tracks: 1 to 12)
Acoustic Bass, Vocals – Slam Stewart (tracks: 13 to 20)
Alto Saxophone – Herman Flintall (tracks: 1 to 7)
Clarinet – Garvin Bushell (tracks: 17 to 20)
Drums – Herbert Pettaway
Piano – Loumell Morgan
Tenor Saxophone – Kenneth Hollon (tracks: 8 to 12)
Trumpet – Al Killian (tracks: 4 to 12), Cyril Newman (tracks: 1 to 3), Henry Goodwin (tracks: 17 to 20)
Vocals, Guitar – Slim Gaillard
SLIM GAILLARD – 1940-1942 | The Classics Chronological Series – 753 (1994) FLAC (tracks+.cue), lossless
Volume three in the complete chronological recordings of Slim Gaillard chronicles the further adventures of Okeh recording artists the Flat Foot Floogee Boys. Garvin Bushell blows clarinet on four titles waxed in September 1940. Bushell's long career as a multi-instrumentalist included a date with Fats Waller and James P. Johnson in 1928 and a fiery residency at the Village Vanguard with John Coltrane and Eric Dolphy in 1961. As a member of the Flat Foot Floogee Boys, Bushell sounds best on the upbeat numbers, interacting warmly with trumpeter Henry Goodwin and engaging in a bit of call and response on "Hit That Mess." Two sessions from 1941 scale the band down to a quartet and signal the return of singing bassist Slam Stewart, Gaillard's original partner in crime. Four titles from March 11 are classic Slim & Slam. "Bassology" is among Stewart's most amazing performances on record and one of the great jazz bass recordings of all time. This session is also notable for the presence of pianist Loumell Morgan and percussionist Kenny Clarke. Moving his act to Hollywood during the summer of 1941, Gaillard began to appear in motion pictures, including an appearance with Slam Stewart, Rex Stewart, and Cee Pee Johnson in a wild flick bearing the title Hellzapoppin'. Unfortunately, this compilation does not contain any portion of that film's soundtrack. What you do get to hear are four swingin' sides that constitute 20-year-old drummer Forrest "Chico" Hamilton's first appearance on record. Still in Hollywood on April 4, 1942, Gaillard and Stewart made three amazing sides with tenor sax heavyweight Ben Webster, pianist Jimmy Rowles, and drummer Leo "Scat" Watson, who couldn't restrain an occasional outburst of his own brand of scat singing. Someone appears to be tapdancing during "Groove Juice Special." If this was Watson then he managed to drum and dance at the same time. Why these three incredible recordings were rejected by Okeh and left unreleased is anybody's guess. This session was certainly a high point in the career of each participant. Gaillard's own progress was interrupted first by the 1942 AFM recording ban and then by the draft board. Gaillard would resume making records in 1945 with a decidedly different cast of characters. As a sort of dessert the folks at Classics have amended the package with four rare recordings by the Royal Rhythm Boys from 1939. This almost forgotten little band consisted of Jimmy Prince at the piano, guitarist Billy Moore, and the mighty Slam Stewart, who sings hip duets with Moore in a manner anticipating the Cats & the Fiddle and the King Cole Trio. Although the Classics discography implies that Moore composed "Peace Brother Peace," this song was written by Clarence Williams and introduced in the mid-'30s by Willie "The Lion" Smith & His Cubs. arwulf arwulf
Tracklist :
1 Slim Gaillard & His Flat Foot Floogee Boys– Put Your Arms Around Me, Baby 2:55
2 Slim Gaillard & His Flat Foot Floogee Boys– Lookin' For A Place To Park 3:00
3 Slim Gaillard & His Flat Foot Floogee Boys– Hit That Mess 2:38
4 Slim Gaillard & His Flat Foot Floogee Boys– Hey! Chef 2:40
5 Slim Gaillard & His Flat Foot Floogee Boys– Ah Now 2:54
6 Slim Gaillard & His Flat Foot Floogee Boys– A Tip On The Numbers 3:06
7 Slim Gaillard & His Flat Foot Floogee Boys– Slim Slam Boogie 2:32
8 Slim Gaillard & His Flat Foot Floogee Boys– Bassology 2:37
9 Slim Gaillard & His Flat Foot Floogee Boys– Bingie-Bingie-Scootie 2:55
10 Slim Gaillard & His Flat Foot Floogee Boys– B-19 3:01
11 Slim Gaillard & His Flat Foot Floogee Boys– Champagne Lullaby 2:53
12 Slim Gaillard & His Flat Foot Floogee Boys– African Jive 2:34
13 Slim Gaillard & His Flat Foot Floogee Boys– Palm Springs Jump 2:36
14 Slim Gaillard & His Flat Foot Floogee Boys– Ra-Da-Da-Da 2:36
15 Slim Gaillard & His Flat Foot Floogee Boys– Groove Juice Special 2:40
16 Royal Rhythm Boys– In A Shanty In Old Shanty Town 2:37
17 Royal Rhythm Boys– Blue Skies 3:03
18 Royal Rhythm Boys– Beat It Out, Bumpin' Boy 2:29
19 Royal Rhythm Boys– Peace, Brother, Peace 3:06
Credits :
Clarinet – Garvin Bushell (tracks: 1 to 4)
Double Bass [Acoustic Bass] – Nick Fenton (tracks: 1 to 4), Slam Stewart (tracks: 5 to 19)
Drums – Forrest "Chico" Hamilton (tracks: 9 to 12), Hubert Pettaway (tracks: 1 to 4), Kenny Clarke (tracks: 5 to 8), Leo Watson (tracks: 13 to 15)
Guitar – Billy Moore (tracks: 16 to 19)
Piano – Jimmy Prince (tracks: 16 to 19), Jimmy Rowles (tracks: 13 to 15), Loumell Morgan (tracks: 1 to 8), Tommy Fulford (tracks: 9 to 12)
Tenor Saxophone – Ben Webster (tracks: 13 to 15)
Trumpet – Henry Goodwin (tracks: 1 to 4)
Vocals, Guitar – Slim Gaillard (tracks: 1 to 15)
22.4.23
ETHEL WATERS – 1921-1923 | The Classics Chronological Series – 796 (1994) FLAC (image+.cue), lossless
Ethel Waters was one of the few singers from the early '20s whose early recordings are still quite listenable. This CD from the Classics label has her first 22 sides (many previously rare including five interesting instrumentals by Waters's band) and, although not on the same level as her performances from a few years later, the music is quite good for the time period. The sidemen are mostly obscure but include pianist Fletcher Henderson and cornetists Gus Aiken and Joe Smith with the highlights being "The New York Glide," "Down Home Blues," "There'll Be Some Changes Made" and "Midnight Blues." Scott Yanow
Tracklist:
1 The New York Glide 3:04
Unknown
2 At the New Jump Steady Ball 3:26
Tom Delaney / Sidney Easton
3 Oh, Daddy 3:18
Victor Herbert / Willy Russell
4 Down Home Blues 3:26
Tom Delaney
5 One Man Nan 2:56
Victor Herbert / Willy Russell
6 There'll Be Some Changes Made 3:22
Billy Higgins / W. Benton Overstreet
7 Dying With the Blues 2:57
Fletcher Henderson
8 Kiss Your Pretty Baby Nice 3:07
Edgar Dowell
9 'Frisco Jazz Band Blues 3:27
Unknown
10 Royal Garden Blues 3:12
Clarence Williams / Spencer Williams
11 Bugle Blues 2:38
W.C. Handy
12 Jazzin' Babies Blues 3:07
Ralph "Shrimp" Jones
13 Kind Lovin' Blues 3:04
Fletcher Henderson / Sidney Mitchell / Ethel Waters
14 Georgia Blues 3:13
Billy Higgins / W. Benton Overstreet
15 That Da Da Strain 2:55
Edgar Dowell / Mamie Medina
16 Tiger Rag 3:09
Harry Da Costa / Eddie Edwards / Nick LaRocca / Henry W. Ragas / Tony Sbarbaro / Larry Shields
17 Pacific Coast Blues 3:36
Hegamin / Hammed
18 At the New Jump Steady Ball 2:53
Tom Delaney / Sidney Easton
19 Oh Joe, Play That Trombone 2:37
Edgar Dowell
20 Memphis Man 2:44
Henry / Grant
21 Midnight Blues 3:02
Clarence Williams
22 Brown Baby 2:59
Grant
Credits :
Alto Saxophone – Clarence Harris (tracks: 1, 2), Unknown Artist (tracks: 1, 2)
Banjo – John Mitchell (tracks: 20 to 22)
Bass Saxophone – Unknown Artist (tracks: 9 to 11)
Brass Bass – Ralph Escudero (tracks: 1 to 4, 7, 8), Unknown Artist (tracks: 18, 19)
Clarinet – Edgar Campbell (tracks: 3, 4, 20 to 22), Garvin Bushell (tracks: 5 to 11), Unknown Artist (tracks: 7, 8, 18, 19)
Clarinet [?] – Clarence Robinson (tracks: 12 to 17), Elmer Chambers (tracks: 20 to 22)
Clarinet, Alto Saxophone [?] – Joe Elder (tracks: 9 to 11)
Cornet – Gus Aiken (tracks: 9 to 11), Joe Smith (tracks: 12 to 17)
Drums – Kaiser Marshall (tracks: 1, 2), Raymond Green (tracks: 16, 17)
Piano – Fletcher Henderson (tracks: 3 to 22), Wilson Kyer (tracks: 1, 2)
Trombone – Bud Aiken (tracks: 9 to 11), George Brashear (tracks: 12 to 17, 20 to 22), James Reevy (tracks: 1, 2), Unknown Artist (tracks: 5, 6, 18, 19)
Trombone [?] – Chink Johnson (tracks: 3, 4, 7, 8)
Trumpet – Unknown Artist (tracks: 3 to 8, 18, 19), Wesley Johnson (tracks: 1, 2)
Violin – Cordy Williams (tracks: 3, 4)
Violin [?] – Charlie Jackson (tracks: 5 to 8)
Vocals – Ethel Waters (tracks: 1 to 8, 12 to 15, 18 to 22) 
21.4.23
ETHEL WATERS – 1935-1940 | The Classics Chronological Series – 755 (1994) FLAC (tracks+.cue), lossless
Classics does its usual stellar job in chronicling a five-year tenure of Ethel Waters, covering sides she made for Bluebird, Decca, and New York's Liberty Music Shop. It's an interesting mix of blues, pop, and jazz, with her inimitable style guiding it all. A few big jazz names like Tyree Glenn, Danny Barker, and Milt Hinton pop up in the various backing units, but ultimately, it's all Waters' show. Cub Koda
Danny Barker – Guitar
Reginald Beane – Composer, Organ, Piano
Garvin Bushell – Sax (Alto)
Benny Carter – Clarinet
Shirley Clay – Trumpet
Tyree Glenn – Trombone, Vocals (Background)
Milt Hinton – Sax (Baritone)
Eddie Mallory – Composer, Conductor, Trumpet
Castor McCord – Clarinet
Max Meth – Conductor
Max Meth & His Orchestra
William Steiner – Sax (Alto)
Ethel Waters – Composer, Vocals
Russell Wooding – Conductor
18.4.23
CAB CALLOWAY AND HIS ORCHESTRA – 1934-1937 | The Classics Chronological Series – 554 (1990) FLAC (image+.cue), lossless
Cab Calloway, who first became popular in 1930, retained his popularity (despite a lot of competition) throughout the swing era. On this excellent CD (the fifth of 12 in the European label Classics' Complete Calloway series), highlights include "Keep That Hi-De-Hi in Your Soul," "Nagasaki," "Copper Colored Gal," "Frisco Flo" and a crazy "That Man Is Here Again." With fine soloists in trumpeters Lammar Wright and Shad Collins, trombonist Claude Jones and (by 1936) the great tenor Ben Webster (along with a top-notch rhythm section that includes bassist Milt Hinton), this was a much better swing orchestra than it is generally rated in jazz history books. Scott Yanow
Tracklist :
1 Weakness 3:09
Edwin Swayzee
2 Good Sauce from the Gravy Bowl 3:06
Cab Calloway / Irving Mills / Edwin Swayzee
3 Keep That Hi-De-Hi in Your Soul 2:56
Cab Calloway / Irving Mills / Morris White
4 Miss Otis Regrets 3:01
Cole Porter
5 I Ain't Got Nobody (And Nobody Cares for Me) 3:01
Roger Graham / Dave Peyton / Spencer Williams
6 Nagasaki 2:54
Mort Dixon / Harry Warren
7 Baby Won't You Please Come Home 3:14
Charles Warfield / Clarence Williams
8 I Love to Sing-A 3:06
Harold Arlen / E.Y. "Yip" Harburg
9 You're the Cure for What Ails Me 3:02
Harold Arlen / E.Y. "Yip" Harburg
10 Save Me, Sister
Harold Arlen / E.Y. "Yip" Harburg 3:02
11 Love Is the Reason 3:13
Otis Rene / Leon René
12 When You're Smiling 3:17
Mark Fisher / Joe Goodwin / Larry Shay
13 Jess's Natu'lly Lazy 3:09
Stone / Scharpe / Bishop
14 Are You in Love With Me Again? 3:08
Unknown
15 Copper Colored Gal 2:44
J. Fred Coots / Joe Davis
16 Frisco Flo 3:25
J. Fred Coots / Joe Davis
17 The Wedding of Mr. and Mrs. Swing 3:17
J. Fred Coots / Benny Davis
18 The Hi-De-Ho Miracle Man 3:14
J. Fred Coots / Joe Davis
19 Don't Know If I'm Comin' or Goin' 2:42
Lupin Fein / Lee Wainer
20 My Gal Mezzanine 2:40
Ben Ellison / Otis Rene / Leon René
21 That Man Is Here Again 3:35
22 Peckin' 2:55
Harry James / Ben Pollack
23 Congo 2:33
Morris White 
CAB CALLOWAY AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 568 (1991) FLAC (image+.cue), lossless
The swing era may have been at its height during the time covered by this CD (the sixth of 12 put out by the Classics label that reissue all of Cab Calloway's 1930-42 recordings) but the colorful vocalist held onto his audience and remained a household name. With such soloists as Ben Webster or Chu Berry on tenor, trumpeters Shad Collins and Lammar Wright and a rhythm section including guitarist Danny Barker and bassist Milt Hinton, Calloway had a particularly strong (if generally overlooked) orchestra. Among the more memorable selections of the 24 included on this CD are "Swing, Swing, Swing," "She's Tall, She's Tan, She's Terrific," "Bugle Blues" and "Hi-De-Ho Romeo." Scott Yanow
Tracklist :
1 Swing, Swing, Swing 2:43
Morris White
2 Wake up and Live 2:30
Mack Gordon / Harry Revel
3 Manhattan Jam 2:39
Cab Calloway
4 Moon at Sea 3:00
Harry Pease / Vincent Rose / Larry Stock
5 I'm Always in the Mood for You 2:58
J. Fred Coots / Joe Davis
6 She's Tall, She's Tan, She's Terrific 2:35
J. Fred Coots / Benny Davis
7 Go South, Young Man 2:13
J. Fred Coots / Joe Davis
8 Mama, I Wanna Make Rhythm 3:05
Richard Byron / Jerome Jerome / Walter Kent
9 Hi De Ho Romeo 2:50
J. Fred Coots / Joe Davis
10 Queen Isabella 2:46
Joe Davis / Paul Denniker
11 Savage Rhythm 2:35
J. Fred Coots / Benny Davis
12 Every Day's a Holiday 2:29
Sam Coslow / Barry Trivers
13 Jubilee 2:33
Stanley Adams / Hoagy Carmichael
14 In an Old English Village 3:12
Edward Pola / Albert Sendrey
15 (Just an) Error in the News 2:51
Will Hudson / Irving Mills / Henry Nemo
16 A Minor Breakdown (Rustle of Swing) 2:28
Unknown
17 Bugle Blues 2:28
Irving Mills / Jack Pettis / Elmer Schoebel
18 One Big Union for Two 2:56
Harold Rome
19 Doing the Reactionary 2:42
Harold Rome
20 Rustle of Swing 3:00
Cab Calloway / Ralph Yaw
21 Three Swings and Out 2:16
Cab Calloway / Ralph Yaw
22 I Like Music (Played With a Swing Like This) 2:37
Cab Calloway / Ralph Yaw
23 Foolin' With You 2:34
Morris White
24 Azure 2:48
Duke Ellington / Irving Mills
Credits :
Directed By – Cab Calloway
Orchestra – Cab Calloway And His Orchestra
Tenor Saxophone – Ben Webster (tracks: 1 to 3, 7 to 24), Chu Berry (tracks: 4 to 6)
Vocals – Cab Calloway (tracks: 1, 2, 4 to 9, 12 to 15, 18, 19, 22 to 24) 
+ last month
JAYBIRD COLEMAN & THE BIRMINGHAM JUG BAND — Complete Recorded Works In Chronological Order 1927-1930 | DOCD-5140 (1992) RM | FLAC (tracks), lossless
Jaybird Coleman wasn't one of the most distinctive early country-blues harmonica players, but he nevertheless made engaging, entertainin...
