GLENN MILLER AND HIS ORCHESTRA – 1935-1938 | The Classics Chronological Series – 1377 (2004) FLAC (tracks+.cue), lossless

This is the first volume in the Classics Glenn Miller chronology. It presents his earliest sessions as a leader, beginning with a very handsome session for Columbia that took place on April 25, 1935. The presence of trumpeter Bunny Berigan, clarinetist Johnny Mince, tenor saxophonist Eddie Miller, pianist Claude Thornhill, a well-behaved string quartet, and Miller's own buttery sounding trombone make this a surprisingly charming little date. The first two titles have vocals by Smith Ballew. "In a Little Spanish Town" and the excellent "Solo Hop" are swinging instrumentals propelled by drummer Ray Bauduc; these very danceable stomps clearly prefigure Glenn Miller's later achievements as a successful purveyor of big-band swing music. The second date in Miller's complete chronological recordings took place on March 22, 1937. Recorded for the Decca label, these tracks have all the qualities that would distinguish Glenn Miller's band during its wartime heyday. Without downplaying vocalists Doris Kerr, Jack Lathrop, and the Tune Twisters, let it be said that the instrumentals "Peg O' My Heart" and "I'm Sitting on Top of the World" are the cream of the crop. Miller's tenure with Brunswick records began on June 9, 1937 with four more exceptionally fine instrumental dance numbers. Over the next 11 months, Miller would feature a steady stream of good vocalists (Kathleen Lane, Gail Reese, and Ray Eberle) while fortifying the band with outstanding musicians like Dick McDonough, Charlie Spivak, Sterling Bose, Pee Wee Erwin, Hal McIntyre, Irving Fazola, and Tex Beneke. Even as Glenn Miller's later recordings seem always to attract more attention, these early sides illustrate what a solid leader, arranger, and soloist he was fairly early on in the game, before he became one of the most popular bandleaders in the country. arwulf arwulf   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  
Tracklist + Credits :

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  
Tracklist + Credits :

MIDGE WILLIAMS AND HER JAZZ JESTERS – 1937-1938 | The Classics Chronological Series – 745 (1994) FLAC (tracks+.cue), lossless

Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1928-1931 | The Classics Chronological Series – 693 (1993) FLAC (tracks+.cue), lossless

 This CD reissues the first 22 selections led by Benny Goodman, spanning a three-year period when the clarinetist developed into a greatly in-demand studio musician during the Depression. The first ten titles feature him in hot, small groups with the likes of cornetist Jimmy McPartland, trombonist Glenn Miller, trumpeter Wingy Manone, and tenor saxophonist Bud Freeman. Included is "Wolverine Blues," "Jungle Blues" (during which Benny Goodman takes his only recorded trumpet solo), the satirical "Shirt Tail Stomp" (which makes fun of cornball bands), and a pair of trio features ("That's a Plenty" and "Clarinetitis"), recorded seven years before the Benny Goodman Trio debuted. The remaining dozen numbers, from 1930-1931, are strictly dance band performances with an emphasis on melodies and dull vocals (mostly by Scrappy Lambert and Paul Small) and only a few short spots for solos. Scott Yanow
Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1931-1933 | The Classics Chronological Series – 719 (1993) FLAC (tracks+.cue), lossless

The first half of this chronological release of Benny Goodman's 1931-1933 recordings is comprised of dance band performances from 1931 -- 12 selections with vocals from Paul Small, Smith Ballew, and Dick Robertson that have little to recommend them except excellent musicianship. The jazz content is pretty low and even Goodman is not heard from much. This is from the era when the clarinetist earned his employment as a studio musician. The final ten numbers are from 1933 and are of greater interest. Trombonist/singer Jack Teagarden is well featured on six songs, Billie Holiday makes her hesitant recording debut on "Your Mother's Son-in-Law" and "Riffin' the Scotch," and there are some fine solos along the way by both Jack and Charlie Teagarden, pianist Joe Sullivan, and Goodman. This is still Benny Goodman pre-history, for he would not attempt to lead a big band until 1934. Scott Yanow
Tracklist + Credits :

RED NICHOLS – 1929 | The Classics Chronological Series – 1332 (2003) FLAC (tracks+.cue), lossless

By 1929, Red Nichols had been active as a recording artist for nearly eight years. He had been making a name for himself as a leader since 1925, usually in the company of a superhuman trombonist by the name of Miff Mole. While some folks might focus upon the presence of Jimmy Dorsey, seasoned early jazz addicts will also cherish the opportunity to commune with the spirits of Miff Mole, Vic Berton and Arthur Schutt. The first three selections reveal what these men were able to accomplish under optimal conditions,( i.e. without vocals or violins). The band is wonderful, especially when Adrian Rollini introduces "Allah's Holiday" with the bass saxophone or takes a weird solo during "Roses of Picardy" using an ebonite tube full of holes with a clarinet mouthpiece stuck in the end of it. This bizarre instrument was identified as the E flat "hot fountain pen." It has a reedy, often slightly congested sound. The Captivators session brings on a veritable sitz bath of early-'30s smooth dance band effects. The instrumental takes were shipped straight to Germany, while Scrappy Lambert's vocal tracks were foisted upon the American record-buying public. Glenn Miller sounds as though he's blowing his trombone into a wine bottle during the instrumental version of "I'm Marching Home to You." At their best these sides enable the listener to cultivate a pleasantly false sense of well-being. Miller, Jack Teagarden, Babe Russin and multi-instrumental Benny Goodman made for a perfectly reasonable Five Pennies until Scrappy showed up and started singing "On the Alamo." After he ran out of breath, they gagged the Lamb and recorded a perfectly good instrumental take. A 19-piece Five Pennies band -- including four violins -- deliberately created a movie soundtrack malaise before the arrangement kicked the band into a suitably rambunctious background for Teagarden's handsome vocal on "Sally, Won't You Come Back?." Two weeks later, swollen to 20 players with Lambert attached to its neck like a pilot fish, the band cut three more sentimentally disturbed numbers. On June 12 of 1929, Nichols carved his band down to 12 units. Apparently incapable of making more than a handful of records without singers, he now induced Red McKenzie to moan and groan his way through "Who Cares?." Fortunately, "Rose of Washington Square" came out as a hot instrumental, enabling the listener to enjoy the combined energies of Pee Wee Russell, Bud Freeman, Joe Sullivan and Dave Tough. By this time you might as well completely surrender to the pop music esthetic of mid- to late- 1929 and simply enjoy the lyrics to "I May Be Wrong, But I Think You're Wonderful." Lambert is, well, useful as a concise articulator of the words to "They Didn't Believe Me," one of the few songs Jerome Kern would be remembered for if he hadn't slept in and missed the boat when the Lusitania sailed off on its rendezvous with German torpedoes in 1915. If you forget that this is supposed to have something to do with jazz, it feels like a two-bit lieder recital. So what the hell. After all is said and done, it really is a lovely old tune. arwulf arwulf  
Tracklist
1    Red Nichols And His Five Pennies–    Alice Blue Gown    2:45
2    Red Nichols And His Five Pennies–    Allah's Holiday    3:18
3    Red Nichols And His Five Pennies–    Roses Of Picardy    2:38
4    The Captivators , Direction Of Red Nichols–    I'm Marching Home To You (Vocal) 3:08
Vocals – Scrappy Lambert
5    The Captivators , Direction Of Red Nichols–    I'm Marching Home To You (Instr.)    3:04
6    The Captivators , Direction Of Red Nichols–    Building A Nest For Mary (Vocal) 3:07
Vocals – Scrappy Lambert
7    The Captivators , Direction Of Red Nichols–    Building A Nest For Mary (Instr.)    3:06
8    The Captivators , Direction Of Red Nichols–    I Used To Love Her In The Moonlight (Vocal) 3:02
Vocals – Scrappy Lambert
9    The Captivators , Direction Of Red Nichols–    I Used To Love Her In The Moonlight (Instr.)    3:02
10    Red Nichols And His Five Pennies–    Indiana 2:40
Arranged By – Glenn Miller
11    Red Nichols And His Five Pennies–    Dinah    3:15
12    Red Nichols And His Five Pennies–    On The Alamo (Vocal) 3:04
Vocals – Scrappy Lambert
13    Red Nichols And His Five Pennies–    On The Alamo (Instr.)    3:05
14    Red Nichols And His Five Pennies–    Sally, Won't You Come Back? 4:19
Vocals – Scrappy Lambert, Jack Teagarden
15    Red Nichols And His Five Pennies–    It Had To Be You 4:46
Arranged By – Arthur Schutt
Vocals – Scrappy Lambert
16    Red Nichols And His Five Pennies–    I'll See You In My Dreams 4:36
Arranged By – Glenn Miller
Vocals – Scrappy Lambert
17    Red Nichols And His Five Pennies–    Some Of These Days 4:16
Arranged By – Herb Taylor, Red Nichols
Vocals – Scrappy Lambert, Jack Teagarden
18    Red Nichols And His Five Pennies–    Who Cares?    3:17
19    Red Nichols And His Five Pennies–    Rose Of Washington Square    2:51
20    Red Nichols And His Five Pennies–    I May Be Wrong, But I Think You're Wonderful 2:54
Vocals – Scrappy Lambert
21    Red Nichols And His Five Pennies–    The New Yorkers 3:05
Vocals – Red McKenzie
22    Red Nichols And His Five Pennies–    They Didn't Believe Me 2:55
Vocals – Scrappy Lambert
23    Red Nichols And His Five Pennies–    Wait For The Happy Ending 2:39
Arranged By – Fud Livingston
Vocals – Scrappy Lambert
24    Red Nichols And His Five Pennies–    Can't We Be Friends? 2:56
Vocals – Dick Robertson
Credits :
Alto Saxophone – Unknown Artist (tracks: 10 to 13)
Banjo – Tommy Felline (tracks: 18 to 24)
Bass – Art Miller (tracks: 4 to 13, 15 to 19), Jack Hansen (tracks: 20 to 24), Joe Tarto (tracks: 14 to 17)
Bass Saxophone, Instruments [Hot Fountain Pen] – Adrian Rollini (tracks: 1 to 3)
Clarinet – Fud Livingston (tracks: 1 to 3, 20 to 24), Pee Wee Russell (tracks: 18 to 24)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 1 to 3, 14 to 17, 20 to 24), Pete Pumiglio (tracks: 4 to 9)
Clarinet, Alto Saxophone, Baritone Saxophone – Benny Goodman (tracks: 9 to 13)
Clarinet, Alto Saxophone, Flute, Oboe, Bassoon – Alfie Evans (tracks: 4 to 9, 14), Arnold Brilhart (tracks: 14 to 17)
Clarinet, Tenor Saxophone – Jimmy Crossan (tracks: 4 to 9, 15 to 17)
Drums – Chick Condon (tracks: 4 to 9), Dave Tough (tracks: 18, 19), Gene Krupa (tracks: 10 to 13), George Beebe (tracks: 20 to 24), Vic Berton (tracks: 1 to 3, 14 to 17)
Guitar, Banjo – Carl Kress (tracks: 1 to 17)
Mellophone – Dudley Fosdick (tracks: 1 to 3)
Piano – Arthur Schutt (tracks: 1 to 17), Irving Brodsky (tracks: 20 to 24), Joe Sullivan (tracks: 18, 19)
Tenor Saxophone – Babe Russin (tracks: 10 to 13), Bud Freeman (tracks: 18, 19)
Tenor Saxophone, Flute, Oboe – Larry Binyon (tracks: 14 to 17)
Trombone – Bill Trone (tracks: 14), Glenn Miller (tracks: 4 to 24), Herb Taylor (tracks: 15 to 24), Jack Teagarden (tracks: 10 to 24), Miff Mole (tracks: 1 to 3)
Trombone [Either, Or] – Bill Trone (tracks: 10 to 13), Herb Taylor (tracks: 10 to 13)
Trumpet – John Egan* (tracks: 20 to 24), Leo McConville (tracks: 10 to 14), Manny Klein (tracks: 1 to 19), Red Nichols, Tommy Thunen (tracks: 15 to 24)
Violin – Henry Whiteman (tracks: 14 to 17, 20, 21, 23, 24), Joe Raymond (tracks: 14 to 17), Lou Raderman (tracks: 14 to 17), Maurice Goffin (tracks: 20, 21, 23, 24), Murray Kellner (tracks: 14 to 17)
Violoncello – Lucien Schmitt (tracks: 14 to 17)

RED NICHOLS – 1929-1930 | The Classics Chronological Series – 1369 (2004) FLAC (tracks+.cue), lossless

The fifth installment in the Classics Red Nichols chronology focuses upon records he made between September 9, 1929, and August 27, 1930. This was a particularly fruitful period for Nichols, as he was able to hire a number of excellent players who would all be leading their own bands throughout the next couple of decades: Jack Teagarden, Benny Goodman, Glenn Miller, Tommy Dorsey, Bud Freeman, and Gene Krupa. Other jazz aces found throughout this album are multi-instrumentalist Adrian Rollini, pianists Joe Sullivan and Rube Bloom, saxophonist Babe Russin, bassist Joe Tarto, and drummer Dave Tough. This veritable infestation of great jazz talent centered around (and partially resulted from) Nichols' high-profile gig as conductor of the pit orchestra that steered the George and Ira Gershwin show Strike Up the Band through 191 performances at New York's Times Square Theatre. Vocalists include Scrappy Lambert, Teg Brown, and the ever-amiable Jack Teagarden. arwulf arwulf  
Tracklist
1    Red Nichols And His Five Pennies–    Nobody Knows    2:40
2    Red Nichols And His Five Pennies–    Smiles    3:21
3    The Captivators–    Get Happy    3:06
4    The Captivators–    Somebody To Love Me    3:20
5    Red Nichols And His Five Pennies–    Say It With Music    3:24
6    Red Nichols And His Five Pennies–    Strike Up The Band 2:42
Vocals [Uncredited] – Chester Gaylord
7    Red Nichols And His Five Pennies–    Soon 3:27
Vocals [Uncredited] – Wes Vaughan
8    Red Nichols And His Five Pennies–    Sometimes I'm Happy    3:22
9    Red Nichols And His Five Pennies–    Hallelujah!    2:53
10    Red Nichols And His Five Pennies–    I'm Just Wild About Harry    3:09
11    Red Nichols And His Five Pennies–    After You've Gone 3:11
Vocals – Jack Teagarden
12    Red Nichols And His Five Pennies–    I Want To Be Happy    2:56
13    Red Nichols And His Five Pennies–    Tea For Two    3:03
14    Red Nichols And His Five Pennies–    Peg O' My Heart    3:11
15    Red Nichols And His Five Pennies–    Sweet Georgia Brown    2:47
16    Red Nichols And His Five Pennies–    China Boy    2:50
17    Red Nichols And His Five Pennies–    The Sheik Of Araby 3:15
Vocals – Jack Teagarden, Teg Brown
18    Red Nichols And His Five Pennies–    Shim-Me-Sha-Wabble    3:00
19    Red Nichols And His Five Pennies–    Carolina In The Morning    3:10
20    Red Nichols And His Five Pennies–    Who?    3:04
21    Red Nichols And His Five Pennies–    By The Shalimar    3:08
Credits :
Alto Saxophone – Sid Stoneburn (tracks: 6, 7, 14 to 18)
Banjo – Teg Brown (tracks: 6 to 9, 14 to 18), Tommy Felline (tracks: 1 to 5)
Bass – Art Miller (tracks: 14 to 18), Joe Tarto (tracks: 1 to 5)
Bass Saxophone, Xylophone – Adrian Rollini (tracks: 8 to 13, 19 to 21)
Brass Bass – Jack Hansen (tracks: 10 to 13)
Clarinet – Benny Goodman (tracks: 1, 2, 14 to 21)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 1 to 13)
Drums – Dave Tough (tracks: 1 to 5), Gene Krupa (tracks: 6 to 21)
Guitar – Weston Vaughan (tracks: 10 to 13)
Piano – Jack Russin (tracks: 6 to 13), Joe Sullivan (tracks: 14 to 21), Rube Bloom (tracks: 1 to 5)
Tenor Saxophone – Babe Russin (tracks: 6 to 21), Bud Freeman (tracks: 19 to 21), Larry Binyon (tracks: 6, 7)
Trombone – Bill Trone (tracks: 1, 2), Glenn Miller (tracks: 1 to 7, 10 to 21), Herb Taylor (2) (tracks: 3 to 5), Jack Teagarden (tracks: 1, 2, 10 to 21), Tommy Dorsey (tracks: 6 to 9)
Trumpet – Charlie Teagarden (tracks: 6, 7, 14 to 21), Manny Klein (tracks: 10 to 13), Mickey Bloom (tracks: 1 to 5), Red Nichols, Ruby Weinstein (tracks: 6 to 9, 14 to 18), Tommy Thunen (tracks: 1 to 5, 10 to 13)
Vocals – Scrappy Lambert (tracks: 1 to 5)

RED NICHOLS – 1930-1931 | The Classics Chronological Series – 1462 (2008) FLAC (tracks+.cue), lossless

Volume six in the complete recordings of trumpeter Red Nichols as reissued by the Classics Chronological Series consists of 25 Victor and Brunswick recordings dating from September 1930 through January 1931, and is especially recommended to those who enjoy Depression-era jazz and pop vocals, with the pop outweighing the jazz by a considerable margin. "On Revival Day," a topical novelty originally released in two parts on flipsides of a 78 rpm record, trombonist Jack Teagarden is backed by a vocal group billed as the Foursome. Forthwith, Nichols' ensemble is garnished at times with a couple of violins and is almost invariably dusted with sugary vocals by Scrappy Lambert, Dick Robertson, Eddie Thomas, Paul Small, and songwriter Harold Arlen. If you're curious to hear what the composer of "Blues in the Night" sounded like as a crooner, that's him singing "How Come You Do Me Like You Do?" as well as his own compositions "Linda," "You Said It," and "Sweet and Hot." The jazziest vocals, even funkier than Teagarden's, are by trumpeter Wingy Manone, who puts his personal stamp on "Rockin' Chair," "Bugaboo," and "Corrine Corrina." Betwixt and between the vocals there exist smoothly coordinated ensemble passages and a number of fine solos, for almost every group that Nichols ever led was peppered with skilled jazz musicians. In addition to those already mentioned, Nichols is heard alongside clarinetist Benny Goodman, trombonist Glenn Miller, saxophonists Jimmy Dorsey and Eddie Miller, pianist Joe Sullivan, and drummer Gene Krupa. arwulf arwulf  
Tracklist :
1    On Revival Day - Part 1 2:40
2    On Revival Day - Part 2 2:38
3    Embraceable You 3:08
4    I Got Rhythm 2:56
5    A Girl Friend Of A Boy Friend Of Mine 2:48
6    Sweet Jennie Lee 2:44
7    Linda 3:06
8    Yours And Mine 2:55
9    That's Where The South Begins 2:44
10    I'm Tickled Pink With A Blue-Eyes Baby 2:48
11    My Honey's Lovin' Arms 2:56
12    Rockin' Chair 3:10
13    Bugaboo 3:12
14    Corrinne Corrina 3:02
15    How Come You Do Me Like You Do? 3:01
16    Blue Again 3:12
17    When Kentucky Bids The World "Good Morning" 3:09
18    What Good Am I Without You? 2:58
19    We're Friends Again 3:09
20    At Last I'm Happy 2:51
21    If You Haven't Got A Girl 2:56
22    You Said It 3:05
23    Sweet And Hot 3:02
24    The Peanut Vendor 2:47
25    Sweet Rosita 3:03
All Credits :

MIFF MOLE – 1928-1937 | The Classics Chronological Series – 1298 (2003) FLAC (tracks+.cue), lossless

Less jaunty than Kid Ory and not as funky as Charlie Irvis, Miff Mole's trombone had a sound all its own. His calm, assertive presence transformed any ensemble, and the bands he led were usually dependable and solid. If you're not yet a devoted follower, this excellent package might grab you for keeps. The opening session features an inspired Frank Teschemacher, who really shines on "Shim-Me-Sha-Wabble." The rest of the material from 1928 is delightful, sounding a lot like fully arranged small band swing from the mid-'30s. The piano lineup is marvelous throughout: Joe Sullivan, Arthur Schutt, and Frank Signorelli, composer of "I'll Never Be The Same" and "A Blues Serenade." Tuba legend Joe Tarto anchors three different ensembles and sounds particularly comfortable behind the trombone solos. Because they wisely chose not to feature any vocalists on the 1928-1929 sides, the magical interaction between instrumentalists proceeds without interruption. We get a good taste of Jimmy Dorsey's clarinet while Matt Malneck saws away on a hot violin. Dick McDonough's guitar solo on "Playing the Blues" is dazzling. Eddie Lang, however, plays hardly audible straight rhythm guitar on the April 19, 1929, session, restraining himself while the horns bubble and smoke out front. "That's a Plenty" is a prime example of how hot these guys could blow, and Dorsey is joined by tenor man Babe Russin for a wild version of "After You've Gone."
Those 14 hot sides are followed by a session from 1930. It's amazing how ensembles began to congeal and sweeten once the new decade (and the Great Depression) was on. Mole does some stuffy work with a mute and Scrappy Lambert's vocals are a bit fluffy, but the exciting presence of Adrian Rollini's bass saxophone is consoling, much as it was on the Venuti/Lang recordings from this same period. Luckily, we are given the option of skipping the vocal selections and choosing instrumental alternates, which were originally issued on Odeon instead of Okeh. These are as worthy as any of the other instrumental numbers included here.
The material from 1937 is thicker and more heavily arranged, with vocals by Midge Williams, who could be charming, and Chick Bullock, who wasn't. This is an entirely different world from the earlier sides. The presence of Glenn Miller constitutes a manifestation of mainstream big band music ready at that point to seize the market. Mole sounds great once Bullock runs out of lyrics, and even six marginally appealing vocal episodes cannot detract from the simple majesty of this chronologically stacked retrospective. Mole deserves to be remembered and Classics is to be commended for having the gumption to issue his music in this manner. arwulf arwulf  
Tracklist :
1    Miff Mole's Molers–    One Step To Heaven    2:58
2    Miff Mole's Molers–    Shim-Me-Sha-Wabble    3:00
3    Miff Mole's Molers–    Crazy Rhythm     2:58
4    Miff Mole's Molers–    You Took Advantage Of Me    3:16
5    Miff Mole's Molers–    You're The Cream In My Coffee    2:56
6    Miff Mole's Molers–    Wild Oat Joe    2:58
7    New Orleans Black Birds–    Red Head    3:01
8    New Orleans Black Birds–    Playing The Blues    2:37
9    Miff Mole's Molers–    I've Got A Feeling I'm Falling    2:54
10    Miff Mole's Molers–    That's A Plenty    2:46
11    Miff Mole's Molers–    Birmingham Bertha    3:10
12    Miff Mole's Molers–    Moanin' Low    3:15
13    Miff Mole's Molers–    You Made Me Love You    2:58
14    Miff Mole's Molers–    After You've Gone    3:18
15    Miff Mole's Molers–    Navy Blues (Vocal)    3:26
16    Miff Mole's Molers–    Lucky Little Devil (Vocal)    3:28
17    Miff Mole's Molers–    Navy Blues (Instr.)    3:21
18    Miff Mole's Molers–    Lucky Little Devil (Instr.)    3:28
19    Miff Mole's Molers–    On A Little Bamboo Bridge    2:43
20    Miff Mole's Molers–    How Could You?    2:49
21    Miff Mole's Molers–    I Can't Break The Habit Of You    2:13
22    Miff Mole's Molers–    Love And Learn    2:24
Credits :    
Alto Saxophone – Toots Mondello (tracks: 19 to 22)
Bass – Sid Weiss (tracks: 19 to 22)
Bass Saxophone – Adrian Rollini (tracks: 15 to 18)
Bass Tuba – Joe Tarto (tracks: 3, 4, 7, 8)
Clarinet – Frank Teschmacher, Paul Ricci (tracks: 19 to 22)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 7 to 16)
Clarinet, Tenor Saxophone – Fud Livingston (tracks: 3 to 6)
Drums – Gene Krupa, Sam Weiss (tracks: 19 to 22), Stan King (tracks: 3, 4, 9 to 14), Ted Napoleon (tracks: 7, 8)
Guitar – Carl Kress (tracks: 3, 4, 15 to 22), Dick McDonough (tracks: 7, 8, 13, 14), Eddie Condon (tracks: 1, 2), Eddie Lang (tracks: 9, 10), Tommy Felline (tracks: 11, 12)
Mellophone – Dudley Fosdick (tracks: 3, 4)
Piano – Arthur Schutt (tracks: 3 to 6, 9 to 14), Frank Signorelli (tracks: 7, 8, 19 to 22), Joe Sullivan (tracks: 1, 2), Lenny Hayton (tracks: 15 to 18)
Tenor Saxophone – Babe Russin (tracks: 13, 14)
Trombone – Glenn Miller (tracks: 19 to 22), Miff Mole, Vincent Grande (tracks: 19 to 22)
Trumpet – Gordon Griffin (tracks: 19 to 22), Harry James (tracks: 19 to 22), Leo McConville (tracks: 3, 4, 9 to 12), Manny Klein (tracks: 9, 10), Phil Napoleon (tracks: 11 to 14), Phil Napoleon (tracks: 5 to 8), Red Nichols (tracks: 1 to 4), Tony Tortomas (tracks: 19 to 22)
Violin – Matt Malneck (tracks: 7, 8)
Vocals – Chick Bullock (tracks: 21, 22), Scrappy Lambert (tracks: 15, 16), Midge Williams (tracks: 19, 20)

LOUISIANA RHYTHM KINGS – 1929-1930 | The Classics Chronological Series – 1312 | FLAC (tracks), lossless

Like the Charleston Chasers, the Louisiana Rhythm Kings existed entirely as a studio recording ensemble. The time frame is even the same; both bands operated during those fascinatingly pivotal years of 1929 and 1930. The Louisiana Rhythm Kings were at first nothing more or less than a variable version of Red Nichols & His 5 Pennies, or in the case of the sessions recorded February 20 and April 23, 1929, the last vestiges of Red & Miff's Stompers. Miff Mole's trombone acted as the gravitational center of most every band he ever worked with, while Red was usually the next best thing to his idol, Bix Beiderbecke. Some of the players on the first three selections are holdovers from the Stompers sessions of several years earlier. Percussionist Vic Berton and pianist Arthur Schutt provide a rhythm background perfectly suited to those arrangements used in 1927 or even earlier. The wonderfully named Dudley Fosdick is heard augmenting the low end of the ensemble with a mellophone, softly and carefully interacting with Miff's trombone. What the first three tracks also offer are clear examples of the soloing abilities of Fud Livingston, who had distinguished himself as an arranger with Joe Venuti's band during the previous year. Fud was less adept at improvising than Benny Goodman, whose clarinet sounds refreshing by comparison during "Ballin' the Jack." But it is the session of June 11, 1929, that really rocks, largely because of Davey Tough's heavy-handed drumming during "That Da Da Strain." This sort of thundering on the drum kit was just beginning to find its way onto records after many years of percussive curtailment necessitated by limited recording technology. Also on "Da Da," Pee Wee Russell delivers one of his most eccentric clarinet solos, reinventing the time signature several times in rapid succession. "Last Cent" features Tough's press rolls and a swell tenor sax solo by Bud Freeman. "Basin Street" provides a nice example of Jack Teagarden's early singing style, although the song is slightly soured by a somewhat misogynistic lyric.
The recordings made on September 10, 1929, are a bit more perfunctory, probably because Davey Tough sounds more subdued. Maybe somebody told him to cool himself. Trombonist Glenn Miller and master clarinetist Jimmy Dorsey have also moved in. They stuck with the band throughout its next two sessions, which took place in January 1930. In addition to the two future big-band leaders already mentioned, Tommy Dorsey and Gene Krupa added their personalities to the proceedings. But some of the juiciest moments in the entire second half of this collection are directly attributable to the saxophonists. Fats Waller's "Squeeze Me" glows with solos by boot-boot-booting tenor man Babe Russin and bass saxophonist Adrian Rollini. These 1930 sides provide lots of kicking room for Russin, who is followed closely by Jimmy Dorsey's alto sax on "Karavan," a melody from out of the mind of early-'20s saxophone superstar Rudy Wiedoeft. Rollini and Glenn Miller both solo beautifully on "The Meanest Kind of Blues," while Tony Jackson's "Pretty Baby" becomes an elegant, majestic ritual for nine sympathetic souls. Outstanding chamber jazz from the end of one era and the beginning of another. arwulf arwulf  
Tracklist  :
1     Futuristic Rhythm 3:00
Dorothy Fields / Jimmy McHugh    
2     Out Where the Blues Begin 3:01
Dorothy Fields / Jimmy McHugh    
3     That's A-Plenty 2:48
Lew Pollack
4     Ballin' the Jack 3:14
Chris Smith
5     I'm Walking Through Clover 2:53
6     That Da Da Strain 3:14
Edgar Dowell / Mamie Medina     
7     Basin Street Blues 3:19
Spencer Williams
8     Last Cent 3:03
9     Waiting at the End of the Road 2:52
Irving Berlin
10     Little By Little 3:18
Robert Emmett Dolan
11     Marianne 2:36
12     Swanee 2:44
Irving Caesar / Ira Gershwin
13     Squeeze Me 3:03
George Gershwin / Fats Waller / Clarence Williams
14     Oh, Lady Be Good 3:22
George Gershwin / Ira Gershwin / Victor Young    
15     Sweet Sue, Just You 3:11
Will J. Harris / Victor Young    
16     The Meanest Kind of Blues 2:26
Louis Katzman    
17     I Have to Have You 2:49
Leo Robin / Richard A. Whiting     
18     O'er the Billowy Sea 3:02
Chris Smith
19     Lazy Daddy 2:45
Henry W. Ragas / Larry Shields    
20     Karavan 3:08
21     Pretty Baby 3:00
Tony Jackson / Gus Kahn
22     Tell Me 3:24
J. Will Callahan / Max Kortlander
23     There's Egypt in Your Dreamy Eyes 2:49
Louisiana Rhythm Kings

COLEMAN HAWKINS – 1929-1934 | The Classics Chronological Series – 587 (1992) FLAC (tracks+.cue), lossless

By the time these recordings were cut, Hawkins had almost fully come into his own as the first real threat on the tenor saxophone. His work with Fletcher Henderson's band during the '20s had put him center stage, and he was on the brink of a five-year European sojourn by the time the last tracks here came out. The collection starts out with two numbers Hawkins cut with Red McKenzie's Mound City Blue Blowers, including the hot-blowing "Hello Lola!," and proceeds with highlights from a Jack Purvis date from 1930. The nine sides Hawkins recorded with trumpeter Henry "Red" Allen in 1933, though, represent the disc's high point. With a stellar octet featuring clarinetist Russell Procope, bassist John Kirby, and trombonist Dicky Wells, Hawkins and Allen both shine on such highlights as "I've Got to Sing a Torch Song" and "'Ol' Man River." Topped off with some equally fine duet tracks with trumpeter Buck Clayton, this Classics title offers a top-notch view of Hawkins' often overlooked early material. Stephen Cook
Tracklist :
1     Hello Lola! 3:12
Red McKenzie / Gordon Means    
2     One Hour (If I Could Be With You One Hour Tonight) 3:22
Henry Creamer / James P. Johnson    
3     Dismal Dan 3:04
Jack Purvis    
4     Poor Richard 3:02
Jack Purvis    
5     Down Georgia Way 3:26
Jack Purvis
6     Georgia on My Mind 3:20
Hoagy Carmichael / Stuart Gorrell    
7     I Can't Believe That You're in Love With Me 3:06
Clarence Gaskill / Jimmy McHugh    
8     The Darktown Strutters' Ball 3:00
Shelton Brooks    
9     You Rascal You 3:26
Sam Theard    
10     The Day You Came Along 3:36
Sam Coslow / Arthur Johnston    
11     Jamaica Shout       2:56
Fletcher Henderson    
12     Heartbreak Blues 3:26
Coleman Hawkins    
13     Happy Feet 2:49
Milton Ager / Jack Yellen    
14     Rhythm Crazy Now 3:14
Fletcher Henderson    
15     Ol' Man River 3:06
Oscar Hammerstein II / Jerome Kern    
16     Minnie the Moocher's Wedding Day 3:04
Harold Arlen / Ted Koehler    
17     Ain't Cha Glad? 3:18
Andy Razaf / Fats Waller    
18     I've Got to Sing a Torch Song 3:37
Al Dubin / Harry Warren    
19     It Sends Me 3:12
Coleman Hawkins    
20     I Ain't Got Nobody 3:18
Roger Graham / Dave Peyton / Spencer Williams    
21     On the Sunny Side of the Street 3:27
Dorothy Fields / Jimmy McHugh