WINGY MANONE AND HIS ORCHESTRA – 1934-1935 | The Classics Chronological Series – 798 (1994) FLAC (tracks+.cue), lossless

You know what? Wingy Manone's best records were instrumental. That doesn't mean he wasn't a great singer. It's more of a commentary on the excellent bands he led, and the apparent ease with which the players interacted. Take for example the OKeh session of October 3, 1934. You've got Wingy the one-armed trumpeter, a New Orleans clarinetist by the name of Sidney Arodin (co-composer of the song "Lazy River"), and trombonist Santo Pecora, who wrote two of the four tunes recorded on that day. Wingy could have sung on any of these numbers -- even "Royal Garden Blues," which does in fact have lyrics. Instead, here is an opportunity to savor the sound of seven men swinging together, listening carefully and measuring out their individual contributions without having to work around a vocal line. Wingy seems to be savoring the experience, too. If Wingy's vocals alter the structural dynamics of the songs, Nappy Lamare's falsetto interjections distract and even detract. Nappy, who impersonates a nagging child during "On the Good Ship Lollipop," tended to come across that way regardless of subject matter. This Shirley Temple hit, by the way, does have redeeming social value when swung by Wingy's septet. But "Lollipop" would have been really outstanding without any vocals. If only they had recorded each song twice, side A as a vocal, backed with an instrumental take on the flip. Then listeners could have had it both ways. Fats Waller did up a few tunes in this manner, and the results were wonderful. Speaking of Waller, the great Wingy/Waller parallel of this package is a pretty love song with the title "I Believe in Miracles." Utilizing the Hammond organ, Fats recorded a sweet version on January 5, 1935. Wingy's more danceable interpretation was waxed on the 8th of March. Both artists seem to have enjoyed every word and in both cases the poetry makes for very pleasant listening. Four tunes, realized on the 8th of April 1935, are very satisfying instrumentals. It is easy to imagine what the effect would have been had Wingy sung the lyrics to these Tin Pan Alley creations. Some would smile at the naïvely rhyming stanzas, and everyone's ears would perk up when the instruments would take brief solos in the precious time remaining after an entire chorus had been eaten up by words, words, words. Instead, Wingy is heard putting all of his energy into blowing trumpet, Eddie Miller booting around with his tenor sax, and Matty Matlock garnishing the melody with attractive little clarinet runs. Without a doubt, a lot more from the piano of Gil Bowers is featured, simply because no space is taken up by vocals. When Wingy sings on two songs from May 27, 1935, it's nice to hear him again. "Every Little Moment" is charming and "Black Coffee" is a harrowing tale of misbehavior and confusion. Vocally or instrumentally, Wingy was always ready to show the people a good time. arwulf arwulf  
Tracklist + Credits :

ZIGGY ELMAN AND HIS ORCHESTRA – 1938-1939 | The Classics Chronological Series – 900 (1996) FLAC (tracks+.cue), lossless

Ziggy Elman played trumpet beautifully and made lasting, significant contributions to the ripening of jazz and swing during the months immediately preceding the Second World War. As if to illustrate the point, this first segment of Elman's chronology contains his Bluebird recordings dating from December 28, 1938, through December 26, 1939. During this period, the trumpeter's band invariably consisted of two alto and two tenor saxophones with piano, guitar, bass, and drums. Over the course of 12 months a series of fine players passed through Elman's band. Among them were saxophonists Arthur Rollini, Babe Russin, Hymie Schertzer, Toots Mondello, and Jerry Jerome, and pianists Jess Stacy, Milt Raskin, and Johnny Guarnieri. The opening track, "Fralich in Swing," would soon become famous as Benny Goodman's hugely popular "And the Angels Sing." After playing it through at a languid pace, Elman accelerates the tempo to reveal the melody's origins as a Jewish wedding dance. For the flip side Elman chose "Bublitchki," an attractive update of a traditional Slavic air. In a strikingly hip maneuver, his next pair of tunes were drawn from the Richard M. Jones and Maceo Pinkard catalog, respectively. The tasteful repertoire presented throughout this compilation combines relaxing ballads ("I'll Never Be the Same" is particularly eloquent) and catchy dance tunes ("Zaggin' with Zig"). The Judaic element resurfaces nicely during the peculiarly titled "What Used to Was Used to Was (Now It Ain't)." This entire disc is packed with friendly, accessible jazz that swings. No gimmicks, no gags, no self-conscious singers. Ziggy didn't need 'em. arwulf arwulf   
Tracklist :
1 Fralich in Swing (And the Angels Sing) 3:18
 Ziggy Elman feat: Ziggy Elman & His Orchestra
2 Bublitchiki 3:06
Traditional
Ziggy Elman feat: Ziggy Elman & His Orchestra
3 29th and Dearborn 2:54
Richard M. Jones
 4 Sugar 2:57
Edna Alexander / Sidney Mitchell / Maceo Pinkard
5 You're Mine, You 3:17
Johnny Green / Edward Heyman
6 Let's Fall in Love 2:56
Harold Arlen / Ted Koehler
 7 Zaggin' with Zig 3:05
 Ziggy Elman feat: Ziggy Elman & His Orchestra
8 I'll Never Be the Same 3:01
Gus Kahn / Matty Malneck / Frank Signorelli
 9 You Took Advantage of Me 2:30
Lorenz Hart / Richard Rodgers
 10 I'm Yours 3:04
Johnny Green / E.Y. "Yip" Harburg
 11 Am I Blue? 2:35
Harry Akst / Grant Clarke
 12 I Have Everything to Live For 2:49
Noni Bernardi / Ziggy Elman
 13 What Used to Was Used to Was (Now It Ain't) 3:26
Sammy Cahn / Saul Chaplin / David Meyerowitz
 14 Bye 'n' Bye 3:12
 Ziggy Elman feat: Ziggy Elman & His Orchestra
15 Love Is the Sweetest Thing 2:39
Ray Noble
 16 Deep Night 3:30
Charles Henderson / Rudy Vallée
 17 Forgive My Heart (You Are My Happiness) 3:20
 Ziggy Elman feat: Ziggy Elman & His Orchestra
18 Tootin' My Baby Back Home 3:03
Noni Bernardi / Ziggy Elman
 19 I'm Through with Love 3:21
Gus Kahn / Fud Livingston / Matty Malneck
 20 Something to Remember You By 3:13
Howard Dietz / Arthur Schwartz
Credits
Alto Saxophone – Dave Matthews (tracks: 1 to 4), Hymie Schertzer (tracks: 5 to 12), Noni Bernardi, Toots Mondello (tracks: 13 to 20)
Double Bass [String Bass] – Artie Bernstein (tracks: 5 to 8; 13 to 20), Harry Goodman (tracks: 1 to 4), Joe Schwartzman (tracks: 9 to 12)
Drums – Al Kendis (tracks: 1 to 12), Nick Fatool (tracks: 13 to 20)
Guitar – Ben Heller
Piano – Jess Stacy (tracks: 1 to 12), Johnny Guarnieri (tracks: 17 to 20), Milt Raskin (tracks: 13 to 16)
Tenor Saxophone – Arthur Rollini (tracks: 1 to 8; 13 to 20), Babe Russin (tracks: 9 to 12), Jerry Jerome
Trumpet – Ziggy Elman