WILLIE "THE LION" SMITH – 1950-1953 | The Chronogical Classics – 1392 (2005) FLAC (tracks+.cue), lossless

This sixth volume in the Classics Willie "The Lion" Smith chronology is packed with exceptionally fine music, beginning with seven Commodore piano solos recorded near the end of 1950. The Lion is in excellent form here -- his thunderously percussive rendition of Cole Porter's "Just One of Those Things" could serve as a sort of primal preface to Cecil Taylor's 1959 reconstitution of Porter's "Get Out of Town." The Lion's Blue Circle session of August 15, 1953, features a robust little band with a front line of trumpeter Henry Goodwin, trombonist Jimmy Archey, and reedman Cecil Scott. Myra Johnson, Fats Waller's feisty touring vocalist during the late '30s and early '40s, chips in with a rowdy reading of "When the Saints Go Marching In" and "Stop It, Joe," a James P. Johnson composition erroneously credited here to Willie "The Lion" Smith. The instrumental tracks from this session, "The Lion Steps Out," "Willie's Blues," and "The Romp," are wonderfully hot traditional jazz of the highest order. "Background Music for a Cocktail Party" has laughter and conversation running continuously in the background, and appears to be an early example of looped mood-adjustment overdubbing. This marvelous compilation closes with a pair of duets with drummer Keg Purnell and a veritable mini-album of eight piano solos based on melodies by James P. Johnson. This series begins and ends with Smith's masterpiece "Echoes of Spring," referred to here as "The Lion's Theme." arwulf arwulf  
Tracklist + Credits :

SIDNEY BECHET – 1949, Vol. 2 | The Classics Chronological Series – 1186 (2001) FLAC (tracks+.cue), lossless

During the last decade of his life, Sidney Bechet spent ever more of his time in Europe, especially in Paris, where he was revered as a hero and cultural icon. This tenth installment of Bechet's complete recordings in chronological order presents three Parisian sessions and a Circle Records date with Bechet as featured soloist with the Bob Wilber Orchestra in New York. Wilber's band mingled seasoned old-timers like Pops Foster and Jimmy Archey with younger talent like Dick Wellstood. The material dished up by this group is delightfully varied. "I'm Through, Goodbye" is a smoothly bubbling strut, "Waste No Tears" a thoughtful reverie, and "Without a Home" a sanguine study in blue. During the sensuous "Love Me With a Feeling," Bechet talks to his woman about passion and demonstrates precisely what he means with the soprano sax. "The Broken Windmill" is a vigorous, slightly frantic stomp propelled by Pops Foster's booming bass. "Box Car Shorty," billed as "A Dixieland Calypso," has an authentic West Indian vocal by the Duke of Iron. Speaking of which -- "Ce Mossieu Qui Parle," the opening track from Bechet's Parisian session of October 14, 1949, sounds like an extension of his "Original Haitian Music" session with Willie "The Lion" Smith from November of 1939, although here Bechet has more room to improvise over the polyrhythmic changes. "Buddy Bolden Story," the famous melody established by Jelly Roll Morton, contains a humorous anecdote told in French by Bechet in conversation with Claude Luter after a bouncy introduction. "Bechet Creole Blues" is deep and dark, as serious as your life. "Anita's Birthday" is actually "Do the Hucklebuck," the pop song based on licks pilfered from Charlie Parker's "Now's the Time." "Les Oignons" -- very popular among the French -- is a jaunty hop dotted with periodic full stops. Bechet's rendition of Ma Rainey's "Ridin' Easy Blues" is blown in huge gusts of soul. "Blues in Paris" is a slow interlude for soprano sax and rhythm. "Panther Dance" is the old "Tiger Rag," served with roasted peppers. The last six selections presented here are particularly exciting, as listeners get to hear Bechet interacting with percussionist Kenny "Klook" Clarke. They exchange ideas during a paired passage on "Klook's Blues" and commandeer "American Rhythm" in its entirety as a saxophone/drum duet. Clarke generates thunderous textures that presage what Art Blakey would sound like ten years later. arwulf arwulf  
Tracklist + Credits :

EDGAR HAYES AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 730 (1993) FLAC (tracks+.cue), lossless

Whatever happened to Orlando Roberson? He recorded with Fats Waller & His Buddies in December of 1929 and with Claude Hopkins in 1933 and 1934, then resurfaced in March 1937 crooning away in practically the same voice in front of a band led by Edgar Hayes -- but billed this one time as Orlando Roberson & His Orchestra. Many jazz fans would cringe at these two sentimental pop songs, but aside from serving as a fascinating circumstantial footnote to the Fats Waller story they form the first steps in the chronological recordings of Waller's exact contemporary, Edgar Hayes (1904-1979). The real springboard for this story is "Manhattan Jam," recorded at the same session as Roberson's sleepy confections. This lively stomp has a melody similar to Cab Calloway's notorious 1932 hit, "Reefer Man." Trombonist Robert Horton sounds a bit like Joe "Tricky Sam" Nanton -- next to him stands the great Clyde Bernhardt -- and that's young Kenny "Klook" Clarke knocking the stuffing out of his drums. This in fact was where Clarke's recording career began. The arrangements are wonderful, particularly Hayes' version of Ellington and Tizol's "Caravan." Each instrumental is a delight to behold. "Edgar Steps Out" has an irresistible rhythm that may very well result in toe-tapping or improvised dancing. During "Laughing at Life," the band sings back at Ralph Sawyer in a stylized routine known to have been developed by Steve Washington and stolen by Tommy Dorsey. "Stompin' at the Renny" was composed by tenor saxophonist Joe Garland, who during his solo uses a riff that would later surface as the theme of Lionel Hampton's smash hit "Flyin' Home." A second version of "Laughing at Life" has a considerably cooler vocal by trumpeter Bernie Flood. "Satan Takes a Holiday" contains a couple of lively vibraphone solos by Kenny Clarke. He sticks with the vibes on the following session, a quintet date with vocals by Bill Darnell. Present in this little band was clarinetist Rudy Powell, famous for his earlier recordings with Thomas "Fats" Waller. Fortunately, Darnell sings tolerably well, allowing the listener to stick with this band long enough to marvel at Clarke's vibraphone work and the sympathetic intonations of Powell's clarinet. Hayes himself was a capable pianist, with a surefooted swing style comparable to that of Count Basie. "Queen Isabella" is a solid instrumental, a valuable commodity nestled among no less than nine vocals by the ubiquitous Darnell. Somebody, presumably the dexterous Robert Horton, manages to emit "ya-ya" syllables from his trombone during "Old King Cole," making the Joe Nanton comparison even more accurate. Clarke trundles out the vibraphone from time to time, and Darnell won't stop singing. On January 14, 1938, the Edgar Hayes band made history by recording without any vocals by Bill Darnell. The band swings marvelously on the instrumental Joe Garland composition appropriately entitled "Meet the Band." What makes these 1938 sides work so well is the arranging -- and baritone sax work -- of Garland. "Fugitive from a Harem" and "Swingin' in the Promised Land" are big-band swing records suitable for jitterbugging and cutting the rug. arwulf arwulf  
Tracklist + Credits :

CLIFF JACKSON – 1930-1945 | The Classics Chronological Series – 979 (1997) FLAC (tracks+.cue), lossless

None of this material has ever been easy to find. The selections by Cliff Jackson and his Krazy Kats are exceptionally rare. In addition to Jackson's occasional flourishes of dexterous Harlem piano, highlights include a trombonist named Noisy Richardson, trumpeter and scat vocalist Henry Goodwin and reedman Rudy Powell, who would make a lot of great records with Fats Waller in 1935. Some of these numbers are pleasantly frantic stomps, "Horse Feathers," "Torrid Rhythm" and "The Terror" sounding similar in some ways to recordings made between 1925 and 1930 by other large hot bands, such as Fess Williams, Charlie Johnson or Sam Wooding. Also issued bearing the names of the Tuxedo Syncopators and the Newport Syncopators, most of these early records came out on the Grey Gull record label under the name of Marvin Smolev and His Syncopators. Whoever the hell Smolev was, he had a hand in composing 8 out of 12 songs included here, and quite a number of these are quaint, conventional hotsy totsy stuff. It's a shame that this band didn't get around to making more records. The Krazy Kats (also billed as the Crazy Cats) first came on the scene in 1927 and were considered by other bands to be formidably awesome competition. Major phonograph companies apparently never figured this out. Like many worthy musicians, Jackson had to wait a long time -- March of 1944 -- before he could lead another band in a recording studio. Fortunately the quartet contained clarinetist Pee Wee Russell, bassist Bob Casey and drummer Jack "The Bear" Parker. They emitted a fairly rowdy number called "Quiet Please," Fats Waller's "Squeeze Me," James P. Johnson's "If I Could Be With You" and a wild rip through the "Weary Blues," with blistering runs on the piano and a good example of the Bear's percussive bravado. The eight remaining tracks are piano solos of great potency, allowing the listener to appreciate Jackson's Eastern Seaboard style in all its glory. "Royal Garden Blues" packs in just about everything that needs to be said in only a little over two minutes. "Limehouse Blues" is similarly hot, and places Jackson directly within the realm of what critics and historians call the Harlem Stride Piano tradition. "Who" and "Tea for Two" are dizzyingly executed, bringing on the inevitable question -- why wasn't this man given more opportunities to record? arwulf arwulf
Tracklist :

PAT FLOWERS – 1945-1947 | The Classics Chronological Series – 1093 (1999) FLAC (tracks+.cue), lossless

Pianist and vocalist Pat Flowers wanted to be Fats Waller. As a young man Flowers would follow Waller, trying to get gigs playing in the lobby of the hall at which Fats would be performing. For his own recording sessions he would hire musicians like Herman Autrey, Gene "Honey Bear" Sedric, Slick Jones, and Cedric Wallace, all members of Fats Waller's Rhythm. Flowers was even managed for a short time by Waller's manager Ed Kirkeby making records under the moniker Pat Flowers and His Rhythm. These 24 sides recorded between 1945 and 1947 showcase Flowers piano playing and singing in the '30s style of, guess who. Featured are four recordings for the Hit Record label, including "Aint Misbehavin" and the Fats inspired "Bach Prelude and Fugue." The remaining tunes are mainly novelties like "Save the Bones for Henry Jones," "Aloysius Do the Dishes," and "Exhilarated, Exasperated, Exhausted" recorded for RCA Victor (the label Fats Waller recorded for.) Al Campbell  
Tracklist & Credits : 

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)