MILDRED BAILEY – 1940-1942 | The Classics Chronological Series – 1279 (2003) FLAC (tracks), lossless

Volume seven in the Classics Chronological survey of recordings originally released under the name of Mildred Bailey compiles what appear to be all of the titles produced between April 2, 1940 and February 12, 1942. During this period the singer performed with bands led by Alec Wilder and Harry Sosnick, and may be heard harmonizing with the Delta Rhythm Boys on "Jenny" and "When That Man Is Dead and Gone." Even as she spent part of her time bobbing around on the surface of Wilder's chamber pop ensemble (fortified with a flute, no less than three bass clarinets and Mitch Miller's oboe, and English horn), Mildred Bailey continued to interact with the some of the top jazz musicians on the scene at that time. This album's enclosed session discography indicates the presence of drummer Kenny Clarke, pianists Herman Chittison, Billy Kyle, and Teddy Wilson, and trumpeters Billy Butterfield and Roy "Little Jazz" Eldridge. The hipper arrangements were scored by Eddie Sauter, famous for his work with Benny Goodman and Mildred Bailey's ex-husband Red Norvo. arwulf arwulf  
Tracklist + Credits :

PEARL BAILEY – 1944-1947 | The Classics Chronological Series – 1213 (2001) FLAC (tracks), lossless

Pearl Bailey was a magnificent jazz singer and comedienne. Check her out in front of the Cootie Williams Orchestra! That's Bud Powell back there behind the piano. Cleanhead Vinson and Lockjaw Davis are in the reed section. Pearl seems perfectly at home with this early modern-sounding big band, and Cootie puts extra sass in his horn to complement the lady's personality. Herman Chittison leads a much smaller and more intimate ensemble for "He Didn't Ask Me," a subtly soft-spoken lament with wistful incidental whistling. Pearl attracted a lot of attention by being unusually tough, candid, and outspoken in ways that few pop vocalists had ever dared to pursue. For a black woman to assert herself in this way anywhere near the mainstream was particularly refreshing during the late '40s. Pearl's high-stepping improvisations on "St. Louis Blues" are spectacular, but her relaxed conversational musings on "Tired" are perfectly timed theater, naturally hip and funny as hell. "I Ain't Talkin'" has a similar easy perfection about it. Some of this material is pure entertainment. "Personality" turns out to be a metaphor for booty. "That's Good Enough for Me," "Say It Simple," and "Get It Off Your Mind" are clever routines. Some of this stuff seems like it was inspired by Cole Porter's high camp. The Mitchell Ayres Orchestra likes to pour on a little extra glitz, and low-tech reverb makes it seem like Pearl is performing in a gymnasium. Finally, there's a two-part duet with Frank Sinatra. They sound at ease with each other: two actors with seasoned pipes who enjoy tearing apart a slow song note for note and phrase by phrase. arwulf arwulf
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HERMAN CHITTISON – 1933-1941 | The Classics Chronological Series – 690 (1993) FLAC (tracks+.cue), lossless

This disc opens with a bang, or, to be more exact, a howl. Banjo Ikey Robinson imitates Cab Calloway's wide-open hollering -- specifically drawing upon Calloway's scream-along hit "Zaz Zuh Zaz" -- but somehow takes it to his own extremes as he wails about being "Unlucky." Robinson's piano-playing partner on July 17, 1933, identified as "Ivory" Chittison, provides a full-bodied background of smooth, low-down pulsating rhythms and sweeping arpeggios. This mingles surprisingly well with Robinson's guitar, but the tastiest part of the mix is that fearless vocal. The flip side is a real gem, one of Robinson's all-time greatest hot numbers. The melody to "My Four Reasons" sounds a little like "Clarinet Marmalade." The lyrics are boisterous, the guitar licks are hot, but again the grooviest parts of the entertainment are Robinson's frequent vocal outbursts. That man did love to cut loose and raise his voice. These two crazy tunes form a perfect appetizer leading into a full course of Herman Chittison's energetic piano solos. Recorded in Paris during the early summer of 1934, "Honeysuckle Rose" is terrifically stimulating. "Harlem Rhythm Dance" is so fast it's almost frightening. "Nagasaki" pairs off with "Honeysuckle" as well-organized stomps with all of the right stuff happening. "Stormy Weather" is brisk and muscular. It's good to hear a couple of examples of Chittison accompanying a vocalist. Arita Day sounds hipper than Ethel Waters on "Heat Wave" and works up a dramatically poignant reading of Cole Porter's epic tale of heartbreak, homicide, and lynching, "Miss Otis Regrets." Five Parisian piano solos from 1938 are refreshing and inventive, as Chittison sorts out his own style and technique from the influence of his number one role model, Art Tatum. "I'm Putting All My Eggs in One Basket" is particularly fine, and "My Own Blues" allows the artist to express himself for a couple of minutes without any discernible ties to Tin Pan Alley. Back in New York making records for Bluebird during September of 1941, the pianist served up a gorgeous pair of solos, simultaneously romantic and progressive. If Tatum's vibe is still very much a part of the Chittison style, there is just a hint of Bud Powell's advanced harmonies and lightning dexterity in "Flamingo" and "The Man I Love." arwulf arwulf  
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HERMAN CHITTISON – 1944-1945 | The Classics Chronological Series – 1024 (1998) FLAC (tracks+.cue), lossless

The surest way to describe Herman Chittison's style is to compare him with the greatest jazz pianists on the scene during the 1940s. First and foremost he drew harmonic and dexterous inspiration from Art Tatum. This influence is most obvious in the constant tide of arpeggios and a breathtaking facility that could be traced back to the great James P. Johnson, root of Tatum's own brilliance. But there are other pianists who need to be mentioned, as they were active during these years and shared some of the same ground with Chittison. The hip exactitude of Nat King Cole in particular comes to mind, an impression that is magnified by the smooth guitars of Jimmy Shirley and Carl Lynch. The spirit of Fats Waller is palpable, especially during the opening session, which took place less than three weeks after Waller's sudden death at the age of 39. The presence of Waller's long-term bassist Cedric Wallace might have had something to do with it. Like Waller, Donald Lambert and Willie "The Lion" Smith, Herman Chittison enjoyed creating jazz interpretations of European classical melodies. Examples included here are themes by Schubert, Lehar and Chopin. Let's not forget Bud Powell and his mind-blowing variations on a theme by J.S. Bach. With Chittison, we are looking forward in Powell's direction while maintaining sensible contact with the Fats Waller tradition, wonderfully represented by about two minutes' worth of "Persian Rug," a dazzling performance you end up wishing had lasted at least five minutes longer! Herman Chittison possessed the ability to render jazz standards like "The Song Is Ended" and "My Old Flame" with exceptional soul and grace, almost as though the trio were playing the blues rather than popular ballads. This pianist worked for years in Europe and North Africa, polishing his style in nightclubs of every description. This explains the sophistication that pervades all of his phonograph recordings. Two sentimental vocals by Thelma Carpenter fit in nicely with the rest of the selections, almost as if one were dining at a club in Egypt during the autumn of 1938 and a group of Americans are purveying tasteful jazz under a desert moon. Five piano solos, four from 1945 and one stray side recorded in Paris in the spring of 1934, reinforce these daydream impressions. arwulf arwulf  
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HERMAN CHITTISON – 1945-1950 | The Classics Chronological Series – 1334 (2003) FLAC (tracks+.cue), lossless

Herman Chittison was a flashy pianist who developed his presentational abilities while entertaining patrons in nightclubs throughout Europe and North Africa. It is not surprising, then, that he worked up a repertoire of European classical melodies made over into lively, intricately woven jazz. On six rare sides originally issued on the Mary Howard Recordings record label, Chittison summons the shades of Tchaikovsky, Chopin, Paderewski, and Grieg. Everett Barksdale complements the piano most gracefully with his guitar, and Bill Pemberton proves to be an accomplished modern bassist. Chittison sounded a bit like Art Tatum. His fluid runs were deliberate and exacting enough to have fit well into the commercially oriented world of broadcasting. This pianist was in fact included in the cast of the weekly serial Crime Photographer on CBS, an arrangement that would lead to several recording sessions with Columbia records. Eight solos waxed on May 8, 1950 are attractive exercises in melody, sunny and sweet, drawing upon the muses of Harold Arlen, George Gershwin, Richard Rodgers and Eubie Blake. The trio sessions from August of the same year are a bit more complicated, as the musicians expend a lot of energy on surface tension and mood manipulation. "The Continental" gets jacked up to an almost manic extent. "Ain't Misbehavin'" is solid enough, but most of these later trio recordings are inflated with a busy air of conspicuous intricacy. arwulf arwulf  
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GEORGE WETTLING – 1940-1944 | The Classics Chronological Series – 909 (1996) FLAC (tracks), lossless

Chicago percussionist George Wettling was famous for his delightful old-fashioned rim-tapping and rock-solid support behind jazz bands both large and small. He was practically the house drummer for Commodore Records and appears on the majority of Eddie Condon's recordings. For the seasoned traditional jazz fanatic, an entire CD documenting a series of sessions led (or fortified) by George Wettling is like some sort of a dream come true. Although mostly typical of what music historians call Chicago-style traditional jazz, everything here was recorded in the Big Apple. On January 16, 1940, Wettling's Chicago Rhythm Kings ground out four excellent sides for release on the Decca label. The lineup is incredible -- trumpeter Charlie Teagarden, trombonist Floyd O'Brien, clarinetist Danny Polo, and Joe Marsala -- usually associated with the clarinet, heard here on tenor sax -- backed by Jess Stacy, Jack Bland, Artie Shapiro, and Wettling. In March of 1940, Wettling recorded a pair of fine duets with pianist Dick Cary. Rodgers & Hart's lively "You Took Advantage of Me" brings to mind the terrific version that Wettling made with Bud Freeman and Jess Stacy back in 1938. The Dick Cary records and four sides by the George Wettling Jazz Trio were issued by the Black & White label. The trio in question involved pianist Gene Schroeder and clarinetist Mezz Mezzrow. Although the Classics liner notes take potshots at Mezzrow's "technical shortcomings," an unbiased listener will sense no such deficiency and might even appreciate the refreshingly funky informality of this or any other session in which Mezzrow took part. By the way, this has got to be the slowest, most relaxed version of "China Boy" ever recorded, up until Wettling kicks it up into third gear and they cook it to a gravy. The George Wettling Rhythm Kings assembled again in an almost completely different incarnation on July 21, 1944. Four tasty sides were sautéed for the Commodore catalog, beginning with the old "Heebie Jeebies." Wettling, with pianist Dave Bowman and bassist Bob Haggart, supported a front line of Billy Butterfield, Wilbur DeParis, and Edmond Hall. Anybody who loves and respects the memory of DeParis will want to obtain this CD in order to have this session on hand at all times. It's also great to have four Keynote sides recorded on December 12th by George Wettling's New Yorkers. Harry Lim's Keynote project often mingled players from different backgrounds, and this band is an extreme example of this tendency at work. Jack Teagarden -- he sings two of these melodies in his warm, soothing voice -- is joined by trumpeter Joe Thomas, clarinetist Hank D'Amico, the mighty Coleman Hawkins, lightning pianist Herman Chittison, bassist Billy Taylor, and the always dependable George Wettling. If this band sounds as though it had little time for rehearsing, that's a good thing. It's what this kind of jazz is all about. arwulf arwulf  
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BILL COLEMAN – 1936-1938 | The Classics Chronological Series – 764 (1994) FLAC (tracks+.cue), lossless

With such trumpet stars as Louis Armstrong, Red Allen, Rex Stewart, and Cootie Williams grabbing the headlines and the gigs, Bill Coleman found it hard to make a name for his own considerable talents during the nascent swing years. Like many other jazz figures (Coleman Hawkins, Benny Carter, etc.), Coleman looked to France and Europe for a chance to make a name for himself and catch a break from stateside racism. And while his trip to Paris came about with some luck -- thanks to old friend Freddie Taylor and his need to recruit players for a nightclub stint -- Coleman soon became an in-demand soloist for both live gigs and recording dates overseas. This generous Classics collection brings together his initial dates in the City of Light, both as a leader and with various top local outfits. Featured throughout the 22 tracks are such Parisian jazz luminaries as Django Reinhardt, Stephane Grappelly, Eddie Brunner, and Alix Combelle. Along with a solid batch of tunes, excellent playing all around, and Coleman's own melodiously clear solos, specific highlights include the Coleman-Reinhardt duet, "Bill Coleman Blues," the trumpeter's vocal turn on "Indiana," and two momentous takes of "After You've Gone." An excellent chronicle of one of jazz's most unsung talents. Stephen Cook  
Tracklist + Credits :

CLARENCE WILLIAMS – 1930-1931 | The Classics Chronological Series – 832 (1995) FLAC (tracks+.cue), lossless

This CD is the ninth in an extensive series that reissues all of the recordings led by pianist/composer Clarence Williams. Since Williams headed a wide variety of exciting small groups in the 1920s and '30s that utilized the playing of many top jazz players, all of the CDs are worth acquiring by collectors of classic jazz. The 22 selections on this particular CD range from novelty Williams solo performances to groups featuring trumpeters Red Allen and Ed Allen, Albert Socarras on several reeds (including flute), clarinetists Buster Bailey and Cecil Scott, Prince Robinson doubling on clarinet and tenor, pianist Herman Chittison, Ikey Robinson on banjo, the great tuba player Cyrus St. Clair, singer Eva Taylor, Floyd Casey on washboard, the Bingie Madison big band and Williams himself on vocals, piano and jug. Highlights of this spirited program include "You're Bound to Look like a Monkey When You Get Old," "High Society Blues," "Hot Lovin, '" "Baby, Won't You Please Come Home" and four different versions of "Shout Sister Shout." Scott Yanow  
Tracklist :
1    Clarence Williams' Novelty Band–    He Wouldn't Stop Doin It 2:56
Vocals – Clarence Williams
Written-By – Hill, Williams
2    Clarence Williams' Novelty Band–    You're Bound To Look Like A Monkey When You Get Old 3:03
Vocals – Clarence Williams
Written-By – Hill, Williams
3    Clarence Williams–    You Rascal You 3:38
Vocals – Clarence Williams
Written-By – Sam Theard
4    Clarence Williams–    Michigan Water Blues 3:20
Vocals – Clarence Williams
Written-By – Clarence Williams
5    Lazy Levee Loungers–    If I Could Be With You (One Hour Tonight) 3:11
Vocals – Clarence Williams
Written-By – Creamer, Johnson
6    Lazy Levee Loungers–    Shout, Sister, Shout! 2:48
Vocals – Clarence Williams
Written-By – Hill, Williams, Brymn
7    Clarence Williams’ Washboard Band–    Where That Ol' Man River Flows 3:03
Vocals – Eva Taylor
Written By – West / Verges
8    Clarence Williams’ Washboard Band–    Shout, Sister, Shout! 2:59
Vocals – Eva Taylor
Written-By – Hill, Williams, Brymn
9    Clarence Williams And His Jazz Kings–    High Society Blues 3:01
Written-By – Clarence Williams
10    Clarence Williams And His Jazz Kings–    Lazy Levee Loungers 2:45
Written-By – Willard Robison
11    Clarence Williams' Jug Band–    Sitting On Top Of The World 2:59
Written-By – Young, Henderson, Lewis
12    Clarence Williams' Jug Band–    Kansas City Man Blues 2:57
Written-By – Johnson, Williams
13    Clarence Williams And His Orchestra–    Hot Lovin' 2:58
Vocals – Clarence Todd, Clarence Williams, Eva Taylor, Ward Pinkett
Written-By – Charles Warfield
14    Clarence Williams And His Orchestra–    Papa De-Da-Da 3:00
Vocals – Clarence Todd, Clarence Williams, Eva Taylor, Ward Pinkett
Written-By – Todd, Williams, Williams
15    Clarence Williams And His Orchestra–    Baby, Won't You Please Come Home? 2:39
Vocals – Clarence Todd, Clarence Williams, Eva Taylor
Written-By – Warfield, Williams
16    Clarence Williams’ Washboard Band–    Kentucky 2:53
Written-By – Clarence Williams
17    Clarence Williams’ Washboard Band–    Papa De-Da-Da 3:12
Written-By – Todd, Williams, Williams
18    Clarence Williams’ Washboard Band–    Loving 3:00
Written-By – Charles Warfield
19    Clarence Williams And His Orchestra–    Shout, Sister, Shout! 2;43
Vocals – Eva Taylor
Written-By – Hill, Williams, Brymn
20    Clarence Williams And His Jazz Kings–    Shout, Sister, Shout! 2:48
Vocals – Bingie Madison, Clarence Williams, Fred Skerritt, Goldie Lucas
Written-By – Hill, Williams, Brymn
21    Clarence Williams And His Jazz Kings–    Papa De-Da-Da 3:24
Vocals – Bingie Madison, Fred Skerritt, Ward Pinkett
Written-By – Todd, Williams, Williams
22    Clarence Williams And His Jazz Kings–    Baby, Won't You Please Come Home? 2:53
Vocals – Clarence Williams
Written-By – Warfield, Williams
Credits :    
Alto Saxophone – Henry Jones (tracks: 13 to 15, 19 to 22)
Alto Saxophone, Baritone Saxophone – Fred Skerritt (tracks: 13 to 15, 19 to 22)
Banjo – Ikey Robinson (tracks: 1, 2), Leroy Harris (tracks: 5, 6, 9, 10)
Banjo, Guitar – Goldie Lucas (tracks: 13 to 15, 19 to 22)
Brass Bass – Cyrus St. Clair (tracks: 5, 6), Unknown Artist (tracks: 9, 10)
Brass Bass, Bass [String Bass] – Richard Fullbright (tracks: 13 to 15, 19 to 22)
Clarinet – Cecil Scott (tracks: 1, 2)
Clarinet, Alto Saxophone – Buster Bailey (tracks: 16 to 18)
Clarinet, Alto Saxophone, Flute – Albert Socarras (tracks: 5, 6, 9, 10)
Clarinet, Alto Saxophone, Tenor Saxophone – Unknown Artist (tracks: 9 to 12)
Clarinet, Tenor Saxophone – Arville Harris (tracks: 9, 10), Bingie Madison (tracks: 13 to 15, 19 to 22), Prince Robinson (tracks: 5 to 8, 16 to 18)
Cornet – Ed Allen (tracks: 7, 8, 11, 12, 16 to 18)
Drums – Bill Beason (tracks: 13 to 15, 19 to 22)
Guitar – Lonnie Johnson (tracks: 11, 12)
Jug – Clarence Williams (tracks: 1, 2, 11, 12)
Piano – Clarence Williams (tracks: 3 to 10, 16 to 18), Gene Rodgers (tracks: 13 to 15, 19 to 22), Herman Chittison (tracks: 1, 2), Unknown Artist (tracks: 11, 12)
Tenor Saxophone – Unknown Artist (tracks: 9, 10)
Trombone – Jimmy Archey (tracks: 13 to 15, 19 to 22), Unknown Artist (tracks: 5, 6)
Trombone [?] – Charlie Irvis (tracks: 11, 12)
Trumpet – Bill Dillard (tracks: 13 to 15, 19 to 22), Charlie Gaines (tracks: 5, 6), Unknown Artist (tracks: 5, 6), Ward Pinkett (tracks: 13 to 15, 19 to 22)
Trumpet [Or] – Charlie Gaines (tracks: 9, 10), Henry "Red" Allen (tracks: 9, 10), Roy Eldridge (tracks: 9, 10)
Washboard – Floyd Casey (tracks: 7, 8, 16 to 18)

CLARENCE WILLIAMS – 1933 | The Classics Chronological Series – 845 (1995) FLAC (tracks+.cue), lossless

The tenth CD in the Classics label's very valuable Clarence Williams series has its strong moments, although his band was starting to become somewhat predictable. Two titles feature clarinetist Albert Nicholas in a washboard-jug quintet, and six intriguing songs utilize both Herman Chittison and Willie "The Lion" Smith on piano (with Eva Taylor taking most of the vocals). But most of the other selections are by a quartet comprised of pianist Williams, cornetist Ed Allen (a terrible singer, as he shows on two songs), clarinetist Cecil Scott and the washboard of Floyd Casey. The music is fine, but not quite as special as Williams' slightly earlier recordings with more diverse and versatile bands. Still, this is worth picking up for classic jazz collectors. Scott Yanow
Tracklist :
1    Clarence Williams' Jug Band–    Mississippi Basin 3:02
Clarinet – Albert Nicholas
Guitar – Jimmy McLin
Jug – Clarence Williams
Piano – Unknown Artist
Vocals – Eva Taylor
Washboard – Willie Williams
Written-By – Razaf, Foresythe
2    Clarence Williams' Jug Band–    I Like To Go Back In The Evening 2:30
Clarinet – Albert Nicholas
Guitar – Jimmy McLin
Jug – Clarence Williams
Piano – Unknown Artist
Vocals – Eva Taylor
Washboard – Willie Williams
Written-By – Williams, Clint, Pascoe
3    Clarence Williams And His Orchestra–    Black-Eyed Susan Brown 2:47
Clarinet – Unknown Artist
Cornet, Vocals – Ed Allen
Piano – Clarence Williams
Tom Tom – Unknown Artist
Washboard, Vocals – Floyd Casey
Written-By – Goodhart, Hoffman, Magidson
4    Clarence Williams And His Orchestra–    Mama Stayed Out All Night Long 2:44
Clarinet – Unknown Artist
Cornet, Vocals – Ed Allen
Piano – Clarence Williams
Tom Tom – Unknown Artist
Washboard, Vocals – Floyd Casey
Written-By – Razaf, Wilson
5    Clarence Williams And His Orchestra–    High Society 2:37
Clarinet – Unknown Artist
Cornet – Ed Allen
Piano – Clarence Williams
Tom Tom – Unknown Artist
Washboard – Floyd Casey
Written-By – Steele, Melrose
6    Clarence Williams And His Orchestra–    I Like To Go In The Evening (To That Old Sweetheart Of Mine) 2:41
Clarinet – Unknown Artist
Cornet – Ed Allen
Piano – Clarence Williams
Tom Tom – Unknown Artist
Washboard – Floyd Casey
Written-By – Williams, Clint, Pascoe
7    Clarence Williams' Jug Band–    Shim Sham Simmy Dance 3:00
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug, Vocals – Clarence Williams
Kazoo, Vocals – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Vocals – Eva Taylor, The Lowland Singers
Washboard – Willie Williams
Written-By – Razaf, Williams
8    Clarence Williams' Jug Band–    Organ Grinder Blues 3:40
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug, Vocals – Clarence Williams
Kazoo, Vocals – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Vocals – Eva Taylor, The Lowland Singers
Washboard – Willie Williams
Written-By – Williams
9    Clarence Williams' Jug Band–    Chizzlin’ Sam 3:10
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug – Clarence Williams
Kazoo, Vocals – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Vocals – Eva Taylor
Washboard – Willie Williams
Written-By – Williams
10    Clarence Williams' Jug Band–    High Society 2:53
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug – Clarence Williams
Kazoo – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Vocals – Eva Taylor
Washboard – Willie Williams
Written-By – Piron, Williams
11    Clarence Williams' Jug Band–    Mister, Will You Serenade? 3:08
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug – Clarence Williams
Kazoo, Vocals – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Vocals – Eva Taylor
Washboard – Willie Williams
Written-By – Hill, Williams, Robinson
12    Clarence Williams' Jug Band–    You Ain’t Too Old 3:03
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug – Clarence Williams
Kazoo, Vocals – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Washboard – Willie Williams
Written-By – Hill, Williams
13    Clarence Williams And His Orchestra–    Beer Garden Blues 2:49
Clarinet – Cecil Scott
Cornet – Ed Allen
Piano – Clarence Williams
Washboard – Floyd Casey
Written-By – Williams, Raymond, Bishop
14    Clarence Williams And His Orchestra–    The Right Key But The Wrong Keyhole 2:36
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Piano – Clarence Williams
Washboard – Floyd Casey
Written-By – Green
15    Clarence Williams And His Orchestra–    Dispossessin’ Me 2:39
Clarinet – Cecil Scott
Cornet – Ed Allen
Piano – Clarence Williams
Washboard – Floyd Casey
Written-By – Schiller, Williams, Bishop
16    Clarence Williams And His Orchestra–    Breeze (Blow My Baby Back To Me) 3:03
Clarinet – Cecil Scott
Cornet – Ed Allen
Piano, Vocals – Clarence Williams
Washboard – Floyd Casey
Written-By – MacDonald, Hanley, Goodwin
17    Clarence Williams And His Orchestra–    She Just Got A Little Bit Left 2:57
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Guitar – Unknown Artist
Piano, Vocals – Clarence Williams
Washboard – Floyd Casey
Written-By – Unknown Artist
18    Clarence Williams And His Orchestra–    After Tonight 3:04
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Guitar – Unknown Artist
Piano, Vocals – Clarence Williams
Washboard – Floyd Casey
Written-By – Williams, Armstrong, Matthews
19    Clarence Williams And His Orchestra–    Bimbo 2:53
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Guitar – Unknown Artist
Piano, Vocals – Clarence Williams
Washboard – Floyd Casey
Written-By – Williams, Palmer
20    Clarence Williams And His Orchestra–    Chocolate Avenue 2:55
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Guitar – Unknown Artist
Piano, Vocals – Clarence Williams
Washboard – Floyd Casey
Written-By [Uncredited] – Sonny Blount
21    Clarence Williams And His Orchestra–    Harlem Rhythm Dance 2:46
Banjo, Guitar – Ikey Robinson
Brass Bass – Cyrus St. Clair
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Piano, Vocals – Clarence Williams
Written-By – Razaf, Williams
22    Clarence Williams And His Orchestra–    ‘Way Down Home 3:00
Banjo, Guitar – Ikey Robinson
Brass Bass – Cyrus St. Clair
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Piano, Vocals – Clarence Williams
Written-By – Williams, Dowell
23    Clarence Williams And His Orchestra–    For Sale (Hannah Johnson’s Big Jack Ass) 2:45
Banjo, Guitar – Ikey Robinson
Brass Bass – Cyrus St. Clair
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Piano, Vocals – Clarence Williams
Written-By – Williams, Troy

ETHEL WATERS – 1946-1947 | The Classics Chronological Series – 1249 (2002) FLAC (tracks+.cue), lossless

Ethel Waters recorded steadily between 1921-1940. By the early '40s she was so involved in acting that she was largely off records for several years. The titles included on 1946-1947 are, with the exception of a set from the late '50s, and a couple of religious-oriented albums in the '60s, Waters' last recordings. At the age of 50, Waters' voice was still in prime form as she shows on these three sessions. She is featured in a septet with trumpeter George Treadwell, guitarist Mary Osborne, and her longtime pianist Reginald Beane. In addition, there are two songs with Herman Chittison, and a dozen in which she is just accompanied by Beane. Among the many highlights are "Cabin in the Sky," "Am I Blue," "Careless Love," "Happiness Is a Thing Called Joe," "It's Only a Paper Moon," and "St. Louis Blues." Not everything works, since the version of "Taking a Chance on Love" here is a bit erratic, and "Suppertime" is not too subtle, but overall this is a very rewarding set of the last known recordings of Ethel Waters during her most significant years. Scott Yanow
Tracklist:
1 Taking a Chance on Love 2:59
Vernon Duke / John Latouche
2 Dinah 2:47 
Harry Akst / Sam M. Lewis / Joe Young
3 Man Wanted 3:06 
Leonard Feather
4 You Took My Man  2:49
Leonard Feather
5 Honey in a Hurry 2:56
Leonard Feather
6 Cabin in the Sky 3:00
Vernon Duke / John Latouche
7 Am I Blue 2:49
Harry Akst / Grant Clarke
8 I Shoulda Quit When I Was Ahead 2:46
Leonard Feather
9 Careless Love  3:06
W.C. Handy / Martha E. Koenig / Spencer Williams
10 Blues in My Heart 3:11
Benny Carter / Irving Mills
11 Happiness Is a Thing Called Joe 3:11
Harold Arlen / E.Y. "Yip" Harburg
12 A Hundred Years from Today 3:00
Ned Washington / Joseph Young
13 Throw the Dirt 2:23
14 Summertime 3:05
George Gershwin / Ira Gershwin / DuBose Heyward
15 Supper Time 3:14
Irving Berlin
16 Little Black Boy 3:17
Unknown Blues Band
17 It Is Only a Paper Moon  2:15
E.Y. "Yip" Harburg
18 Can't Help Lovin' That Man 2:31
Oscar Hammerstein II / Jerome Kern
19  St. Louis Blues 2:21 
W.C. Handy
20  Travelin'   2:55
Unknown Blues Band
21 Sometimes I Feel Like a Motherless Child 3:13
Unknown Blues Band / Traditional
22 The Crucificxion 3:09
Unknown Blues Band
Credits:
Everett Barksdale – Guitar
Reginald Beane – Piano, Vocals
Herman Chittison – Piano, Vocals
Dicky Harris – Trombone
J.C. Heard – Drums
Al McKibbon  – Bass
Mary Osborne  –  Guitar
Ray Perry – Sax (Alto), Violin
Carlton Powell  – Bass
George Treadwell  – Trumpet, Vocals
Ethel Waters – Vocals

WILLIE LEWIS AND HIS ENTERTAINERS – 1932-1936 (1995) The Classics Chronological Series – 822 | FLAC (tracks+.cue), lossless

Willie Lewis invaded Europe in 1925 as a member of Sam Wooding's explosive jazz orchestra, making hot records and stunning audiences throughout Berlin, Barcelona, and Paris. When Wooding's organization disintegrated, Lewis returned to New York in 1931 and assembled a group of musicians for the purpose of a brief European tour the following year. Willie Lewis & His Entertainers played the Merry Grill in Brussels, and made one wild phonograph recording. A 13-piece orchestra composed almost entirely of European musicians and augmented with a vaudevillian vocal quartet (including Lewis himself) presents "Who Taught You That?" This is funny stuff, something like the frantic singing heard on certain records by Sam Wooding, Fats Waller & His Buddies, or Bix Beiderbecke with Paul Whiteman. The rest of the material on this disc was recorded in Paris following Lewis' return to Europe in 1934, and constitutes a grab bag of Afro-American musical styles blended with popular music of the day. "Nagasaki" features another version of Lewis' vocal quartet and a hot solo by clarinetist Jerry Blake. Joe Hayman leads the band in singing "I Can't Dance (I Got Ants In My Pants)," his high voice anticipating the style of Louis Jordan. As if to purposefully present a wide range of Afro-American culture, two spirituals are sung a cappella. "Ezekiel Saw the Wheel" is particularly satisfying. Six records cut in January of 1936 find Lewis leading a smooth dance band very much in the manner of Jimmie Lunceford. With arrangements and trumpet/saxophone work by Benny Carter, a smooth vocal by bassist June Cole on "Stay Out of Love," and tasteful embellishments by Herman Chittison on piano and celeste, this is mid-'30s big band dance music at its finest. Four selections feature vocalist and professional stripper Joan Warner singing bouncy French pop melodies. At the heart of this CD lie two magnificent recordings waxed on April 28, 1936: Herman Chittison's arrangement of "Stompin' at the Savoy" with fine trumpeting from Bill Coleman, and Fletcher Henderson's arrangement of "Christopher Columbus" -- a masterpiece of swing. Next come two romantic numbers with pokey vocals by Willie Lewis and Alice Mann, and a pair of theatrically charged presentations by Adelaide Hall, a lovely woman who had made great records with Duke Ellington and Art Tatum, would soon record with Fats Waller in London, and was eventually to settle for the rest of her life in Scandinavia. For those who crave sophisticated sounds while practicing calisthenics, this remarkably varied disc ends with a two-part exercise record narrated in French, with musical accompaniment by the very classy Willie Lewis & His Entertainers. arwulf arwulf   

Tracklist :
 1 Who Taught You That? 2:48
Willie Lewis
2 Nagasaki 2:41
Mort Dixon / Harry Warren
3 I Can't Dance (I Got Ants in My Pants) 2:44
Charlie Gaines / Clarence Williams
4 Who'll Be a Witness 2:06
Traditional
5 Ezekiel 2:34
Traditional
6 I've Got a Feeling You're Fooling 3:20
Andy Razaf / Fats Waller
7 Stay Out of Love 3:17
Brent Gerlach
8 Rhythm Is Our Business 2:43
Sammy Cahn / Saul Chaplin / Jimmie Lunceford
9 Just a Mood 3:29
Benny Carter / Clarence Williams
10 All of Me 3:18
Gerald Marks / Seymour Simons
11 Stardust 3:14
Hoagy Carmichael / Mitchell Parish
12 Etre Parisienne 3:15
Marc Cab / Henri Varna
Willie Lewis feat: Joan Warner
13 Le Coo-Coo-Coo 2:32
Marc Cab / Henri Varna
Willie Lewis feat: Joan Warner
14 Magie de la Danse 3:19
Marc Cab / Henri Varna
Willie Lewis feat: Joan Warner
15 Mon Proces 3:31
Marc Cab / Henri Varna
Willie Lewis feat: Joan Warner
16 Stompin' at the Savoy 3:17
Benny Goodman / Andy Razaf / Edgar Sampson / Chick Webb
 17 Christopher Columbus 3:22
Chu Berry / Andy Razaf
 18 I'm Shooting High 3:13
Ted Koehler / Jimmy McHugh
 19 Lost 2:58
Johnny Mercer / Phil Ohman
 20 Alone 3:11
Nacio Herb Brown / Arthur Freed
 21 Say You're Mine 2:43
Willie Lewis
22 Au Rythme du Jazz: Culture Physique 1ere Partie  2:46
Irving Berlin
 23 Au Rythme du Jazz: Culture Physique 2eme Partie
Irving Berlin

WILLIE LEWIS AND HIS ENTERTAINERS – 1936-1938 (1995) The Classics Chronological Series – 847 | FLAC (tracks+.cue), lossless

Tracklist :

1 Sing, Sing, Sing 2:38

Louis Prima

2 Knock, Knock, Who's There? 3:00

Bill Davies / Vincent Lopez / Johnny Morris / Bill Tyson

3 Sweet Sue 2:55

Victor Young

4 Organ Grinder's Swing 3:23

Will Hudson

5 On Your Toes 2:55

Lorenz Hart / Richard Rodgers

Willie Lewis feat: Jean Tranchant

6 There's a Small Hotel 3:13

Lorenz Hart / Richard Rodgers

Willie Lewis feat: Jean Tranchant

7 Le Soleil S' en Fout 2:35

Jean Tranchant

Willie Lewis feat: Jean Tranchant

8 Love 3:09

Jean Tranchant

Willie Lewis feat: Jean Tranchant

9 Ol' Man River 2:57

Oscar Hammerstein II / Jerome Kern

10 Swing, Brother, Swing 2:44

Lewis Raymond / Walter Bishop, Sr. / Clarence Williams

11 Swing Time 2:19

Willie Lewis

12 Doin' the New Low Down 2:32

Dorothy Fields / Jimmy McHugh

13 Swinging for a Swiss Miss 3:10

Willie Lewis

14 Basin Street Blues 3:14

Spencer Williams

15 The Maid's Night Off 3:04

Will Hudson

16 Who's Sorry Now? 2:55

Bert Kalmar / Harry Ruby / Ted Snyder

17 Swinging at the Chez Florence 2:32

Willie Lewis

18 Coquette 3:03

Johnny Green / Gus Kahn / Carmen Lombardo

19 Memphis Blues 2:40

W.C. Handy / George Norton

20 In a Shanty in Old Shanty Town 2:57

Little Jack Little / John Siras / Joe Young

21 Goodbye to Summer 3:33

Harry Phillips

Willie Lewis feat: Greta Keller

22 I'm Gonna Lock My Heart (And Throw Away the Key) 3:03

Jim Eaton / Terry Shand

Willie Lewis feat: Greta Keller

23 Poor Little Angeline 2:58

Jimmy Kennedy Willie Lewis feat: Karla

24 Lambeth Walk 3:00

Douglas Furber / Noel Gay

Willie Lewis feat: Karla

LOUIS ARMSTRONG AND HIS ORCHESTRA – 1934-1936 | The Classics Chronological Series – 509 (1990) FLAC (tracks+.cue), lossless

This valuable CD includes Armstrong's often riotous Paris session from 1934 ("St. Louis Blues" and "Tiger Rag" almost get out of control) and then Satch's first 17 Decca recordings, smooth renditions of pop tunes that he turns into classic jazz. It duplicates and exceeds Decca's Rhythm Saved the World. Scott Yanow
Tracklist :
1     St. Louis Blues 2:43
W.C. Handy
2     Tiger Rag 3:07
Harry Da Costa / Eddie Edwards / Nick LaRocca / Henry W. Ragas / Tony Sbarbaro / Larry Shields
3     Will You, Won't You Be My Baby? 2:48
John Nesbitt / Howdy Quicksell
4     On the Sunny Side of the Street, Pt. I & II 6:02
Dorothy Fields / Jimmy McHugh
5     St. Louis Blues 3:06
W.C. Handy
6     Song of the Vipers 2:54
Traditional
7     I'm in the Mood for Love 3:12
Dorothy Fields / Jimmy McHugh
8     You Are My Lucky Star 3:03
Nacio Herb Brown / Arthur Freed
9     La Cucaracha 2:44
Dominico Savino / Ned Washington
10     Got a Bran' New Suit 2:56
Howard Dietz / Arthur Schwartz
11     I've Got My Fingers Crossed 2:31
Ted Koehler / Jimmy McHugh
12     Ol' Man Mose 2:37
Louis Armstrong / Zilner Randolph
13     I'm Shooting High 2:56
Ted Koehler / Jimmy McHugh
14     (Was I to Blame For) Falling in Love With You? 3:12
Gus Kahn / Mark Newman / Victor Young
15     Red Sails in the Sunset 3:04
Jimmy Kennedy / Hugh Williams
16     On Treasure Island 3:06
Joe Burke / Edgar Leslie
17     Thanks a Million 2:39
Arthur Johnston / Gus Kahn
18     Shoe Shine Boy 3:19
Sammy Cahn / Saul Chaplin
19     Solitude 3:01
Eddie DeLange / Duke Ellington / Irving Mills
20     I Hope Gabriel Likes My Music 3:19
David Franklin
21     The Music Goes 'Round and Around 3:19
Eddie Farley / Red Hodgson / Mike Riley
22     Rhythm Saved the World 3:05
Sammy Cahn / Saul Chaplin
23     I'm Putting All My Eggs in One Basket 2:59
Irving Berlin