WILLIE "THE LION" SMITH – 1925-1937 | The Chronogical Classics – 662 (1992) FLAC (tracks+.cue), lossless

Willie "The Lion" Smith, one of stride piano's Big Three of the 1920s (along with James P. Johnson and Fats Waller), recorded a lot less than his two friends. In fact, with the exception of two selections apiece with the Gulf Coast Seven in 1925 (which features trombonist Jimmy Harrison and clarinetist Buster Bailey) and 1927's Georgia Strutters (starring singer Perry Bradford, Harrison, and cornetist Jabbo Smith), along with the rare and originally unreleased 1934 solo piano showcase "Finger Buster," this CD does not get started until 1935. Smith's Decca recordings of 1935 and 1937 were formerly quite obscure, showcasing his piano with three different versions of "His Cubs." The Lion is heard with a Clarence Williams-type quartet which includes cornetist Ed Allen and clarinetist Cecil Scott, matched up with trumpeter Dave Nelson and clarinetist Buster Bailey in a septet; and temporarily heading an early version of the John Kirby Sextet on a session dominated by drummer O'Neil Spencer's vocals. Highlights of this historic and enjoyable CD include "Santa Claus Blues," "Keep Your Temper," "Blues, Why Don't You Let Me Alone," and the earliest recording of the Lion's most famous composition, "Echo of Spring." Scott Yanow
Tracklist + Credits :

FATS WALLER – 1927-1929 | The Classics Chronological Series – 689 (1993) FLAC (tracks+.cue), lossless

Now this will give you an idea of how versatile Thomas "Fats" Waller had to be during the late 1920s. Classics 689 must be counted among the most stylistically diverse assortments of Waller recordings ever assembled on one collection. Most people who look for Fats Waller's music want to hear "Your Feets Too Big" "Ain't Misbehavin'" or "The Joint Is Jumpin'," and would be terribly confused or put off by the first four selections on this album. These are essentially Harlem lieder elegies, composed and recorded in memory of Florence Mills, a singing actress whose sudden death stunned the Afro-American population. "Bye Bye Florence" is the prettiest of these sad melodies, and its lyrics are very moving: "Little blackbird, all your friends are grieving for you." Two of the three vocalists trill their 'r's as if aspiring to be admitted into operatic society, while Carroll C. Tate sounds a bit more natural. We should be grateful to hear these very rare recordings, which sound a lot like European art songs. On December 1, 1927 Waller made two solo pipe organ records, one hot, one blue. On that day he also sat in with Morris' Hot Babies, alternating between hot pipe organ and Harlem stride piano. "He's Gone Away" is full of pepper, "Geechee" has a great "ooh-wacka-ooh" chorus, "Please Take Me Out Of Jail" is riotous fun, and "Red Hot Dan" contains Waller's very first recorded vocal, which he agreed to perform only after being urged on by Morris. We also get to experience the only two accompaniments that Fats ever performed on record behind his lyricist Andy Razaf. The next two sessions are chamber music of the most unusual sort: as a member of Shilkret's Rhyth-melodists, Waller the pipe organist is teamed with piano, violin, harp and sweetly muffled trombone. As one quarter of an ensemble calling themselves the Louisiana Sugar Babes, Waller's pneumatic pipe organ interacts magically with James P. Johnson's piano, Jabbo Smith's cornet and Garvin Bushell's clarinet, alto sax and bassoon. As one-tenth of an ensemble backing up Gene Austin, Waller gently operates piano and celeste. Participating for the very first time as the named leader of his own hot jazz band, Fats Waller spontaneously concocts a slow drag and a hot stomp. These are two of the best three-minute records made by anybody during the 1920s. For a humorous and detailed eye-and-ear-witness account of how this session almost didn't happen, consult Eddie Condon's autobiography We Called It Music. These musicians had never worked together as a unit, and had no idea what they were going to play when they entered the recording studio. Listen to Waller's piano and you can hear him demonstrating to the band exactly what to do next. After presiding over the creation of two entirely improvised masterpieces, Waller remained seated at the piano to record "Numb Fumblin'" and "Handful of Keys." Seldom has music of this potency and enduring value been recorded in single takes with so little preparation. That's what jazz, and Fats Waller, are all about. arwulf arwulf  
Tracklist + Credits :

CLAUDE HOPKINS AND HIS ORCHESTRA – 1937-1940 | The Classics Chronological Series – 733 (1993) FLAC (tracks+.cue), lossless

The third and final Claude Hopkins Classics CD has some really obscure and diverse music. The 1937 Hopkins big band included trumpeter Jabbo Smith and trombonist Vic Dickenson in its lineup, but of the six titles it cut, five are showcases for singer Beverly White; in all, the legendary Smith gets a single chorus. Better are eight titles by trumpeter Ovie Alston's orchestra, which includes Hopkins on piano in 1938 along with some of his sidemen. This CD concludes with six numbers by the pianist's struggling 1940 big band, decent swing performances that preceded the orchestra's complete breakup. A bit of a collector's item. Scott Yanow  

JABBO SMITH'S RHYTHM ACES – 1929-1938 (2006) The Classics Chronological Series – 669 | FLAC (tracks+.cue), lossless

Although only 20 years old, trumpeter Jabbo Smith cut virtually all of his finest recordings in 1929, when he was touted as a competitor to Louis Armstrong. Smith's 19 sides with his Rhythm Aces (all of which are on this essential CD) are some of the most exciting recordings of the era. Often teamed in a quintet with Omer Simeon (on clarinet and alto), pianist Cassino Simpson, banjoist Ikey Robinson, and the tuba of Hayes Alvis (subs appear on a few numbers), Jabbo's reckless and explorative trumpet flights are often thrilling. Highlights include "Jazz Battle," "Till Times Get Better," "Ace of Rhythm," and "Band Box Stomp," but all of the performances (including Smith's trombone solo on "Lina Blues" and his occasional and effective vocals) are well worth hearing. The CD concludes with Jabbo Smith's four-song 1938 session, which is disappointingly tame. Strange as it seems, Smith was past his prime by 1930 when he was only 21. Except for some early sideman appearances and forgettable efforts in later years (plus one previously unissued Rhythm Ace side from 1929 that was unearthed in the mid-'90s by the Retrieval label), this CD essentially contains Jabbo Smith's entire legacy, although he would live until 1991. Scott Yanow   
Tracklist :
1 Jazz Battle 2:40
Jabbo Smith  
2 Little Willie Blues 3:24
Jabbo Smith
3 Sleepy Time Blues 3:27
Jabbo Smith
 4 Take Your Time 2:48
Jabbo Smith
 5 Sweet and Low Blues 3:21
Jabbo Smith
 6 Take Me to the River 2:51
Jabbo Smith
 7 Ace of Rhythm 2:55
Jabbo Smith
 8 Let's Get Together 3:30
Jabbo Smith
 9 Sau Sha Stomp 3:06
Jabbo Smith
 10 Michigander Blues 3:22
Jabbo Smith
 11 Decatur Street Tutti 2:48
Jabbo Smith
 12 Till Times Get Better 3:09
Jabbo Smith
 13 Lina Blues 3:32
Jabbo Smith
 14 Weird and Blue 3:03
Jabbo Smith
15 Croonin' the Blues 3:13
Jabbo Smith
 16 I Got the Stinger 3:20
Jabbo Smith
 17 Boston Skuffle 2:52
Jabbo Smith
 18 Tanguay Blues 2:48
Jabbo Smith
 19 Band Box Stomp 3:02
Jabbo Smith
 20 Moanful Blues 3:00
Jabbo Smith
 21 Rhythm in Spain 2:44
Jabbo Smith
 22 Absolutely 3:00
Jabbo Smith / M. Williams 
 23 More Rain, More Rest 2:46
Jabbo Smith / M. Williams
 24 How Can Cupid Be So Stupid? 3:10
Jabbo Smith