KING OLIVER AND HIS DIXIE SYNCOPATORS – 1926-1928 | The Chronogical Classics – 618 (1991) FLAC (tracks+.cue), lossless

It's the middle of September, just past the middle of the 1920s, and Bert Cobb is playing an entire chorus of "Someday, Sweetheart" on his tuba without adding any embellishments whatsoever. Barney Bigard moans through a saxophone, and Johnny Dodds pours the rest of it right out the bottom of his clarinet. Meet the Dixie Syncopators. King Oliver has surrounded himself with about ten musicians who tease, squeeze and wheeze their way through harmless pop songs and authentic jazz tunes without apologizing or going out of their way to prove themselves any better than they need to be to make it through to the end of the year 1926. Kid Ory sounds like Kid Ory and that sounds awfully good. Every tub on its own bottom, like the fellows said. The time line is peppered with exciting changes. By April of 1927, Lawson Buford has captured the tuba. Omer Simeon is in the reed section with Barney Bigard, who is still wielding a dangerous tenor sax. Joe Oliver sounds great most of the time, and his band should be appreciated on its own ground. Comparing it with Duke Ellington's orchestra is a pointless procedure. Ellington was different from this, although both Ellington and Bubber Miley listened carefully to King Oliver. These Dixie Syncopators occupy their own plateau in eternity, and we are free to visit them at will. There are no washouts. Even the drudge-nudge of "Black Snake Blues" is marvelous theater. "Farewell Blues" is gorgeous. Any inquisitive person could learn a lot just by following the stories of all the people who sat in with King Oliver during these years. The reed players! The trombonists! And yes, without a doubt, get a load of those tuba technicians. This is a fascinating period to listen back on, as banjos and tubas were often considered mutually essential equipment. Compare the puffing of Cyrus St. Clair with the huffing of Bass Moore. The session of August 13, 1928 gives us the option of enjoying instrumentals or really nice vaudeville vocals. At least they seem nice enough until you hear the line: "hang the dog and shoot the cat." Gosh, maybe the instrumental version is better after all. arwulf arwulf  
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KING OLIVER AND HIS ORCHESTRA – 1928-1930 | The Chronogical Classics – 607 (1991) FLAC (tracks+.cue), lossless

After a couple of fine sides from 1928, the saga of King Oliver turns another corner, heading into 1929 armed with little more than a Victor recording contract. There are plenty of strong performances here. Charlie Holmes puts his personality on the front line, and Fats Pichon sings "I've Got That Thing" with plenty of mustard as usual. But things are definitely changing. On "I'm Watching the Clock," a relaxed recording made in September of 1928, King Oliver expressed himself beautifully, but his chops were on the wane. By the beginning of 1929, Louis Metcalf is the featured cornet soloist in front of King Oliver's Orchestra, using the mute a lot like Joe had brandished it years earlier. "Call of the Freaks," "The Trumpet's Prayer" and "Freakish Light Blues" are beautiful vignettes. Punch Miller appeared briefly on a date that featured the flashy piano of Cass Simpson. For the remainder of 1929 Oliver's nephew Dave Nelson took on the task of trumpeting and occasionally composing for the band. He even sang for a minute but someone must have begged him to knock it off. Teddy Hill played tenor sax for Oliver's orchestra in 1928 and 1929. He worked in a lot of big bands that couldn't give him enough solo space, which is probably why he eventually formed his own progressive swing band where Dizzy Gillespie would take his first solos on record in 1937. Teddy would go on to create an open environment that was conducive to extended improvisation during the early 1940s. On this CD you get to hear him paying his dues. The best of Oliver's solid components still make for good listening. Clinton Walker, for example, would operate the tuba with energetic precision all the way through to May of 1930. James P. Johnson and Hilton Jefferson showed up. That's serious business! So is Roy Smeck's steel guitar solo on "Everybody Does It in Hawaii," although jazz purists wrinkle their noses and roll their eyes at such stuff. Smeck also plays harmonica on "Frankie and Johnny." The combination of tuba and mouth harp is a remarkable sonic blend, for those who aren't too proud to have a wild adventure in the company of crusty old records like these. arwulf arwulf  
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KING OLIVER AND HIS ORCHESTRA – 1930-1931 | The Chronogical Classics – 594 (1991) FLAC (tracks+.cue), lossless

 What you've got here are King Oliver's final recordings as a leader. Big bands were still figuring themselves out in 1930, moving from one decade's definitive flavor into another stylistic space as yet unspecified. Hovering over everything was the gruesome specter of fiscal disaster. This did strange things to the music business. Pop culture became partly mummified by a creeping sentimentality that would emerge again during the age of Cold War conformity. During the 1930s and the 1950s jazz endured and continued to evolve, as it always will under any circumstances. With his best decade behind him, King Oliver presided over an orchestra that occasionally sounds a bit sleepy. During their best moments, these guys are almost as solid as Bennie Moten's band, or maybe the Moten orchestra of 1927. "Mule Face Blues" and "Stingaree" are features for Henry "Red" Allen. "Boogie Woogie" is a high-potency stomp containing not one speck of the definitive eight-to-the-bar formula usually associated with the term. On "Stop Crying," Buster Bailey blows into his clarinet with unusual ferocity and Ward Pinkett launches into a frantic scat vocal. Speaking of singers, if you're going to listen back on music from around 1930, it is necessary to make concessions to notions of popular taste. Otherwise, you'll be operating with no historical context whatsoever. If you think George Bias was a silly vocalist, check out some of the singing on records from the same time period by Fats Waller & His Buddies or Duke Ellington. Not everybody is going to sound as hip as Frankie "Half-Pint" Jaxon or Baby Cox. When three members of the band formed a vocal trio and sang on some of the recordings made in 1931, the results were entertaining in ways that maybe we ought to allow ourselves to rediscover. It's a shame that King Oliver's recordings taper off at this point. Like most other bands on the scene at that time, this one could have picked up steam again as new players, composers and arrangers would have helped it adapt to changing times. By the end of the 1930s, Eddie Condon or the guys at the Library of Congress could have rekindled popular interest in Joe Oliver. Even if by then he'd given up blowing his horn he could have succeeded as nominal leader of a New Orleans-styled jazz band, or something more modern-sounding. But this is pure speculation. Papa Joe died in abject poverty in Savannah, Georgia on the 10th of April, 1938. With five volumes of his work available from Classics, there's a lot of King Oliver to explore, and it's all worth your while. arwulf arwulf
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LUIS RUSSELL AND HIS ORCHESTRA – 1930-1934 | The Chronogical Classics – 606 (1991) FLAC (tracks+.cue), lossless

It's a shame this and the earlier Classics collection split up the bandleader's prime 1930 recordings, but such is the way of a strictly chronological series. Those wanting just one disc that covers most of Russell's best work will want to pick up JSP's Savoy Shout disc, which includes 22 cuts from 1929-1930. But for collectors in need of all of the recordings Russell cut before Louis Armstrong practically swallowed up his band whole in 1934, the two Classics discs will certainly do the trick. And while this later disc pales a bit to the 1926-1930 collection, its first half does feature classic work from Russell's band and its spin-off combo, J.C. Higginbotham and His Six Hicks. Along with Higginbotham's own irrepressible trombone work, these sides also offer a wealth of solo treats from such band standouts as trumpeter Henry Allen and saxophonists Charlie Holmes and Albert Nicholas. The later 1931 and 1934 recordings might not match up to earlier classics like "Panama" and "Song of the Swanee," but they still include enough fine performances amongst the filler to keep the quality level up. A worthwhile disc, but one that's probably best suited for Russell completists. Stephen Cook
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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  
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ELLA FITZGERALD – 1940-1941 | The Classics Chronological Series – 644 (1992) FLAC (tracks+.cue), lossless

The sixth in Classics' six-CD series that completely reissues all of Ella Fitzgerald's early recordings has her final 23 performances as the head of what was formerly the Chick Webb Orchestra. Just 22 during most of this period, she is generally in superb voice and the ballads (highlighted by "Shake Down the Stars," "Taking a Chance on Love," "The One I Love" and "Can't Help Lovin' Dat Man") are frequently exquisite; her expertise at scatting would come a few years later. It's recommended as are all of the entries in this valuable series (which is superior to GRP's Decca program). Scott Yanow
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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  
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SIDNEY BECHET – 1950 | The Classics Chronological Series – 1280 (2003) FLAC (tracks), lossless

Volume 12 in Sidney Bechet's segment of the Classics Chronological Series opens with six blustery sides recorded in New York City on April 19, 1950 by Sidney Bechet's Blue Note Jazzmen, with a feisty front line of Bechet, cornetist Wild Bill Davison, and trombonist Jimmy Archey, and a fine rhythm section in Joe Sullivan, Pops Foster, and Wilmore "Slick" Jones. Tracks seven-eleven were recorded for the Commodore label on April 27, 1950, with Davison and Bechet now bolstered by trombonist Wilbur de Paris (who sings "I'll Take That New Orleans Music"), Ralph Sutton, Jack Lesberg, and George Wettling. Listen for Bechet's clarinet on the "Jelly Roll Blues" and the "National Emblem March." The rest of the material packed into this invigorating collection comes from the Vogue catalog, and documents Bechet's adventures in Paris during September and October 1950. Surrounded by members of Claude Luter et Son Orchestre, Bechet hammered out gale force traditional jazz that went over exceptionally well with the French people. Bechet would soon take steps to settle permanently in France, where he was elevated to the status of a national treasure, as indicated by the cover photograph of him peering out from beneath a hefty bejeweled crown. arwulf arwulf
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SIDNEY BECHET – 1950-1951 | The Classics Chronological Series – 1326 (2003) FLAC (tracks+.cue), lossless

One great thing about the Classics Chronological Series is that for the first time Sidney Bechet's European recordings are completely available in context. Longtime collectors and devotees of Bechet are at last able to hear his Vogue sessions in their entirety, exactly as they occurred between periodic U.S. Blue Note blowouts. This allows for an unprecedented understanding of the man's creative activity during the last ten years of his life. By the autumn of 1950, Bechet was established as the king of traditional jazz in Paris. Backed by the Claude Luter Orchestra, he casually grew into the role of presiding patriarch. First and foremost, there was a traditional jazz repertoire to be addressed, as in "Bill Bailey" and "Royal Garden Blues." During the slow-paced "Society Blues," Bechet nonchalantly quotes a pastoral lick from Rossini's William Tell Overture, then shifts into "I've Been Working on the Railroad"! Six selections recorded on May 4, 1951, are among the best examples of French jazz in the swing tradition. "En Attendant le Jour" is remarkably handsome. Valve trombonist Guy Longnon brings to mind the pleasantries of Jack Teagarden. "Egyptian Fantasy" is as dramatic as the original version recorded for Victor in 1941. But the real gem is "Blues in the Cave," wherein Bechet sets up the tune with a seemingly informal but very theatrical spoken introduction. "Now boys, I want you all to gather 'round me. I wanna show you how easy it is to play a blues, a different blues. But in the meantime, you'll stay right with the blues melody." He then gives verbal instructions to each player, assigning parts and adding "Christian, you take over while I get my soprano." The timing is impeccable and Bechet's solo is one of his very best on record. Four days later, Bechet cut a couple of sides with the Orchestra of the Dutch Swing College in Hilversum, Holland. In a rare instance of discographic confusion, Classics has swapped titles on "King Porter Stomp" and "Dutch Swing College Blues." Eight titles from the Parisian session of September 7, 1951, include a fine rendering of Jimmie Noone's "Apex Blues" and the amiable melodies "Sleepy Time Gal" and "Together." Both "Kansas City Man Blues" and "Of All the Wrongs You've Done to Me" date back to Bechet's first days in New York during the early '20s, while "Darling Nellie Gray" and "Put on Your Old Gray Bonnet" practically predate jazz itself. This excellent session closes with a theme borrowed from the Bechet/Mezzrow book, here titled "Sidney's Wedding Day" in commemoration of his festive marriage to a very lucky French woman. Back in New York for a bit of work at the Blue Note studios, Bechet led five of his seasoned peers in the production of several outstanding traditional jazz records, taking full advantage of advanced recording technology. "Avalon" is nearly five minutes long and a relaxed, ambling "Blues My Naughty Sweetie Gives to Me" clocks in at nearly twice the length of the old standard 10" 78-rpm record. Two remaining tracks from this session may be found at the beginning of the next volume in Bechet's Classics chronology. arwulf arwulf  
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SIDNEY BECHET – 1951-1952 | The Classics Chronological Series – 1358 (2004) FLAC (tracks+.cue), lossless

This 14th installment in the chronological recordings of Sidney Bechet begins with two remaining tracks from a vigorous Blue Note blowing session starring world-class trumpeter Sidney DeParis. This would be the very last American studio recording session for Sidney Bechet. The rest of the material on this disc dates from January of 1952, and finds Le Grand Bechet once again surrounded by adoring and respectful Parisian musicians. "Ghost of the Blues" is an upbeat trot, "Strike Up the Band" is smartly swung, and "Si Tu Vois Ma Mere" is one of Bechet's florid, aromatic reflections. "Wabash Blues" is splendidly languid and "Mouche à Miel" sounds like a cousin to "Polka Dot Stomp." There are a couple of sunny parade-style numbers and a version of "As-Tu le Cafard?" that is noticeably hastier than a more moving live version from a few years later. "Old Black Magic" has Bechet shouting gruffly in French during the opening and again during the out chorus. It was at this point in his life that Bechet increased the scope of his repertoire to include popular melodies that would not have previously been associated with him, for example Cole Porter's "I Get a Kick Out of You." He also composed a number of marvelously lush melodies, most famously "Petite Fleur" and the lesser-known but very interesting paean to feminine strength and beauty simply entitled "Girls Dance." The disc closes with five tunes recorded live with spoken introductions at the Pleyel Jazz Concert in Paris on January 31, 1952. After ripping through the popular "Les Oignons," Bechet serves up a brusquely brisk version of "St. Louis Blues," a comfortably swaying rendition of Bennie Moten's "South," and a pair of slow love songs -- powerful, delectable pungent, and sweet. arwulf arwulf
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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

ALBERT NICHOLAS / JIMMY ARCHEY / Classic Jazz At Saint-Germain-des-Prés (2000) Jazz In Paris 47 / RM / FLAC (tracks+.cue), lossless

Tracklist :
Albert Nicholas And His New Orleans Friends (1954)    
1    Albert Nicholas And His New Orleans Friends–    I'm Coming Virginia 3:41
Written-By – Donald Heywood, Will Cook
2    Albert Nicholas And His New Orleans Friends–    Blues For The Club 5:33
Written-By – Albert Nicholas
3    Albert Nicholas And His New Orleans Friends–    Ol' Man River 4:05
Written-By – Oscar Hammerstein II / Jerome Kern
4    Albert Nicholas And His New Orleans Friends–    In A Mellow Tone 2:56
Written-By – Duke Ellington
5    Albert Nicholas And His New Orleans Friends–    Basin Street Blues 4:46
Written-By – Spencer Williams
6    Albert Nicholas And His New Orleans Friends–    Clarinet Marmalade 4:31
Written-By – Edwin B. Edwards, James La Rocca
7    Albert Nicholas And His New Orleans Friends–    Way Down Yonder In New Orleans 4:30
Written-By – Henry Creamer, Turner Layton
8    Albert Nicholas And His New Orleans Friends–    Demi-tasse 2:42
Written-By – Duke Ellington, Harry Carney
Jimmy Archey Avec Michel Attenoux Et Son Orchestre (1955)    
9    Jimmy Archey Avec Michel Attenoux Et Son Orchestre–    Tiger Rag 4:23
Written-By – Harry De Costa, The Original Dixieland Jazz Band
10    Jimmy Archey Avec Michel Attenoux Et Son Orchestre–    Texas Moaner Blues 5:36
Written-By – Clarence Williams
11    Jimmy Archey Avec Michel Attenoux Et Son Orchestre–    Sensation 4:00
Written By – John Gale
12    Jimmy Archey Avec Michel Attenoux Et Son Orchestre–    Christopher Columbus 4:35
Written-By – Andy Razaf, Leon Berry
13    Jimmy Archey Avec Michel Attenoux Et Son Orchestre–    Swanee River 3:30
Written-By – Stephen Foster
14    Jimmy Archey Avec Michel Attenoux Et Son Orchestre–    That's A Plenty 4:04
Written-By – Bert A. Williams, Henri Creamer
Credits :
Baritone Saxophone – Jean-Louis Chautemps (faixas: 4, 8)
Clarinet – Albert Nicholas (faixas: 1 to 8), Gérard Badini (faixas: 9 to 14)
Double Bass – Buddy Banks (2) (faixas: 1, 2, 5, 6), Guy Pedersen (faixas: 9 to 14), Ricky Garzon (faixas: 4, 8)
Drums – François "Moustache" Galepides (faixas: 9 to 14), Jacques David (faixas: 1, 2, 5, 6), Robert Barnet (faixas: 3, 4, 7, 8)
Piano – André Persiany (faixas: 1, 2, 5, 6), Claude Bolling (faixas: 3, 4, 7, 8), George Arvanitas (faixas: 9 to 14)
Soprano Saxophone – Michel Attenoux (faixas: 1, 2, 5, 6, 9 to 14)
Trombone – Benny Vasseur (faixas: 4, 8), Bernard Zacharias (faixas: 1, 2, 5, 6), Claude Gousset (faixas: 9 to 14), Jimmy Archey (faixas: 9 to 14)
Trumpet – Guy Longnon (faixas: 1, 2, 5, 6), Jean Liesse (faixas: 4, 8), Louis Henry (faixas: 9 to 14)
Nota :
Recorded March 1954 in Paris (1-8) and January 27, 1955 at the Magellan studio, Paris (9-14)
Reissue of the Club Français du Disque 10" LP 18 (1-8) and of the Barclay 10" LP 84 001 (9-14)