LOUIS ARMSTRONG AND HIS ORCHESTRA – 1936-1937 | The Classics Chronological Series – 512 (1990) FLAC (tracks+.cue), lossless

Continuing the complete chronological reissue of Louis Armstrong's output for Decca during the swing era, this set finds Satch at his most exhibitionistic (hitting dozens of high notes on "Swing That Music"), fronting Jimmy Dorsey's orchestra, doing a "Pennies from Heaven" medley with Bing Crosby, joining in for two collaborations with The Mills Brothers and, on four selections, even making charming (if weird) music with a group of Hawaiians. Not essential but quite enjoyable. Scott Yanow   Tracklist + Credits :

TOMMY DORSEY AND HIS ORCHESTRA – 1928-1935 | The Classics Chronological Series – 833 (1995) FLAC (tracks+.cue), lossless

This is the first volume of the complete studio recordings of Tommy Dorsey as presented in the Classics Chronological Series. The first five tracks, relatively rare and gloriously instrumental, are worth the cost of the entire album. Four of these, recorded for the OKeh label in 1928 and 1929, feature "Tom Dorsey" playing the trumpet in the company of guitarist Eddie Lang with drummer Stan King and either tubaist/string bassist Jimmy Williams or pianist Frank Signorelli. The opening selection, an intimate rendering of Perry Bradford's "It's Right Here for You," has a lovely harmonium accompaniment by Arthur Schutt that mingles marvelously with Lang's reflective improvisations. Dorsey's expressive trumpeting pleasantly reflects the influence of Louis Armstrong and Bix Beiderbecke. His next opportunity to record under his own name occurred on Bastille Day in July of 1932. Billed now as "Tommy Dorsey," he presented his own composition, "Three Moods." Backed by a seven-piece "orchestra" that included brother Jimmy Dorsey, trumpeter Manny Klein, and Larry Binyon on tenor sax, the trombonist established a waltz and transformed it into a gavotte and then a swinging foxtrot. Beginning on September 26, 1935, Dorsey, billed for one last time as "Tom," made his first recordings as a leader for the Victor label. The three tunes waxed on that day represent in miniature an accurate condensation of Dorsey's stylistic output over the next few years: an innocent topical pop tune (in this case a rather glib cowboy reverie), a solidly swung traditional jazz stomp (here typified by Artie Matthews' "Weary Blues"), and the occasional dreaded blob of musical cotton candy (epitomized by "Santa Claus Is Coming to Town"). Anyone listening through the Tommy Dorsey chronology must contend with pop vocals and sidestep periodic outbursts of brain-numbing corn in order to locate and savor the pockets of real jazz that occur from time to time. If Eddie Condon were alive today he would counsel the truly jazz-inclined to listen for the second-chair trumpeting of Sterling Bose whenever the singers run out of lyrics. Two big-band instrumentals, "I'm Getting Sentimental Over You" and "Pagan Star," decisively established the Tommy Dorsey sound and provided the public with highly polished background music for all occasions. Several wonderful performances feature the tap dancing of Eleanor Powell, who sounds like she's been cross-dressing as she cheerfully spouts the lyrics to "Got a Bran' New Suit," makes an ass of herself speaking in a fake British accent during "That's Not Cricket," and redeems her dignity to some extent by hoofing her way through "What a Wonderful World." This vintage love song by Arthur Schwartz should not be confused with Bob Thiele's famous philosophical feel-good soliloquy sung by Louis Armstrong near the end of his life. arwulf arwulf    Tracklist + Credits :

FRANKIE TRUMBAUER AND HIS ORCHESTRA – 1927-1928 | The Chronogical Classics – 1188 (2001) FLAC (tracks+.cue), lossless

C-melody saxophonist Frankie Trumbauer is best remembered for the recordings he made in the late '20s with cornetist Bix Beiderbecke. Trumbauer's other lasting accomplishment was to inadvertently inspire Lester Young to develop an unusually subtle manner of handling the tenor saxophone. While most of this material may be found on various Beiderbecke-oriented compilations (the JSP box Bix & Tram is thriftily priced), there's nothing quite like having a Classics discography to organize one's cognition while following the trail of old records in precise chronological sequence. Informational details such as record labels, arranger credits, and recording dates are neatly presented for maximum clarity and comprehension. This first volume in the complete works of Frankie Trumbauer consists entirely of recordings made for the Okeh label between February 4, 1927, and January 20, 1928. The material ranges from archetypal masterpieces ("Singin' the Blues," "Ostrich Walk," "I'm Coming, Virginia," and "A Good Man Is Hard to Find") to marvelously stodgy milestones of timeworn pop music. "Sugar" -- not Maceo Pinkard's tune but a long-gone opus credited to Yellen & Ager -- is sung by a positively silly trio of comedians whereas "Just an Hour of Love" and "I'm Wonderin' Who" feature vaudeville-trained vocalist Irving Kaufman. Instrumentally speaking, there's never a dull moment. Adrian Rollini appears and disappears like a bass sax-toting will o' the wisp; Joe Venuti brandishes a fiddle and Eddie Lang plays both banjo and guitar, even appearing in a trio with Bix and Tram on "For No Reason at All in C" and Fats Waller's "Wringin' and Twistin'." Pee Wee Russell and Jimmy Dorsey each show up long enough to contribute their two bits, someone's sax whinnies like a horse at the end of "There'll Come a Time," and Bing Crosby merrily mouths the racist lyrics to "Mississippi Mud." Throughout all of this, Beiderbecke sounds like an angel playing hooky from heaven. arwulf arwulf  
Tracklist :

JOE VENUTI – 1926-1928 | The Chronogical Classics – 1211 (2001) FLAC (tracks), lossless

This particular slice of the Joe Venuti & Eddie Lang chronology presents some of their all-time best instrumental performances garnished with a small bouquet of precious novelties and sugary love songs with delightfully naïve vocals by Scrappy Lambert, Billy Hillpot, and Rube Bloom. The sweetest of these are sung in a manner so euphoric as to be almost nonsensically charming. This is true even of a suspiciously idyllic paean to the pleasures of "Pickin' Cotton," a faintly onerous song representing a tenebrous subgenre of Tin Pan Alley tunes that wistfully glorified the gallant bygone days of slave or cheap "emancipated" labor. Venuti's lyrically inspired handling of the violin and Lang's virtuosic guitar still sound surprisingly fresh and imaginative. These earliest Venuti and Lang collaborations exude a special sort of positive energy that is unique in all of classic jazz. Some of the instrumental tracks feel like well-organized, improvised hot chamber music. Fortunately, Venuti's "Kickin' the Cat" and "Beatin' the Dog" are presented without any nasty lyrics or cruel sound effects. arwulf arwulf  
Tracklist :

JOE VENUTI – 1928-1930 | The Chronogical Classics – 1246 (2002) FLAC (tracks), lossless

Even as the Joe Venuti/Eddie Lang instrumentals from the late '20s are worth their weight in gold, more than half of the fun in listening to an overview of this section of their complete recorded works is derivable from the often silly vocalists. Pianist Rube Bloom had a charmingly wobbly voice, preferable perhaps to the too-perfect, painfully innocent, but nevertheless endearing efforts of Smith Ballew. "Sensation," in addition to proving that Jimmy Dorsey could play the hell out of the baritone sax, contains Bloom's wildest vocal, consisting of bursts of scat singing mingled with dramatic moans and pleas for medical/musical assistance in what was apparently intended as a steamy sequel to "Hello Central Give Me Doctor Jazz." The delightful wordless vocal on the marvelous "I Must Have That Man" has often been attributed to Venuti himself. This CD's discography assigns it to drummer Chauncey Morehouse. Everyone agrees that the tuba solo is by the mighty Joe Tarto. Scrappy Lambert squeezes out two hilariously enigmatic love songs, "I Am Only Human After All" and "Out of Breath and Scared to Death of You." The last three tracks on this volume of the Classics Joe Venuti chronology are not so well known, probably because of the comparatively glib vocalists. Back to the instrumentals -- there are only five, but each one is a masterpiece. A 1928 remake of "Doin' Things," recorded with a smaller group the previous year, is refreshing. "Runnin' Ragged," recorded in October of 1929, features Frankie Trumbauer on bassoon. The idyllic "Apple Blossoms," a collectively composed serenade, is a study in perfect peace. Adrian Rollini, armed with bass sax, goofus, and hot fountain pen, enlivened the next Blue Four session, which took place during the spring of the following year. The musicianship on this collection is often astonishing, and the effect upon the central nervous system is known to be beneficial. Everything heard here is priceless for the fact that it is possible to derive from each performance a completely unfounded sense of well-being. In a jaded, postmodern world, that is a precious thing. arwulf arwulf  
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JOE VENUTI – 1930-1933 | The Chronogical Classics – 1276 (2002) FLAC (tracks+.cue), lossless

Tracklist :

JOE VENUTI – 1933 | The Chronogical Classics – 1348 (2004) FLAC (tracks+.cue), lossless

The recordings made under Joe Venuti's name during the years immediately following the sudden and premature death of Eddie Lang on March 26, 1933, often have a somewhat strange quality to them. Venuti was crushed by this personal loss and must have still been mourning the death of his friend and musical companion when the two opening tracks -- concluding the session that produced the thrilling "Vibraphonia" -- were recorded on May 8th. Six sides waxed in September of 1933 for the Banner label feature vocalist Don Elton, infinitely better on the upbeat novelties than as a crooner suspended in syrup. This smooth band had a young Max Kaminsky in the brass section and Bud Freeman in the reeds. The creamy, beautiful "Moon Glow" is one of Venuti's best-known sides from this period, and with good reason. The band on the completely instrumental Columbia session from one week later is the best group on the entire package, with Benny Goodman, Bud Freeman, and Adrian Rollini on the front line. It is worth noting that the great Dick McDonough was now established as Eddie Lang's replacement. His work on this session demonstrates exactly why. "In de Ruff" turns out to be King Oliver's "Dipper Mouth Blues," later known as "Sugar Foot Stomp." A Bluebird session from October 13th yielded four more instrumentals -- three of them by Will Hudson -- beginning with a rousing "Fiddlesticks." On "Phantom Rhapsody" and Benny Carter's "Everybody Shuffle," this band sounds a bit like Fletcher Henderson's, except of course for the fiddle. Venuti spent the rest of the year recording for Banner. Dolores Reade, presenting a couple of melodies by Irving Berlin, had more charm and substance than Howard Phillips and Slim Fortier put together. Even the least of these sides are fascinating for those who enjoy studying jazz and popular music from the early '30s. arwulf arwulf  
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EDDIE LANG – 1927-1932 | The Chronogical Classics – 1357 (2004) FLAC (tracks+.cue), lossless

This delightful set collects the earliest sides released by jazz guitarist Eddie Lang under his own name (or as Blind Willie Dunn, but more on that in a moment), which means it doesn't include any of his famous duets with fellow guitarist Lonnie Johnson, since all of those were officially released under Johnson's name. Lang does play with Johnson here on two tracks, though, under the name Blind Willie Dunn as part of the Gin Bottle Four (which also included pianist J.C. Johnson and horn man King Oliver), and his two striking duets with guitarist Carl Kress ("Pickin' My Way" and "Feeling My Way") are also here. One can't help but wonder where Lang might have gone on his instrument as the era of the electric guitar dawned, but his early death leaves nothing but "what if" conjecture on that subject. Lang was a much sought-after session player during his short life, and the sides released under his own name aren't necessarily his most influential, but it's nice to have them all in one set like this. Steve Leggett
Tracklist + Credits :

BIX BEIDERBECKE WITH PAUL WHITEMAN – 1927-1928 | The Chronogical Classics – 1208 (2001) FLAC (tracks+.cue), lossless

Although this is technically the third volume in the Classics Bix Beiderbecke chronology, close examination reveals that volumes three and four retrace a timeline already traversed by the earlier installments, resulting in a reshuffled, non-linear progression that is atypical of the Classics Chronological Series yet seems oddly appropriate for an authentically surreal character like Beiderbecke. This volume follows a timeline from November 18, 1927 to April 22, 1928. Because the producers of this series ladled most of the "Bix & Tram" collaborations into the Frankie Trumbauer portion of their label's catalog, the entire Classics "Bixology" initially fit into two volumes (issued in 1996) with two additional volumes (issued in 2002) documenting Beiderbecke's tenure as a sideman with the Paul Whiteman Orchestra during the years 1927-1929. Shunned for years by jazz purists unwilling to stoop so low as to listen to Whiteman's string-infested ensemble, these are the great, marginalized and misunderstood works of Bix Beiderbecke. With arrangements by Bill Challis and quaint vocals by Hoagy Carmichael, Bing Crosby and the Rhythm Boys (among others), the listener is advised to enjoy the antiquated charm of late-'20s pop music while listening carefully for Beiderbecke's hot cornet passages in and among the more conventional (but also Beiderbecke-informed) trumpet breaks by Henry Busse. Beiderbecke's tallies vary; eight bars during "Mary," 16 bars muted during "Changes" and an entire chorus of 32 bars in "Dardanella." Naturally, there's never enough Bix to fully satisfy, but there never was to begin with. And he wasn't acting alone. Some of Beiderbecke's running buddies show up in the Whiteman flock; reedmen Frankie Trumbauer, Min Leibrook and Jimmy Dorsey, trombonist Bill Rank and bassist Steve Brown were responsible for helping Beiderbecke to conjure most of the jazz that wormed its way into these harmless, pleasantly dated performances. The singers are fun and the instrumentals are fascinating, especially the excerpt from Ferde Grofé's "Metropolis." Repeated listening allows truly devout Bixologists to identify his wonderful contributions and savor each solo, nuance for nuance and note by note. arwulf arwulf
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RED NORVO AND HIS ORCHESTRA – 1933-1936 | The Classics Chronological Series – 1085 (1999) FLAC (tracks), lossless

Aside from a handful of early pioneers such as Harry A. Yerkes, Charles Hamilton Green, and Jimmy Bertrand, Red Norvo was the first person to regularly play jazz on the xylophone. He also led the way in presenting that kind of music on vibraphone and marimba. This first volume of his complete recordings in chronological order documents Norvo's outstanding experiments in chamber jazz and small group swing during the years 1933-1935. Also covered in detail is the next phase of Norvo's career, as he led a big band either graced with or encumbered by jazz/pop vocalists. The first two sessions, recorded for the Brunswick label during the spring and autumn of 1933, resulted in four pieces unlike anything else being presented to the public at that time. "Knockin' On Wood" and "Hole in the Wall" are zippy features for xylophone with support from clarinetist Jimmy Dorsey and a sympathetic trio of pianist Fulton McGrath, guitar virtuoso Dick McDonough, and bassist Artie Bernstein. "Dance of the Octopus" and Bix Beiderbecke's "In a Mist" are rendered by a quartet that positively glows with the fascinating combination of Norvo's sublime marimba and Benny Goodman's colorful bass clarinet. The Swing Septet sessions of 1934 are remarkable for the combined presence of four men remembered today for having helped to shape the course of musical history by leading their own swing bands during the 1930s and '40s: Teddy Wilson, Artie Shaw, Charlie Barnet, and Red Norvo. The lineup on the following session -- apparently Norvo's only date as a leader during the year 1935 -- is every bit as formidable, as Bunny Berigan and Chu Berry appear alongside Wilson, Bernstein, George Van Eps, and Gene Krupa. These first 12 tracks are worth the price of admission. A 13th selection, "Gramercy Square," is an instrumental sweet serenade with richly rumbling reeds behind the xylophone. Its original flip side, "Decca Stomp," is a smooth but caffeinated foxtrot, correctly appraised in the liner notes as a premonition of what John Kirby's Sextet would be playing by the end of the decade. But something has surely changed -- these sessions from January of 1936 were a turning point as Norvo now began leading a semi-sweet jazz orchestra gilded at first with weirdly chosen vocalists. The trio heard singing "Polly Wolly Doodle" also tried to handle "The Wedding of Jack and Jill" but this is terminally cute stuff, strangely disconcerting after all of the honest jazz heard earlier in the chronology. Things get even more bizarre with Mae Questal -- the original voice of Popeye's Olive Oyl -- squealing and giggling as she sings "The Music Goes 'Round and Around" in her overgrown little girl's voice. This Betty Boop routine actually works better than her attempt at presenting "The Broken Record," a clever song re-creating the exact pace of a skipping 78-rpm platter. While Wingy Manone's rendition of this song is charming [see Classics 828], Questal's alarming hiccup effect is distracting at best. Finally, six melodies recorded in February 1936 and subsequently issued on the Champion label are deadened by trumpeter Stew Pletcher's attempts at romantic vocalizing. If only he'd kept his horn glued to his lips, these would have been pleasant instrumentals, but there's nothing that can be done about it now. arwulf arwulf
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MILDRED BAILEY – 1932-1936 | The Classics Chronological Series – 1080 (1999) FLAC (tracks), lossless

Two dozen recordings made by Bailey between 1932 and 1936 form this important chapter in the chronological review of her best work. This is right at the time she left Paul Whiteman's band and started recording on her own, often in the company of top-notch jazz artists like the Dorsey Brothers, Bunny Berigan, Teddy Wilson, Johnny Hodges, Artie Shaw, and future husband Red Norvo. As always, Bailey's timing is impeccable, her intonation nigh perfect, and the songs -- even the poppier offerings -- all swing like crazy. Cub Koda
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ART TATUM – 1932-1934 | The Classics Chronological Series – 507 (1990) FLAC (tracks+.cue), lossless

This comprehensive CD contains Art Tatum's very first recording (a broadcast version of "Tiger Rag"), four selections in which he accompanies singer Adelaide Hall (along with a second pianist) and then his first 20 solo sides. To call his virtuosic piano style remarkable would be a major understatement; he has to be heard to be believed. His studio version of "Tiger Rag" may very well be his most incredible recording; he sounds like three pianists at once. Scott Yanow
Tracklist + Credits :

THE RED HEADS – 1925-1927 | The Classics Chronological Series – 1267 (2002) FLAC (tracks+.cue), lossless

The Red Heads was a pseudonym for Red Nichols & His Five Pennies whenever their recordings were released on the Melotone, Oriole, or Perfect labels during the years 1925-1927. Following in the wake of EPM Musique's 25-track Complete edition of 1998, Jazz Oracle's 74-track, three-CD set of 2004 augmented the main body of their work with a surprisingly large number of sides by pop vocalists Jay C. Flippen and Cliff Edwards with sweet and jazzy accompaniments by the Red Heads. Edwards, also known as Ukulele Ike, eventually achieved international fame as the voice of Jiminy Cricket. This exhaustively thorough chronological survey also features vocals by Frank Gould and Arthur Fields. Having all of these charming period pop vocals in the package should be regarded as a confectionary bonus rather than a distracting disadvantage. The producers have placed the instrumentals in full context by including harmless pleasantries like "You Should See My Tootsie" and "I'm 'Gonna' Hang Around My Sugar," with the word "gonna" in quotes. Instrumentalists of note in the Red Heads discography are trumpeters Red Nichols and Wingy Manone; cornetist Brad Gowans, trombonist Miff Mole, reed players Jimmy Dorsey and Fud Livingston; pianists Arthur Schutt and Rube Bloom; guitarists Dick McDonough and Eddie Lang, and ace percussionist Vic Berton. This amazing anthology is not exclusively intended or recommended for historians, specialists, or recluses. It is a thrilling magnum dose of great historic jazz, dance, and pop recordings from smack in the middle of the '20s. No one should be put off by the quantity of tracks, the modest helping of alternate takes, or the marvelously old-fashioned nature of the music within. It is perhaps most important that it be heard by people who do not specialize in music and culture from this period. The Red Heads can and will speak to anyone. arwulf arwulf

Tracklist + Credits :

JACK TEAGARDEN AND HIS ORCHESTRA – 1930-1934 | The Classics Chronological Series – 698 (1993) FLAC (tracks+.cue), lossless

This Classics CD has the first 23 titles ever issued under the leadership of trombonist Jack Teagarden. Many of these selections were formerly rare, particularly the earlier titles on Domino, Banner and Crown. Best is the session that co-starred pianist/vocalist Fats Waller and, while some of the titles are a bit commercial, Teagarden's playing (and that of his better sidemen) uplift the music; "A Hundred Years from Today" is a classic. Scott Yanow
Tracklist :
1     Son of the Sun 2:25
Rudolf Friml
Vocals – Jack Teagarden
2     You're Simply Delish 2:42
Arthur Freed / Joseph Meyer
Vocals – Eddie Gale
3     Just a Little Dance, Mam'selle 3:02
Vocals – Jack Teagarden
Ben Gordon / Chas OFlynn / Pete Wendling
4     Rockin' Chair 3:00
Hoagy Carmichael
Vocals – Eddie Miller, Nappy Lamare
5     Loveless Love 2:49
W.C. Handy
Vocals – Jack Teagarden
6     You Rascal You 3:12
Sam Theard    
Vocals – Fats Waller, Jack Teagarden
7     That's What I Like About You 3:24
Walter Donaldson
Vocals – Fats Waller, Jack Teagarden
8    Chances Are 3:13
Gus Arnheim / Harry Barris / Arthur Freed
Vocals – Jack Teagarden
9     I Got the Ritz from the One I Love 3:25
Harry Barris / J.C. Lewis
Vocals – Jack Teagarden
10     China Boy 3:06
Phil Boutelje / Dick Winfree
11     Lies 3:10
Harry Barris / George E. Springer
Vocals – Gene Austin
12     I'm Sorry Dear 3:00
Raymond Scott / Charles Tobias / Harold Weeks
Vocals – Gene Austin
13     Tiger Rag 3:06
Harry Da Costa / Eddie Edwards / Nick LaRocca / Henry W. Ragas / Tony Sbarbaro / Larry Shields
14     I've Got It 3:08
David Rose / Jack Teagarden
15     Plantation Moods 3:24
Fred Rose / Jack Teagarden
16     Shake Your Hips 3:23
Fred Rose / Jack Teagarden
17     Someone Stole Gabriel's Horn 3:00
Edgar Hayes / Irving Mills / Ned Washington
Vocals – Jack Teagarden
18     Love Me 3:03
Ned Washington / Victor Young
Vocals – Jack Teagarden
19     Blue River 2:57
Ned Washington / Victor Young
Vocals – Jack Teagarden
20     A Hundred Years from Today 3:07
Ned Washington / Victor Young
Vocals – Jack Teagarden
21     I Just Couldn't Take It, Baby 2:55
Mann Holiner / Alberta Nichols
Vocals – Jack Teagarden
22     Fare-Thee-Well to Harlem 3:06
Bernie Hanighen / Johnny Mercer
Vocals – Jack Teagarden, Nappy Lamare
23     Ol' Pappy 3:03
Jerry Levinson / Marty Symes
Vocals – Jack Teagarden, Nappy Lamare
Credits :    
Alto Saxophone – Buddy Fisk (tracks: 14 to 17)
Banjo, Guitar – Nappy Lamare (tracks: 1 to 13)
Bass Saxophone – Adrian Rollini (tracks: 6 to 9)
Bass [String Bass] – Artie Bernstein (tracks: 6 to 9, 18 to 23), Eddie Gilbert (tracks: 14 to 17)
Bass [String Bass], Brass Bass – Harry Goodman (tracks: 1 to 5, 10 to 13)
Clarinet – Benny Goodman (tracks: 4, 5), Pee Wee Russell (tracks: 6 to 9)
Clarinet, Alto Saxophone – Chester Hazlett (tracks: 18 to 23), Gil Rodin (tracks: 1 to 5, 10 to 13), Jimmy Dorsey (tracks: 18 to 23), Matty Matlock (tracks: 1 to 3, 10 to 13), Rod Cless (tracks: 14 to 17)
Clarinet, Tenor Saxophone – Dale Skinner (tracks: 14 to 17), Eddie Miller (2) (tracks: 1 to 5, 10 to 13), Joe Catalyne (tracks: 6 to 9), Max Farley (tracks: 6 to 9), Mutt Hayes (tracks: 18 to 23)
Directed By – Victor Young (tracks: 18 to 23)
Drums – Bob Consolman (tracks: 14 to 17), Larry Gomar (tracks: 18 to 23), Ray Bauduc (tracks: 1 to 5, 10 to 13), Stan King (tracks: 6 to 9)
Guitar – Dick McPartland (tracks: 14 to 17), Frank Worrell (tracks: 22, 23), Perry Botkin (tracks: 18 to 21)
Piano – Charles LaVere (tracks: 14 to 17), Fats Waller (tracks: 6 to 10, 13), Gil Bowers (tracks: 1 to 5, 11, 12), Joe Meresco (tracks: 18 to 23)
Tenor Saxophone – Bud Freeman (tracks: 14 to 17)
Trombone – Jack Teagarden, Tom Moore (tracks: 14 to 17)
Trumpet – Charlie Spivak (tracks: 1 to 5), Charlie Teagarden (tracks: 6 to 17), Claude Whiteman (tracks: 14 to 17), Frank Guarente (tracks: 18 to 23), Sterling Bose (tracks: 4 to 13, 18 to 23), Tommy Thunen (tracks: 1 to 3)
Violin – Joe Venuti (tracks: 22, 23), Lou Kosloff (tracks: 22, 23), Walt Edelstein (tracks: 18 to 23)

RED NICHOLS – 1925-1927 | The Classics Chronological Series – 1212 (2001) FLAC (tracks+.cue), lossless

This anthology collects sides released between 1925 and 1927 by Red Nichols under the usual assortment of monikers, including, this time around, Lanin's Red Heads, the Hottentots, Red & Miff's Stompers, and Red Nichols & His 5 Pennies. These combos usually included longtime associates Miff Mole on trombone and Jimmy Dorsey on clarinet and alto sax. As a cornet player, Nichols often gets dismissed as a version of Bix Beiderbecke lite, an assessment that isn't exactly fair, and he tackles Beiderbecke's own "Davenport Blues" here in his own easy style, showing allegiance more than competition. Other highlights here include the stripped-down "Jimtown Blues" and the intricate "Boneyard Shuffle." Nichols tackled more innovative and complicated arrangements a couple of years down the road from these recordings, and while this might not be the place to start to sample Nichols' massive 1920s output (he is rumored to have appeared on over 4,000 recordings during that decade alone), it is nonetheless a warm, bright, and pleasant listen. Steve Leggett 
Tracklist :
1    Lanin's Red Heads–    Jimtown Blues    3:08
2    Lanin's Red Heads–    King Porter Stomp    3:08
3    Lanin's Red Heads–    I Wouldn't Be Where I Am If You Hadn't Gone Away    2:55
4    Lanin's Red Heads–    Flag That Train    3:05
5    Lanin's Red Heads–    I'm Gonna Hang Around My Sugar    3:21
6    Lanin's Red Heads–    Five Foot Two, Eyes Of Blue 3:11
Vocals – Art Gillham
7    The Hottentots–    Down And Out Blues    2:59
8    The Hottentots–    The Camel Walk    2:54
9    The Hottentots–    Pensacola    2:36
10    The Hottentots–    Nobody's Rose    2:49
11    The Hottentots–    Lots O'Mama    2:40
12    Red And Miff's Stompers–    Alabama Stomp    3:47
13    Red And Miff's Stompers–    Stampede    4:38
14    Red And Miff's Stompers–    Hurricane    4:28
15    Red And Miff's Stompers–    Black Bottom Stomp    3:50
16    Red Nichols And His Five Pennies–    Washboard Blues    3:06
17    Red Nichols And His Five Pennies–    That's No Bargain    2:43
18    Red Nichols And His Five Pennies–    Buddy's Habits    2:51
19    Red Nichols And His Five Pennies–    Boneyard Shuffle    3:10
20    Red Nichols And His Five Pennies–    Alabama Stomp    2:55
21    Red Nichols And His Five Pennies–    Hurricane    2:56
22    Red And Miff's Stompers–    Delirium    3:04
23    Red And Miff's Stompers–    Davenport Blues    3:02
Credits :
Banjo – Tony Colucci (tracks: 1 to 6, 9, 10, 22, 23), Unknown Artist (tracks: 11)
Bass – Joe Tarto (tracks: 1 to 6, 12 to 15)
Clarinet – Dick Johnson (tracks: 7 to 10), Unknown Artist (tracks: 11)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 12 to 23)
Clarinet, Alto Saxophone, Soprano Saxophone – Alfie Evans (tracks: 1 to 6, 12 to 15), Clarence Heidke (tracks: 1 to 6)
Clarinet, Tenor Saxophone – George Slater (tracks: 1 to 6)
Cornet – Unknown Artist (tracks: 11)
Directed By – Sam Lanin (tracks: 1 to 6)
Drums – Unknown Artist (tracks: 11), Vic Berton (tracks: 1 to 10, 12 to 23)
Guitar – Eddie Lang (tracks: 16 to 21)
Piano – Art Gillham (tracks: 5, 6), Arthur Schutt (tracks: 12 to 23), Bill Krenz (tracks: 1 to 4), Rube Bloom (tracks: 7 to 10), Unknown Artist (tracks: 11)
Saxophone [C-Melody] – Unknown Artist (tracks: 11)
Trombone – Miff Mole (tracks: 1 to 10, 12 to 15, 18 to 23), Unknown Artist (tracks: 11)
Trumpet – Hymie Farberman (tracks: 1 to 6), Red Nichols (tracks: 1 to 10, 12 to 23)
Violin – Unknown Artist (tracks: 5, 6)

RED NICHOLS – 1927-1928 | The Classics Chronological Series – 1241 (2002) FLAC (tracks+.cue), lossless

Loring "Red" Nichols was an expert cornet player, a solid improviser, and apparently a workaholic, since he is rumored to have appeared on over 4,000 recordings during the 1920s alone. One of the ways he managed this feat was by appearing under countless different names, and in the case of this collection covering the years 1927 and 1928, he made recordings as Red Nichols & His 5 Pennies, the Six Hottentots, Red & Mill's Stompers, and Red Nichols' Stompers. Pay no attention to whether there were five Pennies or six Hottentots, since Nichols' groups tended to be eight or ten pieces or more, no matter what the moniker read, and usually featured longtime associates Miff Mole on trombone, Jimmy Dorsey on clarinet or alto sax, and the marvelous Dudley Fosdick on mellophonium. This collection features one of the biggest hits of Nichols' career, "Ida, Sweet as Apple Cider," and like "Cornfed," also collected here, it effortlessly combines a sophisticated arrangement with a kind of easy, down-home feel that masks its complexities. Although critics often brush right by him, Nichols was always a fresh and innovative arranger and bandleader. Steve Leggett  
Tracklist :
1    Red Nichols And His Five Pennies–    Bugle Call Rag    2:51
2    Red Nichols And His Five Pennies–    Back Beats    2:50
3    The Six Hottentots–    I'm In Love Again    2:48
4    The Six Hottentots–    Sometimes I'm Happy    3:05
5    The Six Hottentots–    Rosy Cheeks    2:55
6    The Six Hottentots–    The Memphis Blues    3:09
7    The Six Hottentots–    Melancholy Charlie    2:57
8    The Six Hottentots–    Hurricane    3:01
9    Red Nichols And His Five Pennies–    Cornfed    2:50
10    Red Nichols And His Five Pennies–    Five Pennies    2:48
11    Red Nichols And His Five Pennies–    Mean Dog Blues    3:11
12    Red Nichols And His Five Pennies–    Riverboat Shuffle 3:01
Arranged By – Fud Livingston
13    Red Nichols And His Five Pennies–    Eccentric 2:58
Arranged By – Fud Livingston
14    Red Nichols And His Five Pennies–    Ida, Sweet As Apple Cider 2:47
Arranged By – Lennie Hayton
15    Red Nichols And His Five Pennies–    Feelin' No Pain 2:54
Arranged By – Fud Livingston
16    Red And Miff's Stompers–    Slippin' Around    2:45
17    Red And Miff's Stompers–    Feelin' No Pain    3:04
18    Red Nichols' Stompers–    Sugar    3:17
19    Red Nichols' Stompers–    Make My Cot Where The Cot-Cot-Cotton Grows    3:18
20    Red Nichols And His Five Pennies–    Nobody's Sweetheart    3:05
21    Red Nichols And His Five Pennies–    My Gal Sal    3:08
22    Red Nichols And His Five Pennies–    Avalon    3:07
23    Red Nichols And His Five Pennies–    Japanese Sandman    3:16
Credits :
Alto Saxophone – Max Farley (tracks: 18, 19)
Bass Saxophone, Instruments [Goofus] – Adrian Rollini (tracks: 9 to 15, 18, 19)
Brass Bass – Jack Hanson (tracks: 16 to 19), Joe Tarto (tracks: 3 to 8)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 1 to 11)
Clarinet, Tenor Saxophone – Fud Livingston (tracks: 11 to 17, 20 to 23), Pee Wee Russell (tracks: 11 to 23)
Drums – Chauncey Morehouse (tracks: 18, 19), Vic Berton (tracks: 1 to 17, 20 to 23)
Guitar – Carl Kress (tracks: 16 to 23), Dick McDonough (tracks: 12 to 15), Eddie Lang (tracks: 1, 2, 9 to 11)
Mellophone – Dudley Fosdick (tracks: 20 to 23)
Piano – Arthur Schutt (tracks: 1 to 11)
Piano [Either/Or] – Arthur Schutt (tracks: 18, 19), Lennie Hayton (tracks: 18, 19)
Piano, Celesta – Lennie Hayton (tracks: 12 to 17, 20 to 21)
Saxophone [C-Melody] – Frank Trumbauer (tracks: 18, 19)
Trombone – Bill Rank (tracks: 18, 19), Miff Mole (tracks: 1 to 15, 18 to 23), Unknown Artist (tracks: 18, 19)
Trumpet – Bo Ashford (tracks: 18, 19), Leo McConville (tracks: 12 to 15), Manny Klein (tracks: 12 to 15), Red Nichols
Violin – Joe Venuti (tracks: 1, 2, 9 to 11)
Vocals – Charlie Farrell (tracks: 18, 19), Irving Kaufman (tracks: 3 to 5), Jim Miller (17) (tracks: 18, 19)

RED NICHOLS – 1928-1929 | The Classics Chronological Series – 1270 (2002) FLAC (tracks+.cue), lossless

This collection, drawn from recordings done by Red Nichols in 1928 and 1929, finds him in transition, struggling to deal with the advent of Dixieland and the coming big-band era. Nichols worked best with midsize bands (six to ten pieces), and his most successful arrangements (the lead track here, "Poor Butterfly," is a good example) feature unusual tonal placements that give each piece an edgy, cinematic feel. Dixieland made such touches far too subtle, and Nichols was unable to play to his strengths as the 1930s progressed. A valuable record of an interesting jazzman at the crossroads, this compilation will find its greatest appeal with serious jazz buffs, historians, and collectors. Steve Leggett
Tracklist :
1    Red Nichols And His Five Pennies–    Poor Butterfly (Vocal)    3:58
2    Red Nichols And His Five Pennies–    Poor Butterfly (Instr.)    4:01
3    Red Nichols And His Five Pennies–    Can't Yo' Hear Me Calling, Caroline? (Vocal)    4:05
4    Red Nichols And His Five Pennies–    Can't Yo' Hear Me Calling, Caroline? (Instr.)    4:04
5    Red Nichols And His Five Pennies–    Panama    3:02
6    Red Nichols And His Five Pennies–    There'll Come A Time    3:14
7    Red Nichols And His Five Pennies–    Dear Old Southland (Vocal)    4:27
8    Red Nichols And His Five Pennies–    Dear Old Southland (Instr.)    4:31
9    Red Nichols And His Five Pennies–    Limehouse Blues (Vocal)    4:38
10    Red Nichols And His Five Pennies–    Limehouse Blues (Instr.)    4:32
11    Red Nichols And His Five Pennies–    Whispering    3:03
12    Red Nichols And His Five Pennies–    I Can't Give You Anything But Love    2:49
13    Red Nichols And His Five Pennies–    Margie    2:56
14    Red Nichols And His Five Pennies–    Imagination    2:57
15    Red Nichols And His Five Pennies–    Original Dixieland One-Step    2:46
16    Red Nichols And His Orchestra–    Harlem Twist 2:51
Vocals – Chauncey Morehouse
17    Red Nichols And His Orchestra–    Five Pennies    3:25
18    Red Nichols And His Five Pennies–    A Pretty Girl Is Like A Melody    3:03
19    Red Nichols And His Five Pennies–    I Never Knew    2:58
20    Red Nichols And His Five Pennies–    Who's Sorry Now?    3:01
21    Red Nichols And His Five Pennies–    Chinatown, My Chinatown    3:13
Credits :
Bass – Art Miller (tracks: 1 to 15)
Clarinet, Alto Saxophone – Benny Goodman (tracks: 19 to 21), Jimmy Dorsey (tracks: 5, 6, 18)
Clarinet, Tenor Saxophone – Fud Livingston (tracks: 1 to 18, 21)
Drums – Vic Berton (tracks: 1 to 12, 18)
Drums, Vibraphone – Chauncey Morehouse (tracks: 13 to 17, 19 to 21)
Guitar – Carl Kress (tracks: 1 to 6, 13 to 21), Eddie Lang (tracks: 7 to 10)
Mellophone – Dudley Fosdick
Piano – Arthur Schutt (tracks: 1 to 20)
Piano, Celesta – Lennie Hayton (tracks: 21)
Trombone – Miff Mole
Trumpet – Leo McConville (tracks: 1 to 11, 13 to 17), Manny Klein (tracks: 1 to 10, 13 to 15, 18 to 21), Red Nichols
Violin – Joe Venuti (tracks: 11, 12), Murray Kellner (tracks: 1 to 10, 13 to 15)
Vocals – Scrappy Lambert (tracks: 1, 3, 7, 9)

RED NICHOLS – 1929 | The Classics Chronological Series – 1332 (2003) FLAC (tracks+.cue), lossless

By 1929, Red Nichols had been active as a recording artist for nearly eight years. He had been making a name for himself as a leader since 1925, usually in the company of a superhuman trombonist by the name of Miff Mole. While some folks might focus upon the presence of Jimmy Dorsey, seasoned early jazz addicts will also cherish the opportunity to commune with the spirits of Miff Mole, Vic Berton and Arthur Schutt. The first three selections reveal what these men were able to accomplish under optimal conditions,( i.e. without vocals or violins). The band is wonderful, especially when Adrian Rollini introduces "Allah's Holiday" with the bass saxophone or takes a weird solo during "Roses of Picardy" using an ebonite tube full of holes with a clarinet mouthpiece stuck in the end of it. This bizarre instrument was identified as the E flat "hot fountain pen." It has a reedy, often slightly congested sound. The Captivators session brings on a veritable sitz bath of early-'30s smooth dance band effects. The instrumental takes were shipped straight to Germany, while Scrappy Lambert's vocal tracks were foisted upon the American record-buying public. Glenn Miller sounds as though he's blowing his trombone into a wine bottle during the instrumental version of "I'm Marching Home to You." At their best these sides enable the listener to cultivate a pleasantly false sense of well-being. Miller, Jack Teagarden, Babe Russin and multi-instrumental Benny Goodman made for a perfectly reasonable Five Pennies until Scrappy showed up and started singing "On the Alamo." After he ran out of breath, they gagged the Lamb and recorded a perfectly good instrumental take. A 19-piece Five Pennies band -- including four violins -- deliberately created a movie soundtrack malaise before the arrangement kicked the band into a suitably rambunctious background for Teagarden's handsome vocal on "Sally, Won't You Come Back?." Two weeks later, swollen to 20 players with Lambert attached to its neck like a pilot fish, the band cut three more sentimentally disturbed numbers. On June 12 of 1929, Nichols carved his band down to 12 units. Apparently incapable of making more than a handful of records without singers, he now induced Red McKenzie to moan and groan his way through "Who Cares?." Fortunately, "Rose of Washington Square" came out as a hot instrumental, enabling the listener to enjoy the combined energies of Pee Wee Russell, Bud Freeman, Joe Sullivan and Dave Tough. By this time you might as well completely surrender to the pop music esthetic of mid- to late- 1929 and simply enjoy the lyrics to "I May Be Wrong, But I Think You're Wonderful." Lambert is, well, useful as a concise articulator of the words to "They Didn't Believe Me," one of the few songs Jerome Kern would be remembered for if he hadn't slept in and missed the boat when the Lusitania sailed off on its rendezvous with German torpedoes in 1915. If you forget that this is supposed to have something to do with jazz, it feels like a two-bit lieder recital. So what the hell. After all is said and done, it really is a lovely old tune. arwulf arwulf  
Tracklist
1    Red Nichols And His Five Pennies–    Alice Blue Gown    2:45
2    Red Nichols And His Five Pennies–    Allah's Holiday    3:18
3    Red Nichols And His Five Pennies–    Roses Of Picardy    2:38
4    The Captivators , Direction Of Red Nichols–    I'm Marching Home To You (Vocal) 3:08
Vocals – Scrappy Lambert
5    The Captivators , Direction Of Red Nichols–    I'm Marching Home To You (Instr.)    3:04
6    The Captivators , Direction Of Red Nichols–    Building A Nest For Mary (Vocal) 3:07
Vocals – Scrappy Lambert
7    The Captivators , Direction Of Red Nichols–    Building A Nest For Mary (Instr.)    3:06
8    The Captivators , Direction Of Red Nichols–    I Used To Love Her In The Moonlight (Vocal) 3:02
Vocals – Scrappy Lambert
9    The Captivators , Direction Of Red Nichols–    I Used To Love Her In The Moonlight (Instr.)    3:02
10    Red Nichols And His Five Pennies–    Indiana 2:40
Arranged By – Glenn Miller
11    Red Nichols And His Five Pennies–    Dinah    3:15
12    Red Nichols And His Five Pennies–    On The Alamo (Vocal) 3:04
Vocals – Scrappy Lambert
13    Red Nichols And His Five Pennies–    On The Alamo (Instr.)    3:05
14    Red Nichols And His Five Pennies–    Sally, Won't You Come Back? 4:19
Vocals – Scrappy Lambert, Jack Teagarden
15    Red Nichols And His Five Pennies–    It Had To Be You 4:46
Arranged By – Arthur Schutt
Vocals – Scrappy Lambert
16    Red Nichols And His Five Pennies–    I'll See You In My Dreams 4:36
Arranged By – Glenn Miller
Vocals – Scrappy Lambert
17    Red Nichols And His Five Pennies–    Some Of These Days 4:16
Arranged By – Herb Taylor, Red Nichols
Vocals – Scrappy Lambert, Jack Teagarden
18    Red Nichols And His Five Pennies–    Who Cares?    3:17
19    Red Nichols And His Five Pennies–    Rose Of Washington Square    2:51
20    Red Nichols And His Five Pennies–    I May Be Wrong, But I Think You're Wonderful 2:54
Vocals – Scrappy Lambert
21    Red Nichols And His Five Pennies–    The New Yorkers 3:05
Vocals – Red McKenzie
22    Red Nichols And His Five Pennies–    They Didn't Believe Me 2:55
Vocals – Scrappy Lambert
23    Red Nichols And His Five Pennies–    Wait For The Happy Ending 2:39
Arranged By – Fud Livingston
Vocals – Scrappy Lambert
24    Red Nichols And His Five Pennies–    Can't We Be Friends? 2:56
Vocals – Dick Robertson
Credits :
Alto Saxophone – Unknown Artist (tracks: 10 to 13)
Banjo – Tommy Felline (tracks: 18 to 24)
Bass – Art Miller (tracks: 4 to 13, 15 to 19), Jack Hansen (tracks: 20 to 24), Joe Tarto (tracks: 14 to 17)
Bass Saxophone, Instruments [Hot Fountain Pen] – Adrian Rollini (tracks: 1 to 3)
Clarinet – Fud Livingston (tracks: 1 to 3, 20 to 24), Pee Wee Russell (tracks: 18 to 24)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 1 to 3, 14 to 17, 20 to 24), Pete Pumiglio (tracks: 4 to 9)
Clarinet, Alto Saxophone, Baritone Saxophone – Benny Goodman (tracks: 9 to 13)
Clarinet, Alto Saxophone, Flute, Oboe, Bassoon – Alfie Evans (tracks: 4 to 9, 14), Arnold Brilhart (tracks: 14 to 17)
Clarinet, Tenor Saxophone – Jimmy Crossan (tracks: 4 to 9, 15 to 17)
Drums – Chick Condon (tracks: 4 to 9), Dave Tough (tracks: 18, 19), Gene Krupa (tracks: 10 to 13), George Beebe (tracks: 20 to 24), Vic Berton (tracks: 1 to 3, 14 to 17)
Guitar, Banjo – Carl Kress (tracks: 1 to 17)
Mellophone – Dudley Fosdick (tracks: 1 to 3)
Piano – Arthur Schutt (tracks: 1 to 17), Irving Brodsky (tracks: 20 to 24), Joe Sullivan (tracks: 18, 19)
Tenor Saxophone – Babe Russin (tracks: 10 to 13), Bud Freeman (tracks: 18, 19)
Tenor Saxophone, Flute, Oboe – Larry Binyon (tracks: 14 to 17)
Trombone – Bill Trone (tracks: 14), Glenn Miller (tracks: 4 to 24), Herb Taylor (tracks: 15 to 24), Jack Teagarden (tracks: 10 to 24), Miff Mole (tracks: 1 to 3)
Trombone [Either, Or] – Bill Trone (tracks: 10 to 13), Herb Taylor (tracks: 10 to 13)
Trumpet – John Egan* (tracks: 20 to 24), Leo McConville (tracks: 10 to 14), Manny Klein (tracks: 1 to 19), Red Nichols, Tommy Thunen (tracks: 15 to 24)
Violin – Henry Whiteman (tracks: 14 to 17, 20, 21, 23, 24), Joe Raymond (tracks: 14 to 17), Lou Raderman (tracks: 14 to 17), Maurice Goffin (tracks: 20, 21, 23, 24), Murray Kellner (tracks: 14 to 17)
Violoncello – Lucien Schmitt (tracks: 14 to 17)

RED NICHOLS – 1930-1931 | The Classics Chronological Series – 1462 (2008) FLAC (tracks+.cue), lossless

Volume six in the complete recordings of trumpeter Red Nichols as reissued by the Classics Chronological Series consists of 25 Victor and Brunswick recordings dating from September 1930 through January 1931, and is especially recommended to those who enjoy Depression-era jazz and pop vocals, with the pop outweighing the jazz by a considerable margin. "On Revival Day," a topical novelty originally released in two parts on flipsides of a 78 rpm record, trombonist Jack Teagarden is backed by a vocal group billed as the Foursome. Forthwith, Nichols' ensemble is garnished at times with a couple of violins and is almost invariably dusted with sugary vocals by Scrappy Lambert, Dick Robertson, Eddie Thomas, Paul Small, and songwriter Harold Arlen. If you're curious to hear what the composer of "Blues in the Night" sounded like as a crooner, that's him singing "How Come You Do Me Like You Do?" as well as his own compositions "Linda," "You Said It," and "Sweet and Hot." The jazziest vocals, even funkier than Teagarden's, are by trumpeter Wingy Manone, who puts his personal stamp on "Rockin' Chair," "Bugaboo," and "Corrine Corrina." Betwixt and between the vocals there exist smoothly coordinated ensemble passages and a number of fine solos, for almost every group that Nichols ever led was peppered with skilled jazz musicians. In addition to those already mentioned, Nichols is heard alongside clarinetist Benny Goodman, trombonist Glenn Miller, saxophonists Jimmy Dorsey and Eddie Miller, pianist Joe Sullivan, and drummer Gene Krupa. arwulf arwulf  
Tracklist :
1    On Revival Day - Part 1 2:40
2    On Revival Day - Part 2 2:38
3    Embraceable You 3:08
4    I Got Rhythm 2:56
5    A Girl Friend Of A Boy Friend Of Mine 2:48
6    Sweet Jennie Lee 2:44
7    Linda 3:06
8    Yours And Mine 2:55
9    That's Where The South Begins 2:44
10    I'm Tickled Pink With A Blue-Eyes Baby 2:48
11    My Honey's Lovin' Arms 2:56
12    Rockin' Chair 3:10
13    Bugaboo 3:12
14    Corrinne Corrina 3:02
15    How Come You Do Me Like You Do? 3:01
16    Blue Again 3:12
17    When Kentucky Bids The World "Good Morning" 3:09
18    What Good Am I Without You? 2:58
19    We're Friends Again 3:09
20    At Last I'm Happy 2:51
21    If You Haven't Got A Girl 2:56
22    You Said It 3:05
23    Sweet And Hot 3:02
24    The Peanut Vendor 2:47
25    Sweet Rosita 3:03
All Credits :

MIFF MOLE – 1927 | The Classics Chronological Series – 1269 (2002) FLAC (tracks+.cue), lossless

Trombonist Miff Mole gained some fame in the 1920s for his many recordings with cornetist Red Nichols. At a time when many other trombonists had a much more percussive approach, Mole had an unusual style full of staccato runs, unpredictable interval jumps and impressive technique. Mole led a series of sessions during the 1927-30 period with his Molers, which overlapped personnel with Nichols' bands, utilizing some of the top white studio players of the era. This superior British LP contains all 12 numbers cut at the trombonist's sessions of 1927, plus four tunes on which the band backs the popular singer Sophie Tucker. With Nichols, either Jimmy Dorsey or Pee Wee Russell on clarinet, usually pianist Arthur Schutt, guitarist Dick McDonough and drummer Vic Berton being among the key sidemen (bass saxophonist Adrian Rollini is an asset on the final six numbers), the music is quite advanced for the time, particularly in its arrangements. Highlights include "Alexander's Ragtime Band," "Hurricane," "Davenport Blues," Tucker's "After You've Gone," "Imagination" and "Original Dixieland One-Step." Scott Yanow  
Tracklist
1    The Arkansas Travellers–    Washboard Blues    2:42
2    The Arkansas Travellers–    That's No Bargain    2:52
3    The Arkansas Travellers–    Boneyard Shuffle    2:50
4    Miff Mole's Molers–    Alexander's Ragtime Band    2:47
5    Miff Mole's Molers–    Some Sweet Day    3:02
6    Miff Mole's Molers–    Hurricane    2:44
7    Miff Mole's Molers–    Davenport Blues    3:04
8    Miff Mole's Molers–    The Darktown Strutter's Ball    2:50
9    Miff Mole's Molers–    A Hot Time In The Old Town Tonight    2:49
10    Sophie Tucker Acc. By Miff Mole's Molers–    After You've Gone    2:45
11    Sophie Tucker Acc. By Miff Mole's Molers–    I Ain't Got Nobody    2:25
12    Sophie Tucker Acc. By Miff Mole's Molers–    One Sweet Letter From You    2:38
13    Sophie Tucker Acc. By Miff Mole's Molers–    Fifty Million Frenchmen Can't Be Wrong    2:45
14    The Arkansas Travellers–    Ja Da    3:04
15    The Arkansas Travellers–    Sensation    2:35
16    The Arkansas Travellers–    Stompin' Fool    3:03
17    Miff Mole's Molers–    Imagination    2:53
18    Miff Mole's Molers–    Feelin' No Pain    2:52
19    Miff Mole's Molers–    Original Dixieland One Step    2:47
20    Miff Mole's Molers–    My Gal Sal    3:05
21    Miff Mole's Molers–    Honolulu Blues    2:48
22    Miff Mole's Molers–    The New Twister    3:01
23    The Arkansas Travellers–    Birmingham Breakdown    2:44
24    The Arkansas Travellers–    Red Head Blues    2:37
25    The Arkansas Travellers–    I Ain't Got Nobody    2:41
Credits :
Alto Saxophone – Fred Morrow (tracks: 1 to 3, 14 to 16, 23 to 25)
Banjo, Guitar – Dick McDonough (tracks: 4 to 9, 17 to 22)
Bass Saxophone – Adrian Rollini (tracks: 17 to 22)
Brass Bass – Joe Tarto (tracks: 7 to 13)
Clarinet – Jimmy Dorsey (tracks: 1 to 3, 7 to 16), Pee Wee Russell (tracks: 17 to 25)
Clarinet, Tenor Saxophone – Fud Livingston (tracks: 17 to 25)
Drums – Ray Bauduc (tracks: 7 to 9), Vic Berton (tracks: 1 to 6, 10 to 25)
Guitar – Eddie Lang (tracks: 10 to 13, 17 to 22)
Piano – Arthur Schutt (tracks: 1 to 9, 14 to 22), Rube Bloom (tracks: 23 to 25), Ted Shapiro (tracks: 10 to 13)
Trombone – Miff Mole
Trumpet – Red Nichols
Vocals – Sophie Tucker (tracks: 10 to 13)