THE TWO POOR BOYS — Joe Evans & Arthur McClain (1927-1931) The Complete Recorded Works In Chronological Order | DOCD-5044 (1991) FLAC (tracks+.cue), lossless

So deeply ingrained are perceptions of race and ethnicity in North American culture that certain artists who recorded during the 1920s and '30s have since been assigned to a sort of categorical limbo, as questions regarding whether a musician was of African or European ancestry continue to confound critics, discographers, and music historians. Despite the healthy diversity embodied by variably pigmented musicians capable of playing piano blues back to back with hillbilly string band music, a term like "racially ambiguous" has emerged to indicate that someone inadvertently violated preconceptions about who is supposed to have sounded like whom. Such is the case with mandolinist Joe Evans and guitarist Arthur McClain. Billed as the Two Poor Boys, this little-known pair of rural improvisers hailed from the eastern region of Tennessee -- where black and white players seem to have had a way of sharing musical ideas to a greater extent than was common at the time -- and left about 20 recordings for posterity to ponder. Their available works were reissued by Document in the early '90s. Had Gennett issued more than one of the seven sides this duo cut in Birmingham, Alabama during the summer of 1927, their complete works may not have fit onto one compact disc. As it is, "Little Son of a Gun" is a delightful bit of kazoo-driven hokum, good enough to make one wish that the people in charge at Gennett had also released titles like "Midnight Creepers," "I Want to Ride in Your Car," and "They Wanted a Man to Lead the Lions Around." arwulf arwulf

What does survive of the Evans and McClain legacy is a marvelous blend of toe-tapping blues and struts, reflective airs, and full-throttle Appalachian-style breakdowns. It all compares nicely with the works of Chicago-based mandolin handlers Al Miller and Charlie McCoy, as well as legendary backwoods Georgians Peg Leg Howell and Eddie Anthony. Other parallels could be drawn with Kentucky's Kessinger Brothers, Kansas City steel guitarist Casey Bill Weldon, the Dallas String Band, and the Mississippi Sheiks, source of the famous blues standard "Sitting on Top of the World," which the Poor Boys waxed in 1931. (An alternate take of that blues is not included here, nor is a record they chose to title "Boogity Woogity.") Recorded by the Kessingers in 1929 and by Evans and McClain two years later, "Sourwood Mountain" is a traditional fiddle ditty named for a towering land mass that exists northeast of Knoxville. The song would be revisited in 1962 on Frank Proffitt's album Traditional Songs and Ballads of Appalachia. The Two Poor Boys' treatment of "Down in Black Bottom" is closely based upon Bert "Snake Root" Hatton's version of 1927. This blues appears to have originated in St. Louis, for Black Bottom was the name of that city's rough-and-tumble riverfront red-light district. It was also the inspiration for "Don't Go Down in Black Bottom," a cautionary opus recorded by vocalist Black Bottom McPhail with Scrapper Blackwell in 1932 and again in 1938 with backing by Jack Newman and Blind John Davis. Hatton's original may be found on Document's fascinating compilation St. Louis 1927-1933.

Abridged from this album’s booklet notes. Joe Evans and Arthur McClain are reported to have come from Fairmount, in eastern Tennessee, a region where blacks were outnumbered twelve to one by whites, and this goes some way to explaining the evident hillbilly influences on their music. Otherwise, all we know about “The Two Poor Boys” is in the grooves of their 78s. Of six masters cut in Birmingham, Alabama in 1927, only Little Son Of A Gun (Look What You Done) was issued, with Birmingham vocal group the Dunham Jazz Singers harmonizing a blues on the reverse. Little Son Of A Gun is a typical piece of ‘20s pop music, done as lively two guitar, two kazoo novelty. Joe Evans & Arthur McClain played blues, of course: Two White Horses In A Line is from Blind Lemon Jefferson, and Sitting On Top Of The World is the Mississippi Sheiks’ hit from the year before, done with violin in a manner imitative of the original version. The mandolin heard on Two White Horses is played with an impressively even touch on John Henry Blues, a song traversed the colour line. Mill Man Blues and My Baby Got A Yo-Yo raise some intriguing questions, for the former song is verbally almost identical with a 1928 recording by Billy Bird, which itself has a guitar accompaniment virtually the same as that on My Baby Got A Yo-Yo. Evans & McClain’s other issued blues were piano-guitar duets like Mill Man Blues, the playing entirely consistent with contemporary black idiom. Black Bottom was the ghetto in Nashville, Tennessee, but these performances seem influenced by the styles of both Birmingham and St. Louis. Blues was only a part of it, though: they parodied Darby & Tarlton’s hillbilly hit, “Birmingham Jail”; turned a 1927 pop song, “Who Cares What Somebody Said” into Take A Look At That Baby, with guitar, mandolin and two kazoos (but no violin, the standard discography notwithstanding); revived a sentimental coon song in Georgia Rose; and made immaculate transfers to mandolin and guitar of the white fiddle pieces Old Hen Cackle and Sourwood Mountain. The effortless eclecticism of Joe Evans & Arthur McClain continues to challenge our notions of what “black music” was in those days. DOCD-5044
Tracklist :
1    Little Son Of A Gun (Look What You Done Done) 2:50
Guitar, Kazoo – Arthur McClain
Vocals, Kazoo, Guitar – Joe Evans
2    Two White Horses In A Line 2:51
Vocals, Guitar [Poss.], Mandolin [Poss.] – Arthur McClain, Joe Evans
3    John Henry Blues (Take 1) 3:21
Vocals, Guitar [Poss.], Mandolin [Poss.] – Arthur McClain, Joe Evans
4    John Henry Blues (Take 3) 2:44
Vocals, Guitar [Poss.], Mandolin [Poss.] – Arthur McClain, Joe Evans
5    New Huntsville Jail (Take 1) 3:13
Guitar [Poss.], Mandolin [Poss.] – Arthur McClain
Vocals, Guitar [Poss.], Mandolin [Poss.] – Joe Evans
6    New Huntsville Jail (Take 2) 2:54
Guitar [Poss.], Mandolin [Poss.] – Arthur McClain
Vocals, Guitar [Poss.], Mandolin [Poss.] – Joe Evans
7    Take A Look At That Baby 3:14
Vocals, Kazoo, Guitar [Poss.], Mandolin [Poss.] – Arthur McClain, Joe Evans
8    Mill Man Blues 2:37
Piano [Poss.], Guitar [Poss.] – Arthur McClain
Vocals, Piano [Poss.], Guitar [Poss.] – Joe Evans
9    Oh You Son Of A Gun 3:00
Piano [Poss.], Guitar [Poss.] – Arthur McClain
Vocals, Piano [Poss.], Guitar [Poss.] – Joe Evans
10    Georgia Rose 3:00
Piano [Poss.] – Arthur McClain
Vocals, Piano [Poss.] – Joe Evans
11    Early Some Morning Blues 2:38
Piano [Poss.], Guitar [Poss.] – Arthur McClain
Vocals, Piano [Poss.], Guitar [Poss.] – Joe Evans
12    Cream And Sugar Blues 2:37
Guitar [Poss.], Mandolin [Poss.] – Joe Evans
Vocals, Guitar [Poss.], Mandolin [Poss.] – Arthur McClain
13    Old Hen Cackle 2:42
Guitar [Poss.], Mandolin [Poss.] – Arthur McClain, Joe Evans
14    Sitting On Top Of The World 3:04
Guitar [Poss.], Violin [Poss.] – Arthur McClain
Vocals, Guitar [Poss.], Violin [Poss.] – Joe Evans
15    My Baby Got A Yo-Yo 3:01
Guitar – Unknown Artist
Vocals – Arthur McClain
16    So Sorry Dear 2:47
Piano [Poss.], Guitar [Poss.] – Arthur McClain
Vocals, Piano [Poss.], Guitar [Poss.] – Joe Evans
17    Sourwood Mountain 2:40
Guitar [Poss.], Mandolin [Poss.] – Arthur McClain, Joe Evans
18    Down In Black Bottom (Take 1) 2:40
Piano [Poss.], Guitar [Poss.] – Arthur McClain
Vocals, Piano [Poss.], Guitar [Poss.] – Joe Evans
19    Down In Black Bottom (Take 2) 2:43
Piano [Poss.], Guitar [Poss.] – Arthur McClain
Vocals, Piano [Poss.], Guitar [Poss.] – Joe Evans
20    Shook It This Morning Blues 3:01
Piano [Poss.], Guitar [Poss.] – Arthur McClain
Vocals, Piano [Poss.], Guitar [Poss.] – Joe Evans

HOT LIPS PAGE – 1946-1950 | The Chronogical Classics – 1199 (2001) FLAC (tracks+.cue), lossless

 The bebop era may have been raging during the period covered by this CD, but trumpeter-singer Hot Lips Page stuck to his swing/Dixieland/blues style. Although commercial success would largely elude him, Page is heard in prime form on the 23 formerly rare performances included on this valuable CD. Other than one cut from 1946, the music is from 1947 and 1949-1950. Page (whose voice had become a bit raspier through the years) digs into four instrumentals and four vocals with a medium-size group in 1947; four of the titles were previously unreleased. He is also heard with slightly later combos, on two numbers with strings and a choir, and on a very successful four-song session in which he interacts vocally with Pearl Bailey; their version of "Baby, It's Cold Outside" is classic. Other highlights include "St. James Infirmary," "Fat Stuff," "Don't Tell a Man About His Woman," "The Hucklebuck," and "Ain't No Flies on Me." Recommended. Scott Yanow  
Tracklist + Credits :

ANDY KIRK AND HIS ORCHESTRA – 1943-1949 | The Classics Chronological Series – 1075 (1999) FLAC (tracks+.cue), lossless

This compilation presents selections from the last several recording sessions (mostly for Decca) of bandleader Andy Kirk. 1943-1949 opens with three late 1943 songs from Andy Kirk and His Clouds of Joy, which included trumpeters Fats Navarro and Howard McGhee, tenor saxophonist Jimmy Forrest, and vocalist June Richmond. Next comes "Hippy-Dippy," one of the few surviving songs from the only visit Kirk's band made to the studios in 1944. This number is followed by two very popular sellers, "Get Together With the Lord" and "I Know," representing the 1945 period of Andy Kirk and His Orchestra (this time including Eddie "Lockjaw" Davis) and featuring vocals by the Jubalaires, who return to sing on the 1946 recordings of "I Don't Know What I'd Do Without You" and "I'm So Lonesome I Could Cry." Other vocalists heard on 1943-1949 include Bea Booze, the Four Knights, Joe Williams, and Kenny White. Joslyn Layne
Tracklist :
1    Andy Kirk And His Clouds Of Joy–    Shorty Boo 2:59
Vocals – Unknown Artist
Written-By – Unknown Artist
2    Andy Kirk And His Clouds Of Joy–    Fare Thee Honey Fare Thee Well 2:59
Vocals – June Richmond
Written-By – Alston
3    Andy Kirk And His Clouds Of Joy–    Baby Don't You Tell Me No Lie 3:08
Vocals – June Richmond
Written By – Coleman
4    Andy Kirk And His Orchestra–    Hippy-Dippy 2:32
Written-By – Unknown Artist
5    Andy Kirk And His Orchestra And The Jubalaires–    Get Together With The Lord 2:49
Vocals – The Jubalaires
Written-By – Reichner, Jaffe
6    Andy Kirk And His Orchestra And The Jubalaires–    I Know 3:17
Vocals – The Jubalaires
Written-By – Jennings, Brooks
7    Andy Kirk And His Orchestra–    He's My Baby 3:21
Vocals – Beverley White
Written-By – Kirk, White
8    Andy Kirk And His Orchestra–    Alabama Bound 2:56
Vocals – Bea Booze
Written-By – Williams, Jackson
9    Andy Kirk And His Orchestra–    Soothe Me 2:55
Vocals – Billy Daniels
Written-By – Greene
10    Andy Kirk And His Orchestra–    Doggin' Man Blues 3:04
Vocals – Bea Booze
Written-By – Moore, Jordan
11    Andy Kirk And His Orchestra–    I Don't Know What I'd Do Without You 2:59
Vocals – The Jubalaires
Written-By – Kuhn
12    Andy Kirk And His Orchestra–    I'm So Lonesome I Could Cry 3:00
Vocals – The Jubalaires
Written-By – Kuhn
13    Andy Kirk And His Orchestra–    Now You Tell Me 2:54
Vocals – Joe Williams
Written-By – Roberts, Fisher
14    Andy Kirk And His Orchestra–    Louella 3:05
Vocals – Joe Williams
Written-By – Stone, Marks
15    Andy Kirk And His Orchestra–    So Soon 3:10
Vocals – The Four Knights
Written-By – Razaf, Luce
16    Andy Kirk And His Orchestra–    I'm Falling For You 3:04
Vocals – The Four Knights
Written-By – Williams, Hubert
17    Andy Kirk And His Clouds Of Joy–    Little Girl, Don't Cry 2:35
Orchestra – Unknown Artist
Vocals – Jimmy Anderson
Written-By – Davis, Millinder
18    Andy Kirk And His Clouds Of Joy–    Drinking Wine, Spo-Dee-O-Dee, Drinking Wine 3:07
Orchestra – Unknown Artist
Vocals – Kenny White
Written-By – Williams, McGhee
Credits :    
Alto Saxophone – Ben Smith (tracks: 1 to 4), Joe Evans (tracks: 5 to 16), Reuben Phillips (tracks: 1 to 16)
Baritone Saxophone – Ed Loving (tracks: 1 to 4), John Porter (tracks: 7 to 16), John Taylor  (tracks: 5 , 6)
Bass – Al Hall (tracks: 7 to 16), Booker Collins (tracks: 1 to 3), Lavern Baker (tracks: 4 to 6)
Directed By – Andy Kirk
Drums – Ben Thigpen (tracks: 1 to 16)
Guitar – Floyd Smith (tracks: 5 to 16)
Piano – Hank Jones (tracks: 5 to 16), Johnny Young (tracks: 1 to 4)
Tenor Saxophone – Eddie "Lockjaw" Davis (tracks: 5 to 16), J.D. King (tracks: 1 to 4), Jimmy Forrest (tracks: 1 to 16), John Harrington (tracks: 1 to 4)
Trombone – Bob Murray (tracks: 1 to 16), Henry Wells (tracks: 7 to 16), Milton Robinson (tracks: 5 to 16), Joe Baird (tracks: 1 to 4), Wayman Richardson (tracks: 1 to 16)
Trumpet – Art Capehart (tracks: 1 to 4), Clarence Trice (tracks: 13 to 16), Claude Dunson (tracks: 5 to 12), Fats Navarro (tracks: 1 to 4, 7 to 10), Fip Ricard (tracks: 13 to 16), Harry Lawson (tracks: 1 to 12), Howard McGhee (tracks: 1 to 3), John Lynch (tracks: 5 to 16), Talib Daawood (tracks: 5, 6), Unknown Artist (tracks: 4, 11 to 16)

MARY LOU WILLIAMS – 1944-1945 | The Classics Chronological Series – 1021 (1998) FLAC (tracks+.cue), lossless

One thing about chronologically arranged reissues -- you never know exactly what you're going to bump into. The third volume of the complete recordings of Mary Lou Williams, for example, opens with a pair of tunes sung by Josh White. It's good to hear the lyrics to Williams' cool, bluesy "Froggy Bottom," but "The Minute Man" is one of those obligatory, rhetorical patriotic numbers that cropped up everywhere during WWII and are relevant today only as historical curiosities. Most of the music reissued in this compilation originally appeared on scratchy 78-rpm records bearing the Asch label. Tenor sax archetype Coleman Hawkins is featured on the lush "Song in My Soul" and trumpeter Bill Coleman presides over a laid-back strolling blues with the worrisome title "Carcinoma." Clarinetist Claude Greene composed "This and That," a lively, bop-like romp that sounds a bit like "Epistrophy." As for "Oh, Lady Be Good," this septet's brisk and inventive set of variations based upon those Gershwin chord progressions would soon be rechristened "Rifftide" by Hawkins, who had a way of gobbling up harmonic advancements in jazz as soon as they appeared on the scene during the 1940s. With drummer Denzil Best driving the band, this is an exciting example of jazz in transition and should be studied by all who seek to better understand how the music evolved as quickly as it did in 1944. Speaking of modernity, in 1945 Mary Lou Williams composed and recorded "The Zodiac Suite," an astrologically inspired cycle of sketches for piano, bass, and drums. Each movement was dedicated to a specific set of musicians, including Ben Webster, Billie Holiday, Duke Ellington, Ellis Larkins, and Leonard Feather. There also exists a three-piano arrangement of the "Scorpio" movement that the composer had intended to perform with Bud Powell and Thelonious Monk. The music is at times wonderfully abstract and ethereal, regularly returning to the root system of blues and boogie as if to nourish itself with the lifeblood of tradition even as the composer pursued a course of harmonic exploration in ways that variously recall Ellington, Strayhorn, Satie, and Debussy. Incredibly, some critics and historians, like bored toddlers, have complained of a "lack of variety" in this work. This sort of ungracious mentality has also engendered shortsighted criticism of James P. Johnson's "Yamekraw." Williams expressed herself beautifully here, and listeners are advised to relax and proceed with patience and an open mind. This interesting album of rare treats closes with two piano solos that are cousins of "The Zodiac Suite," entitled "Stars" and "Moon," and "Timmie Time," a wonderful swinging bop study performed by an all-female quintet. In addition to Mary Lou Williams at the piano the ensemble was composed of guitarist Mary Osborne, vibraphonist Marjorie Hyams, upright bassist Bea Taylor, and smart shuffle drummer Bridget O'Flynn. arwulf arwulf  
Tracklist :
1    Mary Lou Williams And Her Orchestra–    The Minute Man    2:03
Vocals – Josh White
2    Mary Lou Williams And Her Orchestra–    Froggy Bottom     2:52
3    Mary Lou Williams And Her Orchestra–    Carcinoma     3:38
4    Mary Lou Williams And Her Orchestra–    Song Is My Soul     3:00
5    Mary Lou Williams And Her Orchestra–    This And That     2:38
6    Mary Lou Williams And Her Orchestra–    Lady Be Good     3:45
7    Mary Lou Williams Trio–    Taurus     2:32
8    Mary Lou Williams–    Pisces     2:30
9    Mary Lou Williams Trio–    Gemini     2:05
10    Mary Lou Williams–    Capricorn     2:52
11    Mary Lou Williams–    Sagittarius     1:48
12    Mary Lou Williams–    Aquarius    2:40
13    Mary Lou Williams–    Libra     2:08
14    Mary Lou Williams Trio–    Virgo     2:43
15    Mary Lou Williams Trio–    Aries     2:16
16    Mary Lou Williams Trio–    Scorpio     3:09
17    Mary Lou Williams Trio–    Cancer     2:35
18    Mary Lou Williams Trio–    Leo     1:42
19    Mary Lou Williams–    Stars     2:44
20    Mary Lou Williams–    Moon     2:24
21    Mary Lou Williams–    Timmie Time     2:48
Credits :    
Alto Saxophone – Joe Evans (tracks: 3 to 6)
Bass – Al Lucas (tracks: 7, 9, 14 to 18), Bea Taylor (tracks: 21), Eddie Robinson (tracks: 3 to 6), Jimmy Butts (tracks: 1, 2)
Clarinet – Claude Greene (tracks: 3 to 6)
Drums – Bridget O'Flynn (tracks: 21), Denzil Best (tracks: 3 to 6), Eddie Dougherty (tracks: 1, 2), Jack Parker (tracks: 7, 9, 14 to 18)
Guitar – Mary Osborne (tracks: 21)
Piano – Mary Lou Williams
Tenor Saxophone – Coleman Hawkins (tracks: 3 to 6)
Trumpet – Bill Coleman (tracks: 1 to 6)
Vibraphone – Marjorie Hyams (tracks: 21)