ROY ELDRIDGE – 1935-1940 | The Classics Chronological Series – 725 (1993) FLAC (image+.cue), lossless

Although the recordings made by the Delta Four on December 20, 1935, were not issued under the leadership of Roy Eldridge, they form the perfect beginning for a chronological survey of Eldridge's adventures as a major influential artist in the evolution of jazz trumpet between Louis Armstrong in the 1920s and Dizzy Gillespie in the 1940s. The Delta Four were one fine little swing machine. Their "Farewell Blues" has a solid bounce and Eldridge seems to sail over the heads of the rhythm players during "Swingin' at the Famous Door." In 1936 Eldridge's orchestra was equipped with Chu Berry, Buster Bailey, John Kirby, and Sid Catlett. A pity listeners only get to hear one example of this band's handiwork, as Decca rejected its recording of "Christopher Columbus" and apparently asked for nothing more out of this powerful ensemble. In January of 1937 Eldridge managed to make a handful of records for Vocalion. His brother Joe Eldridge wrote arrangements and played alto next to Scoops Carry in the reed department. With Dave Young blowing tenor and Truck Parham in the rhythm section alongside Zutty Singleton, this was one hell of a band. Eldridge cut a lot of versions of "After You've Gone" over the years. The one heard here, with a vocal by Gladys Palmer, predates the famous funny false-start versions of the '40s. Regarding the singers heard on this CD, they're OK but Eldridge is the best. His delightful rendition of "You're a Lucky Guy" feels like a sweet premonition of Billie Holiday's version, which was recorded a couple of months later for Vocalion. The Eldridge Orchestra as heard on the 1939 Varsity recordings featured reedmen Franz Jackson and Prince Robinson, with pianists Kenny Kersey and Clyde Hart. Bassist Ted Sturgis was highlighted during a hot stomp for big band entitled "Pluckin' the Bass." Milt Hinton had ground out his own version of this tune -- composed by the Eldridge brothers -- with Cab Calloway's Orchestra several months prior to the recording heard here. Eldridge's band also blew off some steam working up the old traditional numbers "High Society" and "Muskrat Ramble." This chronological grab bag finishes up with four handsome if conventional big-band recordings from February 1940 by Freddie Rich & His Orchestra. The vocal tracks are not especially substantial. What distinguished this band was the collective presence of Roy Eldridge, Benny Carter, Babe Russin, Clyde Hart, and Hayes Alvis. Only the instrumentals -- "Till We Meet Again" and "I'm Forever Blowing Bubbles" -- really carry any weight. arwulf arwulf
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JOE MARSALA – 1936-1942 | The Classics Chronological Series – 763 (1994) FLAC (tracks+.cue), lossless

All 21 of clarinetist Joe Marsala's early recordings as a leader are on this enjoyable CD. An excellent swing clarinetist who was flexible enough to play hot on Dixieland records, Marsala's six sessions reflect his versatile musical tastes. Among his more celebrated sidemen on these formerly rare selections are trumpeters Marty Marsala (his brother), Pee Wee Erwin, Bill Coleman, and Max Kaminsky, trombonist George Brunies, altoist Pete Brown, violinist Ray Biondi, drummers Buddy Rich and Shelly Manne (both making their recording debuts), and several fine rhythm sections. Marsala's wife, Adele Girard, the first great jazz harpist, is notably added on 11 of the numbers. Her hot harp playing on "Bull's Eye" and "I Know That You Know" steals the show. Highly recommended. Scott Yanow
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JOE MARSALA – 1944-1945 | The Classics Chronological Series – 902 (1996) FLAC (tracks+.cue), lossless

This is the story of a man who got his start with traditionally oriented musicians like Wingy Manone and Eddie Condon, then gradually evolved into a "modern" sounding artist who never completely turned his back on the old-fashioned music that had spawned him. Beginning with a typical Chicago jam formula blowing session, Joe's All-Timers -- essentially the Condon band with Joe as leader -- present the slow blues/fast blues pairing, sandwiched between two standard New Orleans stomps. A striking contrast occurs when we encounter the session of November 29, 1944 as Joe's wife Adele Girard opens several of the tunes with arpeggios from her harp. Sounding a bit like her contemporary Robert Maxwell, she swings a bit but also sends flurries of almost Harpo Marx-like effervescence into the air. This combines strangely with Chuck Wayne's amplified guitar and the mingling of trumpet and clarinet. The melodies themselves demonstrate a very modernized swing, with an unmistakable bop edge, right on the money for the mid-1940s, if not somewhat ahead of their time. The tempi are very quick, hasty enough to have given Eddie Condon a headache if he'd even listen to such stuff. During the dynamic "Joe-Joe Jump" Adele plays virtuosic swing harp, showing off her amazing technique. This must have been a very exciting act in person. On the second half of the date Adele takes a break while Linda Keene sings two interpersonal relationship blues, very slow and sultry, obviously inspired by Billie Holiday. Joe was an exceptionally sensitive bluesman, working in wonderfully understated ways with trumpeter Joe Thomas. Sitting in at the piano behind the singer was Leonard Feather, who also wrote the material for her. Leonard composed topical blues for a lot of musicians, most notably Hot Lips Page. "Don't Let It End" is Joe's own piece of blues, deep and clear, powerfully effective as an instrumental. The Joe Marsala Sextet had Dizzy Gillespie sitting in on January 12,1945. It's interesting to compare these sides with the other recordings Gillespie participated in during that same month (see Classics 888). "Perdido" is a creative delight and "Melancholy Baby" becomes a feisty swing-to-bop outing. Chuck Wayne is very plugged in and Diz enjoys himself, working up wild solos over these familiar melodies, signing his name all over "On the Alamo." Joe of course takes this in stride, sounding as comfortable as ever with the music evolving so rapidly all around him. "Cherokee" inevitably exudes bop juice, running rapid and sailing through frantic changes as Diz rips it up. On May 4, 1945 Adele Girard got feature billing with her husband's septet, integrating her swing harp into the ensemble as if it were the most natural thing in the world to do. "Southern Comfort" is a suave line, as cool as cukes. There's a spry run through Rodgers & Hart's "Lover," a welcome reinterpretation of "Don't Let It End" (sounding really nice with the addition of the harp), and a sassy version of "Gotta Be This or That," with vocal by Marsala himself. "East of the Sun" is all lavender and lace and "Slightly Dizzy" pours on the bop, showcasing the inventive piano of young Gene DiNovi. "I Would Do Anything for You" comes out elegant, sophisticated and calm. A marvelous finale for this fascinating portrait of a remarkable clarinetist and the unique bands that he led at the stylistic crossroads of 1944 and 1945. arwulf arwulf
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LEONARD FEATHER – 1937-1945 | The Classics Chronological Series – 901 (1996) FLAC (tracks+.cue), lossless

This very interesting CD reissues six diverse sessions organized and led by jazz critic Leonard Feather, who plays piano or celeste on 11 of the 22 selections (including all of the music during the final two dates). On their two dates, Feather's British Olde English Swynge Band performs swing versions of English folk songs in 1937 and 1938, including "There's a Tavern in the Town," "Colonel Bogey March," and "Drink to Me Only With Thine Eyes"; the tenor of Buddy Featherstonhaugh (on the earlier session) and trumpeter Dave Wilkins are the solo stars of the rare performances. Better known are Feather's two All Star Jam Bands, which feature such notables as cornetist Bobby Hackett, altoist Pete Brown, Benny Carter (doubling on alto and trumpet), and clarinetist Joe Marsala on some unusual material, including "Jammin' the Waltz." Eccentric singer Leo Watson's spots on "For He's a Jolly Good Feather" and "Let's Get Happy" (based on "Happy Birthday") are memorable. A 1944 all-star group finds Feather comping decently behind trumpeter Buck Clayton (featured on "Scram!"), clarinetist Edmond Hall, and tenor saxophonist Coleman Hawkins, while the final set has four basic chord changes (mostly blues) explored by both Feather and fellow writer Dan Burley on pianos; guitarist Tiny Grimes easily takes honors. Scott Yanow
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GEORGE WETTLING – 1940-1944 | The Classics Chronological Series – 909 (1996) FLAC (tracks), lossless

Chicago percussionist George Wettling was famous for his delightful old-fashioned rim-tapping and rock-solid support behind jazz bands both large and small. He was practically the house drummer for Commodore Records and appears on the majority of Eddie Condon's recordings. For the seasoned traditional jazz fanatic, an entire CD documenting a series of sessions led (or fortified) by George Wettling is like some sort of a dream come true. Although mostly typical of what music historians call Chicago-style traditional jazz, everything here was recorded in the Big Apple. On January 16, 1940, Wettling's Chicago Rhythm Kings ground out four excellent sides for release on the Decca label. The lineup is incredible -- trumpeter Charlie Teagarden, trombonist Floyd O'Brien, clarinetist Danny Polo, and Joe Marsala -- usually associated with the clarinet, heard here on tenor sax -- backed by Jess Stacy, Jack Bland, Artie Shapiro, and Wettling. In March of 1940, Wettling recorded a pair of fine duets with pianist Dick Cary. Rodgers & Hart's lively "You Took Advantage of Me" brings to mind the terrific version that Wettling made with Bud Freeman and Jess Stacy back in 1938. The Dick Cary records and four sides by the George Wettling Jazz Trio were issued by the Black & White label. The trio in question involved pianist Gene Schroeder and clarinetist Mezz Mezzrow. Although the Classics liner notes take potshots at Mezzrow's "technical shortcomings," an unbiased listener will sense no such deficiency and might even appreciate the refreshingly funky informality of this or any other session in which Mezzrow took part. By the way, this has got to be the slowest, most relaxed version of "China Boy" ever recorded, up until Wettling kicks it up into third gear and they cook it to a gravy. The George Wettling Rhythm Kings assembled again in an almost completely different incarnation on July 21, 1944. Four tasty sides were sautéed for the Commodore catalog, beginning with the old "Heebie Jeebies." Wettling, with pianist Dave Bowman and bassist Bob Haggart, supported a front line of Billy Butterfield, Wilbur DeParis, and Edmond Hall. Anybody who loves and respects the memory of DeParis will want to obtain this CD in order to have this session on hand at all times. It's also great to have four Keynote sides recorded on December 12th by George Wettling's New Yorkers. Harry Lim's Keynote project often mingled players from different backgrounds, and this band is an extreme example of this tendency at work. Jack Teagarden -- he sings two of these melodies in his warm, soothing voice -- is joined by trumpeter Joe Thomas, clarinetist Hank D'Amico, the mighty Coleman Hawkins, lightning pianist Herman Chittison, bassist Billy Taylor, and the always dependable George Wettling. If this band sounds as though it had little time for rehearsing, that's a good thing. It's what this kind of jazz is all about. arwulf arwulf  
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WINGY MANONE AND HIS ORCHESTRA – 1935-1936 | The Classics Chronological Series – 828 (1995) FLAC (tracks), lossless

1935 and '36 were red-hot years for Fats Waller, and many musicians deliberately chose to record songs which had quickly become closely associated with him. Wingy Manone was capable of covering such tunes without sounding like an imitator. Unlike Waller's slow, almost erotic version, Wingy's "Sweet and Slow" trots along as briskly as "Lulu's Back in Town." Other songs popularized by Waller and revisited here are "I'm Gonna Sit Right Down and Write Myself a Letter" and the cheerful "I've Got My Fingers Crossed." Wingy's bands during this time period featured reedmen Bud Freeman, Eddie Miller, Matty Matlock and Joe Marsala, and two of the sessions were bolstered by the presence of trombonists Jack Teagarden and George Brunies. Teagarden plays exceptionally fine trombone on the records made in October of 1935. His vocal contributions, however, consist only of spoken interjections. Johnny Mercer is heard making his own remarks during both takes of "I've Got a Note." Teagarden engages in a bit of conversation with Wingy on take one. Take two is markedly faster and hotter. Wingy was capable of singing and playing practically any song that came along. He performs "The Music Goes 'Round and Around" as if it had been written just for him, and takes on Louis Armstrong's "Old Man Mose" without flinching. "The Broken Record" comes as a pleasant surprise, giving the singer and band a chance to imitate a skipping record as the phrases "you're gorgeous," "I kiss you" and "I love you" each get stuck and are repeated six times apiece. (Note that this immortalizes the hasty rate at which 78 rpm records skip. It's much different from a 33-and-1/3 rpm skip.) Finally, as the trombone gets stuck in the same repetitious manner, Wingy says "Man, take that broken record offa there, and throw it out the window!" arwulf arwulf
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WINGY MANONE AND HIS ORCHESTRA – 1936 | The Classics Chronological Series – 849 (1995) FLAC (tracks), lossless

The Classics series (along with the unrelated Collectors Classics label) has been reissuing all of trumpeter Wingy Manone's recordings of the 1930s, many of which did not even reappear during the LP era. By 1936, Manone's records were getting a bit predictable, but taken in small doses they are still quite fun. Manone sings on all of the 22 selections except "Panama," verbally urges on his sidemen (which at times include clarinetist Joe Marsala and tenor saxophonist Eddie Miller) and takes some Louis Armstrong-inspired solos. This CD is the fourth Manone set put out by Classics and has four sessions from a four-month period; highlights include "Is It True What They Say About Dixie," "Dallas Blues," "Swingin' at the Hickory House," "Sing Me a Swing Song" and "Panama." Scott Yanow
Tracklist + Credits : 

WINGY MANONE AND HIS ORCHESTRA – 1936-1937 | The Classics Chronological Series – 887 (1996) FLAC (tracks), lossless

The fifth in Classics' complete Wingy Manone series of CDs features the good-humored trumpeter/singer on 21 selections from a nine-month period. A fair amount of Wingy's sidemen are obscure, but they do sometimes include clarinetists Joe Marsala and Matty Matlock and trombonist George Brunies. Manone sings on all of the selections, and even if many of the songs are far from classics, the swinging solos and jubilance of these Dixieland-oriented performances make the music worth hearing. Highlights include "A Good Man Is Hard to Find" (which has Manone interacting with singer Sally Sharon), "In the Groove," "Let Me Call You Sweetheart," "Floatin' Down to Cotton Town" and "You Showed Me the Way." Scott Yanow
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WINGY MANONE AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 952 (1997) FLAC (tracks), lossless

Wingy Manone was a magnetic vocalist and trumpeter whose sense of humor and husky New Orleans drawl could make even the shallowest Tin Pan Alley confection sound attractively hip. "You're Precious to Me" is a strong example of this sort of magic in action. The other two songs recorded on the same day are loaded with funny business but Jack LeMaire's falsetto interjections sound like cheap imitation Step'n Fetchit. This degrading patter upstages Wingy and spoils the timing. Maybe they figured that out and canned the corn; from this point onward, Wingy has the floor and anyone who chimes in does it without sounding idiotic. Instrumentally, Wingy's bands were always strong and tight. Joe Marsala and Babe Russin were excellent reed players. Wingy was fortunate to have them on board for both of these 1937 sessions, and he knew it. "I Ain't Got Nobody" is almost as hot as Fats Waller's version, and Wingy's jump treatment of "Getting Some Fun Out of Life" compares interestingly with Billie Holiday's approach to the same tune. And leave it to Wingy to pull off the relatively superfluous lyrics to "Jazz Me Blues." The session of January 12, 1938 might be familiar to collectors as having been reissued on RCA Black and White as Chu Berry's Indispensable, a package that was conspicuously riddled with Wingy Manone sessions. Chu made a lot of good records with Wingy, and these are among the best of them. After two Scottish airs and a lazy lament, we're treated to one of the funniest and most finely crafted of all Manone creations: "Where's the Waiter," a topic most everyone can relate to. The session culminates with two oddball novelties having something or other to do with being Italian. Using an almost entirely different band, Wingy ground out a half-dozen further sides for Bluebird on May 23, 1938. Brad Gowans, best remembered as Eddie Condon's all-purpose valve trombonist, combines well with an able clarinet and alto saxophonist named Al Kavich. "Let's Break the Good News" is every bit as rowdy as a rendition recorded by Fats Waller around this same time. Wingy and Fats often seem to have been on the same page: In 1939 Fats would record a solo piano version of "Ah! So Pure," an aria from Martha, Friedrich Von Flotow's operatic hit of 1847. Wingy, of course, turns this melody into a foot-stomping singalong. The "Mannone Blues" is actually Bessie Smith's "Backwater Blues," if you crank it up to 78 miles per hour and let Wingy put a few of his own words on it. Slim Gaillard's "Flat Foot Floogie" works well, although this is clearly a case where Waller cut Wingy (and everyone else for the rest of time) with his 'Continental Rhythm' version of the "Floy Floy." Mary Lou Williams' "Little Joe From Chicago" sounds almost as though it was written for Wingy and his scruffy little pack. Here then is another great album of Wingy's unique brand of good-time jazz, with jokes and warts included. arwulf arwulf
Tracklist & Credits :

WINGY MANONE – 1940-1944 | The Classics Chronological Series – 1091 (1999) FLAC (tracks+.cue), lossless

The seventh in Classics' Wingy Manone series (reissuing all of the trumpeter-vocalist's recordings as a leader into the mid-'40s) has 21 numbers from his lesser-known 1940-1944 period. The good-humored Manone is heard leading Dixielandish groups that include at various times clarinetists Joe Marsala and Matty Matlock, trombonists George Brunies and Abe Lincoln, pianists Mel Powell and Joe Sullivan, and drummer Zutty Singleton plus many lesser-known names. The best cuts are "Ain't It a Shame About Mame," "Ochi Chornya," "Mama's Gone Good-Bye," a remake of "Isle of Capri," "The Tailgate Ramble" (which has Manone sharing the vocals with its lyricist Johnny Mercer), "Sister Kate," and the only instrumental, "Memphis Blues." The six-part 16-minute "Jam and Jive" (which is rarely reissued) is a disappointment, mostly featuring Manone jiving in unimaginative fashion with the vaudevillian Eddie Marr. But, otherwise, the music is reasonably enjoyable if not essential. Scott Yanow  
Tracklist & Credits :

WINGY MANONE – 1944-1946 | The Classics Chronological Series – 1412 (2006) FLAC (tracks+.cue), lossless

Volume eight in the Classics complete chronologically reissued recordings of Wingy Manone documents the singing trumpeter's recording activity during a time period extending from July 1944 to March 1946. Manone, a hard-swinging, husky voiced hipster with New Orleans roots, is at his best on a very funny rendition of "O Sole Mio," the rather libidinous "Where Can I Find a Cherry (For My Banana Split)?" and Slim Gaillard's "Cement Mixer," which Wingy makes sound like it was written expressly for him. Of all the instrumentalists who participated in these recordings, it is the clarinetists who seem to be pointing in a futuristic direction; not so much the merry Matty Matlock but rather Joe Marsala and Hank D'Amico, traditionally based individuals who were in the process of branching out onto adventuresome and distinctly modern stylistic turf. In addition to Wingy (and certain rather overbearing bandmembers whose chatty outbursts clutter up an otherwise enjoyable "Salt Pork West Virginia"), vocals are by Kay Starr and Kay Kyser's Gloria Wood. arwulf arwulf
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BUNNY BERIGAN AND HIS BOYS – 1935-1936 | The Classics Chronological Series – 734 (1993) FLAC (tracks+.cue), lossless

Bunny Berigan began his prime stretch of solo recordings with this collection of songs cut between 1935-1936. Berigan still worked as a sideman for the likes of Benny Goodman during this period, and he even did some session and film work, but it is his own material which has solidified his reputation as a top figure of the big band era. And while later sides from 1937-1939 would trump some of the ones included here, this collection still brims over with exciting and tight material from a variety of Berigan contingents. In addition to his first stab at "I Can't Get Started" (somewhat inferior to the classic version from 1937), Berigan is featured on a bevy of small group and a large ensemble highlights, like "Chicken and Waffles" and "Blues." There's also a clutch of songs cut under pianist and Goodman-alum Frank Froeba's leadership, which spotlight the pleasant-enough vocal talents of Midge Williams and Chris Bullock. Also on hand, jazz royalty like Artie Shaw, Cozy Cole, Eddie Condon, and Bud Freeman. A fine mix from Berigan's early heyday. Stephen Cook  
Tracklist :
1    Bunny Berigan And His Blue Boys–    You Took Advantage Of Me 3:24
Written-By – Rodgers - Hart
2    Bunny Berigan And His Blue Boys–    Chicken And Waffles 3:00
Written-By – Berigan
3    Bunny Berigan And His Blue Boys–    I'm Coming Virginia 2:44
Written-By – Heywood
4    Bunny Berigan And His Blue Boys–    Blues 3:00
Written-By – Berigan
5    Bunny Berigan And His Boys–    It's Been So Long 2:45
Written-By – Adamson, Donaldson
6    Bunny Berigan And His Boys–    I'd Rather Lead A Band 2:00
Written-By – Berlin
7    Bunny Berigan And His Boys–    Let Yourself Go 2:00
Written-By – Berlin
8    Bunny Berigan And His Boys–    Swing, Mister Charlie 3:06
Vocals – Chick Bullock
Written By – Robinson - Taylor - Brooks
9    Bunny Berigan And His Boys–    A Melody From The Sky 1:58
Vocals – Chick Bullock
Written-By – Alter, Mitchell
10    Bunny Berigan And His Boys–    I Can't Get Started 3:22
Vocals – Bunny Berigan
Written-By – Ira Gershwin, Vernon Duke
11    Bunny Berigan And His Boys–    A Little Bit Later On 2:50
Vocals – Chick Bullock
Written-By – Neiburg, Levinson
12    Bunny Berigan And His Boys–    Rhythm Saved The World 1:50
Vocals – Chick Bullock
Written-By – Cahn, Chaplin
13    Frank Froeba And His Swing Band–    Just To Be In Caroline 2:59
Vocals – Tempo King
Written By – Hines - Carpenter - Dunlap
Written-By – Carpenter, Hines
14    Frank Froeba And His Swing Band–    'Tain't Nobody's Biz'ness What I Do 2:29
Vocals – Tempo King
Written By – Brown - Sampsel - Markowitz
15    Bunny Berigan And His Boys–    I Nearly Let Love Go Slipping Thru' My Fingers 1:47
Written-By – Woods
16    Bunny Berigan And His Boys–    But Definitely 2:09
Written-By – Revel, Gordon
17    Bunny Berigan And His Boys–    If I Had My Way 2:03
Written-By – Kendis, Klein
18    Bunny Berigan And His Boys–    When I'm With You 2:45
Vocals – Chick Bullock
Written-By – Revel, Gordon
19    Frank Froeba And His Swing Band–    Whatcha Gonna Do When There Ain't No Swing? 3:16
Vocals – Midge Williams
Written-By – Neiburg, Levinson
20    Frank Froeba And His Swing Band–    Organ Grinder's Swing 3:08
Vocals – Midge Williams
Written-By – De Lange, Hudson
21    Frank Froeba And His Swing Band–    Rhythm Lullaby 2:59
Vocals – Midge Williams
Written By – Jenkins
22    Frank Froeba And His Swing Band–    It All Begins And Ends With You 3:12
Vocals – Midge Williams
Written By – Klages - Froeba - Palmer
Written-By – Froeba, Klages
Credits :    
Bass – Artie Bernstein (tracks: 13, 14), Artie Shapiro (tracks: 19 to 22), Grachan Moncur (tracks: 1 to 4), Mort Stuhlmaker (tracks: 5 to 12, 15 to 18)
Clarinet – Artie Shaw (tracks: 9, 10), Joe Marsala (tracks: 5 to 8, 13, 14, 19 to 22), Paul Ricci (tracks: 11, 12), Slats Long (tracks: 15 to 18)
Clarinet, Alto Saxophone – Edgar Sampson (tracks: 1 to 4)
Clarinet, Tenor Saxophone – Eddie Miller (tracks: 1 to 4)
Drums – Cozy Cole (tracks: 9 to 12, 15 to 22), Dave Tough (tracks: 5 to 8), Maurice Purtill (tracks: 13, 14), Ray Bauduc (tracks: 1 to 4)
Guitar – Bobby Bennett (tracks: 19 to 22), Clayton Duerr (tracks: 13, 14), Dave Barbour (tracks: 5 to 8), Eddie Condon (tracks: 9 to 12, 15 to 18)
Piano – Cliff Jackson (tracks: 1 to 4), Frank Froeba (tracks: 13, 14, 19 to 22), Joe Bushkin (tracks: 5 to 12, 15 to 18)
Tenor Saxophone – Art Drelinger (tracks: 19 to 22), Bud Freeman (tracks: 5 to 8), Forrest Crawford (tracks: 5 to 12), Herbie Haymer (tracks: 13, 14)
Trombone – Jack Lacey (tracks: 15 to 18)
Trumpet – Bunny Berigan