BESSIE SMITH – 1924-1925 | The Classics Chronological Series – 812 (1995) FLAC (tracks+.cue), lossless

This portion of the Bessie Smith chronology begins on September 26, 1924, and follows her progress through August 19, 1925. Several of New York's best jazz musicians, most of whom were active with Fletcher Henderson & His Orchestra at that time, assisted the singer in making records that still sound remarkably colorful and dramatic. There are clarinet duets by Buster Bailey and Don Redman, passionate trombone passages by Big Charlie Green, and a series of nine collaborations with young Louis Armstrong. The Smith/Armstrong combination was powerful and in some ways formidable. "St. Louis Blues," rendered mysterious by Fred Longshaw's reed organ accompaniment, is perhaps their mutual masterpiece, along with "You've Been a Good Old Wagon," a barrelhouse slow drag published in 1895. On May 5 and 6, 1925, Bessie Smith waxed two of her all-time best records, W.C. Handy's "Yellow Dog Blues" and the bouncing "Cake Walkin' Babies (From Home)." She was backed by Henderson's Hot Six, a mob that included a young saxophonist by the name of Coleman Hawkins. The rowdiest moments of the entire compilation occur during "Soft Pedal Blues," a slow and hedonistic number describing a buffet flat where wild parties were held, sometimes featuring live sex shows. Several times during this song the singer seems to relish the memory of these events, as she hauls off and delivers a throaty "yaahoooo!" as if to prove that no worldly pleasure was off limits. arwulf arwulf  
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BESSIE SMITH – 1925-1927 | The Classics Chronological Series – 843 (1995) FLAC (tracks+.cue), lossless

The Empress of the Blues is heard here in all her prime from 1925-1927. While also touring the country in the Harlem Frolics tent show during this time, Smith laid down hundreds of tracks in New York studios. These 24 performances feature such jazz luminaries of the day as pianist Fletcher Henderson, trumpeter Joe Smith, trombonist Charlie Green, and clarinetist Buster Bailey (the latter three men all played in Henderson's groundbreaking band of the day). Also on hand are Gotham legend and pianist James P. Johnson and songwriter extraordinaire Clarence Williams (along with such '20s classics as "Royal Garden Blues," "'Taint Nobobdy's Business if I Do," and "Everybody Loves My Baby," Williams penned a handful of the tracks covered here, including his collaboration with Fats Waller, "Just Squeeze Me"). Smith is powerful and in total command throughout, churning out her jazz-tinged blues on such standouts as "Backwater Blues," "The Gin House Blues," and "Hard Driving Papa." A must for all Smith devotees. Stephen Cook  
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BESSIE SMITH – 1927-1928 | The Classics Chronological Series – 870 (1996) FLAC (tracks+.cue), lossless

By the spring of 1927 Bessie Smith was making some of the toughest records of her entire career. Whoever lined her up with a sextet led by Fletcher Henderson did the world a great service, for here we get to enjoy Smith's handling of selections directly from the heart of the jazz repertoire. "After You've Gone" takes on all the majesty of Smith's best blues, and she seems to relish providing us with the verse in addition to the familiar chorus. "Alexander's Ragtime Band" is suddenly more substantial than ever before. This woman could sing anything. Even "Muddy Water (A Mississippi Moan)" completely transcends its Tin Pan Alley origins, becoming a fine slow drag without any vestiges of kitsch. "There'll Be a Hot Time in the Old Town Tonight" has been described by military historians as the theme song for the Spanish-American War. Hearing Smith sing it is one of the cardinal experiences in all of traditional music. She made every song into something peculiarly her own. That's Coleman Hawkins back there with a clarinet. On the following day, March 3 1927, Smith teamed up with her tried-and-true Blue Boys. "Trombone Cholly" is a tribute to Charlie Green, also known as "Big Green." His well-timed interactions with the singer's powerful voice, supported by the cornet of Joe "Fox" Smith and Fletcher Henderson's piano, are a wonder to behold. Green lovingly nudges her along through the verses of "Send Me to the 'Lectric Chair," a harrowing tale of knife-inflicted double homicide. "Them's Graveyard Words" carries a similar murderous current, something Smith was always happy to convey. Few vocalists have ever been able to express honestly troubled feelings with this blend of gravity and humor. April 1, 1927 found the singer once again in the distinguished company of pianist James P. Johnson. Bessie Smith specialized in the artful portrayal of the pissed-off woman archetype. "Lock and Key," a hilarious indictment of a cheater, has Smith stripping her unfaithful man of nearly every article of clothing she bought him. At one point the scenario is garnished with a colorful threat: "I'll shoot them off if I hear you cough!" This is one of Smith's very best pieces of theatrical entertainment, especially on account of her excellent working relationship with James P. Johnson. "Mean Old Bed Bug Blues" takes things down to a funkier texture of piano and glib blues guitar. Smith's reading of "A Good Man Is Hard to Find" might be the most soulful version ever caught on record. "Homeless Blues," dealing specifically with Mississippi floodwater disaster, is an extension of "Back Water Blues." Even as her accompaniments change from date to date, Smith's blues are consistently fine, as when Tommy Ladnier's trumpet finds common ground with the tuba of June Cole. It simply doesn't get much better than this. arwulf arwulf  
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FLETCHER HENDERSON AND HIS ORCHESTRA – 1921-1923 | The Classics Chronological Series – 794 (1994) FLAC (tracks+.cue), lossless

This Classics CD reissues the first 23 recordings of Fletcher Henderson and his orchestra. The music is generally pretty primitive, but historically, it is quite significant, since Henderson's group would develop into the first real jazz big band; also, the 1921-22 sides have rarely ever been reissued. Oddly enough, his only three solo piano recordings date from this period. The earliest orchestra recordings are essentially period dance-band performances, but by the end of this CD, Henderson's big band was already beginning to display a bit of its own musical personality. However, needless to say, the best years were still in the future. Scott Yanow
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FLETCHER HENDERSON AND HIS ORCHESTRA – 1924-1925 | The Classics Chronological Series – 633 (1992) FLAC (tracks+.cue), lossless

This excellent European LP contains 14 performances (including three alternate takes) from Armstrong's period with Fletcher Henderson's orchestra. Most of these selections are fairly rare (such as "My Rose Marie," "Twelfth Street Blues" and "Me Neenyah") and only one performance is duplicated from the CD Fletcher Henderson (1924-1927). Almost all of these cuts have memorable Louis Armstrong solos that easily take honors and are state-of-the-art for 1925. Scott Yanow
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FLETCHER HENDERSON AND HIS ORCHESTRA – 1925-1926 | The Classics Chronological Series – 610 (1991) FLAC (tracks+.cue), lossless

The Classics series has undergone the admirable task of reissuing on CD in chronological order every selection (although no alternate takes) of Fletcher Henderson's orchestra. This set finds the post-Armstrong edition of this pacesetting big band swinging hard on a variety of standards and obscurities. With cornetist Joe Smith, trombonist Charlie Green, clarinetist Buster Bailey and tenor great Coleman Hawkins contributing many fine solos and Don Redman's often-innovative arrangements inspiring the musicians, at this period Fletcher Henderson's orchestra had no close competitors among jazz-oriented big bands. Even the weaker pop tunes (like "I Want to See a Little More of What I Saw in Arkansas") have their strong moments. Scott Yanow
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FLETCHER HENDERSON AND HIS ORCHESTRA – 1926-1927 | The Classics Chronological Series – 597 (1991) FLAC (tracks+.cue), lossless

This CD, in Classics' chronological series, which captures the Fletcher Henderson Orchestra at its peak, is overloaded with classics: "Jackass Blues," "The Stampede" (which has a very influential tenor solo by Coleman Hawkins), "Clarinet Marmalade" "Snag It" and "Tozo" among others. In addition to Coleman Hawkins, Tommy Ladnier emerges as a major trumpeter and Fats Waller drops by for his "Henderson Stomp." Eight years before the official beginning of the swing era, Fletcher Henderson's orchestra was outswinging everyone. Scott Yanow
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FLETCHER HENDERSON AND HIS ORCHESTRA – 1927 | The Classics Chronological Series – 580 (1991) FLAC (tracks+.cue), lossless

Fletcher Henderson's orchestra was at the peak of its powers during this period, as can be heard on such torrid recordings as "Fidgety Feet," "Sensation," "St. Louis Shuffle," and "Hop Off"; even the overly complex Don Redman arrangement "Whiteman Stomp" (which Paul Whiteman's musicians apparently had trouble learning) is no problem for this brilliant orchestra. Classics' chronological reissue of Henderson's valuable recordings on this CD covers the many highpoints of the peak year of 1927; only Duke Ellington's orchestra was on the level of this pace-setting big band. Scott Yanow
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ETHEL WATERS – 1921-1923 | The Classics Chronological Series – 796 (1994) FLAC (image+.cue), lossless

Ethel Waters was one of the few singers from the early '20s whose early recordings are still quite listenable. This CD from the Classics label has her first 22 sides (many previously rare including five interesting instrumentals by Waters's band) and, although not on the same level as her performances from a few years later, the music is quite good for the time period. The sidemen are mostly obscure but include pianist Fletcher Henderson and cornetists Gus Aiken and Joe Smith with the highlights being "The New York Glide," "Down Home Blues," "There'll Be Some Changes Made" and "Midnight Blues."  Scott Yanow
Tracklist:
1     The New York Glide    3:04   
Unknown
2     At the New Jump Steady Ball    3:26   
Tom Delaney / Sidney Easton
3     Oh, Daddy    3:18    
Victor Herbert / Willy Russell
4     Down Home Blues    3:26  
Tom Delaney
5     One Man Nan    2:56   
Victor Herbert / Willy Russell
6     There'll Be Some Changes Made    3:22  
Billy Higgins / W. Benton Overstreet
7     Dying With the Blues    2:57    
Fletcher Henderson
8     Kiss Your Pretty Baby Nice    3:07   
Edgar Dowell
9     'Frisco Jazz Band Blues    3:27    
Unknown
10     Royal Garden Blues    3:12
Clarence Williams / Spencer Williams
11     Bugle Blues    2:38    
W.C. Handy
12     Jazzin' Babies Blues    3:07    
Ralph "Shrimp" Jones
13     Kind Lovin' Blues    3:04    
Fletcher Henderson / Sidney Mitchell / Ethel Waters
14     Georgia Blues    3:13    
Billy Higgins / W. Benton Overstreet
15     That Da Da Strain    2:55    
Edgar Dowell / Mamie Medina
16     Tiger Rag    3:09   
Harry Da Costa / Eddie Edwards / Nick LaRocca / Henry W. Ragas / Tony Sbarbaro / Larry Shields
17     Pacific Coast Blues    3:36    
Hegamin / Hammed
18     At the New Jump Steady Ball    2:53    
Tom Delaney / Sidney Easton
19     Oh Joe, Play That Trombone    2:37    
Edgar Dowell
20     Memphis Man    2:44    
Henry / Grant
21     Midnight Blues    3:02
 Clarence Williams
22     Brown Baby    2:59
Grant
Credits :    
Alto Saxophone – Clarence Harris (tracks: 1, 2), Unknown Artist (tracks: 1, 2)
Banjo – John Mitchell (tracks: 20 to 22)
Bass Saxophone – Unknown Artist (tracks: 9 to 11)
Brass Bass – Ralph Escudero (tracks: 1 to 4, 7, 8), Unknown Artist (tracks: 18, 19)
Clarinet – Edgar Campbell (tracks: 3, 4, 20 to 22), Garvin Bushell (tracks: 5 to 11), Unknown Artist (tracks: 7, 8, 18, 19)
Clarinet [?] – Clarence Robinson (tracks: 12 to 17), Elmer Chambers (tracks: 20 to 22)
Clarinet, Alto Saxophone [?] – Joe Elder (tracks: 9 to 11)
Cornet – Gus Aiken (tracks: 9 to 11), Joe Smith (tracks: 12 to 17)
Drums – Kaiser Marshall (tracks: 1, 2), Raymond Green (tracks: 16, 17)
Piano – Fletcher Henderson (tracks: 3 to 22), Wilson Kyer (tracks: 1, 2)
Trombone – Bud Aiken (tracks: 9 to 11), George Brashear (tracks: 12 to 17, 20 to 22), James Reevy (tracks: 1, 2), Unknown Artist (tracks: 5, 6, 18, 19)
Trombone [?] – Chink Johnson (tracks: 3, 4, 7, 8)
Trumpet – Unknown Artist (tracks: 3 to 8, 18, 19), Wesley Johnson (tracks: 1, 2)
Violin – Cordy Williams (tracks: 3, 4)
Violin [?] – Charlie Jackson (tracks: 5 to 8)
Vocals – Ethel Waters (tracks: 1 to 8, 12 to 15, 18 to 22)

ETHEL WATERS – 1925-1926 | The Classics Chronological Series – 672 (1992) FLAC (tracks+.cue), lossless

This CD in the Classics Ethel Waters series contains plenty of gems, including "You Can't Do What My Last Man Did," the original version of "Dinah," "Shake That Thing," "I've Found a New Baby" (which has some memorable cornet playing from Joe Smith), "Sugar," and "Heebie Jeebies." On "Maybe Not at All," Waters does eerie imitations of both Bessie Smith and Clara Smith. She had few competitors as a jazz singer during this era, and the mostly intimate recordings (12 of the 23 tracks find her backed by just a pianist) feature Waters at her best. Scott Yanow

Tracklist:
1     Loud Speakin' Papa (You'd Better Speak Easy to Me)    3:01    
Channing Pollack
2     You Can't Do What My Last Man Did    3:03   
J.C. Johnson / J.C. Jones / Ali Moore
3     Pickininny Blues    3:00    
4     Sweet Man    2:48    
Maceo Pinkard / Roy Turk
5     Dinah    3:12    
Harry Akst / Sam M. Lewis / Joe Young
6     No Man's Mamma    3:05    
Channing Pollack
7     Tell 'Em About Me (When You Reach Tennessee)    3:00    
Sidney Easton / Ethel Waters
8     Maybe Not at All    3:08    
Sidney Easton / Ethel Waters
9     Shake That Thing    3:13    
Papa Charlie Jackson
10     I've Found a New Baby    2:56    
Jack Palmer / Spencer Williams
11     Make Me a Pallet on the Floor    2:50    
Shelton Brooks / Traditional
12     Bring Your Greenbacks    2:47    
Shelton Brooks
13     After All These Years    3:02    
Shelton Brooks
14     Throw Dirt in Your Face    2:48    
Shelton Brooks
15     I'm Saving It All for You    2:46    
Clarence Williams
16     Refrigeratin' Papa (Mama's Gonna Warm You Up)    3:16    
17     If You Can't Hold the Man You Love (Don't Cry When He's Gone)    2:45    
Sammy Fain / Irving Kahal
18     Satisfyin' Papa        2:52    
Nathaniel Reed / Ethel Waters
19     Sugar    3:06    
Edna Alexander / Sidney Mitchell / Maceo Pinkard
20     I Wonder What's Become of Joe?    2:43   
Maceo Pinkard / Roy Turk
21     You'll Want Me Back    3:04    
Nathaniel Reed / Ethel Waters
22     Heebie Jeebies  2:46    
Boyd Atkins / Ralph "Shrimp" Jones
23     Ev'rybody Mess Aroun'    2:44
Credits :    
Lester Armstead - Piano
Jesse Baltimore - Drums
Bill Benford - Bowed Bass
Shelton Brooks, Sammy Fain - Accompaniment, Composer, Piano
Coleman Hawkins - Sax (Baritone)
Horace Holmes, Harry Tate - Cornet
Alex Jackson - Sax (Baritone)
Maceo Jefferson - Banjo
Ralph "Shrimp" Jones - Composer, Director, Violin
Joe King - Clarinet, Sax (Alto), Sax (Soprano), Sax (Tenor), Trombone
Joe "Fox" Smith - Contralto (Vocal)
Ethel Waters - Vocals
Pearl Wright, Fletcher Henderson, Louis Hooper, Maceo Pinkard, Nathaniel Reed - Accompaniment, Piano

ETHEL WATERS – 1926-1929 | The Classics Chronological Series – 688 (1993) FLAC (tracks+.cue), lossless

Few female jazz singers were on Ethel Waters' level during this period -- just Bessie Smith and Annette Hanshaw, and all three were quite different from each other. Waters has rarely sounded better than on the four numbers in which she is backed rather forcefully by pianist James P. Johnson (particularly "Guess Who's in Town" and "Do What You Did Last Night"), but she is also in fine form on the other small-group sides. "I'm Coming Virginia," "Home," "Take Your Black Bottom Outside," "Someday Sweetheart," and "Am I Blue" (which she introduced) are among the many gems on this highly recommended entry in Classics' chronological series. Scott Yanow
Tracklist :
1     He Brought Joy to My Soul 3:12
Traditional
2     Take What You Want 2:56
J.C. Johnson
3     I'm Coming Virginia 3:05
Will Marion Cook / Donald Heywood
4     We Don't Need Eash Other Any More 3:02
J.C. Johnson
5     My Special Friend Is Back in Town 3:06
J.C. Johnson / Andy Razaf
6     Jersey Walk 2:35
Henry Creamer / James F. Hanley
7     Weary Feet 3:13
Unknown Blues Band
8     Smile! 2:48
Donald Heywood
9     Home (Cradle of Happiness) 3:06
J.C. Johnson
10     Take Your Black Bottom Outside 2:47
Clarence Williams
11     I Want My Sweet Daddy Now 2:51
Donald Heywood
12     One Sweet Letter from You 3:15
Lew Brown / Sidney Clare / Harry Warren
13     Someday, Sweetheart 3:02
Benjamin Franklin Spikes / John Spikes
14     Some of These Days 2:59
Shelton Brooks
15     Lonesome Swallow 3:04
J.C. Johnson / Andy Razaf
16     Guess Who's in Town 3:02
James P. Johnson / Andy Razaf
17     My Handy Man 2:58
Eubie Blake / Andy Razaf
18     Do What You Did Last Night 2:39
J.C. Johnson / Andy Razaf
19     West End Blues 3:26
King Oliver / Clarence Williams
20     Organ Grinder Blues 3:12
Clarence Williams
21     Get Up Off Your Knees 2:44
Clarence Williams
22     My Baby Sure Knows How to Make Love 3:32
Crawford / Rafe    
23     Birmingham Bertha 2:52
Harry Akst / Grant Clarke
24     Am I Blue? 3:16
Harry Akst / Grant Clarke
Credits :    
Alto Saxophone – Alex S. Jackson (tracks: 9, 10)
Backing Vocals – Ebony Four (tracks: 1)
Bass Saxophone [Uncredited] – Alex Jackson (tracks: 7, 8)
Bass [Sb] – Joe Tarto (tracks: 23, 24)
Clarinet – Jimmy Dorsey (tracks: 23, 24)
Cornet – Joe Smith (tracks: 7 to 10), Unknown Artist (tracks: 3, 4)
Orchestra – Will Marion Cook's Singing Orchestra (tracks: 3, 4)
Piano – Clarence Williams (tracks: 19 to 22), Frank Signorelli (tracks: 23, 24), J.C. Johnson (tracks: 3 to 5), James P. Johnson (tracks: 15 to 18), Pearl Wright (tracks: 2, 6 to 14)
Trombone – Tommy Dorsey (tracks: 23 to 24)
Trumpet [?] – Manny Klein (tracks: 23 to 24)
Violin – Unknown Artist (tracks: 3, 4), William A. Tyler (tracks: 12 to 14)
Violoncello – H. Leonard Jeter (tracks: 12 to 14), Unknown Artist (tracks: 3, 4)