MERLINE JOHNSON — The Yas Yas Girl : Complete Recorded Works In Chronological Order ★ Volume 2 • 1938-1939 | DOCD-5293 (1994) RM | FLAC (tracks), lossless

If the first volume of Merline Johnson's complete recordings was highly rewarding, volume two is utterly essential, as it contains some of her all-time best, most exciting, and jazz-infused performances. Susceptible listeners may find it difficult to remain seated during "Running Down My Man" (which sounds a lot like one of Washboard Sam's upbeat creations), as a fine trumpeter (possibly Punch Miller) and a tenor saxophonist (probably Bill Owsley) swing like mad atop a well-oiled rhythm section that includes pianist Blind John Davis and electrically amplified guitarist George Barnes. This level of enjoyment is maintained during a kicking cover of Louis Armstrong's "Ol' Man Mose" and a brusque version of "Don't You Leave Me Here," previously recorded by Monette Moore with Charlie Johnson's Original Paradise Ten in 1927 and by wandering Texas guitarist Henry Thomas in 1929. Identified as the Louisiana Kid on Vocalion C-2296 ("Separation Blues"), Punch puts his horn down and sings a duet with the Yas Yas Girl. Sometimes billed as the Rhythm Rascals, Merline's bands as heard on this collection were mightily stoked by players like guitarists Big Bill Broonzy and Willie B. James; steel guitarist Casey Bill Weldon, saxophonist Buster Bennett, and trumpeters Alfred Bell, Walter Williams, and venerable Lee Collins, a New Orleans legend who made records with Jelly Roll Morton in 1924. Collins is heard here on tracks 17-22 as a member of the Yas Yas Girl's Jazz Boys, an ensemble anchored by bass vocalist Alfred Elkins, who sounds like he might have been blowing across a whiskey jug, old style. While Merline Johnson was quite capable of whipping up her own ideas, the occasional cover tunes pack a wallop, as does Billie Holiday's "Fine and Mellow" and New Orleans guitarist Danny Barker's "Don't You Make Me High," which he wrote for his wife Blue Lu Barker, who made her soon-to-be-famous recording for Decca only weeks before Merline Johnson took it on accompanied by Buster Bennett's persuasive soprano sax. Decades later, diminutive Maria Muldaur enjoyed a spate of success with her sultry update of this naughty little masterpiece. arwulf arwulf

Tracklist :
1        Running Down My Man 2:53 (A)
2        Ol' Man Mose 2:57 (B)
3        Don't You Leave Me Here 2:55 (B)
4        Separation Blues 2:56 (C)
5        You Can't Shoot Your Pistol 2:40 (D)
6        Whiskey Fool 2:40 (E)
7        Don't You Make Me High 2:40 (F)
8        Love With A Feeling 2:52 (F)
9        Some Day I'll Be Gone Away 2:42 (G)
10        Easy Towing Mama 2:40 (G)
11        Grieving Heart Blues 2:43 (G)
12        Reckless Life Blues 2:27 (G)
13        Breakin' 'Em Down Tonight 2:32 (H)
14        Someone To Take Your Place 2:48 (H)
15        Got A Mind To Ramble 2:30 (H)
16        True Love 2:41 (H)
17        Fine And Mellow 2:55 (I)
18        Nobody Knows How I Feel 2:54 (I)
19        I Need You By My Side 2:51 (I)
20        You Can't Have None Of That 2:46 (I)
21        I Got To Have It Daddy 2:47 (I)
22        Don't Have To Sing The Blues 2:47 (I)

JELLY-ROLL MORTON – 1924-1926 | The Chronogical Classics – 599 (1991) FLAC (tracks+.cue), lossless

The best way to acquire Jelly Roll Morton's classic Victor recordings is on a five-CD set put out by Bluebird that includes all of the alternate takes. But listeners who do not care about alternates may find the Morton CDs in the European Classics series to be as satisfying. This particular CD actually starts off with 14 selections that predate the Victors. Several of the early selections (such as the first four numbers, which include cornetist Lee Collins and trombonist Roy Palmer and "Soap Suds") are a bit disappointing due to the low-level recording quality. However, "My Gal" does have some good clarinet work from the underrated Volly DeFaut, there are four superb piano solos (including "The Pearls" and the definitive solo version of "King Porter Stomp"), and blues singer Edmonia Henderson is excellent on "Dead Man Blues" and "Georgia Grind." Despite these highlights, it is the final nine numbers on this disc that are most memorable. Morton is heard with his finest group, a septet with cornetist George Mitchell, trombonist Kid Ory, and clarinetist Omer Simeon. In addition to Morton's piano playing, his arranging is innovative and very inventive for the time; listen to all of the different tone colors and instrumental combinations that he gets from the group on "Black Bottom Stomp." These versions of "The Chant," "Sidewalk Blues," "Dead Man Blues," and "Grandpa's Spells" are quite famous and "Someday Sweetheart" is an early example of jazz (including Omer Simeon, who reluctantly plays bass clarinet) with strings. Classic music. Scott Yanow  
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MEZZ MEZZROW – 1951-1953 | The Chronogical Classics – 1393 (2005) FLAC (tracks+.cue), lossless

 This seventh volume in the Chronological Classics series documenting the wildly flamboyant personality Mezz Mezzrow is finally nearing the end, focusing in on the last decade of his life as a recording artist; he lived for another 14 years after he stopped. This set features Mezzrow in the company of Claude Bolling, Red Richards, Buck Clayton, Red Richards, Mowgli Jospin, Big Chief Russell Moore, Zutty Singleton and others. The program is all the old tunes, played and played again, from Mezzrow's own minor classic "Really the Blues" (the title of his memoir as well), to "Royal Garden Blues," "When the Saints Go Marching In," "Honeysuckle Rose" and many more; the feel is relaxed and easy. There is little real innovation going on here, but the sound is terrific and the tunes themselves are timeless. Mezzrow collectors will want this addition to the catalog.
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MEZZ MEZZROW – 1953-1954 | The Chronogical Classics – 1449 (2007) FLAC (tracks), lossless

Volume eight in the Mezz Mezzrow department of the Classics Chronological Series contains selected recordings cut for the Vogue label between March 1, 1953 and November 21, 1954 in Paris, France. Mezz sounds entirely at home as leader and participant in 17 relaxed rituals of old-fashioned jazz, including ten minutes of the "Basin Street Blues" and a nine-minute romp through the changes of "I Can't Give You Anything But Love." Like volume seven, this is an exciting and entertaining if technically incomplete representation of the artist's professional activity during the designated time period. The first two tracks are excerpts from matinee and evening concerts given at the Theatre des Champs-Elysees on March 1, 1953. Although other excerpts appeared at the end of volume seven, the omission of numerous titles from these gigs leaves a gap in the Mezzrow discographical timeline that is uncharacteristic of the Classics reissue label. Tracks three-nine were recorded in Paris on April 2, 1953, ten-fourteen from a little known session featuring Fats Waller's chief saxophonist Eugene "Honeybear" Sedric (without a doubt some of the best Sedric ever preserved on record!) and the final three jams were taped at the Salle Pleyel concert hall on November 21, 1954 with pianist Claude Bolling, drummer man Freddie Moore, trombonist Jimmy Archey, and one of the first trumpeters ever to make records with Jelly Roll Morton, the great Lee Collins. Other key participants in this excellent collection of traditional New Orleans/Chicago styled jazz and swing are trumpeter Buck Clayton, trombonist Big Chief Russell Moore, pianist Red Richards, bassist Pierre Michelot, tap dancer Taps Miller, and primal jazz and blues drummer Kansas Fields. Once again, Mezzrow's amazing homegrown ability to surround himself with legendary jazzmen yields honest and intimate good-time music that comes across friendly and for real. arwulf arwulf  
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RICHARD M. JONES – 1927-1944 | The Classics Chronological Series – 853 (1995) FLAC (tracks+.cue), lossless

The second of two CDs that reissue every recording led by pianist Richard M. Jones is drawn from three periods and has diverse material. The early band sides are often a bit disappointing, particularly the ones from 1927-28 with clarinetist Artie Stalks and a fairly obscure cast. Two numbers with his "Jazz Wizards" in 1929 are better, due to the participation of trombonist Roy Palmer and clarinetist Omer Simeon. Quite rare are six swinging big-band sides from 1935 on which Jones merely directs (although he does sing "Bring It On Home to Grandma"). Also on this CD are a pair of examples of the pianist singing blues in 1936 (assisted by trumpeter Lee Collins on his famous "Trouble In Mind") and four decent blues-oriented Dixieland numbers from 1944 with trumpeter Bob Shoffner and clarinetist Darnell Howard. The music is not essential overall, but since Classics did include everything, one cannot fault the packaging. Scott Yanow  
Tracklist + Credits :