DUKE ELLINGTON AND HIS ORCHESTRA – 1928 | The Classics Chronological Series – 550 (1990) FLAC (tracks+.cue), lossless

During 1928, the main stars of Duke Ellington's orchestra (in addition to the leader/pianist/composer/arranger) were trumpeter Bubber Miley, trombonist Joe Tricky Sam Nanton, clarinetist Barney Bigard, and (starting in June) altoist Johnny Hodges. All of the master takes (including ones for different labels) are being reissued in the Classics series. This disc is highlighted by "Black Beauty" (particularly Ellington's solo piano version), the heated "Hot and Bothered" (featuring guest guitarist Lonnie Johnson and singer Baby Cox), "Louisiana," and "I Can't Give You Anything but Love." Two songs feature singer Ozie Ware backed by a small combo taken from Ellington's big band. This CD has plenty of timeless classics, most of which are also available in other reissue programs. Scott Yanow  Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1928-1929 | The Classics Chronological Series – 559 (1990) FLAC (tracks+.cue), lossless

 The main change for the Duke Ellington Orchestra during this period was that the increasingly unreliable Bubber Miley (an alcoholic) was fired by Ellington in January 1929 and quickly replaced by Cootie Williams. Otherwise, the personnel was stable, featuring trombonist Joe Tricky Sam Nanton, altoist Johnny Hodges, and clarinetist Barney Bigard as key soloists along with trumpeters Miley, Arthur Whetsol, and Freddie Jenkins. Most of the selections from this era border on the classic, with highlights including Miley's spot on "Bandanna Babies," "I Must Have That Man," "Harlemania," and a two-part version of "Tiger Rag." Scott Yanow    Tracklist + Credits :

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 :

McKINNEY'S COTTON PICKERS – 1928-1929 | The Chronogical Classics – 609 (1991) FLAC (tracks+.cue), lossless

 This is the first of three Classics CDs featuring all of the master takes by McKinney's Cotton Pickers, one of the finest big bands of the late '20s. The inventive arrangements of leader Don Redman (who also plays alto and clarinet in addition to taking some vocals) are even better than the individual solos. Highlighted by such numbers as "Four or Five Times," "Milenberg Joys," "Cherry," "Don't Be Like That," "There's a Rainbow 'Round My Shoulder," and a surprisingly hard-swinging version of "It's a Precious Little Thing Called Love," the Cotton Pickers feature tight ensembles, spirited vocals, and concise, hot solos. All three of their Classics CD's are well worth picking up. Scott Yanow
Tracklist + Credits :

HELEN HUMES – 1927-1945 | The Classics Chronological Series – 892 (1996) FLAC (tracks+.cue), lossless

When she was just 13 and 14 years old, Helen Humes made her recording debut, cutting ten risque, double entendre-filled blues, naughty tunes that she later claimed to understand at the time. Until the release of this Classics CD in 1996, those numbers (which have backup in various settings by either De Loise Searcy or J.C. Johnson on piano, and Lonnie Johnson or the guitar duo team of Sylvester Weaver and Walter Beasley) had never been reissued on the same set before. Humes sounds fairly mature on the enjoyable blues sides. Her next session as a leader would not take place until 15 years later, when she was 28 and a veteran of Count Basie's Orchestra. The singer is heard here with groups in 1942 and 1944-1945, performing three numbers with altoist Pete Brown's sextet (a band including trumpeter Dizzy Gillespie, who unfortunately does not solo), Leonard Feather's Hiptet (which has some rare solos from trumpeter Bobby Stark), and Bill Doggett's spirited octet. The latter date is highlighted by classic renditions of "He May Be Your Man" and "Be-Baba-Leba." Highly recommended. Scott Yanow
Tracklist + Credits :

JIMMIE NOONE – 1934-1940 | The Classics Chronological Series – 651 (1992) FLAC (tracks+.cue), lossless

On the fifth of Jimmie Noone's five CDs on the Classics label, the New Orleans clarinetist is heard on his final 24 selections as a leader (with the exception of a slightly later live session). The first six numbers close the book on his Apex Club Orchestra, featuring Eddie Pollack (in Joe Poston's old place) playing the melody on alto and sometimes baritone behind Noone's solos; trumpeter Jimmy Cobb and pianist Zinky Cohn get some solo space. Noone is also heard in 1936 with a freewheeling New Orleans group featuring trumpeter Guy Kelly and trombonist Preston Jackson, holding his own the following year with the dynamic young trumpeter Charlie Shavers and altoist Pete Brown, and doing his best in 1940 to overcome the weak cornet playing of Natty Dominique. The final four numbers (also from 1940) are dominated by Ed Thompson's dated vocals. No matter what the setting, Noone (who passed away in 1944) is heard in prime form. Scott Yanow  
Tracklist + Credits :

CLARENCE WILLIAMS – 1930-1931 | The Classics Chronological Series – 832 (1995) FLAC (tracks+.cue), lossless

This CD is the ninth in an extensive series that reissues all of the recordings led by pianist/composer Clarence Williams. Since Williams headed a wide variety of exciting small groups in the 1920s and '30s that utilized the playing of many top jazz players, all of the CDs are worth acquiring by collectors of classic jazz. The 22 selections on this particular CD range from novelty Williams solo performances to groups featuring trumpeters Red Allen and Ed Allen, Albert Socarras on several reeds (including flute), clarinetists Buster Bailey and Cecil Scott, Prince Robinson doubling on clarinet and tenor, pianist Herman Chittison, Ikey Robinson on banjo, the great tuba player Cyrus St. Clair, singer Eva Taylor, Floyd Casey on washboard, the Bingie Madison big band and Williams himself on vocals, piano and jug. Highlights of this spirited program include "You're Bound to Look like a Monkey When You Get Old," "High Society Blues," "Hot Lovin, '" "Baby, Won't You Please Come Home" and four different versions of "Shout Sister Shout." Scott Yanow  
Tracklist :
1    Clarence Williams' Novelty Band–    He Wouldn't Stop Doin It 2:56
Vocals – Clarence Williams
Written-By – Hill, Williams
2    Clarence Williams' Novelty Band–    You're Bound To Look Like A Monkey When You Get Old 3:03
Vocals – Clarence Williams
Written-By – Hill, Williams
3    Clarence Williams–    You Rascal You 3:38
Vocals – Clarence Williams
Written-By – Sam Theard
4    Clarence Williams–    Michigan Water Blues 3:20
Vocals – Clarence Williams
Written-By – Clarence Williams
5    Lazy Levee Loungers–    If I Could Be With You (One Hour Tonight) 3:11
Vocals – Clarence Williams
Written-By – Creamer, Johnson
6    Lazy Levee Loungers–    Shout, Sister, Shout! 2:48
Vocals – Clarence Williams
Written-By – Hill, Williams, Brymn
7    Clarence Williams’ Washboard Band–    Where That Ol' Man River Flows 3:03
Vocals – Eva Taylor
Written By – West / Verges
8    Clarence Williams’ Washboard Band–    Shout, Sister, Shout! 2:59
Vocals – Eva Taylor
Written-By – Hill, Williams, Brymn
9    Clarence Williams And His Jazz Kings–    High Society Blues 3:01
Written-By – Clarence Williams
10    Clarence Williams And His Jazz Kings–    Lazy Levee Loungers 2:45
Written-By – Willard Robison
11    Clarence Williams' Jug Band–    Sitting On Top Of The World 2:59
Written-By – Young, Henderson, Lewis
12    Clarence Williams' Jug Band–    Kansas City Man Blues 2:57
Written-By – Johnson, Williams
13    Clarence Williams And His Orchestra–    Hot Lovin' 2:58
Vocals – Clarence Todd, Clarence Williams, Eva Taylor, Ward Pinkett
Written-By – Charles Warfield
14    Clarence Williams And His Orchestra–    Papa De-Da-Da 3:00
Vocals – Clarence Todd, Clarence Williams, Eva Taylor, Ward Pinkett
Written-By – Todd, Williams, Williams
15    Clarence Williams And His Orchestra–    Baby, Won't You Please Come Home? 2:39
Vocals – Clarence Todd, Clarence Williams, Eva Taylor
Written-By – Warfield, Williams
16    Clarence Williams’ Washboard Band–    Kentucky 2:53
Written-By – Clarence Williams
17    Clarence Williams’ Washboard Band–    Papa De-Da-Da 3:12
Written-By – Todd, Williams, Williams
18    Clarence Williams’ Washboard Band–    Loving 3:00
Written-By – Charles Warfield
19    Clarence Williams And His Orchestra–    Shout, Sister, Shout! 2;43
Vocals – Eva Taylor
Written-By – Hill, Williams, Brymn
20    Clarence Williams And His Jazz Kings–    Shout, Sister, Shout! 2:48
Vocals – Bingie Madison, Clarence Williams, Fred Skerritt, Goldie Lucas
Written-By – Hill, Williams, Brymn
21    Clarence Williams And His Jazz Kings–    Papa De-Da-Da 3:24
Vocals – Bingie Madison, Fred Skerritt, Ward Pinkett
Written-By – Todd, Williams, Williams
22    Clarence Williams And His Jazz Kings–    Baby, Won't You Please Come Home? 2:53
Vocals – Clarence Williams
Written-By – Warfield, Williams
Credits :    
Alto Saxophone – Henry Jones (tracks: 13 to 15, 19 to 22)
Alto Saxophone, Baritone Saxophone – Fred Skerritt (tracks: 13 to 15, 19 to 22)
Banjo – Ikey Robinson (tracks: 1, 2), Leroy Harris (tracks: 5, 6, 9, 10)
Banjo, Guitar – Goldie Lucas (tracks: 13 to 15, 19 to 22)
Brass Bass – Cyrus St. Clair (tracks: 5, 6), Unknown Artist (tracks: 9, 10)
Brass Bass, Bass [String Bass] – Richard Fullbright (tracks: 13 to 15, 19 to 22)
Clarinet – Cecil Scott (tracks: 1, 2)
Clarinet, Alto Saxophone – Buster Bailey (tracks: 16 to 18)
Clarinet, Alto Saxophone, Flute – Albert Socarras (tracks: 5, 6, 9, 10)
Clarinet, Alto Saxophone, Tenor Saxophone – Unknown Artist (tracks: 9 to 12)
Clarinet, Tenor Saxophone – Arville Harris (tracks: 9, 10), Bingie Madison (tracks: 13 to 15, 19 to 22), Prince Robinson (tracks: 5 to 8, 16 to 18)
Cornet – Ed Allen (tracks: 7, 8, 11, 12, 16 to 18)
Drums – Bill Beason (tracks: 13 to 15, 19 to 22)
Guitar – Lonnie Johnson (tracks: 11, 12)
Jug – Clarence Williams (tracks: 1, 2, 11, 12)
Piano – Clarence Williams (tracks: 3 to 10, 16 to 18), Gene Rodgers (tracks: 13 to 15, 19 to 22), Herman Chittison (tracks: 1, 2), Unknown Artist (tracks: 11, 12)
Tenor Saxophone – Unknown Artist (tracks: 9, 10)
Trombone – Jimmy Archey (tracks: 13 to 15, 19 to 22), Unknown Artist (tracks: 5, 6)
Trombone [?] – Charlie Irvis (tracks: 11, 12)
Trumpet – Bill Dillard (tracks: 13 to 15, 19 to 22), Charlie Gaines (tracks: 5, 6), Unknown Artist (tracks: 5, 6), Ward Pinkett (tracks: 13 to 15, 19 to 22)
Trumpet [Or] – Charlie Gaines (tracks: 9, 10), Henry "Red" Allen (tracks: 9, 10), Roy Eldridge (tracks: 9, 10)
Washboard – Floyd Casey (tracks: 7, 8, 16 to 18)

LOUIS ARMSTRONG & HIS HOT FIVE & HOT SEVEN - 1926-1927 {CC, 585} (1991) FLAC (tracks+.cue), lossless

Louis Armstrong's Hot Five was the most influential jazz band of the mid-'20s. The first volume of Armstrong's complete works reissued by Classics followed this group's trail of recordings from November of 1925 through those made almost exactly one year later. Opening this second volume of vintage Armstrong, the Hot Five's last three records of 1926 are peppered with hot vocals intended to entertain and amuse. May Alix shouts the lyrics to "Sunset Cafe Stomp" and Armstrong puts across an interesting tune referencing two downtrodden ethnic groups, Irish and Afro-American. "You Made Me Love You" is not the venerable vaudeville number recorded by Al Jolson in 1913, but a punchy Armstrong original similar to the quaint syncopated love songs he had cooked up with Lil Hardin when they were still working for King Oliver. In May 1927 Armstrong expanded his ensemble for the first time to become the Hot Seven. The addition of Pete Briggs on tuba and Baby Dodds at the drums resulted in a full-bodied sound that made "Willie the Weeper" and "Potato Head Blues" so remarkably and enduringly potent. Armstrong's version of Fats Waller's "Alligator Crawl" is a miracle of perfect timing and immaculate ease. If Lil Hardin Armstrong's references to domestic violence seem a bit reckless during "That's When I'll Come Back to You," listeners should be advised that Afro-American music has always caused consternation by openly referring to topics usually swept under the rug. During the autumn and winter of 1927 Armstrong scaled his band back to five pieces, revisiting Kid Ory's 1922 novelty rag "Ory's Creole Trombone," adding a sixth player in guitarist Lonnie Johnson on "I'm Not Rough," and introducing to the world one of Lil Hardin Armstrong's all-time greatest compositions, "Struttin' with Some Barbecue." by arwulf arwulf
Tracklist :
1     Sunset Cafe Stomp 2:53
Louis Armstrong / Percy Venable
2     You Made Me Love You 2:59
Louis Armstrong / Percy Venable
3     Irish Black Bottom 2:45
Louis Armstrong / Percy Venable
4     Willie the Weeper 3:10
Marty Bloom / Walter Melrose / Grant Rymal
5     Wild Man Blues 3:17
Louis Armstrong / Jelly Roll Morton
6     Chicago Breakdown 3:27
Big Maceo Merriweather / Jelly Roll Morton
7     Alligator Crawl 3:05
Joe Davis / Andy Razaf / Fats Waller
8     Potato Head Blues 2:58
Louis Armstrong
9     Melancholy Blues 3:04
Marty Bloom / Walter Melrose / Elmer Schoebel
10     Weary Blues 3:03
Artie Matthews
11     Twelfth Street Rag 3:12
Euday L. Bowman
12     Keyhole Blues 3:31
Wesley Wilson
13     S.O.L. Blues 2:59
Louis Armstrong
14     Gully Low Blues 3:22
Louis Armstrong
15     That's When I'll Come Back to You 3:00
F. Biggs / Frank Biggs
16     Put 'Em Down Blues 3:12
E. Bennett / E.J. Bennett
17     Ory's Creole Trombone 3:06
Edwin H. Morris / Kid Ory
18     The Last Time 3:27
Bill Ewing / Sara Martin
19     Struttin' with Some Barbecue 3:04
Lil Hardin Armstrong / Louis Armstrong / Lil Hardin / Don Raye
20     Got No Blues 3:22
Lil Hardin Armstrong / Lil Hardin
21     Once in a While 3:14
William Butler
22     I'm Not Rough 2:59
Lil Hardin
23     Hotter Than That 3:01
Lil Hardin Armstrong / Lil Hardin
24     Savoy Blues 3:24
Kid Ory

 

LONNIE JOHNSON - Complete Recorded Works (1925-1932), Vol. 1 : 1925-1926 (1991) FLAC (image+.cue), lossless

LONNIE JOHNSON - Complete Recorded Works (1925-1932), Vol. 2 : 1926-1927 (1991) FLAC (image+.cue), lossless

Lonnie Johnson came into his own during the period of time covered by this CD. A brilliant blues-oriented guitarist, Johnson is heard on such instrumentals as "To Do This, You Got to Know How," "I Done Tole You," "Steppin' on the Blues," "Four Hands Are Better Than Two," and "Woke Up With the Blues in My Fingers." He is also heard backing blues singers Helen Humes (who was 13 at the time), Joe Brown, and Raymond Boyd and singing his own variety of low-down blues. Recommended.  Scott Yanow

LONNIE JOHNSON - Complete Recorded Works (1925-1932), Vol. 3 : 1927-1928 (1991) FLAC (image+.cue), lossless

LONNIE JOHNSON - Complete Recorded Works (1925-1932), Vol. 4 : 1928-1929 (1991) FLAC (image+.cue), lossless

The period of time covered in the fourth of seven Lonnie Johnson Document CDs found the guitarist/singer being well-featured as a leader in many settings. He is heard on three two-part double-entendre performances with singer Victoria Spivey ("New Black Snake Blues," "Toothache Blues," and "Furniture Man Blues"); on five guitar duets with the great Eddie Lang (during which Lang was billed as Blind Willie Dunn); in a vocal duet with Spencer Williams; on the two-part "It Feels So Good" with Lang, King Oliver, and Hoagy Carmichael; as part of Blind Willie Dunn's Gin Bottle Four; and as a solo blues performer. Everything works. Considering that this is a strictly chronological release, the music is consistently rewarding, making this one of the key Lonnie Johnson CDs to pick up. by Scott Yanow

LONNIE JOHNSON - Complete Recorded Works (1925-1932), Vol. 5 : 1929-1930 (1992) FLAC (image+.cue), lossless

Lonnie Johnson straddled the boundaries between blues and jazz during the 1927-1930 period before deciding to stick to the former. This 22-song collection features five guitar duets with Eddie Lang (including "Bull Frog Moan" and "Hot Fingers"), vocal duets with Spencer Williams (including "It Feels So Good Parts 3 and 4" and "Once or Twice"), Victoria Spivey (the two-part "You Done Lost Your Good Thing Now") and Clarence Williams ("Wipe It Off"), and such blues numbers as "From Now on Make Your Whoopee at Home," "She's Making Whoopee in Hell Tonight," and "Another Woman Booked Out and Bound to Go." Lonnie Johnson at his best. Scott Yanow

LONNIE JOHNSON - Complete Recorded Works (1925-1932), Vol. 6 : 1930-1931 (1991) FLAC (image+.cue), lossless

The music on this CD, the sixth of seven Document discs that trace Lonnie Johnson's recording career during the 1925-1932 period, alternates between blues and hokum. Johnson performs good-time vocal duets with Spencer Williams (such as "Keep It to Yourself" and "The Bull Frog and the Toad") and Clara Smith (an excellent four-song session from 1930 including "What Makes You Act Like That" and "Don't Wear It Out"), plus a variety of solo numbers. Other highlights include the two-part "I Got the Best Jelly Roll in Town," "I Have to Do My Time," and "Let All Married Women Alone." Scott Yanow

LONNIE JOHNSON - Complete Recorded Works (1925-1932), Vol. 7 : 1931-1932 (1991) FLAC (tracks+.cue), lossless

Lonnie Johnson, who had played both creative blues and advanced jazz in the 1920s, was sticking exclusively to blues (with some good-time hokum) by 1931. These 21 performances ended his classic period with OKeh before Johnson disappeared from records for five years. All of the selections are solo vocal/guitar numbers with the exception of three cuts, where he switches to piano and one duet with pianist Fred Longshaw. Johnson is in excellent form on such numbers as "Low Down St. Louis Blues," "Hell Is a Name for Sinners," "Best Jockey in Town," "She's Dangerous With the Thing," and "Racketeers Blues." True blues collectors will want all seven Lonnie Johnson CDs in this valuable series. by Scott Yanow