LOUIS ARMSTRONG – 1950-1951 | The Classics Chronological Series – 1233 (2002) FLAC (tracks+.cue), lossless

This chapter in the Chronological Classics Louis Armstrong series continues during a particularly fertile period with Armstrong surrounded by great sidemen and performing with others. A pair of tracks here, "Life Is So Peculiar" and "You Rascal You," showcase Satchmo in front of Louis Jordan's Tympani 5, and "Dream a Little Dream of Me" and "Can Anyone Explain?" are duets with Ella Fitzgerald. The sidemen on Armstrong's dates are a venerable crew from a fascinating era, and include Barney Bigard, Jack Teagarden, Cozy Cole, Hank Jones, Ray Brown, and Earl Hines, among others. There are also three Armstrong-led cuts featuring Velma Middleton on vocals: "Baby, It's Cold Outside," "The Hucklebuck," and the collection's closer, "Big Daddy Blues."  -> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<-
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LOUIS JORDAN AND HIS TYMPANY FIVE – 1934-1940 | The Chronogical Classics – 636 (1992) FLAC (tracks+.cue), lossless

There's a lot more to Louis Jordan than "Choo Choo Ch'Boogie." Here is an opportunity to check out the man's very earliest recordings, beginning with a series of rare treats that fill in the blank spots at the beginning of his story. It's worth having the entire disc just for the sake of "I Can't Dance (I Got Ants in My Pants)." This 1934 Clarence Williams record clearly demonstrates where Jordan would soon be heading as a performer, and what would distinguish him for the rest of his career. Jordan's exacting delivery and sense of timing are already evident, and Williams sounds delighted to be able to interact with someone with a distinct knack for humorous bantering. It's a shame they didn't knock off another dozen tunes together! Jordan's work with Chick Webb is represented here by three vocals from 1937. He sings very sweetly on "Gee But You're Swell" and "It's Swell of You," sounding so sugary that a lot of folks probably wouldn't even recognize him. "Rusty Hinge" is a bit livelier, and Jordan puts a tiny bit of cayenne in his honeyed vocal as the band swings out. Chick Webb's orchestra helped to define the big-band sound of the '30s, and "Hinge" is a good example of that archetypal style. The first records that Jordan made as a leader were cut in December of 1938. His band at that time was named after their regular jam spot, the Elk's Rendezvous Club, located at 484 Lenox Avenue in beautiful Harlem, U.S.A. It seems as though having recorded with Webb for Decca must have enabled Jordan to continue working for that label as a leader in his own right. Rodney Sturgis sings three pleasant tunes in a warm, smooth voice -- "So Good" is the catchiest -- then Jordan takes over as vocalist. "Honey in the Bee Ball" is much lighter fare than the punchy stuff Jordan would later become famous for. A very silly "Barnacle Bill the Sailor" has ridiculous falsetto vocals from both Jordan and the band. But then things start to coalesce. Did you ever wonder who put the "Tympany" in the Tympany Five? Well, here's the answer. On the session of March 29, 1939, Walter Martin augmented his regular drum kit with a kettledrum. The instrumental "Flat Face" has a whole lot of ascending and descending runs on the tympanum, and the instrument is marginally audible throughout the rest of the material on this disc. Even when you think it isn't there, Martin uses it like an enormous tom-tom to add ballast to the band. The pedal drum with variable pitch would gradually disappear but the band was to be called the Tympany Five for years to come. Ballsy tenor man Lemuel Fowler was eventually replaced by the equally tough Stafford "Pazuzza" Simon. Both of these saxophonists made good use of their lower registers. Courtney Williams plays smudge-pot trumpet and Jordan demonstrates what a kick-ass alto player he was. By 1940 all the ingredients are there, anticipating the well-known hit records this little band would soon be churning out in rapid succession. arwulf arwulf  
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LOUIS JORDAN AND HIS TYMPANY FIVE – 1940-1941 | The Chronogical Classics – 663 (1992) FLAC (tracks+.cue), lossless

The second in the Classics label's CD series that reissues all of Louis Jordan's early recordings features the masterful entertainer with his Tympani Five in the period that directly preceded his great commercial successes. Although most of these 26 selections (including "Somebody Done Hoodooed the Hoodoo Man," "After School Swing Session," "Saxa-Woogie" and "De Laff's On You") are quite obscure, the playing by the group is quite infectious and enjoyable. Singers Daisy Winchester and Mabel Robinson are heard on the Mar. 13, 1940 session for a song apiece, but otherwise, the focus is on Jordan and his fine band, which features tenor saxophonist Kenneth Hollon and several trumpeters, including (on one date) Freddy Webster. Recommended to listeners who want to hear more Louis Jordan than just his hit records. Scott Yanow  
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LOUIS JORDAN AND HIS TYMPANY FIVE – 1941-1943 | The Chronogical Classics – 741 (1994) FLAC (tracks+.cue), lossless

During the era covered by this Classics CD (the third in their "complete" Louis Jordan series), Jordan and his Tympani Five became major successes. Among the 24 selections are such hits as "Knock Me a Kiss," "I'm Gonna Move to the Outskirts of Town," "Five Guys Named Moe" and "Is You Is or Is You Ain't My Baby." In addition to the regular Decca recordings, the set includes four numbers originally rejected, plus six Jordan V-Disc performances. Louis Jordan's music (featuring his alto and vocals, plus hot backup work from trumpeter Eddie Roane and a swinging rhythm section) acted as a bridge between small-group swing and early R&B. Highly recommended. Scott Yanow  
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LOUIS JORDAN AND HIS TYMPANY FIVE – 1943-1945 | The Chronogical Classics – 866 (1996) FLAC (tracks), lossless

Although Louis Jordan's greatest hits are continually reissued, this Classics CD (the fourth in the series) gives listeners an opportunity to hear many of his lesser-known recordings, quite a few of which sound as if they could have been hits too. Jordan, a fine R&Bish altoist who was an underrated singer and a brilliant comedic talent who knew a good line when he heard one (there are many memorable ones throughout this program), is heard in peak form. The 23 performances are Decca sides (including five not originally released), some V-Discs and the privately recorded "Louis' Oldsmbile Song." Bing Crosby sings duets with Jordan on "My Baby Said Yes" and "Your Socks Don't Match," there are two major hits ("G.I. Jive" and "Caldonia") and among the sidemen are the fine trumpeter Eddie Roane, the forgotten but talented pianist Tommy Thomas, trumpeter Idrees Sulieman (on the January 19, 1945 session) and (for the final two songs) pianist Wild Bill Davis. Other highlights include "You Can't Get That No More," "I Like 'Em Fat like That," "Deacon Jones" and "They Raided the House." Highly recommended. Scott Yanow  
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LOUIS JORDAN AND HIS TYMPANY FIVE – 1945-1946 | The Chronogical Classics – 921 (1997) FLAC (tracks+.cue), lossless

Louis Jordan was at the top of his fame when the 23 recordings reissued on this Classics CD were cut. The influential altoist/singer/entertainer during this era led a version of his Tympany Five that also featured trumpeter Aaron Izenhall, Josh Jackson on tenor and pianist Wild Bill Davis (years before he switched to organ). Among the hits included on the set are "Beware," "Don't Let The Sun Catch You Cryin'," "Choo-Choo Ch'Boogie," "Ain't Nobody Here But Us Chickens," "Let the Good Times Roll" and "Jack You're Dead," but even the lesser-known tracks are entertaining. In addition, a couple of unlikely duets with Ella Fitzgerald ("Stone Cold Dead In the Market" and "Petootie Pie") are quite fun. Recommended to listeners not satisfied with owning only Louis Jordan's hits. Scott Yanow
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LOUIS JORDAN AND HIS TYMPANY FIVE – 1946-1947 | The Chronogical Classics – 1010 (1998) FLAC (tracks+.cue), lossless

This guy had a smooth voice, played stunning alto sax, and was very, very funny without ever seriously compromising his dignity. Popular for years among Afro-American audiences, Louis Jordan also appealed to a hip substratum of the white record-buying public. Jordan inadvertently provided white pop musicians with interesting material that often showed up in emulsified Wonder Bread renditions, "safe" for consumption by wholesome young Caucasians. This process was essential if cultural segregation were to continue in North America during the late '40s and throughout the '50s. "Open the Door, Richard," based on an old vaudeville routine by Dusty Fletcher, is a case in point. Dizzy Gillespie, familiar with Fletcher's shtick, uttered the phrase during "Slim's Jam," an extra-cool all-star get-together narrated by Slim Gaillard, in 1945 (see Classics 888). Jack McVea, who sat in with Bird and Diz on that same session, soon recorded his own adaptation of "Open the Door, Richard." This seems to have initiated a trend. In 1947 "Open the Door, Richard" exploded into mass popularity, eventually finding its way into one of Jimmy Durante's radio scripts. Probably the best version was recorded on January 3, 1947, by Victor recording artists Count Basie & His Orchestra with Harry "Sweets" Edison cast in the role of the locked-out juicehead. Apparently anticipating his song's popularity, Dusty Fletcher recorded his own version -- the very next day -- for Savoy. Louis Jordan, who worked for Decca, couldn't resist a song with such strong theatrical possibilities. On January 11, one week after the Basie version was committed to wax, Jordan experimented with the routine, speaking roughly and crying out the famous words in a high-pitched voice. Decca did not issue this recording. The master take was finalized on January the 23rd, and would make it to number six on the Top Ten. Basie's version was deservedly rated number one, and a shrieky take by the Three Flames also landed in first place for a little while. Others who horned in on the song's popularity included the less hip Charioteers and, squarest of all, the Pied Pipers. Jordan, meanwhile, continued hatching swingy jazz and R&B numbers goosed up with attractive instrumentation, danceable rhythms, and funny lyrics. As rowdy as "Barnyard Boogie" gets, there was another, gutsier level of excitement, bursting with honest Afro-American vernacular, that Jordan kept returning to. During both "Friendship" and "Look Out" -- a sequel to the outrageously funny "Beware, Brother Beware" -- Jordan talks fast over a constant stream of interjections and exclamations from the band. These performances, electrified with Jordan's rapid-fire spoken rhymes, should be seen as authentic precedents for the postmodern phenomenon of rap. One senses that, like black music in general and rap in particular, at first this stuff was not necessarily intended for white audiences, who were nevertheless welcome to listen in, and of course to invest their money in the recordings. arwulf arwulf  
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LOUIS JORDAN AND HIS TYMPANY FIVE – 1947-1949 | The Chronogical Classics – 1134 (2000) FLAC (tracks+.cue), lossless

Louis Jordan was at the height of his fame during the period covered by this Classics CD. His last session from 1947 is here along with the music recorded during his first five recording dates of 1949. Among the hits are "Safe, Sane and Single," "Beans and Corn Bread," "School Days," and the two-part "Saturday Night Fish Fry." Jordan's Tympany Five had grown to seven pieces by late 1947 and expanded to nine in 1949; among his sidemen were trumpeter Aaron Izenhall, Eddie Johnson, or Josh Jackson on tenor and pianist (and future organist) Bill Doggett. In addition to such favorites as "Don't Burn the Candle at Both Ends," the catchy "Cole Slaw," and "Hungry Man," there are two songs ("Baby, It's Cold Outside" and "Don't Cry, Cry Baby") in which Jordan shares the vocals with Ella Fitzgerald. Highly enjoyable music. Scott Yanow
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LOUIS JORDAN AND HIS TYMPANY FIVE – 1950-1951 | The Chronogical Classics – 1238 (2002) FLAC (tracks+.cue), lossless

The eighth in Classics' chronological study of the recordings of Louis Jordan covers the last period in which he had hits. Best known among the 21 recordings on this set are the two-part "Blue Light Boogie" and the catchy "Chartreuse." Ella Fitzgerald duets with Jordan on "'Ain't Nobody's Business My Own" and "I'll Never Be Free" while Louis Armstrong drops by for memorable versions of "Life Is So Peculiar" and "You Rascal You." Louis Jordan & His Tympany Five during this period had either pianist Bill Doggett or Wild Bill Davison on organ or piano, plus the underrated trumpeter Aaron Izenhall and tenor-saxophonist Josh Jackson. Even the lesser-known selections all have their moments of joy. Scott Yanow
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ELLA FITZGERALD – 1935-1937 | The Classics Chronological Series – 500 (1990) FLAC (tracks+.cue), lossless

The first of six Ella Fitzgerald CDs in the European label Classics "complete" series has her earliest 25 recordings with two numbers ("My Melancholy Baby" and "All My Life") from a session with Teddy Wilson, three songs (including "Goodnight My Love") cut with Benny Goodman's big band, four tunes from her initial session as a leader and the remainder with Chick Webb's Orchestra which mainly acted as a backup band for the young singer. Even at the age of 17, Ella Fitzgerald had a beautiful voice and a strong sense of swing (although she would not seriously scat for another decade). "I'll Chase the Blues Away," "When I Get Low I Get High," "Sing Me a Swing Song" and "You'll Have to Swing It" are among the highpoints of this fine set. Scott Yanow
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ELLA FITZGERALD – 1937-1938 | The Classics Chronological Series – 506 (1990) FLAC (tracks+.cue), lossless

The second of six CDs in the Classics label's complete reissue of Ella Fitzgerald's early recordings features the singer as a teenager with the Chick Webb Orchestra, in addition to leading two sessions that use Webb's sidemen and performing a pair of songs ("Big Boy Blue" and "Dedicated to You") with the Mills Brothers. Highlights include "I Want to Be Happy," "If Dreams Come True" and her big hit, "A-Tisket, A-Tasket." Although not yet the brilliant jazz singer she would become, Fitzgerald already had a highly appealing voice and the ability to swing on any song she was given. Scott Yanow
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ELLA FITZGERALD – 1938-1939 | The Classics Chronological Series – 518 (1990) FLAC (tracks+.cue), lossless

After her giant hit of "A-Tisket, A-Tasket," the already-popular Ella Fitzgerald became the main attraction with the Chick Webb Orchestra and the majority of their recordings from 1938 feature the singer who was then 20. She is particularly strong on the ballads (such as "You Can't Be Mine") and had a hit in "Undecided" (the lone 1939 selection on this CD) although her work on the novelties is less memorable. All of these Classics releases are worth picking up for a definitive (and very complete) look at early Fitzgerald. Scott Yanow
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ELLA FITZGERALD – 1945-1947 | The Classics Chronological Series – 998 (1998) FLAC (tracks+.cue), lossless

Welcome to a richly rewarding segment of the all too often overlooked plateau that lies between Ella Fitzgerald's recordings with Chick Webb's orchestra during the second half of the 1930s and her triumphant reign as one of the world's most popular jazz singers during the 1950s, '60s, and '70s. The recordings she made between February 26, 1945, and March 1, 1947, illustrate this woman's amazing versatility as she teamed up with an extraordinarily variegated range of vocalists and instrumentalists. Her pleasant collaborations with the Ink Spots and the Delta Rhythm Boys and a few titles with big-band accompaniment serve as appetizers for "Stone Cold Dead in the Market (He Had It Coming)," a disturbingly funny calypso number featuring Louis Jordan & His Tympany 5. Here Ella and Louis put across a performance even more outrageous than Sarah Vaughan's eccentric West Indian suicide song "De Gas Pipe She's Leaking, Joe." While Jordan's band grinds out spicy Caribbean dance music, Ella proudly explains how, fed up with being physically abused, she beat her husband to death with various kitchen utensils. Jordan, who calmly states that he's singing his portion of the duet while stretched out inanimate in the shopping district, admits that he was an abusive drunkard who often beat his wife. This incredibly humorous sendup of the horribly tragic and all too common specter of domestic violence leading to homicide is sustained largely by the female vocalist, who repeatedly describes her husband-killing technique, defiantly exclaims "he had it coming," and even communes with the spirit of Bessie Smith by insisting that she'd do it again even "if I was to die in the electric chair." This interesting compilation also contains a pair of duets with Louis Armstrong, some pleasant performances backed by bands led by pianists Billy Kyle and Eddie Heywood, and some really wild V-Disc collaborations with drummer and scat singer Buddy Rich. Never a dull moment! arwulf arwulf  
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ELLA FITZGERALD – 1949 | The Classics Chronological Series – 1153 (1999) FLAC (tracks), lossless

In her live performances of 1949, Ella Fitzgerald (who turned 33 that year) often showed the influence of bebop in her phrasing and improvising. However, her studio recordings for Decca (all 21 selections that she cut that year on are on this CD) are surprisingly absent of bebop, instead alternating ballads and bluish pieces with a few swing-oriented numbers. Fitzgerald sounds typically wonderful and cheerful, but the arrangements (for the orchestras of Sy Oliver, Gordwillon Jenkins, and Sonny Burke) are often closer to middle-of-the-road pop music than to jazz. Fitzgerald sounds in fine form on such numbers as "Old Mother Hubbard," "Happy Talk," "Black Coffee," "In the Evening," and "I Hadn't Anyone Till You," imitating Louis Armstrong a bit on "Basin Street Blues." In addition, there are two numbers with Louis Jordan's Tympany Five (including "Baby It's Cold Outside") and two forgettable selections with the Mills Brothers. This CD is a real gap-filler (few of these selections are ever reissued), but not essential. Scott Yanow
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ELLA FITZGERALD – 1952 | The Classics Chronological Series – 1328 (2003) FLAC (tracks+.cue), lossless

The 13th installment in the Classics Ella Fitzgerald chronology documents her recording activity during a period extending from early January to late November 1952. The two opening tracks constitute a veritable scat fest with accompaniment by the Ray Charles Singers and a small band anchored by organist Bill Doggett and pianist Hank Jones. The next nine titles document Fitzgerald's continuing collaborations with bandleader Sy Oliver. Matt Dennis' ballad "Angel Eyes" is rendered beautifully, even if it is nestled among silly titles like "Goody Goody," "A Guy Is a Guy," and "Ding-Dong Boogie," a rowdy novelty better suited for Teresa Brewer; it benefits greatly from a gutbucket sax solo by Sam "The Man" Taylor. Accompanied by Bobby Orton's Teen-Aces, Ella makes her own stunning "Contribution to the Blues," revives Una Mae Carlisle's magnum opus "Walking by the River," and presents "My Bonnie Lies Over the Ocean" as a West Indian dance number bristling with bongos and conga drums. This was not Ella's first venture into Caribbean territory; her infamous calypso outing "Stone Cold Dead in the Market," recorded with Louis Jordan & His Tympany 5 during the mid-'40s, is still a force with which to be reckoned (see 1945-1947, Classics 998). Throughout her tenure as a Decca recording artist, Fitzgerald demonstrated an uncanny ability to sing anything; she would convert weak material into good stuff or transform great songs into masterpieces. It is now known that during the early '50s producer Norman Granz "harshly criticized" the A&R management at Decca Records for consistently handing Ella Fitzgerald patently inferior material and sometimes teaming her up with musicians who were either not in her league or were incapable of tuning in to her wavelength. Until this vocalist's Decca contract expired, Granz could only include her in his touring Jazz at the Philharmonic package (those concert performances were assiduously recorded in their entirety for later release) while making plans for their eventual studio collaborations, which would include the multiple great American composer Song Book projects. arwulf arwulf
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CLARENCE WILLIAMS – 1933-1934 | The Classics Chronological Series – 871 (1996) FLAC (tracks+.cue), lossless

The 11th CD in Classics series of recordings led by pianist-composer-singer Clarence Williams is actually one of the weaker ones due to Chick Bullock taking vocals on seven of the 23 numbers; the two contributions apiece by Dick Robertson and Little Buddy Farrior are not much better even if Williams' own verbal spots on six songs are reasonably enjoyable. With only three instrumentals, the results are less memorable than usual although there are some strong moments contributed by cornetist Ed Allen, clarinetist Cecil Scott, pianist James P. Johnson (who is not featured enough) and guitarist Roy Smeck. Recommended mostly to completists. Scott Yanow
Tracklist :
1    Clarence Williams And His Orchestra–    Swaller-Tail Coat 3:04
Vocals – Chick Bullock
Written-By – Bob Miller
2    Clarence Williams And His Orchestra–    Looka-There, Ain't She Pretty 2:31
Vocals – Chick Bullock
Written-By – Clarence Todd
3    Clarence Williams And His Orchestra–    St. Louis Blues 2:52
Written-By – W.C. Handy
4    Clarence Williams And His Orchestra–    How Can I Get It? 3:00
Vocals – Ed Allen
Written-By – Spencer Williams
5    Clarence Williams And His Orchestra–    On The Sunny Side Of The Street 2:55
Vocals – Chick Bullock
Written-By – McHugh, Fields
6    Clarence Williams And His Orchestra–    Won't You Come Over And Say "Hello" 2:29
Written-By – Barnett, Williams
7    Clarence Williams And His Orchestra–    Old Street Sweeper 3:01
Vocals – Chick Bullock
Written-By – Sullivan, Gray
8    Clarence Williams And His Orchestra–    I'm Gonna Wash My Sins Away 2:59
Vocals – Clarence Williams
Written-By – Williams, Brevard
9    Clarence Williams And His Orchestra–    Jimmy Had A Nickel 2:52
Vocals – Dick Robertson
Written-By – Goodhart, Hoffman, Siglar
10    Clarence Williams And His Orchestra–    He's A Colonel From Kentucky 2:38
Vocals – Dick Robertson
Written-By – Baer, Tobias, Scholl, Mencher
11    Clarence Williams And His Orchestra–    Pretty Baby, Is It Yes Or No? 2:54
Vocals – Clarence Williams
Written-By – Williams, Brevard
12    Clarence Williams And His Orchestra–    Mister, Will You Serenade? 2:38
Vocals – Clarence Williams
Written-By – Hill, Williams, Robinson
13    Clarence Williams And His Orchestra–    I've Got Horses And Got Numbers On My Mind 2:50
Vocals – Clarence Williams
Written-By – Bernard, Bibo, Wirges
14    Clarence Williams And His Orchestra–    New Orleans Hop Scop Blues 2:50
Vocals – Clarence Williams
Written-By – Thomas
15    Clarence Williams And His Orchestra–    Let's Have A Showdown 2:50
Written-By – Page, Pinkard
16    Clarence Williams And His Orchestra–    I Can't Dance, I Got Ants In My Pants 2:58
Vocals – Charlie Gaines, Louis Jordan
Written-By – Gaines, Williams
17    Clarence Williams And His Orchestra–    Christmas Night In Harlem 2:38
Vocals – Chick Bullock
Written-By – Parish, Scott
18    Clarence Williams And His Orchestra–    Ill Wind (You're Blowing Me No Good) 3:02
Vocals – Chick Bullock
Written-By – Arlen, Koehler
19    Clarence Williams And His Orchestra–    As Long As I Live 2:48
Vocals – Chick Bullock
Written-By – Arlen, Koehler
20    Clarence Williams And His Orchestra–    Tell The Truth 2:47
Vocals – Little Buddy Farrior
Written-By – Scott, O'Frye
21    Clarence Williams And His Orchestra–    Sashay, Oh Boy! 3:07
Vocals – Little Buddy Farrior
Written-By – Scott, O'Frye
22    Clarence Williams And His Washboard Band–    I Can't Beat You Doin' What You're Doin' To Me 2:38
Written-By – Piron, Williams
23    Clarence Williams And His Washboard Band–    Trouble 3:13
Written-By – Walman, Rofkin, Blank
Credits :    
Alto Saxophone – Louis Jordan (tracks: 16 to 19)
Alto Saxophone [Two] – Unknown Artist (tracks: 20, 21)
Brass Bass – Cyrus St. Clair
Clarinet – Cecil Scott (tracks: 1 to 19, 22, 23)
Clarinet, Tenor Saxophone, Alto Saxophone – Cecil Scott (tracks: 20, 21)
Cornet – Ed Allen (tracks: 1 to 19, 22, 23), Unknown Artist (tracks: 20, 21)
Drums [?] – Floyd Casey (tracks: 20, 21)
Guitar – Roy Smeck (tracks: 1, 2, 4, 6 to 8)
Guitar, Banjo – Roy Smeck (tracks: 9 to 12)
Guitar, Steel Guitar – Roy Smeck (tracks: 13 to 15)
Piano – Clarence Williams (tracks: 1, 3, 5, 7, 8, 22, 23), James P. Johnson (tracks: 2 to 6, 9 to 19)
Piano [?] – Don Frye (tracks: 20, 21)
Steel Guitar – Roy Smeck (tracks: 3, 5)
Tenor Saxophone [?] – Louis Jordan (tracks: 16, 17)
Trombone – Unknown Artist (tracks: 13 to 15)
Trumpet – Charlie Gaines (tracks: 16 to 19)
Washboard – Floyd Casey (tracks: 1 to 12, 16 to 19, 22, 23) 

CLARENCE WILLIAMS – 1934-1937 | The Classics Chronological Series – 918 (1996) FLAC (tracks+.cue), lossless

Classics' 13th Clarence Williams CD has his final studio recordings with the exception of five slightly later numbers. Although not quite on the same level as Williams' earlier sides, there are some spirited performances to be heard on these five sessions. Cornetist Ed Allen, Cecil Scott (on clarinet and tenor) and clarinetist Buster Bailey (on the six selections from 1937) are the key soloists; most numbers have a washboard in the ensembles, and vocals are taken by Chick Bullock (forgettable in his three appearances), Eva Taylor, William Cooley and Williams himself. Classics deserves congratulations for persevering with this important series, for Clarence Williams led some of the hottest small groups dates of the '20s and '30s; all of the discs are recommended to pre-bop collectors. Scott Yanow  
Tracklist :
1    Clarence Williams And His Orchestra–    'Tain't Nobody's Biz-Ness If I Do 2:23
Vocals – Chick Bullock
Written-By – Robbins, Grainger
2    Clarence Williams And His Orchestra–    I Can't Think Of Anything But You 2:44
Vocals – Chick Bullock
Written-By – Williams
3    Clarence Williams And His Orchestra–    Sugar Blues 2:32
Vocals – Chick Bullock
Written-By – Williams, Fletcher
4    Clarence Williams And His Orchestra–    Jungle Crawl 2:27
Written-By – Williams, Williams
5    Clarence Williams And His Orchestra–    I Can See You All Over The Place 2:43
Vocals – Clarence Williams
Written-By – Williams
6    Clarence Williams And His Orchestra–    Savin' Up My Baby 2:38
Vocals – Clarence Williams
Written-By – Golden
7    Clarence Williams And His Orchestra–    Milk Cow Blues 2:55
Written-By – Arnold
8    Clarence Williams And His Orchestra–    Black Gal 2:43
Written-By – Washington
9    Clarence Williams And His Orchestra–    A Foolish Little Girl Like You 2:53
Vocals – Clarence Williams
Written-By – Amshel, Little, Bibo
10    Clarence Williams And His Orchestra–    There's Gonna Be The Devil To Pay 2:44
Vocals – Clarence Williams
Written-By – Hueston, Emmerich
11    Clarence Williams And His Orchestra–    This Is My Sunday Off 2:48
Written-By – Brooks Jr.
12    Clarence Williams And His Orchestra–    Yama Yama Blues 2:56
Written-By – Williams, Williams
13    Clarence Williams And His Orchestra–    Let Every Day Be Mother's Day 2:57
Written-By – Williams, Hammed, Smith
14    Clarence Williams And His Orchestra–    Lady Luck Blues 2:55
Written-By – Williams, Weber
15    Clarence Williams And His Washboard Band–    Cryin' Blues 2:16
Vocals – Williams Cooley
Written-By – Razaf, Webb
16    Clarence Williams And His Washboard Band–    Top Of The Town 2:47
Vocals – Eva Taylor
Written-By – Adamson, McHugh
17    Clarence Williams And His Washboard Band–    Turn Off The Moon 2:52
Vocals – Williams Cooley
Written-By – Coslow
18    Clarence Williams And His Washboard Band–    More Than That 2:53
Vocals – Eva Taylor
Written-By – Barnett, Williams
19    Clarence Williams And His Washboard Band–    Jammin' 2:49
Vocals – Williams Cooley
Written-By – Coslow
20    Clarence Williams And His Washboard Band–    Wanted 2:24
Vocals – Eva Taylor
Written-By – Lawrence, Tinturin
Credits :    
Alto Saxophone [?] – Louis Jordan (tracks: 1 to 4)
Alto Saxophone [Second] – Unknown Artist (tracks: 1 to 4)
Banjo – Unknown Artist (tracks: 1 to 4)
Bass [Stringbass] – Richard Fullbright* (tracks: 1 to 4)
Brass Bass – Cyrus St. Clair (tracks: 11 to 20), Unknown Artist (tracks: 7 to 10)
Brass Bass [?] – Cyrus St. Clair (tracks: 5, 6)
Clarinet – Buster Bailey (tracks: 15 to 20), Cecil Scott (tracks: 1 to 14)
Cornet – Ed Allen
Drums – Floyd Casey (tracks: 1 to 4)
Guitar [?] – Jimmy McLin (tracks: 11 to 14), Roy Smeck (tracks: 5 to 10)
Piano – Clarence Williams (tracks: 5 to 20)
Tenor Saxophone – Cecil Scott (tracks: 1 to 4, 7 to 14), Prince Robinson (tracks: 15 to 20)
Trombone [?] – Wilbur De Paris (tracks: 7 to 9)
Trumpet – Unknown Artist (tracks: 7 to 10)
Washboard – Floyd Casey (tracks: 15 to 20)
Washboard [?] – Bruce Johnson (tracks: 7 to 10), Willie Williams (tracks: 11 to 14)

CHICK WEBB AND HIS ORCHESTRA – 1929-1934 (1990) The Classics Chronological Series – 502 | FLAC (tracks+.cue), lossless

The perfect way to acquire drummer Chick Webb's recordings is to get his two Classics CDs which contain all of his performances as a leader, other than Ella Fitzgerald's features (which are in a separate Ella series) and a few numbers from Webb's final dates. On the first of the CDs, Webb leads a pickup band in 1929 (for "Dog Bottom" and "Jungle Mama"), an early orchestra in 1931 (highlighted by the first version ever of Benny Carter's "Blues in My Heart"), two numbers from 1933, and all of his classic swing sides of 1934. With arranger/altoist Edgar Sampson providing such compositions as "When Dreams Come True," "Don't Be That Way," "Blue Lou," and "Stompin' at the Savoy" (all of which would become better-known for their slightly later Benny Goodman recordings), trumpeter Taft Jordan taking some vocals purposely influenced by Louis Armstrong, Jordan, trombonist Sandy Williams, and tenor saxophonist Elmer Williams coming up with consistently hot solos, and the drummer/leader driving the orchestra, this was one of the top jazz big bands of the era. Highly recommended as is Classics' 1935-1938 Chick Webb volume. Scott Yanow  
Tracklist :
1    The Jungle Band-    Dog Bottom 2:40
Vocals – Ward Pinkett
2    The Jungle Band–    Jungle Mama    3:19
3    Chick Webb And His Orchestra–    Heebie Jeebies 3:08
Arranged By – Benny Carter
4    Chick Webb And His Orchestra–    Blues In My Heart 3:09
Arranged By – Benny Carter
Vocals – Louis Bacon
5    Chick Webb And His Orchestra–    Soft And Sweet 3:07
Arranged By – Benny Carter
6    Chick Webb's Savoy Orchestra–    On The Sunny Side Of The Street 2:54
Vocals – Taft Jordan
7    Chick Webb's Savoy Orchestra–    Darktown Strutters' Ball    2:51
8    Chick Webb's Savoy Orchestra–    When Dreams Come True    3:23
9    Chick Webb's Savoy Orchestra–    Let's Get Together 3:05
Arranged By – Edgar Sampson
10    Chick Webb's Savoy Orchestra–    I Can't Dance (I Got Ants In My Pants) 2:58
Vocals – Taft Jordan
11    Chick Webb's Savoy Orchestra–    Imagination 3:25
Vocals – Chuck Richards
12    Chick Webb's Savoy Orchestra–    Why Should I Beg For Love 3:07
Arranged By – Edgar Sampson
Vocals – Taft Jordan
13    Chick Webb's Savoy Orchestra–    Stompin' At The Savoy    3:11
14    Chick Webb's Savoy Orchestra–    Blue Minor 2:47
Arranged By – Edgar Sampson
15    Chick Webb's Savoy Orchestra–    True 2:44
Vocals – Charles Linton
16    Chick Webb's Savoy Orchestra–    Lonesome Moments 2:45
Arranged By – Edgar Sampson
17    Chick Webb's Savoy Orchestra–    If It Ain't Love 3:00
Vocals – Charles Linton
18    Chick Webb And His Orchestra–    That Rhythm Man 2:57
Vocals – Taft Jordan
19    Chick Webb And His Orchestra–    On The Sunny Side Of The Street 2:50
Vocals – Taft Jordan
20    Chick Webb And His Orchestra–    Lona 2:49
Arranged By – Edgar Sampson
21    Chick Webb And His Orchestra–    Blue Minor 3:06
Arranged By – Edgar Sampson
22    Chick Webb And His Orchestra–    It's All Over Because We're Through 3:17
Vocals – Taft Jordan
23    Chick Webb And His Orchestra–    Don't Be That Way    2:38
24    Chick Webb And His Orchestra–    What A Shuffle 2:57
Arranged By – Edgar Sampson
25    Chick Webb And His Orchestra–    Blue Lou    3:07
Credits :    
Alto Saxophone – Edgar Sampson (tracks: 6 to 25), Pete Clark (tracks: 6 to 25)
Banjo, Guitar – John Trueheart
Bass [String Bass] – John Kirby (tracks: 6 to 25)
Brass Bass, Bass [String Bass] – Elmer James (tracks: 1 to 5)
Clarinet, Alto Saxophone – Benny Carter (tracks: 3 to 5), Hilton Jefferson (tracks: 1 to 5), Louis Jordan (tracks: 1, 2)
Clarinet, Tenor Saxophone – Elmer Williams
Drums – Chick Webb (tracks: 1, 3 to 25)
Piano – Don Kirkpatrick (tracks: 1 to 5, 18 to 25), Joe Steele (tracks: 6 to 17)
Tenor Saxophone, Flute – Wayman Carver (tracks: 14 to 25)
Trombone – Robert Horton (tracks: 1, 2), Claude Jones (tracks: 18 to 25), Fernando Arbello (tracks: 14 to 17), Jimmy Harrison (tracks: 3 to 5), Sandy Williams (tracks: 6 to 25)
Trumpet – Bobby Stark (tracks: 14 to 25), Edwin Swayzee (tracks: 1, 2), Louis Bacon (tracks: 3 to 5), Louis Hunt (tracks: 3 to 5), Mario Bauzá (tracks: 6 to 25), Reunald Jones (tracks: 6 to 13), Shelton Hemphill (tracks: 3 to 5), Taft Jordan (tracks: 6 to 25), Ward Pinkett (tracks: 1, 2)

CHICK WEBB AND HIS ORCHESTRA – 1935-1938 (1990) The Classics Chronological Series – 517 | FLAC (tracks+.cue), lossless

To a large extent, the Chick Webb big band is now chiefly remembered as the launching pad for Ella Fitzgerald, but during its peak years it was one of the top swing bands. This 25-song CD from the European Classics label reissues all of the band's recordings from a three-year period that did not feature Fitzgerald as a solo singer; she does make a brief appearance on "Wake up and Live." Although there are nine vocals on this set (including three from a young Louis Jordan), the emphasis is very much on the band's instrumental talents. Such soloists as trumpeters Taft Jordan and Bobby Stark, trombonist Sandy Williams, Elmer Williams and Ted McRae on tenors, and altoist Edgar Sampson are heard from while the drummer/leader propels the ensembles. A special highlight are the four numbers by Chick Webb's Little Chicks, an unusual quintet featuring the pioneering jazz flutist Wayman Carver and clarinetist Chauncey Haughton. This CD is highly recommended to swing fans. Scott Yanow  
Tracklist :
1     Down Home Rag 2:52
Sam M. Lewis / Wilbur Sweatman
2     Are You Here to Stay? 3:11
Kenneth Harrison / Edgar Sampson
3     Moonlight and Magnolias 2:51
Dizzy Gillespie
4     I May Be Wrong (But I Think You're Wonderful) 3:03
Harry Ruskin / Henry Sullivan
5     Facts and Figures 2:33
Edgar Sampson
6     Go Harlem 2:20
James P. Johnson / Andy Razaf
7     Love Marches On 2:52
Charles Tobias
8     There's Frost on the Moon  2:49
Fred E. Ahlert / Victor Young
9     Gee But You're Swell 2:37
Charles Tobias
10     Rusty Hinge 3:06
Lew Brown
11     Wake up and Live 2:37
Mack Gordon / Harry Revel
12     It's Swell of You 3:12
Mack Gordon / Harry Revel
13     Clap Hands! Here Comes Charlie 2:31
Ballard MacDonald / Joseph Meyer / Billy Rose
14     That Naughty Waltz 3:01
Sol P. Levy / Edwin Stanley
15     In a Little Spanish Town 2:40
Sam M. Lewis / Mabel Wayne / Joe Young
16     I Got Rhythm 2:31
George Gershwin / Ira Gershwin
17     I Ain't Got Nobody 3:02
Roger Graham / Dave Peyton / Spencer Williams
18     Strictly Jive 3:17
Chick Webb & His Orchestra
19     Sweet Sue, Just You 2:44
Will J. Harris / Victor Young
20     Squeeze Me 3:10
Fats Waller / Clarence Williams
21     Harlem Congo 3:14
Harry White
22     Midnite in a Madhouse (Midnite in Harlem) 2:33
Larry Clinton
23     Azure 3:12
Duke Ellington / Irving Mills
24     Spinnin' the Webb 3:04 3:04
Ella Fitzgerald / Chick Webb
25     Liza (All the Clouds'll Roll Away) 2:45
George Gershwin / Ira Gershwin / Gus Kahn
Credits :    
Alto Saxophone – Edgar Sampson (tracks: 1 to 14), Louis Jordan (tracks: 18, 20 to 25), Pete Clark (2) (tracks: 1 to 14)
Banjo, Guitar – John Trueheart (tracks: 1 to 14)
Bass [String Bass] – Beverly Peer (tracks: 15 to 25), Bill Thomas (3) (tracks: 3 to 14), John Kirby (tracks: 1, 2)
Clarinet, Alto Saxophone – Chauncey Haughton (tracks: 15 to 25)
Clarinet, Tenor Saxophone – Ted McRae (tracks: 6 to 14, 18, 20 to 25)
Drums – Chick Webb
Guitar – Bobby Johnson (tracks: 18, 20 to 25)
Piano – Don Kirkpatrick (4) (tracks: 1 to 14), Tommy Fulford (tracks: 15 to 25)
Tenor Saxophone – Elmer Williams (tracks: 1 to 5)
Tenor Saxophone, Flute – Wayman Carver
Trombone – Claude Jones (tracks: 1 to 5), George Matthews (2) (tracks: 23 to 25), Nat Story (tracks: 6 to 14, 18, 20 to 25), Sandy Williams (tracks: 1 to 14, 18, 20 to 25)
Trumpet – Bobby Stark (tracks: 1 to 14, 18, 20 to 25), Mario Bauzá (tracks: 1 to 14, 18, 20 to 25), Taft Jordan (tracks: 1 to 14, 18, 20 to 25)

LOUIS ARMSTRONG AND HIS ORCHESTRA – 1931-1932 | The Classics Chronological Series – 536 (1990) FLAC (tracks+.cue), lossless

During the long cold winter of 1931-1932, Louis Armstrong stationed himself in Chicago, where he spun out the last of his OKeh recordings. This volume of vintage jazz opens with 16 of these marvelous sides. Backed by nine resilient players, the trumpeter sings on each and every track, handling light novelties and romantic ballads with relative ease. He makes "Lazy River" sound like he wrote it himself. "Chinatown" has a magnificent spoken intro and vocal by the leader, followed by what he describes as "a little argument between the saxophones and the trumpet," culminating of course in a dazzling display of Armstrong's unsurpassed virtuosity. Brimming with humorous commentary and theatrical patter, "The Lonesome Road" represents a special subgenre of sanctified church burlesques. After Armstrong asks aloud "What kind of church is this?," someone can't resist interjecting a flippant salute to "you vipers." Apparently limbered up and in the mood for conversation, Armstrong introduces his musicians with relish all throughout a fine version of "I Got Rhythm." His handling of "Kickin' the Gong Around" is less theatrical but swings more solidly than Cab Calloway's hyperventilated version. Always ready to outdo even himself, Armstrong recorded a sequel to his "Tiger Rag" with someone loudly counting off the number of choruses as he blew them. What appears to have been his last OKeh record, "Keepin' Out of Mischief Now" backed with "Lawd, You Made the Night Too Long," was recorded in Chicago on March 11, 1932, and given the serial number 41560. His next opportunity to record in front of his own band occurred in Camden, NJ, on December 8th. Armstrong was now officially working for the Victor record company. His 11-piece band included trombone legend Big Charlie Green, reedman and composer Edgar Sampson, and percussion wizard Chick Webb, who provided amazing locomotive effects on his snare drum on "Hobo, You Can't Ride This Train." Mezz Mezzrow is said to have been responsible for ringing the bells on this track. This excellent segment of the Louis Armstrong chronology ends with a four-and-a-half-minute "Medley of Armstrong Hits," with a nine-piece Victor studio band backing him every step of the way. arwulf arwulf  
Tracklist :
1     Lazy River 3:08
Sidney Arodin / Hoagy Carmichael
2     Chinatown, My Chinatown 3:21
William Jerome / Jean Schwartz
3     Wrap Your Troubles in Dreams (And Dream Your Troubles Away) 3:43
Harry Barris / Ted Koehler / Billy Moll
4     Stardust 3:35
Hoagy Carmichael / Mitchell Parish
5     You Can Depend on Me 3:24
Charles Carpenter / Louis Dunlap / Earl Hines
6     Georgia on My Mind 3:26
Hoagy Carmichael / Stuart Gorrell
7     The Lonesome Road 3:39
Gene Austin / Nat Shilkret
8     I Got Rhythm 3:10
George Gershwin / Ira Gershwin
9     Between the Devil and the Deep Blue Sea 3:06
Harold Arlen / Ted Koehler
10     Kickin' the Gong Around 3:17
Harold Arlen / Ted Koehler
11     Home (When Shadows Fall) 3:11
Harry Clarkson / P. V. Steeden Jr / Peter Van Steeden
12     All of Me 3:03
Gerald Marks / Seymour Simons
13     Love, You Funny Thing 3:47
Fred E. Ahlert / Roy Turk
14     The New Tiger Rag 3:29
Nick LaRocca
15     Keepin' Out of Mischief Now 3:38
Andy Razaf / Fats Waller
16     Lawd, You Made the Night Too Long 3:11
Patrick Lewis / Victor Young
17     That's My Home 3:11
Ben Ellison / Otis Rene / Leon René
18     Hobo, You Can't Ride This Train 3:01
Louis Armstrong
19     I Hate to Leave You Now 3:11
Dick / Dorothy Dick / Harry Link / Fats Waller
20     You'll Wish You'd Never Been Born 3:16
Louis Armstrong
21     Medley of Armstrong Hits, Pt. 2: When You're Smiling/St. James ... 4:32
Harry Akst / Joe Goodwin / Patrick Lewis / Joe Primrose / Larry Shay / Victor Young