DUKE ELLINGTON AND HIS ORCHESTRA – 1927-1928 | The Classics Chronological Series – 542 (1990) FLAC (tracks+.cue), lossless

As usual with the Classics series, the music on this CD is released complete and in chronological order, covering the music originally released by several record labels but without including alternate takes. In the case of Duke Ellington, because he would frequently record the same song slightly rearranged on several occasions for different companies, there are multiple versions of some titles on this CD, but the alternate versions that he made for the labels have been left out. During the very important period covered by this disc, the Duke Ellington Orchestra (having recently found their sound) was hired by the Cotton Club as the house band and they hit the big time. Certainly it is obvious that they deserved fame since this set has classic versions of such songs as "Creole Love Call" (famous for being the first entirely wordless vocal, featuring Adelaide Hall), "Black and Tan Fantasy," their theme song "East St. Louis Toodle-Oo," "Jubilee Stomp," and other hot numbers. Featured along the way are such greats as trumpeter Bubber Miley, trombonist Joe Tricky Sam Nanton, and altoist Otto Hardwick. Scott Yanow    Tracklist + Credits :

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 :

BESSIE SMITH – 1929-1933 | The Classics Chronological Series – 977 (1997) FLAC (tracks+.cue), lossless

These 24 tracks represent the last phase of Bessie Smith's recording career. Over the course of ten years and 160 great songs, Smith had without a doubt earned her place as the Empress of the Blues. Unfortunately, until her passing in 1937, she spent most of her time on the show circuit. For fans hungry for a healthy dose of her legacy, though, generous discs such as this provide a chance to revel in the classic female blues singing queen's lusty power. As usual, Smith is helped out by the day's jazz royalty. Featured over the course of the cuts here -- many penned by both Smith and pianist Clarence Williams -- are such top soloists as Benny Goodman, Chu Berry, James P. Johnson, and Frankie Newton. Of course, Smith grabs most of the attention, especially on definitive sides like "Gimme a Pigfoot" and "Black Mountain Blues," not to mention the ribald gem "Need a Little Sugar in My Bowl." And as far as sound quality goes, this and many other of the discs in the Classics chronological series provide a viable alternative to Columbia's celebrated Complete Recordings line. Stephen Cook  
Tracklist + Credits :

JAMES P. JOHNSON – 1921-1928 | The Classics Chronological Series – 658 (1992) FLAC (tracks+.cue), lossless

Oh man, this is it. The very earliest phonograph records ever made by the guy who taught Fats Waller how to stride with a piano. How much really great jazz is there on record dating from 1921? Not a hell of a lot, by anybody's estimation. Classics 658 opens up with three 1921 piano solos, one originally issued on the Black Swan label and two bearing the trademark OKeh. Johnson was already famous for his player piano rolls, which he'd begun to produce back in 1916. Getting to hear an audio recording of him at the keyboard so early in the game is an experience not to be missed by anyone who truly loves this part of our cultural heritage. Yet if the solo piano version of "Carolina Shout" makes for nearly three minutes of joyous listening, the impossibly rare eight-piece band rendition might cause vertigo among those who take this kind of historical material personally. Jimmie Johnson's Jazz Boys and James P. Johnson's Harmony Eight sound a bit like Eubie Blake's early-'20s ensembles, with that precious sort of pit orchestra ambience belonging to those distant days. Contemporary ensembles may reinterpret the material, but nobody will ever be able to re-create the sound of jazz in 1921 as heard on these historical recordings. Spread across three different recording labels, the six piano solos from 1923 provide a fascinating glimpse at where Johnson was at in his musical evolution during this important year. A quick jump to 1927 yields gorgeous solo readings of "Snowy Morning Blues" and Perry Bradford's "All That I Had Is Gone." Bradford himself makes a bit of noise kicking lyrics around on two sides by a seven-piece mob called the Original Jazz Hounds and two more by Johnson's Jazzers, consisting only of Johnson and cornet man Louis Metcalf. Four sides from 1928 round off this wonderful retrospective. Cornet ace Johnny Dunn leads his Original Jazz Hounds with reedman Garvin Bushell backed by both James P. Johnson and Fats Waller at the piano. "What's the Use of Being Alone?" is late-'20s New York jazz at its very finest. Two slow drags by Jimmy Johnson's Orchestra feature Fats Waller, Cootie Williams, and Charlie Holmes, along with train conductor impersonations by Perry Bradford. The entire ensemble sobs its way through "Mournful Tho'ts" without divulging the name of the trombonist, who momentarily does a marvelous job of submerging the mood under several inches of murky water. A staggering assortment of rare recordings covering seven years out of a decade that never ceases to amaze those who take the time to listen back on those recordings that have managed to survive. arwulf arwulf
Tracklist + Credits :

JAMES P. JOHNSON – 1928-1938 | The Classics Chronological Series – 671 (1992) FLAC (tracks+.cue), lossless

Welcome to a dizzying tour of one man's adventures in the recording studios of New York over the span of ten very eventful years. This segment of the James P. Johnson chronology begins with the "Daylight Savin' Blues," a magnificent instrumental recorded in October of 1928. The Gulf Coast Seven were essentially an Ellington quintet with Perry Bradford and James P. Johnson. The most stunning component here is the soprano saxophone of Johnny Hodges, who had come up under the direct influence of Sidney Bechet. Perry Bradford does his share of singing, sounding particularly mellifluous in duet with Gus Horsley on "Put Your Mind Right on It." The key phrase in that song is the immortal refrain: "let's misbehave." There is something about these 1929 ensembles that tickles the brain. Two sides recorded for Victor on November 18 bear a strange resemblance to recordings made under the heading of Fats Waller & His Buddies nearly two months earlier, on September 24. For vocalists, Waller used three reed players and the banjoist from his band to form a sort of barbershop quartet, billed as the Four Wanderers. Johnson's orchestra featured King Oliver, had Waller sitting in with James P. at the piano, and crackled with frantic vocals by an unidentified group calling themselves the Keep Shufflin' Trio. Both singing groups are fairly outrageous and corny to almost bizarre extremes. The word "Modernistic" had exciting connotations in 1929, as culture and technology raced headlong into the unknown. Both the solo piano rendition and the almost ridiculous vocal version convey some measure of that excitement. This collection contains no less than six outstanding piano solos, including the first recording ever made by anyone of Cole Porter's "What Is This Thing Called Love?." Recycling a discarded melody from the Clarence Williams publishing catalog, "How Could I Be Blue?" is a priceless vaudevillian piano duet with comical cuckold dialogue between JPJ and Clarence Williams himself. While this precious recording has recently found its way on to various James P. Johnson reissues, seldom has the flip side been heard. "I've Found a New Baby" focuses upon Clarence's indigestion. James appears to have a half-pint of liquor in his hip pocket but after administering the "cure" he informs Clarence that he's been given a shot of foot medicine! This disc includes three vocals by Fats Waller's lyricist Andy Razaf, and then concludes with five smoky sides from 1938 under the banner of Pee Wee Russell's Rhythmakers. Convening on behalf of the Hot Record Society, this magnificent ensemble had elements of Eddie Condon, Duke Ellington and Count Basie, which is to say Chicago, New York and Kansas City. You'd also need to include New Orleans in the schematic, as Wellman Braud and Zutty Singleton represented everything that was strongest and best about the Crescent City. "Horn of Plenty Blues" is a majestic slow drag with vocal by the drummer. "There'll Be Some Changes Made" received such an in-depth treatment that it was recorded in two parts, allowing extra solo space for the more expressive members. Pee Wee's group swings like the dickens, finishing off this amazing retrospective with crowing vigor and collective enthusiasm. arwulf arwulf
Tracklist :

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 :

CLARENCE WILLIAMS – 1926-1927 | The Classics Chronological Series – 718 (1993) FLAC (tracks+.cue), lossless

The third CD in the Classics label's Clarence Williams program reissues all of the pianist/bandleader's dates from a ten-month period, 23 selections in all. Such groups as Joe Jordan's Ten Sharps and Flats (performing a memorable version of "Morocco Blues"), The Dixie Washboard Band, The Blue Grass Foot Warmers and Clarence Williams's Stompers (or Blue Seven or Jazz Kings or Washboard Four). Williams uses some of the top musicians of the era (including cornetists Bubber Miley, Tommy Ladnier and Ed Allen, trombonist Jimmy Harrison, clarinetist Buster Bailey, Coleman Hawkins on tenor, Cyrus St. Clair on tuba and Jasper Taylor on washboard among others) for the heated and freewheeling performances. Highlights include "Jackass Blues," "I Found a New Baby," "Senegalese Stomp" and a truly classic version of "Candy Lips" (which features two clarinets in hot pursuit). All of the CDs in this valuable series are highly recommended to classic jazz fans. Scott Yanow
Tracklist :
1    Clarence Williams Stompers–    Jackass Blues 3:00
Written-By – Kassel, Stitzel
2    Clarence Williams Stompers–    What's The Matter Now? 2:20
Vocals – Don Redman
Written-By – Williams, Williams
3    Joe Jordan's Ten Sharps And Flats–    Morocco Blues 3:20
Vocals [Comments] – Clarence Williams
Written-By – Williams, Jordan
4    Dixie Washboard Band–    You For Me, Me For You 3:07
Vocals – Clarence Todd
Written-By – Mack, Johnson
5    Dixie Washboard Band–    My Own Blues 2:53
Vocals – Clarence Todd
Written-By – Clarence Williams
6    Dixie Washboard Band–    Boodle Am 3:06
Vocals – Clarence Todd
Written-By – Palmer, Williams
7    Dixie Washboard Band–    I Found A New Baby 2:53
Vocals – Clarence Todd
Written-By – Palmer, Williams
8    Blue Grass Foot Warmers–    Señorita Mine 2:38
Written-By – Unknown Artist
9    Blue Grass Foot Warmers–    Charleston Hound 2:51
Written-By – Williams, Waller
10    Blue Grass Foot Warmers–    How Could I Be Blue 2:47
Speech – Clarence Todd
Written-By – Unknown Artist
11    Blue Grass Foot Warmers–    Old Folks Shuffle 2:44
Written-By – Williams, Waller
12    Dixie Washboard Band–    Dark Eyes 3:10
Vocals – Clarence Todd
– Traditional
13    Dixie Washboard Band–    Gimme Blues 3:04
Vocals – Clarence Todd
Written-By – Clarence Williams
14    Dixie Washboard Band–    King Of The Zulus 3:25
Dialog – Clarence Todd, Clarence Williams
Written-By – Lil Hardin Armstrong
15    Dixie Washboard Band–    The Zulu Blues 2:55
Vocals – Clarence Todd
Written-By – Clarence Williams
16    Clarence Williams' Blue Seven–    Would Ja? 2:49
Written-By – Manning Sherwin
17    Clarence Williams' Blue Seven–    Senegalese Stomp 2:37
Written-By – Clarence Todd
18    Joe Sims (And Clarence Williams–    What Do You Know About That? 2:55
Vocals – Clarence Williams, Joe Sims
Written-By – Unknown Artist
19    Joe Sims (And Clarence Williams–    Shut Your Mouth 3:11
Vocals – Clarence Williams, Joe Sims
Written-By – Unknown Artist
20    Clarence Williams' Jazz Kings–    Gravier Street Blues 3:00
Written-By – Clarence Williams
21    Clarence Williams' Jazz Kings–    Candy Lips 2:44
Written-By – Lauria, Jackson
22    Clarence Williams' Washboard Four–    Nobody But My Baby Is Getting My Love 2:38
Written-By – Razaf, Williams
23    Clarence Williams' Washboard Four–    Candy Lips 2:43
Vocals – Clarence Williams
Written-By – Lauria, Jackson
Credits :    
Banjo – Leroy Harris (tracks: 16, 17, 20, 21), Mike McKendrick (tracks: 3), Unknown Artist (tracks: 14, 15)
Banjo [?] – Buddy Christian (tracks: 1, 2), Leroy Harris (tracks: 1, 2)
Brass Bass – Cyrus St. Clair (tracks: 16, 17, 20, 21), Ed Bergen (tracks: 3), Unknown Artist (tracks: 1, 2)
Clarinet [?] – Ben Whitted (tracks: 20, 21), Benny Moten (tracks: 20, 21)
Clarinet, Alto Saxophone – Bennie Moten (tracks: 3 to 11, 22, 23), Buster Bailey (tracks: 16, 17), Don Redman (tracks: 1, 2), James Nichols (tracks: 3)
Clarinet, Tenor Saxophone – Coleman Hawkins (tracks: 16, 17), Unknown Artist (tracks: 12 to 15)
Cornet – Bubber Miley (tracks: 1, 2), Ed Allen (tracks: 3 to 11, 22, 23), Thomas Morris (tracks: 1, 2), William Logan (tracks: 3)
Cornet [?] – Addington Major (tracks: 18, 19), Louis Metcalf (tracks: 12 to 15, 18, 19)
Drums, Washboard – Jasper Taylor (tracks: 3 to 11)
Piano – Clarence Williams (tracks: 1, 2, 4 to 17, 20 to 23), Fats Waller (tracks: 18, 19)
Piano, Directed By – Joe Jordan (tracks: 3)
Tenor Saxophone – Clarence Miller (tracks: 3)
Trombone – Jimmy Harrison (tracks: 16, 17), Joe Brown (22) (tracks: 3)
Trombone [?] – Joe "Tricky Sam" Nanton (tracks: 1, 2), John Mayfield (tracks: 14, 15)
Trumpet – Tommy Ladnier (tracks: 16, 17)
Washboard – Bruce Johnson (tracks: 12 to 15), Floyd Casey (tracks: 22, 23)

CLARENCE WILLIAMS – 1927 | The Classics Chronological Series – 736 (1993) FLAC (tracks+.cue), lossless

Pianist/bandleader Clarence Williams was at the height of his productivity in 1927; the 22 numbers on this CD were recorded within a 6 1/2 month period. With the exception of The Dixie Washboard Band, all of the performances were originally released under Clarence Williams's name but the personnel and instrumentation often differ from session to session. The fourth in Classics' complete reissuance of Williams's recordings features such top sideman as cornetists Ed Allen and Louis Metcalf, trumpeter Red Allen (in what was probably his earliest recording), trombonist Charlie Irvis, clarinetist Buster Bailey and a variety of lesser-known players with some of the best performances being "Cushion Foot Stomp" (which is heard three different times), "Shooting the Pistol," "Baby, Won't You Please Come Home" and Williams's solo version of "When I March in April with May." Highly recommended to collectors of vintage jazz. Scott Yanow
Tracklist
1    Clarence Williams And His Washboard Band–    Cushion Foot Stomp 2:59
Written-By – Clarence Williams
2    Clarence Williams And His Washboard Band–    P.D.Q. Blues 2:54
Written-By – Henry, Simson
3    Dixie Washboard Band–    Anywhere Sweetie Goes (I'll Be There) 2:58
Written-By – Williams, Waller
4    Dixie Washboard Band–    Cushion Foot Stomp 3:00
Written-By – Clarence Williams
5    Clarence Williams' Washboard Five–    Cushion Foot Stomp 3:20
Written-By – Clarence Williams
6    Clarence Williams' Washboard Five–    Take Your Black Bottom Outside 3:01
Written-By – Williams, Green
7    Clarence Williams' Blue Five–    Black Snake Blues 2:54
Written-By – Johnson, Spivey
8    Clarence Williams' Blue Five–    Old Folks Shuffle 2:49
Written-By – Williams, Waller
9    Clarence Williams' Blue Five Orchestra–    Baltimore 2:53
Written-By – Healy, Kahal, McHugh
10    Clarence Williams' Blue Five Orchestra–    Take Your Black Bottom Outside 3:02
Written-By – Williams, Green
11    Clarence Williams And His Bottomland Orchestra–    Slow River (Vocal) 3:13
Written-By – Clarence Williams
12    Clarence Williams And His Bottomland Orchestra–    Slow River (Instr.) 3:12
Written-By – Clarence Williams
13    Clarence Williams And His Bottomland Orchestra–    Zulu Wail (Vocal) 2:59
Written-By – Clarence Williams
14    Clarence Williams And His Bottomland Orchestra–    Zulu Wail (Instr.) 3:09
Written-By – Clarence Williams
15    Clarence Williams' Orchestra–    Shooting The Pistol 2:38
Written-By – Smith, Williams
16    Clarence Williams' Orchestra–    Bottomland 3:08
Written-By – Williams, Trent
17    Clarence Williams' Jazz Kings–    I'm Goin' Back To Bottomland 2:33
Written-By – Williams, Trent
18    Clarence Williams' Jazz Kings–    You'll Long For Me (When The Cold Winds Blow) 3:02
Written-By – Clarence Williams
19    Clarence Williams–    When I March In April With May 3:08
Written-By – Clarence Williams
20    Clarence Williams–    Shootin' The Pistol 2:53
Written-By – Clarence Williams
21    Clarence Williams' Blue Seven–    Baby, Won't You Please Come Home? 2:51
Written-By – Warfield, Williams
22    Clarence Williams' Blue Seven–    Close Fit Blues 2:58
Written-By – Clarence Williams
Credits :    
Alto Saxophone [?] – Alberto Socarras (tracks: 11 to 14)
Banjo – Leroy Harris (tracks: 7 to 10, 17, 18, 21, 22)
Clarinet – Buster Bailey (tracks: 5, 6)
Clarinet, Alto Saxophone – Alberto Socarras (tracks: 17, 18), Arville Harris (tracks: 7 to 10, 21, 22), Ben Whitted (tracks: 7, 8), Carmelo Jari (tracks: 1 to 4)
Clarinet, Alto Saxophone [?] – Arville Harris (tracks: 15, 16)
Clarinet, Soprano Saxophone, Flute [?] – Alberto Socarras (tracks: 15, 16)
Cornet – Ed Allen (tracks: 1 to 9, 15 to 18), Louis Metcalf (tracks: 21, 22)
Drums – Floyd Casey (tracks: 7 to 14)
Piano – Clarence Williams
Soprano Saxophone – Buster Bailey (tracks: 21, 22)
Sousaphone – Cyrus St. Clair (tracks: 5 to 8, 15 to 18, 21, 22)
Trombone – Charlie Irvis (tracks: 7 to 18, 21, 22)
Trumpet – Ed Anderson (tracks: 11 to 14), Henry "Red" Allen (tracks: 11 to 14)
Vocals – Clarence Lee (2) (tracks: 1, 2), Clarence Williams (tracks: 5, 6, 19, 20), Evelyn Preer (tracks: 11, 13), Katherine Henderson (3) (tracks: 9, 10), Shufflin' Sam
Washboard – Floyd Casey (tracks: 1 to 6)