Mostrando postagens com marcador Louis Metcalf. Mostrar todas as postagens
Mostrando postagens com marcador Louis Metcalf. Mostrar todas as postagens

19.2.26

MAGGIE JONES — Volume 2 (May 1925 To June 1926) + GLADYS BENTLEY — Complete Recorded Works In Chronological Order 1928/1929 (1995) DOCD-5349 | FLAC (tracks+.cue), lossless

Two different blues-oriented vaudeville singers are featured on this CD, which is the follow-up to Maggie Jones, Vol. 1. Jones had a strong voice and is heard on the first 16 selections, backed by some Fletcher Henderson sidemen (including cornetist Joe Smith), the St. Louis Rhythm Kings, clarinetist Bob Fuller, trumpeter Louis Metcalf, and pianist Clarence Williams, among others. In addition, this CD has all eight recordings by singer-pianist Gladys Bentley, a male impersonator whose style is a bit of an acquired taste; guitarist Eddie Lang is fortunately on four of the numbers. This well-done release is not essential but has its moments of interest. Scott Yanow
Tracklist :
1.    Maggie Jones–    Cheatin' On Me 3:13
Orchestra – Henderson's Hot Six
2.    Maggie Jones–    Mamma (Won't You Come And Ma-Ma Me) 2:58
Orchestra – Henderson's Hot Six
3.    Maggie Jones–    He's Just A Horn-Tootin' Fool 3:08
Orchestra – St. Louis Rhythm Kings
4.    Maggie Jones–    Go Get 'Em Caroline 3:11
Orchestra – St. Louis Rhythm Kings
5.    Maggie Jones, Acc. Her Band–    Dallas Blues 3:01
Orchestra – Maggie Jones, Acc. Her Band
6.    Maggie Jones, Acc. Her Band–    South Street Blues 2:32
Orchestra – Maggie Jones, Acc. Her Band
7.    Maggie Jones, Acc. Her Band–    Never Drive A Beggar From Your Door 2:57
Orchestra – Maggie Jones, Acc. Her Band
8.    Maggie Jones, Acc. Her Band–    I'm A Back Bitin' Mama 2:58
Orchestra – Maggie Jones, Acc. Her Band
9.    Maggie Jones, Acc. Her Jazzers–    Single Woman's Blues 2:48
Orchestra – Maggie Jones, Acc. Her Jazzers
10.    Maggie Jones And Her Jazz Band–    Never Tell A Woman Friend 2:52
Orchestra – Maggie Jones, Acc. Her Jazzers
11.    Maggie Jones–    The Man I Love Is Oh So Good    3:01
12.    Maggie Jones–    I'm Leaving You    2:53
13.    Maggie Jones–    I'm A Real Kind Mama    2:57
14.    Maggie Jones–    You Ain't Gonna Feed My In Pasture Now    2:52
15.    Maggie Jones–    Mama Stayed Out The Whole Night Long    3:04
16.    Maggie Jones–    He Belongs To Me    2:58
17.    Gladys Bentley–    Ground Hog Blues    3:00
18.    Gladys Bentley–    Worried Blues    2:43
19.    Gladys Bentley–    How Long-How Long Blues    2:48
20.    Gladys Bentley–    Moanful Wailin' Blues    3:02
21.    Gladys Bentley–    Wild Geese Blues    3:00
22.    Gladys Bentley–    How Much Can I Stand?    3:05
23.    Gladys Bentley–    Big Gorilla Man    2:50
24.    Gladys Bentley–    Red Beans And Rice    2:57
Credits : 
Alto Saxophone – Bob Fuller (tracks: 7, 8, 10), Elmer Snowden (tracks: 7 to 10)
Banjo – Charlie Dixon (tracks: 1, 2), Elmer Snowden (tracks: 5, 7, 8)
Clarinet – Bob Fuller (tracks: 5, 7 to 9), Buster Bailey (tracks: 1, 2), Louis Maesto (tracks: 3, 4)
Compilation Producer – Johnny Parth
Cornet – Harry Cooper (tracks: 6), Joe Smith (tracks: 1, 2), Louis Metcalf (tracks: 11 to 14)
Drums – Christian Maesto (tracks: 3, 4)
Effects – Unknown Artist (tracks: 5)
Guitar – Eddie Lang (tracks: 19 to 22)
Liner Notes – John Wilby
Piano – Clarence Williams (tracks: 15, 16), Cliff Jackson (tracks: 11 to 14), Fletcher Henderson (tracks: 1, 2), Louis Hooper (tracks: 5 to 10), Nick Moleri (tracks: 3, 4), Unknown Artist (tracks: 23, 24)
Piano [Poss.] – Gladys Bentley (tracks: 17 to 20)
Remastered By – Gerhard Wessely
Trombone – Charlie Green (tracks: 1, 2), Jake Frazier (tracks: 11, 12), Pete Pellezzi (tracks: 3, 4)
Trumpet – Micky Bloom (tracks: 3, 4)
Vocals – Gladys Bentley (tracks: 17 to 24), Maggie Jones (tracks: 1 to 16)

18.2.26

SARA MARTIN — In Chronological Order Volume 4 (1925-1928) DOCD-5398 (1995) FLAC (tracks+.cue), lossless

It is ironic that so many classic female blues singers recorded a ton of material between 1921 and 1924 and, when the recording techniques had advanced greatly and the musicianship of their accompaniments had vastly improved, the vocalists had much less opportunity to be documented. Sara Martin recorded three CDs worth of material during 1922-1925, and then just 23 tunes during the three years covered by this CD. Martin was at her best during the latter period, but she only had three recording sessions in 1926, one in 1927, and three in 1928 before her recording career came to an end. She was accompanied by many impressive players during this era including several groups led by Clarence Williams (which had such musicians as King Oliver, Charlie Irvis, Bubber Miley, and Benny Waters), Richard M. Jones' Jazz Wizards, the piano of Eddie Heywood on two duets, and three numbers with Harry's Happy Four, a hot quartet consisting of Harry Cooper and Louis Metcalf on cornets, pianist Earres Prince, and banjoist Bernard Addison. The diverse material is highlighted by "What More Can a Monkey Woman Do," a hot version of "Yes, Sir, That's My Baby," a rare vocal version of "The Last Time" (recorded two years later by Louis Armstrong's Savoy Ballroom Five), "What's the Matter Now," "Late Last Night," "Cushion Foot Stomp," and "Death Sting Me Blues." Vintage blues completists will want all four of the Sara Martin CDs, but others who just want a sampling of her best work are advised to get Vol. 4 and Vol. 3 first. Scott Yanow
Tracklist :
1.    Your Going Ain't Giving Me The Blues  3:11
Alto Saxophone – Unknown Artist
Banjo [Prob.] – Buddy Christian
Cornet – ... Thomas
Orchestra – Clarence Williams' Blue Five
Piano, Vocals – Clarence Williams
Trombone [Poss.] – Charlie Irvis
Vocals – Sara Martin

2.    What More Can A Monkey Woman Do  2:58
Alto Saxophone – Unknown Artist
Banjo [Prob.] – Buddy Christian
Cornet – ... Thomas
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone [Poss.] – Charlie Irvis
Vocals – Sara Martin

3.    Some Of These Mornings  3:07
Banjo – Bernard Addison
Cornet – Harry Cooper, Louis Metcalf
Orchestra – Harry's Happy Four
Piano – Earres Prince
Vocals – Sara Martin

4.    Yes, Sir, That's My Baby  3:09
Banjo – Bernard Addison
Cornet – Harry Cooper, Louis Metcalf
Orchestra – Harry's Happy Four
Piano – Earres Prince
Vocals – Sara Martin

5.    Alabamy Bound  2:43
Banjo – Bernard Addison
Cornet – Harry Cooper, Louis Metcalf
Orchestra – Harry's Happy Four
Piano – Earres Prince
Vocals – Sara Martin

6.    That Dance Called Messin' Around  3:19
Piano – Eddie Heywood
Vocals – Sara Martin

7.    The Last Time  2:38
Piano – Eddie Heywood 
Vocals – Sara Martin

8.    What's The Matter Now?  3:11
Alto Saxophone – Unknown Artist
Banjo – Unknown Artist
Brass Bass [Poss.] – Cyrus St. Clair
Cornet – Unknown Artist
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

9.    I Want Every Bit Of It I Don't Like It Second Hand  2:29
Alto Saxophone – Unknown Artist
Banjo – Unknown Artist
Brass Bass [Poss.] – Cyrus St. Clair
Cornet – Unknown Artist
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

10.    Brother Bem  3:05
Alto Saxophone [Poss./Or] – Don Redman, Otto Hardwicke
Banjo – Unknown Artist
Brass Bass [Poss.] – Cyrus St. Clair
Cornet – Bubber Miley
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

11.    The Prisoner's Blues  2:44
Alto Saxophone [Poss./Or] – Don Redman, Otto Hardwicke
Banjo – Unknown Artist
Brass Bass [Poss.] – Cyrus St. Clair
Cornet – Unknown Artist
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

12.    Careless Man Blues  3:05
Alto Saxophone [Poss./Or] – Don Redman, Otto Hardwicke
Banjo – Unknown Artist
Brass Bass [Poss.] – Cyrus St. Clair
Cornet – Bubber Miley
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

13.    How Could I Be Blue  2:44
Alto Saxophone [Poss./Or] – Don Redman, Otto Hardwicke
Banjo – Unknown Artist
Brass Bass [Poss.] – Cyrus St. Clair
Cornet – Bubber Miley
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

14.    Late Last Night  2:29
Clarinet, Alto Saxophone – Artie Starks
Cornet [Poss.] – Shirley Clay
Drums – Cliff Jones
Orchestra – Richard M. Jones' Jazz Wizards
Piano – Richard M. Jones
Tenor Saxophone [Prob.] – Barney Bigard
Vocals – Sara Martin

15.    Some Sweet Day  2:26
Clarinet, Alto Saxophone – Artie Starks
Cornet [Poss.] – Shirley Clay
Drums – Cliff Jones
Orchestra – Richard M. Jones' Jazz Wizards
Piano – Richard M. Jones
Tenor Saxophone [Prob.] – Barney Bigard
Vocals – Sara Martin

16.    Cushion Foot Stomp  3:10
Alto Saxophone – Arville Harris
Brass Bass – Cyrus St. Clair
Clarinet – Ben Waters
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone – Charlie Irvis
Vocals – Sara Martin

17.    Take Your Black Bottom Outside
Alto Saxophone – Arville Harris
Brass Bass – Cyrus St. Clair
Clarinet – Ben Waters
Orchestra – Clarence Williams' Blue Five
Piano – Clarence Williams
Trombone – Charlie Irvis
Vocals – Sara Martin

18.    Hole In The Wall  2:55
Brass Bass – Cyrus St. Clair
Clarinet – Arville Harris
Cornet – Ed Allen, King Oliver
Orchestra – Clarence Williams And His Orchestra
Piano – Clarence Williams
Trombone – Ed Cuffee
Vocals – Sara Martin

19.    Don't Turn Your Back On Me  2:47
Brass Bass – Cyrus St. Clair
Clarinet – Arville Harris
Cornet – Ed Allen, King Oliver
Orchestra – Clarence Williams And His Orchestra
Piano – Clarence Williams
Trombone – Ed Cuffee
Vocals – Sara Martin

20.    Death Sting Me Blues  2:43
Brass Bass – Cyrus St. Clair
Clarinet – Arville Harris
Cornet – King Oliver
Orchestra – Clarence Williams And His Orchestra
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

21.    Mean Tight Mama  2:56
Brass Bass – Cyrus St. Clair
Cornet – King Oliver
Orchestra – Clarence Williams And His Orchestra
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

22.    Mistreating Man Blues 2:44
Brass Bass – Cyrus St. Clair
Cornet – King Oliver
Orchestra – Clarence Williams And His Orchestra
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin

23.    Kitchen Man Blues  2:31
Brass Bass – Cyrus St. Clair
Cornet – King Oliver
Orchestra – Clarence Williams And His Orchestra
Piano – Clarence Williams
Trombone – Unknown Artist
Vocals – Sara Martin
 

16.2.26

ROSA HENDERSON — Complete Recorded Works In Chronological Order Volume 3 (1924-1926) DOCD-5403 (1995) FLAC (tracks+.cue), lossless

The fourth and final CD in Document's Rosa Henderson series finishes off her recording career with nine numbers from 1926, a dozen from 1927, and two from 1931. Most notable are six numbers in which Rosa Henderson is accompanied by the great stride pianist James P. Johnson (including "Black Snake Moan" and "Can't Be Bothered With No Sheik"). Other selections have her assisted by the Three Hot Eskimos, the Four Black Diamonds, pianist Cliff Jackson, and cornetist Louis Metcalf. A perfectly done reissue series paying tribute to a talented if forgotten classic blues singer of the 1920s.  Scott Yanow
Tracklist :
1.    Rosa Henderson, Choo Choo Jazzers–    Hard-Hearted Hannah  2:58
Cornet [Prob.] – Rex Stewart
Piano – Cliff Jackson
Vocals – Rosa Henderson

2.    Sally Ritz–    Deep River Blues  3:02
Cornet – Unknown Artist
Piano – Louis Hooper
Trombone [Poss.] – Jake Frazier
Vocals – Rosa Henderson

3.    Sally Ritz–    The Basement Blues  2:55
Cornet – Unknown Artist
Piano – Louis Hooper
Trombone [Poss.] – Jake Frazier
Vocals – Rosa Henderson

4.    Rosa Henderson–    Don't Advertise Your Man  3:46
Banjo [Prob.] – Elmer Snowden
Clarinet [Prob.] – Bob Fuller
Cornet [Either/Or] – Bubber Miley, Rex Stewart, Tom Morris
Orchestra – Kansas City Five 
Piano [Prob.] – Louis Hooper
Trombone [Prob.] – Jake Frazier
Vocals – Rosa Henderson

5.    Rosa Henderson–    Twelfth Street Blues  2:48
Cornet – Louis Metcalf
Orchestra – Choo Choo Jazzers
Piano – Cliff Jackson
Vocals – Rosa Henderson

6.    Rosa Henderson–    Memphis Bound (31677)  3:10
Cornet – Louis Metcalf
Orchestra – Choo Choo Jazzers
Piano – Cliff Jackson
Vocals – Rosa Henderson
Whistle [Train-whistle] – Unknown Artist

7.    Rosa Henderson–    Memphis Bound (31678)  3:00
Cornet – Louis Metcalf
Orchestra – Choo Choo Jazzers
Piano – Cliff Jackson
Vocals – Rosa Henderson
Whistle [Train-whistle] – Unknown Artist

8.    Rosa Henderson–    Undertaker's Blues  3:47
Banjo [Prob.] – Elmer Snowden
Clarinet [Prob.] – Bob Fuller
Cornet [Either/Or] – Bubber Miley, Rex Stewart, Tom Morris
Orchestra – Kansas City Five 
Piano [Prob.] – Louis Hooper
Trombone [Prob.] – Jake Frazier
Vocals – Rosa Henderson

9.    Rosa Henderson–    Everything My Sweetie Does (Pleases Me)  3:02
Banjo [Prob.] – Elmer Snowden
Clarinet [Prob.] – Bob Fuller
Cornet [Either/Or] – Bubber Miley, Rex Stewart, Tom Morris
Orchestra – Kansas City Five 
Piano [Prob.] – Louis Hooper
Vocals – Rosa Henderson

10.    Rosa Henderson–    It Takes A Two Time Papa  2:52
Cornet – Rex Stewart
Orchestra – Choo Choo Jazzers
Piano – Louis Hooper
Trombone – Jake Frazier
Vocals – Rosa Henderson

11.    Rosa Henderson–    Nobody Knows The Way I Feel 'Dis Mornin' 2:51
Clarinet – Bob Fuller
Orchestra – Choo Choo Jazzers
Piano – Louis Hooper
Trombone [Prob.] – Jake Frazier
Vocals – Rosa Henderson

12.    Rosa Henderson–    Penitentiary Bound Blues  2:56
Clarinet – Bob Fuller
Orchestra – Choo Choo Jazzers
Piano – Louis Hooper
Trombone [Prob.] – Jake Frazier
Vocals – Rosa Henderson

13.    Rosa Henderson–    12th Street Blues  2:54
Banjo – Elmer Snowden
Clarinet – Bob Fuller
Cornet – Rex Stewart
Orchestra – Choo Choo Jazzers
Piano – Louis Hooper
Vocals – Rosa Henderson

14.    Rosa Henderson–    Get It Fixed  2:48
Banjo – Elmer Snowden
Cornet – Rex Stewart
Piano – Louis Hooper
Vocals – Rosa Henderson

15.    Rosa Henderson–    Low Down Daddy Blues  3:00
Clarinet – Bob Fuller
Piano – Louis Hooper
Vocals – Rosa Henderson

16.    Rosa Henderson–    Poplar Bluff Blues  2:28
Piano – Louis Hooper
Trombone – Jake Frazier
Vocals – Rosa Henderson

17.    Rosa Henderson–    An' I Don't Mean If  2:52
Banjo – Elmer Snowden
Clarinet – Bob Fuller
Piano – Louis Hooper
Vocals – Rosa Henderson

18.    Rosa Henderson–    You Can't Be Like My Last Man Was  2:50
Banjo – Elmer Snowden
Clarinet – Bob Fuller
Orchestra – Three Jolly Miners
Piano – Louis Hooper
Vocals – Rosa Henderson

19.    Rosa Henderson–    Let's Talk About My Sweetie  2:54
Cornet – Rex Stewart
Piano – Louis Hooper
Vocals – Rosa Henderson

20.    Rosa Henderson–    Mama Is Waitin' For You  3:01
Cornet – Rex Stewart
Piano – Louis Hooper
Vocals – Rosa Henderson

21.    Mamie Harris–    You Get Mad  2:51
Piano – Fats Waller
Vocals – Rosa Henderson

22.    Mamie Harris–    What's The Matter Now?  2:40
Piano – Fats Waller
Vocals – Rosa Henderson

23.    Rosa Henderson–    Here Comes My Baby  3:03
Clarinet – Bob Fuller
Cornet [Either/Or] – Bubber Miley, Tom Morris
Orchestra – Three Hot Eskimos
Piano [Poss./Or] – Cliff Jackson
Piano [Prob./Or] – Louis Hooper
Vocals – Rosa Henderson

ROSA HENDERSON — Complete Recorded Works In Chronological Order Volume 4 (1926-1931) DOCD-5404 (1995) RM | FLAC (tracks+.cue), lossless

The fourth and final CD in Document's Rosa Henderson series finishes off her recording career with nine numbers from 1926, a dozen from 1927, and two from 1931. Most notable are six numbers in which Rosa Henderson is accompanied by the great stride pianist James P. Johnson (including "Black Snake Moan" and "Can't Be Bothered With No Sheik"). Other selections have her assisted by the Three Hot Eskimos, the Four Black Diamonds, pianist Cliff Jackson, and cornetist Louis Metcalf. A perfectly done reissue series paying tribute to a talented if forgotten classic blues singer of the 1920s. Scott Yanow
Tracklist :
1.    Chicago Policeman Blues  2:53
Clarinet – Bob Fuller
Cornet [Either/Or] – Bubber Miley, Tom Morris
Orchestra – Three Hot Eskimos
Piano [Poss./Or] – Cliff Jackson
Piano [Prob./Or] – Louis Hooper
Vocals – Rosa Henderson

2.    Daddy, Come Back  2:55
Clarinet – Bob Fuller
Cornet – Louis Metcalf
Orchestra – Four Black Diamonds
Piano [Poss./Or] – Edgar Dowell, Louis Hooper
Piano [Prob./Or] – Louis Hooper
Trombone – Jake Frazier
Vocals – Rosa Henderson

3.    I've Got Somebody Now  2:46
Clarinet – Bob Fuller
Cornet – Louis Metcalf
Orchestra – Four Black Diamonds
Piano [Poss./Or] – Edgar Dowell, Louis Hooper
Piano [Prob./Or] – Louis Hooper
Trombone – Jake Frazier
Vocals – Rosa Henderson

4.    Rough House Blues (A Reckless Woman's Lament)  2:56
Clarinet – Unknown Artist
Cornet – Unknown Artist
Piano – Unknown Artist
Vocals – Rosa Henderson

5.    She Belongs To Me (He Belongs To Me)  2:53
Clarinet – Unknown Artist
Cornet – Unknown Artist
Piano – Unknown Artist
Vocals – Rosa Henderson

6.    He's My Man  3:11
Piano – Cliff Jackson
Vocals – Rosa Henderson

7.    In That Apartment Upstairs  3:03
Piano – Cliff Jackson
Vocals – Rosa Henderson

8.    Papa, If You Can't Do Better  2:37
Clarinet [Poss.] – Bob Fuller
Cornet [Poss.] – Louis Metcalf
Piano – Louis Hooper
Vocals – Rosa Henderson

9.    I'm Saving It All For You  2:49
Clarinet [Poss.] – Bob Fuller
Cornet [Poss.] – Louis Metcalf
Piano – Louis Hooper
Vocals – Rosa Henderson

10.    Git Goin'  2:52
Cornet – Demus Dean
Piano – Porter Grainger
Vocals – Rosa Henderson

11.    Some Day You'll Come Back To Me  2:44
Cornet – Demus Dean
Piano – Porter Grainger
Vocals – Rosa Henderson

12.    Slow Up Papa  3:01
Cornet – Unknown Artist
Piano – Unknown Artist
Vocals – Rosa Henderson

13.    Hock Shop Blues  3:10
Cornet – Unknown Artist
Piano – Unknown Artist
Vocals – Rosa Henderson

14.    Black Snake Moan  2:44
Piano – James P. Johnson
Vocals – Rosa Henderson

15.    Fortune Teller Blues  2:35
Piano – James P. Johnson
Vocals – Rosa Henderson

16.    Gay Catin' Daddy  2:48
Piano – James P. Johnson
Vocals – Rosa Henderson

17.    I'm Saving It All For You  2:50
Piano – James P. Johnson
Vocals – Rosa Henderson

18.    You Can't It Unless I Give It To You  2:41
Piano – Cliff Jackson
Vocals – Rosa Henderson

19.    Dyin' Crap-Shooter's Blues  3:04
Piano – Cliff Jackson
Vocals – Rosa Henderson

20.    Police Blues  3:03
Piano – Cliff Jackson
Vocals – Rosa Henderson

21.    Never Let Your Left Hand Know  2:29
Piano – Cliff Jackson
Vocals – Rosa Henderson

22.    Doggone Blues  3:11
Piano – James P. Johnson
Vocals – Rosa Henderson

23.    Can't Be Bothered With No Sheik  3:19
Piano – James P. Johnson
Vocals – Rosa Henderson

14.6.25

LIZZIE MILES — Complete Recorded Works In Chronological Order • 2 (1923-1928) DOCD-5459 (1996) FLAC (tracks), lossless

The second of three CDs that reissue all of Lizzie Miles' recordings from the 1922-39 period features the versatile singer in 1923 (being accompanied by either Clarence Johnson or J. Russell Robinson on piano), and during 1927-28, after a successful period spent as a cabaret singer in Paris. For the latter recordings, Miles is assisted by Clarence Johnson, Louis Hooper or Porter Grainger on piano, cornetist Louis Metcalf on two fine numbers and the dated gaspipe clarinet of Bob Fuller on the final four selections (which include two versions of "A Good Man Is Hard to Find"). One of the finer singers of the '20s, Miles' delivery was quite accessible and one can always understand the words she sings. Highlights of this excellent set include "You're Always Messin' Round with My Man," "Cotton Belt Blues," "Lonesome Ghost Blues" and "If You Can't Control Your Man." Virtually all of the material on this 1996 CD was formerly very rare. Scott Yanow

Tracklist :
1 Haitian Blues (A Wild Weepin' Moan) 3:14
Piano – Clarence Johnson  
Written-By – Lizzie Miles, Spencer Williams  
2 You're Always Messin' Round With My Man 3:24
Piano – Clarence Johnson
Written-By – Spencer Williams
3 Family Trouble Blues 3:22
Piano – Clarence Johnson
4 Triflin' Man 3:00
Piano – Clarence Johnson 
5 My Pillow And Me 3:08
Piano – Russel Robinson
Written-By – Chris Smith, Clarence Williams, Tim Brymn
6 Black Man (Be On Yo' Way) 3:17
Kazoo – Lizzie Miles
Piano – Russel Robinson
Written-By – Spencer Williams 
7 Keep Yourself Together Sweet Papa (Mama's Got Her Eyes On You) 2:57
Piano – Clarence Johnson 
8 Cotton Belt Blues 3:06
Piano – Clarence Johnson 
9 Slow Up Papa 2:57
Cornet – Louis Metcalf
Piano – Louis Hooper
10 Grievin' Mama Blues 2:49
Cornet – Louis Metcalf
Piano – Louis Hooper
11 Mean Old Bedbug Blues 3:00
Clarinet – Unknown Artist
Piano – Unknown Artist
Written-By – Jack Wood 
12 You Can't Have It Unless I Give It To You 2:53
Clarinet – Unknown Artist
Piano – Unknown Artist
Written-By – Andy Razaf
13 When You Get Tired Of Your New Sweetie 2:49
Piano – Clarence Johnson 
14 Police Blues 3:01
Piano – Clarence Johnson 
15 Don't Let Your Love Control Your Man 2:54
Piano – Clarence Johnson
16 Shootin' Star Blues 2:50
Piano, Written-By – Porter Grainger
17 Lonesome Ghost Blues 2:51
Piano – Porter Grainger
Written-By – Andy Razaf
18 If You Can't Control Your Man 2:55
Piano – Porter Grainger
19 Nobody Shows What My Baby Shows 2:53
Clarinet – Bob Fuller
Piano – Louis Hooper
Written-By – Andy Razaf
20 Second Hand Daddy 2:55
Clarinet – Bob Fuller
Piano – Louis Hooper
21 A Good Man Is Hard To Find (Take 2) 2:55
Clarinet – Bob Fuller
Piano – Louis Hooper
Written-By – Eddie Green  
22 A Good Man Is Hard To Find (Take 3) 2:50
Clarinet – Bob Fuller
Piano – Louis Hooper
Written-By – Eddie Green  
Credits :
Bob Fuller - Clarinet
Porter Grainger, Louis Hooper - Piano
Louis Metcalf - Cornet
Lizzie Miles - Kazoo, Vocals 

LIZZIE MILES — Complete Recorded Works In Chronological Order • 3 (1928-1939) DOCD-5460 (1996) FLAC (tracks), lossless

The third of three Document Lizzie Miles CDs has some of the finest recordings of the singer's career, particularly on the first half of this disc. After three numbers with a trio not helped by the presence of clarinetist Bob Fuller, Miles performs two superior songs ("You're Such a Cruel Papa to Me" and "My Dif'rent Kind of Man") while joined by cornetist King Oliver, Albert Socarras (doubling on flute and alto) and pianist Clarence Williams. Miles fits right in with a hot combo led by the unknown Jasper Davis (probably a pseudonym) that includes cornetist Louis Metcalf, altoist Charlie Holmes and pianist Cliff Jackson. She is also featured on two songs in duet with the great pianist Jelly Roll Morton, three tunes with pianist Harvey Brooks (including "My Man O' War" and "Electrician Blues") and joined by the trio of pianist Porter Grainger, guitarist Teddy Bunn and bassist Pops Foster (highlighted by "Yellow Dog Gal Blues") in 1930. Nine years passed before Lizzie Miles had an opportunity to record again. At the age of 44 she sounds fine on seven numbers with the Melrose Stompers (a Chicago swing septet whose personnel is long lost) from 1939; the band is also heard taking "Mellow Rhythm" as an instrumental. Highly recommended, particularly for the 1928-30 recordings, this CD has Lizzie Miles' last recordings before she began her comeback in 1952. Scott Yanow  

Tracklist :
1 –Lizzie Miles
         Shake It Down 2:40
Banjo – Unknown Artist
Clarinet – Bob Fuller
Piano – Louis Hooper
Written-By – Spencer Williams  
2 –Lizzie Miles
          Banjo Papa (Stop Pickin' On Me) 2:48
Banjo – Unknown Artist
Clarinet – Bob Fuller
Piano – Louis Hooper
Written-By – Andy Razaf
3 –Lizzie Miles
 Your Worries Ain't Like Mine 2:49
Banjo – Unknown Artist
Clarinet – Bob Fuller
Piano – Louis Hooper
Written-By – Andy Razaf
4 –Lizzie Miles
         You're Such A Cruel Papa To Me 3:10
Cornet – King Oliver
Flute, Alto Saxophone – Albert Socarras
Piano – Clarence Williams
5 –Lizzie Miles
          My Dif'rent Kind O' Man 3:03
Cornet – King Oliver
Flute, Alto Saxophone – Albert Socarras 
Piano – Clarence Williams
Written-By – Jack Palmer 
6 –Lizzie Miles
Georgia Gigolo 2:54
Alto Saxophone – Charlie Grimes
Banjo – Elmer Snowden
Clarinet, Alto Saxophone – Charlie Holmes
Cornet – Louis Metcalf, Unknown Artist
Leader – Jasper Davis
Orchestra – Jasper Davis And His Orchestra
Piano [Poss.] – Cliff Jackson
Sousaphone [Bb] – Bass Moore
Trombone – Henry Hicks
Written-By – Spencer Williams 
7 –Lizzie Miles
          It Feels So Good 3:01
Alto Saxophone – Charlie Grimes 
Banjo – Elmer Snowden
Clarinet, Alto Saxophone – Charlie Holmes
Cornet – Louis Metcalf, Unknown Artist
Leader – Jasper Davis
Orchestra – Jasper Davis And His Orchestra
Piano [Poss.] – Cliff Jackson
Sousaphone [Bb] – Bass Moore
Trombone – Henry Hicks
Written-By – Spencer Williams 
8 –Lizzie Miles
I Hate A Man Like You 3:22
Piano, Written-By – Jelly Roll Morton
9 –Lizzie Miles
Don't Tell Me Nothin' 'Bout My Man 2:57
Piano, Written-By – Jelly Roll Morton
10 –Lizzie Miles My Man O' War 3:28
Piano – Harvey Brooks  
Written-By – Andy Razaf, Spencer Williams  
11 –Lizzie Miles
Electrician Blues 3:12
Piano – Harvey Brooks 
12 –Lizzie Miles
Good Time Papa 3:36
Piano – Harvey Brooks 
Written-By – Lizzie Miles
13 –Lizzie Miles
The Man I Got Ain't The Man I Want 2:54
Bass – Pops Foster
Guitar – Teddy Bunn
Piano – Porter Grainger
14 –Lizzie Miles
Yellow Dog Gal Blues 2:55
Bass – Pops Foster
Guitar – Teddy Bunn
Piano – Porter Grainger
15 –Lizzie Miles And The Melrose Stompers
Mellow Rhythm 2:34
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
16 –Lizzie Miles And The Melrose Stompers
He's My Man  2:49
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
17 –Lizzie Miles And The Melrose Stompers
That's All Right Daddy 2:56
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
18 –Lizzie Miles And The Melrose Stompers
Hold Me, Parson 2:46
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
19 –Lizzie Miles And The Melrose Stompers
         Keep Knockin' No. 2 (But You Can't Come On) 2:50
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
20 –Lizzie Miles And The Melrose Stompers
          Stranger Blues 3:00
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
21 –Lizzie Miles And The Melrose Stompers
Twenty Grand Blues 2:49
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
22 –Lizzie Miles And The Melrose Stompers
          He's Red Hot To Me 2:49
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
Credits :
Teddy Bunn - Guitar
Pops Foster - Sax (Baritone)
Bob Fuller - Clarinet
Porter Grainger, Louis Hooper - Piano
Charlie Grimes - Sax (Alto)
Henry Hicks - Trombone
Charlie Holmes - Clarinet, Sax (Alto)
King Oliver - Conductor
Lizzie Miles - Composer, Vocals (tracks: 1 to 14, 16 to 22) 
Jelly Roll Morton - Composer, Piano
Albert Socarras - Flute, Sax (Alto)
Clarence Williams - Composer, Piano

5.2.25

MAMIE SMITH — Complete Recorded Works In Chronological Order ★ Volume 4 • 1923-1942 | DOCD-5360 (1995) RM | FLAC (tracks), lossless

Mamie Smith's approach to putting over a song was developed in vaudeville houses and theaters before microphones were used to amplify the human voice, a fact which places her in league with stentorian characters like Sophie Tucker, Ethel Merman, Al Jolson, and Jimmy Rushing. Her high-pitched, theatrically mannered delivery compares most accurately with that of Ethel Waters, Lucille Hegamin, Lavinia Turner, and Eva Taylor. The fourth and final volume in Document's complete Mamie Smith retrospective combines the last of her works from the 1920s with material from a little-known session that took place in 1931 and a couple of intriguing movie soundtracks, the last recorded during the spring of 1940. This stunningly beautiful woman was the primary star of Okeh Records from August 1920 through August of 1923. Partially eclipsed by the rise of young Bessie Smith, Mamie cut a half-dozen titles for the Ajax label in September of 1924 with members of the Choo Choo Jazzers (cornetist Louis Metcalf, pianist Louis Hooper, clarinetist Bob Fuller, and banjoist Elmer Snowden) and an expanded seven-piece edition of her Jazz Hounds. Her next recording dates took place in August 1926 with a similar unit that featured cornetist Tom Morris and trombonist Charlie Irvis. The remaining recorded evidence finds her singing in front of various orchestras and on vintage motion picture soundtracks. "The Jail House Blues", which features an unnamed single-string violinist backed by pianist Porter Grainger, comes from a Columbia short that was shot and released in 1929. Mamie's interpretation of Fats Waller's "Keep a Song in Your Soul" was waxed in 1931, right around the time she actually performed with Waller and some of his friends. "Harlem Blues" and "Lord! Lord!" were drawn from the soundtrack of the Jubilee motion picture Paradise in Harlem, directed by Joseph Seiden, with Lucky Millinder's orchestra and additional vocals by the Alphabetical Four. Mamie Smith's final years were a far cry from the prosperous luxury and fame of her heyday. Although she initially invested in quite a bit of real estate, a manipulative predatory louse by the name of Ocie Wilson weaseled practically every dollar out of her. Crippled with arthritis and virtually destitute, she passed away in a cheap boarding house on Eighth Avenue in 1946. Long ignored because her vocal style predated the vogue for gutsy blues and hot jazz, Mamie Smith's complete works have now been made available to those who are willing to listen with unbiased ears. arwulf arwulf
Tracklist :
1    Mamie Smith–    My Mammy's Blues 2:45
Piano – Porter Grainger
2    Mamie Smith–    My Sweet Man (Tickles The Ivories For Me) 2:40
Orchestra – Choo Choo Jazzers
Piano – Louis Hooper

3    Mamie Smith–    What You Need Is Me (And What I Need Is You) 2:57
Cornet [Prob.] – Louis Metcalf
Orchestra – Choo Choo Jazzers
Piano – Louis Hooper

4    Mamie Smith, Acc. Her Jazz Hounds–    Just Like You Took My Man Away From Me 2:25
Alto Saxophone – Bob Fuller
Banjo – Elmer Snowden
Piano – Louis Hooper

5    Mamie Smith, Acc. Her Jazz Hounds–    Remorseful Blues 2:43
Alto Saxophone – Bob Fuller
Banjo – Elmer Snowden
Drums – Norman Buster
Piano – Louis Hooper

6    Mamie Smith, Acc. Her Jazz Hounds–    Lost Opportunity Blues 3:01
Banjo – Elmer Snowden
Bass Saxophone – Alex Jackson
Cornet – Gus Aiken, Horace Holmes
Drums – Norman Buster
Piano – Leslie A. Hutchinson ("Hutch")
Saxophone – Ernie Bullock, Percy Glascoe
Trombone – Jake Frazier

7    Mamie Smith, Acc. Her Jazz Hounds–    Good Time Ball 2:22
Banjo – Elmer Snowden
Bass Saxophone – Alex Jackson
Cornet – Gus Aiken, Horace Holmes
Piano – Leslie A. Hutchinson ("Hutch")
Saxophone – Ernie Bullock, Percy Glascoe
Trombone – Jake Frazier

8    Mamie Smith–    Goin' Crazy With The Blues (Take 1)    2:59
9    Mamie Smith–    Goin' Crazy With The Blues (Take 2)    3:11
10    Mamie Smith–    Sweet Virginia Blues    2:49
11    Mamie Smith–    What Have You Done To Make Me Feel This Way? (Take One)    2:47
12    Mamie Smith–    What Have You Done To Make Me Feel This Way? (Take Two)    2:55
13    Mamie Smith–    I Once Was Yours I'm Somebody Else's Now    3:18
14    Mamie Smith–    Wonderful Mammy 3:13
Orchestra – Billy Fowler Orchestra
15    Mamie Smith–    My Sportin' Man 2:56
Orchestra – Billy Fowler Orchestra
16    Mamie Smith–    The Lure Of The South 2:46
Orchestra – Billy Fowler Orchestra
Vocals [Vocal Group] – Unknown Artist

17    Mamie Smith–    The Jail House Blues 1:17
Piano – Porter Grainger
18    Mamie Smith–    Golfing Papa    2:44
19    Mamie Smith–    Jenny's Ball    3:12
20    Mamie Smith–    Keep A Song In Your Soul    2:49
21    Mamie Smith–    Don't You Advertise Your Man    3:16
22    Mamie Smith–    Harlem Blues 2:53
Orchestra – Lucky Millinder And His Orchestra
23    Mamie Smith–    Lord! Lord! 2:14
Orchestra – Lucky Millinder And His Orchestra

27.10.23

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 :

5.7.23

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 :

26.5.23

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 :

MARTHA COPELAND — Complete Recorded Works In Chronological Order Volume 2 · 1927-1928 + IRENE SCRUGGS — The Remaining Titles 1926-1930 | DOCD-5373 (1995) FLAC (tracks+.cue), lossless

One of many early blues and jazz women who were overshadowed and ultimately eclipsed by Ma Rainey, Ethel Waters, and Bessie Smith, Martha Co...