LOUIS ARMSTRONG AND HIS HOT FIVE – 1925-1926 | The Classics Chronological Series – 600 (1991) FLAC (tracks+.cue), lossless

If one CD compilation could represent a body of work that defined the art of jazz during the mid-'20s, this might be it: cornetist Louis Armstrong's first recordings as leader of his own band, beginning in November of 1925 and covering almost exactly one year of vigorously creative activity as the OKeh record label's hottest act. In addition to Lil Hardin's skills as composer, pianist, arranger, and professional advisor, Armstrong was fortunate to have in his little group rock-solid trombonist Kid Ory and clarinetist Johnny Dodds, who can be heard playing alto sax on "Come Back Sweet Papa" and "Don't Forget to Mess Around." Last but not least, Johnny St. Cyr's banjo served as the rhythmic and tonal backbone of the Hot Five. Some of these records -- "Cornet Chop Suey," "Muskrat Ramble," "Heebie Jeebies," and "Yes! I'm in the Barrel" -- became archetypal blueprints for jazz performance. Each track is packed with pleasant surprises. "Gut Bucket Blues," named in honor of a diet of entrails dictated by poverty, was one of Armstrong's very first recordings to be punctuated with friendly, vocal outbursts. Inspired by a popular dance step, "Georgia Bo Bo" was composed by Thomas "Fats" Waller. Lil Hardin's "King of the Zulus" is a masterpiece of comically enhanced jazz, topped only by a cover version waxed a few months later by Thomas Morris and the New Orleans Blue Five. The vaudeville aspect of Louis Armstrong is well represented here, particularly when he is joined by punky-voiced Lil Hardin on "Georgia Grind." May Alix, typical of music hall singers of her day, uses a shrill vibrato to serenade her "Big Butter and Egg Man." The effect, especially when tempered by a humorous vocal from the cornet player, is marvelously old-fashioned. Also included are four Vocalion sides from May of 1926 by the Hot Five -- billed as Lil's Hot Shots -- and two featuring Armstrong with Erskine Tate's Vendome Orchestra. Tate's high-stepping group only managed to record four titles, two in 1923 with Freddie Keppard and the two sizzling stomps issued here. With master percussionist Jimmy Bertrand hitting the cymbals with all his might, the two frantic Tate sides contrast wonderfully with the more compact, intimate sound of Louis Armstrong's Hot Five. arwulf arwulf    Tracklist + Credits :

LOUIS ARMSTRONG AND HIS HOT FIVE AND HOT SEVEN – 1926-1927 | The Classics Chronological Series – 585 (1991) FLAC (tracks+.cue), lossless

Louis Armstrong's Hot Five was the most influential jazz band of the mid-'20s. The first volume of Armstrong's complete works reissued by Classics followed this group's trail of recordings from November of 1925 through those made almost exactly one year later. Opening this second volume of vintage Armstrong, the Hot Five's last three records of 1926 are peppered with hot vocals intended to entertain and amuse. May Alix shouts the lyrics to "Sunset Cafe Stomp" and Armstrong puts across an interesting tune referencing two downtrodden ethnic groups, Irish and Afro-American. "You Made Me Love You" is not the venerable vaudeville number recorded by Al Jolson in 1913, but a punchy Armstrong original similar to the quaint syncopated love songs he had cooked up with Lil Hardin when they were still working for King Oliver. In May 1927 Armstrong expanded his ensemble for the first time to become the Hot Seven. The addition of Pete Briggs on tuba and Baby Dodds at the drums resulted in a full-bodied sound that made "Willie the Weeper" and "Potato Head Blues" so remarkably and enduringly potent. Armstrong's version of Fats Waller's "Alligator Crawl" is a miracle of perfect timing and immaculate ease. If Lil Hardin Armstrong's references to domestic violence seem a bit reckless during "That's When I'll Come Back to You," listeners should be advised that Afro-American music has always caused consternation by openly referring to topics usually swept under the rug. During the autumn and winter of 1927 Armstrong scaled his band back to five pieces, revisiting Kid Ory's 1922 novelty rag "Ory's Creole Trombone," adding a sixth player in guitarist Lonnie Johnson on "I'm Not Rough," and introducing to the world one of Lil Hardin Armstrong's all-time greatest compositions, "Struttin' with Some Barbecue." arwulf arwulf  Tracklist :

JIMMIE NOONE – 1929-1930 | The Classics Chronological Series – 632 (1992) FLAC (tracks+.cue), lossless

One of the more overlooked virtuosos of the early jazz period, clarinetist Jimmie Noone followed the hallowed path from New Orleans to Chicago and established himself alongside King Oliver, Louis Armstrong, and Earl Hines. He first cut his teeth with Oliver in the late teens, then recorded some of his most mature work with Hines in 1928. This Classics disc picks up the story from 1929-1930, with 24 tracks featuring Noone accompanied by clarinetist Joe Poston, banjo man Junie Cobb, and cornet player George Mitchell. And although his sidemen are good, Noone's fleet touch, randy phrasing, and sweet tone are what capture the attention. The mix varies from gully low vocals by May Alix ("My Daddy Rocks Me") to fine instrumentals of the obscure ("El Rado Scuffle") and hit ("Apex Blues") variety. This is a solid disc, but newcomers may want to first check out the more essential 1928-1929 Classics release. Stephen Cook  
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JIMMIE NOONE – 1930-1934 | The Classics Chronological Series – 641 (1992) FLAC (tracks+.cue), lossless

The fourth of five CDs that reissue all of clarinetist Jimmie Noone's recordings as a leader (but not all of his alternate takes) covers a four-year period with 13 numbers from 1930, six from 1931, four from 1933 and the final two dating from 1934. The performances generally find Noone backed by multireedist Eddie Pollack (who stuck mostly to the melody) and challenged by Zinky Cohn whose style sounds remarkably close to Earl Hines. There are a lot of vocals on these sides which are surprisingly rewarding including Georgia White's debut ("When You're Smiling"), Elmo Tanner (best-known for his later work with Ted Weems), Pollack (who is joined by Noone on "You Rascal You"), May Alix, Art Jarrett and two early numbers from Mildred Bailey. Earl Hines makes a surprise guest appearance on one of the 1931 sessions. Recommended to early jazz collectors. Scott Yanow  
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