WILLIE "THE LION" SMITH – 1950-1953 | The Chronogical Classics – 1392 (2005) FLAC (tracks+.cue), lossless

This sixth volume in the Classics Willie "The Lion" Smith chronology is packed with exceptionally fine music, beginning with seven Commodore piano solos recorded near the end of 1950. The Lion is in excellent form here -- his thunderously percussive rendition of Cole Porter's "Just One of Those Things" could serve as a sort of primal preface to Cecil Taylor's 1959 reconstitution of Porter's "Get Out of Town." The Lion's Blue Circle session of August 15, 1953, features a robust little band with a front line of trumpeter Henry Goodwin, trombonist Jimmy Archey, and reedman Cecil Scott. Myra Johnson, Fats Waller's feisty touring vocalist during the late '30s and early '40s, chips in with a rowdy reading of "When the Saints Go Marching In" and "Stop It, Joe," a James P. Johnson composition erroneously credited here to Willie "The Lion" Smith. The instrumental tracks from this session, "The Lion Steps Out," "Willie's Blues," and "The Romp," are wonderfully hot traditional jazz of the highest order. "Background Music for a Cocktail Party" has laughter and conversation running continuously in the background, and appears to be an early example of looped mood-adjustment overdubbing. This marvelous compilation closes with a pair of duets with drummer Keg Purnell and a veritable mini-album of eight piano solos based on melodies by James P. Johnson. This series begins and ends with Smith's masterpiece "Echoes of Spring," referred to here as "The Lion's Theme." arwulf arwulf  
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LUCKY MILLINDER AND HIS ORCHESTRA – 1947-1950 | The Classics Chronological Series – 1173 (2001) FLAC (tracks+.cue), lossless

This third volume of Lucky Millinder's complete works in chronological order brings together for the first time three Deccas from October 1947, 12 sides recorded for Victor between January and November 1949, and 12 titles waxed for the King label during the year 1950. Millinder is remembered as a shrewd bandleader who accurately assessed the prevailing trends in popular entertainment during the late '40s. His strategy seems to have involved a wide range of musical styles, a spectrum reflected in this grab bag compilation. Millinder clearly tailored the material to fit each record label and its assumed audience. Of course, Victor was selling to a more generalized public while King's clientele was predominately Afro-American. Listening through all 25 tracks is quite an experience. There is coy, bluesy jazz and there is jazzy blues sung by saucy, soulful Annisteen Allen. There's a surprise appearance by rowdy Myra Johnson, famous for her work with Fats Waller during the early '40s. There are crooners who exude oily sentimental ballads. There are several jump tunes on which Millinder himself sings boisterously along with the band. And there are just three instrumentals, groovy as can be but only three. "Bersark [sic] Boogie" is a progressively structured, pleasantly manic woogie set in a minor mode. The rocking, rolling "D Natural Blues" is really "Do the Hucklebuck," itself a pilfering of Charlie Parker's "Now's the Time." By January of 1949 half of the white bands in the country were making money off of this tune, so Mr. Lucky decided to get himself a piece of the action. (Naturally, nobody was paying Bird any royalties.) "Awful Natural" is a very cool piece of blues featuring the elegant clarinet of Tony Scott. Lucky Millinder's orchestra, in fact, was peppered with outstanding players like trumpeter Lamar Wright, trombonist Tyree Glenn, guitarist Danny Barker, drummer Art Blakey, and a formidable team of saxophonists including Rudy Powell (Musheed Karween), Bull Moose Jackson, Ike Quebec, Frank Wess, Paul Quinichette, Seldon Powell, John Hardee, and Numa "Pee Wee" Moore. While more uniformly satisfying Millinder retrospectives surely exist, the Classics Chronological Series provides an overview that is necessary for an accurate appraisal of this amazing all-purpose jazz/pop/R&B orchestra and the individuals who kept it going during a transitional time when many other big bands fell apart at the seams. arwulf arwulf  
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GENE SEDRIC – 1938-1947 | The Classics Chronological Series – 1181 (2001) FLAC (tracks+.cue), lossless

Most people who are hip to Eugene "Honeybear" Sedric know him as the man who was Fats Waller's chosen handler of clarinet and tenor saxophone, usually paired with trumpeter Herman Autrey as the front line of the little "Rhythm" band, between the years 1934 and 1943. To be able to savor an entire CD containing virtually everything that Sedric recorded as a leader is a musical treat beyond belief. Any true Waller devotee would jump on this without hesitation. The first four tracks, recorded in November 1938, feature Waller's touring band, heard here with Hank Duncan at the piano and featuring spunky vocalist Myra Johnson, who livened up several of Waller's three-minute movies, including "The Joint Is Jumpin'." Sedric's version is fun enough, but Waller fans will get extra kicks from "Off Time," as it's rare to hear anybody singing this delightful tune, one of many great songs that the pianist composed but didn't live long enough to record for posterity. Also included in that category would be "Choo-Choo," co-written by Waller, Sedric, and Andy Razaf. It is a tight shuffle dolled up with toots from a small train whistle by Slick Jones, Waller's trusty percussionist and sound effects man. Gene sings pleasantly, seeming not at all ashamed to voice what others might have felt were foolish lyrics. "The Wail of the Scromph," a slow and easy blues by Sedric, opens with clarinet. Autrey is warm as always, Al Casey dexterous and cool. Now here's the curious part of the package: in August of 1946 Sedric's band accompanied vocalist Ruby Smith, who based her career on the fact that she was Bessie Smith's husband's niece. Sounding tough and somewhat brittle on "Chicago Woman Blues," Ruby's presence with Sedric seems surprising at first. "Baby, Baby, Baby Blues" is more subtle as Sedric talks back at her in the same way that Fats usually enjoyed cajoling his guest vocalists, particularly Una Mae Carlisle. Ruby in fact sounds more than a little like Una Mae on the moody "Sedric's Blues." Four more sides were cut on that same day without Ruby, giving this excellent band a chance to strut its stuff. "Forget It" and "Bootin' and Swingin'" are solid extensions of Fats Waller's early-1940 instrumental jam style. Eight sides recorded in New York for the Swing and Keynote labels represent Sedric's band at the apex of its creative success. Each instrumental track is outstanding, while the carefully rehearsed theatrically hip group vocals are dazzling in their complex fluidity. Sedric's last stand as a leader occurred in January of 1947, when his band once again found itself supporting Ruby Smith. Who wrote these tunes, and why? Never mind. It doesn't matter. What's important is that Al Casey seized upon the opportunity to play electrically amplified guitar behind the vocal on "You Satisfy," and "Hot Sauce Susie" enabled Sedric to yell about chops and corn bread, drawing once again upon the training he received throughout nine years of dedicated service as Thomas "Fats" Waller's right-hand man. arwulf arwulf  
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