LOUIS PRIMA AND HIS NEW ORLEANS GANG – 1934-1935 | The Chronogical Classics – 1048 (1999) FLAC (tracks+.cue), lossless

Born and raised in New Orleans, Louis Prima came up in his hometown gigging steadily in the clubs and doing his best to emulate Afro-American musicians. His number one role model was Louis Armstrong. After playing Cleveland with Red Nichols in 1932, Prima began recording in 1934 and thoroughly established himself on 52nd Street in New York City the following year. Prima was good looking and sang in a pleasantly hoarse voice. His humor was often heavy-handed, and his bands pushed hard to generate excitement among live audiences and the record-buying public. Prima's 1934 bands had strong players in George Brunies, Claude Thornhill, and Eddie Miller. "Jamaica Shout" is a rare example of instrumental Louis Prima: hot jazz with nobody yelling. "Breakin' the Ice" was the first in a series of Prima interpretations of songs made popular by Fats Waller. Bill "Bojangles" Robinson performed a lively version of "I'm Living in a Great Big Way" with Waller during the last reel of the 1935 RKO motion picture Hooray for Love. Waller never managed to make an actual phonograph recording of this song. Prima had fun with it and with every tune he grabbed onto, sometimes maybe too much fun. During "Let's Have a Jubilee," which was recorded twice during November of 1934, Prima spits out weird nicknames for each bandmember, including "Baboon Face" and "Liver Lips." This sort of talk was not uncommon among Afro-Americans, but it is particularly unsettling coming out of the (big) mouth of a (Southern) white musician. The real gold on this CD lies in the last six tracks, ground out by a band that had Pee Wee Russell as its artistic nucleus. Prima was the handsome leader, Prima sang and blew his trumpet, but Pee Wee was the light, the emulsion, and the pigment in this picture. "The Lady in Red" just might be the very best record that Louis Prima ever made, largely because of the magical presence of a gifted clarinetist with poetic sensibilities and a tone like nobody else. arwulf arwulf  
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CLEO BROWN – 1935-1951 | The Classics Chronological Series – 1252 (2002) FLAC (tracks+.cue), lossless

 With the exception of an album that she made in 1987, 1935-1951 is all anyone has heard of the recordings of pianist-singer Cleo Brown. Brown, who has sometimes been cited by Dave Brubeck as an early influence (although the musical connection really cannot be heard), was an excellent pianist and a personable good-time singer. She recorded four sessions for Decca during 1935-36, in which she is backed by guitar, bass, and drums, performing such numbers as "Lookie, Lookie, Lookie, Here Comes Cookie," "The Stuff Is Here And It's Mellow," "Mama Don't Want No Peas An' Rice An' Cocoanut Oil" and the unusual "When Hollywood Goes Black And Tan." In addition, she romps on the solo "Pelican Stomp," her part from a Decca All Star Revue is included, and there is one session apiece from 1949, 1950, and 1951. It seems odd that she never became a big star. Needless to say, this CD is the perfect way to obtain and enjoy this lost legend's recordings. Scott Yanow  
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BARNEY BIGARD – 1944 | The Classics Chronological Series – 896 (1996) FLAC (tracks+.cue), lossless

Barney Bigard is one of the great jazz clarinetists. Although most famous for playing in Duke Ellington's band, Bigard performed with a host of lesser bandleaders, giving a series of distinctive, lyrical performances with each. 1944 collects Bigard's performances with the Capitol International Jazzmen, Zutty Singleton's bands, and his time with Roger Kay. Although not as consistently revelatory as his playing with the Duke, these sessions show Bigard to be a master of his instrument, displaying fabulous technique and great lyricism throughout. The Classics label has done a fine job at remastering, and the excellent liner notes round off a nice package. Thomas Ward
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WINGY MANONE AND HIS ORCHESTRA – 1934-1935 | The Classics Chronological Series – 798 (1994) FLAC (tracks+.cue), lossless

You know what? Wingy Manone's best records were instrumental. That doesn't mean he wasn't a great singer. It's more of a commentary on the excellent bands he led, and the apparent ease with which the players interacted. Take for example the OKeh session of October 3, 1934. You've got Wingy the one-armed trumpeter, a New Orleans clarinetist by the name of Sidney Arodin (co-composer of the song "Lazy River"), and trombonist Santo Pecora, who wrote two of the four tunes recorded on that day. Wingy could have sung on any of these numbers -- even "Royal Garden Blues," which does in fact have lyrics. Instead, here is an opportunity to savor the sound of seven men swinging together, listening carefully and measuring out their individual contributions without having to work around a vocal line. Wingy seems to be savoring the experience, too. If Wingy's vocals alter the structural dynamics of the songs, Nappy Lamare's falsetto interjections distract and even detract. Nappy, who impersonates a nagging child during "On the Good Ship Lollipop," tended to come across that way regardless of subject matter. This Shirley Temple hit, by the way, does have redeeming social value when swung by Wingy's septet. But "Lollipop" would have been really outstanding without any vocals. If only they had recorded each song twice, side A as a vocal, backed with an instrumental take on the flip. Then listeners could have had it both ways. Fats Waller did up a few tunes in this manner, and the results were wonderful. Speaking of Waller, the great Wingy/Waller parallel of this package is a pretty love song with the title "I Believe in Miracles." Utilizing the Hammond organ, Fats recorded a sweet version on January 5, 1935. Wingy's more danceable interpretation was waxed on the 8th of March. Both artists seem to have enjoyed every word and in both cases the poetry makes for very pleasant listening. Four tunes, realized on the 8th of April 1935, are very satisfying instrumentals. It is easy to imagine what the effect would have been had Wingy sung the lyrics to these Tin Pan Alley creations. Some would smile at the naïvely rhyming stanzas, and everyone's ears would perk up when the instruments would take brief solos in the precious time remaining after an entire chorus had been eaten up by words, words, words. Instead, Wingy is heard putting all of his energy into blowing trumpet, Eddie Miller booting around with his tenor sax, and Matty Matlock garnishing the melody with attractive little clarinet runs. Without a doubt, a lot more from the piano of Gil Bowers is featured, simply because no space is taken up by vocals. When Wingy sings on two songs from May 27, 1935, it's nice to hear him again. "Every Little Moment" is charming and "Black Coffee" is a harrowing tale of misbehavior and confusion. Vocally or instrumentally, Wingy was always ready to show the people a good time. arwulf arwulf  
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WINGY MANONE – 1944-1946 | The Classics Chronological Series – 1412 (2006) FLAC (tracks+.cue), lossless

Volume eight in the Classics complete chronologically reissued recordings of Wingy Manone documents the singing trumpeter's recording activity during a time period extending from July 1944 to March 1946. Manone, a hard-swinging, husky voiced hipster with New Orleans roots, is at his best on a very funny rendition of "O Sole Mio," the rather libidinous "Where Can I Find a Cherry (For My Banana Split)?" and Slim Gaillard's "Cement Mixer," which Wingy makes sound like it was written expressly for him. Of all the instrumentalists who participated in these recordings, it is the clarinetists who seem to be pointing in a futuristic direction; not so much the merry Matty Matlock but rather Joe Marsala and Hank D'Amico, traditionally based individuals who were in the process of branching out onto adventuresome and distinctly modern stylistic turf. In addition to Wingy (and certain rather overbearing bandmembers whose chatty outbursts clutter up an otherwise enjoyable "Salt Pork West Virginia"), vocals are by Kay Starr and Kay Kyser's Gloria Wood. arwulf arwulf
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MOUND CITY BLUE BLOWERS – 1935-1936 (1996) The Classics Chronological Series – 895 | FLAC (tracks), lossless

The Mound City Blue Blowers originally made history with a dozen high-quality novelty recordings during 1924-25 that featured the trio of Red McKenzie's comb, Dick Slevin's kazoo and banjoist Jack Bland; guitarist Eddie Lang solidified the rhythm on their later six numbers. However, other than McKenzie's participation, those dates had little to do with the 25 recordings on this Classics CD, the last issued under the Mound City Blue Blowers' name. In fact, other than taking four vocals on the first date, McKenzie makes only cameo appearances on kazoo during the remainder of the program, although he had clearly organized the bands. The six sessions feature overlapping personnel with some hot playing from either Bunny Berigan (on four of the dates) or Yank Lawson on trumpet and Eddie Miller or Forrest Crawford on tenor and clarinet. In addition to McKenzie, guitarist Nappy Lamare has eight vocals; there are also five from Billy Wilson, four from Spooky Dickenson and two by a vocal group. Only "High Society" and "Muskrat Ramble" are instrumentals, although there are strong solos on nearly every number. The music falls between Dixieland and small-group swing and is most notable for the playing of Berigan. Scott Yanow  
Tracklist :     
1     What's the Reason (I'm Not Pleasing You?) 3:05
Jimmie Grier / Earl Hatch / Coy Poe / Pinky Tomlin
2     She's a Latin from Manhattan 2:59
Al Dubin / Harry Warren
3     You've Been Takin' Lessons 3:02
Tharpe / Watts   
4     (Back Home Again In) Indiana 2:44
James F. Hanley / Ballard MacDonald
5     Red Sails in the Sunset 2:48
Will Grosz / Jimmy Kennedy
6     I'm Sittin' High on a Hill Top 3:02
Arthur Johnston / Gus Kahn
7     On Treasure Island 3:01
Joe Burke / Edgar Leslie
8     Thanks a Million 2:40
Arthur Johnston / Gus Kahn
9     Eeny Meeny Meiny Mo 2:36
Matty Malneck / Johnny Mercer
10     A Little Bit Independent 2:49
Joe Burke / Edgar Leslie
11     I'm Shooting High 2:34
Ted Koehler / Jimmy McHugh
12     I've Got My Fingers Crossed 2:46
Ted Koehler / Jimmy McHugh
13     High Society 2:55
Armand Piron / Clarence Williams
14     Muskrat Ramble 2:52
Ray Gilbert / Kid Ory
15     The Broken Record 2:58
John Bunch / Cliff Friend / Harry Tobias
16     The Music Goes 'Round and Around 3:06
Eddie Farley / Mike Riley
17     I'm Gonna Sit Right Down (And Write Myself a Letter) 2:43
Fred E. Ahlert / Joe Young
18     Mama Don't Allow It 2:57
Cow Cow Davenport
19     (If I Had) Rhythm in My Nursery Rhymes 2:35
Sammy Cahn / Saul Chaplin / Jimmie Lunceford / Don Raye
20     I Hope Gabriel Likes My Music 2:46
David Franklin
21     You Hit the Spot 2:35
Mack Gordon / Harry Revel
22     Spreadin' Rhythm Around 2:35
Ted Koehler / Jimmy McHugh
23     Saddle Your Blues to a Wild Mustang 2:47
Buddy Bernier / George A. Whiting
24     Wah-Hoo! 3:02
Cliff Friend
25     I'm Gonna Clap My Hands 2:52
Eddie Farley / Mike Riley
Credits :    
Bass [String] – Bob Haggart (tracks: 5 to 8), Harry Goodman (tracks: 1 to 4), Mort Stuhlmaker (tracks: 15, 16), Pete Peterson (tracks: 9 to 14, 21 to 25), Sid Weiss (tracks: 17 to 20)
Clarinet, Tenor Saxophone – Eddie Miller (tracks: 1 to 14), Forrest Crawford (tracks: 15 to 25)
Drums – Dave Tough (tracks: 15, 16, 21 to 25), Ray Bauduc (tracks: 1 to 14), Stan King (tracks: 17 to 20)
Guitar – Carmen Mastren (tracks: 17 to 20), Dave Barbour (tracks: 15, 16, 21 to 25), Eddie Condon (tracks: 17 to 20), Nappy Lamare (tracks: 1 to 14)
Kazoo – Red McKenzie
Piano – Frank Signorelli (tracks: 21 to 25), Gil Bowers (tracks: 1 to 4)
Trombone – Al Philburn (tracks: 1 to 4, 21 to 25)
Trumpet – Bunny Berigan (tracks: 1 to 4, 15 to 25), Yank Lawson (tracks: 5 to 14)
Vocals – Billy Wilson (tracks: 21 to 25), Nappy Lamare (tracks: 5 to 12), Red McKenzie (tracks: 1 to 4), Spooky Dickenson (tracks: 17 to 20)
Vocals [Vocal Trio] – Unknown Artist (tracks: 15, 16)