JELLY-ROLL MORTON – 1923-1924 | The Chronogical Classics – 584 (1991) FLAC (tracks+.cue), lossless

Part of Classics' excellent chronological series, this examines Jelly Roll's recordings from 1923 to 1924, beginning with a Paramount single with his orchestra, "Big Fat Ham," followed by "Muddy Water Blues." Next up are the first six issued Gennett piano solos, then stray singles by Morton's Jazz Band, Steamboat Four, and Stomp Kings. These are proceeded by four more piano solo sides, which were cut for Paramount, before finishing out with a marathon piano solo session for Gennett in 1924. Cub Koda
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JOHNNY DODDS – 1927 | The Chronogical Classics – 603 (1991) FLAC (tracks+.cue), lossless

For those who wish to develop a strong relationship with early jazz, there are certain records that may help the listener to cultivate an inner understanding, the kind of vital personal connection that reams of critical description can only hint at. Once you become accustomed to the sound of Johnny Dodds' clarinet, for example, the old-fashioned funkiness of South Side Chicago jazz from the 1920s might well become an essential element in your personal musical universe. Put everything post-modern aside for a few minutes and surrender to these remarkable historic recordings. It is January 1927, and the band, fortified with Freddie Keppard and Tiny Parham, is calling itself Jasper Taylor & His State Street Boys. The exacting chronology works well here as we are given detailed access to the records made by Dodds and a closely knit circle of musicians during the month of April 1927. Three duets with pianist Parham lie at the heart of Dodds' recorded legacy. Four trio sides feature Lil Armstrong at the piano and some very expressive guitar playing by Bud Scott. "The New St. Louis Blues" is particularly impressive, in fact downright hypnotizing. Scott sounds a lot like Bobby Leecan as he strums and strikes the strings with great deliberation. Speaking of Louis Armstrong, get a load of how he cooks and swings through four incredible stomps with Jimmy Bertrand's Washboard Wizards. Bertrand himself was a lively character, Jimmy Blythe was one of the best pianists in town at the time, and by 1927, Louis was well on his way to becoming the most influential -- and painstakingly imitated -- jazz musician of his generation. The sheer vitality of these records is incredible. Each performance is a delight, and Fats Waller fans will enjoy the Wizards' spunky interpretation of Waller's "I'm Goin' Huntin'." The very next day, Johnny Dodds' Black Bottom Stompers made four records in a Crescent City groove. "Weary Blues" positively percolates, and a perusal of the personnel is illuminating. Cornetist Louis Armstrong, trombonist Roy Palmer and clarinetist Johnny Dodds are joined by Barney Bigard, who boots away on a tenor saxophone. 1927 was the year that Bigard joined Duke Ellington & His Orchestra, there to distinguish himself by playing the clarinet like nobody else before or since. How interesting to hear him laying down basslines and occasionally soloing with a big sweaty sax. The presence of Bud Scott, Earl Hines at the piano and Warren "Baby" Dodds behind the drums rounds out one of the most intriguing ensembles in the entire Johnny Dodds discography. The remaining eight sides, variously attributed to the State Street Ramblers, the Dixie-Land Thumpers and to Jimmy Blythe & His Owls, are scruffy stomps with washboard percussion by Baby Dodds, elegant piano from Jimmy Blythe, and the chattering cornet of Natty Dominique. These are among the best records that Johnny Dodds ever made, and the producers of the Classics Chronological Series are to be commended for having released them in this outstanding package. arwulf arwulf  
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JOHNNY DODDS – 1927-1928 | The Chronogical Classics – 617 (1991) FLAC (tracks+.cue), lossless

Cut around the time Dodds was wrapping up his association with Louis Armstrong's Hot Fives and Sevens, this Classics disc finds the venerable New Orleans clarinetist mixing it up nice and rambunctious with his Chicago Footwarmers. Along with brother Baby Dodds on washboard and vocals, the quartet featured a revolving cast that included cornet player Natty Dominque, trumpeter George Mitchell, trombonists Kid Ory and Honore Dutrey, pianist Jimmy Blythe, and bassist Bill Johnson. Their sound was ragged and irrepressible, with enough in the way of top-notch solo work by Dodds and Ory to keep things truly exciting. And while these sides don't match the quality of Dodds' earlier recordings with his New Orleans Footwarmers and Bootblacks, they still qualify as some of the best work of his career. After checking out Classics' stellar 1926 disc of No Foot and Boot sides, don't forget to give these tight gems a whirl. Stephen Cook
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JOHNNY DODDS – 1928-1940 | The Chronogical Classics – 635 (1992) FLAC (tracks+.cue), lossless

By 1928 and '29 jazz was beginning to mature and recording technology was growing up along with it. Even taking into account his remarkable accomplishments on phonograph records from 1923 through early 1928, the exciting material gathered together on this disc represents -- without question -- some of the very best jazz ever recorded by New Orleans/Chicago clarinet archetype Johnny Dodds. On the first 11 selections, Natty Dominique blows one tough little cornet, and Bill Johnson's bull fiddle comes across more clearly and dramatically than ever before. Throughout the 1920s, many bands relied on the tuba to provide the bassline on their recordings. Bolstered by the Victor Record company's superior equipment, Johnson's pulsing, visceral viol carries everyone along on a tonal current of unforgettable intensity. Anybody interested in trombonist Honore Dutrey should listen closely as this has got to be some of his best work on record. There's nothing quite like hearing Baby Dodds using the washboard as a neat, precise percussion tool. All the same it's refreshing when he switches to the drum kit and Lil Hardin Armstrong presides at the ivories. "Heah Me Talkin'" is a triumph, "Goober Dance" is pleasantly weird, and "Indigo Stomp" a wonderful ritual for piano, clarinet and bass fiddle. At that same session Johnny's group backed blueswoman Sippie Wallace on one song. This would be the only time Sippie and Johnny would collaborate in the studio. "I'm a Mighty Tight Woman" is a remarkable document, one of the strongest performances that this singer ever put across. The Paramount Pickers and Beale Street Washboard Band sessions are a delight, the sort of music you can go back and revisit regularly. The crowning glory of this collection is the inclusion of eight Decca recordings from 1938 and '40 that constitute the phonographic last will and testament of Johnny Dodds. Hearing his noble clarinet resounding in the same company as Charlie Shavers, John Kirby, Lonnie Johnson, Teddy Bunn, and the mighty Richard M. Jones brings out all of the best qualities in each musician. With O'Neill Spencer singing, drumming and rubbing on a washboard, we're faced with fully half of the John Kirby Sextet, a decidedly modern contingent mingling perfectly with players whose experience reached back towards the very beginnings of recorded jazz. arwulf arwulf  
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JIMMIE NOONE – 1934-1940 | The Classics Chronological Series – 651 (1992) FLAC (tracks+.cue), lossless

On the fifth of Jimmie Noone's five CDs on the Classics label, the New Orleans clarinetist is heard on his final 24 selections as a leader (with the exception of a slightly later live session). The first six numbers close the book on his Apex Club Orchestra, featuring Eddie Pollack (in Joe Poston's old place) playing the melody on alto and sometimes baritone behind Noone's solos; trumpeter Jimmy Cobb and pianist Zinky Cohn get some solo space. Noone is also heard in 1936 with a freewheeling New Orleans group featuring trumpeter Guy Kelly and trombonist Preston Jackson, holding his own the following year with the dynamic young trumpeter Charlie Shavers and altoist Pete Brown, and doing his best in 1940 to overcome the weak cornet playing of Natty Dominique. The final four numbers (also from 1940) are dominated by Ed Thompson's dated vocals. No matter what the setting, Noone (who passed away in 1944) is heard in prime form. Scott Yanow  
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LOVIE AUSTIN – 1924-1926 | The Classics Chronological Series – 756 (1994) FLAC (tracks+.cue), lossless

Cora Calhoun was born in Chattanooga, Tennessee on September 19, 1887. After years of active service as a touring vaudeville pianist, she put together a studio band called the Blues Serenaders. Professionally known as Lovie Austin, she was in her late thirties when these recordings were made. Anyone who has ever fished around trying to find Austin's music will appreciate the opportunity to soak up all 14 of the instrumental sides cut for the Paramount label under her leadership, in addition to 11 vocals backed by the pianist and various members of her band. Accompanying blues singers was Lovie's specialty, the most famous examples being her collaborations with Gertrude "Ma" Rainey and Ida Cox. The muddy sound of early Paramount recordings is nothing to be afraid of. Once you get acclimated the crusty boxed-in acoustics have a charm all their own. Listen to Edmonia Henderson as she belts out the lyrics to "Jelly Roll Blues" accompanied by Austin, Tommy Ladnier and Johnny Dodds. This trio backs the vaudeville team of Ford and Ford, giving us a taste of what Austin's regular theatrical working environment must have sounded like. Yet these vocal tracks seem like pre-show entertainment when compared with "Steppin' on the Blues" and its flip side "Traveling Blues," a catchy stomp closely resembling the "Weary Blues" by ragtime composer Artie Matthews. Clarinetist Jimmy O'Bryant sounds great in this company -- in fact this is some of his best work on record. When W.E. Burton's percussion is added on the next session, it is clear why early recording engineers were reluctant to allow drummers to play anything more disruptive than a woodblock in front of those old carbon microphones. Burton, also an accomplished washboard artist, hammers away during two numbers exploiting the popularity of James P. Johnson's "Charleston" with snappy vocals by Priscilla Stewart. "Heebie Jeebies" sounds like "Some of These Days" while "Peepin' Blues" has a little bit of "King of the Zulus" about it. With "Mojo Blues" we're already at the tail end of Ladnier's recorded work with Austin. "Don't Shake It No More" sounds like "Ballin' the Jack," "Rampart Street Blues" has a bit of a West Indian chorus and "Too Sweet For Words" sounds like one of Jelly Roll Morton's prettier ditties. With the amazing "Jackass Blues" and "Frog Tongue Stomp" we're faced with a solid front line of Kid Ory, Natty Dominique and Johnny Dodds. "Frog Tongue" contains a fine example of Lovie's ragtime piano. Of the six blues vocals from 1926, "Walk Easy 'Cause My Papa's Here" is the most substantial. The interplay between Natty Dominique and Kid Ory during the closing instrumentals is complimented by the presence of Johnny Dodds and banjo man Eustern Woodfork. After this magnificent history lesson, you'll want to hear Lovie Austin's Blues Serenaders accompanying Alberta Hunter on an album recorded in 1961, part of Riverside's remarkable series Chicago: The Living Legends That slogan seems particularly pertinent to the life and work of Lovie Austin. arwulf arwulf
Tracklist :
1    Edmonia Henderson–    Jelly Roll Blues 3:05
Clarinet – Johnny Dodds
Cornet – Tommy Ladnier
Piano – Lovie Austin
Vocals – Edmonia Henderson
Written-By – Morton
2    Ford And Ford–    Skeeg-A-Lee Blues 2:53
Cornet – Tommy Ladnier
Piano – Lovie Austin
Vocals – Ford And Ford
Written-By – Ford-Ford
3    Ford And Ford–    I'm Three Times Seven 3:01
Cornet – Tommy Ladnier
Piano – Lovie Austin
Vocals – Ford And Ford
Written-By – Douglas
4    Lovie Austin And Her Blues Serenaders–    Steppin' On The Blues
Clarinet – Jimmy O'Bryant
Cornet – Tommy Ladnier
Piano – Lovie Austin
Written-By – O'Bryant, Austin, Ladnier
5    Lovie Austin And Her Blues Serenaders–    Traveling Blues 2:35
Clarinet – Jimmy O'Bryant
Cornet – Tommy Ladnier
Piano – Lovie Austin
Written-By – Austin
6    Lovie Austin And Her Blues Serenaders–    Charleston Mad 2:33
Clarinet – Jimmy O'Bryant
Cornet – Tommy Ladnier
Drums – W.E. Burton
Piano – Lovie Austin
Vocals – Priscilla Stewart
Written-By – Austin
7    Lovie Austin And Her Blues Serenaders–    Charleston, South Carolina 2:49
Clarinet – Jimmy O'Bryant
Cornet – Tommy Ladnier
Drums – W.E. Burton
Piano – Lovie Austin
Vocals – Priscilla Stewart
Written-By – Mack, Johnson
8    Lovie Austin And Her Blues Serenaders–    Heebie Jeebies 2:48
Clarinet – Jimmy O'Bryant
Cornet – Tommy Ladnier
Drums – W.E. Burton
Piano – Lovie Austin
Written-By – Ladnier
9    Lovie Austin And Her Blues Serenaders–    Peepin' Blues 3:04
Clarinet – Jimmy O'Bryant
Cornet – Tommy Ladnier
Drums – W.E. Burton
Piano – Lovie Austin
Written-By – Austin
10    Lovie Austin And Her Blues Serenaders–    Mojo Blues 2:45
Clarinet – Jimmy O'Bryant
Cornet – Tommy Ladnier
Drums – W.E. Burton
Piano – Lovie Austin
Written-By – Ladnier
11    Lovie Austin And Her Serenaders–    Don't Shake It No More 2:33
Clarinet – Jimmy O'Bryant
Cornet – Bob Shoffner
Drums – W.E. Burton
Piano – Lovie Austin
Written-By – Dorsey
12    Lovie Austin And Her Serenaders–    Rampart Street Blues 2:50
Clarinet – Jimmy O'Bryant
Cornet – Bob Shoffner
Drums – W.E. Burton
Piano – Lovie Austin
Written-By – Austin
13    Lovie Austin And Her Serenaders–    Too Sweet For Words 2:42
Clarinet – Jimmy O'Bryant
Cornet – Bob Shoffner
Drums – W.E. Burton
Piano – Lovie Austin
Written-By – Shelton
14    Lovie Austin And Her Serenaders–    Jackass Blues 2:54
Clarinet – Johnny Dodds
Cornet – Natty Dominique
Drums – W.E. Burton
Piano – Lovie Austin
Trombone – Kid Ory
Written-By – Kassel, Stitzel
15    Lovie Austin And Her Serenaders–    Frog Tongue Blues 2:31
Clarinet – Johnny Dodds
Cornet – Natty Dominique
Drums – W.E. Burton
Piano – Lovie Austin
Trombone – Kid Ory
Written-By – Austin
16    Edmonia Henderson–    Who's Gonna Do Your Loving (When Your Good Man's Gone Away?) 2:54
Clarinet – Johnny Dodds
Piano – Lovie Austin
Vocals – Edmonia Henderson
Written-By – Austin
17    Edmonia Henderson–    Nobody Else Will Do 2:43
Clarinet – Johnny Dodds
Piano – Lovie Austin
Vocals – Edmonia Henderson
Written-By – Austin
18    Viola Bartlette Acc. By Lovie Austin's Serenaders–    Sunday Morning Blues 2:51
Clarinet – Johnny Dodds
Piano – Lovie Austin
Trombone – Kid Ory
Vocals – Viola Bartlette
Written-By – Austin
19    Viola Bartlette Acc. By Lovie Austin's Serenaders–    You Don't Mean Me No Good 2:41
Clarinet – Johnny Dodds
Piano – Lovie Austin
Trombone – Kid Ory
Vocals – Viola Bartlette
Written-By – Stevens
20    Viola Bartlette Acc. By Lovie Austin's Serenaders–    Out Bound Train Blues 2:57
Clarinet – Johnny Dodds
Piano – Lovie Austin
Trombone – Kid Ory
Vocals – Viola Bartlette
Written-By – Bartlette
21    Viola Bartlette Acc. By Cobb's Paramount Syncopators–    Walk Easy 'Cause My Papa's Here 2:53
Clarinet – Johnny Dodds
Cornet – Jimmy Cobb
Piano – Lovie Austin
Trombone – Unknown Artist
Vocals – Viola Bartlette
Written-By – Cobbs
22    Lovie Austin And Her Serenaders–    Chicago Mess Around 3:00
Banjo – Eustern Woodfork
Clarinet – Johnny Dodds
Cornet – Natty Dominique
Drums – W.E. Burton
Piano – Lovie Austin
Trombone – Kid Ory
Vocals – Henry Williams
Written-By – Austin
23    Lovie Austin And Her Serenaders–    Galion Stomp 3:02
Banjo – Eustern Woodfork
Clarinet – Johnny Dodds
Cornet – Natty Dominique
Drums – W.E. Burton
Piano – Lovie Austin
Trombone – Kid Ory
Written-By – Austin
24    Lovie Austin And Her Serenaders–    In The Alley Blues 2:55
Banjo – Eustern Woodfork
Clarinet – Johnny Dodds
Cornet – Natty Dominique
Drums – W.E. Burton
Piano – Lovie Austin
Trombone – Kid Ory
Written-By – Austin
25    Lovie Austin And Her Serenaders–    Merry Maker's Twine 2:54
Banjo – Eustern Woodfork
Clarinet – Johnny Dodds
Cornet – Natty Dominique
Drums – W.E. Burton
Piano – Lovie Austin
Trombone – Kid Ory
Vocals – Henry Williams
Written-By – Mack, Nelson