NEW ORLEANS RHYTHM KINGS – 1925-1935 | The Chronogical Classics – 1150 (2000) FLAC (tracks+.cue), lossless

The 1922-1923 recordings of the New Orleans Rhythm Kings are essential listening for anyone trying to piece together the evolution of New Orleans/Chicago-style jazz (see Classics 1129). To be permitted chronological access to everything that subsequently appeared under the banner of the NORK is a ticket to Elysium for all lovers of classic jazz. The first six selections, recorded in New Orleans near the beginning of 1925, reveal a much different band than the ensembles of 1923. Obviously, Jelly Roll Morton isn't directly involved anymore, even if "Golden Leaf Blues" sounds a lot like "Milenberg Joys." Paul Mares and Leon Roppolo retain their position at the center of things, but trombonist George Brunies has been replaced by the dashing Santo Pecora. Each little three-minute performance is solid and warm. Now the action moves up to New York City. A small cluster of originally unissued test pressings from June of 1934 includes a vaudeville version of "Shine" by a quartet calling itself "the Four Bales of Cotton," with scatting, trumpeting, and friendly patter by Wingy Manone. Although "Shine," with its mildly Jim Crow lyrics, always does better as an instrumental, this theatrical singalong approach is somehow fascinating. The same session yielded two hot instrumentals by a reassembled Rhythm Kings with a front line of Manone, either Brunies or Pecora, clarinetist Sidney Arodin, and the tenor saxophone of Eddie Miller. Why these sides were rejected in 1934 is anybody's guess. By September of that year, Decca was taking them more seriously. Brunies and Manone led a six-piece mob through eight outstanding stomps. Arodin's marvelous "San Antonio Shout" is succeeded by one traditional jazz anthem after the next. Their handling of "Jazz Me Blues" is particularly tasty. The session of September 26 was shaped by a deliberate emphasis on material harking back to the Original Dixieland Jazz Band. Back in Chicago on January 26, 1935, Paul Mares led his own version of a reconstituted Rhythm Kings band, referencing the earliest NORK sessions by reviving the Friars Society Orchestra name. The appropriately titled "Reincarnation" is elegantly, majestically blue. "Land of Dreams," "Nagasaki," and "Maple Leaf" swing hard. Pecora is back, along with the mighty Omer Simeon and a tough alto sax player by the name of Boyce Brown. The last band to record under this name in the 1930s had a strong front line in Muggsy Spanier, George Brunies, and Eddie Miller. Two of the numbers are hot Fats Waller spinoffs, while "No Lovers Allowed" is OK and "Since We Fell Out of Love" has notably stupid lyrics, made insufferable by Red McKenzie, who insists on warbling away at each song without mercy. Either you love him or you want to cram a comb down his throat. Whenever the singer runs out of lyrics, Muggsy's cornet shines like the harvest moon. arwulf arwulf  
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KING OLIVER AND HIS DIXIE SYNCOPATORS – 1926-1928 | The Chronogical Classics – 618 (1991) FLAC (tracks+.cue), lossless

It's the middle of September, just past the middle of the 1920s, and Bert Cobb is playing an entire chorus of "Someday, Sweetheart" on his tuba without adding any embellishments whatsoever. Barney Bigard moans through a saxophone, and Johnny Dodds pours the rest of it right out the bottom of his clarinet. Meet the Dixie Syncopators. King Oliver has surrounded himself with about ten musicians who tease, squeeze and wheeze their way through harmless pop songs and authentic jazz tunes without apologizing or going out of their way to prove themselves any better than they need to be to make it through to the end of the year 1926. Kid Ory sounds like Kid Ory and that sounds awfully good. Every tub on its own bottom, like the fellows said. The time line is peppered with exciting changes. By April of 1927, Lawson Buford has captured the tuba. Omer Simeon is in the reed section with Barney Bigard, who is still wielding a dangerous tenor sax. Joe Oliver sounds great most of the time, and his band should be appreciated on its own ground. Comparing it with Duke Ellington's orchestra is a pointless procedure. Ellington was different from this, although both Ellington and Bubber Miley listened carefully to King Oliver. These Dixie Syncopators occupy their own plateau in eternity, and we are free to visit them at will. There are no washouts. Even the drudge-nudge of "Black Snake Blues" is marvelous theater. "Farewell Blues" is gorgeous. Any inquisitive person could learn a lot just by following the stories of all the people who sat in with King Oliver during these years. The reed players! The trombonists! And yes, without a doubt, get a load of those tuba technicians. This is a fascinating period to listen back on, as banjos and tubas were often considered mutually essential equipment. Compare the puffing of Cyrus St. Clair with the huffing of Bass Moore. The session of August 13, 1928 gives us the option of enjoying instrumentals or really nice vaudeville vocals. At least they seem nice enough until you hear the line: "hang the dog and shoot the cat." Gosh, maybe the instrumental version is better after all. arwulf arwulf  
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KING OLIVER AND HIS ORCHESTRA – 1928-1930 | The Chronogical Classics – 607 (1991) FLAC (tracks+.cue), lossless

After a couple of fine sides from 1928, the saga of King Oliver turns another corner, heading into 1929 armed with little more than a Victor recording contract. There are plenty of strong performances here. Charlie Holmes puts his personality on the front line, and Fats Pichon sings "I've Got That Thing" with plenty of mustard as usual. But things are definitely changing. On "I'm Watching the Clock," a relaxed recording made in September of 1928, King Oliver expressed himself beautifully, but his chops were on the wane. By the beginning of 1929, Louis Metcalf is the featured cornet soloist in front of King Oliver's Orchestra, using the mute a lot like Joe had brandished it years earlier. "Call of the Freaks," "The Trumpet's Prayer" and "Freakish Light Blues" are beautiful vignettes. Punch Miller appeared briefly on a date that featured the flashy piano of Cass Simpson. For the remainder of 1929 Oliver's nephew Dave Nelson took on the task of trumpeting and occasionally composing for the band. He even sang for a minute but someone must have begged him to knock it off. Teddy Hill played tenor sax for Oliver's orchestra in 1928 and 1929. He worked in a lot of big bands that couldn't give him enough solo space, which is probably why he eventually formed his own progressive swing band where Dizzy Gillespie would take his first solos on record in 1937. Teddy would go on to create an open environment that was conducive to extended improvisation during the early 1940s. On this CD you get to hear him paying his dues. The best of Oliver's solid components still make for good listening. Clinton Walker, for example, would operate the tuba with energetic precision all the way through to May of 1930. James P. Johnson and Hilton Jefferson showed up. That's serious business! So is Roy Smeck's steel guitar solo on "Everybody Does It in Hawaii," although jazz purists wrinkle their noses and roll their eyes at such stuff. Smeck also plays harmonica on "Frankie and Johnny." The combination of tuba and mouth harp is a remarkable sonic blend, for those who aren't too proud to have a wild adventure in the company of crusty old records like these. arwulf arwulf  
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JELLY-ROLL MORTON – 1924-1926 | The Chronogical Classics – 599 (1991) FLAC (tracks+.cue), lossless

The best way to acquire Jelly Roll Morton's classic Victor recordings is on a five-CD set put out by Bluebird that includes all of the alternate takes. But listeners who do not care about alternates may find the Morton CDs in the European Classics series to be as satisfying. This particular CD actually starts off with 14 selections that predate the Victors. Several of the early selections (such as the first four numbers, which include cornetist Lee Collins and trombonist Roy Palmer and "Soap Suds") are a bit disappointing due to the low-level recording quality. However, "My Gal" does have some good clarinet work from the underrated Volly DeFaut, there are four superb piano solos (including "The Pearls" and the definitive solo version of "King Porter Stomp"), and blues singer Edmonia Henderson is excellent on "Dead Man Blues" and "Georgia Grind." Despite these highlights, it is the final nine numbers on this disc that are most memorable. Morton is heard with his finest group, a septet with cornetist George Mitchell, trombonist Kid Ory, and clarinetist Omer Simeon. In addition to Morton's piano playing, his arranging is innovative and very inventive for the time; listen to all of the different tone colors and instrumental combinations that he gets from the group on "Black Bottom Stomp." These versions of "The Chant," "Sidewalk Blues," "Dead Man Blues," and "Grandpa's Spells" are quite famous and "Someday Sweetheart" is an early example of jazz (including Omer Simeon, who reluctantly plays bass clarinet) with strings. Classic music. Scott Yanow  
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JELLY-ROLL MORTON – 1926-1928 | The Chronogical Classics – 612 (1991) FLAC (tracks+.cue), lossless

While Louis Armstrong was cutting some of jazz's bedrock material, fellow New Orleans native and pianist Jelly Roll Morton was making equally fine, yet long overshadowed, recordings with his Red Hot Peppers combo. And it's his 1926-1927 sides for Victor, cut during a handful of sessions in New York, that form the pinnacle of his '20s heyday. This Classics disc, one of several of the label's chronological Morton titles, includes a good share of those standout tracks, but unfortunately excludes several essential numbers like "Sidewalk Blues," "Black Bottom Stomp," and "Grandpa's Spells" (Classics' earlier 1924-1926 release picks up the slack). While completist Morton fans will no doubt be drawn to this series, curious listeners in search of a well-balanced introduction should check out JSP's superior-sounding Vol. 1 collection. Stephen Cook
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EARL HINES AND HIS ORCHESTRA – 1928-1932 | The Classics Chronological Series – 545 (1990) FLAC (tracks+.cue), lossless

This initial installment in the historical chronology of recordings released under the name of Earl Hines contains no less than 13 finely rendered piano solos. Hines the pianist is caught in the act of tapping into everything that was in the air at the time: ragtime, blues, catchy airs and shout-style stride -- everything a bright young man would have picked up between Pittsburgh and Chicago, with Kansas City, New Orleans and New York coming up through the floorboards. Hines experimented unflinchingly with rhythmic variation, and was by far the most adventurous improviser in all of jazz piano before the rise of Art Tatum. "Caution Blues" is the venerable "Blues in Thirds" taken at a brisk clip. The ensemble sides, which were the very first to appear under Hines' own name, have elements in common with what was being recorded in 1929 by Louis Armstrong, Luis Russell, the nine- and eleven-piece editions of Fats Waller & His Buddies, and many other fine bands of the day. There are two rather insipid vocals by trombonist William Franklin, a fine dose of hefty scat singing from tuba-toting arranger Hayes Alvis, and three decidedly hip examples of Hines as hot and low-down vocalist. He scats with abandon during a smoky rendition of "Everybody Loves My Baby," talks like Don Redman on "Have You Ever Felt That Way?" and chortles wordlessly on "Sister Kate" after the manner of Louis Armstrong. Finishing off the disc with a taste of 1932, "Deep Forest," soon to be established as the Hines theme song, is a sort of piano concerto in miniature. Here is the perfect prologue to what this striking individual went on to accomplish over the next half-century. arwulf arwulf  
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EARL HINES AND HIS ORCHESTRA – 1932-1934 | The Classics Chronological Series – 514 (1990) FLAC (tracks+.cue), lossless

Hines began his career as a bandleader in 1928, the year in which he also started a lengthy residency at Chicago's Grand Terrace Club. During the Grand Terrace days, he did have his share of musical ups and downs, but this collection of 1932-1934 sides finds him in the first fertile patch of a long and distinguished career as a bandleader. Besides some fine piano work by the master himself, the music benefits greatly from the work of such topnotch arrangers as Jimmy Mundy, Walter Fuller, and Quinn Wilson. Mundy hits his spots with original versions of classics like "Cavernism," "Bubbling Over," and "Madhouse," while Wilson avails himself nicely with charts for "Japanese Sandman" and "Blue." There's also plenty of fine solo work from trombonist Trummy Young, clarinetist Omer Simeon, and tenor saxophonist Budd Johnson, among many others. The disc is spotty in parts but full of enough solid material to qualify as an essential collection. Stephen Cook  
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EARL HINES AND HIS ORCHESTRA – 1934-1937 | The Classics Chronological Series – 528 (1990) FLAC (tracks+.cue), lossless

Between his auspicious beginnings with Armstrong, Jimmie Noone, and Erskine Tate during the late '20s and his proto-bebop big band of the '40s, Earl Hines found his '30s stride with these fine recordings. Part of a clutch of Classics discs charting his solo and big-band sides from 1928-1947, this collection finds Hines in the stellar company of such top arrangers as Jimmy Mundy, Quinn Wilson, and Cecil Irwin. While Mundy was the only one to achieve fame beyond the group (with Count Basie), all these chart-makers flourished under Hines' watch. Mundy's work especially stands out: Four of his contributions here -- "Fat Babes," "Copenhagen," "Rock and Rye," and "Cavernism" -- count as pinnacles of the form, replete with inventive horn parts and streamlined yet driving rhythm tracks. Hines, of course, finds his own way quite nicely with a series of sparkling solo statements. And helping out on the bandstand are such luminaries as trombonist Trummy Young, trumpeter Walter Fuller, and tenor saxophonist Budd Johnson (later to provide Hines with some quality arrangements of his own). A high point in the Hines catalog. Stephen Cook  
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EARL HINES AND HIS ORCHESTRA – 1937-1939 | The Classics Chronological Series – 538 (1990) FLAC (tracks+.cue), lossless

Another chapter in the Classics label's impressive chronological account of Earl Hines' big-band and solo piano work from 1928-1947. By this time, Hines was slipping into a bit of a routine, but for the most part the material here maintains the high standards of his benchmark work from 1934 and 1935. His top arranger, Jimmy Mundy, is on hand again, joined by Horace Henderson (Fletcher Henderson's brother) and Budd Johnson. Johnson would later flower as one of Hines' main chart-makers, and here he ably displays his talents on the churning "XYZ" and the Hines showcase "Piano Man." Hines further displays his mammoth chops on two exciting solo tracks, "The Father's Getaway" and "Reminiscing at Blue Note." And making fine contributions of their own are clarinetist Omer Simeon and trumpeters George Dixon, Ray Nance (later of Ellington fame), and Freddy Webster. A highly enjoyable if unessential disc from the Hines catalog. Stephen Cook  
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EARL HINES AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 567 (1991) FLAC (tracks+.cue), lossless

At the time of these recordings, Hines was in the process of re-igniting his once potent and inventive big band of the mid-'30s. And while he and his cohorts hadn't completely dropped off the quality scale -- Hines' solos, of course, always remained hot -- the group's material was beginning to dip in caliber. Then came the twin powers of arranger/tenor saxophonist Budd Johnson and singer Billy Eckstine. Picking up from his fine work on Classics' earlier 1937-1939 disc, Johnson delivers standout charts here, like "Number 19" and the novelty number "Tantalizing a Cuban." One of Hines' top arrangers from the past, Jimmy Mundy, also does his part with solid if somewhat slick cuts like "You Can Depend on Me" and "Easy Rhythm." And with Eckstine in the mix, the band finally found a genuine star vocalist. Showing the kind of swarthy tone and incredible facility that would bring him fame over the next three decades, Eckstine lights up the proceedings on classics like "Jelly, Jelly," "I'm Falling for You," and "Ann." Keeping up with the Young Turk, Hines displays his seasoned soloing chops on numbers like "Rosetta," "Body and Soul," and "Child of a Disordered Brain." Check out the mighty Hines band finding its groove again before unwittingly morphing into an incubator for bebop talent. Stephen Cook     Tracklist :

JIMMY MUNDY AND HIS ORCHESTRA – 1937-1947 | The Classics Chronological Series – 1200 (2001) FLAC (tracks+.cue), lossless

Jimmy Mundy was a valuable arranger during the swing era, contributing important charts to many big bands, particularly those of Earl Hines, Benny Goodman, and Count Basie. He had a short-lived orchestra of his own in 1939, but it did not make much of an impression. This CD has all of the sessions that Mundy led during the period. He is heard on two numbers with a septet that is mostly taken from Earl Hines' 1937 band, including trumpeter Walter Fuller on vocals, trombonist Trummy Young, guest drummer Chick Webb, and Mundy himself on tenor. His four selections with his 1939 orchestra are here (clarinetist Jimmy Hamilton, pianist Bill Doggett, and drummer Shadow Wilson are the only future names in the band), plus selections from three other ensembles from 1945-1947. Four numbers feature a novelty vocal group called the Ginger Snaps, one ensemble has trumpeter Ray Linn and Lucky Thompson on tenor, and four V-discs feature an all-star Los Angeles band with trumpeter Clyde Hurley, altoist Willie Smith, and Thompson. This formerly rare music should please swing fans. Scott Yanow
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KID ORY – 1922-1945 | The Classics Chronological Series – 1069 (1999) FLAC (tracks+.cue), lossless

Kid Ory was one of the first jazz trombonists, and the very first New Orleans musician of color to commit his sounds to phonograph records. The Classics chronology of complete recordings made under the leadership of Kid Ory begins with two smart instrumentals, recorded in Los Angeles in June of 1922. Originally issued on the Nordskog label as by Spikes' Seven Pods of Pepper Orchestra, these sides also appeared on Sunshine Records under the heading of Ory's Sunshine Orchestra. After the showy ragtime novelty "Ory's Creole Trombone," destined to be revived a few years later with Louis Armstrong & His Hot Five, "Society Blues" comes across with soulful sophistication. Mutt Carey's cornet interacts pleasantly with Ory's slip horn and the clarinet of Dink Johnson, brother of primal Crescent City bassist Bill Johnson. This is a rare opportunity to hear Dink blowing a wind instrument. After disappearing for a long spell, Dink would show up years later on record as a growling, beer-swilling ragtime and barrelhouse piano player. Four additional sides were waxed on or around that same day in 1922, using Ory's ensemble to back up two blues vocalists. Roberta Dudley sang with a lot of exaggerated, stylized vibrato, belting out the lyrics in an over-the-top manner. The second vocalist, identified as Ruth Lee, also warbles but sounds just a bit more natural than Dudley. The transfers of these old platters are as good as on any other reissue. In fact, judging from variances in surface noise, the same masters may have been used for Classics 1069 as were employed on Document 1002. The great thing about this CD is the consistent presence of Mutt Carey and bassist Ed Garland throughout, even as Ory's chronology leaps ahead 22 years to his West Coast comeback. Four titles, apparently the first ever issued on the Circle record label, find Ory, Mutt and clarinetist Omer Simeon supported by a strong rhythm section. Plowing through 1945, Ory led his band in the creation of a virtual blueprint for the New Orleans Revival by waxing a body of outstanding records in the style of his hometown. These wonderful performances became available to the public on the Crescent, Exner and Decca labels, and much of the material would be carefully revisited on Ory's finely crafted albums brought out during the 1950s by the Good Time Jazz record company. Kid Ory's music is substantial, entertaining and very reassuring. arwulf arwulf
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JAMES P. JOHNSON – 1944-1945 | The Classics Chronological Series – 1027 (1998) FLAC (tracks), lossless

This beautifully proportioned sampling of Johnson's late recordings is instrumentally varied and covers a wide range of moods. Four jam tunes from the Blue Note catalog each exceed four minutes in duration, which was a big deal in 1944. There was no stopping a front line composed of Sidney DeParis, Vic Dickenson, and Edmond Hall. Much of the remaining material on this album was recorded by Moses Asch, and issued on LP many years later. Six songs composed by W.C. Handy are sung by his daughter, Katherine Handy, who sounds a bit like Mildred Bailey. Johnson the soloist creates what might be his most intensive improvisations on record: "Blue Moods 1," "Blue Moods 2," and "Blue Moods, Sex," amounting to just a little under 13 minutes of freely inventive piano reflections. A further 12 minutes of solo piano ensues, this time much more programmatically conceived. "Yamekraw," originally put together in 1927, was presented as "A Negro Rhapsody." "Yamecraw," to use the geographically authentic spelling, was the name of the rough-and-tumble waterfront district in Savannah, GA. Here Johnson has carefully painted an entire landscape in sound for posterity. The W.C. Handy songs, together with these nearly 26 minutes of solo piano, existed in a state of phonographic limbo for many years. The people behind the Classics reissue series are to be commended for having restored and presented these rare recordings for public perusal. Now for some finishing touches. Whether you identify them as "the Omer Simeon Trio with James P. Johnson" or as "the Carnival Three," it is entirely possible that Simeon and Johnson, in teaming up with bassist Pops Foster, made four little recordings that might be considered perfect. Perfect? What's perfect? Well, there's perfect symmetry. Simeon wrote an attractive piece of blues with Foster, and another even more haunting blues with Johnson. That makes two immaculate collaborative blues, rendered with collaborative immaculate ease. Balance them out with two lively jams -- piano, bass, and clarinet -- no drums required, no brass need apply. These were three of the greatest jazz musicians who ever lived, and on 1944-1945 they are heard expressing ideas and emotions as a unit comprised of individuals. Yet there must be an imperfection somewhere. Look carefully: "Harlem Hotcha" was composed by Johnson, to whom the discography incorrectly attributes "Bandana Days," which of course was a major hit for Noble Sissle and Eubie Blake. So the discography contains one minor error (very unusual for this label) but the music, like most of James P. Johnson's work, comes very close to perfection. arwulf arwulf  
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RICHARD M. JONES – 1927-1944 | The Classics Chronological Series – 853 (1995) FLAC (tracks+.cue), lossless

The second of two CDs that reissue every recording led by pianist Richard M. Jones is drawn from three periods and has diverse material. The early band sides are often a bit disappointing, particularly the ones from 1927-28 with clarinetist Artie Stalks and a fairly obscure cast. Two numbers with his "Jazz Wizards" in 1929 are better, due to the participation of trombonist Roy Palmer and clarinetist Omer Simeon. Quite rare are six swinging big-band sides from 1935 on which Jones merely directs (although he does sing "Bring It On Home to Grandma"). Also on this CD are a pair of examples of the pianist singing blues in 1936 (assisted by trumpeter Lee Collins on his famous "Trouble In Mind") and four decent blues-oriented Dixieland numbers from 1944 with trumpeter Bob Shoffner and clarinetist Darnell Howard. The music is not essential overall, but since Classics did include everything, one cannot fault the packaging. Scott Yanow  
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JIMMIE LUNCEFORD AND HIS ORCHESTRA – 1941-1945 | The Classics Chronological Series – 862 (1996) FLAC (tracks+.cue), lossless

Jimmie Lunceford's Orchestra was starting to decline during the period covered by this 1996 CD from the European Classics label. There are nine numbers (including a two-part "I'm Gonna Move to the Outskirts of Town") that feature the 1941-42 orchestra, which still included trombonist Trummy Young (who has three vocals, including "Easy Street"), altoist Willie Smith, and tenorman Joe Thomas; unfortunately, Dan Grissom takes three dull vocals, and there is only one instrumental, the accurately titled "Strictly Instrumental." The second half of the set is from 1944-45, and although there are a couple worthwhile tracks (most memorably the two-part "Back Door Stuff" and "Jeep Rhythm"), Joe Thomas was the only major soloist remaining. The music overall is historic, but not as essential as Jimmie Lunceford's earlier performances. Scott Yanow
Tracklist :
1    Jimmie Lunceford And His Orchestra–    I'm Losing My Mind (Because Of You) 3:18
Vocals – Dan Grissom
2    Jimmie Lunceford And His Orchestra–    Life Is Fine 2:39
Arranged By – Edwin Wilcox
Vocals – Orchestra, Trummy Young
3    Jimmie Lunceford And His Orchestra–    It Had To Be You 3:07
Arranged By – Tadd Dameron
Vocals – Dan Grissom, Joe Thomas, Trummy Young, Willie Smith
4    Jimmie Lunceford And His Orchestra–    I'm Gonna Move To The Outskirts Of Town - Part 1 3:09
Arranged By – Edwin Wilcox
Vocals – Dan Grissom
5    Jimmie Lunceford And His Orchestra–    I'm Gonna Move To The Outskirts Of Town - Part 2 2:56
Arranged By – Edwin Wilcox
Vocals – Dan Grissom
6    Jimmie Lunceford And His Orchestra–    Strictly Instrumental 2:36
Arranged By – Edwin Wilcox
7    Jimmie Lunceford And His Orchestra–    Knock Me A Kiss 3:00
Arranged By – Edwin Wilcox
Vocals – Willie Smith
8    Jimmie Lunceford And His Orchestra–    Keep Smilin', Keep Laughin', Be Happy 2:20
Arranged By – Harry "Pee Wee" Jackson
Vocals – Joe Thomas
9    Jimmie Lunceford And His Orchestra–    I Dream A Lot About You 3:07
Arranged By – Tadd Dameron
Vocals – Dan Grissom
10    Jimmie Lunceford And His Orchestra–    Easy Street 2:58
Arranged By – Edwin Wilcox
Vocals – Trummy Young
11    Jimmie Lunceford And His Orchestra–    Back Door Stuff - Part 1 3:08
Arranged By – Roger Segure
12    Jimmie Lunceford And His Orchestra–    Back Door Stuff - Part 2 2:46
Arranged By – Roger Segure
13    Jimmie Lunceford And His Orchestra–    Jeep Rhythm 2:54
Arranged By – Horace Henderson
14    Jimmie Lunceford And His Orchestra–    I'm Gonna See My Baby 2:57
Vocals – Orchestra
15    Jimmie Lunceford And His Orchestra–    That Someone Must Be You 2:52
Vocals – Claude Trenier
16    Jimmie Lunceford And His Orchestra–    I'm In A Jam With Baby 3:03
Vocals – Bill Darnell
17    Jimmie Lunceford And His Orchestra–    Buzz-Buzz-Buzz 2:25
Vocals – Claude Trenier
18    Jimmie Lunceford And His Orchestra–    This Is My Confession To You    3:02
19    Jimmie Lunceford And His Orchestra And Delta Rhythm Boys–    Baby, Are You Kiddin'? 3:00
Vocals – The Delta Rhythm Boys
20    Jimmie Lunceford And His Orchestra And Delta Rhythm Boys–    The Honeydripper 2:44
Vocals – The Delta Rhythm Boys
Credits :    
Alto Saxophone – Chauncey Jarrett (tracks: 11 to 13), Kirkland Bradford (tracks: 14 to 20)
Bass – Moses Allen (tracks: 1 to 5), Charles "Truck" Parham (tracks: 6 to 20)
Clarinet, Alto Saxophone – Dan Grissom (tracks: 1 to 10), Omer Simeon (tracks: 11 to 20), Ted Buckner (tracks: 1 to 5)
Clarinet, Alto Saxophone, Baritone Saxophone – Earl Carruthers, Willie Smith (tracks: 1 to 10)
Clarinet, Tenor Saxophone – Joe Thomas
Directed By – Jimmie Lunceford
Drums – Joe Marshall (tracks: 11 to 20)
Drums, Vibraphone – Jimmy Crawford (tracks: 1 to 10)
Guitar – Al Norris (tracks: 1 to 13), John Mitchell (tracks: 14 to 20)
Piano, Celesta – Edwin Wilcox
Tenor Saxophone – Benny Waters (tracks: 6 to 10), Ernest Purce (tracks: 11 to 20)
Trombone – Earl Hardy (tracks: 11 to 20), Elmer Crumbley (tracks: 1 to 5), Fernando Arbello (tracks: 6 to 20), James Williams (tracks: 19, 20), John "Streamline" Ewing (tracks: 11 to 20), Russell Bowles (tracks: 1 to 13), James "Trummy" Young (tracks: 1 to 10)
Trumpet – Bob Mitchell (tracks: 6 to 13, 19 to 20), Charles "Chuck" Stewart (tracks: 19, 20), Freddy Webster (tracks: 6 to 10), Gerald Wilson (tracks: 1 to 5), Harry "Pee Wee" Jackson (tracks: 6 to 10), Melvin Moore (tracks: 11 to 18), Paul Webster (tracks: 1 to 10), Ralph Griffin (tracks: 14 to 18), Russell Green (tracks: 11 to 20), Eugene "Snooky" Young (tracks: 1 to 5), William "Chiefie" Scott (tracks: 11 to 20)

JIMMIE LUNCEFORD AND HIS ORCHESTRA – 1945-1947 | The Classics Chronological Series – 1082 (1999) FLAC (tracks), lossless

After a lengthy run of carefully laid-out chronological Lunceford, the folks at Classics gathered up material that wasn't included in the previous volumes and laid it out as a prelude to the very last of the records made by this excellent big band under Lunceford's leadership. Whatever the reasons were for the inconsistent chronology, this bag of remnants forms an interesting encapsulation of Lunceford's last years. The core sample opens with five previously unissued Decca recordings, the first dating from December of 1944. This pre-dates the range of years as stated in the CD's title, but who's counting. The serious problem involves Sy Oliver's departure from the band in 1939 and Lunceford's quest for stylistic stability from that point onwards. One tactic involved sentimental vocalists, some of them much less hip than singing tenor man Joe Thomas. Speaking of saxophones, this band had a wicked reed section and a justifiably famous load of brass on top. Four V-Disc sides show off all of the ensemble's best qualities. Finally we come to the Lunceford band's Majestic recordings, which are a gas. Slim Gaillard's "Cement Mixer" is nearly as delightful as the original. There is a similarly spiffed group vocal on "Sit Back and Ree-Lax (With Your Battle Ax)." In addition to several remakes of earlier Lunceford hits, this disc contains no less than three different versions of Eddie Wilcox's "I Need a Lift." By the time you get to the Majestic take, you'll be able to sing along with the band. Trummy Young practically whispers his way across a thoroughly cool portrait of "Margie," and Joe Thomas handles three more topical treats, including a funny, rocking theatrical take on "Call the Police," a song most commonly associated with the King Cole Trio. Lunceford's version has shouts from the band and more than a few blasts on a police whistle. Thomas also contributed "Shut-Out," a hard-boiled bit of swing with a particularly strong rhythm component. "Water Faucet" is a stupid, shameless imitation of "Cement Mixer" burdened by a lot of slapstick dialogue with all the dignity of a Fatty Arbuckle skit. A volcanic "One O'Clock Jump" (with a fade-out!) finishes off this grab bag of uncommon Lunceford, pointing the way to the next part of the story. This consists of recordings made after Jimmie Lunceford's death, with the orchestra under the direction of Ed Wilcox and Joe Thomas. arwulf arwulf  
Tracklist :
1    Oh Gee, Oh Gosh 2:38
2    I Passed Through Memphis Last Night 2:55
3    I Need A Lift 2:51
4    Where's The Melody 2:32
5    I've Got The Carolina Blues 2:57
6    The Jimmies 3:30
7    I Need A Lift 2:30
8    For Dancers Only 2:28
9    What To Do 3:06
10    Cement Mixer 2:44
11    Just Once Too Often 3:05
12    Jay Gee 2:44
13    Sit Back And Ree-Lax 2:37
14    The "Jimmies" 2:59
15    I Need A Lift 2:33
16    Them Who Has Gets 2:55
17    Margie 3:05
18    Four Or Five Times 3:16
19    Shut-Out (Close Out) 2:39
20    Call The Police 3:01
21    Water Faucet 2:39
22    One O'Clock Jump 3:11

JIMMIE LUNCEFORD'S ORCHESTRA – 1948-1949 | The Classics Chronological Series – 1151 (2000) FLAC (tracks), lossless

After Jimmie Lunceford's death on July 12, 1947 (reportedly of poisoning by a disgruntled racist owner of a restaurant who was mad at being forced to feed Lunceford and his musicians), his orchestra struggled on under the leadership of pianist Ed Wilcox and tenor saxophonist Joe Thomas. The band's final 18 recordings (very rare numbers cut for the Manor, Dot, and Perception labels) are on this CD. The orchestra was still potentially strong, featuring fine high-note trumpet work from Paul Webster, clarinetist Omer Simeon, and Thomas on tenor and vocals. But without their leader, it was a losing battle for the ghost orchestra. To the credit of Wilcox and Thomas, the band's last recordings do not feature recreations of past glories but instead look ahead to the potential future, with some R&B-ish jams and jivey vocal numbers; unfortunately there would be no further hits. This intriguing CD concludes with a two-part version of "When the Swallows Come Back to Capistrano" from 1942 by a completely unidentified orchestra, under the title of "A Tribute to Jimmie Lunceford." Scott Yanow  
Tracklist :
1    Scratch My Back 2:53
Vocals – Joe Thomas
2    Saxology    2:31
3    What 'Cha Gonna Do? 3:01
Vocals – Joe Thomas
4    One For The Book    2:35
5    Sneaky Pete 3:19
Vocals – Joe Thomas
6    Moonbeams    2:46
7    Ooh, That's What I Like 2:37
Vocals – Freddy Bryant
8    Fatigue    2:57
9    Midriff    2:37
10    At Sundown    4:15
11    A Study In Blue 2:55
Vocals – Savannah Churchill
12    Jackie 2:55
Vocals – Joe Thomas
13    Arleen    3:10
14    Gug Mug (Grazing)    2:39
15    The Worm    2:35
16    My Baby And Me 2:37
Vocals – Joe Thomas
17    That's The Way You Fall In Love 2:57
Vocals – Freddy Bryant
18    Magic Of You    2:35
19    When The Swallows Come Back To Capistrano, Part 1    2:44
20    When The Swallows Come Back To Capistrano, Part 2    1:59
Credits :    
Alto Saxophone – Curby Alexander (tracks: 12 to 18), Otis "Hashim" Hicks (tracks: 1 to 11)
Baritone Saxophone – Earl Carruthers (tracks: 1 to 18)
Bass – Ed Sneed (tracks: 1 to 18)
Clarinet, Alto Saxophone – Omer Simeon (tracks: 1 to 18)
Drums – Danny Farrar (tracks: 12 to 18), Joe Marshall (tracks: 1 to 11)
Guitar – Al Norris (tracks: 1 to 18)
Piano, Directed By – Edwin Wilcox (tracks: 1 to 18)
Tenor Saxophone – Lee Howard (tracks: 1 to 11)
Tenor Saxophone [poss.] – Slim Henderson (tracks: 12 to 18), Todd Rhodes (tracks: 12 to 18)
Tenor Saxophone, Directed By – Joe Thomas (3) (tracks: 1 to 18)
Trombone – Al Cobbs (tracks: 1 to 11), Arnett Sparrow (tracks: 12 to 18), Elmer Crumbley (tracks: 1 to 18), Russell Bowles (tracks: 1 to 18)
Trumpet – Bob Mitchell (tracks: 1 to 18), Paul Webster (tracks: 1 to 18), Rostelle Reese (tracks: 12 to 18), Tommy Simms (tracks: 12 to 18), Willie Cook (tracks: 1 to 11)

JABBO SMITH'S RHYTHM ACES – 1929-1938 (2006) The Classics Chronological Series – 669 | FLAC (tracks+.cue), lossless

Although only 20 years old, trumpeter Jabbo Smith cut virtually all of his finest recordings in 1929, when he was touted as a competitor to Louis Armstrong. Smith's 19 sides with his Rhythm Aces (all of which are on this essential CD) are some of the most exciting recordings of the era. Often teamed in a quintet with Omer Simeon (on clarinet and alto), pianist Cassino Simpson, banjoist Ikey Robinson, and the tuba of Hayes Alvis (subs appear on a few numbers), Jabbo's reckless and explorative trumpet flights are often thrilling. Highlights include "Jazz Battle," "Till Times Get Better," "Ace of Rhythm," and "Band Box Stomp," but all of the performances (including Smith's trombone solo on "Lina Blues" and his occasional and effective vocals) are well worth hearing. The CD concludes with Jabbo Smith's four-song 1938 session, which is disappointingly tame. Strange as it seems, Smith was past his prime by 1930 when he was only 21. Except for some early sideman appearances and forgettable efforts in later years (plus one previously unissued Rhythm Ace side from 1929 that was unearthed in the mid-'90s by the Retrieval label), this CD essentially contains Jabbo Smith's entire legacy, although he would live until 1991. Scott Yanow   
Tracklist :
1 Jazz Battle 2:40
Jabbo Smith  
2 Little Willie Blues 3:24
Jabbo Smith
3 Sleepy Time Blues 3:27
Jabbo Smith
 4 Take Your Time 2:48
Jabbo Smith
 5 Sweet and Low Blues 3:21
Jabbo Smith
 6 Take Me to the River 2:51
Jabbo Smith
 7 Ace of Rhythm 2:55
Jabbo Smith
 8 Let's Get Together 3:30
Jabbo Smith
 9 Sau Sha Stomp 3:06
Jabbo Smith
 10 Michigander Blues 3:22
Jabbo Smith
 11 Decatur Street Tutti 2:48
Jabbo Smith
 12 Till Times Get Better 3:09
Jabbo Smith
 13 Lina Blues 3:32
Jabbo Smith
 14 Weird and Blue 3:03
Jabbo Smith
15 Croonin' the Blues 3:13
Jabbo Smith
 16 I Got the Stinger 3:20
Jabbo Smith
 17 Boston Skuffle 2:52
Jabbo Smith
 18 Tanguay Blues 2:48
Jabbo Smith
 19 Band Box Stomp 3:02
Jabbo Smith
 20 Moanful Blues 3:00
Jabbo Smith
 21 Rhythm in Spain 2:44
Jabbo Smith
 22 Absolutely 3:00
Jabbo Smith / M. Williams 
 23 More Rain, More Rest 2:46
Jabbo Smith / M. Williams
 24 How Can Cupid Be So Stupid? 3:10
Jabbo Smith