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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LUIS RUSSELL AND HIS ORCHESTRA – 1926-1929 | The Chronogical Classics – 588 (1991) FLAC (tracks+.cue), lossless

This Classics Russell collection and the label's later 1929-1934 disc round up the entire output by the Panamanian bandleader. And while some know them better for the fact they eventually morphed into Louis Armstrong's first big band in the early '30s, Russell's outfit originally cut some of the best sides to surface during the music's transition from early jazz to big band music. The cream of the tracks were recorded between 1929-1930, when the group included such top soloists as trumpeter Henry Allen, trombonist J.C. Higginbotham, saxophonists Charlie Holmes and Albert Nicholas, bassist Pops Foster, and drummer Paul Barbarin. The majority of the collection spotlights this period, with such standouts as "Jersey Lightning," "The New Call of the Freaks," and "African Jungle." Starting things off, though, are eight numbers from Russell's first sessions as a leader (this was while he was still with King Oliver). Featuring Victoria Spivey on vocals and two Jell Roll Morton alums in Kid Ory and George Mitchell, the Chicago-cut sides, while not on par with the later large-band tracks, still impress with their mix of New Orleans and Chicago styles. A quality disc that's best left to completists; newcomers should first consider JSP's superior-sounding Savoy Shout collection as a starting point. Stephen Cook  
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BLUE LU BARKER – 1946-1949 | The Classics Chronological Series – 1130 (2000) FLAC (tracks+.cue), lossless

Singer Blue Lu Barker's second Classics release has all of her recordings from 1946-1949 and, combined with the earlier release (1938-1939), all of her sessions as a leader are now available. Barker was a pleasant if limited singer and one might want to hear these 25 selections in small doses. Blu Lu is joined by combos (usually five to seven pieces) led by her husband guitarist Danny Barker, who also contributed the majority of the tunes. The backup groups include such notables as trumpeter Shad Collins, tenors Teddy McRae and Jerry Jerome, and pianist Gerald Wiggins. The music, released originally by Apollo and Capitol (except for three cuts originally rejected), include a remake of "Don't You Feel My Leg" and such tunes as "You Gotta Show It to Me Baby," "I Feel Like Laying in Another Woman's Husband's Arms," "Now You're Down in the Alley," "Loan Me Your Husband," and "Bow-Legged Daddy." Scott Yanow  
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