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 Paul Mares and Leon Roppolo retain their position at the center of things, but trombonist George Brunies has been replaced by the dashing Santo Pecora.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  
Tracklist + Credits :

PAT FLOWERS – 1941-1945 | The Classics Chronological Series – 1060 (1999) FLAC (tracks+.cue), lossless

Pat Flowers was a fine stride pianist whose dedication to playing in a style similar to Fats Waller's at first helped and then ultimately hurt his career. His jivey remarks and vocals lacked Waller's humor and warmth, being a bit distracting and annoying at times, but his piano playing was excellent. This CD has Flowers' first recordings: two trios from 1941 when he was 21, a couple of solo piano-vocals from 1944 (originally put out as V-Discs), and four instrumentals from 1945 (including "Chopin E Minor Waltz" and "Canteen Honky Tonk Boogie") that are enjoyable. The bulk of the CD is taken from a radio broadcast on Feb. 11, 1945, that was a tribute to the recently deceased Fats Waller. All of the selections that involve Flowers are included: piano solos, sextet selections with Fats Waller's former group (including trumpeter Herman Autrey, Gene Sedric on clarinet and tenor, and guitarist Al Casey) plus numbers with a variety of guest stars. Xylophonist Red Norvo is featured on "Honeysuckle Rose," Louis Armstrong is showcased on "On the Sunny Side of the Street" and "I Got Rhythm," and there are spots for trombonist Tommy Dorsey, pianist James P. Johnson, and singers Mildred Bailey and Red McKenzie. Overall this is an interesting CD, but one wishes Pat Flowers did not talk quite so much! Scott Yanow  
Tracklist & Credits :

RED NICHOLS – 1929 | The Classics Chronological Series – 1332 (2003) FLAC (tracks+.cue), lossless

By 1929, Red Nichols had been active as a recording artist for nearly eight years. He had been making a name for himself as a leader since 1925, usually in the company of a superhuman trombonist by the name of Miff Mole. While some folks might focus upon the presence of Jimmy Dorsey, seasoned early jazz addicts will also cherish the opportunity to commune with the spirits of Miff Mole, Vic Berton and Arthur Schutt. The first three selections reveal what these men were able to accomplish under optimal conditions,( i.e. without vocals or violins). The band is wonderful, especially when Adrian Rollini introduces "Allah's Holiday" with the bass saxophone or takes a weird solo during "Roses of Picardy" using an ebonite tube full of holes with a clarinet mouthpiece stuck in the end of it. This bizarre instrument was identified as the E flat "hot fountain pen." It has a reedy, often slightly congested sound. The Captivators session brings on a veritable sitz bath of early-'30s smooth dance band effects. The instrumental takes were shipped straight to Germany, while Scrappy Lambert's vocal tracks were foisted upon the American record-buying public. Glenn Miller sounds as though he's blowing his trombone into a wine bottle during the instrumental version of "I'm Marching Home to You." At their best these sides enable the listener to cultivate a pleasantly false sense of well-being. Miller, Jack Teagarden, Babe Russin and multi-instrumental Benny Goodman made for a perfectly reasonable Five Pennies until Scrappy showed up and started singing "On the Alamo." After he ran out of breath, they gagged the Lamb and recorded a perfectly good instrumental take. A 19-piece Five Pennies band -- including four violins -- deliberately created a movie soundtrack malaise before the arrangement kicked the band into a suitably rambunctious background for Teagarden's handsome vocal on "Sally, Won't You Come Back?." Two weeks later, swollen to 20 players with Lambert attached to its neck like a pilot fish, the band cut three more sentimentally disturbed numbers. On June 12 of 1929, Nichols carved his band down to 12 units. Apparently incapable of making more than a handful of records without singers, he now induced Red McKenzie to moan and groan his way through "Who Cares?." Fortunately, "Rose of Washington Square" came out as a hot instrumental, enabling the listener to enjoy the combined energies of Pee Wee Russell, Bud Freeman, Joe Sullivan and Dave Tough. By this time you might as well completely surrender to the pop music esthetic of mid- to late- 1929 and simply enjoy the lyrics to "I May Be Wrong, But I Think You're Wonderful." Lambert is, well, useful as a concise articulator of the words to "They Didn't Believe Me," one of the few songs Jerome Kern would be remembered for if he hadn't slept in and missed the boat when the Lusitania sailed off on its rendezvous with German torpedoes in 1915. If you forget that this is supposed to have something to do with jazz, it feels like a two-bit lieder recital. So what the hell. After all is said and done, it really is a lovely old tune. arwulf arwulf  
Tracklist
1    Red Nichols And His Five Pennies–    Alice Blue Gown    2:45
2    Red Nichols And His Five Pennies–    Allah's Holiday    3:18
3    Red Nichols And His Five Pennies–    Roses Of Picardy    2:38
4    The Captivators , Direction Of Red Nichols–    I'm Marching Home To You (Vocal) 3:08
Vocals – Scrappy Lambert
5    The Captivators , Direction Of Red Nichols–    I'm Marching Home To You (Instr.)    3:04
6    The Captivators , Direction Of Red Nichols–    Building A Nest For Mary (Vocal) 3:07
Vocals – Scrappy Lambert
7    The Captivators , Direction Of Red Nichols–    Building A Nest For Mary (Instr.)    3:06
8    The Captivators , Direction Of Red Nichols–    I Used To Love Her In The Moonlight (Vocal) 3:02
Vocals – Scrappy Lambert
9    The Captivators , Direction Of Red Nichols–    I Used To Love Her In The Moonlight (Instr.)    3:02
10    Red Nichols And His Five Pennies–    Indiana 2:40
Arranged By – Glenn Miller
11    Red Nichols And His Five Pennies–    Dinah    3:15
12    Red Nichols And His Five Pennies–    On The Alamo (Vocal) 3:04
Vocals – Scrappy Lambert
13    Red Nichols And His Five Pennies–    On The Alamo (Instr.)    3:05
14    Red Nichols And His Five Pennies–    Sally, Won't You Come Back? 4:19
Vocals – Scrappy Lambert, Jack Teagarden
15    Red Nichols And His Five Pennies–    It Had To Be You 4:46
Arranged By – Arthur Schutt
Vocals – Scrappy Lambert
16    Red Nichols And His Five Pennies–    I'll See You In My Dreams 4:36
Arranged By – Glenn Miller
Vocals – Scrappy Lambert
17    Red Nichols And His Five Pennies–    Some Of These Days 4:16
Arranged By – Herb Taylor, Red Nichols
Vocals – Scrappy Lambert, Jack Teagarden
18    Red Nichols And His Five Pennies–    Who Cares?    3:17
19    Red Nichols And His Five Pennies–    Rose Of Washington Square    2:51
20    Red Nichols And His Five Pennies–    I May Be Wrong, But I Think You're Wonderful 2:54
Vocals – Scrappy Lambert
21    Red Nichols And His Five Pennies–    The New Yorkers 3:05
Vocals – Red McKenzie
22    Red Nichols And His Five Pennies–    They Didn't Believe Me 2:55
Vocals – Scrappy Lambert
23    Red Nichols And His Five Pennies–    Wait For The Happy Ending 2:39
Arranged By – Fud Livingston
Vocals – Scrappy Lambert
24    Red Nichols And His Five Pennies–    Can't We Be Friends? 2:56
Vocals – Dick Robertson
Credits :
Alto Saxophone – Unknown Artist (tracks: 10 to 13)
Banjo – Tommy Felline (tracks: 18 to 24)
Bass – Art Miller (tracks: 4 to 13, 15 to 19), Jack Hansen (tracks: 20 to 24), Joe Tarto (tracks: 14 to 17)
Bass Saxophone, Instruments [Hot Fountain Pen] – Adrian Rollini (tracks: 1 to 3)
Clarinet – Fud Livingston (tracks: 1 to 3, 20 to 24), Pee Wee Russell (tracks: 18 to 24)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 1 to 3, 14 to 17, 20 to 24), Pete Pumiglio (tracks: 4 to 9)
Clarinet, Alto Saxophone, Baritone Saxophone – Benny Goodman (tracks: 9 to 13)
Clarinet, Alto Saxophone, Flute, Oboe, Bassoon – Alfie Evans (tracks: 4 to 9, 14), Arnold Brilhart (tracks: 14 to 17)
Clarinet, Tenor Saxophone – Jimmy Crossan (tracks: 4 to 9, 15 to 17)
Drums – Chick Condon (tracks: 4 to 9), Dave Tough (tracks: 18, 19), Gene Krupa (tracks: 10 to 13), George Beebe (tracks: 20 to 24), Vic Berton (tracks: 1 to 3, 14 to 17)
Guitar, Banjo – Carl Kress (tracks: 1 to 17)
Mellophone – Dudley Fosdick (tracks: 1 to 3)
Piano – Arthur Schutt (tracks: 1 to 17), Irving Brodsky (tracks: 20 to 24), Joe Sullivan (tracks: 18, 19)
Tenor Saxophone – Babe Russin (tracks: 10 to 13), Bud Freeman (tracks: 18, 19)
Tenor Saxophone, Flute, Oboe – Larry Binyon (tracks: 14 to 17)
Trombone – Bill Trone (tracks: 14), Glenn Miller (tracks: 4 to 24), Herb Taylor (tracks: 15 to 24), Jack Teagarden (tracks: 10 to 24), Miff Mole (tracks: 1 to 3)
Trombone [Either, Or] – Bill Trone (tracks: 10 to 13), Herb Taylor (tracks: 10 to 13)
Trumpet – John Egan* (tracks: 20 to 24), Leo McConville (tracks: 10 to 14), Manny Klein (tracks: 1 to 19), Red Nichols, Tommy Thunen (tracks: 15 to 24)
Violin – Henry Whiteman (tracks: 14 to 17, 20, 21, 23, 24), Joe Raymond (tracks: 14 to 17), Lou Raderman (tracks: 14 to 17), Maurice Goffin (tracks: 20, 21, 23, 24), Murray Kellner (tracks: 14 to 17)
Violoncello – Lucien Schmitt (tracks: 14 to 17)

BUD FREEMAN – 1928-1938 | The Classics Chronological Series – 781 (1994) FLAC (tracks+.cue), lossless

Bud Freeman was virtually the only key tenor saxophonist of the 1928-35 period who did not sound heavily influenced by Coleman Hawkins. Freeman, whose style fell between Dixieland and swing and who has long had a distinctive sound, is heard on this Classics CD at the head of several classic groups. There are two titles from 1928 with an octet also including obscure trumpeter Johnny Mendel, pianist Dave North, drummer Gene Krupa and (on "Can't Help Lovin' That Man") singer Red McKenzie. While those performances have early examples of Freeman's style, the tenor's sound was very much formed by the time of the 1935 sextet date with the brilliant trumpeter Bunny Berigan; Bud and Bunny made for an exciting team. The bulk of this CD features Freeman in prime form jamming in a trio with pianist Jess Stacy and drummer George Wettling; these versions of "You Took Advantage of Me," "I Got Rhythm," "Keep Smiling at Trouble" and "My Honey's Loving Arms" are definitely classics. Also on this CD are five numbers on which Freeman leads an all-star octet also including cornetist Bobby Hackett, clarinetist Pee Wee Russell, Stacy and Eddie Condon. Although this music has been reissued in many different settings through the years, it is certainly essential (in one form or another) to all historical jazz collections. Scott Yanow  
Tracklist :
1    Bud Freeman And His Orchestra–    Craze-O-Logy 2:55
Written-By – Freeman
2    Bud Freeman And His Orchestra–    Can't Help Lovin' Dat Man 3:20
Vocals – Red McKenzie
Written-By – Kern
3    Bud Freeman And His Windy City Five–    What Is There To Say? 3:27
Written-By – Harburg, Duke
4    Bud Freeman And His Windy City Five–    The Buzzard 3:07
Written-By – Freeman
5    Bud Freeman And His Windy City Five–    Tillie's Downtown Now 3:18
Written-By – Freeman
6    Bud Freeman And His Windy City Five–    Keep Smilin' At Trouble 3:09
Written-By – Jolson, De Sylva
7    Bud Freeman Trio–    You Took Advantage Of Me 2:50
Written-By – Rogers-Hart
8    Bud Freeman Trio–    Three's No Crowd 1:55
Written-By – Freeman, Wettling, Stacy
9    Bud Freeman Trio–    I Got Rhythm 2:48
Written-By – Gershwin
10    Bud Freeman Trio–    Keep Smilin' At Trouble 2:49
Written-By – Jolson, De Sylva, Gensler
11    Bud Freeman Trio–    At Sundown 2:55
Written-By – Donaldson
12    Bud Freeman Trio–    My Honey's Lovin' Arms 2:59
Written-By – Ruby, Meyer
13    Bud Freeman Trio–    I Don't Believe It 2:57
Written-By – Freeman
14    Bud Freeman And His Gang–    Tappin' The Commodore Till 2:45
Written-By – The Bunch
15    Bud Freeman And His Gang–    Memories Of You 3:13
Written-By – Razaf, Blake
16    Bud Freeman And His Gang–    "Life" Spears A Jitterbug 2:50
Written-By – King, Gabler
17    Bud Freeman And His Gang–    What's The Use? 3:16
Written-By – Newman, Jones
18    Bud Freeman Trio–    Three Little Words 2:56
Written-By – Kalmar, Ruby
19    Bud Freeman Trio–    Swingin' Without Mezz 3:07
Written-By – Anderson, Gabler
20    Bud Freeman Trio–    The Blue Room 3:02
Written-By – Rodgers-Hart
21    Bud Freeman Trio–    Exactly Like You 2:44
Written-By – McHugh-Fields
22    Minerva Pious And Bud Freeman–    Private Jives 5:05
Written-By – De Vries
Credits :    
Alto Saxophone – Dave Matthews (tracks: 14 to 17)
Banjo – Norman Foster (tracks: 1, 2)
Bass [String Bass] – Artie Shapiro (tracks: 14 to 17), Grachan Moncur (tracks: 3 to 6), John Mueller* (tracks: 1, 2)
Clarinet – Bud Freeman (tracks: 4, 5), Bud Jacobson (tracks: 1, 2), Pee Wee Russell (tracks: 14 to 17)
Cornet – Bobby Hackett (tracks: 14 to 17)
Drums – Cozy Cole (tracks: 3 to 6), Dave Tough (tracks: 14, 15), Gene Krupa (tracks: 1, 2), George Wettling (tracks: 7 to 13, 18 to 21), Marty Marsala (tracks: 16, 17)
Guitar – Eddie Condon (tracks: 3 to 6, 14 to 17)
Piano – Claude Thornhill (tracks: 3 to 6), Dave North (tracks: 1, 2), Jess Stacy (tracks: 7 to 13, 14 to 21)
Speech – Bud Freeman (tracks: 22), Minerva Pious (tracks: 22)
Tenor Saxophone – Bud Freeman (tracks: 1 to 21)
Trombone – Floyd O'Brien (tracks: 1, 2)
Trumpet – Bunny Berigan (tracks: 3 to 6), Johnny Mendel (tracks: 1, 2)
Trumpet, Piano – Joe Bushkin (tracks: 22)

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)

COLEMAN HAWKINS – 1929-1934 | The Classics Chronological Series – 587 (1992) FLAC (tracks+.cue), lossless

By the time these recordings were cut, Hawkins had almost fully come into his own as the first real threat on the tenor saxophone. His work with Fletcher Henderson's band during the '20s had put him center stage, and he was on the brink of a five-year European sojourn by the time the last tracks here came out. The collection starts out with two numbers Hawkins cut with Red McKenzie's Mound City Blue Blowers, including the hot-blowing "Hello Lola!," and proceeds with highlights from a Jack Purvis date from 1930. The nine sides Hawkins recorded with trumpeter Henry "Red" Allen in 1933, though, represent the disc's high point. With a stellar octet featuring clarinetist Russell Procope, bassist John Kirby, and trombonist Dicky Wells, Hawkins and Allen both shine on such highlights as "I've Got to Sing a Torch Song" and "'Ol' Man River." Topped off with some equally fine duet tracks with trumpeter Buck Clayton, this Classics title offers a top-notch view of Hawkins' often overlooked early material. Stephen Cook
Tracklist :
1     Hello Lola! 3:12
Red McKenzie / Gordon Means    
2     One Hour (If I Could Be With You One Hour Tonight) 3:22
Henry Creamer / James P. Johnson    
3     Dismal Dan 3:04
Jack Purvis    
4     Poor Richard 3:02
Jack Purvis    
5     Down Georgia Way 3:26
Jack Purvis
6     Georgia on My Mind 3:20
Hoagy Carmichael / Stuart Gorrell    
7     I Can't Believe That You're in Love With Me 3:06
Clarence Gaskill / Jimmy McHugh    
8     The Darktown Strutters' Ball 3:00
Shelton Brooks    
9     You Rascal You 3:26
Sam Theard    
10     The Day You Came Along 3:36
Sam Coslow / Arthur Johnston    
11     Jamaica Shout       2:56
Fletcher Henderson    
12     Heartbreak Blues 3:26
Coleman Hawkins    
13     Happy Feet 2:49
Milton Ager / Jack Yellen    
14     Rhythm Crazy Now 3:14
Fletcher Henderson    
15     Ol' Man River 3:06
Oscar Hammerstein II / Jerome Kern    
16     Minnie the Moocher's Wedding Day 3:04
Harold Arlen / Ted Koehler    
17     Ain't Cha Glad? 3:18
Andy Razaf / Fats Waller    
18     I've Got to Sing a Torch Song 3:37
Al Dubin / Harry Warren    
19     It Sends Me 3:12
Coleman Hawkins    
20     I Ain't Got Nobody 3:18
Roger Graham / Dave Peyton / Spencer Williams    
21     On the Sunny Side of the Street 3:27
Dorothy Fields / Jimmy McHugh