JACK TEAGARDEN — Father Of Jazz Trombone (2004) 3CD BOX-SET | FLAC (tracks+.cue), lossless

Jack Teagarden made the trombone sexy, and his pliant, lazy tone made the instrument swing like a trumpet. He was also a remarkable singer, with a warm, Texas drawl that gave everything he sang a marvelous intimacy. Such talents did not go unnoticed in the jazz world, and he worked with such notables as Benny Goodman, Coleman Hawkins, Red Nichols, Joe Venuti, Eddie Condon and Louis Armstrong, among others, throughout his long career. This three- disc box spans the years 1928 to 1947, and its 72 tracks show an amazingly consistent performer, giving the whole set a cohesiveness that makes it indispensable. Included are Teagarden's near-definitive versions of "Basin Street Blues," "Beale Street Blues," "Blue River," "Jack Armstrong Blues," "St. Louis Blues" and a couple runs at "St. James Infirmary." With his offhand, nuanced singing style, Teagarden raises songs like "Aunt Hagar's Blues" to the level of vital Americana, and no one in jazz has ever gotten more out of the trombone at any level. Combined with his early-'60s gems for Verve Records (Mis'ry and the Blues and Think Well of Me), this collection provides an overview and a wonderful introduction to an American treasure. Steve Leggett
CD One - Makin' Friends (Recordings 1928-1938)
CD Two - Jack Hits The Road (Recordings 1928-1943)
CD Three - Too Marvelous For Words (Recordings 1943-1947)

LOUIS ARMSTRONG – 1951-1952 | The Classics Chronological Series – 1283 (2003) FLAC (tracks+.cue), lossless

This series on the Classics label will be of great interest to collectors of classic jazz. The sessions are in chronological order and highlight alternate takes and radio broadcasts of historic jazz. 1951-19522 contains 23 tracks on a single disc including versions of "Big Butter and Egg Man," "When It's Sleepy Time Down South," "Takes Two to Tango," and " Indian Love Call." While the disc is definitely directed toward collectors, anyone with an interest in this period of jazz will also enjoy it. Al Campbell   Tracklist + Credits :

ELLA FITZGERALD – 1953-1954 | The Classics Chronological Series – 1404 (2005) FLAC (tracks+.cue), lossless

The 14th installment in the Classics Ella Fitzgerald chronology examines a trail of Decca recordings made between February 13, 1953, and March 30, 1954. Aside from a pair of sentimental numbers sweetened by the Ray Charles Singers, Fitzgerald spent most of the year 1953 making records with Sy Oliver's orchestra. "Somebody Bad Stole de Wedding Bell" is yet another chapter in Fitzgerald's ongoing involvement with West Indian or calypso-styled repertoire; earlier Caribbean manifestations were "Stone Cold Dead in the Market" and "My Bonnie Lies Over the Ocean." Ella closed out the year by recording with a string-laden orchestra led by John Scott Trotter, then famous for his work with Bing Crosby. Her next three studio sessions occurred toward the end of March 1954. The first of these involved the dreaded Gordon Jenkins string orchestra and chorus. Although few singers could have withstood the avalanche of refined white sugar represented by Jenkins and his soporific ensemble, Fitzgerald stood her ground and sounded great. At the beginning of the following week she made her second collaborative series of recordings with pianist Ellis Larkins; their first studio duets had taken place in September of 1950 (see Classics 1195). These beautiful performances benefit from the sort of professional autonomy and artistic integrity that Ella Fitzgerald would soon enjoy after ditching Decca and signing on with Norman Granz. arwulf arwulf
Tracklist :

THE RED HEADS – 1925-1927 | The Classics Chronological Series – 1267 (2002) FLAC (tracks+.cue), lossless

The Red Heads was a pseudonym for Red Nichols & His Five Pennies whenever their recordings were released on the Melotone, Oriole, or Perfect labels during the years 1925-1927. Following in the wake of EPM Musique's 25-track Complete edition of 1998, Jazz Oracle's 74-track, three-CD set of 2004 augmented the main body of their work with a surprisingly large number of sides by pop vocalists Jay C. Flippen and Cliff Edwards with sweet and jazzy accompaniments by the Red Heads. Edwards, also known as Ukulele Ike, eventually achieved international fame as the voice of Jiminy Cricket. This exhaustively thorough chronological survey also features vocals by Frank Gould and Arthur Fields. Having all of these charming period pop vocals in the package should be regarded as a confectionary bonus rather than a distracting disadvantage. The producers have placed the instrumentals in full context by including harmless pleasantries like "You Should See My Tootsie" and "I'm 'Gonna' Hang Around My Sugar," with the word "gonna" in quotes. Instrumentalists of note in the Red Heads discography are trumpeters Red Nichols and Wingy Manone; cornetist Brad Gowans, trombonist Miff Mole, reed players Jimmy Dorsey and Fud Livingston; pianists Arthur Schutt and Rube Bloom; guitarists Dick McDonough and Eddie Lang, and ace percussionist Vic Berton. This amazing anthology is not exclusively intended or recommended for historians, specialists, or recluses. It is a thrilling magnum dose of great historic jazz, dance, and pop recordings from smack in the middle of the '20s. No one should be put off by the quantity of tracks, the modest helping of alternate takes, or the marvelously old-fashioned nature of the music within. It is perhaps most important that it be heard by people who do not specialize in music and culture from this period. The Red Heads can and will speak to anyone. arwulf arwulf

Tracklist + Credits :

RED NICHOLS – 1925-1927 | The Classics Chronological Series – 1212 (2001) FLAC (tracks+.cue), lossless

This anthology collects sides released between 1925 and 1927 by Red Nichols under the usual assortment of monikers, including, this time around, Lanin's Red Heads, the Hottentots, Red & Miff's Stompers, and Red Nichols & His 5 Pennies. These combos usually included longtime associates Miff Mole on trombone and Jimmy Dorsey on clarinet and alto sax. As a cornet player, Nichols often gets dismissed as a version of Bix Beiderbecke lite, an assessment that isn't exactly fair, and he tackles Beiderbecke's own "Davenport Blues" here in his own easy style, showing allegiance more than competition. Other highlights here include the stripped-down "Jimtown Blues" and the intricate "Boneyard Shuffle." Nichols tackled more innovative and complicated arrangements a couple of years down the road from these recordings, and while this might not be the place to start to sample Nichols' massive 1920s output (he is rumored to have appeared on over 4,000 recordings during that decade alone), it is nonetheless a warm, bright, and pleasant listen. Steve Leggett 
Tracklist :
1    Lanin's Red Heads–    Jimtown Blues    3:08
2    Lanin's Red Heads–    King Porter Stomp    3:08
3    Lanin's Red Heads–    I Wouldn't Be Where I Am If You Hadn't Gone Away    2:55
4    Lanin's Red Heads–    Flag That Train    3:05
5    Lanin's Red Heads–    I'm Gonna Hang Around My Sugar    3:21
6    Lanin's Red Heads–    Five Foot Two, Eyes Of Blue 3:11
Vocals – Art Gillham
7    The Hottentots–    Down And Out Blues    2:59
8    The Hottentots–    The Camel Walk    2:54
9    The Hottentots–    Pensacola    2:36
10    The Hottentots–    Nobody's Rose    2:49
11    The Hottentots–    Lots O'Mama    2:40
12    Red And Miff's Stompers–    Alabama Stomp    3:47
13    Red And Miff's Stompers–    Stampede    4:38
14    Red And Miff's Stompers–    Hurricane    4:28
15    Red And Miff's Stompers–    Black Bottom Stomp    3:50
16    Red Nichols And His Five Pennies–    Washboard Blues    3:06
17    Red Nichols And His Five Pennies–    That's No Bargain    2:43
18    Red Nichols And His Five Pennies–    Buddy's Habits    2:51
19    Red Nichols And His Five Pennies–    Boneyard Shuffle    3:10
20    Red Nichols And His Five Pennies–    Alabama Stomp    2:55
21    Red Nichols And His Five Pennies–    Hurricane    2:56
22    Red And Miff's Stompers–    Delirium    3:04
23    Red And Miff's Stompers–    Davenport Blues    3:02
Credits :
Banjo – Tony Colucci (tracks: 1 to 6, 9, 10, 22, 23), Unknown Artist (tracks: 11)
Bass – Joe Tarto (tracks: 1 to 6, 12 to 15)
Clarinet – Dick Johnson (tracks: 7 to 10), Unknown Artist (tracks: 11)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 12 to 23)
Clarinet, Alto Saxophone, Soprano Saxophone – Alfie Evans (tracks: 1 to 6, 12 to 15), Clarence Heidke (tracks: 1 to 6)
Clarinet, Tenor Saxophone – George Slater (tracks: 1 to 6)
Cornet – Unknown Artist (tracks: 11)
Directed By – Sam Lanin (tracks: 1 to 6)
Drums – Unknown Artist (tracks: 11), Vic Berton (tracks: 1 to 10, 12 to 23)
Guitar – Eddie Lang (tracks: 16 to 21)
Piano – Art Gillham (tracks: 5, 6), Arthur Schutt (tracks: 12 to 23), Bill Krenz (tracks: 1 to 4), Rube Bloom (tracks: 7 to 10), Unknown Artist (tracks: 11)
Saxophone [C-Melody] – Unknown Artist (tracks: 11)
Trombone – Miff Mole (tracks: 1 to 10, 12 to 15, 18 to 23), Unknown Artist (tracks: 11)
Trumpet – Hymie Farberman (tracks: 1 to 6), Red Nichols (tracks: 1 to 10, 12 to 23)
Violin – Unknown Artist (tracks: 5, 6)

RED NICHOLS – 1927-1928 | The Classics Chronological Series – 1241 (2002) FLAC (tracks+.cue), lossless

Loring "Red" Nichols was an expert cornet player, a solid improviser, and apparently a workaholic, since he is rumored to have appeared on over 4,000 recordings during the 1920s alone. One of the ways he managed this feat was by appearing under countless different names, and in the case of this collection covering the years 1927 and 1928, he made recordings as Red Nichols & His 5 Pennies, the Six Hottentots, Red & Mill's Stompers, and Red Nichols' Stompers. Pay no attention to whether there were five Pennies or six Hottentots, since Nichols' groups tended to be eight or ten pieces or more, no matter what the moniker read, and usually featured longtime associates Miff Mole on trombone, Jimmy Dorsey on clarinet or alto sax, and the marvelous Dudley Fosdick on mellophonium. This collection features one of the biggest hits of Nichols' career, "Ida, Sweet as Apple Cider," and like "Cornfed," also collected here, it effortlessly combines a sophisticated arrangement with a kind of easy, down-home feel that masks its complexities. Although critics often brush right by him, Nichols was always a fresh and innovative arranger and bandleader. Steve Leggett  
Tracklist :
1    Red Nichols And His Five Pennies–    Bugle Call Rag    2:51
2    Red Nichols And His Five Pennies–    Back Beats    2:50
3    The Six Hottentots–    I'm In Love Again    2:48
4    The Six Hottentots–    Sometimes I'm Happy    3:05
5    The Six Hottentots–    Rosy Cheeks    2:55
6    The Six Hottentots–    The Memphis Blues    3:09
7    The Six Hottentots–    Melancholy Charlie    2:57
8    The Six Hottentots–    Hurricane    3:01
9    Red Nichols And His Five Pennies–    Cornfed    2:50
10    Red Nichols And His Five Pennies–    Five Pennies    2:48
11    Red Nichols And His Five Pennies–    Mean Dog Blues    3:11
12    Red Nichols And His Five Pennies–    Riverboat Shuffle 3:01
Arranged By – Fud Livingston
13    Red Nichols And His Five Pennies–    Eccentric 2:58
Arranged By – Fud Livingston
14    Red Nichols And His Five Pennies–    Ida, Sweet As Apple Cider 2:47
Arranged By – Lennie Hayton
15    Red Nichols And His Five Pennies–    Feelin' No Pain 2:54
Arranged By – Fud Livingston
16    Red And Miff's Stompers–    Slippin' Around    2:45
17    Red And Miff's Stompers–    Feelin' No Pain    3:04
18    Red Nichols' Stompers–    Sugar    3:17
19    Red Nichols' Stompers–    Make My Cot Where The Cot-Cot-Cotton Grows    3:18
20    Red Nichols And His Five Pennies–    Nobody's Sweetheart    3:05
21    Red Nichols And His Five Pennies–    My Gal Sal    3:08
22    Red Nichols And His Five Pennies–    Avalon    3:07
23    Red Nichols And His Five Pennies–    Japanese Sandman    3:16
Credits :
Alto Saxophone – Max Farley (tracks: 18, 19)
Bass Saxophone, Instruments [Goofus] – Adrian Rollini (tracks: 9 to 15, 18, 19)
Brass Bass – Jack Hanson (tracks: 16 to 19), Joe Tarto (tracks: 3 to 8)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 1 to 11)
Clarinet, Tenor Saxophone – Fud Livingston (tracks: 11 to 17, 20 to 23), Pee Wee Russell (tracks: 11 to 23)
Drums – Chauncey Morehouse (tracks: 18, 19), Vic Berton (tracks: 1 to 17, 20 to 23)
Guitar – Carl Kress (tracks: 16 to 23), Dick McDonough (tracks: 12 to 15), Eddie Lang (tracks: 1, 2, 9 to 11)
Mellophone – Dudley Fosdick (tracks: 20 to 23)
Piano – Arthur Schutt (tracks: 1 to 11)
Piano [Either/Or] – Arthur Schutt (tracks: 18, 19), Lennie Hayton (tracks: 18, 19)
Piano, Celesta – Lennie Hayton (tracks: 12 to 17, 20 to 21)
Saxophone [C-Melody] – Frank Trumbauer (tracks: 18, 19)
Trombone – Bill Rank (tracks: 18, 19), Miff Mole (tracks: 1 to 15, 18 to 23), Unknown Artist (tracks: 18, 19)
Trumpet – Bo Ashford (tracks: 18, 19), Leo McConville (tracks: 12 to 15), Manny Klein (tracks: 12 to 15), Red Nichols
Violin – Joe Venuti (tracks: 1, 2, 9 to 11)
Vocals – Charlie Farrell (tracks: 18, 19), Irving Kaufman (tracks: 3 to 5), Jim Miller (17) (tracks: 18, 19)

RED NICHOLS – 1928-1929 | The Classics Chronological Series – 1270 (2002) FLAC (tracks+.cue), lossless

This collection, drawn from recordings done by Red Nichols in 1928 and 1929, finds him in transition, struggling to deal with the advent of Dixieland and the coming big-band era. Nichols worked best with midsize bands (six to ten pieces), and his most successful arrangements (the lead track here, "Poor Butterfly," is a good example) feature unusual tonal placements that give each piece an edgy, cinematic feel. Dixieland made such touches far too subtle, and Nichols was unable to play to his strengths as the 1930s progressed. A valuable record of an interesting jazzman at the crossroads, this compilation will find its greatest appeal with serious jazz buffs, historians, and collectors. Steve Leggett
Tracklist :
1    Red Nichols And His Five Pennies–    Poor Butterfly (Vocal)    3:58
2    Red Nichols And His Five Pennies–    Poor Butterfly (Instr.)    4:01
3    Red Nichols And His Five Pennies–    Can't Yo' Hear Me Calling, Caroline? (Vocal)    4:05
4    Red Nichols And His Five Pennies–    Can't Yo' Hear Me Calling, Caroline? (Instr.)    4:04
5    Red Nichols And His Five Pennies–    Panama    3:02
6    Red Nichols And His Five Pennies–    There'll Come A Time    3:14
7    Red Nichols And His Five Pennies–    Dear Old Southland (Vocal)    4:27
8    Red Nichols And His Five Pennies–    Dear Old Southland (Instr.)    4:31
9    Red Nichols And His Five Pennies–    Limehouse Blues (Vocal)    4:38
10    Red Nichols And His Five Pennies–    Limehouse Blues (Instr.)    4:32
11    Red Nichols And His Five Pennies–    Whispering    3:03
12    Red Nichols And His Five Pennies–    I Can't Give You Anything But Love    2:49
13    Red Nichols And His Five Pennies–    Margie    2:56
14    Red Nichols And His Five Pennies–    Imagination    2:57
15    Red Nichols And His Five Pennies–    Original Dixieland One-Step    2:46
16    Red Nichols And His Orchestra–    Harlem Twist 2:51
Vocals – Chauncey Morehouse
17    Red Nichols And His Orchestra–    Five Pennies    3:25
18    Red Nichols And His Five Pennies–    A Pretty Girl Is Like A Melody    3:03
19    Red Nichols And His Five Pennies–    I Never Knew    2:58
20    Red Nichols And His Five Pennies–    Who's Sorry Now?    3:01
21    Red Nichols And His Five Pennies–    Chinatown, My Chinatown    3:13
Credits :
Bass – Art Miller (tracks: 1 to 15)
Clarinet, Alto Saxophone – Benny Goodman (tracks: 19 to 21), Jimmy Dorsey (tracks: 5, 6, 18)
Clarinet, Tenor Saxophone – Fud Livingston (tracks: 1 to 18, 21)
Drums – Vic Berton (tracks: 1 to 12, 18)
Drums, Vibraphone – Chauncey Morehouse (tracks: 13 to 17, 19 to 21)
Guitar – Carl Kress (tracks: 1 to 6, 13 to 21), Eddie Lang (tracks: 7 to 10)
Mellophone – Dudley Fosdick
Piano – Arthur Schutt (tracks: 1 to 20)
Piano, Celesta – Lennie Hayton (tracks: 21)
Trombone – Miff Mole
Trumpet – Leo McConville (tracks: 1 to 11, 13 to 17), Manny Klein (tracks: 1 to 10, 13 to 15, 18 to 21), Red Nichols
Violin – Joe Venuti (tracks: 11, 12), Murray Kellner (tracks: 1 to 10, 13 to 15)
Vocals – Scrappy Lambert (tracks: 1, 3, 7, 9)

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)

RED NICHOLS – 1929-1930 | The Classics Chronological Series – 1369 (2004) FLAC (tracks+.cue), lossless

The fifth installment in the Classics Red Nichols chronology focuses upon records he made between September 9, 1929, and August 27, 1930. This was a particularly fruitful period for Nichols, as he was able to hire a number of excellent players who would all be leading their own bands throughout the next couple of decades: Jack Teagarden, Benny Goodman, Glenn Miller, Tommy Dorsey, Bud Freeman, and Gene Krupa. Other jazz aces found throughout this album are multi-instrumentalist Adrian Rollini, pianists Joe Sullivan and Rube Bloom, saxophonist Babe Russin, bassist Joe Tarto, and drummer Dave Tough. This veritable infestation of great jazz talent centered around (and partially resulted from) Nichols' high-profile gig as conductor of the pit orchestra that steered the George and Ira Gershwin show Strike Up the Band through 191 performances at New York's Times Square Theatre. Vocalists include Scrappy Lambert, Teg Brown, and the ever-amiable Jack Teagarden. arwulf arwulf  
Tracklist
1    Red Nichols And His Five Pennies–    Nobody Knows    2:40
2    Red Nichols And His Five Pennies–    Smiles    3:21
3    The Captivators–    Get Happy    3:06
4    The Captivators–    Somebody To Love Me    3:20
5    Red Nichols And His Five Pennies–    Say It With Music    3:24
6    Red Nichols And His Five Pennies–    Strike Up The Band 2:42
Vocals [Uncredited] – Chester Gaylord
7    Red Nichols And His Five Pennies–    Soon 3:27
Vocals [Uncredited] – Wes Vaughan
8    Red Nichols And His Five Pennies–    Sometimes I'm Happy    3:22
9    Red Nichols And His Five Pennies–    Hallelujah!    2:53
10    Red Nichols And His Five Pennies–    I'm Just Wild About Harry    3:09
11    Red Nichols And His Five Pennies–    After You've Gone 3:11
Vocals – Jack Teagarden
12    Red Nichols And His Five Pennies–    I Want To Be Happy    2:56
13    Red Nichols And His Five Pennies–    Tea For Two    3:03
14    Red Nichols And His Five Pennies–    Peg O' My Heart    3:11
15    Red Nichols And His Five Pennies–    Sweet Georgia Brown    2:47
16    Red Nichols And His Five Pennies–    China Boy    2:50
17    Red Nichols And His Five Pennies–    The Sheik Of Araby 3:15
Vocals – Jack Teagarden, Teg Brown
18    Red Nichols And His Five Pennies–    Shim-Me-Sha-Wabble    3:00
19    Red Nichols And His Five Pennies–    Carolina In The Morning    3:10
20    Red Nichols And His Five Pennies–    Who?    3:04
21    Red Nichols And His Five Pennies–    By The Shalimar    3:08
Credits :
Alto Saxophone – Sid Stoneburn (tracks: 6, 7, 14 to 18)
Banjo – Teg Brown (tracks: 6 to 9, 14 to 18), Tommy Felline (tracks: 1 to 5)
Bass – Art Miller (tracks: 14 to 18), Joe Tarto (tracks: 1 to 5)
Bass Saxophone, Xylophone – Adrian Rollini (tracks: 8 to 13, 19 to 21)
Brass Bass – Jack Hansen (tracks: 10 to 13)
Clarinet – Benny Goodman (tracks: 1, 2, 14 to 21)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 1 to 13)
Drums – Dave Tough (tracks: 1 to 5), Gene Krupa (tracks: 6 to 21)
Guitar – Weston Vaughan (tracks: 10 to 13)
Piano – Jack Russin (tracks: 6 to 13), Joe Sullivan (tracks: 14 to 21), Rube Bloom (tracks: 1 to 5)
Tenor Saxophone – Babe Russin (tracks: 6 to 21), Bud Freeman (tracks: 19 to 21), Larry Binyon (tracks: 6, 7)
Trombone – Bill Trone (tracks: 1, 2), Glenn Miller (tracks: 1 to 7, 10 to 21), Herb Taylor (2) (tracks: 3 to 5), Jack Teagarden (tracks: 1, 2, 10 to 21), Tommy Dorsey (tracks: 6 to 9)
Trumpet – Charlie Teagarden (tracks: 6, 7, 14 to 21), Manny Klein (tracks: 10 to 13), Mickey Bloom (tracks: 1 to 5), Red Nichols, Ruby Weinstein (tracks: 6 to 9, 14 to 18), Tommy Thunen (tracks: 1 to 5, 10 to 13)
Vocals – Scrappy Lambert (tracks: 1 to 5)

RED NICHOLS – 1930-1931 | The Classics Chronological Series – 1462 (2008) FLAC (tracks+.cue), lossless

Volume six in the complete recordings of trumpeter Red Nichols as reissued by the Classics Chronological Series consists of 25 Victor and Brunswick recordings dating from September 1930 through January 1931, and is especially recommended to those who enjoy Depression-era jazz and pop vocals, with the pop outweighing the jazz by a considerable margin. "On Revival Day," a topical novelty originally released in two parts on flipsides of a 78 rpm record, trombonist Jack Teagarden is backed by a vocal group billed as the Foursome. Forthwith, Nichols' ensemble is garnished at times with a couple of violins and is almost invariably dusted with sugary vocals by Scrappy Lambert, Dick Robertson, Eddie Thomas, Paul Small, and songwriter Harold Arlen. If you're curious to hear what the composer of "Blues in the Night" sounded like as a crooner, that's him singing "How Come You Do Me Like You Do?" as well as his own compositions "Linda," "You Said It," and "Sweet and Hot." The jazziest vocals, even funkier than Teagarden's, are by trumpeter Wingy Manone, who puts his personal stamp on "Rockin' Chair," "Bugaboo," and "Corrine Corrina." Betwixt and between the vocals there exist smoothly coordinated ensemble passages and a number of fine solos, for almost every group that Nichols ever led was peppered with skilled jazz musicians. In addition to those already mentioned, Nichols is heard alongside clarinetist Benny Goodman, trombonist Glenn Miller, saxophonists Jimmy Dorsey and Eddie Miller, pianist Joe Sullivan, and drummer Gene Krupa. arwulf arwulf  
Tracklist :
1    On Revival Day - Part 1 2:40
2    On Revival Day - Part 2 2:38
3    Embraceable You 3:08
4    I Got Rhythm 2:56
5    A Girl Friend Of A Boy Friend Of Mine 2:48
6    Sweet Jennie Lee 2:44
7    Linda 3:06
8    Yours And Mine 2:55
9    That's Where The South Begins 2:44
10    I'm Tickled Pink With A Blue-Eyes Baby 2:48
11    My Honey's Lovin' Arms 2:56
12    Rockin' Chair 3:10
13    Bugaboo 3:12
14    Corrinne Corrina 3:02
15    How Come You Do Me Like You Do? 3:01
16    Blue Again 3:12
17    When Kentucky Bids The World "Good Morning" 3:09
18    What Good Am I Without You? 2:58
19    We're Friends Again 3:09
20    At Last I'm Happy 2:51
21    If You Haven't Got A Girl 2:56
22    You Said It 3:05
23    Sweet And Hot 3:02
24    The Peanut Vendor 2:47
25    Sweet Rosita 3:03
All Credits :

MIFF MOLE – 1927 | The Classics Chronological Series – 1269 (2002) FLAC (tracks+.cue), lossless

Trombonist Miff Mole gained some fame in the 1920s for his many recordings with cornetist Red Nichols. At a time when many other trombonists had a much more percussive approach, Mole had an unusual style full of staccato runs, unpredictable interval jumps and impressive technique. Mole led a series of sessions during the 1927-30 period with his Molers, which overlapped personnel with Nichols' bands, utilizing some of the top white studio players of the era. This superior British LP contains all 12 numbers cut at the trombonist's sessions of 1927, plus four tunes on which the band backs the popular singer Sophie Tucker. With Nichols, either Jimmy Dorsey or Pee Wee Russell on clarinet, usually pianist Arthur Schutt, guitarist Dick McDonough and drummer Vic Berton being among the key sidemen (bass saxophonist Adrian Rollini is an asset on the final six numbers), the music is quite advanced for the time, particularly in its arrangements. Highlights include "Alexander's Ragtime Band," "Hurricane," "Davenport Blues," Tucker's "After You've Gone," "Imagination" and "Original Dixieland One-Step." Scott Yanow  
Tracklist
1    The Arkansas Travellers–    Washboard Blues    2:42
2    The Arkansas Travellers–    That's No Bargain    2:52
3    The Arkansas Travellers–    Boneyard Shuffle    2:50
4    Miff Mole's Molers–    Alexander's Ragtime Band    2:47
5    Miff Mole's Molers–    Some Sweet Day    3:02
6    Miff Mole's Molers–    Hurricane    2:44
7    Miff Mole's Molers–    Davenport Blues    3:04
8    Miff Mole's Molers–    The Darktown Strutter's Ball    2:50
9    Miff Mole's Molers–    A Hot Time In The Old Town Tonight    2:49
10    Sophie Tucker Acc. By Miff Mole's Molers–    After You've Gone    2:45
11    Sophie Tucker Acc. By Miff Mole's Molers–    I Ain't Got Nobody    2:25
12    Sophie Tucker Acc. By Miff Mole's Molers–    One Sweet Letter From You    2:38
13    Sophie Tucker Acc. By Miff Mole's Molers–    Fifty Million Frenchmen Can't Be Wrong    2:45
14    The Arkansas Travellers–    Ja Da    3:04
15    The Arkansas Travellers–    Sensation    2:35
16    The Arkansas Travellers–    Stompin' Fool    3:03
17    Miff Mole's Molers–    Imagination    2:53
18    Miff Mole's Molers–    Feelin' No Pain    2:52
19    Miff Mole's Molers–    Original Dixieland One Step    2:47
20    Miff Mole's Molers–    My Gal Sal    3:05
21    Miff Mole's Molers–    Honolulu Blues    2:48
22    Miff Mole's Molers–    The New Twister    3:01
23    The Arkansas Travellers–    Birmingham Breakdown    2:44
24    The Arkansas Travellers–    Red Head Blues    2:37
25    The Arkansas Travellers–    I Ain't Got Nobody    2:41
Credits :
Alto Saxophone – Fred Morrow (tracks: 1 to 3, 14 to 16, 23 to 25)
Banjo, Guitar – Dick McDonough (tracks: 4 to 9, 17 to 22)
Bass Saxophone – Adrian Rollini (tracks: 17 to 22)
Brass Bass – Joe Tarto (tracks: 7 to 13)
Clarinet – Jimmy Dorsey (tracks: 1 to 3, 7 to 16), Pee Wee Russell (tracks: 17 to 25)
Clarinet, Tenor Saxophone – Fud Livingston (tracks: 17 to 25)
Drums – Ray Bauduc (tracks: 7 to 9), Vic Berton (tracks: 1 to 6, 10 to 25)
Guitar – Eddie Lang (tracks: 10 to 13, 17 to 22)
Piano – Arthur Schutt (tracks: 1 to 9, 14 to 22), Rube Bloom (tracks: 23 to 25), Ted Shapiro (tracks: 10 to 13)
Trombone – Miff Mole
Trumpet – Red Nichols
Vocals – Sophie Tucker (tracks: 10 to 13)

MIFF MOLE – 1928-1937 | The Classics Chronological Series – 1298 (2003) FLAC (tracks+.cue), lossless

Less jaunty than Kid Ory and not as funky as Charlie Irvis, Miff Mole's trombone had a sound all its own. His calm, assertive presence transformed any ensemble, and the bands he led were usually dependable and solid. If you're not yet a devoted follower, this excellent package might grab you for keeps. The opening session features an inspired Frank Teschemacher, who really shines on "Shim-Me-Sha-Wabble." The rest of the material from 1928 is delightful, sounding a lot like fully arranged small band swing from the mid-'30s. The piano lineup is marvelous throughout: Joe Sullivan, Arthur Schutt, and Frank Signorelli, composer of "I'll Never Be The Same" and "A Blues Serenade." Tuba legend Joe Tarto anchors three different ensembles and sounds particularly comfortable behind the trombone solos. Because they wisely chose not to feature any vocalists on the 1928-1929 sides, the magical interaction between instrumentalists proceeds without interruption. We get a good taste of Jimmy Dorsey's clarinet while Matt Malneck saws away on a hot violin. Dick McDonough's guitar solo on "Playing the Blues" is dazzling. Eddie Lang, however, plays hardly audible straight rhythm guitar on the April 19, 1929, session, restraining himself while the horns bubble and smoke out front. "That's a Plenty" is a prime example of how hot these guys could blow, and Dorsey is joined by tenor man Babe Russin for a wild version of "After You've Gone."
Those 14 hot sides are followed by a session from 1930. It's amazing how ensembles began to congeal and sweeten once the new decade (and the Great Depression) was on. Mole does some stuffy work with a mute and Scrappy Lambert's vocals are a bit fluffy, but the exciting presence of Adrian Rollini's bass saxophone is consoling, much as it was on the Venuti/Lang recordings from this same period. Luckily, we are given the option of skipping the vocal selections and choosing instrumental alternates, which were originally issued on Odeon instead of Okeh. These are as worthy as any of the other instrumental numbers included here.
The material from 1937 is thicker and more heavily arranged, with vocals by Midge Williams, who could be charming, and Chick Bullock, who wasn't. This is an entirely different world from the earlier sides. The presence of Glenn Miller constitutes a manifestation of mainstream big band music ready at that point to seize the market. Mole sounds great once Bullock runs out of lyrics, and even six marginally appealing vocal episodes cannot detract from the simple majesty of this chronologically stacked retrospective. Mole deserves to be remembered and Classics is to be commended for having the gumption to issue his music in this manner. arwulf arwulf  
Tracklist :
1    Miff Mole's Molers–    One Step To Heaven    2:58
2    Miff Mole's Molers–    Shim-Me-Sha-Wabble    3:00
3    Miff Mole's Molers–    Crazy Rhythm     2:58
4    Miff Mole's Molers–    You Took Advantage Of Me    3:16
5    Miff Mole's Molers–    You're The Cream In My Coffee    2:56
6    Miff Mole's Molers–    Wild Oat Joe    2:58
7    New Orleans Black Birds–    Red Head    3:01
8    New Orleans Black Birds–    Playing The Blues    2:37
9    Miff Mole's Molers–    I've Got A Feeling I'm Falling    2:54
10    Miff Mole's Molers–    That's A Plenty    2:46
11    Miff Mole's Molers–    Birmingham Bertha    3:10
12    Miff Mole's Molers–    Moanin' Low    3:15
13    Miff Mole's Molers–    You Made Me Love You    2:58
14    Miff Mole's Molers–    After You've Gone    3:18
15    Miff Mole's Molers–    Navy Blues (Vocal)    3:26
16    Miff Mole's Molers–    Lucky Little Devil (Vocal)    3:28
17    Miff Mole's Molers–    Navy Blues (Instr.)    3:21
18    Miff Mole's Molers–    Lucky Little Devil (Instr.)    3:28
19    Miff Mole's Molers–    On A Little Bamboo Bridge    2:43
20    Miff Mole's Molers–    How Could You?    2:49
21    Miff Mole's Molers–    I Can't Break The Habit Of You    2:13
22    Miff Mole's Molers–    Love And Learn    2:24
Credits :    
Alto Saxophone – Toots Mondello (tracks: 19 to 22)
Bass – Sid Weiss (tracks: 19 to 22)
Bass Saxophone – Adrian Rollini (tracks: 15 to 18)
Bass Tuba – Joe Tarto (tracks: 3, 4, 7, 8)
Clarinet – Frank Teschmacher, Paul Ricci (tracks: 19 to 22)
Clarinet, Alto Saxophone – Jimmy Dorsey (tracks: 7 to 16)
Clarinet, Tenor Saxophone – Fud Livingston (tracks: 3 to 6)
Drums – Gene Krupa, Sam Weiss (tracks: 19 to 22), Stan King (tracks: 3, 4, 9 to 14), Ted Napoleon (tracks: 7, 8)
Guitar – Carl Kress (tracks: 3, 4, 15 to 22), Dick McDonough (tracks: 7, 8, 13, 14), Eddie Condon (tracks: 1, 2), Eddie Lang (tracks: 9, 10), Tommy Felline (tracks: 11, 12)
Mellophone – Dudley Fosdick (tracks: 3, 4)
Piano – Arthur Schutt (tracks: 3 to 6, 9 to 14), Frank Signorelli (tracks: 7, 8, 19 to 22), Joe Sullivan (tracks: 1, 2), Lenny Hayton (tracks: 15 to 18)
Tenor Saxophone – Babe Russin (tracks: 13, 14)
Trombone – Glenn Miller (tracks: 19 to 22), Miff Mole, Vincent Grande (tracks: 19 to 22)
Trumpet – Gordon Griffin (tracks: 19 to 22), Harry James (tracks: 19 to 22), Leo McConville (tracks: 3, 4, 9 to 12), Manny Klein (tracks: 9, 10), Phil Napoleon (tracks: 11 to 14), Phil Napoleon (tracks: 5 to 8), Red Nichols (tracks: 1 to 4), Tony Tortomas (tracks: 19 to 22)
Violin – Matt Malneck (tracks: 7, 8)
Vocals – Chick Bullock (tracks: 21, 22), Scrappy Lambert (tracks: 15, 16), Midge Williams (tracks: 19, 20)

LOUISIANA RHYTHM KINGS – 1929-1930 | The Classics Chronological Series – 1312 | FLAC (tracks), lossless

Like the Charleston Chasers, the Louisiana Rhythm Kings existed entirely as a studio recording ensemble. The time frame is even the same; both bands operated during those fascinatingly pivotal years of 1929 and 1930. The Louisiana Rhythm Kings were at first nothing more or less than a variable version of Red Nichols & His 5 Pennies, or in the case of the sessions recorded February 20 and April 23, 1929, the last vestiges of Red & Miff's Stompers. Miff Mole's trombone acted as the gravitational center of most every band he ever worked with, while Red was usually the next best thing to his idol, Bix Beiderbecke. Some of the players on the first three selections are holdovers from the Stompers sessions of several years earlier. Percussionist Vic Berton and pianist Arthur Schutt provide a rhythm background perfectly suited to those arrangements used in 1927 or even earlier. The wonderfully named Dudley Fosdick is heard augmenting the low end of the ensemble with a mellophone, softly and carefully interacting with Miff's trombone. What the first three tracks also offer are clear examples of the soloing abilities of Fud Livingston, who had distinguished himself as an arranger with Joe Venuti's band during the previous year. Fud was less adept at improvising than Benny Goodman, whose clarinet sounds refreshing by comparison during "Ballin' the Jack." But it is the session of June 11, 1929, that really rocks, largely because of Davey Tough's heavy-handed drumming during "That Da Da Strain." This sort of thundering on the drum kit was just beginning to find its way onto records after many years of percussive curtailment necessitated by limited recording technology. Also on "Da Da," Pee Wee Russell delivers one of his most eccentric clarinet solos, reinventing the time signature several times in rapid succession. "Last Cent" features Tough's press rolls and a swell tenor sax solo by Bud Freeman. "Basin Street" provides a nice example of Jack Teagarden's early singing style, although the song is slightly soured by a somewhat misogynistic lyric.
The recordings made on September 10, 1929, are a bit more perfunctory, probably because Davey Tough sounds more subdued. Maybe somebody told him to cool himself. Trombonist Glenn Miller and master clarinetist Jimmy Dorsey have also moved in. They stuck with the band throughout its next two sessions, which took place in January 1930. In addition to the two future big-band leaders already mentioned, Tommy Dorsey and Gene Krupa added their personalities to the proceedings. But some of the juiciest moments in the entire second half of this collection are directly attributable to the saxophonists. Fats Waller's "Squeeze Me" glows with solos by boot-boot-booting tenor man Babe Russin and bass saxophonist Adrian Rollini. These 1930 sides provide lots of kicking room for Russin, who is followed closely by Jimmy Dorsey's alto sax on "Karavan," a melody from out of the mind of early-'20s saxophone superstar Rudy Wiedoeft. Rollini and Glenn Miller both solo beautifully on "The Meanest Kind of Blues," while Tony Jackson's "Pretty Baby" becomes an elegant, majestic ritual for nine sympathetic souls. Outstanding chamber jazz from the end of one era and the beginning of another. arwulf arwulf  
Tracklist  :
1     Futuristic Rhythm 3:00
Dorothy Fields / Jimmy McHugh    
2     Out Where the Blues Begin 3:01
Dorothy Fields / Jimmy McHugh    
3     That's A-Plenty 2:48
Lew Pollack
4     Ballin' the Jack 3:14
Chris Smith
5     I'm Walking Through Clover 2:53
6     That Da Da Strain 3:14
Edgar Dowell / Mamie Medina     
7     Basin Street Blues 3:19
Spencer Williams
8     Last Cent 3:03
9     Waiting at the End of the Road 2:52
Irving Berlin
10     Little By Little 3:18
Robert Emmett Dolan
11     Marianne 2:36
12     Swanee 2:44
Irving Caesar / Ira Gershwin
13     Squeeze Me 3:03
George Gershwin / Fats Waller / Clarence Williams
14     Oh, Lady Be Good 3:22
George Gershwin / Ira Gershwin / Victor Young    
15     Sweet Sue, Just You 3:11
Will J. Harris / Victor Young    
16     The Meanest Kind of Blues 2:26
Louis Katzman    
17     I Have to Have You 2:49
Leo Robin / Richard A. Whiting     
18     O'er the Billowy Sea 3:02
Chris Smith
19     Lazy Daddy 2:45
Henry W. Ragas / Larry Shields    
20     Karavan 3:08
21     Pretty Baby 3:00
Tony Jackson / Gus Kahn
22     Tell Me 3:24
J. Will Callahan / Max Kortlander
23     There's Egypt in Your Dreamy Eyes 2:49
Louisiana Rhythm Kings