COOTIE WILLIAMS AND HIS ORCHESTRA – 1945-1946 | The Classics Chronological Series – 981 (1998) FLAC (tracks), lossless

Having already starred in both Ellington's and Goodman's bands, trumpeter Cootie Williams marked the '40s with a slew of sides featuring his own big band and a variety of combos. His fiery, Armstrong-inspired blowing always was full of narrative wit, and this mighty horn package is certainly on display on Classics' chronological roundup of some of Williams' 1945-1946 sides. Still a bit shy of later R&B-styled work, Williams swings nicely on standouts like "Juice Head Baby," "Jumping to Conclusions," and "Echoes of Harlem." The supporting cast may not be star studded -- save for a young Eddie "Cleanhead" Vinson -- but the playing is all top-notch and Williams certainly delivers more than just a few meaty solos. A choice collection best suited to dedicated listeners. Stephen Cook
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EDGAR HAYES AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 730 (1993) FLAC (tracks+.cue), lossless

Whatever happened to Orlando Roberson? He recorded with Fats Waller & His Buddies in December of 1929 and with Claude Hopkins in 1933 and 1934, then resurfaced in March 1937 crooning away in practically the same voice in front of a band led by Edgar Hayes -- but billed this one time as Orlando Roberson & His Orchestra. Many jazz fans would cringe at these two sentimental pop songs, but aside from serving as a fascinating circumstantial footnote to the Fats Waller story they form the first steps in the chronological recordings of Waller's exact contemporary, Edgar Hayes (1904-1979). The real springboard for this story is "Manhattan Jam," recorded at the same session as Roberson's sleepy confections. This lively stomp has a melody similar to Cab Calloway's notorious 1932 hit, "Reefer Man." Trombonist Robert Horton sounds a bit like Joe "Tricky Sam" Nanton -- next to him stands the great Clyde Bernhardt -- and that's young Kenny "Klook" Clarke knocking the stuffing out of his drums. This in fact was where Clarke's recording career began. The arrangements are wonderful, particularly Hayes' version of Ellington and Tizol's "Caravan." Each instrumental is a delight to behold. "Edgar Steps Out" has an irresistible rhythm that may very well result in toe-tapping or improvised dancing. During "Laughing at Life," the band sings back at Ralph Sawyer in a stylized routine known to have been developed by Steve Washington and stolen by Tommy Dorsey. "Stompin' at the Renny" was composed by tenor saxophonist Joe Garland, who during his solo uses a riff that would later surface as the theme of Lionel Hampton's smash hit "Flyin' Home." A second version of "Laughing at Life" has a considerably cooler vocal by trumpeter Bernie Flood. "Satan Takes a Holiday" contains a couple of lively vibraphone solos by Kenny Clarke. He sticks with the vibes on the following session, a quintet date with vocals by Bill Darnell. Present in this little band was clarinetist Rudy Powell, famous for his earlier recordings with Thomas "Fats" Waller. Fortunately, Darnell sings tolerably well, allowing the listener to stick with this band long enough to marvel at Clarke's vibraphone work and the sympathetic intonations of Powell's clarinet. Hayes himself was a capable pianist, with a surefooted swing style comparable to that of Count Basie. "Queen Isabella" is a solid instrumental, a valuable commodity nestled among no less than nine vocals by the ubiquitous Darnell. Somebody, presumably the dexterous Robert Horton, manages to emit "ya-ya" syllables from his trombone during "Old King Cole," making the Joe Nanton comparison even more accurate. Clarke trundles out the vibraphone from time to time, and Darnell won't stop singing. On January 14, 1938, the Edgar Hayes band made history by recording without any vocals by Bill Darnell. The band swings marvelously on the instrumental Joe Garland composition appropriately entitled "Meet the Band." What makes these 1938 sides work so well is the arranging -- and baritone sax work -- of Garland. "Fugitive from a Harem" and "Swingin' in the Promised Land" are big-band swing records suitable for jitterbugging and cutting the rug. arwulf arwulf  
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EDGAR HAYES AND HIS ORCHESTRA – 1938-1948 | The Classics Chronological Series – 1053 (1999) FLAC (tracks+.cue), lossless

The recordings of Edgar Hayes have long been scattered to the winds, tucked away in compilations and all but lost in obscure anthologies. The producers of the Classics Chronological Series have done the world a favor by gathering these rare sides together in two volumes for all to study and enjoy. The Edgar Hayes Orchestra sounds smooth and hot on the recordings made for Decca in February of 1938. On "Help Me," Eddie Gibbs contributes a "Hawaiian" guitar intro and Kenny Clarke plays the vibes but sounds like he's working over a xylophone. Clyde Bernhardt, sounding a bit like Jimmy Rushing, sings his own composition, "Without You." James Clay Anderson was a fluttery vocalist similar to Pha Terrell, and sounds silly coming after Bernhardt's soulful take. Hayes plays piano beautifully on this band's excellent instrumental renditions of Hoagy Carmichael's "Stardust" and Will Hudson's "Sophisticated Swing." Joe Garland's "In the Mood" really changed the face of popular music during the 1930s and early '40s. Based on a lick borrowed from Wingy Manone, the tune became an international hit after Glenn Miller came out with a close cover using the same arrangement about a year and a half after this version was recorded. It was Miller's big break. Meanwhile, Edgar Hayes took some of his band to Sweden, making four records in Stockholm on March 8, 1938, under the heading of Kenny Clarke's Kvintett. Clarke plays vibraphone wonderfully. There are hot solos from trumpeter Henry Goodwin and reedman Rudy Powell. Three of these records are awash with milky vocals by James Clay Anderson and the fourth is a stimulating jam version of "Sweet Sue." It's amazing how much stylistic ground can be covered by a chronological survey of one person's musical career. For a man who began by working with Fess Williams in 1924, led various bands under the names of the Blue Grass Buddies, the Eight Black Pirates, and the Symphonic Harmonists, who played piano and wrote arrangements for the Mills Blue Rhythm Band and led his own jazz orchestra in 1937 and 1938, it must have been frustrating for Hayes to have had to dissolve his band in 1941. According to this discography, eight years transpired before he was able to record again. Leading an intimate rhythm section billed as Edgar Hayes & His Stardusters, the pianist cut a version of "Stardust" for V-Disc in May of 1946 with a vocal by drummer Bryant Allen. The rest of the story took place in Los Angeles, where in 1948 Hayes laid down eight superb tracks with Allen, amplified guitarist Teddy Bunn, and legendary West Coast bassist Curtis Counce. Just as "In the Mood" had an enormous impact on popular music before and during the Second World War, "Fat Meat 'n Greens" would prove to be resoundingly influential throughout the 1950s. "Edgar's Boogie" and five additional groove tunes form a very hip finale to the Edgar Hayes story, with a strong shot of R&B and several unidentified horn players adding their sauce to the mix. arwulf arwulf  
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