JOHNNY GUARNIERI – 1944-1946 | The Chronogical Classics – 956 (1997) FLAC (image+.cue), lossless

In addition to recording prolifically in the 1940s, pianist Johnny Guarnieri led a few record dates. This Classics CD has four septet numbers from 1944 that feature tenor saxophonist Lester Young and trumpeter Billy Butterfield as sidemen, four songs with tenorman Don Byas in superb form, and three trio sessions, including two that co-star bassist Slam Stewart. Guarnieri, who was versatile enough to be able to closely emulate Count Basie, Teddy Wilson, Fats Waller, and Art Tatum, also had his own swing-based style and is consistently creative throughout the performances. Highlights include "Salute to Fats," "Bowin' Singin' Slam," "Gliss Me Again," "I'd Do Anything for You," and "Make Believe"; all 22 selections are enjoyable. Scott Yanow   Tracklist + Credits :

LOUIS PRIMA AND HIS NEW ORLEANS GANG – 1934-1935 | The Chronogical Classics – 1048 (1999) FLAC (tracks+.cue), lossless

Born and raised in New Orleans, Louis Prima came up in his hometown gigging steadily in the clubs and doing his best to emulate Afro-American musicians. His number one role model was Louis Armstrong. After playing Cleveland with Red Nichols in 1932, Prima began recording in 1934 and thoroughly established himself on 52nd Street in New York City the following year. Prima was good looking and sang in a pleasantly hoarse voice. His humor was often heavy-handed, and his bands pushed hard to generate excitement among live audiences and the record-buying public. Prima's 1934 bands had strong players in George Brunies, Claude Thornhill, and Eddie Miller. "Jamaica Shout" is a rare example of instrumental Louis Prima: hot jazz with nobody yelling. "Breakin' the Ice" was the first in a series of Prima interpretations of songs made popular by Fats Waller. Bill "Bojangles" Robinson performed a lively version of "I'm Living in a Great Big Way" with Waller during the last reel of the 1935 RKO motion picture Hooray for Love. Waller never managed to make an actual phonograph recording of this song. Prima had fun with it and with every tune he grabbed onto, sometimes maybe too much fun. During "Let's Have a Jubilee," which was recorded twice during November of 1934, Prima spits out weird nicknames for each bandmember, including "Baboon Face" and "Liver Lips." This sort of talk was not uncommon among Afro-Americans, but it is particularly unsettling coming out of the (big) mouth of a (Southern) white musician. The real gold on this CD lies in the last six tracks, ground out by a band that had Pee Wee Russell as its artistic nucleus. Prima was the handsome leader, Prima sang and blew his trumpet, but Pee Wee was the light, the emulsion, and the pigment in this picture. "The Lady in Red" just might be the very best record that Louis Prima ever made, largely because of the magical presence of a gifted clarinetist with poetic sensibilities and a tone like nobody else. arwulf arwulf  
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LOUIS PRIMA AND HIS NEW ORLEANS GANG – 1935-1936 | The Chronogical Classics – 1077 (1999) FLAC (tracks+.cue), lossless

Here's Louis from his first flush of success at the Famous Door in New York City. Backed by his New Orleans gang, Prima's distinctive style was already emerging on material like "How'm I Doin'," "Plain Old Me," "Sweet Sue," "Lazy River," "Dinah," and the original version of "Sing Sing Sing." Although the backing is strictly New Orleans (and thus a long way stylistically from his later Capitol sides with Sam Butera & the Witnesses), most of the tunes boast the highly inventive clarinet work of Pee Wee Russell, and Prima's horn is well to the fore on these sides. One for hardcore Prima fans. Cub Koda
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WINGY MANONE AND HIS ORCHESTRA – 1936 | The Classics Chronological Series – 849 (1995) FLAC (tracks), lossless

The Classics series (along with the unrelated Collectors Classics label) has been reissuing all of trumpeter Wingy Manone's recordings of the 1930s, many of which did not even reappear during the LP era. By 1936, Manone's records were getting a bit predictable, but taken in small doses they are still quite fun. Manone sings on all of the 22 selections except "Panama," verbally urges on his sidemen (which at times include clarinetist Joe Marsala and tenor saxophonist Eddie Miller) and takes some Louis Armstrong-inspired solos. This CD is the fourth Manone set put out by Classics and has four sessions from a four-month period; highlights include "Is It True What They Say About Dixie," "Dallas Blues," "Swingin' at the Hickory House," "Sing Me a Swing Song" and "Panama." Scott Yanow
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