FATS WALLER – 1922-1926 | The Chronogical Classics – 664 (1992) FLAC (tracks+.cue), lossless

Anyone who's fallen in love with Fats Waller's music and wants to delve a bit deeper than "greatest hits" should explore what young Mr. Waller managed to achieve on phonograph records during the 1920s. American labels have been frustratingly slow to release material from this fascinating period in Waller's artistic evolution, despite the fact that he began recording at the age of 18, a full 12 years before the first Fats Waller & His Rhythm sessions initiated his fairly rapid rise to fame. Two piano solos from 1922 grant listeners an exciting glimpse of a solidly able young Waller, fresh from his personal training under James P. Johnson's wing. These two solos belong at the head of any Fats Waller piano anthology, yet they didn't make it onto Bluebird's Turn on the Heat, an otherwise excellent double CD mainly devoted to the commercially issued Victor solos from 1927-1941.
Much of the material on Classics 664 consists of female vocals (mostly blues, a few topical jazz novelties, and a somber pair of spirituals) accompanied by Waller's piano. The art of accompanying was an essential component of the Harlem stride pianist's job description, and Waller did it as skillfully as James P. Johnson. Alberta Hunter's duet with Waller is one of the best examples here, along with two titles featuring the amazing Rosa Henderson. Even the sleepier numbers featuring less-punchy vocalists are still worth absorbing and appreciating. There's a very rare example of Porter Grainger taking a vocal on Waller's "In Harlem's Araby" and a pair of funny duets featuring Sara Martin and Clarence Williams. "Squabbling Blues" must be rare indeed, as the original 78 rpm platter used in this compilation has a very rough start and even skips briefly -- -collectors expect this sort of thing from the Document label, but never from Classics. Fortunately, the song is so satisfying, one quickly forgets the technical foibles.
But the main reason to obtain a copy of this CD is for the two titles featuring Clarence Williams and his friend Clarence Todd on kazoos, with Waller's sure-footed piano and an eccentric percussionist named Justin Ring (he shows up on certain Eddie Lang sessions from the late '20s). "West Indies Blues," in particular, is the prize in this package; the sound of two grown men unashamedly wailing away on their kazoos is guaranteed to help prevent listeners from taking reality too seriously. A must for collectors and a healthy experience for all who are interested in early jazz. arwulf arwulf  
Tracklist + Credits :

SYLVESTER WEAVER — Complete Recorded Works In Chronological Order ★ Volume 1 • 1923-1927 | DOCD-5112 (1992) RM | FLAC (image+.cue), lossless

Most of Sylvester Weaver's recorded works were reissued in his name by the Document label in the early '90s, and the first of two volumes covers most of his recording activity from November 1923 through August 1927. Weaver's initial appearance on records was as accompanist to blues singer Sara Martin, and while Document bundled most of their collaborations into Martin's four-volume Complete Recorded Works, she pops up here and there on this collection under the pseudonym Sally Roberts. "Where Shall I Be?" and "I Am Happy in Jesus" are sung by Weaver, "Roberts," and Hayes B. Withers. Two more gospel songs -- "I'm Going to Wait on the Lord" and "There's Plenty Room ‘Way in the Kingdom" -- were recorded by this vocal trio but do not appear to have been reissued anywhere. Six additional titles are Weaver/"Roberts" blues duets. "Steel String Blues" is an instrumental number played by Weaver, banjoist Charles Washington, and violinist E.L. Coleman, under whose name the record was originally issued. The rest of this collection is devoted to Weaver's solo guitar (with occasional vocal) or banjo ("Six-String Banjo Piece" and "Damfino Stomp"). Weaver was among the first blues guitarists ever to make records, and his slide technique is a marvel unto itself. Note that little or no remastering was employed to improve the sound quality of these historic OKeh sides. While some may bristle at having to hear this music exactly as it sounded when rising up off the surface of the original 78-rpm platters, that kind of authentic listening experience can and does have merit. Admittedly, it would be nice to hear the 1923 version of his famous "Guitar Rag" (later to become a staple of Western swing via the efforts of Bob Wills) in a slightly "cleaner" transfer using state-of-the-art noise reduction technology, but it is a fact that every technological advance has potential drawbacks and many early blues connoisseurs will swear by these authentic transfers, warts and all. Indeed, the way the tones emerge through a gentle mist of 78 rpm surface noise has a marvelous charm all its own, and for this reason, the strongest link to the atmosphere surrounding Weaver and his instrument when "Guitar Blues" and "Guitar Rag" were cut on November 2, 1923 might well be the unmodified playback experience described here. Of course, the 1927 remake of "Guitar Rag" was recorded using the new electrical process, so it sounds clearer and less scratchy. Generally speaking, this is a fine collection of rare early blues with a bit of gospel in the mix. It may be enjoyed casually while relaxing at home with trusted friends or loved ones who are willing and able to absorb this kind of magic without worrying about impressing those whose elevated technocratic expectations deprive them of the patience or sensitivity necessary for an intimate brush with history. arwulf arwulf  

Abridged from this album’s booklet notes. The term ‘Guitar Hero’ only came into vogue during the nineteen sixties and was used to describe blues guitarists or pop guitarists with a blues oriented style. Although blues have been played on, and accompanied by, a variety of instruments their relationship with the guitar has been pre-eminent in the mind of the general public since the nineteen twenties. From Blind Lemon Jefferson and Lonnie Johnson through Robert Johnson to Elmore James and B. B. King the list of influential blues guitarists is a long one; it begins with Sylvester Weaver — the first guitar hero! He began his recording career in 1923. That began with an accompaniment he lent to a recording by Sara Martin in October 1923. It was the first time a coloured guitarist had appeared on a blues recording. The record was successful and Martin, already an established star, continued to feature Weaver on her blues and gospel recordings for the next four years. Sara’s record company, Okeh also took the opportunity to record Sylvester performing two numbers on his own and Guitar Blues and Guitar Rag. Guitar Rag was to prove one of the most influential guitar display pieces ever recorded. Sylvester cut it again in 1927 and it was picked up by the white duo Harvey and Johnson who recorded it in 1930. As Steel Guitar Rag, played by Leon McAuliffe, it was recorded under Bob Wills name during the thirties to become a western swing standard. The loop was completed when Earl Hooker, who’d probably never heard of Sylvester Weaver, brought the number home to the blues with his 1953 version. As a guitarist and banjo player he was extremely versatile; capable of supplying sympathetic backings for his own and other’s vocals and producing instrumental fireworks, both alone and as part of a duet, either finger-picking or using his smooth, but not too sweet, slide style. Still working with Martin he returned to New York in 1924 and produced four more instrumental. Smoketown Strut was named after one of the black areas of Louisville while Mixing Them Up In C sounds like one of the titles Lonnie Johnson would have used. Johnson was one of the few well-known guitarists to remember Weaver personally and remarked that he was always impressed by his ability. E. L. Coleman, “The Fiddling Sheik”, remains an obscure artist whose one appearance in a recording studio, in 1925, was probably arranged by either Sylvester Weaver or Sarah Martin. It was during a session spread over several days in April 1927 that Weaver cut his first vocals, initially as part of a religious trio centred around Martin and later as a blues singer in his own right. At the same session he illustrated his versatility by performing two banjo numbers Damfino Stump — a damn fine stomp — and a further piece that had to wait until the 1970s before seeing release as Weaver’s Stomp or Six-String Banjo Piece. His last recorded collaborations with Sara Martin took place during these same sessions resulting in one of her best numbers Black Hearse Blues which was issued under the name Sally Roberts. DOCD-5112

Tracklist :
1 Guitar Blues
2 Guitar Rag
3 Weaver’s Blues
4 Smoketown Strut
5 Mixing Them Up In C
6 I’m Busy And You Can’t Come In
7 Steel String Blues
8 Where Shall I Be?
9 I Am Happy In Jesus
10 Gonna Ramble Blues
11 Teasing Brown Blues
12 True Love Blues
13 Poor Boy Blues
14 Six-String Banjo Piece
15 Damfino Stump
16 Guitar Rag
17 Loving Is What I Crave
18 Useless Blues
19 Black Hearse Blues
20 Orn’ry Blues
21 Dad’s Blues
22 What Makes A Man Blue?
Credits :
Banjo – Charles Washington (tracks: 7), Sylvester Weaver (tracks: 14, 15)
Guitar – Sylvester Weaver (tracks: 1 to 13, 16 to 22)
Violin – E. L. Coleman (tracks: 7)
Vocals – Hayes B. Withers (tracks: 8, 9), Sally Roberts (tracks: 10, 11, 17, 18), Sara Martin (tracks: 8, 9, 19, 20), Sylvester Weaver (tracks: 8, 9, 12, 13, 21, 22)