JELLY-ROLL MORTON – 1930-1939 | The Chronogical Classics – 654 (1992) FLAC (tracks+.cue), lossless

There are a lot of Jelly Roll Morton reissues kicking around, but few of them span the 1930s the way this one does. Mr. Jelly's chronology generally gets lopped off after the last Red Hot Peppers session, often entirely omitting the rest of his remarkable story. This, then, is a valuable bundle of ensemble stomps and slow drags garnished with a few piano solos. The first session is a whopper. Wilton Crawley was a peculiar vaudevillian who played laughing hyena clarinet. During the opening track he removes the mouthpiece from the instrument and cups his hands around it, generating a series of wah-wah-wah whinnies. This makes perfect sense in a twisted sort of way. Bruce Johnson plays the washboard with great precision, adding lots of little "dings" wherever he pleases. Most of the guys in the band knew each other from having worked in the Luis Russell Orchestra. There are fine solos from Red Allen, Charlie Holmes, and that marvelous guitarist Teddy Bunn. Contrary to what the discography says, Crawley does not vocalize on this date, and Pops Foster sternly puffs away at a tuba rather than using the string bass as listed. Jelly's Red Hot Peppers were on their last couple of go-rounds during the second half of 1930, but this was still a hot band, notable for Ward Pinkett's punchy trumpet, Morton's fabulous piano, and the agility of guitarists Howard Hill and Bernard Addison. "Strokin' Away" contains a wonderful tuba solo by the mighty Pete Briggs. "Blue Blood Blues" begins and finishes with glorious tones in both registers from clarinetist Albert Nicholas.
Years passed before Jelly was able to record again. When he sat down to record piano solos in 1938, his overdeveloped showmanship was bottled up and ready to come pouring out. According to Morton, the lightning-quick "Finger Buster" was supposed to be one of the most difficult pieces ever written for the piano. What it amounts to is a flashy display of technical dexterity. "Creepy Feeling" is a beautiful example of the Caribbean influence that Jelly was fond of demonstrating. "Honky Tonk Music" also breathes with a bit of the "Spanish tinge," along with a deliberate walking bassline, soon to be known as boogie-woogie. The first "New Orleans Jazzmen" session bristles with Sidney Bechet, Albert Nicholas, and Sidney DeParis. "High Society" sounds like they're taking it right down the middle of the street, which is where "Oh, Didn't He Ramble?" would also have taken place. Jelly then sings cleaned-up lyrics to a couple of slow drags, giving listeners a chance to savor the tenor saxophone of Happy Caldwell. While "Buddy Bolden" was originally a song about farting, the notorious "Winin' Boy" dates from Morton's tenure as a Storyville cathouse piano player. Jelly's Library of Congress recording of his erstwhile theme song contains some of the most sexually explicit lyrics ever sung into a recording microphone. "Winding Boy" was a term used to describe a "tireless stud." While we're on the subject, James Scott's "Climax Rag" is pleasantly stimulating, as are all eight selections from September of 1939. This wonderful disc ends with two delightful solos including "Original Rags," Scott Joplin's masterpiece of 1899. arwulf arwulf  
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McKINNEY'S COTTON PICKERS – 1929-1930 | The Chronogical Classics – 625 (1992) FLAC (tracks+.cue), lossless

On the second of three Classics CD's that releases the complete output of McKinney's Cotton Pickers (but without the alternate takes), there are many classic performances including "Wherever There's A Will There's A Way," "If I Could Be With You," "Honeysuckle Rose," "Baby Won't You Please Come Home" and "I Want A Little Girl." In addition to the band's regular soloists (trumpeters John Nesbitt, Joe Smith and Langston Curl, trombonist Ed Cuffee and tenorman George Thomas), some tunes also feature guests Coleman Hawkins on tenor, altoist Benny Carter and pianist Fats Waller. Timeless classic jazz. Scott Yanow
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DON REDMAN AND HIS ORCHESTRA – 1931-1933 | The Chronogical Classics – 543 (1990) FLAC (tracks+.cue), lossless

The first of three Don Redman Classics CDs consists of his orchestra's earliest sessions. Although Redman's big band never hit it as big as his former employers' (Fletcher Henderson and McKinney's Cotton Pickers), it was an impressive outfit, thanks to the leader's advanced arrangements. Among the key sidemen on these performances are trumpeters Red Allen (who is on the first two sessions) and Sidney DeParis, tenor saxophonist Robert Carroll, and pianist Horace Henderson. Highlights include "Chant of the Weed" (Redman's atmospheric theme song), "I Heard," "How'm I Doin'," and "Hot and Anxious." The main Don Redman CD to get. Scott Yanow
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DON REDMAN AND HIS ORCHESTRA – 1933-1936 | The Chronogical Classics – 553 (1990) FLAC (tracks+.cue), lossless

The great arranger Don Redman made Fletcher Henderson's Orchestra in the mid-1920s the first real swing band, but during the swing era itself, Redman was little known to the general public. His big band (heard here on the second of three "complete" Classics CDs) failed to really catch on, although it stayed together throughout the 1930s. After recording a bunch of sessions in 1933, Redman's orchestra only cut two sides in Jan. 1934 and then none until May 1936. There are vocals on 22 of the 25 selections on this CD; of the three instrumentals, this version of "Christopher Columbus" might not be by Redman. The leader's charming vocals are fine, but the nine by Harlan Lattimore are of lesser interest, and Chick Bullock dominates a six-song session. There are some good solos along the way, particularly by trumpeter Sidney DeParis, trombonists Benny Morton and Claude Jones and the forgotten tenor Robert Carroll, but this CD is primarily for completists. Scott Yanow 
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DON REDMAN AND HIS ORCHESTRA – 1936-1939 | The Chronogical Classics – 574 (1991) FLAC (tracks+.cue), lossless

The third in the series of Don Redman Classics CDs finds the innovative arranger adjusting to the swing era. His big band is heard on sessions cut for ARC in 1936 ("Bugle Call Rag" is excellent), Variety in 1937 (including a previously unreleased "Swingin' With the Fat Man"), and Bluebird during 1938-39 (including "I Got Ya," "Down Home Rag" and "Milenberg Joys"). A lot of interesting names passed through the band during this era, including trumpeter Sidney DeParis, trombonist Quentin Jackson and singer Laurel Watson, and there is some pleasing music despite a fair amount of vocals. This series ended before Redman's last two big band sessions, but those have often been made available by RCA/Bluebird. The first CD in Classics' Redman series is the most essential. Scott Yanow
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McKINNEY'S COTTON PICKERS – 1930-1931 + DON REDMAN AND HIS ORCHESTRA – 1939-1940 | The Chronogical Classics – 649 (1992) FLAC (tracks+.cue), lossless

The Classics label's superb series of McKinney's Cotton Pickers releases continues with this set, which features recordings from the original group as well as performances from Don Redman's swing orchestra of the late 1930s. Jason Ankeny
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WILLIE "THE LION" SMITH – 1938-1940 | The Chronogical Classics – 692 (1993) FLAC (tracks+.cue), lossless

This is the one Willie "the Lion" Smith CD to get. The bulk of the release features Smith on 14 piano solos from January 10, 1939, performing six standards and eight of his finest compositions. Although Smith (with his derby hat and cigar) could look quite tough, he was actually a sensitive player whose chord structures were very original and impressionistic. On such numbers as "Echoes of Spring" (his most famous work), "Passionette," "Rippling Waters," and "Morning Air," Smith was at his most expressive. In addition, this CD has a couple of collaborations with fellow pianists Joe Bushkin and Jess Stacy and a four-song 1940 swing/Dixieland 1940 session with an octet featuring trumpeter Sidney DeParis. Because of the classic piano solos, this memorable set is quite essential. Scott Yanow
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SIDNEY BECHET – 1940 | The Classics Chronological Series – 619 (1991) FLAC (tracks+.cue), lossless

Classics' chronological reissue of Bechet's recordings (at least the regular takes) continues with a pair of songs made with blues singer Josh White, eight very enjoyable performances cut with a quartet consisting of cornetist Muggsy Spanier, guitarist Carmen Mastren and bassist Wellman Braud, and a pair of Bechet's Victor sessions. This is one of the strongest entries in this valuable series. Scott Yanow
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SIDNEY BECHET – 1941-1944 | The Classics Chronological Series – 860 (1996) FLAC (tracks), lossless

This collection covers Sidney Bechet's recordings during most of the World War II years. Music from his final two Victor dates begins the CD, highlighted by memorable versions of "The Mooche" and "What Is This Thing Called Love?" Three extended V-Disc performances (all between four and five minutes long) match Bechet's soprano with trombonist Vic Dickenson in exciting fashion. Also included is a Blue Note date that has the classic "Blue Horizon" and four numbers on which Bechet is a sideman with pianist Cliff Jackson's Village Cats. While Bechet is the main star, there are also hot solos from Dickenson, trumpeters Charlie Shavers and Sidney DeParis, and pianists Willie "The Lion" Smith and Cliff Jackson. Sidney Bechet always sounds enthusiastic, and listeners not already owning a complete collection of his Victor dates will find this collection quite enjoyable. Scott Yanow
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SIDNEY BECHET – 1950-1951 | The Classics Chronological Series – 1326 (2003) FLAC (tracks+.cue), lossless

One great thing about the Classics Chronological Series is that for the first time Sidney Bechet's European recordings are completely available in context. Longtime collectors and devotees of Bechet are at last able to hear his Vogue sessions in their entirety, exactly as they occurred between periodic U.S. Blue Note blowouts. This allows for an unprecedented understanding of the man's creative activity during the last ten years of his life. By the autumn of 1950, Bechet was established as the king of traditional jazz in Paris. Backed by the Claude Luter Orchestra, he casually grew into the role of presiding patriarch. First and foremost, there was a traditional jazz repertoire to be addressed, as in "Bill Bailey" and "Royal Garden Blues." During the slow-paced "Society Blues," Bechet nonchalantly quotes a pastoral lick from Rossini's William Tell Overture, then shifts into "I've Been Working on the Railroad"! Six selections recorded on May 4, 1951, are among the best examples of French jazz in the swing tradition. "En Attendant le Jour" is remarkably handsome. Valve trombonist Guy Longnon brings to mind the pleasantries of Jack Teagarden. "Egyptian Fantasy" is as dramatic as the original version recorded for Victor in 1941. But the real gem is "Blues in the Cave," wherein Bechet sets up the tune with a seemingly informal but very theatrical spoken introduction. "Now boys, I want you all to gather 'round me. I wanna show you how easy it is to play a blues, a different blues. But in the meantime, you'll stay right with the blues melody." He then gives verbal instructions to each player, assigning parts and adding "Christian, you take over while I get my soprano." The timing is impeccable and Bechet's solo is one of his very best on record. Four days later, Bechet cut a couple of sides with the Orchestra of the Dutch Swing College in Hilversum, Holland. In a rare instance of discographic confusion, Classics has swapped titles on "King Porter Stomp" and "Dutch Swing College Blues." Eight titles from the Parisian session of September 7, 1951, include a fine rendering of Jimmie Noone's "Apex Blues" and the amiable melodies "Sleepy Time Gal" and "Together." Both "Kansas City Man Blues" and "Of All the Wrongs You've Done to Me" date back to Bechet's first days in New York during the early '20s, while "Darling Nellie Gray" and "Put on Your Old Gray Bonnet" practically predate jazz itself. This excellent session closes with a theme borrowed from the Bechet/Mezzrow book, here titled "Sidney's Wedding Day" in commemoration of his festive marriage to a very lucky French woman. Back in New York for a bit of work at the Blue Note studios, Bechet led five of his seasoned peers in the production of several outstanding traditional jazz records, taking full advantage of advanced recording technology. "Avalon" is nearly five minutes long and a relaxed, ambling "Blues My Naughty Sweetie Gives to Me" clocks in at nearly twice the length of the old standard 10" 78-rpm record. Two remaining tracks from this session may be found at the beginning of the next volume in Bechet's Classics chronology. arwulf arwulf  
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SIDNEY BECHET – 1951-1952 | The Classics Chronological Series – 1358 (2004) FLAC (tracks+.cue), lossless

This 14th installment in the chronological recordings of Sidney Bechet begins with two remaining tracks from a vigorous Blue Note blowing session starring world-class trumpeter Sidney DeParis. This would be the very last American studio recording session for Sidney Bechet. The rest of the material on this disc dates from January of 1952, and finds Le Grand Bechet once again surrounded by adoring and respectful Parisian musicians. "Ghost of the Blues" is an upbeat trot, "Strike Up the Band" is smartly swung, and "Si Tu Vois Ma Mere" is one of Bechet's florid, aromatic reflections. "Wabash Blues" is splendidly languid and "Mouche à Miel" sounds like a cousin to "Polka Dot Stomp." There are a couple of sunny parade-style numbers and a version of "As-Tu le Cafard?" that is noticeably hastier than a more moving live version from a few years later. "Old Black Magic" has Bechet shouting gruffly in French during the opening and again during the out chorus. It was at this point in his life that Bechet increased the scope of his repertoire to include popular melodies that would not have previously been associated with him, for example Cole Porter's "I Get a Kick Out of You." He also composed a number of marvelously lush melodies, most famously "Petite Fleur" and the lesser-known but very interesting paean to feminine strength and beauty simply entitled "Girls Dance." The disc closes with five tunes recorded live with spoken introductions at the Pleyel Jazz Concert in Paris on January 31, 1952. After ripping through the popular "Les Oignons," Bechet serves up a brusquely brisk version of "St. Louis Blues," a comfortably swaying rendition of Bennie Moten's "South," and a pair of slow love songs -- powerful, delectable pungent, and sweet. arwulf arwulf
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EDMOND HALL – 1937-1944 | The Classics Chronological Series – 830 (1995) FLAC (tracks+.cue), lossless

Those who missed out on Mosaic's limited-edition reissue of Edmond Hall's superb Blue Note recordings may want to pounce on this segment of the clarinetist's chronology. Everything there is to love about small-group swing is present at full potency in these remarkably solid performances. For the session of February 5, 1941 Meade "Lux" Lewis put all of his best blues and boogie energies into a celeste, that tinkling little keyboard instrument that sounds like a glockenspiel. The combination of a celestial Lewis and the soulful Hall with guitarist Charlie Christian and bassist Israel Crosby resulted in music unlike anything heard before or since. On November 29, 1943 the Edmond Hall Blue Note Jazzmen had Vic Dickenson and a very inspired Sidney DeParis on the front line. The humbly majestic James P. Johnson makes the music feel like ritual. Three hot numbers are fountains of joy, but the real magic develops during two collectively improvised blues taken at relaxed tempos. Nothing could be finer or more pleasing than this confluence of master improvisers, drawing upon the highly evolved traditions of New York and New Orleans as they listened ever so carefully to each other while inventing their own grammar of straightforward blues, swing and boogie-woogie. The Edmond Hall Sextet recorded four sides for Commodore on December 18, 1943. Guitarist Al Casey sat in on this occasion, only three days after the passing of his mentor, Fats Waller. Eddie Heywood was a great pianist, much less humble than James P. Johnson but formidable enough to rock the hell out of the "Downtown Café Boogie." The piano introduction to a very relaxed "Uptown Café Blues" sounds similar to the beginning of Heywood's blues collaborations with Billie Holiday. Edmond Hall's way of handling the blues is unforgettably immediate and sincere. Both of the 1943 dates are towed into port by the exceptionally fine drumming of Big Sid Catlett. Back with Blue Note on January 25, Edmond Hall leads his All Star Quintet in developing four of his own original compositions. While "Rompin' in '44," the band moves with gently pronounced modernity, rooted in tradition but responding to new ideas and updated styles. Red Norvo, always aware of fresh influences, had something to do with this development. "Blue Interval" is something like a course in organic gardening; "Smooth Sailin'" is a solid upbeat piece of blues, as is the rocking restless jam called "Seein' Red." As a gesture of chronological completeness, Classics tacked on a pair of sides from 1937 with vocals by Henry Nemo. These would be more enjoyable if he didn't closely imitate Fats Waller's singing style, right down to the expostulations and tag lines. Considering the wealth of outstanding jazz on this one CD, these two oddities are a neat bonus. They do not detract in any way from the masterpieces gathered together in memory of the great Edmond Hall. arwulf arwulf  

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JAMES P. JOHNSON – 1943-1944 | The Classics Chronological Series – 824 (1995) FLAC (tracks), lossless

Rich and rewarding, this collection contains one powerful Blue Note blowing session and 16 beautiful solos recorded for four different labels. Two sides waxed for Moses Asch during the summer of 1943 were unavailable for many years. This interpretation of "Snowy Morning Blues" is more relaxed and inventive than the familiar Decca version. "J.P. Boogie" takes the barrelhouse tradition by the tail, redefining an entire idiom. Moving into November, "Backwater Blues" revisits a duet that Johnson recorded with Bessie Smith back in 1927. Running at an accelerated tempo, "Carolina Balmoral" is the essence of what critics came to call stride piano. "Gut Stomp" is less frantic but just as tight. Johnson appears to have been deliberately engaged in setting down a compendium of fundamental jazz piano works for Blue Note. The session of December 15th is a perfect match for the preceding installments. "Mule Walk Stomp" is particularly joyous and the haltingly slow "Arkansas Blues" dates back to piano-roll days. "Caprice Rag," played at an insanely accelerated tempo, was published back in 1914. "Improvisations on Pinetop's Boogie Woogie" is Johnson's creative response to a popular trend. By coincidence, these four sides were recorded on the very day that Fats Waller passed away at the age of 39. Two solos recorded three days later convey Johnson's emotional state as he grieved over the loss of his good friend. "Blueberry Rhyme" is an unparalleled masterpiece of private reverie. First recorded in 1939, its reappearance on this occasion seems to indicate the intense personal nature of this delicate opus. "Blues for Fats" is like a prayer uttered in a state of numbness. James was still in shock. Beginning in April of the following year, he set out to record an extended series of piano tributes in the form of songs composed or made popular by Fats Waller. Another very constructive way to cope with such a crushing personal loss was to get busy and lead a few ensembles. The Blue Note session of March 4, 1944, resulted in four of the very best group recordings ever made by this pianist. There's no topping the front line of Ben Webster, Vic Dickenson, and Sidney DeParis, and Big Sid Catlett was exceptionally solid on that day. The slow drag "Blue Mizz" is followed by a shower of adrenaline called "Victory Stride." "Joy Mentin'" is a relaxed stroll through the blues and "After You've Gone" cooks at a rolling boil. arwulf arwulf
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JAMES P. JOHNSON – 1944 | The Classics Chronological Series – 835 (1995) FLAC (tracks+.cue), lossless

What must it have been like for James P. Johnson to have taken young Thomas Waller under his wing, teaching him everything he knew about piano, watching him evolve into a brilliant composer and internationally famous performer, then to have him pass away suddenly at the age of 39? The best answer to this question lies within a series of Waller tribute recordings made by Johnson in late 1943 and early 1944. They are a striking example of grief and shock transformed into relaxed, enjoyable music. The duets with drummer Eddie Dougherty, recorded on June 8, 1944, are particularly satisfying, especially "My Fate Is in Your Hands." What's the best James P. Johnson session of all? Poetically, musically, emotionally, and fundamentally, the "New York Orchestra" session of June 12, 1944, is in fact unparalleled. Frankie Newton never sounded more elegant and sincere than he does during these beautiful sound etchings. Albert Casey, Pops Foster, and once again Eddie Dougherty participate in perfectly balanced communion with the other two men. A precious honesty materializes as Johnson sings the words to W.C. Handy's "Hesitation Blues" in a warm, hoarse voice. For dessert, Johnson ended the session with a marvelous reading of Scott Joplin's masterpiece of 1909, "Euphonic Sounds." All six sides were issued on 12" 78-rpm records in an album bearing the title New York Jazz. They reappeared years later on a cherry-red vinyl LP Stinson reissue, and some of the tracks show up on various compilations. Classics 835 is a gold mine containing the very heart of James P. Johnson's artistry. Note that certain other reissues of this material -- "Euphonic Sounds" in particular -- have suffered from hideous sound quality, even on CD. Here at last Johnson's best material can be properly heard. The Sidney DeParis Blue Note Jazzmen session of June 21, 1944, just happens to be the next leg of Johnson's chronology. After three hot stomps including nearly five minutes of "Ballin' the Jack," the listener is able to reflect upon "The Call of the Blues," possibly the strongest playing that this trumpeter ever blew onto a record. It is a fine finish for one of the best traditional Harlem jazz compilations ever assembled by anyone. arwulf arwulf
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JAMES P. JOHNSON – 1944-1945 | The Classics Chronological Series – 1027 (1998) FLAC (tracks), lossless

This beautifully proportioned sampling of Johnson's late recordings is instrumentally varied and covers a wide range of moods. Four jam tunes from the Blue Note catalog each exceed four minutes in duration, which was a big deal in 1944. There was no stopping a front line composed of Sidney DeParis, Vic Dickenson, and Edmond Hall. Much of the remaining material on this album was recorded by Moses Asch, and issued on LP many years later. Six songs composed by W.C. Handy are sung by his daughter, Katherine Handy, who sounds a bit like Mildred Bailey. Johnson the soloist creates what might be his most intensive improvisations on record: "Blue Moods 1," "Blue Moods 2," and "Blue Moods, Sex," amounting to just a little under 13 minutes of freely inventive piano reflections. A further 12 minutes of solo piano ensues, this time much more programmatically conceived. "Yamekraw," originally put together in 1927, was presented as "A Negro Rhapsody." "Yamecraw," to use the geographically authentic spelling, was the name of the rough-and-tumble waterfront district in Savannah, GA. Here Johnson has carefully painted an entire landscape in sound for posterity. The W.C. Handy songs, together with these nearly 26 minutes of solo piano, existed in a state of phonographic limbo for many years. The people behind the Classics reissue series are to be commended for having restored and presented these rare recordings for public perusal. Now for some finishing touches. Whether you identify them as "the Omer Simeon Trio with James P. Johnson" or as "the Carnival Three," it is entirely possible that Simeon and Johnson, in teaming up with bassist Pops Foster, made four little recordings that might be considered perfect. Perfect? What's perfect? Well, there's perfect symmetry. Simeon wrote an attractive piece of blues with Foster, and another even more haunting blues with Johnson. That makes two immaculate collaborative blues, rendered with collaborative immaculate ease. Balance them out with two lively jams -- piano, bass, and clarinet -- no drums required, no brass need apply. These were three of the greatest jazz musicians who ever lived, and on 1944-1945 they are heard expressing ideas and emotions as a unit comprised of individuals. Yet there must be an imperfection somewhere. Look carefully: "Harlem Hotcha" was composed by Johnson, to whom the discography incorrectly attributes "Bandana Days," which of course was a major hit for Noble Sissle and Eubie Blake. So the discography contains one minor error (very unusual for this label) but the music, like most of James P. Johnson's work, comes very close to perfection. arwulf arwulf  
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