HENRY "RED" ALLEN AND HIS ORCHESTRA – 1935-1936 | The Chronogical Classics – 575 (1991) FLAC (tracks+.cue), lossless

The third of five Classics CDs that cover Red Allen's recordings of the 1930s has the contents of six complete sessions from a ten-month period. Allen (who has vocals on all but one of the 24 selections) is assisted by such classic players as trombonist J.C. Higginbotham, Cecil Scott (on tenor and clarinet), altoist Tab Smith and several strong rhythm sections. Among the more memorable swing performances are "On Treasure Island," "Take Me Back to My Boots and Saddle," "Lost," "Algiers Stomp" and "I'll Sing You a Thousand Love songs." The fairly obscure recordings (cut during an era when the big bands really ruled) have long been underrated. Scott Yanow
Tracklist + Credits :

HENRY "RED" ALLEN AND HIS ORCHESTRA – 1936-1937 | The Chronogical Classics – 590 (1991) FLAC (tracks+.cue), lossless

The fourth in the Classics label's five-CD series of Red Allen recordings reissues 20 obscure performances from a seven-month period. Although Red Allen was mostly playing with big bands during the 1930s, these small-group sides gave him a chance to be showcased quite a bit more than usual. Allen takes vocals on each of the tunes and, although many of the songs are long forgotten, his trumpet solos and the improvisations of altoist Tab Smith, clarinetist Buster Bailey and Ted McRae on tenor keep one's interest. This is actually the weakest of the five CDs but all are worth picking up. Scott Yanow
Tracklist + Credits :

HENRY "RED" ALLEN AND HIS ORCHESTRA – 1937-1941 | The Chronogical Classics – 628 (1992) FLAC (tracks+.cue), lossless

The final of the five Classics CDs that document the early recordings of trumpeter Henry "Red" Allen covers music from three very different bands. Allen is first heard singing and playing trumpet on eight pop tunes he uplifts with a recording group in 1937 that features altoist Tab Smith. Allen also plays four Dixieland standards with a hot septet in 1940 that includes trombonist Benny Morton, clarinetist Edmond Hall and pianist Lil Armstrong. The final eight numbers (four of which were previously unreleased) showcases his regular band from 1941 (with trombonist J.C. Higginbottham and clarinetist Edmond Hall) really romping through some hard-swinging performances, including "K.K. Boogie" and a two-part version of "Sometimes I'm Happy." All five of these Classics CDs are easily recommended; this is one of the better ones. Scott Yanow
Tracklist + Credits :

EARL HINES AND HIS ORCHESTRA – 1942-1945 | The Classics Chronological Series – 876 (1996) FLAC (tracks+.cue), lossless

For Earl Hines fans looking beyond the bandleader's glory days of the '30s, this Classics chronological disc -- one of several Hines titles in the series -- is worth picking up. It's not as solid as Classics' 1941 survey, due in part to that disc's tighter, vintage-issue charts, but many of these 21 tracks still stand out, thanks to some fine Eckstine vocals and stealth backing by the likes of Wardell Gray, Johnny Hodges, Charlie Shavers, Budd Johnson, Red Norvo, and Oscar Pettiford -- not to mention a few Betty Roche vocal turns. A fine, if unessential, Hines collection. Stephen Cook
Tracklist :

TEDDY WILSON AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 548 (1990) FLAC (tracks+.cue), lossless

This Classics CD traces pianist Teddy Wilson's recordings during a seven-month period. He backs singer Billie Holiday on eight memorable performances (including "My Man," "Can't Help Lovin' Dat Man," "When You're Smiling," and "I Can't Believe That You're in Love with Me"), is showcased on a pair of piano solos, accompanies singer Sally Gooding on four songs that were not initially released until the 1980s, and is heard on four almost-as-rare numbers with vocalist Nan Wynn. Most significant among the occasional instrumentals are a few tunes (including the two-part "Just a Mood" and "Honeysuckle Rose") that Wilson performs in an exquisite quartet with trumpeter Harry James, xylophonist Red Norvo, and bassist John Simmons. Among the other sidemen heard on this valuable CD are trumpeters Buck Clayton, Hot Lips Page, and Bobby Hackett, clarinetist Pee Wee Russell, the tenors of Chu Berry and Lester Young, and altoist Tab Smith.  Scott Yanow
Tracklist + Credits :

MILLS BLUE RHYTHM BAND – 1934-1936 | The Classics Chronological Series – 710 (1993) FLAC (tracks+.cue), lossless

The fourth of the European Classics label's five CDs containing the complete output of the Mills Blue Rhythm Band captures the underrated orchestra at the peak of their powers. Formerly a no-name outfit, trumpeter Henry "Red" Allen, trombonist J.C. Higginbotham, clarinetist Buster Bailey, and tenor saxophonist Joe Garland were the group's star soloists by this time. In addition, by the last eight numbers on this highly recommended program, altoist Tab Smith was also part of the band. The CD starts off with three numbers on which singer Chuck Richards is backed by a sextet including Allen, Bailey, and trombonist Benny Morton. Otherwise the program features the full orchestra (directed by Lucky Millinder by this time). There are many exciting tracks along with a few ballad vocal features for Richards, with the more memorable performances including "Spitfire," "Ride Red Ride," "Congo Caravan," "There's Rhythm in Harlem" (which hints at the then-unwritten "In the Mood"), "Truckin'," and "E Flat Stride." This is the best of the five Classics Blue Rhythm releases. Scott Yanow  
Tracklist + Credits :

MILLS BLUE RHYTHM BAND – 1936-1937 | The Classics Chronological Series – 731 (1993) FLAC (tracks+.cue), lossless

The fifth and final Classics CD by the Mills Blue Rhythm Band starts out at the same high level as the fourth set. With trumpeter Henry "Red" Allen, trombonist J.C. Higginbottham, altoist Tab Smith and tenor saxophonist Joe Garland in the band (pianist Billy Kyle soon joined up as well), along with a solid rhythm section, the orchestra could swing quite hard, as shown on such numbers as "St. Louis Wiggle Rhythm," "Merry-Go-Round," "Big John's Special" and "Algiers Stomp." However, by 1937 (when the second half of this CD was recorded), Allen, Higginbottham and Garland had departed. The music is still worthwhile, with Smith and young trumpeters Harry "Sweets" Edison and Charlie Shavers in the band, but the enthusiasm was starting to drop. Due to the heavy competition from the many better-known orchestras, the Mills Blue Rhythm Band would soon become a forgotten part of history, but as the five Classics CDs show, the orchestra did create quite a bit of worthwhile music in the 1930s. Scott Yanow
Tracklist + Credits :

LUCKY MILLINDER AND HIS ORCHESTRA – 1941-1942 | The Classics Chronological Series – 712 (1993) FLAC (tracks+.cue), lossless

All 20 of the Lucky Millinder Orchestra's valuable 1941-1942 recordings are on this recommended CD. Millinder himself was not a musician and his only vocal here is mostly shouting on "Ride, Red, Ride," but he was an effective bandleader and frontman. Other than a couple of World War II propaganda songs, the music on these sessions emphasizes swing, and several notable artists are featured. Sister Rosetta Tharpe (who also played excellent guitar) has six rollicking showcases, and among the soloists are clarinetist Buster Bailey, tenorman Stafford Simon, pianist Bill Doggett, and (on the final four songs) altoist Tab Smith and the rapidly emerging trumpeter Dizzy Gillespie. On "Little John Special," Dizzy quotes directly from the as-yet-unwritten "Salt Peanuts." Other highlights include "Rock Daniel," "Apollo Jump," "Rock Me," "That's All," and "Mason Flyer." Scott Yanow
Tracklist + Credits : 

LUCKY MILLINDER AND HIS ORCHESTRA – 1943-1947 | The Classics Chronological Series – 1026 (1998) FLAC (tracks+.cue), lossless

The Lucky Millinder Orchestra's best-known recordings are from 1941-42, making this Classics CD of great interest due to the many rarities and a lot of variety. First there are four V-discs from 1943 that showcase with Millinder (for the last time) the singing and guitar playing of Sister Rosetta Tharpe, who does remakes of four of her hits (including "That's All" and "Rock Daniel"). "Savoy," from the same period, is highlighted by one of trumpeter Joe Guy's best-recorded solos, and "Shipyard Social Junction" was one of the band's final top-notch instrumentals. Of the four numbers from 1944, two songs have the recording debut of singer Wynonie Harris, and on "Hurry, Hurry," the legendary trumpeter Freddy Webster can be heard briefly. There are also two okay numbers from 1945, six from 1946 (including singer Annisteen Allen on "There's Good Blues Tonight" and some good spots for the tenor of Sam "The Man" Taylor) and four vocal cuts from the following year. Many of the very interesting sidemen actually have no real solo space (including tenors Lucky Thompson and Eddie "Lockjaw" Davis), but most of the vocals are easy to take and the Millinder Orchestra was adjusting well to the rise of R&B. An interesting and often historic set. Scott Yanow  
Tracklist :

WYNONIE HARRIS – 1945-1947 | The Classics Chronological Series – 1013 (1998) FLAC (tracks+.cue), lossless

The second Classics CD to feature blues singer Wynonie Harris' recordings as a leader finds him in the period right before he signed with the King label. The five four-song sessions on this disc (all quite jazz oriented) were cut for Hamp-Tone, Bullet, and Aladdin. First, Harris (who sounds quite enthusiastic in every setting) sings three numbers (including a two-part "Hey! Ba-Ba-Re-Bop") with a combo taken from the Lionel Hampton big band. The Bullet date was quite rare. Recorded in Nashville, it finds Harris backed by local players including Sun Ra in his first recording. Ra's piano is well featured throughout including on "Dig This Boogie." Harris is also heard with a Leonard Feather-organized band that includes trumpeter Joe Newman, altoist Tab Smith, and tenor-saxophonist Allen Eager ("Mr. Blues Jumped the Rabbit" is the best-known selection), with an obscure backup band in New York (including for "Ghost of a Chance," an odd departure with a vocal group) and sharing the spotlight with Big Joe Turner on three numbers (including a slightly disorganized two-part "Battle of the Blues"). Throughout, Wynonie Harris sounds like he was ready for stardom. Recommended. Scott Yanow
All Tracks & Credits :

FRANKIE NEWTON – 1937-1939 (1992) The Classics Chronological Series – 643 | FLAC (tracks), lossless

Welcome to the incredibly solid and inexplicably overlooked music of Frankie Newton, a formidable trumpeter who led a series of bracingly hot swing bands during the late '30s. First comes a hotter than average version of "You Showed Me the Way," with Clarence Palmer singing in a voice that has just a bit of Frankie "Half Pint" Jaxon about it. Pete Brown, Cecil Scott, and Edmond Hall heat up the entire first session, and when you add Russell Procope the fur really flies. Listeners even get to hear clarinetist Hall doubling on baritone saxophone. Even more exciting is the presence of Bulee "Slim" Gaillard, making what must be two of his first appearances on record. Slim scats up a storm and the band wails back at him. On July 13, 1937, the Uptown Serenaders came out with the most notoriously weird and irrepressibly hot record ever to appear under Newton's name: "The Onyx Hop" begins as a scorcher, and then Frankie and Pete chant the following lyrics in a strange, stoned-out duet: "Come with me and smoke some tea and I shall carry on/Look out, fellow, let me pass, I shan't be out here long/Love my wife but what has that got to do with this song?/She stayed out one hour overtime, I stayed out all night long/Went down to the Onyx Club and had myself a ball/I got tight off of scotch and stuff and like not got home at all." This recitation quickly ignites a boiling out-chorus. It is one of the funniest and most dazzling uptown swing recordings of the 1930s, and here it is sandwiched between two globs of molasses as Leon LaFell groans out a pair of sentimental songs, probably perceived as necessary confections for the pop audience. But who cares! This incongruity is quickly forgotten as the session of January 13, 1939, appears in its entirety, with James P. Johnson, Pete Brown, and Mezz Mezzrow in addition to Al Casey, John Kirby, and Cozy Cole. Bits and pieces of this session have been reissued here and there over the years, but rarely has the entire session been made available in this way. Three of these tunes, two slow drags and a stomp, were devised by the Mighty Mezz, who more often than not proved to be a good source of solid grooves and funky atmosphere. The effect of six consecutive selections played by this incredible band is downright intoxicating, as is the rest of the material presented here. "Daybreak Blues" and "After Hour Blues," gently but firmly rendered by Newton in front of Albert Ammons, Teddy Bunn, Johnny Williams, and Sid Catlett, constitute the very beginnings of the Blue Note record label. They have previously appeared under the heading of the Port of Harlem Jazzmen, reissued however briefly by the good people at Mosaic Records. Frankie's Cafe Society Orchestra has Tab Smith playing soprano saxophone during the relaxing "Tab's Blues," while "Jitters," "Frankie's Jump," and "Jam Fever" are cookers. "Vamp" bases its dance rhythm on a very simple line. "Parallel Fifths," a walking blues with an underlying boogie-woogie attitude, provides a smooth finish to this almost perfect package of vintage uptown swing. arwulf arwulf  
Tracklist :
1    Frankie Newton And His Uptown Serenaders–    You Showed Me The Way 2:44
Alto Saxophone – Pete Brown
Clarinet – Edmond Hall
Double Bass [String Bass] – Richard Fullbright
Drums – Cozy Cole
Guitar – John Smith
Piano – Don Frye
Tenor Saxophone – Cecil Scott
Trumpet – Frank Newton
Vocals – Clarence Palmer
Written-By – Green, McCrae
2    Frankie Newton And His Uptown Serenaders–    Please Don't Talk About Me When I'm Gone 2:34
Alto Saxophone – Pete Brown
Clarinet – Edmond Hall
Double Bass [String Bass] – Richard Fullbright
Drums – Cozy Cole
Guitar – John Smith
Piano – Don Frye
Tenor Saxophone – Cecil Scott
Trumpet – Frank Newton
Written-By – Stept, Clare
3    Frankie Newton And His Uptown Serenaders–    Who's Sorry Now? 2:44
Alto Saxophone – Pete Brown
Clarinet – Edmond Hall
Double Bass [String Bass] – Richard Fullbright
Drums – Cozy Cole
Guitar – John Smith
Piano – Don Frye
Tenor Saxophone – Cecil Scott
Trumpet – Frank Newton
Written-By – Kalmar, Ruby, Snyder
4    Frankie Newton And His Uptown Serenaders–    I Found A New Baby 2:37
Alto Saxophone – Pete Brown, Russell Procope
Clarinet, Baritone Saxophone – Edmond Hall
Clarinet, Tenor Saxophone – Cecil Scott
Double Bass [String Bass] – Richard Fullbright
Drums – Cozy Cole
Guitar – John Smith
Piano – Don Frye
Trumpet – Frank Newton
Written-By – Palmer, Williams
5    Frankie Newton And His Uptown Serenaders–    The Brittwood Stomp (I'm A Ding Dong Daddy) 2:42
Alto Saxophone – Pete Brown, Russell Procope
Clarinet, Baritone Saxophone – Edmond Hall
Clarinet, Tenor Saxophone – Cecil Scott
Double Bass [String Bass] – Richard Fullbright
Drums – Cozy Cole
Guitar – John Smith
Piano – Don Frye
Trumpet, Written-By – Frank Newton
6    Frankie Newton And His Uptown Serenaders–    There's No Two Ways About It 2:53
Alto Saxophone – Pete Brown, Russell Procope
Clarinet, Baritone Saxophone – Edmond Hall
Clarinet, Tenor Saxophone – Cecil Scott
Double Bass [String Bass] – Richard Fullbright
Drums – Cozy Cole
Guitar – John Smith
Piano – Don Frye
Trumpet – Frank Newton
Vocals – Slim Gaillard
Written-By – Adamson, McHugh
7    Frankie Newton And His Uptown Serenaders–    'Cause My Baby Says It's So 2:40
Alto Saxophone – Pete Brown, Russell Procope
Clarinet, Baritone Saxophone – Edmond Hall
Clarinet, Tenor Saxophone – Cecil Scott
Double Bass [String Bass] – Richard Fullbright
Drums – Cozy Cole
Guitar – John Smith
Piano – Don Frye
Trumpet – Frank Newton
Vocals – Slim Gaillard
Written-By – Dubin, Warren
8    Frankie Newton And His Uptown Serenaders–    Easy Living 2:47
Alto Saxophone – Gene Johnson, Pete Brown
Clarinet – Edmond Hall
Double Bass [String Bass] – John Kirby
Drums – O'Neil Spencer
Guitar – Frank Rice
Piano – Don Frye
Tenor Saxophone – Cecil Scott
Trumpet – Frank Newton
Vocals – Leon LaFell
Written-By – Robin, Rainger
9    Frankie Newton And His Uptown Serenaders–    The Onyx Hop 2:44
Alto Saxophone – Gene Johnson
Alto Saxophone, Vocals – Pete Brown
Clarinet – Edmond Hall
Double Bass [String Bass] – John Kirby
Drums – O'Neil Spencer
Guitar – Frank Rice
Piano – Don Frye
Tenor Saxophone – Cecil Scott
Trumpet, Vocals, Written-By – Frank Newton
10    Frankie Newton And His Uptown Serenaders–    Where Or When 2:32
Alto Saxophone – Gene Johnson, Pete Brown
Clarinet – Edmond Hall
Double Bass [String Bass] – John Kirby
Drums – O'Neil Spencer
Guitar – Frank Rice
Piano – Don Frye
Tenor Saxophone – Cecil Scott
Trumpet – Frank Newton
Vocals – Leon LaFell
Written-By – Rodgers-Hart
11    Frankie Newton And Orchestra–    Rosetta
Alto Saxophone – Pete Brown
Clarinet – Mezz Mezzrow
Double Bass [String Bass] – John Kirby
Drums – Cozy Cole
Guitar – Albert Casey
Piano – James P. Johnson
Trumpet – Frank Newton
Written-By – Hines
12    Frankie Newton And Orchestra–    Minor Jive 3:05
Alto Saxophone – Pete Brown
Clarinet, Written-By – Mezz Mezzrow
Double Bass [String Bass] – John Kirby
Drums – Cozy Cole
Guitar – Albert Casey
Piano – James P. Johnson
Trumpet – Frank Newton
13    Frankie Newton And Orchestra–    The World Is Waiting For The Sunrise 3:11
Alto Saxophone – Pete Brown
Clarinet – Mezz Mezzrow
Double Bass [String Bass] – John Kirby
Drums – Cozy Cole
Guitar – Albert Casey
Piano – James P. Johnson
Trumpet – Frank Newton
Written-By – Seitz, Lockhart
14    Frankie Newton And Orchestra–    Who? 3:09
Alto Saxophone – Pete Brown
Clarinet – Mezz Mezzrow
Double Bass [String Bass] – John Kirby
Drums – Cozy Cole
Guitar – Albert Casey
Piano – James P. Johnson
Trumpet – Frank Newton
Written-By – Kern, Hammerstein, Harbach
15    Frankie Newton And Orchestra–    The Blues My Baby Gave To Me 3:12
Alto Saxophone – Pete Brown
Clarinet, Written-By – Mezz Mezzrow
Double Bass [String Bass] – John Kirby
Drums – Cozy Cole
Guitar – Albert Casey
Piano – James P. Johnson
Trumpet – Frank Newton
16    Frankie Newton And Orchestra–    Rompin' 2:33
Alto Saxophone – Pete Brown
Clarinet, Written-By – Mezz Mezzrow
Double Bass [String Bass] – John Kirby
Drums – Cozy Cole
Guitar – Albert Casey
Piano – James P. Johnson
Trumpet – Frank Newton
17    Frank Newton Quintet–    Daybreak Blues 2:38
Double Bass [String Bass] – Johnny Williams
Drums – Sidney Catlett
Guitar – Teddy Bunn
Piano – Albert Ammons
Trumpet – Frank Newton
18    Frankie Newton And His Café Society Orchestra–    Tab's Blues 2:54
Alto Saxophone – Stanley Payne
Double Bass [String Bass] – Johnny Williams
Drums – Eddie Dougherty
Guitar – Ulysses Livingston
Piano – Kenny Kersey
Soprano Saxophone, Alto Saxophone, Written-By – Tab Smith
Tenor Saxophone – Kenneth Hollon
Trumpet – Frank Newton
19    Frankie Newton And His Café Society Orchestra–    Jitters 3:00
Alto Saxophone – Stanley Payne
Double Bass [String Bass] – Johnny Williams
Drums – Eddie Dougherty
Guitar – Ulysses Livingston
Piano – Kenny Kersey
Soprano Saxophone, Alto Saxophone, Written-By – Tab Smith
Tenor Saxophone – Kenneth Hollon
Trumpet – Frank Newton
20    Frankie Newton And His Café Society Orchestra–    Frankie's Jump 2:46
Alto Saxophone – Stanley Payne
Double Bass [String Bass] – Johnny Williams
Drums – Eddie Dougherty
Guitar – Ulysses Livingston
Piano – Kenny Kersey
Soprano Saxophone, Alto Saxophone – Tab Smith
Tenor Saxophone – Kenneth Hollon
Trumpet, Written-By – Frank Newton
21    Frankie Newton And His Café Society Orchestra–    Jam Fever 3:06
Alto Saxophone – Stanley Payne
Double Bass [String Bass] – Johnny Williams
Drums – Eddie Dougherty
Guitar – Ulysses Livingston
Piano – Kenny Kersey
Soprano Saxophone, Alto Saxophone, Written-By – Tab Smith
Tenor Saxophone – Kenneth Hollon
Trumpet – Frank Newton
22    Frank Newton Quintet–    After Hour Blues 4:07
Double Bass [String Bass] – Johnny Williams
Drums – Sidney Catlett
Guitar – Teddy Bunn
Piano – Meade Lux Lewis
Trumpet – Frank Newton
23    Frankie Newton And His Café Society Orchestra–    Vamp 2:51
Alto Saxophone – Stanley Payne
Double Bass [String Bass] – Johnny Williams
Drums – Eddie Dougherty
Guitar – Ulysses Livingston
Piano – Kenny Kersey
Soprano Saxophone, Alto Saxophone, Written-By – Tab Smith
Tenor Saxophone – Kenneth Hollon
Trombone – Dicky Wells
Trumpet – Frank Newton
24    Frankie Newton And His Café Society Orchestra–    Parallel Fifths 3:15
Alto Saxophone – Stanley Payne
Double Bass [String Bass] – Johnny Williams
Drums – Eddie Dougherty
Guitar – Ulysses Livingston
Piano – Kenny Kersey
Soprano Saxophone, Alto Saxophone – Tab Smith
Tenor Saxophone – Kenneth Hollon
Trombone – Dicky Wells
Trumpet, Written-By – Frank Newton

BILLY KYLE – 1937-1938 (1996) The Classics Chronological Series – 919 | FLAC (tracks), lossless

Pianist Billy Kyle spent most of his career as a sideman (most notably with John Kirby's Sextet and the Louis Armstrong All-Stars) and led relatively few sessions, all of which were formerly rare. That fact makes this CD reissue a major event for small-group swing collectors. Kyle's eight selections from 1937 with his "Swing Club Band" (which hints at times at the Kirby group) include two vocals apiece by the Palmer Brothers and Leon Lafell, but are most notable for the playing of trumpeter Charlie Shavers and altoist Tab Smith on the instrumentals. In addition, Kyle is prominent with the Spencer Trio (a group with clarinetist Buster Bailey and drummer O'Neil Spencer), Timme Rosenkrantz's Barrelhouse Barons (which include cornetist Rex Stewart, trombonist Tyree Glenn, tenorman Don Byas, and singer Inez Cavanaugh), and with Jack Sneed & His Sneezers. Sneed was a jazz-influenced calypso singer who was wise enough to use a backup quartet (which included Shavers) taken from the Kirby sextet. Overall, an excellent set of rarities. Scott Yanow
Tracklist :
1    Billy Kyle And His Swing Club Band–    Sundays Are Reserved 2:54
 Billy Kyle
Vocals – The Palmer Brothers
2    Billy Kyle And His Swing Club Band–    Havin' A Ball 2:39
 Billy Kyle
3    Billy Kyle And His Swing Club Band–    Big Boy Blue 2:51
 Dan Howell / Jack Lawrence / Peter Tinturin
Vocals – The Palmer Brothers
4    Billy Kyle And His Swing Club Band–    Margie 2:37
 Con Conrad / Benny Davis / J. Russel Robinson
5    Billy Kyle And His Swing Club Band–    Can I Forget You? 2:42
 Oscar Hammerstein II / Jerome Kern
Vocals – Leon LaFell
6    Billy Kyle And His Swing Club Band–    All You Want To Do Is Dance 2:27
 Johnny Burke / Arthur Johnston
Vocals – Leon LaFell
7    Billy Kyle And His Swing Club Band–    Handle My Heart With Care 2:37
Billy Kyle
8    Billy Kyle And His Swing Club Band–    Girl Of My Dreams 2:29
 Sunny Clapp
9    Spencer Trio–    John Henry 3:05
Traditional
Vocals – O'Neil Spencer
10    Spencer Trio–    Lorna Doone Shortbread 2:55
 Buster Bailey
11    Spencer Trio–    Afternoon In Africa 2:50
 Buster Bailey
12    Spencer Trio–    Baby Won't You Please Come Home 2:31
 Charles Warfield / Clarence Williams
Vocals – O'Neil Spencer
13    Timme Rosenkrantz And His Barrelhouse Barons–    A Wee Bit Of Swing 2:33
 Leo Mathiesen / Timme Rosenkrantz
14    Timme Rosenkrantz And His Barrelhouse Barons–    Is This To Be My Souvenir? 3:10
 Leo Mathiesen
Vocals – Inez Cavanaugh
15    Timme Rosenkrantz And His Barrelhouse Barons–    When Day Is Done 2:17
 Buddy DeSylva / Robert Katscher
Vocals – Inez Cavanaugh
16    Timme Rosenkrantz And His Barrelhouse Barons–    The Song Is Ended 2:15
 Irving Berlin
17    Jack Sneed And His Sneezers–    The Numbers Man  2:29
 Jack Sneed
18    Jack Sneed And His Sneezers–    Sly Mangoose 2:42
 Jack Sneed
19    Jack Sneed And His Sneezers–    West Indian Blues 2:55
 Jack Sneed
20    Jack Sneed And His Sneezers–    Big Joe Louis 2:50
 Jack Sneed
Credits :    
Alto Saxophone – Rudy Williams (tracks: 13 to 16), Russell Procope (tracks: 13 to 16), Tab Smith (tracks: 1 to 8)
Bass – John Kirby (tracks: 17 to 20), John Williams (tracks: 1 to 8), Walter Page (tracks: 13 to 16)
Clarinet, Alto Saxophone – Eddie Williams (tracks: 1 to 4)
Cornet – Rex Stewart (tracks: 13 to 16)
Drums – Fran Marx (tracks: 5 to 8), Jo Jones (tracks: 13 to 16), O'Neil Spencer (tracks: 1 to 4, 9 to 12, 17 to 20)
Guitar – Brick Fleagle (tracks: 13 to 16), Danny Barker (tracks: 1 to 8)
Piano – Billy Kyle
Tenor Saxophone – Don Byas (tracks: 13 to 16), Harold Arnold (tracks: 1 to 4), Ronald Haynes (tracks: 5 to 8)
Trombone – Tyree Glenn (tracks: 13 to 16)
Trumpet – Billy Hicks (tracks: 13 to 16), Charlie Shavers (tracks: 1 to 8, 17 to 20)

JOE TURNER – 1946-1947 | The Classics Chronological Series – 1034 (1998) FLAC (tracks+.cue), lossless

This fine collection captures Turner in his early prime, out on the West Coast and cutting some of the tightest jump blues of the '40s. Part of Classics' chronological series, the disc features such fine support players as pianists Pete Johnson and Albert Ammons, guitarist Teddy Bunn, and alto saxophonist Tab Smith. Among the 23 tracks are fine remakes of earlier Turner gems like "Roll 'em Pete," "Nobody in Mind," and "Ice Man Blues." Other highlights include Turner's initial R&B chart topper "My Gal's a Jockey" and the salaciously swingin' "Around the Clock Blues." A solid bet for fans of vintage jump blues. Stephen Cook
Tracklist :
1     My Gal's a Jockey
Joe Turner
2     I'm Still in the Dark 3:20
Joe Turner
3     I Got Love for Sale 2:32
Joe Turner
4     Sunday Morning Blues 2:52
Big Joe Turner
5     Mad Blues 2:25
Joe Turner
6     It's a Low Down Dirty Shame 2:38
Joe Turner
7     I'm Still in the Dark 3:04
Joe Turner
8     Miss Brown Blues 2:52
Joe Turner
9     Sally Zu-Zazz 2:53
Big Joe Turner
10     Rock O' Gibralter 2:36
Joe Turner
11     Milk and Butter Blues 3:06
Joe Turner
12     That's What Really Hurts 2:48
Joe Turner
13     I'm in Sharp When I Hit the Coast 2:54
Joe Turner
14     New Ooh Wee Baby Blues 3:03
Joe Turner
15     Around the Clock Blues, Pt. 1 1:46
Wynonie Harris
16     Around the Clock Blues, Pt. 2 1:39
Wynonie Harris
17     Morning Glory 2:29
Traditional
18     Nobody in Mind 3:09
Big Joe Turner
19     Low Down Dog 2:31
Leroy Carr / Big Joe Turner
20     Back Breaking Blues 3:04
Joe Turner
21     Empty Pocket Blues 2:40
Joe Turner
22     Roll 'Em Pete 2:51
Pete Johnson / Big Joe Turner
23     Ice Man Blues 2:31
Louis Jordan

BILLIE HOLIDAY AND HER ORCHESTRA — 1939-1940 (1991) The Classics Chronological Series – 601 | FLAC (tracks+.cue), lossless

This volume of the Classics Chronological series places Billie Holiday's music in historical context to an unusual degree, as her recordings for the Columbia and Commodore labels have until now been reissued separately because of copyright and catalog ownership. The songs parceled together here were recorded at a crossroads in Holiday's career. The setting for the first -- in what would constitute great changes in her life and music -- was Barney Josephson's Café Society Downtown. Located at 2 Sheridan Square, this was Manhattan's first fully integrated nightclub. Its clientele included a number of politically progressive intellectuals and social activists. When she first appeared at the club on December 30, 1938, Billie Holiday was known as a spunky vocalist who presented lively renditions of pop and jazz standards in what was considered an unusual yet accessible style. It was in the year 1939 that Lady Day gradually began to create a subtler if at times more provocative persona. Part of this equation was profoundly political, and the singer's activism is most stunningly present in "Strange Fruit," a powerfully disturbing setting of a poem by Lewis Allen describing in careful detail the appearance of a lynching victim. The specter of a black body hanging from a poplar tree was and still is a powerful image that can and should haunt the listener long after the song has ended. The fact that Holiday chose to incorporate this piece into her live performances puts her in a much different category from her preexisting cabaret image of a cheerful young jazz vocalist. It is a fact that after she began presenting "Strange Fruit" to the public -- and singing at benefits for politically progressive causes -- Billie Holiday became an object of FBI surveillance. John Hammond, generally regarded as the man who discovered Holiday and helped develop her career, is known to have disliked "Strange Fruit" and was behind Columbia's refusal to record this controversial song. Fortunately for posterity, Billie, backed by an ensemble drawn from the house band at Café Society, was able to wax four of her all-time best records -- including "Strange Fruit" -- on April 20, 1939, for Milt Gabler's innovative Commodore label. On the other hand, even when heard without the benefit of these historical insights, the music included in this part of the chronology is simply some of the best jazz of its day, rendered by some of the greatest players on the scene. An overview of the trumpeters, for example, includes Frankie Newton, Hot Lips Page, Charlie Shavers, Buck Clayton, Roy Eldridge, and Harry "Sweets" Edison. Billie's first collaborations with a tenor sax player were with Kenneth Hollon during the early '30s. Hollon was on hand at Café Society and can be heard on the first three sessions presented here. Tab Smith sounds particularly fine on soprano sax during "Long Gone Blues." The band backing Billie on December 13, 1939, was essentially Count Basie's Orchestra with Joe Sullivan sitting in at the piano. And the most precious element of all is the presence of Lester Young. The combined personalities of Pres and Lady Day transformed every song into a collective ritual filled with magic and poetic grace. arwulf arwulf  
Tracklist :
1 Why Did I Always Depend on You? 2:35
Paul Greenwood / Teddy McRae / R. Smith
2 Long Gone Blues 3:09
Billie Holiday feat: Billie Holiday & Her Orchestra
3 Strange Fruit 3:09
Lewis Allan
4 Yesterdays 3:21
Otto Harbach / Jerome Kern
5 Fine and Mellow 3:13
Billie Holiday feat: Billie Holiday & Her Orchestra
6 I Gotta Right to Sing the Blues 2:50
Harold Arlen / Ted Koehler
7 Some Other Spring 3:04
Arthur Herzog, Jr. / Irene Kitchings
8 Our Love Is Different 3:17
Billie Holiday / S. White
9 Them There Eyes 2:53
Maceo Pinkard / Doris Tauber / William Tracey
10 Swing, Brother, Swing 2:59
Lewis Raymond / Walter Bishop, Sr. / Clarence Williams
11 Night and Day 3:01
Cole Porter
12 The Man I Love 3:08
George Gershwin / Ira Gershwin
13 You're Just a No Account 3:01
Sammy Cahn / Saul Chaplin
14 You're a Lucky Guy 2:48
Sammy Cahn / Saul Chaplin
15 Ghost of Yesterday 2:41
Arthur Herzog, Jr. / Irene Kitchings / Wesley Wilson
16 Body and Soul 3:02
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
17 What Is This Going to Get Us? 2:43
Arthur Herzog, Jr. / Irene Kitchings
18 Falling in Love Again 2:53
Frederick Hollander / Sammy Lerner
19 I'm Pulling Through 3:13
Arthur Herzog, Jr. / Irene Kitchings / Irene Wilson
20 Tell Me More 3:11
Billie Holiday feat: Billie Holiday & Her Orchestra
21 Laughing at Life 2:57
Charles F. Kenny / Nick A. Kenny / Bob Todd / Cornell Todd
22 Time on My Hands 3:04
Harold Adamson / Mack Gordon / Vincent Youmans

COUNT BASIE AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 563 (1991) FLAC (image+.cue), lossless

The Count Basie Orchestra continued to grow in strength during the period covered by this CD, with Vic Dickenson replacing Benny Morton in the trombone section, high-note trumpeter Al Killian taking over for Ed Lewis, and Tab Smith being added as an alto soloist. Among the classics recorded by the definitive swing band are "I Never Knew," "Tickle Toe," "Louisiana," "Easy Does It," "Somebody Stole My Gal," "Super Chief," and a remake of "Moten Swing." This set would be well worth acquiring if only for the Lester Young solos, and there is much more to savor including spots for Buck Clayton, Harry "Sweets" Edison, Dicky Wells, Buddy Tate, Jimmy Rushing, Helen Humes, and Basie himself. Scott Yanow

COUNT BASIE AND HIS ORCHESTRA – 1940-1941 | The Classics Chronological Series – 623 (1991) FLAC (tracks+.cue), lossless

The biggest change for the Count Basie Orchestra during this period of time is that after the first session (which resulted in four selections, including "Broadway"), Lester Young left the band, at first replaced by Paul Bascomb and then Don Byas. Otherwise, the classic orchestra remained intact and stayed at the same high swinging level. Among the highlights are the rare anti-racism protest song "It's the Same Old South," "Rockin' the Blues," the original version of "Goin' to Chicago Blues," and two numbers ("9:20 Special" and "Feedin' the Bean") that have the great tenor Coleman Hawkins guesting with the band. Scott Yanow

COUNT BASIE AND HIS ORCHESTRA – 1941 | The Classics Chronological Series – 652 (1992) FLAC (tracks+.cue), lossless

Even after the loss of Lester Young, the Count Basie Orchestra was still in fine form on the recordings on this CD, which end right before Pearl Harbor. Trombonist Dicky Wells is mostly absent (he would be back) and Helen Humes had departed (replaced temporarily by singer Lynne Sherman). Meanwhile, Buck Clayton had blossomed as a writer (as can be heard on "Fiesta in Blue"), the band recorded such fine numbers as "Diggin' for Dex," "More Than You Know," and "Harvard Blues," and singer Paul Robeson guested on a tribute to boxer Joe Louis, "King Joe." Scott Yanow

COUNT BASIE AND HIS ORCHESTRA – 1942 | The Classics Chronological Series – 684 (1993) FLAC (tracks+.cue), lossless

Twenty numbers recorded by Count Basie in 1942, 15 of them in a marathon July 24 session in Hollywood, intended to get as much of the band's repertory down before a recording ban by the Musicians Union went into effect. The opening number is the updated "One O'Clock Jump," which he'd previously cut for Decca Records -- Buddy Tate and Don Byas are the featured soloists in this number, which also exists as a video from a Soundies appearance made by the band. Henry Nemo shows up as a vocalist (more of a primordial soul shouter) on one number, but the principal singer on these sides, when there are any vocals, is Jimmy Rushing, in excellent form -- his signature tune "I'm Gonna Move to the Outskirts of Town" is just about worth the price of the CD by itself. Two other highlights on this disc are "Basie Blues" and "How Long Blues," which give the pianist the spotlight in a very quiet mode, and the chance to prove out his less-in-more approach to his instrument. The 15 sides cut at the July session range from slow blues to jump numbers -- astonishingly, none have a rushed feel about them, and as a body they're priceless as an example of creating under pressure (with a lot of grace) by one of the top bands in the business -- and Earle Warren's gorgeous, Bing Crosby-like vocal on "Time On My Hands" ought to be heard by any fan of '40s swing. In view of the fact that no comprehensive collection of Basie's Columbia Records sides exists, this CD is a double priority for fans of the band, with better sound throughout than any of the Sony reissues on Basie's work from this period have thus far displayed. Bruce Eder  Tracklist + Credits :