MEZZ MEZZROW – 1928-1936 | The Chronogical Classics – 713 (1993) FLAC (tracks+.cue), lossless

Mezz Mezzrow was never that strong a player. His technique was weak and although he played with enthusiasm and was decent on the blues, he fumbled a lot. However, Mezz did appear on a lot of significant recordings through the years, and some are on this Classics CD. Playing tenor, Mezzrow is heard in 1928 with the Chicago Rhythm Kings, the Jungle Kings (the same group under a different name), Frank Teschemacher's Chicagoans, and the Louisiana Rhythm Kings. Those six titles by overlapping bands feature such major players early in their careers as cornetist Muggsy Spanier, clarinetist Frank Teschemacher, pianist Joe Sullivan, Eddie Condon (on banjo), and drummer Gene Krupa; Red McKenzie takes a vocal on "There'll Be Some Changes Made." Also on this CD are eight swing-oriented numbers from 1933-1934 by a big band headed by Mezzrow and including such top musicians as trumpeter Max Kaminsky, trombonist Floyd O'Brien, altoist Benny Carter, Bud Freeman on tenor, and either Teddy Wilson or Willie "The Lion" Smith on piano. Despite the inclusion of such titles as "Free Love" and "Dissonance," the music is essentially no-nonsense swing. This CD is rounded off by four selections from Art Karle and His Boys (mainly showcases for the dated vocals of Chick Bullock, although trumpeter Frankie Newton is in the backup band) and two songs from Mezz's first 1936 session as a leader. The excellent and often essential music is obviously of greatest interest for the contributions of the many all-stars. Scott Yanow  
Tracklist + Credits :

MEZZ MEZZROW – 1936-1939 | The Chronogical Classics – 694 (1993) FLAC (tracks+.cue), lossless

Considering the collective personnel and an unusually close communication between these players, this disc is a serious contender for the "Best of Mezz" award. By 1936, Mezz Mezzrow had developed into an able clarinetist and an expert at putting together strong traditional jazz ensembles. There are five sessions' worth of material gathered together to form this segment of the Mezzrow chronology. Each date produced top-notch small band swing, played by some of the best jazz musicians in the world at that time. None of this is exaggeration. On the opening session, for example, the clarinetist is flanked by trumpeter Frankie Newton and tenor sax man Bud Freeman, backed by a rhythm section including Al Casey, Wellman Braud, and Willie "The Lion" Smith! This group's two-part rendition of Stuff Smith's "I'se a-Muggin'" is a very close cover of the somewhat smoother version cut two days earlier by Jack Teagarden with the Three T's, a leisure service of Paul Whiteman. While Teagarden's timing and tone was impeccable, part one of Mezz's take has a rather gruff vocal by the Lion, who sounded like a friendly cigar-gnawing gangster whenever engaging in theatrical patter. In his liner notes, Anatol Schenker accuses these musicians of being stoned or at least under-rehearsed. According to that criterion, most of the records made by Fats Waller, Louis Armstrong, Billie Holiday, and Lester Young would be in artistic jeopardy simply on account of cannabis and spontaneity. Criticism of this sort is inaccurate, unfair, and misleading. Mezzrow's only 1937 session as a leader used three fine jam tunes that he composed in collaboration with arranger Edgar Sampson, and a formulaic stomp based on a simple but effective idea by Larry Clinton. This band swung hard with a front line of Sy Oliver, J.C. Higginbotham, Mezzrow, and tenor saxophonist Happy Caldwell, who expresses himself marvelously on these recordings. Like all the rhythm sections on this collection, the combination of Sonny White, Bernard Addison, Pops Foster, and Jimmy Crawford is first rate. Mezzrow was lucky, savvy, and well connected in lining himself up with Tommy Ladnier, Sidney de Paris, James P. Johnson, Teddy Bunn, Elmer James, and Zutty Singleton. Anyone familiar with this kind of music should be somewhat awed by that lineup. These were to be some of Ladnier's last recording dates, and should be savored along with the Bluebird sides he made with Mezzrow and Sidney Bechet during this same time period. "Comin' on with the Come On" is laid out in the classic Mezzrow two-part configuration of slow blues/fast blues. Sidney de Paris growls through his horn, mingling wonderfully with Ladnier. A second Bluebird session about one month later scaled the band down to a quintet with Ladnier and Mezzrow backed by Pops Foster, Teddy Bunn, and the no-nonsense drumming of Manzie Johnson. Bunn played guitar exquisitely and his vocal on "If You See Me Comin'" is a gem. The last four titles feature vocalist Rosetta Crawford in front of a band chosen from several of the previous sessions. Rosetta resurrects three old-time blues masterpieces by Perry Bradford and "Stop It Joe," a little-known novelty by the great James P. Johnson -- who is sitting in at the piano. arwulf arwulf  
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WILLIE "THE LION" SMITH – 1925-1937 | The Chronogical Classics – 662 (1992) FLAC (tracks+.cue), lossless

Willie "The Lion" Smith, one of stride piano's Big Three of the 1920s (along with James P. Johnson and Fats Waller), recorded a lot less than his two friends. In fact, with the exception of two selections apiece with the Gulf Coast Seven in 1925 (which features trombonist Jimmy Harrison and clarinetist Buster Bailey) and 1927's Georgia Strutters (starring singer Perry Bradford, Harrison, and cornetist Jabbo Smith), along with the rare and originally unreleased 1934 solo piano showcase "Finger Buster," this CD does not get started until 1935. Smith's Decca recordings of 1935 and 1937 were formerly quite obscure, showcasing his piano with three different versions of "His Cubs." The Lion is heard with a Clarence Williams-type quartet which includes cornetist Ed Allen and clarinetist Cecil Scott, matched up with trumpeter Dave Nelson and clarinetist Buster Bailey in a septet; and temporarily heading an early version of the John Kirby Sextet on a session dominated by drummer O'Neil Spencer's vocals. Highlights of this historic and enjoyable CD include "Santa Claus Blues," "Keep Your Temper," "Blues, Why Don't You Let Me Alone," and the earliest recording of the Lion's most famous composition, "Echo of Spring." Scott Yanow
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WILLIE "THE LION" SMITH – 1937-1938 | The Chronogical Classics – 677 (1992) FLAC (tracks+.cue), lossless

The second Classics CD in their Willie "The Lion" Smith series is surprisingly weak. Of the 25 selections, 21 actually feature the dated organ of Milt Herth. Smith's presence in the trio (with drummer-vocalist O'Neil Spencer) fails to uplift the music (Herth's wheezing organ mostly drowns him out) although guitarist Teddy Bunn helps a bit on the last seven numbers. Easily the best selections on the CD are two songs performed by Willie "The Lion" Smith and His Cubs (a septet with trumpeter Frankie Newton and clarinetist Buster Bailey) and a pair of duets with drummer Spencer on Smith's own "Passionette" and "Morning Air." But the preceding and following volumes in this program are much more valuable. Scott Yanow
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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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WILLIE "THE LION" SMITH – 1944-1949 | The Chronogical Classics – 1229 (2002) FLAC (tracks+.cue), lossless

Willie "The Lion" Smith had a career that was somewhat sporadically documented in phonograph records. Living almost until the age of 80, he waxed a fair number of piano solos over many decades and sat in from time to time here and there, but only occasionally led his own bands. The solos greatly outnumber his ensemble recordings, and so it is always interesting to hear this pianist operating as part of a group. On September 29, 1944, a sextet calling itself the Lion's Band cut four sides for the small-time Black & White label in New York. Trumpeter Max Kaminsky, clarinetist Rod Cless, and trombonist Frank Orchard made for a strong front line, perfect for Kid Ory's "Muskrat Ramble" and "Bugle Call Rag." Smith sang on his own sentimental composition, "How Could You Put Me Down." Sounding a bit plaintive but not unpleasant, he was already ripening into the old man who would be heard singing and playing for the patrons of Blues Alley on two albums brought out by the Chiaroscuro label many years later. The odd tune here is "Let's Mop It," a somewhat forced bit of hipness based on the famous lick from Dizzy Gillespie's "Salt Peanuts." With the exception of "Woodland Fantasy," a pleasant piano solo left over from a Moses Asch recording project, the rest of the material on this disc was recorded in Paris during December of 1949. There are 14 piano solos covering a good sampling of Smith's catalog of original compositions, along with a few standards and a pair of shouts by his old companion James P. Johnson: "Charleston" and "Carolina Shout." Smith's reflective blue reverie "I'm Gonna Ride the Rest of the Way" is particularly satisfying. As a sort of epilogue, listeners are treated to a session featuring the magnificent trumpet of Buck Clayton in the company of a rather reedy-sounding Claude Luter, who does his best to emulate his hero, Sidney Bechet. This little band's version of "Nagasaki" is especially delightful, as Willie strides up and down the piano while chuckling, grumbling, and shouting with joy. arwulf arwulf  
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WILLIE "THE LION" SMITH – 1950 | The Chronogical Classics – 1349 (2004) FLAC (tracks+.cue), lossless

Willie "The Lion" Smith is unaccompanied on these 1950 sessions originally recorded for Vogue and Commodore. The Vogue material includes Smith's friendly vocals accompanied by his matchless stride piano in "Can You Hear Me" and "Trains and Planes" (which salutes the services of Air France!). Smith narrates along with his piano salute to earlier greats (many of whom never recorded at all) in his two-part "Reminiscing the Piano Greats," a technique he would reprise on his RCA Victor album The Memoirs of Willie "The Lion" Smith and the Black Lion LP Pork and Beans. The instrumentals include a neglected gem written by Smith ("Conversation on Park Avenue"), along with the oldies "Pretty Baby" and "Sweet Sue" (the latter recorded in two parts). The sound on these tracks is far better on this Classics compilation due to the omission of the electronically simulated stereo on the earlier Vogue LP reissue. The last 13 tracks are remakes of pieces first recorded for Commodore in 1939. They were re-recorded for the same label (because producer Milt Gabler thought that the poor fidelity of the original records made them unsuitable for reissue), though the later version of "Between the Devil and the Deep Blue Sea" and six other titles are omitted because of time restrictions. Eight mostly long-forgotten but still valuable compositions by Smith are included (among them "Fading Star," "Fingerbuster," "Morning Air," and "Concentrating") along with the more widely known "Echoes of Spring," though the pianist sounds tentative at times and actually hits a few clams in spots. "The Boy in the Boat" (a piece Smith claimed as his own, but was published by Fats Waller and Clarence Williams as "Squeeze Me") was a raunchy song popular among the stride masters before it was cleaned up for recording. Better are his remakes of standards like "Stormy Weather" and "Tea for Two." Even though Willie "The Lion" Smith is not at the top of his game throughout every session, he remains one of the foremost stride pianists of all time. The rarity of the Commodore selections, last available in the long out of print Mosaic 20-LP boxed set of The Complete Commodore Jazz Recordings, Vol. 3, makes it far less expensive to purchase this Classics CD in its place. Ken Dryden  
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WILLIE "THE LION" SMITH – 1950-1953 | The Chronogical Classics – 1392 (2005) FLAC (tracks+.cue), lossless

This sixth volume in the Classics Willie "The Lion" Smith chronology is packed with exceptionally fine music, beginning with seven Commodore piano solos recorded near the end of 1950. The Lion is in excellent form here -- his thunderously percussive rendition of Cole Porter's "Just One of Those Things" could serve as a sort of primal preface to Cecil Taylor's 1959 reconstitution of Porter's "Get Out of Town." The Lion's Blue Circle session of August 15, 1953, features a robust little band with a front line of trumpeter Henry Goodwin, trombonist Jimmy Archey, and reedman Cecil Scott. Myra Johnson, Fats Waller's feisty touring vocalist during the late '30s and early '40s, chips in with a rowdy reading of "When the Saints Go Marching In" and "Stop It, Joe," a James P. Johnson composition erroneously credited here to Willie "The Lion" Smith. The instrumental tracks from this session, "The Lion Steps Out," "Willie's Blues," and "The Romp," are wonderfully hot traditional jazz of the highest order. "Background Music for a Cocktail Party" has laughter and conversation running continuously in the background, and appears to be an early example of looped mood-adjustment overdubbing. This marvelous compilation closes with a pair of duets with drummer Keg Purnell and a veritable mini-album of eight piano solos based on melodies by James P. Johnson. This series begins and ends with Smith's masterpiece "Echoes of Spring," referred to here as "The Lion's Theme." arwulf arwulf  
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SIDNEY BECHET – 1938-1940 | The Classics Chronological Series – 608 (1991) FLAC (tracks), lossless

This entry in Classics' chronological reissue of the master takes of Bechet's early recordings finds the soprano great playing with trumpeter Tommy Ladnier and Mezz Mezzrow on the famous "Really the Blues" session, performing a hit version of "Summertime," overshadowing the other members of the all-star Port of Harlem Seven and recording "Indian Summer" and a hot version of "One O'Clock Jump" in a 1940 session for Victor. However, half of this CD is taken up by an odd and surprisingly restrained marathon date with pianist Willie The Lion Smith in which they perform Haitian folk songs. Scott Yanow
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SIDNEY BECHET – 1940-1941 | The Classics Chronological Series – 638 (1992) FLAC (tracks+.cue), lossless

Classics' Sidney Bechet series continues with this CD, a generous set full of the soprano's prime Victor recordings, including appearances by cornetist Rex Stewart and pianist Earl Hines, Bechet's guest shot with The Chamber Music Society of Lower Basin Street, and his innovative "one-man-band" recordings of "The Sheik of Araby" and "Blues of Bechet." Scott Yanow
Tracklist :

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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JOE BUSHKIN – 1947-1950 | The Classics Chronological Series – 1459 (2008) FLAC (tracks+.cue), lossless

In 2007 the Classics Chronological Series began reissuing every recording known to have been made by pianist Joe Bushkin (1916-2004), starting with the Commodore and Savoy sessions of 1940-1946. Released in 2008, the sequel to that amazing collection delves even deeper into the discographical dilemma of Bushkin's recording activities by tracing his movements during the years 1947-1950, beginning with six sides by Joe Bushkin & His Rhythm that originally appeared on 10" Royale and Rondo-lette LPs. This grab bag of obscure delights includes V-Disc jams, collaborations with cornetist Bobby Hackett and trumpeters Buck Clayton and Roy Eldridge, a smart take of "I May Be Wrong" sung by Liza Morrow, and a two-part romp through "Indiana" drawn from an MGM sampler called Maggie Fisher's Piano Playhouse. Tracks 15-24 are piano solos, recorded on February 24 and 25, 1950, and issued on one of the first-ever Atlantic LPs, I Love a Piano. A marvelous improviser and a skilled interpreter of popular melodies with a background in both Chicago-style and big-band swing, Joe Bushkin was now helping to establish the great mid-20th century genre of keyboard mood music. arwulf arwulf
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CLARENCE WILLIAMS – 1933 | The Classics Chronological Series – 845 (1995) FLAC (tracks+.cue), lossless

The tenth CD in the Classics label's very valuable Clarence Williams series has its strong moments, although his band was starting to become somewhat predictable. Two titles feature clarinetist Albert Nicholas in a washboard-jug quintet, and six intriguing songs utilize both Herman Chittison and Willie "The Lion" Smith on piano (with Eva Taylor taking most of the vocals). But most of the other selections are by a quartet comprised of pianist Williams, cornetist Ed Allen (a terrible singer, as he shows on two songs), clarinetist Cecil Scott and the washboard of Floyd Casey. The music is fine, but not quite as special as Williams' slightly earlier recordings with more diverse and versatile bands. Still, this is worth picking up for classic jazz collectors. Scott Yanow
Tracklist :
1    Clarence Williams' Jug Band–    Mississippi Basin 3:02
Clarinet – Albert Nicholas
Guitar – Jimmy McLin
Jug – Clarence Williams
Piano – Unknown Artist
Vocals – Eva Taylor
Washboard – Willie Williams
Written-By – Razaf, Foresythe
2    Clarence Williams' Jug Band–    I Like To Go Back In The Evening 2:30
Clarinet – Albert Nicholas
Guitar – Jimmy McLin
Jug – Clarence Williams
Piano – Unknown Artist
Vocals – Eva Taylor
Washboard – Willie Williams
Written-By – Williams, Clint, Pascoe
3    Clarence Williams And His Orchestra–    Black-Eyed Susan Brown 2:47
Clarinet – Unknown Artist
Cornet, Vocals – Ed Allen
Piano – Clarence Williams
Tom Tom – Unknown Artist
Washboard, Vocals – Floyd Casey
Written-By – Goodhart, Hoffman, Magidson
4    Clarence Williams And His Orchestra–    Mama Stayed Out All Night Long 2:44
Clarinet – Unknown Artist
Cornet, Vocals – Ed Allen
Piano – Clarence Williams
Tom Tom – Unknown Artist
Washboard, Vocals – Floyd Casey
Written-By – Razaf, Wilson
5    Clarence Williams And His Orchestra–    High Society 2:37
Clarinet – Unknown Artist
Cornet – Ed Allen
Piano – Clarence Williams
Tom Tom – Unknown Artist
Washboard – Floyd Casey
Written-By – Steele, Melrose
6    Clarence Williams And His Orchestra–    I Like To Go In The Evening (To That Old Sweetheart Of Mine) 2:41
Clarinet – Unknown Artist
Cornet – Ed Allen
Piano – Clarence Williams
Tom Tom – Unknown Artist
Washboard – Floyd Casey
Written-By – Williams, Clint, Pascoe
7    Clarence Williams' Jug Band–    Shim Sham Simmy Dance 3:00
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug, Vocals – Clarence Williams
Kazoo, Vocals – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Vocals – Eva Taylor, The Lowland Singers
Washboard – Willie Williams
Written-By – Razaf, Williams
8    Clarence Williams' Jug Band–    Organ Grinder Blues 3:40
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug, Vocals – Clarence Williams
Kazoo, Vocals – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Vocals – Eva Taylor, The Lowland Singers
Washboard – Willie Williams
Written-By – Williams
9    Clarence Williams' Jug Band–    Chizzlin’ Sam 3:10
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug – Clarence Williams
Kazoo, Vocals – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Vocals – Eva Taylor
Washboard – Willie Williams
Written-By – Williams
10    Clarence Williams' Jug Band–    High Society 2:53
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug – Clarence Williams
Kazoo – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Vocals – Eva Taylor
Washboard – Willie Williams
Written-By – Piron, Williams
11    Clarence Williams' Jug Band–    Mister, Will You Serenade? 3:08
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug – Clarence Williams
Kazoo, Vocals – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Vocals – Eva Taylor
Washboard – Willie Williams
Written-By – Hill, Williams, Robinson
12    Clarence Williams' Jug Band–    You Ain’t Too Old 3:03
Banjo – Ikey Robinson
Clarinet – Cecil Scott
Jug – Clarence Williams
Kazoo, Vocals – Clarence Todd
Piano – Herman Chittison, Willie "The Lion" Smith
Washboard – Willie Williams
Written-By – Hill, Williams
13    Clarence Williams And His Orchestra–    Beer Garden Blues 2:49
Clarinet – Cecil Scott
Cornet – Ed Allen
Piano – Clarence Williams
Washboard – Floyd Casey
Written-By – Williams, Raymond, Bishop
14    Clarence Williams And His Orchestra–    The Right Key But The Wrong Keyhole 2:36
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Piano – Clarence Williams
Washboard – Floyd Casey
Written-By – Green
15    Clarence Williams And His Orchestra–    Dispossessin’ Me 2:39
Clarinet – Cecil Scott
Cornet – Ed Allen
Piano – Clarence Williams
Washboard – Floyd Casey
Written-By – Schiller, Williams, Bishop
16    Clarence Williams And His Orchestra–    Breeze (Blow My Baby Back To Me) 3:03
Clarinet – Cecil Scott
Cornet – Ed Allen
Piano, Vocals – Clarence Williams
Washboard – Floyd Casey
Written-By – MacDonald, Hanley, Goodwin
17    Clarence Williams And His Orchestra–    She Just Got A Little Bit Left 2:57
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Guitar – Unknown Artist
Piano, Vocals – Clarence Williams
Washboard – Floyd Casey
Written-By – Unknown Artist
18    Clarence Williams And His Orchestra–    After Tonight 3:04
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Guitar – Unknown Artist
Piano, Vocals – Clarence Williams
Washboard – Floyd Casey
Written-By – Williams, Armstrong, Matthews
19    Clarence Williams And His Orchestra–    Bimbo 2:53
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Guitar – Unknown Artist
Piano, Vocals – Clarence Williams
Washboard – Floyd Casey
Written-By – Williams, Palmer
20    Clarence Williams And His Orchestra–    Chocolate Avenue 2:55
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Guitar – Unknown Artist
Piano, Vocals – Clarence Williams
Washboard – Floyd Casey
Written-By [Uncredited] – Sonny Blount
21    Clarence Williams And His Orchestra–    Harlem Rhythm Dance 2:46
Banjo, Guitar – Ikey Robinson
Brass Bass – Cyrus St. Clair
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Piano, Vocals – Clarence Williams
Written-By – Razaf, Williams
22    Clarence Williams And His Orchestra–    ‘Way Down Home 3:00
Banjo, Guitar – Ikey Robinson
Brass Bass – Cyrus St. Clair
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Piano, Vocals – Clarence Williams
Written-By – Williams, Dowell
23    Clarence Williams And His Orchestra–    For Sale (Hannah Johnson’s Big Jack Ass) 2:45
Banjo, Guitar – Ikey Robinson
Brass Bass – Cyrus St. Clair
Clarinet – Cecil Scott
Cornet, Vocals – Ed Allen
Piano, Vocals – Clarence Williams
Written-By – Williams, Troy

CLARENCE WILLIAMS – 1934 | The Classics Chronological Series – 891 (1996) FLAC (tracks+.cue), lossless

In 1997, the Classics label released a twelfth volume in their unprecedented series devoted to the complete chronological recordings of Clarence Williams. Eighteen selections dating from a three-month segment of the year 1934 collectively feature Harlem stride pianists James P. Johnson and Willie "The Lion" Smith, cornetist Ed Allen, clarinetist Cecil Scott, guitarist Roy Smeck, banjoist Ikey Robinson, bassist Richard Fullbright, tuba technician Cyrus St. Clair, and drummer/washboard handler Floyd Casey. Vocals are by Williams, his wife Eva Taylor, Ed Allen, Ikey Robinson, and composer/comedian Clarence Todd. Tracks 11-18 are by the Alabama Jug Band, with Williams delivering substantial basslines using that old-time staple of down-home musical entertainment, a ceramic whiskey jug. Williams has been posthumously ridiculed for his vaudevillian sensibilities and hokum recordings, but the truth about this man is that he was one of the great publishers and producers of African-American music during the 1920s and '30s. Disparaging comments about his pianistic prowess are directly traceable to Willie "The Lion" Smith, one of the toughest critics who ever passed judgment upon his fellow musicians. Williams was a perfectly capable pianist and a rather shrewd and at times opportunistic businessman who produced Bessie Smith's earliest recording sessions and served as her accompanist, published Fats Waller's first important compositions, recorded comedic piano duets with James P. Johnson, and led a series of recording ensembles that included cornetists King Oliver and Louis Armstrong as well as powerhouse reedman Sidney Bechet. The recordings that Williams presided over between July 6 and October 3, 1934 are among his most sanguine and substantial, particularly the outrageous tale of "Jerry the Junker" and the gutsy "Jazz It Blues," which has a vocal refrain by the Ham and Cabbage Trio. arwulf arwulf
Tracklist :
1    Clarence Williams And His Orchestra–    Jerry The Junker 3:04
Vocals – Clarence Williams
Written-By – Clarence Stout
2    Clarence Williams And His Orchestra–    Organ Grinder Blues 3:07
Vocals – Clarence Williams, Eva Taylor
Written-By – Clarence Williams
3    Clarence Williams And His Orchestra–    I'm Gettin' My Bonus In Love 2:42
Vocals – Clarence Williams
Written-By – Williams, Grainger
4    Clarence Williams And His Orchestra–    Chizzlin' Sam 2:52
Vocals – Clarence Williams, Eva Taylor
Written-By – Clarence Williams
5    Clarence Williams And His Orchestra–    Big Fat Mama 2:45
Vocals – Eva Taylor
Written-By – Williams, Calaway, Roland
6    Clarence Williams And His Orchestra–    Ain’t Gonna Give You None Of My Jelly Roll 2:32
Vocals – Clarence Williams
Written-By – Williams, Williams
7    Clarence Williams And His Orchestra–    I Saw Stars 3:09
Vocals – Clarence Williams
Written-By – Goodhart, Hoffman, Sigler
8    Eva Taylor And Her Boy Friends–    Crazy Blues 2:23
Vocals – Clarence Williams
Written-By – Bradford
9    Eva Taylor And Her Boy Friends–    The Stuff Is Here And It’s Mellow 2:33
Written-By – Williams, Bishop, Smith
10    Clarence Williams And His Orchestra–    Rhapsody In Love 2:52
Vocals – Clarence Williams
Written-By – Williams, Trent
11    Alabama Jug Band–    "Ida" Sweet As Apple Cider 2:42
Vocals – Ikey Robinson
Written-By – Eddie Leonard
12    Alabama Jug Band–    My Gal Sal 2:48
Vocals – Ikey Robinson
Written-By – Paul Dresser
13    Alabama Jug Band–    Gulf Coast Blues 3:04
Vocals – Ikey Robinson
Written-By – Clarence Williams
14    Alabama Jug Band–    I Wish I Could Shimmy Like My Sister Kate 2:36
Vocals – Ikey Robinson
Written-By – Armand Piron
15    Alabama Jug Band–    Jazz It Blues 2:50
Vocals – Ham and Cabbage Trio
Written-By – Tom Delaney
16    Alabama Jug Band–    Somebody Stole My Gal 2:51
Written-By – Leo Wood
17    Alabama Jug Band–    Crazy Blues 3:14
Vocals – Clarence Williams
Written-By – Perry Bradford
18    Alabama Jug Band–    Sugar Blues 2:34
Vocals – Clarence Williams
Written-By – Williams, Fletcher
Credits :    
Banjo – Ikey Robinson (tracks: 11 to 18)
Brass Bass – Cyrus St. Clair (tracks: 15 to 18)
Clarinet – Cecil Scott
Cornet – Ed Allen
Double Bass [String Bass ?] – Richard Fullbright (tracks: 11 to 14)
Double Bass [String Bass] – Richard Fullbright (tracks: 5 to 10)
Drums – Floyd Casey (tracks: 5 to 10)
Guitar – Roy Smeck (tracks: 7 to 10)
Guitar [?] – Roy Smeck (tracks: 5, 6)
Kazoo – Clarence Todd (tracks: 15 to 18)
Piano – Clarence Williams (tracks: 5, 6), James P. Johnson (tracks: 1 to 4), Willie "The Lion" Smith (tracks: 7 to 10)
Trombone [?] – Dicky Wells (tracks: 7 to 10)
Washboard – Floyd Casey (tracks: 1 to 4, 11 to 14)