FRANKIE TRUMBAUER AND HIS ORCHESTRA – 1927-1928 | The Chronogical Classics – 1188 (2001) FLAC (tracks+.cue), lossless

C-melody saxophonist Frankie Trumbauer is best remembered for the recordings he made in the late '20s with cornetist Bix Beiderbecke. Trumbauer's other lasting accomplishment was to inadvertently inspire Lester Young to develop an unusually subtle manner of handling the tenor saxophone. While most of this material may be found on various Beiderbecke-oriented compilations (the JSP box Bix & Tram is thriftily priced), there's nothing quite like having a Classics discography to organize one's cognition while following the trail of old records in precise chronological sequence. Informational details such as record labels, arranger credits, and recording dates are neatly presented for maximum clarity and comprehension. This first volume in the complete works of Frankie Trumbauer consists entirely of recordings made for the Okeh label between February 4, 1927, and January 20, 1928. The material ranges from archetypal masterpieces ("Singin' the Blues," "Ostrich Walk," "I'm Coming, Virginia," and "A Good Man Is Hard to Find") to marvelously stodgy milestones of timeworn pop music. "Sugar" -- not Maceo Pinkard's tune but a long-gone opus credited to Yellen & Ager -- is sung by a positively silly trio of comedians whereas "Just an Hour of Love" and "I'm Wonderin' Who" feature vaudeville-trained vocalist Irving Kaufman. Instrumentally speaking, there's never a dull moment. Adrian Rollini appears and disappears like a bass sax-toting will o' the wisp; Joe Venuti brandishes a fiddle and Eddie Lang plays both banjo and guitar, even appearing in a trio with Bix and Tram on "For No Reason at All in C" and Fats Waller's "Wringin' and Twistin'." Pee Wee Russell and Jimmy Dorsey each show up long enough to contribute their two bits, someone's sax whinnies like a horse at the end of "There'll Come a Time," and Bing Crosby merrily mouths the racist lyrics to "Mississippi Mud." Throughout all of this, Beiderbecke sounds like an angel playing hooky from heaven. arwulf arwulf  
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NEW ORLEANS RHYTHM KINGS – 1925-1935 | The Chronogical Classics – 1150 (2000) FLAC (tracks+.cue), lossless

The 1922-1923 recordings of the New Orleans Rhythm Kings are essential listening for anyone trying to piece together the evolution of New Orleans/Chicago-style jazz (see Classics 1129). To be permitted chronological access to everything that subsequently appeared under the banner of the NORK is a ticket to Elysium for all lovers of classic jazz. The first six selections, recorded in New Orleans near the beginning of 1925, reveal a much different band than the ensembles of 1923. Obviously, Jelly Roll Morton isn't directly involved anymore, even if "Golden Leaf Blues" sounds a lot like "Milenberg Joys." Paul Mares and Leon Roppolo retain their position at the center of things, but trombonist George Brunies has been replaced by the dashing Santo Pecora. Each little three-minute performance is solid and warm. Now the action moves up to New York City. A small cluster of originally unissued test pressings from June of 1934 includes a vaudeville version of "Shine" by a quartet calling itself "the Four Bales of Cotton," with scatting, trumpeting, and friendly patter by Wingy Manone. Although "Shine," with its mildly Jim Crow lyrics, always does better as an instrumental, this theatrical singalong approach is somehow fascinating. The same session yielded two hot instrumentals by a reassembled Rhythm Kings with a front line of Manone, either Brunies or Pecora, clarinetist Sidney Arodin, and the tenor saxophone of Eddie Miller. Why these sides were rejected in 1934 is anybody's guess. By September of that year, Decca was taking them more seriously. Brunies and Manone led a six-piece mob through eight outstanding stomps. Arodin's marvelous "San Antonio Shout" is succeeded by one traditional jazz anthem after the next. Their handling of "Jazz Me Blues" is particularly tasty. The session of September 26 was shaped by a deliberate emphasis on material harking back to the Original Dixieland Jazz Band. Back in Chicago on January 26, 1935, Paul Mares led his own version of a reconstituted Rhythm Kings band, referencing the earliest NORK sessions by reviving the Friars Society Orchestra name. The appropriately titled "Reincarnation" is elegantly, majestically blue. "Land of Dreams," "Nagasaki," and "Maple Leaf" swing hard. Pecora is back, along with the mighty Omer Simeon and a tough alto sax player by the name of Boyce Brown. The last band to record under this name in the 1930s had a strong front line in Muggsy Spanier, George Brunies, and Eddie Miller. Two of the numbers are hot Fats Waller spinoffs, while "No Lovers Allowed" is OK and "Since We Fell Out of Love" has notably stupid lyrics, made insufferable by Red McKenzie, who insists on warbling away at each song without mercy. Either you love him or you want to cram a comb down his throat. Whenever the singer runs out of lyrics, Muggsy's cornet shines like the harvest moon. arwulf arwulf  
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BENNY GOODMAN AND HIS ORCHESTRA – 1928-1931 | The Classics Chronological Series – 693 (1993) FLAC (tracks+.cue), lossless

 This CD reissues the first 22 selections led by Benny Goodman, spanning a three-year period when the clarinetist developed into a greatly in-demand studio musician during the Depression. The first ten titles feature him in hot, small groups with the likes of cornetist Jimmy McPartland, trombonist Glenn Miller, trumpeter Wingy Manone, and tenor saxophonist Bud Freeman. Included is "Wolverine Blues," "Jungle Blues" (during which Benny Goodman takes his only recorded trumpet solo), the satirical "Shirt Tail Stomp" (which makes fun of cornball bands), and a pair of trio features ("That's a Plenty" and "Clarinetitis"), recorded seven years before the Benny Goodman Trio debuted. The remaining dozen numbers, from 1930-1931, are strictly dance band performances with an emphasis on melodies and dull vocals (mostly by Scrappy Lambert and Paul Small) and only a few short spots for solos. Scott Yanow
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THE RED HEADS – 1925-1927 | The Classics Chronological Series – 1267 (2002) FLAC (tracks+.cue), lossless

The Red Heads was a pseudonym for Red Nichols & His Five Pennies whenever their recordings were released on the Melotone, Oriole, or Perfect labels during the years 1925-1927. Following in the wake of EPM Musique's 25-track Complete edition of 1998, Jazz Oracle's 74-track, three-CD set of 2004 augmented the main body of their work with a surprisingly large number of sides by pop vocalists Jay C. Flippen and Cliff Edwards with sweet and jazzy accompaniments by the Red Heads. Edwards, also known as Ukulele Ike, eventually achieved international fame as the voice of Jiminy Cricket. This exhaustively thorough chronological survey also features vocals by Frank Gould and Arthur Fields. Having all of these charming period pop vocals in the package should be regarded as a confectionary bonus rather than a distracting disadvantage. The producers have placed the instrumentals in full context by including harmless pleasantries like "You Should See My Tootsie" and "I'm 'Gonna' Hang Around My Sugar," with the word "gonna" in quotes. Instrumentalists of note in the Red Heads discography are trumpeters Red Nichols and Wingy Manone; cornetist Brad Gowans, trombonist Miff Mole, reed players Jimmy Dorsey and Fud Livingston; pianists Arthur Schutt and Rube Bloom; guitarists Dick McDonough and Eddie Lang, and ace percussionist Vic Berton. This amazing anthology is not exclusively intended or recommended for historians, specialists, or recluses. It is a thrilling magnum dose of great historic jazz, dance, and pop recordings from smack in the middle of the '20s. No one should be put off by the quantity of tracks, the modest helping of alternate takes, or the marvelously old-fashioned nature of the music within. It is perhaps most important that it be heard by people who do not specialize in music and culture from this period. The Red Heads can and will speak to anyone. arwulf arwulf

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WINGY MANONE AND HIS ORCHESTRA – 1927-1934 | The Classics Chronological Series – 774 (1994) FLAC (tracks), lossless

A publicity photo of Wingy Manone shows him apparently poised in the act of doing the dance called a buck-and-wing, but that's not where the moniker came from. When Joe Manone was ten years old he lost his right arm in a trolley accident. In time he came to be called "Wingy," and wore a wooden limb with a glove over the end of it, securing his cornet between the wooden fingers and working its valves with his left hand. Wingy's bands swung hard. He developed a warm, gruff voice and almost invariably displayed a wild sense of humor. What Classics 774 delivers is a step-by-step synopsis of Manone's earliest work, including quite a bit of previously hard to find material. The four titles from 1927 were recorded in Wingy's home town of New Orleans. Earl Warner's twerpy vocal on the first selection illustrates exactly why listeners should be thankful for Wingy's decision to develop himself as a singer. Up in Chicago a year and a half later, Wingy fell in with a set of rough-and-tumble blokes who earnestly cooked each number to the bone. Next stop: the Gennett recording studio in Richmond, IN, where Manone led two sessions under the inspiring banner of Barbecue Joe & His Hot Dogs during the late summer and early autumn of 1930. Every single one of these sides is solid and catchy, especially the Hot Dogs' revival of Papa Charlie Jackson's "Shake That Thing." Most notably, "Tar Paper Stomp," also known as "Wingy's Stomp," is the earliest known recording involving a bouncy lick that would show up in Fletcher Henderson's book as "Hot and Anxious" and eventually earn a lot of money for Glenn Miller as "In the Mood." Here on Wingy's plate it comes across honest and natural as hash browns and scrambled eggs with a little bit of hot sauce. There is a discernible change in Wingy's voice over the span of just a few years. In 1928 he's earnest enough but doesn't attract a whole lot of attention. By 1930 he's sounding tougher. But the Wingy of 1934 calls out in a voice of magnetic, husky friendliness that would distinguish him for the rest of his days. Wingy's consistent front line of cornet (or trumpet after 1930), clarinet, and tenor sax was only occasionally beefed up with a trombone or extra trumpets. Three of the five tenors represented here languish in obscurity; Bud Freeman and Eddie Miller are familiar names, but who on earth was George Snurpus? This is exactly why early jazz studies are so adventuresome. You never know who is going to appear before your startled ears. Any hankering for famous and proven presences will be more than satisfied by the session of August 15, 1934. Wingy, Dicky Wells, Artie Shaw, and Bud Freeman are supported by Kaiser Marshall, John Kirby, guitarist Frank Victor, and your choice of pianists Teddy Wilson or Jelly Roll Morton. If that don't get it, nothing will. arwulf arwulf  
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WINGY MANONE AND HIS ORCHESTRA – 1934-1935 | The Classics Chronological Series – 798 (1994) FLAC (tracks+.cue), lossless

You know what? Wingy Manone's best records were instrumental. That doesn't mean he wasn't a great singer. It's more of a commentary on the excellent bands he led, and the apparent ease with which the players interacted. Take for example the OKeh session of October 3, 1934. You've got Wingy the one-armed trumpeter, a New Orleans clarinetist by the name of Sidney Arodin (co-composer of the song "Lazy River"), and trombonist Santo Pecora, who wrote two of the four tunes recorded on that day. Wingy could have sung on any of these numbers -- even "Royal Garden Blues," which does in fact have lyrics. Instead, here is an opportunity to savor the sound of seven men swinging together, listening carefully and measuring out their individual contributions without having to work around a vocal line. Wingy seems to be savoring the experience, too. If Wingy's vocals alter the structural dynamics of the songs, Nappy Lamare's falsetto interjections distract and even detract. Nappy, who impersonates a nagging child during "On the Good Ship Lollipop," tended to come across that way regardless of subject matter. This Shirley Temple hit, by the way, does have redeeming social value when swung by Wingy's septet. But "Lollipop" would have been really outstanding without any vocals. If only they had recorded each song twice, side A as a vocal, backed with an instrumental take on the flip. Then listeners could have had it both ways. Fats Waller did up a few tunes in this manner, and the results were wonderful. Speaking of Waller, the great Wingy/Waller parallel of this package is a pretty love song with the title "I Believe in Miracles." Utilizing the Hammond organ, Fats recorded a sweet version on January 5, 1935. Wingy's more danceable interpretation was waxed on the 8th of March. Both artists seem to have enjoyed every word and in both cases the poetry makes for very pleasant listening. Four tunes, realized on the 8th of April 1935, are very satisfying instrumentals. It is easy to imagine what the effect would have been had Wingy sung the lyrics to these Tin Pan Alley creations. Some would smile at the naïvely rhyming stanzas, and everyone's ears would perk up when the instruments would take brief solos in the precious time remaining after an entire chorus had been eaten up by words, words, words. Instead, Wingy is heard putting all of his energy into blowing trumpet, Eddie Miller booting around with his tenor sax, and Matty Matlock garnishing the melody with attractive little clarinet runs. Without a doubt, a lot more from the piano of Gil Bowers is featured, simply because no space is taken up by vocals. When Wingy sings on two songs from May 27, 1935, it's nice to hear him again. "Every Little Moment" is charming and "Black Coffee" is a harrowing tale of misbehavior and confusion. Vocally or instrumentally, Wingy was always ready to show the people a good time. arwulf arwulf  
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WINGY MANONE AND HIS ORCHESTRA – 1935-1936 | The Classics Chronological Series – 828 (1995) FLAC (tracks), lossless

1935 and '36 were red-hot years for Fats Waller, and many musicians deliberately chose to record songs which had quickly become closely associated with him. Wingy Manone was capable of covering such tunes without sounding like an imitator. Unlike Waller's slow, almost erotic version, Wingy's "Sweet and Slow" trots along as briskly as "Lulu's Back in Town." Other songs popularized by Waller and revisited here are "I'm Gonna Sit Right Down and Write Myself a Letter" and the cheerful "I've Got My Fingers Crossed." Wingy's bands during this time period featured reedmen Bud Freeman, Eddie Miller, Matty Matlock and Joe Marsala, and two of the sessions were bolstered by the presence of trombonists Jack Teagarden and George Brunies. Teagarden plays exceptionally fine trombone on the records made in October of 1935. His vocal contributions, however, consist only of spoken interjections. Johnny Mercer is heard making his own remarks during both takes of "I've Got a Note." Teagarden engages in a bit of conversation with Wingy on take one. Take two is markedly faster and hotter. Wingy was capable of singing and playing practically any song that came along. He performs "The Music Goes 'Round and Around" as if it had been written just for him, and takes on Louis Armstrong's "Old Man Mose" without flinching. "The Broken Record" comes as a pleasant surprise, giving the singer and band a chance to imitate a skipping record as the phrases "you're gorgeous," "I kiss you" and "I love you" each get stuck and are repeated six times apiece. (Note that this immortalizes the hasty rate at which 78 rpm records skip. It's much different from a 33-and-1/3 rpm skip.) Finally, as the trombone gets stuck in the same repetitious manner, Wingy says "Man, take that broken record offa there, and throw it out the window!" arwulf arwulf
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WINGY MANONE AND HIS ORCHESTRA – 1936 | The Classics Chronological Series – 849 (1995) FLAC (tracks), lossless

The Classics series (along with the unrelated Collectors Classics label) has been reissuing all of trumpeter Wingy Manone's recordings of the 1930s, many of which did not even reappear during the LP era. By 1936, Manone's records were getting a bit predictable, but taken in small doses they are still quite fun. Manone sings on all of the 22 selections except "Panama," verbally urges on his sidemen (which at times include clarinetist Joe Marsala and tenor saxophonist Eddie Miller) and takes some Louis Armstrong-inspired solos. This CD is the fourth Manone set put out by Classics and has four sessions from a four-month period; highlights include "Is It True What They Say About Dixie," "Dallas Blues," "Swingin' at the Hickory House," "Sing Me a Swing Song" and "Panama." Scott Yanow
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WINGY MANONE AND HIS ORCHESTRA – 1936-1937 | The Classics Chronological Series – 887 (1996) FLAC (tracks), lossless

The fifth in Classics' complete Wingy Manone series of CDs features the good-humored trumpeter/singer on 21 selections from a nine-month period. A fair amount of Wingy's sidemen are obscure, but they do sometimes include clarinetists Joe Marsala and Matty Matlock and trombonist George Brunies. Manone sings on all of the selections, and even if many of the songs are far from classics, the swinging solos and jubilance of these Dixieland-oriented performances make the music worth hearing. Highlights include "A Good Man Is Hard to Find" (which has Manone interacting with singer Sally Sharon), "In the Groove," "Let Me Call You Sweetheart," "Floatin' Down to Cotton Town" and "You Showed Me the Way." Scott Yanow
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WINGY MANONE AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 952 (1997) FLAC (tracks), lossless

Wingy Manone was a magnetic vocalist and trumpeter whose sense of humor and husky New Orleans drawl could make even the shallowest Tin Pan Alley confection sound attractively hip. "You're Precious to Me" is a strong example of this sort of magic in action. The other two songs recorded on the same day are loaded with funny business but Jack LeMaire's falsetto interjections sound like cheap imitation Step'n Fetchit. This degrading patter upstages Wingy and spoils the timing. Maybe they figured that out and canned the corn; from this point onward, Wingy has the floor and anyone who chimes in does it without sounding idiotic. Instrumentally, Wingy's bands were always strong and tight. Joe Marsala and Babe Russin were excellent reed players. Wingy was fortunate to have them on board for both of these 1937 sessions, and he knew it. "I Ain't Got Nobody" is almost as hot as Fats Waller's version, and Wingy's jump treatment of "Getting Some Fun Out of Life" compares interestingly with Billie Holiday's approach to the same tune. And leave it to Wingy to pull off the relatively superfluous lyrics to "Jazz Me Blues." The session of January 12, 1938 might be familiar to collectors as having been reissued on RCA Black and White as Chu Berry's Indispensable, a package that was conspicuously riddled with Wingy Manone sessions. Chu made a lot of good records with Wingy, and these are among the best of them. After two Scottish airs and a lazy lament, we're treated to one of the funniest and most finely crafted of all Manone creations: "Where's the Waiter," a topic most everyone can relate to. The session culminates with two oddball novelties having something or other to do with being Italian. Using an almost entirely different band, Wingy ground out a half-dozen further sides for Bluebird on May 23, 1938. Brad Gowans, best remembered as Eddie Condon's all-purpose valve trombonist, combines well with an able clarinet and alto saxophonist named Al Kavich. "Let's Break the Good News" is every bit as rowdy as a rendition recorded by Fats Waller around this same time. Wingy and Fats often seem to have been on the same page: In 1939 Fats would record a solo piano version of "Ah! So Pure," an aria from Martha, Friedrich Von Flotow's operatic hit of 1847. Wingy, of course, turns this melody into a foot-stomping singalong. The "Mannone Blues" is actually Bessie Smith's "Backwater Blues," if you crank it up to 78 miles per hour and let Wingy put a few of his own words on it. Slim Gaillard's "Flat Foot Floogie" works well, although this is clearly a case where Waller cut Wingy (and everyone else for the rest of time) with his 'Continental Rhythm' version of the "Floy Floy." Mary Lou Williams' "Little Joe From Chicago" sounds almost as though it was written for Wingy and his scruffy little pack. Here then is another great album of Wingy's unique brand of good-time jazz, with jokes and warts included. arwulf arwulf
Tracklist & Credits :

WINGY MANONE AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 1023 (1998) FLAC (tracks+.cue), lossless

Wingy Manone's popular series of Dixieland-flavored combo records continued in 1939-40. This CD, the sixth in Classics' complete reissuance of Manone's recordings of the era, is most notable for having tenor saxophonist Chu Berry as a key sideman on three of the four sessions. Also heard in the supporting cast on some of the dates are clarinetist Buster Bailey, drummer Cozy Cole and guitarist Danny Barker, although the final four selections are done mostly with obscure players. Manone has his typical jivey vocals on 15 of the 22 selections including "Corrine Corrini," "Beale Street Blues," "The Saints," "My Honey's Lovin' Arms," "When My Sugar Walks Down the Street" and "The Mosquito Song." Not too surprisingly, it is the seven instrumentals that are of greatest interest, particularly "Jumpy Nerves" (which uses Manone's riff which would soon become the basis for "In the Mood"), "Royal Garden Blues," "Blue Lou" and "She's Crying for Me." In general, this was a strong period for Manone's recordings and there are plenty of fine solos from Wingy, Chu and Bailey. Scott Yanow  
Tracklist & Credits :

WINGY MANONE – 1940-1944 | The Classics Chronological Series – 1091 (1999) FLAC (tracks+.cue), lossless

The seventh in Classics' Wingy Manone series (reissuing all of the trumpeter-vocalist's recordings as a leader into the mid-'40s) has 21 numbers from his lesser-known 1940-1944 period. The good-humored Manone is heard leading Dixielandish groups that include at various times clarinetists Joe Marsala and Matty Matlock, trombonists George Brunies and Abe Lincoln, pianists Mel Powell and Joe Sullivan, and drummer Zutty Singleton plus many lesser-known names. The best cuts are "Ain't It a Shame About Mame," "Ochi Chornya," "Mama's Gone Good-Bye," a remake of "Isle of Capri," "The Tailgate Ramble" (which has Manone sharing the vocals with its lyricist Johnny Mercer), "Sister Kate," and the only instrumental, "Memphis Blues." The six-part 16-minute "Jam and Jive" (which is rarely reissued) is a disappointment, mostly featuring Manone jiving in unimaginative fashion with the vaudevillian Eddie Marr. But, otherwise, the music is reasonably enjoyable if not essential. Scott Yanow  
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WINGY MANONE – 1944-1946 | The Classics Chronological Series – 1412 (2006) FLAC (tracks+.cue), lossless

Volume eight in the Classics complete chronologically reissued recordings of Wingy Manone documents the singing trumpeter's recording activity during a time period extending from July 1944 to March 1946. Manone, a hard-swinging, husky voiced hipster with New Orleans roots, is at his best on a very funny rendition of "O Sole Mio," the rather libidinous "Where Can I Find a Cherry (For My Banana Split)?" and Slim Gaillard's "Cement Mixer," which Wingy makes sound like it was written expressly for him. Of all the instrumentalists who participated in these recordings, it is the clarinetists who seem to be pointing in a futuristic direction; not so much the merry Matty Matlock but rather Joe Marsala and Hank D'Amico, traditionally based individuals who were in the process of branching out onto adventuresome and distinctly modern stylistic turf. In addition to Wingy (and certain rather overbearing bandmembers whose chatty outbursts clutter up an otherwise enjoyable "Salt Pork West Virginia"), vocals are by Kay Starr and Kay Kyser's Gloria Wood. arwulf arwulf
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JACK TEAGARDEN AND HIS ORCHESTRA – 1944-1947 | The Classics Chronological Series – 1032 (1998) FLAC (tracks+.cue), lossless

Minute by minute and track for track, this disc contains an invigoratingly high concentration of Jack Teagarden's best music. Nearly half of the performances are instrumental and, with the exception of a pretty torch song sung by Christine Martin and a gruffly cheerful duet with Wingy Manone, the primary vocalist is Big Tea. After three marvelous V-Discs, including a six-minute version of "If I Could Be With You (One Hour Tonight)," a Commodore session erupts with a smokin' run through "Chinatown, My Chinatown" and a deeply steeped "Big T Blues," introduced by Jack's sister Norma Teagarden at the piano. While singing his homespun lyrics to this bluesy slow drag, Jack introduces Norma by name, then pays tribute to trumpeter Max Kaminsky. Norma proves that she was an exceptionally fine stride pianist as she sets up "Pitchin' a Bit Short" and Detroiter Bob Zurke's lively theme song, "Hobson Street Blues," which sounds a bit like a Broadway show tune. Back in Chicago on April 11, 1946, Mr. T's orchestra waxed half a dozen sides for the Teagarden Presents record label. Bobby Fischer delivers some Gene Krupa-styled drumming during the quirky "Martian Madness," the band smokes the tar out of "Way Down Yonder in New Orleans," and there is a grandiose rendition -- minus Rudyard Kipling's lyrics -- of "On the Road to Mandalay." On the first day of March 1947, Teagarden created one of his all-time greatest vocal and trombone ballad testimonials in the form of an intoxicating version of "Body and Soul." This precious live V-Disc recording begins with a spoken introduction by Bob Bach of Metronome magazine. Nine days later, master percussionist Davey Tough provided propulsive persuasion for Jack Teagarden's Big Eight, an ensemble including Max Kaminsky, clarinetist Peanuts Hucko, butter-toned tenor saxman Cliff Strickland, and one of Eddie Condon's most trusted pianists, Gene Schroeder. After a couple of expertly rendered blues, a tasty stomp with modern overtones simply called "Jam Session at Victor" sails in like a steam locomotive. As a surprise for dessert, the producers of this series have tacked on a pair of leftover big-band sides dating from November of 1939, issued in 1947 on V-Disc. This provides an example of how Dave Tough sounded as part of Teagarden's 16-piece big band. Their two-minute version of Jelly Roll Morton's "Wolverine Blues" is the perfect coda for this solidly satisfying album of rare and exciting traditional jazz. arwulf arwulf
Tracklist
1    Jack Teagarden And His Orchestra–    Beale Street Blues     3:53
2    Jack Teagarden And Band–    I Swung The Election     2:13
3    Jack Teagarden And The V-Disc All Stars–    If I Could Be With You One Hour Tonight     5:50
4    Jack Teagarden And His Swingin' Gates–    Chinatown My Chinatown     2:49
5    Jack Teagarden And His Swingin' Gates–    Big "T" Blues     3:13
6    Jack Teagarden And His Swingin' Gates–    Rockin' Chair     4:09
7    Jack Teagarden And His Swingin' Gates–    Pitchin' A Bit Short     4:09
8    Jack Teagarden And Band–    Hobson Street Blues     1:58
9    Jack Teagarden And His Dixieland Jazz Orchestra–    Muskrat Ramble    2:56
10    Jack Teagarden And His Dixieland Jazz Orchestra–    Way Down Yonder In New Orleans     2:57
11    Jack Teagarden And His Orchestra–    Basin Street Blues     3:06
12    Jack Teagarden And His Orchestra–    Martian Madness     2:38
13    Jack Teagarden And His Orchestra–    On The Road To Mandalay     2:33
14    Jack Teagarden And His Orchestra–    Sabino You For Me     2:55
15    Jack Teagarden And His Trombone–    Body And Soul     4:19
16    Jack Teagarden's Big Eight–    St. Louis Blues     3:05
17    Jack Teagarden's Big Eight–    Blues After Hours     3:15
18    Jack Teagarden's Big Eight–    Jam Session At Victor     3:14
19    Jack Teagarden's Big Eight–    Say It Simple     3:11
20    Jack Teagarden And His Orchestra–    On Revival Day     1:40
21    Jack Teagarden And His Orchestra–    Wolverine Blues     2:06
All Credits : 

RED NICHOLS – 1930-1931 | The Classics Chronological Series – 1462 (2008) FLAC (tracks+.cue), lossless

Volume six in the complete recordings of trumpeter Red Nichols as reissued by the Classics Chronological Series consists of 25 Victor and Brunswick recordings dating from September 1930 through January 1931, and is especially recommended to those who enjoy Depression-era jazz and pop vocals, with the pop outweighing the jazz by a considerable margin. "On Revival Day," a topical novelty originally released in two parts on flipsides of a 78 rpm record, trombonist Jack Teagarden is backed by a vocal group billed as the Foursome. Forthwith, Nichols' ensemble is garnished at times with a couple of violins and is almost invariably dusted with sugary vocals by Scrappy Lambert, Dick Robertson, Eddie Thomas, Paul Small, and songwriter Harold Arlen. If you're curious to hear what the composer of "Blues in the Night" sounded like as a crooner, that's him singing "How Come You Do Me Like You Do?" as well as his own compositions "Linda," "You Said It," and "Sweet and Hot." The jazziest vocals, even funkier than Teagarden's, are by trumpeter Wingy Manone, who puts his personal stamp on "Rockin' Chair," "Bugaboo," and "Corrine Corrina." Betwixt and between the vocals there exist smoothly coordinated ensemble passages and a number of fine solos, for almost every group that Nichols ever led was peppered with skilled jazz musicians. In addition to those already mentioned, Nichols is heard alongside clarinetist Benny Goodman, trombonist Glenn Miller, saxophonists Jimmy Dorsey and Eddie Miller, pianist Joe Sullivan, and drummer Gene Krupa. arwulf arwulf  
Tracklist :
1    On Revival Day - Part 1 2:40
2    On Revival Day - Part 2 2:38
3    Embraceable You 3:08
4    I Got Rhythm 2:56
5    A Girl Friend Of A Boy Friend Of Mine 2:48
6    Sweet Jennie Lee 2:44
7    Linda 3:06
8    Yours And Mine 2:55
9    That's Where The South Begins 2:44
10    I'm Tickled Pink With A Blue-Eyes Baby 2:48
11    My Honey's Lovin' Arms 2:56
12    Rockin' Chair 3:10
13    Bugaboo 3:12
14    Corrinne Corrina 3:02
15    How Come You Do Me Like You Do? 3:01
16    Blue Again 3:12
17    When Kentucky Bids The World "Good Morning" 3:09
18    What Good Am I Without You? 2:58
19    We're Friends Again 3:09
20    At Last I'm Happy 2:51
21    If You Haven't Got A Girl 2:56
22    You Said It 3:05
23    Sweet And Hot 3:02
24    The Peanut Vendor 2:47
25    Sweet Rosita 3:03
All Credits :