TOMMY DORSEY AND HIS ORCHESTRA – 1938, Vol. 2 | The Classics Chronological Series – 1156 (2000) FLAC (tracks), lossless

The tenth installment of the Classics Tommy Dorsey chronology presents a series of Victor recordings he made during midsummer and early autumn 1938 in Los Angeles, Chicago, and New York. Edythe Wright was Dorsey's primary vocalist from 1935 to 1939. While some of her recorded performances are pleasantly zippy and entertaining, she sometimes had to participate in Dorsey's tightly scripted mechanical cornball routines, rhythmically chanting rhymed verse in an atmosphere almost entirely devoid of spontaneity, not to mention dignity. The stupidest, most painfully contrived Clambake Seven recording of all was "A-Tisket, A-Tasket," and Wright's duets with Skeets Herfurt are almost as obnoxious. Instrumental tracks therefore take on a comparative aspect of richly rewarding artistic merit. A high-stepping rendition of "Panama" by William H. Tyers, Hoagy Carmichael's wistful "Washboard Blues," the catchy "Copenhagen," and the soon to be famous "Boogie Woogie" were each arranged by tenor saxophonist Deane Kincaide. Other rewarding instrumentals heard here are "Carolina Moon," a bouncing oddity with eccentric modulations and a dash of boogie flavoring called "Lightly and Politely," Benny Carter's "Symphony in Riffs," and "Chinatown, My Chinatown," expertly swung by the Clambake Seven, a tight little group that sounds for all the world like a contingent from the Eddie Condon mob as they tear through a sizzling salute to "The Sheik of Araby." arwulf arwulf     Tracklist :

TOMMY DORSEY AND HIS ORCHESTRA – 1938-1939 | The Classics Chronological Series – 1197 (2001) FLAC (tracks), lossless

Tracklist + Credits :

TOMMY DORSEY AND HIS ORCHESTRA – 1939 | The Classics Chronological Series – 1237 (2002) FLAC (tracks), lossless

This 12th installment in the Classics Tommy Dorsey chronology documents the trombonist's Victor studio recordings dating from the first half of 1939. Drummer Dave Tough was back with the band for a few months and Yank Lawson was in the trumpet section for a grand two-part version of the Jelly Roll Morton/New Orleans Rhythm Kings collaborative masterpiece "Milenberg Joys." This excellent stomp was arranged by Deane Kincaide, whose charts helped to make the Dorsey band sound somewhat hipper than it ever had before. The five other instrumentals included in this part of the Dorsey chronology are "Dawn on the Desert," "Marcheta," "By the River Sainte Marie," "Tea for Two," and "Peckin' with the Penguins," a loping opus composed and arranged by Kincaide. Edythe Wright was on her way out of the Dorsey dynasty at this point, which might explain why she's only heard singing on four of the titles reissued here. The best of these is Koehler/Bloom's whimsical "Got No Time." For an interesting listening experience, compare this performance with Fats Waller's version of the same song, recorded one day later for Victor's subsidiary Bluebird label. Speaking of Waller, on the session of February 9th, goofy Skeets Herfurt tried hard to navigate the scat line from "Hold Tight (Want Some Seafood Mama)." Waller's definitive version had been waxed on January 19th and Dorsey, always on the lookout for catchy material to spice up his act, hastened to cover the song as soon as he'd heard it. Rodgers & Hart's "Blue Moon," with its brusque band vocal behind crooning Jack Leonard, gets the same treatment that had made "Marie" into a hit record. The band swings well enough but Dorsey's willingness to milk this routine must have made some listeners wonder which popular song would next become transformed into something so obviously patterned after "Marie." arwulf arwulf        Tracklist :

TOMMY DORSEY AND HIS ORCHESTRA – 1939, Vol. 3 | The Classics Chronological Series – 1327 (2003) FLAC (tracks), lossless

The 14th installment of the Classics Tommy Dorsey chronology documents all of the Victor recordings he made with the Dorsey Orchestra and with the Clambake Seven from August 3 to October 20, 1939. During this period, Sy Oliver and Jimmy Mundy wrote a handful of big-band arrangements for the bespectacled trombonist. There are only two instrumental records in this segment of the Dorsey discography. "Night Glow" is lush and idyllic. "March of the Toys," from Victor Herbert's Babes in Toyland, dates back to 1903. The swing version heard here resulted from an arrangement by tenor saxophonist Deane Kincaide. The rest of this compilation belongs to the vocalists. On August 28th, Dorsey, Hughie Prince, and the Clambake Seven sang "Vol Vistu Gaily Star," based upon Slim Gaillard's "Vol Vist du Gaily Star," a wonderful, almost surreal record Gaillard had made for Vocalion almost exactly one year earlier with a small group including Slam Stewart. Dorsey constantly tempered his sentimental output with comedic material that ranged from imitation hip to almost annoyingly silly and at times overbearing. Hughie Prince sings a corny cowboy song complete with Hollywood-style whoops from the band. Edythe Wright, who coolly negotiates "Are You Havin' Any Fun?" and a couple of wistful love songs, does everything she can with "Shoot the Sherbet to Me, Herbert" and manages to pull off the puerile "All in Favor of Swing Say 'Aye'." The last nine tracks on this disc are features for crooner Jack Leonard and sugary chanteuse Anita Boyer. Dorsey was among the first bandleaders to record Jerome Kern's "All the Things You Are." His sweetly buzzing trombone introduces the melody with studied precision. arwulf arwulf     Tracklist :

HOT LIPS PAGE – 1950-1953 | The Chronogical Classics – 1342 (2004) FLAC (tracks+.cue), lossless

Hopping from label to label and from style to style, in July of 1950 Hot Lips Page found himself on a Columbia R&B date with Little Sylvia Vanderpool, who sounds just a bit like a young Dinah Washington. A smooth doo wop group called the Magichords harmonize neatly on cue, Seldon Powell and Haywood Henry blow beefy sax solos, and Page barks back at Vanderpool in a voice as corroded as hers is young and perky. Powell liked to squeal his tenor like Illinois Jacquet. Henry illustrates why the baritone sax became increasingly popular as a tool to be used for rocking and rolling. A burlesque duet with Mildred Anderson pales when compared with its flip side, the amazing "Let Me In," one of Page's best routines from this period. There's a party going on but they won't let him in, even as he pleads with someone named Zebedee to open up the door. Page's voice is crispy in its upper register and elephantine in the bass clef. That's Paul Quinichette back there with the tenor sax. None of this stuff is profound. It's straight up rowdy entertainment, and in 1951 that meant rocking and rolling, preferably with a singalong arrangement as in "I Want to Ride Like the Cowboys Do." Lips had a voice that could plunge as deep as Louis Armstrong's, but his middle range was more intact. When he dips to the bottom of his voice, as he does on "Strike While the Iron's Hot," the effect is bracing. Whereas after a certain point Armstrong pretty well stayed in the same octave for the rest of his life, Page's larynx was able to produce quite a range of sandblasted tonalities. This issue became more complex when he teamed up with a tin whistler! It's the most bizarre chapter in Page's entire career: not only is the tin whistle heavily featured, but the lyrics are about tin whistles exclusively.

There's no telling what Page will do to listeners next. Reverb makes his voice almost alarming on "The Devil's Kiss," while the horns scream like a noir B-movie soundtrack. Following in the tin whistle's footsteps, a weird "chirping" sound effect competes with Page's hoarse voice as he sings the tale of a cricket. Visiting Paris in the autumn of 1952, he howled and wailed in front of a band that rocked like a steam shovel. Every conceivable topic is up for grabs. There are novelties dealing with marital infidelity, fancy cars, and French vocabulary. A calypso singalong transforms the word "bongo" into a verb. "Jungle King" cuts Cab Calloway's version, hands down. "Ain't Nothin' Wrong With That, Baby" was almost certainly the inspiration for Al Hibbler's hit record of 1958. After this variety show spanning three labels, three years, and two continents, it's a treat to end up at a live gig in Fort Monmouth, NJ, with Marian McPartland holding down the piano. The audience eats up every note, thrilling to Page's neighing horn during "St. James Infirmary" and cracking up during "On the Sunny Side of the Street" when he makes a reference to "drinking beer for lemonade." After all of that R&B mingled with wildly novel notions, 18 minutes of solid traditional jazz really hits the spot. arwulf arwulf  
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EDDIE CONDON – 1942-1943 | The Chronogical Classics – 772 (1994) FLAC (image+.cue), lossless

Commodore was the perfect label for small group swing, and a natural choice for Eddie Condon at a time when major labels were often more interested in maintaining cash flow by sticking with trendier categories of musical entertainment like big name vocalists or imitation hep cat stuff for teenagers. At Commodore, the fact that Joe Sullivan was playing piano actually meant something. Milt Gabler really believed in Max Kaminsky. Anyone curious about Maxie's trumpet style should study these recordings as well as the many sides he made with Art Hodes for Blue Note. Here in Commodore territory, Kaminsky mingles nicely with Pee Wee Russell and Brad Gowans. It would be nice to be able to hear where Condon's instincts would have taken him next, but a recording ban made a big hole in the chronology. Condon's next date as a leader was for Bob Thiele's very hip Signature label on November 20, 1943. Present at the piano was Fats Waller's idol James P. Johnson, who steered the band through a lazy rendition of Waller's "Squeeze Me." Having honored the 'Harlem stride piano' component, the band dove into "That's a Plenty" as if saluting their drummer who just happened to be Tony Spargo (nee Sbarbaro) of Original Dixieland Jazz Band fame. This disc is crawling with historical heroes. On December 2, 1943 trombonist Benny Morton sat in for a couple of hot numbers and two marvelous extended sides: "Basin Street Blues" emerged as a languid meditation, while the ancient "Oh, Katherina!" received its hottest interpretation since Sam Wooding & His Chocolate Dandies performed it for the citizens of Berlin back in 1925. What makes this 1943 version kick is the drumming of Big Sid Catlett. The remaining sides from December 1943 are nothing less than charming. Some of these titles first appeared during the early 1920s, which is actually good incentive for historical research if you're into that sort of thing. The other strategy is simply to enjoy the old melodies as played by these wonderfully integrated ensembles. Even just grooving on Pee Wee Russell's individuality -- his eccentricity -- that might be as far as anybody needs to go with these fine old recordings. Maybe just listen to the music for Pee Wee's sake. Listen to that clarinet. Maybe that'll fix you right up. arwulf arwulf  
Tracklist :

HAZEL SCOTT – 1939-1945 | The Classics Chronological Series – 1308 (2003) FLAC (tracks+.cue), lossless

A brilliant pianist who also had a warm singing voice, Hazel Scott gained some recognition in the early '40s for her swinging versions of classical themes. This valuable CD has all of her early recordings through May 1945, most of which have been rarely reissued. Scott is first heard on four songs with a pickup group organized by Leonard Feather called the Sextet of the Rhythm Club of London. While that unit features clarinetist Danny Polo and altoist Pete Brown, the next 16 selections (four of which are V-discs) put the spotlight entirely on Scott, who is backed by either J.C. Heard or Sid Catlett on drums. She shows off both her technique and her creativity on six classical works, swing standards, and a couple basic blues originals, singing on "People Will Say We're in Love" and "C Jam Blues." The final four numbers are quite a bit different as Scott is showcased as a fairly straight and sophisticated singer with orchestras conducted by Toots Camarata. Overall, this CD is highly recommended, reminding today's listeners how talented a pianist Scott was in her early days. Scott Yanow
Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1944-1945 | The Classics Chronological Series – 1345 (2004) FLAC (tracks), lossless

This segment of the Benny Goodman chronology documents the recordings he made with his trio, quartet, quintet, sextet, and "All Star Band" for V-Disc and Columbia from the end of June 1944 through the first week of February 1945. The disc opens with a magnificent instrumental version of "After You've Gone" played by a 16-piece ensemble featuring trumpeters Roy Eldridge, Charlie Shavers, and Yank Lawson; baritone saxophonist Ernesto "Ernie" Caceres; Teddy Wilson at the piano; and Gordon "Specs" Powell behind the drums. As if to preface the recording industry's postwar infatuation with star vocalists, Goodman waxed a side with ex-Ted Weems crooner Perry Como and two additional titles with vocalist Mildred Bailey. Backed only by his rhythm section, Goodman concluded the day's work by frying up one of the hottest versions of Vincent Youmans' "Hallelujah" ever captured on record. The rest of this compilation is devoted to a wonderful series of small-group V-Disc and Columbia sessions, most of which feature Mildred Bailey's ex-husband Red Norvo on the vibraphone. Interspersed with occasional sweet vocals by Jane Harvey and Peggy Mann, the instrumental numbers are small-band swing of the highest order. The Goodman sextet in particular was greatly enhanced by the presence of bassist Slam Stewart. arwulf arwulf  
Tracklist :

ARTIE SHAW AND HIS ORCHESTRA – 1950 | The Classics Chronological Series – 1397 (2005) FLAC (tracks+.cue), lossless

Tracklist + Credits

BUD FREEMAN – 1945-1946 | The Classics Chronological Series – 942 (1997) FLAC (tracks+.cue), lossless

The third Bud Freeman CD in Classics' reissues of all of his early sessions as a leader has some memorable performances. The classic tenor heads an all-star octet (with trumpeter Yank Lawson, trombonist Lou McGarity and clarinetist Edmond Hall) on four hot numbers; he creates a pair of hilarious verbal introductions to a couple of satirical V-Disc numbers ("The Latest Thing In Hot Jazz" and "For Musicians Only"); and on "The Atomic Era," Freeman performs an unusual duet with drummer Ray McKinley. However, this CD gets a lower rating than expected because 12 of the 21 performances showcase the Five De Marco Sisters, a pleasant but fairly mediocre swing vocal group. Although there are some good solos and ensembles on those selections, the recordings overall are only of interest to completists. Scott Yanow
Tracklist :
1    Bud Freeman And His Orchestra–    I'm Just Wild About Harry    3:04
 Eubie Blake / Noble Sissle
2    Bud Freeman And His Orchestra–    I Got Rhythm    2:34
 George Gershwin / Ira Gershwin
3    Bud Freeman And His Orchestra–    Where Have You Been?    2:53
 Cole Porter
4    Bud Freeman And His Orchestra–    Ol' Man River    3:17
 Oscar Hammerstein II / Jerome Kern
5    Eight Squares And A Critic–    The Latest Thing In Hot Jazz    1:16
 Traditional
6    Bud Freeman And The V-Disc Jumpers–    For Musicians Only (A Musical Treatise On Jazz)    6:07
 Traditional
7    The V-Disc Jumpers–    Love Is Just Around The Corner    4:45
 Lewis Gensler / Leo Robin
8    Bud Freeman And His Boys–    Coquette    4:44
 Johnny Green / Gus Kahn / Carmen Lombardo
9    Five DeMarco Sisters Acc. By Bud Freeman And His Orchestra–    Flat River, Missouri    2:59
 Shannon
10    Five DeMarco Sisters Acc. By Bud Freeman And His Orchestra–    It's Been A Long, Long Time    2:34
 Sammy Cahn / Jule Styne
11    Five DeMarco Sisters Acc. By Bud Freeman And His Orchestra–    Love Is Such A Crazy Thing    2:53
Unknown
12    Five DeMarco Sisters Acc. By Bud Freeman And His Orchestra–    Chico Chico (From Porto Rico)    2:44
 Harold Adamson / Jimmy McHugh
13    Bud Freeman And Ray McKinley–    The Atomic Area    2:43
 Eddie Sauter
14    Five DeMarco Sisters Acc. By Bud Freeman And His Orchestra–    Hop, Skip And Jump!    2:41
 Milton Drake / Al Hoffman / Jerry Livingston
15    Five DeMarco Sisters Acc. By Bud Freeman And His Orchestra–    I Don't Know Why (I Just Do)    3:02
 Fred E. Ahlert / Roy Turk
16    Bud Freeman And His Orchestra–    I'll Tell You How I Feel    2:52
Unknown
17    Five DeMarco Sisters Acc. By Bud Freeman And His Orchestra–    Sweet I've Gotten On You    2:56
 Brad Reynolds / Willard Robison
18    Five DeMarco Sisters Acc. By Bud Freeman And His Orchestra–    Blue    3:10
 Kenny Dorham / Horace Silver
19    Bud Freeman And His Orchestra–    Her Majesty's Dance    2:43
Unknown
20    Five DeMarco Sisters Acc. By Bud Freeman And His Orchestra–    Doin' What Comes Natur'lly    2:50
 Irving Berlin
21    Five DeMarco Sisters Acc. By Bud Freeman And His Orchestra–    That Wonderful Worrisome Feeling    3:06
Hoffman / Roberts / Livingstone

MOUND CITY BLUE BLOWERS – 1935-1936 (1996) The Classics Chronological Series – 895 | FLAC (tracks), lossless

The Mound City Blue Blowers originally made history with a dozen high-quality novelty recordings during 1924-25 that featured the trio of Red McKenzie's comb, Dick Slevin's kazoo and banjoist Jack Bland; guitarist Eddie Lang solidified the rhythm on their later six numbers. However, other than McKenzie's participation, those dates had little to do with the 25 recordings on this Classics CD, the last issued under the Mound City Blue Blowers' name. In fact, other than taking four vocals on the first date, McKenzie makes only cameo appearances on kazoo during the remainder of the program, although he had clearly organized the bands. The six sessions feature overlapping personnel with some hot playing from either Bunny Berigan (on four of the dates) or Yank Lawson on trumpet and Eddie Miller or Forrest Crawford on tenor and clarinet. In addition to McKenzie, guitarist Nappy Lamare has eight vocals; there are also five from Billy Wilson, four from Spooky Dickenson and two by a vocal group. Only "High Society" and "Muskrat Ramble" are instrumentals, although there are strong solos on nearly every number. The music falls between Dixieland and small-group swing and is most notable for the playing of Berigan. Scott Yanow  
Tracklist :     
1     What's the Reason (I'm Not Pleasing You?) 3:05
Jimmie Grier / Earl Hatch / Coy Poe / Pinky Tomlin
2     She's a Latin from Manhattan 2:59
Al Dubin / Harry Warren
3     You've Been Takin' Lessons 3:02
Tharpe / Watts   
4     (Back Home Again In) Indiana 2:44
James F. Hanley / Ballard MacDonald
5     Red Sails in the Sunset 2:48
Will Grosz / Jimmy Kennedy
6     I'm Sittin' High on a Hill Top 3:02
Arthur Johnston / Gus Kahn
7     On Treasure Island 3:01
Joe Burke / Edgar Leslie
8     Thanks a Million 2:40
Arthur Johnston / Gus Kahn
9     Eeny Meeny Meiny Mo 2:36
Matty Malneck / Johnny Mercer
10     A Little Bit Independent 2:49
Joe Burke / Edgar Leslie
11     I'm Shooting High 2:34
Ted Koehler / Jimmy McHugh
12     I've Got My Fingers Crossed 2:46
Ted Koehler / Jimmy McHugh
13     High Society 2:55
Armand Piron / Clarence Williams
14     Muskrat Ramble 2:52
Ray Gilbert / Kid Ory
15     The Broken Record 2:58
John Bunch / Cliff Friend / Harry Tobias
16     The Music Goes 'Round and Around 3:06
Eddie Farley / Mike Riley
17     I'm Gonna Sit Right Down (And Write Myself a Letter) 2:43
Fred E. Ahlert / Joe Young
18     Mama Don't Allow It 2:57
Cow Cow Davenport
19     (If I Had) Rhythm in My Nursery Rhymes 2:35
Sammy Cahn / Saul Chaplin / Jimmie Lunceford / Don Raye
20     I Hope Gabriel Likes My Music 2:46
David Franklin
21     You Hit the Spot 2:35
Mack Gordon / Harry Revel
22     Spreadin' Rhythm Around 2:35
Ted Koehler / Jimmy McHugh
23     Saddle Your Blues to a Wild Mustang 2:47
Buddy Bernier / George A. Whiting
24     Wah-Hoo! 3:02
Cliff Friend
25     I'm Gonna Clap My Hands 2:52
Eddie Farley / Mike Riley
Credits :    
Bass [String] – Bob Haggart (tracks: 5 to 8), Harry Goodman (tracks: 1 to 4), Mort Stuhlmaker (tracks: 15, 16), Pete Peterson (tracks: 9 to 14, 21 to 25), Sid Weiss (tracks: 17 to 20)
Clarinet, Tenor Saxophone – Eddie Miller (tracks: 1 to 14), Forrest Crawford (tracks: 15 to 25)
Drums – Dave Tough (tracks: 15, 16, 21 to 25), Ray Bauduc (tracks: 1 to 14), Stan King (tracks: 17 to 20)
Guitar – Carmen Mastren (tracks: 17 to 20), Dave Barbour (tracks: 15, 16, 21 to 25), Eddie Condon (tracks: 17 to 20), Nappy Lamare (tracks: 1 to 14)
Kazoo – Red McKenzie
Piano – Frank Signorelli (tracks: 21 to 25), Gil Bowers (tracks: 1 to 4)
Trombone – Al Philburn (tracks: 1 to 4, 21 to 25)
Trumpet – Bunny Berigan (tracks: 1 to 4, 15 to 25), Yank Lawson (tracks: 5 to 14)
Vocals – Billy Wilson (tracks: 21 to 25), Nappy Lamare (tracks: 5 to 12), Red McKenzie (tracks: 1 to 4), Spooky Dickenson (tracks: 17 to 20)
Vocals [Vocal Trio] – Unknown Artist (tracks: 15, 16)