FATS WALLER – 1935-1936 | The Classics Chronological Series – 776 (1994) FLAC (tracks+.cue), lossless

By the time of this ninth volume of French label Classics' chronological series, Fats Waller was among the most popular recording artists in the U.S., and the 24 selections here, drawn from sessions recorded in November and December 1935 and February and April 1936, reflect both that popularity and the kind of material necessary to maintain it. Nearly all the performances feature Waller's vocals, and there are a lot of pop songs, most of which are not of the highest quality. The better compositions include Jimmy McHugh and Ted Koehler's "Spreadin' Rhythm Around," and the Gershwins' "I Got Rhythm," and Leon Berry and Andy Razaf's "Christopher Columbus." Of course, Waller personalizes the songs no matter how good they are on paper, and he scored a series of hits from these sessions, including the chart-toppers "A Little Bit Independent" and "All My Life." Waller is accompanied throughout by the quintet His Rhythm, and soloing sidemen trumpeter Herman Autrey and clarinetist/saxophonist Sedric get plenty of playing time. The tracks, doubtlessly mastered from records, are often scratchy-sounding, but overall sound quality is good. William Ruhlmann  
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FATS WALLER – 1936 | The Classics Chronological Series – 797 (1994) FLAC (tracks+.cue), lossless

Often maligned, Waller's many sides from the mid-'30s actually qualify as some the pianist's most relaxed and enjoyable material. The groundbreaking solo and group work of the '20s behind him, Waller recorded reams of amusing and swinging combo tunes in the following decade for Bluebird; 23 of them are heard here. The fare ranges from the predictably tongue-in-cheek ("Big Chief De Sota") to classic standards ("Until the Real Thing Comes Along"). And finding room for some of that famous keyboard work, Waller lets loose on the instrumental "Fractious Fingering." Having fun the old fashioned way. Stephen Cook
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BILL COLEMAN – 1940-1949 | The Classics Chronological Series – 1256 (2002) FLAC (tracks), lossless

This second volume of the complete recordings of Bill Coleman presented in chronological order opens with ten vocal tracks of surprising warmth and intimacy. Remember those marvelous records that Coleman made with Fats Waller & His Rhythm in the mid-'30s? These rare and pleasant performances from 1940 and 1941 are faintly reminiscent of those Rhythm sides, although naturally neither of the vocalists heard here comes anywhere near Waller's candid charm and effervescence. Eddy Howard does sound remarkably cozy with his two little love songs, and Chick Bullock -- said to have been the most heavily recorded vocalist of the 1930s -- turns in what might well be his best performances on record. What really makes these pretty pop tunes sparkle and glow is the combination of great instrumentalists. Collectively speaking, trombonist Benny Morton, clarinetists Edmond Hall and Jimmy Hamilton, saxophonists Bud Freeman and George James, electric guitarist Charlie Christian, and pianist Teddy Wilson turn each of these songs into relatively substantial jazz. Even "Oh, How I Hate to Get Up in the Morning" -- once Irving Berlin's famous kvetching lyrics are out of the way -- swings with abandon largely thanks to the presence of master percussionist J.C. Heard. The Bill Coleman chronology leaps rather abruptly to a pair of swing-to-bop blowing sessions involving tenor saxophonist Don Byas recorded in Paris on January 4 and 5, 1949. Coleman sings his own "Bill's Brother's Blues" and wields his horn magnificently alongside Byas, particularly on "Liza," "What Is This Thing Called Love?," and "St. Louis Blues." This portion of the Bill Coleman story ends with a session led by pianist Jack Dieval and featuring smoky tenor saxophonist Paul Vernon. Coleman sings again, this time on "I Can't Get Started" and a briskly rendered "Tea for Two." arwulf arwulf
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