Hell's Bells

The fourth entry in the Classics' series, this set shows the Lunceford orchestra in fine form. It's easy to see why they were regarded as one of the top bands of the era. Looking at the title, Put On Your Old Grey Bonnet seems to promise something dreary from days gone by. Au contraire, Lunceford et al give another jumping performance. Dan Grissom does a fine job on vocals (track 18) that reminds me of Pha Terrell of Andy Kirk's 12 Clouds Of Joy, only much better. Trummy Young does a fair job as well on the title of this post. From Allmusic.com, "For this entry in Classics' complete reissuance of Jimmie Lunceford's recordings, the biggest news for the band was the addition of trombonist Trummy Young who, in addition to being a major soloist, had vocal hits in "Margie" and "'Tain't What You Do (It's The Way That You Do It)." Other highlights of this well-rounded CD include "Annie Laurie," "Sweet Sue" and "By the River Saint-Marie." Enjoy. +

Tracks

01. Hell's Bells
02. For Dancers Only
03. Posin'
04. The First Time I Saw You
05. Honey, Keep Your Mind On Me
06. Put On Your Old Grey Bonnet
07. Pigeon Walk
08. Like A Ship At Sea
09. Teasin' Tessie Brown
10. Annie Laurie
11. Frisco Fog
12. Margie
13. The Love Nest
14. I'm Laughing Up My Sleeve
15. Down By The Old Mill Stream
16. My Melancholy Baby
17. Sweet Sue, Just You
18. By The River Sainte Marie
19. Rainin'
20. 'Tain't What You Do (It's The Way That You Do It)
21. Cheatin' On Me
22. Le Jazz Hot
23. Time's A-Wastin'

Hittin' The Bottle

The second in this series, with some good performances. From Allmusic.com, "The second of Classics' reissuance of all the master takes of Jimmie Lunceford's recordings finds the orchestra gaining in popularity and in power. Among the highlights (most of the songs were arranged by Sy Oliver or Ed Wilcox) are "Since My Beat Gal Turned Me Down," "Rhythm Is Our Business," "Shake Your Head," "Sleepy-Time Gal," "Four or Five Times" and "Swanee River." The high musicianship and clean ensembles (along with the showmanship) are most impressive and the concise solos (particularly from altoist Willie Smith, tenor saxophonist Joe Thomas and trumpeter Sy Oliver) are enjoyable and fit in logically as part of the arrangements." Enjoy. +

Tracks

01. Chillun, Get Up
02. Solitude
03. Rain
04. Since My Best Gal Turned Me Down
05. Jealous
06. Rhythm Is Our Business
07. I'm Walking Through Heaven With You
08. Shake Your Head (From Side To Side)
09. Sleepy Time Gal
10. Bird Of Paradise
11. Rhapsody Junior
12. Runnin' Wild
13. Four Or Five Times
14. (If I Had) Rhythm In My Nursery Rhymes
15. Babs
16. Swanee River
17. Thunder
18. Oh Boy
19. I'll Take The South
20. Avalon
21. Charmaine
22. Hittin' The Bottle

Stomp It Off

Stomp it off, indeed. This orchestra could get syncopate. I'm getting lazier on writing my own notes, so here's from Wiki. "Comedy and vaudeville played a distinct part in Lunceford's presentation. Songs such as "Rhythm Is Our Business", "I'm Nuts about Screwy Music", "I Want the Waiter (With the Water)", and "Four or Five Times" displayed a playful sense of swing, often through clever arrangements by trumpeter Sy Oliver and bizarre lyrics. Lunceford's stage shows often included costumes, skits, and obvious jabs at mainstream white jazz bands, such as Paul Whiteman's and Guy Lombardo's. Despite the band's comic veneer, Lunceford always maintained professionalism in the music befitting a former teacher; this professionalism paid off and during the apex of swing in the 1930s, the Orchestra was considered the equal of Duke Ellington's, Earl Hines' or Count Basie's. This precision can be heard in such pieces as "Wham (Re-Bop-Boom-Bam)", "Lunceford Special", "For Dancers Only", "Uptown Blues", and "Stratosphere". The band's noted saxophone section was led by alto sax player Willie Smith. Lunceford often used a conducting baton to lead his band."

And from Allmusic.com, "The first in Classics' "complete" Jimmie Lunceford series has two titles apiece from 1930 (when the band was based in Tennessee) and 1933 along with its first six sessions for Decca in 1934. Lunceford's band had an immediately recognizable sound by 1934 and, despite the presence of such top soloists as altoist Willie Smith, tenor-saxophonist Joe Thomas and high-note trumpeter Tommy Stevenson, it was its arranged ensembles (particularly those of Sy Oliver) that gave the orchestra its musical identity. Among the better selections on this CD are "Flaming Reeds And Screaming Brass," "White Heat," "Swinging' Uptown," "Rose Room," "Miss Otis Regrets" and the band's fresh interpretations of Duke Ellington's "Black And Tan Fantasy" and "Mood Indigo." Tracks 1 and 2 are by Jimmie Lunceford and His Chickasaw Syncopators. Enjoy. +

Tracks

01. In Dat Mornin'
02. Sweet Rhythm
03. Flaming Reeds And Screaming Brass
04. While Love Lasts
05. White Heat
06. Jazznocracy
07. Chillun Get Up
08. Leavin' Me
09. Swingin' Uptown
10. Breakfast Ball
11. Here Goes (A Fool)
12. Remember When
13. Sophisticated Lady
14. Mood Indigo
15. Rose Room
16. Black And Tan Fantasy
17. Stratosphere
18. Nana
19. Miss Otis Regrets
20. Unsophisticated Sue
21. Stardust
22. Dream Of You
23. Stomp It Off
24. Call It Anything (It Wasn't Love)
25. Because You're You

Trust Me For A Hamburger

Beannachtam na Feile Padraig! (note the green cover). I don't have a lot of the Washboard Rhythm Kings, but what I have has not disappointed me. This really is fun music, and should be part of everyone's collection. From Allmusic.com, "This fourth CD from Collector's Classics (a subsidiary of Storyville) had three complete sessions from 1933 by three overlapping groups: the Washboard Rhythm Band, the Washboard Rhythm Kings and Williams' Washboard Band. The latter features vocals and trumpet playing by Taft Jordan (a future member of the Chick Webb and Duke Ellington Orchestras) that are purposely near-copies of Louis Armstrong. Trumpeter Dave Page and singer Cal Clement take the vocals on the second date, while guitarist Ted Tinsley vocalizes on the final recordings. The goodtime music features five horns, piano, guitar, bass and washboard, with pianist Clarence Profit the best known of the sidemen. Highlights of the joyous set (which contrasts greatly with the Depression that was raging at the time) include "Hustlin' and Bustlin' for Baby," "Dinah," "Happy As the Day Is Long" and "Hot Nuts." Slainte! +


Tracks

01. Midnight Rhythm
02. A Ghost Of A Chance
03. Hustlin' And Bustlin' For Baby
04. Shuffle Off To Buffalo
05. Swing Gate
06. The Coming Of Hi-De-Ho
07. Going! Going!! Gone!!!
08. Trust Me For A Hamburger
09. Dinah
10. Sophisticated Lady
11. Happy As The Day Is Long
12. Nobody's Sweetheart
13. My Pretty Girl
14. Bug-A-Boo
15. I Want To Ring Bells
16. I Would If I Could But I Can't
17. Hard Corn
18. Hot Nuts
19. Move Turtle
20. Mickey Mouse And The Turtle
21. I Would If I Could But I Can't
22. Shoutin' In The Amen Corner

I've Had My Moments

Here's the first entry in the chronological recordings of Django Reinhardt. It's easy to see why the Quintette du Hot Club de France became one of the most influential acts of the jazz era, and with subsequent recordings only became better. From Allmusic.com, "Django Reinhardt was the first hugely influential jazz figure to emerge from Europe -- and he remains the most influential European to this day, with possible competition from Joe Zawinul, George Shearing, John McLaughlin, his old cohort Stephane Grappelli and a bare handful of others. A free-spirited gypsy, Reinhardt wasn't the most reliable person in the world, frequently wandering off into the countryside on a whim. Yet Reinhardt came up with a unique way of propelling the humble acoustic guitar into the front line of a jazz combo in the days before amplification became widespread. He would spin joyous, arcing, marvelously inflected solos above the thrumming base of two rhythm guitars and a bass, with Grappelli's elegantly gliding violin serving as the perfect foil. His harmonic concepts were startling for their time -- making a direct impression upon Charlie Christian and Les Paul, among others -- and he was an energizing rhythm guitarist behind Grappelli, pushing their groups into a higher gear." Enjoy. +

Tracks

01. Lily Belle May June
02. Sweet Sue, Just You
03. Confessin'
04. The Continental
05. Blue Drag
06. Swanee River
07. Ton Doux Sourire (The Sunshine Of Your Smile)
08. Ultrafox
09. You And The Night And The Music
10. I Get A Kick Out Of You
11. Seagulls
12. Anything Goes
13. Easter Parade
14. I'm Gonna Wash My Hands Of You
15. Avalon
16. Smoke Rings
17. Clouds
18. Believe It, Beloved
19. I've Found A New Baby
20. St. Louis Blues
21. Chasing Shadows
22. I've Had My Moments

Spring Will Be A Little Late This Year

This is definitely outside the general time span covered in this blog, but it's Lee Wiley and worth hearing in my opinion. The LP was released in 1971 and includes demo sessions Wiley recorded with Joe Bushkin in 1965. Among the musicians on hand are Rusty Dedrick, clarinetist Johnny Mince, trombonist Buddy Morrow, and pianist Dick Hyman. Wiley's voice was obviously not what it once was, however I think it's still a listenable record overall. Even the 1965 demos and outtakes are interesting, as they reveal some of the behind-the-scenes work. As Allmusic.com suggested, this is probably more suited for Wiley completists. Still, given that her recorded output was rather sparse, it's hard to dismiss the album too much. It's Lee Wiley, after all. Enjoy. +

Tracks

01. Moon River
02. When I Fall In Love
03. You're Lucky To Me
04. A Woman's Intuition
05. I'll Be Home
06. A Love Like This
07. A Sleeping Bee
08. Indiana
09. Spring Will Be A Little Late This Year
10. I'm Coming Virginia
11. If I Love Again
12. Any Time, Any Day Anywhere
13. Outtakes --When I Leave The World Behind (Take 6)
14. Why Shouldn't I_ (Take 4)
15. The Lonesome Road (Take 3)
16. Some Day You'll Be Sorry (Take 1)
17. I Left MY Heart IN SAN Francisco (Take 1)
18. Indiana (Flawed Take 3)
19. When I Leave The World Behind (Rehearsal And Take 1)
20. When I Leave The World Behind (Take 5)
21. Why Shouldn't I_ (Takes 1 And 2)
22. Why Shouldn't I_ (Take 3)
23. The Lonesome Road (Rehearsal Take 1)
24. The Lonesome Road (Take 2)
25. The Lonesome Road (Take 4)
26. The Lonesome Road (Take 6a-Take 6 With Overdubbed Trumpet)

Finger Buster

More great music from, this one covers the very few recordings that Willie "The Lion" Smith made with his own band. Along with Fats Waller and James P. Johnson, he was one of the great stride piano artists of the early jazz era. From Allmusic.com, "his mother was an organist and pianist, and Smith started playing piano when he was six. He earned a living playing piano as a teenager, gained his nickname "the Lion" for his heroism in World War I, and after his discharge he became one of the star attractions at Harlem's nightly rent parties. Although he toured with Mamie Smith (and played piano on her pioneering 1920 blues record "Crazy Blues"), Smith mostly freelanced throughout his life. He was an influence on the young Duke Ellington (who would later write "Portrait of the Lion") and most younger New York-based pianists of the 1920s and '30s. Although he was a braggart and (with his cigar and trademark derby hat) appeared to be a rough character, Smith was actually more colorful than menacing and a very sophisticated pianist with a light touch. His recordings with his Cubs (starting in 1935) and particularly his 1939 piano solos for Commodore (highlighted by "Echoes of Spring") cemented his place in history. Because he remained very active into the early '70s (writing his memoirs Music on My Mind in 1965), for quite a few decades Willie "the Lion" Smith was considered a living link to the glory days of early jazz." Enjoy. +

Tracks

The Gulf Coast Seven
01. Santa Claus Blues
02. Keep Your Temper



03. Rock Jenny Rock
04. It's Right Here For You



05. Finger Buster06. There's Gonna Be The Devil To Pay
07. Streamline Gal
08. What Can I Do With A Foolish Little Girl Like You?
09. Harlem Joys
10. Echo Of Spring
11. Breeze (Blow My Baby Back To Me)
12. Swing Brother Swing
13. Sittin' At The Table (Opposite You)
14. The Swampland Is Calling Me
15. More Than That
16. I'm All Out Of Breath
17. I Can See You All Over The Place
18. Get Acquainted With Yourself
19. Knock Wood
20. Peace Brother Peace
21. The Old Stomping-Ground
22. Blues Why Don't You Let Me Alone
23. I've Got To Think It Over

Personnel: Tracks 1-2, November 5, 1925, The Gulf Coast Seven. June Clark (c), Jimmy Harrison (tb), Buster Bailey (cl, ss, as), Prince Robinson (ts), Willie "The Lion" Smith (p), Buddy Christian (bj) Bill Benford (bb), "Jazz" Carson (d).
Tracks 3-4, May 23, 1937, The Georgia Strutters. Perry Bradford (v, dir), Jabbo Smith (c), Jimmy Harrison (tb), Herschel Brassfield (cl), Edgar Sampson (as, vn), Willie "The Lion" Smith (p), Gus Horsley (bj), Harry Hull (bb,d).
Track 5, May 14, 1934. Willie "The Lion" Smith (p). Rejected.
Tracks 6-9, April 23, 1935, Willie "The Lion" Smith and His Cubs. Ed Allen (c), Cecil Scott (cl), Willie "The Lion" Smith (p), Willie Williams (wb).
Tracks 10-13, May 22, 1935, Willie "The Lion" Smith and His Cubs. Same.
Tracks 14-17, April 13, 1937, Willie "The Lion" Smith and His Cubs. Dave Nelson (t), Buster Bailey (cl), Robert Carroll (ts), Willie "The Lion" Smith (p), Jimmy McLin (g), Ellsworth Reynolds (sb), Eric Henry (d).
Tracks 18-21, July 14, 1937, Willie "The Lion" Smith and His Cubs. Frank Newton (t), Buster Bailey (cl), Pete Brown (as), Willie "The Lion" Smith (p), Jimmy McLin (g), John Kirby (sb), O'Neil Spencer (d,v).
Tracks 22-23, September 15, 1937, Willie "The Lion" Smith and His Cubs. Same.

Turn On The Heat

Turn on the heat for the hemisphere in winter! The team of Buddy De Sylva, Lew Brown and Ray Henderson had a huge string of hits during their 1925-1930 collaboration, beginning with the George White's Scandals Of 1925. While most of these songs will be familiar to many people, this set includes several versions by popular British performers. One internet critic complains about not including this song or that, or passing over Annette Hanshaw for the British versions. However, I think it's good to hear other interpretations, and in any case it is very easy to find plenty of Hanshaw's material for those who are sticklers. From Answers.com, "The songs by the trio of De Sylva, Brown, and Henderson were characterized by jazz‐inspired rhythms and simple, upbeat lyrics. The shows, all hits, included George White's Scandals of 1925, 1926, and 1928 (introducing “Birth of the Blues,” “Black Bottom,” and “Lucky Day”), Good News! (1927), Manhattan Mary (1927), Hold Everything (1928), Follow Thru (1929), and Flying High (1930). After the team split, Henderson and Brown wrote George White's Scandals of 1931, Hot‐Cha! (1932), and Strike Me Pink (1933). Henderson had little luck on his own, but Brown found some success with Calling All Stars (1934) and Yokel Boy (1939) with other composers. De Sylva had the most fruitful career, producing and/or co‐writing such shows as Take a Chance (1932), Du Barry Was a Lady (1939), Louisiana Purchase (1940), and Panama Hattie (1940). One historian has described the work of De Sylva, Brown, and Henderson as possessing a “distinctive vernacular touch - lowdown in rhythm, piquant in love.” Enjoy. +

Tracks

01. Black Bottom - Bert Firman's Dance Orchestra
02. Good News - George Olsen and His Music
03. Varsity Drag - Zelma O'Neal
04. You're The Cream In My Coffee - Jack Hylton and His Orchestra
05. I'm On The Crest Of A Wave - Harry Richman
06. Sonny Boy - Al Jolson
07. It All Depends On You - Phyllis Dare with The Gaiety Theatre Orchestra
08. Button Up Your Overcoat - Jack Hylton and His Orchestra (v. Sam Browne)
09. I Want To Be Bad - Helen Kane
10. You Wouldn't Fool Me Would You? - Annette Hanshaw
11. I'm A Dreamer, Aren't We All? - Paul Whiteman and His Orchestra
12. If I Had A Talking Picture Of You - Janet Gaynor and Charles Farrell
13. Turn On The Heat - Lloyd Keating and His Music (v. Sammy Fain)
14. Little Pal - Al Jolson
15. Never Swat A Fly - The Blue Jays (Harry Hudson's Orchestra)
16. Don't Tell Her What Happened To Me - Boswell Sisters
17. If You Haven't Got Love - Gloria Swanson
18. You Try Somebody Else - Russ Columbo
19. One More Time - Gus Arnheim and His Orchestra