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Satchmo: A Musical Autobiography
(1957)
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by
Louis Armstrong
Louis Armstrong's Satchmo: A Musical Autobiography was recorded as an oral memoir (with overdubbed background piano by Billy Kyle) combined with re-creations of many of his memorable recordings, as well as a few of the originals. Although such a project had the potential to become trite, the effort comes off very well indeed. This three-CD reissue ...
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Stop, Look & Listen
(1994)
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by
Tommy Dorsey
Having remastered everything that Tommy Dorsey and His Orchestra ever cut with Frank Sinatra, BMG now turns its attention to Dorsey's pre-Sinatra catalog, more or less doing with Dorsey's late-'30s catalog what the two-CD Essential Glenn Miller did with Miller's output of hits. The 21 tracks here have been remastered very carefully using the CEDAR ...
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Sidney Bechet [GNP]
(1991)
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Sidney Bechet
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The Sidney Bechet Story [Proper]
(2001)
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by
Sidney Bechet
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This Is Jazz
(1994)
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by
Wild Davison Bill & His All Star Stompers
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Collaboration
(1994)
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by
Chris Barber & Barry Martyn
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Jazz at Its Best
(1989)
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by
Yank Lawson with Bob Haggart
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The Town Hall Concerts, Vol. 6
(1944)
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by
Eddie Condon
Volume 6 of this very valuable series of two-CD sets has four complete (and well-recorded) half-hour radio shows taken from a legendary program billed as Eddie Condon's Town Hall Concerts (even though by late 1944 the performances were actually being held at the Ritz Theatre). Every week Condon gathered together a large ensemble of his favorite ...
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A Monday Date
(1961)
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by
Earl Hines & His Band
Earl Hines, one of jazz's greatest pianists, was a modern stylist who broke up the usual stride piano pattern of the 1920s with unexpected accents and an uncanny ability to play successfully with time; he had the trickiest left hand in the business. After his orchestra disbanded in 1947 and he spent a few unfulfilling years as a sideman with the ...
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Ace of Rhythm
(2000)
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by
Louisiana Washboard Five
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Baby, Won't You Please Come Home?
(2001)
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by
Clarence Williams
Afro-Creole-Choctaw-American pianist, vocalist, washboard percussionist, comedian, composer, producer, music publisher, accompanist, and bandleader Clarence Williams played a crucial role in the development of jazz and blues in New York City during the 1920s. Often using one-shot pseudonyms for his bands and combining players from New Orleans, St. ...
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Maple Leaf Rag
(2002)
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by
Roger Bell
Two overlapping groups of Australian Dixielanders from 1972 and 1974 are featured on this disc. Trumpeter Roger Bell (the younger brother of the famous Australian pianist Graeme Bell) is the leader, featuring either Steve Waddell or Bill Howard on trombones, Lachie Thomson or Ade Monsborough on clarinets, and pianist Geoff Bland. In addition to ...
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Lunceford Special: 1939-1940
(2001)
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by
Jimme Lunceford
This marvelous collection gathers Lunceford's great Vocalion-Okeh and Columbia sides from 1939 and 1940 (the early war years), with meticulous track-by-track annotation and a concise historical essay by Bob Waldman. The infectious vocal performances of trombonist James "Trummy" Young ("Tain't What You Do," "Ain't She Sweet," "The Lonesome Road," ...
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Edison Laterals 4
(1997)
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by
Eva Taylor
Eva Taylor is best known for appearing on a lengthy series of recordings during the 1920s and early '30s with her husband, pianist/composer/bandleader Clarence Williams. Taylor's sophisticated yet soulful sound was often a little reminiscent of Ethel Waters, and there was always an appealing sweetness to her singing, even when interpreting ...
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The Keith Ingham New York 9, Vol. 2
(1994)
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by
Keith Ingham
The second of two CDs equals the quality of the first volume. Pianist Keith Ingham and a variety of mainstream all-stars (including cornetist Randy Reinhart, Dan Barrett on trombone and trumpet and Phil Bodner and Scott Robinson on reeds), mostly plays obscure gems from the 1920s and '30s. The music falls between swing and Dixieland; among the ...
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1939-1942
(1993)
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by
Muggsy Spanier
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Coast to Coast Swingin' Jazz
(1994)
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by
Ed Polcer' All Stars
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As Good as It Gets: Jazz Early Days, Vol. 2
(2001)
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by
Various Artists
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Jimmie Lunceford [Jazz After Hours]
(2001)
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by
Jimmie Lunceford
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Harlem Shout [Decca]
(1935)
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by
Jimmie Lunceford & His Orchestra
In 1980 MCA released six Jimmie Lunceford LPs that, taken as a whole, include most of his best Decca recordings. The 14 numbers on this album (all of which have been reissued on CD) are drawn from six different sessions and include such gems as "Four or Five Times," Sy Oliver's classic reworking of "Swanee River," "My Blue Heaven," "Organ Grinder ...
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Midnight at Mabel Mercer's/Once in a Blue Moon
(2000)
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by
Mabel Mercer
This two-fer from Collectables features a pair of out of print Mabel Mercer LPs: Midnight at Mabel Mercer's and Once in a Blue Moon. Originally issued in 1956 and 1958, respectively, these 30 tracks find the singer at the top of her vocal prowess, interpreting such standards as "Lazy Afternoon," "Blame It on My Youth," "Wouldn't It Be Loverly?," ...
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Giant of Jazz, Vol. 2
(1955)
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by
Sidney Bechet
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The Alternative Takes, Vol. 1: 1939-1944
(2001)
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by
Muggsy Spanier
The limited-edition Neatwork Alternative Takes series was designed to complement the Classics Chronological Series, a phenomenally ambitious and exhaustively well-researched project focusing exclusively upon master takes. Vol. 1 in the portion of the Neatwork catalog devoted to cornetist Muggsy Spanier delves into the recorded evidence dating from ...
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The Alternative Takes, Vol. 2: 1940-1944
(2002)
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by
Eddie Condon
The Alternative Takes series is of immense value to consumers of the "French Classics" CD series. These are alternate takes in chronological order of historic jazz (and some blues) with a strong representation of the swing era. The Alternative Takes, Vol. 2: 1940-1944 contains 24 Eddie Condon tracks on a single disc including multiple takes of " ...
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Fletcher Henderson and Louis Armstrong
(1924)
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by
Fletcher Henderson
This rather unusual CD has 24 selections but most of them are shorter excerpts. The focus is on the brilliant solos that Louis Armstrong took while a member of the Fletcher Henderson Orchestra. Since his cornet flights were years ahead of some of the wheezing arrangements and the attempts by the other sidemen, the producers simply cut out the more ...
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