Clarence Williams with Louis Armstrong and Eva Taylor, 1921-1926

Clarence Williams - 1921-24
(The Chronological Classics, 679)

Although this is not the most essential of the Clarence Williams CDs released in the complete Classics series, all of the releases are highly recommended to fans of early jazz. Many of these titles are quite rare and historical. First Williams is heard as a singer on five period numbers from 1921 ("The Dance They Call the Georgia Hunch" is the most memorable) and has a vocal duet with Daisy Martin on "Brown Skin (Who You For)." Williams also takes four piano solos and on most of the other titles features the great soprano saxophonist Sidney Bechet (heard in his earliest recordings); "Wild Cat Blues" and "Kansas City Man Blues" are classics. In addition Louis Armstrong joins the group on three numbers, two of which have vocals from Eva Taylor.

-Review by Scott Yanow, All Music Guide

01. If You Don't Believe I Love You Look What a Fool I've Been
02. Roumania
03. Dance They Call the Georgia Hunch, The
04. Pullman Porter Blues
05. Decatur Street Blues
06. Brown Skin (Who You For)
07. Mixing the Blues
08. Weary Blues, The
09. Wild Cat Blues
10. Kansas City Man Blues
11. Achin' Hearted Blues
12. 'Tain't Nobody's Bizness If I Do
13. New Orleans Hop Scop Blues
14. Oh Daddy! (Oh Daddy! You Won't Have No Mama at All)
15. Shreveport Blues
16. Old Fashioned Love
17. House Rent Blues (The Stomp)
18. Mean Blues
19. My Own Blues
20. Gravier Street Blues
21. Texas Moaner Blues
22. Of All the Wrongs You Done to Me
23. Everybody Loves My Baby


Personnel: Clarence Williams (vocals, piano); Erskine Hawkins (trumpet); Daisy Martin (vocals); Buddy Christian (banjo); Chappie's Hot Dogs (violin, alto saxophone, cornet, trombone, tuba, piano); Eva Taylor (violin); Sidney Bechet (clarinet, soprano saxophone); Joseph Samuels (clarinet, alto saxophone, tenor saxophone); Buster Bailey (soprano saxophone); Jules Levy, Jr., Tom Morris , Louis Armstrong, Thomas Morris (cornet); Ephraim Hannaford, Aaron Thompson, John Mayfield, Charlie Irvis (tuba); Larry Briers (piano, drums).
Recording information: New York, NY (10/11/1921-11/06/1924).
Ensembles: Clarence Williams' Blue Five; Chappie's Hot Dogs.

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Clarence Williams - 1924-26 (The Chronological Classics, 695)

The second CD in the Classics label's "complete" Clarence Williams series traces the pianist/bandleader's recordings during a 14-month period. The first six titles feature soprano great Sidney Bechet (who has a unique sarrusophone solo on "Mandy Make up Your Mind") while the first 13 also have Louis Armstrong. The pairing of these two classic and competitive greats is at its zenith on a brilliant version of "Cake Walking Babies from Home"; Satch gets the edge. In addition there are notable contributions on these 23 performances by trombonist Charlie Irvis, tenor-saxophonist Coleman Hawkins, cornetists Joe Smith, Bubber Miley and Ed Allen, clarinetist Buster Bailey and singer Eva Taylor among others. Williams's series of hot performances really epitomized small-group 1920s jazz and every entry in this Classics series is highly recommended. Other highlights include "Coal Cart Blues," "Shake That Thing," "Dinah" (which features Hawkins on baritone), "I've Found a New Baby" and two versions of "Santa Claus Blues."

-Scott Yanow

01. Mandy, Make Up Your Mind
02. I'm a Little Blackbird (Looking for a Bluebird)
03. Cake Walking Babies from Home
04. Pickin' on Your Baby
05. Castaway
06. Papa De-Da-Da
07. Wait Till You See My Baby Do the Charleston
08. Livin' High
09. Coal Cart Blues
10. Santa Claus Blues
11. Santa Claus Blues
12. Squeeze Me
13. You Can't Shush Katie (The Gabbiest Girl in Town)
14. Shake that thing
15. Get It Fixed
16. Spanish Shawl
17. Dinah
18. I've Found A New Baby See All 8
19. I've Found A New Baby See All 8
20. Pile of Logs and Stone (Called Home)
21. Wait Till You See My Baby Do the Charleston
22. Livin' High
23. Wait Till You See My Baby Do the Charleston




Discography:

Clarence Williams' Blue Five:
Louis Armstrong (cnt) Charlie Irvis (tb) Sidney Bechet (sop,sarrusophone-1) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)
New York, December 17, 1924
73026-B Mandy, make your mind (et vcl,1)
73027-B I'm a little blackbird looking for a bluebird (et vcl)

Clarence Williams' Blue Five:
Louis Armstrong (cnt) Charlie Irvis (tb) Sidney Bechet (sop) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)
New York, January 8, 1925
73083-A Cake-walking babies from home (et vcl)
73084-B Pickin' on your baby (et vcl)

Clarence Williams Williams' Blue Five:
Louis Armstrong (cnt) Charlie Irvis (tb) Sidney Bechet (sop) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl) Buster Bailey (sop) Don Redman (as)
New York, March 4, 1925
73204-A Cast away (waltz) (et vcl)
73205-A Papa de da da (et vcl)

Clarence Williams' Blue Five:
Louis Armstrong (cnt) Charlie Irvis (tb) Buster Bailey (cl,sop) Don Redman (as,sop) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)
New York, October 6, 1925
73686-B Just wait 'til you see my baby do the charleston (et vcl)
73687-B Livin' high sometimes (et vcl)

Clarence Williams' Blue Five:
Louis Armstrong (cnt) Charlie Irvis (tb) Don Redman (cl) Buster Bailey (sop) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)
New York, October 8, 1925
73694-B Coal cart blues (et vcl)
73695-B Santa Claus blues (et vcl;dr out)

Clarence Williams' Trio:
Louis Armstrong (cnt) Clarence Williams (p,vcl) Buddy Christian (bj) Eva Taylor, Clarence Todd (vcl)
New York, October 16, 1925
73721-A Santa Claus blues (et,cw,ct vcl)

Clarence Williams' Blue Five:
Louis Armstrong (cnt) Charlie Irvis (tb) Don Redman (cl-1,as-2) Coleman Hawkins (ts) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)
New York, October 26, 1925
73738-A Squeeze me (et vcl,1)
73739-B You can't shush Katie [The gabbiest gal in town] (et vcl,2)

Clarence Williams
Big Charlie Thomas (cnt) Buster Bailey (cl) unknown (as) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)
New York, December 15, 1925
73837-B Shake that thing (et vcl)
73838-B Get it fixed (et vcl)

Clarence Williams' Stompers:
poss. Bubber Miley (cnt) Charlie Irvis (tb) Don Redman (sop,as) Coleman Hawkins (ts,cl,bar) Clarence Williams (p) Leroy Harris (bj) or poss. Buddy Christian (bj) Henry "Bass" Edwards (tu)
New York, January 4, 1926
73893-B Spanish shawl
73894-B Dinah

Clarence Williams' Blue Five:
Bubber Miley (cnt) prob. Charlie Irvis (tb) Otto Hardwick (as) or Don Redman (as) Clarence Williams (p) poss. Leroy Harris (bj) poss. Henry "Bass" Edwards (tu) Eva Taylor (vcl)
New York, c. January 22, 1926
73957-A I've found a new baby (et vcl)
73958-B I've found a new baby (et vcl)
73959-B Pile of logs and stones [called home] (et vcl)

Dixie Washboard Band
Ed Allen (cnt) Bennie Moten (cl,as-1) Clarence Williams (p) Jasper Taylor (wbd)
New York, January 25, 1926
141553-1 Wait till you see my baby do the Charleston
141554-1 Livin' high

Dixie Washboard Band (same pers.)
New York, February, 1926
6431-3 Wait till you see my baby do the Charleston
Note: Domino issued as "Louisiana Washboard Band", Oriole as "Dixie Jazz Band" and BRS as "Clarence Williams' Washboard Beaters".

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James P. Johnson: Father of the Stride Piano 1923-1939

One of the great jazz pianists of all time, James P. Johnson was the king of stride pianists in the 1920s. He began working in New York clubs as early as 1913 and was quickly recognized as the pacesetter. In 1917, Johnson began making piano rolls. Duke Ellington learned from these (by slowing them down to half-speed), and a few years later, Johnson became Fats Waller's teacher and inspiration. During the '20s (starting in 1921), Johnson began to record, he was the nightly star at Harlem rent parties (accompanied by Waller and Willie "The Lion" Smith) and he wrote some of his most famous compositions during this period. For the 1923 Broadway show Running Wild (one of his dozen scores), Johnson composed "The Charleston" and "Old Fashioned Love," his earlier piano feature "Carolina Shout" became the test piece for other pianists, and some of his other songs included "If I Could Be with You One Hour Tonight" and "A Porter's Love Song to a Chambermaid."

Ironically, Johnson, the most sophisticated pianist of the 1920s, was also an expert accompanist for blues singers and he starred on several memorable Bessie Smith and Ethel Waters recordings. In addition to his solo recordings, Johnson led some hot combos on records and guested with Perry Bradford and Clarence Williams; he also shared the spotlight with Fats Waller on a few occasions. Because he was very interested in writing longer works, Johnson (who had composed "Yamekraw" in 1927) spent much of the '30s working on such pieces as "Harlem Symphony," "Symphony in Brown," and a blues opera. Unfortunately much of this music has been lost through the years. Johnson, who was only semi-active as a pianist throughout much of the '30s, started recording again in 1939, often sat in with Eddie Condon, and was active in the '40s despite some minor strokes. A major stroke in 1955 finished off his career.


This LP gives one a good all-round introduction into pianist James P. Johnson's music although it does not list the recording dates. There are piano solos from 1921, 1923, 1927 and 1939, a humorous vocal/piano duet with Clarence Williams ("How Could I Be Blue") and four selections from a 1939 septet session with trumpeter Red Allen and trombonist J.C. Higginbottham. Most of this music has since been reissued in more complete fashion on CD. ~ Scott Yanow, Rovi

Original Columbia and OKeh recordings. Japanese Exclusive Release. 20 Bit Dsd Remastered

01.If Dreams Come True
02.Fasination
03.Ronsume Revoly
04.Mule Walk
05.Blue Blueberry Ryhme
06.Snowy Morning Blues
07.All That I Had Is Gone
08.How Good I Be Blues
09.Swinging at the Rodeo
10.Having a Ball
11.Hungry Blues
12.Old Fashioned Love 13.Memories For You
14.Worry & Ransom Blues
15.Weaping Blues
16.Carolina Shout


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Jim Cullum Jazz Band: Super Satch

A powerful cornetist inspired by Louis Armstrong, Jim Cullum has led an exciting jazz band in San Antonio since his father's death in the 1970s. A clarinetist, Jim Sr. led the Happy Jazz Band with Jim Jr. on cornet, recording for their own Audiophile and Happy Jazz labels. The younger Cullum, who has recorded a Porgy & Bess jazz set for Sony and tributes to Louis Armstrong and Hoagy Carmichael, has made quite a few rewarding albums for Stomp Off and Audiophile, plus a Christmas record for World Jazz. Since the late '80s, Cullum's band has been featured on a highly enjoyable radio series, Riverwalk, Live From the Landing, whose special shows have given the group the opportunity to show its versatility. Among Cullum's most notable sidemen of the 1980s and '90s have been clarenetists Allan Vaché (brother of cornetist Warren) and Brian Ogilvie, trombonist Mike Pittsley, and pianist John Sheridan.

Super Satch! Yes indeed .. this is an ingeniously scored and superbly executed tribute to Louis Armstrong. The Jim Cullum Jazz Band, a premier band held in great esteem by other traditional jazz musicians, here goes to the essence of Satchmo's jazz, concentrating on Hot Five and Hot Seven repertoire with some attention to Armstrong's later periods. British co-author of the book Louis, John Chilton writes in the liner notes, "I feel sure that a look of true pleasure would are so apparent on this album. It will delight lovers of Louis's music by reminding them of his monumental achievements, and it will also win The Jim Cullum Jazz Band many new fans who will be enthralled by the musicianship and feeling that makes this one of the finest tribute recordings in years.

~ Scott Yanow, All Music Guide

On this tribute to Louis Armstrong, Jim Cullum's Jazz Band at times expands from being a septet to an octet with the addition of trombonist Ed Hubble and (on some selections) the switching of Randy Reinhart from trombone to second cornet behind the leader. Cullum is a spectacular player who was influenced by (but does not copy) Armstrong. The band performs a dozen selections from the 1920s and '30s that were associated with Satch. Cullum showed a lot of courage in remaking such classics as "Potato Head Blues," "West End Blues" and "Weather Bird" but his versions are different enough from the originals so as to avoid close comparison. Other highlights include "Fireworks," the underrated "Hustlin' and Bustlin' for Baby," "Beau Koo Jack" and "Chicago Breakdown." Highly recommended to prebop jazz collectors. ~ Scott Yanow

01. Potato Head Blues [5:15]
02. Yes! I'm In The Barrell [4:00]
03. Fireworks [5:45]
04. Hustlin' & Bustlin' For My Baby [3:50]
05. S.O.L. Blues [7:26]
06. Beau Koo Jack [4:07]
07. He's A Son Of The South [4:30]
08. West End Blues [5:33]
09. Chicago Breakdown [4:45]
10. Weather Bird Rag [5:29]
11. Tight Like This [5:22]
12. Put 'Em Down Blues [5:42]


Line-up:

Jim Cullum Jr (cnt)
Allan Vache (cl)
Ed Hubble (tm)
Randy Reinhart (tm)
John Sheridan (pn)
Howard Elkins (bj,gt,voc)
Jack Wyatt (st bs)
Ed Torres (dm.)
Recorded October 21-22, 1986.

Listen to the Jim Cullum's Jazz Band live weekly at Riverwalk Jazz Radio:

http://www.riverwalkjazz.org/jazznotes-archive/

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Jelly Roll Morton's piano solos, 1923-24

Part of Classics' excellent chronological series, this examines Jelly Roll's recordings from 1923 to 1924, beginning with a Paramount single with his orchestra, "Big Fat Ham," followed by "Muddy Water Blues." Next up are the first six issued Gennett piano solos, then stray singles by Morton's Jazz Band, Steamboat Four, and Stomp Kings. These are proceeded by four more piano solo sides, which were cut for Paramount, before finishing out with a marathon piano solo session for Gennett in 1924. ~ Cub Koda, AMG.



Jelly Roll Morton (1923-1924)
[The Chronological Classics No 584]

01. Big Fat Ham
02. Muddy Water Blues
03. King Porter Stomp
04. New Orleans Joys
05. Grandpa's Spells
06. Kansas City Stomp
07. Wolverine Blues
08. Pearls
09. Someday, Sweetheart
10. London Blues
11. Mr. Jelly Lord
12. Steady Roll
13. Thirty-Fifth Street Blues
14. Mamantia
15. Frog-I-More Rag
16. London Blues
17. Tia Juana
18. Shreveport Stomp
19. Mamanita
20. Jelly Roll Blues
21. Big Fat Ham
22. Bucktown Blues
23. Tom Cat Blues
24. Statford Hunch
25. Perfect Rag

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Stephane Grappelli, Barney Kessel: Limehouse Blues

One of the all-time great jazz violinists (ranking with Joe Venuti and Stuff Smith as one of the big three of pre-bop), Stéphane Grappelli's longevity and consistently enthusiastic playing did a great deal to establish the violin as a jazz instrument. He was originally self-taught as both a violinist and a pianist, although during 1924-28 he studied at the Paris Conservatoire. Grappelli played in movie theaters and dance bands before meeting guitarist Django Reinhardt in 1933. They hit it off musically from the start even though their lifestyles (Grappelli was sophisticated while Django was a gypsy) were very different. Together as Quintet of the Hot Club of France (comprised of violin, three acoustic guitars and bass) during 1933-39 they produced a sensational series of recordings and performances. During a London engagement in 1939, World War II broke out. Reinhardt rashly decided to return to France but Grappelli stayed in England, effectively ending the group. The violinist soon teamed up with the young pianist George Shearing in a new band that worked steadily through the war.
In 1946, Grappelli and Reinhardt had the first of several reunions although they never worked together again on a regular basis (despite many new recordings). Grappelli performed throughout the 1950s and '60s in clubs throughout Europe and, other than recordings with Duke Ellington (Violin Summit) and Joe Venuti, he remained somewhat obscure in the U.S. until he began regularly touring the world in the early '70s. Since then Grappelli has been a constant traveler and a consistent poll-winner, remaining very open-minded without altering his swing style; he has recorded with David Grisman, Earl Hines, Bill Coleman, Larry Coryell, Oscar Peterson, Jean Luc Ponty and McCoy Tyner among many others.
Active up until near the end, the increasingly frail Grappelli remained at the top of his field even when he was 89. His early recordings are all available on Classics CDs and he recorded quite extensively during his final three decades. ~ Scott Yanow, Rovi


1. It Don't Mean a Thing (If It Ain't Got That Swing)
2. Out of Nowhere
3. Tea for Two
4. Limehouse Blues
5. How High The Moon
6. Willow Weep For Me
7. Little Star
8. Undecided

Updated link (LP-ripped)
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Teddy Buckner: A Salute To Louis (1955-59)

Teddy Buckner, a fine technical player who spent his life emulating Louis Armstrong in Dixieland settings, logically pays tribute to Satch on this enjoyable set. Mainly using a sextet that also features trombonist John "Streamling" Ewing and clarinetist Joe Darensbourg, Buckner jams through 18 songs that Armstrong recorded in the 1920s and '30s and generally avoids Armstrong's later hits. Buckner does a fine job of interpreting such tunes as "My Monday Date," "Potato Head Blues," "High Society," and "Big Butter and Egg Man." This album will particularly satisfy Dixieland fans.

~ Scott Yanow, All Music Guide

01. That's My Home (Leo Robin) - 2:28
02. Oh! Didn't He Ramble (W.C. Handy) - 3:17
03. Struttin' with Some Barbecue (L. Hardin, Don Raye) - 3:28
04. Potato Head Blues (Louis Armstrong) - 3:58
05. My Bucket's Got a Hole in It (Clarence Williams) - 3:27
06. My Monday Date (Earl Hines, Leo Robin) - 2:44
07. Big Butter and Egg Man (L. Armstrong, P. Venable) - 3:28
08. Savoy Blues (Teddy Buckner) - 3:32
09. Someday (Louis Armstrong) - 4:31
10. Squeeze Me (Fats Waller, Clarence Williams) - 4:15
11. High Society (Clarence Williams) - 4:50
12. Black and Blue (Fats Waller, A.Razaf, H.Brooks) - 3:42
13. Save It, Pretty Mama (Fats Waller, Andy Razaf) - 4:57
14. Mahogany Hall Stomp (Spencer Williams) - 2:54
15. St. Louis Blues (W.C. Handy) - 6:12
16. Tiger Rag (E.Edwards, H.Ragas, T.Sbarbaro, a.o.) - 3:32
17. Mack the Knife (M.Blitzstein, K.Weill, B.Brecht) - 3:49
18. When the Saints Go Marching In (Trad.) - 2:42

Rec. Feb 6, 1955-Sep 21, 1959

Credits:

Joe Darensbourg (Clarinet), Joe Darensbourg (Sax (Soprano)), Edmond Hall (Clarinet), Mort Herbert (Bass), Trummy Young (Trombone), Danny Barcelona (Drums), Pud Brown (Clarinet), Teddy Buckner (Trumpet), Teddy Buckner (Vocals), Arthur Edwards (Bass), Billy Kyle (Piano), Chester Lane (Piano), Caughey Roberts (Clarinet), Caughey Roberts (Sax (Soprano)), Jesse Sailes (Drums), William B. Woodman, Jr. (Trombone), Jordana VonSpiro (?), Jordana VonSpiro (Creative Director), J.P. Szlachetka (Artwork), William Woodman Jr. (Trombone), Andre Vidal (Concept), Harvey Brooks (Piano), John Ewing (Trombone), Teddy Buckner & His All Stars (Performer), Teddy Buckner & His Dixieland Five (Performer)

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Jabbo Smith's Rhythm Aces: 1928-29

Updated post and link / post y enlace actualizados (2016):
http://hotjazzandcoolblues.blogspot.com.es/2016/11/jabbo-smiths-rhythm-aces-1929-1938.html



Although only 20 years old, trumpeter Jabbo Smith cut virtually all of his finest recordings in 1929, when he was touted as a competitor to Louis Armstrong. Smith's 19 sides with his Rhythm Aces (all of which are on this essential CD) are some of the most exciting recordings of the era. Often teamed in a quintet with Omer Simeon (on clarinet and alto), pianist Cassino Simpson, banjoist Ikey Robinson, and the tuba of Hayes Alvis (subs appear on a few numbers), Jabbo's reckless and explorative trumpet flights are often thrilling. Highlights include "Jazz Battle," "Till Times Get Better," "Ace of Rhythm," and "Band Box Stomp," but all of the performances (including Smith's trombone solo on "Lina Blues" and his occasional and effective vocals) are well worth hearing. The CD concludes with Jabbo Smith's four-song 1938 session, which is disappointingly tame. Strange as it seems, Smith was past his prime by 1930 when he was only 21. Except for some early sideman appearances and forgettable efforts in later years (plus one previously unissued Rhythm Ace side from 1929 that was unearthed in the mid-'90s by the Retrieval label), this CD essentially contains Jabbo Smith's entire legacy, although he would live until 1991. -Scott Yanow


During the 1920s, Jabbo Smith was a promising young cornetist whose versatility and chutzpah invited comparison with Duke Ellington's first-chair soloist Bubber Miley. Both men suffered from the disease of alcoholism, and Bubber, who also contracted tuberculosis, perished when he was only 29 years old. Although Jabbo survived and would live past the age of 80, he was inactive for most of his life and never came anywhere near matching the triumphs of his youth, many of which are documented on Pearl's Ace of Rhythm, a 25-track sampler of recordings made between November 1927 and February 1938. Unlike Smith's entry in the Classics Chronological Series, Ace of Rhythm contains numerous examples that were not issued under his name. This allows for a pleasantly varied overview as Jabbo is heard filling in for Bubber with Duke Ellington's Orchestra and participating in an unusual chamber jazz session with the Louisiana Sugar Babes (a quartet that included pianist James P. Johnson, pipe organist Fats Waller, and multi-reedman Garvin Bushell) and with a scruffy little outfit operating under the nominal leadership of Banjo Ikey Robinson; during the lusty opus bearing the title "Got Butter on It," Smith delivers a handsome scat vocal in the manner of Louis Armstrong. All of this serves as a prelude to 16 marvelous performances by Jabbo Smith's Rhythm Aces (also known as Four Aces and the Jokers), a sturdy little group whose variable personnel included Robinson, clarinetist and tenor saxophonist Omer Simeon, tubists Hayes Alvis and Lawson Buford, and pianists Cassino Simpson and Earl Frazier.

The interplay between Smith and Simeon is particularly exciting, and "Jazz Battle" is probably the best record that this group or its leader ever made. "Rub Me Some More" was recorded in 1930 by Lloyd Smith & His Gut-Bucketeers. (Discographical evidence indicates that the cornetist on this tune is not Smith at all but Clarence "Count" Rich.) Finally, the producers of this collection were wise enough to include only the instrumental number from Jabbo's Decca session of February 1, 1938, by which time he had switched to using the trumpet. There are numerous options available to those who are curious about Jabbo Smith's early recorded works. EPM Jazz Archives beat them all with a double-disc set packed with 48 tracks representing pretty much every recording made between 1928 and 1938 involving Jabbo Smith. Dipping back to 1927 to include the Ellington sides and carefully choosing some real gems from the cornetist's heyday, Pearl's Ace of Rhythm is an excellent compromise between the exactitude of the Classics compilation and the thoroughness of EPM's ultra-complete edition. ~ arwulf


01.Jazz Battle
02.Little Willie Blues
03.Sleepy Time Blues
04.Take Your Time
05.Sweet And Low Blues
06.Take Me To The River 07.Ace Of Rhythm
08.Let's Get Together
09.Sau-sha Stomp 10.Michigander Blues
11.Decatur Street Tutti 12.Til Times Get Better
13.Lina Blues
14.Weird And Blue15.Croonin' The Blues
16.I Got The Stinger
17.Boston Skiffle
18.Tanguay Blues
19.Band Box Stomp
20.Moanful Blues
21.Rhythm In Spain
22.Absolutely
23.More Rain, More Rest
24.How Can Cupid Be So Stupid?Recorded between 1928 and 1929.

Personnel: Jabbo Smith (trumpet); Banjo Ikey Robinson (guitar, banjo); Connie Wainwright (guitar); Fred Guy (banjo); Garvin Bushell (clarinet, bassoon, alto saxophone); Harry Carney (clarinet, alto saxophone, baritone saxophone); Omer Simeon (clarinet, alto saxophone); Rudy Jackson (clarinet, tenor saxophone); Otto Hardwick (soprano saxophone, alto saxophone, baritone saxophone); Willard Brown (alto saxophone, baritone saxophone); Ben Smith , Leslie Johnakins (alto saxophone); Sam Simmons (tenor saxophone); Louis Metcalf (trumpet); Joe "Tricky Sam" Nanton (trombone); Duke Ellington, James Reynolds , William Barbee, Cass Simpson, James P. Johnson (piano); Fats Waller (organ); Alfred Taylor, Walter Bishop, Sr., Sonny Greer (drums).




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