Dixieland Music

Mugsy Spanier's Ragtime Band has One recording that was famous and unquestionably 5 Star. Generally refered to as the "Sweet Sixteen" - which generally begins with "Relaxin' at the Touro", this compilation contains them all, and some others which may or may not be up to that high standard. This is pure, unadulterated Chicago jazz at its best circa 1939 - in fact, the "Sweet Sixteen" were all recorded in '39, and are the best example of incredibly tight, 'double-ending' (a Chicago trademark) high gear Swing, or Ragtime, if you prefer. These recordings are legendary, and Spanier's best. Highly Recommended if you like it hot!

Mugsy Spanier's Ragtime Band has One recording that was famous and unquestionably 5 Star. Generally refered to as the "Sweet Sixteen" - which generally begins with "Relaxin' at the Touro", this compilation contains them all, and some others which may or may not be up to that high standard. This is pure, unadulterated Chicago jazz at its best circa 1939 - in fact, the "Sweet Sixteen" were all recorded in '39, and are the best example of incredibly tight, 'double-ending' (a Chicago trademark) high gear Swing, or Ragtime, if you prefer. These recordings are legendary, and Spanier's best. Highly Recommended if you like it hot!

If you know anything about Traditional Jazz, you can't help but play this again and again. I mean, Eddie has some of the greatest jazzmen recording the numbers which will always bee remembered. Bud Freeman on the sax was always at his best with Condon. And the great "Strut, Miss Lizzie" is on this CD. There are too many greats to name.These numbers were recorded just before and just after the start of World War II. Eddie could get 'em playing with all that old jazz feeling as they improvise through each song. (Yes, they had "melody" then).

If you know anything about Traditional Jazz, you can't help but play this again and again. I mean, Eddie has some of the greatest jazzmen recording the numbers which will always bee remembered. Bud Freeman on the sax was always at his best with Condon. And the great "Strut, Miss Lizzie" is on this CD. There are too many greats to name.These numbers were recorded just before and just after the start of World War II. Eddie could get 'em playing with all that old jazz feeling as they improvise through each song. (Yes, they had "melody" then).

If you only buy one CD of Muggsy Spanier or even if you never thought about buying one, this is a must. It contains "The Great l6" from his Ragtime band,a legend, plus some other sides from the Sidney Bechet-Muggsy Spanier Big Four. "Lonesome Road" is my favorite of the Great l6 numbers and "Sweet Lorraine" is truly super with Sidney Bechet on soprano sax. Muggsy was a mentor in Chicago Jazz and used to play at Jazz Limited in Chicago. George Brunis made fun of him, when I used to hear him in Chi, but that was because Muggsy always upstaged him.

Um, with so many discs on the Chronological Classics, it's difficult to know which ones are good, and which ones can be passed by. To benefit jazz lovers, I want just briefly to review several of the discs. Bechet 1940 (CC 619) is quite a good disc. It features some good southern blues; and as a special feature has about half a dozen extended tracks (over 4 mins. a piece) which were achieved, I presume, by reducing the size of the label area in the center of the disc, thereby increasing the playing lenght of the old 78s. This disc is worth owning, and would also make a good gift.

Although this series is planned in strict chronological fashion, it happens that this volume for 1940--41 includes many of Bechet's finest Victor pieces. It starts out with "Blues in Thirds," a trio with Earl Hines and Baby Dodds that represents Bechet at his absolute best, followed by three pieces where Hines, Dodds and trumpeter Rex Stewart help to make up one of the best incarnations of the "New Orleans Feetwarmers" that Bechet ever played with. The "Muskrat Ramble" band is undistinquished, but this cut is followed by three pieces in which "Red" Allen" does fine trumpet work, "Egyptian Fantasy" being particularly haunting. This CD also includes Bechet's pioneering experiments in multi-tracking: "Sheik of Araby" and "Blues of Bechet," in which he plays all the instruments himself, including piano and drums! In addition, there are six tracks in which the piano of Willie "The Lion" Smith gives propulsion and force, particularly on "I'm Coming, Virginia" and "Limehouse Blues." "The Lion" also offers distinguished accompaniment in a haunting trio version of Billie Holliday's "Strange Fruit," which is almost as good as "Blues in Thirds." Top all this off with a couple of energetic Vic Dickenson vocals on "Rip Up the Joint" and "Suey," and you have an excellent album of considerable variety. If you only buy one Bechet album, I'd advise you to buy this one.

First of all, let's get some details corrected. This is Classics 619, not 638 (which is actually the next Bechet CD in the series: 1940-41). It begins with a Josh White Blue Note session--a real gem of a date. Beautiful music. Also included is a Bechet-led Blue Note date, 2 HRS sessions, and a Victor date featuring Bechet's Feetwarmers. The HRS sides are excellent, especially "China boy" and "That's a plenty," both up-tempo swingers. Also excellent are the Bechet Blue Note recordings, with a special tip of the hat to the slow blues "Dear old Southland." This entire CD is top of the line. Highly recommended.

Um, with so many discs on the Chronological Classics, it's difficult to know which ones are good, and which ones can be passed by. To benefit jazz lovers, I want just briefly to review several of the discs. Bechet 1940 (CC 619) is quite a good disc. It features some good southern blues; and as a special feature has about half a dozen extended tracks (over 4 mins. a piece) which were achieved, I presume, by reducing the size of the label area in the center of the disc, thereby increasing the playing lenght of the old 78s. This disc is worth owning, and would also make a good gift.

Although this series is planned in strict chronological fashion, it happens that this volume for 1940--41 includes many of Bechet's finest Victor pieces. It starts out with "Blues in Thirds," a trio with Earl Hines and Baby Dodds that represents Bechet at his absolute best, followed by three pieces where Hines, Dodds and trumpeter Rex Stewart help to make up one of the best incarnations of the "New Orleans Feetwarmers" that Bechet ever played with. The "Muskrat Ramble" band is undistinquished, but this cut is followed by three pieces in which "Red" Allen" does fine trumpet work, "Egyptian Fantasy" being particularly haunting. This CD also includes Bechet's pioneering experiments in multi-tracking: "Sheik of Araby" and "Blues of Bechet," in which he plays all the instruments himself, including piano and drums! In addition, there are six tracks in which the piano of Willie "The Lion" Smith gives propulsion and force, particularly on "I'm Coming, Virginia" and "Limehouse Blues." "The Lion" also offers distinguished accompaniment in a haunting trio version of Billie Holliday's "Strange Fruit," which is almost as good as "Blues in Thirds." Top all this off with a couple of energetic Vic Dickenson vocals on "Rip Up the Joint" and "Suey," and you have an excellent album of considerable variety. If you only buy one Bechet album, I'd advise you to buy this one.

First of all, let's get some details corrected. This is Classics 619, not 638 (which is actually the next Bechet CD in the series: 1940-41). It begins with a Josh White Blue Note session--a real gem of a date. Beautiful music. Also included is a Bechet-led Blue Note date, 2 HRS sessions, and a Victor date featuring Bechet's Feetwarmers. The HRS sides are excellent, especially "China boy" and "That's a plenty," both up-tempo swingers. Also excellent are the Bechet Blue Note recordings, with a special tip of the hat to the slow blues "Dear old Southland." This entire CD is top of the line. Highly recommended.