Jabbo Smith had one of the oddest careers in jazz history. A brilliant trumpeter, Smith had accomplished virtually all of his most significant work by the time he turned 21, yet lived to be 82. He learned to play trumpet at the legendary Jenkins Orphanage in Charleston, and by the time he was 16, Smith showed great promise. During 1925-1928 he... [+] Read More

Jabbo Smith had one of the oddest careers in jazz history. A brilliant trumpeter, Smith had accomplished virtually all of his most significant work by the time he turned 21, yet lived to be 82. He learned to play trumpet at the legendary Jenkins Orphanage in Charleston, and by the time he was 16, Smith showed great promise. During 1925-1928 he was with Charlie Johnson's Paradise Ten, a top New York jazz group that made some classic recordings. Smith was on a recording session with Duke Ellington in 1927 (resulting in a memorable version of "Black and Tan Fantasy") and played in the show Keep Shufflin' with James P. Johnson and Fats Waller. The high points of Smith's career were his 1929 recordings with his Rhythm Aces. These superb performances feature Smith playing with daring, creativity, and a bit of recklessness, displaying an exciting style that hints at Roy Eldridge (who would not burst upon the scene for another six years). But, although Jabbo Smith at the time was considered a close competitor of Louis Armstrong, he had hit his peak. His unreliability, excessive drinking, and unprofessional attitude resulted in lost jobs, missed opportunities, and a steep decline. After playing with one of Claude Hopkins' lesser orchestras during 1936-1938, Smith settled in Milwaukee and became a part-time player. Decades passed, and when he was rediscovered in the 1970s (when he was picked to perform in the musical show One Mo' Time), he was a weak player, a mere shadow of what he could have been. ~ Scott Yanow, All Music Guide [-] Hide

The New Orleans Rhythm Kings (NORK) were the finest jazz group to be on record in 1922, and the white band has served as proof that, even that early, African-Americans were not the only ones who could play jazz with individuality and integrity. The key members of the group (leader/cornetist Paul Mares, trombonist George Brunis, and clarinetist... [+] Read More

The New Orleans Rhythm Kings (NORK) were the finest jazz group to be on record in 1922, and the white band has served as proof that, even that early, African-Americans were not the only ones who could play jazz with individuality and integrity. The key members of the group (leader/cornetist Paul Mares, trombonist George Brunis, and clarinetist Leon Roppolo) were childhood friends from New Orleans. In 1922, they started a 17-month residency at the Friar's Inn Nightclub in Chicago and in August they made their first recordings. Although Mares (unlike Nick LaRocca of the Original Dixieland Jazz Band) was modest about his own playing, saying that he was very influenced by King Oliver, he actually sounded quite a bit different and had a voice of his own. Roppolo was the first significant soloist on record, while Brunis would have a long career playing Dixieland. The changing rhythm sections sometimes included the first great jazz bassist Steve Brown (although largely inaudible on his early session), drummer Ben Pollack (a future bandleader), and, on a pair of memorable sessions in 1923, pianist Jelly Roll Morton. Among the future standards introduced by the NORK were "Farewell Blues," "Panama," "That's a Plenty," and "Tin Roof Blues"; the latter included a famous Brunis trombone solo. The band broke up in 1924 when Mares and Roppolo returned to New Orleans. With Santo Pecora on trombone they regrouped for a fine session on January 1925, but Roppolo was already suffering from mental problems; the group's final date two months later was without Roppolo, who would soon be institutionalized for the remainder of his life. Mares came back for one further session in 1935 but seemed happy in retirement, leaving the legacy of the NORK to history. ~ Scott Yanow, All Music Guide [-] Hide

Coleman Hawkins was the first important tenor saxophonist and he remains one of the greatest of all time. A consistently modern improviser whose knowledge of chords and harmonies was encyclopedic, Hawkins had a 40-year prime (1925-1965) during which he could hold his own with any competitor.

Coleman Hawkins started piano lessons when... [+] Read More

Coleman Hawkins was the first important tenor saxophonist and he remains one of the greatest of all time. A consistently modern improviser whose knowledge of chords and harmonies was encyclopedic, Hawkins had a 40-year prime (1925-1965) during which he could hold his own with any competitor.

Coleman Hawkins started piano lessons when he was five, switched to cello at age seven, and two years later began on tenor. At a time when the saxophone was considered a novelty instrument, used in vaudeville and as a poor substitute for the trombone in marching bands, Hawkins sought to develop his own sound. A professional when he was 12, Hawkins was playing in a Kansas City theater pit band in 1921, when Mamie Smith hired him to play with her Jazz Hounds. Hawkins was with the blues singer until June 1923, making many records in a background role and he was occasionally heard on instrumentals. After leaving Smith, he freelanced around New York, played briefly with Wilbur Sweatman, and in August 1923 made his first recordings with Fletcher Henderson. When Henderson formed a permanent orchestra in January 1924, Hawkins was his star tenor.

Although (due largely to lack of competition) Coleman Hawkins was the top tenor in jazz in 1924, his staccato runs and use of slap-tonguing sound quite dated today. However, after Louis Armstrong joined Henderson later in the year, Hawkins learned from the cornetist's relaxed legato style and advanced quickly. By 1925, Hawkins was truly a major soloist, and the following year his solo on "Stampede" became influential. Hawk (who doubled in early years on clarinet and bass sax) would be with Fletcher Henderson's Orchestra up to 1934, and during this time he was the obvious pacesetter among tenors; Bud Freeman was about the only tenor who did not sound like a close relative of the hard-toned Hawkins. In addition to his solos with Henderson, Hawkins backed some blues singers, recorded with McKinney's Cotton Pickers, and, with Red McKenzie in 1929, he cut his first classic ballad statement on "One Hour."

By 1934, Coleman Hawkins had tired of the struggling Fletcher Henderson Orchestra and he moved to Europe, spending five years (1934-1939) overseas. He played at first with Jack Hylton's Orchestra in England, and then freelanced throughout the continent. His most famous recording from this period was a 1937 date with Benny Carter, Alix Combille, Andre Ekyan, Django Reinhardt, and Stephane Grappelli that resulted in classic renditions of "Crazy Rhythm" and "Honeysuckle Rose." With World War II coming close, Hawkins returned to the U.S. in 1939. Although Lester Young had emerged with a totally new style on tenor, Hawkins showed that he was still a dominant force by winning a few heated jam sessions. His recording of "Body and Soul" that year became his most famous record. In 1940, he led a big band that failed to catch on, so Hawkins broke it up and became a fixture on 52nd Street. Some of his finest recordings were cut during the first half of the 1940s, including a stunning quartet version of "The Man I Love." Although he was already a 20-year veteran, Hawkins encouraged the younger bop-oriented musicians and did not need to adjust his harmonically advanced style in order to play with them. He used Thelonious Monk in his 1944 quartet; led the first official bop record session (which included Dizzy Gillespie and Don Byas); had Oscar Pettiford, Miles Davis, and Max Roach as sidemen early in their careers; toured in California with a sextet featuring Howard McGhee; and in 1946, utilized J.J. Johnson and Fats Navarro on record dates. Hawkins toured with Jazz at the Philharmonic several times during 1946-1950, visited Europe on a few occasions, and in 1948 recorded the first unaccompanied saxophone solo, "Picasso."

By the early '50s, the Lester Young-influenced Four Brothers sound had become a much greater influence on young tenors than Hawkins' style, and he was considered by some to be out of fashion. However, Hawkins kept on working and occasionally recording, and by the mid-'50s was experiencing a renaissance. The up-and-coming Sonny Rollins considered Hawkins his main influence, Hawk started teaming up regularly with Roy Eldridge in an exciting quintet (their appearance at the 1957 Newport Jazz Festival was notable), and he proved to still be in his prime. Coleman Hawkins appeared in a wide variety of settings, from Red Allen's heated Dixieland band at the Metropole and leading a bop date featuring Idrees Sulieman and J.J. Johnson, to guest appearances on records that included Thelonious Monk, John Coltrane, and (in the early '60s) Max Roach and Eric Dolphy. During the first half of the 1960s, Coleman Hawkins had an opportunity to record with Duke Ellington, collaborated on one somewhat eccentric session with Sonny Rollins, and even did a bossa nova album. By 1965, Hawkins was even showing the influence of John Coltrane in his explorative flights and seemed ageless.

Unfortunately, 1965 was Coleman Hawkins' last good year. Whether it was senility or frustration, Hawkins began to lose interest in life. He practically quit eating, increased his drinking, and quickly wasted away. Other than a surprisingly effective appearance with Jazz at the Philharmonic in early 1969, very little of Hawkins' work during his final three and a half years (a period during which he largely stopped recording) is up to the level one would expect from the great master. However, there are dozens of superb Coleman Hawkins recordings currently available and, as Eddie Jefferson said in his vocalese version of "Body and Soul," "he was the king of the saxophone." ~ Scott Yanow, All Music Guide [-] Hide

The first jazz group to ever record, Original Dixieland Jazz Band made history in 1917. They were not the first group to ever play jazz (Buddy Bolden had preceded them by 22 years!), nor was this White quintet necessarily the best band of the time, but during 1917-1923 (particularly in their earliest years) they did a great deal to popularize... [+] Read More

The first jazz group to ever record, Original Dixieland Jazz Band made history in 1917. They were not the first group to ever play jazz (Buddy Bolden had preceded them by 22 years!), nor was this White quintet necessarily the best band of the time, but during 1917-1923 (particularly in their earliest years) they did a great deal to popularize jazz. The musicians learned about jazz from their fellow New Orleans players (including King Oliver) but happened to get their big break first. In 1916, drummer Johnny Stein, cornetist Nick LaRocca, trombonist Eddie Edwards, pianist Henry Ragas, and clarinetist Alcide "Yellow" Nunez played together in Chicago. With Tony Sbarbaro replacing Stein and Larry Shields taking over for Nunez, the band was booked at Resenweber's restaurant in New York in early 1917. Their exuberant music (which stuck exclusively to ensembles with the only solos being short breaks) caused a major sensation. Columbia recorded ODJB playing "Darktown Strutters Ball" and "Indiana," but was afraid to put out the records. Victor stepped in and recorded the group playing the novelty "Livery Stable Blues" (which found the horns imitating barnyard animals) and "Dixie Jass Band One-Step" and quickly released the music; "Livery Stable Blues" was a huge hit that really launched the jazz age. During the next few years ODJB would introduce such future standards as "Tiger Rag," "At the Jazz Band Ball," "Fidgety Feet," "Sensation," "Clarinet Marmalade," "Margie," "Jazz Me Blues," and "Royal Garden Blues." The group (with J. Russel Robinson taking the place of Ragas, who died in the 1919 flu epidemic, and trombonist Emile Christian filling in for Edwards) visited London during 1919-1920 and they once again caused quite a stir, introducing jazz to Europe. However upon their return to the U.S., ODJB was considered a bit out of fashion after the rise of Paul Whiteman and in 1922 New Orleans Rhythm Kings (a far superior group). By 1923 when many of the first Black jazz giants finally were recorded, ODJB was thought of as a historical band and due to internal dissension they soon broke up. In 1936 LaRocca, Shields, Edwards, Robinson, and Sbarbaro (the latter the only musician to have a full-time career by then) had a reunion and did a few final recordings together before LaRocca permanently retired. Although the cornetist's arrogant claims that ODJB had invented jazz are exaggerated and tinged with racism, Original Dixieland Jazz Band did make a strong contribution to early jazz (most groups that recorded during 1918-1921 emulated their style), helped supply the repertoire of many later Dixieland bands, and were an influence on Bix Beiderbecke and Red Nichols. ~ Scott Yanow, All Music Guide [-] Hide

Luis Russell led one of the great early big bands, an orchestra that during 1929-1931 could hold its own with nearly all of its competitors. Unfortunately, his period in the spotlight was fairly brief and, ironically, Russell fell into obscurity just as the big band era really took hold. Russell studied guitar, violin, and piano in his native... [+] Read More

Luis Russell led one of the great early big bands, an orchestra that during 1929-1931 could hold its own with nearly all of its competitors. Unfortunately, his period in the spotlight was fairly brief and, ironically, Russell fell into obscurity just as the big band era really took hold. Russell studied guitar, violin, and piano in his native Panama. After winning 3,000 dollars in a lottery, he moved with his mother and sister to the United States where he began to make a living as a pianist in New Orleans. In 1925 Russell moved to Chicago to join Doc Cook's Orchestra and then became the pianist in King Oliver's band. He was with Oliver when the cornetist relocated to New York before leading his own band at the Nest Club in 1927. Russell had recorded seven songs at two sessions as a leader in 1926 with his Hot Six and Heebie Jeebie Stompers. By 1929 his ten-piece band (which included several former Oliver sidemen) boasted four major soloists in trumpeter Red Allen, trombonist J.C. Higginbotham, altoist Charlie Holmes, and clarinetist Albert Nicholas; the other trumpeter, Bill Coleman, ended up leaving because of the lack of solo space. In addition, Russell, a decent but not particularly distinctive pianist, was part of one of the top rhythm sections of the era along with guitarist Will Johnson, the powerful bassist Pops Foster, and drummer Paul Barbarin. During the next couple of years Luis Russell's band recorded a couple dozen sides that (thanks to the leader's arrangements) combined the solos and drive of New Orleans jazz with the riffs and ensembles of swing; some of these performances are now considered classics. The band also backed Louis Armstrong on a few of his early orchestra recordings. But after a few commercial sides in 1931, Luis Russell only had one more opportunity to record his band (a so-so session in 1934) before Louis Armstrong took it over altogether in 1935. For eight years, the nucleus of Russell's orchestra primarily functioned as background for the great trumpeter/vocalist, a role that robbed it of its personality and significance. From 1943-1948, Russell led a new band that played the Savoy and made a few obscure recordings for Apollo before quietly breaking up. He spent his last 15 years, before dying of cancer in 1963, largely outside of music, running at first a candy shop and then a toy store. Fortunately most of Russell's early recordings have been made available on CD by European labels. ~ Scott Yanow, All Music Guide [-] Hide

While there's no denying the importance and quality of Columbia/Legacy's Complete Recordings series, nine discs may seem a bit intimidating to the newcomer. Collection, a mid-priced, 16-track collection which spans most of Smith's career, ultimately does a better service to the casual listener with a limited budget. This is probably the best... [+] Read More

While there's no denying the importance and quality of Columbia/Legacy's Complete Recordings series, nine discs may seem a bit intimidating to the newcomer. Collection, a mid-priced, 16-track collection which spans most of Smith's career, ultimately does a better service to the casual listener with a limited budget. This is probably the best introduction -- undoubtedly many will seek out the more comprehensive packages afterward. ~ Chris Woodstra, All Music Guide [-] Hide

Fletcher Henderson's five Decca sessions are reissued in full on this fine CD. The 1931 and 1934 big bands are showcased. While the former group (heard on eight numbers) features such soloists as trumpeters Bobby Stark and Rex Stewart, trombonist Benny Morton and Coleman Hawkins on tenor, the later group showcases trumpeter Red Allen, trombonist... [+] Read More

Fletcher Henderson's five Decca sessions are reissued in full on this fine CD. The 1931 and 1934 big bands are showcased. While the former group (heard on eight numbers) features such soloists as trumpeters Bobby Stark and Rex Stewart, trombonist Benny Morton and Coleman Hawkins on tenor, the later group showcases trumpeter Red Allen, trombonist Claude Jones, clarinetist Buster Bailey and tenor Ben Webster; altoist Benny Carter has a guest appearance on "Liza." Highlights of these early swing performances include "Sugar Foot Stomp," "Singin' the Blues" (which has Rex Stewart paying tribute to Bix Beiderbecke), the atmospheric "Radio Rhythm," "Big John's Special," "Down South Camp Meetin"' and "Rug Cutter's Swing." Excellent music that proves that swing did not begin with Benny Goodman in 1935. ~ Scott Yanow, All Music Guide [-] Hide

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... [+] Read More

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, All Music Guide [-] Hide

This double-CD has all of the Victor recordings of the first jazz group to record, The Original Dixieland Jazz Band. The five-piece New Orleans band, which essentially stuck exclusively to ensembles, set the standard for 1917-21 jazz. Their "Livery Stable Blues" (which found the horns imitating barnyard animals) was a big hit, and The ODJB... [+] Read More

This double-CD has all of the Victor recordings of the first jazz group to record, The Original Dixieland Jazz Band. The five-piece New Orleans band, which essentially stuck exclusively to ensembles, set the standard for 1917-21 jazz. Their "Livery Stable Blues" (which found the horns imitating barnyard animals) was a big hit, and The ODJB introduced such future Dixieland standards as "Original Dixieland One-Step," "At the Jazz Band Ball," "Fidgety Feet," "Sensation," "Clarinet Marmalade," "Jazz Me Blues," "Royal Garden Blues," and "Tiger Rag." The 23 numbers from 1917-21 (which are rounded out by the humorous "Bow Wow Blues (My Mama Treats Me like a Dog)") were reissued on a single CD by Bluebird, but this two-fer also has The ODJB's "comeback" recordings of 1936; six titles by the original five members, plus eight very rare titles which find The ODJB forming the nucleus of a musical, if not too distinctive, big band. Important historical music. ~ Scott Yanow, All Music Guide [-] Hide

Ignoring past reissues (including a definitive two-CD set from 1995 that had 40 recordings), RCA came out with this 19-selection single CD in 1996; all of the performances were in the previous reissue. If found at a budget price, this CD can act as a fine introduction to the great tenor Coleman Hawkins. Among its high points are two very... [+] Read More

Ignoring past reissues (including a definitive two-CD set from 1995 that had 40 recordings), RCA came out with this 19-selection single CD in 1996; all of the performances were in the previous reissue. If found at a budget price, this CD can act as a fine introduction to the great tenor Coleman Hawkins. Among its high points are two very different versions of "Body and Soul" and classic renditions of "When Day Is Done," "The Sheik of Araby," and the modernistic "Half Step Down, Please," an appealing "I Love Paris," and a few numbers with strings and woodwinds. The music dates from 1939-1940, 1946-1947, and 1956 and is generally beyond criticism. ~ Scott Yanow, All Music Guide [-] Hide