A dedicated Syncopated Times reader (who chooses to remain anonymous) came up with a particularly intriguing idea for an article. While the historic jazz recordings of 1917-45 have often been discussed through the years, what about the hot jazz sessions from the past eight decades? Because jazz history books tend to emphasize the cutting edge music of the time, New Orleans jazz after the mid-1940s is generally neglected even though it was often very popular.
What are the most exciting and essential classic jazz recordings that have taken place since World War II? I accepted the challenge to put together a list and in this five-part series will cite 100 great recordings that Syncopated Times readers should definitely own. To make this survey manageable, I have set some ground rules. First, this list is restricted to hot jazz whether it is considered Dixieland, New Orleans, Chicago, San Francisco, revival, trad, or classic jazz. Even though there is an overlap between the idioms, this list does not include swing or ragtime; otherwise it would be impossible to include only 100 recordings. The records are listed in roughly chronological order. While one would certainly not go wrong by listing 10 or 20 albums by Louis Armstrong, Sidney Bechet, and other obvious giants, I have cast my net as wide as possible, including one or two albums from as many of the talents as possible while keeping the quality as high as possible. Armstrong has four albums cited but that is an unavoidable exception and I do not think anyone really minds!
Prior to the early 1950s, recordings were released as 78s so albums covering that era that I list are superior compilations. Otherwise all of the sessions were originally released as LPs or CDs. I have avoided including giant reissues such as the Mosaic boxes, instead focusing on the original sets with none of the releases being larger than two CDs. And because I think of downloads as the equivalent of cassettes in the 1980s, an inexpensive but temporary way of releasing music that generally deserves much better, sessions that are only available as downloads are not eligible to be included.
Lovers of early jazz will undoubtedly come up with albums that I have missed since there are many more than 100 great recordings from the past 80 years. But be sure to explore these 100 gems.
1. Bunk Johnson: And His New Orleans Jazz Band (Document, 1945-46) It is only right that this list begin with trumpeter Bunk Johnson whose career went back as far as nearly anyone still active in the 1940s. After his unlikely comeback in the early 1940s, he made a major stir in the jazz world during 1944-47 with some listeners thinking he was the new messiah while others claimed he was a bit of a braggart; the truth was somewhere in between. Some of his most exciting performances were with the ensemble-oriented band that would later form the nucleus of the George Lewis group of the 1950s. The Document CD has many of the highpoints from this group including a definitive version of “The Saints.”
2. Lu Watters Yerba Buena Jazz Band: Stomps & The Blues (Good Time Jazz, 1946) The great San Francisco jazz band has had all of its prime recordings reissued on the four-CD box set The Complete Good Time Jazz Recordings. If only one CD can be chosen, Stomps & The Blues, which features trumpeters Watters and Bob Scobey, trombonist Turk Murphy and clarinetist Bob Helm reviving such pieces as “Chattanooga Stomp,” “1919 Rag,” and “Copenhagen,” gives listeners some fine examples of this classic group’s drive, power and joy.
3. Louis Armstrong: Pops: The 1940s Small Band Sides (RCA/Bluebird, 1946-47) After 18 years of mostly being heard with big bands, Armstrong broke up his orchestra in 1947. This CD has four sessions from 1946-47 that slightly preceded the breakup plus a date by his All-Stars. There are notable contributions by trombonists Vic Dickenson and Kid Ory, and cornetist Bobby Hackett among others but it is the collaborations with Jack Teagarden and Satch’s perfect five chorus solo on “Jack-Armstrong Blues” (arguably his best recorded solo of the 1940s) that take honors.
4. Louis Armstrong: Satchmo At Symphony Hall (GRP/Decca, 1947) The Louis Armstrong All-Stars are in inspired form during this Nov. 30, 1947, concert with Armstrong sounding joyfully liberated from the responsibilities of leading his big band. He is consistently brilliant as are Teagarden (superb on his showcase “Lover”) and Bigard with the band romping on “Royal Garden Blues,” “Muskrat Ramble,” and “High Society.”
5. Bunk Johnson: Last Testament (Delmark, 1947) Tired of leading his sometimes-erratic band of New Orleans players and of the more fanatical fans expecting him to stick to the same old songs, Johnson broke up the group and utilized more technically skilled players on what would be his final recording. Bunk shows on such numbers as “Chloe,” “The Entertainer” (one of the few recordings of Scott Joplin’s song before it became a surprise hit in the 1970s), “Out Of Nowhere,” and “You’re Driving Me Crazy” that he was capable of stretching himself beyond the expected while retaining his roots in 1910-15 New Orleans jazz.
6. Graeme Bell: Big Walk About In London (Lake, 1948-51) In addition to being a fine pianist, Bell was one of the leaders of the Australian Dixieland movement which started as early as 1942 and really picked up steam later in the decade. Bell recorded prolifically, often leading groups that featured his brother trumpeter Roger Bell and Lazy Ade Monsbourgh (very effective on both clarinet and trombone). This Lake CD is an excellent overview of his frequently exciting performances.
7. Tony Parenti: And His New Orleanians (Jazzology, 1949) Clarinetist Parenti was a veteran of the 1920s but really came into his own in the late 1940s. This set, the very first release produced by George Buck for his Jazzology label, has the smooth and fluent clarinetist heading an all-star group that includes pianist Art Hodes, trombonist Jimmy Archey, and the explosive cornetist Wild Bill Davison.
8. The Firehouse Five Plus Two (Good Time Jazz, 1949-54) Born during jam sessions held during lunch hours at Disney where many of the musicians worked, the Firehouse Five Plus Two combined underrated musicianship, enthusiasm, and humor to produce fun music that was often irresistible. This two-CD set features the band during its early period with cornetist Danny Alguire (after the opening session with Johnny Lucas) driving the ensembles.
9. Turk Murphy: Turk Murphy’s Jazz Band Favorites (Good Time Jazz, 1949-50) The Good Time Jazz label captured many of the top West Coast traditional jazz groups in their early prime. Trombonist Murphy, formerly with Lu Watters, succeeded him as the leader of the San Francisco jazz movement. These spirited performances feature him heading a group that often features trumpeter Bob Scobey (who would soon lead his own band) Don Kinch or Bob Short along with pianists Burt Bales, Skippy Anderson and Wally Rose.
10. Burt Bales/Paul Lingle: They Tore My Playhouse Down (Good Time Jazz, 1949-52) Two of the top West Coast trad jazz pianists have fairly rare opportunities to lead their own rewarding sets with Bales playing solo in 1949 and Lingle featured in a duo three years later. Both kept the legacy of Jelly Roll Morton and his contemporaries alive.
11. Humphrey Lyttleton: The Parlophones Vol. 1 (Calligraph, 1949-1951) Trumpeter Lyttleton led the top classic jazz band in England during the first half of the 1950s, a group that teamed him with clarinetist Wally Fawkes and often found the unit bringing back superior obscurities of the 1920s. By 1956, Lyttleton had switched his focus to mainstream jazz which greatly upset many of his fans although the quality remained high. All of the group’s early recordings for Parlophone (four CDs were compiled by Calligraph) are highly recommended and contain plenty of stirring vintage music.
12. Oscar Celestin: Marie La Veau (GHB, 1950 & 1954) A bandleader since the 1920s, Celestin was a solid trumpeter and a spirited singer who became a hit with tourists in New Orleans in the late 1940s. This CD, which also features veteran clarinetist Alphonse Picou on the 1950 portion, is a strong sampling of Celestin’s later work.
13. The Basin Street 6: Bonaparte’s Retreat (504, 1950) Also from New Orleans but more than 40 years younger, the Basin Street 6, which featured the brilliant but short-lived trumpeter-singer George Girard and clarinetist Pete Fountain near the beginning of his career, played energetic Dixieland with color and fairly fresh ideas.
14. Rosy McHargue: Rosy McHargue’s Ragtimers (Jump, 1952) Clarinetist McHargue was one of the few jazz musicians doubling on C-melody sax in the 1950s. His regular band with cornetist Bob Higgins and trombonist Moe Schneider had plenty of spirit but could also play with lyricism. “Palasteena,” “Singin’ The Blues,” “Jazzin’ The Blues Away,” and McHargue’s vocal on “Don’t Bring Me Posies” are among the highlights.
15. Wilbur DeParis’ New New Orleans Jazz Band: Marchin’ and Swingin’ (Atlantic, 1952) Trombonist DeParis with his brother trumpeter Sidney DeParis sought to keep New Orleans jazz alive with an often-unusual repertoire and constant surprises. The first album by their New New Orleans Jazz Band featuring clarinetist Omer Simeon, in addition to a blistering version of “The Saints,” includes swinging versions of Rachmaninoff’s “Prelude In C Sharp Minor,” “Under The Double Eagle,” and the leader’s memorable “Martinique.”
16. George Lewis: Doctor Jazz (Good Time Jazz, 1953) The veteran clarinetist became one of the most popular of all New Orleans musicians in the 1950s, traveling the world. Some of his recordings are better than others but there are no faults to this one which finds trumpeter Kid Howard and trombonist Jim Robinson in top form. Their versions of “Ice Cream,” “The Saints,” and “Panama” are rambunctious with the many ensembles often bordering on the explosive.
17. Doc Evans: Down In Jungle Town (Jazzology, 1953 + 1955) Evans was a world-class cornetist who chose to spend much of his life and career in Minnesota. This CD combines together two of his finest albums for small labels. While his sidemen are all obscure today, they are assets on such numbers as “Down In Jungle Town” “That’s A Plenty,” and “Bugle Call Rag.” Evans hints at Bix Beiderbecke in places but had his own hot style.
18. Jonah Jones: J.J. Special (Fresh Sound, 1954) While this CD contains three very good sessions featuring trumpeter Jonah Jones (formerly with Stuff Smith and Cab Calloway) including one with Vic Dickerson and clarinetist Edmond Hall, the six selections from Sept. 22, 1954, are quite special. Originally issued as by Sidney Bechet & His Vogue Jazzmen, such titles as “Crazy Rhythm,” “When You Wore A Tulip” and “Chinatown, My Chinatown” find Bechet on soprano and Jones really battling it out with Jones constantly challenging the competitive Bechet. To say that plenty of fireworks resulted would be an understatement.
19. Eddie Condon: Jammin’ At Condon’s (Columbia, 1954) Condon may not have taken solos on his records but the rhythm guitarist was masterful at organizing all-star sessions, counting off tempos, and leading inspiring ensembles. Jammin’ At Condon’s has him at the head of a large Dixieland group that has no less than eight horns: Wild Bill Davison, Billy Butterfield, Cutty Cutshall, Lou McGarity, Edmond Hall, Peanuts Hucko, Bud Freeman, and Dick Cary (on alto horn). The ensembles are spontaneous but always quite coherent and the results are hard-swinging performances that, typically for Condon, manage to feature everyone at their best.
20. Louis Armstrong: Plays W.C. Handy (Columbia, 1954) A very inspired recording, the 1954 Louis Armstrong All-Stars with trombonist Trummy Young and Barney Bigard perform 11 of Handy’s finest songs. Armstrong’s magnificent playing on “St. Louis Blues” is spine tingling with the group’s renditions of “Ole Miss” and “Beale Street Blues” also being gems.
Next month, part two in this series will focus on the great classic jazz albums from the second half of the 1950s.
Since 1975 Scott Yanow has been a regular reviewer of albums in many jazz styles. He has written for many jazz and arts magazines, including JazzTimes, Jazziz, Down Beat, Cadence, CODA, and the Los Angeles Jazz Scene, and was the jazz editor for Record Review. He has written an in-depth biography on Dizzy Gillespie for AllMusic.com. He has authored 11 books on jazz, over 900 liner notes for CDs and over 20,000 reviews of jazz recordings.
Yanow was a contributor to and co-editor of the third edition of the All Music Guide to Jazz. He continues to write for Downbeat, Jazziz, the Los Angeles Jazz Scene, the Jazz Rag, the New York City Jazz Record and other publications.
