What are the most exciting and essential classic jazz recordings that have taken place since the end of World War II? I accepted the challenge of that question to put together a list that everyone can argue about. This five-part series briefly discusses 100 great recordings that all Syncopated Times readers should own.
I set up a few ground rules to make the survey manageable. The list is restricted to hot jazz whether it is considered Dixieland, New Orleans, Chicago, San Francisco, revival, trad, or classic jazz. To keep the list focused, it does not include swing or ragtime although some recordings straddle the line. The records are listed in roughly chronological order and were released on CDs or LPs; downloads are not included. Neither are giant reissue box sets such as those put out by Mosaic or any releases larger than two CDs.
While this list can easily be many times larger, be sure to explore the 100 gems, including these 20 from the 1959-77 period. This was an intriguing period when, despite the rise of rock, soul music, avant-garde jazz and fusion, classic jazz (no matter what it was called) survived and in some cases flourished for a time.
41. The Dutch Swing College Band: Swingin’ Studio Sessions (Phillips, 1959-69) The longest running Dixieland-oriented group in the world, the Dutch Swing College Band was founded in 1945 by clarinetist/baritonist Peter Schilperoort and it still gigs 80 years later. The group recorded many albums through the years including with such guests as Sidney Bechet, Jimmy Witherspoon, Billy Butterfield, Joe Venuti, and Teddy Wilson. Swinging Studio Sessions has music from seven of the band’s dates of 1959-69 and includes rousing versions of “At The Jazz Band Ball,” “Fidgety Feet,” “Tiger Rag,” “Cornet Chop Suey,” and “Dippermouth Blues.”
42. Thomas Jefferson: With The New Orleans Creole Jazz Band 1961 and Monk Hazel’s Band 1960 (GHB, 1960-61) A very appealing New Orleans trumpeter and singer who was influenced by Louis Armstrong but had his own swinging style, Jefferson (1920-86) is featured in a sextet with drummer Paul Barbarin and (on two numbers) singer Blanche Thomas. But best are eight numbers (originally released as New Orleans At Midnight) in which he is the only horn in a quintet also featuring pianist Armand Hug. Jefferson’s singing and playing on such numbers as “When You’re Smiling,” “There’ll Be Some Changes Made,” and “Someday You’ll be Sorry” makes one wish that he had left New Orleans more often and gained the fame that he deserved.
43. Sweet Emma Barrett: New Orleans: The Living Legends (Original Jazz Classics, 1961) With the opening of Preservation Hall in 1961, the African-Americans jazz veterans who had often been overshadowed by the white Dixielanders in the 1950s finally had a musical home in New Orleans. While the aging members of the future Preservation Hall Jazz Band would be criticized a decade later for their erratic playing, in 1961 they were very much in their playing prime. Pianist and occasional singer Sweet Emma Barrett leads a septet that includes trumpeter Percy Humphrey, trombonist Jim Robinson, and clarinetist Willie Humphrey on one of their finest sessions.
44. Kenny Ball: Midnight In Moscow (Kapp, 1961) While Dixieland and other related styles had gradually declined in popularity in the United States during the 1950s, the Trad boom in England found traditional jazz becoming the pop music of its day before the rise of the Beatles ended all of that. Trumpeter Kenny Ball was a star in the United Kingdom with his spectacular playing and good-humored singing. “Midnight In Moscow,” which was on the pop charts and became a standard, made him a celebrity. The album of the same name, which includes “High Society,” “Tin Roof Blues” and other standards, is a fine example of Ball’s spirited band with trombonist Johnny Bennett and clarinetist Davy Jones.
45. Dukes Of Dixieland: Now Hear This (Columbia, 1962) The Dukes Of Dixieland, which featured trumpeter-singer Frank Assunto and his brother trombonist Fred, caught on big in the early 1950s and had a long string of successful albums for Audio Fidelity. They were so popular that they were signed to the Columbia label in 1961, recording two of their greatest albums the following year. With the very fluent clarinetist Jerry Fuller, the Assuntos’ father Jac Assunto on banjo and second trombone, and a fairly modern rhythm section that included pianist Gene Schroeder and guitarist Herb Ellis, Now Hear This finds the Dukes in top form on 11 standards including “When You’re Smiling,” “Honeysuckle Rose,” “At The Jazz Band Ball,” and “Sweet Sue.” Frank Assunto in particular is heard at the peak of his powers.
46. Dukes Of Dixieland: At Disneyland (Columbia, 1962) The Dukes really stretch out during this inspired live session, playing extended versions of such pieces as “Royal Garden Blues,” “Original Dixieland One Step,” and “Wolverine Blues,” in addition to coming up with some original ideas on “The Saints.”
47. Wild Bill Davison: ’S Wonderful (Jazzology, 1962) While cornetist Wild Bill Davison came to fame as part of Eddie Condon’s all-star bands, he had a very viable solo career that became more significant as time passed. While his repertoire and his style did not change much through the years, Davison nearly always sounded inspired and exciting in his highly expressive playing which often made other trumpeters and cornetists sound like straight men in comparison. ’S Wonderful teams him with trombonist Vic Dickenson, clarinetist Buster Bailey, and pianist Dick Wellstood and it has plenty of fireworks.
48. George Wein: And The Newport All-Stars (Impulse, 1962) Wein, the founder of the Newport Jazz Festival, was a fine pianist inspired by Earl Hines. Through the years he led several versions of the Newport All-Stars but his group in 1962 is difficult to beat, featuring cornetist Ruby Braff, valve trombonist Marshall Brown, clarinetist Pee Wee Russell, and tenor-saxophonist Bud Freeman. Their hot versions of “At The Jazz Band Ball,” “Lulu’s Back In Town,” and Freeman’s feature on “Crazy Rhythm” are particularly memorable.
49. Pete Fountain: Standing Room Only (Coral, 1965) A household name by the late 1950s, the clarinetist made most of his finest recordings for the Coral label during the first half of the 1960s. Standing Room Only has Fountain leading a particularly strong group that includes trombonist Bob Havens, trumpeter Charlie Teagarden, and tenor-saxophonist Eddie Miller. As usual, Fountain plays even the warhorses with such enthusiasm and warmth that he sounds as if he had just discovered the tunes.
50. Capt. John Handy: All Aboard Vol. 1 (GHB, 1965) Although tenors Bud Freeman and Eddie Miller were grudgingly accepted, many New Orleans jazz purists looked down on saxophonists. However they had to make an exception for Handy, an altoist inspired by early r&b and jump music because he was just too exciting a player. Handy did not make his recording debut until 1960 when he was already 60 and it was five years later before he appeared on his second. Three live albums were cut the same day with a group including trumpeter Kid Thomas Valentine, trombonist Jim Robinson, and clarinetist Sammy Remington. Despite the better known sidemen, Handy steals the show every time he plays, really raising the roof on “Hindustan.”
51. Wingy Manone: With Papa Bue’s Viking Jazzband (Storyville, 1966-67) Manone had been a star for nearly 40 years at the time of this meeting with the Danish Viking Jazzband. But despite only being 62, he had only made a handful of recordings since the mid-1950s and this was the last time that he would be heard at his prime. No matter, Manone sounds quite joyful in his trumpet playing and singing, performing his standbys (including “Tar Paper Stomp,” a 1920s song that a decade later would be the basis for Glenn Miller’s “In The Mood”) with an excellent band.
52. Papa Bue’s Viking Jazzband: Everybody Loves Saturday Night (Storyville, 1966-69) Trombonist Arne “Papa Bue” Jensen founded his Viking Jazzband in 1956 and kept the band busy during the next 50 years. They made many recordings of which this Storyville CD gives one an excellent sampling, featuring trumpeter Finn Otto Hansen, clarinetist Jorgen Svare and the leader on many hot performances that hold their own with the best American bands of the time.
53. Bobby Hackett: Creole Cookin’ (Verve, 1967) The mellow-toned cornetist, whose appealing tone was utilized on many mood music records during the 1960s, managed to sneak in this gem in 1967. He is the lead voice in an all-star 13-piece group that includes Bob Wilber, Zoot Sims and Dave McKenna, playing a variety of Dixieland standards that are outfitted with fresh and lively arrangements.
54. The World’s Greatest Jazz Band: Live At Roosevelt Grill (Atlantic, 1970) Given its outlandish name by its benefactor Dick Gibson, the WBJB lasted from 1968-79. On this classic album, the group’s lineup consisted of trumpeters Yank Lawson and Billy Butterfield, trombonists Vic Dickenson and Lou McGarity, Bob Wilber on clarinet and soprano, tenor-saxophonist Bud Freeman, pianist Ralph Sutton, bassist Bob Haggart, and drummer Gus Johnson. All of the dozen selections have their exciting moments including “That’s A Plenty,” “My Honey’s Loving Arms,” “Royal Garden Blues,” and “Come Back Sweet Papa” with all of the veterans heard at the peak of their powers. Maybe calling this group the World’s Greatest Jazz Band was not an exaggeration!
55. Eddie Condon: Jazz At The New School (Chiaroscuro, 1972) The final album by guitarist-bandleader Condon, this set is notable for the interplay between the fiery cornetist Wild Bill Davison and Kenny Davern (heard exclusively on soprano) in a group also featuring pianist Dick Wellstood and drummer Gene Krupa. While Condon is barely audible, his sidemen seem inspired by the setting with Wellstood ably filling in for the lack of a string bassist, and Krupa obviously enjoying playing with his old friends.
56. Turk Murphy: A Lost Treasure (Merry Makers, 1973) The trombonist, after being an important part of Lu Watters’ Yerba Buena Jazz Band, led San Francisco-based groups of his own from the late 1940s on, always sticking to the music that he labeled “traditional jazz.” He ran Earthquake McGoon’s during 1960-84 at several different locations and this set of music (released decades after its 1973 recording) captures his band in top form playing live at the club. The drumless sextet features cornetist Leon Oakley and clarinetist Bob Helm on a particularly good night.
57. Joe Venuti: Joe & Zoot & More (Chiaroscuro, 1973) The great jazz violinist Joe Venuti turned 70 in 1973. Although he actually looked much older, he had made a successful comeback from 30 years of obscurity in 1969 and was quite busy during his final nine years. This double-CD reissues the music from two Lps: a quintet date with Zoot Sims on tenor and soprano and pianist Dick Wellstood, and a 1974 album with Sims, pianist Dick Hyman and bass saxophonist Spencer Clark. The violinist sounds quite ageless during the frequently hot performances.
58. Dick Hyman: Jelly and James (Columbia, 1973 and 1975) A virtuosic and eclectic pianist who could play in practically any style, Hyman largely settled on stride and swing piano by the late 1960s. This CD combines separate projects on which Hyman performs the music of Jelly Roll Morton and James P. Johnson in groups ranging from a big band and a trio with Joe Venuti, to duets with cornetist Ruby Braff and a piano solo version of “The Finger Breaker.”
59. Wild Bill Davison: Showcase (Jazzology, 1947 and 1976) The cornetist is featured on six ballads from 1947 in a sextet with trombonist Jimmy Archey, clarinetist Garvin Bushell and pianist Ralph Sutton, but the bulk of this release features Davison with a very good group (the Classic Jazz Collegium) from Czechoslovakia in 1976. The latter band utilizes arrangements that make the group sound like it is from the 1920s, allowing one to hear what Davison might have sounded like if he had been in his prime 50 years earlier.
60. Soprano Summit: Soprano Summit (Chiaroscuro, 1976-77) Bob Wilber and Kenny Davern (both doubling on clarinet and soprano) teamed up as Soprano Summit during 1973-78 and less frequently as Summit Reunion during 1990-2001. Wilber and Davern always brought out the best in each other whether being competitive or cooperative as can be heard on this two-CD set with guitarist-Marty Grosz, bassist George Duvivier and either Fred Stoll or Bobby Rosengarden on drums. Their brand of hot and swinging trad jazz showed that there was plenty of life to be found in classic jazz even in the mid-1970s.
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.
