What are the most exciting and essential classic jazz recordings that have taken place since the end of World War II? An impossible question to answer but I accepted the challenge to put together a list that everyone can argue about. This five-part series, of which this is the final section, briefly discusses 100 great recordings that all Syncopated Times readers should own.
The list is restricted to hot jazz whether it is considered Dixieland, New Orleans, Chicago, San Francisco, revival, trad, or classic jazz. If I had included swing and ragtime, keeping the list to 100 would have been impossible. The records are listed in roughly chronological order and were released on CDs and/or LPs. Downloads are not included (I just cannot take them seriously), nor are giant reissue box sets that would break one’s budget. None of the releases are 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 1998-2025 period.
81. Rhythm Rascals Washboard Band: Futuristic Jungleism (Zasu, 1995) This album is slightly out-of-order and should have preceded #80 from last issue. The Reynolds Brothers (guitarist John Reynolds and washboard wizard Ralf Reynolds) were always capable of performing dazzling music at fast tempos no matter the instrumentation of their group. On this album they are joined by both Jim Snyder and Jim Buchmann on clarinets (Buchmann also doubles on saxello) plus banjoist Lee Floyd and Hank Greve on tuba with Ralf and occasionally John Reynolds singing. A bit reminiscent of the State Street Ramblers, this is a wild and very spirited group as can be heard on “Sentimental Gentleman From Georgia,” “Pigmeat Stomp,” “Never Swat A Fly,” and possibly the hottest version ever of “High Society.”
82. Hal Smith’s Rhythmakers featuring Rebecca Kilgore: Concentratin’ On Fats (Jazzology, 1998) This is a memorable album on several levels. Rebecca Kilgore, one of the top swing singers of the past few decades, is in typically infectious form. Drummer Hal Smith leads an all-star septet that includes trumpeter Marc Caparone, clarinetist Bobby Gordon, and pianist Chris Dawson. And the repertoire consists of 18 lesser-known Fats Waller songs including such obscurities as “How Jazz Was Born,” “I Hate To Leave You Now,” “My Heart’s At Ease,” and “When Gabriel Blows His Horn,” showing that there was much more to Waller’s writing talents than “Honeysuckle Rose” and “Ain’t Misbehavin.’”
83. Gregg Stafford and Dr. Michael White: Praying & Swaying At The Cross, Vol. 1 (Jazz Crusade, 2000) Whenever Wynton Marsalis needed a clarinetist to perform traditional New Orleans jazz, Dr. Michael White was invariably his first choice. For this album (reissued by Upbeat), White shares the spotlight with trumpeter-singer Gregg Stafford on classics from the 1920s and religious numbers that could easily be turned into swinging jazz. White’s playing, which can hint at both Johnny Dodds and George Lewis, proves to be a perfect match for Stafford’s lively solos.
84. Rebecca Kilgore and BED: Get Ready For Bed (Blue Swing, 2001) For a few years the combination of singer Kilgore, trombonist Dan Barrett and guitarist-banjoist-singer Eddie Erickson (titled BED for Becky, Eddie and Dan) was a major attraction at classic jazz festivals. The quartet, which also included bassist Dave Stone (and a little later on Joel Forbes) performed fresh versions of standards and superior obscurities with humor, swing, and a consistent joyful spirit. This setting brought out the best in each musician as can be heard on their debut recording which ranges from “Little White Lies” and “Rhode Island Is Famous For You” to “Cheerful Little Earful” and “Who Walks In When I Walk Out.”
85. Dan Levinson: Celebrating Bix (Turtle Bay, 2003) Originally a single CD released by Arbors and more recently reissued as a double-CD by Turtle Bay, this inspired tribute to Bix Beiderbecke has arrangements by Levinson and Peter Ecklund that feature the who’s who of classic jazz from 2003. Bix’s solos are often arranged for three cornetists (Randy Sandke, Jon-Erik Kellso and Randy Reinhart) with individual spots for a cast that includes Levinson, Dan Barrett, Scott Robinson, Mark Shane, singer Barbara Rosene, and many others.
86. Neville Dickie: Strut Miss Lizzie (Stomp Off, 2007) A masterful stride pianist from England, Dickie recorded many fine albums starting in 1966. This set, which has drummer Norman Davey helping out on half of the selections, features the brilliant pianist romping on mostly lesser-known tunes from the 1920s including “Harlem Hotcha,” “Candy Lips,” “Dancin’ Dan,” and “Nobody Knows What A Red-Headed Mama Can Do.”
87. Andy Schumm/Frans Sjostrom Sextet: Bix Off The Record (Lake, 2014) Bix Beiderbecke only lived to be 28 and, despite a few busy years, missed recording or at least taking a solo on many excellent songs from the era. Schumm, a versatile cornetist able to emulate the sound and style of several trumpeters from the early days, performs 15 numbers on this set (featuring a sextet co-led by bass saxophonist Sjorstrom), imagining what Bix might have sounded like on such tunes as “Wolverine Blues,” “Dinah,” “Star Dust,” “Skylark,” and “Mean To Me.”
88. The Fat Babies: Solid Gassuh (Delmark, 2016) During 2012-26, the Jazz Babies recorded three albums for the Delmark label that helped rejuvenate the classic jazz scene. Solid Gassuh was their third recording with the superb lineup (pianist Paul Asaro, cornetist Andy Schumm, trombonist Dave Bock, John Otto on clarinet and alto, Jake Sanders on banjo and guitar, bassist Beau Sample, and drummer Alex Hall) playing superior if often little-known songs from the early days with spirit, creativity and plenty of colorful energy.
89. The Chicago Cellar Boys: Busy ’Til Eleven (Rivermont, 2018-19) The Fat Babies cut back to a quintet for this stirring set featuring Asaro, Schumm (playing cornet, tenor and clarinet), Otto, Bock (switching to tuba), and John Donatowicz on banjo and guitar. They really dug deep for a repertoire that includes “Off Time,” “Ain’t That Hateful,” “Forevermore,” and “Deep Trouble,” playing those forgotten numbers as if they were well-known standards.
90. Catherine Russell: Alone Together (Dot Time, 2018) Originally a background singer with rock and pop groups, Ms. Russell (the daughter of Luis Russell) emerged as a very talented jazz singer in 2005 with her first jazz recording Cat. Alone Together has her joined by her regulars (pianist Mark Shane and guitarist Matt Munisteri) plus guests including trumpeter Jon-Erik Kellso for an exuberant set highlighted by “When Did You Leave Heaven,” “Is You Is Or Is You Ain’t My Baby,” “You Can’t Pull The Wool Over My Eyes,” and “He May Be Your Dog but He’s Wearing My Collar.”
91. Galvanized Jazz Band: Sweet Substitutes (GJB, 2018) While the Galvanized Jazz Band was an exciting and freewheeling band formed in the 1970s, the only regular member who was available for an engagement in 2018 was bassist and tuba player Art Hovey. However he quickly gathered together six substitutes (including cornetist Alex Owen, trombonist Jim Fryer, and clarinetist John Clark) who proved to be a credit to the band’s legacy as they show on an extensive set of Dixieland warhorses. The 18 pieces are filled with fresh statements, exciting ensembles, and fireworks from a one-time band that never even had a rehearsal.
92. Rossano Sportiello: That’s It (Arbors, 2020) One of the great stride and swing pianists around today, Sportiello performs 17 pieces during this hour-long solo recital, giving listeners the impression that he is playing in one’s living room. The music starts out relaxed and gets hotter and more passionate as it progresses whether it is a standard or one of his originals (including his cooking “Song For Emily”). A true delight.
93. The Brahmin Bellhops: Lucky Day (Rivermont, 2020) Jeff Hughes (playing cornet, trumpet and flugelhorn) leads an eight-piece group with the reeds of John Clark and Craig Bell, both Jimmy Mazzy and Bob Barta on banjos and occasional vocals, pianist Ross Petot, Albie Bernard on tuba and drummer Steve Taddeo through a set of Clark’s arrangements. These New England musicians really know the late-1920s hot jazz style well and are able to take meaningful eight and 16-bar solos, sounding equally comfortable during arranged and jammed ensembles. Other than the improved recording quality, this could very well be a newly discovered band from 1929.
94. Terry Waldo and Tatiana Eva-Marie: I Double Dare You (Turtle Bay, 2021) Veteran pianist Waldo, who led his first record date in 1970, teams up with singer Tatiana Eva-Marie plus what could be called the Turtle Bay All-Stars (the frontline of cornetist Mike Davis, trombonist Jim Fryer and Ricky Alexander on clarinet and tenor) for a set of timeless classics; Davis in particular is always well worth hearing.
95. Gunhild Carling: Good Evening Cats (Gunhild Carling, 2022) A colorful performer who almost has too much talent for one person, Carling performs New Orleans jazz and swing on trumpet, trombone and a variety of other instruments including (gasp) bagpipes. She is also a skilled singer in several styles and an arranger-composer. This set with a combo that includes several of her talented relatives (she originally debuted as a child playing trombone in her family band) finds her ranging from the joyful title cut to “Mack The Knife” and “La Vie En Rose.”
96. The Secret Six: There’s Something In My Eye & It’s You (Self-released, 2022) Formed in New Orleans during the pandemic, the Secret Six was expanded to a pianoless octet for their second recording. They accurately claim to specialize in stomps, blues, rags and no-frills hot jazz. Each of the 15 selections on this enjoyable set was inspired by an earlier recording without these new renditions ever being mere copies. Highlights include the crazy “Smackin’ The Sax,” a very different version of “Wild Man Blues,” “East Coast Trot,” and Heidi Evelyn Arnott’s wordless singing on “Creole Love Call.”
97. The French Preservation Hall New Orleans Jazz Band: Live In Belgium (Upbeat, 2023) A sextet comprised of JP Alessi on alto and tenor, trombonist Philippe De-Smet and a four-piece rhythm section, this group shows that they do not need a trumpet, a lineup filled with famous names, or a New Orleans home address. Often joyful to a delirious extreme, the band is reminiscent of altoist Capt. John Handy, trombonist Jim Robinson and George Lewis at their most boisterous, overflowing with personality.
98. Smoking Time Jazz Club: 6 Blues, 5 Joys & a Stomp (Self-Released, 2023) On what was at least their tenth release, the Smoking Time Jazz Club performs a fresh and lively jazz and vintage blues repertoire in consistently creative ways, ranging from Clarence Williams’ “Dreamin’ The Hours Away” and “Am I Blue” to Blind Boy Fuller’s “Step It Up & Go.” Among the stars are trumpeter Jack Pritchett, the always-rambunctious trombonist Charlie Halloran, Jory Woodis on clarinet and alto, and singer Sarah Peterson.
99. The New Wonders: Steppin’ Out (Turtle Bay, 2024) Cornetist Mike Davis’ group The New Wonders sounds as if it were a previously undiscovered New York band from 1928-29. Davis, Joey Alexander (alto and clarinet), trombonist Josh Holcomb, banjoist Jared Engel, Andy Schumm (a great cornetist who is heard here with one exception on piano), bass-saxophonist Jay Rattman, and drummer Colin Hancock form a group that has the ability to sound a bit like a Frank Trumbauer unit with Bix Beiderbecke, Red Nichols’ Five Pennies of the ’20s, a smaller version of the California Ramblers, Paul Whiteman, or an unknown contemporary of those bands. Their versions of tunes from the era are full of unusual surprises and, like the more creative musicians, they do not feel that they have to constantly pay tribute to the original recordings.
100. The Joymakers: Down Where The Bluebonnets Grow (Turtle Bay, 2024) The multi-talented Colin Hancock (cornet, baritone and alto saxes, trombone, and singer on this album) succeeds in capturing the sound of a late 1920s territory band with the Joymakers. He is joined for the worthy endeavor by David Jellema (clarinet, C-melody sax and cornet), Lauryn Gould (alto, tenor, and soprano), Dylan Blackthorn (accordion), pianist Shane Dickson, banjoist Weslen Borghesi, bassist Ryan Gould, and drummer Ryan Neubauer. This consistently exuberant set certainly captures the spirit of the time and deserves to be included among these 100 post-1945 hot jazz classics.
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.
