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1921-1923 (1994). Ethel Waters was one of the few singers from the early '20s whose early recordings are still quite listenable. This CD from the Classics label has her first 22 sides (many previously rare including five interesting instrumentals by Waters's band) and, although not on the same level as her performances from a few years later, the music is quite good for the time period. The sidemen are mostly obscure but include pianist Fletcher Henderson and cornetists Gus Aiken and Joe Smith with the highlights being "The New York Glide," "Down Home Blues," "There'll Be Some Changes Made" and "Midnight Blues"…

Duke Ellington's very busy year of 1938 resulted in enough music (counting small group dates led by his sidemen) to fill up more than three CDs. This disc has big-band dates plus outings headed by Cootie Williams and Johnny Hodges. Although 1939-1942 is often thought of as the peak of Ellington's career, his output from 1938 was very impressive too. Among the high points of the sessions on this CD (which feature such soloists as trumpeter Cootie Williams, cornetist Rex Stewart, trombonists Lawrence Brown and Tricky Sam Nanton, altoist Johnny Hodges, clarinetist Barney Bigard, baritonist Harry Carney, and Duke on piano) are "Love in Swingtime," "Prelude to a Kiss," "The Jeep Is Jumpin'," "Mighty Like the Blues," "Battle of Swing," and "Hodge Podge."

Various Artists - Boogie Woogie and Blues Piano (1935-1941) {3CD Set, Mosaic Select MS-030 rel 2008}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 627 Mb | MP3 @320 -> 477 Mb
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© 1935-41, 2008 Mosaic Records / Sony BMG | MS-030
Jazz / Blues / Jazz Blues

While most Mosaic limited-edition boxed sets concentrate on recordings by an individual bandleader or a single record label, Boogie Woogie and Blues Piano features sessions by a number of different artists from several labels active in the 1930s and early '40s, when boogie-woogie was very popular. Fifteen different pianists are featured (if one counts Lionel Hampton playing two fingered-duo piano in a band setting), though it is the giants of the genre, Meade "Lux" Lewis, Pete Johnson, Albert Ammons, and Jimmy Yancey who are given the most exposure.

Canadian duo Mythos synthesize dance beats, various world musics, and new age sensibilities in a manner akin to an Enigma or Deep Forest. Bob D'Eith (keyboards) and Paul Schmidt (guitar) grew up in Vancouver, both receiving classical training on their respective instruments; D'Eith had previously played in the short-lived alternative-rock band Rhymes With Orange. Dissatisfied with the constraints of rock & roll, D'Eith joined up with Schmidt to record more film-oriented music; the result was their Juno-nominated, Canada-only 1997 debut, Introspection. Mythos then signed with Higher Octave and released their self-titled international debut in 1998. Reality of a Dreamer followed two years later, concentrating mostly on Western musical forms and featuring vocalists Christine Duncan and Jennifer Scott.

Like the Charleston Chasers, the Louisiana Rhythm Kings existed entirely as a studio recording ensemble. The time frame is even the same; both bands operated during those fascinatingly pivotal years of 1929 and 1930. The Louisiana Rhythm Kings were at first nothing more or less than a variable version of Red Nichols & His 5 Pennies, or in the case of the sessions recorded February 20 and April 23, 1929, the last vestiges of Red & Miff's Stompers. Miff Mole's trombone acted as the gravitational center of most every band he ever worked with, while Red was usually the next best thing to his idol, Bix Beiderbecke. Some of the players on the first three selections are holdovers from the Stompers sessions of several years earlier…

This 23-track round-up of the bandleader's 1932-1933 output still offers enough in the way of quality originals and stellar playing to keep most Duke enthusiasts happy. The first half contains the choicest selections, including such top-notch ensemble vehicles as Benny Carter's "Jazz Cocktail" (his arrangement is used, too) and superb Ellington charts like "Slippery Horn," "Blue Harlem," and "Lightnin'." The latter half does sag a bit with several vocal novelties featuring Ivie Anderson, the Mills Brothers, and Adelaide Hall, but the always excellent contributions of Johnny Hodges, Lawrence Brown, Barney Bigard, and Cootie Williams keep things in check. An enjoyable slice of early Ellingtonia that's may be best left to the more trench-friendly of early jazz lovers.

In 1937, vibraphonist Lionel Hampton began leading a series of all-star swing recording dates. Although he would still be a member of Benny Goodman's organization for another three years, Hampton was a natural-born leader and his record dates featured top sidemen from a variety of major jazz bands. This CD begins the chronological reissue of all of this music (except alternate takes). Hampton is teamed with players from the Benny Goodman and Duke Ellington orchestras plus a large assortment of guests. Among the many highlights are "Hampton Stomp" (featuring Hampton playing rapid lines on the piano with two fingers), "Stompology," Johnny Hodges on "On the Sunny Side of the Street," and some good spots for Jonah Jones' trumpet.

Shelly Manne made a countless number of records from the 1940s into the '80s but is best-known as a good-humored bandleader who never hogged the spotlight. Originally a saxophonist, Manne switched to drums when he was 18 and started working almost immediately. He was with Joe Marsala's band (making his recording debut in 1941), played briefly in the big bands of Will Bradley, Raymond Scott, and Les Brown and was on drums for Coleman Hawkins's classic "The Man I Love" session of late 1943. Manne worked on and off with Stan Kenton during 1946-1952, also touring with Jazz at the Philharmonic (1948-1949), and gigging with Woody Herman (1949). After leaving Kenton, Manne moved to Los Angeles where he became the most in-demand of all jazz drummers…