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| 3.801 Ft
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| 1. | Sugar
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| 2. | Nobody's Sweetheart
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| 3. | There'll Be Some Changes Made
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| 4. | I've Found a New Baby
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| 5. | Oh Baby
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| 6. | (Back Home Again In) Indiana
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| 7. | That's a Serious Thing
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| 8. | I'm Gonna Stomp Mr. Henry Lee
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| 9. | The Minor Drag
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| 10. | Harlem Fuss
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| 11. | Margie
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| 12. | Oh Peter! (You're So Nice)
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| 13. | Who's Sorry Now?
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| 14. | Madame Dynamite
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| 15. | Home Cooking
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| 16. | Wolverine Blues
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| 17. | Jazz Me Blues
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| 18. | Love Is Just Around the Corner
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| 19. | Carnegie Jump
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| 20. | Easy to Get
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| 21. | China Boy
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| 22. | I Ain't Gonna Give Nobody None o' This Jelly Roll
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| 23. | Ballin' the Jack
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| 24. | A Good Man Is Hard to Find, Pt. 3
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| 25. | A Good Man Is Hard to Find, Pt. 4
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Jazz
Eddie Condon - Banjo, Guitar, Vocals
Adele Girard - Harp
Al Morgan - Bass
Alex Hill - Piano
Artie Bernstein - Bass
Artie Shapiro - Bass
Arville Harris - Clarinet, Sax (Alto), Sax (Tenor)
Big Sid Catlett - Drums
Billy Banks - Vocals
Bobby Hackett - Cornet
Brad Gowans - Trombone
Bud Freeman - Sax (Tenor)
Charlie Gaines - Trumpet
Charlie Irvis - Trombone
Clyde Newcombe - Bass
Danny Alvin - Drums
Dave Bowman - Piano
Fats Waller - Piano
Floyd O'Brien - Trombone
Frank Teschemacher - Clarinet, Sax (Alto)
Gene Krupa - Drums
Georg Brunis - Trombone
George Stafford - Drums
George Wettling - Drums
Happy Caldwell - Sax (Tenor)
Jack Bland - Guitar
Jack Teagarden - Trombone, Vocals
Jess Stacy - Piano
Jim Lanigan - Bass, Tuba
Jimmy McPartland - Cornet
Joe Bushkin - Piano
Joe Marsala - Clarinet
Joe Sullivan - Piano
Leonard Davis - Trumpet
Marty Marsala - Trumpet
Max Kaminsky - Trumpet
Mezz Mezzrow - Sax (C-Melody), Sax (Tenor)
Miff Mole - Trombone
Muggsy Spanier - Cornet
Pee Wee Russell - Clarinet, Sax (Tenor)
Ray Biondi - Violin
Red Allen - Trumpet
Red McKenzie - Vocals
Vic Bellerby - Compilation, Liner Notes
Zutty Singleton - Drums
For more than 40 years a certain banjoist, guitarist, producer, bandleader, and hard-boiled wise guy named Eddie Condon played a crucial role in the development, recording, and public presentation of authentic "Chicago-style" traditional jazz. This excellent chronologically stacked sampler opens with four tracks recorded at two scruffy little sessions that took place in Chicago during 1927 and 1928. The list of participants reads like a who's who of early Midwestern New Orleans-inspired jazz: cornetists Jimmy McPartland and Muggsy Spanier; reedmen Frank Teschemacher, Bud Freeman, and Mezz Mezzrow (on cymbals and tenor sax); vocalist Red McKenzie; Condon's favorite local pianist, Joe Sullivan; and a little sh*t-kicker named Gene Krupa behind the drums. The issue of singers was always a touchy subject for Condon, who later sometimes referred to less than wonderful vocal passages as "interruptions." After arriving in New York City in the summer of 1928, Condon dared to use his own voice on "Oh Baby" and "Indiana" (a feat for which he would spend the rest of his life apologizing). On February 8, 1929, Eddie Condon's Hot Shots featured singing trombonist Jack Teagarden and tenor saxophonist Happy Caldwell (Mezz Mezzrow was now confined to a C melody saxophone). In his funny, insightful, and informative memoir -We Called It Music, Condon describes in harrowing detail how he barely managed to assemble Fats Waller and three of Harlem's toughest players (reedman Arville Harris, trumpeter Charlie Gains, and trombone wizard Charlie Irvis) for a recording session on March 1, 1929, without any rehearsal or substantial preparations whatsoever. Despite pressure from the stuffed suits who ran the record company and haphazard circumstances exacerbated by a seemingly endless supply of gin, this little quintet ground out -- in single takes -- "Minor Drag" and "Harlem Fuss," two of the best hot jazz performances ever caught on record. The 1920s seem to culminate with a bang on three tracks recorded by shrill vocalist Billy Banks & His Rhythmakers in April and May of 1932. Noteworthy participants on this session were trumpeter Henry "Red" Allen, clarinetist Pee Wee Russell, and drummer Zutty Singleton. Beginning with "Madame Dynamite" and "Home Cooking" recorded in 1933 (note the presence of pianist and composer Alex Hill), the Eddie Condon story enters a more or less mature phase as fully evolved traditionally anchored swing takes over. For the rest of the decade "the Condon Mob" now included, in addition to most of the artists already mentioned, trumpeters Max Kaminsky and Marty Marsala; cornetist Bobby Hackett; trombonists Georg Brunis, Floyd O'Brien, and valve trombonist Brad Gowans; clarinetist Joe Marsala; his wife, jazz harpist Adele Girard; and pianists Jess Stacy and Joe Bushkin. All of the gutsy, satisfying records made between 1937 and 1940 (tracks 16-25) originally appeared on the Commodore label. This outstanding compilation runs out of room before the chronology can get to Condon's last collaboration with Fats Waller, a sort of reunion for the two men that took place in New York's Liederkranz Hall, the very same place where they made those amazing recordings back in 1929.
---arwulf arwulf, All Music Guide
Eddie Condon
Active Decades: '20s, '30s, '40s, '50s, '60s and '70s
Born: Nov 16, 1905 in Goodland, IN
Died: Aug 04, 1973 in New York, NY
Genre: Jazz
Styles: Big Band, Classic Jazz, Dixieland, Swing
A major propagandist for freewheeling Chicago jazz, an underrated rhythm guitarist, and a talented wisecracker, Eddie Condon's main importance to jazz was not so much through his own playing as in his ability to gather together large groups of all-stars and produce exciting, spontaneous, and very coherent music.
Condon started out playing banjo with Hollis Peavey's Jazz Bandits when he was 17, he worked with members of the famed Austin High School Gang in the 1920s, and in 1927 he co-led (with Red McKenzie) the McKenzie-Condon Chicagoans on a record date that helped define Chicago jazz (and featured Jimmy McPartland, Jimmy Teschemacher, Joe Sullivan, and Gene Krupa). After organizing some other record sessions, Condon switched to guitar, moved to New York in 1929, worked with Red Nichols' Five Pennies and Red McKenzie's Blue Blowers, and recorded in several settings, including with Louis Armstrong (1929) and the Rhythm Makers (1932). During 1936-1937, he co-led a band with Joe Marsala.
Although Condon had to an extent laid low since the beginning of the Depression, in 1938, with the opportunity to lead some sessions for the new Commodore label, he became a major name. Playing nightly at Nick's (1937-1944), Condon utilized top musicians in racially mixed groups. He started a long series of exciting recordings (which really continued on several labels up until his death), and his Town Hall concerts of 1944-1945 (which were broadcast weekly on the radio) were consistently brilliant and gave him an opportunity to show his verbal acid wit; the Jazzology label reissued them complete and in chronological order. Condon opened his own club in 1945, recorded for Columbia in the 1950s (all of those records have been made available by Mosaic on a limited-edition box set), and wrote three colorful books, including his 1948 memoirs -We Called It Music. A partial list of the classic musicians who performed and recorded often with Condon include trumpeters/ cornetists Wild Bill Davison, Max Kaminsky, Billy Butterfield, Bobby Hackett, Rex Stewart, and Hot Lips Page; trombonists Jack Teagarden, Lou McGarity, Cutty Cutshall, George Brunies, and Vic Dickenson; clarinetists Pee Wee Russell, Edmond Hall, Joe Marsala, Peanuts Hucko, and Bob Wilbur; Bud Freeman on tenor; baritonist Ernie Caceres; pianists Gene Schroeder, Joe Sullivan, Jess Stacy, and Ralph Sutton; drummers George Wettling, Dave Tough, and Gene Krupa; a string of bassists; and singer Lee Wiley. Many Eddie Condon records are currently available, and no jazz collection is complete without at least a healthy sampling.
---Scott Yanow, All Music Guide |
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