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| 3.801 Ft
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| 1. | Ida! Sweet as Apple Cider
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| 2. | Somebody Stole My Gal
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| 3. | Apologies
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| 4. | Sendin' the Vipers
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| 5. | Mutiny in the Parlor
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| 6. | The Panic Is On
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| 7. | What Can I Do With a Foolish Little Girl Like You?
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| 8. | Harlem Joys
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| 9. | Echoes of Spring
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| 10. | Swing, Brother, Swing
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| 11. | The Swampland Is Calling Me
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| 12. | The Old Stamping Ground
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| 13. | Let's Mop It
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| 14. | Muskrat Ramble
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| 15. | Morning Air
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| 16. | Fading Star
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| 17. | Rippling Waters
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| 18. | Finger Buster
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| 19. | The Lion and the Lamb
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| 20. | I'm Coming Virginia
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| 21. | Limehouse Blues
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| 22. | Strange Fruit
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| 23. | Black and Blue
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| 24. | Jazz Me Blues
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Jazz
Willie "The Lion" Smith - Piano, Vocals
Al Casey - Guitar
Alabama Jug Band - Band, Performer
Benny Carter - Sax (Alto)
Bud Freeman - Sax (Tenor)
Buster Bailey - Clarinet
Cecil Scott - Clarinet, Sax (Tenor)
Charlie Shavers - Trumpet
Chelsea Quealey - Trumpet
Chick Webb - Drums
Clarence Williams - Jug
Cyrus St. Clair - Bowed Bass
Dave Nelson - Trumpet
Ed Allen - Cornet
Eddie Condon - Guitar
Eric Henry - Drums
Everett Barksdale - Guitar (Electric)
Floyd Casey - Washboard
Floyd O'Brien - Trombone
Frank Orchard - Trombone
Frankie Newton - Trumpet
George Stafford - Drums
George Wettling - Drums
Ikey Robinson - Banjo
Jack Lesberg - Bass
Jimmy McLin - Guitar
Joe Bushkin - Piano
John Kirby - Bass
Manzie Johnson - Drums
Max Kaminsky - Trumpet
Mezz Mezzrow - Clarinet, Performer, Sax (Alto)
O'Neill Spencer - Drums
Pete Brown - Sax (Alto)
Richard "Dick" Fullbright - Bass
Robert Carroll - Sax (Tenor)
Rod Cless - Clarinet
Sidney Bechet - Clarinet, Performer, Sax (Soprano)
Wellman Braud - Bass
Willie Williams - Washboard
* Martin Haskell - Remastering
* Max Jones - Photography
* Phil Duffy - Design
* Vic Bellerby - Compilation, Liner Notes
Although Willie "The Lion" Smith made some recordings during the 1920s, this Living Era compilation focuses exclusively upon the years 1934-1944, a time period that found the Lion operating as a soloist and in cahoots with such memorable characters as Clarence Williams, Banjo Ikey Robinson, and the Alabama Jug Band; clarinetists Mezz Mezzrow, Buster Bailey, and Rod Cless; trumpeters Frankie Newton, Dave Nelson, Max Kaminsky, and Charlie Shavers; saxophonists Benny Carter, Bud Freeman, Pete Brown, and Sidney Bechet; guitarists Albert Casey, Eddie Condon, and Everett Barksdale; bassists John Kirby, Jack Lesberg, and Wellman Braud; and percussionists Floyd Casey, O'Neill Spencer, Manzie Johnson, George Wettling, and Chick Webb. Fortified with such a dizzying wealth of jazz talent, this is a veritable gold mine of classic small-band swing and Harlem stride piano. Eight of these tracks were originally issued as by Willie "The Lion" Smith & His Cubs, a small swing band of variable size and instrumentation. There is a jousting lesson with pianist Joe Bushkin and an emotionally charged rendering of Billie Holiday's "Strange Fruit" by the Sidney Bechet Trio. The Lion's unaccompanied piano solos are well-chosen examples of his eloquent artistry, a force that exerted a healthy influence upon Duke Ellington.
---arwulf arwulf, All Music Guide
Willie "The Lion" Smith
Active Decades: '20s, '30s, '40s, '50s, '60s and '70s
Born: Nov 25, 1897 in Goshen, NY
Died: Apr 18, 1973 in New York, NY
Genre: Jazz
Styles: Classic Jazz, Piano Blues, Stride
Willie "The Lion" Smith in the 1920s was considered one of the big three of stride piano (along with James P. Johnson and Fats Waller) even though he made almost no recordings until the mid-'30s. His mother was an organist and pianist, and Smith started playing piano when he was six. He earned a living playing piano as a teenager, gained his nickname "the Lion" for his heroism in World War I, and after his discharge he became one of the star attractions at Harlem's nightly rent parties. Although he toured with Mamie Smith (and played piano on her pioneering 1920 blues record "Crazy Blues"), Smith mostly freelanced throughout his life. He was an influence on the young Duke Ellington (who would later write "Portrait of the Lion") and most younger New York-based pianists of the 1920s and '30s. Although he was a braggart and (with his cigar and trademark derby hat) appeared to be a rough character, Smith was actually more colorful than menacing and a very sophisticated pianist with a light touch. His recordings with his Cubs (starting in 1935) and particularly his 1939 piano solos for Commodore (highlighted by "Echoes of Spring") cemented his place in history. Because he remained very active into the early '70s (writing his memoirs -Music on My Mind in 1965), for quite a few decades Willie "the Lion" Smith was considered a living link to the glory days of early jazz.
--- Scott Yanow, All Music Guide |
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