Reviews (1)

If you don't dig it, there's a hole in your soul
Action packed collection of H-O-T R'n'B. The Sanders King version of "Swingin'" is worth the price alone, but fifty great tracks for 22 bucks? Charly is still the premier reissue label and this set is a great example. ... Read more

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Fat Tenor
Recorded NYC, Aug. 1947. Arnett Cobb, tnr, with
David Page, tpt; Michael Wood, tmbn; Gehorge Rhodes, pno; Walter Buchanan, bass; George Jones, drms
Cobb was 29 years old when this was recorded, sounding every bit the young buck with something to prove. He had just left Hampton's band, but cut these sides before he got sick at the end of 47 / 48, and well before the car accident.
Listening to this reminds me how these guys had to really project their sound -- Cobb sounds so LOUD, and it ain't that he's close-mic'd. He could blow over the whold band.
The greatest cut on this CD is definitely "When I Grow Too Old to Dream"... with the band singing the words at the end. ... Read more

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Sanctified Soul ! ! !
By the title "MORE PARTY TIME", I guess it would be safe to assume that this album is a follow up to Arnett Cobb's "Party Time" album, which was recorded about a year earlier in 1959.

The concepts are similar, but this album seems more fully realized. - - The idea was to team Arnett Cobb, old school heavy bluesy swinging Texas tenor up with some cutting edge modern bebop young guns, and present Arnett's sound (which at the time would have been more associated with the Lionel Hampton big band of the '40s, not modern Jazz circa the 1960s) afresh. - - The earlier session featured Ray Bryant on Piano, Wendell Marshall on Bass and Arthur Taylor on drums.

When I listened to "Party Time" I thought it was a great session - - but at times wished Chris Columbo had walked in the door, and took over the sticks. - - Arthur Taylor's playing was top notch no doubt - - but at times I felt the rhythm section would have worked much better for a "straight" player like Sonny Rollins, rather than a raw and earthy blues drenched(alebeit hip to bop) tenor like Arnett Cobb.

MORE PARTY TIME revisited the concept however, the second time, it worked much better. - - ironically, this time, the players can be argued to be even more cutting edge : Tommy Flanagan and Bobby Timmons on piano, Sam Jones on bass, two sizzling conga players, and Arthur Taylor on drums. - - The arrangements are tight, soulful, and you can feel an extra spark... On both albums, Arnett delivers his sound soulfully and authoritively - -it is amazing to hear what the man described in the liner notes as an old "swinging warhorse stomper" not only hanging with the modernists, but moreso them hanging with him - - and its at that point that one realizes what an under-rated Jazz master Arnett Cobb was - - in many ways he sounds almost like Cannonball gone tenor... his phrasing is crisp, clear and in his choice of a number of gospelly themes as well, the session seems to anticipate the soulful turns Jazz was about to take as it entered the '60s.

As a final note, another strong point of this session is the fact that it was recorded in Rudy Van Gelder's historic lair - - the sound is amazingly crisp and clear, yet warm at the same time, to the point that you can almost taste the music.

This is definitely yet another must have Jazz selection ! ... Read more

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Simply the best for Lindy Hoppin'
This 2 CD compliation is simply the best to Lindy Hop to.... It has hard to find recordings from the original artists that started the whole Jump Blues movement.... Legendary artists such as Ynonnie Harris, Cab Calloway, Louis Jordan, Helen Humes, Amos Milburn, Lionel Hampton, Joe Turner, Lucky Millinder and Erskine Hawkins and more....make this a truely unique treasure.

If you think you have "every" lindy and Swing CD in the World, maybe you should try this one.... ... Read more

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One terrific jump blues r&b album!
Eddie Cleanhead Vinson was the collest cat on records during the 1946-47 periods, sounding more like he was in the future in 1954 or 55! He had a unique voice, in the style later used for rockabilyy in the 50's, and of course Ruth brown used Cleanhead's unique vocal tecnique in her biggest hit "Mama, He Treats your Daughter Mean". He's got a real groove and style all his own, not to mention being a great sax player too. This cd was recorded later in his career but recaptures what he sounded like in 1946, but in STEREO!!! His voice sounds the same, and the band sounds rockin'! This cd should appeal to people who like Louis Jordan, Big Sandy, Brian Setzer, Carl Perkins, Ruth Brown,. or jazz, jump blues, blus, swing, and rockabilly, or r&b. A fun energetic set, shwoing that Vinson lost nothing with age. ... Read more

Reviews (1)

-- One of the great collections of 1930's jazz & swing!
-- This album is one of the great collections of small combo's 1930's jazz & swing! I have bought numerous copies of it over the years to give to friends and family. If you ever see a new or used CD or cassette, buy it if you dig that era's music -- and enjoy! ... Read more

Reviews (2)

Great for Lindy Hoppers
I bought this CD to get a copy of "Shorty's Got to Go", one of my favorite slow Lindy-hop songs. I was overjoyed to find so much great music by an artist I didn't know anything about (the information-laden review above wasn't posted at the time). "Savoy" has become another favorite, though when I'm in a particular mood I like "Who Threw the Whiskey in the Well" just as much.

If you're looking for good Lindy tunes, snarf all the Lucky Millinder and Louis Jordan you can. Your feet will thank you.

Often Overlooked - Never Duplicated
Lucius "Lucky" Milinder, born on August 8, 1900 in Anniston, Alabama, but raised in Chicago, first entered the business with the Mills Blue Rhythm Band in 1934 before moving over to the Bill Doggett orchestra in 1938. In 1940 he then formed his own group and, up until 1952, boasted a Who's-Who of R&B as members included Dizzy Gillespie, Lockjaw Davis, Annisteen Allen, Wynonie Harris, Sister Rosetta Tharpe, Tab Smith, and Bull Moose Jackson.

It's too bad this compilation didn't start with 1942 since that is when, after signing with Decca, he put out two solid hits. The first was I Want A Tall Skinny Papa under the billing Lucky Millinder And His Orchestra with Rosetta Tharpe. This was just before the introduction of The Harlem Hit Parade (HHP), and so it's chart performance was recorded only on the pop charts where it went to # 17 in August. A few months later When The Lights Go On Again (All Over The World), featuring Gillespie on trumpet and with vocal by Treor Bacon (b/w That's All) reached # 14 pop and # 1 on The HHP.

Strangely, since this CD purports to cover 1943-1947, Apollo Jump b/w Are You Ready are also missing, the A-side of which went to # 1 on the HHP in February/March of 1943. But his next hit is here, Sweet Slumber, which, again with Bacon singing, also took the # 1 HHP slot as well as # 15 pop in late 1943/early 1944, b/w Don't Cry Baby. That was followed by the cover of a country hit, Hurry, Hurry, which made # 20 pop in August (also missing from this set).

In 1945 he scored his fourth straight # 1, this time on the newly-named Most-Played Juke Box Race Records, with the hilarious Who Threw The Whiskey In The Well which, with Wynonie Harris singing and b/w Shipyard Social Function, also made # 7 pop. His last charter covered by this set was Shorty's Got To Go b/w Some Day which made it to # 4 HHP with Lucky and the band offering vocals.

Lucky, who passed away on September 28, 1966, later had four more hits - two each with RCA Victor and the King label - and it would be nice to see another CD offering these.

A vastly under-rated artist from that era (in comparison to the more publicized types like Louis Jordan) you will enjoy each and every track of this wonderful, jumping CD. ... Read more