Passport – Heavy Nights (1986)

frontcover1Heavy Nights finds Passport founder and veteran sax man Klaus Doldinger in rare form. On this offering from 1986, the veteran sax player delves into the world of pop-jazz. Although, given his vast palette and the different settings here, it would be a mistake to simply call Heavy Nights a pop-jazz record. Doldinger’s tastes have always been eclectic and he brings his own unique jazz contributions to the table. Furthermore, he possesses that rare ability to produce jazz that is accessible without having to sacrifice substance in the process. Whatever you chose to call it, Heavy Nights is just great music. The songs here range from the playful “Bahia Praia” to the upbeat, big-band feel of “It’s Magic.” On board for this incarnation of Passport are Kevin Mulligan (guitar), Dieter Petereit (bass), Curt Cress (drums), Herman Weindorf (keyboards), and Victoria Miles (vocals). The performances of this lineup are certainly noteworthy throughout, but Heavy Nights is really a one-man show. Doldinger takes charge here performing, producing, arranging, and, composing all of the tracks. As expected, he excels in all of these areas, but it’s his ability to speak in cohesive melodic sentences that are both lyrically and emotionally satisfying, and which makes this disc so enjoyable. The melodies aren’t just good, they’re memorable. The beautiful “Forever,” as romantic a piece as you will find, is not just memorable, it actually borders on unforgettable. In addition, Doldinger’s distinct phrasing punctuates each of the tracks adding the dramatic pauses that help to distinguish Heavy Nights.
The arrangements, for the most part, are straightforward with a few twists thrown in. Doldinger makes wonderful use of the sparseness constructing interesting passages that enhance the mood of each piece. On almost all of the tracks, Doldinger handles the lion’s share of the soloing chores. Not surprisingly, his focus and restraint speak volumes. When he steps forward he delivers, and when appropriate he steps back, allowing his bandmembers and session people to add the right touches. Benny Bailey’s flügelhorn solo on the title track, for instance, is the perfect contrast to Doldinger’s tenor sax, and is one of the records highlights. Some of the other stand-out tracks include the atmospheric “Here Today,” and the jazzy “Easy Come, Easy Go.” As he has been known to do, Doldinger continually experimented and found new directions for Passport. The rock guitar-based Running in Real Time and the spacy Earthborn, also from this era, are both noteworthy. Heavy Nights, though, is arguably the high-water mark for Doldinger thus far. (by Jeri Montesano)
Curt Cress (drums)
Biboul Darouiche (percussion)
Klaus Doldinger (saxophone, keyboards on 04., lyricon on 07.)
Dieter Petereit (bass)
Kevin Mulligan (guitar)
Hermann Weindorf (keyboards)
Benny Baily (flugelhorn on 05. + 06.)
Andreas Haderer (trumpet on 08.)
Nadeen Holloway (background vocals on 08.)
Franz Weyerer (vocals on 08.)

01. Bahia Praia  5.13
02. Playing Games 4.13
03. Here Today 5.57
04. Forever 4.50
05. Heavy Nights 6.03
06. Easy Come, Easy Go 4.24
07. Remembrance 5.36
08. It’s Magic 4.14
Music: Klaus Doldinger
Lyrics: Victoria Miles (08.)


Larry Coryell Group – Boston 1972

frontcover1Legendary guitarist Larry Coryell died on February 19, 2017 at the age of 73 in his New York City hotel room, according to a statement sent to Billboard from jazz publicist Jim Eigo. Coryell, who passed away in his sleep from natural causes, had performed his last two shows this past weekend at the city’s Iridium Jazz Club. Known as the “Godfather of Fusion,” Coryell was a pioneer of jazz-rock. He made his mark in the music world with his highly acclaimed solo work, releasing more than 60 solo albums in his lifetime. His most notable album, Spaces, came in late 1969. The guitar blow-out, also featuring John McLaughlin, is considered the beginning of the 1970s’ fusion jazz movement. Coryell performed with mid-’70s powerhouse fusion band The Eleventh House and collaborated with jazz greats including Miles Davis, Gary Burton, Alphonse Mouzon, Ron Carter and Chet Baker. Though his commercial fame didn’t match some of his ’60s-’70s guitar contemporaries, Coryell continued to tour the world and had planned an extensive 2017 summer tour with a reformed The Eleventh House. (Billboard)

Thanks to goody for sharing the show at Dime.
Another tribute in honor of the already missed master Larry Coryell, here’s an early one I fixed up, originally posted by our friend, mr mags, who got it from agalli.
Thanks to ethiessen1 for the artwork.

What a brilliant concert to promote his solo-album “Offering”
Larry Coryell (guitar)
Mike Mandel (Keyboards)
Steve Marcus (Saxophone)
John Miller (bass)
Harry Wilkinson (drums)

01. Untitled (unknown) 13.26
02. Ruminations (Davis) 9.13
03. Hen-Hopper (Mandel) 7.06
04. Scotland, Part 1 (Coryrell) 7.06
05. Offering (Wilkinson) 6.10
06. DJ Announcements 1.09



Larry Coryell
(* 2. April 1943 in Galveston, Texas; † 19. Februar 2017 in New York City, New York)

RIP and thanks for the music !

The Murgatroyd Band (Spencer Davis Group) – Magpie + Twice A Week (1971)

frontcover1Let´s take a look back in the history of British TV Shows:

Magpie was a British children’s television programme shown on ITV from 30 July 1968 to 6 June 1980. It was a magazine format show intended to compete with the BBC’s Blue Peter, but attempted to be more “hip”, focusing more on popular culture. The show’s creators Lewis Rudd and Sue Turner named the programme Magpie as a reference to the magpie’s habit of collecting small items, and because of “mag” being evocative of “magazine”, and “pie” being evocative of a collection of ingredients.
The programme, made by Thames Television, was first transmitted on 30 July 1968 which was Thames Television’s first day of broadcasting, and was shown weekly until 1969. From that point, until it ended on 6 June 1980, it went out twice a week with approximately 1,000 episodes being made, each 25 minutes in duration. It was not fully networked to all other ITV companies until the autumn of 1969.
The first presenters were the former BBC Radio 1 disc jockey Pete Brady, Susan Stranks and Tony Bastable. Brady left the show in 1969 to be replaced by Douglas Rae, and Bastable left in 1972 when he was replaced by Mick Robertson. Jenny Hanley replaced Susan Stranks in 1974. This lineup remained until 1977, when Tommy Boyd replaced Rae.
Like Blue Peter, Magpie featured appeals for various causes and charities. Notably, however, it asked for cash donations rather than stamps or secondhand goods, familiar on Blue Peter. The cash totaliser was a long strip of paper which ran out of the studio and along the adjacent corridor walls. Unlike the BBC programme, Magpie was unscripted and the presenters were free to improvise the presentation of the show.
The show’s mascot was a magpie called Murgatroyd.
Extremely rare promo Label

The theme tune was played by the Spencer Davis Group under the alias of The Murgatroyd Band, and composed by Eddie Hardin (lead voc., keyb.), Ray Fenwick (harm. voc., guit.) and Spencer Davis (harm. voc.guit.). The main lyric was cribbed from an old children’s nursery rhyme:

    One for sorrow
Two for joy
Three for a girl
Four for a boy
Five for silver
Six for gold
Seven for a story never to be told
Eight for Heaven
Nine for Hell
Ten for the Devil himself.
or, alternatively,
    Eight for a wish
Nine for a kiss, and
Ten for a big surprise!
The first seven lines of this song (from “One for sorrow” to “Seven for a secret never to be told”) have been used in the last verse of the song “Magpie”, by Patrick Wolf.
The rhyme refers to an old English superstition concerning the portent of the number of magpies seen together in a flock. The TV programme version altered the final lines to:
    Eight’s a wish and
Nine a kiss
Ten is a bird you must not miss.
(by wikipedia)
And here´s one of the rarest recordings by The Spencer Davos Group … the single to this TV Show ..
Side one is a more or less psychedelic track … and side two is fun, just fun !.
I guess they had to use the pseudonym “The Murgatroyd Band” because of the fact, they a in 1968/69 a contract with United Artists and not with Decca Records.
The Magpie Crew
Spencer Davis (guitar, background vocals)
Ray Fenwick (guitar)
Eddie Hardin (keyboards, vocals)
Pete York (drums)
01. Magpie (Fenwick/Hardin/Davis) 2.26
02. Twice A Week (Hardin/York/Fenwick) 3.01

Vincent Crane (feat Arthur Brown) – Taro Rota (1997)

frontcover1Properly termed a Vincent Crane solo album, but so dominated by Arthur Brown’s preternatural vocals that the billing has been totally flipped, the oft misspelled Taro Rota album was originally conceived around 1975, when Crane and wife-to be Jeannie Crane found their shared interest in Tarot cards spilling over into their songwriting. (The pair used to offer Tarot readings at fetes and fairs.) A 22-minute opus arranged for orchestra and more, Taro it was a fascinating piece of work, but far too ambitious to ever be realized. Even Crane’s otherwise-enthusiastic publishers were willing only to fund a ten-minute demo, which was recorded later in 1975 with Arthur Brown and a full band — it is this piece which leads off the 1997 Voiceprint CD, alongside Crane’s own piano demo of the full work. The original Taro Rota did not remain entirely unheard. Atomic Rooster’s valedictory Headline News album lifted elements for the songs “Time” and “Machine,” although little more than the melody will prepare the listener for the full Taro Rota experience. Nor, of course, does the music presented here. Despite a spellbinding Brown recital, the band performance is just a shade too clunky to capture the full dynamic of the Cranes’ vision, while the piano rendition is by necessity too Spartan. But both allow one to dream of what could have been — and it is a wonderful dream. (by Dave Thompson)


Vincent + Jeannie Crane, April 15th, 1977 
Vincent and I composed this piece way back in 1976, especially for Arthur Brown. There is a ten minute demo with Arthur on vocals, but unfortunately, due to contractual reasons, at the last minute it couldn’t be included on the CD. At the moment the Taro Rota Suite is an impressive 23 minutes of Vincent doing the whole thing! Hopefully this will be amended later this year!
Taro RotaOne day a charity bazaar was held in the grounds of a very large and beautiful house and Vincent and I went along to do Tarot Readings.Inside the conservatory, surrounded by lush hangings of grape vine, we spread the cards time and time again. We told story after story for an endless queue of people but the day was just was not long enough to be with everyone. So, when everyone else had left, the remaining books had been packed, the paintings put away and the money counted, we lay out a spread of cards for all the people we didn’t see. It told us your story and it told you ours. We called it Taro Rota. (Jeannie Crane, 1997)
Incorrectly and repeatedly billed as a joint effort with Arthur Brown. Whilst that was the original plan, this is ostensibly a solo effort by Vincent Crane. The shorter Part two is Crane with a band doing a re-visit of Atomic Rooster’s biggest hit, “Tomorrow Night”.
Overall this is a very good album. Many have panned it but I will take anything by the late great, and much lamented, keyboard maestro. The two long songs do drag ever so slightly, in that their is little variation and much repetition. What there is does highlight Crane’s virtuosity as a piano player and I will always wish that circumstances had prevailed to give him more success, especially within the Atomic Rooster framework. He remains one of my few heroes and this album only serves to prolong and enhance his stature with me. His suicide is still a matter of supreme sadness and he left the world with a huge dose of “what could and, indeed, what should have been”. (by Crazyworldof)
Vincent Crane  of Atomic Rooster,Copenhagen 1972

Vincent Crane piano, organ, vocals)
unknown studio musicians on 02.
no Arthur Brown !


01. Part 1 22.30
02. Part 2 (“Tomorrow Night”) 3:21
03. Part 3 22:29 01.

Music Vincent Crane
Lyrics Vincent Crane + Jeannie Crane



I don’t really know what I’m doing,
I don’t really care what you say.
Following the signs of illusion,
Dancing in the sun on my way.
See a light burn in the darkness,
Quicksilver sky, clouds of fire.
Hear a door close in the silence,
Echoes of dreams and desire.
Mountains of stone turn to ashes,
Ribbons of gold turn to clay,
River of life overflowing
Trapped in the dreams of today.
I don’t really know what I’m doing,
I don’t really care what you say.
Following the signs of illusion,
Dancing in the sun on my way.
I don’t know what’s wrong,
With reality.
I don’t know what’s wrong,
Is it only me?
Time to get over this feeling again.
Life is stealing away.
I keep on feeling life stealing away,
Stealing away while I dream of today.
Time to break out of it,
Must get away.
Get away!
See a light burn in the darkness,
Quicksilver sky, clouds of fire.
Hear a door close in the silence,
Echoes of dreams and desire.
Mountains of stone turn to ashes,
Ribbons of gold turn to clay,
River of life overflowing
Trapped in the dreams of today.
I don’t really know what I’m doing,
I don’t really care what you say.
Following the signs of illusion,
Dancing in the sun on my way.
Magician or fool!
Taro Rota, Arot Taro,
Taro Rota, Arot Taro,
Taro Rota, Arot Taro,
Taro Rota, Arot Taro,
Taro Rota, Arot Taro,
Taro Rota, Arot Taro.
I’m walking in a dream,
Places where I’ve been fade away,
Floating from rhyme or reason,
Future will unfold flowers of gold.
I see the world below, I know that it is turning,
But circles of the wheel turn slowly,
And nothing is explained just light forever burning
And time is going by, so slowly.
Fly in the sky on wings that are so weary,
‘Til the eagle’s nest comes in sight.
Time in a word and that word simply nothing,
Watch the water flow, silent snow.
I see the world below, I know that it is turning,
But circles of the wheel turn slowly,
And nothing is explained just light forever burning
And time is going by, so slowly.
Time for the reason, I feel free.
I’m just the last one to find I’m me.
Veils of illusion set me free.
My eyes are open and I can see.
Time for the reason, I feel free.
I’m just the last one to find I’m me.
Veils of illusion set me free.
My eyes are open and I can see.
Stealing over me,
Sleeping endlessly,
River flow to the sea,
Time is free.
Stealing over me,
Sleeping endlessly,
River flow to the sea,
Let me dream.
Let me dream….
Hell train,
See the demons dance.
Hell train,
See the demons dance.
Hell train,
See the demons dance.
Hell train,
See the demons dance.
In your mind,
Mirrors of your mind.
In your mind,
Mirrors of your mind.
Taro Rota, Arot Taro,
Taro, Rota, Arot Taro……..
You have summoned me,
But I am not in your control.
I will eat your mind
And then destroy your very soul
Though you stand within
The circle I won’t stay my hand,
For the very stones
You stand on are at my command.
‘Cos you’re mine!
Yes, you’re mine!
You have summoned up
A power that is beyond your will.
You have brought to life
A force that death itself can’t kill.
See your useless symbols
Turn to dust before your eyes,
Feel my power engulf you,
Laughter drown your helpless cries.
‘Cos you’re mine!
Yes, you’re mine!
You are a ma-chine,
You are a ma-chine,
You are a ma-chine………..
You’re dreaming,
Is this real?
Confuse your mind.
Hold fast now,
Thoughts shifting patterns.
Hold fast now
And then let go.
Stare into the sun,
Become one incandescent ray of your creation.
Watch the water flow
And sink below a single drop in one vast ocean.
Fly into the air,
Ensnare your mind upon a pin of concentration,
Deep inside the earth,
Rebirth, the rotten coffin breaks the maggots welcome.
You’re dreaming,
Is this real?
Confuse your mind.
Hold fast now,
Thoughts’ shifting patterns.
Hold fast now,
And then let go…………..
Time is going through the motion,
Drowning tears in one vast ocean,
Rivers flee from valley fire,
Can the mountains climb no higher?
Frozen in a sea of sorrow,
Dream away forget tomorrow,
Words will always be unspoken,
Promises will soon be broken.
Driving down the endless highway,
Time is starting to go my way.
Find the people who will know why,
Love will lose and time will go by.
Circling in an endless season,
Stop and ask yourself the reason.
Time marches on!
Life’s illusions melting away,
Now is the time for change,
Everything remains the same,
You will find,
Though the stars lose their brightness
One by one.
Fly, Fly away!!!

Steve Marriott – Marriott (1976)

frontcover1In 1975, Humble Pie came sputtering to a halt after a series of less than inspiring albums. Surprisingly, frontman Steve Marriott’s first solo album after the split, 1976’s Marriott, is a sprightly, rollicking affair that is light on the blues-rock of Humble Pie and heavy on soul, funk, and hard-charging rock & roll. The album is divided into a British side (recorded by Marriott’s band that included ex-T. Rex guitarist Mickey Finn) and an American side (with backing by a raft of West Coast session players including Michael Nesmith sidekick Red Rhodes on pedal steel). The British side is a rocked-out blast of noise with Marriott’s wailing vocals sounding rejuvenated and his live-wire guitar playing fully to the front. Tracks like “East Side Struttin’,” “Lookin’ for a Love,” a fully fleshed-out version of a Small Faces track, “Wam Bam Thank You Ma’am,” and “Midnight Rollin'” equal the best moments of Humble Pie, and only the blues ballad “Help Me Through the Day” lets the side down. The American side is unsurprisingly a much slicker proposition, relying on backing vocalists and synths to flesh out the sound. Marriott’s ragged soul shines through, however, on rollicking tracks like “Star in My Life,” the disco-fied “Late Night Lady,” and a slinky cover of Freddie Scott’s “Are You Lonely for Me Baby.” Again, the ballad drags things down as the cheesy arrangement of “You Don’t Know Me” shows that maybe Marriott should have steered clear of the ballads — the cheesy arrangement is pure supper club, and Marriott sounds very out of place. Batting .800 is nothing to look sideways at, though, and Marriott is a stunning return to form and a powerful two-finger salute to anyone who had written the lad off as washed up. He’s dirty as ever and on top of his game, and the album flat out rocks. ( by Tim Sendra)

Ben Benay (guitar on 06. – 10.)
Alan Estes (percussion on 06. – 10.)
Mickey Finn (guitar on 01. – 05.)
David Foster (keyboards on 06. – 10.)
Dennis Kovarik (bass on 06. – 10.)
Steve Marriott (guitar, vocals)
Greg Ridley (bass, background vocals on 01. – 05.)
Red Rhodes (guitar, pedal steel-guitar on 06. – 10.)
David Spinozza (guitar on 10.)
Ian Wallace (drums, Percussion on 01. – 05.)
Ernie Watts (Saxophone on 06. – 10.)
background vocals:
Carlena Williams – Greg Ridley – Maxayn Lewis – Venetta Fields


British Side:
01  East Side Struttin’ (Finn/Marriott) 4.55
02. Lookin’ For A Love (Alexander/Samuels) 3.51
03. Help Me Through The Day (Russell) 6.01
04. Midnight Rollin’ (Stephens/Marriott) 3.36
05. Wam Bam Thank You Ma’am (Lane/Marriott) 4.03

 American Side:
06. Star In My Life (Wallace/Marriott) 3.37
07. Are You Lonely For Me Baby (Burns) 3.58
08. You Don’t Know Me (Walker/Arnold) 5.03
09. Late Night Lady (Ridley/Marriott/Hinkley) 3.07
10. Early Evening Light (Marriott) 4.08


Don Lowes – Party Piano Favourites (1970)

frontcover1Don Lowes was Born in (Wallasey) Liverpool where he studied at the Mathay School of Music before abandoning academic pursuits to become a jazz Pianist.

Before Long he formed and led a jazz Group which became the house band and ha a Long and sucessful run at Liverpool´s “Cavern”  – a venue later noted for a certain not-unheard-of quartet.

Coming to London , Don joined the Cy Laurie Jazz Band and later played with Harry Gold´s Oices Of Eight. He has paid working visits  to twenty-two different countries, his most recent overseas Engagement being a five week Season in Sydney, Australia as Vera Lynn´s Musical director and accomponist.

At present Don, who is married to singer Betty Taylor, lives in London and divides his time between working as a session Pianist and Musical director and his nightly appearances at London´s famous Royal Garden Hotel.

Don, who appeared in a T.V. Play as a “Pub” Pianist, was a natural choice for this Album. His happy and disctinctive style makes this L.P. a unique experience in Sound (taken from the original liner notes)

You can popular melodies from movies and Musicals … played in a nice Ragtime style .. ok … it´s fun and fun only !


Don Lowes (piano)
unknown musicians on bass and drums


01. April Showers (Silvers/DeSylva) 2.07
02. Thank Heaven For The Little Girls (Lerner/Loewe) 1.49
03. O Sole Mio (Capua) 2.26
04. Boom Boom Bang (Moorhouse/Warne) 2.07
05. Wand’rin’ Star (Lerner/Loewe) 2.21
06. I’ll See You Again (Coward) 2.12
07. If I Were A Rich Man (Bock/Harnick) 2.04
08. My Bonnie Lies Over The Ocean (Traditional)  1.58
09. Santa Lucia (Traditional) 1.48
10. Edelweiss (Rodgers/Hammerstein) 1.45
11. Rose Of Picardy (Wood/Weatherley) 2.21
12. Look For The Silver Linning (Kern/DeSylva) 2.18




Various Artists – The History Of Jazz – The New Orleans Joys (1994)

frontcover1This is a real fine compilation about the roots of Jazz, about the early Jazz in New Orleans:

The music of New Orleans assumes various styles of music which have often borrowed from earlier traditions. New Orleans, Louisiana, is especially known for its strong association with jazz music, universally considered to be the birthplace of the genre. The earliest form was dixieland, which has sometimes been called traditional jazz, ‘New Orleans’, and ‘New Orleans jazz’. However, the tradition of jazz in New Orleans has taken on various forms that have either branched out from original dixieland or taken entirely different paths altogether. New Orleans has also been a prominent center of funk, home to some of the earliest funk bands such as The Meters.

The African influence on New Orleans music can trace its roots at least back to Congo Square in New Orleans in 1835, when slaves would congregate there to play music and dance on Sundays. African music was played as well as local music, including that of such local white composers as Louis Moreau Gottschalk. Along with such popular European musical forms popular in the city, perhaps most notably the brass band traditions, the cultural mix laid the groundwork for the New Orleans musical art forms to come.
By 1838 the local paper—the daily Picayune—ran a scathing article complaining about the emergence of brass bands in the city, which it stated could be found on every corner.

Caricature of an African-American band playing in New Orleans in 1890. New Orleans writer Al Rose has called this “The earliest known illustration of a jazz band”. While the instrumentation of cornet or trumpet, trombone, clarinet, and drums is suggestive of the early jazz bands of some 15 years later, how close this music was to what would be known as “jazz” is speculative.

The term “jazz” (early on often spelled “jass”) did not become popular until the mid and late 1910s, when New Orleans musicians first rose to prominence in other parts of the USA and the New Orleans style needed a new name to differentiate it from the nationally popular ragtime. Before then, the New Orleans style was frequently simply called “ragtime” (Sidney Bechet continued to call his music “ragtime” throughout his life), along with such local terms as “hot music” and “ratty music”.

The local New Orleans dance music style was already distinctive in the 19th century. When this style became what was later known as “jazz” remains a matter of debate and definition, although most New Orleans music historians believe what became known as New Orleans style jazz was the product of a series of developments, probably reaching its famous form no earlier than the 1890s and no later than the mid 1910s.
By the 1890s a man by the name of Poree hired a band led by cornetist Buddy Bolden, many of whose contemporaries as well as many jazz historians consider to be the first prominent jazz musician. The music was not called jazz at this time, consisting of marching band music with brass instruments and dancing. If anything, Bolden could be said to have been a blues player.
The actual term “jazz” was first “jass”, the etymology of which is still not entirely clear. The connotation is sexual in nature, as many of the early performers played in rough working class venues. Despite colorful stories of mid-20th century writers, the prostitution district known as Storyville was no more important in the development of the music than the city’s other neighborhoods, but did play a role in exposing some out of town visitors to the style. Many instruments used were often acquired second-hand at pawn shops, including used military band instruments.

The Creole people of New Orleans also contributed greatly to the evolution of the artform, though their own music became heavily influenced by the pioneering work of Bolden. New Orleans-born musicians such as Louis Armstrong, Sidney Bechet and Jelly Roll Morton all recalled the influence Bolden had on the direction of the music of New Orleans. (Armstrong himself had no memory of Bolden, but was told about him by his mentor King Oliver), and jazz itself. (by wikipedia)

Enjoy this sentimental journey to the roots of (New Orleans) Jazz !
see booklet for details
CD 1:
01. King Oliver and His Creole Jazz Band: Chimes Blues (Oliver) 2.53
02. Piron’s New Orleans Orchestra: Bouncing Around (Bocage/Piron) 2.45
03. Fate’s Society Orchestra Marable: Frankie & Johnny (Traditional) 2.47
04. Jelly Roll Morton: Tia Juana (Morton) 2.50
05. Clarence Williams Blue Five: Texas Moaner Blues (Barnes/Williams) 3.14
06. Red Onion Jazz Babies: Calke Walking Babies (Williams/Smith/Troy) 3.18
07. Celestin’s Original Tuxedo Jazz Orchestra: Original Tuxedo Rag (Celestin) 2.44
08. King Oliver & Jelly Roll Morton:King Porter Stomp (Morton) 2.31
09. Bertha “Chippie” Hill: Trouble in Mind (Jones) 2.52
10. Louis Armstrong and His Hot Five: Cornet Shop Suey (Armstrong) 3.01
11. Arthur Sims & His Creole Roof Orchestra: Soapstick Blues (Jones) 3.06
12. Cookie’s Gingersnaps: Here Comes the Hot Tamale Man (Rose/Harrison) 3.24
13. New Orleans Wanderers: Perdido Street Blues (Armstrong) 3.11
14. Jelly Roll Morton’s Red Hot Peppers: Doctor Jazz (Other) 3.26
15. Louis Dumaine Jazzola Eight: Franklin Street Blues (Dumaine/Jackson) 3.22
16. Sam Morgan Jazz Band: Mobile Stomp (Morgan) 3.00
17. Johnny’s  Dodds Black Bottom Stompers: New Orleans Stomp (Dodds) 2.44
18. King Oliver and His Dixie Syncopators: Willie The Weeper (Rymal/Melrose/Bloom) 2.54


CD 2:
01. Louis Armstrong and His Hot Seven: Wild Man Blues (Armstrong/Morton) 3.18
02. Louis Armstrong and His Hot Seven: Ory’s Creole Trombone (Ory) 3.08
03. The Chicago Footwarmers: Get ’em Again Blues (Barbarin/Russell) 2.54
04. Johnny Dodds: Too Tight (Armstrong) 2.59
05. Jabbo Smith’s Rhythm Aces: Sweet ‘n’ Low Blues (Smith) 4.23
06. Omer Simeon and Earl Hines: Beau Koo Jack (Simeon) 2.43
07. Jones & Collins Astoria Hot Eight: Duet Stomp (Collins/Jones) 2.53
08. New Orleans Feetwarmers: Maple Leaf Rag (Joplin) 2.59
09. Trixie Smith: He May Be Your Man (But He Comes To See Me Sometimes) (Fowler/Bradford) 2.50
10. Tommy Ladnier: Really the Blues (Mezzron) 3.39
11. Jelly Roll MortonNew Orleans Jazzmen: Oh, Didn’t He Ramble (Handy) 2.59
12. Louis Armstrong: 2.19 Blues (Desdume) 2.51
13. Zutty Singleton: Shimme-Sha-Wobble (Williams) 3.06
14, Henry “Red” Allen and His Orchestra: Down In Jungle Town (Morse/Madden) 2.50
15. Sidney Becher and His New Orleans Feetwarmers: Make Me A Pallet On The Floor (Traditional) 3.15
16. Johnny Dodds: Red Onion Blues (Williams) 2.54
17. Jimmie Noone: New Orleans Hop Scop Blues (Thomas) 2.55
18. Edmond Hall’s Blue Note Jazzmen: High Society (Piron) 4.05