Thomas Morris - The Chronological Classics: 1923-1927 '1997

Tracks list

Tracklist

01. E Flat Blues No. 2 (3:14)
02. Original Charleston Strut (2:50)
03. Lonesome Journey Blues (2:52)
04. When The Jazz Band Starts To Play (2:29)
05. Just Blues, Thats All (3:08)
06. Bull Blues (E Flat No. 1 Blues) (2:48)
07. Those Blues (3:25)
08. Beaucoupe De Jazz (3:01)
09. Lazy Drag (3:01)
10. Jackass Blues (3:11)
11. Charleston Stampede (3:03)
12. Georgia Grind (3:08)
13. Ham Gravy (3:04)
14. Whos Dis Heah Stranger? (3:00)
15. My Baby Doesnt Squawk (3:22)
16. The King Of The Zulus (2:45)
17. South Rampart Street Blues (2:57)
18. Blues From The Everglades (3:12)
19. P.D.Q. Blues (3:22)
20. The Mess (2:55)
21. The Chinch (3:14)
22. St. Louis Blues (2:50)

Back in the 1970s, Vol. 126 of the French RCA Black and White series focused on
Thomas Morris recordings dating from the year 1926. Included on that album were
two vocalists whose absence from this Classics package must be attributed to a
planned compilation of rare vocal recordings from this period. While Margaret
Johnsons When a Gator Hollers, Folks Say Its a Sign of Rain would have added a
Ma Rainey touch, the non-inclusion of Evelyn Preers Make Me Know It, recorded
September 7, 1926, is heartbreaking but only to the few who know of the
existence of this beautifully wistful love song. Now that this very specialized
disappointment has been registered, let it be known that even without the voice
of Evelyn Preer, the earliest known recordings of Thomas Morris are outstanding
and well worth experiencing. There are two ways to appreciate the music of this
accomplished cornetist and bandleader: the recordings he made with and without
Thomas Fats Waller. Despite the aforementioned omission, Classics 823 offers the
perfect prologue to Morris famous sessions with the young pianist/pipe organist.
The real gold lies in eight sides from 1923, previously difficult to obtain. The
only players who have been identified are trombonist Charlie Irvis (later to be
a staunch component in Fats Wallers first Buddies session) and young Bubber
Miley. To hear Morris and Miley merrily mingling their cornets is a delight,
comparable to the joy to be gleaned from revisiting the duo runs executed during
this same time period by King Oliver and Louis Armstrong. (Get this: Bull Blues
has a passage that showed up years later as the opening line of Duke Ellingtons
What Am I Here For?) The 1926 material is gloriously gutsy, with grand slip-horn
parts by Geechie Fields then once again briefly by the mighty Charlie Irvis. A
rambunctious banjo solo in Georgia Grind and the humorous dialogue cropping up
in the middle of Whos Dis Heah Stranger? make these worth absorbing time and
again. By November 1926 the all-important trombone position was filled by Joe
Tricky Sam Nanton, destined to spend the remaining two decades of his life
helping to define the sound of the Duke Ellington Orchestra, which he had joined
some six months prior to these sessions. Morris rendition of The King of the
Zulus nearly surpasses Louis Armstrongs original, yet Morris unissued take
(36896-2) is even better than the master take issued here, and would be well
worth pursuing if anyone is hopelessly smitten with the sounds of this ensemble.
Lastly, a rare side by Morris quartet, billed as the Nashville Jazzers: a
smartly scruffy approach to W.C. Handys St. Louis Blues. This recording and its
alternate take have been issued on Grey Gull Rarities (Jazz Oracle BDW 8038).
Once youve developed a taste for the music of Thomas Morris, you might get
hooked. Lets hope so.

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Thomas Morris / 1923 - 1927

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Track 1
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Track 2
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Track 3
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Track 6
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Track 7
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Track 8
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Track 9
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Track 10
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Track 11
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Track 12
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Track 15
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Track 16
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Track 17
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Track 18
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Track 19
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Track 21
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Track 22
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