The first in Classics' "complete" Jimmie Lunceford series has two titles apiece from 1930 (when the band was based in Tennessee) and 1933 along with its first six sessions for Decca in 1934. Lunceford's band had an immediately recognizable sound by 1934 and, despite the presence of such top soloists as altoist Willie Smith, tenor-saxophonist Joe Thomas and high-note trumpeter Tommy Stevenson, it was its arranged ensembles (particularly those of Sy Oliver) that gave the orchestra its musical identity. Among the better ...
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The first in Classics' "complete" Jimmie Lunceford series has two titles apiece from 1930 (when the band was based in Tennessee) and 1933 along with its first six sessions for Decca in 1934. Lunceford's band had an immediately recognizable sound by 1934 and, despite the presence of such top soloists as altoist Willie Smith, tenor-saxophonist Joe Thomas and high-note trumpeter Tommy Stevenson, it was its arranged ensembles (particularly those of Sy Oliver) that gave the orchestra its musical identity. Among the better selections on this CD are "Flaming Reeds And Screaming Brass," "White Heat," "Swinging' Uptown," "Rose Room," "Miss Otis Regrets" and the band's fresh interpretations of Duke Ellington's "Black And Tan Fantasy" and "Mood Indigo." ~ Scott Yanow, Rovi
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![Rhythm Is Our Business [ASV/Living Era]](https://www1.alibris-static.com/rhythm-is-our-business-asv-living-era/cover/f76642ljmb9.jpg)
