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Reviewers: Tony Augarde [Editor], Steve Arloff, Nick Barnard, Pierre Giroux, Don Mather, James Poore, Glyn Pursglove, George Stacy, Bert Thompson, Sam Webster, Jonathan Woolf


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Trumpet On The Wing -
His 55 Finest 1924-1964





1 San Sue Strut

2 Cat’s Head

3 Muskrat Ramble

4 Wailing Blues

5 Shake That Thing!

6 Tar Paper Stomp

7 Strange Blues

8 Never Had No Lovin’

9 Panama

10 Tin Roof Blues

11 Sensation Rag

12 The Blues Have Got Me

13 Nickel In The Slot

14 Breeze, Blow My Baby Back To Me

15 About A Quarter To Nine

16 Love Is Just Around The Corner

17 You’re An Angel

18 The Isle Of Capri

19 I’m In Love All Over Again

20 I Believe In Miracles

21 Let’s Spill The Beans

22 Sliphorn Sam

23 Bouncin’ In Rhythm

24 A Smile Will Go A Long, Long Way

25 I’ve Got A Feelin’ You’re Foolin’

26 I’ve Got A Note

27 The Broken Record


1 Please Believe Me

2 You Started Me Dreaming

3 Goody, Goody!

4 Dallas Blues

5 Tormented

6 Swingin’ At The Hickory House

7 Limehouse Blues

8 Blue Lou

9 Rhythm On The River

10 Dinner For The Duchess

11 Memphis Blues

12 The Tailgate Ramble

13 If I Could Be With You One Hour Tonight

14 Shake The Blues Away

15 At The Jazz Band Ball

16 Box Car Blues

17 Real Gone

18 The Sweetheart Of Sigma Chi

19 Burlecue

20 Trumpet On The Wing

21 Corrine, Corrina

22 The Isle Of Capri

23 Pawn Shop Blues

24 The Birth Of The Blues

25 ’Way Down Yonder In New Orleans

26 Mississippi Mud

27 Sidewalks Of New York

28 Do You Know What It Means To Miss New Orleans?

Wingy Manone with various orchestras

Recorded 1924-64 [79:37 +79:01]

Joseph Matthews ‘Wingy’ Manone (1900-1982) – so-named because of the youthful loss of his right arm – has always held an affectionate place in the hearts of lovers of New Orleans born musicians. A contemporary of Louis Armstrong, Manone was a man on the move, tracing a journey from his home city to Chicago, thence to New York, to Mobile, St Louis and then another roundabout journey taking in several of the mentioned cities until a move to the West Coast where he was to die at a good age.

The trumpeter’s journey is reflected in this twofer which contains 55 tracks from his first, made in St Louis acoustically in late 1924 to the 1962 sides for Imperial, made in Los Angeles with a pick-up band of still-anonymous musicians. The first band was the Arcadian Serenaders playing the trumpeter’s own composition San Sue Strut and the 1927 Cat’s Head – recorded electrically in New Orleans – is another of his own pieces. Manone was soon swimming in fast seas, having been chosen by Benny Goodman for a 1929 session alongside the likes of Bud Freeman and Joe Sullivan. If he’d been able to read music – he was largely a head man – then a trumpet chair in Goodman’s band would have been his for the taking. As it was he played in small ensembles, many of which he led, playing a punchy attractive lead, drenched in Blues phraseology. Hi famous 1930 recording of Tar Paper Stomp was to become better known some years later as In the Mood. A mark of his status can be measured in the 1934 recording of Never Had No Lovin’ where in an all-star band consisting of luminaries such as Jelly Roll Morton, Dicky Wells, Artie Shaw, Freeman, John Kirby and Kaiser Marshall, Manone is still allowed a vocal.

One of the most successful of all his bands was the New Orleans Rhythm Kings, 1934 vintage where George Brunies and articulate clarinettist Sidney Arodin shared the front line. Not too far behind were the orchestral recordings he made with his own orchestra the following year. With Matty Matlock, Eddie Miller, Nappy Lamare and others on board this was a fine band but on no account overlook the fine piano stylist Gil Bowers. Wingy’s vocal and instrumental hero was Louis Armstrong, in much the same way that Muggsy Spanier’s hero had been Armstrong’s mentor, King Oliver. This is reflected in the differing styles of the two white brass players, who occupied distinctly different though in some ways complementary traditions. Wingy’s hard-driving uncomplicated lead is always a pleasure to hear, as is his Louis inspired vocalising, and fun is never far from the surface of these 1930s tracks in particular. Incidentally I think there’s been a slip-up in the recording chosen of I’ve Got a Note, which implies that this is the ‘drunk’ version – copious booze was taken at the session – during which Jack Teagarden came off worse than his confreres. Actually, however, this sounds like the sober remake, made a week later.

Manone’s bands could be earthy, indeed raucous but with high spirits like Ray Baduc on board that was no surprise – Baduc gets salty on Swingin’ at the Hickory House, for instance. But Manone was musically perceptive enough to include such players as Chu Berry and Buster Bailey and Berry’s bustling solo on Limehouse Blues raises the blood pressure significantly. Such passing fashions as trombone choirs can also be heard, Bing Crosby makes an appearance, as indeed does Kay Starr, and then we pass on to the later 1950s where a backbeaty rhythm announces the Decca sides of 1957. These are rather lazily conceived, in the main, but in compensation it’s good to hear Hank D’Amico’s clarinet playing. Manone‘s lead was still quite fiery into his late 50s but things began to wind down in the early 60s. There was still time for an album in which linking dialogue, a kind of travelogue spoken by Manone that introduced a new generation to his patter and personality accompanied by his New Orleans Dixieland Jazzband. In format this is a little like Louis’ Musical Autobiography album, revisiting old friends, though at a very much lower level, of course.

But with thoughtful notes from Digby Fairweather and well transferred tracks this is an assiduously prepared tribute to a fine trumpeter, ebullient singer and splendid personality.

Jonathan Woolf

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