FLETCHER HENDERSON — A Study in Frustration

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FLETCHER HENDERSON - A Study in Frustration cover
4.00 | 2 ratings | 1 review
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Boxset / Compilation · 1961


Record 1
A1 The Dicty Blues 2:35
A2 Teapot Dome Blues 2:55
A3 Go 'Long Mule 3:04
A4 Shanghai Shuffle 3:18
A5 Copenhagen 2:50
A6 Everybody Loves My Baby 2:50
A7 How Come You Do Me Like You Do 3:10
A8 Alabamy Bound 3:05
B1 Sugarfoot Stomp 2:47
B2 What-Cha-Call-'Em Blues 2:50
B3 T. N. T. 2:53
B4 The Stampede 3:15
B5 Jackass Blues 3:11
B6 Henderson Stomp 2:50
B7 The Chant 2:54
B8 Snag It 3:09
Record 2
A1 Rocky Mountain Blues 2:43
A2 Tozo 2:55
A3 St. Louis Shuffle 2:58
A4 Whiteman Stomp 2:45
A5 I'm Coming Virginia 3:03
A6 Variety Stomp 3:01
A7 St. Louis Blues 3:03
A8 Goose Pimples 2:59
B1 Hop Off 2:52
B2 King Porter Stomp 3:09
B3 O Natural Blues 3:25
B4 Oh Baby 2:43
B5 Feeling Good 3:24
B6 I'm Feeling Devilish 2:41
B7 Old Black Joe Blues 2:13
B8 Easy Money 3:03
Record 3
A1 Come On Baby 2:50
A2 Freeze And Melt 3:03
A3 Raisin' The Roof 2:38
A4 Blazin' 2:53
A5 Wang Wang Blues 3:00
A6 Chinatown 3:00
A7 Somebody Loves Me 3:00
A8 Keep A Song In Your Soul 3:15
B1 Sweet And Hot 3:23
B2 My Gal Sal 3:25
B3 Sugarfoot Stomp 3:18
B4 Clarinet Marmalade 3:11
B5 Hot And Anxious 3:19
B6 Comin' And Goin' 3:08
B7 Singin' The Blues 3:04
B8 Sugar 2:57
Record 4
A1 Blue Moments 2:31
A2 New King Porter Stomp 3:05
A3 Underneath The Harlem Moon 3:13
A4 Honeysuckle Rose 3:10
A5 Yeah Man 2:54
A6 Queer Notions 2:47
A7 Can You Take It! 2:47
A8 King Porter Stomp 2:54
B1 Christopher Columbus 3:01
B2 Stealin' Apples 2:55
B3 Blue Lou 3:06
B4 Rhythm Of The Tambourine 2:37
B5 Back In Your Own Backyard 2:30
B6 Chris And His Gang 3:00
B7 Sing You Sinners 2:40
B8 Moten Stomp 2:43


Bernard Addison Guitar
Henry "Red" Allen Trumpet
Fernando Arbello Trombone
Louis Armstrong Trumpet
Buster Bailey Clarinet, Sax (Alto)
Eddie Barefield Clarinet, Sax (Alto)
Chu Berry Sax (Tenor)
Emmett Berry Trumpet
Jerry Blake Clarinet (Alto)
Harvey Boone Sax (Alto)
Lonnie Brown Sax (Alto), Sax (C-Melody), Vocals
George "Scoops" Carry Clarinet, Sax (Alto)
Benny Carter Sax (Alto)
Big Sid Catlett Drums
Elmer Chambers Trumpet
June Cole Tuba
Israel Crosby Bass
Ed Cuffee Trombone
Charlie Dixon Banjo
Roy Eldridge Trumpet
Bob Escudero Tuba
Ralph Escudero Tuba
Charlie Green Trombone
Arville Harris Clarinet, Sax (Alto)
Jimmy Harrison Trombone
Coleman Hawkins Sax (Baritone), Sax (Bass), Sax (Tenor)
Fletcher Henderson Piano
Horace Henderson Piano
J.C. Higginbotham Trombone
Clarence Holiday Banjo, Guitar
George Hunt Trombone
Franz Jackson Sax (Tenor)
Hilton Jefferson Sax (Alto)
Budd Johnson Clarinet, Sax (Alto)
Walter Johnson Drums
Claude Jones Trombone
John Kirby Bass, Tuba, Violin
Tommy Ladnier Trumpet
Bob Lessey Guitar
Lawrence Lucie Guitar
Joseph "Kaiser" Marshall Drums
Rex Stewart Cornet
Pete Suggs Drums, Vibraphone
Del Thomas Tuba
Joe Thomas Trumpet
Dick Vance Trumpet
Fats Waller Organ, Piano
George Washington Trombone
Ben Webster Sax (Tenor)
Dicky Wells Trombone
Freddie White Guitar
Elmer Williams Sax (Tenor)
Sandy Williams Trombone
Al Wynn Trombone

About this release

Columbia ‎– C4L 19 (US)

Songs originally recorded between 1923 and 1938

Thanks to EZ Money, js, snobb for the updates


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Specialists/collaborators reviews

“A Study in Frustration” is an oddly titled four LP collection of the music of Fletcher Henderson put out by Columbia in 1961. It was also re-issued on CD in the 90s. Its an odd title because Henderson is one of the most important and successful figures in jazz. Although his name may not be as well-known as Duke Ellington, Louie Armstrong and Charlie Parker, he probably ranks only behind that big three when it comes to his importance in innovations that furthered the development of jazz. The excellent booklet that accompanies this box set spends some time speculating that Henderson could have been more successful with better marketing, hence the rather harsh and undeserved title for this production.

Fletcher Henderson is the big band leader who has been given the most credit for taking jazz from its rough hewn and mostly group improvised New Orleans beginnings, to being a music performed by a big band reading complex written arrangements that featured hot soloists such as Louie Armstrong and Coleman Hawkins. This entire collection spans from 1924 to 1937, but its that period from the 20s to the early 30s that makes up most of this set, and that's the period with the most interesting music as well. Fletcher Henderson was the master of 1920s jazz (also called ‘Classic Jazz‘), a style of jazz that exists in a world all its own, markedly different from the New Orleans jazz that preceded it, and the swing jazz that will follow in the mid-30s. 1920s jazz has a rapid flow in which ideas appear and are quickly discarded, sometimes in almost comical flippancy. The hectic herky-jerky rhythms are very urban in nature and reflect the constant bustle of city life, which was a new environment to many in the US at this time. Many a 1920s jazz arranger, such as the great Don Redman who worked for Henderson in the late 20s, was proud of their ability to experiment in their arrangements, often borrowing the latest harmonic developments coming from the leading concert hall composers of the time. Finally, this was a music for hipsters and wannabe gangsters, modernistic in its appeal, there was nothing sentimental about this music. With its comprehensive 64 tracks, “A Study in Frustration” makes for an excellent way to explore this very vibrant and fast moving period in jazz history.

If this review stopped here you would be correct to think that this is an easy 5 star collection, but there are some problems. At this point I have to credit a certain Steve Espinola who has taken the time to uncover editing problems in this collection. Apparently there are two main mastering sources for these old Henderson tunes. One source of masters is by an engineer for Columbia who decided to edit out any ticks by actually removing that part of the tape, a horrible idea that makes the music spasmodically lurch forward in some places. Some of these edits are more noticeable than others, and several tunes may pass before you notice, but when you do hear it, it sounds like the whole band just had a collective hiccup. This same engineer also tried to remove surface noise with severe eq techniques as well. These, of course, are the masters that were used for “Frustration”, as well as some other Henderson collections. Apparently there are some better masters by a John R. T. Davies, that are used in other collections (such as the Timeless label).

To sum all this up, despite the problems, this is an incredible collection and if you find it on vinyl for a very good price (as I did) then you have a good deal. But, if you are looking at the CD collection, because of the bad mastering, it seems there are probably better CD collections to be had.

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