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O.T., but ... You made me curious, Niko ... If I find that record for 1 EUR I might well pick it up too (the French BYG pressing should be around somewhere ...). 😄 Some of the musicians mentioned were no slouches in their time so I'm wondering .... I have a corner reserved for washboard/jug/hokum bands in the blues/R&B section of my vinyls but nothing by him. At first or second hearing, most of these bands are an acquired taste and you need to be in the right mood to appreciate them (and the limitations of 20s or early 30s recording technology did not always help either). But they did serve a market that most definitely was not that of "art jazz". https://www.discogs.com/de/artist/313185-Jimmy-OBryant?superFilter=Releases&subFilter=Compilations Not wanting to blame Dan Morgenstern unduly, but that review reeks of a deeper antipathy against what at one time was termed "hokum". Which is all very well but the review maybe should have been left to someone more sympathetic with the broader style within which fell that record, and then judge it from there for faults and flaws WITHIN the broader idiom and not from an antipathy per se. BTW, Morgenstern guessed wrong about Jimmy O'Bryant's biography (a much-recorded but indeed shady figure). Quote from John Chilton's "Who's Who of Jazz": "I am indebted to Walter C. Allen for supplying me with information culled from the Chicago Defender dated 30th June 1928.  The paper reports that O'Bryant died in the County Hospital., Chicago." For a somewhat different perspective on him, see the comments by Allen Lowe (no less too ) from the liner book of his "Really The Blues?" CD anthology, Vol. 1 re- Lovie Austin's recording of "Steppin' on the Blues" feat. Tommy Ladnier and Jimmy O'Bryant (1924): "... clarinetist O'Bryant (was) something of a biographical mystery but a fierce advocate for just about anything he played. The blues was THE format for his primitive but passionately improvised squalls which gives these recordings an oddly nationalist (naturalist?) tint. This is the early jazz-blues, no longer content to just shuffle along." See what I mean?

Let's get into some hints as we await a couple of regular participants (and still holding out for @Big Al.   Daahoud tracks:  Both recorded in the 1980s by labels in California not named Concord. One of the trumpeters heard on one of the tracks performed quite a bit with Basie toward the end of his performing days. Tracks 5 (Id'd as Lester Leaps In) features a European and two American ex-pats. Track 14 was for the Brits. Track 10 includes someone best known for composing a standard from the 40s that has been covered by vocalists ever since.   Some IDs should certainly be forthcoming now, if anyone cares.