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ABCD2-004/5 STUFF SMITH & ROBERT CRUM
COMPLETE 1944 ROSENKRANTZ APARTMENT TRANSCRIPTION DUETS
Previously unreleased legendary recordings by The Jazz Violinist and The Classical Pianist
Two concert performances by Smith & Crum are released on ABCD2-007/8

. . . stream-of-consciousness improvisations . . . exciting, adventurous jazz . . . very much ahead of its time
– Billy Taylor in Jazz Piano, A History
. . . beautifully played by two remarkable musicians working harmoniously together . . .
. . . a “crossover” session using “free improvisation” long before those terms were conceived . . .
indispensable for those who are curious about such things
– Jack Bowers, Cadence, March 2003
. . . truly revolutionary genius . . . This is challenging listening musically, and also because these
early home recordings are nowhere near the technical quality we associate with commercial releases.
But stay with it; you’ll soon find yourself transported to a world of pure creative brilliance
– Matt Glaser, Strings, April 2003
. . . when Crum and Smith begin the big-time chance-taking and use their great ears to “go with the flow”
the result is very exciting music, perhaps best left uncategorized
– Stacy Phillips, Fiddler, summer 2003
Together, they invented the music they played, which is part jazz, part impressionism and part “see where the music takes us”
experimentation. . . . Sound is true to the source, and hasn’t been given the false depth of digital reconstructions.
Through the scratch and scrape one can hear two fine musicians speculate about form with amazing delicacy and vigour.
– Ben Watson, Hi-Fi News, August 2003
. . . broadening the jazz world’s appreciation of the under-promoted genre of jazz violinists
[Crum] and Smith found mutually stimulating musical common ground
– Bob Weir, Jazz Journal, September 2003
. . . early efforts to expand the music’s language . . . Smith always had maverick tendencies, and
this release gives us a picture of the many facets of his musical personality that are only hinted at elsewhere
– Duck Baker, Coda, September/October 2003
The music heard here is an early attempt at what later became known as Third Stream,
a branch of music attempting to combine jazz and classical elements in various degrees.
– Vincent Pelote, ARSC Journal, Fall 2004


ABCD1-006 RAY PERRY
COMPLETE 1944 C. W. FRENCH & 1945 ROSENKRANTZ APARTMENT TRANSCRIPTIONS
Previously unreleased extended improvisations by Lionel Hampton’s transitional swing to bop violinist
with Parker pianist Argonne Thornton aka Sadik Hakim and South, Grappelli, Reinhardt bassist Wilson Myers
and fugitive sextet recordings with Sabby Lewis

. . . undoubtedly one of the great unheralded giants of jazz violin
– Matt Glaser, Strings, April 2003
These [1945] selections have not been issued before and they are deserving of your investigation. . . . a real find
– Russ Chase, IAJRC Journal, spring 2003
. . . masterful, hard-driving, swinging fiddle of the highest order
– Stacy Phillips, Fiddler, summer 2003
. . . praise for Perry’s playing is wholly justified . . . the best opportunity we have of hearing the seldom recorded Perry
– Bob Weir, Jazz Journal, July 2003
If this record is specialized in its appeal, it’s not because of Perry’s playing, which is brilliant throughout.
The music has that nice swing-to-bop bite that so much mid-40’s jazz shares,
and the titular leader will be a delightful discovery for most listeners.
– Duck Baker, Coda, September/October 2003
. . . quite phenomenal . . . harmonic sophistication and hard swing . . . essential for fans of Ray Perry, and jazz violin.
– Vincent Pelote, ARSC Journal, Fall 2004


ABCD2-007/8 STUFF SMITH
1944–1946 STUDIO, BROADCAST, CONCERT & APARTMENT PERFORMANCES
A unique collection transferred from original sources of most of Smith’s unreleased with released recordings of the period
including Asch session with previously unreleased outtakes, complete Mildred Bailey and Jubilee show performances
complete 1944 Times Hall trio with Jones/Levy and duo with Crum, 1945 Town Hall trio newly transferred
previously unreleased recordings with Erroll Garner, Chicago and New York airchecks and fugitive 78s

. . . revolutionary, wildly swinging genius, and there is no better place to capture a
glimpse of this wild man at the peak of his powers than on these two newly released discs
– Matt Glaser, Strings, April 2003
What joy! . . . such a new cache of Smith in his prime is a no-brainer purchase
– Stacy Phillips, Fiddler, summer 2003
Smith’s genius was for digital dexterity and improvising at a hectic speed. He had a natural feeling for harmony
unsurpassed by any of his peers and could shade his intonation on either side of the note with amazing accuracy
A lot of effort has gone into making this material so listenable
– Tully Potter, The Strad, July 2003
This double album is a Stuff Smith completist’s dream because it offers well over two hours of
extreme rarities and unissued material by the great jazz fiddler in a wide variety of musical settings
– Bob Weir, Jazz Journal, September 2003
. . . this set is a must for hot fiddle fans and should be a high-priority item for anyone who loves hot swing soloing at its best
– Duck Baker, Coda, September/October 2003
For the true Smith devotee this is a must-have 2-disc set.
– Vincent Pelote, ARSC Journal, Fall 2004


ABCD1-009 EDDIE SOUTH
Tzigane in Rhythm
SOLO, TRIO, ORCHESTRA BROADCASTS, FILM & FUGITIVE 1940–1947
Including unreleased live broadcasts, private recordings with pioneer bebop-inflected pianist Allen Tinney
film soundtrack, unreleased Columbia and a previously unknown release

. . . excellent . . . his sometimes pyrotechnical style has earned him many admirers, including just about any jazz
violinist you can name. This CD fills in several gaps in his discography, and features some great playing.
– Duck Baker, Coda, September/October 2005
Overall, the set presents a varied picture of South’s considerable talents . . . exceptional and worth checking out.
– Jay Collins, Cadence, October 2005
. . . shows that the violinist’s unique meld of art music and swing is accessible even to conservatory-trained jazz fans.
A peer of the first generation of jazz violinists in the 1920s, he is as chops-y as any player from any generation.
– Stacy Phillips, Strings, November 2005
Excellent swinging jazz predominates but gypsy, classical, ballads and blues genres are also represented . . .
There have never been many Eddie South albums so this issue is particularly welcome as an
introduction or reminder of the outstanding talents of one of the premier jazz violinists.
– Bob Weir, Jazz Journal, January 2006
Incredible as it may seem, here are twenty-six (out of 29) tracks by Eddie South that have never before been commercially released.
– Russ Chase, IAJRC Journal, winter 2006
South was perhaps the most technically-prodigious violinist the jazz world has encountered.
He had an exquisite tone and fluid, seamless technique . . . The twenty-nine tracks on this CD probably equal or
surpass his entire commercially-recorded output . . . This set greatly expands the available offerings of this superb musician . . .
– Russ Shore, VJM’s Jazz and Blues Mart, summer 2006
Overall this is a fascinating CD for showcasing the talents of Eddie South. His playing throughout is first-rate . . .
– Vincent Pelote, ARSC Journal, spring 2007


ABCD1-010 GINGER SMOCK
Strange Blues
STUDIO & DEMO RECORDINGS 1946–1958
Including unreleased and rare recordings by the Central Avenue LA violinist who studied with Stuff Smith
in genres from bop to blues to pop including an unreleased RCA Victor session by The Jackson Brothers

. . . the Count Carter . . . instrumentals are Smock’s magna opera. The wild and uninhibited “Strange Blues” reveals a major player.
. . . The scholarly presentation and inclusion of some material of mainly academic interest may put off some purchasers but I
fancy there are very few r ’n’ b buffs who will not be glad to have the Carter and Jackson sessions so give this your support.
If Smock had had more opportunities to record material as powerful as that we would rate her among the greats.
This is as far as we can go to right a historical injustice, but it’s no pain.
– Howard Rye, Blues and Rhythm, August 2005
. . . excellent . . . Her style was informed by South and Stuff Smith but her voice is unmistakably original,
marked by a strong sense of swing, straightforward melodic approach and an excellent, edgy sound.
– Duck Baker, Coda, September/October 2005
Worth picking up for the Garry session alone.
– Jay Collins, Cadence, October 2005
Ginger undoubtedly belongs in the top echelon of hot fiddlers so this is another very welcome release.
– Bob Weir, Jazz Journal, January 2006
AB deserves our plaudits for his effort in coming up with this Ginger Smock material.
– Russ Chase, IAJRC Journal, winter 2006
. . . the technique of an Eddie South or a Stuff Smith, but with a unique way of phrasng and a sense of swing that was all her own.
– Michael John Simmons, Fiddler Magazine, summer 2006
This is a great CD for fans of jazz violin, because it sheds light on a very obscure but talented legend of the instrument
– Vincent Pelote, ARSC Journal, spring 2007


ABCD2-011/12 I LIKE BE I LIKE BOP
Disc 1: Abbey’s Boogie / Disc 2: Bebop Woogie
ODDS & SVENDS OF EARLY AMERICAN & EUROPEAN BEBOP VIOLIN
& CONTEMPORARY VIOLIN CURIOSITIES 1940s–1950s
An ear-opening double anthology with rare 78s and unreleased broadcasts that establishes the chronology
and context of early bebop violin and rescues contemporary curiosities from obscurity with 96 page analytical-historical photo-essay
Almost Like Being in Bop: A Not-So-Brief Account of the Swing to Recorded Bebop & Progressive Violin in America and Europe
The essay ranges far and wide and includes new biographical-discographical findings, new interview quotations, previously unseen photos
The CDs include rare and unreleased recordings including broadcasts by
Americans: Abbey; Bella; Creach; Frigo; Girard; Kennedy; Lookofsky; Nance; Nero; Orloff; Otis; Perry; Smith; Smock; South; Wetmore
Europeans: Asmussen; Bacsik; Christensen; Grappelli; Iwring; Kahn; Laurence [Hodeir]; Ottersen; Wentzel Larsen; Zacharias
Many of the rare 78s have never before been rereleased including the only known example of
a 1950s Leon Abbey recording and an overlooked Grappelli recording with George Shearing

Here is another of Anthony Barnett’s exhaustively researched, interestingly programmed releases of jazz violin . . . His thesis
here is that the violin was more heavily involved than we previously thought in the progressive post-war jazz movement known as bebop.
One of the first things you notice is the extraordinary outburst of creative bass-playing in the post-Jimmie Blanton era . . .
The violinists on these 1944–59 recordings certainly explore the outer peripheries of the tunes, seeking out the harmonic implications.
– Tully Potter, The Strad, September 2005
. . . one would have thought that Stuff Smith would have paved the way for [the violin] to make an impact on modern jazz.
But seemingly this never occurred, with the instrument largely forgotten before the arrival of some free jazz and fusion stylists.
AB chief and jazz fiddle scholar Anthony Barnett has insisted for years that this impression is false and that, for instance,
one could speak intelligently about “early Scandinavian bop” violin. This may sound like the kind of alternative history that
would have North America discovered by Welshmen or the human race descended from extraterrestrials but the two and a half
hours of music presented on I Like Be I Like Bop prove conclusively that indeed, all the groundwork for modern jazz fiddle
was laid long ago. . . . At the end of the day Smith does emerge as the prophet of the new (albeit never widely known) style . . .
The notes . . . are invaluable . . . includes a long article that goes well beyond the music on the discs.
– Duck Baker, Coda, September/October 2005
. . . a remarkable document, a compilation of extremely rare recordings . . . The collection
is pretty much as exhaustive as one could present of this narrow arena and, to be sure, it is a joy.
Perhaps the most significant reason to pick this up, however, is the inclusion of a whopping 96 page photo-essay . . .
that is remarkably researched and unfolds in a clear and concise manner. . . . Overall, a lovingly compiled
work that sheds much light on the era and a valuable introduction for those wanting to learn more.
– Jay Collins, Cadence, October 2005
British record-label owner Anthony Barnett, the Boswell of jazz violin, has done it again with a bonanza of rare performances
documenting various stylistic violin players through the 1940s into the ’50s, as bebop became the center of jazz creativity.
I Like Be I Like Bop is an absolute must-have for all serious jazz fans. . . . accompanied by an authoritative
96-page essay and photo collection . . . jam-packed with information about this fascinating period.
– Stacy Phillips, Strings, November 2005
. . . a fascinating, and at times fascinatingly obscure, collection . . . more than enough good stuff to rivet the
attention of any sceptic . . . these rare items (five previously unissued, the rest mostly unreissued in nearly 50 years)
throw a strong light on the value of the violin as a jazz instrument . . . compelling . . . much more to exclaim about . . .
– Brian Priestley, Jazzwise, November 2005
. . . intriguing rarities . . . matchless survey of how the violin was used imaginatively
in a variety of jazz contexts during the decade and a half following World War II.
– Bob Weir, Jazz Journal, January 2006
Two CDs crammed full of great music . . . an astounding package of jazz violin recordings and a historical essay . . .
Produced by Anthony Barnett, of course, who has never passed a leaf without seeing what was on the other side.
It is a valuable piece of research as well as good listening, reading and looking.
– Russ Chase, IAJRC Journal, winter 2006
. . . excellent, studio-recorded sound. . . . The music is all first class, as are the transfers. The set also includes
extensive biographies of the violinists represented here, making this a well-recommended collection.
– Russ Shore, VJM’s Jazz and Blues Mart, summer 2006
. . . illuminates one of the most vexing questions in the history of jazz strings, the disappearance of jazz violin during the Bebop era. . . .
Was it because the violin could not be heard in the context of the horn combo or because the vibratoless tone and chromatic lines of the bebop style
was not suited for the violin? Barnett’s meticulously researched essay and recordings answer these questions with a resounding “no” . . . .
Yet, not until the 60s with Stuff Smith passing the “mantle” to bebop violinist Jean-Luc Ponty at the Violin Summit concert in Basel did it appear
the violin had caught up with contemporary jazz in the mind of the average jazz listener. But, as this splendid collection demonstrates, the
violin did not disappear from the jazz scene during the preceding twenty years. This makes its delayed public acceptance as a contemporary
jazz instrument even more of a mystery. Reading the essay while listening to the corresponding tracks is eye-opening and inspiring.
– Martin Norgaard, American String Teacher, August 2006
. . . a fascinating account of the history of the violin as it progresses from late swing to bop and beyond.
– Vincent Pelote, ARSC Journal, spring 2007


ABCD1-014 RAY NANCE
When We’re Alone
COMPLETE 1940–1949 NON-DUCAL VIOLIN RECORDINGS
FEATURING BEN WEBSTER CLARINET TRANSCRIPTIONS
Including unreleased only known clarinet solo home recordings by Ben Webster with Fred Guy and Sonny Greer plus
Jimmie Blanton on three and other sessions with Ray Nance on violin and some trumpet away from Duke Ellington
incl. Horace Henderson, Eddie Heywood, Earl Hines, Ivory Joe Hunter, etc

. . . a fabulous discovery . . . a welcome addition to the very short list of albums issued under the name of Nance.
. . . the gem is the informal (and previously unknown) 1941 session featuring Nance and Webster . . . For
historical significance, this could be as important as the hotel-room recording of Parker and Gillespie together.
– Brian Priestley, combining Jazzwise, August 2005 and Blue Light, autumn 2005
Ben’s clarinet playing is a revelation. He really blows, getting a sound like no one else and
executing lines that often don’t recall his tenor playing at all. The notes . . . are invaluable.
– Duck Baker, Coda, September/October 2005
. . . what a rare find! . . . essential listening for any fan of Ellingtonia or Nance and sure to be one of the reissues of the year.
– Jay Collins, Cadence, October 2005
The CD of the summer . . . contains previously unissued home recordings . . . and they have very good sound
– Richard Ehrenzeller, The Duke Ellington Society Newsletter, September 2005
Quite sensational . . . It’s a little like lifting the veil on something private and sacred: it might just
have been a way for the musicians to amuse themselves, but it’s more likely to have been a rehearsal of sorts
for a gig or perhaps a recording session that never materialized. Webster is totally recognizable on clarinet . . .
The recording quality is surprisingly good, though it’s hard to discern Blanton’s bass notes.
Be that as it may, this is music of sparkling vitality, where Nance’s great qualities are excellently showcased.
– Niels Lyngberg [trans. NGA, AB], Orkester Journalen, Stockholm, October 2005
. . . top-notch mid-tempo swing . . . packed with rarities.
– Ben Watson, Hi-Fi News, December 2005
The AB Fable imprint specializes in jazz violin rarities, but this release should appeal to a wider audience. Best known for his
trumpet work with Duke Ellington . . . Nance was also a significant violin stylist. The eye-opener here is a 1941 session with
Ben Webster on clarinet, conjuring a sound like no one else and executing lines that often don't recall his tenor playing at all.
– Duck Baker, East Bay Express, Best Records of 2005
It is the discovery and first issue of the [Webster–Nance] session that makes this album absolutely essential.
– Bob Weir, Jazz Journal, January 2006
This [Webster–Nance] is industrial-strength-never-before released stuff!
How does Ben sound on clarinet? Just like you hoped he would. . . . Everybody should have this one.
– Russ Chase, IAJRC Journal, winter 2006
. . . a “must have” disc for any serious jazz fan
– Vincent Pelote, ARSC Journal, spring 2007


ABCD1-015 STUFF SMITH
That Naughty Waltz
COMPLETE 1937–1942 TENOR SAX SEPTETS FEATURING
1942 FATS WALLER ALUMNI AND 1937 TEDDY WILSON ORCHESTRA

All the commercial releases and unreleased airchecks known to us of the period by Stuff Smith Septets with tenor sax
including his leadership of Fats Waller alumni Herman Autr(e)y, Ted McCord, Al Casey, Sammy Benskin, Al Hall, Slick Jones in 1942
while Waller was touring as a soloist; lays to rest the ubiquitous string-along-theory error that Smith led the band in 1943 after Waller had died
plus Helen Ward with a 1937 Teddy Wilson Septet Featuring Stuff Smith with Jonah Jones, Ben Webster, Lawrence Lucie, John Kirby, Cozy Cole
plus a bonus all-star jam session aircheck by Karl George, Stuff Smith, Lionel Hampton, Teddy Wilson, Vernon Alley

The verve and intensity of this group is apparent from the first . . . they don’t get more exciting than this . . . beautifully constructed choruses . . .
The leader, along with Joe Venuti, probably displayed the most intuitive jazz sense of all pre-war jazz violinists.
– Russ Shore, VJM’s Jazz and Blues Mart, summer 2006
. . . rare material that nobody else but AB could issue . . . because they haven't got the material, the patience or the will power . . . immense talent.
– Frank Rutter, Coda, August 2006
. . . Stuff Smith’s solos are, as usual, amazing and the live, loose recording situation apparently spurred him to contribute
some fabulous ostinato riffs that drove the group’s rhythm section as hard as any great drummer could. Here is a chance
to partake in an advanced course in swing rhythm for violin and mighty far it is from a conservatory conception of the role of a violin.
– Stacy Phillips, Fiddler Magazine, Fall 2006
. . . amazing . . . This disc is full of marvels and is beautifully put together . . . notes are meticulous and intriguing . . . several rare pictures . . .
– Michael Steinman, Cadence, November 2006
AB Fable is a label dedicated to the arcane world of jazz violin, which has for some years been producing rare and previously
unavailable recordings, mostly of swing-era masters. One might say that Stuff Smith was the star attraction of the label.
Only a handful of soloists could equal Smith when it came to hard swinging, and he proves it repeatedly on That Naughty Waltz.
This collection contains some music that’s interesting mostly for historical reasons but much more that’s
outright exciting—and the sound quality of these old broadcasts is generally quite good. Featured artists include
Ben Webster, Herman Autrey, Jonah Jones and Teddy Wilson. Guitar fans should note that the excellent Al Casey
solos are his earliest on record, actually predating the time when Casey told Stanley Dance he began playing leads.
– Duck Baker, Jazz Times, December 2006
The Waller sidemen sides are notable for Smith’s raucous solos and for some of the longest Al Casey electric guitar solos ever captured . . .
– George Kanzler, All About Jazz, January 2007
Jazz violin playing does not come any better . . . fact-filled and informative notes . . .
– Bob Weir, Jazz Journal, February 2007
. . . another essential CD . . .
– Vincent Pelote, ARSC Journal, spring 2007


ABCD1-016 REX STEWART AND STUFF SMITH
Summertime
THE 1963 ST-ONGE LA DUETS AND NARRATION
Previously unreleased informal private session recorded by Roger St Onge in Los Angeles in which
Stuff Smith and Rex Stewart talk about their early days in jazz and play the most beautiful duets, solos and vocals
plus a solo performance of Clair de lune by Smith and bonus band sessions with Smith and Stewart

read Will Friedwald’s review online Fiddling with Convention in The New York Sun, 16 January 2007

. . . a joy from start to finish: recorded at a private home, a group of men and women lounge about on a summer day.
Remarkably, violin and trumpet participate fully in the lighthearted conversation, creating a seamless dialogue between
human and musical voices. To hear two instruments with such distinct timbres blend this way is amazing in itself.
Trumpet and violin trade melody and comping duties. Stuff sets up the changes with short rhythmic statements in
double stops, or comps pizzicato as Rex solos. As the violin plays the melody, someone casually hums along in unison.
Classic musician humor, ending in gales of laughter, punctuates the session. Meticulously produced with artistry
and love, . . . capture[s] the essence of the moment as well as the music. . . . another masterful restoration.
. . . a worthy addition to [the] Violin Improvisation Studies series, and a service to the music community.
– Gayle Dixon, International Association for Jazz Education Strings Yahoo Group, May 2006
. . . marvellous . . . absolutely brilliant . . . you’re never going to find this music anywhere else or the historical reminiscences.
– Frank Rutter, Coda, August 2006
. . . another piece of wondrous achaeology . . . remarkable . . . impossible to duplicate. . . . What might make some listeners hesitant
is that on this summer 1963 tape there is more conversation than music, but I am happy to hear Rex and Stuff talk about almost
anything—such high-level eavesdropping is certainly not easy to come by . . . Time travel of a most remarkable sort, indeed.
– Michael Steinman, Cadence, November 2006
. . . akin to eavesdropping on two swing era icons at a party. . . . some of the stories the two
tell are fascinating and the few actual duets are extraordinary, intimate musical dialogues . . .
– George Kanzler, All About Jazz, December 2006
Though these sessions date from long after the protagonists’ glory days, one can’t describe the music as a trip
down memory lane. Like Red Allen, Stewart developed an almost avant-garde approach to improvisation in his later years,
extending his vocabulary of growls, smears and moans to extremes that Lester Bowie would have been proud of. For his part, Smith
was always a maverick who always loved to coax unorthodox sounds from his ax. It must be noted that more conversation than
music was recorded at the party, and while it’s fun to hear Smith and Stewart reminisce, it’s not necessarily something to return to.
A whole disc of spectacular duos like “Summertime” and “Royal Garden Blues” would make this the record of the year.
As it stands, it’s still a significant addition to both musicians’ catalogues.
– Duck Baker, Jazz Times, December 2006
Everyone interested in jazz history or even just in jazz musicians’ humour should find this release as delightful and enlightening as I did.
– Bob Weir, Jazz Journal, February 2007


*


The collection is an absolute “must have.” . . . Thank you AB Fable, for your work in delineating this paradigm and bringing
this music to a broader audience. I look forward to future releases, and encourage everyone to snap up the copies still available . . .
– Gayle Dixon, International Association for Jazz Education Strings Yahoo Group, August 2005

. . . rarities, surprises, curiosities and pure gold. One wonders, what else has Barnett up his sleeve?
There can hardly be many so at home among the niches and nooks and crannies of jazz violin playing.
– Thorbjørn Sjøgren [trans. AB], Jazz Special, Copenhagen, August/September 2005

. . . most folks are likely oblivious to the vast array of Jazz violin practitioners through the years, time seems to have forgotten
a majority of them. Anthony Barnett, head of the AB Fable label, seeks via his Violin Improvisation Studies series not only to
preserve these great works of the past, but also to spread the word about this music that otherwise may be forgotten by history.
As for the four new sets considered here, they are chock full of many highlights, rarities, etc., with most of the cuts on CD
for the first time stemming from unreleased live broadcasts, private recordings, and demos and other obscure sources.
– Jay Collins, Cadence, October 2005

Anthony Barnett has already done more than anyone to promote understanding and appreciation of the jazz violin . . .
He has now added magnificently to this previously little known treasure trove . . . meticulously documented . . .
. . . deserves wide support for his enterprise in making this mostly otherwise unobtainable material available.
– Bob Weir, Jazz Journal, January 2006

Anthony Barnett’s AB Fable label is a researcher’s dream
– Peter Vacher, Jazz UK, January/February 2007

In February 2006 Matthew Lavoie at Voice of America radio devoted two programs to AB Fable CDs

Matt Glaser’s April 2003 feature review of AB Fable CDs in Strings Magazine can be read in full at
www.stringsmagazine.com/issues/Strings109/reviews.html

Ken Dryden’s online All Music Guide reviews of AB Fable CDs can be read at
Ray Nance | Ray Perry | Stuff Smith & Robert Crum | Stuff Smith 1944–1946
Ginger Smock | Eddie South | I Like Be I Like Bop | Bownus 2005: Almost Like Being in Bop

Very rarely do I get new recordings that radically alter my perception of artists with whom I have been familiar for many years. Well,
last week I received the first instalment of Anthony Barnett’s new CD series: four CDs with Stuff Smith and one with Ray Perry
and they did just that. . . . They are highly recommendable.
– Martin Norgaard, International Association for Jazz Education Strings Yahoo Group, December 2002

Heaven sent heritage . . . When jazz archeologists dig deep enough they find pure gold
– J. R. Keith Keller [trans. AB], Jazz Special, Copenhagen, April/Maj 2003

The always excellent work of AB is readily apparent at every turn of these releases
and it’s hoped that more CDs will be issued on this label
– Russ Chase, IAJRC Journal, spring 2003

Often reissues from past eras emulate the style of the period, evoking the cliches used by heritage exhibitions or theme restaurants.
Here, recordings and photographs are presented like treasures in a collector’s cabinet, in elegant starkness.
You must study each trace, appreciate every mark.
– Ben Watson, The Wire, June 2003

The bulk of the lacquers were transferred by Frank Büchmann-Møller, who did an exemplary job. . . . marvellous CDs
– Vincent Pelote, ARSC Journal, Fall 2004 re 2002 releases



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