A case could be made for being one of the greatest early period pianists, ranking right up there with , , and . These original label sessions of released and several previously unreleased house-party recordings show the diverse approach that used, from ragtime and barrelhouse to swing and straight blues. is know for having beaten in a competition in 1916, and for his unique technique of playing the piano palms up. Sound quality on these sides is acceptable. These 26 tracks are mostly two-minute ditties. There are three takes of his famous using good energy and staggered syncopation. You get the and (plus alternate take) using -type uppity stride, a boogie-inflected or tango-tinged and a pair of great two-beat stride, -timed renditions. is a classic that was written in 1964 for St. Louis, with refrains. The similarly epic has small arpeggiated figures, while is a solid, deliberate rag. Contrasting motions crop up on the languid yet impatient moments of while is at once lilting and racehorse-like. Also featured are the blues, stride, and two-beat in the spousal tribute and the reverential, -styled Hard staccato chords with boogie inform whereas unrelenting energy and precision is evidenced during is a near tango, is romping and free wheeling, offers a delicate two beat, and sounds like it's from a different session -- much longer (a whopping four minutes), slower, darker, and sonically muddier. The three most unusual tracks are aka with a tinkling bridge and an intro story concerning prohibition; signified by the whistled, vocalized, hand-clapped, and distorted MC ( ?); and the second to fourth gear-shifted drowned by the noise of a gabby crowd. Yes, is neglected and nestled in obscurity, but this CD might turn some heads and change some minds. Recommended, especially for early piano lovers. ~ Michael G. Nastos