24-06-2018 12:07 - PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1952-1943

Radio DJ Alan Freed in the 1950s.

24-06-2018 12:07 - PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1952-1943   >>Bill Haley, Wally Mercer, Merrill Moore, John Lee Hooker, Les Baxter, Ray Charles, Sarah Vaughan, Lowell Fulson, Thelonious Monk, Alberta Hunter, Cecil Gant, Big Joe Turner, Sister Rosetta Tharpe, Four Clefs, Lester Young, Tommy Dorsey, Lena Horne, Xavier Cugat<<

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1952-1943

Wally Mercer - Rock Around the Clock (Wallace Mercer) 2:42
Bill Haley - Rock the Joint (Doc Bagby / Harry "Fats" Crafton) 2:56
John Lee Hooker - Walkin' the Boogie (John Lee Hooker) 2:44
 from Roots of Rock N' Roll Vol 8 1952
This is the eighth volume in a series of double-disc anthologies from French label Fremeaux Records that chronicles the years that led up to the birth of rock & roll. While the magic year of 1954 is usually accepted as the dawn of the rock & roll age, the whole matter has always generated a good deal of debate, and this installment in the Fremeaux series only muddies the waters, since the year it covers, 1952, shows things rocking along pretty well... Whether these tracks contain the musical DNA that begat rock & roll or not is, in the end, fairly irrelevant, since these records rock, pedigree or no.

Exotica pioneer whose blend of Polynesian forms and orchestral arrangements appealed to the bachelor pad set of the 1950s and '60s. 
Les Baxter
Jalousie (Jacob Gade) 2:59
Venezuela (Alfredo Corenzo) 2:38
La Cumparsita (Gerardo Matos Rodríguez) 2:29
from Arthur Murray's Favorites: Tangos 1951
"Personally recommended for dancing by Arthur Murray." 

A brilliant, towering musical figure who through his singing and piano playing helped invent
soul and R&B music. Ray Charles was the musician most responsible for developing soul music. Singers like Sam Cooke and Jackie Wilson also did a great deal to pioneer the form, but Charles did even more to devise a new form of black pop by merging '50s R&B with gospel-powered vocals, adding plenty of flavor from contemporary jazz, blues, and (in the '60s) country. Then there was his singing; his style was among the most emotional and easily identifiable of any 20th century performer, up there with the likes of Elvis and Billie Holiday. He was also a superb keyboard player, arranger, and bandleader. The brilliance of his 1950s and '60s work, however, can't obscure the fact that he made few classic tracks after the mid-'60s, though he recorded often and performed until the year before his death.

Ray Charles
I Love You, I Love You (I Will Never Let You Go) (J. Lee Lawrence) 2:40
Rockin' Chair Blues (Aaron McKee) 2:44
Sitting on Top of the World (Lonnie Chatmon / Walter Vinson) 2:15
from Blues & Rhythm Classics 1949-1950
1949-1950 highlights the earliest Ray Charles sessions for the Swingtime and Downbeat labels, featuring 15 tracks from 1949 and six from 1950. Anyone with the slightest interest in Charles should investigate this material. It's amazing to hear Charles' metamorphosis from silky-voiced pop crooning (imitating his idols Charles Brown and Nat King Cole) into his passionate gospel-powered voice shortly after he signed with Atlantic Records in 1952.

Bop's greatest diva, a highly influential jazz singer with extraordinary range and perfect intonation, ranging from soft and warm to harsh and throaty. Possessor of one of the most wondrous voices of the 20th century, Sarah Vaughan ranked with Ella Fitzgerald and Billie Holiday in the very top echelon of female jazz singers. She often gave the impression that with her wide range, perfectly controlled vibrato, and wide expressive abilities, she could do anything she wanted with her voice. Although not all of her many recordings are essential (give Vaughan a weak song and she might strangle it to death), Sarah Vaughan's legacy as a performer and a recording artist will be very difficult to match in the future.
Sarah Vaughan
Blue Grass (Lew Brown / Buddy DeSylva / Ray Henderson) 2:49
It's Magic (Sammy Cahn / Jule Styne) 3:09
Gentleman Friend (Arnold B. Horwitt / R. Lewine / Richard Lewine) 2:35
How Am I to Know? (Jack King / Charlie Parker) 2:52
from Complete Jazz Series 1947 - 1949
Classics #1101 captures Sarah Vaughan early in her career from 1947-1949. These Musicraft and early Columbia sessions paved the way for her future success as a leading jazz vocalists. Featuring 23 tracks, Vaughan is backed by orchestras led by Ted Dale, Richard Maltby, Joe Lippman, and Hugo Winterhalter, while also recording more jazz oriented material with the Jimmy Jones Quartet featuring Al Mckibbon on bass and Kenny Clarke on drums. While these combination string arrangements/jazz sessions only contain a handful of essentials ("Just Friends," "I Cried For You," "Nature Boy") they represent the beginning of that commercial balance Sarah Vaughan would successfully bounce back and forth between during her long career.

One of the founders of West Coast America blues, recorded steadily from the '40s through '90s.  Lowell Fulson recorded every shade of blues imaginable. Polished urban blues, rustic two-guitar duets with his younger brother Martin, funk-tinged grooves that pierced the mid-'60s charts, even an unwise cover of the Beatles' "Why Don't We Do It in the Road!" Clearly, the veteran guitarist, who was active for more than half-a-century, wasn't afraid to experiment. Perhaps that's why his last couple of discs for Rounder were so vital and satisfying -- and why he remained an innovator for so long.
Lowell Fulson
Let's Throw a Boogie Woogie (Lowell Fulson) 2:57
Whiskey Blues (Lowell Fulson / Fats Waller) 3:58
Highway 99 (Lowell Fulson) 2:44
from Classic Cuts: Oakland, California 1947-1948
This is a collection of early Lowell Fulson sides recorded for several small labels in 1947 and early 1948, prior to Fulson's signing with Swing Time Records...  Lowell Fulson's mature sound didn't develop until he began working with pianist Lloyd Glen and alto saxist Earl Brown a little further down the road.

A brilliant composer and a criminally underrated pianist whose sense of rhythm, space, and harmony made him one of the founders of modern jazz.  The most important jazz musicians are the ones who are successful in creating their own original world of music with its own rules, logic, and surprises. Thelonious Monk, who was criticized by observers who failed to listen to his music on its own terms, suffered through a decade of neglect before he was suddenly acclaimed as a genius; his music had not changed one bit in the interim. In fact, one of the more remarkable aspects of Monk's music was that it was fully formed by 1947 and he saw no need to alter his playing or compositional style in the slightest during the next 25 years.
Thelonious Monk
Humph (Thelonious Monk) 2:54
Suburban Eyes (Ike Quebec) 3:01
Well You Needn't  (Thelonious Monk) 2:57
Thelonious (Thelonious Monk) 3:01
from Genius of Modern Music, Vol. 1 / Recording Date: October 15, 1947 - November 21, 1947
Volume 1 of the two-volume Genius of Modern Music set comprises the first sessions Thelonious Monk recorded as a leader, on October 15 and 24 and November 21 of 1947. It's impossible to overstate the importance of these sessions. They include some of the earliest recordings of Monk compositions that would become standards...  the excitement of discovery permeates every measure, and Monk himself is in top form, his solos jagged and strange, yet utterly beautiful. This first volume of Genius of Modern Music, along with the second, belongs in every jazz collection.

Jazz-blues singer soared to popularity in the '20s & '30s, returned in the '80s. Alberta Hunter was a pioneering African-American popular singer whose path crosses the streams of jazz, blues and pop music. While she made important contributions to all of these stylistic genres, she is claimed exclusively by no single mode of endeavor. Hunter recorded in six decades of the twentieth century, and enjoyed a career in music that outlasted most human lives.
Alberta Hunter
Sugar (Edna Alexander / Sidney Mitchell / Maceo Pinkard) 3:19
Beale Street Blues (W.C. Handy) 3:17
I'm Going to See My Ma (Clarence Todd / Fats Waller) 3:07
You Can't Tell the Difference After Dark (Alberta Hunter / Maceo Pinkard) 2:58
from Alberta Hunter Vol. 4 (1927-c. 1946)
The fourth and final volume of Alberta Hunter's early recordings as reissued by Document during the 1990s covers a substantially longer stretch of time than any of the preceding installments, beginning in May 1927 and following her progress through the year 1946. Although she recorded sporadically during these years, she worked with an impressive roster of instrumentalists as her voice gradually deepened, enabling her to deliver the goods with visceral fortitude and earthy candor. This fine disc opens with three duets featuring Thomas "Fats" Waller at the pipe organ, with Hunter singing in a mellifluous contralto. Dazzled by his amazing ability to play real jazz on an instrument usually confined to churches...

Alberta Hunter, far right, performs Vaudeville

Cecil Gant -  I Wonder 2:45
Big Joe Turner - S.K. Blues, Part 1
Sister Rosetta Tharpe - Strange Things Happening Every Day 2:53
Four Clefs - V Day Stomp 3:10
from Blowing the Fuse: 28 R&B Classics That Rocked the Jukebox in 1945
Blowing the Fuse is a killer series of compilation CDs issued by Germany's premier archivist label, Bear Family. Subtitled "R&B Classics That Rocked the Jukebox," each volume is compiled by year. This one, covering 1945, hosts 26 tunes. What is immediately arresting is the sequencing here...

A tenor sax legend, known as Pres, whose melodic, smooth-flowing lines made him the most influential and inventive player of the pre-bop era. Lester Young was one of the true jazz giants, a tenor saxophonist who came up with a completely different conception in which to play his horn, floating over bar lines with a light tone rather than adopting Coleman Hawkins' then-dominant forceful approach. A non-conformist, Young (nicknamed "Pres" by Billie Holiday) had the ironic experience in the 1950s of hearing many young tenors try to sound exactly like him.
Lester Young
Jones-Smith Incorporated - Shoe Shine Boy (1936-11-09, Chicago) 2:57
Kansas City Six With Lester Young - Countless Blues (1936-11-09, Chicago) 2:58
Kansas City Six - I Got Rhythm 3:14
from The Ultimate Jazz Archive Set 20 - CD 2 / Lester Young 1936-1944

Tommy Dorsey & His Orchestra - Boogie Woogie (Pinetop Smith) 3:10
Lena Horne - Stormy Weather (Harold Arlen / Ted Koehler) 3:23
Xavier Cugat & His Orchestra - Brazil (Ary Barroso / Bob Russell) 2:48
from TIME LIFE MUSIC Your Hit Parade: 1943
1943, the second full year of World War II for the U.S., and the first full year of the recording ban called by the musicians union (though Decca Records settled with the union by the fall), was an odd time in American popular music, one in which vintage recordings were re-released for hits and in which new recordings were made a cappella to circumvent the ban....