31-07-2018 12:48 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1940s & 1930s

31-07-2018 12:48 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1940s & 1930s   >>Marilyn Monroe, Lonnie Johnson, Memphis Jug Band, Blind Lemon Jefferson, The Boswell Sisters, Django Reinhardt,Fats Waller & His Rhythm, Count Basie and His Orchestra, Billie Holiday, Coleman Hawkins, Charlie Patton, Duke Ellington, Blind Willie McTell, Cab Calloway, Louis Armstrong<<

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1940s-1930s

Comedienne, iconic 1950s movie sex symbol, and appealing interpreter of flirtatious vocal ballads.  Although film actress and Hollywood legend Marilyn Monroe has been the subject of a large number of albums, she rarely stepped into a recording studio to make a commercial recording and only appeared in five real movie musicals (with a few other musical performances in her straight films), making for a total record and soundtrack output of less than three dozen titles that are recycled endlessly along with bits of movie dialogue and radio and TV appearances on the frequent reissues.
Marilyn Monroe
My Heart Belongs To Daddy (C. Porter) 5:01
Bye Bye Baby (Styne, Robin) 3:22
from Goodbye Primadonna

A hugely influential and original blues musician in the early 1900s, often crossing over into jazz.  Blues guitar simply would not have developed in the manner that it did if not for the prolific brilliance of Lonnie Johnson. He was there to help define the instrument's future within the genre and the genre's future itself at the very beginning, his melodic conception so far advanced from most of his prewar peers as to inhabit a plane all his own. For more than 40 years, Johnson played blues, jazz, and ballads his way; he was a true blues originator whose influence hung heavy on a host of subsequent blues immortals.
Lonnie Johnson
A Broken Heart That 2:56
Blue in G 2:55
Guitar Blues 3:19
from Guitar Blues

Memphis Jug Band - Sun Brimmer's Blues 3:25
Blind Lemon Jefferson - Matchbox 3:01
Lonnie Johnson- Playing With The Strings 3:01
The Boswell Sisters - Rock And Roll
from Roots of Rock N' Roll Vol 1 1927-1938
The Big Bang! The Birth of Rock and Roll
In the early 1950s, a new form of music exploded onto the scene, exciting a growing teenage audience while startling many others who preferred the music of Bing Crosby and Patti Page. Popularized by disc jockey Alan Freed in 1951, the term "rock and roll" came to be used to describe a new form of music, steeped in the blues, rhythm and blues, country, and gospel. Teenagers fell in love with this new sound, listening to it on transistor radios and buying it in record stores. Many parents believed that this music was simply noise that had a negative influence on impressionable teens. Either way, it became clear that rock and roll was here to stay, bringing with it important changes. Examine the impact of rock and roll, and explore how the birth of this new music influenced and was influenced by technology, teen culture, race, and geography...

Swing’s African Roots and Early Influences

Legendary, almost mythical gypsy jazz guitarist of the 1930s, collaborations with violinist Stephane Grappelli are landmarks.  Django Reinhardt was the first hugely influential jazz figure to emerge from Europe -- and he remains the most influential European to this day, with possible competition from Joe Zawinul, George Shearing, John McLaughlin, his old cohort Stephane Grappelli and a bare handful of others. A free-spirited gypsy, Reinhardt wasn't the most reliable person in the world, frequently wandering off into the countryside on a whim.

Django Reinhardt
Quintette Du Hot Club De France - After You've Gone (1936-05-04) 3:04
Quintette Du Hot Club De France - Limehouse Blues (1936-05-04)
Quintette Du Hot Club De France - Ain't Misbehavin' (1937-04-22)
from 1936-1937 / The Ultimate Jazz Archive (Vol 19) CD2

Fats Waller & His Rhythm - All My Life 2:49
Count Basie and His Orchestra - Oh' Lady Be Good 3:12
Billie Holiday - These Foolish Things 3:18
from The Million Sellers Of The 30's / 1936

Traditional pop music from WikipediA
Traditional pop (also classic pop or pop standards) is music that was recorded or performed after the Big Band era and before the advent of rock music.
The most popular and enduring songs from this style of music are known as pop standards or American standards. The works of these songwriters and composers are usually considered part of the canon known as the Great American Songbook. More generally, the term "standard" can be applied to any popular song that has become widely known in mainstream culture.

Billie Holiday and Coleman Hawkins

Coleman Hawkins was the first important tenor saxophonist and he remains one of the greatest of all time. A consistently modern improviser whose knowledge of chords and harmonies was encyclopedic, Hawkins had a 40-year prime (1925-1965) during which he could hold his own with any competitor.
Coleman Hawkins
1929-1935
Hello, Lola (1929-11-14, New York) 3:14
Dismal Dan (1930-04-04, New York) 2:59
Some Of These Days (1935-02-04, La Hague) 2:32
from The Ultimate Jazz Archive (Vol 18)
Coleman Hawkins started piano lessons when he was five, switched to cello at age seven, and two years later began on tenor. At a time when the saxophone was considered a novelty instrument, used in vaudeville and as a poor substitute for the trombone in marching bands, Hawkins sought to develop his own sound. A professional when he was 12, Hawkins was playing in a Kansas City theater pit band in 1921, when Mamie Smith hired him to play with her Jazz Hounds. Hawkins was with the blues singer until June 1923, making many records in a background role and he was occasionally heard on instrumentals. After leaving Smith, he freelanced around New York, played briefly with Wilbur Sweatman, and in August 1923 made his first recordings with Fletcher Henderson. When Henderson formed a permanent orchestra in January 1924, Hawkins was his star tenor...

If the Delta country blues has a convenient source point, it would probably be Charley Patton, its first great star. His hoarse, impassioned singing style, fluid guitar playing, and unrelenting beat made him the original king of the Delta blues. Much more than your average itinerant musician, Patton was an acknowledged celebrity and a seminal influence on musicians throughout the Delta. Rather than bumming his way from town to town, Patton would be called up to play at plantation dances, juke joints, and the like...
Charlie Patton
Screamin' And Hollerin' The Blues 3:06
Mississippi Bo Weevil Blues 3:07
A Spoonful Blues 3:13
from Founder of the Delta Blues: 1929-1934
Acoustic Guitar, Vocals – Charley Patton
Artwork, Mastered By – Nick Perls
Liner Notes – Stephen Calt
Recorded between June 1929 and February 1934.

Greatest all-round musical figure of the 20th century, who achieved monumental status as a composer, bandleader, arranger, and instrumentalist. 
Duke Ellington
Blue Harlem (05-16-32) 2:55
Swamy River (05-17-32) 2:59
Baby! (01-07-33) 3:10
from Complete Jazz Series 1932 - 1933
Duke Ellington was the most important composer in the history of jazz as well as being a bandleader who held his large group together continuously for almost 50 years. The two aspects of his career were related; Ellington used his band as a musical laboratory for his new compositions and shaped his writing specifically to showcase the talents of his bandmembers, many of whom remained with him for long periods. Ellington also wrote film scores and stage musicals, and several of his instrumental works were adapted into songs that became standards. In addition to touring year in and year out, he recorded extensively, resulting in a gigantic body of work that was still being assessed a quarter century after his death.

Blues guitarist, master of the 12-string, a hearty influence on the 1960s folk revival.
Blind Willie McTell ‎
Statesboro Blues 2:32
Writin' Paper Blues 3:10
Mr. McTell Got The Blues (Alternate Take) 2:19
from Statesboro Blues - When The Sun Goes Down Series 1920s, 1930s
Willie Samuel McTell was one of the blues' greatest guitarists, and also one of the finest singers ever to work in blues. A major figure with a local following in Atlanta from the 1920s onward, he recorded dozens of sides throughout the '30s under a multitude of names -- all the better to juggle "exclusive" relationships with many different record labels at once -- including Blind Willie, Blind Sammie, Hot Shot Willie, and Georgia Bill, as a backup musician to Ruth Mary Willis. And those may not have been all of his pseudonyms -- we don't even know what he chose to call himself, although "Blind Willie" was his preferred choice among friends. Much of what we do know about him was learned only years after his death, from family members and acquaintances. His family name was, so far as we know, McTier or McTear, and the origins of the "McTell" name are unclear. What is clear is that he was born into a family filled with musicians -- his mother and his father both played guitar, as did one of his uncles, and he was also related to Georgia Tom Dorsey, who later became the Rev. Thomas Dorsey.

Flamboyant swing bandleader and gifted scat singer who featured great musicianship in his orchestras and long personified 1930s Harlem style. 
Cab Calloway
Nagasaki 2:57
Minnie The Moocher 3:24
The Calloway Boogie 3:02
from Minnie the Moocher
One of the great entertainers, Cab Calloway was a household name by 1932, and never really declined in fame. A talented jazz singer and a superior scatter, Calloway's gyrations and showmanship on-stage at the Cotton Club sometimes overshadowed the quality of his always excellent bands. The younger brother of singer Blanche Calloway (who made some fine records before retiring in the mid-'30s), Cab grew up in Baltimore, attended law school briefly, and then quit to try to make it as a singer and a dancer. For a time, he headed the Alabamians, but the band was not strong enough to make it in New York. The Missourians, an excellent group that had previously recorded heated instrumentals but had fallen upon hard times, worked out much better. Calloway worked in the 1929 revue Hot Chocolates, started recording in 1930, and in 1931 hit it big with both "Minnie the Moocher" and his regular engagement at the Cotton Club...

The most important and influential musician in jazz history, and one of the leading singers and entertainers from the 1920s through the '50s. 
Louis Armstrong
Mahogany Hall Stomp (03-05-29) 3:28
Song Of The Islands (01-24-30) 3:30
Indian Cradle Song (05-04-30) 3:01
from Complete Jazz Series 1929 - 1930
Louis Armstrong was the first important soloist to emerge in jazz, and he became the most influential musician in the music's history. As a trumpet virtuoso, his playing, beginning with the 1920s studio recordings made with his Hot Five and Hot Seven ensembles, charted a future for jazz in highly imaginative, emotionally charged improvisation. For this, he is revered by jazz fans. But Armstrong also became an enduring figure in popular music, due to his distinctively phrased bass singing and engaging personality, which were on display in a series of vocal recordings and film roles.