22-08-2018 12:05 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1930s & 1900s

22-08-2018 12:05 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1930s & 1900s   >>Duke Ellington, Blind Willie McTell, Cab Calloway, Louis Armstrong, Jelly Roll Morton, Marika Papagika, Blind Blake, King Oliver, Fletcher Henderson, Bessie Smith, Ida Cox, Original Dixieland Jazz Band, Tango, Scott Joplin<<

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1900s-1900s

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
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
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
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
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.

New Orleans-based arranger and pianist who was the jazz idiom's first important composer. 
Jelly Roll Morton
Wolverine Blues (Take 1) 3:19
Mr. Jelly Lord 2:51
Kansas City Stomps (Jelly Roll Morton's Red Hot Peppers) 2:53
from Wolverine Blues (The Complete Victor Recordings 1927-1929)
One of the very first giants of jazz, Jelly Roll Morton did himself a lot of harm posthumously by exaggerating his worth, claiming to have invented jazz in 1902. Morton's accomplishments as an early innovator are so vast that he did not really need to stretch the truth.

Marika Papagika (Greek: Μαρίκα Παπαγκίκα, 1890 -1943) was a popular Greek singer in the early 20th century and one of the first Greek women singers to be heard on sound recordings.
Marika Papagika
Hrissaido 3:42
Manaki Mou 3:43
from The Further the Flame, the Worse it Burns Me: Greek Folk Music in New York City, 1919-1928
...Marika Papagika distinguished herself from most of her contemporaries by virtue of her sweet soprano voice with its relatively high tessitura, her vocal timbre, somewhat reminiscent of Western classical singers, and her diction. The style and sound of her recordings is further distinguished by the particular accompaniment which graced most of them, namely the unusual combination of cymbalom and violoncello, plus a violin or a clarinet, and, very occasionally, a xylophone. Her occasional forays into more purely Western songs also set her apart from her female contemporaries on both sides of the Atlantic. It is perhaps reasonable to understand the performance styles of Mr. & Mrs Papagika & Co. as a true echo of the "santouro-violi" (santouri and violin) music of late 19th century urban Ottoman and mainland Greece...

Blind bluesman's intricate, syncopated style of guitar playing led him to be dubbed "King Of The Ragtime Guitar." 
Blind Blake
Righteous Blues 2:55
Black Dog Blues 2:52
Bad Feeling Blues 2:31
from Righteous Ragtime Blues
Blind Blake is a figure of enormous importance in American music. Not only was he one of the greatest blues guitarists of all-time, Blake seems to have been the primary developer of "finger-style" ragtime on the guitar, the six-string equivalent to playing ragtime on the piano. Blake mastered this form so completely that few, if any, guitarists who have learned to play in this style since Blake have been able to match his quite singular achievements in this realm. Blind Blake was the most frequently recorded blues guitarist in the Paramount Records' race catalog; indeed, Paramount waxed him as often as they could, as he was their best-selling artist...

New Orleans cornetist and band leader was an early jazz architect, and also famously hired a young horn player named Louis Armstrong. 
King Oliver
Buddy's Habit (12-25-23) 3:04
Snag It (03-11-26) 3:14
Home Town Blues (04-23-26) 2:55
from Complete Jazz Series 1923 - 1926
Joe "King" Oliver was one of the great New Orleans legends, an early giant whose legacy is only partly on records. In 1923, he led one of the classic New Orleans jazz bands, the last significant group to emphasize collective improvisation over solos, but ironically his second cornetist (Louis Armstrong) would soon permanently change jazz. And while Armstrong never tired of praising his idol, he actually sounded very little like Oliver; the King's influence was more deeply felt by Muggsy Spanier and Tommy Ladnier.

The bandleader who whose trailblazing work in the 1920s helped created the swing style in jazz. 
Fletcher Henderson
Prince of Wails (11/12-?-24) 3:06
Bye and Bye (01-23-25) 2:59
Poplar Street Blues (c. 02-04-25) 3:18
from Complete Jazz Series 1924 - 1925
...Fletcher Henderson had a degree in chemistry and mathematics, but when he came to New York in 1920 with hopes of becoming a chemist, the only job he could find (due to the racism of the times) was as a song demonstrator with the Pace-Handy music company. Harry Pace soon founded the Black Swan label, and Henderson, a versatile but fairly basic pianist, became an important contributor behind the scenes, organizing bands and backing blues vocalists. Although he started recording as a leader in 1921, it was not until January 1924 that he put together his first permanent big band..

The greatest female blues singer of all time, with a passionate voice and thundering delivery.   The first major blues and jazz singer on record and one of the most powerful of all time, Bessie Smith rightly earned the title of "The Empress of the Blues." Even on her first records in 1923, her passionate voice overcame the primitive recording quality of the day and still communicates easily to today's listeners (which is not true of any other singer from that early period). At a time when the blues were in and most vocalists (particularly vaudevillians) were being dubbed "blues singers," Bessie Smith simply had no competition.
Bessie Smith
Down Hearted Blues 3:29
Aggravatin' Papa 3:16
Baby Won't You Please Come Home 2:59
from Down Hearted Blues (Columbia Recordings, Vol. 1) 1923-1924
...Listening to these recordings 80 years down the road offers us a brief glimpse of American vocal arts at ground zero. Smith’s phrasing derived from that of the Delta blues singers crossed with Vaudeville. Listening to these sides is like hearing Robert Johnson after Led Zeppelin. It is the epiphany of realizing that there is nothing new under the sun and that sometimes the original is best left alone. The sonics of these old recordings have been improved by technology, but not enough to remove the sepia tone from the music. This is music so strong and vibrant that it emerges from the murk of decades.

Ida Cox (born Ida M. Prather, 1888 or 1896 - 1967) was an American singer and vaudeville performer, best known for her blues performances and recordings. She was billed as "The Uncrowned Queen of the Blues". 
Ida Cox
Any Women's Blues 3:33
Blue Monday Blues (Eddie Boyd) 2:45
from Ida Cox Complete Recorded Works, Vol. 1 (1923)
Ida Cox was one of the most powerful blues singers of the 1920s, ranking just below Bessie Smith. The Document label has reissued all of Cox's 1920s recordings on four CDs, leaving out many of the alternate takes (since there are a great deal from 1923-24) to be put out on a later series. The first CD has the master takes of all of Cox's recordings from 1923, plus four alternates.

The Original Dixieland Jass Band (ODJB) was a Dixieland jazz band that made the first jazz recordings in early 1917. Their "Livery Stable Blues" became the first jazz record ever issued. The group composed and recorded many jazz standards, the most famous being "Tiger Rag". In late 1917 the spelling of the band's name was changed to Original Dixieland Jazz Band...
Original Dixieland Jazz Band
Livery Stable Blues (1917-02-26) 3:06
At The Jazz Band Ball (1918-03-18) 2:39
from The Ultimate Jazz Archive Vol. 1
In early 1916 a promoter from Chicago approached clarinetist Alcide Nunez and drummer Johnny Stein about bringing a New Orleans-style band to Chicago, where the similar Brown's Band From Dixieland, led by trombonist Tom Brown, was enjoying success.[9] They then assembled trombonist Eddie Edwards, pianist Henry Ragas, and cornetist Frank Christian. Shortly before they were to leave, Christian backed out, and Nick LaRocca was hired as a last-minute replacement.

Banda De La Guardia Republicana De Paris - El Sargento Cabral 2:52
Banda Española - Mordeme La Oreja Izquierda 2:55
from Antología del Tango Rioplatense, Vol. 1
Tangos from 1907 to 1920
Argentine tango is a musical genre and accompanying social dance originating at the end of the 19th century in the suburbs of Buenos Aires  and Montevideo.
The origins of tango are unclear because little historical documentation from that era exists. However, in recent years, a few tango aficionados have undertaken a thorough research of that history and so it is less mysterious today than before. It is generally thought that the dance developed in the late 19th century in working-class neighborhoods of Buenos Aires, Argentina and Montevideo, Uruguay and was practiced by Uruguayan and Argentine dancers, musicians, and immigrant laborers. (WikipediA)

Accomplished quasi-classical ragtime pianist in the late nineteenth/early twentieth century who earned beaucoup posthumous recognition. 
Scott Joplin
Original Rags (1899-03-15) 3:01
The Entertainer (1902-12-29) 3:04
from Ultimate Jazz Archive (Vol 1)
Scott Joplin was "the King of Ragtime Writers," a composer who elevated "banjo piano playing," a lowly entertainment associated with saloons and brothels, into an American art form loved by millions. Born in Texas in either 1867 or 1868, Joplin was raised in Texarkana, the son of a laborer and former slave. As a child, Joplin taught himself piano on an instrument belonging to a white family that granted him access to it, and ultimately studied with a local, German-born teacher who introduced Joplin to classical music. Joplin attended high school in Sedalia, MO, a town that would serve as Joplin's home base during his most prosperous years, and where a museum now bears his name.