02-10-2018 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1925-1936

02-10-2018 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1925-1936   >>Lonnie Johnson, Clara Smith, Joe Venuti, Genesis of Rock 'n' Roll, Duke Ellington, Skip James, Earl Hines, Marlene Dietrich, Duke Ellington and His Orchestra, Hal Kemp and His Orchestra & Skinnay Ennis, Paul Robeson, The Mills Brothers, Django Reinhardt, Josh White<<

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1925-1936

Lonnie Johnson
Mr. Johnson's Blues 2:43
Lonnie's Got The Blues 3:09
from Lonnie Johnson Vol. 1 (1925-1926)
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. (allmusic)

Clara Smith
Look Where the Sun Done Gone 3:06
Jelly Bean Blues (Lina Arant / Ma Rainey) 2:58
Whip It to a Jelly 3:11
from Clara Smith Vol. 4 (1926-1927)
One of the legendary unrelated Smith singers of the 1920s, Clara Smith was never on Bessie's level or as significant as Mamie but she had something of her own to offer. She began working on the theatre circuit and in vaudeville around 1910, learning her craft during the next 13 years while traveling throughout the South...

Although renowned as one of the world's great practical jokers (he once called a couple dozen bass players with an alleged gig and asked them to show up with their instruments at a busy street corner just so he could view the resulting chaos), Joe Venuti's real importance to jazz is as improvised music's first great violinist. He was a boyhood friend of Eddie Lang (jazz's first great guitarist) and the duo teamed up in a countless number of settings during the second half of the 1920s, including recording influential duets.
Joe Venuti
Black and Blue Bottom (Eddie Lang / Joe Venuti) 2:45
Wild Cat (Eddie Lang / Joe Venuti) 2:57
Dinah (Harry Akst / Sam M. Lewis / Joe Young) 2:51
from Complete Jazz Series 1926 - 1928
This particular slice of the Joe Venuti & Eddie Lang chronology presents some of their all-time best instrumental performances garnished with a small bouquet of precious novelties...  Venuti's lyrically inspired handling of the violin and Lang's virtuosic guitar still sound surprisingly fresh and imaginative. These earliest Venuti and Lang collaborations exude a special sort of positive energy that is unique in all of classic jazz. Some of the instrumental tracks feel like well-organized, improvised hot chamber music...

Eddie Lang and Joe Venuti

Blind Lemon Jefferson - Matchbox Blues 3:03
The Allen Brothers - Ain't That Skippin' And Flyin'? 3:02
Jelly Roll Morton - Georgia Swing 2:32
Honolulu Serenaders - Honolulu Stomp  3:25
from The Genesis of Rock 'n' Roll - Vol. 1: Roots 1 (1927-1929)
Rock and roll emerged as a defined musical style in the United States in the early to mid-1950s. It derived most directly from the rhythm and blues music of the 1940s, which itself developed from earlier blues, boogie woogie, jazz and swing music, and was also influenced by gospel, country and western, and traditional folk music. Rock and roll in turn provided the main basis for the music that, since the mid-1960s, has been generally known simply as rock music.
The phrase "rocking and rolling" originally described the movement of a ship on the ocean, but it was used by the early 20th century, both to describe a spiritual fervor and as a sexual analogy. Various gospel, blues and swing recordings used the phrase before it became used more frequently – but still intermittently – in the late 1930s and 1940s, principally on recordings and in reviews of what became known as "rhythm and blues" music aimed at black audiences. In 1951, Cleveland-based disc jockey Alan Freed began playing this music style while popularizing the term "rock and roll" to describe it... (WikipediA)

Greatest all-round musical figure of the 20th century, who achieved monumental status as a composer, bandleader, arranger, and instrumentalist. 
Duke Ellington
Jungle Jamboree 3:04
St. James Infirmary 3:00
from Complete Jazz Series: Duke Ellington 1929 - 1930
...While maintaining his job at The Cotton Club, Ellington took his band downtown to play in the Broadway musical Show Girl, featuring the music of George Gershwin, in the summer of 1929. The following summer, the band took a leave of absence to head out to California and appear in the film Check and Double Check. From the score, "Three Little Words," with vocals by the Rhythm Boys featuring Bing Crosby, became a number one hit on Victor in November 1930; its flip side, "Ring Dem Bells," also reached the charts. The Ellington band left The Cotton Club in February 1931 to begin a tour that, in a sense, would not end until the leader's death 43 years later...

This emotional, lyrical performer was a talented blues guitarist and arranger with an impressive body of work. Among the earliest and most influential Delta bluesmen to record, Skip James was the best-known proponent of the so-called Bentonia school of blues players, a genre strain invested with as much fanciful scholarly "research" as any. Coupling an oddball guitar tuning set against eerie, falsetto vocals, James' early recordings could make the hair stand up on the back of your neck.
Skip James
Devil Got My Woman (Skip James) 3:00
Cherry Ball Blues (Skip James) 2:51
from I'd Rather Be The Devil: The Legendary 1931 Session (2007)
... The music remains some of the most revered pre-World War II country blues, both for the quality of James' guitar work (though he occasionally backs himself on piano) and his haunting high vocals. "I'm So Glad" and, to a lesser degree, "Devil Got My Woman" remain the only songs familiar to a non-blues specialist audience, but many of the other tunes have similar qualities that will find favor with those who like those two classics...

Charismatic pianist of the early days of jazz whose unusual rhythms changed the course of music. Once called "the first modern jazz pianist," Earl Hines differed from the stride pianists of the 1920s by breaking up the stride rhythms with unusual accents from his left hand. While his right hand often played octaves so as to ring clearly over ensembles, Hines had the trickiest left hand in the business, often suspending time recklessly but without ever losing the beat. One of the all-time great pianists, Hines was a major influence on Teddy Wilson, Jess Stacy, Joe Sullivan, Nat King Cole, and even to an extent on Art Tatum.
Earl Hines
Blues in Thirds (Earl Hines) 2:54
Chicago High Life (Earl Hines) 2:54
Deep Forest (Reginald Foresythe / Earl Hines / Andy Razaf) 2:45
from Complete Jazz Series: Earl Hines 1928 - 1932
This initial installment in the historical chronology of recordings released under the name of Earl Hines contains no less than 13 finely rendered piano solos. Hines the pianist is caught in the act of tapping into everything that was in the air at the time: ragtime, blues, catchy airs and shout-style stride -- everything a bright young man would have picked up between Pittsburgh and Chicago, with Kansas City, New Orleans and New York coming up through the floorboards... Finishing off the disc with a taste of 1932, "Deep Forest," soon to be established as the Hines theme song, is a sort of piano concerto in miniature. Here is the perfect prologue to what this striking individual went on to accomplish over the next half-century.

Marlene Dietrich’s worldly, half-spoken vocal style made her a the ultimate femme fatale vocalist for nearly half a century. The most exotic actress of the 1930s and '40s, Marlene Dietrich performed her cabaret act around the world and recorded for Decca, Columbia and Capitol in the post-war period, after her film career had slowed. A thick German accent and her odd sung-spoken vocal style proved no barrier to international popular success and adoration.
Marlene Dietrich
Wenn Die Beste Freudin 3:12
I Am the Naughty Lola 2:33
Wo Ist der Mann 3:09
from Marlene Dietrich 1928-1933
Although we mostly think of Marlene Dietrich as an exotic and mysterious actress who began appearing in films way back in the 1920s, she had a surprising amount of success as a vocalist too. Although her singing voice might have been somewhat of an acquired taste for listeners, it was certainly distinctive, and music would play a big part in her long career... (Marlene Dietrich The Singer)

Duke Ellington and His Orchestra - Coctails for Two 3:29
Hal Kemp and His Orchestra & Skinnay Ennis - Got a Date with an Angel 2:18
Paul Robeson - Little Man, You've Had a Busy Day 3:14
The Mills Brothers - Sleepy Head 3:05
from The Million Sellers Of The 30's - 1934
Music Played in the 1930's Popular Music From the 30s
The 1930s were shaped by the contrasting moods of the Great Depression and the glamorous beginnings of Old Hollywood. Popular music was equally impacted by these forces and as home radios became more common, the music industry began to keep track of and measure the popularity of sheet music and records through sales...

Legendary, almost mythical gypsy jazz guitarist of the 1930s, collaborations with violinist Stephane Grappelli are landmarks. 
Django Reinhardt
Lilly Belle May June feat: Quintet of the Hot Club of France 3:35
Confessin' (Doc Daugherty / Ellis Reynolds) feat: Quintet of the Hot Club of France 2:57
Smoke Gets in Your Eyes (Fumée aux Yeux) feat: Pierre Lord 2:49
from Integrale Django Reinhardt, Vol. 3: 1935 (2002)
Django Reinhardt best-of collections are fairly easy to come by, and if all you want is a nice, manageable assortment of instrumentals that show off his amazing technique, go for it: you've got a hefty selection of samplers to choose from. Fremeaux & Associes' 20-volume, 40-disc Integrale Django Reinhardt series, on the other hand, exists as a detailed chronological map of his recording activity over a quarter-century, including virtually all of his work as sideman and accompanist. Volume three focuses on nearly seven months out of the year 1935, a busy time for Reinhardt...

Josh White began as a Southern bluesman but eventually evolved into an eclectic, urbane artist. Many listeners were unaware of White's status as a major figure in the Piedmont blues tradition. The first part of his career saw him as apprentice to some of the greatest blues and religious artists ever, including Willie Walker, Blind Blake, Blind Joe Taggart (with whom he recorded), and allegedly even Blind Lemon Jefferson. On his own, he recorded both blues and religious songs...
Josh White
New Milk Cow Blues (Josh White) 2:55
Black Man (Johnny Parth / Josh White) 3:03
Lord, I Want to Die Easy (Josh White) 3:24
Lazy Black Snake Blues (Josh White) 2:50
from Blues Singer 1932-1936 (1996)
The suave and debonair blues sex symbol in his earliest and purest period, when the Piedmont influence was at its peak in his playing. This is strong stuff, eons away from the collegiate crowd-pleasing folkie stuff he engaged in during the '60s: "Milk Cow Blues," "Lazy Black Snake Blues," and "Silicosis Is Killin' Me" are acoustic solo blues of a consistently high quality, and there are a few religious tunes thrown in to spotlight the other side of White's early recording activities.