22-10-2018 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

Marlene Dietrich

22-10-2018 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Marlene Dietrich, Duke Ellington and His Orchestra, Hal Kemp and His Orchestra & Skinnay Ennis, Paul Robeson, The Mills Brothers, Django Reinhardt, Josh White, Lonnie Johnson / Eddie Lang, Nick Lucas, John Cali / Tony Gottuso, Dick McDonough, Carl Kress / Dick McDonough, Pioneers of the Jazz Guitar, Vaggelis Sofroniou, Rita Ampatzi, Roza Eskenazi, Rebetiko, Miguelito Valdés, Noro Morales' Orchestra, Tommy Dorsey, Big Bill Broonzy, Charlie Christian, Benny Goodman Sextet<<

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before 1959

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 Freundin 3:12
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.

Lonnie Johnson / Eddie Lang - Handful of Riffs (Lonnie Johnson / Eddie Lang) 3:07
Nick Lucas - Teasing the Frets 2:47
John Cali / Tony Gottuso - Hittin' on All Six (John Cali) 2:24
Dick McDonough - Chasing a Buck 2:18
Carl Kress / Dick McDonough - Chicken a la Swing (Carl Kress / Dick McDonough) 2:12
from Pioneers of the Jazz Guitar / Recording Date: November 17, 1928 - August 26, 1937 (1992)
Other than Django Reinhardt, the who's who of jazz guitar (all acoustic players) are heard on this sampler album from Yazoo. There are guitar duets by Lonnie Johnson and Eddie Lang, Lang and Carl Kress (the memorable "Feeling My Way"), Kress and Dick McDonough, and the team of John Cali and Tony Guttuso. In addition there are solo performances by McDonough and Nick Lucas. Although it would have been preferable to have this music with the complete sessions and in chronological order (the recording dates are unfortunately not included on the LP), this album has more than its share of classic performances and is worth a search.

Carl Kress and Dick McDonough

Vaggelis Sofroniou - Paraponiara (Complaining Woman) 3:32
Rita Ampatzi - Gia Mia Tsachpina Kapelou (For The Love Of The Hatter-Girl) 3:09
Roza Eskenazi - Giannakis 3:00
from Anthology Of Smyrnean Songs Vol. 1 - 1920 -1938 

Rita Ampatzi

Rebetiko, plural rebetika (Greek: ρεμπέτικο, pronounced [reˈbetiko] and ρεμπέτικα pronounced [reˈbetikɑ] respectively), occasionally transliterated as Rembetiko or Rebetico, is a term used today to designate originally disparate kinds of urban Greek music which have come to be grouped together since the so-called rebetika revival, which started in the 1960s and developed further from the early 1970s onwards.[1] Rebetiko briefly can be described as the urban popular song of the Greeks, especially the poorest, from the late 19th century to the 1950s.

During more than five decades of performing, the vocal innovations of Miguelito Valdes made him one of Latin music's most popular artists.
Miguelito Valdés, Noro Morales' Orchestra
Noro Morales was a Puerto Rican jazz leader/composer, mixed his home island's flavor with NYC big band sensibities for a unique 1940s sound. 
Babalú (M. Lecuona) 2:57
Sangre Son Colora (M. Valdés) 2:46
Marimba (A. Tuvim, A. Lara) 3:11
from Mr. Babalu
recorded in N.Y.C., 1949. & 1951

Jazz trombonist whose popular band epitomized swinging pre-war America. Though he might have been ranked second at any given moment to Benny Goodman, Artie Shaw, Glenn Miller, or Harry James, Tommy Dorsey was overall the most popular bandleader of the swing era that lasted from 1935 to 1945.
Tommy Dorsey
In the Middle of a Dream (Al Stillman / Einar A. Swan) 3:13
Dawn on the Desert (Charlie Shavers) 2:52
from The Chronological 1939 (2002)
This 12th installment in the Classics Tommy Dorsey chronology documents the trombonist's Victor studio recordings dating from the first half of 1939.

Intelligent, versatile early blues guitarist possessed an unmistakable, hollering voice with remarkable range. 
Big Bill Broonzy
Please Be My So and So 2:46
Don't You Want to Ride 2:50
Merry Go Round Blues 2:43
from 1937-1940, Vol. 2 Disc 4 (2005)
The second volume in JSP's Big Bill Broonzy retrospective is four discs long, covering the bluesman's years in Chicago and New York. What is astonishing is that there are 100 tracks here. While it's true that there are many alternate takes for the sake of the historical record, nonetheless, when combined with volume one, this accounts for a prolific output by the singer and guitarist...

Early jazz electric guitarist whose dazzling single note style unshackled the instrument from the rhythm section, immeasurably influential. It can be said without exaggeration that virtually every jazz guitarist that emerged during 1940-65 sounded like a relative of Charlie Christian. The first important electric guitarist, Christian played his instrument with the fluidity, confidence, and swing of a saxophonist.
Charlie Christian, Benny Goodman Sextet
Benny Goodman was the first celebrated bandleader of the Swing Era, dubbed "The King of Swing," his popular emergence marking the beginning of the era. He was an accomplished clarinetist whose distinctive playing gave an identity both to his big band and to the smaller units he led simultaneously. 
Flying Home (Benny Goodman / Lionel Hampton / Sydney Robin) 3:16
The Sheik of Araby (Harry Beasley Smith / Ted Snyder / Francis Wheeler) 3:18
A Smo-O-O-Oth One (Benny Goodman) 3:20
Air Mail Special (Charlie Christian / Benny Goodman / Jimmy Mundy) 3:22
from Charlie Christian & Benny Goodman Sextet 1939-1941 (Jazz Archives No. 121)
Charlie Christian was not the first electric guitarist, but he was its first giant. He elevated the guitar from a member of the rhythm section (where it was often inaudible) to the frontline, taking solos that could challenge any saxophonist. His playing was so appealing to his contemporaries that it was not until the emergence of rock in the mid- to late '60s that more advanced guitarists emerged. By then it was over a quarter century since Christian's premature death from tuberculosis. He spent his only two high-profile years as a member of the Benny Goodman Sextet... Christian and Goodman are joined by Lionel Hampton on the first dozen performances, while the final six boast the explosive combination of trumpeter Cootie Williams and Georgie Auld's tenor. The riffing inspires heated yet melodic solos, resulting in classic music that is impossible to dislike. (Barnes & Noble)

Charlie Christian with Benny Goodman and his rhythm guitarist