20-11-2018 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

Miguelito Valdés

20-11-2018 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Miguelito Valdés, Noro Morales' Orchestra, Tommy Dorsey, Big Bill Broonzy, Charlie Christian, Benny Goodman Sextet, Buster Bailey, Red Norvo, Coleman Hawkins, Don Byas, Charlie Parker, T-Bone Walker, Wynonie Harris, Pee Wee King, Muddy Waters, Albinia Jones<<

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before 1959

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. 
Marimba (A. Tuvim, A. Lara) 3:11
Babalú (M. Lecuona) 2:57
Sangre Son Colora (M. Valdés) 2:46
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

Buster Bailey was a brilliant clarinetist who, although known for his smooth and quiet playing with John Kirby's sextet, occasionally really cut loose with some wild solos (including on a recording called "Man With a Horn Goes Berserk"). Expertly trained by the classical teacher Franz Schoepp (who also taught Benny Goodman), Bailey worked with W.C. Handy's band in 1917...
Buster Bailey
Santa Claus Blues 2:47
There's a House in Harlem 2:50
from Jazz Figures / Buster Bailey (1924-1942)

Pioneering big-band and bebop xylophonist/vibraphonist who was active from the late 1920s through the early '90s. 
Red Norvo
You're So Desirable (Ray Noble) 3:01
Some Like It Hot (Ray Biondi / Gene Krupa / Frank Loesser) 2:54
from Red Norvo 1939 - 1943
The first ten tracks of this fifth volume of Red Norvo's complete recordings document the gradual demise of Norvo's big band, a unit he'd fronted since January of 1936. Only one of these -- a jumpin' arrangement of "Some Like It Hot" -- is instrumental. Seven tracks are burdened with the vapid vocalizing of Terry Allen...

A jazz legend and the colossus of the tenor saxophone, the first to use the instrument as a serious means of expression. 
Coleman Hawkins
Flame Thrower (Coleman Hawkins) 3:16
Disorder at the Border (Coleman Hawkins) 3:00
Rainbow Mist (Coleman Hawkins) 3:01
from Coleman Hawkins 1944
During the mid-'40s Coleman Hawkins was hitting another peak, seasoned by many years in big bands both in the States and Europe. He wasn't out of fashion during those early bop years, either, as he often played with the music's young Turks; their sound was a mix of the big band era's refined combo swing and bop's new, angular energy. This Classics disc captures some of the tenor great's best sides from the period, including an early bop milestone featuring Dizzy Gillespie and Don Byas ("Disorder at the Border") and tracks with Ben Webster and a variety of small bands graced by the likes of Byas, Teddy Wilson, Harry Carney, and Cozy Cole. Essential listening.

Billie Holiday & Coleman Hawkins 1951

Significant player in the development of the tenor saxophone, deeply rooted in the swinging south-west. One of the greatest of all tenor players, Don Byas' decision to move permanently to Europe in 1946 resulted in him being vastly underrated in jazz history books. His knowledge of chords rivalled Coleman Hawkins, and, due to their similarity in tones, Byas can be considered an extension of the elder tenor. 
Don Byas
Riffin' and Jivin' (Don Byas) 2:57
Worried 'N Blue (Don Byas) 3:15
Bass C Jam (Don Byas) 2:53
form Don Byas 1944 - 1945
Don Byas was one of the great tenor saxophonists of the 1940s, a Coleman Hawkins-influenced improviser who developed a complex style of his own. His permanent move to Europe in 1946 cut short any chance he had of fame, but Byas recorded many worthy performances during the two years before his departure. On Classics' first Don Byas CD (which contains his first 21 numbers as a leader), Byas matches wits and power with trumpeter Charlie Shavers on two heated sessions that include pianist Clyde Hart and bassist Slam Stewart...

Jazz giant who changed the face of the entire form, practically inventing modern jazz and shaping the course of 20th century music. One of a handful of musicians who can be said to have permanently changed jazz, Charlie Parker was arguably the greatest saxophonist of all time. He could play remarkably fast lines that, if slowed down to half speed, would reveal that every note made sense. "Bird," along with his contemporaries Dizzy Gillespie and Bud Powell, is considered a founder of bebop; in reality he was an intuitive player who simply was expressing himself. 
Charlie Parker
Tiny's Tempo (Tiny Grimes / Clyde Hart) 2:55
Congo Blues (Red Norvo) 3:48
Now's the Time (Charlie Parker) 3:15
from Charlie Parker 1944-1946 (Jazz Archives No. 98)
This import roundup of some of Parker's key Savoy and Dial sides makes for a fine cross-label introduction to the bebop legend's '40s stretch. The 20-track set takes in bop classics like "Ko-Ko," "Yardbird Suite," "Now's the Time," and "Billie's Bounce," among many others. Throughout, Parker shows the myriad ways he could contort the medium he helped invent, and that's not to forget the sheer dynamism and emotional breadth he delivers, too. And helping along the way, Bird is joined by most of the A-list bebop players of the day, including Dizzy Gillespie, Miles Davis, Dexter Gordon, Dodo Marmarosa, Max Roach, and Howard McGhee. History on a disc.

During the 1930s through the 1950s, he fused influences of the past--including jazz and swing--and pioneered a harder, funkier style of blues. Modern electric blues guitar can be traced directly back to this Texas-born pioneer, who began amplifying his sumptuous lead lines for public consumption circa 1940 and thus initiated a revolution so total that its tremors are still being felt today.
T-Bone Walker
I Know Your Wig Is Gone (T-Bone Walker) 2:45
Call It Stormy Monday But Tuesday Is Just as Bad (T-Bone Walker) 3:02
She's My Old Time Used-To-Be (Aaron Walker) 2:41
Description Blues (John Henty) 3:00
from T-Bone Walker 1947 Blues & Rhythm Series
Volume two in the complete recordings of T-Bone Walker as reissued on the Classics Chronological Series is loaded up with two dozen fine West Coast blues recordings cut for the Black & White, Capitol, and Comet labels over the span of exactly two months' time, from September 13 to November 13, 1947. Billed only as "T-Bone Walker & His Guitar," the group responsible for the fine music captured on this compilation consisted of various session men from all over the musical map. Teddy Buckner, George Orendorff, and Bumps Myers were all seasoned jazz players whose professional careers had taproots reaching back to the '20s and '30s. Oscar Lee Bradley was one of the most sought-after drummers in the business. The band provides excellent backing for T-Bone's smoky voice and irresistible electric guitar. The general sensation throughout is one of relaxed dignity and poignant truthfulness. Listeners are advised to beware of T-Bone Walker. Exercise caution! This man's music might grow on you. A full-blown dependence may develop, requiring the purchase of every volume in the complete chronological recordings of T-Bone Walker.

Wynonie Harris - I Want My Fanny Brown (Roy Brown) 3:06
Pee Wee King - Bull Fiddle Boogie (Pee Wee King)
Muddy Waters - Muddy Jumps One (McKinley Morganfield) 2:27
Albinia Jones - Hole in the Wall Tonight (Albinia Jones) 2:39
from Roots of Rock N' Roll Vol 4 1948
Rock & roll music scholars debate when the genre really began and which artist produced its first recording. But critics can agree that the music which defined a generation had its roots in the blues and rhythm & blues artists of the 1940s. Many of those early artists were African Americans who saw their songs recorded by young white musicians who liked their music so well they thought they wrote it. Setting aside the important issues of copyright piracy and musical equities, the kaleidoscope of contributors to the rock & roll idiom makes for interesting listening. This CD is part of a series that goes back to those days in the 1940s before rock & roll had a name and started a cultural revolution. This volume focuses on the year 1948, when an avalanche of great music was released, all bearing the throbbing beat that was to characterize the music later called rock & roll...