05-02-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

05-02-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Sarah Vaughan, Sunnyland Slim, Les Paul, Elvis Presley, Clifford Brown, Max Roach, Elmore James, Herbie Mann, Sabu, Gene Vincent, Red Norvo, Duane Eddy<<

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before 1959

Bop's greatest diva, a highly influential jazz singer with extraordinary range and perfect intonation, ranging from soft and warm to harsh and throaty. Possessor of one of the most wondrous voices of the 20th century, Sarah Vaughan ranked with Ella Fitzgerald and Billie Holiday in the very top echelon of female jazz singers. She often gave the impression that with her wide range, perfectly controlled vibrato, and wide expressive abilities, she could do anything she wanted with her voice. Although not all of her many recordings are essential (give Vaughan a weak song and she might strangle it to death), Sarah Vaughan's legacy as a performer and a recording artist will be very difficult to match in the future.

Sarah Vaughan 

Black Coffee (Sonny Burke / Paul Francis Webster) 3:16

You Taught Me to Love Again (Richard Carpenter / Tommy Dorsey / William Henri Woode) 3:16

Summertime (George Gershwin / Ira Gershwin / DuBose Heyward) 3:15

from The Divine Sarah Vaughan: The Columbia Years 1949-1953

Twenty-eight of the 60 songs that Sarah Vaughan recorded for Columbia Records during her four years there. The early sides are arranged, with one exception (credited to Hugo Winterhalter), by Joe Lipman, while later sides have her working with a diverse group of arrangers and conductors, including Glenn Miller alumnus Norman Leyden and light music expert Paul Weston, and in a small group context, the latter credited to Vaughan's manager/husband George Treadwell. The sound is good within the context of the time the remasterings were done, and the distillation covers virtually all of Vaughan's best work from this period in her career.

A seminal figure in post-War Chicago blues, and pianist to many legends of the scene. Exhibiting truly amazing longevity that was commensurate with his powerful, imposing physical build, Sunnyland Slim's status as a beloved Chicago piano patriarch endured long after most of his peers had perished. For more than 50 years, the towering Slim had rumbled the ivories around the Windy City, playing with virtually every local luminary imaginable and backing the great majority in the studio at one time or another.
Sunnyland Slim
Back to Korea Blues (Albert Luandrew) 3:00
Hit the Road Again (Andrew Luandrew) 3:12
from Sunnyland Slim 1949-1951 R&B Classics
Mississippi native Albert Luandrew came to Chicago in 1942, and with a little help from Tampa Red began entertaining the public using the name Sunnyland Slim. This second volume in the Classics Sunnyland Slim chronology documents his steady if spotty recording career from April 1949 to early December 1951. During this time Sunnyland made records for Mercury, Apollo, J.O.B., Regal, and his own Sunny label. Working up the piano, singing and at times screaming in a voice only slightly lower than that of J.B. Lenoir, Sunnyland invariably chose the toughest available players to back him up...

A brilliantly gifted guitarist and studio pioneer who was arguably the most innovative musician of his generation. 

Les Paul 

Bye ye Blues 2:06

Vaya Con Dios 2:53

Deep In The Blues 2:32

from The Timeless Les Paul 1952-1954 Vol 3

Les Paul had such a staggeringly huge influence over the way American popular music sounds today that many tend to overlook his significant impact upon the jazz world. Before his attention was diverted toward recording multi-layered hits for the pop market, he made his name as a brilliant jazz guitarist whose exposure on coast-to-coast radio programs guaranteed a wide audience of susceptible young musicians.

A music and film icon whose natural blend of country, pop, and R&B sold millions and became the cornerstone of rock & roll. Elvis Presley may be the single most important figure in American 20th century popular music. Not necessarily the best, and certainly not the most consistent. But no one could argue with the fact that he was the musician most responsible for popularizing rock & roll on an international level. Viewed in cold sales figures, his impact was phenomenal. Dozens upon dozens of international smashes from the mid-'50s to the mid-'70s, as well as the steady sales of his catalog and reissues since his death in 1977, may make him the single highest-selling performer in history.

Elvis Presley 

My Happiness (Borney Bergantine / Betty Peterson) 2:33

That's All Right (Arthur "Big Boy" Crudup) 1:59

Blue Moon of Kentucky (Bill Monroe) 2:06

Mystery Train  (Junior Parker / Sam Phillips) 2:30

from A Boy From Tupelo: The Complete 1953-1955 Recordings

A Boy from Tupelo rounds up all the known existing Elvis Presley recordings from 1953 through 1955, a sum total of 53 studio takes and 32 live performances...  Still, those consumers in the market for the earliest Elvis will be satisfied by this, as it not only has everything in one convenient box but the addition of the live material does provide a nice coda to the familiar Sun sessions.

Clifford Brown's death in a car accident at the age of 25 was one of the great tragedies in jazz history. Already ranking with Dizzy Gillespie and Miles Davis as one of the top trumpeters in jazz, Brownie was still improving in 1956. Plus he was a clean liver and was not even driving; the up-and-coming pianist Richie Powell and his wife (who was driving) also perished in the crash.
In a profession star-crossed by early deaths -- especially the bebop division -- Max Roach was long a shining survivor, one of the last giants from the birth of bebop. He and Kenny Clarke instigated a revolution in jazz drumming that persisted for decades; instead of the swing approach of spelling out the pulse with the bass drum,

Clifford Brown, Max Roach
I'll Remember April (Gene DePaul / Pat Johnston / Patricia Johnston / Don Raye) 9:42
Jordu (Duke Jordan) 7:45
from More Study in Brown 1956
This LP is less valuable now that it has been succeeded by EmArcy's massive ten-CD set, Brownie. Comprised mostly of alternate takes with a few previously unissued items, these tracks feature the classic Clifford Brown/Max Roach Quintet of 1954-1956. Best is a "new" version of "I'll Remember April," which also features tenor saxophonist Sonny Rollins, and a fully restored "Jordu." It's a nice alternative for more casual fans who don't want to invest the time or money that ten CDs require.

No two ways about it, the most influential slide guitarist of the postwar period was Elmore James, hands down. Although his early demise from heart failure kept him from enjoying the fruits of the '60s blues revival as his contemporaries Muddy Waters and Howlin' Wolf did, James left a wide influential trail behind him. And that influence continues to the present time -- in approach, attitude and tone -- in just about every guitar player who puts a slide on his finger and wails the blues...
Elmore James
Dust My Broom  (Elmore James / Robert Johnson) 3:04
Hawaiian Boogie (Elmore James / Joe Josea) 2:40
Rock My Baby Right (Elmore James / Joe Josea) 2:51
from Elmore James Classic Early Recordings 1951-1956
Although a few hardcore electric Chicago blues fans might take offense at the remark, Elmore James' work does not comprise the most varied discography among major bluesmen. So a single-disc survey of his material, whether it covers the first five years or so of his career (as this three-CD anthology does) or a longer period, works better as both a general introduction and a more listenable compilation than a box set does. If you're a completist who does want everything known to exist that he laid down in the studio between August 1951 and January 1956, however, this 71-track compilation is the most thorough retrospective of that era likely to be produced. In addition to including songs that were not issued in any form until after his death (and sometimes long after his passing), there are multiple takes of specific tunes, alternates, false starts, studio chatter, instrumental version, songs on which he guested for J.T. Brown and Little Johnny Jones, and so forth...

Prolific and widely known flutist, beloved in jazz circles, has covered many world music styles. Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.
Herbie Mann
Yardbird Suite (Charlie Parker) 5:57
One for Tubby (Phil Woods) 6:10
Who Knew 7:17
from Yardbird Suite 1957
Recorded in the great year of music and especially jazz -- 1957 -- Herbie Mann at the time was gaining momentum as a premier flute player, but was a very competent tenor saxophonist. Teamed here with the great alto saxophonist Phil Woods and criminally underrated vibraphonist Eddie Costa, Mann has found partners whose immense abilities and urbane mannerisms heighten his flights of fancy by leaps and bounds. Add to the mix the quite literate and intuitive guitarist Joe Puma, and you have the makings of an emotive, thoroughly professional ensemble. The legendary bass player Wilbur Ware, who in 1957 was shaking things up with the piano-less trio of Sonny Rollins and the group of Thelonious Monk, further enhances this grouping of virtuosos on the first two selections...

Louis "Sabu" Martinez was one of the most prolific conga players in the history of Afro-Cuban music. In addition to his own albums, Martinez recorded with such influential jazz musicians as Dizzy Gillespie, Horace Silver, Buddy DeFranco, J.J. Johnson, Louis Bellson, Art Farmer, and Art Blakey, and jazz vocalists including Tony Bennett and Sammy Davis, Jr. Emigrating to Sweden in 1967, he continued to apply his highly melodic rhythms to a lengthy list of recordings by top-notch Swedish performers.
Sabu
El Cumbanchero (Rafael Hernández) 5:39
Choferito-Plena 4:02
Aggo Elegua (Sabu Martinez) 4:28
from Palo Congo 1957
Sabu Martinez's debut as a leader mostly features percussionists (other than bassist Evaristo Baro), including the leader, Arsenio Rodriguez (who doubles on the tres), Cesar Travieso, Quique Travieso, and Ray "Mosquito" Romero. Martinez, Rodriguez, and Travieso also join Willie Capo and Sarah Baro in singing and chanting. Six of the eight songs are Martinez's originals, although the most memorable cut is the opening "El Cumbanchero," which has a catchy melody and a Martinez vocal that in tone sounds surprisingly like Cab Calloway in spots. Intriguing African-oriented music.

American rockabilly legend who defined the greasy-haired, leather-jacketed, hot rods 'n' babes spark of rock & roll. Gene Vincent only had one really big hit, "Be-Bop-a-Lula," which epitomized rockabilly at its prime in 1956 with its sharp guitar breaks, spare snare drums, fluttering echo, and Vincent's breathless, sexy vocals. Yet his place as one of the great early rock & roll singers is secure, backed up by a wealth of fine smaller hits and non-hits that rate among the best rockabilly of all time. The leather-clad, limping, greasy-haired singer was also one of rock's original bad boys, lionized by romanticists of past and present generations attracted to his primitive, sometimes savage style and indomitable spirit.
Gene Vincent
Red Blue Jeans and a Ponytail (Bill Davis / Jack Rhodes) 2:15
Unchained Melody (Alex North / Hy Zaret) 2:38
Cruisin'  (Bill Davis / Gene Vincent) 2:12
Blues Stay Away from Me (Alton Delmore / Rabon Delmore / Henry Glover / Wayne Raney) 2:16
from Gene Vincent and His Blue Caps 1957
Gene Vincent and His Blue Caps, cut in October 1956, only four months after its predecessor, came about under slightly less favorable circumstances than the Bluejean Bop album. Cliff Gallup, whose lead guitar had been so central to the group's original sound, and rhythm guitarist Willie Williams, who was only somewhat less important to their sound, had been gone from the band for nearly two months when producer Ken Nelson decided it was time to cut material for more singles and a second album...

Pioneering big-band and bebop xylophonist/vibraphonist who was active from the late 1920s through the early '90s. Red Norvo was an unusual star during the swing era, playing jazz xylophone. After he switched to vibes in 1943, Norvo had a quieter yet no-less fluent style than Lionel Hampton. Although no match for Hampton popularity-wise, Norvo and his wife, singer Mildred Bailey, did become known as "Mr. and Mrs. Swing."
Red Norvo
Britts's Blues (From The Kings Go Forth) 5:47
Shed No Tears 4:40
Sunrise Blues 8:47
from Red Plays the Blues 1958
Vibraphone – Red Norvo
Bass – Bob Carter, Lawrence Wooten, Drums – Bill Douglass, Mel Lewis, Guitar – James Wyble, Piano – Jimmy Rowles, saxophon – Chuck Gentry, Alto Saxophone – Willie Smith, Tenor Saxophone – Harold Land, Tenor Saxophone – Ben Webster, Trombone – Ray Sims, Trumpet – Don Fagerquist, Don Paladino, Harry Edison, Ray Linn

One of the '50s' most influential guitarists and one of the more distinct, he forged a sound based on minimalism with lots of twangy reverb. If Duane Eddy's instrumental hits from the late '50s can sound unduly basic and repetitive (especially when taken all at once), he was vastly influential. Perhaps the most successful instrumental rocker of his time, he may also have been the man most responsible (along with Chuck Berry) for popularizing the electric rock guitar. His distinctively low, twangy riffs could be heard on no less than 15 Top 40 hits between 1958 and 1963. He was also one of the first rock stars to successfully crack the LP market.
Duane Eddy
The Lonesome Road (Gene Austin / Nat Shilkret / Nathaniel Shilkret) 3:00
Rebel Rouser  (Duane Eddy / Lee Hazlewood) 2:22
Moovin' 'N' Groovin' (Duane Eddy / Lee Hazlewood) 2:06
from Have 'Twangy' Guitar Will Travel 1958
A pioneer in instrumental rock, Duane Eddy remains an anomaly in popular music. Eddy's distinctive "twangy" guitar style complemented the infectious dance beats of his band and drove the viewers of Dick Clark's American Bandstand television show wild, even without a vocalist. This brings up the notion that perhaps pop music fans don't always require the presence of a lead singer; maybe all they look for is musical charisma, and this Eddy supplied in spades..  A mix of early rock & roll, swing, country, and blues, Have "Twangy" Guitar, Will Travel is a great example of '50s instrumental pop.