11-03-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

11-03-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Herbie Mann, Gene Vincent, Red Norvo, Duane Eddy, Dicky Wells, Rebetika songs of protest Recordings, Mighty Panther, Macbeth the Great, Calypso, Elvis Presley, Junior Wells, Django Reinhardt<<

Z E N E  /  M U S I C



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before 1959

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...

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.

One of the more adventurous trombonists of the swing era, the distinctive Dicky Wells was somewhat innovative, playing his horn in a speech-like style filled with a great deal of color, humor, and swing. 
Dicky Wells
Bones for the King 6:33
Hello, Smack! (Dedicated to Late Fletcher Henderson) 6:13
Come and Get It (Ed Kirkeby / Fats Waller) 7:57
from Bones for the King 1958
This Affinity Lp draws its material from the short-lived Felsted label. Dicky Wells is heard in an unusual session with fellow trombonists Vic Dickenson, Benny Morton and George Matthews on three songs that fail to live up to their potential; the inclusion of organist Skip Hall does not help and weighs down the ensembles. The other half of the set features Wells with some notable Basie alumni (including trumpeter Buck Clayton, clarinetist Rudy Rutherford and tenorman Buddy Tate) and fortunately on that occasion Skip Hall plays piano. There is some good swing-based music to be heard throughout this album but nothing essential occurs.

Stelios Kazantzides - The society (I kinonia) 3:21
Athanasios Eugenikos - Liar people (Pseti dounia) 3:14
Yiota Lydia - Badworld (Ah paliodounia) 3:29
from Rebetika songs of protest Recordings 1946-1957
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. Rebetiko briefly can be described as the urban popular song of the Greeks, especially the poorest, from the late 19th century to the 1950s...

Calypso Legends
Mighty Panther
Chinese Children 3:13
Zoop Zoop Zoop 2:55
Macbeth the Great
Buy Me a Zeppelin 2:24
Take Me Take Me 2:55
from 1953 - 1956
Calypso is a style of Afro-Caribbean music that originated in Trinidad and Tobago during the early to mid-19th century and eventually spread to the rest of the Caribbean Antilles and Venezuela by the mid-20th century. Its rhythms can be traced back to West African Kaiso and the arrival of French planters and their slaves from the French Antilles in the 18th century.

Image: Melton Prior, Carnival in Port of Spain Trinidad, 1888, Illustrated London News. (source)

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 (Acetate – Personal Recording) 2:30
Mystery Train 2:29
How Do You Think I Feel? (Guitar Tape Slapback Rehearsals) 4:22
...via Scotty Moore's guitar slapback tape...
from The Complete Works 1953-1955 - Memphis Recording Service (MRS)
It has been more than a decade since Pirzada’s ground breaking (and more expensive) books, co-written with John Michael Heath, Elvis Presley Memphis Recording Service Volume 1 1953-1954 and Memphis Recording Service Volume 2 – 1955 The Rise of Elvis Presley. Some may view ‘Elvis Presley The Complete Works 1953-1955’ as a pared down version of these earlier releases but nevertheless is a still highly enjoyable and valuable offering from MRS. The fact that Pirzada's earlier books are sold-out and hard to find is another good reason for this new MRS volume examining Elvis' early work.

Regarded as the last of the great Chicago harmonica players, he was an impressive stylist and a leading practitioner of postwar blues harmonica. 
Junior Wells
Hoodoo Man (Junior Wells) feat, Elmore James 3:08
Junior's Wail (Junior Wells) 2:55
Lord, Lord (Junior Wells) feat. Willie Dixon, Muddy Waters, Otis Spann  2:42
So All Alone (Junior Wells) feat. Willie Dixon, Muddy Waters, Otis Spann 3:22
from Blues Hit Big Town,
the 1953-54 Recordings
This collection of Wells' debut recordings for the States label adds four previously unheard tracks along with the original 13-track vinyl lineup. Wells' legacy begins with these landmark sides, featuring Elmore James, Muddy Waters, Johnnie Jones, Otis Spann, Willie Dixon, and the Aces in the lineup at various points. Whether it's a slow one like his original take on "Hoodoo Man" or a jump number like "Cut That Out," the grooves are classic Chicago and a mile deep. Most telling are the acoustic duets with Louis Myers recorded between the 1953 and 1954 studio sessions and the fine instrumentals like "Junior's Wail" and "Eagle Rock." Although at the start of a long career, it's obvious that Junior Wells was already a young man with a style all his own, ready to make blues history. File under essential.

Legendary, almost mythical gypsy jazz guitarist of the 1930s, collaborations with violinist Stephane Grappelli are landmarks. 
Django Reinhardt
Double Whiskey (Django Reinhardt) 2:57
Keep Cool (Raymond Fol) 3:06
D R Blues (Django Reinhardt) 3:13
from Keep Cool (Guitar Solos 1950-1953)
Although this core sample from Django Reinhardt's final years is filled with brilliant solos played on an amplified Maccaferi guitar, the phrase "guitar solos" might lead to the assumption that Reinhardt performs alone here. This is not the case; the first 12 tracks are played by three different sextets, and the last five by two quintets. Noteworthy players are trumpeters Bernard Hullin and Roger Guerin; alto saxophonists Hubert Fol and Andre Ekyan; vibraphonist Sadi "Fats" Lallemand; bassist Pierre Michelot and pianists Raymond Fol and Martial Solal. These fascinating recordings, made between April 1950 and May 1953, demonstrate just how bop-addled many of the young musicians were in Europe during the early 1950s, and how smoothly Reinhardt collaborated with them in their modernity...