16-04-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

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

16-04-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Macbeth the Great, Mighty Panther, Calypso, Elvis Presley, Junior Wells, Django Reinhardt, Chris Powell, Bumble Bee Slim, Charlie Parker, Fats Navarro, Tadd Dameron, Evelyn Knight, Nat King Cole, Pee Wee Hunt & His Orchestra, Wilmoth Houdini, Sam Manning, King Radio, Calypso Pionners, Lionel Hampton, Dinah Washington<<

Z E N E  /  M U S I C



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before 1959

Calypso Legends
Macbeth the Great
Buy Me a Zeppelin 2:24
Take Me Take Me 2:55
Mighty Panther
Zoop Zoop Zoop 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.

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...

Chris Powell and the Five Blue Flames

Born Christopher E. Powell, 12 July 1921, Cazenovia, New York Died 24 June 1970, Syracuse, New York
Chris Powell
I've Made a Big Mistake (Doc Bagby) 2:50
Rock the Joint (Doc Bagby / Harry "Fats" Crafton)2 :35
Country Girl Blues (Chris Powell) 3:14
from Chris Powell 1949-1952
One of the earliest of the many Philadelphia-based R&B acts signed to US Columbia in the late 1940s/early 1950s, and a great influence on the young Bill Haley, Chris Powell's Five Blue Flames was a local jive band that consisted of leader Powell on drums/percussion (on recordings, however, Powell's musical skills were obviously felt to be too weak, resulting in the role often being taken over by a succession of session drummers), Harold "Duke" Wells on piano, Eddie Lambert on guitar, saxophonists Danny Turner and Leonard "Red" Spencer, and bass-player James Johnson. By the summer of 1950, Vance Wilson had replaced Spencer, and remained with the group until it disbanded at the end of the decade...

Gentle philosopher was one of the most popular blues recording artists of the 1930s. 
Bumble Bee Slim
Rising River Blues 3:06
12 O'Clock Southern Train 2:50
Lonesome Old Feeling 3:00
from Bumble Bee Slim Vol. 8 1937-1951
Popular and prolific, Bumble Bee Slim parlayed a familiar but rudimentary style into one of the earliest flowerings of the Chicago style. Much of what he performed he adapted from the groundbreaking duo Leroy Carr and Scrapper Blackwell -- Slim built on Carr's laconic, relaxed vocal style and Blackwell's guitar technique. During the mid-'30s, Bumble Bee Slim recorded a number of sides for a variety of labels, including Bluebird, Vocalion, and Decca, becoming one of the most-recorded bluesmen of the decade.

Jazz giant who changed the face of the entire form, practically inventing modern jazz and shaping the course of 20th century music. 
Charlie Parker
Just Friends 3:30
Summertime 2:45
Blues (Fast) 2:46
from Charlie Parker Vol. 7 (1949-50)
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. Rather than basing his improvisations closely on the melody as was done in swing, he was a master of chordal improvising, creating new melodies that were based on the structure of a song. In fact, Bird wrote several future standards (such as "Anthropology," "Ornithology," "Scrapple from the Apple," and "Ko Ko," along with such blues numbers as "Now's the Time" and "Parker's Mood") that "borrowed" and modernized the chord structures of older tunes. Parker's remarkable technique, fairly original sound, and ability to come up with harmonically advanced phrases that could be both logical and whimsical were highly influential. By 1950, it was impossible to play "modern jazz" with credibility without closely studying Charlie Parker...

Trumpeter whose big, brawny sound set the tone for the rise of bebop; also notable for his quick attack and Spanish-tinged phrasings. 
Fats Navarro
The Tadd Dameron Sextet - The Chase (1947-09-26) 2:43
Fats Navarro Quintet Nostalgia (1947-12-05) 2:41
The Tadd Dameron Sextet Jahbero (1948-09-13) 2:52
from The Ultimate Jazz Archive - Set 24/42 CD 4
One of the greatest jazz trumpeters of all time, Fats Navarro had a tragically brief career yet his influence is still being felt. His fat sound combined aspects of Howard McGhee, Roy Eldridge, and Dizzy Gillespie, became the main inspiration for Clifford Brown, and through Brownie greatly affected the tones and styles of Lee Morgan, Freddie Hubbard, and Woody Shaw. Navarro originally played piano and tenor before switching to trumpet. He started gigging with dance bands when he was 17, was with Andy Kirk during 1943-1944, and replaced Dizzy Gillespie with the Billy Eckstine big band during 1945-1946. During the next three years, Fats was second to only Dizzy among bop trumpeters. Navarro recorded with Kenny Clarke's Be Bop Boys, Coleman Hawkins, Eddie "Lockjaw" Davis, Illinois Jacquet, and most significantly Tadd Dameron during 1946-1947. He had short stints with the big bands of Lionel Hampton and Benny Goodman, continued working with Dameron, made classic recordings with Bud Powell (in a quintet with a young Sonny Rollins) and the Metronome All-Stars, and a 1950 Birdland appearance with Charlie Parker was privately recorded. However, Navarro was a heroin addict and that affliction certainly did not help him in what would be a fatal bout with tuberculosis that ended his life at age 26. He was well documented during the 1946-1949 period and most of his sessions are currently available on CD, but Fats Navarro could have done so much more...

1948
Evelyn Knight - A Little Bird Told Me 2:40
Nat King Cole - Nature Boy 2:39
Pee Wee Hunt & His Orchestra - Twelfth Street Rag 2:52
from The Million Sellers Of The 40's - 1948

Calypso is the most prominent 20th century musical style in the islands of Trinidad and Tobago. The instrumentation is primarily percussion and a brass section. Vocals can describe carnival partying or involve pointed social commentary. The political aspect of calypso caused successive bans on different percussion materials in the early 20th century leading to the introduction of the steel pan into calypso bands in the 1930s. 
Wilmoth Houdini - Caroline 3:07
Sam Manning - Lieutnant Julian 3:01
King Radio - Jitterbug 3:03
from Calypso Pionners, Vol. 2 (1925 - 1947)
Although recordings of calypso music outside of Trinidad and Tobago have always been common, calypso gained a broad audience in the US and UK in the mid-20th century thanks to several celebrated songs and artists. In 1944, Lord Invader's song Rum and Coca Cola was recorded without permission by the The Andrews Sisters and spent 10 weeks at #1 on the US pop charts. Around 1950, Lord Kitchener, The Mighty Terror, and Lord Beginner all relocated temporarily to London, and were part of a growing wave of Caribbean Music in the UK. 

The legendary Hamp created the benchmarks for the vibraphone, playing for jazz afficianados and presidents into his 90s. 

Lionel Hampton 

Vibe Boogie (Lionel Hampton) 5:27

Blow Top Blues feat.  Dinah Washington (Leonard Feather) 3:27

Hamp's Salty Blues (Dan Burley / Lionel Hampton) 3:14

from 1945 - 1946 Complete Jazz Series 

The sixth CD in Classics' series of Lionel Hampton records documents his music during a one-year period. Hampton's big band, riding high after "Flying Home," continued to grow in popularity during this era. The vibraphonist's showmanship and his sidemen's extroverted solos generated constant excitement, as can be heard throughout these 20 selections...