12-10-2019 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

12-10-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>The Wolverine Orchestra, Ross Gorman and His Orchestra, Hi Henry Brown, Jelly Jaw Short, Duke Ellington, Annette Hanshaw, Dock Boggs, Mississippi John Hurt, Carlos Gardel, Bessie Smith, The Cotton Pickers, María Teresa Vera & Rafael Zequeira, King Oliver, Mamie Smith<<

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before 1959

Old Jazz RevivalNew Orleans Jazz / DixielandMainstream and Swing
The Wolverine Orchestra - Royal Garden Blues 2:56
Ross Gorman and His Orchestra - Rhythm of the Day 3:12
from The Jazz Modernists 1924-1933

Hi Henry Brown - Skin Man 2:49
Jelly Jaw Short - Barefoot Blues 2:59
from St. Louis Town (1927-1932)
This 14-track collection of St. Louis blues guitarists includes Henry Spaulding ("Cairo Blues"), Charley Jordan ("Spoonful Blues"), Hi Henry Brown ("Skin Man"), Jelly Jaw Short ("Snake Doctor Blues"), and others.

Acoustic Memphis Blues, Pre-War Country Blues, Regional Blues, St. Louis Blues

Greatest all-round musical figure of the 20th century, who achieved monumental status as a composer, bandleader, arranger, and instrumentalist. 
Duke Ellington
Jubilee Stomp / Duke Ellington and His Cotton Club Orchestra 2:46
The Mooche / Duke Ellington and His Cotton Club Orchestra 3:13
Mood Indigo / The Jungle Band 2:58
from Early Ellington: The Complete Brunswick And Vocalion Recordings 1926-1931
This three-CD set, which has all of Duke Ellington's recordings for the Brunswick and Vocalion labels, dwarfs all of the earlier reissues that Decca and MCA have put out of this important material... With such major soloists as trumpeters Bubber Miley (and his replacement Cootie Williams), Freddy Jenkins, and Arthur Whetsol, trombonist Tricky Sam Nanton, clarinetist Barney Bigard, altoist Johnny Hodges, baritonist Harry Carney, and the pianist/leader, along with the classic arrangements/compositions, this set is essential for all serious jazz collections.

One of the first great female jazz singers, in the late '20s Annette Hanshaw ranked near the top with Ethel Waters, the Boswell Sisters, and the upcoming Mildred Bailey. Unlike her contemporary Ruth Etting, Hanshaw could improvise and swing while also being a strong interpreter of lyrics. She was not quite 16 when she started her recording career, and her recordings (1926-1934) included such major jazz players as Red Nichols, Miff Mole, Jimmy Lytell, Adrian Rollini, Joe Venuti, Eddie Lang, Vic Berton, Benny Goodman, Manny Klein, Phil Napoleon, Jimmy Dorsey, Tommy Dorsey, and Jack Teagarden.
Annette Hanshaw
Nothin' ( Lou Handman / Roy Turk) 2:33 with The Original Memphis Five
I Like What You Like (Adrian Rollini) 2:55 with Four Instrumental Stars
You Gotta Be Good To Me (Al Lewis / Billy Rose / Joe Young) 2:46 with Lou Gold & His Orchestra
from Vocal Refrain by Annette Hanshaw 1927-1930

A towering old-time music figure and banjo innovator, who played a unique Appalachian folk and blues hybrid. Dock Boggs was just one of the primeval hillbillies to record during the '20s, forgotten for decades until the folk revival of the '60s revived his career at the twilight of his life. Still, his dozen recordings from 1927 to 1929 are monuments of folk music, comprised of fatalistic hills ballads and blues...
Dock Boggs
Country Blues (Dock Boggs) 3:05
Danville Girl (Dock Boggs / Traditional) 3:10
Down South Blues (Dock Boggs) 3:08
from Country Blues - Complete Early Recordings (1927-29)
Released on John Fahey's Revenant label, this Dock Boggs collection includes all 12 of his 1927-29 recordings, plus five alternate takes and four cuts by Bill and Hayes Shepherd, friends and fellow players of Boggs...  this is undoubtedly the best Dock Boggs collection ever assembled.

Early country blues legend whose warm, amiable sound and longevity also made him a major figure during the '60s blues revival.
Mississippi John Hurt
Frankie  (Mississippi John Hurt / Traditional) 3:23
Avalon Blues  (Mississippi John Hurt) 3:03
Stack O' Lee  (Mississippi John Hurt / Traditional) 2:57
from Avalon Blues, The Complete 1928 OKeh Recordings
Mississippi John Hurt's latter-day recordings after his rediscovery have somewhat obscured the importance of these debut sides -- the ones that made his rediscovery an idea initially worth pursuing. Archival recordings such as Avalon Blues: The Complete 1928 Okeh Recordings are the collector's items that made his rep in the first place, and stand as some of the most poetic and beautiful of all country blues recordings. Hurt's playing is sheer musical perfection, with a keen sense of chord melody structure to make his bouncy, rhythmic execution of it sound both elegant and driving. Mississippi John's voice -- he was 36 at the time of these recordings -- was already a warm and friendly one, imbued with the laid-back wistfulness that would earmark his rediscovery recordings half-a-lifetime later...

A handsome, passionate singer who became one of the biggest stars of the Argentine tango in its classic period.
Carlos Gardel
Mano a Mano 3:04
La Cumparsita 2:15
Noches de Montmatre 2:33
from Mano a Mano (1927)
Carlos Gardel was tango's first superstar and still one of its most enduring performers. Revered as an icon in Argentina ever since his tragic death in 1935, Gardel -- nicknamed "El Zorzal Criollo" ("The Creole Thrush") -- was the first singer to adopt the tango as a form of popular song. Previously, it had been entirely instrumental dance music, looked down upon by the cultural elite for its common origins and earthy sensuality. Gardel didn't change those qualities, but his advocacy certainly popularized the genre beyond all expectations. Thanks to extensive touring and a budding movie career, Gardel was able to become a star throughout Latin America and Western Europe; in fact, tango's international acceptance legitimized it in the eyes of Argentine skeptics..

One of the greatest female blues singers of all time, with a passionate voice and thundering delivery.
Bessie Smith
Careless Love Blues 3:28
Golden Rule Blues 3:06
Squeeze Me 2:53
from Squeeze Me (Original Recordings, 1925-1926)
The first major blues and jazz singer on record and one of the most powerful of all time, Bessie Smith rightly earned the title of "The Empress of the Blues." Even on her first records in 1923, her passionate voice overcame the primitive recording quality of the day and still communicates easily to today's listeners (which is not true of any other singer from that early period). At a time when the blues were in and most vocalists (particularly vaudevillians) were being dubbed "blues singers," Bessie Smith simply had no competition...

Cotton Pickers was the generic band name that Brunswick Records used on its small jazz band recordings made in 1922-1923, 1924-1925, and again in 1929. These were intended to compete with popular dance records issued on other labels by groups such as Ladd's Black Aces, Bailey's Lucky Seven, and the Memphis Five...
The Cotton Pickers
Hot lips (Henry Busse / Benny Davis / Henry Lange) 3:07
Runnin' wild (Arthur Gibbs / Joe Grey / Leo Wood) 3:10
Mama goes where papa goes (Milton Ager / Jack Yellen) 3_05
from The Cotton Pickers 1922-1925 (Jazz Archives No. 173)
Since the band was essentially a studio construct, the membership of the Cotton Pickers was fairly fluid, and Brunswick Records used the moniker to put out several sides of small combo dance music, usually blues foxtrots. The early incarnation of the band featured trumpeter Phil Napoleon and saxophonist Bennie Krueger, whose strong lines and polyphonic arrangements sounded black and Southern to northern audiences, and tunes such as "Way Down Yonder in New Orleans" (included here) were particularly popular. By 1924, the Cotton Pickers were almost an entirely different group, with only trombonist Miff Mole held over from the earlier lineup, and were fronted by Frank Trumbauer, whose style was less Dixie and more "cool" pop. More a brand than a band, the Cotton Pickers name allowed mainstream white jazzmen to play blacker and hotter and still keep their day jobs...

The grande dame of Cuban music, Maria Teresa Vera was not only the greatest female trova singer of all time, she was also one of the form's greatest singers, period. Vera became a professional musician and songwriter -- and a mightily popular one at that -- during the early 20th century, when such a career was virtually unheard of for a woman
María Teresa Vera & Rafael Zequeira
Mis Lamentos A Mi Guitarra 2:56
Rayos De Plata 3:28
from Mis Lamentos A Mi Guitarra (Original Cuban Recordings 1916 - 1924)
Her skill at singing trova -- a rural folk song style that predated the son dance craze -- helped lay the groundwork for the explosion of Cuban popular music in the '30s and '40s, and her fame as a trovadora lasted well after the style was eclipsed by other popular trends. Maria Teresa Vera was born in Guanajay, in the province of Pinar del Rio, on February 6, 1895. She began learning the guitar from Jose Diaz, and in 1911, at age 15, performed publicly in Havana at a tribute to Arquimedes Pous. Vera subsequently formed the first of several duos, a format she would favor throughout her career, with Rafael Zequeira; in addition to performing in Cuba, the two traveled to New York several times for recording sessions. Zequeira died in 1924, and after performing for a couple of years both solo and accompanied, Vera formed a new duo...

New Orleans cornetist and band leader was an early jazz architect, and also famously hired a young horn player named Louis Armstrong. Joe "King" Oliver was one of the great New Orleans legends, an early giant whose legacy is only partly on records. In 1923, he led one of the classic New Orleans jazz bands, the last significant group to emphasize collective improvisation over solos, but ironically his second cornetist (Louis Armstrong) would soon permanently change jazz. And while Armstrong never tired of praising his idol, he actually sounded very little like Oliver; the King's influence was more deeply felt by Muggsy Spanier and Tommy Ladnier.
King Oliver
Just Gone (Bill Johnson / King Oliver) 2:41 (04-06-23)
Mandy Lee Blues (Marty Bloom / Walter Melrose) 2:12 (04-06-23)
Dippermouth Blues (King Oliver) 2:31 (04-06-23)
from King Oliver 1923
There are more than a handful of undiluted jazz records that predate King Oliver's sessions of 1923, but few had managed to put it together in a recording studio quite so powerfully or, as it turned out, so very influentially. These primordial artifacts, now digitally remastered and chronologically assembled, form a substantial chunk of the bedrock of early recorded jazz. They're also remarkably liberating if, for just a few minutes, you make yourself into a fly on the wall of the Gennett studios. Note that young Louis Armstrong had to pretty well stand outside of the room so that he wouldn't overpower the rest of the players. Johnny Dodds interacted wonderfully with the brass, weaving wreaths of wooded filigree around the exhortations of Honore Dutrey's deep-voiced trombone. Lil Hardin, when you can hear her, is quite the majestic pianist...

Among the first black singers to record the blues as a soloist, she was highly successful and lived extravagantly. Though technically not a blues performer, Mamie Smith notched her place in American music as the first black female singer to record a vocal blues.
Mamie Smith
Sweet Man O' Mine 3:15
Get Hot 3:04
Wabash Blues (Fred Meinken / Dave Ringle) 3:04
from Complete Recorded Works, Vol. 2 (1921-1922)
Volume two in the complete recordings of Mamie Smith as reissued by Document in 1995 follows her career as an Okeh recording artist from August 18, 1921 through early May of 1922. Although her groups were almost invariably billed as the Jazz Hounds, the band accompanying her on tracks 1-13 (listed as her Jazz Band) was really the Joseph Samuels Orchestra, a well-behaved but capably hot Caucasian unit that also recorded as the Synco Jazz Band and the Tampa Blue Jazz Band...