01-03-2020 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959 >>Missississippi Sheiks, Andy Kirk, Charlie Lincoln, Gitfiddle Jim, Fred McMullen, Sexteto Habanero, Fats Waller, Lionel Hampton, Mildred Bailey, Casey Bill Weldon, Cleoma Breaux Falcon, Amédé Breaux, Ségura Frères, Cajun music, Jimmy Rushing, Charlie Christian<<
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before 1959
Missississippi Sheiks
Driving That Thing 3:19
Stop and Listen Blues 3:29
Sitting on Top of the World (Lonnie Chatmon / Walter Vinson) 3:01
from Missississippi Sheiks, Vol 1 (1929-1930)
The Mississippi Sheiks were one of the most popular string bands of the late '20s and early '30s. Formed in Jackson around 1926, the band blended country and blues fiddle music -- both old-fashioned and risqué -- and included guitarist Walter Vinson and fiddler Lonnie Chatmon, with frequent appearances by guitarists Bo Carter and Sam Chatmon, who were also busy with their own solo careers. The musicians were the sons of Ezell Chatmon, uncle of Charlie Patton and leader of an area string band that was popular around the turn of the century. The Mississippi Sheiks (who took their name from the Rudolph Valentino movie The Sheik) began recording for Okeh in 1930 and had their first and biggest success with "Sitting on Top of the World," which was a crossover hit and multi-million seller...
Andy Kirk
Mess-A-Stomp 2:41
Cloudy (Andy Kirk) 3:00
from Complete Jazz Series 1929 - 1931
This highly recommended CD from the European Classics label has all of the early recordings of Andy Kirk's Twelve Clouds of Joy, although unfortunately not the alternate takes. The most famous soloists were pianist Mary Lou Williams (who was also responsible for most of the arrangements), violinist Claude Williams (who unfortunately left Kirk before he had his big success in the mid-'30s), and trumpeter Edgar "Puddinghead" Battle, although the lesser-known players mostly fare pretty well too...
Gitfiddle Jim - Rainy Night Blues 2:55
Fred McMullen - Wait And Listen 3:02
from The Georgia Blues (1927-1933)
Sexteto Habanero
The Music of Cuba
Romance Guajira 3:28
Vi una Vez 3:04
from Soneros Cubanos / Recordings 1929 - 1934, Vol. 3
Son consists of two stylistic levels. The first level (African in origin) is a rumba rhythm over which a variety of percussionists improvise. The second level (deriving from Spain) is provided by a combination of three string guitars known as tres and a makeshift bass. Spanish lyrics are sung over the instruments in traditional decima form with rhymed octosyllabic lines. During the 1920s, Sexteto Habañero were the definitive son band of cuba.
Fats Waller
Lookin' for Another Sweetie feat. Henry 'Red' Allen & Jack Teagarden 3:06
Won't You Get off It, Please? feat. Henry 'Red' Allen & Jack Teagarden 3:01
St. Louis Blues feat. Bennie Paine
from Historical Jazz Recordings: 1929-1935
Not only was Fats Waller one of the greatest pianists jazz has ever known, he was also one of its most exuberantly funny entertainers -- and as so often happens, one facet tends to obscure the other. His extraordinarily light and flexible touch belied his ample physical girth; he could swing as hard as any pianist alive or dead in his classic James P. Johnson-derived stride manner, with a powerful left hand delivering the octaves and tenths in a tireless, rapid, seamless stream. Waller also pioneered the use of the pipe organ and Hammond organ in jazz -- he called the pipe organ the "God box" -- adapting his irresistible sense of swing to the pedals and a staccato right hand while making imaginative changes of the registration. As a composer and improviser, his melodic invention rarely flagged, and he contributed fistfuls of joyous yet paradoxically winsome songs like "Honeysuckle Rose," "Ain't Misbehavin,'" "Keepin' Out of Mischief Now," "Blue Turning Grey Over You" and the extraordinary "Jitterbug Waltz" to the jazz repertoire.
The legendary Hamp created the benchmarks for the vibraphone, playing for jazz afficianados and presidents into his 90s.
Lionel Hampton
The Ramble (Charlie Lawrence) 3:12
Gettin' Ready Blues (Charlie Lawrence) 3:00
Vibraphone Blues (Lionel Hampton) 3:22
from Complete Edition, 1929-1936 Vol. 1
... Hampton made his first recordings as drummer and vocalist with Paul Howard's Quality Serenaders, a hot little group based in the Los Angeles area in 1929 and 1930, led by tenor saxophonist Paul Howard, with arrangements by Alex Hill or reedman Charlie Lawrence, and solid contributions from pianist Harvey Brooks. Also making his recording debut was trombonist and arranger Lawrence Brown, a marvelous improviser destined for decades of service in the Duke Ellington Orchestra. Hamp was already a dazzling performer, driving the band with expert drumming, invading the piano on "A New Kinda Blues," and singing -- sometimes scatting -- on "Moonlight Blues," "Stuff," "Cuttin' Up" and "California Swing." This is all quite different from the fully formed swing music that Hamp would start churning out during the late '30s. The rest of the material on this exciting collection traces Hamp's progress through the Les Hite Orchestra (where he worked with ex-Howard trumpeter George Orendorff backing Louis Armstrong's vocals), the Teddy Wilson band (where he and Benny Goodman backed vocalists Vera Lane [aka Helen Ward] and Redd Harper), and ending up sing over the vibes with the Benny Goodman Quartet. To summarize, the 23 tracks that make up this anthology add up to one hell of a beginning for Hamp's spectacular career as one of the primary movers and shakers in all of jazz music.
Mrs. Swing, blueswoman of the 1930s & '40s, her fragile, uncloying, sweet-toned voice belied her ample proportions.
Mildred Bailey
What Kind O' Man Is You? 3:17 feat: Eddie Lang & His Orchestra
Is That Religion? 3:00 feat: Dorsey Brothers Orchestra
Someday Sweetheart 3:27 feat: Mildred Bailey & Her Swing Band
from The Complete Columbia Recording Sessions, Vol. 1 - 1929-1937
...The added exposure with Whiteman soon gave Bailey her own radio program. She had already debuted on a recording date with guitarist Eddie Lang in 1929, but in 1932 she gained fame by recording what became her signature song, "Rockin' Chair" -- written especially for her by Hoagie Carmichael -- with a Whiteman small group. While recording for Vocalion during the 1930s, Bailey often utilized her husband, xylophonist/vibraphonist Red Norvo. She also appeared on his recordings of the late '30s, and the arrangements of Eddie Sauter proved a perfect accompaniment to her vocals...
Among the premier "Hawaiian" guitarists, with voicings, fluidity, and tunings that were creative and imaginative.
Casey Bill Weldon
Turpentine Blues 3:27
Somebody Changed The Lock On That Door 3:22
Two Timin' Woman
from Slide Guitar Swing (1927-1938)
Steel guitarist Will Weldon is remembered as Casey Bill Weldon, and was also known in his time as Kansas City Bill and Levee Joe. "Casey", like "KC" or "Kaycee," referred to his links with the Kansas City music scene, although he could just as easily have been named after Pine Bluff, AK where he was born in 1909, or Atlanta or Memphis where he made his first recordings in 1927 after performing in medicine shows throughout the south. Inspired directly by the great Peetie Wheatstraw, Weldon was equally adept at expressing himself as a passionate blues singer and as a honky-tonk "country" performer who contributed to the development of Western swing. He was sometimes billed as the Hawaiian Guitar Wizard...
Cleoma Breaux Falcon - Il a Vole Mon Traineau 3:01
Amédé Breaux - Jolie Blonde 3:04
Ségura Frères - A Mosquito Ate Up My Sweetheart 2:58
from Cajun Louisiane 1928-1939
Cajun music
Cajun music (French: Musique cadienne), an emblematic music of Louisiana played by the Cajuns, is rooted in the ballads of the French-speaking Acadians of Canada. Cajun music is often mentioned in tandem with the Creole-based zydeco music, both of Acadiana origin, and both of which have influenced the other in many ways. These French Louisiana sounds have influenced American popular music for many decades, especially country music, and have influenced pop culture through mass media, such as television commercials.
Highly popular blues and jazz vocalist of the 1930s & '40s who fronted the Count Basie band
Jimmy Rushing
Blue Devil Blues 2:47 Walter Page
Boogie Woogie 3:16 Jones-Smith Incorporated
I Left My Baby 3:14 Count Basie
from Jimmy Rushing the Band Singer 1929-1940
Rushing, the daddy of Kansas blues and thus, of R&B, was a singer of power and flexibility. He sang with the Blue Devils, with Benny Moten, even with Benny Goodman, but above all with the greatest of the Count Basie bands. Classic or unknown it's all splendid, both vocally and instrumentally, but the Basie cuts are wealth beyond compare.
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. Although technically a swing stylist, his musical vocabulary was studied and emulated by the bop players, and when one listens to players ranging from Tiny Grimes, Barney Kessel, and Herb Ellis, to Wes Montgomery and George Benson, the dominant influence of Christian is obvious.
Charlie Christian
Flying Home (Benny Goodman / Lionel Hampton) 3:11 Benny Goodman Sextet
Shivers (Charlie Christian / Lionel Hampton) 2:46 Benny Goodman Sextet
I'm Confessin' (That I Love You) (D. Dougherty / Al J. Neiburg / E. Reynolds) 3:00
Gone with What Wind [Master Take] (Count Basie / Benny Goodman) 3:20
from The Genius of the Electric Jazz Guitar
First, a few myths get cleared up by the very existence of this box, which goes far beyond the original Columbia compilations with the same name. For starters, Columbia goes a long way to setting the record straight that Charlie Christian was not the first electric guitarist or the first jazz guitarist or the first electric guitarist in jazz. For another, they concentrate on only one thing here: documenting Christian's seminal tenure with Benny Goodman's various bands from 1939-1941. While in essence, that's all there really is, various dodgy compilations have been made advertising Christian playing with Lester Young or Lionel Hampton. It's true that he did, but only in the context of the Goodman band...
Lookin' for Another Sweetie feat. Henry 'Red' Allen & Jack Teagarden 3:06
Won't You Get off It, Please? feat. Henry 'Red' Allen & Jack Teagarden 3:01
St. Louis Blues feat. Bennie Paine
from Historical Jazz Recordings: 1929-1935
Not only was Fats Waller one of the greatest pianists jazz has ever known, he was also one of its most exuberantly funny entertainers -- and as so often happens, one facet tends to obscure the other. His extraordinarily light and flexible touch belied his ample physical girth; he could swing as hard as any pianist alive or dead in his classic James P. Johnson-derived stride manner, with a powerful left hand delivering the octaves and tenths in a tireless, rapid, seamless stream. Waller also pioneered the use of the pipe organ and Hammond organ in jazz -- he called the pipe organ the "God box" -- adapting his irresistible sense of swing to the pedals and a staccato right hand while making imaginative changes of the registration. As a composer and improviser, his melodic invention rarely flagged, and he contributed fistfuls of joyous yet paradoxically winsome songs like "Honeysuckle Rose," "Ain't Misbehavin,'" "Keepin' Out of Mischief Now," "Blue Turning Grey Over You" and the extraordinary "Jitterbug Waltz" to the jazz repertoire.
Lionel Hampton
The Ramble (Charlie Lawrence) 3:12
Gettin' Ready Blues (Charlie Lawrence) 3:00
Vibraphone Blues (Lionel Hampton) 3:22
from Complete Edition, 1929-1936 Vol. 1
... Hampton made his first recordings as drummer and vocalist with Paul Howard's Quality Serenaders, a hot little group based in the Los Angeles area in 1929 and 1930, led by tenor saxophonist Paul Howard, with arrangements by Alex Hill or reedman Charlie Lawrence, and solid contributions from pianist Harvey Brooks. Also making his recording debut was trombonist and arranger Lawrence Brown, a marvelous improviser destined for decades of service in the Duke Ellington Orchestra. Hamp was already a dazzling performer, driving the band with expert drumming, invading the piano on "A New Kinda Blues," and singing -- sometimes scatting -- on "Moonlight Blues," "Stuff," "Cuttin' Up" and "California Swing." This is all quite different from the fully formed swing music that Hamp would start churning out during the late '30s. The rest of the material on this exciting collection traces Hamp's progress through the Les Hite Orchestra (where he worked with ex-Howard trumpeter George Orendorff backing Louis Armstrong's vocals), the Teddy Wilson band (where he and Benny Goodman backed vocalists Vera Lane [aka Helen Ward] and Redd Harper), and ending up sing over the vibes with the Benny Goodman Quartet. To summarize, the 23 tracks that make up this anthology add up to one hell of a beginning for Hamp's spectacular career as one of the primary movers and shakers in all of jazz music.
Mildred Bailey
What Kind O' Man Is You? 3:17 feat: Eddie Lang & His Orchestra
Is That Religion? 3:00 feat: Dorsey Brothers Orchestra
Someday Sweetheart 3:27 feat: Mildred Bailey & Her Swing Band
from The Complete Columbia Recording Sessions, Vol. 1 - 1929-1937
...The added exposure with Whiteman soon gave Bailey her own radio program. She had already debuted on a recording date with guitarist Eddie Lang in 1929, but in 1932 she gained fame by recording what became her signature song, "Rockin' Chair" -- written especially for her by Hoagie Carmichael -- with a Whiteman small group. While recording for Vocalion during the 1930s, Bailey often utilized her husband, xylophonist/vibraphonist Red Norvo. She also appeared on his recordings of the late '30s, and the arrangements of Eddie Sauter proved a perfect accompaniment to her vocals...
Casey Bill Weldon
Turpentine Blues 3:27
Somebody Changed The Lock On That Door 3:22
Two Timin' Woman
from Slide Guitar Swing (1927-1938)
Steel guitarist Will Weldon is remembered as Casey Bill Weldon, and was also known in his time as Kansas City Bill and Levee Joe. "Casey", like "KC" or "Kaycee," referred to his links with the Kansas City music scene, although he could just as easily have been named after Pine Bluff, AK where he was born in 1909, or Atlanta or Memphis where he made his first recordings in 1927 after performing in medicine shows throughout the south. Inspired directly by the great Peetie Wheatstraw, Weldon was equally adept at expressing himself as a passionate blues singer and as a honky-tonk "country" performer who contributed to the development of Western swing. He was sometimes billed as the Hawaiian Guitar Wizard...
Amédé Breaux - Jolie Blonde 3:04
Ségura Frères - A Mosquito Ate Up My Sweetheart 2:58
from Cajun Louisiane 1928-1939
Cajun music
Cajun music (French: Musique cadienne), an emblematic music of Louisiana played by the Cajuns, is rooted in the ballads of the French-speaking Acadians of Canada. Cajun music is often mentioned in tandem with the Creole-based zydeco music, both of Acadiana origin, and both of which have influenced the other in many ways. These French Louisiana sounds have influenced American popular music for many decades, especially country music, and have influenced pop culture through mass media, such as television commercials.
Jimmy Rushing
Blue Devil Blues 2:47 Walter Page
Boogie Woogie 3:16 Jones-Smith Incorporated
I Left My Baby 3:14 Count Basie
from Jimmy Rushing the Band Singer 1929-1940
Rushing, the daddy of Kansas blues and thus, of R&B, was a singer of power and flexibility. He sang with the Blue Devils, with Benny Moten, even with Benny Goodman, but above all with the greatest of the Count Basie bands. Classic or unknown it's all splendid, both vocally and instrumentally, but the Basie cuts are wealth beyond compare.
Charlie Christian
Flying Home (Benny Goodman / Lionel Hampton) 3:11 Benny Goodman Sextet
Shivers (Charlie Christian / Lionel Hampton) 2:46 Benny Goodman Sextet
I'm Confessin' (That I Love You) (D. Dougherty / Al J. Neiburg / E. Reynolds) 3:00
Gone with What Wind [Master Take] (Count Basie / Benny Goodman) 3:20
from The Genius of the Electric Jazz Guitar
First, a few myths get cleared up by the very existence of this box, which goes far beyond the original Columbia compilations with the same name. For starters, Columbia goes a long way to setting the record straight that Charlie Christian was not the first electric guitarist or the first jazz guitarist or the first electric guitarist in jazz. For another, they concentrate on only one thing here: documenting Christian's seminal tenure with Benny Goodman's various bands from 1939-1941. While in essence, that's all there really is, various dodgy compilations have been made advertising Christian playing with Lester Young or Lionel Hampton. It's true that he did, but only in the context of the Goodman band...
 |
| How Benny Goodman met guitar legend Charlie Christian |
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