17-04-2020 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

Charlie Christian

17-04-2020 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Casey Bill Weldon, Cleoma Breaux Falcon, Amédé Breaux, Ségura Frères, Cajun music, Jimmy Rushing, Charlie Christian, Louis Armstrong, Bunny Berigan, Georgius, Sol Hoopii, Kalama's Quartet, Kanui & Lula, Hawaiian Music,  Hazel Scott, Lonnie Johnson<<

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before 1959

Among the premier "Hawaiian" guitarists, with voicings, fluidity, and tunings that were creative and imaginative.
Casey Bill Weldon
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
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

The most important and influential musician in jazz history, and one of the leading singers and entertainers from the 1920s through the '50s.
Louis Armstrong
Shadrack w/ The Decca Mixed Chorus (Robert McGimsey) 2:36
When the Saints Go Marching In feat. Shelton Hemphill, Charlie Holmes (Traditional) 2:44
Old Man Mose feat: Leonard Davis, Gus Aiken (Louis Armstrong / Zilner Randolph) 2:34
Lawd, You Made the Night Too Long 2:34
from Hallelujah! Gospel 1930-1941
A jazz pioneer, Louis Armstrong was the first important soloist to emerge in jazz, and he became the most influential musician in the music's history. As a trumpet virtuoso, his playing, beginning with the 1920s studio recordings he made with his Hot Five and Hot Seven ensembles, charted a future for jazz in highly imaginative, emotionally charged improvisation. For this, he is revered by jazz fans. But Armstrong also became an enduring figure in popular music due to his distinctively phrased baritone singing and engaging personality, which were on display in a series of vocal recordings and film roles....

Superb early jazz trumpeter who absorbed improvisational concepts from Satch and Bix before succumbing to an early death.
Bunny Berigan
In the Dark (Bix Beiderbecke) 2:46
Ain't She Sweet (Milton Ager / Jack Yellen) 2:39
Jazz Me Blues (Tom Delaney) 3:15
from Complete Jazz Series 1938 - 1942
After the banner years of 1937-1938, Bunny Berigan's output took a serious downturn. Due to his alcoholism and bad management decisions, he had to break up his band and rejoin Tommy Dorsey's group in order to make a living. Berigan did rebound long enough to form his last band, which only survived until he passed away in 1942 at the age of 33. This Classics disc -- the last of several charting Berigan's career -- takes in the 1940-1942 last stand, along with a few sides from 1938. While there are some quality songs here, the majority of the disc is disappointing, especially alongside earlier triumphs like "I Can't Get Started" and Berigan's Ellington and Bix Beiderbecke covers. Stalwarts like tenor saxophonist George Auld, drummer Buddy Rich, and trombonist Ray Conniff add some spark, but for the most part the tunes lumber along. Best left for completists.

Georges Guibourg (1891 – 1970) was a French singer, author, writer, playwright, and actor, George Guibourg, alias Georgius, alias Theodore Crapulet, was one of the most popular and versatile performers in Paris for more than 50 years.
Guibourg was born at Mantes-la-Ville, Yvelines, Île-de-France, France. He began studying the piano at the age of 11 and at age 16 went to Paris where he performed on stage, singing extracts of traditional operettas and lovesongs. Over the next few years he performed his lovesongs at various concert halls and cabarets and appeared in a musical comedy in Montparnasse.
Georgius
Tangos... Tangos... Jo Bouillon et Son Orch. Du Casino de Paris 2:54
On L'appelait "Fleur Des Fortifs" 3:18
Il en Etait Orch. Dirige Par Pierre Chagnon 3:06
from Georgius L'amuseur surréaliste 1924-1943
(The Surrealistic Funny Man)

Sol Hoopii - Farewell Blues 2:52
Kalama's Quartet Kawika Lillu E 2:45
Kanui & Lula - Oua Oua 2:51
Sol Hoopii - Hula Girl 3:06
from Hawaiian Music (Honolulu - Hollywood - Nashville 1927-1944)
Music of Hawaii
The music of Hawaii includes an array of traditional and popular styles, ranging from native Hawaiian folk music to modern rock and hip hop. Hawaii's musical contributions to the music of the United States are out of proportion to the state's small size. Styles like slack-key guitar are well known worldwide, while Hawaiian-tinged music is a frequent part of Hollywood soundtracks. Hawaii also made a contribution to country music with the introduction of the steel guitar.[1] In addition, the music which began to be played by Puerto Ricans in Hawaii in the early 1900s is called cachi cachi music, on the islands of Hawaii...

Though she didn't call it third stream, and it wasn't associated with the genre, Hazel Scott was another musician who found a successful way to blend jazz and classical influences. Scott took classical selections and improvised on them, a practice dating back to the ragtime era.
Hazel Scott
Calling All Bars (Leonard Feather) 2:51
Hungarian Rhapsody Nº 2 in "C" Sharp Minor (Franz Liszt) 3:23
Hazel's Boogie Woogie 2:21
C Jam Blues (Barney Bigard / Duke Ellington) 3:47
from Complete Jazz Series 1939 - 1945
A brilliant pianist who also had a warm singing voice, Hazel Scott gained some recognition in the early '40s for her swinging versions of classical themes. This valuable CD has all of her early recordings through May 1945, most of which have been rarely reissued. Scott is first heard on four songs with a pickup group organized by Leonard Feather called the Sextet of the Rhythm Club of London. While that unit features clarinetist Danny Polo and altoist Pete Brown, the next 16 selections (four of which are V-discs) put the spotlight entirely on Scott, who is backed by either J.C. Heard or Sid Catlett on drums. She shows off both her technique and her creativity on six classical works, swing standards, and a couple basic blues originals, singing on "People Will Say We're in Love" and "C Jam Blues." The final four numbers are quite a bit different as Scott is showcased as a fairly straight and sophisticated singer with orchestras conducted by Toots Camarata. Overall, this CD is highly recommended, reminding today's listeners how talented a pianist Scott was in her early days.

Blues guitar simply would not have developed in the manner that it did if not for the prolific

brilliance of Lonnie Johnson. He was there to help define the instrument's future within the genre and the genre's future itself at the very beginning, his melodic conception so far advanced from most of his prewar peers as to inhabit a plane all his own. For more than 40 years, Johnson played blues, jazz, and ballads his way; he was a true blues originator whose influence hung heavy on a host of subsequent blues immortals.
Lonnie Johnson
Swing Out Rhythm (Lonnie Johnson) 2:37
Devil's Got the Blues (Lonnie Johnson) 2:58
Blues in My Soul (Lonnie Johnson) 2:57
The Loveless Blues (Lonnie Johnson) 3:15
from Blues In My Soul 1937/1946
Although Johnson is in peak form on this collection spanning from the mid-1930s to the mid-1940s, many of the tracks are plagued by poor fidelity, making the set somewhat difficult for casual fans to digest and more for dedicated listeners.

Hazel Scott