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| Hal Singer |
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before 1959
Hal Singer
Swing Shift (Hal Singer)
Swanee River (Traditional)
Cornbread (Lee Morgan / Teddy Reig / Hal Singer)
from Hal Singer 1948-1951
Blues & Rhythm CLASSICS
Tenor sax player Hal "Cornbread" Singer spent his career moving with ease between jazz, R&B and early rock & roll, and his hard, muscular sax sound is unmistakable, practically defining the words "searing" and "scorching" on key instrumentals like "Cornbread" (his first big solo hit) and its follow-up, "Beef Stew." Both tracks are included here in this collection of his earliest solo sides for Savoy Records...
Remembered for his highly commercial approach to pop music, Xavier Cugat (born Francisco de Asis Javier Cugat Mingall de Cru y Deulofeo) made an even greater mark as one of the pioneers of Latin American dance music. During his eight-decade-long career, Cugat helped to popularize the tango, the cha-cha, the mambo, and the rhumba.
Xavier Cugat & His Orchestra
Maracaibo
Mambo No. 5
Anything Can Happen Mambo feat. Abbe Lane
from Maracaibo (Original Recordings 1950 -1952)
A native of Girona, Spain, Cugat emigrated with his family to Cuba in 1905. Trained as a classical violinist, he played with the Orchestra of the Teatro Nacional in Havana at the age of 12. Emigrating to the United States, sometime between 1915 and 1918, he quickly found work accompanying an opera singer. At the height of the tango craze, in 1918, Cugat joined a popular dance band, the Gigolos. His involvement with the group, however, was brief. As the popularity of the tango faded, he took a job as a cartoonist for The Los Angeles Times. Cugat returned to music in 1920, forming his own group, the Latin American Band....
They called Atlantic Records "the house that Ruth built" during the 1950s, and they weren't referring to the Sultan of Swat. Ruth Brown's regal hitmaking reign from 1949 to the close of the '50s helped tremendously to establish the New York label's predominance in the R&B field.
Ruth Brown
Don't Cry
Shine On
Mend Your Ways (Lincoln Chase / Leroy Kirkland) 2:48
from Ruth Brown 1951-1953
Blues & Rhythm CLASSICS
Later, the business all but forgot her -- she was forced to toil as domestic help for a time -- but she returned to the top, her status as a postwar R&B pioneer (and tireless advocate for the rights and royalties of her peers) recognized worldwide.
Young Ruth Weston was inspired initially by jazz chanteuses Sarah Vaughan, Billie Holiday, and Dinah Washington. She ran away from her Portsmouth home in 1945 to hit the road with trumpeter Jimmy Brown, whom she soon married...
Ellis 'Slow' Walsh - New Orleans Is My Home
Guitar Slim - The Story of My Life
Tommy Ridgley - Jam Up
Pee Wee Crayton - Do Unto Others
from The History of New Orleans Rhythm & Blues, Vol. 5 - The Birth of Rock'n'roll - 1953-1954
New Orleans rhythm and blues
New Orleans rhythm and blues is a style of rhythm and blues music that originated in the U.S. city of New Orleans. Most popular from 1948 to 1955, it was a direct precursor to rock and roll and strongly influenced ska. Instrumentation typically includes drums, bass, piano, horns, electric guitar, and vocals. The style is characterized by syncopated "second line" rhythms, a strong backbeat, and soulful vocals... New Orleans rhythm and blues can be characterized by predominant piano, "singing" horns, and call-and-response elements. Clear influences of Kansas City Swing bands can be heard through the extensive use of trumpet and saxophone solos. A "double" bass line, when the guitar and bass play in unison, was combined with a strong backbeat to make the music easy to dance to. It is also common to hear the influence of Caribbean rhythms such as the mambo, rhumba, and the calypso.
A talented American saxophonist who was also responsible for some of the hottest, most suggestive R&B ever recorded.
Bull Moose Jackson
Bull Moose Jackson & His Buffalo Bearcats - We Ain't Got Nothin' (But the Blues) (Lucky Millinder / Ernest Purce)
Annisteen Allen & Her Home Town Boys - The Blues Done Got Me (and Gone)
Moose On the Loose (Sally Nix)
from The Bull Moose Jackson Collection 1945-55
One of the best artists to rise from the jump blues era, sax man and bandleader Bull Moose Jackson played rollicking music with a broad sense of humor... All those songs and many more are featured on this collection, which includes 54 classic tracks from Jackson's 1945-1955 heyday. The set features performances by Jackson and his band the Buffalo Bearcats, as well as sides in which Bull Moose sits in with Lucky Millinder & His Orchestra and Anisteen Allen & Her Hometown Boys.
Country maverick whose productions made Nancy Sinatra a star, reserving his solo recordings for dark introspection and wry, playful humor.
Lee Hazlewood
Cross Country Bus (Lee Hazlewood)
Five Thousand and One (Lee Hazlewood)
A Lady Called Blues (Lee Hazlewood)
from 400 Miles From L.A. 1955-56
It's no secret that Lee Hazlewood worked hard for his success, toiling away as a DJ, songwriter, and producer before striking gold with Duane Eddy and Nancy Sinatra. The narrative may be well-known, but Light in the Attic's 2019 compilation, 400 Miles from L.A. 1955-56, sheds light on a period that's been otherwise undocumented: Hazlewood's earliest years, when he was finding his way as a songwriter, heading from his hometown of Phoenix, Arizona to Los Angeles with a fistful of demos, hoping to convince a label to record his original material. Hazlewood didn't have success in Los Angeles, not back in the mid-'50s, but his determination eventually earned him a career in the music business. The songs on 400 Miles from L.A. are at the foundation of that career...
A skilful jazz pianist and arranger, Tadd Dameron who combined the emerging bebop sound with the melodic, swinging Kansas City sound.
Mating Call (Tadd Dameron)
Soultrane (Tadd Dameron)
On a Misty Night (Tadd Dameron)
from Mating Call 1957
This fine set, recorded on November 30, 1956, has been reissued several times, often as a John Coltrane date, but make no mistake, this is a Tadd Dameron session, and his elegant compositions are its key component. Coltrane was fresh off playing with Miles Davis in 1956 and was still a year away from heading his own sessions and three years away from recording Giant Steps, so it might be said that he was in transition, but then when was Coltrane not in transition? Dameron wisely gives him plenty of space to fill, and the rhythm section of John Simmons on bass and the great Philly Joe Jones on drums (not to mention Dameron's own characteristically bass-heavy piano style) give Trane a solid bottom to work with, and if the spiritual and edgy emotion of his later playing isn't quite in place yet, you can feel it coming...
Master conguero who combined traditional charanga with influences from R&B, rock, and electric jazz.
Mongo Santamaria
Yambu
Longoito
Conga Pa Gozar
Afro Blue
from Yambu 1958
Mongo returns to his Cuban roots with this descarga-rich affair. Eschewing the big bands of his mambo beginnings and the boogaloo of later releases, Santamaria brings together a host of top Latin percussionists for a trip through the musical history of Cuban music. This was one of the percussionists first outing for Fantasy, and he sets the stage for a fine career with meditations on a slew of his native rhythms ("Yambu"), deities ("Longoito"), and celebrations ("Conga par Gozar," a Carnaval favorite), and the rumba gets a few mighty references as well. Joining the party are such percussion greats as Modesto Duran, Francisco Aguabella, Carlos Vidal, and Pablo Mozo. Skins madness with a whole lot of soul.
An architect of Chicago blues' West Side sound, whose style combined broodingly intense vocals and sweet, stinging guitar solos.
Otis Rush
I Can't Quit You Baby (Willie Dixon)
Groaning the Blues (Willie Dixon)
Love That Woman (Lafayette Leake)
Double Trouble (Otis Rush)
from The Complete Classic Cobra Recordings 1956-1958
The title says it all. This is the essential Otis Rush, the singles recorded for Eli Toscano's Cobra label between 1956 and 1958. If Rush had never recorded another note, his legendary status would remain intact based solely on these recordings. Backed by players like Willie Dixon and Little Walter, it's Rush's impassioned vocals and stinging guitar lines that make "I Can't Quit You Baby," "All Your Love (I Miss Loving)," and "Double Trouble" the classics they are. In addition to the A- and B-sides of all eight singles released by Cobra, eight alternate takes are included, four more than the Paula edition of this material released in 1991. Along with a slightly better transfer from the original tapes, this is not only one of the best places to start for someone getting interested in the blues, but a vital part of any blues collection. Outstanding.
Prolific and widely known flutist, beloved in jazz circles, has covered many world music styles.
Herbie Mann
Minor Groove
Blue Dip
Jumpin' With Symphony Sid (Lester Young)
from Just Wailin' 1958
This recording emphasizes (although does not stick exclusively to) the blues. The sextet has impressive players (flutist Herbie Mann, Charlie Rouse on tenor, guitarist Kenny Burrell, pianist Mal Waldron, bassist George Joyner and drummer Art Taylor) and the material (originals by Waldron, Burrell and Calvin Massey in addition to a brief "Jumpin' With Symphony Sid") is reasonably challenging but the musicians never really come together as a group. The straightahead jam session has its strong moments and, as long as one keeps their expectations low, the music will be enjoyable despite the lack of major sparks.
Swing Shift (Hal Singer)
Swanee River (Traditional)
Cornbread (Lee Morgan / Teddy Reig / Hal Singer)
from Hal Singer 1948-1951
Blues & Rhythm CLASSICS
Tenor sax player Hal "Cornbread" Singer spent his career moving with ease between jazz, R&B and early rock & roll, and his hard, muscular sax sound is unmistakable, practically defining the words "searing" and "scorching" on key instrumentals like "Cornbread" (his first big solo hit) and its follow-up, "Beef Stew." Both tracks are included here in this collection of his earliest solo sides for Savoy Records...
Xavier Cugat & His Orchestra
Maracaibo
Mambo No. 5
Anything Can Happen Mambo feat. Abbe Lane
from Maracaibo (Original Recordings 1950 -1952)
A native of Girona, Spain, Cugat emigrated with his family to Cuba in 1905. Trained as a classical violinist, he played with the Orchestra of the Teatro Nacional in Havana at the age of 12. Emigrating to the United States, sometime between 1915 and 1918, he quickly found work accompanying an opera singer. At the height of the tango craze, in 1918, Cugat joined a popular dance band, the Gigolos. His involvement with the group, however, was brief. As the popularity of the tango faded, he took a job as a cartoonist for The Los Angeles Times. Cugat returned to music in 1920, forming his own group, the Latin American Band....
 |
| Xavier Cugat & Abbe Lane |
Ruth Brown
Don't Cry
Shine On
Mend Your Ways (Lincoln Chase / Leroy Kirkland) 2:48
from Ruth Brown 1951-1953
Blues & Rhythm CLASSICS
Later, the business all but forgot her -- she was forced to toil as domestic help for a time -- but she returned to the top, her status as a postwar R&B pioneer (and tireless advocate for the rights and royalties of her peers) recognized worldwide.
Young Ruth Weston was inspired initially by jazz chanteuses Sarah Vaughan, Billie Holiday, and Dinah Washington. She ran away from her Portsmouth home in 1945 to hit the road with trumpeter Jimmy Brown, whom she soon married...
Guitar Slim - The Story of My Life
Tommy Ridgley - Jam Up
Pee Wee Crayton - Do Unto Others
from The History of New Orleans Rhythm & Blues, Vol. 5 - The Birth of Rock'n'roll - 1953-1954
New Orleans rhythm and blues
New Orleans rhythm and blues is a style of rhythm and blues music that originated in the U.S. city of New Orleans. Most popular from 1948 to 1955, it was a direct precursor to rock and roll and strongly influenced ska. Instrumentation typically includes drums, bass, piano, horns, electric guitar, and vocals. The style is characterized by syncopated "second line" rhythms, a strong backbeat, and soulful vocals... New Orleans rhythm and blues can be characterized by predominant piano, "singing" horns, and call-and-response elements. Clear influences of Kansas City Swing bands can be heard through the extensive use of trumpet and saxophone solos. A "double" bass line, when the guitar and bass play in unison, was combined with a strong backbeat to make the music easy to dance to. It is also common to hear the influence of Caribbean rhythms such as the mambo, rhumba, and the calypso.
Bull Moose Jackson
Bull Moose Jackson & His Buffalo Bearcats - We Ain't Got Nothin' (But the Blues) (Lucky Millinder / Ernest Purce)
Annisteen Allen & Her Home Town Boys - The Blues Done Got Me (and Gone)
Moose On the Loose (Sally Nix)
from The Bull Moose Jackson Collection 1945-55
One of the best artists to rise from the jump blues era, sax man and bandleader Bull Moose Jackson played rollicking music with a broad sense of humor... All those songs and many more are featured on this collection, which includes 54 classic tracks from Jackson's 1945-1955 heyday. The set features performances by Jackson and his band the Buffalo Bearcats, as well as sides in which Bull Moose sits in with Lucky Millinder & His Orchestra and Anisteen Allen & Her Hometown Boys.
Lee Hazlewood
Cross Country Bus (Lee Hazlewood)
Five Thousand and One (Lee Hazlewood)
A Lady Called Blues (Lee Hazlewood)
from 400 Miles From L.A. 1955-56
It's no secret that Lee Hazlewood worked hard for his success, toiling away as a DJ, songwriter, and producer before striking gold with Duane Eddy and Nancy Sinatra. The narrative may be well-known, but Light in the Attic's 2019 compilation, 400 Miles from L.A. 1955-56, sheds light on a period that's been otherwise undocumented: Hazlewood's earliest years, when he was finding his way as a songwriter, heading from his hometown of Phoenix, Arizona to Los Angeles with a fistful of demos, hoping to convince a label to record his original material. Hazlewood didn't have success in Los Angeles, not back in the mid-'50s, but his determination eventually earned him a career in the music business. The songs on 400 Miles from L.A. are at the foundation of that career...
A towering musical figure of the 20th century, saxophonist John Coltrane reset the parameters of jazz during his decade as a leader.
Tadd Dameron with John ColtraneMating Call (Tadd Dameron)
Soultrane (Tadd Dameron)
On a Misty Night (Tadd Dameron)
from Mating Call 1957
This fine set, recorded on November 30, 1956, has been reissued several times, often as a John Coltrane date, but make no mistake, this is a Tadd Dameron session, and his elegant compositions are its key component. Coltrane was fresh off playing with Miles Davis in 1956 and was still a year away from heading his own sessions and three years away from recording Giant Steps, so it might be said that he was in transition, but then when was Coltrane not in transition? Dameron wisely gives him plenty of space to fill, and the rhythm section of John Simmons on bass and the great Philly Joe Jones on drums (not to mention Dameron's own characteristically bass-heavy piano style) give Trane a solid bottom to work with, and if the spiritual and edgy emotion of his later playing isn't quite in place yet, you can feel it coming...
Mongo Santamaria
Yambu
Longoito
Conga Pa Gozar
Afro Blue
from Yambu 1958
Mongo returns to his Cuban roots with this descarga-rich affair. Eschewing the big bands of his mambo beginnings and the boogaloo of later releases, Santamaria brings together a host of top Latin percussionists for a trip through the musical history of Cuban music. This was one of the percussionists first outing for Fantasy, and he sets the stage for a fine career with meditations on a slew of his native rhythms ("Yambu"), deities ("Longoito"), and celebrations ("Conga par Gozar," a Carnaval favorite), and the rumba gets a few mighty references as well. Joining the party are such percussion greats as Modesto Duran, Francisco Aguabella, Carlos Vidal, and Pablo Mozo. Skins madness with a whole lot of soul.
Otis Rush
I Can't Quit You Baby (Willie Dixon)
Groaning the Blues (Willie Dixon)
Love That Woman (Lafayette Leake)
Double Trouble (Otis Rush)
from The Complete Classic Cobra Recordings 1956-1958
The title says it all. This is the essential Otis Rush, the singles recorded for Eli Toscano's Cobra label between 1956 and 1958. If Rush had never recorded another note, his legendary status would remain intact based solely on these recordings. Backed by players like Willie Dixon and Little Walter, it's Rush's impassioned vocals and stinging guitar lines that make "I Can't Quit You Baby," "All Your Love (I Miss Loving)," and "Double Trouble" the classics they are. In addition to the A- and B-sides of all eight singles released by Cobra, eight alternate takes are included, four more than the Paula edition of this material released in 1991. Along with a slightly better transfer from the original tapes, this is not only one of the best places to start for someone getting interested in the blues, but a vital part of any blues collection. Outstanding.
Herbie Mann
Minor Groove
Blue Dip
Jumpin' With Symphony Sid (Lester Young)
from Just Wailin' 1958
This recording emphasizes (although does not stick exclusively to) the blues. The sextet has impressive players (flutist Herbie Mann, Charlie Rouse on tenor, guitarist Kenny Burrell, pianist Mal Waldron, bassist George Joyner and drummer Art Taylor) and the material (originals by Waldron, Burrell and Calvin Massey in addition to a brief "Jumpin' With Symphony Sid") is reasonably challenging but the musicians never really come together as a group. The straightahead jam session has its strong moments and, as long as one keeps their expectations low, the music will be enjoyable despite the lack of major sparks.
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