 |
| Otis Rush |
Z E N E / M U S I C
if you want excitement PRESS SHUFFLE!
LISTEN THE PLAYLIST ON DEEZER.COM
preHiSTORY:MiX tag A lejátszó mindig a legújabb playlist számait játssza. / The player always plays the latest playlist tracks.
before 1959
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.
John Coltrane is a titan of the 20th century, the saxophonist pioneered many of the jazz revolutions of the post-hard bop era.
Mating Call (Tadd Dameron)
Soultrane (Tadd Dameron)
Super Jet (Tadd Dameron)
feom 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...
Elvis Presley
Rip It Up
Ready Teddy
Too Much
from Radio Recorders: The Complete '56 Sessions
This LIMITED EDITON vinyl contains the complete 1956 recordings, of Elvis Presley’s debut session at Radio Recorders in Hollywood CA.
At the beginning, at least, the results were hardly any tamer than the Sun sessions. "Heartbreak Hotel," his first single, rose to number one and, aided by some national television appearances, helped make Elvis an instant superstar. "I Want You, I Need You, I Love You" was a number one follow-up; the double-sided monster "Hound Dog"/"Don't Be Cruel" was one of the biggest-selling singles the industry had ever experienced up to that point. His first two LPs, Elvis Presley and Elvis, were also chart-toppers, not just in the U.S., but throughout the world. The 1956 RCA recordings, while a bit more sophisticated in production and a bit less rootsy in orientation than his previous work, were still often magnificent, rating among the best and most influential recordings of early rock & roll.
Hard-living blues/boogie woogie pianist's compositions foretold rock'n'roll. Boogie piano master Amos Milburn was born in Houston, and he died there a short 52 years later. In between, he pounded out some of the most hellacious boogies of the postwar era, usually recording in Los Angeles for Aladdin Records and specializing in good-natured upbeat romps about booze and its effects (both positive and negative) that proved massive hits during the immediate pre-rock era.
After Midnite (Lola Anne Cullum / Amos Milburn)
Amos' Blues (Lola Anne Cullum / Amos Milburn)
Amos' Boogie (Lola Anne Cullum / Amos Milburn)
Here's a very reasonable compromise between the pricey Mosaic box and EMI's incomplete single-disc treatment of Milburn's Aladdin legacy: a three-disc, 66-song package that's heavy on boogies and blues and slightly deficient in the ballad department (to that end, his smash "Bewildered" was left off). Everything that is aboard is top-drawer, though -- the booze odes, many a party rocker, and a plethora of the double-entendre blues that Milburn reveled in during his early years. The absent 1956 remake of "Chicken Shack Boogie" is a humongous omission, though.
An altoist of astonishing longevity who also worked as an arranger and film scorer. To say that Benny Carter had a remarkable and productive career would be an extreme understatement. As an altoist, arranger, composer, bandleader, and occasional trumpeter, Carter was at the top of his field since at least 1928, and in the late '90s,
Gone with the Wind (Herbert Magidson / Allie Wrubel)
Street Scene (Alfred Newman)
Angel Eyes (Earl Brent / Matt Dennis)
from Cosmopolite: The Oscar Peterson Verve Sessions 1952-1954
These timeless Benny Carter performances match the great altoist with pianist Oscar Peterson, bassist Ray Brown, either Barney Kessel or Herb Ellis on guitar, Buddy Rich, J.C. Heard or Bobby White on drums, and, on four numbers, trombonist Bill Harris. The 17 standards (four of which are also heard in alternate versions) are treated with respect, taste, and swing. Carter always sounds flawless and is in excellent form throughout this enjoyable set.
...She performed as a "rowdy vocalist...[and] vigorous pianist who could lay down a mean boogie-woogie blues"...
Pretty Papa Blues (Pretty Mama Blues)
Paula's Nightmare
I Love to Ride
from Classics: 1948-1953
Often compared with Nellie Lutcher, Julia Lee, Rose Murphy, and Martha Davis, rowdy vocalist Paula Watson was a vigorous pianist who could lay down a mean boogie-woogie blues, as demonstrated on her very best recorded performance, "Paula's Nightmare."... Watson has a lot of fun with "I Love to Ride," rocking it up and lightly pushing the conventional limits of acceptability for 1953. The saxophones make some of these tunes feel like miniature blowing sessions.
Wild jump blues saxophonist whose music paved the way for R&B and early rock & roll in the '40s and '50s.
Insect Ball (Ernest Mayhand / C.J. McNeely)
All That Wine Is Gone
Deacon Rides Again (Big Jay McNeely)
Just Crazy (Big Jay McNeely)
from Classics 1951-1952
A collection of all the sides Big Jay McNeely recorded for Imperial Records in 1951 and 1952, along with his first few Federal Records tracks from that year, this anthology, although chronological, is neatly divided into vocal and instrumental pieces. The first half dozen or so selections feature the Three Dots and a Dash vocal group, while the rest of the disc is made up of the muscular tenor and baritone-driven saxophone instrumentals that were McNeely's stock in trade. The lead track, "Insect Ball," is probably the most striking of the vocal sides, while the instrumental highlights include "Deacon Rides Again," the cranked-up "The Goof," "Penthouse Serenade" (which shows that McNeely can play soft and pretty when the piece calls for it), and the proto-rock & roll of "Big Jay Shuffle."
The Dominos - Sixty Minute Man
Elmore James - Dust My Broom
Tony Bennett - Cold, Cold Heart
1950S MUSIC
The decade of the Fifties gave birth to Rock and Roll. When Bill Haley’s Rock Around the Clock became popular in 1955, the nation learned to swing to a whole new sound. Prior to that the Big Band Era from the 40’s was still the the driving force in music.
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.
Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis' emergence in the 1970s that Dizzy's style was successfully recreated.
Bloomdido (Charlie Parker)
Relaxin' with Lee (Charlie Parker)
My Melancholy Baby (Ernie Burnett / George Norton)
Mohawk (Charlie Parker)
from Bird and Diz / Rec. June 6, 1950
This collection of 78 rpm singles, all recorded on June 6, 1950, was released in 1956. Several things distinguish this from numerous other quintet recordings featuring these two bebop pioneers. It was recorded during the period that Parker was working under the aegis of producer Norman Granz, whose preference for large and unusual ensembles was notorious. The end result in this case is a date that sounds very much like those that Parker and Gillespie recorded for Savoy and Dial, except with top-of-the-line production quality. Even more interesting, though, is Parker's choice of Thelonious Monk as pianist. Unfortunately, Monk is buried in the mix and gets very little solo space, so his highly idiosyncratic genius doesn't get much exposure here...
Nincsenek megjegyzések:
Megjegyzés küldése