Z E N E / M U S I C (1h 43m)
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before 1959
Down South Blues
The Girl I Love, She Got Long Curly Hair
Black Mattie Blues
Big Bill Broonzy called John Estes' style of singing "crying" the blues because of its overt emotional quality. Actually, his vocal style harks back to his tenure as a work-gang leader for a railroad maintenance crew, where his vocal improvisations and keen, cutting voice set the pace for work activities. Nicknamed "Sleepy" John Estes, supposedly because of his ability to sleep standing up, he teamed with mandolinist Yank Rachell and harmonica player Hammie Nixon to play the house party circuit in and around Brownsville in the early '20s.
Everybody Shuffle
Blues In My Heart
from The Various Facets of a Genious 1929-1940
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, Carter was as strong an altoist at the age of 90 as he was in 1936 (when he was merely 28). His gradually evolving style did not change much through the decades, but neither did it become at all stale or predictable except in its excellence. Benny Carter was a major figure in every decade of the 20th century since the 1920s, and his consistency and longevity were unprecedented.
Hampton's RCA Victor dates are a varied lot with the majority of them boasting the best players of whatever big band was blowing through town when he was organizing a date. This disc, with dates from 1937 and 1939, is no exception with stars like Cootie Williams, Rex Stewart, Dizzy Gillespie, Gene Krupa, Cozy Cole, Jess Stacy, Milt Hinton, John Kirby, Coleman Hawkins, Chu Berry, Benny Carter, Johnny Hodges, and Lawrence Brown dotting the various lineups.
Said the Monkey
Les Trois Coups
Mulatta Likes the Rumba
The Moon over Cuba Was High and so Was I
from Mulatta Likes the Rumba 1932-1937
...Antobal was the excellent Don Azpiazu's brother; both led bands in the vanguard of the movement to bring Cuban music to the North American public. The rhumba was the main musical form that these bands showcased, but this compilation also includes some congas. Both Antobal and Azpiazu were educated in the United States and thus in a good position to present Cuban music in a way that would appeal to Yankee tastes. ... (AllMusic)
Soleá (Prise 2)
Tango (Mayor Y Menor)
Guajira
Terrible Operation Blues
Guitar Rag
Big Bill Blues
This a marvelous little companion piece to Young Big Bill Broonzy (1928-35) on Yazoo. Broonzy's ragtime guitar picking is textbook in its scope, and his vocals are as warm as can be. Dubbed from old 78s, the ultra high quality of the music on Do That Guitar Rag (1928-1935) make any audiophile nitpicking a moot point indeed. Broonzy is at his youngest and full of pep.
Business In F by Fletcher Henderson And His Orchestra
Blue Moments by Connie's Inn Orchestra
Someday, Sweetheart by Hawkins Orchestra
Entre Tinieblas
Mujer
Rumba Tambah
from Vol. 2 - 1932-1933
The salient feature of Machín's early life was that his ambition to sing opera was frustrated by that fact that he was born a poor mulatto in Cuba at the turn of the century. There is an operatic sensibility in his best performances -- El Manisero, Lamento Esclavo, Blanca Rosa -- that makes one wonder how he would have handled Verdi. In any case, in 1926 Machín made his way to Havana from Sagua La Grande, his birthplace on the northern part of the island, determined to become a singer. He soon became a featured vocalist at the Casino Nacional of Havana, the first singer of color ever to do so...
Wha'd Ja Do to Me? (Milton Ager)
Roll On, Mississippi, Roll On (James McCaffry / Dave Ringle / Eugene West)
Between the Devil and the Deep Blue Sea (Harold Arlen / Ted Koehler)
Most vocal groups that attempt to sing jazz instead end up in the genre of middle-of-road pop music. The Boswell Sisters (comprised of Connee, Vet, and Martha) were a strong exception, always swinging and, by changing tempos and keys frequently while including some other surprises, performing creative jazz of the early '30s.... With a supporting cast frequently including trumpeters Bunny Berigan and Manny Klein, trombonist Tommy Dorsey, and clarinetist Jimmy Dorsey (all of whom receive a generous amount of solo space), the sisters are heard at their best throughout this consistently exciting set....
Soon This Morning Blues (Charlie Spand)
Hastings St. (Charlie Spand) with Blind Blake
Moanin' the Blues with Blind Blake
Document's The Complete Paramounts (1929-1931) is an invaluable Charlie Spand anthology, reissuing all of the pianist's early sides for Paramount. Classic performances include "Got to Have My Sweetbread," "Soon This Morning Blues," "Hastings Street," and his seminal duet with Blind Blake on "Moanin' the Blues."... the long running time, chronological sequencing, and poor fidelity, make it hard to digest. The more serious, intellectual blues listener will find all these factors to be positive...
Louis Armstrong & His Orchestra
Mahogany Hall Stomp (Spencer Williams)
Rockin' Chair (Hoagy Carmichael)
Song of the Islands (Charles E. King)
...Four days later, Condon was in a different studio with a band led by Panamanian pianist Luis Russell. This ten-piece orchestra was identified on record as Louis Armstrong's Savoy Ballroom Five. Their "Mahogany Hall Stomp" perfectly embodies both the leader's personality and jazz itself at the end of the 1920s. The Armstrong chronology jumps to July of 1929 with four beautiful Fats Waller melodies and into September with a string of pretty tunes that seem to anticipate popular taste during the 1930s... Hoagy Carmichael sat in on December 13th to assist Armstrong in singing "Rockin' Chair." On January 24, 1930, the era of sweet bands seems to have officially opened with "Song of the Islands," garnished with three violins and vibraphone played by Paul Barbarin while the band's valet sat in on the drums...
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