17-02-2021 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959 (1h 43m)

17-02-2021 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Sleepy John Estes, Benny Carter,Lionel Hampton, Antobal's Cubans, Ramon Montoya, Big Bill Broonzy, Coleman Hawkins, Antonio Machín, Boswell Sisters, Charlie Spand, Louis Armstrong & His Orchestra<<

Z E N E  /  M U S I C (1h 43m)

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before 1959

Tennessee country blues king who popularized “Drop Down Mama” and “Milk Cow Blues.”

Sleepy John Estes 

Down South Blues

The Girl I Love, She Got Long Curly Hair

Black Mattie Blues

from The Complete Recorded Works, 1929-1941

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.

Enduring jazz legend with many talents, including superb solos on alto sax, hundreds of writing and arranging credits, and even film scores.

Benny Carter 

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.

The legendary Hamp created the benchmarks for the vibraphone, playing for jazz aficianados and presidents into his 90s.

Lionel Hampton 

Jivin' the vibes

Ring 'dem bells

Shufflin' at the hollywood

from Classics 1937-1939

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. 

01-12-2020 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

T-Bone Walker

01-12-2020 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>T-Bone Walker, Frank Sinatra, Hazel Scott, Art Tatum, Django Reinhardt, Edgardo Donato, Sleepy John Estes, Benny Carter,Lionel Hampton, Artie Shaw,Ella Fitzgerald, Harry James,The Mills Brothers,Louis Armstrong, Antobal's Cubans<<

Z E N E  /  M U S I C

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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

During the 1930s through the 1950s, he fused influences of the past--including jazz and swing--and pioneered a harder, funkier style of blues.

T-bone Walker 

No Worry Blues (feat. Jack McVea All Stars) [Recorded in Los Angeles, September 30, 1946]

T-Bone Boogie (feat. Marl Young And His Orchestra) [Recorded in Chicago, May, 1945]

from Classics, 1929-1947

Modern electric blues guitar can be traced directly back to this Texas-born pioneer, who began amplifying his sumptuous lead lines for public consumption circa 1940 and thus initiated a revolution so total that its tremors are still being felt today.

One of the towering figures of the 20th century, the first teen idol and the definitive saloon singer, the latter exemplified on a series of '50s concept albums.

Frank Sinatra 

These Foolish Things Remind Me of You (Harry Link / Holt Marvell / Jack Strachey)

I Don't Know Why (I Just Do) (Fred E. Ahlert / Roy Turk)

from The Voice of Frank Sinatra 1946

In 1945, Frank Sinatra recorded his first album after a career previously devoted solely to single records. Over two sessions, he performed the eight songs included in The Voice of Frank Sinatra, which Columbia released as a four-LP set of 78-rpm records on March 4, 1946. The collection quickly topped the then-recently established Billboard album chart. The Voice of Frank Sinatra was a precursor to the "concept" albums Sinatra would pioneer at Capitol eight years later, a carefully chosen and arranged selection of songs creating a specific mood...

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)

Hazel's Boogie Woogie

from 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...

05-07-2020 > PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959 (1h 53m)

Otis Rush

05-07-2020 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Otis Rush, Herbie Mann, Tadd Dameron & John Coltrane, Elvis Presley, Amos Milburn, Benny Carter, Oscar Peterson, Paula Watson, Big Jay McNeely, The Dominos, Elmore James, Tony Bennett, Charlie Parker & Dizzy Gillespie<<

Z E N E  /  M U S I C

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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

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.