24-11-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

Bessie Smith

24-11-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Bessie Smith, The Cotton Pickers, María Teresa Vera & Rafael Zequeira, King Oliver, Mamie Smith, Original Dixieland Jazz Band,  Marion Harris, Lucille Hegamin, Sidney Bechet, The Georgia Melodians. Banda Municipal, Felix Camarano, Quinteto Augusto, Louis Armstrong<<

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before 1959

One of the greatest female blues singers of all time, with a passionate voice and thundering delivery.
Bessie Smith
Careless Love Blues 3:28
Golden Rule Blues 3:06
Squeeze Me 2:53
from Squeeze Me (Original Recordings, 1925-1926)
The first major blues and jazz singer on record and one of the most powerful of all time, Bessie Smith rightly earned the title of "The Empress of the Blues." Even on her first records in 1923, her passionate voice overcame the primitive recording quality of the day and still communicates easily to today's listeners (which is not true of any other singer from that early period). At a time when the blues were in and most vocalists (particularly vaudevillians) were being dubbed "blues singers," Bessie Smith simply had no competition...

Cotton Pickers was the generic band name that Brunswick Records used on its small jazz band recordings made in 1922-1923, 1924-1925, and again in 1929. These were intended to compete with popular dance records issued on other labels by groups such as Ladd's Black Aces, Bailey's Lucky Seven, and the Memphis Five...
The Cotton Pickers
Hot lips (Henry Busse / Benny Davis / Henry Lange) 3:07
Runnin' wild (Arthur Gibbs / Joe Grey / Leo Wood) 3:10
Mama goes where papa goes (Milton Ager / Jack Yellen) 3_05
from The Cotton Pickers 1922-1925 (Jazz Archives No. 173)
Since the band was essentially a studio construct, the membership of the Cotton Pickers was fairly fluid, and Brunswick Records used the moniker to put out several sides of small combo dance music, usually blues foxtrots. The early incarnation of the band featured trumpeter Phil Napoleon and saxophonist Bennie Krueger, whose strong lines and polyphonic arrangements sounded black and Southern to northern audiences, and tunes such as "Way Down Yonder in New Orleans" (included here) were particularly popular. By 1924, the Cotton Pickers were almost an entirely different group, with only trombonist Miff Mole held over from the earlier lineup, and were fronted by Frank Trumbauer, whose style was less Dixie and more "cool" pop. More a brand than a band, the Cotton Pickers name allowed mainstream white jazzmen to play blacker and hotter and still keep their day jobs...

The grande dame of Cuban music, Maria Teresa Vera was not only the greatest female trova singer of all time, she was also one of the form's greatest singers, period. Vera became a professional musician and songwriter -- and a mightily popular one at that -- during the early 20th century, when such a career was virtually unheard of for a woman
María Teresa Vera & Rafael Zequeira
Mis Lamentos A Mi Guitarra 2:56
Rayos De Plata 3:28
from Mis Lamentos A Mi Guitarra (Original Cuban Recordings 1916 - 1924)
Her skill at singing trova -- a rural folk song style that predated the son dance craze -- helped lay the groundwork for the explosion of Cuban popular music in the '30s and '40s, and her fame as a trovadora lasted well after the style was eclipsed by other popular trends. Maria Teresa Vera was born in Guanajay, in the province of Pinar del Rio, on February 6, 1895. She began learning the guitar from Jose Diaz, and in 1911, at age 15, performed publicly in Havana at a tribute to Arquimedes Pous. Vera subsequently formed the first of several duos, a format she would favor throughout her career, with Rafael Zequeira; in addition to performing in Cuba, the two traveled to New York several times for recording sessions. Zequeira died in 1924, and after performing for a couple of years both solo and accompanied, Vera formed a new duo...

New Orleans cornetist and band leader was an early jazz architect, and also famously hired a young horn player named Louis Armstrong. Joe "King" Oliver was one of the great New Orleans legends, an early giant whose legacy is only partly on records. In 1923, he led one of the classic New Orleans jazz bands, the last significant group to emphasize collective improvisation over solos, but ironically his second cornetist (Louis Armstrong) would soon permanently change jazz. And while Armstrong never tired of praising his idol, he actually sounded very little like Oliver; the King's influence was more deeply felt by Muggsy Spanier and Tommy Ladnier.
King Oliver
Just Gone (Bill Johnson / King Oliver) 2:41 (04-06-23)
Mandy Lee Blues (Marty Bloom / Walter Melrose) 2:12 (04-06-23)
Dippermouth Blues (King Oliver) 2:31 (04-06-23)
from King Oliver 1923
There are more than a handful of undiluted jazz records that predate King Oliver's sessions of 1923, but few had managed to put it together in a recording studio quite so powerfully or, as it turned out, so very influentially. These primordial artifacts, now digitally remastered and chronologically assembled, form a substantial chunk of the bedrock of early recorded jazz. They're also remarkably liberating if, for just a few minutes, you make yourself into a fly on the wall of the Gennett studios. Note that young Louis Armstrong had to pretty well stand outside of the room so that he wouldn't overpower the rest of the players. Johnny Dodds interacted wonderfully with the brass, weaving wreaths of wooded filigree around the exhortations of Honore Dutrey's deep-voiced trombone. Lil Hardin, when you can hear her, is quite the majestic pianist...

12-10-2019 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

12-10-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>The Wolverine Orchestra, Ross Gorman and His Orchestra, Hi Henry Brown, Jelly Jaw Short, Duke Ellington, Annette Hanshaw, Dock Boggs, Mississippi John Hurt, Carlos Gardel, Bessie Smith, The Cotton Pickers, María Teresa Vera & Rafael Zequeira, King Oliver, Mamie Smith<<

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before 1959

Old Jazz RevivalNew Orleans Jazz / DixielandMainstream and Swing
The Wolverine Orchestra - Royal Garden Blues 2:56
Ross Gorman and His Orchestra - Rhythm of the Day 3:12
from The Jazz Modernists 1924-1933

Hi Henry Brown - Skin Man 2:49
Jelly Jaw Short - Barefoot Blues 2:59
from St. Louis Town (1927-1932)
This 14-track collection of St. Louis blues guitarists includes Henry Spaulding ("Cairo Blues"), Charley Jordan ("Spoonful Blues"), Hi Henry Brown ("Skin Man"), Jelly Jaw Short ("Snake Doctor Blues"), and others.

Acoustic Memphis Blues, Pre-War Country Blues, Regional Blues, St. Louis Blues

Greatest all-round musical figure of the 20th century, who achieved monumental status as a composer, bandleader, arranger, and instrumentalist. 
Duke Ellington
Jubilee Stomp / Duke Ellington and His Cotton Club Orchestra 2:46
The Mooche / Duke Ellington and His Cotton Club Orchestra 3:13
Mood Indigo / The Jungle Band 2:58
from Early Ellington: The Complete Brunswick And Vocalion Recordings 1926-1931
This three-CD set, which has all of Duke Ellington's recordings for the Brunswick and Vocalion labels, dwarfs all of the earlier reissues that Decca and MCA have put out of this important material... With such major soloists as trumpeters Bubber Miley (and his replacement Cootie Williams), Freddy Jenkins, and Arthur Whetsol, trombonist Tricky Sam Nanton, clarinetist Barney Bigard, altoist Johnny Hodges, baritonist Harry Carney, and the pianist/leader, along with the classic arrangements/compositions, this set is essential for all serious jazz collections.

One of the first great female jazz singers, in the late '20s Annette Hanshaw ranked near the top with Ethel Waters, the Boswell Sisters, and the upcoming Mildred Bailey. Unlike her contemporary Ruth Etting, Hanshaw could improvise and swing while also being a strong interpreter of lyrics. She was not quite 16 when she started her recording career, and her recordings (1926-1934) included such major jazz players as Red Nichols, Miff Mole, Jimmy Lytell, Adrian Rollini, Joe Venuti, Eddie Lang, Vic Berton, Benny Goodman, Manny Klein, Phil Napoleon, Jimmy Dorsey, Tommy Dorsey, and Jack Teagarden.
Annette Hanshaw
Nothin' ( Lou Handman / Roy Turk) 2:33 with The Original Memphis Five
I Like What You Like (Adrian Rollini) 2:55 with Four Instrumental Stars
You Gotta Be Good To Me (Al Lewis / Billy Rose / Joe Young) 2:46 with Lou Gold & His Orchestra
from Vocal Refrain by Annette Hanshaw 1927-1930

14-09-2018 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1920s-1900s

Bessie Smith

14-09-2018 DOWN HEARTED BLUES ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1920s-1900s   >>Bessie Smith, Ida Cox, Original Dixieland Jazz Band, Tango, Scott Joplin, Antología del Tango, King Oliver's Creole Jazz Band Featuring Louis Armstrong & Johnny Dodds, Bessie Smith, Bix Beiderbecke And The Wolverines, Lonnie Johnson, Clara Smith, Joe Venuti, Genesis of Rock 'n' Roll<<

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1900s-1920s

The greatest female blues singer of all time, with a passionate voice and thundering delivery.   The first major blues and jazz singer on record and one of the most powerful of all time, Bessie Smith rightly earned the title of "The Empress of the Blues." Even on her first records in 1923, her passionate voice overcame the primitive recording quality of the day and still communicates easily to today's listeners (which is not true of any other singer from that early period). At a time when the blues were in and most vocalists (particularly vaudevillians) were being dubbed "blues singers," Bessie Smith simply had no competition.
Bessie Smith
Down Hearted Blues 3:29
Aggravatin' Papa 3:16
Baby Won't You Please Come Home 2:59
from Down Hearted Blues (Columbia Recordings, Vol. 1) 1923-1924
...Listening to these recordings 80 years down the road offers us a brief glimpse of American vocal arts at ground zero. Smith’s phrasing derived from that of the Delta blues singers crossed with Vaudeville. Listening to these sides is like hearing Robert Johnson after Led Zeppelin. It is the epiphany of realizing that there is nothing new under the sun and that sometimes the original is best left alone. The sonics of these old recordings have been improved by technology, but not enough to remove the sepia tone from the music. This is music so strong and vibrant that it emerges from the murk of decades.

Ida Cox (born Ida M. Prather, 1888 or 1896 - 1967) was an American singer and vaudeville performer, best known for her blues performances and recordings. She was billed as "The Uncrowned Queen of the Blues". 
Ida Cox
Any Women's Blues 3:33
Blue Monday Blues (Eddie Boyd) 2:45
from Ida Cox Complete Recorded Works, Vol. 1 (1923)
Ida Cox was one of the most powerful blues singers of the 1920s, ranking just below Bessie Smith. The Document label has reissued all of Cox's 1920s recordings on four CDs, leaving out many of the alternate takes (since there are a great deal from 1923-24) to be put out on a later series. The first CD has the master takes of all of Cox's recordings from 1923, plus four alternates.

The Original Dixieland Jass Band (ODJB) was a Dixieland jazz band that made the first jazz recordings in early 1917. Their "Livery Stable Blues" became the first jazz record ever issued. The group composed and recorded many jazz standards, the most famous being "Tiger Rag". In late 1917 the spelling of the band's name was changed to Original Dixieland Jazz Band...
Original Dixieland Jazz Band
Livery Stable Blues (1917-02-26) 3:06
At The Jazz Band Ball (1918-03-18) 2:39
from The Ultimate Jazz Archive Vol. 1
In early 1916 a promoter from Chicago approached clarinetist Alcide Nunez and drummer Johnny Stein about bringing a New Orleans-style band to Chicago, where the similar Brown's Band From Dixieland, led by trombonist Tom Brown, was enjoying success.[9] They then assembled trombonist Eddie Edwards, pianist Henry Ragas, and cornetist Frank Christian. Shortly before they were to leave, Christian backed out, and Nick LaRocca was hired as a last-minute replacement.

22-08-2018 12:05 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1930s & 1900s

22-08-2018 12:05 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1930s & 1900s   >>Duke Ellington, Blind Willie McTell, Cab Calloway, Louis Armstrong, Jelly Roll Morton, Marika Papagika, Blind Blake, King Oliver, Fletcher Henderson, Bessie Smith, Ida Cox, Original Dixieland Jazz Band, Tango, Scott Joplin<<

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1900s-1900s

Greatest all-round musical figure of the 20th century, who achieved monumental status as a composer, bandleader, arranger, and instrumentalist. 
Duke Ellington
Blue Harlem (05-16-32) 2:55
Swamy River (05-17-32) 2:59
from Complete Jazz Series 1932 - 1933
Duke Ellington was the most important composer in the history of jazz as well as being a bandleader who held his large group together continuously for almost 50 years. The two aspects of his career were related; Ellington used his band as a musical laboratory for his new compositions and shaped his writing specifically to showcase the talents of his bandmembers, many of whom remained with him for long periods. Ellington also wrote film scores and stage musicals, and several of his instrumental works were adapted into songs that became standards. In addition to touring year in and year out, he recorded extensively, resulting in a gigantic body of work that was still being assessed a quarter century after his death.

Blues guitarist, master of the 12-string, a hearty influence on the 1960s folk revival.
Blind Willie McTell ‎
Statesboro Blues 2:32
Writin' Paper Blues 3:10
from Statesboro Blues - When The Sun Goes Down Series 1920s, 1930s
Willie Samuel McTell was one of the blues' greatest guitarists, and also one of the finest singers ever to work in blues. A major figure with a local following in Atlanta from the 1920s onward, he recorded dozens of sides throughout the '30s under a multitude of names -- all the better to juggle "exclusive" relationships with many different record labels at once -- including Blind Willie, Blind Sammie, Hot Shot Willie, and Georgia Bill, as a backup musician to Ruth Mary Willis. And those may not have been all of his pseudonyms -- we don't even know what he chose to call himself, although "Blind Willie" was his preferred choice among friends. Much of what we do know about him was learned only years after his death, from family members and acquaintances. His family name was, so far as we know, McTier or McTear, and the origins of the "McTell" name are unclear. What is clear is that he was born into a family filled with musicians -- his mother and his father both played guitar, as did one of his uncles, and he was also related to Georgia Tom Dorsey, who later became the Rev. Thomas Dorsey.

Flamboyant swing bandleader and gifted scat singer who featured great musicianship in his orchestras and long personified 1930s Harlem style. 
Cab Calloway
Nagasaki 2:57
Minnie The Moocher 3:24
from Minnie the Moocher
One of the great entertainers, Cab Calloway was a household name by 1932, and never really declined in fame. A talented jazz singer and a superior scatter, Calloway's gyrations and showmanship on-stage at the Cotton Club sometimes overshadowed the quality of his always excellent bands. The younger brother of singer Blanche Calloway (who made some fine records before retiring in the mid-'30s), Cab grew up in Baltimore, attended law school briefly, and then quit to try to make it as a singer and a dancer. For a time, he headed the Alabamians, but the band was not strong enough to make it in New York. The Missourians, an excellent group that had previously recorded heated instrumentals but had fallen upon hard times, worked out much better. Calloway worked in the 1929 revue Hot Chocolates, started recording in 1930, and in 1931 hit it big with both "Minnie the Moocher" and his regular engagement at the Cotton Club...