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. 

20-11-2018 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

Miguelito Valdés

20-11-2018 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Miguelito Valdés, Noro Morales' Orchestra, Tommy Dorsey, Big Bill Broonzy, Charlie Christian, Benny Goodman Sextet, Buster Bailey, Red Norvo, Coleman Hawkins, Don Byas, Charlie Parker, T-Bone Walker, Wynonie Harris, Pee Wee King, Muddy Waters, Albinia Jones<<

Z E N E  /  M U S I C



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before 1959

During more than five decades of performing, the vocal innovations of Miguelito Valdes made him one of Latin music's most popular artists.
Miguelito Valdés, Noro Morales' Orchestra
Noro Morales was a Puerto Rican jazz leader/composer, mixed his home island's flavor with NYC big band sensibities for a unique 1940s sound. 
Marimba (A. Tuvim, A. Lara) 3:11
Babalú (M. Lecuona) 2:57
Sangre Son Colora (M. Valdés) 2:46
from Mr. Babalu
recorded in N.Y.C., 1949. & 1951

Jazz trombonist whose popular band epitomized swinging pre-war America. Though he might have been ranked second at any given moment to Benny Goodman, Artie Shaw, Glenn Miller, or Harry James, Tommy Dorsey was overall the most popular bandleader of the swing era that lasted from 1935 to 1945.
Tommy Dorsey
In the Middle of a Dream (Al Stillman / Einar A. Swan) 3:13
Dawn on the Desert (Charlie Shavers) 2:52
from The Chronological 1939 (2002)
This 12th installment in the Classics Tommy Dorsey chronology documents the trombonist's Victor studio recordings dating from the first half of 1939.

Intelligent, versatile early blues guitarist possessed an unmistakable, hollering voice with remarkable range. 
Big Bill Broonzy
Please Be My So and So 2:46
Don't You Want to Ride 2:50
Merry Go Round Blues 2:43
from 1937-1940, Vol. 2 Disc 4 (2005)
The second volume in JSP's Big Bill Broonzy retrospective is four discs long, covering the bluesman's years in Chicago and New York. What is astonishing is that there are 100 tracks here. While it's true that there are many alternate takes for the sake of the historical record, nonetheless, when combined with volume one, this accounts for a prolific output by the singer and guitarist...

22-10-2018 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

Marlene Dietrich

22-10-2018 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Marlene Dietrich, Duke Ellington and His Orchestra, Hal Kemp and His Orchestra & Skinnay Ennis, Paul Robeson, The Mills Brothers, Django Reinhardt, Josh White, Lonnie Johnson / Eddie Lang, Nick Lucas, John Cali / Tony Gottuso, Dick McDonough, Carl Kress / Dick McDonough, Pioneers of the Jazz Guitar, Vaggelis Sofroniou, Rita Ampatzi, Roza Eskenazi, Rebetiko, Miguelito Valdés, Noro Morales' Orchestra, Tommy Dorsey, Big Bill Broonzy, Charlie Christian, Benny Goodman Sextet<<

Z E N E  /  M U S I C



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preHiSTORY:MiX tag A lejátszó mindig a legújabb playlist számait játssza. / The player always plays the latest playlist tracks.

before 1959

Marlene Dietrich’s worldly, half-spoken vocal style made her a the ultimate femme fatale vocalist for nearly half a century. The most exotic actress of the 1930s and '40s, Marlene Dietrich performed her cabaret act around the world and recorded for Decca, Columbia and Capitol in the post-war period, after her film career had slowed. A thick German accent and her odd sung-spoken vocal style proved no barrier to international popular success and adoration.
Marlene Dietrich
Wenn Die Beste Freundin 3:12
Wo Ist der Mann 3:09
from Marlene Dietrich 1928-1933
Although we mostly think of Marlene Dietrich as an exotic and mysterious actress who began appearing in films way back in the 1920s, she had a surprising amount of success as a vocalist too. Although her singing voice might have been somewhat of an acquired taste for listeners, it was certainly distinctive, and music would play a big part in her long career... (Marlene Dietrich The Singer)

Duke Ellington and His Orchestra - Coctails for Two 3:29
Hal Kemp and His Orchestra & Skinnay Ennis - Got a Date with an Angel 2:18
Paul Robeson - Little Man, You've Had a Busy Day 3:14
The Mills Brothers - Sleepy Head 3:05
from The Million Sellers Of The 30's - 1934
Music Played in the 1930's Popular Music From the 30s
The 1930s were shaped by the contrasting moods of the Great Depression and the glamorous beginnings of Old Hollywood. Popular music was equally impacted by these forces and as home radios became more common, the music industry began to keep track of and measure the popularity of sheet music and records through sales...

Legendary, almost mythical gypsy jazz guitarist of the 1930s, collaborations with violinist Stephane Grappelli are landmarks. 
Django Reinhardt
Lilly Belle May June feat: Quintet of the Hot Club of France 3:35
Confessin' (Doc Daugherty / Ellis Reynolds) feat: Quintet of the Hot Club of France 2:57
Smoke Gets in Your Eyes (Fumée aux Yeux) feat: Pierre Lord 2:49
from Integrale Django Reinhardt, Vol. 3: 1935 (2002)
Django Reinhardt best-of collections are fairly easy to come by, and if all you want is a nice, manageable assortment of instrumentals that show off his amazing technique, go for it: you've got a hefty selection of samplers to choose from. Fremeaux & Associes' 20-volume, 40-disc Integrale Django Reinhardt series, on the other hand, exists as a detailed chronological map of his recording activity over a quarter-century, including virtually all of his work as sideman and accompanist. Volume three focuses on nearly seven months out of the year 1935, a busy time for Reinhardt...

Josh White began as a Southern bluesman but eventually evolved into an eclectic, urbane artist. Many listeners were unaware of White's status as a major figure in the Piedmont blues tradition. The first part of his career saw him as apprentice to some of the greatest blues and religious artists ever, including Willie Walker, Blind Blake, Blind Joe Taggart (with whom he recorded), and allegedly even Blind Lemon Jefferson. On his own, he recorded both blues and religious songs...
Josh White
New Milk Cow Blues (Josh White) 2:55
Black Man (Johnny Parth / Josh White) 3:03
Lord, I Want to Die Easy (Josh White) 3:24
Lazy Black Snake Blues (Josh White) 2:50
from Blues Singer 1932-1936 (1996)
The suave and debonair blues sex symbol in his earliest and purest period, when the Piedmont influence was at its peak in his playing. This is strong stuff, eons away from the collegiate crowd-pleasing folkie stuff he engaged in during the '60s: "Milk Cow Blues," "Lazy Black Snake Blues," and "Silicosis Is Killin' Me" are acoustic solo blues of a consistently high quality, and there are a few religious tunes thrown in to spotlight the other side of White's early recording activities.