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<<

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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...

19-09-2020 - PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

Charlie Parker & Dizzy Gillespie

19-09-2020 - PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Charlie Parker & Dizzy GillespieThe Dominos, Elmore James, Tony Bennett, Bull Moose Jackson,Charlie Parker,Lowell Fulson,T-Bone Walker,Frank Sinatra,Hazel Scott, Art Tatum,Django Reinhardt<<

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before 1959

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.

Charlie Parker & Dizzy Gillespie 

My Melancholy Baby (Ernie Burnett / George Norton)

Mohawk (Charlie Parker)

Bloomdido (Charlie Parker)

Relaxin' with Lee (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...

The Dominos - Sixty Minute Man

Elmore James - Dust My Broom

Tony Bennett - Cold, Cold Heart

from Hit Collection from 1951, Vol. 1

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.

A talented American saxophonist who was also responsible for some of the hottest, most suggestive R&B ever recorded.

Bull Moose Jackson 

We Can Talk Some Trash (Henry Glover / Lucky Millinder)

Sometimes I Wonder (Terry Thomas)

from Classics: 1947-1950

While touring through Texas in 1945 with the Lucky Millinder Orchestra, Benjamin Clarence Jackson, Jr. was dubbed Bull Moose Jackson by drummer Panama Francis, who apparently exclaimed: "You look like a moose coming over the hill." Tall and powerful with a friendly expressive face, the bespectacled saxophonist was riding a tide of popular success by the time these recordings were cut for the King label between September 1947 and September 1950 in New York, NY; Linden, NJ; St. Louis, MO; and Cincinnati, OH. Bull Moose Jackson & His Buffalo Bearcats (the "Buffalo" was dropped beginning in 1950) were an all-purpose R&B jump band balancing upbeat novelty cookers with remarkably handsome ballads. The Bull Moose discography glistens occasionally with the names of jazz heroes like Count Basie's flute and saxman Frank Wess and Ellington trumpeter Harold "Money" Johnson. It's obvious why these records were popular in their day...

10-07-2019 PREHiSTORiC_MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

10-07-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Lonnie Johnson, Django Reinhardt, Tommy Dorsey / Frank Sinatra, Xavier Cugat, Arthur "Dooley" Wilson, Muddy Waters, Charlie Christian, Mary Lou Williams, Josephine Baker, Casey Bill Weldon, Bert Firman, Kostas Karayiannis, Yiorgos Mihalopoulos, Fats Waller & His Rhythm, Paul Robeson, Louis Armstrong, Jimmie Lunceford & His Orchestra<<

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before 1959

A hugely influential and original blues musician in the early 1900s, often crossing over into jazz. 
Lonnie Johnson
Swing Out Rhythm 2:36
Blues In G 2:49
from Lonnie Johnson 1925-1947: The First of the 'Guitar Heroes'
Blues guitar simply would not have developed in the manner that it did if not for the prolific brilliance of Lonnie Johnson. He was there to help define the instrument's future within the genre and the genre's future itself at the very beginning, his melodic conception so far advanced from most of his prewar peers as to inhabit a plane all his own. For more than 40 years, Johnson played blues, jazz, and ballads his way; he was a true blues originator whose influence hung heavy on a host of subsequent blues immortals...

Legendary, almost mythical gypsy jazz guitarist of the 1930s, collaborations with violinist Stephane Grappelli are landmarks. 
Django Reinhardt
Pour commencer feat. Christian Wagner 2:58
Dinette Dinah with Quintette Du Hot Club De France 2:50
Blues clair 3:03
from War Clouds Vol 2 1940 -1944
During the year 2000, more than 30 Django Reinhardt collections were released by more than 20 different companies. One of the more specifically focused entries, EMI's War Clouds, Vol. 2 concentrated upon the guitarist's wartime output. What you hear on this collection is authentic Parisian Gypsy swing, some of it involving big bands rather than the standard "Hot Club" Quintet format, created under what must have been challenging circumstances. Nearly six months into the Nazi occupation of Paris, Django Reinhardt and his companions in swing were openly defying the cultural and racial policies of the Third Reich when "Pour Commencier" was recorded on December 18, 1940...

Tommy Dorsey / Frank Sinatra - There Are Such Things (Abel Baer) 2:43
Xavier Cugat - Brazil [Aquerela do Brazil] (Ary Barroso) 2:42
Arthur "Dooley" Wilson - As Time Goes By (Herman Hupfeld) 2:26
from Hit Parade 1943
The 1943 volume of this series kicks off in a pop vein with Tommy Dorsey (and Frank Sinatra) on "There Are Such Things," ... And the perennially popular Xavier Cugat and his instrumental rhumba version of "Brazil" is also a reminder of the first cinematic use of that song (long before Terry Gilliam), in The Gang's All Here... and Dooley Wilson ("As Time Goes By," taken right off the film soundtrack)...

24-05-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

Charlie Parker

24-05-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Charlie Parker, Fats Navarro, Tadd Dameron, Evelyn Knight, Nat King Cole, Pee Wee Hunt & His Orchestra, Wilmoth Houdini, Sam Manning, King Radio, Calypso Pionners, Lionel Hampton, Dinah Washington, Fernando Gody, Los Gomez y Orquesta José Granados, Grand Orquesta de Baile Cisneros, Antoñita Colomé y Orquesta, Django Reinhardt, Tommy Dorsey / Frank Sinatra, Xavier Cugat, Arthur "Dooley" Wilson, Muddy Waters, Charlie Christian<<

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before 1959

Jazz giant who changed the face of the entire form, practically inventing modern jazz and shaping the course of 20th century music. 
Charlie Parker
Summertime 2:45
Just Friends 3:30
Blues (Fast) 2:46
from Charlie Parker Vol. 7 (1949-50)
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. Rather than basing his improvisations closely on the melody as was done in swing, he was a master of chordal improvising, creating new melodies that were based on the structure of a song. In fact, Bird wrote several future standards (such as "Anthropology," "Ornithology," "Scrapple from the Apple," and "Ko Ko," along with such blues numbers as "Now's the Time" and "Parker's Mood") that "borrowed" and modernized the chord structures of older tunes. Parker's remarkable technique, fairly original sound, and ability to come up with harmonically advanced phrases that could be both logical and whimsical were highly influential. By 1950, it was impossible to play "modern jazz" with credibility without closely studying Charlie Parker...

Trumpeter whose big, brawny sound set the tone for the rise of bebop; also notable for his quick attack and Spanish-tinged phrasings. 
Fats Navarro
The Tadd Dameron Sextet - The Chase (1947-09-26) 2:43
Fats Navarro Quintet Nostalgia (1947-12-05) 2:41
The Tadd Dameron Sextet Jahbero (1948-09-13) 2:52
from The Ultimate Jazz Archive - Set 24/42 CD 4
One of the greatest jazz trumpeters of all time, Fats Navarro had a tragically brief career yet his influence is still being felt. His fat sound combined aspects of Howard McGhee, Roy Eldridge, and Dizzy Gillespie, became the main inspiration for Clifford Brown, and through Brownie greatly affected the tones and styles of Lee Morgan, Freddie Hubbard, and Woody Shaw. Navarro originally played piano and tenor before switching to trumpet. He started gigging with dance bands when he was 17, was with Andy Kirk during 1943-1944, and replaced Dizzy Gillespie with the Billy Eckstine big band during 1945-1946. During the next three years, Fats was second to only Dizzy among bop trumpeters. Navarro recorded with Kenny Clarke's Be Bop Boys, Coleman Hawkins, Eddie "Lockjaw" Davis, Illinois Jacquet, and most significantly Tadd Dameron during 1946-1947. He had short stints with the big bands of Lionel Hampton and Benny Goodman, continued working with Dameron, made classic recordings with Bud Powell (in a quintet with a young Sonny Rollins) and the Metronome All-Stars, and a 1950 Birdland appearance with Charlie Parker was privately recorded. However, Navarro was a heroin addict and that affliction certainly did not help him in what would be a fatal bout with tuberculosis that ended his life at age 26. He was well documented during the 1946-1949 period and most of his sessions are currently available on CD, but Fats Navarro could have done so much more...

1948
Evelyn Knight - A Little Bird Told Me 2:40
Nat King Cole - Nature Boy 2:39
Pee Wee Hunt & His Orchestra - Twelfth Street Rag 2:52
from The Million Sellers Of The 40's - 1948

Calypso is the most prominent 20th century musical style in the islands of Trinidad and Tobago. The instrumentation is primarily percussion and a brass section. Vocals can describe carnival partying or involve pointed social commentary. The political aspect of calypso caused successive bans on different percussion materials in the early 20th century leading to the introduction of the steel pan into calypso bands in the 1930s. 
Wilmoth Houdini - Caroline 3:07
Sam Manning - Lieutnant Julian 3:01
King Radio - Jitterbug 3:03
from Calypso Pionners, Vol. 2 (1925 - 1947)
Although recordings of calypso music outside of Trinidad and Tobago have always been common, calypso gained a broad audience in the US and UK in the mid-20th century thanks to several celebrated songs and artists. In 1944, Lord Invader's song Rum and Coca Cola was recorded without permission by the The Andrews Sisters and spent 10 weeks at #1 on the US pop charts. Around 1950, Lord Kitchener, The Mighty Terror, and Lord Beginner all relocated temporarily to London, and were part of a growing wave of Caribbean Music in the UK. 

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

Lionel Hampton 

Vibe Boogie (Lionel Hampton) 5:27

Blow Top Blues feat.  Dinah Washington (Leonard Feather) 3:27

Hamp's Salty Blues (Dan Burley / Lionel Hampton) 3:14

from 1945 - 1946 Complete Jazz Series 

The sixth CD in Classics' series of Lionel Hampton records documents his music during a one-year period. Hampton's big band, riding high after "Flying Home," continued to grow in popularity during this era. The vibraphonist's showmanship and his sidemen's extroverted solos generated constant excitement, as can be heard throughout these 20 selections... 

16-04-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

Image: Melton Prior, Carnival in Port of Spain Trinidad, 1888, Illustrated London News. (source)

16-04-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Macbeth the Great, Mighty Panther, Calypso, Elvis Presley, Junior Wells, Django Reinhardt, Chris Powell, Bumble Bee Slim, Charlie Parker, Fats Navarro, Tadd Dameron, Evelyn Knight, Nat King Cole, Pee Wee Hunt & His Orchestra, Wilmoth Houdini, Sam Manning, King Radio, Calypso Pionners, Lionel Hampton, Dinah Washington<<

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before 1959

Calypso Legends
Macbeth the Great
Buy Me a Zeppelin 2:24
Take Me Take Me 2:55
Mighty Panther
Zoop Zoop Zoop 2:55
from 1953 - 1956
Calypso is a style of Afro-Caribbean music that originated in Trinidad and Tobago during the early to mid-19th century and eventually spread to the rest of the Caribbean Antilles and Venezuela by the mid-20th century. Its rhythms can be traced back to West African Kaiso and the arrival of French planters and their slaves from the French Antilles in the 18th century.

A music and film icon whose natural blend of country, pop, and R&B sold millions and became the cornerstone of rock & roll. Elvis Presley may be the single most important figure in American 20th century popular music. Not necessarily the best, and certainly not the most consistent. But no one could argue with the fact that he was the musician most responsible for popularizing rock & roll on an international level. Viewed in cold sales figures, his impact was phenomenal. Dozens upon dozens of international smashes from the mid-'50s to the mid-'70s, as well as the steady sales of his catalog and reissues since his death in 1977, may make him the single highest-selling performer in history.
Elvis Presley
My Happiness (Acetate – Personal Recording) 2:30
Mystery Train 2:29
How Do You Think I Feel? (Guitar Tape Slapback Rehearsals) 4:22
...via Scotty Moore's guitar slapback tape...
from The Complete Works 1953-1955 - Memphis Recording Service (MRS)
It has been more than a decade since Pirzada’s ground breaking (and more expensive) books, co-written with John Michael Heath, Elvis Presley Memphis Recording Service Volume 1 1953-1954 and Memphis Recording Service Volume 2 – 1955 The Rise of Elvis Presley. Some may view ‘Elvis Presley The Complete Works 1953-1955’ as a pared down version of these earlier releases but nevertheless is a still highly enjoyable and valuable offering from MRS. The fact that Pirzada's earlier books are sold-out and hard to find is another good reason for this new MRS volume examining Elvis' early work.

Regarded as the last of the great Chicago harmonica players, he was an impressive stylist and a leading practitioner of postwar blues harmonica. 
Junior Wells
Hoodoo Man (Junior Wells) feat, Elmore James 3:08
Junior's Wail (Junior Wells) 2:55
Lord, Lord (Junior Wells) feat. Willie Dixon, Muddy Waters, Otis Spann  2:42
So All Alone (Junior Wells) feat. Willie Dixon, Muddy Waters, Otis Spann 3:22
from Blues Hit Big Town,
the 1953-54 Recordings
This collection of Wells' debut recordings for the States label adds four previously unheard tracks along with the original 13-track vinyl lineup. Wells' legacy begins with these landmark sides, featuring Elmore James, Muddy Waters, Johnnie Jones, Otis Spann, Willie Dixon, and the Aces in the lineup at various points. Whether it's a slow one like his original take on "Hoodoo Man" or a jump number like "Cut That Out," the grooves are classic Chicago and a mile deep. Most telling are the acoustic duets with Louis Myers recorded between the 1953 and 1954 studio sessions and the fine instrumentals like "Junior's Wail" and "Eagle Rock." Although at the start of a long career, it's obvious that Junior Wells was already a young man with a style all his own, ready to make blues history. File under essential.

11-03-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

11-03-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Herbie Mann, Gene Vincent, Red Norvo, Duane Eddy, Dicky Wells, Rebetika songs of protest Recordings, Mighty Panther, Macbeth the Great, Calypso, Elvis Presley, Junior Wells, Django Reinhardt<<

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before 1959

Prolific and widely known flutist, beloved in jazz circles, has covered many world music styles. Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.
Herbie Mann
Yardbird Suite (Charlie Parker) 5:57
One for Tubby (Phil Woods) 6:10
Who Knew 7:17
from Yardbird Suite 1957
Recorded in the great year of music and especially jazz -- 1957 -- Herbie Mann at the time was gaining momentum as a premier flute player, but was a very competent tenor saxophonist. Teamed here with the great alto saxophonist Phil Woods and criminally underrated vibraphonist Eddie Costa, Mann has found partners whose immense abilities and urbane mannerisms heighten his flights of fancy by leaps and bounds. Add to the mix the quite literate and intuitive guitarist Joe Puma, and you have the makings of an emotive, thoroughly professional ensemble. The legendary bass player Wilbur Ware, who in 1957 was shaking things up with the piano-less trio of Sonny Rollins and the group of Thelonious Monk, further enhances this grouping of virtuosos on the first two selections...

American rockabilly legend who defined the greasy-haired, leather-jacketed, hot rods 'n' babes spark of rock & roll. Gene Vincent only had one really big hit, "Be-Bop-a-Lula," which epitomized rockabilly at its prime in 1956 with its sharp guitar breaks, spare snare drums, fluttering echo, and Vincent's breathless, sexy vocals. Yet his place as one of the great early rock & roll singers is secure, backed up by a wealth of fine smaller hits and non-hits that rate among the best rockabilly of all time. The leather-clad, limping, greasy-haired singer was also one of rock's original bad boys, lionized by romanticists of past and present generations attracted to his primitive, sometimes savage style and indomitable spirit.
Gene Vincent
Red Blue Jeans and a Ponytail (Bill Davis / Jack Rhodes) 2:15
Unchained Melody (Alex North / Hy Zaret) 2:38
Cruisin'  (Bill Davis / Gene Vincent) 2:12
Blues Stay Away from Me (Alton Delmore / Rabon Delmore / Henry Glover / Wayne Raney) 2:16
from Gene Vincent and His Blue Caps 1957
Gene Vincent and His Blue Caps, cut in October 1956, only four months after its predecessor, came about under slightly less favorable circumstances than the Bluejean Bop album. Cliff Gallup, whose lead guitar had been so central to the group's original sound, and rhythm guitarist Willie Williams, who was only somewhat less important to their sound, had been gone from the band for nearly two months when producer Ken Nelson decided it was time to cut material for more singles and a second album...

Pioneering big-band and bebop xylophonist/vibraphonist who was active from the late 1920s through the early '90s. Red Norvo was an unusual star during the swing era, playing jazz xylophone. After he switched to vibes in 1943, Norvo had a quieter yet no-less fluent style than Lionel Hampton. Although no match for Hampton popularity-wise, Norvo and his wife, singer Mildred Bailey, did become known as "Mr. and Mrs. Swing."
Red Norvo
Britts's Blues (From The Kings Go Forth) 5:47
Shed No Tears 4:40
Sunrise Blues 8:47
from Red Plays the Blues 1958
Vibraphone – Red Norvo
Bass – Bob Carter, Lawrence Wooten, Drums – Bill Douglass, Mel Lewis, Guitar – James Wyble, Piano – Jimmy Rowles, saxophon – Chuck Gentry, Alto Saxophone – Willie Smith, Tenor Saxophone – Harold Land, Tenor Saxophone – Ben Webster, Trombone – Ray Sims, Trumpet – Don Fagerquist, Don Paladino, Harry Edison, Ray Linn

One of the '50s' most influential guitarists and one of the more distinct, he forged a sound based on minimalism with lots of twangy reverb. If Duane Eddy's instrumental hits from the late '50s can sound unduly basic and repetitive (especially when taken all at once), he was vastly influential. Perhaps the most successful instrumental rocker of his time, he may also have been the man most responsible (along with Chuck Berry) for popularizing the electric rock guitar. His distinctively low, twangy riffs could be heard on no less than 15 Top 40 hits between 1958 and 1963. He was also one of the first rock stars to successfully crack the LP market.
Duane Eddy
The Lonesome Road (Gene Austin / Nat Shilkret / Nathaniel Shilkret) 3:00
Rebel Rouser  (Duane Eddy / Lee Hazlewood) 2:22
Moovin' 'N' Groovin' (Duane Eddy / Lee Hazlewood) 2:06
from Have 'Twangy' Guitar Will Travel 1958
A pioneer in instrumental rock, Duane Eddy remains an anomaly in popular music. Eddy's distinctive "twangy" guitar style complemented the infectious dance beats of his band and drove the viewers of Dick Clark's American Bandstand television show wild, even without a vocalist. This brings up the notion that perhaps pop music fans don't always require the presence of a lead singer; maybe all they look for is musical charisma, and this Eddy supplied in spades..  A mix of early rock & roll, swing, country, and blues, Have "Twangy" Guitar, Will Travel is a great example of '50s instrumental pop.

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<<

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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.