19-08-2020 > JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1959-1966

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Paul Chambers

19-08-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1959-1966 # Paul Chambers, The Joe Newman Quintet, The Curtis Fuller Sextette, Charlie Byrd Trio & Woodwinds. The Tubby Hayes Quartet, Herbie Mann, Louis Armstrong & Duke Ellington, Johnny Hartman, Jimmy Smith, Sonny Rollins, Dexter Gordon

J A Z Z   M U S I C

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1959-1966

One of the top bassists of 1955-1965, Paul Chambers was among the first in jazz to take creative bowed solos (other than Slam Stewart, who hummed along with his bowing). He grew up in Detroit, where he was part of the fertile local jazz scene.
Paul Chambers
Melody (Yusef Lateef)
Retrogress (Yusef Lateef)
Blessed (Yusef Lateef)
from 1st Bassman 1961
As a lead instrument in jazz, the acoustic bass was in many ways liberated by Paul Chambers, and paved the way for many others to follow... 1st Bassman is anchored by rising stars from Detroit such as Yusef Lateef, Curtis Fuller, and adopted (from Pittsburgh) car city resident Chambers, with trumpeter Tommy Turrentine, pianist Wynton Kelly, and drummer Lex Humphries evenly balancing the session. Interestingly enough, it was recorded not in New York or the Motor City, but Chicago. Lateef wrote all of the material... The small horn inserts of "Melody" give sway to the big bass strut of Chambers, with solos from Turrentine's stoic trumpet, Lateef's advanced tenor, and Fuller's wanton but mushy trombone included... The slightly dour post-bopper "Retrogress" gives Kelly's piano his due diligence...  the ballad "Blessed" features the arco bowed bass of the leader in a mournful mood, brightened up by the effervescent and hopeful flute of the brilliant Lateef....

Joe Newman was a superb, exciting trumpeter whose style echoed the best of Harry Edison, Dizzy Gillespie, and Thad Jones, seasoned with his own flavoring. He was among a select corps who not only enjoyed playing, but communicated that joy and exuberance in every solo.
The Joe Newman Quintet
Wednesday's Blues (Joe Newman)
Jive at Five (Count Basie / Harry "Sweets" Edison)
Taps Miller (Count Basie / Luis Russell)
from Jive at Five 1960
Originally put out on the Swingville label, this CD reissue is very much in the Count Basie vein. That fact is not too surprising when one considers that the quintet includes three members of Basie's men: trumpeter Joe Newman, tenor saxophonist Frank Wess and bassist Eddie Jones. Joined by the complementary pianist Tommy Flanagan and drummer Oliver Jackson, Newman and his friends swing their way through four vintage standards and a couple of the leader's original blues in typical fashion.

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

04-09-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

Mary Lou Williams

04-09-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Mary Lou Williams, Josephine Baker, Casey Bill Weldon, Kostas Karayiannis, Yiorgos Mihalopoulos, Fats Waller & His Rhythm, Paul Robeson, Louis Armstrong, Jimmie Lunceford & His Orchestra, Benny Goodman, The Wolverine Orchestra, Hitch's Happy Harmonists, Ross Gorman and His Orchestra, The Original Memphis Five, Henry Spaulding, Hi Henry Brown, Jim Jackson, Jelly Jaw Short, Duke Ellington, Annette Hanshaw, Dock Boggs<<

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before 1959

To say that Mary Lou Williams had a long and productive career is an understatement. Although for decades she was often called jazz's greatest female musician (and one has to admire what must have been a nonstop battle against sexism), she would have been considered a major artist no matter what her sex.

Mary Lou Williams
Tea for Two (Irving Caesar / Vincent Youmans) 2:52
Mary Lou Williams Blues (Mary Lou Williams) 3:20
from The Chronological Mary Lou Williams (1927-1940)
Just the fact that Williams and Duke Ellington were virtually the only stride pianists to modernize their style through the years would have been enough to guarantee her a place in jazz history books. Williams managed to always sound modern during a half-century career without forgetting her roots or how to play in the older styles.

Towering entertainer, expert at chanson, racial barrier breaker, beloved in France, her sensuous banana dance is the stuff of legend. 

Josephine Baker
Lonesome Love Sick Blues 2:53
Mon rêve c'était vous 2:34
from Josephine Baker 1927-1939 (Anthology 36 Songs)
Born into poverty in St. Louis, dancer and singer Josephine Baker progressed from vaudeville to New York theater to the Parisian cabaret scene and became the toast of Europe before the age of 21. Though her later career wasn't quite able to handle such an early peak, Baker spent much of her life working tirelessly against prejudice, during World War II in Europe and the civil rights era in America. She's still one of the most famous expatriates in American history, perfectly epitomizing the hedonistic abandon of the Jazz Age in Paris...

Among the premier "Hawaiian" guitarists, with voicings, fluidity, and tunings that were creative and imaginative.
Casey Bill Weldon
I Believe You're Cheatin' On Me 3:17
The Big Boat 3:12
Round & Round 2:54
from Greatest Blues Licks 1927-1938
Steel guitarist Will Weldon is remembered as Casey Bill Weldon, and was also known in his time as Kansas City Bill and Levee Joe. "Casey", like "KC" or "Kaycee," referred to his links with the Kansas City music scene, although he could just as easily have been named after Pine Bluff, AK where he was born in 1909, or Atlanta or Memphis where he made his first recordings in 1927 after performing in medicine shows throughout the south. Inspired directly by the great Peetie Wheatstraw, Weldon was equally adept at expressing himself as a passionate blues singer and as a honky-tonk "country" performer who contributed to the development of Western swing. He was sometimes billed as the Hawaiian Guitar Wizard...

Kostas Karayiannis, Yiorgos Mihalopoulos
Svarniara (syrto) [1928]
Gainta Karagouna (syrto) (1936) by Yiorgos Mihalopoulos
from The Art of the Greek Folk Clarinet - 78 rpm Recordings 1927-1936
Greek Folk Instruments: Chordophones, Aerophones, and Membranophones
Klarino is what the Greeks call the Greek clarinet, and it is the most popular lead melody instrument in the mainland regions of Greece. It is an Albert (or simple) system clarinet which is an older, more primitive version of the clarinet now common in classical and popular music in most of Europe and America. The Albert system klarino has fewer keys and has a different tone than the modern clarinet. The Greek "klaritzides" also play the klarino with a different style and sound than that used by classical musicians in Europe and America. The klarino in the key of "C" ("do") is a favorite of the old folk klaritzides (clarinet players), although the Albert Bb has become the most popular clarinet in recent years. They also use the A and G clarinets, which are lower pitched instruments, for some music.

Fats Waller & His Rhythm - A Little Bit Independent 2:58
Louis Armstrong - I’m In The Mood For Love 3:11
Jimmie Lunceford & His Orchestra - Rhythm Is Our Business 3:13
from The Million Sellers Of The 30's - 1935

1935 in Music

MiXTAPE: other 100 from bestofs / #1960 PnM.MiX

Annie Ross

1 9 6 0

OTHER HUNDRED SONGS

Henry Mancini - The Beat from The Blues and the Beat
Henry Mancini - The Blues from The Blues and the Beat

Annie Ross - Invitation to the Blues from A Gasser!

Memphis Slim - Whiskey Drinking Blues from Memphis Slim and the Real Honky Tonk

Jackie Wilson - Nothing But The Blues from Jackie Sings the Blues

Black Ace - Little Augie from I'm the Boss Card in Your Hand

Horace Parlan - C Jam Blues from Movin' & Groovin'

Jim Hall and The Modest Jazz Trio - Good Friday Blues from Good Friday Blues

The John Wright Trio - South Side Soul from South Side Soul

Curtis Jones - Fool Blues from Trouble Blues

The Mose Allison Trio - Night Ride from I Love the Life I Live

B.B. King - Whole Lotta' Love from The Great B.B. King

Muddy Waters - Lonesome Road Blues from Sings Big Bill Broonzy

Sonny Red - Blues in the Pocket from Out of the Blue

John Lee Hooker - I Wanna Walk from Travelin'

B.B. King - Be Careful with a Fool from The Great B.B. King

Muddy Waters - Double Trouble from Sings Big Bill Broonzy

Wes Montgomery - D-Natural Blues from The Incredible Jazz Guitar of Wes Montgomery

Sonny Stitt - Two Bad Days Blues from Saxophone Supremacy

Mundell Lowe and His All Stars - Naked City from TV Action Jazz!

Jimmy Rushing - Pink Champagne from Rushing Lullabies

Memphis Slim - Good Bye Blues from Travelling With The Blues

Lightnin' Slim - I'm a Rollin Stone from from Rooster Blues

Muddy Waters - Just a Dream on my Mind from Sings Big Bill Bronzy

Lonnie Johnson - Blues Round My Door from Blues by Lonnie Johnson

Memphis Slim - Boogie Woogie from Travelling With The Blues

Muddy Waters - Southbound Train from Sings Big Bill Bronzy

Lonnie Johnson - Big Leg Woman from Blues by Lonnie Johnson

Josh White - One for My Baby from Josh White Sings Ballads And Blues

Lightnin' Hopkins - Get Off My Toe from Autobiography in Blues

John Lee Hooker - Solid Sender from Travelin'

Etta James with Harvey Fuqua - Spoonful from At Last!

Lightnin' Slim - Rooster Blues from Rooster Blues

Roosevelt Sykes - Night Time is the Riht Time from The Return of Roosevelt Sykes

Billy Boyd - Bolero Boogie from Twangy Guitars

The Coasters - Don't Get Around Much Anymore from One by One

Johnny and the Hurricanes - Beating Fly from The Big Sound of Johnny and the Hurricanes

The Fireballs - Vaquéro from Vaquéro

Ricky Nelson - Here I Go Again from More Songs by Ricky

The Crickets - Great Balls of Fire from In Style With The Crickets

Chuck Berry - Worried Life Blues from Rockin' at the Hops

James Brown - Think! from Think!

Link Wray & The Wraymen - Studio Blues from Link Wray & The Wraymen

Jackie Davis - Ain't She Sweet from Hammond Gone Cha-Cha

Bill Haley and His Comets - The Catwalk from Strictly Instrumental

Skeeter Davis - Devil's Doll from I'll Sing You a Song and Harmonize Too

Hank Ballard & the Midnighters -  Sugaree from The One and Only

Brenda Lee - Jambalaya from Miss Dynamite

Bo Diddley - Gun Slinger from Bo Diddley Is A Gunslinger

Elvis Presley - Fever from Elvis is Back!

Ventures - Sleep Walk from Morgen

Johnny And The Hurricanes - Rockin' T from Stormsville

Link Wray & The Wraymen - Rumble from Link Wray & The Wraymen

Bo Diddley - No More Lovin' from Bo Diddley Is A Gunslinger

The Swan Silvertones - I'll Be Satisfied from Singin' in My Soul

Johnny And The Hurricanes - James Bond Theme from Stormsville

Peter Appleyard - Peter Gunn from Per-cus-sive Jazz

Preston Epps - Bongo In The Congo from Bongo Bongo Bongo

Terry Snyder and the All Stars - Rocka Bongo Boogie from Persuasive Percussion: Volume 2

Les Baxter -  Acapulco from The Sacred Idol

The Surfmen - Taboo from The Sounds of Exotic Island

Joe Meek - Love Dance of the Saroos from I Hear a New World

Bobby Scott - A Taste of Honey from A Taste of Honey OST
George Russell - Waltz from Outer Space from Jazz in the Space Age

Felix Slatkin - Blues in the Night from Fantastic Percussion

Barney Kessel - Little Susie from The Poll Winners Exploring the Scene!

Wes Montgomery - Four on Six from The Incredible Jazz Guitar of Wes Montgomery

Lorez Alexandria & Ramsey Lewis - I'm Just Lucky So and So from Early in the Morning

The Joe Newman Quintet - Don't Worry 'Bout Me from Jive at Five

Shirley Scott, The Latin Jazz Quintet - The Lady is a Tramp from Mucho, mucho

Benny Carter - All Or Nothing At All from Sax ala Carter

Rita Reys, The Pim Jacobs Trio - How Deep Is the Ocean from Marriage in Modern Jazz

Johnny "Hammond" Smith & Lem Winchester - Gettin' The Message from Talk That Talk

Sam Lazar - Dig a Little Deeper from Space Flight

Paul Horn - Something Blue from Something Blue

Bill Jennings, Jack McDuff - Azure-Te from Glide On

Lou Donaldson - Crosstown Shuffle from The Time Is Right

Kay Starr - My Man from Kay Starr: Jazz Singer

Sarah Vaughan - Can't Get Out This Mood from Sarah Vaughan Quintessence 1950-1960: New York Paris Chicago

Bill Jennings - Fiddlin' from Glide On

Irving Joseph - Prison Break from Murder, Inc.
Chet Atkins - Lullaby of Birdland from Workshop
Charlie Byrd - The House of The Risin Sun from The Guitar Artistry of Charlie Byrd

Donald Byrd - Bo from Byrd in Flight

Anita O'Day - I've Got You Under My Skin from Cool Heat: Anita O'Day Sings Jimmy Giuffre Arrangements

Blue Mitchell - I Wish I Knew from Blue's Moods
Bud Shank - Surf Pipes from Slippery When Wet
Cal Tjader - September Song from Demasiado caliente
Doug Watkins, Yusef Lateef - Imagination from Soulnik

John Coltrane  - Giant Steps from Giant Steps
The Cannonball Adderley Quintet -  Them Dirty Blues from Them Dirty Blues
Nat Adderley - Work Song from Work Song
The Modern Jazz Quartet - Pyramid from European Concert
Yusef Lateef - From Within from The Three Faces of Yusef Lateef
Stanley Turrentine - Little Sheri from Look Out!
Duke Ellington - Arabesque Cookie from Three Suites
The Modern Jazz Quartet - How High the Moon from Pyramid
Louis Prima & Keely Smith - Cheek to Cheek from Louis and Keely!
Etta Jones - Bye Bye Blackbird from Don't Go to Strangers

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.

02-10-2018 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1925-1936

02-10-2018 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1925-1936   >>Lonnie Johnson, Clara Smith, Joe Venuti, Genesis of Rock 'n' Roll, Duke Ellington, Skip James, Earl Hines, Marlene Dietrich, Duke Ellington and His Orchestra, Hal Kemp and His Orchestra & Skinnay Ennis, Paul Robeson, The Mills Brothers, Django Reinhardt, Josh White<<

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1925-1936

Lonnie Johnson
Mr. Johnson's Blues 2:43
Lonnie's Got The Blues 3:09
from Lonnie Johnson Vol. 1 (1925-1926)
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. (allmusic)

Clara Smith
Look Where the Sun Done Gone 3:06
Jelly Bean Blues (Lina Arant / Ma Rainey) 2:58
Whip It to a Jelly 3:11
from Clara Smith Vol. 4 (1926-1927)
One of the legendary unrelated Smith singers of the 1920s, Clara Smith was never on Bessie's level or as significant as Mamie but she had something of her own to offer. She began working on the theatre circuit and in vaudeville around 1910, learning her craft during the next 13 years while traveling throughout the South...

Although renowned as one of the world's great practical jokers (he once called a couple dozen bass players with an alleged gig and asked them to show up with their instruments at a busy street corner just so he could view the resulting chaos), Joe Venuti's real importance to jazz is as improvised music's first great violinist. He was a boyhood friend of Eddie Lang (jazz's first great guitarist) and the duo teamed up in a countless number of settings during the second half of the 1920s, including recording influential duets.
Joe Venuti
Black and Blue Bottom (Eddie Lang / Joe Venuti) 2:45
Wild Cat (Eddie Lang / Joe Venuti) 2:57
Dinah (Harry Akst / Sam M. Lewis / Joe Young) 2:51
from Complete Jazz Series 1926 - 1928
This particular slice of the Joe Venuti & Eddie Lang chronology presents some of their all-time best instrumental performances garnished with a small bouquet of precious novelties...  Venuti's lyrically inspired handling of the violin and Lang's virtuosic guitar still sound surprisingly fresh and imaginative. These earliest Venuti and Lang collaborations exude a special sort of positive energy that is unique in all of classic jazz. Some of the instrumental tracks feel like well-organized, improvised hot chamber music...

Eddie Lang and Joe Venuti

Blind Lemon Jefferson - Matchbox Blues 3:03
The Allen Brothers - Ain't That Skippin' And Flyin'? 3:02
Jelly Roll Morton - Georgia Swing 2:32
Honolulu Serenaders - Honolulu Stomp  3:25
from The Genesis of Rock 'n' Roll - Vol. 1: Roots 1 (1927-1929)
Rock and roll emerged as a defined musical style in the United States in the early to mid-1950s. It derived most directly from the rhythm and blues music of the 1940s, which itself developed from earlier blues, boogie woogie, jazz and swing music, and was also influenced by gospel, country and western, and traditional folk music. Rock and roll in turn provided the main basis for the music that, since the mid-1960s, has been generally known simply as rock music.
The phrase "rocking and rolling" originally described the movement of a ship on the ocean, but it was used by the early 20th century, both to describe a spiritual fervor and as a sexual analogy. Various gospel, blues and swing recordings used the phrase before it became used more frequently – but still intermittently – in the late 1930s and 1940s, principally on recordings and in reviews of what became known as "rhythm and blues" music aimed at black audiences. In 1951, Cleveland-based disc jockey Alan Freed began playing this music style while popularizing the term "rock and roll" to describe it... (WikipediA)

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...