20-04-2021 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

20-04-2021 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Coleman Hawkins, Antonio Machín, Boswell Sisters, Charlie Spand, Louis Armstrong & His Orchestra, The Charleston Chasers, Texas Alexander, The Broadway Band, Rosa Henderson, Fletcher Henderson, Louis Armstrong, The Georgiana Blues, Orquesta Típica Osvaldo Fresedo<<

Z E N E  /  M U S I C (1h 43m)

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before 1959

A jazz legend and the heavyweight of the tenor saxophone, the first to use the instrument as a serious means of expression.

Coleman Hawkins 

Blue Moments by Connie's Inn Orchestra

Someday, Sweetheart by Hawkins Orchestra

from Selected Sessions (1931-1934)

An operatic tenor who broke the color barrier in one of Cuba's most prestigious orchestras, and a musical ambassador to the United States and Europe, Antonio Machín was a pivotal figure in the history of Cuban music who is not always remembered as such. 

Antonio Machín 

Mujer

Rumba Tambah

from Vol. 2 - 1932-1933

The salient feature of Machín's early life was that his ambition to sing opera was frustrated by that fact that he was born a poor mulatto in Cuba at the turn of the century. There is an operatic sensibility in his best performances -- El Manisero, Lamento Esclavo, Blanca Rosa -- that makes one wonder how he would have handled Verdi. In any case, in 1926 Machín made his way to Havana from Sagua La Grande, his birthplace on the northern part of the island, determined to become a singer. He soon became a featured vocalist at the Casino Nacional of Havana, the first singer of color ever to do so...

Sibling trio whose sophisticated brand of close, jazzy harmony coupled with bluesy inflections made them stars of the 1930s.

Boswell Sisters 

Wha'd Ja Do to Me? (Milton Ager)

Roll On, Mississippi, Roll On (James McCaffry / Dave Ringle / Eugene West)

Between the Devil and the Deep Blue Sea (Harold Arlen / Ted Koehler)

from The Boswell Sisters Collection, Vol. 1: 1931-1932 [Collectors']

Most vocal groups that attempt to sing jazz instead end up in the genre of middle-of-road pop music. The Boswell Sisters (comprised of Connee, Vet, and Martha) were a strong exception, always swinging and, by changing tempos and keys frequently while including some other surprises, performing creative jazz of the early '30s.... With a supporting cast frequently including trumpeters Bunny Berigan and Manny Klein, trombonist Tommy Dorsey, and clarinetist Jimmy Dorsey (all of whom receive a generous amount of solo space), the sisters are heard at their best throughout this consistently exciting set....

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<<

Z E N E  /  M U S I C



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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...