13-05-2020 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

13-05-2020 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Sol Hoopii, Hazel Scott, Lonnie Johnson, Helen Humes, Charlie Parker, Miles Davis, Jimmy Witherspoon, Tony's Monstrosities, Archie King, Screamin' Jay Hawkins, Leroy Bowman And The Arrows, Hal Singer, Xavier Cugat & His Orchestra, Ruth Brown<<

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before 1959

Sol Hoopii - Farewell Blues 2:52
Sol Hoopii - Hula Girl 3:06
from Hawaiian Music (Honolulu - Hollywood - Nashville 1927-1944)
Music of Hawaii
The music of Hawaii includes an array of traditional and popular styles, ranging from native Hawaiian folk music to modern rock and hip hop. Hawaii's musical contributions to the music of the United States are out of proportion to the state's small size. Styles like slack-key guitar are well known worldwide, while Hawaiian-tinged music is a frequent part of Hollywood soundtracks. Hawaii also made a contribution to country music with the introduction of the steel guitar.[1] In addition, the music which began to be played by Puerto Ricans in Hawaii in the early 1900s is called cachi cachi music, on the islands of Hawaii...

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) 2:51
Hungarian Rhapsody Nº 2 in "C" Sharp Minor (Franz Liszt) 3:23
Hazel's Boogie Woogie 2:21
C Jam Blues (Barney Bigard / Duke Ellington) 3:47
from Complete Jazz Series 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. She shows off both her technique and her creativity on six classical works, swing standards, and a couple basic blues originals, singing on "People Will Say We're in Love" and "C Jam Blues." The final four numbers are quite a bit different as Scott is showcased as a fairly straight and sophisticated singer with orchestras conducted by Toots Camarata. Overall, this CD is highly recommended, reminding today's listeners how talented a pianist Scott was in her early days.

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.
Lonnie Johnson
Swing Out Rhythm (Lonnie Johnson) 2:37
Devil's Got the Blues (Lonnie Johnson) 2:58
Blues in My Soul (Lonnie Johnson) 2:57
The Loveless Blues (Lonnie Johnson) 3:15
from Blues In My Soul 1937/1946
Although Johnson is in peak form on this collection spanning from the mid-1930s to the mid-1940s, many of the tracks are plagued by poor fidelity, making the set somewhat difficult for casual fans to digest and more for dedicated listeners.

Hazel Scott