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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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.

09-10-2018 BLUES:MiX # 33 blues songs from the BLUES circle 1959-1965

Brownie McGhee

09-10-2018 BLUES:MiX # 33 blues songs from the BLUES circle 1959-1965 # Brownie McGhee, Curtis Amy & Paul Bryant, Bill Jennings / Jack McDuff, Josh White, Big Joe Williams, Sunnyland Slim, Arthur 'Big Boy' Crudup, Junior Wells, Sonny Boy Williamson II, The Rolling Stones

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1959-1965

Folk-blues singer-guitarist whose long-running partnership with harp-man Sonny Terry was already legendary by 1950s revival time. Brownie McGhee's death in 1996 was an enormous loss in the blues field. Although he had been semi-retired and suffering from stomach cancer, the guitarist was still the leading Piedmont-style bluesman on the planet, venerated worldwide for his prolific activities both on his own and with his longtime partner, blind harpist Sonny Terry. 
Brownie McGhee
Poor Boy 4:40
Walking Blues 3:42
Brownie's Blues 4:25
How Long 4:04
from Brownie McGhee Sings the Blues 1959
Piedmont blues singer and guitarist Brownie McGhee's voice rings clear over his strumming about love, cheating, and remembering his friend Big Bill Broonzy.

A good soul-jazz and hard bop tenor and soprano saxophonist, Curtis Amy enjoyed a busy period in the '60s, then dropped out of sight. He had a strong tone and nice, lightly swinging style...
Curtis Amy & Paul Bryant
Paul Bryant - The organist and pianist, whose cool sound was a key component in the burgeoning L.A. sound, appeared on eight albums and performed around the world. 
Searchin' (Paul Bryant) 8:48
The Blues Message 8:43
This Is the Blues 8:25
from The Blues Message 1960
The Blues Message is an album by saxophonist Curtis Amy and organist Paul Bryant recorded in 1960 for the Pacific Jazz label.
Curtis Amy - tenor saxophone   Paul Bryant - organ   Roy Brewster - valve trombone   Clarence Jones - bass   Jimmy Miller - drums

Bill Jenning's sound has been compared to Tiny Grimes with a hint of early Charlie Christian. A peer of Billy Butler, Jennings played with Louis Jordan in the late '40s and early '50s. He also recorded R&B sides with Leo Parker and Bill Doggett.
Bill Jennings / Jack McDuff
A marvelous bandleader and organist as well as capable arranger, "Brother" Jack McDuff has one of the funkiest, most soulful styles of all time on the Hammond B-3. His rock-solid basslines and blues-drenched solos are balanced by clever, almost pianistic melodies and interesting progressions and phrases
Enough Said (Alvin Johnson) 6:45
Billin' and Bluin', Pt. 1 4:47
from Enough Said  / Glide On 1959 / 1960

Josh White began as a Southern bluesman but eventually evolved into an eclectic, urbane artist.  To many blues enthusiasts, Josh White was a folk revival artist. It's true that the second half of his music career found him based in New York playing to the coffeehouse and cabaret set and hanging out with Burl Ives, Woody Guthrie, and fellow transplanted blues artists Sonny Terry & Brownie McGhee...
Josh White
Good Morning Blues 4:48
Mean Mistreater 4:59
T.B. Blues 4:43
from The House I Live In 1960

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)