24-11-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

Bessie Smith

24-11-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Bessie Smith, The Cotton Pickers, María Teresa Vera & Rafael Zequeira, King Oliver, Mamie Smith, Original Dixieland Jazz Band,  Marion Harris, Lucille Hegamin, Sidney Bechet, The Georgia Melodians. Banda Municipal, Felix Camarano, Quinteto Augusto, Louis Armstrong<<

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before 1959

One of the greatest female blues singers of all time, with a passionate voice and thundering delivery.
Bessie Smith
Careless Love Blues 3:28
Golden Rule Blues 3:06
Squeeze Me 2:53
from Squeeze Me (Original Recordings, 1925-1926)
The first major blues and jazz singer on record and one of the most powerful of all time, Bessie Smith rightly earned the title of "The Empress of the Blues." Even on her first records in 1923, her passionate voice overcame the primitive recording quality of the day and still communicates easily to today's listeners (which is not true of any other singer from that early period). At a time when the blues were in and most vocalists (particularly vaudevillians) were being dubbed "blues singers," Bessie Smith simply had no competition...

Cotton Pickers was the generic band name that Brunswick Records used on its small jazz band recordings made in 1922-1923, 1924-1925, and again in 1929. These were intended to compete with popular dance records issued on other labels by groups such as Ladd's Black Aces, Bailey's Lucky Seven, and the Memphis Five...
The Cotton Pickers
Hot lips (Henry Busse / Benny Davis / Henry Lange) 3:07
Runnin' wild (Arthur Gibbs / Joe Grey / Leo Wood) 3:10
Mama goes where papa goes (Milton Ager / Jack Yellen) 3_05
from The Cotton Pickers 1922-1925 (Jazz Archives No. 173)
Since the band was essentially a studio construct, the membership of the Cotton Pickers was fairly fluid, and Brunswick Records used the moniker to put out several sides of small combo dance music, usually blues foxtrots. The early incarnation of the band featured trumpeter Phil Napoleon and saxophonist Bennie Krueger, whose strong lines and polyphonic arrangements sounded black and Southern to northern audiences, and tunes such as "Way Down Yonder in New Orleans" (included here) were particularly popular. By 1924, the Cotton Pickers were almost an entirely different group, with only trombonist Miff Mole held over from the earlier lineup, and were fronted by Frank Trumbauer, whose style was less Dixie and more "cool" pop. More a brand than a band, the Cotton Pickers name allowed mainstream white jazzmen to play blacker and hotter and still keep their day jobs...

The grande dame of Cuban music, Maria Teresa Vera was not only the greatest female trova singer of all time, she was also one of the form's greatest singers, period. Vera became a professional musician and songwriter -- and a mightily popular one at that -- during the early 20th century, when such a career was virtually unheard of for a woman
María Teresa Vera & Rafael Zequeira
Mis Lamentos A Mi Guitarra 2:56
Rayos De Plata 3:28
from Mis Lamentos A Mi Guitarra (Original Cuban Recordings 1916 - 1924)
Her skill at singing trova -- a rural folk song style that predated the son dance craze -- helped lay the groundwork for the explosion of Cuban popular music in the '30s and '40s, and her fame as a trovadora lasted well after the style was eclipsed by other popular trends. Maria Teresa Vera was born in Guanajay, in the province of Pinar del Rio, on February 6, 1895. She began learning the guitar from Jose Diaz, and in 1911, at age 15, performed publicly in Havana at a tribute to Arquimedes Pous. Vera subsequently formed the first of several duos, a format she would favor throughout her career, with Rafael Zequeira; in addition to performing in Cuba, the two traveled to New York several times for recording sessions. Zequeira died in 1924, and after performing for a couple of years both solo and accompanied, Vera formed a new duo...

New Orleans cornetist and band leader was an early jazz architect, and also famously hired a young horn player named Louis Armstrong. Joe "King" Oliver was one of the great New Orleans legends, an early giant whose legacy is only partly on records. In 1923, he led one of the classic New Orleans jazz bands, the last significant group to emphasize collective improvisation over solos, but ironically his second cornetist (Louis Armstrong) would soon permanently change jazz. And while Armstrong never tired of praising his idol, he actually sounded very little like Oliver; the King's influence was more deeply felt by Muggsy Spanier and Tommy Ladnier.
King Oliver
Just Gone (Bill Johnson / King Oliver) 2:41 (04-06-23)
Mandy Lee Blues (Marty Bloom / Walter Melrose) 2:12 (04-06-23)
Dippermouth Blues (King Oliver) 2:31 (04-06-23)
from King Oliver 1923
There are more than a handful of undiluted jazz records that predate King Oliver's sessions of 1923, but few had managed to put it together in a recording studio quite so powerfully or, as it turned out, so very influentially. These primordial artifacts, now digitally remastered and chronologically assembled, form a substantial chunk of the bedrock of early recorded jazz. They're also remarkably liberating if, for just a few minutes, you make yourself into a fly on the wall of the Gennett studios. Note that young Louis Armstrong had to pretty well stand outside of the room so that he wouldn't overpower the rest of the players. Johnny Dodds interacted wonderfully with the brass, weaving wreaths of wooded filigree around the exhortations of Honore Dutrey's deep-voiced trombone. Lil Hardin, when you can hear her, is quite the majestic pianist...