11-03-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

11-03-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Herbie Mann, Gene Vincent, Red Norvo, Duane Eddy, Dicky Wells, Rebetika songs of protest Recordings, Mighty Panther, Macbeth the Great, Calypso, Elvis Presley, Junior Wells, Django Reinhardt<<

Z E N E  /  M U S I C



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before 1959

Prolific and widely known flutist, beloved in jazz circles, has covered many world music styles. Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.
Herbie Mann
Yardbird Suite (Charlie Parker) 5:57
One for Tubby (Phil Woods) 6:10
Who Knew 7:17
from Yardbird Suite 1957
Recorded in the great year of music and especially jazz -- 1957 -- Herbie Mann at the time was gaining momentum as a premier flute player, but was a very competent tenor saxophonist. Teamed here with the great alto saxophonist Phil Woods and criminally underrated vibraphonist Eddie Costa, Mann has found partners whose immense abilities and urbane mannerisms heighten his flights of fancy by leaps and bounds. Add to the mix the quite literate and intuitive guitarist Joe Puma, and you have the makings of an emotive, thoroughly professional ensemble. The legendary bass player Wilbur Ware, who in 1957 was shaking things up with the piano-less trio of Sonny Rollins and the group of Thelonious Monk, further enhances this grouping of virtuosos on the first two selections...

American rockabilly legend who defined the greasy-haired, leather-jacketed, hot rods 'n' babes spark of rock & roll. Gene Vincent only had one really big hit, "Be-Bop-a-Lula," which epitomized rockabilly at its prime in 1956 with its sharp guitar breaks, spare snare drums, fluttering echo, and Vincent's breathless, sexy vocals. Yet his place as one of the great early rock & roll singers is secure, backed up by a wealth of fine smaller hits and non-hits that rate among the best rockabilly of all time. The leather-clad, limping, greasy-haired singer was also one of rock's original bad boys, lionized by romanticists of past and present generations attracted to his primitive, sometimes savage style and indomitable spirit.
Gene Vincent
Red Blue Jeans and a Ponytail (Bill Davis / Jack Rhodes) 2:15
Unchained Melody (Alex North / Hy Zaret) 2:38
Cruisin'  (Bill Davis / Gene Vincent) 2:12
Blues Stay Away from Me (Alton Delmore / Rabon Delmore / Henry Glover / Wayne Raney) 2:16
from Gene Vincent and His Blue Caps 1957
Gene Vincent and His Blue Caps, cut in October 1956, only four months after its predecessor, came about under slightly less favorable circumstances than the Bluejean Bop album. Cliff Gallup, whose lead guitar had been so central to the group's original sound, and rhythm guitarist Willie Williams, who was only somewhat less important to their sound, had been gone from the band for nearly two months when producer Ken Nelson decided it was time to cut material for more singles and a second album...

Pioneering big-band and bebop xylophonist/vibraphonist who was active from the late 1920s through the early '90s. Red Norvo was an unusual star during the swing era, playing jazz xylophone. After he switched to vibes in 1943, Norvo had a quieter yet no-less fluent style than Lionel Hampton. Although no match for Hampton popularity-wise, Norvo and his wife, singer Mildred Bailey, did become known as "Mr. and Mrs. Swing."
Red Norvo
Britts's Blues (From The Kings Go Forth) 5:47
Shed No Tears 4:40
Sunrise Blues 8:47
from Red Plays the Blues 1958
Vibraphone – Red Norvo
Bass – Bob Carter, Lawrence Wooten, Drums – Bill Douglass, Mel Lewis, Guitar – James Wyble, Piano – Jimmy Rowles, saxophon – Chuck Gentry, Alto Saxophone – Willie Smith, Tenor Saxophone – Harold Land, Tenor Saxophone – Ben Webster, Trombone – Ray Sims, Trumpet – Don Fagerquist, Don Paladino, Harry Edison, Ray Linn

One of the '50s' most influential guitarists and one of the more distinct, he forged a sound based on minimalism with lots of twangy reverb. If Duane Eddy's instrumental hits from the late '50s can sound unduly basic and repetitive (especially when taken all at once), he was vastly influential. Perhaps the most successful instrumental rocker of his time, he may also have been the man most responsible (along with Chuck Berry) for popularizing the electric rock guitar. His distinctively low, twangy riffs could be heard on no less than 15 Top 40 hits between 1958 and 1963. He was also one of the first rock stars to successfully crack the LP market.
Duane Eddy
The Lonesome Road (Gene Austin / Nat Shilkret / Nathaniel Shilkret) 3:00
Rebel Rouser  (Duane Eddy / Lee Hazlewood) 2:22
Moovin' 'N' Groovin' (Duane Eddy / Lee Hazlewood) 2:06
from Have 'Twangy' Guitar Will Travel 1958
A pioneer in instrumental rock, Duane Eddy remains an anomaly in popular music. Eddy's distinctive "twangy" guitar style complemented the infectious dance beats of his band and drove the viewers of Dick Clark's American Bandstand television show wild, even without a vocalist. This brings up the notion that perhaps pop music fans don't always require the presence of a lead singer; maybe all they look for is musical charisma, and this Eddy supplied in spades..  A mix of early rock & roll, swing, country, and blues, Have "Twangy" Guitar, Will Travel is a great example of '50s instrumental pop.