16-06-2020 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

Hal Singer

16-06-2020 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Hal Singer, Xavier Cugat & His Orchestra, Ruth Brown, Ellis 'Slow' Walsh, Guitar Slim, Tommy Ridgley, Pee Wee Crayton, Bull Moose Jackson, Lee Hazlewood, Tadd Dameron with John Coltrane, Mongo Santamaria, Otis Rush, Herbie Mann<<

Z E N E  /  M U S I C

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before 1959

Equally at home blowing scorching R&B or tasty jazz, Hal "Cornbread" Singer has played and recorded both over a career spanning more than half a century. 

Hal Singer
Swing Shift (Hal Singer)
Swanee River (Traditional)
Cornbread (Lee Morgan / Teddy Reig / Hal Singer)
from Hal Singer 1948-1951
Blues & Rhythm CLASSICS
Tenor sax player Hal "Cornbread" Singer spent his career moving with ease between jazz, R&B and early rock & roll, and his hard, muscular sax sound is unmistakable, practically defining the words "searing" and "scorching" on key instrumentals like "Cornbread" (his first big solo hit) and its follow-up, "Beef Stew." Both tracks are included here in this collection of his earliest solo sides for Savoy Records...

Remembered for his highly commercial approach to pop music, Xavier Cugat (born Francisco de Asis Javier Cugat Mingall de Cru y Deulofeo) made an even greater mark as one of the pioneers of Latin American dance music. During his eight-decade-long career, Cugat helped to popularize the tango, the cha-cha, the mambo, and the rhumba.
Xavier Cugat & His Orchestra
Maracaibo
Mambo No. 5
Anything Can Happen Mambo feat. Abbe Lane
from Maracaibo (Original Recordings 1950 -1952)
A native of Girona, Spain, Cugat emigrated with his family to Cuba in 1905. Trained as a classical violinist, he played with the Orchestra of the Teatro Nacional in Havana at the age of 12. Emigrating to the United States, sometime between 1915 and 1918, he quickly found work accompanying an opera singer. At the height of the tango craze, in 1918, Cugat joined a popular dance band, the Gigolos. His involvement with the group, however, was brief. As the popularity of the tango faded, he took a job as a cartoonist for The Los Angeles Times. Cugat returned to music in 1920, forming his own group, the Latin American Band....

Xavier Cugat & Abbe Lane

They called Atlantic Records "the house that Ruth built" during the 1950s, and they weren't referring to the Sultan of Swat. Ruth Brown's regal hitmaking reign from 1949 to the close of the '50s helped tremendously to establish the New York label's predominance in the R&B field.
Ruth Brown
Don't Cry
Shine On
Mend Your Ways (Lincoln Chase / Leroy Kirkland) 2:48
from Ruth Brown 1951-1953
Blues & Rhythm CLASSICS
Later, the business all but forgot her -- she was forced to toil as domestic help for a time -- but she returned to the top, her status as a postwar R&B pioneer (and tireless advocate for the rights and royalties of her peers) recognized worldwide.
Young Ruth Weston was inspired initially by jazz chanteuses Sarah Vaughan, Billie Holiday, and Dinah Washington. She ran away from her Portsmouth home in 1945 to hit the road with trumpeter Jimmy Brown, whom she soon married...

19-07-2018 12:58 BLUES:MiX # 33 blues songs from the BLUES circle 1989-1978

Charlie Musselwhite

19-07-2018 12:58 BLUES:MiX # 33 blues songs from the BLUES circle 1989-1978 # Charlie Musselwhite, Henry Gray, Snooky Pryor, Chris Thomas King, Albert Collins, Johnny Copeland, Robert Cray, Pee Wee Crayton, ZZ Top, Hound Dog Taylor, Robin Trower, Jack Bruce, Bill Lordan, Tom Waits, The Fabulous Thunderbirds, Jimmy Johnson

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1989-1978

A Mississippi transplant whose rangy, subtle harp playing made a splash in Chicago blues circles beginning in the 1960s. Harmonica wizard Norton Buffalo can recollect a leaner time when his record collection had been whittled down to only the bare essentials: The Paul Butterfield Blues Band and Stand Back! Here Comes Charley Musselwhite's South Side Band. Butterfield and Musselwhite will probably be forever linked as the two most interesting, and arguably the most important, products of the "white blues movement" of the mid- to late '60s -- not only because they were near the forefront chronologically, but because they both stand out as being especially faithful to the style.
Charlie Musselwhite
If Trouble Was Money (D.A.R.) 5:21
It Ain't Right (Walter Jacobs / Little Walter) 3:59
Finger Lickin' Good (Charlie Musselwhite) 4:0
from Memphis Charlie 1989
Charlie Musselwhite earned the nickname “Memphis Charlie” during his years in Memphis, Tennessee, where he learned to play guitar and blues harmonica. Moving to Chicago in 1962 to look for better-paying work, Musselwhite jumped into the blues scene, becoming a regular at blues venues, sitting in and playing with some of the great musicians of the Chicago scene. This album, released in 1989, contains songs recorded in 1971 and 1974 that feature the electrifying blues vocals and harmonica of Memphis Charlie.

This harmoinca player's records were harbingers of the amplified, down-home sound of post-war Chicago blues.  Only recently has Snooky Pryor finally begun to receive full credit for the mammoth role he played in shaping the amplified Chicago blues harp sound during the postwar era. He's long claimed he was the first harpist to run his sound through a public address system around the Windy City -- and since nobody's around to refute the claim at this point, we'll have to accept it! James Edward Pryor was playing harmonica at the age of eight in Mississippi...
Snooky Pryor
Broke and Hungry (Snooky Pryor) 2:36
Judgment Day (Snooky Pryor) 4:16
Key to the Highway (Big Bill Broonzy / Charles Segar) 2:55
from Snooky 1987
An outstanding comeback effort by Chicago harp pioneer Snooky Pryor, whose timeless sound meshed well with a Windy City trio led by producer/guitarist Steve Freund for this set. Mostly Pryor's own stuff ... with his fat-toned harp weathering the decades quite nicely.

Initially known for his audacious fusion of blues and hip-hop, Chris Thomas King reached a whole new audience with the Coen Brothers film O Brother, Where Art Thou?, not only appearing on the award-winning soundtrack but playing a prominent supporting character as well. Despite the much-celebrated, down-to-earth rootsiness of O Brother's music, King had previously been a determined progressive, hoping to reinvigorate the blues as a living African American art with a more contemporary approach and adamantly refusing to treat it as a museum piece whose "authentic" forms needed careful preservation. King eventually modified that approach to a certain degree, attempting to create a more explicit link between blues tradition and the general musical present.
Chris Thomas King
The Blues Is Back 3:37
Cheatin' Women Blues 4:38
Going Home To Louisiana 3:43
South Side Shuffle 1:45
from The Beginning 1986
Recorded at Reel To Reel Sound Factory - Baton Rounge, La.

Albert Collins - The embodiment of the Texas blues guitar style, with non-standard tuning and slashing blocked chords. 
Johnny Copeland - An influential blues guitarist since the 1950s, journeyman hit critical paydirt in the 1980s. 

Robert Cray - The guitarist who brought blues back to the charts in the '80s via songs that defined blues themes but added modern and personal twists. 

Albert Collins, Johnny Copeland, Robert Cray
T-Bone Shuffle (T-Bone Walker) 4:58
The Dream (Unknown Blues Band) 5:32
Blackjack (Ray Charles) 6:34
from Showdown! 1985
More cooperative than competitive in spirit, Showdown! ranks above other blues ‘supergroup’ sessions in the cohesiveness of the music, as three of the top names in blues of the 1980s shared the spotlight with a tight rhythm section in support. There were still plenty of hot guitar licks, though, from Collins, Cray and Copeland, with Albert even taking a turn on harmonica. T-Bone Walker’s T-Bone Shuffle provided a common ground for the triumvirate to kick the album off, and the rest of the program consisted of originals and lesser-known covers of Muddy Waters, Ray Charles, Texas legend Hop Wilson and others....