24-05-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

Charlie Parker

24-05-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Charlie Parker, Fats Navarro, Tadd Dameron, Evelyn Knight, Nat King Cole, Pee Wee Hunt & His Orchestra, Wilmoth Houdini, Sam Manning, King Radio, Calypso Pionners, Lionel Hampton, Dinah Washington, Fernando Gody, Los Gomez y Orquesta José Granados, Grand Orquesta de Baile Cisneros, Antoñita Colomé y Orquesta, Django Reinhardt, Tommy Dorsey / Frank Sinatra, Xavier Cugat, Arthur "Dooley" Wilson, Muddy Waters, Charlie Christian<<

Z E N E  /  M U S I C



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preHiSTORY:MiX tag A lejátszó mindig a legújabb playlist számait játssza. / The player always plays the latest playlist tracks.

before 1959

Jazz giant who changed the face of the entire form, practically inventing modern jazz and shaping the course of 20th century music. 
Charlie Parker
Summertime 2:45
Just Friends 3:30
Blues (Fast) 2:46
from Charlie Parker Vol. 7 (1949-50)
One of a handful of musicians who can be said to have permanently changed jazz, Charlie Parker was arguably the greatest saxophonist of all time. He could play remarkably fast lines that, if slowed down to half speed, would reveal that every note made sense. "Bird," along with his contemporaries Dizzy Gillespie and Bud Powell, is considered a founder of bebop; in reality he was an intuitive player who simply was expressing himself. Rather than basing his improvisations closely on the melody as was done in swing, he was a master of chordal improvising, creating new melodies that were based on the structure of a song. In fact, Bird wrote several future standards (such as "Anthropology," "Ornithology," "Scrapple from the Apple," and "Ko Ko," along with such blues numbers as "Now's the Time" and "Parker's Mood") that "borrowed" and modernized the chord structures of older tunes. Parker's remarkable technique, fairly original sound, and ability to come up with harmonically advanced phrases that could be both logical and whimsical were highly influential. By 1950, it was impossible to play "modern jazz" with credibility without closely studying Charlie Parker...

Trumpeter whose big, brawny sound set the tone for the rise of bebop; also notable for his quick attack and Spanish-tinged phrasings. 
Fats Navarro
The Tadd Dameron Sextet - The Chase (1947-09-26) 2:43
Fats Navarro Quintet Nostalgia (1947-12-05) 2:41
The Tadd Dameron Sextet Jahbero (1948-09-13) 2:52
from The Ultimate Jazz Archive - Set 24/42 CD 4
One of the greatest jazz trumpeters of all time, Fats Navarro had a tragically brief career yet his influence is still being felt. His fat sound combined aspects of Howard McGhee, Roy Eldridge, and Dizzy Gillespie, became the main inspiration for Clifford Brown, and through Brownie greatly affected the tones and styles of Lee Morgan, Freddie Hubbard, and Woody Shaw. Navarro originally played piano and tenor before switching to trumpet. He started gigging with dance bands when he was 17, was with Andy Kirk during 1943-1944, and replaced Dizzy Gillespie with the Billy Eckstine big band during 1945-1946. During the next three years, Fats was second to only Dizzy among bop trumpeters. Navarro recorded with Kenny Clarke's Be Bop Boys, Coleman Hawkins, Eddie "Lockjaw" Davis, Illinois Jacquet, and most significantly Tadd Dameron during 1946-1947. He had short stints with the big bands of Lionel Hampton and Benny Goodman, continued working with Dameron, made classic recordings with Bud Powell (in a quintet with a young Sonny Rollins) and the Metronome All-Stars, and a 1950 Birdland appearance with Charlie Parker was privately recorded. However, Navarro was a heroin addict and that affliction certainly did not help him in what would be a fatal bout with tuberculosis that ended his life at age 26. He was well documented during the 1946-1949 period and most of his sessions are currently available on CD, but Fats Navarro could have done so much more...

1948
Evelyn Knight - A Little Bird Told Me 2:40
Nat King Cole - Nature Boy 2:39
Pee Wee Hunt & His Orchestra - Twelfth Street Rag 2:52
from The Million Sellers Of The 40's - 1948

Calypso is the most prominent 20th century musical style in the islands of Trinidad and Tobago. The instrumentation is primarily percussion and a brass section. Vocals can describe carnival partying or involve pointed social commentary. The political aspect of calypso caused successive bans on different percussion materials in the early 20th century leading to the introduction of the steel pan into calypso bands in the 1930s. 
Wilmoth Houdini - Caroline 3:07
Sam Manning - Lieutnant Julian 3:01
King Radio - Jitterbug 3:03
from Calypso Pionners, Vol. 2 (1925 - 1947)
Although recordings of calypso music outside of Trinidad and Tobago have always been common, calypso gained a broad audience in the US and UK in the mid-20th century thanks to several celebrated songs and artists. In 1944, Lord Invader's song Rum and Coca Cola was recorded without permission by the The Andrews Sisters and spent 10 weeks at #1 on the US pop charts. Around 1950, Lord Kitchener, The Mighty Terror, and Lord Beginner all relocated temporarily to London, and were part of a growing wave of Caribbean Music in the UK. 

The legendary Hamp created the benchmarks for the vibraphone, playing for jazz afficianados and presidents into his 90s. 

Lionel Hampton 

Vibe Boogie (Lionel Hampton) 5:27

Blow Top Blues feat.  Dinah Washington (Leonard Feather) 3:27

Hamp's Salty Blues (Dan Burley / Lionel Hampton) 3:14

from 1945 - 1946 Complete Jazz Series 

The sixth CD in Classics' series of Lionel Hampton records documents his music during a one-year period. Hampton's big band, riding high after "Flying Home," continued to grow in popularity during this era. The vibraphonist's showmanship and his sidemen's extroverted solos generated constant excitement, as can be heard throughout these 20 selections... 

20-11-2018 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

Miguelito Valdés

20-11-2018 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Miguelito Valdés, Noro Morales' Orchestra, Tommy Dorsey, Big Bill Broonzy, Charlie Christian, Benny Goodman Sextet, Buster Bailey, Red Norvo, Coleman Hawkins, Don Byas, Charlie Parker, T-Bone Walker, Wynonie Harris, Pee Wee King, Muddy Waters, Albinia Jones<<

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before 1959

During more than five decades of performing, the vocal innovations of Miguelito Valdes made him one of Latin music's most popular artists.
Miguelito Valdés, Noro Morales' Orchestra
Noro Morales was a Puerto Rican jazz leader/composer, mixed his home island's flavor with NYC big band sensibities for a unique 1940s sound. 
Marimba (A. Tuvim, A. Lara) 3:11
Babalú (M. Lecuona) 2:57
Sangre Son Colora (M. Valdés) 2:46
from Mr. Babalu
recorded in N.Y.C., 1949. & 1951

Jazz trombonist whose popular band epitomized swinging pre-war America. Though he might have been ranked second at any given moment to Benny Goodman, Artie Shaw, Glenn Miller, or Harry James, Tommy Dorsey was overall the most popular bandleader of the swing era that lasted from 1935 to 1945.
Tommy Dorsey
In the Middle of a Dream (Al Stillman / Einar A. Swan) 3:13
Dawn on the Desert (Charlie Shavers) 2:52
from The Chronological 1939 (2002)
This 12th installment in the Classics Tommy Dorsey chronology documents the trombonist's Victor studio recordings dating from the first half of 1939.

Intelligent, versatile early blues guitarist possessed an unmistakable, hollering voice with remarkable range. 
Big Bill Broonzy
Please Be My So and So 2:46
Don't You Want to Ride 2:50
Merry Go Round Blues 2:43
from 1937-1940, Vol. 2 Disc 4 (2005)
The second volume in JSP's Big Bill Broonzy retrospective is four discs long, covering the bluesman's years in Chicago and New York. What is astonishing is that there are 100 tracks here. While it's true that there are many alternate takes for the sake of the historical record, nonetheless, when combined with volume one, this accounts for a prolific output by the singer and guitarist...

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<<

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preHiSTORY:MiX tag A lejátszó mindig a legújabb playlist számait játssza. / The player always plays the latest playlist tracks.

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.

24-06-2018 12:07 - PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1952-1943

Radio DJ Alan Freed in the 1950s.

24-06-2018 12:07 - PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1952-1943   >>Bill Haley, Wally Mercer, Merrill Moore, John Lee Hooker, Les Baxter, Ray Charles, Sarah Vaughan, Lowell Fulson, Thelonious Monk, Alberta Hunter, Cecil Gant, Big Joe Turner, Sister Rosetta Tharpe, Four Clefs, Lester Young, Tommy Dorsey, Lena Horne, Xavier Cugat<<

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1952-1943

Wally Mercer - Rock Around the Clock (Wallace Mercer) 2:42
Bill Haley - Rock the Joint (Doc Bagby / Harry "Fats" Crafton) 2:56
John Lee Hooker - Walkin' the Boogie (John Lee Hooker) 2:44
 from Roots of Rock N' Roll Vol 8 1952
This is the eighth volume in a series of double-disc anthologies from French label Fremeaux Records that chronicles the years that led up to the birth of rock & roll. While the magic year of 1954 is usually accepted as the dawn of the rock & roll age, the whole matter has always generated a good deal of debate, and this installment in the Fremeaux series only muddies the waters, since the year it covers, 1952, shows things rocking along pretty well... Whether these tracks contain the musical DNA that begat rock & roll or not is, in the end, fairly irrelevant, since these records rock, pedigree or no.

Exotica pioneer whose blend of Polynesian forms and orchestral arrangements appealed to the bachelor pad set of the 1950s and '60s. 
Les Baxter
Jalousie (Jacob Gade) 2:59
Venezuela (Alfredo Corenzo) 2:38
La Cumparsita (Gerardo Matos Rodríguez) 2:29
from Arthur Murray's Favorites: Tangos 1951
"Personally recommended for dancing by Arthur Murray." 

A brilliant, towering musical figure who through his singing and piano playing helped invent
soul and R&B music. Ray Charles was the musician most responsible for developing soul music. Singers like Sam Cooke and Jackie Wilson also did a great deal to pioneer the form, but Charles did even more to devise a new form of black pop by merging '50s R&B with gospel-powered vocals, adding plenty of flavor from contemporary jazz, blues, and (in the '60s) country. Then there was his singing; his style was among the most emotional and easily identifiable of any 20th century performer, up there with the likes of Elvis and Billie Holiday. He was also a superb keyboard player, arranger, and bandleader. The brilliance of his 1950s and '60s work, however, can't obscure the fact that he made few classic tracks after the mid-'60s, though he recorded often and performed until the year before his death.

Ray Charles
I Love You, I Love You (I Will Never Let You Go) (J. Lee Lawrence) 2:40
Rockin' Chair Blues (Aaron McKee) 2:44
Sitting on Top of the World (Lonnie Chatmon / Walter Vinson) 2:15
from Blues & Rhythm Classics 1949-1950
1949-1950 highlights the earliest Ray Charles sessions for the Swingtime and Downbeat labels, featuring 15 tracks from 1949 and six from 1950. Anyone with the slightest interest in Charles should investigate this material. It's amazing to hear Charles' metamorphosis from silky-voiced pop crooning (imitating his idols Charles Brown and Nat King Cole) into his passionate gospel-powered voice shortly after he signed with Atlantic Records in 1952.