13-05-2020 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

13-05-2020 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Sol Hoopii, Hazel Scott, Lonnie Johnson, Helen Humes, Charlie Parker, Miles Davis, Jimmy Witherspoon, Tony's Monstrosities, Archie King, Screamin' Jay Hawkins, Leroy Bowman And The Arrows, Hal Singer, Xavier Cugat & His Orchestra, Ruth Brown<<

Z E N E  /  M U S I C

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before 1959

Sol Hoopii - Farewell Blues 2:52
Sol Hoopii - Hula Girl 3:06
from Hawaiian Music (Honolulu - Hollywood - Nashville 1927-1944)
Music of Hawaii
The music of Hawaii includes an array of traditional and popular styles, ranging from native Hawaiian folk music to modern rock and hip hop. Hawaii's musical contributions to the music of the United States are out of proportion to the state's small size. Styles like slack-key guitar are well known worldwide, while Hawaiian-tinged music is a frequent part of Hollywood soundtracks. Hawaii also made a contribution to country music with the introduction of the steel guitar.[1] In addition, the music which began to be played by Puerto Ricans in Hawaii in the early 1900s is called cachi cachi music, on the islands of Hawaii...

Though she didn't call it third stream, and it wasn't associated with the genre, Hazel Scott was another musician who found a successful way to blend jazz and classical influences. Scott took classical selections and improvised on them, a practice dating back to the ragtime era.
Hazel Scott
Calling All Bars (Leonard Feather) 2:51
Hungarian Rhapsody Nº 2 in "C" Sharp Minor (Franz Liszt) 3:23
Hazel's Boogie Woogie 2:21
C Jam Blues (Barney Bigard / Duke Ellington) 3:47
from Complete Jazz Series 1939 - 1945
A brilliant pianist who also had a warm singing voice, Hazel Scott gained some recognition in the early '40s for her swinging versions of classical themes. This valuable CD has all of her early recordings through May 1945, most of which have been rarely reissued. Scott is first heard on four songs with a pickup group organized by Leonard Feather called the Sextet of the Rhythm Club of London. While that unit features clarinetist Danny Polo and altoist Pete Brown, the next 16 selections (four of which are V-discs) put the spotlight entirely on Scott, who is backed by either J.C. Heard or Sid Catlett on drums. She shows off both her technique and her creativity on six classical works, swing standards, and a couple basic blues originals, singing on "People Will Say We're in Love" and "C Jam Blues." The final four numbers are quite a bit different as Scott is showcased as a fairly straight and sophisticated singer with orchestras conducted by Toots Camarata. Overall, this CD is highly recommended, reminding today's listeners how talented a pianist Scott was in her early days.

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.
Lonnie Johnson
Swing Out Rhythm (Lonnie Johnson) 2:37
Devil's Got the Blues (Lonnie Johnson) 2:58
Blues in My Soul (Lonnie Johnson) 2:57
The Loveless Blues (Lonnie Johnson) 3:15
from Blues In My Soul 1937/1946
Although Johnson is in peak form on this collection spanning from the mid-1930s to the mid-1940s, many of the tracks are plagued by poor fidelity, making the set somewhat difficult for casual fans to digest and more for dedicated listeners.

Hazel Scott

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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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... 

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.