RANGE iN MY KiTCHEN BLUES PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

RANGE iN MY KiTCHEN BLUES PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Texas Alexander, Band of the Coldstream Guards, Miss Isabelle Patricola, chanson française, Scott Joplin, Mohamed Abdel Wahab, The Original Dixieland Jazz Band, El Mochuelo, Manuel Escacena , Sexteto de Juan Carlos Cobián, Arcadia Peacock Orchestra of St Louis<<

Z E N E  /  M U S I C (1h 51m)

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before 1959

A rarity among country bluesmen in that he did not play an instrument on any of his records. He made over 30 records for OKeh and Vocalion (1927-1934).

Texas Alexander

Range in My Kitchen Blues

Section Gang Blues (Texas Alexander)

Mama, I Heard You Brought It Right Back Home

from Vol. 1 (1927-28)

Texas Alexander, Vol. 1 (1927) is the first installment of Document's multi-volume series of his complete recorded works. The first disc contains many of his classics, including a number of recordings with Lonnie Johnson that rank among his very best work.

The Band of the Coldstream Guards is one of the oldest and best known bands in the British Army, having been officially formed on 16 May 1785 under the command of Major C F Eley.

Band of the Coldstream Guards 

Le cheval de bronze, S. 25: Overture (Arr. for Wind Ensemble) 4:15

La sirène, S. 37: Overture (Arr. for Wind Ensemble) 3:49

Le calife de Bagdad: Overture (Arr. for Wind Ensemble) 4:12

from The Band of the Coldstream Guards, Vol. 2: Overtures (1902-1922)

The Band of the Coldstream Guards was at the very forefront of recorded sound, having cut its first wax cylinder recordings on October 1st, 1889. In 1902 the band began making regular recordings with the Gramophone, Typewriter & Sister Companies, released on 78 rpm records, which is where the BMMAs Coldstream collection begins. These 78s have been digitally transferred and re-mastered by Metropolis Mastering, recognized internationally as one of the leading digital mastering studios, using up to seven different styli depending on the angle of the groove on the vinyl record, some of which are of relatively primitive construction...

Isabella Patricola known professionally by her stage name "Miss Patricola," was an American vaudeville performer popular in the 1920s. She was the sister of entertainer Tom Patricola. She appeared in a 1929 Home-Talkie Productions sound film.

Miss Isabelle Patricola 

Take Your Girlie to The Movies (Recorded May, 1919)

Alexander's Band Is Back In Dixieland (Recorded September, 1919)

The Vamp (Recorded November, 1919)

from Miss Isabelle Patricola (Encore 1 Popular 1920’s Jazz Vocals) [Recorded 1919-1921]

Félix Mayol - Le printemps chante

Mlle Allems - Ça n'vaut pas l'amour

Carvey - Garde ton coeur Madeleine

 from Anthologie de la chanson française : Chansons sentimentales 1900-1920

WIKIPEDIA 

Scott Joplin was "the King of Ragtime Writers," a composer who elevated "banjo piano playing," a lowly entertainment associated with saloons and brothels, into an American art form loved by millions. Born in Texas in either 1867 or 1868, Joplin was raised in Texarkana, the son of a laborer and former slave. As a child, Joplin taught himself piano on an instrument belonging to a white family that granted him access to it, and ultimately studied with a local, German-born teacher who introduced Joplin to classical music. Joplin attended high school in Sedalia, MO, a town that would serve as Joplin's home base during his most prosperous years, and where a museum now bears his name.

Scott Joplin

Maple Leaf Rag 3:04

Elite Syncopations 3:12

Cleopha 3:14

The Chrysanthemum 3:49

from Ultimate Jazz Archive (Vol 1) Scott Joplin– 1899-1917

As a singer and an influence on Egyptian music during its renaissance, Abdel Wahab was equaled only by Umm Kulthum. But while she was a traditionalist to the core, Abdel Wahab believed in learning from Western music. Yet he too was a musical nationalist, renewing rather than diluting Egyptian tradition. Starting from a highly traditional sound as a teenager, he gradually moved into a highly varied (and internationally popular) film-based repertoire. But besides contributing to the pop world, he introduced more fundamental elements, such as long instrumental passages, a major element in his work.

Mohamed Abdel Wahab 

Lahn Elbortoa'an 6:02

Ana Antonio 6:18

Lema Anta Nawe 6:22

from  Mohamed Abdel Wahab, Vol. 1 (1920)

In the 1910s and 20s this legendary outfit brought emerging jazz music to the attention of millions.

The Original Dixieland Jazz Band 

Livery Stable Blues 3:10

At the Jazzband Ball 2:42

Skeleton Jangle 2:58

Bluein’ the Blues 3:23

from The First Jazz Recordings, 1917-1921

The first jazz group to ever record, Original Dixieland Jazz Band made history in 1917. They were not the first group to ever play jazz (Buddy Bolden had preceded them by 22 years!), nor was this White quintet necessarily the best band of the time, but during 1917-1923 (particularly in their earliest years) they did a great deal to popularize jazz.

El Mochuelo, Manuel Escacena 

Me acuerdo de tí mas veces (petenera) 2:10

Nace el hombre (guajira) 3:03

Todos los maestros (tango) 3:02

Cuando querrá la Virgen (seguiriya) 3:14

from Great Interpreters of Flamenco - El Mochuelo, Manuel Escacena [1904 - 1922]

Juan Carlos Cobián was an Argentine bandleader and tango composer] He led the "evolutionary" tendency in tango which was perceived as tending to concert music than to traditional dance music.

Sexteto de Juan Carlos Cobián 

El pirata 3:21

La tirana 3:10

Shusheta 2:57

from El pirata (1923) 

Arcadia Peacock Orchestra of St Louis 

Ain't You Ashamed! 3:01

Waitin' For The Moon 2:51

Little Boy Blues 2:55

from Waitin' For The Moon (Original Recordings 1924)

20-04-2021 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

20-04-2021 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Coleman Hawkins, Antonio Machín, Boswell Sisters, Charlie Spand, Louis Armstrong & His Orchestra, The Charleston Chasers, Texas Alexander, The Broadway Band, Rosa Henderson, Fletcher Henderson, Louis Armstrong, The Georgiana Blues, Orquesta Típica Osvaldo Fresedo<<

Z E N E  /  M U S I C (1h 43m)

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before 1959

A jazz legend and the heavyweight of the tenor saxophone, the first to use the instrument as a serious means of expression.

Coleman Hawkins 

Blue Moments by Connie's Inn Orchestra

Someday, Sweetheart by Hawkins Orchestra

from Selected Sessions (1931-1934)

An operatic tenor who broke the color barrier in one of Cuba's most prestigious orchestras, and a musical ambassador to the United States and Europe, Antonio Machín was a pivotal figure in the history of Cuban music who is not always remembered as such. 

Antonio Machín 

Mujer

Rumba Tambah

from Vol. 2 - 1932-1933

The salient feature of Machín's early life was that his ambition to sing opera was frustrated by that fact that he was born a poor mulatto in Cuba at the turn of the century. There is an operatic sensibility in his best performances -- El Manisero, Lamento Esclavo, Blanca Rosa -- that makes one wonder how he would have handled Verdi. In any case, in 1926 Machín made his way to Havana from Sagua La Grande, his birthplace on the northern part of the island, determined to become a singer. He soon became a featured vocalist at the Casino Nacional of Havana, the first singer of color ever to do so...

Sibling trio whose sophisticated brand of close, jazzy harmony coupled with bluesy inflections made them stars of the 1930s.

Boswell Sisters 

Wha'd Ja Do to Me? (Milton Ager)

Roll On, Mississippi, Roll On (James McCaffry / Dave Ringle / Eugene West)

Between the Devil and the Deep Blue Sea (Harold Arlen / Ted Koehler)

from The Boswell Sisters Collection, Vol. 1: 1931-1932 [Collectors']

Most vocal groups that attempt to sing jazz instead end up in the genre of middle-of-road pop music. The Boswell Sisters (comprised of Connee, Vet, and Martha) were a strong exception, always swinging and, by changing tempos and keys frequently while including some other surprises, performing creative jazz of the early '30s.... With a supporting cast frequently including trumpeters Bunny Berigan and Manny Klein, trombonist Tommy Dorsey, and clarinetist Jimmy Dorsey (all of whom receive a generous amount of solo space), the sisters are heard at their best throughout this consistently exciting set....

17-02-2021 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959 (1h 43m)

17-02-2021 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Sleepy John Estes, Benny Carter,Lionel Hampton, Antobal's Cubans, Ramon Montoya, Big Bill Broonzy, Coleman Hawkins, Antonio Machín, Boswell Sisters, Charlie Spand, Louis Armstrong & His Orchestra<<

Z E N E  /  M U S I C (1h 43m)

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before 1959

Tennessee country blues king who popularized “Drop Down Mama” and “Milk Cow Blues.”

Sleepy John Estes 

Down South Blues

The Girl I Love, She Got Long Curly Hair

Black Mattie Blues

from The Complete Recorded Works, 1929-1941

Big Bill Broonzy called John Estes' style of singing "crying" the blues because of its overt emotional quality. Actually, his vocal style harks back to his tenure as a work-gang leader for a railroad maintenance crew, where his vocal improvisations and keen, cutting voice set the pace for work activities. Nicknamed "Sleepy" John Estes, supposedly because of his ability to sleep standing up, he teamed with mandolinist Yank Rachell and harmonica player Hammie Nixon to play the house party circuit in and around Brownsville in the early '20s.

Enduring jazz legend with many talents, including superb solos on alto sax, hundreds of writing and arranging credits, and even film scores.

Benny Carter 

Everybody Shuffle

Blues In My Heart

from The Various Facets of a Genious 1929-1940

To say that Benny Carter had a remarkable and productive career would be an extreme understatement. As an altoist, arranger, composer, bandleader, and occasional trumpeter, Carter was at the top of his field since at least 1928, and in the late '90s, Carter was as strong an altoist at the age of 90 as he was in 1936 (when he was merely 28). His gradually evolving style did not change much through the decades, but neither did it become at all stale or predictable except in its excellence. Benny Carter was a major figure in every decade of the 20th century since the 1920s, and his consistency and longevity were unprecedented.

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

Lionel Hampton 

Jivin' the vibes

Ring 'dem bells

Shufflin' at the hollywood

from Classics 1937-1939

Hampton's RCA Victor dates are a varied lot with the majority of them boasting the best players of whatever big band was blowing through town when he was organizing a date. This disc, with dates from 1937 and 1939, is no exception with stars like Cootie Williams, Rex Stewart, Dizzy Gillespie, Gene Krupa, Cozy Cole, Jess Stacy, Milt Hinton, John Kirby, Coleman Hawkins, Chu Berry, Benny Carter, Johnny Hodges, and Lawrence Brown dotting the various lineups. 

01-12-2020 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

T-Bone Walker

01-12-2020 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>T-Bone Walker, Frank Sinatra, Hazel Scott, Art Tatum, Django Reinhardt, Edgardo Donato, Sleepy John Estes, Benny Carter,Lionel Hampton, Artie Shaw,Ella Fitzgerald, Harry James,The Mills Brothers,Louis Armstrong, Antobal's Cubans<<

Z E N E  /  M U S I C

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before 1959

During the 1930s through the 1950s, he fused influences of the past--including jazz and swing--and pioneered a harder, funkier style of blues.

T-bone Walker 

No Worry Blues (feat. Jack McVea All Stars) [Recorded in Los Angeles, September 30, 1946]

T-Bone Boogie (feat. Marl Young And His Orchestra) [Recorded in Chicago, May, 1945]

from Classics, 1929-1947

Modern electric blues guitar can be traced directly back to this Texas-born pioneer, who began amplifying his sumptuous lead lines for public consumption circa 1940 and thus initiated a revolution so total that its tremors are still being felt today.

One of the towering figures of the 20th century, the first teen idol and the definitive saloon singer, the latter exemplified on a series of '50s concept albums.

Frank Sinatra 

These Foolish Things Remind Me of You (Harry Link / Holt Marvell / Jack Strachey)

I Don't Know Why (I Just Do) (Fred E. Ahlert / Roy Turk)

from The Voice of Frank Sinatra 1946

In 1945, Frank Sinatra recorded his first album after a career previously devoted solely to single records. Over two sessions, he performed the eight songs included in The Voice of Frank Sinatra, which Columbia released as a four-LP set of 78-rpm records on March 4, 1946. The collection quickly topped the then-recently established Billboard album chart. The Voice of Frank Sinatra was a precursor to the "concept" albums Sinatra would pioneer at Capitol eight years later, a carefully chosen and arranged selection of songs creating a specific mood...

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)

Hazel's Boogie Woogie

from 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...

19-09-2020 - PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

Charlie Parker & Dizzy Gillespie

19-09-2020 - PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Charlie Parker & Dizzy GillespieThe Dominos, Elmore James, Tony Bennett, Bull Moose Jackson,Charlie Parker,Lowell Fulson,T-Bone Walker,Frank Sinatra,Hazel Scott, Art Tatum,Django Reinhardt<<

Z E N E  /  M U S I C

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before 1959

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. 

Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis' emergence in the 1970s that Dizzy's style was successfully recreated.

Charlie Parker & Dizzy Gillespie 

My Melancholy Baby (Ernie Burnett / George Norton)

Mohawk (Charlie Parker)

Bloomdido (Charlie Parker)

Relaxin' with Lee (Charlie Parker)

from Bird and Diz / Rec. June 6, 1950

This collection of 78 rpm singles, all recorded on June 6, 1950, was released in 1956. Several things distinguish this from numerous other quintet recordings featuring these two bebop pioneers. It was recorded during the period that Parker was working under the aegis of producer Norman Granz, whose preference for large and unusual ensembles was notorious. The end result in this case is a date that sounds very much like those that Parker and Gillespie recorded for Savoy and Dial, except with top-of-the-line production quality. Even more interesting, though, is Parker's choice of Thelonious Monk as pianist. Unfortunately, Monk is buried in the mix and gets very little solo space, so his highly idiosyncratic genius doesn't get much exposure here...

The Dominos - Sixty Minute Man

Elmore James - Dust My Broom

Tony Bennett - Cold, Cold Heart

from Hit Collection from 1951, Vol. 1

1950S MUSIC

The decade of the Fifties gave birth to Rock and Roll. When Bill Haley’s Rock Around the Clock became popular in 1955, the nation learned to swing to a whole new sound. Prior to that the Big Band Era from the 40’s was still the the driving force in music.

A talented American saxophonist who was also responsible for some of the hottest, most suggestive R&B ever recorded.

Bull Moose Jackson 

We Can Talk Some Trash (Henry Glover / Lucky Millinder)

Sometimes I Wonder (Terry Thomas)

from Classics: 1947-1950

While touring through Texas in 1945 with the Lucky Millinder Orchestra, Benjamin Clarence Jackson, Jr. was dubbed Bull Moose Jackson by drummer Panama Francis, who apparently exclaimed: "You look like a moose coming over the hill." Tall and powerful with a friendly expressive face, the bespectacled saxophonist was riding a tide of popular success by the time these recordings were cut for the King label between September 1947 and September 1950 in New York, NY; Linden, NJ; St. Louis, MO; and Cincinnati, OH. Bull Moose Jackson & His Buffalo Bearcats (the "Buffalo" was dropped beginning in 1950) were an all-purpose R&B jump band balancing upbeat novelty cookers with remarkably handsome ballads. The Bull Moose discography glistens occasionally with the names of jazz heroes like Count Basie's flute and saxman Frank Wess and Ellington trumpeter Harold "Money" Johnson. It's obvious why these records were popular in their day...

05-07-2020 > PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959 (1h 53m)

Otis Rush

05-07-2020 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Otis Rush, Herbie Mann, Tadd Dameron & John Coltrane, Elvis Presley, Amos Milburn, Benny Carter, Oscar Peterson, Paula Watson, Big Jay McNeely, The Dominos, Elmore James, Tony Bennett, Charlie Parker & Dizzy Gillespie<<

Z E N E  /  M U S I C

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before 1959

An architect of Chicago blues' West Side sound, whose style combined broodingly intense vocals and sweet, stinging guitar solos.
Otis Rush
I Can't Quit You Baby  (Willie Dixon)
Groaning the Blues (Willie Dixon)
Love That Woman (Lafayette Leake)
Double Trouble (Otis Rush)
from The Complete Classic Cobra Recordings 1956-1958
The title says it all. This is the essential Otis Rush, the singles recorded for Eli Toscano's Cobra label between 1956 and 1958. If Rush had never recorded another note, his legendary status would remain intact based solely on these recordings. Backed by players like Willie Dixon and Little Walter, it's Rush's impassioned vocals and stinging guitar lines that make "I Can't Quit You Baby," "All Your Love (I Miss Loving)," and "Double Trouble" the classics they are. In addition to the A- and B-sides of all eight singles released by Cobra, eight alternate takes are included, four more than the Paula edition of this material released in 1991. Along with a slightly better transfer from the original tapes, this is not only one of the best places to start for someone getting interested in the blues, but a vital part of any blues collection. Outstanding.

Prolific and widely known flutist, beloved in jazz circles, has covered many world music styles.
Herbie Mann
Minor Groove
Blue Dip
Jumpin' With Symphony Sid (Lester Young)
from Just Wailin' 1958
This recording emphasizes (although does not stick exclusively to) the blues. The sextet has impressive players (flutist Herbie Mann, Charlie Rouse on tenor, guitarist Kenny Burrell, pianist Mal Waldron, bassist George Joyner and drummer Art Taylor) and the material (originals by Waldron, Burrell and Calvin Massey in addition to a brief "Jumpin' With Symphony Sid") is reasonably challenging but the musicians never really come together as a group. The straightahead jam session has its strong moments and, as long as one keeps their expectations low, the music will be enjoyable despite the lack of major sparks.

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...