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2016. december 9., péntek

09-12-2016 22:49 # 53 jazz/y tracks on the JAZZ_line 1940s-1920s / 2h 37m

09-12-2016 22:49 * JAZZ:MiX on the JAZZ_line 1940s-1920s # Sidney Bechet, Django Reinhardt, Lucky Millinder, Ella Fitzgerald, Charlie Christian, Albert Ammons, Jabbo Smith's Rhythm Aces, Django Reinhardt, Red Norvo, Duke Ellington, Jimmie Lunceford, Benny Carter, Eddie Lang, Cab Calloway, Louis Armstrong 2h 46m

JAZZ_line  The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.

 A major figure in early jazz, outstanding clarinettist, only soprano saxophonist of consequence for decades, made melodically rich and emotional music...  Sidney Bechet was the first important jazz soloist on records in history (beating Louis Armstrong by a few months). A brilliant soprano saxophonist and clarinetist with a wide vibrato that listeners either loved or hated, Bechet's style did not evolve much through the years but he never lost his enthusiasm or creativity. A master at both individual and collective improvisation within the genre of New Orleans jazz, Bechet was such a dominant player that trumpeters found it very difficult to play with him. Bechet wanted to play lead and it was up to the other horns to stay out of his way. 
Sidney Bechet
Summertime (George Gershwin / DuBose Heyward) 4:08 
Saturday Night Blues 2:57
Blues in the Air 2:46
from Blues In The Air / Rec: 1932-1944 (2003)
It's too bad in a sense that Louis Armstrong gets all the attention for early-period jazz when fellow New Orleanian Sidney Bechet was just as vital, and in his time assuredly as influential. These 22 tracks display the immortal clarinetist/soprano saxophonist in his prime around the early '30s. While not an essential collection, there are many of his most well-played numbers here...

 Legendary, almost mythical gypsy jazz guitarist of the 1930s, collaborations with violinist Stephane Grappelli are landmarks... Django Reinhardt was the first hugely influential jazz figure to emerge from Europe -- and he remains the most influential European to this day, with possible competition from Joe Zawinul, George Shearing, John McLaughlin, his old cohort Stephane Grappelli and a bare handful of others.
Django Reinhardt
Pennies From Heaven 2:25
Eddie's Blues 3:10
Fiddle's Blues 2:46
Lover Come Back To Me 2:36
from Renown and Resistance 1937-1943 (2011)
A free-spirited gypsy, Reinhardt wasn't the most reliable person in the world, frequently wandering off into the countryside on a whim. Yet Reinhardt came up with a unique way of propelling the humble acoustic guitar into the front line of a jazz combo in the days before amplification became widespread. He would spin joyous, arcing, marvelously inflected solos above the thrumming base of two rhythm guitars and a bass, with Grappelli's elegantly gliding violin serving as the perfect foil. His harmonic concepts were startling for their time -- making a direct impression upon Charlie Christian and Les Paul, among others -- and he was an energizing rhythm guitarist behind Grappelli, pushing their groups into a higher gear. Not only did Reinhardt put his stamp upon jazz, his string band music also had an impact upon the parallel development of Western swing, which eventually fed into the wellspring of what is now called country music...

Lucky Millinder was essentially a frontman, an occasional singer who conducted several impressive big bands. Millinder grew up in Chicago, worked as a dancer, and became a bandleader in 1931, using his original name of Lucius Venable, which he soon changed.
Lucky Millinder
Trouble in Mind 2:34
Ride, Red, Ride 3:24
Big Fat Mama 3:04
Rock Me 2:48
from Complete Jazz Series 1941 - 1942
In 1940, he formed his own orchestra, which worked at the Savoy Ballroom. Most notable among his sidemen was his star attraction, singer/guitarist Sister Rosetta Tharpe, pianist Bill Doggett, and, for a brief time in 1942, trumpeter Dizzy Gillespie and altoist Tab Smith. Millinder fronted bands on record from 1940-1952 and on a last session in 1955; the later recordings tended to be more R&B-oriented, although still of interest from a jazz standpoint. A Classics CD has all of Millinder's 1940-1942 sessions. Lucky Millinder spent his later years as a liquor salesman and a disc jockey. 

 The greatest female interpreter of the American songbook, a unique vocalist combining scat and jazz, with enduring influence...
Ella Fitzgerald
My Last Goodbye 3:23
Sing Son Swing 3:03
Deedle-De-Dum 2:43
from Complete Jazz Series 1939 - 1940
...On June 16, 1939, Chick Webb died. It was decided that Fitzgerald would front the orchestra even though she had little to do with the repertoire or hiring or firing the musicians. She retained her popularity and when she broke up the band in 1941 and went solo; it was not long before her Decca recordings contained more than their share of hits. She was teamed with the Ink Spots, Louis Jordan, and the Delta Rhythm Boys for some best-sellers, and in 1946 began working regularly for Norman Granz's Jazz at the Philharmonic. Granz became her manager although it would be nearly a decade before he could get her on his label...

 Early jazz electric guitarist whose dazzling single note style unshackled the instrument from the rhythm section, immeasurably influential...  It can be said without exaggeration that virtually every jazz guitarist that emerged during 1940-65 sounded like a relative of Charlie Christian. The first important electric guitarist, Christian played his instrument with the fluidity, confidence, and swing of a saxophonist. Although technically a swing stylist, his musical vocabulary was studied and emulated by the bop players, and when one listens to players ranging from Tiny Grimes, Barney Kessel, and Herb Ellis, to Wes Montgomery and George Benson, the dominant influence of Christian is obvious.
Charlie Christian
Rose Room (In Sunny Roseland) feat: Benny Goodman Sextet (Art Hickman / H.C. Williams) 2:46 
Haven't Named It Yet feat: Lionel Hampton & His Orchestra (Charlie Christian / Lionel Hampton) 2:57
Flying Home (Eddie DeLange / Benny Goodman / Lionel Hampton) 3:15
I Surrender Dear feat: Benny Goodman Sextet (Harry Barris / Gordon Clifford) 3:00
from The Quintessence: New York - Los Angeles 1939-1941 (2002)
This French double-disc, 32-track anthology by Fremeaux & Associates is a decent, even solid collection of material of Charlie Christian's early recording years with the Benny Goodman band, in a number of studios all across the United States. Some of the track selections are curious, and considering the nine-volume retrospective on the Masters of Jazz imprint, this is but a mere drop in the bucket...

 Boogie woogie pianist's influence ranges from R&B to blues to rock'n'roll... A major inspiration to generations of improvising musicians, Albert Ammons is best remembered as an exciting pianist who inaugurated the Blue Note record label by hammering out blues and boogie duets with Meade "Lux" Lewis, and as the father of hard bop tenor saxophonist Gene Ammons. 

Albert Ammons
The Blues, Pt. 1 (Meade "Lux" Lewis) 4:11 
Solitude (Meade "Lux" Lewis) 4:10 
Bass Goin' Crazy (Albert Ammons) 4:04
Changes in Boogie Woogie (Albert Ammons) 4:04
from The First Day 1939 (1992)

Meade "Lux" Lewis
Producer Alfred Lion was very impressed when he attended John Hammond's Spirituals to Swing concert of Dec. 23, 1938, which had introduced boogie woogie pianists Albert Ammons and Meade Lux Lewis to New York audiences. Two weeks later, he started the Blue Note label by recording nine Ammons solos, eight by Lewis, and a pair of heated duets during a single day. All of the music (except an untitled original by Meade Lux Lewis slated to be issued by Blue Note in the future) is on this single CD. Ammons, the more forceful (relatively speaking) of the two pianists, generally takes honors, but there are plenty of rewarding performances, including Lewis' five-part "The Blues," Ammons' "Boogie Woogie Stomp," and their duet on "Nagasaki." Highly recommended to collectors who do not already own Mosaic's more extensive three-LP limited-edition Ammons/Lewis set.

Jabbo Smith had one of the oddest careers in jazz history. A brilliant trumpeter, Smith had accomplished virtually all of his most significant work by the time he turned 21, yet lived to be 82. He learned to play trumpet at the legendary Jenkins Orphanage in Charleston, and by the time he was 16, Smith showed great promise... 
Jabbo Smith's Rhythm Aces
Jazz Battle (1929-01-29) 2:40
Rhythm In Spain (1938-02-01) 2:43
from The Ultimate Jazz Archive 1929-1938

Legendary, almost mythical gypsy jazz guitarist of the 1930s, collaborations with violinist Stephane Grappelli are landmarks. 
Django Reinhardt
I Can't Give You Anything But Love feat: the Quintet of the Hot Club of France and Stéphane Grappelli (Dorothy Fields / Jimmy McHugh) 3:25
Oriental Shuffle feat: the Quintet of the Hot Club of France and Stéphane Grappelli (Stéphane Grappelli / Django Reinhardt) 2:42
Are You in the Mood? feat: the Quintet of the Hot Club of France and Stéphane Grappelli (Stéphane Grappelli / Django Reinhardt) 2:53
Georgia on My Mind feat: the Quintet of the Hot Club of France and Stéphane Grappelli (Hoagy Carmichael / Stuart Gorrell) 3:17
from Crazy Rhythm 1936-1937 (2001)
A beautifully packaged two-disc set, CRAZY RHYTHM compiles numerous 1936-'37 recordings by the legendary Gypsy/Belgian jazz guitarist Django Reinhardt. Much in the way that Thelonious Monk created an utterly singular approach to the piano in the '40s, Reinhardt invented his own distinctive style of guitar playing in the '30s. With his deft, two-fingered fretwork (the result of his hand being injured in a fire) and his highly rhythmic strumming, Reinhardt found fame as part of the Quintette du Hot Club de France, which also featured violinist extraordinaire Stephane Grappelli.

Pioneering big-band and bebop xylophonist/vibraphonist who was active from the late 1920s through the early '90s. 
Knockin' on Wood (Red Norvo) 2:53
In a Mist (Bix Beiderbecke) 3:17
Old Fashioned Love (James P. Johnson / Cecil Mack) 3:00
Honeysuckle Rose (Andy Razaf / Fats Waller) 2:49
Aside from a handful of early pioneers such as Harry A. Yerkes, Charles Hamilton Green, and Jimmy Bertrand, Red Norvo was the first person to regularly play jazz on the xylophone. He also led the way in presenting that kind of music on vibraphone and marimba. This first volume of his complete recordings in chronological order documents Norvo's outstanding experiments in chamber jazz and small group swing during the years 1933-1935...

Greatest all-round musical figure of the 20th century, who achieved monumental status as a composer, bandleader, arranger, and instrumentalist. 
Harlem Speaks (Duke Ellington) 3:11
Rude Interlude (Duke Ellington) 3:11
Dear Old Southland (Henry Creamer / Turner Layton) 3:32
Delta Serenade (Duke Ellington) 3:19
Decades after these recordings were made, an LP appeared as part of RCA Victor's superb Vintage series bearing the title Daybreak Express. Focusing on much of his best work from the mid-'30s, that album was a perfect introduction to the music of Duke Ellington. Number 646 in the Classics Chronological series serves this purpose just as effectively, shifting the frame of reference to include the autumn and winter of 1933, a broad sweep through 1934, and two originally unissued tidbits from January of 1935...

One of the most successful bandleaders of the swing era, Jimmie Lunceford was known for precise playing and adding an influential dose of showmanship to the proceedings. 
In Dat Mornin' (Jimmie Lunceford) 3:23
Flaming Reeds and Screaming Brass (Edwin Wilcox) 3:00
White Heat (Will Hudson) 2:31
The first in Classics' "complete" Jimmie Lunceford series has two titles apiece from 1930 (when the band was based in Tennessee) and 1933 along with its first six sessions for Decca in 1934. Lunceford's band had an immediately recognizable sound by 1934 and, despite the presence of such top soloists as altoist Willie Smith, tenor-saxophonist Joe Thomas and high-note trumpeter Tommy Stevenson, it was its arranged ensembles (particularly those of Sy Oliver) that gave the orchestra its musical identity...

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). 
Benny Carter
The Little Chocolate Dandies - That's How I Feel 2:58
Benny Carter And His Orchestra - Swing It 3:10
Spike Hughes And His Negro Orchestra - Nocturne 2:58
from The Ultimate Jazz Archive (Vol 4) / 1929-1933
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. Essentially self-taught, Benny Carter started on the trumpet and, after a period on C-melody sax, switched to alto. In 1927, he made his recording debut with Charlie Johnson's Paradise Ten...

The first jazz guitar virtuoso, Eddie Lang was everywhere in the late '20s; all of his fellow musicians knew that he was the best. A boyhood friend of Joe Venuti, Lang took violin lessons for 11 years but switched to guitar before he turned professional. In 1924, he debuted with the Mound City Blue Blowers and was soon in great demand for recording dates, both in the jazz world and in commercial settings.
Eddie Lang
Eddie's Twister (04-01-27) 2:55
Jet Black Blues (05-01-29) 3:03
Pickin' My Way (01-15-32) 3:04
from Complete Jazz Series 1927-1932
His sophisticated chord patterns made him a superior accompanist who uplifted everyone else's music, and he was also a fine single-note soloist. He often teamed up with violinist Venuti (including some classic duets) and played with Red Nichols' Five Pennies, Frankie Trumbauer, and Bix Beiderbecke (most memorably on "Singing the Blues"), the orchestras of Roger Wolfe Kahn, Jean Goldkette, and Paul Whiteman (appearing on one short number with Venuti in Whiteman's 1930 film The King of Jazz), and anyone else who could hire him.

Flamboyant swing bandleader and gifted scat singer who featured great musicianship in his orchestras and long personified 1930s Harlem style. 
Cab Calloway
Gotta Darn Good Reason Now (For Bein' Good) (De Priest Wheeler / Lamar Wright) 3:13
Sweet Jennie Lee! (Walter Donaldson) 3:07
Minnie the Moocher (Cab Calloway / Clarence Gaskill / Irving Mills) 3:12
Black Rhythm (Donald Heywood / Irving Mills) 3:11
from Complete Jazz Series 1930 - 1931
Cab Calloway is long overdue for a reappraisal. Long put down by some writers as a mere entertainer, he was actually a superior jazz-influenced singer whose vocal abilities were often overshadowed by his showmanship. The ideal way to acquire his best recordings are to get the 12 CDs in Classics' Complete series. Not only do these reissues include his hits, but also some jazz instrumentals and enjoyable obscurities that give one a more well-rounded picture of the "Hi-De-Ho Man."

The most important and influential musician in jazz history, and one of the leading singers and entertainers from the 1920s through the '50s... Louis Armstrong was the first important soloist to emerge in jazz, and he became the most influential musician in the music's history. As a trumpet virtuoso, his playing, beginning with the 1920s studio recordings made with his Hot Five and Hot Seven ensembles, charted a future for jazz in highly imaginative, emotionally charged improvisation. For this, he is revered by jazz fans. But Armstrong also became an enduring figure in popular music, due to his distinctively phrased bass singing and engaging personality, which were on display in a series of vocal recordings and film roles.
Louis Armstrong
Mahogany Hall Stomp (Spencer Williams) 3:28
Song of the Islands (Charles E. King) 3:30
My Sweet Hunk o' Trash (James P. Johnson / F.E. Miller) 3:22
Indian Cradle Song (Gus Kahn / Mabel Wayne) 3:01
from Complete Jazz Series 1929 - 1930
On March 1, 1929, Eddie Condon managed to assemble a completely unrehearsed band in a recording studio at Liederkranz Hall in New York City, where two of the greatest jazz records of the entire decade were waxed and soon issued under the name of Fats Waller & His Buddies. Four days later, Condon was in a different studio with a band led by Panamanian pianist Luis Russell. This ten-piece orchestra was identified on record as Louis Armstrong's Savoy Ballroom Five...

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