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2017. január 13., péntek

13-01-2017 19:56 # 51 early jazz tracks on the JAZZ_line 1900s-1930s / 2h 49m


13-01-2017 19:56 # Cab Calloway, Louis Armstrong, Red Nichols, James P. Johnson, Ida Cox, Fletcher Henderson, Bessie Smith, Paul Whiteman Orchestra, King Oliver, Original Dixieland Jazz Band, Scott Joplin, Ida Cox, Jelly Roll Morton, King Oliver's Creole Jazz Band, Bix Beiderbecke with Paul Whiteman, Bennie Moten, Benny Goodman, Ella Fitzgerald, Charlie Christian # 2h 49m



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1930s to1900s



Flamboyant swing bandleader and gifted scat singer who featured great musicianship in his orchestras and long personified 1930s Harlem style. 
Cab Calloway

Black Rhythm (Donald Heywood / Irving Mills) 3:11
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
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...



Felirat hozzáadása
Overrated in Europe in the early '30s when his records (but not those of his black contemporaries) were widely available and then later underrated and often unfairly called a Bix imitator, Red Nichols was actually one of the finest cornetists to emerge from the '20s.
Red Nichols
Alice Blue Gown 2:48
Roses of Picardy 2:41
The New Yorkers 3:09
from 1929 / Complete Jazz Series
An expert improviser whose emotional depth did not reach as deep as Bix or Louis Armstrong, Nichols was in many ways a hustler, participating in as many recording sessions (often under pseudonyms) as any other horn player of the era, cutting sessions as Red Nichols & His Five Pennies, the Arkansas Travelers, the Red Heads, the Louisiana Rhythm Kings, and the Charleston Chasers, among others, usually with similar personnel...


One of the great jazz pianists of all time, James P. Johnson was the king of stride pianists in the 1920s. He began working in New York clubs as early as 1913 and was quickly recognized as the pacesetter. In 1917, Johnson began making piano rolls. Duke Ellington learned from these (by slowing them down to half-speed), and a few years later, Johnson became Fats Waller's teacher and inspiration.
James P. Johnson
The Harlem Strut (James P. Johnson) 2:35
Carolina Shout (James P. Johnson) 2:47
Weeping Blues (James P. Johnson) 3:19
from 1921 - 1928 Complete Jazz Series 
Oh man, this is it. The very earliest phonograph records ever made by the guy who taught Fats Waller how to stride with a piano. How much really great jazz is there on record dating from 1921? Not a hell of a lot, by anybody's estimation. Classics 658 opens up with three 1921 piano solos, one originally issued on the Black Swan label and two bearing the trademark OKeh. Johnson was already famous for his player piano rolls, which he'd begun to produce back in 1916. Getting to hear an audio recording of him at the keyboard so early in the game is an experience not to be missed by anyone who truly loves this part of our cultural heritage...


One of the finest classic blues singers of the 1920s, Ida Cox was singing in theaters by the time she was 14. She recorded regularly during 1923-1929 (her "Wild Woman Don't Have the Blues" and "Death Letter Blues" are her best-known songs). 
Ida Cox
Mistreatin' Daddy Blues 3:01
Southern Woman's Blues 3:13
I Ain't Got Nobody 2:56
from Jazz Figures / Ida Cox, (1925 - 1927), Volume 3
In the early '20s, she performed with Jelly Roll Morton, but she had severed her ties with the pianist by the time she signed her first record contract with Paramount in 1923. Cox stayed with Paramount for six years and recorded 78 songs, which usually featured accompaniment by Love Austin and trumpeter Tommy Ladnier. During that time, she also cut tracks for a variety of labels, including Silvertone, using several different pseudonyms, including Velma Bradley, Kate Lewis, and Julia Powers...



Fletcher Henderson was very important to early jazz as leader of the first great jazz big band, as an arranger and composer in the 1930s, and as a masterful talent scout. Between 1923-1939, quite an all-star cast of top young black jazz musicians passed through his orchestra...
Fletcher Henderson
Spanish Shawl (11-23-25) 3:01
Nobody's Rose (12-18-25) 3:00
Chinese Blues (12-22-25) 3:14
from 1925 - 1926 / Complete Jazz Series
...including trumpeters Louis Armstrong, Joe Smith, Tommy Ladnier, Rex Stewart, Bobby Stark, Cootie Williams, Red Allen, and Roy Eldridge; trombonists Charlie Green, Benny Morton, Jimmy Harrison, Sandy Williams, J.C. Higginbottham, and Dickie Wells; clarinetist Buster Bailey; tenors Coleman Hawkins (1924-1934), Ben Webster, Lester Young (whose brief stint was not recorded), and Chu Berry; altoists Benny Carter, Russell Procope, and Hilton Jefferson; bassists John Kirby and Israel Crosby; drummers Kaiser Marshall, Walter Johnson, and Sid Catlett; guest pianist Fats Waller; and such arrangers as Don Redman, Benny Carter, Edgar Sampson, and Fletcher's younger brother Horace Henderson. And yet, at the height of the swing era, Henderson's band was little-known.



The greatest female blues singer of all time, with a passionate voice and thundering delivery... The first major blues and jazz singer on record and one of the most powerful of all time, Bessie Smith rightly earned the title of "The Empress of the Blues." Even on her first records in 1923, her passionate voice overcame the primitive recording quality of the day and still communicates easily to today's listeners (which is not true of any other singer from that early period). At a time when the blues were in and most vocalists (particularly vaudevillians) were being dubbed "blues singers," Bessie Smith simply had no competition.
Bessie Smith
Weeping Willow Blues (Paul Carter) 3:11
Sing Sing Prison Blues (Porter Grainger / Everett Robbins) 3:05
Sinful Blues (Perry Bradford) 3:11
Careless Love Blues (W.C. Handy / Martha E. Koenig / Spencer Williams) 3:27
from 1924 - 1925 Complete Jazz Series
This portion of the Bessie Smith chronology begins on September 26, 1924, and follows her progress through August 19, 1925. Several of New York's best jazz musicians, most of whom were active with Fletcher Henderson & His Orchestra at that time, assisted the singer in making records that still sound remarkably colorful and dramatic. There are clarinet duets by Buster Bailey and Don Redman, passionate trombone passages by Big Charlie Green, and a series of nine collaborations with young Louis Armstrong...


Because press agents dubbed him "The King of Jazz" in the 1920s, Paul Whiteman has always been considered a controversial figure in jazz history. 
Paul Whiteman Orchestra
Amoung My Souvenirs 4:26
Rhapsody in Blue 9:04
WangWang Blues 3:23
from Rhapsody in Blue 1920s
Actually, his orchestra was the most popular during the era and at times (despite its size) it did play very good jazz; perhaps "King of the Jazz Age" would have been a better title.
Originally a classically trained violinist, Paul Whiteman led a large Navy band during World War I and always had a strong interest in the popular music of the day. In 1918, he organized his first dance band in San Francisco and, after short periods in Los Angeles and Atlantic City, he settled in New York in 1920.




Joe "King" Oliver was one of the great New Orleans legends, an early giant whose legacy is only partly on records. In 1923, he led one of the classic New Orleans jazz bands, the last significant group to emphasize collective improvisation over solos, but ironically his second cornetist (Louis Armstrong) would soon permanently change jazz. And while Armstrong never tired of praising his idol, he actually sounded very little like Oliver; the King's influence was more deeply felt by Muggsy Spanier and Tommy Ladnier.
King Oliver
Just Gone (04-06-23) 2:41
Mandy Lee Blues (04-06-23) 2:12
Alligator Hop (10-05-23) 2:22
New Orleans Stomp (10-16-23) 2:55
from 1923 / Complete Jazz Series
Although originally a trombonist, by 1905 Oliver was playing cornet regularly with various New Orleans bands. Gradually he rose to the top of the crowded local scene, and in 1917 he was being billed "King" by bandleader Kid Ory. A master of mutes, Oliver was able to get a wide variety of sounds out of his horn; Bubber Miley would later on be inspired by Oliver's expertise. In 1919, Oliver left New Orleans to join Bill Johnson's band at the Dreamland Ballroom in Chicago. By 1920, he was a leader himself and, after an unsuccessful year in California, King Oliver started playing regularly with his Creole Jazz Band at the Lincoln Gardens in Chicago...
King Oliver's Creole Jazz Band 1921


In the 1910s and 20s this legendary outfit brought emerging jazz music to the attention of millions... 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. 
Original Dixieland Jazz Band
Livery Stable Blues (1917-02-26) 3:06
Bluin' The Blues (1918-06-25) 3:20
Home Again Blues (1921-01-28) 2:43
from 1917-1921 The Ultimate Jazz Archive (Vol 1) / CD2
The musicians learned about jazz from their fellow New Orleans players (including King Oliver) but happened to get their big break first. In 1916, drummer Johnny Stein, cornetist Nick LaRocca, trombonist Eddie Edwards, pianist Henry Ragas, and clarinetist Alcide "Yellow" Nunez played together in Chicago. With Tony Sbarbaro replacing Stein and Larry Shields taking over for Nunez, the band was booked at Resenweber's restaurant in New York in early 1917...


Accomplished quasi-classical ragtime pianist in the late nineteenth/early twentieth century who earned beaucoup posthumous recognition. 
Scott Joplin
Original Rags (1899-03-15) 3:01
The Entertainer (1902-12-29) 3:04
Something Doing (1903, St. Louis)
from 1899-1917 The Ultimate Jazz Archive (Vol 1) / CD1
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...



One of the finest classic blues singers of the 1920s, Ida Cox was singing in theaters by the time she was 14. She recorded regularly during 1923-1929... Ida Cox sang in church choirs as a child in Georgia. She ran away from home in 1910 when she was a teenager and performed in minstriel and tent shows as a comedienne and singer. Sometime during this period she married a performer minstriel named Alder Cox. Ida worked her why into vaudeville and eventually became a headliner. (redhotjazz)
Ida Cox
Any woman`s blues (take 2) 3:33
Lovin` is the thing I`m wild about (take 1) 2:58
Blue Monday blues 2:45
Ida Cox`s lawdy, lawdy blues (take 3) 2:48
from Ida Cox Vol. 1 1923



New Orleans-based arranger and pianist who was the jazz idiom's first important composer... One of the very first giants of jazz, Jelly Roll Morton did himself a lot of harm posthumously by exaggerating his worth, claiming to have invented jazz in 1902. Morton's accomplishments as an early innovator are so vast that he did not really need to stretch the truth.
Jelly Roll Morton
Fish Tail Blues (Jelly Roll Morton) 3:08
Mr. Jelly Lord (Jelly Roll Morton) 2:49
Sweetheart O' Mine (Jelly Roll Morton) 2:55
from Complete Jazz Series 1924 - 1926 (1991)
The best way to acquire Jelly Roll Morton's classic Victor recordings is on a five-CD set put out by Bluebird that includes all of the alternate takes. But listeners who do not care about alternates may find the Morton CDs in the European Classics series to be as satisfying. This particular CD actually starts off with 14 selections that predate the Victors...



If we were to take all the major trumpet players in jazz, line them up in chronological order, ask them who they listened to and were influenced by, then send them down the long dark chute of jazz history, they would run right smack dab into King Oliver.
King Oliver's Creole Jazz Band
Just Gone 2:42
Mandy Lee Blues 2:15
Dipper Mouth Blues 2:35
from The Complete King Oliver's Creole Jazz Band 1923 (1990)



Bix Beiderbecke - Early jazz cornetist whose way-too-short life belies his vast influence. / Paul Whiteman - Jazz violinist of the 1920s & '30s whose star-studded outifts set the tone for the onrushing big band era. 
Bix Beiderbecke with Paul Whiteman
Louisiana (J.C. Johnson / Andy Razaf) 3:04
My Melancholy Baby (Ernie Burnett / George Norton) 4:29
Gypsy (Matty Malneck / Frank Signorelli) 4:34
from Complete Jazz Series 1928 - 1929 (2002)
This is the fourth volume in the Classics Bix Beiderbecke chronology, and the second volume documenting the recordings he made with society bandleader Paul Whiteman. It traces a timeline from April 23, 1928 to September 13, 1929. Because all of Beiderbecke's "legitimated" jazz recordings as a leader and with Frankie Trumbauer's orchestra were reissued by Classics years prior to the Beiderbecke/Whiteman volumes, this is a highly unusual example of a non-linear progression in the more or less tidily sequential Classics Chronological Series...






Early orchestra leader based in Kansas City, formed genesis of Count Basie's band... Bennie Moten is today best-remembered as the leader of a band that partly became the nucleus of the original Count Basie Orchestra, but Moten deserves better. He was a fine ragtime-oriented pianist who led the top territory band of the 1920s, an orchestra that really set the standard for Kansas City jazz. In fact it was so dominant that Moten was able to swallow up some of his competitors' groups including Walter Page's Blue Devils, most of whom eventually became members of Moten's big band. 
Bennie Moten
The Count (Tom Gordon) 3:13
Get Goin' (Get Ready to Love) feat: Jimmy Rushing (Tot Seymour) 3:02
As Long as I Love You feat: Jimmy Rushing (Bennie Moten / L. Wood) 3:13
New Orleans feat: Jimmy Rushing (Hoagy Carmichael) 3:01
from Complete Jazz Series 1930 - 1932 (1991)
Bennie Moten's orchestra, circa 1926



Jazz clarinetist who rose to become the pre-eminent swing bandleader of the 1930s, with an empire that launched many an act... Benny Goodman was the first celebrated bandleader of the Swing Era, dubbed "The King of Swing," his popular emergence marking the beginning of the era. He was an accomplished clarinetist whose distinctive playing gave an identity both to his big band and to the smaller units he led simultaneously. The most popular figure of the first few years of the Swing Era, he continued to perform until his death 50 years later.
Benny Goodman
Throwin' Stones at the Sun (Billy Hueston / Sammy Mysels / Nat Simon) 2:54
I Was Lucky (Jack Stern) 3:01
Japanese Sandman (Raymond B. Egan / Richard A. Whiting) 3:24
from Complete Jazz Series 1935 (1996)
This CD traces the evolution of Benny Goodman's orchestra from the beginning of 1935 when they were comparatively unknown to the beginning of July when they were on the brink of success, even though Benny Goodman was no longer appearing on the Let's Dance radio series and was about to embark on a risky cross-country trip. Singer Helen Ward, drummer Gene Krupa, and trumpeter Pee Wee Erwin were the key voices (along with the clarinetist/leader) at the beginning of the year, but by the time the band recorded the last eight numbers on this disc, Bunny Berigan was Benny Goodman's star trumpeter...



The greatest female interpreter of the American songbook, a unique vocalist combining scat and jazz, with enduring influence..."The First Lady of Song," Ella Fitzgerald was arguably the finest female jazz singer of all time (although some may vote for Sarah Vaughan or Billie Holiday). Blessed with a beautiful voice and a wide range, Fitzgerald could outswing anyone, was a brilliant scat singer, and had near-perfect elocution; one could always understand the words she sang. 
Ella Fitzgerald
Big Boy Blue (Dan Howell / Jack Lawrence / Peter Tinturin) 2:49
You Showed Me the Way (Ella Fitzgerald / Bud Green / Teddy McRae / Chick Webb) 3:10
Deep in the Heart of the South (Jack Lawrence / Peter Tinturin) 3:19
It's My Turn Now (Sammy Cahn / Saul Chaplin) 2:59
from Complete Jazz Series 1937 - 1938 (1996)
The second of six CDs in the Classics label's complete reissue of Ella Fitzgerald's early recordings features the singer as a teenager with the Chick Webb Orchestra, in addition to leading two sessions that use Webb's sidemen and performing a pair of songs...



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
I Got Rhythm (George Gershwin / Ira Gershwin) 5:59
Pagin' the Devil (Walter Page) 3:51
Haven't Named It Yet (Charlie Christian / Lionel Hampton) 2:56
Oh, Lady Be Good (George Gershwin / Ira Gershwin) 10:30
from Radioland 1939-1941 (2001)
A jazz lover can never have too many Charlie Christian albums. His electric guitar work simply laid the groundwork for the emergence of the guitar as an important jazz voice. As Scott Yanow's liner notes point out, Christian also basically defined the perimeters of jazz guitar until the fusion movement of the late '60s. Radioland works as a grab bag of Christian's scattered, non-Benny Goodman work between 1939-1941...

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