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2017. április 22., szombat

22-04-2017 10:42 ~ 50 FAVOURiTE tracks 1950-1962 3h 11m

22-04-2017 10:42 ~ 50 FAVOURiTE tracks 1950-1962 3h 11m >>Duke Ellington, Mahalia Jackson, Muddy Waters, Shoeshine Johnny (Johnny Shines), Jimmy Rogers, John Lee Hooker, Les Paul, Moondog, Tal Farlow, Bill Haley, The Stan Getz Quartet, Jimmy Smith, Russell Garcia, Buddy Cole, Nina Simone, Jimmy Rushing, The Beatles, Tony Sheridan, Dave 'Baby' Cortez, Milt Jackson & Wes Montgomery, Tom Dissevelt, Kid Baltan<<

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



Greatest all-round musical figure of the 20th century, who achieved monumental status as a composer, bandleader, arranger, and instrumentalist. 
Duke Ellington, Mahalia Jackson
While moved and inspired by the blues, gospel legend sang "only for God" from the 1930s til the '70s. 
Part 1 (Duke Ellington) 8:16
Part 3 (aka Light) (Duke Ellington) 6:21
Part 4 (aka Come Sunday) (Duke Ellington) 7:57
from Black Brown and Beige / Rec. 1950 (1958)
Duke Ellington originally wrote the 50-minute Black, Brown and Beige in 1943 for a Carnegie Hall concert, where critics dismissed it as overreaching for a jazz composer. Over the next 15 years, he periodically resurrected it for performances of excerpts or, as in the case of his 1958 Columbia album, transmuting it into what was essentially a new work. Columbia's Black, Brown and Beige was one of the most extraordinary products of Ellington's second stay with the label, growing out of his 1956 Newport triumph, and it was received somewhat more readily than the original 1943 "Black, Brown and Beige." The main problem for those who knew the piece and its history lay in the absence of Johnny Hodges, who was hardly ever with the Ellington band during 1958, and on whose talents "Come Sunday," the centerpiece of the original work and even more the core of the revamped Black, Brown and Beige, was built. Instead, Mahalia Jackson sings a version of "Come Sunday" that is, if anything, equally affecting, backed by the orchestra led by Ray Nance's violin. The result on the original album was a piece that started off in big band-style blues and led to one of Ellington's most moving, wrenching pieces of work, and music that, had it been better known, might also have done more to raise people's consciousness about Civil Rights than 100 folk songs of the period.

Muddy Waters - Rollin' Stone 3:01
Shoeshine Johnny (Johnny Shines) - So Glad I Found You 2:26
Jimmy Rogers - The World's in a Tangle 2:56
John Lee Hooker - Leave My Wife Alone
from The Chess Story Vol.2 1950-1951

Les Paul had such a staggeringly huge influence over the way American popular music sounds today that many tend to overlook his significant impact upon the jazz world. Before his attention was diverted toward recording multi-layered hits for the pop market, he made his name as a brilliant jazz guitarist whose exposure on coast-to-coast radio programs guaranteed a wide audience of susceptible young musicians. Heavily influenced by Django Reinhardt at first, Paul eventually developed an astonishingly fluid, hard-swinging style of his own, one that featured extremely rapid runs, fluttered and repeated single notes, and chunking rhythm support, mixing in country & western licks and humorous crowd-pleasing effects. No doubt his brassy style gave critics a bad time, but the gregarious, garrulous Paul didn't much care; he was bent on showing his audiences a good time...
Les Paul 
Jealous 2:19
How High The Moon 2:07
Tennessee Waltz 3:10
from The Timeless Les Paul 1950-1952 Vol 2

The Viking of 6th Avenue, the NYC street performer icon was actually a groundbreaking minimalist jazz composer feted by royalty.  A mostly self-taught composer, Louis Hardin was born in Marysville, KS on May 26, 1916. The family eventually moved to Wyoming, where his father, who had been an Episcopalian minister, opened a trading post at Fort Bridger, and had two different ranches. Young Hardin went to school in a log cabin in Burnt Fork, WY, and fished, hunted, and trapped...
Dragon's Teeth - Voices of Spring 2:32
Tree Frog - Be a Hobo 1:44
Theme and Variations - Rim Shot 3:34
from Moondog and His Friends 1953

Leading early bop guitarist who helped define the modern jazz guitar with his great speed, technique, and flow of ideas. / Nearly as famous for his reluctance to play as for his outstanding abilities, guitarist Tal Farlow did not take up the instrument until he was already 21, but within a year was playing professionally and in 1948 was with Marjorie Hyams' band. While with the Red Norvo Trio (which originally included Charles Mingus) from 1949-1953, Farlow became famous in the jazz world...
Tal Farlow
I Like to Recognize the Tune (Lorenz Hart / Richard Rodgers) 2:58
Autumn in New York (Vernon Duke) 5:02
Tal's Blues (Tal Farlow) 5:11
from Autumn in New York 1954
A generally relaxed date, Tal Farlow's pretty tone and tasteful improvising style are the main reasons to search for this disc. Pianist Gerry Wiggins, bassist Ray Brown, and drummer Chico Hamilton offer quiet and swinging support of the great guitarist...

Chameleonic singer-guitarist, leader of his Comets whose "Rock Around the Clock" signaled the start of the rock & roll era. / Bill Haley is the neglected hero of early rock & roll. Elvis Presley and Buddy Holly are ensconced in the heavens, transformed into veritable constellations in the rock music firmament, their music respected by writers and scholars as well as the record-buying public, virtually every note of music they ever recorded theoretically eligible for release. And among the living rock & roll pioneers, Chuck Berry is given his due in the music marketplace and by the history books, and Bo Diddley is acknowledged appropriately in the latter, even if his music doesn't sell the way it should. Yet Bill Haley -- who was there before any of them, playing rock & roll before it even had a name, and selling it in sufficient quantities out of a small Pennsylvania label to attract attention from the major labels before Presley was even recording in Memphis -- is barely represented by more than a dozen of his early singles, and recognized by the average listener for exactly two songs among the hundreds that he recorded; and he's often treated as little more than a glorified footnote, an anomaly that came and went very quickly, in most histories of the music. The truth is, Bill Haley came along a lot earlier than most people realize and the histories usually acknowledge, and he went on making good music for years longer than is usually recognized.
Bill Haley
Rock Around the Clock (Jimmy DeKnight / Max Freedman) 2:34
Shake, Rattle and Roll (Charles E. Calhoun) 2:34
Birth of the Boogie (Johnny Grande / Bill Haley / Billy Williamson) 2:15
Thirteen Women (Dickie Thompson) 2:54
from Shake Rattle & Roll 1955
It's a shame that, except for Elvis Presley's long-players, rock & roll and R&B albums just didn't sell in the early days -- those kids might have appreciated the music, but they just didn't know what they were missing by failing to absorb it eight or ten songs at a time. Bill Haley's first long-player, Shake, Rattle & Roll was a 10" platter that came out almost too early for its own good, in the first half of 1955, when most people had scarcely bought their first rock & roll single...

One of the all-time great tenor saxophonists, Stan Getz was known as "The Sound" because he had one of the most beautiful tones ever heard. Getz, whose main early influence was Lester Young, grew to be a major influence himself, and to his credit he never stopped evolving.
The Stan Getz Quartet
Blues for Mary Jane (Stan Getz) 7:48
Like Someone in Love (Johnny Burke / James Van Heusen) 6:23
from The Steamer 1956
It doesn't happen too often, but there are times when the title of a jazz album and the material within interface perfectly. Hence The Steamer, where Stan Getz joined forces with a super West Coast-based rhythm section to produce some truly steaming music...

A pioneer of soul-jazz who revolutionized the Hammond organ, turning it into one of the most incisive, dynamic jazz instruments of its time. 
Jimmy Smith
Zing Went the Strings of My Heart (James F. Hanley) 8:39
Blue Moon (Lorenz Hart / Richard Rodgers) 8:45
The Fight (Jimmy Smith) 5:07
from The Sounds of Jimmy Smith 1957
...Excellent straightahead jazz from the innovative organist.

Russell Garcia is a motion picture composer born April 12, 1916 in Oakland, California. Self-taught, his break came when he substituted for an ill colleague on a radio show. Subsequently, he went on to become composer/arranger at NBC Studios (for such shows as Rawhide and Laredo), MGM and Universal Studios. He collaborated with Louis Armstrong and Ella Fitzgerald on many of their albums (doing arrangements and conducting their orchestras as needed.)
Russell Garcia
Into Space 2:39
Lost Souls of Saturn 3:39
Frozen Neptune 5:17
from Fantastica: Music From Outer Space 1958
Fantastica remains the gold standard by which all outer space exotica records are judged -- composed and conducted by Russ Garcia, the album is a marvel of sound and structure, brilliantly evoking the music of the cosmos via revolutionary studio techniques, cinematic arrangements, and innovative electronic elements...

...Although primarily known as a pianist, he had an abiding love for the organ, both Hammond and theatre pipe. In his capacity as a studio musician, he worked extensively with Henry Mancini, who used his distinctive Hammond organ sound for the sound track to the TV series "Mr. Lucky." He also recorded several albums for Warner Brothers records on piano, Hammond organ and theatre pipe organ...
Buddy Cole
The Lady is a Tramp 1:58
Georgia on My Mind 3:44
Powerhouse 1:54
from Powerhouse! 1959
Eunice Kathleen Waymon (21 February 1933 – 21 April 2003), better known by her stage name Nina Simone, was an American singer-songwriter, pianist, arranger, and civil rights activist widely associated with jazz music. Simone aspired to become a classical pianist while working in a broad range of styles including classical, jazz, blues, soul, folk, rhythm and blues, gospel, and pop.
Nina Simone 
Blue Prelude (Joe Bishop, Gordon Jenkins) 3:15
That's Him Over There (Lew Spence, Marilyn Keith) 2:28
Can't Get Out of This Mood (Frank Loesser, Jimmy McHugh) 2:30
from The Amazing Nina Simone 1959
There is a remarkable amount of variety on this disc, Nina Simone's second recording... She does not play much piano (just cameos on two songs) and is backed by a subtle orchestra arranged by Bob Mersey that is effective accompanying her vocals. This session finds Nina Simone's voice in top form and with a few exceptions is generally jazz-oriented.

Highly popular blues and jazz vocalist of the 1930s & '40s who fronted the Count Basie band... He was known as "Mister Five-By-Five" -- an affectionate reference to his height and girth -- a blues shouter who defined and then transcended the form. The owner of a booming voice that radiated sheer joy in whatever material he sang, 
Jimmy Rushing
You Can't Run Around (Count Basie / Jimmy Rushing) 3:16
Did You Ever (Jimmy Rushing) 3:32
Good Rockin' Tonight (Roy Brown) 3:16
from Rushing Lullabies 1960
Jimmy Rushing recorded several albums for Columbia during 1959-60; although in his mid-50s, he was still in peak form. This CD reissue (which has a previously unissued "The Road of Love") finds Rushing joined by both pianist Ray Bryant and organist Sir Charles Thompson, Buddy Tate on tenor, guitarist Skeeter Best, bassist Gene Ramey and drummer Jo Jones. The combination works quite well...

The most popular and influential rock act of all time, a band that blazed several new trails for popular music.
The Beatles, Tony Sheridan
With his 1961 recording of "My Bonnie," Tony Sheridan forever secured rock & roll immortality; while the song was certainly a respectable hit during its heyday, its place in music history is instead assured as the first studio session to feature the Beatles. 
Ain't She Sweet (Milton Ager / Jack Yellen) 2:14
My Bonnie (Charles Pratt / Traditional) 2:43
Let's Dance (Jim Lee / Tony Sheridan) 2:36
Ya Ya, Pts. 1-2 (Lee Dorsey / Morris Levy / Clarence Lewis / Morgan Robinson) 5:10
from In The Beginning 1960
Before beginning their recording career, the Beatles recorded a few tracks in Hamburg in 1961 as the backing group for British singer Tony Sheridan. Reissued in countless different packages around the globe after the Beatles became famous, this should in no way be considered their first album; not only were their skills rudimentary, but Sheridan takes all but one of the lead vocals on this set of fairly tame covers of popular and early rock standards. Several tracks are of interest: "Ain't She Sweet," with a lead vocal by John Lennon, was a small American hit single in 1964... and "My Bonnie," with Paul McCartney's shouts clearly audible in the background, was responsible for bringing the group to the attention of Brian Epstein.
Tony Sheridan and original Hamburg Beatles

Though hardly a soulful, bluesy master like Jimmy Smith or dashing experimentalist like Larry Young, organist Dave "Baby" Cortez made his mark in the '50s,'60s, and '70s as a capable, often clever soloist and pop instrumentalist.
Dave 'Baby' Cortez
Movin’ and Groovin’ 2:15
Honey Baby 2:41
Summertime 2:59
September Song 3:29
from The Happy Organ and Other Great Recordings 1956 - 1961
Dave 'Baby' Cortez hasn't received much attention as far as reissues are concerned so Jasmine has decided to put together what is the best and most comprehensive collection of hits and rarities.
Although light on charting hits, Dave 'Baby' Cortez was able to craft many catchy melodies, riffs and hooks that fans of organ music and a soulful, bluesy sound will enjoy greatly. Oh, and just for good measure we have thrown in his biggest hit 'The Happy Organ' to really get your feet tapping.
Fully detailed liner notes with a biography of his career achievements and a selection of early album tracks that can really be given the moniker of 'ultra-rare', this is another must have release! (JASMINE Records)

Before Milt Jackson, there were only two major vibraphonists: Lionel Hampton and Red Norvo. Jackson soon surpassed both of them in significance and, despite the rise of other players (including Bobby Hutcherson and Gary Burton), still won the popularity polls throughout the decades. Jackson (or "Bags" as he was long called) was at the top of his field for 50 years, playing bop, blues, and ballads with equal skill and sensitivity.
Milt Jackson & Wes Montgomery
Wes Montgomery was one of the great jazz guitarists, a natural extension of Charlie Christian, whose appealing use of octaves became influential and his trademark. He achieved great commercial success during his last few years, only to die prematurely. / The most influential jazz guitarist of the 1960s, who expanded the resources of the guitar in all its main functions: chordal, melodic, and rhythmic. 
S.K.J. (Milt Jackson) 5:15
Stairway to the Stars (Matty Malneck / Frank Signorelli) 3:38
Jingles (Wes Montgomery) 5:34
from Bags Meets Wes 1961
Milt Jackson was 38 when, in December 1961, he co-led this superb hard-bop date with the distinctive guitarist Wes Montgomery. A jazzman who was as opinionated as he was gifted, Jackson wouldn't hesitate to tell you exactly what he thought of a musician -- so when he praised Montgomery, you knew his praise was genuine. Not surprisingly, the boppers prove to be quite compatible on Bags Meets Wes, which finds them co-leading an all star-quintet that also includes pianist Wynton Kelly, bassist Sam Jones, and drummer Philly Joe Jones (who shouldn't be confused with swing drummer Jo Jones)...

Tom Dissevelt (1921 - 1989) was a Dutch jazz musician and electronic music pioneer. His mixture of jazz and experimental electronics is most widely-known in the soundtrack for the Oscar-winning short film "Glas" (1958).
Composed By Tom Dissevelt and Produced by Tom Dissevelt and Kid Baltan
Kid Baltan is an early pseudonym of Dutch electro-acoustic composer Dick Raaijmakers, "Kid" being simply a reversal of his first name and "Baltan" being a reversal for the NatLab studios of Philips where he worked.
Syncopation 3:03
Whirling 3:32
from Electronic Movements 1962

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