tag:blogger.com,1999:blog-79371554618177404102024-02-07T22:10:09.264-08:00Hot Jazz and Cool BluesJay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.comBlogger68125tag:blogger.com,1999:blog-7937155461817740410.post-16692607078684110532016-11-28T17:41:00.001-08:002016-11-29T03:22:25.294-08:00Jabbo Smith's Rhythm Aces 1929-1938<div class="separator" style="clear: both; text-align: center;">
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Resucitamos este blog, y seguimos compartiendo lo mejor del Jazz Tradicional y el Blues en disco, con este formidable trompetista de los años 20, <b>Jabbo Smith </b>(1908-1991), el único (junto a Bix Beiderbecke, probablemente) que podía entonces compararse hasta cierto punto con el maestro de maestros Louis Armstrong en cuanto a creatividad y sonoridad, con sólo 20 años cumplidos en sus primeras sesiones de grabación. Gunther Schuller, en su monumental y definitivo "Early Jazz" le dedica un buen capítulo a Jabbo Smith en el apartado "Los ejecutantes virtuosos de los años 20", al lado de artistas como Bix, Bessie Smith o James P. Johnson, lo que parece ya bastante revelador sobre el nivel de esta trompeta de indudable personalidad, muy <i>moderno</i> para su época, sin duda. En próximas entregas añadiremos algunas grabaciones de la última etapa de su carrera, si no tan rompedoras como las de los <i>roarin' twenties</i>, sí magníficas también. Entretanto, disfrutemos una vez más de esos magníficos clásicos como "Jazz Battle", "Sweet and Low Blues" (pasmoso diálogo de trompeta y clarinete ahí) o "Sleepy Time Blues" (otro pionero del canto <i>scat</i>).<br />
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- Jay Bee Rodríguez</div>
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<i> Although only 20 years old, trumpeter <b>Jabbo Smith</b> cut virtually all of his finest recordings in 1929, when he was touted as a competitor to Louis Armstrong. Smith's 19 sides with his Rhythm Aces (all of which are on this essential CD) are some of the most exciting recordings of the era. Often teamed in a quintet with <b>Omer Simeon</b> (on clarinet and alto), pianist Cassino Simpson, banjoist Ikey Robinson, and the tuba of Hayes Alvis (subs appear on a few numbers), Jabbo's reckless and explorative trumpet flights are often thrilling. Highlights include "Jazz Battle," "Till Times Get Better," "Ace of Rhythm," and "Band Box Stomp," but all of the performances (including Smith's trombone solo on "Lina Blues" and his occasional and effective vocals) are well worth hearing. The CD concludes with Jabbo Smith's four-song 1938 session, which is disappointingly tame. Strange as it seems, Smith was past his prime by 1930 when he was only 21. Except for some early sideman appearances and forgettable efforts in later years (plus one previously unissued Rhythm Ace side from 1929 that was unearthed in the mid-'90s by the Retrieval label), this CD essentially contains Jabbo Smith's entire legacy, although he would live until 1991.</i><br />
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-Scott Yanow</div>
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<i>At the request of Mayo Williams of the Brunswick Record Company of Chicago, <b>Jabbo Smith</b>
formed his Rhythm Aces, a quintet with which he recorded nineteen sides
from January to August 1929. In these works Jabbo displays
extraordinary virtuosity and exemplary musicianship on trumpet as well
as vocal. Possibly, because the work was too advanced or sophisticated,
the records were not accepted by the public and have, until recently,
been largely forgotten.</i><br />
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-Len Weinstock</div>
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<a href="http://www101.zippyshare.com/v/fctQTtcp/file.html" target="_blank"><i><b>Hot Jazz and Cool Blues</b></i></a></div>
<br />Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com4tag:blogger.com,1999:blog-7937155461817740410.post-35049990007580947902012-12-03T17:11:00.001-08:002012-12-05T11:33:27.950-08:00The Bessie's Songbook (20 great covers of songs related to Bessie Smith) <br />
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Por muy odiosas que puedan resultar las comparaciones, siempre es buena idea contrastar lo que pueden llegar a hacer con el mismo material diferentes músicos de categoría, en este caso vocalistas femeninas. Que el repertorio asociado a Bessie Smith ha dado buen juego en este sentido es cosa sabida ¡Por algo estamos ante la más grande entre las llamadas <i>cantantes de blues clásico</i><i>, </i>caramba! Quedan aún por ahí, sin embargo, unas cuantas versiones y voces que merecerían ser escuchadas más a menudo y, bueno, para eso estamos. Aunque no pretendemos ser exhaustivos ni mucho menos (hemos dejado fuera al menos dos de sus temas más conocidos "Tain't Nobody's Bizness" y "Nobody Knows You When You're Down And Out") creo que tenemos aquí un abanico estilístico más que entretenido, desde el <i>down-home</i> sureño más puro de los años 20 (<b>Virginia Childs Betty Gray</b> y <b>Virginia Liston</b> en grabaciones "acústicas" -o sea anteriores a 1925- incluso con acompañamiento de guitarra) hasta el ímpetu <i>soulero</i> de <b>Lavern Baker</b> o <b>Linda Hopkins</b>, pasando, pues bueno, por casi todo: blues clásico genuino contemporáneo de Bessie (la notable <b>Elizabeth Johnson</b> junto a <b>King Oliver</b>, nada menos) swing, blues urbano, jazz tradicional, en fin. Algunas voces no necesitan presentación alguna (<b>Billie Holiday</b><b>, Nina Simone</b><b>, Dinah Washington</b>) pero otras, como la infortunada <b>Teddy Grace</b> (la única mujer blanca en esta recopilación) merecen igualmente todo nuestro respeto -de hecho, es muy probable que volvamos a referirnos a algunas de ellas en próximas entregas. <br />
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<i>-Jay Bee Rodríguez</i></div>
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<i>01. <b>Elizabeth Johnson </b>- Empty Bed Blues-Part 1<br />02. <b>Coot Grant and Kid Wilson</b> - Take Me for a Buggy Ride<br />03.<b> Betty Gray </b>- Mean Old Bed Bug Blues<br />04. <b>Virginia Childs</b> - The St. Louis Blues<br />05. <b>Virginia Liston</b> - Jail House Blues<br />06. <b>Teddy Grace</b> - Gulf Coast Blues<br />07. <b>Lil Green</b> - Aggravatin' papa<br />08. <b>Lil Green</b> - You've been a good old wagon<br />09. <b>Billie Holiday</b> - Do Your Duty<br />10. <b>Juanita Hall </b>- Baby Won't You Please Come Home<br />11. <b>Little Brother Montgomery</b> - Oh Daddy <br />12. <b>Alberta Hunter </b>- Downhearted Blues live <br />13. <b>Turk Murphy Jazz Band </b>- Cakewalkin' Babies <br />14. <b>Nina Simone</b> - Gimme a pigfoot<br />15. <b>Nina Simone </b>- I Want a Little Sugar in my Bowl<br />16. <b>Lavern Baker</b> - On Revival Day<br />17.<b> Odetta</b> - Weeping Willow<br />18. <b>Odetta</b> - Oh, Papa<br />19. <b>Dinah Washington</b> - You've Been A Good Ole Wagon<br />20. <b>Linda Hopkins</b> - Preachin' The Blues </i> <br />
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<br />Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com6tag:blogger.com,1999:blog-7937155461817740410.post-3041940964984032172012-09-14T05:40:00.003-07:002012-12-05T07:08:37.357-08:00The Best of Lizzie Miles (1927-1955)<div class="separator" style="clear: both; text-align: center;">
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Lizzie Miles was a fine classic blues singer from the 1920s who survived to have a full comeback in the 1950s. She started out singing in New Orleans during 1909-1911 with such musicians as King Oliver, Kid Ory, and Bunk Johnson. Miles spent several years touring the South in minstrel shows and playing in theaters. She was in Chicago during 1918-1920 and then moved to New York in 1921, making her recording debut the following year. Her recordings from the 1922-1930 period mostly used lesser-known players, but Louis Metcalf and King Oliver were on two songs apiece and she recorded a pair of duets with Jelly Roll Morton in 1929. Miles sang with A.J. Piron and Sam Wooding, toured Europe during 1924-1925, and was active in New York during 1926-1931. Illness knocked her out of action for a period, but by 1935, she was performing with Paul Barbarin, she sang with Fats Waller in 1938, and recorded a session in 1939. Lizzie Miles spent 1943-1949 outside of music, but in 1950 began a comeback, often performing with Bob Scobey or George Lewis during her final decade. <br />
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Miles was born in the Faubourg Marigny neighborhood of New Orleans, Louisiana, United States, in a dark skinned Francophone Creole ("Creole of Color") family. She traveled widely with minstrel and circus shows in the 1910s, and made her first phonograph recordings in New York of blues songs in 1922 – although Miles did not like to be referred to as a 'blues singer', since she sang a wide repertory of music.<br />
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In 1958 Miles appeared at the Monterey Jazz Festival. In 1959 she quit singing, except for gospel music. She died in New Orleans, from a heart attack, in March 1963.[4]<br />
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Her half sister Edna Hicks was also a blues singer.<br />
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<i>-All Music Guide</i></div>
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<i>01. You're Such A Cruel Papa-tk6 (w King Oliver.1928)</i><br />
<i>02. My Dif'rent Kind O' Man (w King Oliver.1928)</i><br />
<i>03. Don't Tell Me Nothin' (w Jelly Roll Morton.1929)</i><br />
<i>04. Shake It Down (1928)</i><br />
<i>05. Slow Up Papa (1927)</i><br />
<i>06. Grievin' Mama Blues (1927)</i><br />
<i>07. A Good Man Is hard To Find (1928)</i><br />
<i>08. He's My Man (1939)</i><br />
<i>09. That's All Right Daddy </i><br />
<i>10. Hold Me, Parson </i><br />
<i>11. Keep Knockin' No. 2 </i><br />
<i>12. Stranger Blues </i><br />
<i>13. Twenty Grand Blues </i><br />
<i>14. He's Red Hot To Me </i><br />
<i>15. Bill Bailey Wont You Come Home (1955)</i><br />
<i>16. Darktown Strutters Ball</i><br />
<i>17. Don't Tell Me Nothing 'Bout My Man</i><br />
<i>18. I Ain't Give Nobody None of My Jelly Roll</i><br />
<i>19. Lizzie's Blues</i><br />
<i>20. Salty Dog</i><br />
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.............................. Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com7tag:blogger.com,1999:blog-7937155461817740410.post-64003978101219162132012-07-31T03:38:00.000-07:002012-12-05T07:09:34.312-08:00Famous Ragtime Guitar Solos by Ton Van Bergeyk<div class="separator" style="clear: both; text-align: center;">
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Por sus cualidades tímbricas y posibilidades arreglísticas, la guitarra acústica parece el instrumento más adecuado para el Ragtime... cuando no hay un piano a mano. Combinando los característicos estilos sincopados de <b>Blind Blake</b> y <b>Rev.
Gary Davis</b>, con la técnica clásica también muy popular a la hora de
abordar el repertorio de <b>Scott Joplin</b> a la guitarra, el holandés <a href="http://www.wirz.de/music/bergefrm.htm" target="_blank"><b>Ton Van Bergeyk</b></a> (nacido en 1953) se ganó una merecida reputación a partir de 1973 con sus discos para el sello de <b>Stefan Grossma</b>n, como <i>"Famous Ragtime Guitar Solos"</i>, <i>"Guitar Instrumentals To Tickle Your Fingers"</i><b><i>, </i></b><i>"Black & Tan Fantasy" </i>(mi favorito, con soberbios arreglos del tema de Duke Ellington, y otros conocidos standards, como "I Got Rhythm" o "Blue Monk") y su participación en antologías como <i>"How To Play Ragtime Guitar"</i>. Estas grabaciones, que han hecho babear de admiración ya a varias generaciones de aficionados a la guitarra acústica, tenían además una componente didáctica nada desdeñable, con las correspondientes tablaturas incluídas en la mayoría de ellos.<br />
Hoy día ya parece cosa habitual encontrar apabullantes virtuosos que beben en fuentes similares (Blake y Joplin, principalmente, junto a otras diversas influencias en cada caso concreto), como <b>Tim Sparks</b> o <b>Ernie Hawkins</b>, por citar sólo dos preferencias personales, cuyos repertorios, además, rebasan con creces el de los maestros de la síncopa de las primeras décadas del siglo XX. Pero ello no debe hacernos olvidar a los que fueron pioneros en esto del Ragtime guitarrero a principios de los 70, como Van Bergeyk (atención a sus vídeos actuales, que apuntamos bajo estas líneas), y como <b>Leo Winjkamp Jr</b>, <b>John James, Lasse Johansson, Dave Laibman, Rick Schoenberg, Dale Miller</b> o el propio <b>Grossman</b>. Volveremos a referirnos, en breve, a esta variante instrumental y estilística en la que, sin duda, hay mucha tela que cortar, guitarrísticamente hablando.<br />
<div style="text-align: right;">
-Jay Bee Rodríguez</div>
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<i>Dutch guitar hero Ton Van Bergeyk's 1970s recordings for guitarist Stefan Grossman's Kicking Mule label were enormously influential in the world of finger-style acoustic guitar. Van Bergeyk's first album, 1973's FAMOUS RAGTIME GUITAR SOLOS, sports a pretty self-explanatory title; it's basically just Bergeyk blazing his way through some dauntingly complex finger-picking patterns on the likes of "Buffalo Rag" and "King Porter Stomp," throwing down the gauntlet for six-string ragtimers everywhere.</i><br />
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-All Music Guide </div>
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<br />
<i>01. Buffalo Rag </i><br />
<i>02. Atlanta Rag </i><br />
<i>03. Felicity Rag </i><br />
<i>04. Blake's Breakdown #2 </i><br />
<i>05. Grizzly Bear </i><br />
<i>06. Ragtime Nightmare </i><br />
<i>07. Silver Swan </i><br />
<i>08. King Porter Stomp </i><br />
<i>09. Pineapple Rag </i><br />
<i>10. Smokey Mokes </i><br />
<i>11. Powder Rag </i><br />
<i>12. Original Rags </i><br />
<i>13. Harlem Rag </i><br />
<i>14. American Beauty Rag</i><br />
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<br />
<a href="http://www.mirrorcreator.com/files/0HEAFUAK/Famous_Ragtime_Guitar.rar_links" target="_blank"><b>hotragandcoolblues</b></a><br />
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<h2 id="watch-headline-title" style="font-weight: normal; text-align: center;">
<b><span style="font-size: small;"><span class="long-title" dir="ltr" id="eow-title" title="Blake's Breakdown - Famous Ragtime Guitar Solo BLIND BLAKE">Blake's Breakdown - Famous Ragtime Guitar Solos</span></span></b></h2>
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<a href="http://www.youtube.com/watch?v=ljhkoB-qyXE" target="_blank"><img border="0" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2_QUye7klAdzeFDkoL80Aumj1ENQ8SeUKXvmxsJ3XON4DVbXPK2MCFusjlWINQUrt8DzVlxf4DSC7Cae_MVJypCcsrBLPnn8rZQwviSmXrk0rsFUQlJyfWVdnH8zKafKFSAnOMGjx31U/s320/ragGtrclip3.jpg" width="320" /></a></div>
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<a href="http://www.youtube.com/watch?v=ljhkoB-qyXE">http://www.youtube.com/watch?v=ljhkoB-qyXE</a></div>
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<h2 id="watch-headline-title" style="font-weight: normal; text-align: center;">
<b><span style="font-size: small;"><span class="long-title" dir="ltr" id="eow-title" title="Kansas City Stomp (Jelly Roll Morton) by Ton Van Bergeyk">Kansas City Stomp (Jelly Roll Morton) by Ton Van Bergeyk</span></span></b></h2>
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<img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJLNVoxs6rYBX5NBgnFr_OUtpWl85eCgqSpBfFHIgpZRrqOjIuCf0LhbUiMOJdQquIFNbJqKSrxvlUOFuyUJo8Eb3_bVer7Mq89RCRYZTi6lt2NRr4LzNzDwc-yXP6EMHmYpm7LL12cto/s320/ragGtrClip.jpg" width="320" /> </div>
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<a href="http://www.youtube.com/watch?v=Zf-U_nbKXOM">http://www.youtube.com/watch?v=Zf-U_nbKXOM</a></div>
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<b><span style="font-size: small;"><span class="long-title" dir="ltr" id="eow-title" title="Junk Man Rag - Fingerstyle guitar by Ton Van Bergeyk">Junk Man Rag - Fingerstyle guitar by Ton Van Bergeyk</span></span></b></h2>
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<a href="http://www.youtube.com/watch?v=wKMRoRUz6mU" target="_blank"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRuH0K8yHZ0h5_lFVa_xGoJULumhxlYIAYM0JanVMUkZsgk7Rak6dklQiz8v9Pw0kZsbAQypj5chLUJBbU4NqTh4JZby6RNjgkNoiO83I38ZJdeprO0sXGzc4L8v2nTruuzmZR7q1cmIE/s320/ragGtrclip2.jpg" width="320" /></a></div>
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<a href="http://www.youtube.com/watch?v=wKMRoRUz6mU" target="_blank"><span style="font-size: small;"><span class="long-title" dir="ltr" id="eow-title" title="Junk Man Rag - fingerstyle guitar - Ton Van Bergeyk"> http://www.youtube.com/watch?v=wKMRoRUz6mU</span></span></a></h1>
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<span class="long-title" dir="ltr" id="eow-title" title="Kansas City Stomp - Ragtime Guitar - Ton Van Bergeyk"> </span></h1>
<br />Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com5tag:blogger.com,1999:blog-7937155461817740410.post-53020941717692240562012-07-28T15:24:00.002-07:002012-12-05T07:14:06.547-08:00King Oliver: Great Original Performances Vol. 2 (1927-1930)<div class="separator" style="clear: both; text-align: center;">
<img border="0" height="12" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1wd_ZctC0qhjLvmrtUTUlR8y6hJLor4hwSy_itBbI13qCt30ZXiBb-tsTxAkS6Tw5a-yXaPBfLCm4qhyQAIew8SAznAEqahj_1FH_I1Ds0M5UCkn8yz9sSDY3oQ7HxATiPEIksboB1c0/s320/blogWillieSpace1.jpg" width="320" /> </div>
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Continuando con el "caso Oliver", traemos aquí una colección que debería interesar a quienes aprecien la mejor cocina casera pero, eso sí, servida con absoluta limpieza y pulcritud, esto es, los célebres "Jazz Classics In Digital Stereo" del ingeniero australiano Robert Parker. Hacia 1992, coincidiendo con el paso de LP a CD de buena parte de ese sorprendente catálogo "stereo" (Louis, Duke, Bessie, Johnny Dodds y cía,), aparecieron dos volúmenes dedicados a King Oliver. El primero (1923-1929), básicamente consagrado a las grabaciones de la Creole Jazz Band no fue especialmente bien acogido por la crítica (eso de pasar a estéreo grabaciones "acústicas" de 1923...), pero éste segundo, ya con la ventaja del registro "eléctrico", se defiende mucho mejor que bien junto a las colecciones de Armstrong o Bessie, en lo que respecta al tema auditivo. Posteriormente (1998) ambos discos aparecerían también reunidos en un CD doble (la cubierta roja que incluímos bajo estas líneas).<br />
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La música de Oliver posterior a 1923, aunque de calidad no siempre insuperable y sin la presencia ya del brillante discípulo a la segunda corneta (muy ocupado entonces con los Hot Fives y Hot Sevens) es a menudo tan excitante e interesante como era de esperar, teniendo en cuenta que ya son todo "grabaciones eléctricas" y ello permite mucha más variedad tonal y complejidad en los arreglos. <b>Kid Ory, Red Allen, Barney Bigard, Omer Simeon, Louis Russell, Benny Waters, Clarence Williams, Eddie Lang</b>, entre otros, intervienen en buena parte de los temas, y dos formidables blues singers, <b>Texas Alexander</b> y <b>Sara Martin</b>, añaden la guinda al pastel, o la salsa al suculento guiso, si lo prefieren. Disfrutemos de nuevo, pues, a este gigante del Jazz clásico, una vez maestro incomparable de la polifonía de Nueva Orleans (1923) y aquí anticipando el swing de la década de los 30, pero sin perder el sabor "hot" y el calor de los blues más verídicos.<br />
<div style="text-align: right;">
<i>-Jay Bee Rodríguez</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz5hyphenhyphengvoIN5DdDRY97Z1mky3cEd2DUEESn7x27aeV_vk7NG7TpYbfAij-UMV7lJ4KpIUUe1bRdHpupeV1e-IlJNtOyHKjwFspa7TYAk6JsdiRYC953jRwesdQtY9V7oXVLMH80XR4xyuE/s1600/MI0000166419.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz5hyphenhyphengvoIN5DdDRY97Z1mky3cEd2DUEESn7x27aeV_vk7NG7TpYbfAij-UMV7lJ4KpIUUe1bRdHpupeV1e-IlJNtOyHKjwFspa7TYAk6JsdiRYC953jRwesdQtY9V7oXVLMH80XR4xyuE/s320/MI0000166419.jpg" width="320" /></a></div>
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The second volume devoted to the New Orleans trumpet-and-cornet king takes up the story of his Dixie Syncopators from 1927, the year in which he allegedly turned down the job at Harlem's Cotton Club that then laid the foundation of Duke Ellington's fame. Sadly, or appropriately, the pace of change in the band world shows Oliver's own playing gradually sounding more dated, especially in the last two 1930 tracks where he's joined by the much younger New Orleanian trumpeter, Red Allen. The fundamental strength of Oliver's work, however, is resistant to the erosion of time, and his blues-drenched simplicity stands out particularly well in the central group of five 1928 tracks put together by pianist Clarence Williams, two of them featuring authentic blues vocals by Sara Martin and Texas Alexander. The originals here were all rather better recorded than those on Volume One (although musically more variable) yet, as far as the representative selection of material is concerned, this is a worthy follow-up.<br />
<div style="text-align: right;">
<i>-Brian Priestley</i></div>
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<br />
<b>King Oliver And His Dixie Syncopators</b><br />
<i>01. Show Boat Shuffle (1927)<br />02. Every Tub (1927)<br />03. Willie the Weeper (1927)<br />04. Black Snake Blues (1927)<br />05. Farewell Blues (1927)<br />06. Sobbin' Blues (1927)<br />07. Tin Roof Blues (1928)<br />08. West End Blues (1928)</i><b> </b><br />
<b>Clarence Williams And His Orchestra</b><i><br />09. Longshoreman's Blues (1928)</i><b> </b><br />
<b>Sara Martin with Clarence Williams And His Orchestra</b><i><br />10. Death Sting Me Blues (1928)</i><b> </b><br />
<b>Texas Alexander</b> (with King Oliver and Eddie Lang)<i><br />11. Tell Me Woman Blues (1928)</i><b> </b><br />
<b>Clarence Williams And His Novelty Four</b><i><br />12. In the Bottle Blues (1928)<br />13. What Ya Want Me to Do (1928)</i><b> </b><br />
<b>King Oliver And His Orchestra</b><i><br />14. New Orleans Shout (1929)<br />15. Rhythm Club Stomp (1930)<br />16. Edna (1930)<br />17. Mule Face Blues (1930)<br />18. Don't You Think I Love You (1930)<br />19. Shake It and Break It (1930)<br />20. Stingaree Blues (1930)</i><br />
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<a href="https://rapidshare.com/files/3511287141/Great%20Perform1927-30.rar" target="_blank"><b>hotjazzandcoolblues</b></a><br />
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.............................Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com2tag:blogger.com,1999:blog-7937155461817740410.post-75600415012370798162012-07-27T20:37:00.001-07:002012-12-05T06:00:05.863-08:00King Oliver (1923) - Noise Reduction at 128<div class="separator" style="clear: both; text-align: center;">
<img border="0" height="12" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1wd_ZctC0qhjLvmrtUTUlR8y6hJLor4hwSy_itBbI13qCt30ZXiBb-tsTxAkS6Tw5a-yXaPBfLCm4qhyQAIew8SAznAEqahj_1FH_I1Ds0M5UCkn8yz9sSDY3oQ7HxATiPEIksboB1c0/s320/blogWillieSpace1.jpg" width="320" /></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBl7Bl3tQOm9Q1YftlJsFpmwGB_wCOG8ywZ4NDAd0RDguw4BAzmCx6ZsINb5sPR5SmVQ3lZQKS5DkpdvjLDle8xnItixj_RqsqOf5W69yZN18rdwJzEoL0NTFRg1wTawlmTH4eYhWENlE/s1600/zking-his-creole-jazz-band-632-l.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBl7Bl3tQOm9Q1YftlJsFpmwGB_wCOG8ywZ4NDAd0RDguw4BAzmCx6ZsINb5sPR5SmVQ3lZQKS5DkpdvjLDle8xnItixj_RqsqOf5W69yZN18rdwJzEoL0NTFRg1wTawlmTH4eYhWENlE/s200/zking-his-creole-jazz-band-632-l.jpg" width="200" /></a>Lo que posteamos a continuación no pretende otra cosa que compartir con todos ustedes mi particular <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBl7Bl3tQOm9Q1YftlJsFpmwGB_wCOG8ywZ4NDAd0RDguw4BAzmCx6ZsINb5sPR5SmVQ3lZQKS5DkpdvjLDle8xnItixj_RqsqOf5W69yZN18rdwJzEoL0NTFRg1wTawlmTH4eYhWENlE/s1600/zking-his-creole-jazz-band-632-l.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"></a>solución (provisional quizás, pero para mí, aceptable) a un problema que hemos de padecer los aficionados al mejor jazz y blues tradicional: ¡esa condenada freiduría de fondo en los discos de los años 20! Después de más de diez años rodeado de mp3s (con los LPs y cassettes durmiendo el sueño de los justos hace ya tiempo), algunos seguimos resistiéndonos a sepultar estas joyas musicales en la vitrina del museo, o sea, a decir que muy bien, muy grandes y muy clásicos y tal, pero, en el fondo, no escucharlos casi nunca porque, bueno ¡no hay quien aguante esa ruidera de fondo hasta en los mejores remasterizados! Pues no, señor: se puede disfrutar de estas vetustas gemas aún en pleno siglo XXI. Y se debe, además.<br />
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En el blog <b>Blues Express</b> (<a href="http://bluesexpress.blogspot.com.es/2011/04/blind-lemon-y-otros-maestros-en-sonido.html" target="_blank">http://bluesexpress.blogspot.com.es/2011/04/blind-lemon-y-otros-maestros-en-sonido.html</a>) reseñamos, en su día, el trabajo encomiable de los monsieurs de Pristine Audio, ingenieros dedicados a limpiar, fijar y dar esplendor a los maestros jazzeros y blueseros de los años 20 y 30. Como ya dijimos allí, como se dice siempre, el asunto acaba siendo a menudo una solución de compromiso: cuánto ruido le quitamos y cuántos matices pierden (o no) los instrumentos con ello. Animado por los resultados que estos señores obtuvieron con los discos de Blind Lemon o Mississippi John Hurt, y a pesar de que en su día no cursé los estudios de ingeniero de sonido ni nada similar, me decidí a intentarlo con uno de mis favoritos entre los "clásicos insufribles": la banda de <b>King Oliver</b> en 1923.<br />
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Después de meses de disfrutar casi a diario numerosas versiones modernas de ese singular sonido (los Creole Jazz Serenaders de Don Vappie, la King Oliver Heritage Jazz Band, la Peruna Jazz Band, la Dutch Swing College Jazz Band, algunos grupos de Jim Cullum o Vince Giordano, la Bourbon Street Jazz Band, los John Gill's Jazz Kings, etc. etc.) me dije que ya iba siendo hora de volver a los originales como Dios manda, simplemente, cogiendo la mejor versión disponible (el indispensable doble <a href="http://hotjazzandcoolblues.blogspot.com.es/2010/11/king-olivers-creole-jazz-band-1923.html" target="_blank"><i>"Off The Record"</i></a>, que todo aficionado que se tenga por tal debería poseer) y limpiándola un poquillo "a ver qué tal". Bueno, pues aquí está: una selección de 18 de esos incunables (a 128 kbps) pero <i>sin freiduría de gallinejas</i>, de manera que Mr Oliver, también en la era de la "nube digital", pueda sentarse tranquilamente en su trono, del que nunca debió bajar. A ver qué les parece. A mí me suena a gloria bendita.<br />
<div style="text-align: right;">
<i>-Jay Bee Rodríguez </i></div>
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<i><b>King Oliver's Creole Jazz Band (1923)</b></i><br />
<i><b>With Noise Reduction at 128kbps</b></i><br />
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<i>01. Canal Street Blues</i><br />
<i>02. Chimes Blues</i><br />
<i>03. Dipper Mouth Blues (a)</i><br />
<i>04. Weather Bird Rag</i><br />
<i>05. Sobbin' Blues</i><br />
<i>06. Tears</i><br />
<i>07. Mabel's Dream (tk 1)</i><br />
<i>08. Riverside Blues (a)</i><br />
<i>09. Just Gone</i><br />
<i>10. Mandy Lee Blues</i><br />
<i>11. High Society Rag</i><br />
<i>12. London Cafe Blues</i><br />
<i>13. New Orleans Stomp</i><br />
<i>14. Snake Rag</i><br />
<i>15. Buddy's Habit</i><br />
<i>16. Dipper Mouth Blues (b)</i><br />
<i>17. Mabel's Dream (tk 2)</i><br />
<i>18. Riverside Blues (b)</i><br />
<a href="http://www.blogger.com/goog_2090071060"><b><br /></b></a>
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.............................Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com3tag:blogger.com,1999:blog-7937155461817740410.post-61848392727797586692012-03-07T10:58:00.017-08:002012-12-05T06:21:30.426-08:00Leadbelly (a secas)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyqdPnmGmMfRLmPm-PlGILWdHrbn51PQv81Gwb_NF-BcFGaZRhZSWm1wudtCBtUQpODzMj0ZNkQmcStvm3DZxiiv2-x6Fqr0KaRxUJc2yelV2hWYouFR3f9jHzunufQT2ANe2nwABeRws/s1600/blogWillieSpace1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5723437639848989042" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyqdPnmGmMfRLmPm-PlGILWdHrbn51PQv81Gwb_NF-BcFGaZRhZSWm1wudtCBtUQpODzMj0ZNkQmcStvm3DZxiiv2-x6Fqr0KaRxUJc2yelV2hWYouFR3f9jHzunufQT2ANe2nwABeRws/s320/blogWillieSpace1.jpg" style="cursor: pointer; display: block; height: 11px; margin: 0px auto 10px; text-align: center; width: 288px;" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhdMy8xqiP9o7o3kTVau9cc_n-WqdNeHCYSc37HGMmGFy6MCmr1AxXr4yfk29l1rRDrTq7z72UbKgd1OKB0ZjDfgphHQRUAszyCJTtUT_LGIhsm27B9exeoQVsQNuQOOTVC1nn4bVaIsA/s1600/Leadbelly-Leadbelly-545677.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5717249619635592338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhdMy8xqiP9o7o3kTVau9cc_n-WqdNeHCYSc37HGMmGFy6MCmr1AxXr4yfk29l1rRDrTq7z72UbKgd1OKB0ZjDfgphHQRUAszyCJTtUT_LGIhsm27B9exeoQVsQNuQOOTVC1nn4bVaIsA/s200/Leadbelly-Leadbelly-545677.jpg" style="cursor: pointer; float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 199px;" /></a>La discografía de Huddie Ledbetter (1888-1949) es indudablemente una de las más extensas de entre los músicos negros de primera generación, y la más amplia en términos absolutos entre los <span style="font-style: italic;">songsters</span>, desde sus primeras sesiones entre rejas para John Lomax, en 1933, hasta su postrera actuación universitaria en junio de 1949, editada por Playboy Records. Esta recopilación de sus primeras grabaciones comerciales -para ARC, en marzo de 1935- no incluye ninguna de sus canciones más famosas, ni nada de ese gran muestrario formal y estilístico que constituía su repertorio habitual y del que dejó abundantes ejemplos en sus grabaciones para la Biblioteca del Congreso (cantos de trabajo, hollers, baladas, spirituals, cantos de prisión, tonadas vaqueras, piezas de baile, y canciones de toda especie, incluídas nanas infantiles). No, éste es el <span style="font-style: italic;">bluesman</span> Huddie Leadbetter: casi todos los temas se ciñen al formato de doce compases y tres versos, con asuntos autobiográficos en el texto, alternando las guitarras de 6 y 12 cuerdas, con algún que otro ejemplo de su manejo del <span style="font-style: italic;">slide</span> (en su caso, deslizando una navaja sobre las cuerdas y con el instrumento en posición horizontal) y con influencias claras de su principal maestro en estos menesteres, el gran Blind Lemon Jefferson. No es un Leadbelly representativo, por tanto, ni quizás tampoco históricamente exacto o especialmente relevante, pero a mí es el que más me gusta, qué quieren que les diga.<br />
<div style="font-style: italic; text-align: right;">
-Jay Bee Rodríguez</div>
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<span style="font-style: italic;">01. Roberta (Part I)</span> <span style="font-style: italic;"><br />02. Roberta (Part II) </span> <span style="font-style: italic;"><br />03. Packin' Trunk Blues</span><span style="font-style: italic;">04. C. C. Rider </span> <span style="font-style: italic;"><br />05. You Can't Lose Me, Charlie </span> <span style="font-style: italic;"><br />06. Black Snake Moan </span> <span style="font-style: italic;"><br />07. Alberta </span> <span style="font-style: italic;"><br />08. Baby, Don't You Love Me No More</span><br />
<span style="font-style: italic;">09. Death Letter Blues (Part I) </span> <span style="font-style: italic;"><br />10. Death Letter Blues (Part II) </span> <span style="font-style: italic;"><br />11. Kansas City Papa </span> <span style="font-style: italic;"><br />12. Red River </span> <span style="font-style: italic;"><br />13. Blind Lemon </span> <span style="font-style: italic;"><br />14. Mister Tom Hughes's Town </span> <span style="font-style: italic;"><br />15. Match Box Blues </span> <span style="font-style: italic;"><br />16. Bull Cow </span> <span style="font-style: italic;"> </span> <br />
bonus: <span style="font-style: italic;"><br />17. Forth Worth and Dallas Blues</span> <span style="font-style: italic;"><br />18. Pig Meat Papa</span><br />
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............................Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com5tag:blogger.com,1999:blog-7937155461817740410.post-42718092117806461082012-03-05T03:05:00.016-08:002012-12-05T06:52:40.746-08:00Scott Joplin - The Red Back Book, by The New England Conservatory Ragtime Orchestra<img alt="" border="0" id="BLOGGER_PHOTO_ID_5567098427054085954" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoVXUseNjh-6xein61mqrB6AdCVMo5WkFIoJK0f4xW5lvkKDdZdYxJOp6oGe2zpvict2-UMj0PvrhbyuIH6VHR8wIgbuRCAYUCqS751bmUMF4g8yLoASEHte9ssGU409wO8jwOLd9nlNc/s200/blogWillieSpace1.jpg" style="display: block; height: 15px; margin: 0px auto 10px; text-align: center; width: 391px;" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Yrv13V2gmPGQj5uqkv43Lz87O-Jq608RgsaChGH_GUAT0VykdxFTWc6A0mUzcz2y3DvQuo6IpPgmUcyB_G6ITdJfnp7VTw8G4GJ-VZ0U_M056Yrhdy5FwAoxbFdGdbKCqS3yYrnBS9c/s1600/rdbk.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" target="_blank"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5716367524166056738" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Yrv13V2gmPGQj5uqkv43Lz87O-Jq608RgsaChGH_GUAT0VykdxFTWc6A0mUzcz2y3DvQuo6IpPgmUcyB_G6ITdJfnp7VTw8G4GJ-VZ0U_M056Yrhdy5FwAoxbFdGdbKCqS3yYrnBS9c/s200/rdbk.jpg" style="cursor: pointer; float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 181px;" /></a>Algunas de las más conocidas composiciones de Ragtime, pero no interpretadas en el instrumento habitual en esta música, sino por toda una orquesta de cámara. ¿El resultado? Fascinante. Y contagioso. De hecho, éste álbum -junto a la peli <span style="font-style: italic;">'El Golpe</span>', naturalmente- fue uno de los responsables en los primeros años 70 de que pianistas, y guitarristas también, se animaran casi en masa a desempolvar las partituras de <span style="font-weight: bold;">Scott Joplin</span>. Partituras que acumulaban por aquel entonces varios dedos de polvo injustamente, llegaron a sonar, hasta el hartazgo o casi, en discos, más discos, películas, más películas, y hasta en las máquinas tragaperras de medio mundo y parte del otro. Algo de culpa en esto tuvo el señor <span style="font-weight: bold;">Gunther Schuller </span>y su <span style="font-style: italic;">Orquesta de Ragtime del Conservatorio de Nueva Inglaterra</span>. Hoy día se le añade el calificativo de 'clásico' a prácticamente cualquier cosa. Scott Joplin es<span style="font-style: italic;"> el clásico norteamericano</span> por definición, el <span style="font-weight: bold;">Ragtime</span>. Joplin no sabía italiano, para añadir las correspondientes anotaciones de tempo, pero dejó bastante claro en muchas de sus partituras cómo debía tocarse esta música: no acelerarse, <span style="font-style: italic;">¡nada de correr por correr! </span><br />
<div style="text-align: right;">
-Jay Bee Rodríguez</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkaHprOaiEh15-GBaMn-n5di00iGsfGQjYpomvFUpFwGDwdmRPfoJRc1NUOrQbf1R80-AWGVlE4I3BAxJ7DQwBcO6FrQxUaNsSvKf7SX94czhL1K6aAi0C4RHoxRQ6k6K_7NiaTXqGE7E/s1600/chrysanthemum.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" target="_blank"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5716368620775470578" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkaHprOaiEh15-GBaMn-n5di00iGsfGQjYpomvFUpFwGDwdmRPfoJRc1NUOrQbf1R80-AWGVlE4I3BAxJ7DQwBcO6FrQxUaNsSvKf7SX94czhL1K6aAi0C4RHoxRQ6k6K_7NiaTXqGE7E/s320/chrysanthemum.jpg" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 248px;" /></a><br />
<span style="font-style: italic;">Back around 1910, John Stark published "Fifteen Standard High Class Rags," a folio soon nicknamed "The Red Back Book" and containing colorful arrangements for 11 ragtime pieces, mostly by Scott Joplin. In 1973 Gunther Schuller and the New England Conservatory Ragtime Ensemble recorded seven of the charts plus a new reworking of "Sugar Cane"; a pair of piano solos by Myron Romanul (of "The Entertainer" and "Sun Flower Slow Drag") round out this highly enjoyable set. Hearing Joplin's music interpreted by a group consisting of trumpet, trombone, clarinet, flute/piccolo, tuba, piano, bass, drums and a string quartet helps cast new light on these vintage themes. The albu</span><span style="font-style: italic;">m</span><span style="font-style: italic;"> is highly recommended for ragtime collectors.</span> <span style="font-style: italic;"><br /><br />Here is music by the most prominent American ragtime composer, Scott Joplin, performed in a manner (11-12 instruments) slightly different from the usual (solo piano). The program contains 60 minutes of the familiar (and, in a couple instances, the unfamiliar) Joplin music that became popular at the turn of the 20th century, then fell into oblivion, and had a revival in the early 1970s.</span> <span style="font-style: italic;">This cd brings together two lps released by EMI/Angel during that '70s revival: "Red Back Book" containing 8 selections performed by students from the New England Conservatory conducted by Gunther Schuller; and "Elite Syncopations", which includes 8 pieces featuring pianist Ralph Grierson with the Southland Stingers.</span> <span style="font-style: italic;">Gunther Schuller's distinguished career has included a crucial role in the third-stream movement, which sought to fuse jazz and classical composition and flourished in the late 1950s and early '60s. Schuller also wrote a series of brilliant musicological studies of early jazz. As musical director of the New England Ragtime Ensemble, he has brought very high standards to performance of classic ragtime compositions, beginning with the 1973 recording The Art of Scott Joplin, devoted to the form's most famous composer. The Art of the Rag, recorded in 1989, takes a different tack, mixing pieces of classic ragtime from the beginning of the 20th century with contemporary compositions that work within the form's structural and rhythmic patterns.<br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoe0qgJdq4Dd2Tzklo0V6tk1r3fTwKqvQ2RsOaQowWTJHml5UMbz7eK9W9t6kn1rSvmCAupJKE-OP4t80VvYWw9iXy-g3EbA0CvSFZRidjf3GwSdoN3iSOU4w5SaDCj8yrMhFTyQm_XcY/s1600/cassetteJP.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" target="_blank"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5716369710374468786" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoe0qgJdq4Dd2Tzklo0V6tk1r3fTwKqvQ2RsOaQowWTJHml5UMbz7eK9W9t6kn1rSvmCAupJKE-OP4t80VvYWw9iXy-g3EbA0CvSFZRidjf3GwSdoN3iSOU4w5SaDCj8yrMhFTyQm_XcY/s320/cassetteJP.jpg" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a><br />
<span style="font-style: italic;">Whether the work is ancient or modern, the Ensemble brings high precision, genuine vigor, and a fresh luster to the material. Among the fascinating period pieces are relatively well-known works by Joplin, including "Heliotrope Bouquet," and by Jelly Roll Morton, whose "Black Bottom Stomp" and "Grandpa's Spells" seem to travel back in time from their jazz origins. Less well-known but equally deserving of attention are James Reese Europe's "Castle Walk" and "Castle House Rag." Among the modern works, Schuller's own "Sandpoint Rag" and Robert Carriker's "Mattapan Rag" sit most comfortably in the form. </span><br />
<div style="text-align: right;">
-Stuart Broomer</div>
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<span style="font-style: italic;"><br />01. The Cascades</span> <span style="font-style: italic;"><br />02. Sunflower Slow Drag</span> <span style="font-style: italic;"><br />03. The Chrysanthemum</span> <span style="font-style: italic;"><br />04. The Ragtime Dance</span> <span style="font-style: italic;"><br />05. Sugar Cane</span> <span style="font-style: italic;"><br />06. Easy Winners</span> <span style="font-style: italic;"><br />07. The Entertainer</span> <span style="font-style: italic;"><br />08. Maple Leaf Rag</span> <span style="font-style: italic;">09. Elite Syncopations</span> <span style="font-style: italic;"><br />10. Heliotrope Bouquet</span> <span style="font-style: italic;"><br />11. The Nonpareil</span> <span style="font-style: italic;"><br />12. The Strenuous Life</span> <span style="font-style: italic;"><br />13. The Sycamore<br />14. Binks' Waltz</span> <span style="font-style: italic;"><br />15. Eugenia</span> <span style="font-style: italic;"><br />16. Something Doing</span><br />
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Recording information: Jordan Hall, New England Conservatory, Boston, MA (02/12/1973-06/25/1974); Studio A, Capitol Records, Hollywood, CA (02/12/1973-06/25/1974).<br />
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Arranger: George Sponhaltz. Dir.: Gunther Schuller.<br />
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Personnel: Gerald Vinci, Tibor Pusztai, Juan Ramirez-Hernandez, Nathan Ross (violin); Juan Dandridge, Allan Harshman (viola); Bruce Coppock, Marie Fera (cello); Ronnie Lang (flute, piccolo); Victor Sawa, Dominic Fera (clarinet); Charles Lewis, John Audino, Mario Guarneri (trumpet); Dick Nash (trombone); Gary Ofenloch, Tommy Johnson (tuba); Myron Romanul (piano); Mark Belair, Shelly Manne (drums).<br />
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----------------------------------------------------Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com5tag:blogger.com,1999:blog-7937155461817740410.post-80546791582871559882012-02-26T12:35:00.016-08:002012-12-05T07:10:47.409-08:00Big Joe Turner: Texas Style<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqONFCx605TR9VGj3d6ujj0C9gTLalpEX6iVVq-HtGrXZSKOoiQqTyBVbTZS43OsvT4pUnQcEyojQVq2MwQzr2YurIbBcFMRVPcO-iYNehWHhZ3HH93LDF8HIkiMMa5TlcZ0dkAaEEDHI/s1600/blogWillieSpace1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" target="_blank"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5714453076305198130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqONFCx605TR9VGj3d6ujj0C9gTLalpEX6iVVq-HtGrXZSKOoiQqTyBVbTZS43OsvT4pUnQcEyojQVq2MwQzr2YurIbBcFMRVPcO-iYNehWHhZ3HH93LDF8HIkiMMa5TlcZ0dkAaEEDHI/s320/blogWillieSpace1.jpg" style="cursor: pointer; display: block; height: 8px; margin: 0px auto 10px; text-align: center; width: 200px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHp6WMsogR60XNod9lMlbVG1a8Rnr-wxdFFeYA5nRNb7vL2t9blI0OPfdvwhZzLr7kps5kWupI_Oy0IebhCLfvI2XbHHmYJ-j7BnVdOZiU13EHQDtmXYUXpTuQOMNi9Q82xnVmV9kILCw/s1600/Big+Joe+Turner+-+1971+-+Texas+Style.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" target="_blank"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5713657699125152002" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHp6WMsogR60XNod9lMlbVG1a8Rnr-wxdFFeYA5nRNb7vL2t9blI0OPfdvwhZzLr7kps5kWupI_Oy0IebhCLfvI2XbHHmYJ-j7BnVdOZiU13EHQDtmXYUXpTuQOMNi9Q82xnVmV9kILCw/s200/Big+Joe+Turner+-+1971+-+Texas+Style.jpg" style="cursor: pointer; float: left; height: 211px; margin: 0pt 10px 10px 0pt; width: 212px;" /></a>Otro formidable bluesman fallecido en los años 80 y otro formidable disco de la serie Barclay <span style="font-style: italic;">House of the Blues</span> que, salvo un par de rellenos inevitables, sigue siendo a día de hoy una de las más logradas colecciones de grabaciones de blues en Europa, fácilmente comparable a lo mejorcito del sello danés Storyville, por ejemplo y, por qué no, comparable a las mejores grabaciones americanas de cualquier época, caramba. Amén de los simpáticos solos de Slam Stewart -como era típico en él, tarareando al unísono con el contrabajo- son a mi juicio los marfiles de Milt Buckner los que confieren a esta sesión de 1971 un brillo muy, pero que muy especial. Parece mentira, un tipo, el Buckner, que ha pasado a los anales fundamentalmente por sus grabaciones con el Hammond B3, pero que aquí, sin apenas moverse de una única tonalidad, ofrece toda una lección magistral de cómo se acompaña al piano a un cantante de blues. Vamos, que no echa uno de menos a Pete Johnson ni al combo de Basie en ningún momento. Una -otra- agradable sorpresa de los <span style="font-style: italic;">monsieurs</span> de Barclay, la decisión de emparejar a semejantes monstruos, y una pena que Buckner no se haya prodigado más en semejantes ambientes con el piano mondo y lirondo.<br />
Y el cantante... en fin, el <span style="font-style: italic;">shouter</span> de todos los <span style="font-style: italic;">shouters</span> le da un repaso a sus grandes éxitos que es que los deja tiesos, pero tiesecitos. Big Joe saca pecho y, bueno, se pone a declamar sus historias de taberna como lo que era, el <span style="font-style: italic;">Pavarotti </span>del Blues. Lo siento por la herejía, pero, para mí, ni los 30's con Pete Johnson, ni Atlantic ni gaitas: yo me quedo con éste peaso álbum por encima de cualquier otro. En su día trituré el cassette y el LP correspondiente de tánto ponerlos y, como los mp3 parece que <span style="font-style: italic;">no se gastan</span>, pues éso. <span style="font-size: 85%;"><span style="font-family: book antiqua;"><span style="font-style: italic;">¡</span></span></span><span style="font-style: italic;">'Callejón del Agua Street'</span><span style="font-size: 85%; font-style: italic;"><span style="font-family: book antiqua;">!</span></span>. :-)<br />
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<div style="text-align: right;">
-Jay Bee Rodríguez</div>
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<span style="font-style: italic;">01 - T.V. Mama</span><br />
<span style="font-style: italic;">02 - Hide and Seek</span><br />
<span style="font-style: italic;">03 - I've Got A Pocket Full Of Pencils</span><br />
<span style="font-style: italic;">04 - Rock Me Baby</span><br />
<span style="font-style: italic;">05 - Texas Style</span><br />
<span style="font-style: italic;">06 - Cherry Red</span><br />
<span style="font-style: italic;">07 - 'T Ain't Nobody Business</span><br />
<span style="font-style: italic;">08 - Money First</span><br />
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...............................Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com2tag:blogger.com,1999:blog-7937155461817740410.post-50531893536461625772012-02-26T11:34:00.012-08:002012-12-05T07:10:16.867-08:00Professor Longhair: Rock and Roll Gumbo<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr1uRrXM3aM0UtoNsbv0joj3x8i4tycKPZoUnMpIsgeEo7fQOz06quELoQWwq1SsbYFSRnDeVYfN7E6_FikfuMq3DgEZeG74rY-li_Aq4ZHALTB4K14TiJqoUTFlL4RjuGG-o_1iPhUco/s1600/blogWillieSpace1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" target="_blank"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5714445957375340530" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr1uRrXM3aM0UtoNsbv0joj3x8i4tycKPZoUnMpIsgeEo7fQOz06quELoQWwq1SsbYFSRnDeVYfN7E6_FikfuMq3DgEZeG74rY-li_Aq4ZHALTB4K14TiJqoUTFlL4RjuGG-o_1iPhUco/s320/blogWillieSpace1.jpg" style="cursor: pointer; display: block; height: 8px; margin: 0px auto 10px; text-align: center; width: 200px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5D685Pg2omxH0hLV5979Su4TjPJfTRqmZecIQek6NX6Fy0sfA6Ustc1A28UZqxEQgh2N3n2mJ6LxM73DVm0J-5JosfOy33Nm4WAjLg1D60DVEwoEa7mswjLGzvumFZBf7g_KbsUtcXLY/s1600/zPLonghair_00001%255B5%255D.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" target="_blank"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5713657855279188578" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5D685Pg2omxH0hLV5979Su4TjPJfTRqmZecIQek6NX6Fy0sfA6Ustc1A28UZqxEQgh2N3n2mJ6LxM73DVm0J-5JosfOy33Nm4WAjLg1D60DVEwoEa7mswjLGzvumFZBf7g_KbsUtcXLY/s200/zPLonghair_00001%255B5%255D.jpg" style="cursor: pointer; float: left; height: 179px; margin: 0pt 10px 10px 0pt; width: 180px;" /></a>Aunque adoro a Jelly Roll, a Jack Dupree, a Fats Domino y a James Booker, naturalmente, cuando se trata de piano de Nueva Orleans, éste acaba siendo sin la menor duda mi <span style="font-style: italic;">disco de la isla desierta</span>. La presencia de Clarence Gatemouth Brown, que en más de un momento le saca chispas al <span style="font-style: italic;">fiddle</span> y a su Gibson <span style="font-style: italic;">repujada</span>, es la guinda del pastel. Y el confitero, maestro obrador, chef de lujo en la cuna de la gastronomía musical americana, ahí está, el irrepetible Henry Roeland Byrd, alias Professor Longhair, <span style="font-style: italic;">'Fess </span>para los amigos. El hombre que, sin pretensión alguna -más bien todo lo contrario, si atendemos a su nada deslumbrante biografía, trufada de toda clase de despropósitos y desventuras profesionales-, con un repertorio más que escueto, y con un estilo vocal cuanto menos 'poco serio', llegó e instauró para los restos la cátedra del piano moderno de Nueva Orleans con todas las mayúsculas. Sí, el Profesor llegó a cruzar el Atlántico en una ocasión, casi por casualidad -ahí está su magnífico <span style="font-style: italic;">Live In London</span>-, pero esta inmejorable sesión de 1974 no es europea: es más sureña que la sopa <span style="font-style: italic;">gumbo</span>, aunque la edición más elegante, para mi gusto, es precisamente la francesa, con esa soberbia portada de Jean Vern y un programa al que no falta ni sobra ni una pata de gamba. <span style="font-style: italic;">"The men call me Doctor Professor Longhair, but the women call me 'a little loving man'..."</span><br />
<br />
<div style="text-align: right;">
-Jay Bee Rodríguez</div>
<br />
<br />
<span style="font-style: italic;">01 - Junco Partner</span><br />
<span style="font-style: italic;">02 - Meet Me Tomorrow Night</span><br />
<span style="font-style: italic;">03 - Doin' It</span><br />
<span style="font-style: italic;">04 - How Long Has That Train Been Gone</span><br />
<span style="font-style: italic;">05 - Tipitina</span><br />
<span style="font-style: italic;">06 - Rockin' Pneumonia</span><br />
<span style="font-style: italic;">07 - Jambalaya (On The Bayou)</span><br />
<span style="font-style: italic;">08 - Mean Old World</span><br />
<span style="font-style: italic;">09 - Stag O Lee</span><br />
<span style="font-style: italic;">10 - Mess Around</span><br />
<span style="font-style: italic;">11 - Hey Now Baby</span><br />
<span style="font-style: italic;">12 - (They Call Me) Dr. Professor Longhair</span><br />
<br />
<br />
Henry Roeland Byrd; Roy Bird, Fess, A. K. A. Professor Longhair (piano, vocals),<br />
Clarence "Gatemouth" Brown (guitar, violin),<br />
Julius Farmer (bass),<br />
Edwin "Sheeba" Kimbraugh (drums),<br />
Alfred "Uganda" Roberts (conga).<br />
<br />
Additional personnel:<br />
Jerry Jumonville (baritone & tenor saxophones),<br />
Steve Madaio (trumpet).<br />
<br />
Recorded at Studio In The Country, Bogalusa, Louisiana<br />
on April 3-4, 1974.<br />
<br />
<br />
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...................................Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com4tag:blogger.com,1999:blog-7937155461817740410.post-75020476652707764242012-02-26T11:28:00.013-08:002012-03-05T03:36:52.585-08:00Willie Mabon: Cold Chilly Woman<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr1uRrXM3aM0UtoNsbv0joj3x8i4tycKPZoUnMpIsgeEo7fQOz06quELoQWwq1SsbYFSRnDeVYfN7E6_FikfuMq3DgEZeG74rY-li_Aq4ZHALTB4K14TiJqoUTFlL4RjuGG-o_1iPhUco/s1600/blogWillieSpace1.jpg" target="_blank"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px; height: 8px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr1uRrXM3aM0UtoNsbv0joj3x8i4tycKPZoUnMpIsgeEo7fQOz06quELoQWwq1SsbYFSRnDeVYfN7E6_FikfuMq3DgEZeG74rY-li_Aq4ZHALTB4K14TiJqoUTFlL4RjuGG-o_1iPhUco/s320/blogWillieSpace1.jpg" alt="" id="BLOGGER_PHOTO_ID_5714445957375340530" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_DRx5QgPzofNanVBe6yAc9FzJr7pV6tnvG9mH42sUKWSkOHEaIoNJ-OzrgOL9g56VSH5E_H_Ckq_YolZOsdf4-u_4_WSBtyZDze4x83YtBxFuVXe0XbtpZpS0b94xm3DBHmrrVdpJ1yM/s1600/Willie+Mabon+-+1972+-+Cold+Chilly+Woman+%2528Vinilo%2529.jpg" target="_blank"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 157px; height: 159px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_DRx5QgPzofNanVBe6yAc9FzJr7pV6tnvG9mH42sUKWSkOHEaIoNJ-OzrgOL9g56VSH5E_H_Ckq_YolZOsdf4-u_4_WSBtyZDze4x83YtBxFuVXe0XbtpZpS0b94xm3DBHmrrVdpJ1yM/s200/Willie+Mabon+-+1972+-+Cold+Chilly+Woman+%2528Vinilo%2529.jpg" alt="" id="BLOGGER_PHOTO_ID_5713657953175598850" border="0" /></a>Aunque haya quedado para los anales sólo como uno de tántos bluesmen de un único éxito -<span style="font-style: italic;">I Don't Know</span>, grabado para Chess en 1952-, Willie Mabon merece ser recordado como un excelente ejemplo de la tradición pianística que fundaron Leroy Carr y Big Maceo, actualizada en los 40 y 50 por Charles Brown y Ray Charles fundamentalmente. Un músico que, sin duda, mereció mejor suerte, pues ya a finales de los años 60 hubo de retirarse de la escena profesional para ganarse la vida como camionero, y sólo encontró su hueco en el exilio durante algunos años, falleciendo en Paris en 1985, apenas cumplidos los 60 de edad. Esta sesión intimista de 1972 en formato de trío es, en mi opinión, su mejor legado.<br />No tenemos aquí las revisiones de viejos éxitos propios o ajenos que deslucen en parte el resto de su discografía, y podemos disfrutar a placer de esa curiosa melange de tradición y sofisticación que le caracteriza, su contundente juego pianístico y ése inconfundible e irónico saborcillo<span style="font-style: italic;"> down-home</span> a lo Jimmy Reed, de quien probablemente tomó la idea de añadir la armónica. Feliz idea, por cierto. Disfruten del estilo, a la vez insólito y familiar, del único pianista-armonicista de la Historia del Blues.<br /><br /><div style="text-align: right; font-style: italic;">-Jay Bee Rodríguez<br /></div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsHEI4203TOcgLC6naVWh9jiYFDgWCuhP9otUOmHP4pDu-RzYszG1smobqaeckrWlb-mYYLFcZtc5Ri23ulc0kMZ3EG9M8NQHZWo5k6sMXusHJr-HLmac9dDsdR9Dk8Eall7cVUfv2uwU/s1600/willie63h.jpg" target="_blank"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 319px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsHEI4203TOcgLC6naVWh9jiYFDgWCuhP9otUOmHP4pDu-RzYszG1smobqaeckrWlb-mYYLFcZtc5Ri23ulc0kMZ3EG9M8NQHZWo5k6sMXusHJr-HLmac9dDsdR9Dk8Eall7cVUfv2uwU/s320/willie63h.jpg" alt="" id="BLOGGER_PHOTO_ID_5714445521774618178" border="0" /></a><br /><span style="font-style: italic;">01.'Round for You</span> <span style="font-style: italic;"><br />02.Baby Why Don't You Write to Me</span> <span style="font-style: italic;"><br />03.Michelle</span> <span style="font-style: italic;"><br />04.Guilty Blues</span> <span style="font-style: italic;"><br />05.Lucinda</span> <span style="font-style: italic;"><br />06.Why Did It Happen To Me</span> <span style="font-style: italic;"><br />07.Cold Chilly Woman</span> <span style="font-style: italic;"><br />08.Blue Piano in Bordeaux</span> <span style="font-style: italic;"><br />09.Shakin' The Boogie</span><br /><br /><br /><a href="http://uploadmirrors.com/download/0UJYRQRS/Willie_Mabon_-_Cold_Chilly_Woman.rar" target="_blank"><span style="font-weight: bold;">hotjazzandcoolblues</span></a><br /><br />...................................Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com1tag:blogger.com,1999:blog-7937155461817740410.post-24459906671852328452012-02-22T12:04:00.017-08:002012-12-05T08:15:27.639-08:00The Very Best of Otis Spann<img alt="" border="0" id="BLOGGER_PHOTO_ID_5567098427054085954" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoVXUseNjh-6xein61mqrB6AdCVMo5WkFIoJK0f4xW5lvkKDdZdYxJOp6oGe2zpvict2-UMj0PvrhbyuIH6VHR8wIgbuRCAYUCqS751bmUMF4g8yLoASEHte9ssGU409wO8jwOLd9nlNc/s200/blogWillieSpace1.jpg" style="display: block; height: 15px; margin: 0px auto 10px; text-align: center; width: 391px;" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYHPLvwTcsk2CamgBZnmEeYwI7O7AnI7V4tZdM-ZCja0OL_NCXmgVr9PO4NAeeNv_6ZsZrF_19yRse-TPd0lR2PMCojwnxGdBCzborpEZ0zuieDyc5Z4TCoTBpifo7k0XWkzsiOkR6Vws/s1600/CD-OSpannBest.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" target="_blank"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5712062990064746194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYHPLvwTcsk2CamgBZnmEeYwI7O7AnI7V4tZdM-ZCja0OL_NCXmgVr9PO4NAeeNv_6ZsZrF_19yRse-TPd0lR2PMCojwnxGdBCzborpEZ0zuieDyc5Z4TCoTBpifo7k0XWkzsiOkR6Vws/s200/CD-OSpannBest.jpg" style="cursor: pointer; float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 168px;" /></a>This is my own 'best of' compilation of one of the greatest blues piano player ever, Otis Spann, famous by his work with the <span style="font-family: Courier New;">M</span>uddy Waters blues band -he did some superb recordings with Lonnie Johnson and Sonny Boy Williamson II in Europe too- , but a sensational bluesman in his own right. I've enclosed some of his very best boogie and mid-tempo instrumentals and of course also some of his soulfulest vocals ever, from the 1960 Candid sessions with Robert Jr Lockwood, to some of his gems for Bluesway, Vanguard and Testament Records, plus a marvelous single with harp master Big Walter Horton. As a bonus -as '<span style="font-style: italic;">half ain't been told</span>'- I've added a full Storyville album too, some of his very best solo stuff, <span style="font-style: italic;">Blues </span><span style="font-style: italic;">Masters Vol. 10 - Otis Spann,</span> recorded in Denmark in 1963. Pure blues mastery.<br />
<br />
<div style="text-align: right;">
<span style="font-style: italic;">-Jay Bee Rodríguez</span><br />
<br /></div>
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAGqnD5_Z1BAekfkJAx-FbPZBi0WEu0U5Jw5NprgN7fX4t_pVoyoeL4XUal3JCt1LraxHI8UPSFfghtUr0-m-ohwq2W_fA9Pnycotw0k_8ZGjAR5oc6Pq6xtWTO-JS9_zyeKEU7xL1gm0/s1600/spann.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" target="_blank"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5712063274186219154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAGqnD5_Z1BAekfkJAx-FbPZBi0WEu0U5Jw5NprgN7fX4t_pVoyoeL4XUal3JCt1LraxHI8UPSFfghtUr0-m-ohwq2W_fA9Pnycotw0k_8ZGjAR5oc6Pq6xtWTO-JS9_zyeKEU7xL1gm0/s320/spann.jpg" style="cursor: pointer; display: block; height: 262px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a><br />
<span style="font-weight: bold;">The Best of Otis Spann</span><br />
<br />
<span style="font-style: italic;">01. Candid_1-01 - Can't Stand Your Evil Ways (tk 2)_C</span><br />
<span style="font-style: italic;">02. Candid_1-04 - Walkin' The Blues.(1960)_C</span><br />
<span style="font-style: italic;">03. Candid_1-05 - Otis In The Dark_E</span><br />
<span style="font-style: italic;">04. Candid_1-06 - This Is The Blues_D</span><br />
<span style="font-style: italic;">05. Candid_1-07 - Worried Life Blues_C</span><br />
<span style="font-style: italic;">06. Candid_1-08 - Cow Cow Blues_Bb</span><br />
<span style="font-style: italic;">07. Candid_1-09 - Beat-Up Team_E</span><br />
<span style="font-style: italic;">08. Candid_1-11 - My Home Is On The Delta_G</span><br />
<span style="font-style: italic;">09. Candid_1-12 - It Must Have Been The Devil_A</span><br />
<span style="font-style: italic;">10. Candid_2-10 - Otis' Blues_A</span><br />
<span style="font-style: italic;">11. Candid_2-11 - Half Ain't Been Told_Am</span><br />
<span style="font-style: italic;">12. Candid_2-12 - Can't Stand Your Evil Ways (take 4)</span><br />
<span style="font-style: italic;">13. TheBluesOf - I_Got_A_Feeling (1964)_G</span><br />
<span style="font-style: italic;">14. TheBluesOf - Keep_Your_Hand_Out_D</span><br />
<span style="font-style: italic;">15. TheBluesOf - Lost_Sheep_In_The_Fold_C</span><br />
<span style="font-style: italic;">16. TheBluesOf - Meet_Me_In_The_Bottom_G</span><br />
<span style="font-style: italic;">17. TheBlueswayRec - Diving Duck_C</span><br />
<span style="font-style: italic;">18. TheBlueswayRec - Nobody Knows Chicago_G</span><br />
<span style="font-style: italic;">19. Vanguard - Marie (1967)_C</span><br />
<span style="font-style: italic;">20. Vanguard - S.P. Blues_F</span><br />
<span style="font-style: italic;">21. Vanguard - Spann's Stomp</span><br />
<span style="font-style: italic;">22. wBigWalter - Bloody Murder_D </span><br />
<span style="font-style: italic;">23. wBigWalter - G.B. Blues (Testament)</span><br />
<span style="font-style: italic;">24. Testament_05. You Can't Hide (1969)_C</span><br />
<span style="font-style: italic;">25. Testament_08. Vicksburg Blues_F</span><br />
<span style="font-style: italic;">26. Testament_11. See See Rider_Bb</span><br />
<span style="font-style: italic;">27. Testament_Mr. Jelly Roll Baker_D</span><br />
<br />
<a href="https://rapidshare.com/files/2747154561/Best%20Of%20Otis%20Spann(2010).rar" target="_blank"><b>hotjazzandcoolblues</b></a><br />
<br />
<br />
<span style="font-weight: bold;">The Blues </span><span style="font-weight: bold;">M</span><span style="font-weight: bold;">asters vol.10 - Otis Spann</span><br />
<br />
<span style="font-style: italic;">01. Good Morning Mr. Blues</span><br />
<span style="font-style: italic;">02. Love, Love, Love</span><br />
<span style="font-style: italic;">03. Riverside Blues</span><br />
<span style="font-style: italic;">04. Must Have Been The Devil</span><br />
<span style="font-style: italic;">05. Jelly Roll Baker</span><br />
<span style="font-style: italic;">06. Trouble In Mind</span><br />
<span style="font-style: italic;">07. Worried Life Blues</span><br />
<span style="font-style: italic;">08. T.B. Blues</span><br />
<span style="font-style: italic;">09. Don't You Know</span><br />
<span style="font-style: italic;">10. Goin' Down Slow</span><br />
<span style="font-style: italic;">11. The Skies Are Blue</span><br />
<span style="font-style: italic;">12. Keep Your Hands Out Of My Pocket</span><br />
<span style="font-style: italic;">13. Boots and Shoes </span><br />
<br />
<a href="http://uploadmirrors.com/download/OZMB3I8D/Otis_Spann_-_Blues_Masters__Vol._10.rar" target="_blank">hotjazzandcoolblues</a><br />
<br />
............................Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com2tag:blogger.com,1999:blog-7937155461817740410.post-16023504438922750222012-02-15T06:50:00.015-08:002012-12-05T11:40:49.347-08:00Recent updates...Updated by now...<br />
<br />
<a href="https://rapidshare.com/#!download|209p6|3189847194|Jay%20Bee%20Rodriguez%20-%20Some%20Hot%20Blues%20Harp%20%28Otis%20Spain%20Records%29.rar|89408|0|0" target="_blank"><span style="font-weight: bold;">Some Hot Blues Harp - Jay Bee Rodriguez</span></a><br />
<br />
<a href="https://rapidshare.com/files/2004030437/The%20Story%20of%20the%20Blues.zip" target="_blank"><span style="font-weight: bold;">VA - Story of the Blues, Paul Oliver's Db LP anthology</span></a><br />
<br />
<a href="http://uploadmirrors.com/download/1XWMDAG2/The_Story_of_The_Blues__Vol_2_.rar"><span style="font-weight: bold;">VA - Story of the Blues, vol.2</span></a><br />
<a href="http://uploadmirrors.com/download/RHB10TBS/sie_Smith_-_1The_World_Greatest_Blues_Singer.rar"><br /><span style="font-weight: bold;">Bessie Smith - The World's Greatest Blues Singer</span></a><br />
<br />
<div style="text-align: left;">
<a href="http://uploadmirrors.com/download/77YT10IZ/Ruby_Braf___Ralph_Sutton_-_R___R.rar"><span style="font-weight: bold;">Ruby Braf and Ralph Sutton - R & R</span></a><br />
<br />
<a href="http://hotjazzandcoolblues.blogspot.com/2011/11/king-olivers-orchestra-1929-1930.html"><span style="font-weight: bold;">King Oliver: 1929-1930 Db CD</span></a><br />
<br />
<div style="text-align: center;">
<div style="font-weight: bold; text-align: left;">
<a href="http://uploadmirrors.com/download/060OS4GE/Bix-Singin__the_blues_1927_.rar">Bix Beiderbecke: Singin' The Blues (1927)</a></div>
<br />
<div style="text-align: left;">
<a href="https://rapidshare.com/files/802012991/Jabbo%20Smith%20-%201928-1929_128.rar" target="_blank"><span style="font-weight: bold;">Jabbo Smith: Chronological 1929-1938</span></a></div>
<br />
<div style="text-align: left;">
<a href="http://hotjazzandcoolblues.blogspot.com/2011/03/randy-sandke-meets-bix-beiderbecke.html"><span style="font-weight: bold;">Randy Sandke: Meets Bix beiderbecke</span></a></div>
<br />
<div style="text-align: left;">
<a href="http://hotjazzandcoolblues.blogspot.com/2011/11/scott-joplin-ragtime-classics.html"><span style="font-weight: bold;">Scott Joplin: Ragtime Classics</span></a></div>
<br />
<div style="text-align: left;">
<a href="http://hotjazzandcoolblues.blogspot.com/2010/05/alberta-hunter-bessie-tucker-victoria.html"><span style="font-weight: bold;">Albert Hunter, Bessie Tucker a.o. - Better Boot That Thing</span></a></div>
<br />
<div style="text-align: left;">
<a href="http://uploadmirrors.com/download/0GF3KHLN/Doctor_Clayton___His_Buddy_-_1935_1947.rar"><span style="font-weight: bold;">Doctor Clayton & His Buddy: 1935-1947</span></a></div>
<br />
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Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com0tag:blogger.com,1999:blog-7937155461817740410.post-33648874043727066052011-11-28T17:28:00.001-08:002012-12-07T18:28:02.690-08:00Scott Joplin: Ragtime Classics<img alt="" border="0" id="BLOGGER_PHOTO_ID_5567098427054085954" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoVXUseNjh-6xein61mqrB6AdCVMo5WkFIoJK0f4xW5lvkKDdZdYxJOp6oGe2zpvict2-UMj0PvrhbyuIH6VHR8wIgbuRCAYUCqS751bmUMF4g8yLoASEHte9ssGU409wO8jwOLd9nlNc/s200/blogWillieSpace1.jpg" style="display: block; height: 15px; margin: 0px auto 10px; text-align: center; width: 391px;" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpC5KcURqM05IAw2zOs7NySnW7ehNv9BE7utu44GV551E9wnjvmw6UeMYsJqPiacsMkJ_0mWxAkRWV3zSM0DSz71e5XyvdMaESqr9alw-pAfOyqM4EAXRkLroH14SbpLYHyAWpP7psMMc/s1600/ragscott.jpg" target="_blank"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5680225696945245346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpC5KcURqM05IAw2zOs7NySnW7ehNv9BE7utu44GV551E9wnjvmw6UeMYsJqPiacsMkJ_0mWxAkRWV3zSM0DSz71e5XyvdMaESqr9alw-pAfOyqM4EAXRkLroH14SbpLYHyAWpP7psMMc/s200/ragscott.jpg" style="cursor: pointer; float: left; height: 111px; margin: 0pt 10px 10px 0pt; width: 111px;" /></a>Un poco atronadora la toma de sonido en esta "anónima" versión de una buena parte de los clásicos del rey del Ragtime. Pero, en fin, <span style="font-style: italic;">son todos los que están</span> y, como introducción, pues bueno, podría servir. Más cositas de ragtime en próximos posts.<br />
<div style="font-style: italic; text-align: right;">
-Jay Bee Rodríguez</div>
<br />
Scott Joplin (ca. 1867 – April 1, 1917) was an American composer and pianist. Joplin achieved fame for his ragtime compositions, and was later dubbed "The King of Ragtime". During his brief career, Joplin wrote 44 original ragtime pieces, one ragtime ballet, and two operas. One of his first pieces, the "Maple Leaf Rag", became ragtime's first and most influential hit, and has been recognized as the archetypal rag.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdOKOhVHSPuVcZzGYs-HJ_SmNxnQ1uGpf8DOIv80_qzXKrOn6FtNFlxUUSO-l0bHJ22NAgCNk4agSLh8tFvtp1vDyl0rD-AFLCY1lG8Gy-teYJUzbbl8ehSQFIJmK4IzEwQMWMO_rBfTg/s1600/ragmapeleaf.jpg" target="_blank"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5680225979059691314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdOKOhVHSPuVcZzGYs-HJ_SmNxnQ1uGpf8DOIv80_qzXKrOn6FtNFlxUUSO-l0bHJ22NAgCNk4agSLh8tFvtp1vDyl0rD-AFLCY1lG8Gy-teYJUzbbl8ehSQFIJmK4IzEwQMWMO_rBfTg/s320/ragmapeleaf.jpg" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 259px;" /></a><br />
Joplin was born into a musical African American family of laborers in Northeast Texas, and developed his musical knowledge with the help of local teachers. During the late 1880s he travelled around the American South as an itinerant musician, and went to Chicago for the World's Fair of 1893 which played a major part in making ragtime a national craze by 1897.<br />
Publication of his "Maple Leaf Rag" in 1899 brought him fame and had a profound influence on subsequent writers of ragtime. It also brought the composer a steady income for life with royalties of one cent per sale, equivalent to 26 cents per sale in current value.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_gqDLDx1e5qEzZ0zkkSdHGN2i9Xr95xugt1Xt7uokqagiHKA5uMmcRYxd_A40dVfRs1Nd8C5aAeBM3Wxfer_CW07OYb9GcDzv4XP5ccx_-E-xP5sGNeI61NbH-lTk4uHvHlU9AKUNEds/s1600/ragscott-joplin-ragtime.jpg" target="_blank"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5680225509026784370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_gqDLDx1e5qEzZ0zkkSdHGN2i9Xr95xugt1Xt7uokqagiHKA5uMmcRYxd_A40dVfRs1Nd8C5aAeBM3Wxfer_CW07OYb9GcDzv4XP5ccx_-E-xP5sGNeI61NbH-lTk4uHvHlU9AKUNEds/s200/ragscott-joplin-ragtime.jpg" style="cursor: pointer; float: left; height: 149px; margin: 0pt 10px 10px 0pt; width: 152px;" /></a>During his lifetime, Joplin did not reach this level of success again and frequently had financial problems, which contributed to the loss of his first opera, A Guest of Honor. He continued to write ragtime compositions, and moved to New York in 1907. He attempted to go beyond the limitations of the musical form which made him famous, without much monetary success. His second opera, Treemonisha, was not received well at its partially staged performance in 1915. He died from complications of tertiary syphilis in 1917.<br />
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Joplin's music was rediscovered and returned to popularity in the early 1970s with the release of a million-selling album of Joplin's rags recorded by Joshua Rifkin, followed by the Academy Award–winning movie The Sting which featured several of his compositions, such as "The Entertainer". The opera Treemonisha was finally produced in full to wide acclaim in 1972. In 1976, Joplin was posthumously awarded a Pulitzer Prize.<br />
<div style="text-align: right;">
<span style="font-style: italic;">(Wikipedia)</span><br />
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<div style="text-align: left;">
<span style="font-style: italic;">01.Bethena</span><br />
<span style="font-style: italic;">02.Euphonic Sounds</span> <span style="font-style: italic;"><br />03.Fig Leaf Rag</span> <span style="font-style: italic;"><br />04.Gladiolus Rag</span><br />
<span style="font-style: italic;">05.Heliotrope Bouquet</span> <span style="font-style: italic;"><br />06.Maple Leaf Rag</span> <span style="font-style: italic;"><br />07.Pine Apple Rag</span> <span style="font-style: italic;"><br />08.The Ragtime Dance</span> <span style="font-style: italic;"><br />09.Scott Joplin's New Rag</span> <span style="font-style: italic;"><br />10.Solace: A Mexican Serenade</span> <span style="font-style: italic;"><br /></span><span style="font-style: italic;">11.Stoptime Rag</span> <span style="font-style: italic;"><br />12.Sunflower Slow Drag</span> <span style="font-style: italic;"><br />13.Swipesy</span> <span style="font-style: italic;"><br />14.The Cascades</span> <span style="font-style: italic;">15.The Easy Winners</span> <span style="font-style: italic;"><br />16.The Entertainer</span><span style="font-style: italic;"><br /></span><span style="font-style: italic;">17.A Breeze from Alabama</span> <span style="font-style: italic;"><br />18.Antoinette</span> <span style="font-style: italic;"><br />19.Binks' Waltz</span> <span style="font-style: italic;"><br />20.Combination March</span> <span style="font-style: italic;"><br />21.Eugenia</span> <span style="font-style: italic;"><br />22.Felicity Rag</span> <span style="font-style: italic;"><br />23.Original Rags</span> <span style="font-style: italic;"><br />24.Palm Leaf</span> <span style="font-style: italic;">25.Paragon Rag</span> <span style="font-style: italic;"><br />26.Search-Light Rag</span> <span style="font-style: italic;"><br />27.Sensation</span> <span style="font-style: italic;"><br />28.Sugar Cane</span> <span style="font-style: italic;"><br />29.The Great Crush Collision</span> <span style="font-style: italic;"><br />30.The Favorite</span> <span style="font-style: italic;"><br />31.The Nonpareil</span><br />
<span style="font-style: italic;">32.The Strenuous Life</span> <span style="font-style: italic;"><br />33.Wall Street Rag</span><br />
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<a href="http://www.mirrorcreator.com/files/0XLVP8YD/SJoplin_-_Ragtime_Classics_2CDs.rar" target="_blank"><span style="font-weight: bold;">hotjazzandcoolblues</span></a><br />
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Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com1tag:blogger.com,1999:blog-7937155461817740410.post-65002522439299548842011-11-05T13:42:00.001-07:002012-07-28T12:47:50.939-07:00King Oliver and his Orchestra, 1929-1930<img alt="" border="0" id="BLOGGER_PHOTO_ID_5567098427054085954" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoVXUseNjh-6xein61mqrB6AdCVMo5WkFIoJK0f4xW5lvkKDdZdYxJOp6oGe2zpvict2-UMj0PvrhbyuIH6VHR8wIgbuRCAYUCqS751bmUMF4g8yLoASEHte9ssGU409wO8jwOLd9nlNc/s200/blogWillieSpace1.jpg" style="display: block; height: 15px; margin: 0px auto 10px; text-align: center; width: 391px;" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfM2_F7d-K-ng9LynsAaslo_Oz-10MZidQLgvSG4KGinhO0encssPIbqn6x2RxnOL8hThAU4dnv9AWXOHGuTax5AUftTRWmaPOD5J3En4xG18JaliUaMrUDLv75v8LdEo14cCOy5Xg2AA/s1600/cover.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" target="_blank"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5657009077536330978" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfM2_F7d-K-ng9LynsAaslo_Oz-10MZidQLgvSG4KGinhO0encssPIbqn6x2RxnOL8hThAU4dnv9AWXOHGuTax5AUftTRWmaPOD5J3En4xG18JaliUaMrUDLv75v8LdEo14cCOy5Xg2AA/s200/cover.jpg" style="cursor: pointer; float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 200px;" /></a>Otra recopilación impecable avalada por el buen hacer del ingeniero John RT Davies que -es opinión ya muy extendida- hizo un servicio a los clásicos <span style="font-style: italic;">hot</span> de los años 20 mucho más adecuado que el de las propias compañías oficiales americanas. Se trata de grabaciones de la orquesta de King Oliver fechadas entre enero de 1929 y septiembre de 1930, donde pese al deterioro de su salud (y también de su carrera profesional) el maestro deja aún abundantes pruebas de su dominio de la trompeta ("Sweet Like This", "Nelson Stomp", "What You Want Me To Do", "Too Late"), acompañado por algunos de los más reputados músicos de aquellos años: los trompetistas Louis Metcalf, Punch Miller,Red Allen y Bubber Miley; los trombonistas Jimmy Archey y Clyde Bernhardt; los saxofonistas Teddy Hill, Charlie Holmes y Omer Simeon; los pianistas James P. Johnson y Louis Russell, entre otros.<br />
Algo más de la mitad de estas grabaciones aparecieron hace años en un doble álbum RCA, pero amén de la superioridad sonora, aquí tenemos también la totalidad de las tomas alternas, incluida la rarísima tercera toma de "Nelson Stomp", ordenadas, por cierto, todas en el segundo disco para mayor comodidad. Algunos trabajos orquestales francamente insuperables en composiciones propias ("Too Late", "I Must Have It", "You're Just My Type"), y también alguna que otra magnífica versión de clásicos muy conocidos ("St James Infirmary", "Frankie And Johnny"), en el que resulta probablemente, junto a la recopilación de sus grabaciones de 1923, el testamento sonoro definitivo del maestro de Nueva Orleans.<br />
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<div style="text-align: right;">
<span style="font-style: italic;">-Jay Bee Rodríguez</span></div>
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<br />
Disco 1:<br />
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<span style="font-style: italic;">01. West End Blues 3:32 </span><br />
<span style="font-style: italic;">02. I've Got That Thing 3:23 </span><br />
<span style="font-style: italic;">03. Freakish Light Blues 3:08 </span><br />
<span style="font-style: italic;">04. Call Of The Freaks 3:21 </span><br />
<span style="font-style: italic;">05. The Trumpet's Prayer 3:12 </span><br />
<span style="font-style: italic;">06. Can I Tell You? 3:09 </span><br />
<span style="font-style: italic;">07. My Good Man Sam 2:55 </span><br />
<span style="font-style: italic;">08. What Do You Want Me To Do? 3:11 </span><br />
<span style="font-style: italic;">09. Sweet Like This 3:26 </span><br />
<span style="font-style: italic;">10. Too Late 3:10 </span><br />
<span style="font-style: italic;">11. I'm A Lonesome Sweetheart 2:44 </span><br />
<span style="font-style: italic;">12. Want You Just Myself 2:54 </span><br />
<span style="font-style: italic;">13. I Can't Stop Loving You 2:50 </span><br />
<span style="font-style: italic;">14. Everybody Does It In Hawaii 3:04 </span><br />
<span style="font-style: italic;">15. Frankie And Johnny 3:07 </span><br />
<span style="font-style: italic;">16. New Orleans Shout 2:39 </span><br />
<span style="font-style: italic;">17. St. James Infirmary 3:39 </span><br />
<span style="font-style: italic;">18. When You're Smiling 3:21 </span><br />
<span style="font-style: italic;">19. I Must Have It 2:54 </span><br />
<span style="font-style: italic;">20. Rhythm Club Stomp (Cursihip Glide) 2:54 </span><br />
<span style="font-style: italic;">21. You're Just My Type 2:26 </span><br />
<span style="font-style: italic;"> </span><br />
<br />
Disco 2:<br />
<br />
<span style="font-style: italic;">01. West End Blues (alt.) 3:35 </span><br />
<span style="font-style: italic;">02. I've Got That Thing (alt.) 3:22 </span><br />
<span style="font-style: italic;">03. Freakish Light Blues (alt.) 3:10 </span><br />
<span style="font-style: italic;">04. Call Of The Freaks (alt.) 3:16 </span><br />
<span style="font-style: italic;">05. The Trumpet's Prayer (alt.) 3:11 </span><br />
<span style="font-style: italic;">06. Can I Tell You? (alt.) 3:09 </span><br />
<span style="font-style: italic;">07. My Good Man Sam (alt.) 2:50 </span><br />
<span style="font-style: italic;">08. Everybody Does It In Hawaii (alt.) 2:52 </span><br />
<span style="font-style: italic;">09. Frankie And Johnny (alt.) 3:08 </span><br />
<span style="font-style: italic;">10. Edna 2:41 </span><br />
<span style="font-style: italic;">11. Boogie Woogie 3:08 </span><br />
<span style="font-style: italic;">12. Mule Face Blues 2:56 </span><br />
<span style="font-style: italic;">13. Struggle Buggy 3:00 </span><br />
<span style="font-style: italic;">14. Don' You Think I Love You? 2:48 </span><br />
<span style="font-style: italic;">15. Olga 3:25 </span><br />
<span style="font-style: italic;">16. Shake It And Break It 2:32 </span><br />
<span style="font-style: italic;">17. Stingaree Blues 3:12 </span><br />
<span style="font-style: italic;">18. What's The Use Of Living Without Love? 3:25 </span><br />
<span style="font-style: italic;">19. You Were Only Passing Time With Me 2:56 </span><br />
<span style="font-style: italic;">20. Nelson Stomp 1 3:09 </span><br />
<span style="font-style: italic;">21. Nelson Stomp 2 3:11 </span><br />
<span style="font-style: italic;">22. Nelson Stomp 3 3:10 </span><br />
<span style="font-style: italic;">23. Stealing Love 3:20 </span><br />
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<span style="font-weight: bold;"><a href="http://uploadmirrors.com/download/2BNR7H55/King_Oliver_-_1929-30_JSP_Db.part1.rar">part 1</a> - <a href="http://uploadmirrors.com/download/7L9AD3IM/King_Oliver_-_1929-30_JSP_Db.part2.rar">part 2</a> - <a href="http://uploadmirrors.com/download/LADEQXHT/King_Oliver_-_1929-30_JSP_Db.part3.rar">part 3</a></span><br />
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<div style="text-align: center;">
<span style="font-size: small;"><b>King Oliver's <i>"I Must Have It" </i>(1930) on guitar</b></span></div>
<div style="text-align: center;">
<b>by</b> Jay Bee Rodríguez<br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxt799tXKFtUnr2vHOhmKurD2wgBTefSs78X5O8InkfjxoWldfdXo_Vey2e0nLQSWF9oRh0o1Z--u-eKzA6Jg' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com0tag:blogger.com,1999:blog-7937155461817740410.post-78436254683645479282011-09-27T08:00:00.001-07:002012-02-26T12:40:30.238-08:00Cornet and Piano duos: Ruby Braff & Ralph Sutton<img style="margin: 0px auto 10px; text-align: center; width: 391px; display: block; height: 15px;" id="BLOGGER_PHOTO_ID_5567098427054085954" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoVXUseNjh-6xein61mqrB6AdCVMo5WkFIoJK0f4xW5lvkKDdZdYxJOp6oGe2zpvict2-UMj0PvrhbyuIH6VHR8wIgbuRCAYUCqS751bmUMF4g8yLoASEHte9ssGU409wO8jwOLd9nlNc/s200/blogWillieSpace1.jpg" border="0" /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHJMuFYZWqoZ-tLjOYEZP9u7TicDGEAabW2CsFbdLOK-AuTFq8KutMw0QkdNO2BVYljjtnVPJBrPi5sVnfQIr8nq1-fuA3jPsKDb2lP1FRWgUAKCf9N273tk2IYjRUDA-JtaTcZPGT4OI/s1600/SS500_.jpg" target="_blank"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHJMuFYZWqoZ-tLjOYEZP9u7TicDGEAabW2CsFbdLOK-AuTFq8KutMw0QkdNO2BVYljjtnVPJBrPi5sVnfQIr8nq1-fuA3jPsKDb2lP1FRWgUAKCf9N273tk2IYjRUDA-JtaTcZPGT4OI/s200/SS500_.jpg" alt="" id="BLOGGER_PHOTO_ID_5657057700447083442" border="0" /></a>During 1979-1981, the great stride pianist Ralph Sutton recorded an extensive series of albums for the tiny Chaz label. Included in the releases were a quartet set with cornetist Ruby Braff, bassist Jack Lesberg, and drummer Gus Johnson, and a duet project with Braff. All of the Sutton dates were elusive and out of print for years, until Chiaroscuro began reissuing some of these valuable sets. Braff and Sutton both had the knack of hinting at earlier greats while still sounding very much like themselves. In fact, those who are familiar with the cornetist will have no trouble identifying him within a few notes. Among the songs that are happily swung are such gems as "Shoe Shine Boy," "You Can Depend on Me," "Sunday," "I Would Do Anything for You". While never wandering too far from the melodies, the two lead voices consistently come up with plenty of fresh ideas and always show their enthusiasm and affection for the vintage music. Easily recommended to fans of small-group swing and trad.<br /><div style="text-align: right;">-Scott Yanow<br /></div><br /><span style="font-style: italic;">01. Big Butter and Egg Man </span> <span style="font-style: italic;"><br />02. Royal Garden Blues </span> <span style="font-style: italic;"><br />03. I'm Crazy 'Bout My Baby </span> <span style="font-style: italic;"><br />04. Tain't Nobody's Bizness If I Do </span> <span style="font-style: italic;"><br />05. Sunday </span> <span style="font-style: italic;"><br />06. Between the Devil and the Deep Blue Sea</span> <span style="font-style: italic;"><br />07. Get Out and Get Under the Moon </span> <span style="font-style: italic;"><br />08. (I Would Do) Anything for You </span> <span style="font-style: italic;"><br />09. I Ain't Got Nobody </span> <span style="font-style: italic;"><br />10. Shoe Shine Boy </span> <span style="font-style: italic;"><br />11. I Believe In Miracles</span> <span style="font-style: italic;"><br />12. I've Found A New Baby</span> <span style="font-style: italic;"><br />13. Shine</span> (Quartet, vol. 3)<br /><span style="font-style: italic;">14. </span>Enrico Rava & Franco D'Andrea:<span style="font-style: italic;"> I'm Coming Virginia </span> <span style="font-style: italic;"> </span><br /><a href="http://uploadmirrors.com/download/77YT10IZ/Ruby_Braf___Ralph_Sutton_-_R___R.rar"><br /></a><a href="http://uploadmirrors.com/download/77YT10IZ/Ruby_Braf___Ralph_Sutton_-_R___R.rar" target="_blank"><span style="font-weight: bold;">hotjazzandcoolblues</span></a><br /><br />............................................Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com6tag:blogger.com,1999:blog-7937155461817740410.post-57716893227914088612011-09-27T03:19:00.000-07:002011-09-27T03:45:10.635-07:00The Legendary Sidney Bechet : 1932-1941<img style="margin: 0px auto 10px; text-align: center; width: 391px; display: block; height: 15px;" id="BLOGGER_PHOTO_ID_5567098427054085954" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoVXUseNjh-6xein61mqrB6AdCVMo5WkFIoJK0f4xW5lvkKDdZdYxJOp6oGe2zpvict2-UMj0PvrhbyuIH6VHR8wIgbuRCAYUCqS751bmUMF4g8yLoASEHte9ssGU409wO8jwOLd9nlNc/s200/blogWillieSpace1.jpg" border="0" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBPIQI5nmTKQmnGD1B4kFyMJWcQ_uD_icmC7NMVioKGTWimORhwVY2br5aiOAIxogZEC318Bj0flMNuxThjrP87eEa2qGwhId-JwftGjE86e9Iodw2gYAFDuL4zhvs1psRgsatsAYCuPE/s1600/Sidney-Bechet-Legendary-Sidney-Bechet.jpg" target="_blank"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 182px; height: 182px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBPIQI5nmTKQmnGD1B4kFyMJWcQ_uD_icmC7NMVioKGTWimORhwVY2br5aiOAIxogZEC318Bj0flMNuxThjrP87eEa2qGwhId-JwftGjE86e9Iodw2gYAFDuL4zhvs1psRgsatsAYCuPE/s200/Sidney-Bechet-Legendary-Sidney-Bechet.jpg" alt="" id="BLOGGER_PHOTO_ID_5656988108239632290" border="0" /></a>Temas correspondientes a 12 sesiones diferentes fechadas entre 1932 y 1941, uno de los mejores períodos en la carrera del primer maestro del saxo soprano. Bechet viene acompañado, entre otros, por Mezz Mezzrow (clt, alt), los pianistas Earl Hines y Jelly Roll Morton, los trompetistas Rex Stewart y Red Allen, y los bateristas Kenny Clarke, Sid Catlett, Zutty Singleton y Baby Dodds. Sonido impecable en una perfecta introducción a este gran maestro de Nueva Orleans, sobre un repertorio más que familiar a los aficionados al jazz tradicional.<br /><br /><div style="text-align: right;">- Jay Bee Rodríguez<br /></div><br /><br /><span style="font-style: italic;">- High Society</span><br /><span style="font-style: italic;">- Shake It and Break It</span><br /><span style="font-style: italic;">- When It’s Sleepy Time Down South</span><br /><span style="font-style: italic;">- Baby Won’t You Please Come Home</span><br /><span style="font-style: italic;">- Stompy Jones</span><br /><span style="font-style: italic;">- Indian Summer</span><br /><span style="font-style: italic;">- Blues in the Air</span><br /><span style="font-style: italic;">- Wild Man Blues</span><br /><span style="font-style: italic;">- Really the Blues</span><br /><span style="font-style: italic;">- Save It, Pretty Mama</span><br /><span style="font-style: italic;">- Weary Blues</span><br /><span style="font-style: italic;">- Sidney’s Blues</span><br /><span style="font-style: italic;">- The Sheik of Araby</span><br /><span style="font-style: italic;">- Muskrat Ramble</span><br /><span style="font-style: italic;">- The Mooche</span><br /><span style="font-style: italic;">- Maple Leaf Rag</span><br /><span style="font-style: italic;">- Strange Fruit</span><br /><span style="font-style: italic;">- Twelfth Street Rag</span><br /><span style="font-style: italic;">- I’ve Found a New Baby</span><br /><span style="font-style: italic;">- Mood Indigo</span><br /><span style="font-style: italic;">- I’m Coming Virginia</span><br /><span style="font-style: italic;">- What is This Thing Called Love</span><br /><br /><a href="http://www.megaupload.com/?d=32CO8613" target="_blank"><span style="font-weight: bold;">hotjazzandcoolblues</span></a><br /><br />..........................................Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com0tag:blogger.com,1999:blog-7937155461817740410.post-26341510174304611692011-09-03T14:42:00.000-07:002011-09-27T05:01:44.347-07:00Footage of Louis Armstrong in Denmark (1933)<img style="margin: 0px auto 10px; text-align: center; width: 391px; display: block; height: 15px;" id="BLOGGER_PHOTO_ID_5567098427054085954" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoVXUseNjh-6xein61mqrB6AdCVMo5WkFIoJK0f4xW5lvkKDdZdYxJOp6oGe2zpvict2-UMj0PvrhbyuIH6VHR8wIgbuRCAYUCqS751bmUMF4g8yLoASEHte9ssGU409wO8jwOLd9nlNc/s200/blogWillieSpace1.jpg" border="0" /><a href="http://www.youtube.com/user/OtisSpain#p/u/6/UZvqvNYJmC4" target="_blank"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 245px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg85LvbOmZYTwRM3bJ1Tqut-mCYm8-5pGd_27TOUYB8nJwGAz5M1y8REtFR6KefdJPTMaGpltBRnVa2pw2sUiO4Xc_svR6hJG5UIIlR-Dxuee6cXNWKHeTNs5m9djugcoyJ0QWtAtSSk7Q/s320/louis34.jpg" target="_blank" alt="" id="BLOGGER_PHOTO_ID_5648252844697561906" border="0" /></a><br />Incomparable documento gráfico y sonoro: el maestro en vivo en Copenhague a comienzos de los 30, interpretando con su orquesta "I Cover The Waterfront", "Dinah" y "Tiger Rag". Qué podemos decir, excepto... ¡bendito Youtube y bendita Internet, por permitirnos disfrutar y compartir cosas como ésta!<br /><br /><div style="text-align: center;"><a href="http://www.youtube.com/user/OtisSpain#p/u/6/UZvqvNYJmC4" target="_blank"><span style="font-style: italic;">http://www.youtube.com/watch?v=UZvqvNYJmC4</span></a><br /></div><br /><div style="text-align: center;">.......................................<br /></div>Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com0tag:blogger.com,1999:blog-7937155461817740410.post-78588041731853955242011-08-30T01:51:00.000-07:002012-12-04T04:13:57.440-08:00Louis Armstrong in digital stereo, Great Original Performances 1923-1931<img alt="" border="0" id="BLOGGER_PHOTO_ID_5567098427054085954" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoVXUseNjh-6xein61mqrB6AdCVMo5WkFIoJK0f4xW5lvkKDdZdYxJOp6oGe2zpvict2-UMj0PvrhbyuIH6VHR8wIgbuRCAYUCqS751bmUMF4g8yLoASEHte9ssGU409wO8jwOLd9nlNc/s200/blogWillieSpace1.jpg" style="display: block; height: 15px; margin: 0px auto 10px; text-align: center; width: 391px;" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC2GJg-BnCMI_ABB_N4O5dBXEySF2VUxfD06E5QqwIIe5TrRIUIjzau13WCazMGMEAEBD-Kir1gJAJn4PC_XI6g_k9S9KWSVBoUzVkVeEHja0KuV__gSn_jZ-nJ5iiRrOglRuIa5_KSAA/s1600/coverLouisianaH.jpg" target="_blank"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5646569877410893762" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC2GJg-BnCMI_ABB_N4O5dBXEySF2VUxfD06E5QqwIIe5TrRIUIjzau13WCazMGMEAEBD-Kir1gJAJn4PC_XI6g_k9S9KWSVBoUzVkVeEHja0KuV__gSn_jZ-nJ5iiRrOglRuIa5_KSAA/s200/coverLouisianaH.jpg" style="cursor: pointer; float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 198px;" /></a>Editado originalmente en formato LP en 1985 por cuenta de BBC Records (pero sólo con 16 temas) ésta es la edición digital de 1997 de la que resulta ser, para mucha gente, la mejor restauración sonora de las fundamentales grabaciones de Louis con sus Hot Five, Hot Seven y demás formaciones a finales de los años 20.
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O quizás, simplemente, la más asequible a oídos "modernos". En realidad, de ninguna manera cambiaría, personalmente, esta recopilación por la integral de cuatro CDs de JSP, pero el caso es que nada nos impide disfrutar <span style="font-style: italic;">también</span> de los controvertidos experimentos sonoros del ingeniero Robert Parker (y su "estéreo virtual"), habida cuenta de que los resultados son en algunos de los casos sinceramente espectaculares ("Willie The Weaper", "Potato Head Blues", "S.O.L. Blues", "Hotter Than That", "West End Blues"). Como lo es la propia música también, evidentemente. En realidad, y salvando solamente la ausencia de tres o cuatro temas que deberían ser inevitables en cualquier recopilación de este período ("Big Butter and Egg Man", "Cornet Chop Suey", "Weather Bird", "Beau Koo Jack"), yo diría que está muy cerca de ser la perfecta antología/introducción, en un sólo disco, del <span style="font-style: italic; font-weight: bold;">Evangelio del Jazz</span>.
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<div style="text-align: right;">
-Jay Bee Rodríguez
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<span style="font-style: italic;">01. Wild Man Blues</span> <span style="font-style: italic;">
<br />02. Snake Rag </span> <span style="font-style: italic;">
<br />03. Muskrat Ramble </span> <span style="font-style: italic;">
<br />04. Willie the Weeper </span> <span style="font-style: italic;">
<br />05. Alligator Crawl </span> <span style="font-style: italic;">
<br />06. Potato Head Blues </span> <span style="font-style: italic;">
<br />07. Melancholy Blues </span> <span style="font-style: italic;">
<br />08. Weary Blues </span> <span style="font-style: italic;">
<br />09. Twelfth Street Rag </span> <span style="font-style: italic;">
<br />10. Keyhole Blues </span> <span style="font-style: italic;">
<br />11. S.O.L. Blues </span> <span style="font-style: italic;">
<br />12. Gully Low Blues </span> <span style="font-style: italic;">
<br />13. That's When I'll Come Back to You </span> <span style="font-style: italic;">
<br />14. Ory's Creole Trombone </span> <span style="font-style: italic;">
<br />15. Struttin' With Some Barbecue </span> <span style="font-style: italic;">
<br />16. Hotter Than That </span> <span style="font-style: italic;">
<br />17. Symphonic Raps </span> <span style="font-style: italic;">
<br />18. West End Blues </span> <span style="font-style: italic;">
<br />19. Muggles </span> <span style="font-style: italic;">
<br />20. Save It, Pretty Mama </span> <span style="font-style: italic;">
<br />21. St. James Infirmary </span> <span style="font-style: italic;">
<br />22. Knockin' a Jug </span> <span style="font-style: italic;">
<br />23. St. Louis Blues </span> <span style="font-style: italic;">
<br />24. Lonesome Road </span>
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<a href="https://rapidshare.com/files/2387306111/Louis-Great.Orig.Perf.1923-31(hotjazzandcoolblues.blogspot.com).rar" target="_blank"><span style="font-weight: bold;">hotjazzandcoolblues</span></a>
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Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com3tag:blogger.com,1999:blog-7937155461817740410.post-394168503943831372011-08-30T01:41:00.001-07:002012-02-26T20:05:45.052-08:00Bix Beiderbecke - Singin' the Blues [1927]<img style="margin: 0px auto 10px; text-align: center; width: 391px; display: block; height: 15px;" id="BLOGGER_PHOTO_ID_5567098427054085954" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoVXUseNjh-6xein61mqrB6AdCVMo5WkFIoJK0f4xW5lvkKDdZdYxJOp6oGe2zpvict2-UMj0PvrhbyuIH6VHR8wIgbuRCAYUCqS751bmUMF4g8yLoASEHte9ssGU409wO8jwOLd9nlNc/s200/blogWillieSpace1.jpg" border="0" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJM-9LmP8EJDE2VnDshD2zEg-kioMsA1cNSr7urqthWQdtyCFKWdnZOjw6QpsuywC2iZLwS4RjXlLLjQYJrAwEas4Ehwkj62O1ros3ccLhbNIVzzFRnR1l1ZUo5Y6FYzqWoPXnrZIYT_c/s1600/beiderbecke-bix-78-l.jpg" target="_blank"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJM-9LmP8EJDE2VnDshD2zEg-kioMsA1cNSr7urqthWQdtyCFKWdnZOjw6QpsuywC2iZLwS4RjXlLLjQYJrAwEas4Ehwkj62O1ros3ccLhbNIVzzFRnR1l1ZUo5Y6FYzqWoPXnrZIYT_c/s200/beiderbecke-bix-78-l.jpg" target="_blank" alt="" id="BLOGGER_PHOTO_ID_5646568631058596898" border="0" /></a>Cornetist Bix Beiderbecke's greatest recordings were mostly made in 1927. This definitive CD (reissued in 1990) has most of Beiderbecke's best-loved work, including "Singin' the Blues," "I'm Coming Virginia," "Ostrich Walk," "Way Down Yonder in New Orleans," and his solo piano classic "In a Mist." Most of the recordings were cut with Frankie Trumbauer's Orchestra, although there are also two titles from the Broadway Bellhops, a similar group. The beauty of Beiderbecke's horn outshone virtually every other brassman in the 1920s other than Louis Armstrong, and he never sounded better than on these records. Beiderbecke is joined by such notables as C-melody saxophonist Trumbauer, guitarist Eddie Lang, clarinetist Jimmy Dorsey, trombonist Bill Rank, and clarinetist Don Murray, among others. In addition to the titles mentioned, the renditions of "Clarinet Marmalade," Hoagy Carmichael's "Riverboat Shuffle," and "Wringin' and Twistin'" are among the other highlights. Essential music that in one form or another belongs in every serious jazz collection.<br /><div style="text-align: right;">-Scott Yanow<br /></div><br /><br /><span style="font-style: italic;">01. Trumbology </span><br /><span style="font-style: italic;">02. Clarinet Marmalade </span><br /><span style="font-style: italic;">03. Singin' The Blues </span><br /><span style="font-style: italic;">04. Ostrich Walk </span><br /><span style="font-style: italic;">05. Riverboat Shuffle </span><br /><span style="font-style: italic;">06. I'm Coming Virginia </span><br /><span style="font-style: italic;">07. Way Down Yonder In New Orleans </span><br /><span style="font-style: italic;">08. For No Reason At All In C </span><br /><span style="font-style: italic;">09. Three Blind Mice </span><br /><span style="font-style: italic;">10. Blue River </span><br /><span style="font-style: italic;">11. There's A Cradle In Caroline </span><br /><span style="font-style: italic;">12. In A Mist </span><br /><span style="font-style: italic;">13. Wringin' And Twistin' </span><br /><span style="font-style: italic;">14. Humpty Dumpty </span><br /><span style="font-style: italic;">15. Krazy Kat </span><br /><span style="font-style: italic;">16. The Baltimore </span><br /><span style="font-style: italic;">17. There Ain't No Land Like Dixieland To Me </span><br /><span style="font-style: italic;">18. There's A Cradle In Caroline </span><br /><span style="font-style: italic;">19. Just An Hour Of Love </span><br /><span style="font-style: italic;">20. I'm Wonderin' Who </span><br /><br /><br />Credits<br />Cornet - Bix Beiderbecke<br />Banjo - Eddie Lang (tracks: 19, 20) , Howdy Quicksell (tracks: 1, 2, 4 to 7) , John Cali (tracks: 17, 18)<br />Clarinet, Saxophone [Alto] - Jimmy Dorsey (tracks: 1 to 3)<br />Clarinet, Saxophone [Tenor], Saxophone [Baritone] - Don Murray (2) (tracks: 4 to 7, 9 to 11, 14 to 20)<br />Directed By - Sam Lanin (tracks: 17, 18)<br />Drums - Chauncey Morehouse (tracks: 1 to 7, 9 to 11, 14 to 16, 19, 20) , Vic Berton (tracks: 17, 18)<br />Guitar - Eddie Lang (tracks: 3, 8, 9 to 11, 13 to 16)<br />Piano - Bix Beiderbecke (tracks: 13) , Frank Signorelli (tracks: 14 to 20) , Itzie Riskin (tracks: 4 to 7, 9 to 11) , Paul Mertz (tracks: 1 to 3)<br />Saxophone [Alto] - Bobby Davis (4) (tracks: 14 to 20) , Doc Ryker (tracks: 2, 9 to 11)<br />Saxophone [Bass] - Adrian Rollini (tracks: 9 to 11, 14 to 16, 19, 20)<br />Saxophone [C-melody] - Frankie Trumbauer (tracks: 1 to 11, 13, 17 to 20)<br />Trombone - Bill Rank (tracks: 1, 2, 4 to 7, 9 to 11, 14 to 20) , Miff Mole (tracks: 3)<br />Trumpet - Hymie Farberman (tracks: 17, 18) , Sylvester Ahola (tracks: 19, 20)<br />Tuba - Joe Tarto (tracks: 17, 18)<br />Violin - Joe Venuti (tracks: 14 to 20)<br />Vocals - Irving Kaufman (tracks: 17 to 20) , Seger Ellis (tracks: 10)<br />Arranged By - Bill Challis (tracks: 4, 5, 7, 9 to 11) , Don Murray (2) (tracks: 6, 15) , Fud Livingston (tracks: 3, 14) , Paul Mertz (tracks: 1)<br /><br />All tracks recorded in New York, Feb. to Sept. 1927.<br /><a href="http://www.multiupload.com/73FMBASRIO" target="_blank"><br /></a><a href="http://uploadmirrors.com/download/060OS4GE/Bix-Singin__the_blues_1927_.rar"><span style="font-weight: bold;">hotjazzandcoolblues</span></a><br /><br />..........................................Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com0tag:blogger.com,1999:blog-7937155461817740410.post-6664750696205975622011-07-27T18:42:00.000-07:002011-07-27T19:53:33.530-07:00Johnny Dodds with Louis Armstrong: New Orleans Stomp, 1926-27<img style="margin: 0px auto 10px; text-align: center; width: 391px; display: block; height: 15px;" id="BLOGGER_PHOTO_ID_5567098427054085954" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoVXUseNjh-6xein61mqrB6AdCVMo5WkFIoJK0f4xW5lvkKDdZdYxJOp6oGe2zpvict2-UMj0PvrhbyuIH6VHR8wIgbuRCAYUCqS751bmUMF4g8yLoASEHte9ssGU409wO8jwOLd9nlNc/s200/blogWillieSpace1.jpg" border="0" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_mcI2RJwNTOKUb23K-HAkgph8joNO0t16RfCKEr9GJc5M6c8rhUi9fymR9lXQItj-mM-tLGsMu_PULyKOJaZUjW5JeGeKjMctqPNqHx86Ppts8jzY1QEVvw_AavIeeHFe0vZUCtcHsgY/s1600/dodds-portada.jpg" target="_blank"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 166px; height: 165px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_mcI2RJwNTOKUb23K-HAkgph8joNO0t16RfCKEr9GJc5M6c8rhUi9fymR9lXQItj-mM-tLGsMu_PULyKOJaZUjW5JeGeKjMctqPNqHx86Ppts8jzY1QEVvw_AavIeeHFe0vZUCtcHsgY/s200/dodds-portada.jpg" alt="" id="BLOGGER_PHOTO_ID_5634214624828915730" border="0" /></a>This CD features some less well known recordings by Dodds from 1926-27. Not all are top class performances, but three sessions make this release a must - buy for fans of classic jazz. First, the three performances by "Lil's Hot Shots" (in fact, Louis Armstrong's Hot Five moonlighting for Vocalion rather than Okeh). Second, the April 1927 Black Bottom Stompers session featuring Armstrong, Earl Hines and Roy Palmer. Armstrong was again operating extra-contractually, and the contrast between these restrained performances and the more florid renditions of the same tunes a month later by the Hot Seven is fascinating. Third, the October 1927 Black Bottom Stompers session features a Creole Jazz Band style two trumpet lead with the excellent George Mitchell (of Red Hot Peppers fame) and the more idiosyncratic Natty Dominique. "Come On and Stomp, Stomp, Stomp" is the standout track, a wonderfully driving performance with Dodds in imperious form.<br /><br /><span style="font-style: italic;">01 - Drop That Sack (Armstrong)</span> <span style="font-style: italic;"><br />02 - Gatemouth (Armstrong)</span> <span style="font-style: italic;"><br />03 - Too Tight (Armstrong)</span> <span style="font-style: italic;"><br />04 - Flat Foot (Armstrong)</span> <span style="font-style: italic;"><br />05 - I Can't Say (Armstrong)</span> <span style="font-style: italic;"><br />06 - Idle Hour Special (Blythe)</span> <span style="font-style: italic;"><br />07 - Someday Sweetheart (Spikes Brothers)</span> <span style="font-style: italic;"><br />08 - Carpet Alley - Breakdown (Smith-Clifford)</span> <span style="font-style: italic;"><br />09 - Memphis Shake (Clifford)</span> <span style="font-style: italic;"><br />10 - New Orleans Stomp (Dodds)</span> <span style="font-style: italic;"><br />11 - Weary Way Blues (Minor - Blythe)</span> <span style="font-style: italic;"><br />12 - After You've Gone (Creamer - Layton)</span> <span style="font-style: italic;"><br />13 - Joe Turner Blues (Handy-Hirsch)</span> <span style="font-style: italic;"><br />14 - Lady Love (Dominique)</span> <span style="font-style: italic;"><br />15 - Pencil Papa (Hardin)</span> <span style="font-style: italic;"><br />16 - Forty And Tight (Melrose)</span> <span style="font-style: italic;"><br />17 - Indigo Stomp (Dodds)</span> <span style="font-style: italic;"><br />18 - Meloncholy (Melrose-Bloom)</span> <span style="font-style: italic;"><br />19 - Red Onion Blues (Williams)</span> <span style="font-style: italic;"><br />20 - Gravier Street Stomp (Dodds)</span><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzL7T-CAgS4ra7zpnaof_LqJ6YL9cwokKhh2vllzXcYr6ODfrrRhaFM_zTGpymv3dja6ckKWM3qxfk-G5CnMmWR9_Fk5edoyaUWwU8IU1b5Afth-F9k0Vsj3lWOCHaB1pnj56NsN60o9Y/s1600/JohnnyDodds600x600.jpg" target="_blank"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 199px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzL7T-CAgS4ra7zpnaof_LqJ6YL9cwokKhh2vllzXcYr6ODfrrRhaFM_zTGpymv3dja6ckKWM3qxfk-G5CnMmWR9_Fk5edoyaUWwU8IU1b5Afth-F9k0Vsj3lWOCHaB1pnj56NsN60o9Y/s200/JohnnyDodds600x600.jpg" alt="" id="BLOGGER_PHOTO_ID_5634215660938399538" border="0" /></a>Recording information: Chicago, IL (03/11/1926-10/08/1927).<br /><br />Personnel: Johnny Dodds (clarinet); Louis Armstrong (vocals, trumpet, cornet); Bud Scott (guitar, banjo); Johnny St. Cyr (banjo); Stump Evans (alto saxophone, baritone saxophone); Norval Morton, Barney Bigard (tenor saxophone); Natty Dominique (cornet); Roy Palmer, John Thomas , Fayette Williams, Kid Ory (trombone); Charlie Alexander , Lovie Austin & Her Blue Serenaders, Teddy Weatherford, Lil Armstrong, Earl Hines (piano); Jimmy Bertrand (drums, washboard); Baby Dodds (drums).<br /><br /><br /><a href="http://www.multiupload.com/MXZAGSYS5X" target="_blank"><span style="font-weight: bold;">hotjazzandcoolblues</span></a><br /><br />.....................................Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com2tag:blogger.com,1999:blog-7937155461817740410.post-44819151079382038102011-07-27T17:54:00.000-07:002011-07-27T19:54:35.587-07:00Fletcher Henderson and his Orchestra, 1924-25<img style="margin: 0px auto 10px; text-align: center; width: 391px; display: block; height: 15px;" id="BLOGGER_PHOTO_ID_5567098427054085954" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoVXUseNjh-6xein61mqrB6AdCVMo5WkFIoJK0f4xW5lvkKDdZdYxJOp6oGe2zpvict2-UMj0PvrhbyuIH6VHR8wIgbuRCAYUCqS751bmUMF4g8yLoASEHte9ssGU409wO8jwOLd9nlNc/s200/blogWillieSpace1.jpg" border="0" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRA5oLiFMLYwWooeDT-0lmSmTwucWK6R5phFbAGzBGUKLJDa2R6dXQuQbzKy9fYA0oKIRnuKWvvW9bZ4W-kelIsu9mwUjn0oJUOzN-DavKjLObBcp9A6J9HIAK_2B3W4HNUXoyq5tnVOA/s1600/FletcherHenderson_1924-25_CC633.jpg" target="_blank"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRA5oLiFMLYwWooeDT-0lmSmTwucWK6R5phFbAGzBGUKLJDa2R6dXQuQbzKy9fYA0oKIRnuKWvvW9bZ4W-kelIsu9mwUjn0oJUOzN-DavKjLObBcp9A6J9HIAK_2B3W4HNUXoyq5tnVOA/s200/FletcherHenderson_1924-25_CC633.jpg" alt="" id="BLOGGER_PHOTO_ID_5634202582334403762" border="0" /></a><span style="font-weight: bold;">Fletcher Henderson and his Orchestra, 1924-1925</span><br />(The Chronological Classics, 633)<br /><br />Fletcher Henderson (1897-1952) 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, 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.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYS8l-S1CAZDbin5QUgFkCzmbYENoQLEX4nHacGl_VeMegH1rkxtlbsi37TQps2L00LmcAitmQPR2pUGqO50dTpNi5MT8MODhNnrTQ97JNM60d6E6J0AiYA7F_2-1BUQJNEUITzV9a6BU/s1600/timelessFletLouis.jpg" target="_blank"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYS8l-S1CAZDbin5QUgFkCzmbYENoQLEX4nHacGl_VeMegH1rkxtlbsi37TQps2L00LmcAitmQPR2pUGqO50dTpNi5MT8MODhNnrTQ97JNM60d6E6J0AiYA7F_2-1BUQJNEUITzV9a6BU/s320/timelessFletLouis.jpg" alt="" id="BLOGGER_PHOTO_ID_5634208662604275506" border="0" /></a><br />Fletcher Henderson had a degree in chemistry and mathematics, but when he came to New York in 1920 with hopes of becoming a chemist, the only job he could find (due to the racism of the times) was as a song demonstrator with the Pace-Handy music company. Harry Pace soon founded the Black Swan label, and Henderson, a versatile but fairly basic pianist, became an important contributor behind the scenes, organizing bands and backing blues vocalists. Although he started recording as a leader in 1921, it was not until January 1924 that he put together his first permanent big band. Using Don Redman's innovative arrangements, he was soon at the top of his field. His early recordings (Henderson made many records during 1923-1924) tend to be both futuristic and awkward, with strong musicianship but staccato phrasing. However, after Louis Armstrong joined up in late 1924 and Don Redman started contributing more swinging arrangements, the Fletcher Henderson Orchestra had no close competitors artistically until the rise of Duke Ellington in 1927.<br /><div style="text-align: right;">-Scott Yanow<br /><span style="font-style: italic;"></span></div><span style="font-style: italic;"><br />01 - Prince of Wails (Schoebel) </span> <span style="font-style: italic;"><br />02 - Mandy, Make up Your Mind (Clarke, Johnston, Meyer)</span> <span style="font-style: italic;"><br />03 - I'll See You in My Dreams (Jones, Kahn) </span> <span style="font-style: italic;"><br />04 - Why Couldn't It Be Poor Little Me? (Jones, Kahn) </span> <span style="font-style: italic;"><br />05 - Bye and Bye (Nelson, Pease, Vincent) </span> <span style="font-style: italic;"><br />06 - Play Me Slow (Hagen, O'Flynn, Oflynn) </span> <span style="font-style: italic;"><br />07 - Alabamy Bound (DeSylva, Green, Henderson) </span> <span style="font-style: italic;"><br />08 - Swanee Butterfly (Donaldson, Rose) </span> <span style="font-style: italic;"><br />09 - Poplar Street Blues (Mont, Short) </span> <span style="font-style: italic;"><br />10 - 12th Street Blues (Heagney) </span> <span style="font-style: italic;"><br />11 - Me Neenyah (My Little One) (Brown, Spencer) </span> <span style="font-style: italic;"><br />12 - Memphis Bound (Banta, De Rose) </span> <span style="font-style: italic;"><br />13 - When You Do What You Do (Johnson, Parish) </span> <span style="font-style: italic;"><br />14 - I'll Take Her Back If She Wants to Come Back (Leslie, Monaco) </span> <span style="font-style: italic;"><br />15 - Money Blues (Coleman, Eller, Leader) </span> <span style="font-style: italic;"><br />16 - Sugar Foot Stomp (Armstrong, King Oliver) </span> <span style="font-style: italic;"><br />17 - What-Cha-Call-'Em Blues (Roberts)<br /></span><span style="font-style: italic;">18 - I Miss My Swiss (Baer, Gilbert) </span> <span style="font-style: italic;"><br />19 - Alone at Last (Fio Rito, Kahn) </span> <span style="font-style: italic;"><br />20 - T N T (Schoebel) </span> <span style="font-style: italic;"><br />21 - Carolina Stomp (Bloom, Costello) </span> <span style="font-style: italic;"><br />22 - Sleepy Time Gal (Alden, Egan, Lorenzo, Whiting) </span> <span style="font-style: italic;"><br />23 - Then I'll Be Happy (Brown, Clare, Friend) </span><br /><br /><a href="http://www.multiupload.com/8MLH528TKU" target="_blank"><span style="font-weight: bold;">hotjazzandcoolblues</span></a><br /><br /><div style="text-align: center;">-------------------------------------------------------------------------<br /></div><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIOAg9G0jWBQYvftWCniPuzpC3MUJkr5vu9DYWnImqlT40-koiitgZgpy9EsiFHLu2UjJAccwsd_lpRsaT8TE4PnNX7mnhiRtZ4sTRBDiVAa_ghExJ13JbA9ZXJbTXmcOXeeOIME1YBMg/s1600/Fletcher+Henderson_1924v3_CC647.jpg" target="_blank"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 198px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIOAg9G0jWBQYvftWCniPuzpC3MUJkr5vu9DYWnImqlT40-koiitgZgpy9EsiFHLu2UjJAccwsd_lpRsaT8TE4PnNX7mnhiRtZ4sTRBDiVAa_ghExJ13JbA9ZXJbTXmcOXeeOIME1YBMg/s200/Fletcher+Henderson_1924v3_CC647.jpg" alt="" id="BLOGGER_PHOTO_ID_5634207198106124658" border="0" /></a><span style="font-weight: bold;">Fletcher Henderson and his Orchestra, 1924 vol.3</span><br />(The Chronological Classics, 647)<br /><br />During the autumn of 1924, Fletcher Henderson's Orchestra continued to make hot little records for many different labels. The front line begins to look impressive, with trombonist Big Charlie Green sitting not far from Coleman Hawkins and Don Redman. "Forsaken Blues" has an ooh-wacka-ooh brass line and a big nasty bass sax solo by Hawkins after someone -- probably Redman -- makes a noise like an enraged ferret. On the catchy "Cold Mamas (Burn Me Up)," the bass sax is accompanied by a goofus, or melodica, played by the ever-resourceful Redman. Conventional jazz history states that the addition of Louis Armstrong to the Henderson orchestra in September of 1924 initiated a change in this organization's overall chemistry, which would soon become evident. This particular CD provides audible evidence. The diminutive trumpeter from New Orleans-cum-Chicago really did transform Henderson's band beginning with his participation in the session of October 7, 1924. First heard on "Manda," composed by Noble Sissle and Eubie Blake, Armstrong stands out as King Oliver's right-hand man. "Go 'Long, Mule" has a bizarre novelty solo by Redman using only the mouthpiece of his horn to generate a sort of Punch & Judy cartoon voice.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkrRck6f34mJ6W22R4fZcdh5pFwPuTXaAizUvYEVeBjGbgSQIiG6PdUASqohmhEIGAOnen-RIwZheQFSqYemgkN6ArAPU7_uftynSwkWHFoC9IhIIDR9dR1JWeDufomkjP28r9QxfNuf8/s1600/FletcherHendersonOrch.jpg" target="_blank"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 282px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkrRck6f34mJ6W22R4fZcdh5pFwPuTXaAizUvYEVeBjGbgSQIiG6PdUASqohmhEIGAOnen-RIwZheQFSqYemgkN6ArAPU7_uftynSwkWHFoC9IhIIDR9dR1JWeDufomkjP28r9QxfNuf8/s320/FletcherHendersonOrch.jpg" alt="" id="BLOGGER_PHOTO_ID_5634207664677573458" border="0" /></a><br />Four tunes recorded for Pathe Actuelle on October 13, 1924, are notable for the insistent burping sound of Ralph Escudero's tuba. The exciting "Shanghai Shuffle" comes across in two distinctive interpretations, with an oboe solo by Redman on the first version. "Copenhagen" is real jazz with a hot solo from Armstrong, strong trombone breaks from Charlie Green, and a Redman arrangement to make it cook properly. The first of three versions of "Naughty Man" has a fine solo by Green, while on the second he seems to be getting his licks in quickly, and by version number three he muscles in for two solo breaks. But the real highlight here is definitely Armstrong. Everything he blows is remarkably fine, and it's easy to see why he quickly went from being an object of ridicule to the most imitated musician in all of jazz. The man had a lot of soul, and his solos -- along with Redman's arrangements -- quickly transformed Henderson's records from run-of-the-mill dance music into real jazz. The crowning glory on this CD is "Everybody Loves My Baby," both an instrumental take and Armstrong's very first recorded vocal, consisting of merrily shouted outbursts during the coda. Listening to all of these sides in sequence, it is obvious what a difference Louis Armstrong made in this band, and the chronology spells it out unmistakably.<br /><br /><span style="font-style: italic;">01. He's The Hottest Man In Town<br />02. I Never Care 'Bout Tomorrow<br />03. Forsaken Blues<br />04. Cold Mamas (Burn Me Up)<br />05. Manda<br />06. Go 'Long, Mule<br />07. Tell Me, Dreamy Eyes<br />08. My Rose Marie<br />09. Don't Forget You'll Regret Day By Day<br />10. Shanghai Shuffle<br />11. Words<br />12. Copenhagen<br />13. Shanghai Shuffle<br />14. Naughty Man<br />15. One Of These Days<br />16. My Dream Man<br />17. The Meanest Kind Of Blues<br />18. Naughty Man<br />19. How Come You Do Me Like You Do?<br />20. Araby<br />21. Everybody Loves My Baby (Vocal)<br />22. Everybody Loves My Baby (Instr.)<br />23. Naughty Man<br /></span><br /><br /><a href="http://www.multiupload.com/O04LIHUMEG" target="_blank"><span style="font-weight: bold;">hotjazzandcoolblues</span></a><br /><br />..................................Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com1tag:blogger.com,1999:blog-7937155461817740410.post-32810733533463773302011-07-27T15:53:00.000-07:002011-07-27T19:55:30.841-07:00Clarence Williams with Louis Armstrong and Eva Taylor, 1921-1926<img style="margin: 0px auto 10px; text-align: center; width: 391px; display: block; height: 15px;" id="BLOGGER_PHOTO_ID_5567098427054085954" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoVXUseNjh-6xein61mqrB6AdCVMo5WkFIoJK0f4xW5lvkKDdZdYxJOp6oGe2zpvict2-UMj0PvrhbyuIH6VHR8wIgbuRCAYUCqS751bmUMF4g8yLoASEHte9ssGU409wO8jwOLd9nlNc/s200/blogWillieSpace1.jpg" border="0" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9nRLjGvqQ8mZZ_ofiLPXpB8rQ1QepiyR04kdBquEUC1eh7qY-K9fglskpePY9CJlUxyMD8_UotE_Ni2RmPAkca0h50tLMkW9tyj6dRsZGmxF3oDStnPLpn_pj_IaHgXAfPMY14yYHMp0/s1600/ClarenceWilliams_1921-24_Complete+Jazz+Series.jpg" target="_blank"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 173px; height: 173px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9nRLjGvqQ8mZZ_ofiLPXpB8rQ1QepiyR04kdBquEUC1eh7qY-K9fglskpePY9CJlUxyMD8_UotE_Ni2RmPAkca0h50tLMkW9tyj6dRsZGmxF3oDStnPLpn_pj_IaHgXAfPMY14yYHMp0/s200/ClarenceWilliams_1921-24_Complete+Jazz+Series.jpg" alt="" id="BLOGGER_PHOTO_ID_5634171509847039778" border="0" /></a><span style="font-weight: bold;">Clarence Williams - 1921-24 </span><br />(The Chronological Classics, 679)<br /><br />Although this is not the most essential of the Clarence Williams CDs released in the complete Classics series, all of the releases are highly recommended to fans of early jazz. Many of these titles are quite rare and historical. First Williams is heard as a singer on five period numbers from 1921 ("The Dance They Call the Georgia Hunch" is the most memorable) and has a vocal duet with Daisy Martin on "Brown Skin (Who You For)." Williams also takes four piano solos and on most of the other titles features the great soprano saxophonist Sidney Bechet (heard in his earliest recordings); "Wild Cat Blues" and "Kansas City Man Blues" are classics. In addition Louis Armstrong joins the group on three numbers, two of which have vocals from Eva Taylor.<br /><div style="text-align: right;">-Review by Scott Yanow, All Music Guide<br /><br /></div><br /><span style="font-style: italic;">01. If You Don't Believe I Love You Look What a Fool I've Been<br />02. Roumania<br />03. Dance They Call the Georgia Hunch, The<br />04. Pullman Porter Blues<br />05. Decatur Street Blues<br />06. Brown Skin (Who You For)<br />07. Mixing the Blues<br />08. Weary Blues, The<br />09. Wild Cat Blues<br />10. Kansas City Man Blues<br />11. Achin' Hearted Blues<br />12. 'Tain't Nobody's Bizness If I Do<br />13. New Orleans Hop Scop Blues<br />14. Oh Daddy! (Oh Daddy! You Won't Have No Mama at All)<br />15. Shreveport Blues<br />16. Old Fashioned Love<br />17. House Rent Blues (The Stomp)<br />18. Mean Blues<br />19. My Own Blues<br />20. Gravier Street Blues<br />21. Texas Moaner Blues<br />22. Of All the Wrongs You Done to Me<br />23. Everybody Loves My Baby<br /><br /><br /></span><span>Personnel: Clarence Williams (vocals, piano); Erskine Hawkins (trumpet); Daisy Martin (vocals); Buddy Christian (banjo); Chappie's Hot Dogs (violin, alto saxophone, cornet, trombone, tuba, piano); Eva Taylor (violin); Sidney Bechet (clarinet, soprano saxophone); Joseph Samuels (clarinet, alto saxophone, tenor saxophone); Buster Bailey (soprano saxophone); Jules Levy, Jr., Tom Morris , Louis Armstrong, Thomas Morris (cornet); Ephraim Hannaford, Aaron Thompson, John Mayfield, Charlie Irvis (tuba); Larry Briers (piano, drums).<br />Recording information: New York, NY (10/11/1921-11/06/1924).<br />Ensembles: Clarence Williams' Blue Five; Chappie's Hot Dogs.</span><span></span><span style="font-style: italic;"><br /></span><br /><a href="http://www.multiupload.com/9O24962F6Z" target="_blank"><span style="font-weight: bold;">hotjazzandcoolblues</span></a><br /><br /><div style="text-align: center;">--------------------------------------------------------------------<br /></div><br /><span style="font-weight: bold;">Clarence Williams - 1924-26 </span>(The Chronological Classics, 695)<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkcOOvZ2BAJTBazef0l_EYp7dqlteeS6Rxe065ozzrZHb72DHOBSrtL-wTzPHRS71B7uhyphenhyphenTIgbwvAGFO-seFvLRhCQKh75CuUuo5H-Ww84f8tSTCuzL5F4_vNrAfaZSd0sz26NdzsgG1A/s1600/ClarenceWilliams_1924-26_CC695.jpg" target="_blank"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 172px; height: 169px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkcOOvZ2BAJTBazef0l_EYp7dqlteeS6Rxe065ozzrZHb72DHOBSrtL-wTzPHRS71B7uhyphenhyphenTIgbwvAGFO-seFvLRhCQKh75CuUuo5H-Ww84f8tSTCuzL5F4_vNrAfaZSd0sz26NdzsgG1A/s200/ClarenceWilliams_1924-26_CC695.jpg" alt="" id="BLOGGER_PHOTO_ID_5634169687276266674" border="0" /></a>The second CD in the Classics label's "complete" Clarence Williams series traces the pianist/bandleader's recordings during a 14-month period. The first six titles feature soprano great Sidney Bechet (who has a unique sarrusophone solo on "Mandy Make up Your Mind") while the first 13 also have Louis Armstrong. The pairing of these two classic and competitive greats is at its zenith on a brilliant version of "Cake Walking Babies from Home"; Satch gets the edge. In addition there are notable contributions on these 23 performances by trombonist Charlie Irvis, tenor-saxophonist Coleman Hawkins, cornetists Joe Smith, Bubber Miley and Ed Allen, clarinetist Buster Bailey and singer Eva Taylor among others. Williams's series of hot performances really epitomized small-group 1920s jazz and every entry in this Classics series is highly recommended. Other highlights include "Coal Cart Blues," "Shake That Thing," "Dinah" (which features Hawkins on baritone), "I've Found a New Baby" and two versions of "Santa Claus Blues."<br /><div style="text-align: right;">-Scott Yanow<br /></div><br /><span style="font-style: italic;">01. Mandy, Make Up Your Mind </span><br /><span style="font-style: italic;">02. I'm a Little Blackbird (Looking for a Bluebird) </span><br /><span style="font-style: italic;">03. Cake Walking Babies from Home </span><br /><span style="font-style: italic;">04. Pickin' on Your Baby </span><br /><span style="font-style: italic;">05. Castaway </span><br /><span style="font-style: italic;">06. Papa De-Da-Da </span><br /><span style="font-style: italic;">07. Wait Till You See My Baby Do the Charleston </span><br /><span style="font-style: italic;">08. Livin' High </span><br /><span style="font-style: italic;">09. Coal Cart Blues </span><br /><span style="font-style: italic;">10. Santa Claus Blues </span><br /><span style="font-style: italic;">11. Santa Claus Blues </span><br /><span style="font-style: italic;">12. Squeeze Me </span><br /><span style="font-style: italic;">13. You Can't Shush Katie (The Gabbiest Girl in Town) </span><br /><span style="font-style: italic;">14. Shake that thing </span><br /><span style="font-style: italic;">15. Get It Fixed </span><br /><span style="font-style: italic;">16. Spanish Shawl </span><br /><span style="font-style: italic;">17. Dinah </span><br /><span style="font-style: italic;">18. I've Found A New Baby See All 8 </span><br /><span style="font-style: italic;">19. I've Found A New Baby See All 8 </span><br /><span style="font-style: italic;">20. Pile of Logs and Stone (Called Home) </span><br /><span style="font-style: italic;">21. Wait Till You See My Baby Do the Charleston </span><br /><span style="font-style: italic;">22. Livin' High </span><br /><span style="font-style: italic;">23. Wait Till You See My Baby Do the Charleston </span><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIX9xAdzppsnfVTZZoSpt-AyY8nBa4fK30x81eoO-NRsac0yr1um6xt8qizEnhps_vjptVEP2mLv9RmwIbRB2L9qYV0f4tgFcV__J-d495KvFfpPE3gsn1SAVRmlWEy2XLef8hOtNfJsU/s1600/clarence-williams-orchestra-c-1925-1-f38.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 219px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIX9xAdzppsnfVTZZoSpt-AyY8nBa4fK30x81eoO-NRsac0yr1um6xt8qizEnhps_vjptVEP2mLv9RmwIbRB2L9qYV0f4tgFcV__J-d495KvFfpPE3gsn1SAVRmlWEy2XLef8hOtNfJsU/s320/clarence-williams-orchestra-c-1925-1-f38.jpg" alt="" id="BLOGGER_PHOTO_ID_5634186492839966754" border="0" /></a><br /><br />Discography:<br /><br />Clarence Williams' Blue Five:<br />Louis Armstrong (cnt) Charlie Irvis (tb) Sidney Bechet (sop,sarrusophone-1) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)<br />New York, December 17, 1924<br />73026-B Mandy, make your mind (et vcl,1)<br />73027-B I'm a little blackbird looking for a bluebird (et vcl)<br /><br />Clarence Williams' Blue Five:<br />Louis Armstrong (cnt) Charlie Irvis (tb) Sidney Bechet (sop) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)<br />New York, January 8, 1925<br />73083-A Cake-walking babies from home (et vcl)<br />73084-B Pickin' on your baby (et vcl)<br /><br />Clarence Williams Williams' Blue Five:<br />Louis Armstrong (cnt) Charlie Irvis (tb) Sidney Bechet (sop) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl) Buster Bailey (sop) Don Redman (as)<br />New York, March 4, 1925<br />73204-A Cast away (waltz) (et vcl)<br />73205-A Papa de da da (et vcl)<br /><br />Clarence Williams' Blue Five:<br />Louis Armstrong (cnt) Charlie Irvis (tb) Buster Bailey (cl,sop) Don Redman (as,sop) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)<br />New York, October 6, 1925<br />73686-B Just wait 'til you see my baby do the charleston (et vcl)<br />73687-B Livin' high sometimes (et vcl)<br /><br />Clarence Williams' Blue Five:<br />Louis Armstrong (cnt) Charlie Irvis (tb) Don Redman (cl) Buster Bailey (sop) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)<br />New York, October 8, 1925<br />73694-B Coal cart blues (et vcl)<br />73695-B Santa Claus blues (et vcl;dr out)<br /><br />Clarence Williams' Trio:<br />Louis Armstrong (cnt) Clarence Williams (p,vcl) Buddy Christian (bj) Eva Taylor, Clarence Todd (vcl)<br />New York, October 16, 1925<br />73721-A Santa Claus blues (et,cw,ct vcl)<br /><br />Clarence Williams' Blue Five:<br />Louis Armstrong (cnt) Charlie Irvis (tb) Don Redman (cl-1,as-2) Coleman Hawkins (ts) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)<br />New York, October 26, 1925<br />73738-A Squeeze me (et vcl,1)<br />73739-B You can't shush Katie [The gabbiest gal in town] (et vcl,2)<br /><br />Clarence Williams<br />Big Charlie Thomas (cnt) Buster Bailey (cl) unknown (as) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)<br />New York, December 15, 1925<br />73837-B Shake that thing (et vcl)<br />73838-B Get it fixed (et vcl)<br /><br />Clarence Williams' Stompers:<br />poss. Bubber Miley (cnt) Charlie Irvis (tb) Don Redman (sop,as) Coleman Hawkins (ts,cl,bar) Clarence Williams (p) Leroy Harris (bj) or poss. Buddy Christian (bj) Henry "Bass" Edwards (tu)<br />New York, January 4, 1926<br />73893-B Spanish shawl<br />73894-B Dinah<br /><br />Clarence Williams' Blue Five:<br />Bubber Miley (cnt) prob. Charlie Irvis (tb) Otto Hardwick (as) or Don Redman (as) Clarence Williams (p) poss. Leroy Harris (bj) poss. Henry "Bass" Edwards (tu) Eva Taylor (vcl)<br />New York, c. January 22, 1926<br />73957-A I've found a new baby (et vcl)<br />73958-B I've found a new baby (et vcl)<br />73959-B Pile of logs and stones [called home] (et vcl)<br /><br />Dixie Washboard Band<br />Ed Allen (cnt) Bennie Moten (cl,as-1) Clarence Williams (p) Jasper Taylor (wbd)<br />New York, January 25, 1926<br />141553-1 Wait till you see my baby do the Charleston<br />141554-1 Livin' high<br /><br />Dixie Washboard Band (same pers.)<br />New York, February, 1926<br />6431-3 Wait till you see my baby do the Charleston<br />Note: Domino issued as "Louisiana Washboard Band", Oriole as "Dixie Jazz Band" and BRS as "Clarence Williams' Washboard Beaters".<br /><br /><a href="http://www.multiupload.com/G8QDNSXF7F" target="_blank"><span style="font-weight: bold;">hotjazzandcoolblues</span></a><br /><br />....................................Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com3tag:blogger.com,1999:blog-7937155461817740410.post-68171653412383884692011-06-14T23:13:00.001-07:002011-09-30T21:10:37.342-07:00James P. Johnson: Father of the Stride Piano 1923-1939<img style="margin: 0px auto 10px; text-align: center; width: 391px; display: block; height: 15px;" id="BLOGGER_PHOTO_ID_5567098427054085954" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoVXUseNjh-6xein61mqrB6AdCVMo5WkFIoJK0f4xW5lvkKDdZdYxJOp6oGe2zpvict2-UMj0PvrhbyuIH6VHR8wIgbuRCAYUCqS751bmUMF4g8yLoASEHte9ssGU409wO8jwOLd9nlNc/s200/blogWillieSpace1.jpg" border="0" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPJGXT9dhXbN8emzH1bCkiHygDHO-2PhySQATpZ2c_iUIrOba79b7M1EC7ztZ0aI745pjT6U9PJN80g8ZjtPZz-_797_BAw4dJiQMqcjK1-yDVRsC2ywAXMSPJEnY1eoiumefsEVimfeY/s1600/cover.jpg" target="_blank"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 184px; height: 186px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPJGXT9dhXbN8emzH1bCkiHygDHO-2PhySQATpZ2c_iUIrOba79b7M1EC7ztZ0aI745pjT6U9PJN80g8ZjtPZz-_797_BAw4dJiQMqcjK1-yDVRsC2ywAXMSPJEnY1eoiumefsEVimfeY/s200/cover.jpg" alt="" id="BLOGGER_PHOTO_ID_5618325964929565490" border="0" /></a>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. During the '20s (starting in 1921), Johnson began to record, he was the nightly star at Harlem rent parties (accompanied by Waller and Willie "The Lion" Smith) and he wrote some of his most famous compositions during this period. For the 1923 Broadway show Running Wild (one of his dozen scores), Johnson composed "The Charleston" and "Old Fashioned Love," his earlier piano feature "Carolina Shout" became the test piece for other pianists, and some of his other songs included "If I Could Be with You One Hour Tonight" and "A Porter's Love Song to a Chambermaid."<br /><br />Ironically, Johnson, the most sophisticated pianist of the 1920s, was also an expert accompanist for blues singers and he starred on several memorable Bessie Smith and Ethel Waters recordings. In addition to his solo recordings, Johnson led some hot combos on records and guested with Perry Bradford and Clarence Williams; he also shared the spotlight with Fats Waller on a few occasions. Because he was very interested in writing longer works, Johnson (who had composed "Yamekraw" in 1927) spent much of the '30s working on such pieces as "Harlem Symphony," "Symphony in Brown," and a blues opera. Unfortunately much of this music has been lost through the years. Johnson, who was only semi-active as a pianist throughout much of the '30s, started recording again in 1939, often sat in with Eddie Condon, and was active in the '40s despite some minor strokes. A major stroke in 1955 finished off his career.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpB_yzCG6Szd8tnFihjdmtjnirnM-1BbZLPqusuXJ9aFYMrJ5ve4H3g0B8scSj2fc4rgqDrn9FzMWOUNOnTyLJQCcOKLzbgdMhJtx0m_5T95U_R65nTR51GPhXhSAfsA9RSRhx9xJ4wVM/s1600/jamesp2.jpg" target="_blank"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 300px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpB_yzCG6Szd8tnFihjdmtjnirnM-1BbZLPqusuXJ9aFYMrJ5ve4H3g0B8scSj2fc4rgqDrn9FzMWOUNOnTyLJQCcOKLzbgdMhJtx0m_5T95U_R65nTR51GPhXhSAfsA9RSRhx9xJ4wVM/s320/jamesp2.jpg" alt="" id="BLOGGER_PHOTO_ID_5618327811832419986" border="0" /></a><br />This LP gives one a good all-round introduction into pianist James P. Johnson's music although it does not list the recording dates. There are piano solos from 1921, 1923, 1927 and 1939, a humorous vocal/piano duet with Clarence Williams ("How Could I Be Blue") and four selections from a 1939 septet session with trumpeter Red Allen and trombonist J.C. Higginbottham. Most of this music has since been reissued in more complete fashion on CD. <span style="font-style: italic;">~ Scott Yanow, Rovi </span><br /><br />Original Columbia and OKeh recordings. Japanese Exclusive Release. 20 Bit Dsd Remastered<br /><br /><span style="font-style: italic;">01.If Dreams Come True </span> <span style="font-style: italic;"><br />02.Fasination </span> <span style="font-style: italic;"><br />03.Ronsume Revoly </span> <span style="font-style: italic;"><br />04.Mule Walk </span><span style="font-style: italic;"><br />05.Blue Blueberry Ryhme </span> <span style="font-style: italic;"><br />06.Snowy Morning Blues </span> <span style="font-style: italic;"><br />07.All That I Had Is Gone </span> <span style="font-style: italic;"><br />08.How Good I Be Blues </span> <span style="font-style: italic;"><br />09.Swinging at the Rodeo </span> <span style="font-style: italic;"><br />10.Having a Ball </span> <span style="font-style: italic;"><br />11.Hungry Blues </span> <span style="font-style: italic;"><br />12.Old Fashioned Love </span> <span style="font-style: italic;">13.Memories For You </span> <span style="font-style: italic;"><br />14.Worry & Ransom Blues </span> <span style="font-style: italic;"><br />15.Weaping Blues </span> <span style="font-style: italic;"><br />16.Carolina Shout </span><br /><br /><br /><a href="http://www.megaupload.com/?d=NBRFUTSR" target="_blank"><span style="font-weight: bold;">hotjazzandcoolblues</span></a><br /><br />...........................................Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com2tag:blogger.com,1999:blog-7937155461817740410.post-57782566527990864722011-06-12T13:51:00.000-07:002011-09-27T04:06:15.549-07:00Jim Cullum Jazz Band: Super Satch<img style="margin: 0px auto 10px; text-align: center; width: 391px; display: block; height: 15px;" id="BLOGGER_PHOTO_ID_5567098427054085954" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoVXUseNjh-6xein61mqrB6AdCVMo5WkFIoJK0f4xW5lvkKDdZdYxJOp6oGe2zpvict2-UMj0PvrhbyuIH6VHR8wIgbuRCAYUCqS751bmUMF4g8yLoASEHte9ssGU409wO8jwOLd9nlNc/s200/blogWillieSpace1.jpg" border="0" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-dRf3WKr9yCXfUC8nueWgKM6Js3DVzY67VMZJ7NfYIikBXz-ovUEsmzkbuKWcPmd3UN-odVy2U27iaAOGq1yunqGtvch_ZJ7l_ZxaQ7iqVMOR4q8q90z6PGBF4MWXsNBnm4GvPgc-NU4/s1600/P1020474.JPG" target="_blank"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 179px; height: 179px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-dRf3WKr9yCXfUC8nueWgKM6Js3DVzY67VMZJ7NfYIikBXz-ovUEsmzkbuKWcPmd3UN-odVy2U27iaAOGq1yunqGtvch_ZJ7l_ZxaQ7iqVMOR4q8q90z6PGBF4MWXsNBnm4GvPgc-NU4/s200/P1020474.JPG" alt="" id="BLOGGER_PHOTO_ID_5617440332350964034" border="0" /></a>A powerful cornetist inspired by Louis Armstrong, Jim Cullum has led an exciting jazz band in San Antonio since his father's death in the 1970s. A clarinetist, Jim Sr. led the Happy Jazz Band with Jim Jr. on cornet, recording for their own Audiophile and Happy Jazz labels. The younger Cullum, who has recorded a Porgy & Bess jazz set for Sony and tributes to Louis Armstrong and Hoagy Carmichael, has made quite a few rewarding albums for Stomp Off and Audiophile, plus a Christmas record for World Jazz. Since the late '80s, Cullum's band has been featured on a highly enjoyable radio series, Riverwalk, Live From the Landing, whose special shows have given the group the opportunity to show its versatility. Among Cullum's most notable sidemen of the 1980s and '90s have been clarenetists Allan Vaché (brother of cornetist Warren) and Brian Ogilvie, trombonist Mike Pittsley, and pianist John Sheridan.<br /><br /><span style="font-style: italic;">Super Satch!</span> Yes indeed .. this is an ingeniously scored and superbly executed tribute to Louis Armstrong. The Jim Cullum Jazz Band, a premier band held in great esteem by other traditional jazz musicians, here goes to the essence of Satchmo's jazz, concentrating on Hot Five and Hot Seven repertoire with some attention to Armstrong's later periods. British co-author of the book Louis, John Chilton writes in the liner notes, "I feel sure that a look of true pleasure would are so apparent on this album. It will delight lovers of Louis's music by reminding them of his monumental achievements, and it will also win The Jim Cullum Jazz Band many new fans who will be enthralled by the musicianship and feeling that makes this one of the finest tribute recordings in years.<br /><div style="text-align: right;"> <span style="font-style: italic;">~ Scott Yanow, All Music Guide<br /><br /></span><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6HTZ4lfPue_CKelGCCkZmsN6TZfSF5s-qyWKMZoyN0uvJqf8e_9PxgCUp_GTWelL0ctxn48_qknd80OPkKfisNNVNl8kot-VghK7TrAfLPvPUuU88zDsvP-Zwk240_2B3jB1utLcMBGA/s1600/P1020475.JPG" target="_blank"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 316px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6HTZ4lfPue_CKelGCCkZmsN6TZfSF5s-qyWKMZoyN0uvJqf8e_9PxgCUp_GTWelL0ctxn48_qknd80OPkKfisNNVNl8kot-VghK7TrAfLPvPUuU88zDsvP-Zwk240_2B3jB1utLcMBGA/s320/P1020475.JPG" alt="" id="BLOGGER_PHOTO_ID_5617440791188460162" border="0" /></a>On this tribute to Louis Armstrong, Jim Cullum's Jazz Band at times expands from being a septet to an octet with the addition of trombonist Ed Hubble and (on some selections) the switching of Randy Reinhart from trombone to second cornet behind the leader. Cullum is a spectacular player who was influenced by (but does not copy) Armstrong. The band performs a dozen selections from the 1920s and '30s that were associated with Satch. Cullum showed a lot of courage in remaking such classics as "Potato Head Blues," "West End Blues" and "Weather Bird" but his versions are different enough from the originals so as to avoid close comparison. Other highlights include "Fireworks," the underrated "Hustlin' and Bustlin' for Baby," "Beau Koo Jack" and "Chicago Breakdown." Highly recommended to prebop jazz collectors. <span style="font-style: italic;">~ Scott Yanow</span><br /></div></div><br /><span style="font-style: italic;">01. Potato Head Blues [5:15]</span><br /><span style="font-style: italic;">02. Yes! I'm In The Barrell [4:00]</span><br /><span style="font-style: italic;">03. Fireworks [5:45]</span><br /><span style="font-style: italic;">04. Hustlin' & Bustlin' For My Baby [3:50]</span><br /><span style="font-style: italic;">05. S.O.L. Blues [7:26]</span><br /><span style="font-style: italic;">06. Beau Koo Jack [4:07]</span><br /><span style="font-style: italic;">07. He's A Son Of The South [4:30]</span><br /><span style="font-style: italic;">08. West End Blues [5:33]</span><br /><span style="font-style: italic;">09. Chicago Breakdown [4:45]</span><br /><span style="font-style: italic;">10. Weather Bird Rag [5:29]</span><br /><span style="font-style: italic;">11. Tight Like This [5:22]</span><br /><span style="font-style: italic;">12. Put 'Em Down Blues [5:42]</span><br /><br /><br /><span style="font-style: italic;">Line-up:</span><br /><br /><span style="font-style: italic;">Jim Cullum Jr (cnt)</span><br /><span style="font-style: italic;">Allan Vache (cl)</span><br /><span style="font-style: italic;">Ed Hubble (tm)</span><br /><span style="font-style: italic;">Randy Reinhart (tm)</span><br /><span style="font-style: italic;">John Sheridan (pn)</span><br /><span style="font-style: italic;">Howard Elkins (bj,gt,voc)</span><br /><span style="font-style: italic;">Jack Wyatt (st bs)</span><br /><span style="font-style: italic;">Ed Torres (dm.)</span><br /><span style="font-style: italic;">Recorded October 21-22, 1986.</span><br /><br />Listen to the Jim Cullum's Jazz Band live weekly at <span style="font-weight: bold;">Riverwalk Jazz Radio</span>:<br /><a href="http://www.riverwalkjazz.org/jazznotes-archive/"><br /><span style="font-style: italic;">http://www.riverwalkjazz.org/jazznotes-archive/</span></a><br /><br />..........................................Jay Bee Rodríguez - SOLO BLUEShttp://www.blogger.com/profile/17692138751696874058noreply@blogger.com4