King Oliver: Great Original Performances Vol. 2 (1927-1930)

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).

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. Kid Ory, Red Allen, Barney Bigard, Omer Simeon, Louis Russell, Benny Waters, Clarence Williams, Eddie Lang, entre otros, intervienen en buena parte de los temas, y dos formidables blues singers, Texas Alexander y Sara Martin, 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.

-Jay Bee Rodríguez

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.

-Brian Priestley

King Oliver And His Dixie Syncopators
01. Show Boat Shuffle (1927)
02. Every Tub (1927)
03. Willie the Weeper (1927)
04. Black Snake Blues (1927)
05. Farewell Blues (1927)
06. Sobbin' Blues (1927)
07. Tin Roof Blues (1928)
08. West End Blues (1928) 
Clarence Williams And His Orchestra
09. Longshoreman's Blues (1928) 
Sara Martin with Clarence Williams And His Orchestra
10. Death Sting Me Blues (1928) 
Texas Alexander (with King Oliver and Eddie Lang)
11. Tell Me Woman Blues (1928) 
Clarence Williams And His Novelty Four
12. In the Bottle Blues (1928)
13. What Ya Want Me to Do (1928) 
King Oliver And His Orchestra
14. New Orleans Shout (1929)
15. Rhythm Club Stomp (1930)
16. Edna (1930)
17. Mule Face Blues (1930)
18. Don't You Think I Love You (1930)
19. Shake It and Break It (1930)
20. Stingaree Blues (1930)

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Clarence Williams with Louis Armstrong and Eva Taylor, 1921-1926

Clarence Williams - 1921-24
(The Chronological Classics, 679)

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.

-Review by Scott Yanow, All Music Guide

01. If You Don't Believe I Love You Look What a Fool I've Been
02. Roumania
03. Dance They Call the Georgia Hunch, The
04. Pullman Porter Blues
05. Decatur Street Blues
06. Brown Skin (Who You For)
07. Mixing the Blues
08. Weary Blues, The
09. Wild Cat Blues
10. Kansas City Man Blues
11. Achin' Hearted Blues
12. 'Tain't Nobody's Bizness If I Do
13. New Orleans Hop Scop Blues
14. Oh Daddy! (Oh Daddy! You Won't Have No Mama at All)
15. Shreveport Blues
16. Old Fashioned Love
17. House Rent Blues (The Stomp)
18. Mean Blues
19. My Own Blues
20. Gravier Street Blues
21. Texas Moaner Blues
22. Of All the Wrongs You Done to Me
23. Everybody Loves My Baby


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).
Recording information: New York, NY (10/11/1921-11/06/1924).
Ensembles: Clarence Williams' Blue Five; Chappie's Hot Dogs.

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Clarence Williams - 1924-26 (The Chronological Classics, 695)

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."

-Scott Yanow

01. Mandy, Make Up Your Mind
02. I'm a Little Blackbird (Looking for a Bluebird)
03. Cake Walking Babies from Home
04. Pickin' on Your Baby
05. Castaway
06. Papa De-Da-Da
07. Wait Till You See My Baby Do the Charleston
08. Livin' High
09. Coal Cart Blues
10. Santa Claus Blues
11. Santa Claus Blues
12. Squeeze Me
13. You Can't Shush Katie (The Gabbiest Girl in Town)
14. Shake that thing
15. Get It Fixed
16. Spanish Shawl
17. Dinah
18. I've Found A New Baby See All 8
19. I've Found A New Baby See All 8
20. Pile of Logs and Stone (Called Home)
21. Wait Till You See My Baby Do the Charleston
22. Livin' High
23. Wait Till You See My Baby Do the Charleston




Discography:

Clarence Williams' Blue Five:
Louis Armstrong (cnt) Charlie Irvis (tb) Sidney Bechet (sop,sarrusophone-1) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)
New York, December 17, 1924
73026-B Mandy, make your mind (et vcl,1)
73027-B I'm a little blackbird looking for a bluebird (et vcl)

Clarence Williams' Blue Five:
Louis Armstrong (cnt) Charlie Irvis (tb) Sidney Bechet (sop) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)
New York, January 8, 1925
73083-A Cake-walking babies from home (et vcl)
73084-B Pickin' on your baby (et vcl)

Clarence Williams Williams' Blue Five:
Louis Armstrong (cnt) Charlie Irvis (tb) Sidney Bechet (sop) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl) Buster Bailey (sop) Don Redman (as)
New York, March 4, 1925
73204-A Cast away (waltz) (et vcl)
73205-A Papa de da da (et vcl)

Clarence Williams' Blue Five:
Louis Armstrong (cnt) Charlie Irvis (tb) Buster Bailey (cl,sop) Don Redman (as,sop) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)
New York, October 6, 1925
73686-B Just wait 'til you see my baby do the charleston (et vcl)
73687-B Livin' high sometimes (et vcl)

Clarence Williams' Blue Five:
Louis Armstrong (cnt) Charlie Irvis (tb) Don Redman (cl) Buster Bailey (sop) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)
New York, October 8, 1925
73694-B Coal cart blues (et vcl)
73695-B Santa Claus blues (et vcl;dr out)

Clarence Williams' Trio:
Louis Armstrong (cnt) Clarence Williams (p,vcl) Buddy Christian (bj) Eva Taylor, Clarence Todd (vcl)
New York, October 16, 1925
73721-A Santa Claus blues (et,cw,ct vcl)

Clarence Williams' Blue Five:
Louis Armstrong (cnt) Charlie Irvis (tb) Don Redman (cl-1,as-2) Coleman Hawkins (ts) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)
New York, October 26, 1925
73738-A Squeeze me (et vcl,1)
73739-B You can't shush Katie [The gabbiest gal in town] (et vcl,2)

Clarence Williams
Big Charlie Thomas (cnt) Buster Bailey (cl) unknown (as) Clarence Williams (p) Buddy Christian (bj) Eva Taylor (vcl)
New York, December 15, 1925
73837-B Shake that thing (et vcl)
73838-B Get it fixed (et vcl)

Clarence Williams' Stompers:
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)
New York, January 4, 1926
73893-B Spanish shawl
73894-B Dinah

Clarence Williams' Blue Five:
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)
New York, c. January 22, 1926
73957-A I've found a new baby (et vcl)
73958-B I've found a new baby (et vcl)
73959-B Pile of logs and stones [called home] (et vcl)

Dixie Washboard Band
Ed Allen (cnt) Bennie Moten (cl,as-1) Clarence Williams (p) Jasper Taylor (wbd)
New York, January 25, 1926
141553-1 Wait till you see my baby do the Charleston
141554-1 Livin' high

Dixie Washboard Band (same pers.)
New York, February, 1926
6431-3 Wait till you see my baby do the Charleston
Note: Domino issued as "Louisiana Washboard Band", Oriole as "Dixie Jazz Band" and BRS as "Clarence Williams' Washboard Beaters".

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Bessie Smith. The World Greatest Blues Singer

Aunque las grabaciones de Bessie Smith (unos 160 temas correspondientes al período 1923-1933) han visto a lo largo de los años sucesivas reediciones en las más diversas formas y tamaños, desde recopilaciones sin el más mínimo rigor en todos los formatos habidos y por haber, hasta la supuesta "edición completa" oficial de Columbia en 5 cajas de CDs dobles, el asunto no queda tan definitivamente zanjado como podría parecer. Muy recientemente han aparecido dos nuevas integrales que se desmarcan de todo lo anteriormente editado por su incomparable calidad sonora; me refiero a las ediciones de JSP y Frog Records, remasterizadas por el insuperable John RT Davies, que incluyen algún que otro "extra" no disponible en las cajas Columbia. Sin embargo, tanto en la programación como en la presentación (horrorosa en el caso de Frog Records) sigue por delante la edición oficial, pero la de los 5 LPs de los años 70 más que la de CDs de los 90, en mi opinión. También hay curiosidades dignas de atención, como la remasterización "Jazz Classics In Digital Stereo" de Robert Parker, aunque ésta se reduce a un sólo álbum.


En vista del éxito, y dado que uno ha ido completando a lo largo de los años casi todo lo aparecido de/sobre esta irrepetible artista (incluidas varias ediciones de la biografía, ésta sí definitiva, a cargo de Chris Albertson), he optado por tomar lo mejor de ambos mundos y, en esta primera entrega, sugiero la programación del primer álbum doble Columbia (sus 16 primeras y 16 últimas grabaciones), con escaneados de esa maravillosa edición, pero con el audio tomado a 320kps de las colecciones Frog y JSP. En cualquier caso, estarán de acuerdo conmigo, el título no puede ser más acertado: la voz de blues (sin distinción de género) más grande de todos los tiempos.

-Jay Bee Rodriguez

01. Down Hearted Blues
02. Gulf Coast Blues
03. Aggravatin' Papa
04. Beale Street Mama
05. Baby Won't You Please Come Home
06. Oh Daddy Blues (You Won't Have No Mama At All)
07. 'Tain't Nobody's Bizness If I Do
08. Keeps On A-Rainin' (Papa He Can't Make No Time)
09. Mama's Got The Blues
10. Outside Of That
11. Bleeding Hearted Blues
12. Lady Luck Blues
13. Yodling Blues 14. Midnight Blues
15. If You Don't Know Who Will
16. Nobody In Town Can Bake A Sweet Jelly Roll Like Mine
17. See If I'll Care 18. Baby Have Pitty On Me 19. On Revival Day (A Rhythmic Spiritual)
20. Moan, You Moaners
21. Hustlin' Dan
22. Black Mountain Blues
23. In The House Blues
24. Long Old Road
25. Blues Blues
26. Shipwreck Blues
27. Need a Little Sugar in My Bowl
28. Safety Mama
29. Do Your Duty
30. Gimme a Pigfoot (And a Bottle of Beer)
31. Take Me for a Buggy Ride
32. I'm Down in the Dumps

The Greatest

Lonnie Johnson - Playing with the Strings (1925-32)

Lonnie Johnson, prácticamente el inventor de los bendings en la guitarra, una influencia decisiva sobre maestros como T-Bone Walker, Django Reinhart o B.B. King, por citar sólo tres nombres indispensables. En otra ocasión daremos un repaso más detenido a la formidable carrera de este cantante de blues (y violinista, y más cosas) pero sobre todo magistral guitarrista. De momento, y para abrir boca, valga esta antología, remasterizada por John RT Davies, junto a algunos de los más ilustres grupos y músicos de los años 20 y 30.
Verdaderamente, están casi todos: King Oliver, Louis Armstrong, Clarence Williams, Eddie Lang, Hoagy Carmichael, Johnny Dodds, Duke Ellington...

-Jay Bee Rodríguez

From the 1920s to the 1960s, guitarist Lonnie Johnson broke new ground for jazz and blues guitar, performing stunning displays of six-string virtuosity on recordings with Louis Armstrong, Duke Ellington, Kid Ory, and on numerous solo efforts. But, perhaps because he was so versatile--jumping between hundreds of Delta blues and hot-jazz studio sessions--he's never received his due accolades for being one of the great guitar pioneers. Playing with the Strings captures Johnson's earliest output, from the 1925 recordings with Charlton Creath's Jazz-O-Maniacs to the stunning 1932 solo 78 he recorded featuring "I'm Nuts About That Gal" and "Racketeers Blues." JSP's compilation shows how, in just seven years, Johnson went from playing in Louis Armstrong's Hot Five to working with Duke Ellington to performing in one of the first interracial studio sessions with Eddie Lang, King Oliver, and Hoagy Carmichael (all performing as Blind Willie Dunn's Gin Bottle Four). Throughout, Johnson is in top form on guitar, picking single-note lines in a fashion that would anticipate future jazz guitar sounds. We can hear Johnson playing other instruments, too--kazoo, violin, and banjo--but his guitar mastery steals the show. JSP's transfers of these old 78s are at times spotty, but it's still a great collection of classic tunes. ~ Jason Verlinde

Digitally remastered by John R.T. Davies.

Recording information: Chicago, IL (01/20/1926-02/07/1941); Memphis, TN (01/20/1926-02/07/1941); New York, NY (01/20/1926-02/07/1941); St. Louis, MO (01/20/1926-02/07/1941).

Personnel includes: Louis Armstrong, Duke Ellington, Eddie Lang, King Oliver, Clarence Williams, Johnny Hodges, Kid Ory.



1. Won't Don't Blues (St.Louis, MO, Nov. 2, 1925) - 3:07
Charlton Creath's Jazz-O-Maniacs
Banjo - Pete Petterson
Clarinet, Saxophone [Alto] - Horace Eubanks
Piano - Cranston Hamilton
Saxophone [Alto] - Sam Long
Saxophone [Tenor] - William Rollins
Trumpet - Leonard Davis
Violin - Lonnie Johnson
02. Mr. Johnson's Blues (St.Louis, MO, November 4, 1925) - 2:42
Piano - John Arnold Vocals - Lonnie Johnson
03. Falling Rain Blues (St.Louis, MO, November 4, 1925) - 3:05
Piano - John Arnold Violin, Vocals - Lonnie Johnson

04. Now Good Blues (New York, January 20, 1926) - 2:37
05. Newport Blues (New York, January 20, 1926) - 2:38
James 'Steady Roll' Johnson
Banjo - Lonnie Johnson
Piano - De Louise Soarcy
Vocals, Violin - James Johnson
06. Nile Of Genago (New York, January 20, 1926) - 2:46
Guitar - James 'Steady Roll' Johnson (older brother of Lonnie Johnson)
07. To Do This You Gotta Know How (New York, Jan 20, 1926) - 3:10
Guitar - Lonnie Johnson
08. Four Hands Are Better Than Two (New York, Jan 20, 1926) - 3:27
Guitar - Lazy Harris
Piano - John Erby


09. I'm Not Rough (Chicago, December 10, 1927) - 3:04
10. Hotter Than That (Chicago, December 13, 1927) - 3:04
11. Savoy Blues (Chicago, December 13, 1927) - 3:31
Louis Armstrong And His Hot Five
Guitar - Lonnie Johnson
Banjo - Johnny St. Cyr
Piano - Lil Armstrong
Trombone - Kid Ory
Vocals, Trumpet - Louis Armstrong
12. Playing With The Strings (Memphis, Tenn, 21.02.1928) - 2:59
13. Stompin' 'Em Along Slow (Memphis, Tenn, 21.02.1928) - 2:55
Guitar - Lonnie Johnson
14. The Moochie (New York, October 1, 1928) - 3:20
15. Move Over (New York, October 1, 1928) - 3:10
16. Hot And Bothered (New York, October 1, 1928) - 3:23
Duke Ellington And His Orchestra
Guitar - Lonnie Johnson
Banjo - Fred Guy
Clarinet, Saxophone [Alto] - Johnny Hodges
Clarinet, Saxophone [Alto], Saxophone [Bariton] - Harry Carney
Clarinet, Saxophone [Tenor] - Barney Bigard
Drums - Sonny Greer
Piano, Leader - Duke Ellington
Saxophone [Bariton] - Wellman Braud
Trombone - Joe Nanton
Trumpet - Arthur Whetsol , Bubber Miley
Violin - Baby Cox , The Palmer Brother
17. Paducah (New York, October 13, 1928) - 3:00
18. Star Dust (New York, October 13, 1928) - 3:01
The Chocolate Dandies
Guitar - Lonnie Johnson
Banjo - Dave Wilborn
Bass - Escudero
Clarinet - Don Redman , George Thomas , Milton Senior , Prince Robinson
Drums - Cuba Austin
Leader - Don Redman
Piano - Todd Rhodes
Saxophone [Alto] - Don Redman , Milton Senior
Saxophone [Tenor] - George Thomas , Prince Robinson
Trombone - Claude Jones
Trumpet - John Nesbit , Langston Curl
Vocals - Dave Wilborn , Don Redman , George Thomas

19. Jet Black Blues (New York 30.04.1929) - 3:05

20. Blue Blood Blues (New York 30.04.1929) - 3:02
The Blind Willi Dunn's Gin Bottle Four
Cornet - Joe "King" Oliver
Drums - Hoagy Carmichael
Guitar - Lonnie Johnson, Eddie Lang
Piano - J.C. Johnson
Vocals [Scat] - Hoagy Carmichael
21. Sitting On The Top Of The World (New York, Sep 9, 1930) - 3:06
22. Kansas City Man Blues (New York, September 9, 1930) - 2:58
Clarence Williams' Jug Band
Guitar - Lonnie Johnson
Clarinet - Charlie
Cornet - Ed Allen
Jug - Clarence Williams
Piano - Charlie
Saxophone [Tenor] - Charlie
Trombone - Charlie
23. I'm Nuts About That Gal (New York, Aug 12, 1932) - 3:14
24. Racketeers Blues (New York, August 12, 1932) - 3:12
Guitar, Vocals - Lonnie Johnson

Hot Jazz and cool Blues

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