The Legendary Sidney Bechet : 1932-1941

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.

- Jay Bee Rodríguez

- High Society
- Shake It and Break It
- When It’s Sleepy Time Down South
- Baby Won’t You Please Come Home
- Stompy Jones
- Indian Summer
- Blues in the Air
- Wild Man Blues
- Really the Blues
- Save It, Pretty Mama
- Weary Blues
- Sidney’s Blues
- The Sheik of Araby
- Muskrat Ramble
- The Mooche
- Maple Leaf Rag
- Strange Fruit
- Twelfth Street Rag
- I’ve Found a New Baby
- Mood Indigo
- I’m Coming Virginia
- What is This Thing Called Love

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Jelly Roll Morton's piano solos, 1923-24

Part of Classics' excellent chronological series, this examines Jelly Roll's recordings from 1923 to 1924, beginning with a Paramount single with his orchestra, "Big Fat Ham," followed by "Muddy Water Blues." Next up are the first six issued Gennett piano solos, then stray singles by Morton's Jazz Band, Steamboat Four, and Stomp Kings. These are proceeded by four more piano solo sides, which were cut for Paramount, before finishing out with a marathon piano solo session for Gennett in 1924. ~ Cub Koda, AMG.



Jelly Roll Morton (1923-1924)
[The Chronological Classics No 584]

01. Big Fat Ham
02. Muddy Water Blues
03. King Porter Stomp
04. New Orleans Joys
05. Grandpa's Spells
06. Kansas City Stomp
07. Wolverine Blues
08. Pearls
09. Someday, Sweetheart
10. London Blues
11. Mr. Jelly Lord
12. Steady Roll
13. Thirty-Fifth Street Blues
14. Mamantia
15. Frog-I-More Rag
16. London Blues
17. Tia Juana
18. Shreveport Stomp
19. Mamanita
20. Jelly Roll Blues
21. Big Fat Ham
22. Bucktown Blues
23. Tom Cat Blues
24. Statford Hunch
25. Perfect Rag

hotjazzandcoolblues

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Robert Parker's Jazz Classics In Digital Stereo: New York

Robert Noel Parker (24 December 1936 – 30 December 2004) was an Australian sound engineer, jazz expert and broadcaster, well known for his radio series Jazz Classics in Digital Stereo.

Born in Sydney, Australia, he worked for the Commonwealth Film Unit then moved to Britain in 1964 to work in the film and television industry. On returning to Australia, he received a commission from the Australian Broadcasting Corporation for a radio series on jazz.

As a collector of records from the age of twelve, he had built up a large collection of vintage music. He developed a system for transferring recordings to digital media, eliminating noise, adding stereo and enhancing acoustics. He first used an analogue machine, the Packman Audio Noise Suppressor, and later digital equipment from CEDAR Audio Ltd to transfer, retouch and enhance recordings.

With these techniques he produced reproductions of jazz records of the 1920's and earlier that are not only free of surface noise but reveal details, subtleties and a sense of presence that were not previously evident on the records, even in LP re-issues.

He used his enhanced 78rpm transfers in a long-running radio programme Jazz Classics in Digital Stereo, first broadcast in May 1982 by ABC Radio and later carried by BBC Radio 2, amongst other stations.

His transfer of "Milenberg Joys" performed by McKinney's Cotton Pickers was adopted by him as the theme tune for his broadcasts.

He settled back in Britain and set up his own studio in Devon, and followed on from his radio show with a series of vintage record transfers under the banners Jazz Classics in Digital Stereo and The Classic Years in Digital Stereo.


This is the third of four CDs in the Robert Parker series that reissues a cross section of early jazz recordings from a regional area. The music ranges from the famous (Jelly Roll Morton, Fletcher Henderson, Bessie Smith and Duke Ellington) to the lesser known (Charlie Johnson's Paradise Ten, Lloyd Scott and Freddy Jenkins). Veteran collectors will prefer to skip this sampler and get the complete sessions elsewhere but listeners just beginning to explore early jazz should find these early recordings (which range from pre-swing to some heated jams) worth investigating. ~ Scott Yanow, All Music Guide

Track List

01 Jelly-Roll Morton & His Red Hot Peppers: Burnin' The Iceberg
02 King Oliver & His Orchestra: Strugglebuggy
03 Fletcher Henderson & His Orchestra: Sugar Foot Stomp
04 Bessie Smith Accompanied By James P. Johnson: Lock And Key
05 Paul Whiteman & His Orchestra: San
06 Miff Mole & His Little Molers: Imagination
07 Eddie Condon & His Footwarmers: Makin' Friends
08 Fats Waller & His Buddies: The Minor Drag
09 Duke Ellington & His Famous Orchestra: East St. Louis Toodle-Oo
10 Charlie Johnson & His Orchestra: Hot Bones & Rice
11 Luis Russell & His Orchestra: Dr. Blues
12 Fess Williams & His Royal Flush Orchestra: Feelin' Devilish
13 Lloyd Scott's Orchestra: Happy Hour
14 Casa Loma Orchestra, The: Casa Loma Stomp
15 Jungle Band, The: Dog Bottom
16 Cab Calloway & His Orchestra: Minnie The Moocher
17 Jimmie Lunceford & His Orchestra: Stratosphere
18 Clarence Williams' Washboard Five: Cushion Foot Stomp
19 Freddie Jenkins & His Harlem Seven: I Can't Dance
20 Eddie Lang - Joe Venuti & Their All Star Orchestra: Farewell Blues

hotjazzandcoolblues

Robert Parker's radio podcasts (recommended!)

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Jelly Roll Morton - Birth Of The Hot (1926-27)

When in 1995 RCA reissued 19 titles and four alternate takes from the first nine months of Jelly Roll Morton's adventure as a Victor recording artist, the producers elected to christen the album "Birth of the Hot". This title, which is a takeoff on that of Miles Davis' 1949 Birth of the Cool album (later echoed in modified phraseology by the Gil Evans Impulse LPs Out of the Cool and Into the Hot) accurately pegs these exciting 1926-1927 recordings as archetypal manifestations of the classic New Orleans "hot" jazz style that Morton pioneered first as a pianist, then with a series of groups that paved the way for the successes of his supremely adept and well-rehearsed Red Hot Peppers band. This excellent sampler ought to whet the appetite for a larger selection of Morton's works as reissued by numerous labels including Classics, Proper, JSP, and of course RCA Victor. If all you need is a straight shot of Jelly, this is the genuine article. ~ arwulf arwulf

01 Black Bottom Stomp
02 Smoke House Blues
03 The Chant
04 Sidewalk Blues [Take 3]
05 Dead Man Blues [Take 1]
06 Steamboat Stomp
07 Someday Sweetheart
08 Grandpa's Spells [Take 3]
09 Original Jelly-Roll Blues
10 Doctor Jazz
11 Cannon Ball Blues [Take 2]
12 Hyena Stomp
13 Billy Goat Stomp
14 Wild Man Blues
15 Jungle Blues
16 Beale Street Blues
17 The Pearls
18 Wolverine Blues
19 Mr. Jelly Lord
20 Sidewalk Blues [Take 2]
21 Dead Man Blues [Take 2]
22 Grandpa's Spells [Take 2]
23 Cannon Ball Blues [Take 1]

Digitally remastered by Dennis Ferrante.

Red Hot Pepper Sessions

Recorded at the Webster Hotel and Victor Talking Machine Recording Laboratory, Chicago, Illinois between September 15, 1926 and June 10, 1927. Includes liner notes by Lawrence Gushee and Orrin Keepnews.

Personnel: Jelly Roll Morton (vocals, piano); Johnny St. Cyr (guitar, banjo); Bud Scott (guitar); Clarence Black, J. Wright Smith (violin); Omer Simeon (clarinet, bass clarinet); Darnell Howard, Johnny Dodds, Barney Bigard (clarinet); Stump Evans (alto saxophone); George Mitchell (cornet); Gerald Reeves, Kid Ory (trombone); Quinn Wilson (tuba); Andrew Hilaire, Baby Dodds (drums).



Jelly Roll Morton was at a creative peak in Chicago in 1926 and '27, surrounded by first-rate fellow New Orleans musicians and with plenty of opportunities to record. Many of the musicians who contributed to Louis Armstrong's Hot Five and Hot Seven recordings appear here--trombonist Kid Ory, banjoist Johnny St. Cyr, clarinetist Johnny Dodds, and his drummer brother Baby Dodds--while George Mitchell contributes sterling cornet leads. Each track is a compressed masterpiece, a jigsaw puzzle of written composition, improvised ensembles, solos and duets, often with sound effects and bantering comic patter thrown in. "Black Bottom Stomp" and "The Chant" are brilliant examples of Morton's energized fusion of contrasting elements, while the piquant "Someday Sweetheart," with its combination of violins, guitar, and Omer Simeon's bass clarinet, demonstrates Morton's inventiveness as an orchestrator. From low humor to high mimicry, Morton was an artist of ebullient spirit who brought the whole of his experience to the recording studio: the car horn of "Sidewalk Blues," the forced laughter of "Hyena Stomp," and the barnyard vocals of "Billy Goat Stomp." By contrast, the final Chicago session includes compact trio performances of "Wolverine Blues" and "Mr. Jelly Lord" by Morton and the Dodds brothers that are refined intersections of ragtime and jazz improvisation. --Stuart Broomer

More reviews:

While there are many Jelly Roll Morton recordings on the market today, none are as superbly digitally remastered or include such a fine selection of tunes from Morton. Jelly Roll indeed was his hottest between 1926-27. These songs are IT -- the essence of New Orleans jazz. "Black Bottomed Stomp," "Sidewalk Blues," "Dr. Jazz," "The Chant" -- they're all here. Quite frankly, I have over 100 jazz CD's and this one ranks in my top ten. I could write a paragraph about each song on the album -- from the sizzling clarinet solo in "Black Bottomed Stomp," to the shouting and car horn included in "Side Walk Blues," to the sad melodic wailing in "Dead Man Blues." In recent years, many jazz artists, such as Dick Hyman, have tried re-create these old recordings themselves. But the truth is no one can quite capture that frenetic yet completely coherent excitement that is distinctly Morton.


hot jazz and cool blues

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"Jelly Roll Morton is one of the great figures of jazz music . . . He is also one of the best pianists I have ever heard . . . The music on every side is almost uniformly magnificent ... I must also mention the trio records . . . It is through them that he gave us a very large part of his touching music . . . long before Benny Goodman s trip, which was presented to the public as an innovation and which always remained far below the Morton Trio's per­formances. . . " -H. Panassie, Jazz Information, 1941.

"Doctor Jazz reveals most of the qualities of classic jazz in their fullest development. It is difficult to exhaust its variety: wide contrast of timbres; African polyrhythms; breaks; chain-breaks and solos; head' ar­rangement; free polyphony and Afro-American variation shown by the constant mutations of rhythmic pattern, tone, instrumentation, and melody." -R. Blesch, Shining Trumpets, 1945.

"If you never heard Jelly Roll at his best, you ain't never heard jazz piano. . " -Bud Scott

MISTER JELLY ROLL

The Fortunes Of Jelly Roll Morton, New Orleans Creole and Inventor Of Jazz by Alan Lomax with Drawings by David Stone Martin Also with some sheet music and lyrics samples - Complete Online Book here.



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