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jasapaal
 Into the Rhythm
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1927: Bix Beiderbecke - Singin' the Blues (Vol.1) |
Traditional Jazz, New Orleans Jazz |
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 Artist: Bix Beiderbecke Album: Singin' the Blues (Vol.1) Label: Columbia Year: 1927; release: 1991 Quality: MP3@320 kbps Size: 132 mb Total time: 60:56 AMG Rating:   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. ~ Scott Yanow, All music Guide |
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1995:Sidney Bechet - Complete Edition Vol.02 (1923-1930) |
Music » Jazz » Traditional Jazz » New Orleans Jazz |
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 Artist: Sidney Bechet Album: Complete Edition Vol.02 (1923-1930) Label: Masters Of Jazz Years: 1923-1930; release: 1995 Format, bitrate: MP3@320kbps Time: 65:39 Size: 163MB Nobody has ever assembled a more thorough survey of clarinet and soprano sax virtuoso Sidney Bechet's early works than the meticulously researched Masters of Jazz series, which touches upon every session he is verifiably known to have participated in as sideman or leader between the years 1923 and 1942. The second installment in this no-stone-unturned progression is layered with recordings by the Clarence Williams Blue Five, one of the hottest little bands of its day, and an equally solid unit known as the Red Onion Jazz Babies. On these recordings, Bechet is heard with cornetists Thomas Morris, Louis Armstrong and Bubber Miley; trombonists Charlie Irvis and Aaron Thompson; banjoist Buddy Christian, and pianists Lil Armstrong and Clarence Williams. By far the most unusual instrumental highlight is Bechet's purling sarrusophone solo on "Mandy, Make Up Your Mind." Bechet seems to have first encountered the sarrusophone (a mid-19th century double-reed version of the saxophone) in London a couple of years earlier, and claimed to have purchased what sounds like a bass or contrabass model from a pawnshop on the way to the recording studio. Vocalists heard on this collection are Margaret Johnson ("Who'll Chop Your Suey When I'm Gone" and "Done Made a Fool Out of Me"); Sippie Wallace ("Off and On Blues" and "I'm so Glad I'm Brownskin"); Eva Taylor (tracks 10,11,17, 18, and 21-- a reading of Bechet's own "Ghost of the Blues"); the seldom-heard Maureen Englin (who sings Bechet's "Foolin' Me"), Virginia Liston ("Jailhouse Blues," "Early in the Morning," and "You've Got the Right Key, But the Wrong Keyhole"), and Alberta Hunter as Josephine Beatty ("Early Every Mornin', "Nobody Knows the Way I Feel This Morning" and, in vocal duet with Clarence Thomas, "Cake Walking Babies from Home"). Bechet's presence on "Jailhouse Blues" has never been fully verified, and is difficult to ascertain because he was credited on the 78 rpm Okeh record as the guitarist. Bechet himself explained that in response to a request for written recognition, Clarence Williams facetiously added his name to several records on which he did not actually play. Virginia Liston later said she thought the guitarist had been Sylvester Weaver. In July 1925, Bechet recorded "Junk Bucket Blues" and Fats Waller's red hot number "Harlem's Araby" with (according to various learned discographers) cornetist Johnny Dunn, trombonist Joe Nanton, alto saxophonist Bob Fuller, banjoist Sam Speed, and either Porter Grainger or Mike Jackson at the piano. This would be Bechet's final recording session before he sailed back to Europe, where he helped spread jazz throughout the entire continent. This invigorating collection of rarities and classic sides concludes with a couple of fascinating incidental interludes from the soundtrack of the motion picture Einbrecher. The ensemble, which made these recordings in Berlin during the summer and early autumn of 1930, is listed as Sidney Bechet & His New Yorkers. The inclusion of these precious soundtrack excerpts adds considerable ballast to this highly recommended stash of historic jazz records. ~ arwulf arwulf, All Music Guide |
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1946;1954: Baby Dodds - Talking and Drum Solos |
Dixieland, Classic Jazz |
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 Artist: Baby Dodds Album: Talking and Drum Solos Label: Atavistic Records Years: 1946,1954; release: 2003 Quality: MP3@320 kbps Size: 121 mb Total time: 55:56 "Spooky Drums No. 1," so-titled for the relative unfamiliarity of a drummer finding a studio all to himself, is as good an introduction to this man's art as any, and I suggest you hear it. The first in line, chronologically, of the great jazz drummers, Baby Dodds, who played and recorded with King Oliver, Louis Armstrong, and Jelly Roll Morton, is perhaps the most poorly served of all early jazz players by the primitive recording techniques of the twenties. On the recordings that constitute what there exists on record of Dodds in his prime, his drums are often difficult to discern, and harder to follow, a significant historical loss only slightly remedied with the enhancement of those 78s on CD. Talking and Drum Solos, an essential document for jazz historian and drum aficionado alike, is simple in concept and, in every manner possible for a record, invaluable, presenting Dodds sans band in the studio, talking about his kit, and providing musical examples. As this particular session—the idea of Fred Ramsey, an Alan Lomax sort of jazz missionary/ preservationist—dates from 1946, the fidelity, while rough, is plagued by none of the surface noise and overbalance of Dodd's earlier recordings. A key influence in extending the drummer's role from strict timekeeping—shades of Tony Williams and Keith Moon forty years before the fact—Dodds, along with his clarinet playing brother Johnny, was one of the principles in fashioning what one so often associates today with the classic style of New Orleans jazz, that music endemic of both fish frys and funeral processions. The excellent companion disc, Baby Dodds , on the American Music label, features the drummer a few years later, a little gruffer, expounding more at length, on "Tiger Rag," marching bands, and his traps, but the music itself is intercut from early records—a device that Talking and Drum Solos resorts to for only two examples. As an extension of the work of Ramsey, rather than Dodds, the rest of this disc features field recordings—made outdoors, at night, because it was cotton-planting season—from 1954 by two, I must admit, horrible bands by any professional standard. But if we hear them for what they are—that is, men making music for the joy and shared spirit of making music—they become that much easier to appreciate in the manner one appreciates folk art in the museum annex apart from the "proper artists." But if you seek out this record you are doing so for Baby Dodds and what amounts to a document of twentieth century drumming as significant as Who's Next , Nefertiti , or Elvin Jones' work with John Coltrane. ~ Colin Fleming, All About Jazz |
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1965: George Lewis - Smile Darn Ya Smile |
Music » Jazz » Traditional Jazz » New Orleans Jazz |
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 Artist: George Lewis Album: Smile Darn Ya Smile Label: UK 77 Records Year: 1965 Format, bitrate: MP3@320 kbps (LP-rip) Time: 35:23 Size: 92.53 Mb George Lewis (13 July 1900 – 31 December 1968) was an American jazz clarinetist who achieved his greatest fame and influence in the later decades of his life.
Lewis was born Joseph Louis Francois Zenon, in the French Quarter of New Orleans, Louisiana. Lewis was playing clarinet professionally by 1917, at the age of seventeen, working with Buddy Petit and Chris Kelly regularly as well as the trombonist Kid Ory and other leaders. At this time, he seldom traveled far from the greater New Orleans area. During the Great Depression he took a job as a stevedore, continuing to take as many music jobs after hours as he could find, a schedule that often meant he got very little sleep. >>>>> |
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2003: Sidney Bechet - Complete Edition Vol.01 |
Music » Jazz » Traditional Jazz » New Orleans Jazz |
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 Artist: Sidney Bechet Album: Complete Edition Vol.01 (1923) Label: Masters Of Jazz Year: 1923; release: 1995 Format, bitrate: MP3@320kbps Time: 74:05 Size: 178MB For generations, Sidney Bechet's legacy of great jazz recordings has been reissued carefully, both casually and haphazardly. One of several chronological options, the 12-volume Masters of Jazz "Complete Edition" takes a most exactingly thorough approach, mapping Bechet's every appearance in the recording studio, week by week and session by session, regardless of who was initially designated as the primary artist. 1923, Vol. 1 in the series covers a four-month period from late July to early November 1923, during which Bechet worked closely with Clarence Williams, a terrifically busy publisher, pianist, talent scout, and instigator of recording dates. For those who know and love the work of cornetist Thomas Morris, this portion of the Sidney Bechet story may serve as a fascinating prologue to the records involving trombonist Joe Nanton and pianist/organist Thomas Waller that were issued under Morris' name during the years 1923-1927. While Morris is well represented, he plays a modestly supportive role on Waller's "Wild Cat Blues" and "Kansas City Man Blues", which fully feature Bechet's scintillating soprano saxophone. The other instrumentals are the "Achin' Hearted Blues," Porter Grainger's "'Tain't Nobody's Bus'ness If I Do," George W. Thomas' "New Orleans Hop Scop Blues," "Oh Daddy!," and "The Shreveport Blues," and James P. Johnson's "Old Fashioned Love." Bechet's earliest recordings also include s16 vocal performances by Sara Martin, Mamie Smith, Eva Taylor, Rosetta Crawford, and Margaret "Queenie" Johnson. First prize for most unlikely title goes to "I've Got the ‘Yes! We Have No Bananas' Blues," a long-shot Tin Pan Alley novelty that was also recorded by vaudeville comedians Eddie Cantor & the Happiness Boys. Its inclusion adds to the uniqueness of this core sample of jazz and blues recorded in New York City during the first months of Sidney Bechet's long and eventful recording career. ~ arwulf arwulf, All Music Guide |
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2006: The Bob Crosby Bob Cats - Prayin' Humble Payin' Tribute |
Music » Jazz » Traditional Jazz |
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 Artist: The Bob Crosby Bobcats Album: Prayin'Humble, Payin' Tribute Label: BCBC106 Year: 2006 Format, bitrate: MP3 320kps Time: 66:21 Size: 156.5 Another great CD by the Bob Crosby Bob Cats, under the direction of Ed Metz, Sr. Ed also did the musical arrangements to this one. A marvelous CD. ED METZ, JR. was born in Allentown, PA to musical parents. He started early when his Dad's drummer gave him a pair of sticks at age 3. He took piano lessons, then trumpet and finally drums. At high school age he toured with the New McKinney's Cotton pickers. He attended E. Michigan U. and played with Jim Dapogny and Gene Mayl. Ed completed college in N.J. and then toured with Count Basie in '82. He moved to Orlando to work at Disney World, where he was involved with a wide variety of musical activity. In '89 he was involved in the Black Dog phenomenon, appearing at 50 jazz festivals in 3 years. Ed has recorded dozens of times and is staying very busy in and around Orlando. ~ atlantajazzparty.com |
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1953: Ken Colyer's Jazzmen - Vintage Ken Colyer 1953 |
Jazz, Traditional Jazz |
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 Artist: Ken Colyer's Jazzmen Album: Vintage Ken Colyer 1953 Label:Lake Records LACD190 Year: 1953; release: 2004 Format, bitrate: mp3 320 kbps CBR Time: 01:14:34 min Size: 123.35 Ìb Once again Paul Adams and Lake Records have done fans of Vintage Ken Colyer and Chris Barber music a great service by compiling and re-mastering twenty-two recordings by Ken Colyer's Jazzmen made in Copenhagen in April and May, 1953, soon after Ken returned from New Orleans and the band was founded. Eighteen of the tracks are full or partial band recordings, while an additional four are from an early skiffle set with Lonnie Donegan on banjo and vocals, Chris Barber on bass, and Ken Colyer on vocals. The sound quality of these sometimes rudimentary and amateur recordings does vary considerably, but the re-mastering job is excellent, and of course the music itself is an indispensable collection for jazz historians and those Barber fans who simply want to know how the music they love originated. ~ chrisbarber.net |
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1928-1930: Jimmie Noone - Jimmie Noone's Apex Club Orchestra |
Music » Jazz » Traditional Jazz » New Orleans Jazz |
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 Artist: Jimmie Noone Album: Jimmie Noone's Apex Club Orchestra Label: Ace of Hearts Reacords Years: 1928-1930 Format, bitrate: Mp3, 256 Kbps (LP-rip) Time: 34:35 Size: 66.9MB This LP from the collectors IAJRC label has 16 selections featuring clarinetist Jimmie Noone. The performances are programmed in chronological order and most of the recordings are lesser-known. All but the first two and the last four are from 1929-31 and highlights include the 1929 version of "Apex Blues," "That Rhythm Man," "Three Little Words" and "Shine." All of this music has since been reissued on CD but, taken as a sampler, this is a well-conceived introduction to the work of the fine New Orleans clarinetist. ~ Scott Yanow, All Music Guide |
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1942: Bunk Johnson - Superior Jazz Band From Storyville, New Orleans |
Music » Jazz » Traditional Jazz » New Orleans Jazz |
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 Artist - Bunk Johnson Album - Superior Jazz Band From Storyville, New Orleans Label - OJS/ZYX Year - 1942, release - 2006 Quality - MP3@320 kbps Size - 77,7 mb Total time - 36:35 Repost This CD reissues the first recordings by the legendary Bunk Johnson. Cut in New Orleans on primitive acetates, the trumpeter is teamed with trombonist Jim Robinson and clarinetist George Lewis (both of whom would be in his regular band soon), plus a four-piece rhythm section, for nine numbers. Bunk's playing is primitive, as is Lewis's, but also listenable despite the erratic recording quality. Closing this set are nine minutes of "talking records" that feature Johnson reminiscing about the past. In reality, this release is more important historically than musically; get Bunk's final recordings (on Delmark) first. ~ Scott Yanow, All Music Guide |
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1962 & 1970: Bobby Hackett - Sextet and Quintet |
Music » Jazz » Traditional Jazz » Dixieland |
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 Artist: Bobby Hackett Album: Sextet and Quintet Label: Storyville STCD-8230 Years: 1962 & 1970: release: 1999 Format, bitrate: MP3; 320KPS Time: 65:14 Size: 149.6 MB This Storyville LP combines two very different sessions led by Hackett. The first side has the soundtrack from a film made for the Goodyear Tire Company in 1962 featuring Hackett, trombonist Urbie Green, clarinetist Bob Wilber and pianist Dave McKenna in a sextet playing typical Dixieland tunes in spirited if overly concise fashion. The flip side features Hackett with trombonist Vic Dickenson in a quintet in 1970 really pushing themselves on five superior standards, including a version of "String of Pearls" on which Hackett reprises his famous solo of three decades earlier with Glenn Miller. ~ Scott Yanow, All Music Guide Last four tracks are previously unissued! On this re-issue of Hackett Sextet sides of 1962 and the Quintet recordings he cut with Vic Dickenson in 1970 - we now find four previously unissued tracks from the latter session. In fact, they are four tunes associated with seminal figures in the early development in jazz - Jelly Roll Morton, Duke Ellington, Bunny Berigan, and the Original Dixieland Jazz Band. When these Hackett/Dickenson sides were recorded, Boeing 747 Jumbo Jets were crossing the Atlantic for the first time. The music world has always had it's share of glitzy high-flyers, too. Sometimes, though, we get deeper satisfaction from the work of the quieter, low-lying stylists… like Bobby and Vic! ~ Storyville Records |
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1960-1961: Joe "Fingers" Carr / Lou Busch - Let's Do It Again! / From Honky-Tonk To The Classics (2 CD) |
Novelty Ragtime, Dixieland |
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 Artists: Joe "Fingers" Carr / Lou Busch Album: Let's Do It Again! / From Honky-Tonk To The Classics (2 CD) Label: Jasmine Records Years: 1960-1961; release:2010 Format, bitrate: mp3 320 kbps CBR Time: 01:13:25 min + 01:18:17 min Size:132.83 Ìb + 131.94 Ìb Lou Busch was a major arranger - conductor who created an alter ego for himself in the guise of Joe 'Fingers' Carr the ragtime and honky-tonk pianist. For the first time on one compilation we present both facets of the spectacular Lou Busch / Joe 'Fingers' Carr career. ~ Jasmine Records 2010 two CD set. .Lou Busch was a major arranger/conductor who created an alter ego for himself in the guise of Joe Fingers Carr the Ragtime and Honky Tonk pianist. For the first time on one compilation we present both facets of the spectacular Lou Busch/Joe Fingers Carr career. All of Joe Fingers Carr's hits are featured including 'Lets Do It Again!', 'Music! Music! Music!', 'Maple Leaf Rag', 'Portuguese Washerwomen', 'Sam's Song', 'Down Yonder', 'Tiger Rag', 'Beer Barrel Polka', 'The Old Piano Roll Blues' and many more! In addition are his great orchestral works plus his hit recordings with wife Margaret Whiting and all three tracks from Roger and Hammerstein's The King and I. ~ cduniverse.com |
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1912-1926: Al Turk/Charlie Straight/Gene Greene - Chicago Rhythm |
Traditional Jazz, Ragtime, Classic Jazz |
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 Artist: Al Turk/ Charley Straight / Gene Green Album: Chicago Rhythm Label: Jazz Oracle Year: 1912-13;1923-26;1924-26; Release: 1999 Format, bitrate: MP3@320 kbps Time: 72 min Size: 100mb, 77mb Complete output of Al Turk's Princess Orch. made for the Olympic and Okeh labels plus the best of Charlie Straight's Orch. from Paramount, Brunswick and Vocalion. ~ Jazz Oracle Chicago-based band recorded highly individual, well arranged jazz inspired by dance records - this album of material from 1912-26 is typical of the style from the artists of the time - it runs the gamut of straight dance tunes to hot jazz ~ cduniverse.com |
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1955: Teddy Buckner - In Concert At The Dixiland Jubilee |
Music » Jazz » Traditional Jazz » Dixieland |
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 Artist: Teddy Buckner Album: In Concert At The Dixiland Jubilee Label: GNP/Crescendo Year: 1955; release: 1988 Quality: MP3@320 kbps (LP-rip) Size: 81 mb Total time: 36:51 This album - the second by the sensational Teddy Buckner band was recorded under ideal musical circumstances The date October 15, 1955, The place: The massive Shrine auditorium in Los Angeles The occasion The 8th Annual Frank Bull-Gene Norman Dixieland Jubilee veritably the World's Series of Jazz.
Backstage before the concert it was a Who’s Who of Dixieland Milling about, shaking hands and literally comparing notes were such giants of jazz as Bobby Hackett, Jack Teagarden, Edward Kid Ory, and many others.
Out front were more than 6,000 avid devotees of Dixieland - the largest audience in the history of the Dixieland Jubilee, a musical fiesta which in its 8 years of existence has attracted more than 50,000 persons.For the Teddy Buckner band it was THE BIG TIME!
The sensational trumpet player organized the combination early in 1954 when he left the Kid Ory band. The first real recognition for the group came in February of 1955 when Frank Bull and Gene Norman recorded their initial album. You'll find it under Dixieland Jubilee Label GNP 11.
There followed a personal contract for Teddy to appear in the dramatic prologue of Jack Webb's Warner Brother’s Picture ”Pete Kelly's Blues ".
The band then played a highly successful 12-week engagement at Doc Dougherty's Club Hangover in San Francisco, and a return one year booking at Hap and Marie Koomer's 400 Club in Los Angeles.
Now on this October night m the Shrine Auditorium, the stage was set for the most crucial test of all: The Buckner Band was at bot in the World’s Series of Jazzl! ~ From liner notes |
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1928-1937: Miff Mole 1928-1937 |
Dixieland, Classic Jazz |
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 Artist: Miff Mole Album: Miff Mole 1928-1937 Label: Classics Years: 1928-1937; release: 2003 Quality: MP3@320 kbps Size: 142 mb Total time: 67:16 AMG Rating:  Early recordings by one of the first masters of jazz trombone. Less jaunty than Kid Ory and not as funky as Charlie Irvis, Miff Mole's trombone had a sound all its own. His calm, assertive presence transformed any ensemble, and the bands he led were usually dependable and solid. If you're not yet a devoted follower, this excellent package might grab you for keeps. The opening session features an inspired Frank Teschemacher, who really shines on "Shim-Me-Sha-Wabble." The rest of the material from 1928 is delightful, sounding a lot like fully arranged small band swing from the mid-'30s. The piano lineup is marvelous throughout: Joe Sullivan, Arthur Schutt, and Frank Signorelli, composer of "I'll Never Be The Same" and "A Blues Serenade." Tuba legend Joe Tarto anchors three different ensembles and sounds particularly comfortable behind the trombone solos. Because they wisely chose not to feature any vocalists on the 1928-1929 sides, the magical interaction between instrumentalists proceeds without interruption. We get a good taste of Jimmy Dorsey's clarinet while Matt Malneck saws away on a hot violin. Dick McDonough's guitar solo on "Playing the Blues" is dazzling. Eddie Lang, however, plays hardly audible straight rhythm guitar on the April 19, 1929, session, restraining himself while the horns bubble and smoke out front. "That's a Plenty" is a prime example of how hot these guys could blow, and Dorsey is joined by tenor man Babe Russin for a wild version of "After You've Gone."
Those 14 hot sides are followed by a session from 1930. It's amazing how ensembles began to congeal and sweeten once the new decade (and the Great Depression) was on. Mole does some stuffy work with a mute and Scrappy Lambert's vocals are a bit fluffy, but the exciting presence of Adrian Rollini's bass saxophone is consoling, much as it was on the Venuti/Lang recordings from this same period. Luckily, we are given the option of skipping the vocal selections and choosing instrumental alternates, which were originally issued on Odeon instead of Okeh. These are as worthy as any of the other instrumental numbers included here.
The material from 1937 is thicker and more heavily arranged, with vocals by Midge Williams, who could be charming, and Chick Bullock, who wasn't. This is an entirely different world from the earlier sides. The presence of Glenn Miller constitutes a manifestation of mainstream big band music ready at that point to seize the market. Mole sounds great once Bullock runs out of lyrics, and even six marginally appealing vocal episodes cannot detract from the simple majesty of this chronologically stacked retrospective. Mole deserves to be remembered and Classics is to be commended for having the gumption to issue his music in this manner. ~ arwulf arwulf, All Music Guide |
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1955-1960: Ken Colyer’s Jazzmen - Serenading Auntie |
Music » Jazz » Traditional Jazz » New Orleans Jazz |
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 Artist: Ken Colyer's Jazzmen Album: Serenading Auntie Label: Upbeat (import - UK) Year: 1955-1960 Release: 2002 Format, bitrate: Mp3, 192 kbps CBR Time: 01:06:43 min Size: 86,84 Mb This album features Ken Colyer at the BBC Previously unreleased BBC archive material taken from programmes 1955 - 1960 Trumpeter Ken Colyer's influential New Orleans-style bands of the 1950s are featured on this British CD. The 21 performances are taken from five live performances taped for the BBC. While the first six numbers (from 1960) match Colyer with trombonist Graham Stewart and clarinetist Sammy Rimington, the other numbers feature trombonist Mac Duncan and clarinetist Ian Wheeler in Colyer's sextet/septet. The recording quality varies from date to date, as do the musicians' intonations (they are usually in tune). The repertoire is highlighted by jazz versions of some ragtime tunes (including "Thriller Rag," "Hilarity Rag" and "Heliotrope Bouquet"), as well as obscurities from the 1920s and a few standards. Trad fans will enjoy this formerly rare music.~ Scott Yanow, All Music Guide |
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1954-1956: Joe ''Fingers'' Carr - Honky Tonk Hits |
Music » Jazz » Traditional Jazz » Ragtime |
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 Artist: Joe ''Fingers'' Carr Album: Honky Tonk Hits Label: Good Music Record 173922 Year:1954-1956: release: 1997 Format, bitrate: mp3 320 kbps CBR Time:49:22 min Size: 109.79 Ìb Louis F. Bush was a serious student of ragtime, writing many pieces of his own and inspiring younger players long before the '70s rediscovery of the genre. There were also several Capitol singles by "Lou Busch and his Orchestra". One of these, "Zambesi", an adaptation of a South African song, was a # 2 hit in the UK in early 1956, though it peaked only at # 75 in the USA. His only other British hit was "Portuguese Washerwoman" (# 20 UK, # 19 US), this time credited to Joe "Fingers" Carr. In the late 1950s, Busch left Capitol for Warner Brothers, where again he worked as both performer and executive, although he grew less and less interested in the former. His most noteworthy accomplishment as an A&R man for Warner Bros were the series of highly successful musical comedy albums he produced with comedian Allan Sherman, including the # 2 hit single, "Hello Muddah, Hello Faddah" (1963). Busch died in an automobile accident in 1979. ~ rockabilly.nl |
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1976: Benkó Dixieland Band - Flying On Sledge |
Music » Jazz » Traditional Jazz » Dixieland |
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 Artist: Benkó Dixieland Band Album: Flying On Sledge Label: Stkft Year: 1976 Release: 1999 Format, bitrate: Mp3, 256 Kbps CBR Time: 01:09:52 min Size: 126.97 Ìb The next album of Benkó Dixieland Band.
Enjoy!!! |
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1990: The Dutch Swing College Band - Back in Time (1990-1945) |
Music » Jazz » Traditional Jazz » Dixieland |
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 Artist: Dutch Swing College Band Album: Back in Time (1990-1945) Label: Philips - 842 045-2 Year: 1990 Format, bitrate: mp3 320 kbps CBR Time: 01:11:58 min Size: 158.89 Ìb The Dutch Swing College Band "DSCB" is a traditional dixieland band founded on May 5, 1945 by bandleader and clarinetist/saxophonist Peter Schilperoort.
Highly successful in their native home of The Netherlands, the band quickly found an international following. It has featured such musicians as Huub Janssen (drums), Henk Bosch van Drakestein (double bass), Kees van Dorser (trumpet), Dim Kesber (saxes), Wout Steenhuis (guitar), Jan Morks, Arie Ligthart (banjo/ guitar), Oscar Klein (trumpet), Dick Kaart, Ray Kaart, Rod Mason, Bert de Kort cornet and Bert Boeren, among many others.
The band continues to tour extensively, mainly in Europe & Scandinavia, and record directed by Bob Kaper, himself a member since 1967, following the former leader, Peter Schilperoort's death on November 17, 1990. Schilperoort had led the band for more than 45 years, albeit with a five year sabbatical from September 13, 1955, when he left to pursue an engineering career before returning to lead the band again officially on January 1, 1960 |
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1950: Joe ''Fingers'' Carr - Joe ''Fingers'' Carr And His Ragtime Band |
Music » Jazz » Traditional Jazz » Ragtime |
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 Artist: Joe ''Fingers'' Carr Album: Joe ''Fingers'' Carr and his Ragtime Band Label: Capitol Records T443 Year: 1950 Format, bitrate: mp3 320 kbps CBR Time: 25:40 min Size: 57,59 Mb Although Lou Busch (not Bush, he changed the spelling) is best known for his honky-tonk piano recordings under his stage name, Joe "Fingers" Carr, his contributions to space age pop go well beyond that. He got his start early, leading his own band by the age of 12 and leaving home at 16 to work as a professional musician. He played with a number of sweet big bands--Clyde McCoy, Henry Busse, and George Olson--then took a short break to study at the Cincinnati Conservatory.
Joe 'Fingers' CarrAfter that, he went back to the sweet bands, this time joining one of the most successful of them, Hal Kemp's. Bush stayed with Kemp for most of the 1930s and married the first of his several wives, the band's girl singer, Janet Blair. After the band's lead arranger, John Scott Trotter, departed in early 1936, Bush and fellow band member Hal Mooney split most of the arranging duties. When Kemp died in from a car crash 1940, they moved to Los Angeles and started working as studio musicians, but World War Two came along and pulled Bush into the Army for a three-year stint.
When he returned to L.A. in 1945, he hooked up with Johnny Mercer's fledgling Capitol Records label and ended up working as an A&R executive. He continued to do occasional session work as a pianist, though, and provided the key ingredient in the 1949 Jo Stafford-Paul Weston hit, "Ragtime Cowboy Joe." In 1950, he sold the label on the idea of recording his ragtime playing, and he made up the name, Joe "Fingers" Carr, during his initial studio session. His first single, featuring his original tune, "Ivory Rag," became an international hit.
Although Capitol played up the nostalgic cariacature of Carr the honky tonk pianist, wearing derby hat, bowtie, vest, and suspenders, Bush tried not to let his recordings slip into mere novelty.
Carr's success spurred a revival of ragtime in the form of camped-up honky tonk. ~ discogs.com |
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1934-1935: Fats Waller - Breakin' The Ice, Early Years Part I |
Music » Jazz » Traditional Jazz |
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 Artist: Fats Waller Album: Breakin' The Ice, Early Years Part I Label: RCA records Years: 1934-1935 Format, bitrate: MP3@ 128 kbit/s Time: 2.10:22 Size: 123,41 MB AMG Rating:  Repost with new link from lt.blueberry Âàøåìó âíèìàíèþ ïðåäëàãàåòñÿ ñáîðíèê ðàííèõ çàïèñåé çàìå÷àòåëüíîãî ïèàíèñòà, âîêàëèñòà è êîìïîçèòîðà Ôýòñà Óîëëåðà... This two-CD set has the first 42 recordings of Fats Waller with his Rhythm. The brilliant stride pianist/vocalist/ composer/personality became very popular due to these 1934-35 recordings which feature either Herman Autrey or Bill Coleman on trumpet, Gene Sedric, Ben Whitted, Mezz Mezzrow or Rudy Powell on reeds, guitarist Al Casey and a rhythm section. All of Waller's Victor recordings have been reissued on CD and this two-fer (which includes such memorable numbers as "A Porter's Love Song to a Chambermaid," "Serenade for a Wealthy Widow," "How Can You Face Me," "Honeysuckle Rose," "Believe It, Beloved," "I Ain't Got Nobody," "Oh Suzannah Dust Off That Old Pianna" and "You've Been Taking Lessons in Love") is a perfect place to start. ~ Scott Yanow, All Music Guide |
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