Jazz

The Ultimate Jazz Archive CD01 - Scott Joplin 1899-1917

2012-11-15T17:40:06Z

The Ultimate Jazz Archive – CD01 - Scott Joplin 1899-1917


01.Original Rags
02.Maple Leaf Rag
03.Sun Flower Slow Drag
04.Elite Syncopations
05.The Entertainer
06.Cleopha
07.Something Doing
08.The Chrysanthemum
09.Eugenia
10.Lily Queen
11.Heliotrope Bouquet
12.Pineapple Rag
13.Paragon Rag
14.Euphonic Sounds
15.Country Club
16.Stoptime Rag
17.Scott Joplin’s New Rag
18.Reflection Rag

Scott Joplin was "The King of Ragtime Writers," a composer who elevated "banjo piano playing," a lowly entertainment associated with saloons and brothels, into an American art form loved by millions. Born in Texas in either 1867 or 1868, Scott Joplin was raised in Texarkana, the son of a laborer and former slave. As a child, Joplin taught himself piano on an instrument belonging to a white family that granted him access to it, and ultimately studied with a local, German-born teacher who introduced Joplin to classical music. Joplin attended high school in Sedalia, MO, a town that would serve as Joplin's home base during his most prosperous years, and where a museum now bears his name.

In 1891, the first traceable evidence of Joplin's music career is found, placing him in a minstrel troupe in Texarkana. In 1893, he played in Chicago during the Columbian Exposition, reportedly leading a band with a cornet. Afterward, Joplin settled in Sedalia, worked with other brass bands and founded a vocal group called the Texas Medley Quartette. During an 1895 appearance in Syracuse, NY, the quality of Joplin's original songs for the Texas Medley Quartette so impressed a group of local businessmen that they arranged for Joplin's first publications. Around 1896, Joplin enrolled in Sedalia's George R. Smith College for Negroes to study formally, publishing a few more pieces in the years to follow.

In 1899, publisher John Stark of Sedalia issued Joplin's second ragtime composition, Maple Leaf Rag. It didn't catch on like wildfire, but within a few years the popularity of Maple Leaf Rag was so enormous that it made Joplin's name; and Joplin earned a small percentage of income from it for the rest of his days, helping stabilize him in his last years. By the end of 1899, Joplin presented his first ambitious work, the ballet The Ragtime Dance, at the Wood Opera House in Sedalia. It didn't appear in print until 1902, and then only in a truncated form. Joplin moved to St. Louis in 1901, as did Stark, who set his new publishing venture up as The House of Classic Rags. Joplin wrote many of the other rags he is known for during this time, including The Entertainer, The Easy Winners, and Elite Syncopations. In 1903, Joplin organized a touring company to perform his first opera, "A Guest of Honor," which foundered after a couple of months, leaving Joplin destitute. He had recovered well enough to appear at the 1904 St. Louis World's Fair to present his rag The Cascades, which proved his second great success. Joplin also married for a second time to a woman who died only a few weeks into their marriage after a bout with pneumonia, plunging Joplin into another bout of despair. During a visit to Chicago he renewed an acquaintance with St. Louis pianist Louis Chauvin, who did not long outlast their visit. Joplin utilized a strain drawn from Chauvin's playing into the finest of his "collaborative" rags, Heliotrope Bouquet. This was published after Joplin moved to New York in 1907. Stark had also resettled there, and they resumed their partnership to some degree, but Joplin also published through Seminary Music, likewise home to aspiring songwriter Irving Berlin. Through Seminary many of the best of his late works appeared, such as Pine Apple Rag, the transparently beautiful "Mexican serenade" Solace, and the harmonically adventurous Euphonic Sounds.

From 1911 until his death in 1917, most of Joplin's efforts went into his second opera, Treemonishia, which he heard in concert and except performances, but never managed to stage during his own lifetime. With his third wife Lotte Joplin, Joplin formed his own music company and published his final piano rag, Magnetic Rag (1914), one of his best. By this time, the debilitating, long-term effects of syphilis were beginning to undermine Joplin's health, although he did manage to make seven hand-played piano rolls in 1916 and 1917; though heavily edited, these rolls are as close as we are likely to get to hearing Joplin's own playing. One of them is W.C. Handy's Ole Miss Rag, which suggests that Joplin might have had a hand in its composition or arrangement. Joplin was selfless in his advocacy of his fellow ragtime composers, collaborating with James Scott, Arthur Marshall, Louis Chauvin, and Scott Hayden and helping arrange pieces by Artie Matthews and the white New Jersey composer Joseph Lamb, whose work Joplin pitched to Stark. Maple Leaf Rag remained a constant in popular music throughout the Jazz Age, but the better part of Joplin's work remained unknown until the ragtime revival of the early '70s, during which "Scott Joplin" became a household name and Treemonishia was finally staged by the Houston Grand Opera. Although primary sources on Joplin's music were still extant as late as the late '40s, today not a single manuscript page in Joplin's hand still exists and only three photographs of him have survived, along with precious few first-hand quotations. Joplin died in a mental facility convinced that he had failed in his mission to achieve success as an African-American composer of serious music. Were he alive today, Joplin would be astounded to learn that, a century after his work was first printed, he is by far the most successful African-American composer of serious music who ever lived. Some of his works have been recorded hundreds of times and arranged for practically every conceivable instrumental combination, played by everything from symphony orchestras to ice cream trucks. For a couple of generations of Americans who have never heard of Stephen Foster, the music of Scott Joplin represents the old, traditional order of all things American. ---Uncle Dave Lewis, Rovi

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The Ultimate Jazz Archive CD02 - Original Dixieland Jazz Band 1917-1921 (2005)

2012-11-17T16:48:56Z

The Ultimate Jazz Archive – CD02 - Original Dixieland Jazz Band 1917-1921 (2005)


01.Livery Stable Blues
02.Dixie Jass Band One Step
03.At The Jazz Band Ball
04.Ostrich Walk
05.Skeleton Jangle
06.Tiger Rag
07.Bluin’ The Blues
08.Fidgety Feet
09.Sensation Rag
10.Mournin’ Blues
11.Clarinet Marmalade Blues
12.Lazy Daddy
13.Margie
14.Palestreena
15.Broadway Rose
16.Sweet Mama (Papa’s Getting Mad)
17.Home Again Blues
18.Crazy Blues

The first jazz group to ever record, Original Dixieland Jazz Band made history in 1917. They were not the first group to ever play jazz (Buddy Bolden had preceded them by 22 years!), nor was this White quintet necessarily the best band of the time, but during 1917-1923 (particularly in their earliest years) they did a great deal to popularize jazz. The musicians learned about jazz from their fellow New Orleans players (including King Oliver) but happened to get their big break first. In 1916, drummer Johnny Stein, cornetist Nick LaRocca, trombonist Eddie Edwards, pianist Henry Ragas, and clarinetist Alcide "Yellow" Nunez played together in Chicago. With Tony Sbarbaro replacing Stein and Larry Shields taking over for Nunez, the band was booked at Resenweber's restaurant in New York in early 1917. Their exuberant music (which stuck exclusively to ensembles with the only solos being short breaks) caused a major sensation. Columbia recorded ODJB playing "Darktown Strutters Ball" and "Indiana," but was afraid to put out the records. Victor stepped in and recorded the group playing the novelty "Livery Stable Blues" (which found the horns imitating barnyard animals) and "Dixie Jass Band One-Step" and quickly released the music; "Livery Stable Blues" was a huge hit that really launched the jazz age. During the next few years ODJB would introduce such future standards as "Tiger Rag," "At the Jazz Band Ball," "Fidgety Feet," "Sensation," "Clarinet Marmalade," "Margie," "Jazz Me Blues," and "Royal Garden Blues." The group (with J. Russel Robinson taking the place of Ragas, who died in the 1919 flu epidemic, and trombonist Emile Christian filling in for Edwards) visited London during 1919-1920 and they once again caused quite a stir, introducing jazz to Europe. However upon their return to the U.S., ODJB was considered a bit out of fashion after the rise of Paul Whiteman and in 1922 New Orleans Rhythm Kings (a far superior group). By 1923 when many of the first Black jazz giants finally were recorded, ODJB was thought of as a historical band and due to internal dissension they soon broke up. In 1936 LaRocca, Shields, Edwards, Robinson, and Sbarbaro (the latter the only musician to have a full-time career by then) had a reunion and did a few final recordings together before LaRocca permanently retired. Although the cornetist's arrogant claims that ODJB had invented jazz are exaggerated and tinged with racism, Original Dixieland Jazz Band did make a strong contribution to early jazz (most groups that recorded during 1918-1921 emulated their style), helped supply the repertoire of many later Dixieland bands, and were an influence on Bix Beiderbecke and Red Nichols. --Scott Yanow, Rovi

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The Ultimate Jazz Archive CD03 - New Orleans Rhythm Kings 1922-1935

2012-11-19T17:21:06Z

The Ultimate Jazz Archive – CD03 - New Orleans Rhythm Kings 1922-1935


01.Eccentric
02.Farewell Blues
03.Bugle Call Blues
04.Panama
05.Tiger Rag
06.Sweet Lovin’ Man
07.That’s A-Plenty
08.Shim-Me-Sha-Wabble
09.Weary Blues
10.Maple Leaf Rag
11.Tin Roof Blues
12.Clarinet Marmalade
13.Mr. Jelly Lord
14.London Blues
15.She’s Crying for Me
16.Golden Leaf Strut
17.She’s Crying for Me
18.San Antonio Shout
19.Tin Roof Blues
20.Original Dixieland One-Step
21.Sensation
22.Dust off That Old Pianna (Oh Susannah)

The New Orleans Rhythm Kings (NORK) were the finest jazz group to be on record in 1922, and the white band has served as proof that, even that early, African-Americans were not the only ones who could play jazz with individuality and integrity. The key members of the group (leader/cornetist Paul Mares, trombonist George Brunis, and clarinetist Leon Roppolo) were childhood friends from New Orleans. In 1922, they started a 17-month residency at the Friar's Inn Nightclub in Chicago and in August they made their first recordings. Although Mares (unlike Nick LaRocca of the Original Dixieland Jazz Band) was modest about his own playing, saying that he was very influenced by King Oliver, he actually sounded quite a bit different and had a voice of his own. Roppolo was the first significant soloist on record, while Brunis would have a long career playing Dixieland. The changing rhythm sections sometimes included the first great jazz bassist Steve Brown (although largely inaudible on his early session), drummer Ben Pollack (a future bandleader), and, on a pair of memorable sessions in 1923, pianist Jelly Roll Morton. Among the future standards introduced by the NORK were "Farewell Blues," "Panama," "That's a Plenty," and "Tin Roof Blues"; the latter included a famous Brunis trombone solo. The band broke up in 1924 when Mares and Roppolo returned to New Orleans. With Santo Pecora on trombone they regrouped for a fine session on January 1925, but Roppolo was already suffering from mental problems; the group's final date two months later was without Roppolo, who would soon be institutionalized for the remainder of his life. Mares came back for one further session in 1935 but seemed happy in retirement, leaving the legacy of the NORK to history. ---Scott Yanow, Rovi

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The Ultimate Jazz Archive CD04 - King Oliver 1923-1930

2012-11-21T17:18:38Z

The Ultimate Jazz Archive – CD04 - King Oliver 1923-1930


01.Crimes Blues
02.Canal Street blues
03.Snake Rag
04.Dippermouth blues
05.Chattanooga Stomp
06.Camp Meeting Blues
07.Riverside Blues
08.Snag It
09.Sugar Foot Stomp
10.Wa WA WA
11.Showboat Shuffle
12.I’m Watchin’ The Clock
13.Speakeasy Blues
14.Aunt Hagar’s Blues
15.West End Blues
16.I Want You Just For Myself
17.New Orleans Shout
18.You’re Just My Type

Joe "King" Oliver was one of the great New Orleans legends, an early giant whose legacy is only partly on records. In 1923, he led one of the classic New Orleans jazz bands, the last significant group to emphasize collective improvisation over solos, but ironically his second cornetist (Louis Armstrong) would soon permanently change jazz. And while Armstrong never tired of praising his idol, he actually sounded very little like Oliver; the King's influence was more deeply felt by Muggsy Spanier and Tommy Ladnier.

Although originally a trombonist, by 1905 Oliver was playing cornet regularly with various New Orleans bands. Gradually he rose to the top of the crowded local scene, and in 1917 he was being billed "King" by bandleader Kid Ory. A master of mutes, Oliver was able to get a wide variety of sounds out of his horn; Bubber Miley would later on be inspired by Oliver's expertise. In 1919, Oliver left New Orleans to join Bill Johnson's band at the Dreamland Ballroom in Chicago. By 1920, he was a leader himself and, after an unsuccessful year in California, King Oliver started playing regularly with his Creole Jazz Band at the Lincoln Gardens in Chicago. He soon sent for his protégé Louis Armstrong, and with clarinetist Johnny Dodds, trombonist Honore Dutrey, pianist Lil Harden, and drummer Baby Dodds as a core, Oliver had a remarkable band whose brilliance was only hinted at on records. As it is, the group's 1923 sessions far exceeded any jazz previously recorded; Oliver's three chorus solo on "Dippermouth Blues" has since been memorized by virtually every Dixieland trumpeter.

Unfortunately, the Creole Jazz Band gradually broke up in 1924. Oliver recorded a pair of duets with pianist Jelly Roll Morton but otherwise was off records that year. He took over Dave Peyton's band in 1925 and renamed it the Dixie Syncopators; Barney Bigard and Albert Nicholas were among the members. New recordings resulted (including "Snag It," which has a famous eight-bar passage by Oliver) but when the cornetist moved to New York in 1927, his music was behind the times and he made some bad business decisions (including turning down a chance to play regularly at the Cotton Club). Worse yet, his dental problems (caused partly by an early liking of sugar sandwiches) made playing cornet increasingly painful and, on many of his later recordings, Oliver is barely present (although he did a heroic job on 1929's "Too Late"). Pianist Luis Russell took over the Dixie Syncopators in 1929 and, although Oliver's last recordings (from 1931) are superior examples of hot dance music, he was quickly becoming a forgotten name. Unsuccessful tours in the South eventually left Oliver stranded there, working as a manager of a poolhall before his death at age 52. --Scott Yanow, Rovi

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The Ultimate Jazz Archive CD05 - Jelly Roll Morton [1923-1927] [2005]

2012-11-24T17:34:46Z

The Ultimate Jazz Archive CD05 - Jelly Roll Morton [1923-1927] [2005]


01.New Orleans (Blues) Joys
02.Grandpa’s Spells (A Stomp)
03.Thirty-Fifth Street Blues
04.Froggie Moore
05.London Blues
06.Tia Juana (Tee Wana)
07.Mamamita
08.Bucktown Blues
09.Tom Cat Blues
10.Perfect Rag
11.The Pearls
12.Sweethearts O’Mine
13.Fat Meat And Greens
14.Black Bottom Stomp
15.The Chant
16.Doctor Jazz
17.Grandpa’s Spells
18.Original Jelly-Roll Blues
19.Cannon Ball Blues
20.Wild Man Blues

One of the very first giants of jazz, Jelly Roll Morton did himself a lot of harm posthumously by exaggerating his worth, claiming to have invented jazz in 1902. Morton's accomplishments as an early innovator are so vast that he did not really need to stretch the truth.

Morton was jazz's first great composer, writing such songs as "King Porter Stomp," "Grandpa's Spells," "Wolverine Blues," "The Pearls," "Mr. Jelly Roll," "Shreveport Stomp," "Milenburg Joys," "Black Bottom Stomp," "The Chant," "Original Jelly Roll Blues," "Doctor Jazz," "Wild Man Blues," "Winin' Boy Blues," "I Thought I Heard Buddy Bolden Say," "Don't You Leave Me Here," and "Sweet Substitute." He was a talented arranger (1926's "Black Bottom Stomp" is remarkable), getting the most out of the three-minute limitations of the 78 record by emphasizing changing instrumentation, concise solos and dynamics. He was a greatly underrated pianist who had his own individual style. Although he only took one vocal on records in the 1920s ("Doctor Jazz"), Morton in his late-'30s recordings proved to be an effective vocalist. And he was a true character. Jelly Roll Morton's pre-1923 activities are shrouded in legend. He started playing piano when he was ten, worked in the bordellos of Storyville while a teenager (for which some of his relatives disowned him) and by 1904 was traveling throughout the South. He spent time in other professions (as a gambler, pool player, vaudeville comedian and even a pimp) but always returned to music. The chances are good that in 1915 Morton had few competitors among pianists and he was an important transition figure between ragtime and early jazz. He played in Los Angeles from 1917-1922 and then moved to Chicago where, for the next six years, he was at his peak. Morton's 1923-24 recordings of piano solos introduced his style, repertoire and brilliance. Although his earliest band sides were quite primitive, his 1926-27 recordings for Victor with his Red Hot Peppers are among the most exciting of his career. With such sidemen as cornetist George Mitchell, Kid Ory or Gerald Reeves on trombone, clarinetists Omer Simeon, Barney Bigard, Darnell Howard or Johnny Dodds, occasionally Stomp Evans on C-melody, Johnny St. Cyr or Bud Scott on banjo, bassist John Lindsay and either Andrew Hilaire or Baby Dodds on drums, Morton had the perfect ensembles for his ideas. He also recorded some exciting trios with Johnny and Baby Dodds.

With the center of jazz shifting to New York by 1928, Morton relocated. His bragging ways unfortunately hurt his career and he was not able to always get the sidemen he wanted. His Victor recordings continued through 1930 and, although some of the performances are sloppy or erratic, there were also a few more classics. Among the musicians Morton was able to use on his New York records were trumpeters Ward Pinkett, Red Allen and Bubber Miley, trombonists Geechie Fields, Charles Irvis and J.C. Higginbotham, clarinetists Omer Simeon, Albert Nicholas and Barney Bigard, banjoist Lee Blair, guitarist Bernard Addison, Bill Benford on tuba, bassist Pops Foster and drummers Tommy Benford, Paul Barbarin and Zutty Singleton.

But with the rise of the Depression, Jelly Roll Morton drifted into obscurity. He had made few friends in New York, his music was considered old-fashioned and he did not have the temperament to work as a sideman. During 1931-37 his only appearance on records was on a little-known Wingy Manone date. He ended up playing in a Washington D.C. dive for patrons who had little idea of his contributions. Ironically Morton's "King Porter Stomp" became one of the most popular songs of the swing era, but few knew that he wrote it. However in 1938 Alan Lomax recorded him in an extensive and fascinating series of musical interviews for the Library of Congress. Morton's storytelling was colorful and his piano playing in generally fine form as he reminisced about old New Orleans and demonstrated the other piano styles of the era. A decade later the results would finally be released on albums.

Morton arrived in New York in 1939 determined to make a comeback. He did lead a few band sessions with such sidemen as Sidney Bechet, Red Allen and Albert Nicholas and recorded some wonderful solo sides but none of those were big sellers. In late 1940, an ailing Morton decided to head out to Los Angeles but, when he died at the age of 50, he seemed like an old man. Ironically his music soon became popular again as the New Orleans jazz revivalist movement caught fire and, if he had lived just a few more years, the chances are good that he would have been restored to his former prominence (as was Kid Ory). Jelly Roll Morton's early piano solos and classic Victor recordings (along with nearly every record he made) have been reissued on CD. --Scott Yanow, Rovi

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The Ultimate Jazz Archive CD06 - Duke Ellington [1924-1927]

2012-11-27T17:33:51Z

The Ultimate Jazz Archive CD06 - Duke Ellington [1924-1927] [2005]


01.Choo Choo (Gotta Hurry Home)
02.Rainy Nights
03.I’m Gonna Hang Around My Sugar
04.Trombone Blues
05.Georgia Grind
06.Parlor Social Stomp
07.(You’ve Got Those) Wanna-Go-Back-Again-Blues
08.If You Can’t Hold The Man You Love
09.Animal Crackers
10.Li’l Farina
11.East St. Louis Toodle-Oo
12.Birmingham Breakdown
13.Immigration Blues
14.The Creeper
15.New-Orleans Low-Down
16.Song Of The Cotton Field
17.Birmingham Breakdown
18.East St. Louis Toodle-Oo
19.East St. Louis Toodle-Oo
20.Hop Head

Duke Ellington (Edward Kennedy Ellington, Washington, D.C., 29 April, 1899 - New York City, 24 May, 1974), was an American jazz composer, pianist, and bandleader.

Through the ranks of Duke Ellington’s Orchestra passed some of the biggest names in jazz, including Johnny Hodges, Cootie Williams, Bubber Miley, Joe “Tricky Sam” Nanton, Barney Bigard, Ben Webster, Harry Carney, Sonny Greer, Otto Hardwick, Clark Terry, Jimmy Blanton, Ray Nance, Paul Gonsalves, and Wellman Braud. Many musicians stayed with him for decades. And while all of them were remarkable in their own right, and they all would have probably made it into the annals of jazz history no matter who they played for, it was Ellington’s genius as a composer, pianist, bandleader, celebrity personality, and, most importantly, arranger, that made them the most incredible orchestral unit in the history of jazz. His ability to write and arrange for personalities, rather than instruments, made every solo and every section of every arrangement breathe with character. A giant on the 20th century American cultural scene, Duke Ellington was widely regarded as a legend during his own lifetime. ---last.fm

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The Ultimate Jazz Archive CD07 - Bix Beiderbecke [1924-1928]

2012-11-29T17:38:09Z

The Ultimate Jazz Archive CD07 - Bix Beiderbecke [1924-1928] [2005]


01.Oh Baby
02.Riverboat Shuffle
03.Tiger Rag
04.Big Boy
05.My Pretty Girl
06.Singin’ The Blues
07.Slow River
08.Riverboat Shuffle
09.I’m Coming Virginia
10.Way Down Yonder In New Orleans
11.For No Reason At All In C
12.In A Mist (Bixology)
13.Clementine
14.At The Jazz Band Ball
15.Jazz Me Blues
16.Sorry
17.Since My Best Gal Turned Me Down
18.Lonely Melody
19.Mississippi Mud
20.From Monday On
21.Rhythm King
22.I’ll Be A Friend With Pleasure

Bix Beiderbecke was one of the greatest jazz musicians of the 1920s. His colorful life, quick rise and fall, and eventual status as a martyr made him a legend even before he died, and he has long stood as proof that not all the innovators in jazz history were black. Possessor of a beautiful, distinctive tone and a strikingly original improvising style, Beiderbecke's only competitor among cornetists in the '20s was Louis Armstrong but (due to their different sounds and styles) one really could not compare them.

Beiderbecke was a bit of a child prodigy, picking out tunes on the piano when he was three. While he had conventional training on the piano, he taught himself the cornet. Influenced by the original Dixieland Jazz Band, Beiderbecke craved the freedom of jazz but his straight-laced parents felt he was being frivolous. He was sent to Lake Forest Military Academy in 1921 but, by coincidence, it was located fairly close to Chicago, the center of jazz at the time. Beiderbecke was eventually expelled he missed so many classes. After a brief period at home he became a full-time musician. In 1923, Beiderbecke became the star cornetist of the Wolverines and a year later this spirited group made some classic recordings.

In late 1924, Beiderbecke left the Wolverines to join Jean Goldkette's orchestra but his inability to read music resulted in him losing the job. In 1925, he spent time in Chicago and worked on his reading abilities. The following year he spent time with Frankie Trumbauer's orchestra in St. Louis. Although already an alcoholic, 1927 would be Beiderbecke's greatest year. He worked with Jean Goldkette's orchestra (most of their records are unfortunately quite commercial), recorded his piano masterpiece "In a Mist" (one of his four Debussy-inspired originals), cut many classic sides with a small group headed by Trumbauer (including his greatest solos: "Singin' the Blues," "I'm Comin' Virginia," and "Way Down Yonder in New Orleans"), and then signed up with Paul Whiteman's huge and prosperous orchestra. Although revisionist historians would later claim that Whiteman's wide mixture of repertoire (much of it outside of jazz) drove Beiderbecke to drink, he actually enjoyed the prestige of being with the most popular band of the decade. Beiderbecke's favorite personal solo was his written-out part on George Gershwin's "Concerto in F."

With Whiteman, Beiderbecke's solos tended to be short moments of magic, sometimes in odd settings; his brilliant chorus on "Sweet Sue" is a perfect example. He was productive throughout 1928, but by the following year his drinking really began to catch up with him. Beiderbecke had a breakdown, made a comeback, and then in September 1929 was reluctantly sent back to Davenport to recover. Unfortunately, Beiderbecke made a few sad records in 1930 before his death at age 28. The bad liquor of the Prohibition era did him in.

For the full story, Bix: Man & Legend is a remarkably detailed book. Beiderbecke's recordings (even the obscure ones) are continually in print, for his followers believe that every note he played was special. ---Scott Yanow, Rovi

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The Ultimate Jazz Archive CD08 – Buster Bailey [1924-1942]

2012-12-03T17:28:12Z

The Ultimate Jazz Archive CD 08 – Buster Bailey [1924-1942] [2005]


01.Copenhagen
02.Santa Claus Blues
03.Jazzbo Brown From Memphis
04.Sensation
05.Kentucky
06.Theres A House In Harlem For Sale
07.Wild Party
08.Shaghai Shuffle
09.Warmin Up
10.More Than That
11.Rhythm, Rhythm
12.Ive Found A New Baby
13.Dizzy Debutante
14.Lorna Doone Short Bread
15.Knock-Kneed Sal
16.Corrine Corrini
17.Royal Garden Blues
18.Im Cuttin Out
19.Eccentric Rag
20.Cant We Be Friends
21.Coquette
22.St. Louis Blues

Buster Bailey was a brilliant clarinetist who, although known for his smooth and quiet playing with John Kirby's sextet, occasionally really cut loose with some wild solos (including on a recording called "Man With a Horn Goes Berserk"). Expertly trained by the classical teacher Franz Schoepp (who also taught Benny Goodman), Bailey worked with W.C. Handy's band in 1917. He moved to Chicago in 1919 and was soon working with Erskine Tate and King Oliver's Creole Jazz Band. He gained some fame in 1924 when he joined Fletcher Henderson's orchestra in New York. Bailey was with Henderson off and on during 1924-1934 and 1936-1937, also playing with Noble Sissle and the Mills Blue Rhythm Band (1934-1935). Next up was the cool-toned swing of John Kirby's sextet (1937-1946), a role he fit perfectly. With the end of the Kirby band, Bailey was mostly employed in Dixieland settings with Wilbur DeParis (1947-1949), Big Chief Russell Moore (1952-1953), Henry "Red" Allen (1950-1951 and 1954-1960), Wild Bill Davison (1961-63), and the Saints and Sinners (1963-1965), finishing up with the Louis Armstrong All-Stars (1965-1967). One of the most technically skilled of the clarinetists to emerge during the 1920s, Buster Bailey never modernized his style or became a leader, but he contributed his talents and occasional wit to a countless number of rewarding and important recordings. ---Scott Yanow, Rovi

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The Ultimate Jazz Archive CD09 – Johnny Dodds [1923-1929]

2012-12-06T17:36:01Z

The Ultimate Jazz Archive CD 09 – Johnny Dodds [1923-1929] [2005]


01.High Society Rag
02.Drop That Sack
03.Lonesome Blues
04.Perdido Street Blues
05.Gatemouth
06.Too Tight
07.Flat Foot
08.I Can’t Say
09.Someday Sweeetheart
10.Memphis Shake
11.Carpet Alley-Breakdown
12.San
13.Clarinet Wobble
14.If You Want To Be My Sugar Papa
15.New Orleans Stomp
16.Billy Goat Stomp
17.Weary Way Blues
18.After You’ve Gone
19.Come On And Stomp, Stomp, Stomp
20.Joe Turner Blues
21.Piggly Wiggly
22.Oriental Man

One of the all-time great clarinetists and arguably the most significant of the 1920s, Johnny Dodds (whose younger brother Baby Dodds was among the first important drummers) had a memorable tone in both the lower and upper registers, was a superb blues player, and held his own with Louis Armstrong (no mean feat) on his classic Hot Five and Hot Seven recordings. He did not start on clarinet until he was 17 but caught on fast, being mostly self-taught. Dodds was with Kid Ory's band during most of 1912-1919, played on riverboats with Fate Marable in 1917, and joined King Oliver in Chicago in 1921. During the next decade, he recorded with Oliver's Creole Jazz Band, Jelly Roll Morton, Louis Armstrong, and on his own heated sessions, often utilizing trumpeter Natty Dominique. He worked regularly at Kelly's Stables during 1924-1930. Although Dodds continued playing in Chicago during the 1930s, part of the time was spent running a cab company. The clarinetist led recording sessions in 1938 and 1940, but died just before the New Orleans revival movement began. --- Scott Yanow, Rovi

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The Ultimate Jazz Archive CD10 - Louis Armstrong [1926-1931]

2012-12-10T17:39:35Z

The Ultimate Jazz Archive CD 10 - Louis Armstrong [1926-1931] [2005]


01.Cornet Chop Suey
02.Don’t Forget To Mess Around
03.Skid-Dat-De-Dat
04.Twefth Street Rag
05.Struttin’ With Some Barbecue
06.Wild Man Blues
07.Fireworks
08.A Monday Date
09.West End Blues
10.Basin Street Blues
11.Weather Bird
12.Mahagony Hall Stomp
13.(What Did I Do To Be So) Black And Blue
14.Dear Old Southland
15.Dinah
16.If I Could Be With You One Hour Tonight
17.Tiger Rag
18.Them There Eyes
19.Shine
20.Lazy River
21.Star Dust

Louis Armstrong (1901-1971) was a trumpet player, singer, and bandleader, and is widely regarded as one of the most influential artists in the history of jazz.

Armstrong was born and brought up in New Orleans, a culturally diverse town with a unique musical mix of creole, ragtime, marching bands, and blues. Although from an early age he was able to play music professionally, he didn’t travel far from New Orleans until 1922, when he went to Chicago to join his mentor, King Oliver. Oliver’s band played primitive jazz, a hotter style of ragtime, with looser rhythms and more improvisation, and Armstrong’s role was mostly backing. Slow to promote himself, he was eventually persuaded by his wife Lil Hardin to leave Oliver, and In 1924 he went to New York to join the Fletcher Henderson Orchestra. At the time, there were a few other artists using the rhythmic innovations of the New Orleans style, but none did it with the energy and brilliance of Armstrong, and he quickly became a sensation among New York musicians. Back in Chicago in 1925, he made his first recordings with his own group, Louis Armstrong and his Hot Five, and these became not only popular hits but also models for the first generation of jazz musicians, trumpeters or otherwise.

Other hits followed through the twenties and thirties, as well as troubles: crooked managers, lip injuries, mob entanglements, failed big-band ventures. As jazz styles changed, though, musical purists never lost any respect for him — although they were sometimes irritated by his hammy onstage persona. Around the late forties, with the help of a good manager, Armstrong’s business affairs finally stablilized, and he began to be seen as an elder statesman of American popular entertainment, appearing in Hollywood films, touring Asia and Europe, and dislodging The Beatles from the number-one position with Hello Dolly”. Today many people may know him as a singer (a good one), but as Miles Davis said: “You can’t play nothing on modern trumpet that doesn’t come from him.”

The 62-year-old Armstrong became the oldest act to top the US charts when “Hello Dolly” reached #1 in 1964. Four years later Satchmo also became the oldest artist to record a UK #1, when “What a Wonderful World” hit the top spot. ---last.fm

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