musicology #299

JamaicanVocalGroupAction #10

(Mighty Diamonds - Have A Little Mercy)

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Penultimate cut of the Jamaican Vocal Group selection…listening back over the proceedings I can’t help noticing that it has been heavily weighted in favour of the 60’s and with hindsight perhaps I should have called it ‘Sixties Jamaican Vocal Group Action’…still, hindsight is not all it’s cracked up to be as “too much thought spoils the action” in my opinion so even though there’s only two cuts from outside of the ’60’s, (make that 3 with todays), I hope this hasn’t dulled your enjoyment over the last couple of weeks.

Today’s outing on themusicologist is one from the Channel One stable which ruled the dancehalls, turntables and airwaves back in the mid 70’s after Coxsone lost the crown following major departures such as Jackie Mittoo, Leroy Sibbles and most of his big selling artists in search of a fairer deal. Channel One was set up by the Hookim Brothers and had the premier ‘Lab’ on the Island as well as the hottest young engineers and musicians such as Leroy ‘Horsemouth’ Wallace, Sly Dunbar, Robbie Shakespere and Don D Junior as well as stalwarts such as ‘Marquis’, Sticky and Tommy Mc Cook.

This cut features the vocal abilities of Donald ‘Tabby’ Shaw, Fitzroy ‘Bunny’ Simpson and Lloyd ‘Judge’ Ferguson known collectivley as ‘The Mighty Diamonds’ making a heartfelt plea to the establishment to ‘Have A Little Mercy’

LISTEN TUNE

musicology #298

JamaicanVocalGroupAction #9

(Justin Hinds & The Dominoes - Save A Bread)

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TOP RANKING 1967 slice of the Rock Steady pie for all the Financial Crisis sufferers out there. Recorded and released at and for Duke Reid's Treasure Isle label, (backed by Tommy Mc Cook and the Supersonics)

Not that, (if you live in good old 'Blighty'), savings are going to get you out of the egg 'n' bubble as the Interest rates tumbling to 0% doesn't make it an attractive proposition at the moment, resulting in all of us taking the proverbial 'kick in the bollocks' while the value of everything crash and burn...I think it's called 'The PolitRicKs Of Fear'...

Looks to me like the new age is apoun us and the strategy is "if you can't swim then you're going to sink". Employment as we have known it is in it's death throes and now a larger percentage of people have something to lose, (property for example), an updated form of, (wage), slavery is rearing it's ugly head. I have no answers other than to let the music, (and your community), be your guide...so in the words of foundation Jamaican musicologist Justin Hinds

"Today can be gladness mister, (you don't know),
tomorrow can be sadness sister, (you don't know),
what makes the world go around, (round and round),
you'll never know, (you don't know),
so save a bread mister, (save it for the future),
save a bread sister, ('cause things will be better),
you know not the minute nor the hour, (man shall come),
you know not the minute nor the hour, (for the time is now),

what you know you know, (what you don't know you don't know),
greatest thing is to know, (what you don't know you don't know),
anywhere you go, (what you don't know you don't know),

Today can be gladness mister, (you don't know),
tomorrow can be sadness sister, (you don't know),
what makes the world go around, (round and round),
you'll never know, (you don't know),
so save a bread mister, (save it for the future),
save a bread sister, ('cause things will be better),
you know not the minute nor the hour, (man shall come),
you know not the minute nor the hour, (for the time is now),

what you know you know, (what you don't know you don't know),
greatest thing is to know, (what you don't know you don't know),
anywhere you go, (what you don't know you don't know),

musicology #297

JamaicanVocalGroupAction #8

(The Meditations - Stranger In Love)

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Moving into a wicked slice of late 70’s ‘Lovers’ from the Wambesi Stable. Produced by Roy Cousins.

musicology #296

JamaicanVocalGroupAction #7

(The Melodians - Swing & Dine)

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Apologies for not posting yesterday’s Three Tops cut on the Audio Widget until this morning !! … Been grafting like a dog, especially over the last few weeks, in preparation for phase two of ‘the project’ which is almost ready for exposure. As a result themusicologist had to take a back seat. From my point of view the quality hasn’t suffered, (and never will),but the quantity is a piece erratic so hopefully youse Cats will continue to cut me some slack whilst I adjust.

Today’s piece of Vocal Group Action is a solid gold late Rock Steady, Early Reggae classic from one of the Island’s most loved trios….The Melodians, featuring the sublime talents of Tony Brevett, Brent Dowe, Trevor McNaughton? and Renford Cogle. A group known globally for their influential ‘Rivers Of Babylon’, tune which certainly helped the music of Jamaica to gain more exposure and then acceptance outside of the few places that knew and raved about it. This slice is well known to the reggae community but maybe not so well outside of it. A 1968 Sonia Pottinger production for her Gayfeet label that, at least as far as I’m concerned, climbs and reaches the highest heights.

Listen tune……

musicology #295

JamaicanVocalGroupAction #6

(Dion Cameron & The Three Tops - Get Ready)

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Today's 1966 cut is one from themusicologist's Ska box courtesy of the almost unknown Dion Cameron & The Three Tops who are perhaps better known for the few slices released on Duke Reid's Treasure Isle label, This one is An 'Olive Branch'? production released in the UK on the Rio label. Can't tell you much more about it other than it was one of my earliest purchases back in the early 80's.. Ranking Saxaphone break on this one.

musicology #294

JamaicanVocalGroupAction #5

(The Bassies - River Jordan)

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Continuing this week with the JA selection. Originally it was only going to be a one week special but over the last few weeks I have been working like a Trojan to bring ‘the project’ into the next phase resulting in my not being able to dedicate as much time to themusicologist as I would have liked….(All will be revealed by the end of the week !!), Not only that but while perusing my Jamaica musical vaults it was obvious that 1 week would be nowhere near enough space for such a rich theme so it has to be extended.

On with the music…today’s slice of the Jamaican vocalist pie is one more from Coxsone Dodd’s mighty Studio 1 stable courtesy of a group known as The Bassies, featuring a young cat by the name of Fred Locks Rocking Steady as the sound was making the transition into what became known and loved the world over as Reggae.

musicology #292

JamaicanVocalGroupAction #3

(Kingstonians - Singer Man)

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Going back to what I wrote on day one of the theme about the sweet sounds of Jamaica being inspirational and lifting my sometimes troubled Soul. This cut produced by one of my favourite producers and foundation Jamaican musicologists Derrick ‘One Stop’ Harriott ranks high for themusicologist. Quality piece of late Sixties Reggae that many a young suedehead of all colours and flavours has and does skank to.

musicology #291

JamaicanVocalGroupAction #2

(The Heptones - One Love)

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Today’s cut is from the mighty Heptones, (Leroy Sibbles, Barry Llewelyn and Earl Morgan). One of the top ranking Jamaican vocal groups throughout the sixties and seventies. Not only that but Leroy Sibbles, (as mentioned previously on themusicologist), was an important part of Coxsone Dodd’s Studio One production team as Bass player, Musical director and all round musicologist during it’s ‘Golden Age’ until his departure for Canada in 1973. With Jackie Mittoo and Leroy gone Studio 1 began to lose it’s edge until younger Cats like Sugar Minott took up the baton a few years later. This, (1971?), piece is a slice from them glorious, Golden days off the album Freedom Line

musicology #290

JamaicanVocalGroupAction #1

(Johnny & The Attractions - Young Wings Can Fly)

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New theme on themusicologist featuring some of the cream of the Island’s musicologists. The music of Jamaica has been a feature of my musical education from my earliest days thanks, especially to two of my uncles, Dell and ‘Johnny One Stop’. Like many a youngblood growing up on the streets of London through the Seventies and Eighties Jamaican music loomed large. Starting in the early Seventies with groups like the Wailers and the Heptones, (both will be featured), and evolving backwards with the inner sanctum of Rocksteady and Roots as the Seventies moved into the Eighties Reggae has always been close to my heart. I learnt a lot about life through the sounds of the Groups, Artists and Producers whose music touched my soul with their authentic cries of ‘the struggle’ for survival and freedom.

Many’s the time I have turned to and found solace in the sounds of Jamaica, from Independence Ska all the way through to ‘Computerised’. So this week is a tribute to a small selection of the Cats who have shaped my life with their ‘weeping and a wailing’

First up is one from the second half of the sixties, released in the UK on Doctor Bird during 1968. Produced by Sonia Pottingers Gayfeet team delivered in a Rock Steady style by a group called Johnny & The Attractions….doesn’t get much better than this as far as I’m concerned.

musicology #289

twolegendsclash #12

(Louis Armstrong & His Orchestra - Basin Street Blues)

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Final cut of the 'legends' and it's down to 'Gate' to close the show. Just like to say that such is the quality, (and quantity), from the twolegends that this selection could last a year !! The Cats featured over the last two weeks are an inspiration and deserve all the accolades that have been written and spoken about them over the last 100 years...

Today's cut is the first of his many recordings of the legendary 'Basin Street Blues' recorded in Chicago 1928 on a special day for themusicologist, (December 4th), one of my favourite Satchelmouth cuts.. featuring two other legendary musicologists Earl Hines and Zutty Singleton.

musicology #288

twolegendsclash #11

(Sidney Bechet & His New Orleans Feetwarmers - Preachin' Blues)

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"What a weeping and a waling, when the two legends clash...."

Final cut from Sidney Bechet and what a treat...Recorded in New York during January or Febuary 1940. A precursor to the Rhythm & Blues that was to follow and in turn be reclassified as Rock & Roll. All the hallmarks are there, small line-up, Electric Guitar, Boogie Woogie Piano, honking Sax...

Before signing Bechet off, according to a piece of information on Wikipedia;

"In the 1940s, (Louis), Jordan released dozens of hit songs, including the swinging 'Saturday Night Fish Fry' (one of the earliest and most powerful contenders for the title of First rock and roll record),"

I'm a BIG fan of Louis Jordan and his music certainly deserves all the accolades and he was certainly at the forefront in the development of Rhythm & Blues but the above mentioned cut was released in 1949. Whereas this one from Bechet is almost a decade earlier !!...which, as far as I can hear is as close to 'Rock & Roll' as it gets, Especially Brother Bechet's playing.

As it's the end of the Bechet road it just leaves me to thank the inspirational Cat for leaving us a recorded legacy of the HIGHEST quality...I'm sure he's up there standing at the gate cutting the angel Gabriel to ribbons.

Blow Bechet...Blow.

musicology #286

twolegendsclash #9

(Sidney Bechet & His New Orleans Feetwarmers - What Is This Thing Called Love)

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Today’s 1941 cut, (recorded in New York), is dedicated to themusicologist junior#2 who is now eleven years of age. Happy birthday kid..I love you more than words can say and thank my lucky stars every day that you, (and your sister), are part of my life. Bechet, (and Shavers). come in and blow one for the yoots them.

musicology #285

twolegendsclash #8

(Louis Armstrong & His Hot 5 - Hotter Than That)

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Last of the uptempo and fittingly it’s one from Father Armstrong’s final recording session with the original, groundbreaking super group known as the Hot 5. Featuring not only the talents of Armstrong but also Kid Ory on the trombone, Johnny Dodds playing clarinet, Lil Hardin on the piano, Johnny St Cyr plucking the banjo and Blues guitarist Lonnie Johnson. Might not sound ‘Avant Garde’ now but at the time it was. This group came with the ‘new style’ that was to influence much of the music that followed…

musicology #284

twolegendsclash #7

(The Haitian Orchestra - Meringue D’Amour)

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Day seven of the twolegends…two more uptempo cuts and then it’s downtempo until Saturday. Today’s cut features Sidney Bechet blowing Soprano, (the instrument he single handedly introduced to modern music), as well as piano legend Willie ‘ The Lion ‘ Smith keeping time, Olin Alderhold plucking bass, Leo Warney on the drums and Kenneth Roane on the trumpet. Recorded in New York on November 22nd 1939. Maybe not as technical or improvisational as many of the other Bechet recordings but, for me, one of the most infectious…I can’t get enough of this one. BIG tune down themusicologist way.

musicology #283

twolegendsclash #6

(Louis Armstrong And His New Sebastian Cotton Club Orchestra - You're Drivin' Me Crazy)

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Judging by this weeks viewer statistics It would be far more effective for themusicologist to roll with some funk/boogie/reggae/etc, boosting the figures, (and the ego), and patting myself on the back for my musical taste and how well it is received around the world but, for me, the unviversal language has a will of it's own and compells me to follow rather than lead. themusicologist has no destination in mind or even a reason for being other than to share and spread the word.

It's harder to be and stay positive when under seige from the media and society at large but through thick and thin music is always there to inspire thought and action on the journey and for themusicologist the selection chooses itself...

Armstrong and Bechet, (to name but two), learned, spoke, evolved and taught the language of the underdog, the oppressed and the disenfranchised to millions around the world in a style and formula that needed no translation or formal education. Listening to these Cats blow delivers musical riches beyond my wildest dreams and makes the spirit soar in tandem with the notes that emerge from their weapons.

Doesn't matter who you are, where you come from, what you believe in or what colour skin you have, (which it most certainly did back then), the universal language speaks to us all and as always this page is a tribute to the artists on parade.

Today's cut, featuring Father Armstrong, recorded on December 23rd 1930 in Los Angeles showcases his dexterity as trumpet player, vocalist and authentic man of the people. The way he mixes and blends, weaving in and out is a hallmark of his uniqueness. How many trumpet players are there, (or have ever been), that swing so effortlessy from playing to singing?

The band supporting consist of:

Armstrong, Louis (Trumpet, Vocal)
Hite, Les (Conductor, Alto Saxophone, Bass Saxophone)
Orendorff, George (Trumpet)
Scott, Harold (Trumpet)
Graven, Luther (Trombone)
Johnson, Marvin (Alto Saxophone)
Jones, Charlie (Tenor Saxophone, Clarinet)
Prince, Henry (Piano)
Perkins, Bill (Banjo, Steel Guitar)
Bailey, Joe (Tuba, Bass)
Hampton, Lionel (Drums, Vibraphone)

musicology #282

twolegendsclash #5

(Bechet-Spannier Big4 - Sweet Sue Just You)

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Yet another top ranking slice featuring original Hell raiser Sidney Bechet this time in tandem with cornet player Muggsy Spanier,(who always sounds to me like he should have run with Al Capone !!), bassman Wellman Braud and guitarist Carmen Mastren. Recorded in New York in April 1940.

musicology #281

twolegendsclash #4

LISTEN

(Louis Armstrong - Weather Bird)

After deliberating ALL day on what piece of the Satchelmouth pie to serve, (and still not really coming up with a firm favourite), I’m just going to bite the bullet and lay this one down. A 1928 !!! cut featuring not only the improviser supreme but also one of the greatest players to ever tinkle the Ivories…Earl Hines.

Amazing duet that, to me, sounds almost like a whole orchestra such is the ‘fullness’ of the sound produced. One of his own compositions recorded for OKeh on December 5th 1928 in Chicago and the first to bear just his name, (all previous cuts were either featuring him or with an orchestra), What is impossible for us to comprehend is the impact that these 20’s cuts of his had. Granted there are probably players who came after him that could match his technique and as previously mentioned there were also those from before recording whose names shine bright but NONE of them had the same impact on 20th Century music. Louis blazed the trail for everyone who followed and not just in the field of instrumentals.

Ride on Mr Armstrong and let the Cats here know exactly what your’e talking about…

musicology #280

twolegendsclash #3

(Sidney Bechet -Jungle Drums)

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Majestic 1938? cut from Brother Bechet whose life experience was about as 'rich' as it gets. A true restless spirit who never stayed in one place too long. Left New Orleans in 1915 to tour with Clarence Williams, then headed for Chicago in 1917 with Joe 'King' Oliver and Freddie Keppard. First left America for London in 1919 where he became the first modernist to master the Soprano Sax which he plays on this cut that also features drum legend Zutty Singleton, Ernie Cacares on Baritone, Dave Bowman tinkling the Ivories, Leonard Ware on ELECTRIC guitar and Henry Turner on Bass...

"Bechet to me was the very epitome of jazz... everything he played in his whole life was completely original. I honestly think he was the most unique man to ever be in this music" - Duke Ellington

'nuff said.

musicology #279

twolegendsclash #2

(Louis Armstrong & His Orchestra - Them There Eyes)

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Ladies and Gentlemen, Boys, Girls, Cats, (and Dogs), please join me in welcoming into 'the ring', coming out of New Orleans Mr Louis, Satchelmouth, Pops, Armstrong undisputed King of the Horn. A Cat who is known the world over for spreading joy to millions and whose legacy and name is written across almost every page in the book of 20th Century music.

Before soaking up some top ranking swing a brief historical outline for those of us who know the name and even some of his more popular cuts but are maybe not as aware of his true genius and the life he lived as a young ragamuffin on the streets of one of America's most dangerous Cities. That he climbed every mountain put in front of him is testament to his human as well as his musical qualities. A man who almost never let his bitterness at the injustice of the world he lived in get the better of him instead he chose to sing, dance, blow, laugh and smile his way through to the end of his days. Born August the 4th 1901in Uptown New Orleans to young parents, (his mother was 15), Little Louis, (and I use that term with the greatest respect), studied hard, eventually graduating with honours at the infamous University Of Life, spending almost all his youth on the streets listening, learning, hustling, ducking and diving to not only survive but to set his own agenda. So much has been written about the Cat that I'm not about to rewrite what is already known, (or available elsewhere on the information highway), so I'll just start his contribution to the twolegendsclash with a quote from the great man:

"One Sunday our Pastor whom we all loved happened to take a Sunday off and sent in another preacher who wasn't near as good. The whole Congregation frowned on him except one Sister. She seemed to enjoy the other Pastor same as she did our Pastor. This aroused the Congregation's curiousity so much until when Church service was over they all rushed over to this one Sister and asked her why did she enjoy the substitute preacher the same as our regular one?, she said, "Well, when our pastor preach I can look right through him and see Jesus and when I hear a preacher who's not as good as ours I just look over his shoulder and see Jesus just the same." That applies to me all through my life in music ever since I left New Orleans. Iv'e been just like that Sister in our Church. I have played with quite a few musicians who weren't so good. But as long as they could hold their instruments correct, and display their willingness to play as best they could, I would look over their shoulders and see Joe Oliver and several other great masters from my home town"

Recorded April 1931 in 'Chi' for the OKeh label

musicology #278

twolegendsclash #1

(Noble Sissle Orchestra (feat Sidney Bechet) - Dear Old Southland)

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As promised a new theme starts today, a ‘Soundclash’ between two of the greatest soloists, innovators, and players of instrument ever recorded. I say recorded because there were others who didn’t record, (Buddy Bolden for instance), or who like Louis Armstrong’s mentor Joe ‘King’ Oliver had health problems that affected the quality of their recorded legacy. Others like Frank Dusen refused to record on the basis that others would be able to hear and imitate their ‘licks’ claiming them as their own. Imitation and competition was fierce as ragtime evolved into ‘Jazz’ and many of the original cats were left behind as the age of recording began to take shape. Not only that but, (as hard as it is for us to imagine today), recording was nothing, (financially), compared to live performance and maybe those players thought that this new fangled technology would never account to much. Youngbloods like Armstrong and Bechet on the other hand were in the right place at the right time and were ‘modernists’ to the core.

First up is Clarinet and Saxophone virtuoso Sidney Bechet, who along with Armstrong took improvisation to a new level. That’s not to say that there weren’t others who were as innovative and talented, Johnny Dodds or ‘Big Eye’ Louis Nelson for example, (who Bechet had lessons with).

Born in 1897 Bechet grew up in New Orlean’s Seventh Ward graduating as a fourteen year old from his brother Leonard’s Silver Leaf band into Bunk Johnson/ Frankie Dusen’s famed rough house ‘Eagle band’ which had previously featured the Legendary Buddy Bolden and later Joe ‘King’ Oliver. This is where the young Bechet’s talent really began to shine and take shape. Obviously no recordings exist from them days so I can’t lay one on you so this 1937 cut featuring brother Bechet on Soprano Sax, (recorded with the Noble Sissle Orchestra in New York), will have to do.

musicology #277

newyearboogie #5

(Mel & Tim - Starting All Over Again)

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New Month, New Year...New day dawns.

Listen Tune...

p.s flying home tonight so back in the saddle tomorrow with a new theme. A 'clash' between two of the greatest soloists ever recorded who together refined the language of improvisation and lifted it to new heights. I'll leave it to your imagination as to who it could be. One thing's for sure though it will swing so hard that by the end of it you'll find your dancing shoes worn so thin you could use them to wrap a 'zut' !!

musicology 276

newyearboogie #4

(Roy Milton's Solid Senders - New Years Resolution Blues)

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Today's cut is courtesy of pioneering combo The Solid Senders, led by singer, drummer and band leader Roy Milton who together with Joe Liggins and Johnny Otis helped shape, (in the late 40's), the emerging sound that became known as Rhythm & Blues. A much smaller sound than the precceding style made popular by the likes of Count Basie, Louis Jordan and Joe Turner. The contribution of female pianist Camille Howard is worthy of special mention as it was, (along with Milton's drums), the driving force behind Milton's hits. For themusicologist Roy Milton's vocals and the Solid Senders music always hit 'the spot'.

p.s the sentiment in the cut does not reflect, (as is often the case), my own feelings on the subject.

musicology #275

newyearboogie #3

(Blind Lemon Jefferson - Happy New Year Blues)

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1928 slice of the new year pie from pioneering bluesman Blind Lemon Jefferson whose contribution to the genre looms as large as any of his contempories. Originator of the ‘Texas’ Style his legacy stretches from T-Bone Walker, (who learned how to play from Jefferson), through Chuck Berry, right up to and beyond Jimmy Hendrix. Reknowned for his dexterity both as player and songwriter the cat ’swung’ the blues all over the Southern States.

musicology #274

newyearboogie #2

(Johnny Otis Orchestra - Happy New Year Baby)

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what can I say about 2008?..pure ‘hill and gully ride’ for me. Learnt a LOT, more than I would have thought possible. Ended on a real high..New Years Eve up on a rooftop in Spain with my son under the stars listening to Sidney Bechet swing out the old year in finest style. I could go on and on about how much this holiday means to me but I’ll just say that last night, especially, was one of the great moments in my life so far, (and there have been a few I am happy to say), that’s TWO top ranking holidays in 2008 that I will cherish for ever, thanks to the Cyprus cats for the previous one and the Fam for this one.. Weather here is glorious, company is first class and the soundtrack has been led by a diet of cuts from the early part of the 20th century most notably from the master, Brother Louis Armstrong while reading a very informative and well written book on his early life in New Orleans.

Today’s cut is courtesy of bandleader Johnny Otis and his Orchestra. Can’t add any more info at the moment like singers, date, label etc so i’ll leave it at that other than to say:

HAPPY NEW YEAR BABY….