twolegendsclash #3
(Sidney Bechet -Jungle Drums)
LISTEN
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.
Wednesday, 7 January 2009
Tuesday, 6 January 2009
musicology #279
twolegendsclash #2
(Louis Armstrong & His Orchestra - Them There Eyes)
LISTEN
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
(Louis Armstrong & His Orchestra - Them There Eyes)
LISTEN
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
Monday, 5 January 2009
musicology #278
twolegendsclash #1
(Noble Sissle Orchestra (feat Sidney Bechet) - Dear Old Southland)
LISTEN
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.
(Noble Sissle Orchestra (feat Sidney Bechet) - Dear Old Southland)
LISTEN
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.
Sunday, 4 January 2009
musicology #277
newyearboogie #5
(Mel & Tim - Starting All Over Again)
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' !!Saturday, 3 January 2009
musicology 276
newyearboogie #4
(Roy Milton's Solid Senders - New Years Resolution Blues)
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.
Friday, 2 January 2009
musicology #275
newyearboogie #3
(Blind Lemon Jefferson - Happy New Year Blues)
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.
Thursday, 1 January 2009
musicology #274
newyearboogie #2
(Johnny Otis Orchestra - Happy New Year Baby)
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….
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