Charlie Kunz – Old Time Music Hall Songs (1958)

Charles Leonard Kunz (August 18, 1896 – March 16, 1958) was an American-born British musician popular during the British dance band era, and who became a pianist.

Kunz was born in Allentown, Pennsylvania, United States, the only son of Margaret T. (Wehr) and Leonard Kunz, a master baker who played the French horn. He made his debut aged six and made his first appearance as a prodigy aged seven. During World War I he led his own resident band, while working in a munitions factory.

He came to the United Kingdom in 1922 as a pianist in a small dance band. He was to remain there until his death from a heart attack in 1958. He is buried in Streatham Vale Cemetery. He was such a distinctive and popular pianist that he abandoned his orchestra to concentrate on his piano playing, both at music hall venues and on the BBC. Two of Britain’s most famous female vocalists were with his orchestra in the 1930s: Vera Lynn and Welsh songstress Dorothy Squires. His best known crooner was George Barclay.

Kunz was the pianist in a dance band which was led by the drummer, Ed Krick. The band came to London in 1922 to play a residency in the London Trocadero. The band returned without Kunz to Pennsylvania after a successful run at the ‘Troc’ and, until 1998, still got together for sessions for retirement homes, renamed as ‘The B Flats’.

His debut as a soloist came in 1934 at the Holborn Empire, London followed by countless variety theatres in Britain and the Continent, after playing in hotels, restaurants and ballrooms. The same year saw the beginning of what was to become a continuous output of solo records of “Charlie Kunz Medleys”. His signature tune was “Clap Hands, Here Comes Charlie”, and his closing theme was “Pink Elephants”.

He became the highest paid pianist in the world, earning up to £1,000 a week. His piano transcriptions sold widely in the teaching of piano-playing. Kunz’s playing style was a relaxed flowing interpretation of popular melodies played with subtle soft and loud accents, which he called “melody and rhythm with expression”.

He was married three times:

1) Amanda Dysher (died) (one son Joseph)
2) Eva Dorothy “Nin” Lloyd, a fashion model (1923–1939) (two sons Peter and Gerald) In 1939 he was living with Eva in Elmer Road, Chichester Area.
3) Pat Sparkes (1942–1958)
He is buried in Streatham Park Cemetery in London.

This album was released shortly after his death. It was the farewell to a great pianist of the music hall era…. listen to the master of ragtime and honky tonk piano !

Listen and enjoy !

Personnel:
Charlie Kunz (piano)

Alternate frontcover from France:

Tracklist:

01. Medley 1: (8.01)
01.1. Let The Great Big World Keep Turning
01.2. Daddy Wouldn’t Buy Me A Bow-Wow
01.3. The Galloping Major
01.4. I’m Shy, Mary Ellen
01.5. Katie Connor
01.6. Get Out And Get Under
01.7.If Should Plant A Tiny Seed Of Love
01.8. The Army Of Today’s All Right
01.9. Ship Ahoy

02. Medley 2: (7.22)
02.1. In The Twi-twi-twilight
02.2. She’s A Lassie From Lancashire
02.3. The Lily Of Laguna
02.4. You Made Me Love You
02.5. Ta-ra-ra Boom-de-ay
02.6. I’ll Be Your Sweetheart
02.7. Brighton
02.8. For Months And Months And Monhs
02.9- Goodby, Dolly Gray

03. Medley 3: (8.00)
03.1. On The Good Ship
03.2. Wait Till The Clouds Roll By
03.3. Darling Mabel
03.4. The Ship I Love
03.5. Hold Your Hand Out, Naughty Boy
03.6. I Was A Good Little Girl Till I Met You
03.7. I The Good Old Summer Time
03.8. Oh ! Oh ! Antonio
03.9. Flanagan

04. Medley 4: (8.26)
04.1. Following In Father’s Footsteps
04.2. After The Ball
04.3. Two Little Girls In Blue
04.4. I Used To Sigh For The Silvery Moon
04.5. Has Anybody Here Seen Kelly
04.6. P.C. 49
04.7. Three O’Clock In The Morning
04.8. Are We To Part Like This
04.9. Waiting For Robert E. Lee

*
**

Louis Armstrong – The Best Of (1977)

Louis Daniel Armstrong (August 4, 1901 – July 6, 1971), nicknamed “Satchmo”, “Satch”, and “Pops”, was an American trumpeter and vocalist. He is among the most influential figures in jazz. His career spanned five decades and different eras in the history of jazz.

Armstrong was born and raised in New Orleans. Coming to prominence in the 1920s as an inventive trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. Around 1922, he followed his mentor, Joe “King” Oliver, to Chicago to play in the Creole Jazz Band [fr]. In Chicago, he spent time with other popular jazz musicians, reconnecting with his friend Bix Beiderbecke and spending time with Hoagy Carmichael and Lil Hardin.

He earned a reputation at “cutting contests” and his fame reached band leader Fletcher Henderson. Henderson persuaded Armstrong to come to New York City, where he became a featured and musically influential band soloist and recording artist. Hardin became Armstrong’s second wife and they returned to Chicago to play together and then he began to form his own “Hot” jazz bands. After years of touring, he settled in Queens, and by the 1950s, he was a national musical icon, assisted in part, by his appearances on radio and in film and television, in addition to his concerts.

With his instantly recognizable rich, gravelly voice, Armstrong was also an influential singer and skillful improviser, bending the lyrics and melody of a song. He was also skilled at scat singing. Armstrong is renowned for his charismatic stage presence and voice as well as his trumpet playing. By the end of Armstrong’s life, his influence had spread to popular music in general. Armstrong was one of the first popular African-American entertainers to “cross over” to wide popularity with white (and international) audiences. He rarely publicly politicized his race, to the dismay of fellow African Americans, but took a well-publicized stand for desegregation in the Little Rock crisis. He was able to access the upper echelons of American society at a time when this was difficult for black men.

Armstrong appeared in films such as High Society (1956) alongside Bing Crosby, Grace Kelly, and Frank Sinatra, and Hello, Dolly! (1969) starring Barbra Streisand. He received many accolades including three Grammy Award nominations and a win for his vocal performance of Hello, Dolly! in 1964. In 2017, he was posthumously inducted into the Rhythm & Blues Hall of Fame. (wikipedia)

And here´s a pretty good low budget compilation with a lot of his classic tunes  (many of them are live recordings !)

Enjoy the roots of Jazz !

Personnel:
Louis Armstrong (trumpet, vocals)
+
many, many studio musicians

Tracklist:
01. Cabaret (Ebb/Kander) 3.11
02. Ain’t Misbehavin’ (Razaf/Waller/Brooks) 4.03
03. Twelfth Street Rag (Bowman) 5.01
04. A Theme From The Threepenny Opera (Mack The Knife) (Blitzstein/Brecht/Weill) 3.22
05. Body And Soul (Heyman7Sour/Green) 3.18
06. Indiana (MacDonald/Hanley) 3.52
07. St. Louis Blues (Handy) 3.04
08. Dardanella (Bernard/Black) 2.49
09. Undecided (Robin/Shavers) 3.34
10. Honeysuckle Rose (Razaf/Waller) 2.58
11. Basin Street Blues (Williams) 5.39
12. Tiger Rag (Original Dixie Jazz Band) 3.35
13. When It’s Sleepytime Down South (L.Rene/O.Rene) 3.25
14. All Of Me (Simons/Marks) 3.57
15. Muskrat Ramble (Ory) 5.47

*
**

The backcover from a CD reissue (1988):
More from Louis Armstronng:

Various Artists – Musica Futurista – The Art Of Noises (2004)

The Art of Noises (Italian: L’arte dei Rumori) is a Futurist manifesto written by Luigi Russolo in a 1913 letter to friend and Futurist composer Francesco Balilla Pratella. In it, Russolo argues that the human ear has become accustomed to the speed, energy, and noise of the urban industrial soundscape; furthermore, this new sonic palette requires a new approach to musical instrumentation and composition. He proposes a number of conclusions about how electronics and other technology will allow futurist musicians to “substitute for the limited variety of timbres that the orchestra possesses today the infinite variety of timbres in noises, reproduced with appropriate mechanisms”.

The Art of Noises is considered by some authors to be one of the most important and influential texts in 20th-century musical aesthetics. (wikipedia)

Musica Futurista is a collection of music and spoken word from the Italian Futurist movement 1909-1935, including original recordings made by Filipo Tomasso Marinetti and Luigi Russolo.

As well as vintage free-verse readings by Futurist founding father Marinetti, this popular primer includes recordings of the celebrated intonarumori (noise intoners) devised by Russolo, including a fragment from his lost landmark work The Awakening of a City.

Alongside restored archive recordings, the 73 minute album includes performances of key Futurist musical works by Balilla Pratella, Luigi Grandi, Silvio Mix, Aldo Giuntini, Franco Casavola and Alfredo Casella by leading contemporary interpreter Daniele Lombardi. (press release)

Musicians/Artists influenced by The Art of Noises
John Cage
Pierre Schaeffer
Pierre Henry
Art of Noise
Adam Ant
Einstürzende Neubauten
Test Dept
DJ Spooky
Dywane Thomas, Jr.
Francisco López
R. Henry Nigl
Material
Jean-Luc Hervé Berthelot

Reviews:

“Of the major early 20th century artistic movements, Futurism is widely acknowledged as a major influence, and the first in which music and performance were major elements. Musica Futurista contains the first substantial recordings of Futurist music, digitally remastered and with two additional tracks. The booklet text by James Nice is informative” (The Wire, 09/2004)

“The influence of these works can be seen across multiple genres, from modern composition to avant rock and electronica” (Brainwashed, 08/2004)

“A terrific collection” (All Music Guide)

“A beautiful and serene re-examination of explosive thinkers and the bombs they loved. One of the most important records released this year” (Paris Transatlantic, 06/2006)

Tracklist:

Filippo Tommaso Marinetti:
01. Definizione Di Futurismo 3.04

Francesco Balilla Pratella: La Guerra – Three Dances For Orchestra, Op 32:
02. L’Aspettazione 2.22
03. La Battaglia 2.52
04. La Vittoria 3.16

Filippo Tommaso Marinetti:
05. La Battaglia Di Adrianopoli 2.59

Luigi Russolo:
06. Risveglio Di Una Città 0.29
Intonarumori Sound Samples:
07. Gorgogliatore (Gurgler) 1.22
08. Ronzatore (Buzzer) 1.03
09. Ululatore (Howler) 1.42
10. Crepitatore (Crackler) 1.06

Antonio Russolo:
11. Corale 1.57
12. Serenata 2.34

Filippo Tommaso Marinetti & Aldo Giuntini:
13. Sintesi Musicali Futuriste 6.53

Aldo Giuntini:
14. The India Rubber Man (Foxtrot) 2.00

Luigi Grandi:
15. Aeroduello (Dinamosintesi) 2.56

Silvio Mix:
16. Two Preludes From ‘Gli Stati D’Animo’ 2.40
17. Profilo Sintetico-Musicale Di Marinetti 1.10

Franco Casavola:
18. Prelude To ‘Prigionieri’ 2.48
19. Danza Della Scimmie 2.29

Alfredo Casella:
20. Pupazzetti 6.57

Filippo Tommaso Marinetti:
21. Parole In Libertà 3.37

Matty Malneck & Frank Signorelli:
22. Futurist Caprice 3.50

Filippo Tommaso Marinetti:
23. Cinque Sintesi Radiofoniche 13.08
23.1. Un Paesaggio Udito
23.2. Dramma Di Distanze
23.3. I Silenzi Parlano Fra Di Loro
23.4. Battaglia Di Ritmi
23.5. La Costruzione Di Un Silenzio

*
**

I got this very rare album with early Avantgarde music from Italy from Mr. Sleeve … Thank you very much !

 

Fats Waller – Ain’t Misbehavin’ (1990)

African-American pianist Fats Waller wrote such jazz standards as “Ain’t Misbehavin'” and earned fame for his comedic radio performances in the 1930s.
Synopsis

Born on May 21, 1904, in New York City, Fats Waller was influenced as a teenager by jazz great James P. Johnson. He proved a gifted piano player and songwriter, delivering such jazz standards as “Ain’t Misbehavin’.” In the 1930s, Waller’s fame reached new heights following his performances on radio and in film. He died from bronchial pneumonia on December 15, 1943, in Kansas City, Missouri.

Thomas Wright “Fats” Waller was born on May 21, 1904, in New York City. He learned to play piano at the age of 6, and within a few years was also learning the reed organ, string bass and violin. After dropping out of school at around age 15, he became an organist at the Lincoln Theatre in Harlem.

Waller’s father, Edward, a baptist minister, was hopeful that his son would follow a religious calling instead of a career in jazz. However, the path to music became inevitable following the death of Waller’s mother, Adeline, in 1920. Waller moved in with the family of pianist Russell B.T. Brooks, who introduced the youngster to James P. Johnson, founder of the stride school of jazz piano.

Waller made his recording debut in 1922 for Okeh Records with the solo efforts “Muscle Shoals Blues” and “Binningham Blues.” Shortly afterward, he released “Squeeze Me,” an important early work that established his bona fides as a songwriter.

Waller continued to play organ at the Lincoln Theatre while also taking engagements at theaters in Philadelphia and Chicago. In addition, he often starred at Harlem’s famous “rent parties,” where he and his fellow musicians would essentially stage concerts in friends’ homes. Larger than life with his sheer size and magnetic personality, Waller was known to enjoy alcohol and female attention in abundance.

Waller became more involved with writing and performing for revues in the late 1920s, starting with Keep Shufflin’ in 1927. He forged a strong collaborative partnership with Andy Razaf, with whom he wrote two of his most famous stage songs, “Honeysuckle Rose” and “Ain’t Misbehavin’.” During this time, Waller also recorded such standards as “Handful of Keys” and “Valentine Stomp” as a soloist, and “The Minor Drag” and “Harlem Fuss” as leader of Fats Waller and His Buddies.

Waller branched out to radio with his New York-based shows “Paramount on Parade” and “Radio Roundup” from 1930-31, and the Cincinnati-based “Fats Waller’s Rhythm Club” from 1932-34. After returning to New York in 1934, he began a new regular radio program, “Rhythm Club,” and formed the Fats Waller and His Rhythm sextet.

Waller appeared in two Hollywood films in 1935, Hooray for Love! and King of Burlesque. However, while his fame was spreading, he reportedly had become disenchanted with the comedic, irrevererent persona that fans had come to expect from his broadcasts, instead seeking more respect as a serious artist. He appeared to be making strong strides in that direction after a trip to England in 1938, recording the ambitious composition “London Suite.”
Late Career and Death

Waller returned to Hollywood early in 1943 to film Stormy Weather with Lena Horne and Bill Robinson. After returning to New York, he began writing songs for another revue, Early to Bed.

Fats Waller had maintained a heavy travel schedule into the 1940s, despite declining health, but the wear and tear eventually caught up with him. While returning home from another West Coast trip in late 1943, he contracted bronchial pneumonia, an illness that silenced the beloved and influential jazz great for good during a stop in Kansas City, Missouri, on December 15, 1943. (biography.com)

And here´s a nice little compilation with many hits of his career. At least every serious record collector shul have one album Fats Waller … here´s your chance !

Personnel:
Fats Waller (keyboards, vocals)

Tracklist:
01. Ain’t Misbehavin’ (Razaf/Waller/Brooks) 2.58
02. Until The Real Thing Comes Along (Cahn/Chaplin/Freeman) 3.24
03. Two Sleepy People (Loesser/Carmichael) 3.04
04. I’m Gonna Sit Right Down And Write Myself A Letter (Young/Ahlert) 3.34
05. Tea For Two (Caesar/Youmans) 3.05
06. I Can’t Give You Anything But Love, Baby (Fields/McHugh) 2.55
07. The Joint Is Jumpin’ ((Razaf/Waller/Johnson) 2.48
08. Don’t Try Your Jive On Me (Feather/Sampson) 3.19
09. Lonesome Road (Austin/Shilkret) 2.43
10. I Ain’t Got Nobody (Graham/Williams) 2.48
11. Breakin’ The Ice (McCarthy/Cavanaugh/Weldon) 3.15
12. Twelfth Street Rag (Bowman) 2.45

*
**

Thomas Wright “Fats” Waller (May 21, 1904 – December 15, 1943)

Various Artists – Blues, Blues Christmas Vol. 1 – 1925 – 1955 (2005)

The idea of Christmas themed blues and gospel numbers stretches back to the very dawn of the recorded genres. “Hooray for Christmas” exclaims Bessie Smith to kick off her soon to be classic “At The Christmas Ball”, which inaugurated the Christmas blues tradition when it was recorded in November 1925 for Columbia. A year later, circa December 1926, the gospel Christmas tradition was launched when the Elkins-Payne Jubilee Singers recorded “Silent Night, Holy Night” for Paramount Records. After these recordings it was off to the races with numerous Christmas blues numbers recorded by singers of all stripes, a pace that continued as blues evolved into R&B and then rock and roll. For some reason there’s far fewer gospel Christmas songs although there were plenty of Christmas sermons in the 1920’s and 1930’s when recorded sermons rivalled blues in popularity among black audiences.

Going hand in hand with Christmas is quite a number of New Year’s songs, a good vehicle for juxtaposing the problems of the past year with the glimmer of hope that the upcoming year will bring better fortune. Whether these artists sung these numbers as part of their regular repertoire is unclear but it’s almost certainly the case that many of these songs were recorded at the prompting of the record companies. Like any business they were always looking for a new angle or gimmick to sell records and advertised these boldly, often with full-page ads, in black newspapers like the Chicago Defender.

Perhaps you think this is a bit cynical but then you probably still believe in Santa Clause and good will towards men! Well, sit back, tip a glass of holiday cheer and enjoy our survey of yuletide classics spanning the 1920’s through the 1950’s, a simpler, more wholesome time – right! (by thedocumentrecordsstore.com)

Christmas and the blues might seem at first like a strange combination, given that the music of the holiday season is usually joyful, hopeful, and bright, but no other time of the year is so good at showing you what you don’t have, and what you can’t get, and if you have the blues at Christmas, well, it’s going to be a pretty heavy dose. This generous two-disc set from Document Records features 52 tracks of vintage African-American Christmas-themed blues and gospel pieces (with a couple of street sermons thrown in) recorded between 1925 and 1955, ranging from down-and-out laments and jailhouse moans to surprising (and occasionally risqué) requests for what Santa can bring down the chimney. Highlights on the first disc include the opening track, the joyous “Christ Was Born on Christmas Morn,” recorded in 1925 by comedian and female impersonator Frankie “Half Pint” Jaxon; Harry Crafton’s “Bring That Cadillac Back” (a Cadillac might not be the best gift if your girlfriend likes to ramble) from 1947; Tampa Red’s amazing, ringing slide guitar tone on “Christmas and New Year’s Blues” from 1936; and the bizarre, disturbing field recording of “Junior’s a Jap Girl’s Christmas for His Santa Claus,” sung by Willie Blackwell for Alan Lomax in Arkansas in 1942. Other high points include the charming “Christmas Boogie,” recorded in 1950 by piano prodigy (he was only ten years old when this recording was made) Frankie “Sugar Chile” Robinson and the intense, bottled-up street-corner sermon “The Wrong Way to Celebrate Xmas,” recorded by Rev. Edward Clayborn in 1928. The second disc yields even more holiday gems, including the bottleneck guitar attack of Black Ace (Babe Karo Lemon Turner) on 1937’s “Christmas Time Blues (Beggin’ Santa Claus)”; Leroy Carr’s stark and brilliant “Christmas in Jail” from 1929; a breezy, bouncing “When Jesus Was Born” by gospel harmony quartet the Sons of Heaven (who were really the Selah Jubilee Singers doing a little moonlighting — which they did often, also recording as the Jubilators, the Southern Harmonaires, and the Larks) from 1948; and the sparse, stunning “Christmas Time Blues” by the mysterious Boll Weavil (Willie McNeil), also from 1948. A marvelous collection, Blues, Blues Christmas is a refreshing addition to the more standard holiday material that prevails during the season. (by Steve Leggett)

Personnel:
see booklet

Tracklist:
CD 1:
01. Frankie ‘Half-Pint’ Jaxon: Christ Was Born On Christmas Morn 3.25
02. Titus Turner: Christmas Morning Blues 2.31
03. The Cats & The Fiddle: Hep Cat’s Holiday 2.31
04. Ralph Willis: Christmas Blues 2.36
05. Willie Blackwell: Junior’s A Jap Girl’s Christmas For His Santa Claus 4.55
06. Butterbeans & Susie: Papa Ain’t No Santa Claus (And Mama Ain’t No Christmas Tree) 3.16
07. Jimmy Butler: Trim Your Tree 1.54
08. Gatemouth Moore: Christmas Blues 2.54
09. Harry Crafton with Doc Bagby Orchestra: Bring That Cadillac Back 2.38
10. Bertha ‘Chippie’ Hill: Christmas Man Blues 2.57
11. Cecil Gant: Hello Santa Claus 2.52
12. Bumble Bee Slim: Christmas And No Santa Claus 3.04
13. Felix Gross: Love For Christmas 2.35
14. Lonnie Johnson: Happy New Year Darling 2.36
15. Tampa Red: Christmas & New Year’s Blues 3.22
16. Amos Milburn: Let’s Make Christmas Merry, Baby 2.52
17. Julie Lee & Her Boyfriends: Christmas Spirit 2.45
18. Bessie Smith: At The Christmas Ball 3.23
19. Rev. A. W. Nix: How Will You Spend Christmas 3.20
20. Harmon Ray: Xmas Blues 2.40
21. Jimmy Witherspoon: How I Hate To See Xmas Come Around 3.01
22. Joe Turner With Pete Johnson & His Orchestra: Christmas Date Boogie 2.32
23. Sugar Chile Robinson: Christmas Boogie 2.12
24. Leadbelly: The Christmas Song 2.41
25. Lighnin’ Hopkins: Happy New Year 3.12
26. Rev. Edward Clayborn: The Wrong Way To Celebrate Xmas 2.25

CD 2:
01. Bo Carter: Santa Claus 3.12
02. Black Ace: Christmas Time Blues (Beggin’ Santa Claus) 2,.44
03. Mary Harris: Happy New Year Blues 3.08
04. Charlie Jordan: Christmas Christmas Blues 3.23
05. Johnny Otis Orchestra: Happy New Year, Baby 2.43
06. Little Esther & Mel Walker With Johnny Otis: Faraway Christmas Blues 3.18
07. Sonny Boy Williamson I: Christmas Morning Blues 3.22
08. Leroy Carr: Christmas In Jail 3.10
09. Kansas City Kitty: Christmas Mornin’ Blues 3.08
10. Rev. J.M. Gates: Did You Spend Christmas Day In Jail 2.52
11. Rev. J.M. Gates: Death Might Be Your Santa Claus 2.59
12. Blind Lemon Jefferson: Happy New Year Blues 2.53
13. Smokey Hogg: New Year’s Eve Blues 2.40
14. Larry Darnell: Christmas Blues 2.52
15. Sons Of Heaven: When Was Jesus Born 2.39
16. J.B. Summers With Doc Bagby’s Orchestra: I Want A Present For Christmas 2.28
17. Sonny Parker With Lionel Hampton Orchestra: Boogie Woogie Santa Claus 2.41
18. Roy Milton Solid Serenaders: New Year’s Resolution Blues 2.27
19. Sonny Boy Williamson II & His Harmonica & Houserockers: Sonny Boy’s Christmas Blues 2.32
20. Roosevelt Sykes: Let Me Hang My Stockings In Your Christmas Tree 2.53
21. Elzadie Robinson: The Santa Claus Crave 3.18
22. Walter Davis: Santa Claus 3.00
23. Victoria Spivey: Christmas Morning Blues 3.24
24. Boll Weevil: Christmas Time Blues 3.09
25. Floyd Dixon: Empty Stocking Blues 3.01
26. Mabel Scott With Les Welch & His Orchestra: Boogie Woogie Santa Claus 2.13

*
**

 

Glenn Miller – In The Mood (2000)

Bandleader Glenn Miller inspired the World War II generation and boosted morale with many popular songs.

Born in 1904 in Iowa, bandleader and musician Glenn Miller inspired the World War II generation. He was one of the most popular bandleaders in the late 1930s and early 1940s with such songs as “Moonlight Serenade” and “Tuxedo Junction.” In 1942, Miller enlisted in the U.S. Army and was assigned to lead the Army Air Force Band. He boosted the morale of the troops with his many popular songs before mysteriously disappearing on a flight from England to Paris, France. Miller’s original recordings continue to sell millions of copies. He died on December 15, 1944.

Born in Clarinda, Iowa, on March 1, 1904, bandleader and musician Glenn Miller started out playing the mandolin as a child, but quickly switched to the horn. His family moved several times in his youth—to Missouri, then to Nebraska, and finally to Colorado in 1918. In high school in Fort Morgan, Colorado, Miller played in the school band. He turned professional after graduating in 1921, becoming a member of Boyd Senter’s orchestra.

In 1923, Miller quit the orchestra to go to college. He spent a year at the University of Colorado before dropping out to return to the music business. Moving to Los Angeles, California, Miller worked with Ben Pollack’s band for a time. He then headed to New York City, where he freelanced as a trombonist and an arranger. In 1934, Miller became the musical director for Tommy Dorsey’s band with brother Jimmy Dorsey. He then formed an American orchestra for British bandleader Ray Noble.

While he first recorded under his own name in 1935, Glenn Miller struggled for several years before establishing himself as a musician and bandleader. He formed his own orchestra and then reconfigured it several times until he found the winning combination. It was his band’s gig at the famed Glen Island Casino in New Rochelle, New York, in 1939 that helped put Miller on the map. Their performances there were broadcast on the radio, giving them great public exposure.

Miller scored his first hit with “Wishing (Will Make It So)” that same year. He penned his even bigger successful single, “Moonlight Serenade,” which climbed the charts in 1939 as well. With their distinctive swing jazz style, Miller and his orchestra became the country’s top dance band. They dominated the music charts with such tracks as “In the Mood,” “Tuxedo Junction” and “Pennsylvania 6-5000” in 1940.

In 1941, Miller made his first film, Sun Valley Serenade, with Sonja Henie. The film featured another one of his signature songs “Chattanooga Choo Choo.” The following year, he appeared in Orchestra Wives (1942). That same year, Miller had to put his successful music career aside to serve his country. He was inducted into the U.S. Army, later transferring to the Army Air Force.

Miller headed up the U.S. Army Air Force Band, which gave numerous performances to entertain the troops during World War II. He was stationed in England in 1944 when he learned that his band was to go to Paris. On December 15, Miller boarded a transport plane headed to the newly liberated French capital. He intended to make preparations for his group’s new series of concerts there, but he never arrived.

What happened to Miller’s plane remains a mystery. Neither the plane nor Miller’s body was ever recovered. He left his wife Helen and their two children. Miller’s military band continued to play for months after his death, and the Glenn Miller Orchestra was revived after the war to honor his legacy. Collections of his greatest hits did well on the charts for several years after his passing as well. Jimmy Stewart later starred in the popular film The Glenn Miller Story (1954), which was loosely based on Miller’s life. (by www.biography.com)

And here´s another nice sampler with 20 classic Glenn Miller tunes ..

Enjoy the era of Big Band Jazz … but you should be in a sentimental mood …

Personnel:
Glenn Miller And His Orchestra

Tracklist:
01. In The Mood (Garland/Razaf) 3.34
02. Pennsylvania 6-5000 (Sigman/Gray) 3.14
03. Moonlight Becomes You (Burke/v.Heussen) 3.18
04. Sunrise Serenade (Lawrence/Carle) 3.25
05. Moonlight Serenade (Parish/Miller) 3.22
06. Elmer´s Tune (Albrecht/Gallop/Jürgens) 3.06
07. Juke Box Saturday Night (Stillman/McGrane) 3.05
08. Tuxedo Junction (Johnson/Dash/Feyne/Hawkins) 3.26
09. Chattanooga Choo Choo (Gordon/Warren) 3.24
10. Caribbean Clipper (Gray) 2.28
11. Moonlight Cocktail (Gannon/Roberts) 3.17
12. Amrican Patrol (Meacham) 3.18
13. (I Got A Gal In) Kalamazoo (Gordon/Warren) 3.14
14. Danny Boy (Weatherly) 2.15
15. Serenade In Blue (Gordon/Warren) 3.26
16. A String Of Pearls (Gray) 3.13
17. At Last (Gordon/Warren) 3.05
18. Going Home (Traditional) 2.19
19. I Know Why (Gordon/Warren) 2.59
20. Don´t Sit Under The Apple Tree (Brown/Tobias/Stepf) 3.09

*
**

Glenn Miller (March 1, 1904 – December 15, 1944)

Carlos Gardel – The Passion Of Tango (1996)

Carlos Gardel (born Charles Romuald Gardès; 11 December 1890 – 24 June 1935) was a French Argentine singer, songwriter, composer and actor, and the most prominent figure in the history of tango. Gardel’s baritone voice and the dramatic phrasing of his lyrics made miniature masterpieces of his hundreds of three-minute tango recordings. Together with lyricist and long-time collaborator Alfredo Le Pera, Gardel wrote several classic tangos.

Gardel died in an airplane crash at the height of his career, becoming an archetypal tragic hero mourned throughout Latin America. For many, Gardel embodies the soul of the tango style. He is commonly referred to as “Carlitos”, “El Zorzal” (The [Song] Thrush), “The King of Tango”, “El Mago” (The Wizard), “El Morocho del Abasto” (The Brunette boy from Abasto), and ironically “El Mudo” (The Mute). (by wikipedia)

Gardel rivals Astor Piazzolla as the most important single figure in tango history; if Piazzolla was roughly tango’s equivalent of Duke Ellington, then Gardel was certainly its Frank Sinatra — a towering giant of a vocalist, macho yet sensitive, with an unequaled affinity for the popular song of his homeland.

Carlos Gardel (11 December 1887/18901 – 24 June 1935) was an enormously popular Argentina-raised tango singer during the inter-war years, whose birth-place has been largely disputed. His death in an airplane crash at the height of his career created an image of a tragic hero on both shores of the Río de la Plata. For many music fans, Gardel embodies the soul of the tango, a musical form and dance which evolved in the barrios of Buenos Aires and Montevideo at the end of the 19th century.

Gardel possessed a baritone voice deployed with unerring musicality and dramatic phrasing, creating miniature masterpieces among the hundreds of three-minute tangos which he recorded during his lifetime. Together with his long-term collaborator, lyricist Alfredo Le Pera, Gardel also wrote several classic tangos, notably Mi Buenos Aires querido, Amores de Estudiante, Soledad, Volver, Por una cabeza and El día que me quieras.

Gardel began his career singing in bars and at private parties and in 1911 formed a duet with Francisco Martino, and after with Josà Razzano (which would last until 1925), singing a wide repertory. Gardel made the music his own by inventing the tango-canción in 1917 with Mi Noche Triste, a Pascual Contursi and Samuel Castriota’s theme, which sold 100,000 copies and was a hit throughout Latin America. Gardel went on to tour Argentina, Uruguay, Chile, Brazil, Puerto Rico, Venezuela, Colombia and made appearances in Barcelona, Madrid, Paris and New York. He sold 70,000 records in the first three months of a 1928 visit to Paris. As his popularity grew, he made a number of films for Paramount in France and the U.S., which were essentially vehicles for his singing and matinée-idol looks.

When Gardel and his collaborator Le Pera were killed in an airplane crash in Medellín, Colombia in 1935, millions of his fans throughout Latin America went into mourning. Hordes of people thronged to pay their respects as the singer’s body travelled via Colombia, New York and Rio de Janeiro to Montevideo, Uruguay where his mother lived. There he was put on lit de parade while thousands of Uruguayans rendered homage to their beloved singer. After two days the singer’s body travelled to its final resting place in La Chacarita Cemetery in Buenos Aires.

Gardel is still revered from Buenos Aires to Tokyo, where people like to say that “he sings better every day.” His fans still like to place a lit cigarette in the fingers of the life-sized statue which adorns his tomb. One of Gardel’s favorite phrases, Veinte años no es nada (Twenty years is nothing) became a famous saying across Latin America. (by argentina-tango.com)

And this is a more or less rare Italian sampler with his music …. many decades ago … Music from a long forgotten period … Music from Argentinia … Tango … you know … many fantastic colors …

Personnel:
Carlos Gardel (guitar, piano, vocals)
+
a bunch of unknown studio musicians

Tracklist:
01. Volver (Gardel/Pera) 2.55
02. El Dia Que Me Quieras (Gardel/Pera) 3.23
03. La Cumparsita (Rodríguez) 2.15
04. Silencio (Pettorossi/Gardel/Pera) 2.42
05. Adios Muchachos (Sanders/Vedani) 2.23
06. Mi Buenos Aires querido (Gardel/Pera) 2.39
07. Milonga sentimenta (Piana/Manzi) 3.00
08. Tomo y obligo (Gardel/ Romero) 2.08
09. Melodía de Arrabal (Gardel/Pera/Battistella) 2.36
10. Lejana Tierra Mia (Gardel/Pera) 2.43
11. Madreselva (Gardel) 3.08
12. Cuesta abajo (Gardel/Pera) 3.30
13. Mano a mano (Gardel/Flores/Razzano) 3.10
14. La canción de Buenos Aires (Cúfaro/Maizani/Romero) 2.15
15. Caminito ( Filiberto/Peñaloza) 2.35
16. Guitarra Mia (Gardel/Pera) 3.26
17. Tango Argentino (Maglio/Bigheschi) 2.25

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Andre Kostelanetz And His Orchestra – Music Of Jerome Kern (1955)

Andre Kostelanetz (Russian: Абрам Наумович Костелянец, December 22, 1901 – January 13, 1980) was a Russian-born American popular orchestral music conductor and arranger who was one of the major exponents of popular orchestra music.Andre Kostelanetz (Russian: Абрам Наумович Костелянец, December 22, 1901 – January 13, 1980) was a Russian-born American popular orchestral music conductor and arranger who was one of the major exponents of popular orchestra music.

Biography This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2015) (Learn how and when to remove this template message)
Abram Naumovich Kostelyanetz was born in Saint Petersburg, Russia to a prominent Jewish family. He was a cousin of physicist Lew Kowarski. His father, Nachman Yokhelevich (Naum Ignatyevich) Kostelyanetz was active on St. Petersburg stock exchange; his maternal grandfather, Aizik Yevelevich Dymshitz, was a wealthy merchant and industrialist, engaged in timber production. Kostelanetz escaped in 1922 after the Russian Revolution.

He arrived in the United States that year, and in the 1920s, conducted concerts for radio. In the 1930s, he began his own weekly show on CBS, Andre Kostelanetz Presents. Kostelanetz was known for arranging and recording light classical music pieces for mass audiences, as well as orchestral versions of songs and Broadway show tunes. He made numerous recordings over the course of his career, which had sales of over 50 million and became staples of beautiful music radio stations. For many years, he conducted the New York Philharmonic in pops concerts and recordings, in which they were billed as Andre Kostelanetz and His Orchestra.
Andre Kostelanetz may be best known to modern audiences for a series of easy listening instrumental albums on Columbia Records from the 1940s until 1980. Kostelanetz actually started making this music before there was a genre called “easy listening”. He continued until after some of his contemporaries, including Mantovani, had stopped recording.

Outside the United States, one of his best known works was an orchestral arrangement of the tune “With a Song in my Heart”, which was the signature tune of a long-running BBC radio program, at first called Forces Favourites, then Family Favourites, and finally Two Way Family Favourites.
He commissioned many works, including Aaron Copland’s Lincoln Portrait, Jerome Kern’s Portrait of Mark Twain, William Schuman’s New England Triptych, Paul Creston’s Frontiers, Ferde Grofé’s Hudson River Suite, Virgil Thomson’s musical portraits of Fiorello La Guardia and Dorothy Thompson, Alan Hovhaness’s Floating World, and Ezra Laderman’s Magic Prison. William Walton dedicated his Capriccio burlesco to Kostelanetz, who conducted the first performance and made the first recording, both with the New York Philharmonic.
His last concert was A Night in Old Vienna with the San Francisco Symphony Orchestra at that city’s War Memorial Opera House on December 31, 1979.

His first wife was actress/singer Sarah Loy; they were married from 1923 to 1937, when the marriage was dissolved. He was then married to soprano Lily Pons from 1938 to 1958, when the marriage was dissolved. They owned a home in Palm Springs, California which was built in 1955. In 1960 he married Sara Gene Orcutt; the marriage lasted several years.
His brother Boris Kostelanetz (1911–2006) was a prominent tax defense lawyer.

Kostelanetz died of pneumonia in Haiti on January 13, 1980, at the age of 78. (by wikipedia)

And here we can hear him with many compositions by Jerome Kern:

Jerome David Kern (January 27, 1885 – November 11, 1945) was an American composer of musical theatre and popular music. One of the most important American theatre composers of the early 20th century, he wrote more than 700 songs, used in over 100 stage works, including such classics as “Ol’ Man River”, “Can’t Help Lovin’ Dat Man”, “A Fine Romance”, “Smoke Gets in Your Eyes”, “All the Things You Are”, “The Way You Look Tonight”, “Long Ago (and Far Away)” and “Who?”. He collaborated with many of the leading librettists and lyricists of his era, including George Grossmith Jr., Guy Bolton, P. G. Wodehouse, Otto Harbach, Oscar Hammerstein II, Dorothy Fields, Johnny Mercer, Ira Gershwin and E. Y. Harburg.

A native New Yorker, Kern created dozens of Broadway musicals and Hollywood films in a career that lasted for more than four decades. His musical innovations, such as 4/4 dance rhythms and the employment of syncopation and jazz progressions, built on, rather than rejected, earlier musical theatre tradition. He and his collaborators also employed his melodies to further the action or develop characterization to a greater extent than in the other musicals of his day, creating the model for later musicals. Although dozens of Kern’s musicals and musical films were hits, only Show Boat is now regularly revived. Songs from his other shows, however, are still frequently performed and adapted. Many of Kern’s songs have been adapted by jazz musicians to become standard tunes. (by wikipedia)

First release on 78 rpm in 1946 (four shellac records)

Personnel:
Andre Kostelanetz And His Orchestra

Tracklist:
01 Smoke Gets In Your Eyes 4.38

Medley 1 (4.45):
02.1. Yesterdays
02.2.  I’ve Told Ev’ry Little Star
02.3.  The Song Is You

Medley 2 (4.14):
03.1. The Night Was Made For Love
03.2.  She Didn’t Say Yes
03.3.  All The Things You Are

Medley 3 (4.25):
04.1. Look For The Silver Lining
04.2. They Didn’t Believe Me
04.3. Long Ago (And Far Away)

Medley 4 (4.47):
05.1. I Dream Too Much
05.2. The Jockey On The Carousel

Medley 5 (4.47):
06.1. Why Was I Born?
06.2. The Way You Look Tonight
06.3. Who?

Medley 6 (4.18):
07.1. Only Make Believe
07.2. Bill

Medley 7 (4.34):
08.1. Why Do I Love You?
08.2. You Are Love
08.3.Ol’ Man River

List of the musicals from which the tracks were taken from:

1: “Smoke Gets In Your Eyes” and “Yesterdays” taken from “Roberta” (1933).
2: “I’ve Told Ev’ry Little Star” and “The Song Is You” from “Music In The Air” (1932)
3: “The Night Was Made For Love” and “She Didn’t Say Yes” taken from “The Cat And The Fiddle” (1931). “All The Things You Are” taken from “Very Warm For May” (1939)
4: “Look For The Silver Lining” taken from “Sally” (1920). “They Didn’t Believe Me” taken from “The Girl From Utah” (1913). “Long Ago (And Far Away)” taken from the movie “Cover Girl” directed by Charles Vidor (1944).
5: “I Dream Too Much” and “The Jockey On The Carousel” taken from the movie “I Dream Too Much” directed by John Cromwell (1935).
6: “Why Was I Born?” taken from “Sweet Adeline” (1929). “The Way You Look Tonight” taken from the movie “Swing Time” directed by George Stevens (1936). “Who?” taken from “Sunny” (1925).
7 & 8: “Only Make Believe”, “Bill”, “Why Do I Love You?”, “You Are Love” and “Ol’ Man River” taken from “Show Boat” (1927).Recorded in March-April 1946, except tracks 7 and 8 recorded in December 1945.

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Original front + backcover from 1946:

Louis Armstrong – Armstrong Forever Vol. 1 (1972)

Louis Daniel Armstrong (August 4, 1901– July 6, 1971), nicknamed Satchmo, Satch or Pops, was an American trumpeter, composer, singer and occasional actor who was one of the most influential figures in jazz. His career spanned five decades, from the 1920s to the 1960s, and different eras in the history of jazz.

Coming to prominence in the 1920s as an “inventive” trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance.[3] With his instantly recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also very skilled at scat singing.

Armstrong is renowned for his charismatic stage presence and voice almost as much as for his trumpet playing, Armstrong’s influence extends well beyond jazz, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to “cross over”, whose skin color was secondary to his music in an America that was extremely racially divided at the time. He rarely publicly politicized his race, often to the dismay of fellow African Americans, but took a well-publicized stand for desegregation in the Little Rock crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society which were highly restricted for black men of his era. (by wikipedia)

Louis Armstrong, nicknamed “Satchmo,” “Pops” and, later, “Ambassador Satch,” was born on August 4, 1901, in New Orleans, Louisiana. An all-star virtuoso, he came to prominence in the 1920s, influencing countless musicians with both his daring trumpet style and unique vocals. Armstrong’s charismatic stage presence impressed not only the jazz world but all of popular music. He recorded several songs throughout his career, including he is known for songs like “Star Dust,” “La Vie En Rose” and “What a Wonderful World.” Armstrong died at his home in Queens, New York, on July 6, 1971. (by

And here´s just a sampler … but a real nice one … it´s a sort of “Best Of” Album …

And I guess it´s time to discover the great Louis Armstrong again … his music is timeless !

Personnel:
Bernard Addison (guitar on 07. + 12.)
Henry Allen (trumpet on 01.)
Edward Anderson (trumpet on 078 + 12.)
Gene Anderson (piano on 02. + 06.)
Paul Barbarin (drums on 01. + 1.)
Mancy Cara (banjo on 02., 05. – 07.)
Johnny Dodds (saxophone, clarinet on 10.)
Lilian Hardin Armstrong (piano on 10.)
Louis Armstrong (trumpet, vocals, cornet)
Pete Briggs (bass on 02. + 06.)
Ceele Burke (banjo on 03. 04. + 09.)
Eddie Condon (banjo on 11.)
Luther Craven (trombone on 03., 04. + 08.)
Bert Curry (saxophone on 02. + 06.)
John St. Cyr (banjo on 10.)
Carroll Dickerson (violin on 02. + 06.)
Pops Foster (bass on 01. + 11.)
Lionel Hampton (drums, vibraphone on 03., 05. + 09.)
Henry Hicks (trombone on 07. + 12.)
J.C. Higginbotham (trombone on 01. + 11.)
Teddy Hill (saxophone on 01. + 11.)
Earl Hines (piano on 05. + 07.)
Les Hite (saxophone on 03., 04. + 09.)
Homer Hobson (trumpet on 02. + 06.)
Bobby Holmes (clarinet, saxophone on 08. + 12.)
Charlie Holmes (saxophone on 01. + 11.)
Lavert Hutchinson (bass on 08. + 12.)
Franz Jackson (saxophone on 03., 04. + 09.)
Lonnie Johnson (guitar on 11.)
Otis Johnson (trumpet on 01.)
Will Johnson (guitar on 01.)
Willy Lynch (drums on 08. + 12.)
Castor McCord (saxophone on 07. + 12.)
Theodore McCord (saxophone on 07. + 12.)
Albert Nicholas (clarinet on 10., saxophone on 01.)
Richard Orendorf (trumpet on 03., 04. + 09.)
Kid Ory (trombone on 10.)
Jimmy Prince (piano on 03., 04. + 09.)
Don Redman (saxophone on 07.)
Fred Robinson (trombone on 02., 05. – 07.)
Marshall Royal (clarinet on 03., 04. + 09.)
Luis Russell (piano on 01. + 11.)
Zutty Singleton (drums on 02., 05. – 07.)
Jimmy Strong (saxophone on 02., 05. – 07.)
Joe Turner (piano on 07. + 12.)
Crawford Wetherington (saxophone on 02. + 06.)

Tracklist:

Louis Armstrong & His Orchestra:
01. St-Louis Blues (Handy) 3.02
02. Ain’t Misbehavin’ (Razaf/Waller/Brooks) 3.24

Louis Armstrong & His Sebastian New Cotton Club:
03. Body And Soul (Heyman/Green/Sour) 3.15
04. The Peanut Vendor (Simons) 3.27

Louis Armstrong & His Savoy Ballroom Five:
05. Basin Street Blues (Williams) 3.17

Louis Armstrong & His Orchestra:
06. After You’ve Gone (Creamer/Layton) 3.21

Louis Armstrong & His Savoy Ballroom Five:
07. St-James Infirmary (Redman) 3.21

Louis Armstrong & His Orchestra:
08. Tiger Rag (La Rocca) 3.12

Louis Armstrong & His Sebastian New Cotton Club:
09. Just A Gigolo (Caesar/Casucci) 3.18

Louis Armstrong And His Hot Five:
10. Muskrat Ramble (Ory) 2.37

Louis Armstrong & His Orchestra:
11. I Can’t Give You Anything But Love (Fields/McHugh) 3.26
12. Dinah (Akst/Young/Lewis) 3.12

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Alternate frontcover

Various Artists – Smoky Mountain Ballads (1976)

Let´s take a look to the roots of American Music.

In 1941. Smoky Mountain Ballads, a set of 78s selected and annotated with autobiographical notes by John A. Lomax, is published by RCA Victor. The album includes the Carter Family, Uncle Dave Macon, and the Monroe Brothers singing such songs as “East Virginia Blues,” “Worried Man Blues,” “Down in the Willow Garden,” and “Darling Corey,” which later became staples of the folk revival repertoire.

And we will hear Ballads from the Smoky Mountains:

The Great Smoky Mountains are a mountain range rising along the Tennessee–North Carolina border in the southeastern United States. They are a subrange of the Appalachian Mountains, and form part of the Blue Ridge Physiographic Province. The range is sometimes called the Smoky Mountains and the name is commonly shortened to the Smokies. The Great Smokies are best known as the home of the Great Smoky Mountains National Park, which protects most of the range. The park was established in 1934, and, with over 9 million visits per year, it is the most-visited national park in the United States.

The Great Smokies are part of an International Biosphere Reserve. The range is home to an estimated 187,000 acres (76,000 ha) of old growth forest, constituting the largest such stand east of the Mississippi River. The cove hardwood forests in the range’s lower elevations are among the most diverse ecosystems in North America, and the Southern Appalachian spruce-fir forest that coats the range’s upper elevations is the largest of its kind. The Great Smokies are also home to the densest black bear population in the Eastern United States and the most diverse salamander population outside of the tropics.[

Along with the Biosphere reserve, the Great Smokies have been designated a UNESCO World Heritage Site. The U.S. National Park Service preserves and maintains 78 structures within the national park that were once part of the numerous small Appalachian communities scattered throughout the range’s river valleys and coves. The park contains five historic districts and nine individual listings on the National Register of Historic Places.

The name “Smoky” comes from the natural fog that often hangs over the range and presents as large smoke plumes from a distance. This fog is caused by the vegetation exhaling volatile organic compounds, chemicals that have a high vapor pressure and easily form vapors at normal temperature and pressure.

As a result of the 2016 Great Smoky Mountains wildfires, the Great Smoky Mountains have received international media coverage. (by wikipedia)

Ballads from Smoky Mountains means Country,  Folk and Bluesgrass.songs.

And I´m impressed by the music, because the Music still sounds fresh and vital.

Listen to Chittlin’ Cookin’ Time In Cheatham County  … this could be a Ray Davies tune from the Sixties !

This is a very nice little collection of old Hillbilly folk tunes. Sounds like they are just recordings of old 78’s, but sound quality is as good as can be expected. (SchizoMelodies)

 

These recordings were originally released by RCA Victor in 1964 und a few Songs from this LP were re-released by Pickwick Records in 1976 …

Let´s discover this old fashioned music …

Uncle Dave Macon

Tracklist:
01. Uncle Dave Macon:  Cumberland Mountain Deer Race (Harris) 2.49
02. Wade Mainer, Zeke Morris & Steve Ledford: Riding On That Train Fourty-Five (Morris) 2.33
03. Dixon Bros.: Down With The Old Canoe (D.Dixon/H.Dixon) 2.51
04. Arthur Smith Trio: Chittlin’ Cookin’ Time In Cheatham County  (Arthur Smith Trio) 2.32
05. Monroe Bros.:  Where Is My Sailor Boy? (C.Monroe) 2.43
06. Carter Family:  Worried Man Blues (A.P.Carter) 2.46
07. J.E. Mainer’s Mountaineers:  On A Cold Winter Night (Mainer) 3.00
08. Uncle Dave Macon:  Railroadin’ And Gamblin’ (Macon) 2.39
09. Gid Tanner And His Skillet Lickers: Ida Red (unknown) 2.51

 

 

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