John Lee Hooker – The Best Of (1991)

FrontCover1John Lee Hooker (August 22, 1912 or 1917 – June 21, 2001) was an American blues singer, songwriter, and guitarist. The son of a sharecropper, he rose to prominence performing an electric guitar-style adaptation of Delta blues.

Hooker often incorporated other elements, including talking blues and early North Mississippi Hill country blues. He developed his own driving-rhythm boogie style, distinct from the 1930s–1940s piano-derived boogie-woogie.

Hooker was ranked 35 in Rolling Stone’s 2015 list of 100 greatest guitarists.

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Some of his best known songs include “Boogie Chillen'” (1948), “Crawling King Snake” (1949), “Dimples” (1956), “Boom Boom” (1962), and “One Bourbon, One Scotch, One Beer” (1966). Several of his later albums, including The Healer (1989), Mr. Lucky (1991), Chill Out (1995), and Don’t Look Back (1997), were album chart successes in the U.S. and UK. The Healer (for the song “I’m In The Mood”) and Chill Out (for the album) both earned him Grammy wins as well as Don’t Look Back, which went on to earn him a double-Grammy win for Best Traditional Blues Recording and Best Pop Collaboration with Vocals (with Van Morrison). (wikipedia)

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And here´s a pretty good sampler with many of his finest recordings with a nice booklet.

And real good possibility to discover the music from one of the greatest Blues artiss !!!

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Personnel:
John Lee Hooker (guitar, vocals)
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many, many studio musicians

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Tracklist:
01. I’m In The Mood (1959) 2.46
02. Boogie Chillun (1959) 2.37
03. It Serves Me Right To Suffer (1964) 3.33
04. This Is Hip (1963) 2.31
05. House Rent Boogie (1958) 4.05
06. I’m So Excited (1957) 2.56
07. I Love You Honey (1958) 2.35
08. Hobo Blues (1959) 2.50
09. Crawlin’ Kingsnake (1959) 2.46
10. Maudie (1959) 2.22
11. Dimples (1956) 2.16
12. Boom Boom (1961) 2.35
13. Louise (1951) 3.06
14. Ground Hog Blues (1951) 3.00
15. Ramblin’ By Myself (1951) 3.22
16. Walkin’ The Boogie (1952) 2.45
17. One Bourbon, One Scotch, One Beer (1966) 2.58
18. Sugar Mama (1952) 3:14
19. Peace Lovin’ Man (1960) 3.37
20. Leave My Wife Alone (1951) 2.49
21. Blues Before Sunrise (1961) 3.51
22. Time Is Marching (1955) 3.02

All songs written by John Lee Hooker

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The official website:
Website

Elvis Presley – Pure Gold (1975)

FrontCover1Elvis Aaron Presley (January 8, 1935 – August 16, 1977) was an American singer and actor. Dubbed the “King of Rock and Roll”, he is regarded as one of the most significant cultural icons of the 20th century. His energized interpretations of songs and sexually provocative performance style, combined with a singularly potent mix of influences across color lines during a transformative era in race relations, led him to both great success and initial controversy.

Presley was born in Tupelo, Mississippi, and relocated to Memphis, Tennessee, with his family when he was 13 years old. His music career began there in 1954, recording at Sun Records with producer Sam Phillips, who wanted to bring the sound of African-American music to a wider audience. Presley, on rhythm acoustic guitar, and accompanied by lead guitarist Scotty Moore and bassist Bill Black, was a pioneer of rockabilly, an uptempo, backbeat-driven fusion of country music and rhythm and blues.

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In 1955, drummer D. J. Fontana joined to complete the lineup of Presley’s classic quartet and RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who would manage him for more than two decades. Presley’s first RCA Victor single, “Heartbreak Hotel”, was released in January 1956 and became a number-one hit in the United States. Within a year, RCA would sell ten million Presley singles. With a series of successful network television appearances and chart-topping records, Presley became the leading figure of the newly popular sound of rock and roll.

In November 1956, Presley made his film debut in Love Me Tender. Drafted into military service in 1958, Presley relaunched his recording career two years later with some of his most commercially successful work. He held few concerts, however, and guided by Parker, proceeded to devote much of the 1960s to making Hollywood films and soundtrack albums, most of them critically derided. In 1968, following a seven-year break from live performances, he returned to the stage in the acclaimed television comeback special Elvis, which led to an extended Las Vegas concert residency and a string of highly profitable tours.

Presley meets U.S. President Richard Nixon in the White House Oval Office,
December 21, 1970
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In 1973, Presley gave the first concert by a solo artist to be broadcast around the world, Aloha from Hawaii. Years of prescription drug abuse and unhealthy eating habits severely compromised his health, and he died suddenly in 1977 at his Graceland estate at the age of 42.

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Having sold over 500 million records worldwide, Presley is recognized as the best-selling solo music artist of all time by Guinness World Records. He was commercially successful in many genres, including pop, country, R&B, adult contemporary, and gospel. Presley won three Grammy Awards, received the Grammy Lifetime Achievement Award at age 36, and has been inducted into multiple music halls of fame. He holds several records, including the most RIAA certified gold and platinum albums, the most albums charted on the Billboard 200, the most number-one albums by a solo artist on the UK Albums Chart, and the most number-one singles by any act on the UK Singles Chart. In 2018, Presley was posthumously awarded the Presidential Medal of Freedom by Donald Trump. (wikipedia)

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Pure Gold is a compilation album by American singer and musician Elvis Presley, issued in 1975 by RCA Records with catalog number ANL1-0971(e) as part of the RCA budget Pure Gold series of albums. At the time of this release, Presley was at the final stage of his career; he was focused more on the country music market, where he had a string of chart-topping records in recent years. This short and rather haphazard collection focused more on his earlier Rock and Roll material than later hits. Although considered a mediocre compilation at best, Pure Gold became an extremely popular seller in the wake of Elvis’ unexpected death in August, 1977.

“Fever”, “It’s Impossible”, and “In The Ghetto” are heard in true stereo; “Kentucky Rain” utilized the mono single version, with mild rechanneled or “fake stereo” effect. The other six tracks on the album are original 1950s monophonic recordings with “stereo effect reprocessed from monophonic”, or “fake stereo”. When RCA reissued the album on compact disc in 1992, the “fake stereo” tracks were restored to their original mono sound. The album was certified Gold on September 12, 1977, Platinum on March 20, 1988 and 2x Platinum on March 27, 1992 by the RIAA.

The front cover photo features Elvis from his Aloha from Hawaii concert in January, 1973. The original back cover featured a list of other albums available in the RCA Pure Gold series. The album was reissued in the early 1980s with the catalog number AYL1-3732(e) as part of the RCA budget ‘Best Buy’ series. (wikipedia)

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The precise motivation behind the release of Pure Gold is difficult to fathom, based on its content: ten songs spanning 16 years of Elvis Presley’s recorded history, from “I Got a Woman” in January 1956 through “It’s Impossible,” cut in February 1972. What’s more, three of the songs are title tracks to films: “Love Me Tender,” “Jailhouse Rock,” and “Loving You.” As the extensive notes by Patrick Snyder fail to give any particular motivation for choosing these ten songs, let’s just go with what’s here — the songs, which do represent a decent cross section of some of his most familiar material from a few prime moments in his career. The mature, more finely nuanced Elvis of “Kentucky Rain,” “It’s Impossible,” and “In the Ghetto” makes an interesting contrast with the younger, more threatening Elvis of “Jailhouse Rock,” etc. One marvels at how underrated he was by his critics, and also how much more he had to offer than just a few years of rock & roll excitement. As a crude statement of the man’s range and talent, Pure Gold is just fine — but there are a dozen other collections that do the job better. (by Bruce Eder)

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Personnel:
Elvis Presley (vocals)
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many, many studio musicians

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Tracklist:
01.Kentucky Rain (Rabbitt/Heard) (1969) 3.25
02. Fever (from Elvis Is Back!) (Cooley/Blackwell) (1960) 3.34
03. It’s Impossible (from Elvis) (Manzanero/Wayne) (1972) 2.52
04. Jailhouse Rock (from Jailhouse Rock) (Leiber/Stoller) (1957) 2.28
05. Don’t Be Cruel (Blackwell/Presley) (1956) 2.05
06. I Got A Woman (from Elvis Presley) (Charles/Richard) (1956) 2.26
07. All Shook Up (Blackwell/Presley) (1957) 1.59
08. Loving You (from Loving You) (Leiber/Stoller) (1957) 2.14
09. In The Ghetto (from From Elvis in Memphis) (Davis) (1969) 2.49
10. Love Me Tender (from Love Me Tender) (Matson/Presley) (1956) 2.42

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Chuck Berry – Christmas With Chuck Berry (2017)

FrontCover1Charles Edward Anderson Berry (October 18, 1926 – March 18, 2017) was an American singer, songwriter and guitarist who pioneered rock and roll. Nicknamed the “Father of Rock and Roll”, he refined and developed rhythm and blues into the major elements that made rock and roll distinctive with songs such as “Maybellene” (1955), “Roll Over Beethoven” (1956), “Rock and Roll Music” (1957) and “Johnny B. Goode” (1958). Writing lyrics that focused on teen life and consumerism, and developing a music style that included guitar solos and showmanship, Berry was a major influence on subsequent rock music.

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Born into a middle-class African-American family in St. Louis, Berry had an interest in music from an early age and gave his first public performance at Sumner High School. While still a high school student he was convicted of armed robbery and was sent to a reformatory, where he was held from 1944 to 1947. After his release, Berry settled into married life and worked at an automobile assembly plant. By early 1953, influenced by the guitar riffs and showmanship techniques of the blues musician T-Bone Walker, Berry began performing with the Johnnie Johnson Trio.[3] His break came when he traveled to Chicago in May 1955 and met Muddy Waters, who suggested he contact Leonard Chess, of Chess Records. With Chess, he recorded “Maybellene”—Berry’s adaptation of the country song “Ida Red”—which sold over a million copies, reaching number one on Billboard magazine’s rhythm and blues chart.

Chuck Berry Portrait

By the end of the 1950s, Berry was an established star, with several hit records and film appearances and a lucrative touring career. He had also established his own St. Louis nightclub, Berry’s Club Bandstand. He was sentenced to three years in prison in January 1962 for offenses under the Mann Act—he had transported a 14-year-old girl across state lines. After his release in 1963, Berry had several more successful songs, including “No Particular Place to Go”, “You Never Can Tell”, and “Nadine”. However, these did not achieve the same success or lasting impact of his 1950s songs, and by the 1970s he was more in demand as a nostalgic performer, playing his past material with local backup bands of variable quality. In 1972 he reached a new level of achievement when a rendition of “My Ding-a-Ling” became his only record to top the charts. His insistence on being paid in cash led in 1979 to a four-month jail sentence and community service, for tax evasion.

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Berry was among the first musicians to be inducted into the Rock and Roll Hall of Fame on its opening in 1986; he was cited for having “laid the groundwork for not only a rock and roll sound but a rock and roll stance.” Berry is included in several of Rolling Stone magazine’s “greatest of all time” lists; he was ranked fifth on its 2004 and 2011 lists of the 100 Greatest Artists of All Time.[9] The Rock and Roll Hall of Fame’s 500 Songs That Shaped Rock and Roll includes three of Berry’s: “Johnny B. Goode”, “Maybellene”, and “Rock and Roll Music”.[10] Berry’s “Johnny B. Goode” is the only rock-and-roll song included on the Voyager Golden Record. (wikipedia)

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And here are 4 fine Christmas by Chuck Berry, most of them in a sentimental mood … bluesy…

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Personnel:
Chuck Berry (guitar, vocals)
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a bunch of unknown studio musicians

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Tracklist:
01. Run Rudolph Run (Single Version) (Marks/Brodel/Berry) 2.43
02. Christmas (unknown) 3.26
03. Merry Christmas Baby (Single Version) (Baxter/Moore) 3:12
04. Spending Christmas (Berry) 2:09

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Out of all the reindeers, you know you’re the mastermind
Run, run Rudolph, Randalph ain’t too far behind
Run, run Rudolph, Santa’s got to make it to town
Santa make him hurry, tell him he can take the freeway down
Run, run Rudolph cause I’m reeling like a merry-go-round

Said Santa to a boy “Child, what have you been longing for?”
“All I want for Christmas is a Rock and Roll electric guitar”
And then away went Rudolph whizzing like a shooting star

Run, run Rudolph, Santa has to make it to town
Santa make him hurry, tell him he can take the freeway down
Run, run Rudolph, reeling like a merry-go-round

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Run, run Rudolph, Santa’s got to make it to town
Santa make him hurry, tell him he can take the freeway down
Run, run Rudolph, I’m reeling like a merry-go-round

Said Santa to a girl “Child, what would please you most to get?”
“A little baby doll that can cry, sleep, drink and wet”
And then away went Rudolph, whizzing like a Saber jet

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T-Bone Walker – I Get So Weary (1961)

FrontCover1Aaron Thibeaux “T-Bone” Walker (May 28, 1910 – March 16, 1975) was an American blues guitarist, singer, songwriter and multi-instrumentalist, who was a pioneer and innovator of the jump blues and electric blues sound. In 2018 Rolling Stone magazine ranked him number 37 on its list of “The 100 Greatest Guitarists of All Time”.

Aaron Thibeaux Walker was born in Linden, Texas, of African-American and Cherokee descent. His parents, Movelia Jimerson and Rance Walker, were both musicians. His stepfather, Marco Washington, taught him to play the guitar, ukulele, banjo, violin, mandolin, and piano.

Walker began his career as a teenager in Dallas in the 1920s. His mother and stepfather (a member of the Dallas String Band) were musicians, and Blind Lemon Jefferson, a family friend, sometimes came over for dinner. Walker left school at the age of 10, and by 15 he was a professional performer on the blues circuit. Initially, he was Jefferson’s protégé and would guide him around town for his gigs. In 1929, Walker made his recording debut with Columbia Records, billed as Oak Cliff T-Bone, releasing the single “Wichita Falls Blues” backed with “Trinity River Blues”. Oak Cliff is the community in which he lived at the time, and T-Bone is a corruption of his middle name. The pianist Douglas Fernell played accompaniment on the record.

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Walker married Vida Lee in 1935; the couple had three children.

By the age of 25, Walker was working in clubs on Central Avenue, in Los Angeles, sometimes as the featured singer and as guitarist with Les Hite’s orchestra. In 1940 he recorded with Hite for the Varsity label, but he was featured only as a singer.

In 1942, Charlie Glenn, the owner of the Rhumboogie Café, brought T-Bone Walker to Chicago for long-time stints in his club. In 1944 and 1945, Walker recorded for the Rhumboogie label, which was tied to the club, backed up by Marl Young’s orchestra.

T-Bone Walker performed at the second famed Cavalcade of Jazz concert held at Wrigley Field in Los Angeles produced by Leon Hefflin Sr. on October 12, 1946. Jack McVea, Slim Gaillard, The Honeydrippers, Lionel Hampton and his Orchestra, and Louis Armstrong were all on the same program. He also performed for the third Cavalcade of Jazz concert held in the same location on September 7, 1947 along with Woody Herman as Emcee, The Valdez Orchestra, The Blenders, The Honeydrippers, Slim Gaillard, Johnny Otis and his Orchestra, Toni Harper, The 3 Blazers and Sarah Vaughn.

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Much of his output was recorded from 1946 to 1948 for Black & White Records, including his most famous song, “Call It Stormy Monday (But Tuesday Is Just as Bad)” (1947). Other notable songs he recorded during this period were “Bobby Sox Blues” (a number 3 R&B hit in 1947) and “West Side Baby” (number 8 on the R&B singles chart in 1948).

Throughout his career Walker worked with top-notch musicians, including the trumpeter Teddy Buckner, the pianist Lloyd Glenn, the bassist Billy Hadnott, and the tenor saxophonist Jack McVea.

He recorded from 1950 to 1954 for Imperial Records (backed by Dave Bartholomew). Walker’s only record in the next five years was T-Bone Blues, recorded during three widely separated sessions in 1955, 1956 and 1959 and released by Atlantic Records in 1959.

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By the early 1960s, Walker’s career had slowed down, in spite of an energetic performance at the American Folk Blues Festival in 1962 with the pianist Memphis Slim and the prolific writer and musician Willie Dixon, among others.[1] However, several critically acclaimed albums followed, such as I Want a Little Girl (recorded for Delmark Records in 1968). Walker recorded in his last years, from 1968 to 1975, for Robin Hemingway’s music publishing company, Jitney Jane Songs. He won a Grammy Award for Best Ethnic or Traditional Folk Recording in 1971 for Good Feelin’, while signed with Polydor Records, produced by Hemingway, followed by another album produced by Hemingway, Fly Walker Airlines, released in 1973.

Walker’s career began to wind down after he suffered a stroke in 1974. He died of bronchial pneumonia following another stroke in March 1975, at the age of 64.

Walker was posthumously inducted into the Blues Hall of Fame in 1980 and the Rock and Roll Hall of Fame in 1987.

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Chuck Berry named Walker and Louis Jordan as his main influences. B.B. King cited hearing Walker’s recording of “Stormy Monday” as his inspiration for getting an electric guitar. Walker was admired by Jimi Hendrix, who imitated Walker’s trick of playing the guitar with his teeth. Steve Miller stated that in 1952, when he was eight, Walker taught him how to play his guitar behind his back and also with his teeth. He was a family friend and a frequent visitor to Miller’s family home and Miller considers him a major influence on his career. “Stormy Monday” was a favorite live number of the Allman Brothers Band. The British rock band Jethro Tull covered Walker’s “Stormy Monday” in 1968 for John Peel’s “Top Gear”. Eva Cassidy performed “Stormy Monday” on her 1996 Live at Blues Alley recording.

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The legendary T-Bone Walker is a fundamental source of the modern urban style of playing and singing the blues. His single-string solos influenced giants like B.B. King and such important blues-rockers as Eric Clapton and Stevie Ray Vaughan. This quintessential release includes one his finest album for the Imperial label: I Get So Weary (1961) and Singing the Blues (1960). This album LPs consist of selections of previous Imperial singles, recorded between 1950 and 1954, with accompaniment by the outstanding Dave Bartholomew and his band (featuring impressive sidemen like saxophonist Lee Allen and bassist Frank Fields), as well as by such great musicians as Eddie “Lockjaw” Davis, Maxwell Davis and Billy Hadnott. This superb album have been remastered …

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“When I heard T-Bone Walker play the electric guitar I had to have one.”(B.B. King)

“All the things people see me do on the stage I got from T-Bone Walker.” (Chuck Berry)

“When T-Bone Walker came, I was into that. That was the sound I was looking for.”  (Albert King)

What more can be said …  ?

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Personnel:
Lee Allen (saxophone)
Dave Bartholomew (trumpet)
Cornelius Coleman (drums)
Eddie “Lockjaw” Davis (saxophone)
Maxwell Davis (saxophone)
Wendell Duconge (saxophone)
T.J. Fowler (piano)
Herb Hardesty (bass)
Walter Nelson (guitar)
T-Bone Walker (guitar, vocals)
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some more musicians

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Tracklist:
01. Here In The Dark (Anders) 2.59
02. I Miss You Baby (Simon) 2.52
03. Life Is Too Short (Hale) 2.43
04. I Get So Weary (Williams) 2.38
05. You Just Wanted To Use Me (McGlothin) 2.23
06. When The Sun Goes Down (Walker) 2.28
07. Pony Trail (Bartholomew) 2.27
08. Through With Women (White) 3.06
09. Street Walking Woman (White) 3.03
10. Party Girl (White) 2.089
11. High Society (White) 2.53
12. Lollie Lou (Hale) 2.54
13. Got No Use For You (Walker) 2.36
14. Wanderin´ Heart (unknown) 2.28

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TBoneWalker02“T-Bone” Walker (May 28, 1910 – March 16, 1975)

Howlin’ Wolf – Moanin´ In The Moonlight (1959)

FrontCover1Chester Arthur Burnett (June 10, 1910 – January 10, 1976), known as Howlin’ Wolf, was a Chicago blues singer, guitarist, and harmonica player. Originally from Mississippi, he moved to Chicago in adulthood and became successful, forming a rivalry with fellow bluesman Muddy Waters. With a booming voice and imposing physical presence, he is one of the best-known Chicago blues artists.

The musician and critic Cub Koda noted, “no one could match Howlin’ Wolf for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits.” Producer Sam Phillips recalled, “When I heard Howlin’ Wolf, I said, ‘This is for me. This is where the soul of man never dies.'”[2] Several of his songs, including “Smokestack Lightnin'”, “Killing Floor” and “Spoonful”, have become blues and blues rock standards. In 2011, Rolling Stone magazine ranked him number 54 on its list of the “100 Greatest Artists of All Time”.

Moanin’ in the Moonlight was the debut album by American blues singer Howlin’ Wolf. The album was a compilation of previously issued singles by Chess Records.[4] It was originally released by Chess Records as a mono-format LP record in 1959 (see 1959 in music). The album has been reissued several times, including a vinyl reissue in 1969, with the playing order changed, titled Evil.

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The two earliest songs on Moanin’ in the Moonlight were “Moanin’ at Midnight” and “How Many More Years”. These two songs and ‘All Night Boogie’, were recorded in Memphis, the first two at Sam Phillips’ Memphis Recording Service in Memphis, Tennessee in July 1951, and, ‘All Night Boogie’, the last track on side one, in Memphis in 1953. These songs were sold to the Chess brothers, Leonard and Phil, who released them on two singles (Chess 1479 and Chess 1557), the first two titles being released on August 15, 1951. The rest of the songs on the album were recorded in Chicago, Illinois and were produced by either the Chess brothers and/or Willie Dixon.

The original version of Moanin’ in the Moonlight featured cover artwork by Don S. Bronstein and sleeve notes by Billboard editor Paul Ackerman. The label pressings from the original series have different colors on it because several pressing plants were used.

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The album was featured on an advertisement in Billboard magazine on August 10, 1959, which misprinted the album’s title as Howlin’ at Midnite.

In 1987 Moanin’ in the Moonlight was given a W.C. Handy Award under the category of “Vintage/Reissue Album (US)”. Rolling Stone magazine ranked the album as #153 on their list of the 500 greatest albums of all time, maintaining the rating in a 2012 revised list.[10] Robert Palmer has cited “How Many More Years” (recorded May 1951, unissued at the time, but later issued by Bear Family on CD BCD15460) as the first record to feature a distorted power chord, played by Willie Johnson on the electric guitar. (by wikipedia)

Moanin’ in the Moonlight was Howlin’ Wolf’s first collection of sides for the Chess label, packed with great tunes and untouchable performances by the man himself. The last word in electric Chicago blues, Wolf was possessed of fine guitar and harp skills, a voice that could separate skin from bone, and a sheer magnetism and charisma that knew (and has known) no equal. This disc is outstanding throughout, and features some of his best sides, including “How Many More Years,” “Smokestack Lightnin’,” “Evil,” and “I Asked for Water (She Gave Me Gasoline).” Highly recommended for the uninitiated and a must for collectors. (by Rovi Staff)

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“Moaning’ in the Moonlight” is the debut LP by Howlin’ Wolf, released in 1959 and made up of various singles he had recorded and released over the course of the 1950s. These were almost indisputably some of his finest performances. In particular, the first three tracks are very strong. All songs on the album feature vocals and harmonica from the Wolf. His harmonica playing is not among the best in the blues but is still quite competent. It is his vocals, however, that are especially engrossing. In addition, he performs with other fine blues musicians of the day including Willie Dixon and Hubert Sumlin, the former of whom also penned one of the songs, “Evil,” which is among the best that the listener hears. It finally should be noted that Howlin’ Wolf had a much more modern Chicago blues sound than his rival Muddy Waters did in the fifties. (by Lucas Del Rio)

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Personnel:
Willie Dixon (bass)
Willie Johnson (guitar)
Hosea Lee Kennard (piano)
Earl Phillips (drums)
Otis Spann (piano)
Willie Steele (drums)
Hubert Sumlin (guitar)
Jody Williams (guitar)
Howlin’ Wolf (vocals, harmonica)
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Fred Below (drums on 06.)
Lee Cooper (guitar on 05.)
Adolph “Billy” Dockins (saxophone on 09.)
S. P. Leary (drums on 08.)
Otis “Smokey” Smothers (guitar on 10.)
Ike Turner (piano on 01. + 02.)

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Tracklist:
01.  Moanin’ At Midnight (Burnett) 3.00
02. How Many More Years (Burnett) 2.46
03. Smokestack Lightnin’ (Burnett) 3.11
04. Baby How Long (Burnett) 2.58
05. No Place To Go (Burnett) 3.01
06. All Night Boogie (Burnett) 2.19
07. Evil (Dixon) 2.56
08. I’m Leavin’ You (Burnett) 3.03
09. Moanin’ For My Baby (Burnett) 2.54
10. I Asked For Water (She Gave Me Gasoline) (Burnett) 2.55
11. Forty-Four (Sykes) 2.52
12. Somebody In My Home (Burnett) 2.28

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Chester Arthur Burnett (June 10, 1910 – January 10, 1976)

 

Gene Vincent – The Crazy Beat Of Gene Vincent (1963)

FrontCover1Vincent Eugene Craddock (February 11, 1935 – October 12, 1971), known as Gene Vincent, was an American musician who pioneered the styles of rock and roll and rockabilly. His 1956 top ten hit with his Blue Caps, “Be-Bop-A-Lula”, is considered a significant early example of rockabilly. He was inducted into the Rock and Roll Hall of Fame and the Rockabilly Hall of Fame.

Craddock was born February 11, 1935, in Norfolk, Virginia, United States,[1] to Mary Louise and Ezekiah Jackson Craddock. His musical influences included country, rhythm and blues and gospel music. His favourite composition was Beethoven’s Egmont overture. He showed his first real interest in music while his family lived in Munden Point (now Virginia Beach), in Princess Anne County, Virginia, near the North Carolina line, where they ran a country store. He received his first guitar at the age of twelve as a gift from a friend.

Vincent’s father volunteered to serve in the U.S. Coast Guard and patrolled American coastal waters to protect Allied shipping against German U-boats during World War II. Vincent’s mother maintained the general store in Munden Point. His parents moved the family to Norfolk, the home of a large naval base, and opened a general store and sailors’ tailoring shop.

GeneVincent01Vincent dropped out of school in 1952, at the age of seventeen, and enlisted in the United States Navy. As he was under the age of enlistment, his parents signed the forms allowing him to enter. He completed boot camp and joined the fleet as a crewman aboard the fleet oiler USS Chukawan, with a two-week training period in the repair ship USS Amphion, before returning to the Chukawan. He never saw combat but completed a Korean War deployment. He sailed home from Korean waters aboard the battleship USS Wisconsin but was not part of the ship’s company.

Craddock planned a career in the Navy and, in 1955, used his $612 re-enlistment bonus to buy a new Triumph motorcycle. In July 1955, while he was in Norfolk, his left leg was shattered in a motorcycle crash. He refused to allow the leg to be amputated, and the leg was saved, but the injury left him with a limp and pain. He wore a steel sheath around the leg[3] for the rest of his life. Most accounts relate the accident as the fault of a drunk driver who struck him, but some claim Craddock had been riding drunk. Years later in some of his music biographies, there is no mention of an accident, but it was claimed that his injury was due to a wound incurred in combat in Korea. He spent time in the Portsmouth Naval Hospital and was medically discharged from the Navy shortly thereafter.

Craddock became involved in the local music scene in Norfolk. He changed his name to Gene Vincent and formed a rockabilly band, Gene Vincent and His Blue Caps (a term used in reference to enlisted sailors in the U.S. Navy). The band included Willie Williams on rhythm guitar (replaced in late 1956 by Paul Peek), Jack Neal on upright bass, Dickie Harrell on drums, and Cliff Gallup on lead guitar. He also collaborated with another rising musician, Jay Chevalier of Rapides Parish, Louisiana. Vincent and His Blue Caps soon gained a reputation playing in various country bars in Norfolk. There they won a talent contest organized by a local radio DJ, “Sheriff Tex” Davis, who became Vincent’s manager.

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In 1956 he wrote “Be-Bop-A-Lula”, which drew comparisons to Elvis Presley[2] and which Rolling Stone magazine later listed as number 103 on its “500 Greatest Songs of All Time”. Local radio DJ “Sheriff Tex” Davis arranged for a demo of the song to be made, and this secured Vincent a contract with Capitol Records. He signed a publishing contract with Bill Lowery of the Lowery Group of music publishers in Atlanta, Georgia. “Be-Bop-A-Lula” was not on Vincent’s first album and was picked by Capitol producer Ken Nelson as the B-side of his first single, “Woman Love”. Prior to the release of the single, Lowery pressed promotional copies of “Be-Bop-A-Lula” and sent them to radio stations throughout the country. By the time Capitol released the single, “Be-Bop-A-Lula” had already gained attention from the public and radio DJs. The song was picked up and played by other U.S. radio stations (obscuring the original A-side song) and became a hit, peaking at number 5 and spending 20 weeks on the Billboard pop chart and reaching number 5 and spending 17 weeks on the Cashbox chart, and launching Vincent’s career as a rock-and-roll star.

GeneVincent02After “Be-Bop-A-Lula” became a hit, Vincent and His Blue Caps were unable to follow it up with the same level of commercial success, although they released critically acclaimed songs like “Race with the Devil” (number 96 on the Billboard chart and number 50 on the Cashbox chart) and “Bluejean Bop” (number 49 on the Billboard chart and another million-selling disc).

Cliff Gallup left the band in 1956, and Russell Williford joined as the new guitarist for the Blue Caps. Williford played and toured Canada with Vincent in late 1956 but left the group in early 1957. Gallup came back to do the next album and then left again. Williford came back and exited again before Johnny Meeks joined the band. The group had another hit in 1957 with “Lotta Lovin'” (highest position number 13 and spending 19 weeks on the Billboard chart and number 17 and 17 weeks on the Cashbox chart). Vincent was awarded gold records for two million sales of “Be-Bop-A-Lula”,[8] and 1.5 million sales of “Lotta Lovin'”.[citation needed] The same year he toured the east coast of Australia with Little Richard and Eddie Cochran, drawing audiences totaling 72,000 to their Sydney Stadium concerts. Vincent also made an appearance in the film The Girl Can’t Help It, with Jayne Mansfield, performing “Be-Bop-A-Lula” with the Blue Caps in a rehearsal room. “Dance to the Bop” was released by Capitol Records on October 28, 1957. On November 17, 1957, Vincent and His Blue Caps performed the song on the nationally broadcast television program The Ed Sullivan Show.[10] The song spent nine weeks on the Billboard chart and peaked at number 23 on January 23, 1958 and reached number 36 and spent eight weeks on the Cashbox chart. It was Vincent’s last American hit single. The song was used in the movie Hot Rod Gang for a dance rehearsal scene featuring dancers doing the West Coast Swing.

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Vincent and His Blue Caps also appeared several times on Town Hall Party, California’s largest country music barn dance, held at the Town Hall in Compton, California. Town Hall Party drew in excess of 2,800 paid admissions each Friday and Saturday, with room for 1,200 dancers. The show was also broadcast from 8:30 to 9:30 pm on the NBC Radio network. It was also shown on KTTV, channel 11, from 10 pm to 1 am on Saturday nights.[14] Vincent and His Blue Caps appeared on October 25, 1958, and July 25 and November 7, 1959. They performed “Be-Bop-A-Lula”, “High Blood Pressure”, “Rip It Up”, “Dance to the Bop”, “You Win Again”, “For Your Precious Love”, “Rocky Road Blues”, “Pretty Pearly”, “High School Confidential”, “Over the Rainbow”, “Roll Over Beethoven” and “She She Little Sheila”.

A dispute with the US tax authorities and the American Musicians’ Union over payments to his band and his having sold the band’s equipment to pay a tax bill led Vincent to leave the United States for Europe.

On December 15, 1959, Vincent appeared on Jack Good’s TV show, Boy Meets Girl, his first appearance in England. He wore black leather, gloves, and a medallion, and stood in a hunched posture. Good is credited with the transformation of Vincent’s image.[1] After the TV appearance he toured France, the Netherlands, Germany and the UK performing in his US stage clothes.

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On April 16, 1960, while on tour in the UK, Vincent, Eddie Cochran and the songwriter Sharon Sheeley were involved in a high-speed traffic accident in a private-hire taxi in Chippenham, Wiltshire. Vincent broke his ribs and collarbone and further damaged his weakened leg. Sheeley suffered a broken pelvis. Cochran, who had been thrown from the vehicle, suffered serious brain injuries and died the next day. Vincent returned to the United States after the accident.

Promoter Don Arden had Vincent return to the UK in 1961 to do an extensive tour in theatres and ballrooms, with Chris Wayne and the Echoes. After the overwhelming success of the tour, Vincent moved to Britain in 1963. His accompanying band, Sounds Incorporated, a six-piece outfit with three saxophones, guitar, bass and drums, went on to play with the Beatles at their Shea Stadium concert. Vincent toured the UK again in 1963 with the Outlaws, featuring future Deep Purple guitar player Ritchie Blackmore, as a backing band. Vincent’s alcohol problems marred the tour, resulting in problems both on stage and with the band and management.

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Vincent’s attempts to re-establish his American career in folk rock and country rock proved unsuccessful; he is remembered today for recordings of the 1950s and early 1960s released by Capitol Records. In the early 1960s, he also put out tracks on EMI’s Columbia label, including a cover of Arthur Alexander’s “Where Have You Been All My Life?” A backing band called the Shouts joined him.

In 1966 and 1967, in the United States, he recorded for Challenge Records, backed by ex-members of the Champs and Glen Campbell. Challenge released three singles in the US, and the UK London label released two singles and collected recordings on to an LP, Gene Vincent, on the UK London label in 1967. Although well received, none sold well. In 1968 in a hotel in Germany, Vincent tried to shoot Gary Glitter. He fired several shots but missed and a frightened Glitter left the country the next day.

In 1969, he recorded the album I’m Back and I’m Proud for long-time fan John Peel’s Dandelion Records, produced by Kim Fowley with arrangements by Skip Battin (of the Byrds), and backing vocals by Linda Ronstadt. He recorded two other albums for Kama Sutra Records, reissued on one CD by Rev-Ola in March 2008. On his 1969 tour of the UK he was backed by the Wild Angels, a British band that had performed at the Royal Albert Hall with Bill Haley & His Comets and Duane Eddy. Because of pressure from his ex-wife, the Inland Revenue and promoter Don Arden, Vincent returned to the US.

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His final US recordings were four tracks for Rockin’ Ronny Weiser’s Rolling Rock label, a few weeks before his death. These were released on a compilation album of tribute songs, including “Say Mama”, by his daughter, Melody Jean Vincent, accompanied by Johnny Meeks (of Blue Caps and Merle Haggard’s The Strangers) on guitar. He later recorded four tracks (released years later as The Last Session) in Britain in October 1971 as part of his last tour. He was backed by Richard Cole and Kansas Hook (Dave Bailey, Bob Moore, Richard Cole and bass player Charlie Harrison from Poco and Roger McGuinn’s Thunderbyrd). They recorded five tracks at the BBC studios in Maida Vale, London, for Johnnie Walker’s radio show. He managed one show at the Garrick Night Club in Leigh, Lancashire, and two shows at the Wookey Hollow Club in Liverpool on October 3 and 4. Vincent then returned to the US and died a few days later. Four of these tracks were later released on the BBC’s own label prefix BEEB001 called The Last Session; this includes a version of “Say Mama”. The four tracks are now on Vincent’s album White Lightning.

Vincent died at the age of 36 on October 12, 1971, from a ruptured stomach ulcer, while visiting his father in Saugus, California. He is interred at Eternal Valley Memorial Park, in Newhall, California.

Ian Dury paid tribute to him in the 1976 song “Sweet Gene Vincent”.

GeneVincent08Vincent was the first inductee into the Rockabilly Hall of Fame upon its formation in 1997. The following year he was inducted into the Rock and Roll Hall of Fame. Vincent has a star on the Hollywood Walk of Fame at 1749 North Vine Street. In 2012, his band, the Blue Caps, were retroactively inducted into the Rock and Roll Hall of Fame by a special committee, alongside Vincent. On Tuesday, September 23, 2003, Vincent was honored with a Norfolk’s Legends of Music Walk of Fame bronze star embedded in the Granby Street sidewalk.

Writing for AllMusic, Ritchie Unterberger called Vincent an “American rockabilly legend who defined the greasy-haired, leather-jacketed, hot rods ‘n’ babes spark of rock & roll”. Village Voice critic Robert Christgau was less impressed by the musician’s career, saying “Vincent was never a titan—his few moments of rockabilly greatness were hyped-up distillations of slavering lust from a sensitive little guy who was just as comfortable with ‘Over the Rainbow’ in his normal frame of mind.” However, the critic included the 1974 Vincent compilation album, The Bop That Just Won’t Stop (1956), in his “basic record library” published in Christgau’s Record Guide: Rock Albums of the Seventies (1981). (by wikipedia)

And here´s a pretty good sampler witha lot of his hits and some rarities … Oh yes .. Genen Vincent was true Rock N Roller … Listen and enjoy  !

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Personnel:
Gene Vincent & The Blue Caps

Ths great French backcover:
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Tracklist:
01. Crazy Beat (Fallin/Rhodes) 2.17
02. Important Words (Vincent/Davis) 2.53
03. It´s Been Nice (Pomus/Shuman) 2.03
04. Lonesome Boy (Bedwell) 3.01
05. Good Lovin’ (Calaban/Rorie) 2.04
06. I’m Gonna Catch Me A Rat (Robinson) 2.14
07. Rip It Up (Blackwell/Marascalco) 2.23
08. High Blood Pressure (Smith) 2.50
09. That’s The Trouble With Love (Huling/Shilton) 2.23
10. Weeping Willow (Lynn) 2.40
11. Tear Drops (Glasser) 2.36
12. Gone, Gone, Gone (South) 2.09
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13. Wild Cat (Schroeder/Gold) 2.24
14, Spaceship To Mars (Subotsky/Paramor) 2.06
15. Crazy Beat (alternate version) (Fallin/Rhodes) 2.12
16. Lonesome Boy (alternate version) (Bedwell) 3.12
17. Spaceship To Mars (alternate version) (Subotsky/Paramor) 2.57

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Gene Vincent (February 11, 1935 – October 12, 1971)

Digno Garcia Y Su Trio Del Paraguay – Rythmes d’Amerique Latine (Mid 60´s)

FrontCover1Digno Garcia was born in the Paraguayan village of Luque, not far from the capital Asunción in 1919.

When Digno was a boy, his father forbade him to play harp, so he temporarily changed to guitar. At the age of 17 his uncle took him to the harbour of Asunción in search of suitable wood to build a harp. With the harp he made, he introduced a whole new style, with a very distinctive Digno Garcia rhythm. On that same harp he composed his first great success, Cascada, a harp solo inspired by the Chololo waterfall in Piribebuy.

Luckily, a record company attended one of his performances and offered him a contract. He then toured South America and Mexico.

In the early fifties, Paraguay entrusted its top 3 musicians with a 2-year mission during which they would travel around the world as the country’s cultural ambassadors Trio Los Paraguayos. This trio consisted of Agustín Barboza (known as king of the Guárania – Paraguayan love song), Luis Alberto del Parana as lead vocalist and Digno Garcia, harpist.

Via Genoa, Italy, the trio arrived in Europe in 1954. From there, it went to Belgium. Famous in South America, they were completely unknown to the European public. The Paraguayan consul in Belgium was given the task of launching the trio. Thanks to the intercession of the consul, the director of the casino in Knokke gave the trio the opportunity to open for Gilbert Becaud for an 8-day trial period.

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The success was huge. After three days, the trio was given a contract for July and August. The record company Philips soon learned about the success and offered the trio a record deal.
From Knokke they went to the Monte Carlo Sporting Club, where they were asked to perform on Aristotle Onassis’s yacht. Lobster and crayfish were a whole new experience for the musicians who were used to eating steak and who originated from a country that is landlocked. It was then that Onassis asked Digno if he would play the harp just for him.

After playing in Gstaadt, Switserland, they toured the major European casinos. In the summer of 55, again via a 2-month tour, their succes lead to the Ostend casino doubling the fee they had received from the Knokke casino. There, they were also invited to do a television broadcast from the Philips studios in Hilversum.After that summer and with the cultural mission completed, Perez Prado (known as king of the Mambo) invited the trio on a world tour. Luis del Parana was very enthusiastic, but the other two felt that they could easily continue on their own and that there was no need for them to link up with a mambo orchestra.

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This difference of opinion heralded the end of the trio that, under the name of Trio Los Paraguayos, recorded 3 traditional Paraguayan folk albums (10-inch record) for the Philips label. Luis then called on his brother from Paraguay to form a new trio in Germany and continued to work for the Philips label. Agustín Barboza returned to Paraguay making it his base. Although the three Paraguayans who formed the original trio each went their own separate musical ways, they remained friends for life.

Digno Garcia stayed in Belgium and had a trio come over from Paraguay. From 1957 and 1959, the four of them formed Digno Garcia y su Trio del Paraguay. Between 1959 and 1964, Digno formed the Trio Digno Garcia, together with Felix Rolon and Daniel Cardozo.

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In the meantime, Digno had signed up with Jacques Kluger, the boss of World Music in Belgium. During his Belgian tour in Knokke, Digno met his future wife, Vera Engelen. They married in 1962 and settled in Geraardsbergen where he lived until his death in 1984.

From 1964 till the end of his career, Digno worked with a new trio, Digno Garcia y sus Carios. He played with Lucho Marin and Miguel Angel Gamarra, who were later replaced by Ricardo Ortiz lead singer, and Alfonso Irala, also from Luque, second voice who specialised in playing the requinto guitar. Alfonso joined the trio in spring 1970 and at that time the lead singer was Julio Rojas, who on leaving the trio shortly afterwards, was replaced by Ricardo Ortiz.

Digno Garcia scored his greatest hits with his own rendition of the Cuban traditional song ‘Guantanamera’, and with his personal interpretation of ‘La Felicidad’ and ‘Brigitte Bardot’.
All that time, he continued to make his own harps for which pinewood was imported from Yugoslavia. From Geraardsbergen they toured the globe. Eastern Europe stayed out of their reach, but they did play in Japan, the Philippines, Iceland, the USA, Thailand and Lebanon.

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Every summer Digno returned to Estartit, Spain, from where he toured the Costa Brava. There, he wrote the song ‘Costa Brava’ which topped the charts in Spain for two years in a row (’67-’68). He wrote 80 songs and made about 40 records, which are still very popular today due to their timeless sound.

In 1994, the first posthumous CD was released. In that same year, the first memorial concert ‘Digno Garcia para Siempre’ was organised in Geraardsbergen in Belgium. The memorial concert was such a big success that it had to be moved to the Okapi Forum in Aalst (also in Belgium) where, since 1997, it has its own place in the Flemish music scene.

Digno Garcia specialised not only in playing the harp & Paraguayan folklore but also Spanish & Latin American classics He & his companions toured the world bringing this hitherto almost unknown music to millions. (dignogarcia.com)

Records

And here´s a nice French sampler from the mid 60´s … with music he recorded during the 50´s.

His Paraguayan pop songs specialize in brilliant sound, unusual repertoire and smooth trealment … 

Listen and enjoy !

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Personnel:
Digno Garcia Y Su Trio Del Paraguay

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Tracklist:
01. Lupita (Traditional) 3.06
02. Virgen del Campo (Vargas) 2.11
03. Cielito Lindo y Carnavalito (Traditional) 2.29
04. Reicito (Garcia/Alvarez) 2.15
05. India (Guerrero/Flores) 3.56
06. Aurora Divina (Peralta/Aquino) 2.13
07. Me Voy Pa’ El Pueblo (Valdez) 3.15
08. Entre San Juan y Mendoza (Traditional) 2.36
09. En Vano (Ortiz/Garcia) 2.51
10. Cascada (Garcia) 3.34
11. Pasito (Godoy) 2.52
12. Ya Me Voy (Gil) 3.17

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Digno García (Luque, 1919 – Geraardsbergen, 4 February 1984)

Various Artissts – European Jazz – Volume 07 – Great Britain (Part 2) (2012)

FrontCover1At one time, the concept of “European Jazz” meant very little indeed. While jazz was developing in the USA in the 1920s, there was almost no European jazz to speak of. Some Americans – Benny Carter, Coleman Hawkins, Sidney Bechet – came to Europe and made an impact there in the 1930s but it was not until the thirties that Europeans began to develop their own jazz significantly. Perhaps the most outstanding group was the Quintet of the Hot Club of France, formed in 1934, with its two virtuosos Django Reinhardt and Stéphane Grappelli.

This group is not represented in this ten-CD boxed set, which suggests that the compilation is making no attempt at a historical survey. Indeed, it is difficult to know what this set is trying to do. It seems as if the compilers simply put together tracks to which they had access, and there is little attempt to provide a balanced view of European jazz. Nevertheless, this collection can be educative in opening our ears to some artists we may not have heard before. It also supplies a cross-section (albeit limited) of how Europeans developed jazz, mostly in the 1950s and 1960s.

This compilation makes it clear that European jazz was very much influenced by the Americans. For example, the tenorist on track 2 of the third CD sounds very like Stan Getz, while the altoist on the third track betrays the influence of Charlie Parker. And the Michael Naura Quintet on the eighth CD could be mistaken for the Modern Jazz Quartet.

Dizzy Reece

I can’t tell you who most of the individual musicians are, as detailed personnels are sadly not given. This is a nuisance, as I would like to be able to identify (for instance) the bongo Brandenburgplayer on track 9 of the fifth CD. However, one lesson of many tracks in this collection is that many Europeans learnt from the bebop pioneers – and from such groups as the Gerry Mulligan Quartet. As most of the tracks in this compilation come from the fifties and sixties, there is little individuality in the music from the different countries, as it was only later that they began to develop their own distinctive styles.

The next two albums are devoted to Great Britain. They include examples by two neglected tenorists: Wilton “Bogey” Gaynair and Joe Harriott, both with Jamaican origins. Tubby Hayes and the Jazz Couriers deliver their usual hundred-notes-a-minute, while Johnny Dankworth’s orchestra plays some tight arrangements. (musicweb-international.com)

Johnny Dankworth

No, no, no … this compilation is not so weak, as we read above … it´s a great compilation with lots of rarities from the young European Jazz-Scene during the 50´and this time we hear great Jazz from Great Britain ! Excellent stuff !

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Tracklist:

Tubby Hayes and the Jazz Couriers feat. Ronnie Scott:
01. Royal Ascot (Hayes) 5.33
02. On A Misty Night (Dameron) 5.09
03. Cheek To Cheek (Berlin) 4.07

Johnny Dankworth & His Orchestra:
04. Treasure Drive (Dankworth) 2.44
05. Riverside Stomp (Dankworth) 3.32
06. After The Party (Dankworth) 3.34

The Dizzy Reece Quartet:
07. Main Title from “Nowhere To Go“ (Reece) 3.30
08. The Escape And The Chase (Reece) 2.46
09. The Search (On The Scene) (Reece) 3.28
10. Sunset Scene (Nowhere To Go) (Reece) 1.28

Victor Feldman Modern Jazz Quintet – Septet:
11. Umf (Reece) 7.41
12. Bird‘s Last Flight (Gray) 6.32

The Joe Harriott Quintet:
13. Straight Lines (Harriott) 5.55
14. Caravan (Ellington/Tizol) 5.31

Lennie Felix:
15. Scene 59, Act 2 (Felix) 5.07

Vic Ash Sextet feat. Johhny Scott:
16. Just For The Boys (Scott) 2.59

Melody Maker Poll Winners (feat. Tubby Hayes, Ronnie Ross, Bill Le Sage):
17.  Hark Dog (Moule) 5.12

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More from the “European Jazz” edition:

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Marilyn Monroe – The Very Best Of (2000)

FrontCover1.jpgOne of the earliest and most enduring sex symbols of Hollywood, Marilyn Monroe was a talented actress who began a career as a model before foraying into films. The product of a broken home, she did not even know the identity of her biological father. Named as Norma Jeane Mortenson at birth, she spent most of her childhood in foster homes as her mother was mentally unstable and incapable of raising her daughter on her own. The little girl endured a harsh childhood marked by abuse and apathy due to which she suffered from several mental problems later in her life. As a young woman she stared modeling for The Blue Book Modeling Agency and soon became a very successful model thanks to her striking beauty and grace. Eventually she moved on to films, initially appearing in minor roles before bagging more substantial ones. She soon developed an image of a sex symbol by appearing without clothes for the ‘Playboy’ magazine. As an actress she acted in several successful films like ‘The Asphalt Jungle’, ‘The Seven Year Itch’, and ‘The Prince and the Showgirl’. However the final years of her brief life were marked by mental illnesses and alcoholism. Her life was snuffed out untimely when she was just 36 by an overdose of sleeping pills. (thefamouspeople.com)

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Marilyn Monroe, as an actress, I can only stand in small doses. Her movies are excellent, all of them have something worthwhile and redeeming – even the more mundane offerings like ‘Bus Stop’ and ‘Niagra’ are finely-crafted pieces of film – and the more sublime ones like ‘Gentlemen Prefer Blondes’ and ‘Some Like It Hot’ are honest-to-God classic examples of the comic genius of both 1950s Hollywood and Monroe herself.

For all that, however, I can still only watch the pink and fluffy Goddess for short bursts before I long for something that takes itself a little more seriously.

And that’s when I turn to this!

Monroe as a singer I could listen to forever and a day. Worthy of a far higher degree of praise than popular culture has traditionally accorded her, Monroe’s singing is a very rare experience indeed. Her range is impressive, and her style is actually quite thought-provoking – listen to the contrast between the bubblegum-light ‘Down In The Meadow’ and the melancholic, heavy ‘River of no Return’, and you’ll appreciate the fact that, at least as a singer, Monroe was more than capable of shrugging off her Fantasy Gal image for a deeper and more developed means of communication.

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This CD is particularly noteworthy for having all the classics, and also some rarer gems like ‘I’m Gonna File My Claim’ and ‘After You Get What You Want, You Don’t Want It’, both great numbers that are so often omitted from Monroe anthologies and such. Her interpretation of ‘A Fine Romance’ is one of the best ever, and her pairing with the immaculate Jane Russel on ‘Little Girl from Little Rock’ is worth the price of the CD alone.

If you look at all of the most vocally revered female songstresses of this period – Billie Holiday, Nina Simone, Judy Garland – all of them have very fine voices, and an unusual vocal ‘hook’ – Billie’s high acid melancholia, Nina’s deep bass ad-libbing, and Judy’s rolling, emotional high notes – and Monroe is no different.

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Her quivery, quirky soprano is fascinating to listen to, and matches her public personality as well as Ms. Julie Andrews’ voice matches hers. It brings great depth to what would otherwise have been a relatively ordinary voice – but that’s an advantage true of all singers.

One to own and listen to again and again, ‘The Very Best of Marilyn Monroe’ is something anyone with an appreciation of female vocalists will absloutely treasure. (by Review Lover)

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Personnel:
Marilyn Monroe (vocals)
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Jane Russell (vocals on 04., 05. + 08.)
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various orchestras

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Tracklist:
01. Diamonds Are A Girls Best Friend (Styne/(Robin) 3.33
02. Some Like It Hot (Diamond/Berlin/Maineck) 1.20
03. My Heart Belongs To Daddy (Porter/v.Heisen/Cahn) 5.02
04. When Love Goes Wrong (Adamson/Carmichael) 3.29
05. Bye Bye Baby (Kalmar/Adamson/Ruby/Stothart/Carmichael/Styne/Robin) 5.32
06. A Little Girl From Little Rock (D.Daniel/E.Daniel/Styne/Darby/Robin) 3.07
07. River Of No Return (A.Newman/Darby/L.Newman) 2.16
08. I’m Gonna Find My Claim (A.Newman/Darby/L.Newman) 2.39
09. She Acts Like A Woman Should (Delmore/E.Scott/J.Scott) 2.47
10. Kiss (A.Newman/Gillespie/L.Newman) 3.02
11. Lazy (Berlin/Fowler/King) 3.36
12. I Wanna Be Loved By You (Kalmar/Ruby/Stothart/Deutsch) 3.01
13. After You Get What You Want (Berlin) 3.39
14. You’d Be Surprised (Berlin) 3.05
15. Heat Wave (Berlin) 4.24
16. Happy Birthday Mr. President (live) (Traditional) 0.45
17. When I Fall In Love (Heyman/Young) 3.01
18. A Fine Romance (Fields/Kern) 2.22
19. Do It Again (Gershwin/DeSylva) 3.14
20. Down In The Meadow (A.Newman/Darby/L.Newman) 2.30

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Various Artists – The First Recordings of Cretan Music (1940 – 60) (2011)

FrontCover1.jpgBack from Crete …. :

The music of Crete (Greek: Κρητική μουσική), also called kritika (Greek: κρητικά), refers to traditional forms of Greek folk music prevalent on the island of Crete in Greece. Cretan traditional music includes instrumental music (generally also involving singing), a capella songs known as the rizitika, “Erotokritos,” Cretan urban songs (tabachaniotika), as well as other miscellaneous songs and folk genres (lullabies, ritual laments, etc.).

Historically, there have been significant variations in the music across the island (more violin than lyra in far Eastern and Western Crete, a preference for the syrtos in Western Crete and kondylies in Eastern Crete). Some of this variation continues today and in the late-twentieth and early-twenty-first centuries has received greater attention by scholars and the mass media. Nonetheless, over the course of the twentieth-century, the sense of a single, island-wide Cretan musical tradition emerged.

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Although much Cretan music remains consciously close to its folk roots and an integral part of the fabric of many Cretans’ everyday lives, it is also a vibrant and evolving modern, popular tradition that involves many professional and semi-professional musicians, numerous regional record companies and professional distributors, professional luthiers (especially of Cretan lyras and Cretan lutes), and Cretan kentra (clubs for dancing to live Cretan music). (by wikipedia)

And here are some early recordings of this unique sound of Cretan music.

The violin is the prevailling instrument that has been popular in Eastern und Western Crete for years !

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Personnel:
Pantelis Baritantonakis (violin)
Y. Dermitzogiannis (lyre, violin, guitar)
Giorgis Lapokostantakis (violin)
Yannis Papahatzakis (violin, vocals)

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Tracklist:
01. Kondilies me ti lyra 4.01
02. Ierapetritikos 3.34
03. Varis Haniotikos 3.58
04. Pono krifo i agapi sou 3.04
05. Kondilies me kithara 3.13
06. Haniotika sirta 4.20
07. Pseftiko louloudaki 4.17
08. Ta’mathes Aretousa mou 5.31
09. Makria mou ki an evriskese 2.51
10. Kastrinos horos 4.16
11. Lasithiotika pentozalia 4.01
12. Ithela namoun kladeftis 3.34
13. Rethemniotika sirta 3.41
14. Kondilies Kalogeridi 4.34
15. Irakliotikes kondilies 4.52
16. Pentozalis argos 2.30
17. Tragoudi tou gamou 4.53
18. Lasithiotikes melodies 2.25

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CretanLyrasCretan lyras