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.

TBoneWalker01

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.

TBoneWalker03

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.

TBoneWalker04

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.

TBoneWalker05

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.

Alternate frontcover:
AlternateFrontCover

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 …

TBoneWalker06

“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 …  ?

BackCover

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)
+
some more musicians

AlternateBackCover

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

LabelA1

*
**

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.

Single1

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.

Howlin Wolf01

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)

Single2+3

“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)

BackCover1

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)
+
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.)

Alternate frontcover:
AlternateFC

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

LabelB1

*
**

Howlin Wolf02
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.

GeneVincent03

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.

GeneVincent05

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.

GeneVincent06

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.

GeneVincent07

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.

GeneVincent09

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  !

BackCover1

Personnel:
Gene Vincent & The Blue Caps

Ths great French backcover:
FrenchBackCover

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
+
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

LabelB1

*
**

GeneVincent04
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.

DignoGarica02

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.

DignoGarica04

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.

DignoGarica03

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.

DignoGarica05

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 !

BackCover1

Personnel:
Digno Garcia Y Su Trio Del Paraguay

DignoGarica06

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

LabelA1

 

*
**

DignoGarica07
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 !

BackCover1

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

CD1

*
**

More from the “European Jazz” edition:

More

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)

Monroe02.jpg

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.

Monroe03.jpg

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.

Monroe04

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)

Monroe05

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

BackCover.jpg

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

Monroe06

*
**

Monroe01

 

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.

YDermitzogiannis.jpg

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 !

Inlet1.jpg

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

BackCover1.jpg

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

CD1.jpg

*
**

CretanLyrasCretan lyras

Various Artists – Holy Smoke – Don´t Let Love Fool You (2018)

FrontCover1.jpgHere´s a real great compilation with 28 tracks from the grat R & B Era in the USA and we heart aritsts like Jimmy Shaw, Eddie Moore, Jay Nelson, Sonny Boy Williams, Jimmy Mcphail, Little Johnny Cook or Joe Boots.

“Don’t let love fool you!” Attached to this latest release of predominantly rhythm and blues artists from along-gone era is a message warning of the potential pitfalls that can be associated with that thing known as ‘love’. Without wishing to put any dampeners on any future romance, KoKo Mojo sets out its stall with another twenty-eight tracks that certainly rock and blow away any suggestions of the blues. In fact, what any listener is likely to experience for their listening pleasure via ‘Holy Smoke’ is a collection of tracks culled from history and selected for their addictive qualities when it comes to rhythm, but also their relevance to the subject matter at heart here. Therefore, expect songs that are filled with lovesick sentiments where infatuation can take hold – Baby Clifford King ‘Want To Jump With You’ or Tony Allan’s vocals capturing the mood to perfection during the album’s title track – or unrequited love via the forceful rhythm and blues of ‘Don’t You Want A Man Like Me’ from Jay Nelson.

Inlet01A.jpg

There’s a wonderful performance from Juke Boy Barner who delivers what sounds like a ramshackle performance during ‘Rock With Me Baby’, only for closer inspection to reveal that there’s deft hands at work here with far more going on under its bonnet. This, however, is only the beginning as from here on, the variety displayed ups its game further from Prince Royals’ superbly understated and centre of attention, ‘Anna Mae’, to the “great” Eddie Alexander & The Greats ‘I’m In Love’ (complete with accompanying ducks!), before rattling off a whole host of sophisticated rhythm and blues numbers such as ‘My Pretty Baby’ (Ernie Williams), ‘Ding Dong Babe’ (Jimmy McPhail), ‘I’ll Be True To You’ (Billy Fair & Orch.), and Little Johnny Cook with ‘Try Your Love’. There’s too much goodness to be found here, despite any notions of hearts being broken, because ‘Holy Smoke’ offers a passionate and classy taste of rhythm and blues that’s packing enough variety to keep any listener entertained for many hours. Top of its class! (by Nathan Olsen-Haines)

In other words: If you plan your next BBQ-Party, don´t forget to play this album … and you´ll have a real hot and crazy party !

This entry is dedicated to all these unknown heroes of Rhythm & Blues !!!

Inlet03A.jpg

Tracklist:
01. Baby Clifford King: Want To Jump With You (King) 3.26
02. Johnny Stewart: A Whole Lot Of Lovin’ (Trimble) 2.04
03. Jimmy Shaw: Take A Chance On Me (Shaw/Harris) 2.22
04. Tony Allan: Holy Smoke Baby (E. Mesner/L. Mesner) 1.32
05. Jay Nelson: Don’t You Want A Man Like Me (Miller/Nelson) 2.02
06. The Jaguars: Ginny Ginny (Johnson/Penniman) 2.28
07. Rufus Gordon: Long Tall Sally (Johnson/Penniman/Blackwell) 2.08
08. Nat The Cool Cat: Come By Here (Andersen) 2.49
09. Juke Boy Barner: Rock With Me (Welson) 2.52
10. Prince Royals: Anna Mae (unknown) 2.42
11. Elmar Parker: You Know I Love You (Parker/Christian) 2.08
12. Eddie Alexander & The Greats: I’m In Love (Jenkins) 2.17
13. Ernie Williams: My Pretty Baby (Gordon/Williams/Web) 1.58
14. Freddie Williams & The Keynotes: Linda Lu (Sharpe) 2.55
15. Piney Brown: Sugar In My Tea (Price/Brown) 2.27
16. Jimmy McPhail: Ding Dong Babe (Harris/Francis) 2.41
17. Billy Fair & Orchestra: I’ll Be True To You (Darge/Weller) 2.20
18. Little Johnny Cook: Try Your Love (Keys/(Woods/Burton) 2.17
19. Leo Price & Band: Hey Now Baby (Price) 2.31
20. Jimmy Trotter: Hungry And Thirsty (Trotter) 1.56
21. Sonny Boy Williams: Alice Mae Blues (Williams) 2.28
22. Lenny Johnson: Walk Ginny Walk (Otis) 2.17
23. Eddie Moore: Touch Of Your Love (Johnson/Moore) 2.15
24. Hayward Lee: My Love (Lee) 2.14
25. Johnny Spain: I’m In Love (Scott/Terry) 2.33
26. Joe Boots: Squeeze Me (Boots) 2.12
27. Modest ‘Show Stopper’ Clifton: Pretty Little Baby (Clifton) 1.55
28. Frank Linkenberg: Ball Of Fire (Butler/Graham) 2.08

CD1.jpg

*
**

Inlet04A.jpg

Jack Teagarden – Big T´s Jazz (1956)

FrontCover1.JPGWeldon Leo “Jack” Teagarden (August 20, 1905 – January 15, 1964) was a jazz trombonist and singer. According to critic Scott Yannow of Allmusic, Teagarden was the preeminent American jazz trombone player before the bebop era of the 1940s and “one of the best jazz singers too”.[1] Teagarden’s early career was as a sideman with the likes of Tommy Dorsey, Paul Whiteman and lifelong friend Louis Armstrong before branching out as a bandleader in 1939 and specializing in New Orleans Jazz-style jazz until his death.

Born in Vernon, Texas, his brothers Charlie and Clois “Cub” and his sister Norma also became professional musicians. His father was an amateur brass band trumpeter and started him on baritone horn; by age seven he had switched to trombone. His first public performances were in movie theaters, where he accompanied his mother, a pianist.
Music career
From left: Jack Teagarden, Sandy DeSantis, Velma Middleton, Fraser MacPherson, Cozy Cole, Arvell Shaw, Earl Hines, Barney Bigard, Palomar Supper Club, Vancouver, B.C., Canada (March 17, 1951)
“‘Jack-Armstrong’ Blues” by the V-Disc All Stars, featuring Jack Teagarden and Louis Armstrong, V-Disc, U.S. War Department release, March 1945

JackTeagarden01A.jpgTeagarden’s trombone style was largely self-taught, and he developed many unusual alternative positions and novel special effects on the instrument. He is usually considered the most innovative jazz trombone stylist of the pre-bebop era – Pee Wee Russell once called him “the best trombone player in the world”[3] – and did much to expand the role of the instrument beyond the old tailgate style role of the early New Orleans brass bands. Chief among his contributions to the language of jazz trombonists was his ability to interject the blues or merely a “blue feeling” into virtually any piece of music.[citation needed]

By 1920 Teagarden was playing professionally in San Antonio, including with the band of pianist Peck Kelley. In the mid-1920s he started traveling widely around the United States in a quick succession of different bands. In 1927, he went to New York City where he worked with several bands. By 1928 he played for the Ben Pollack band.

Within a year of the commencement of his recording career, he became a regular vocalist, first doing blues material (“Beale Street Blues”, for example), and later doing popular songs. He is often mentioned as one of the best jazz vocalists of the era;[citation needed] his singing style is like his trombone playing, in much the same way that Louis Armstrong sang like he played trumpet. Teagarden’s singing is best remembered for duets with Armstrong and Johnny Mercer.

JackTeagarden02.jpg

In the late 1920s he recorded with such bandleaders and sidemen as Armstrong, Benny Goodman, Bix Beiderbecke, Red Nichols, Jimmy McPartland, Mezz Mezzrow, Glenn Miller, and Eddie Condon. Miller and Teagarden collaborated to provide lyrics and a verse to Spencer Williams’ Basin Street Blues, which in that amended form became one of the numbers that Teagarden played until the end of his days.

In the early 1930s Teagarden was based in Chicago, for some time playing with the band of Wingy Manone. He played at the Century of Progress exposition in Chicago.

Teagarden sought financial security during the Great Depression and signed an exclusive contract to play for the Paul Whiteman Orchestra from 1933 through 1938. The contract with Whiteman’s band provided him with financial security but prevented him from playing an active part in the musical advances of the mid-thirties swing era (although Teagarden and Frank Trumbauer recorded a number of small group swing classics throughout his tenure with Whiteman on Brunswick).

JackTeagarden03.jpgTeagarden then started leading his own big band. Glenn Miller wrote the song “I Swung the Election” for him and his band in 1939. In spite of Teagarden’s best efforts, the band was not a commercial success, and he was brought to the brink of bankruptcy.

In 1946 Teagarden joined Louis Armstrong’s All Stars. In late 1951 Teagarden left to again lead his own band, then co-led a band with Earl Hines, then again with a group under his own name with whom he toured Japan in 1958 and 1959.

Teagarden appeared in the movies Birth of the Blues (1941), The Strip (1951), The Glass Wall (1953), and Jazz on a Summer’s Day (1960), the latter a documentary film of the 1958 Newport Jazz Festival. He recorded for RCA Victor, Columbia, Decca, Capitol, and MGM Records.

Early in 1964 Teagarden cut short a performance in New Orleans because of ill health. He briefly visited a hospital, then was found dead in his room at the Prince Conti Motel in New Orleans on January 15. The cause of death was bronchial pneumonia, which had followed a liver ailment. He was buried in Los Angeles.

As a jazz artist he won the 1944 Esquire magazine Gold Award, was highly rated in the Metronome polls of 1937-42 and 1945, and was selected for the Playboy magazine All Star Band, 1957-60. Teagarden was the featured performer at the Newport Jazz Festival of 1957.

JackTeagarden04.jpg

In 1969, Jack Teagarden was inducted into the DownBeat Jazz Hall of Fame. He was inducted into the Big Band and Jazz Hall of Fame in 1985. Other honors have included induction in the ASCAP Jazz Wall of Fame in 2005 and inclusion in the Houston Institute for Culture’s Texas Music Hall of Fame.

Jack Teagarden’s compositions include “I’ve Got ‘It'” with David Rose, “Shake Your Hips”, “Big T Jump”, “Swingin’ on the Teagarden Gate”, “Blues After Hours”, “A Jam Session at Victor”, “It’s So Good”, “Pickin’ For Patsy” with Allan Reuss, “Texas Tea Party” with Benny Goodman, “I’m Gonna Stomp Mr. Henry Lee” with Eddie Condon, “Big T Blues”, “Dirty Dog”, “Makin’ Friends” with Jimmy McPartland, “That’s a Serious Thing”, and “‘Jack-Armstrong’ Blues” with Louis Armstrong, recorded on December 7, 1944, with the V-Disc All-Stars and released on V-Disc in March, 1945. (by wikipedia)

JackTeagarden05.jpg
Peanuts Hucko, Jack Teagarden and Jack Lesberg
at the Famous Door, New York, July 1947

And here´s a pretty good compilation of essential Jack Teagarden songs, recorded in the 40´s and 50´s of the last century.

And if you love these old fashinoed jazz tunes … you should listen to this beautiful album …. enjoy !

This album was original released in 1956. my copy is from a re-release from 1963

JackTeagarden06.jpg

Personnel:
Jack Teagarden (rombone, vocals)
+

a lot of other musicians (read the backcover of this LP)

BackCover1.JPG

Tracklist:
01. Persian Rug (Kahn/Moret) 2.34
02. I Gotta Right To Sing The Blues (Arlen/Koehler) 2.45
03. Love Me Or Leave Me (Donaldson/Kahn) 3.02
04. The Sheik Of Araby (Smith/Wheeler/Snyder) 3.01
05. Body And Soul (Green/Sour/Heyman/Eyton) 2.52
06. Aunt Hagar’s Blues (Handy) 3.16
07. Love Me (Washington/Young) 3.05
08. Nobody Knows The Trouble I’ve Seen (Traditional) 2.44
09. I’m Gonna Stomp Mr. Henry Lee (Condon(Teagarden/Reubens/Kelly) 2.44
10. Somebody Loves Me (Gershwin/MacDonald/DeSylva) 2.35
11. Blue River (Washington/Young) 2.48
12. Rose Of The Rio Grande (Warren/Gorman/Leslie) 2.22

LabelB1.JPG

*
**

Peronnel.jpg

Lonnie Donegan – A Golden Age Of Donegan – Vol. 2 (1967)

FrontCover1.JPGAnthony James Donegan MBE (29 April 1931 – 3 November 2002), known as Lonnie Donegan, was a British skiffle singer, songwriter and musician, referred to as the “King of Skiffle”, who influenced 1960s British pop musicians. Born in Scotland and raised in England, he was Britain’s most successful and influential recording artist before The Beatles.

Donegan had 31 UK Top 30 single hits, 24 being successive and three at number one. He was the first British male singer with two US Top 10 hits. Donegan received an Ivor Novello lifetime achievement award in 1997 and in 2000 he was made an MBE.

Lonnie Donegan was born Anthony James Donegan in Bridgeton, Glasgow, Scotland, on 29 April 1931. He was the son of an Irish mother and a Scots father, a professional violinist who had played with the Scottish National Orchestra. In 1933, he moved with his family to East Ham in East London. Donegan was evacuated to Cheshire to escape the Blitz in the Second World War and attended college in Altrincham.

Donegan married three times. He had two daughters (Fiona and Corrina) by his first wife, Maureen Tyler (divorced 1962), a son and a daughter (Anthony and Juanita) by his second wife, Jill Westlake (divorced 1971), and three sons (Peter, David and Andrew)[6] by his third wife, Sharon, whom he married in 1977. Peter Donegan is also a singer and a musician.

LonnieDonegan01

Donegan died on 3 November 2002, at age 71, after a heart attack in Market Deeping, Lincolnshire mid-way through a UK tour, and before he was due to perform at a memorial concert for George Harrison with the Rolling Stones. He had had cardiac problems since the 1970s and had several heart attacks.

As a child growing up in the early 1940s Donegan listened mostly to swing jazz and vocal acts, and became interested in the guitar. Country & western and blues records, particularly by Frank Crumit and Josh White, attracted his interest and he bought his first guitar at 14 in 1945. He learned songs such as “Frankie and Johnny”, “Puttin’ On the Style”, and “The House of the Rising Sun” by listening to BBC radio broadcasts. By the end of the 1940s he was playing guitar around London and visiting small jazz clubs.

LonnieDonegan02.jpg

Donegan first played in a major band after Chris Barber heard that he was a good banjo player and, on a train, asked him to audition. Donegan had never played the banjo but he bought one for the audition and succeeded more on personality than talent. His stint with Barber’s trad jazz band was interrupted when he was called up for National Service in 1949, but while in the army at Southampton, he was the drummer in Ken Grinyer’s Wolverines Jazz Band at a local pub. A posting to Vienna brought him into contact with American troops, and access to US records and the American Forces Network radio station.

In 1952 he formed the Tony Donegan Jazzband, which played around London. On 28 June 1952 at the Royal Festival Hall they opened for the blues musician Lonnie Johnson. Donegan adopted his first name as a tribute. He used the name at a concert at the Royal Albert Hall on 2 June 1952.

LonnieDonegan04In 1953 cornetist Ken Colyer was imprisoned in New Orleans for a visa problem. He returned to Britain and joined Chris Barber’s band. They changed the name to Ken Colyer’s Jazzmen and made its first public appearance on 11 April 1953 in Copenhagen. The following day, Chris Albertson recorded Ken Colyer’s Jazzmen and the Monty Sunshine Trio – Sunshine, Barber, and Donegan – for Storyville Records. These were Donegan’s first commercial recordings.

While in Ken Colyer’s Jazzmen with Chris Barber, Donegan sang and played guitar and banjo in their Dixieland set. He began playing with two other band members during the intervals, to provide what posters called a “skiffle” break, a name suggested by Ken Colyer’s brother, Bill, after the Dan Burley Skiffle Group of the 1930s. In 1954 Colyer left, and the band became Chris Barber’s Jazz Band.

With a washboard, tea-chest bass and a cheap Spanish guitar, Donegan played folk and blues songs by artists such as Lead Belly and Woody Guthrie. This proved popular and in July 1954 he recorded a fast version of Leadbelly’s “Rock Island Line”, featuring a washboard but not a tea-chest bass, with “John Henry” on the B-side. It was a hit in 1956 (which also later inspired the creation of a full album, An Englishman Sings American Folk Songs, released in America on the Mercury label in the early 1960s), but, because it was a band recording, Donegan made no money beyond his session fee. It was the first debut record to go gold in the UK, and it reached the Top Ten in the United States. This recording has proved greatly influential on musicians who heard it in their younger days and for whom it seems to have been a catalyst in their musical motivation and careers.

LonnieDonegan05

His next single for Decca, “Diggin’ My Potatoes”, was recorded at a concert at the Royal Festival Hall on 30 October 1954. Decca dropped Donegan thereafter, but within a month he was at the Abbey Road Studios in London recording for EMI’s Columbia label. He had left the Barber band, and by spring 1955, signed a recording contract with Pye. His next single “Lost John” reached No. 2 in the UK Singles Chart.

He appeared on television in the United States on the Perry Como Show and the Paul Winchell Show. Returning to the UK, he recorded his debut album, Lonnie Donegan Showcase, in summer 1956, with songs by Lead Belly and Leroy Carr, plus “I’m a Ramblin’ Man” and “Wabash Cannonball”. The LP sold hundreds of thousands. The skiffle style encouraged amateurs and one of many groups that followed was the Quarrymen, formed in March 1957 by John Lennon. Donegan’s “Gamblin’ Man”/”Puttin’ On the Style” single was number one in the UK in July 1957, when Lennon first met Paul McCartney.

LonnieDonegan07A.jpg

Donegan went on to successes such as “Cumberland Gap” and “Does Your Chewing Gum Lose Its Flavour (On the Bedpost Overnight?)”, his biggest hit in the U.S., on Dot. He turned to music hall style with “My Old Man’s a Dustman” which was not well received by skiffle fans and unsuccessful in America on Atlantic in 1960. But it reached number one in the UK. Donegan’s group had a flexible line-up, but was generally Denny Wright or Les Bennetts (of Les Hobeaux and Days of Skiffle, led by singer Dave George), playing lead guitar and singing harmony, Micky Ashman or Pete Huggett – later Steve Jones – on upright bass, Nick Nichols – later Pete Appleby, Mark Goodwin and Ken Rodway (now a Christian author and minister) on drums or percussion, and Donegan playing acoustic guitar or banjo and singing the lead.

He continued in the UK charts until 1962, before succumbing to The Beatles and beat music.

LonnieDonegan08

Donegan recorded sporadically during the 1960s, including sessions at Hickory Records in Nashville, Tennessee, with Charlie McCoy, Floyd Cramer and the Jordanaires. After 1964, he was a record producer for most of the decade at Pye Records. Among those he worked with was Justin Hayward.

Donegan was unfashionable through the late 1960s and 1970s (although his “I’ll Never Fall in Love Again” was recorded by Tom Jones in 1967 and Elvis Presley in 1976), and he began to play the American cabaret circuit. A departure from his normal style was an a cappella recording of “The Party’s Over”.

There was a reunion concert with the original Chris Barber band in Croydon in June 1975. A bomb scare meant that the recording had to be finished in the studio, after an impromptu concert in the car park.[citation needed] The release was entitled The Great Re-Union Album.

LonnieDonegan09

Georgie Fame, Lonnie Donnegan, Reg Presley (The Troggs) & Van Morrison, 1995

He had his first heart attack in 1976 while in the United States and had quadruple bypass surgery. He returned to attention in 1978 when he recorded his early songs with Rory Gallagher, Ringo Starr, Elton John and Brian May. The album was called Putting on the Style. A follow-up featuring Albert Lee saw Donegan in less familiar country and western vein. By 1980, he was making regular concert appearances again, and another album with Barber followed. In 1983 Donegan toured with Billie Jo Spears, and in 1984, he made his theatrical debut in a revival of the 1920 musical Mr Cinders. More concert tours followed, with a move from Florida to Spain. In 1992 he had further bypass surgery following another heart attack.

In 1994, the Chris Barber band celebrated 40 years with a tour with both bands. Pat Halcox was still on trumpet (a position he retained until July 2008). The reunion concert and the tour were on CD and DVD.

Donegan had a late renaissance when in 2000 he appeared on Van Morrison’s album The Skiffle Sessions – Live in Belfast 1998, an acclaimed album featuring him singing with Morrison and Chris Barber, with a guest appearance by Dr John. Donegan also played at Glastonbury Festival in 1999, and was made an MBE in 2000.

LonnieDonegan10

Donegan also appeared at Fairport Convention’s annual music festival on 9 August 2001. His final CD was This Yere de Story.

Mark Knopfler released a tribute to Donegan entitled “Donegan’s Gone” on his 2004 album, Shangri-La, and said he was one of his greatest influences.[2] Donegan’s music formed a musical starring his two sons. Lonnie D – The Musical took its name from the Chas & Dave tribute song which started the show. Subsequently, Peter Donegan formed a band to perform his father’s material and has since linked with his father’s band from the last 30 years with newcomer Eddie Masters on bass. They made an album together in 2009 entitled “Here We Go Again”. Donegan’s eldest son, Anthony, also formed his own band, as Lonnie Donegan Jnr.

On his album A Beach Full of Shells, Al Stewart paid tribute to Donegan in the song “Katherine of Oregon”. In “Class of ’58” he describes a British entertainer who is either Donegan or a composite including him.

Peter Sellers recorded Puttin’ on the Smile featuring “Lenny Goonagain”, who travels to the “Deep South” of Brighton and finds an “obscure folk song hidden at the top of the American hit parade”, re-records it and reaches number one in the UK.

During the situation between Jay Leno and Conan O’Brien, David Letterman, pretending to try to remember Jimmy Fallon’s name, called him “Lonnie Donegan.” (by wikipedia)

And here´s another sampler with his most popular songs fromthe Fifites … a great collection, a great chance to discover a man, who influenced many of the British rock musicians from the Sixties.

LonnieDonegan06

Personnel:

 

BackCover1.JPG

Tracklist:
01. Tom Dooley (A. Lomax/Warner/J. Lomax) 3.17
02. Michael, Row The Boat (Donegan) 2.27
03. Lively! (Donegan/Buchanan) 3.17
04. Bring A Little Water, Sylvie (“Sylvie”) (Ledbetter/Donegan/Campbell) 2.26
05. Jack O’ Diamonds (Sampson/Lomax) 2.49
06. Does Your Chewing Gum Lose Its Flavour (On The Bedpost Overnight?) (Rose/ Breuer/Bloom) 2.40
07. Talking Guitar Blues (Tubb) 2.01
08. Don’t You Rock Me Daddy-O (Varley/Whyton) 1.43
09. Jimmie Brown The Newsboy (Carter) 2.40
10. Gamblin’ Man (Donegan/Guthrie) 3.20

LabelB1

*
**