Category Archives: Jazz

Big Boy - Bix Beiderbecke - An Introduction to Bix Beiderbecke: His Best Recordings 1924-1930 (CD)

Of course, many of his great recordings don't need the magic moment, because they are incredible from beginning to end. But when they weren't, Gil could make something magical happen. An unlikely example is the main title theme from the movie The Big Boy - Bix Beiderbecke - An Introduction to Bix Beiderbecke: His Best Recordings 1924-1930 (CD) of Money.

I don't know how much Evans contributed to this film's music his name is barely to be found on the soundtrack albumbut the exact moment he took over the arranging of the main title is apparent. The real magic moment comes about 10 seconds later, when an ominous bass clarinet riff, a trombone lip trill, and a tightly muted trumpet solo occur simultaneously. It's an unexpected combination of sounds that only someone of Evans' genius could have conceived.

Often, especially in later years, the magic moment manifested itself by Evans simply knowing which soloist to point to. This comes from the period in which Evans' band played at Sweet Basil every Monday night. He encouraged his band members to contribute to the book, so that they would have plenty of different material to play. Saxophonist Bill Evans wrote "Half Man, Half Cookie," a big-band funk piece that is competent rather than outstanding.

That is, until guest star Johnny Coles, an Evans associate for years, steps up to solo about two-thirds of the way through the piece. The atmosphere instantly changes, becomes more mysterious and unpredictable. Coles, of course, deserves much of the credit for raising the musical level, but Evans chose to have him on hand and knew just when to add him to the mix.

Like I said, most of Gil Evans' music was all magic. But when it wasn't, he could make that magic moment happen. Saturday, April 25, CT. Cecil Taylor, I have read, is ill and has canceled a concert tour. Here's hoping he has a speedy recovery.

And without wishing to be morbid, I decided that now would be a good time to write something about this great musician, who is 80 years old; I don't particularly want to write a memorial piece about him, and I hope this doesn't turn out to be one.

I'm not sure if I remember the first what the first Cecil Taylor music I heard was. It may have been Indenta protean solo piano piece from the early seventies. I picked up that album in a junk store, and I remember being awestruck with Taylor's ability to improvise atonally at such length, with such intensity, and with such logic.

The music made sense to me right away, even if I didn't and still don't always understand the principles that guide the construction of CT's music. And it's obvious that the music is carefully constructed, even when it's mostly improvised. Taylor has made it clear over the years that he considers the idea of "composing" music in the western sense to be a highly dubious concept. But at the same time, his music hangs together in a compositional way - he seems to control the predetermined and spontaneous elements of his music in such a way that they form a unified whole.

I feel this, even if I am not always able to look back at a Taylor piece when it is over and describe how that compositional unity was achieved. And others who have attempted to analyze CT's music have made similar observations. There's a wholeness to his music, and a mystery as to how that wholeness is achieved. I have been lucky enough to hear Cecil Taylor perform only once, when he presented a solo concert in Atlanta in Taylor is also a trained dancer, and he began the concert, as he often does, with a series of ritualistic movements that slowly brought him from the wings to the piano bench.

He has said that "you don't just walk up to a piano. When he reached the keyboard, he began playing fairly sparely, but the music quickly increased in intensity and complexity. After about five minutes of atonal piano fireworks, large parts of the audience gave up and started leaving in droves. The rest of us were enthralled. Listening to the recorded music of Cecil Taylor presents certain challenges. It's intense, the pieces are usually quite long, and the recordings are often hard to find.

His two mid-sixties Blue Note albums Unit Structures and Conquistador are usually easy to find and are excellent representations of Taylor's music. They both feature his longtime musical partner, alto saxophonist Jimmy Lyons, and no piece on them is over 20 minutes long.

Other Cecil Taylor recordings may feature one piece which lasts for an hour or two, spread over a couple of CDs or several LPs.

Listening to these obviously requires an investment of time and concentration, which, however, is always rewarded. It has struck me that the titles of Taylor's pieces can be seen as little poems, as mysterious as the music itself: "Air Above Mountains Buildings Within ," "With Exit ," "It is in the Brewing Luminous.

Posted by Jeff Crompton at AM 1 comment:. Wednesday, April 22, Matt Perrine. New Orleans is full of incredible musicians who are hardly known outside the Crescent City. With all due respect to Kirk Joseph, etc. On my recent trip only four days long to New Orleans, I heard Perrine play three times.

That seems about right. Perrine plays regularly with several different bands and always seems to be playing somewhere with somebody. Perrine has explained in interviews that sunflowers were the first wild plants to grow in post-Katrina New Orleans.

The music is, for the most part, joyous rather than happy, if that distinction makes any sense. The instrumentation and color of the track is constantly changing.

Perrine plays a stunning solo on this track; the range, technique, and conception of this tuba solo must be heard to be believed. I played it for a friend who is a low brass specialist, and he was convinced that it must have been played on a higher, four-valve tuba in E flat or F. He actually wrote Perrine to ask; MP confirmed that it was played, as were all of his tuba parts, on a standard double B flat sousaphone.

Much New Orleans music, however, is full of the joy of life, but seems to have an underlying awareness of how short that life is. Labels: Music I likeNew Orleans. I have felt kind of out of touch with the rest of the jazz world lately. Enjoying early jazz has never been a problem for me. Yeah, my first jazz album was a Budd Johnson album which featured a really out-there, avant bass solo by Richard Davis, but after that, I learned about jazz more or less chronologically.

My grandmother gave me a stack of 78s, mostly pre-WWII. I liked some tracks better than others, but I responded to the music right away. Anyone who loves early jazz knows that fleas come with the dog; you have to put up with a lot in order to enjoy the music. To them I would say: keep listening; get past the surface into the substance of the music. And the quality of the recordings themselves can be pretty grim. Beforeeverything was recorded acoustically — the music was played into horns, which had tubes leading to membranes which vibrated the recording needle.

You can imagine how little of the music actually made it to the records. Even after microphones were common in recording studios, the music was still recorded onto wax or acetate discs instead of tape until after World War II, so there was plenty of surface noise, and frequency response was limited. Then there are the strictly musical issues. If you want to listen to the great improvised solos of the 's, 's, and before, you're going to have to put up with lame sidemen, clunky rhythm Big Boy - Bix Beiderbecke - An Introduction to Bix Beiderbecke: His Best Recordings 1924-1930 (CD), sappy arrangements, and worst of Big Boy - Bix Beiderbecke - An Introduction to Bix Beiderbecke: His Best Recordings 1924-1930 (CD)incredibly bad vocals.

The best worst example of this is "Sweet Sue," by Paul Whiteman and his orchestra. This recording contains one of Bix Beiderbecke's greatest recorded solos near the end, but before that The first three and a half minutes of this portentous and pretentious arrangement are so bad that it's hard to believe that anything could be worth enduring them.

Jack Fulton's singing is like nothing you're ever heard, and like nothing you'll ever want to hear again. But if you make it through all that, there is a magnificent bar Bix solo that floats and dances over the rhythm section.

It's one of the most "modern" and imaginative things he ever played. It could be argued that Bix, along with Louis Armstrong and some of the other Big Boy - Bix Beiderbecke - An Introduction to Bix Beiderbecke: His Best Recordings 1924-1930 (CD), seldom or never recorded with adequate musicians. He was head and shoulders above almost everyone else in jazz. To me early jazz and contemporary jazz are two points on a continuous line, and I like them equally well.

So, fleas come with the dog. Many early jazz classics are mixed bags — the sublime and the painful are side by side. And those who ignore the past will be unable to repeat the cool parts. What an annoying, hipper-than-thou geek! Does it ever end? Well, at least I was aware of this stuff before, mostly from articles about Benny Carter, who plays and arranges on one of the sessions. But Lewis, although African-American, was based in Paris and recorded for French labels, so he has remained obscure.

The album I have is on the French Pathe label. And his excellent arranging features those delicious saxophone soli passages that he was famous for. Just as these tracks convinced me that Carter was really a trumpet player as opposed to a dabblerthey put me on notice that Bill Coleman was one of the greats.

Goudie and Chittison deserve to be better remembered, but from what I could tell, they also spent most of their careers in Europe, so they were pretty much forgotten here. In the last few days, I've listened to all the recordings I have by McKinney's Cotton Pickers, the great band with the unfortunate name. Anyone with a taste for early jazz should check out this band, if you don't already know them. The Cotton Pickers were one of the great early big bands, and in their brief heyday could almost rival Fletcher Henderson's band.

But jeez, that name! It grew into a full-size big band for the time 11 piecesbased out of Detroit. There they were heard by Jean Goldkette, a white big band impessario of the the time. He signed a management contract with the band, changed the name Dan Morgenstern has written, with some understatement, that the new name was "not well received by the band members"and got them a recording contract with Victor records. The records, made between andsound great today.

The band swung hard for the late twenties and featured a four-piece saxophone section, as opposed to the then-standard trio of reeds. Don Redman, who had been writing most of Henderson's charts, was music director of the band and did about half of the arrangements, while John Nesbitt, almost forgotten today, wrote most of the rest. The work of both men sounds very modern for the time, with lots of tricky rhythmic displacement and full, imaginative harmonies.

Redman knew how to rehearse a band, and the ensemble work was tight and impressive. What the Cotton Pickers didn't have was a set of great soloists, although it could be argued that trombonist Claude Jones achieved greatness during his tenure with the band. Hawkins and Carter came up with some of their best early solos on record - hear Hawkins' frighteningly virtuosic playing on "Plain Dirt.

When Redman left to form his own band inthe band was never again the force it had been. Like I said, you've got to have a feel for early big-band jazz to appreciate the music. But in their prime, occasional silly vocals and all, this was one of the great big bands. Higginbotham and Benny Morton. Like I said in my last post, I've gone off the deep end. My old 78 turntable proved to be noisy and unreliable, so I picked up a reasonably-priced vintage Miracord table and a cartridge designed for 78's.

I remember some of my 78's being this cool, but there are others I didn't remember at all, and which I don't think I ever listened to. Even when playing a standard "Autumn Breeze"Bley is concerned more with melody than chords.

Could this be Bley's only 78? Early bebop just sounds cool at 78 RPM - very organic. This blues features punning, double-entendre lyrics and some nice, Benny Carter-like alto sax solos. Yeah, who's she? Two red-label Okehs by Sara Martin, from She wasn't the Big Boy - Bix Beiderbecke - An Introduction to Bix Beiderbecke: His Best Recordings 1924-1930 (CD) of the classic female blues singers, but on one of these the accompaniment is by young Thomas "Fats" Waller.

Too cool. Okay, I'm gone; I know it. I checked Ebay tonight, and I've got my eye on a 78 by the great jazz pianist Dodo Marmarosa on the Atomic label and one on the Trumpet label by Mississippi bluesman Willie Love.

I'm gone. Labels: PersonalRecords. I have officially gone off the deep end. Everybody who knows me is aware that I am an obsessed record collector. I have more jazz records and CDs than anyone should be allowed to have. I just shake my head at people who collect 78 RPM records.

This edition includes eleven previously un-issued performances from and plus a full colour page booklet. A new album from rising Americana band led by the talented singer-songwriter, Amanda Platt.

Already a big draw on the American festival circuit, the band has recently benefitted big-time from opening for the Tedeschi Trucks Band. Debut album from a trio that has been heavily involved in the burgeoning Norwegian jazz scene for over 15 years. This includes the complete Verve album that featured the only recorded collaboration between brilliant vibes player, arranger and conductor and jazz piano genius. All existing small group studio collaborations recorded between and featuring jazz legends Ben Webster tenor sax and Johnny Hodges alto sax.

Two complete small group albums for Verve from plus fifteen bonus tracks from the same period and a detailed 20 page booklet.

This set comes with a nice 16 page booklet. Expanded edition of classic Atlantic album, adding 13 bonus tracks recorded between and that share the thematic unity of the original 6 tracks even though the supporting cast of musicians changes quite a bit.

Includes a nice 16 page booklet. The original Blue Note classic album plus material subsequently released on volumes 2 and 3. This edition also includes two bonus live performances from the same period plus a 12 page booklet. This includes 12 tracks, including new original from Eric himself. Hi-quality vinyl edition of the new album. These performances have long been country singer-songwriter, equally at home on lush ballads, heart- sought after as bootlegs by Dead-Heads, now receiving their firstfelt gospel sides and comedy numbers ever official release.

Classic Eric Clapton And Guests: Crossroads Revisearly blues sides from a true original and inspiration for the suc- ited. Featured artists include Andre leen Rennison. New album from Recordings.

Twenty tracks from popular Merseybeat band blues-rock super-group featuring Kenny Wayne Shepherd, Ste- captured between and High quality vinyl and covers of some of his favourite numbers. This In Amsterdam. Excellent mix of souththreatening illness.

In Amsterdam. Anticipated new track deluxe gatefold sleeve and download studio album re-uniting the revered early line-up, code to access a digital version of playing together for the first time in 45 years since the the concert. Run- tion! New concert on video DVD. This special scenes. Nine live sides from cult German blues rock Memories. New album from leading lights of the current wave of band, including versions of Dust My Broom and Hey Joe among traditional bluegrass bands, this features 12 new religious songs their own original material.

Label debut bay musical traditions on 22 tracks. An enjoyable hour of your from brothers, Jack Torrey and Page Burkum, who enlisted the time to be shared with two distinctive groups from Cat Island, full production help of JD McPherson, in making a lovely country and of joyous accordion, scraped saw and goatskin drum. Americana album full of sublime harmonies. Read our review at www. Superb hot jazz from influential band, Vega, Diana Jones, Lucy Kaplansky, Richard Julian, John Gorka, at differing times featuring the talents of many future jazz legends.

Andrew Rose Gregory and more including contributions from Jack Hardy himself. Seventh studio album from bluesman with a large live following. This features a set of cover versions played at gigs of various blues standards along with some pop and rock tunes given his unique blues make-over.

Held by fans to be one of the greatest live albums ever, this track live set has now been re-formatted and remastered to sound even better than before.

A deluxe digi-pack version to accompany the above, this includes performances from four different concerts on the tour, in both Los Angeles and London, with the video DVD featuring a 9 track live concert performance from the Rainbow Theatre on 24th July Fabulous stripped-down Louisiana swamp blues album first issued by Excello inwith Lazy Lester or Slim Harpo handling most of the supporting harmonica duties.

This edition includes 12 bonus tracks from the same period plus a 16 page booklet. The Vee-Jay album and a bit of a departure as his distinctive boogie sound ventures into early sixties soul. This includes 10 bonus tracks from the same period. Debut album from traditional folk-singer and versatile multi-instrumentalist from Yorkshire. Surviving original hard-bop jazz pianist now working with and inspiring a new generation of musician.

This new album features a winning mix of old and new compositions, presented by a new sextet. New album recorded at Fame Studios in Muscle Shoals by experienced band of musicians expertly merging acoustic and electric Mississippi and Tennessee delta blues, southern rockabilly and other roots sounds. New album of deep Voliume 1. They first came to This album features Duke prominence when appearing as a part of Joe Robillard on guitar and B. Blues Challenge and these ten tracks ought to go some way to spreading the word.

A fantastic collaboration between harmonica player mance from within the walls of Oregon State Penitentiary by and guitarist who share a love for post-war blues. Great playing, Grateful Dead front-man. This includes some nice standards and well chosen material and rather fine vocals, plus a few ska-based covers alongside versions of solo songs and some Grateful Dead numbers to present their wider musicality and flexibility.

A very favourites. Re-issue of August. Unreleased studio recordings Clarence Carter: Patches. Swiss radio. Ten tracks in all. A mid-priced treat! The Mind. A new album from award-winning band who deliver Ray Charles: Yes Indeed!

Volumes 1 - 5 of the legendary Motown Chartbusters albums presented together for the first time. LP Thelonious Monk: in Italy. An informal and personal presentation that also incorporates a number of performances filmed in small venues and clubs.

Mike Wheeler: Turn It Up! Delmark Pianopounding and powerful singing recorded live on a hot night in Greece. A fantastic collection of the very best evangelical singers and guitarists to ever record, including the long-revered and lesserknown artists alike. This high quality vinyl edition comes with a free download card to access digital versions of these and other tracks.

Anticipated new nine track album of freshly-minted compositions from immense singersongwriter from the Louisiana swamps who rose to fame years ago with Polk Salad Annie and Rainy Night In Georgia. With 11 impassioned new songs. Nine new songs featuring their unique blend of folk, country, rock and soul. Taken from footage album of jazz and popular music standards from half-Cuban, New captured at four concerts from the tour, this includes interviews York born vocalist, on CD here for the first time.

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A fascinating study presenting the intriguing backstory to 13 historic Library of Congress field recordings made in various southern states between This details the individual histories of the songs and artists who recorded them. Includes a 13 track CD of the tracks featured.

A fantastic collection of interviews as first published in this iconic blues magazine, launched in Foreword by Tony Russell. An enjoyable rumination through life as a collector. Gary Davis Uni Of Chicago hardback. First fulllength biography of majestic singer, song-writer and guitarist. Highly praised by reviewers. Biography of legendary Chicago blues guitarist instrumental in the sound of the Muddy Waters Band in the s and a successful recording career in his own right.

The fullest and most captivating biography. Biography, incorporating an involvement of surviving band members and associates. Illuminating study of musicians that altered the course of popular music. A real joy. This tells the story of this highly spiritual corner of the world, and the tales of music and musicians, poverty, success and intrigue that surround its inhabitants past and present.

Authorised biography detailing the short life and career of one of the sixties best-loved British bluesmen. Life and music of British legend, well-researched and written. A fascinating study of Big Boy - Bix Beiderbecke - An Introduction to Bix Beiderbecke: His Best Recordings 1924-1930 (CD) life and music of delta blues legend, Booker White and how his friendship with a UK photographer led to his favoured guitar being given an extended life. Unusual biography but gripping.

Superb collection of articles on 78RPM era blues and jazz. An Recorded while on tour to promote the Midnight Flyer album. Taj Mahal and Albert Collins make a guest appearances. All-star tribute concert in Vancouver. An 8 song concert in Sierra Nevada, interviews and other stuff. The DVD includes interviews, photos and biographies; the CD has some musical highlights of the festival. Plus interviews. An original live music extravaganza created for TV.

The story of the band, from blues-obsessed youngsters in the early s to undisputed rock royalty. The historic and triumphant return to Hyde Park and for many the musical highlight of Mick Taylor joins in for a few tracks. Included tracks from their early years, their big hits from s and more recent material. Archive concert, re-mixed and re-stored, now receiving an official release for the first time. This performance from December 18th was from the tour promoting the Tattoo You album.

Forum, Live In Archive concert, re-mixed and re-stored, and with an official release for the first time. This performance was from the first tour that included Ronnie Wood and was held on June 12th.

Intimate live set from a theatre in New York at the end of touring the Kin album. Filmed in May to celebrate his 70th birthday and th appearance at this iconic venue.

A fabulously shot concert. Includes tracks from the new album plus plenty of classics. Lots of their best-loved sides in front of an adoring 50, audience.

Their final performance 25 July of a European tour to promote Tattoo You. The last appearance with band of pianist Ian Stewart. First official release, this London gig was a month prior to release of Sticky Fingers. A famous Who concert from their Who By Numbers tour only previously seen on bootleg. Top: Live In Germany King: Live By Request.

Live in New York in Les Paul Story. Documentary of pioneering electric guitarist, plus loads of bonus material. Story of the Pythons, told via new interviews with remaining members. The story of jazz legend, with interviews and plentiful archive in-performance footage. A music video collectionwith Double Trouble and brother Jimmie. Filmed in during their sold out UK-tour. Filmed in high definition in Wilson: Live At Club London Popular bluesman live in in Oxford UKplus tracks from sound-check.

Superbly shot gig in Oxford, England in Texas blues guitarist on a hot night in Dartmouth, England in Live set in Chicester from blues-guitar toting Texan. Includes interviews. High quality footage of 10 majestic blues tracks, plus an interview with Jimmy as bonus. One John. A film made between and in Scotland and Ireland when John and his band were arguably at the height of their performance career.

Definitive documentary by acclaimed film-maker Greg Olliver which includes never-beforeseen photos and footage and builds upon his un-heralded access to Johnny during the final two years of his life. Rarely seen Presidential Inauguration Concert in Washington See and hear Johnny ripping through the blues.

In Hamburg The same as above but without the bonus DVD. A documentary on the great British jazzman narrated by Martin Freeman. With exclusive interviews with friends, musicians and music writers.

A 45 minute all-instrumental live set recorded in a Maryland TV studio in May featuring two revered guitarists on top form. Each concert had different themes, set lists, arrangements and band configurations.

And bonus features differ for each also. His blues side, with horns. Taken from two sold-out shows at the Carre Theatre in Super concert from Colorado. A tutorial covering classic recordings plus some s recordings. Interesting documentary. Filmed during a tour, this captures the band on the road, in the studio and on stage, including performances from two conBeck Group, etc.

Includes live and studio footage and interviews. Great solo gig plus film of Martin looking at his early days in Scunthorpe. With rare footage, photos and earth-shaking music. Story of Bluegrass Music inc. With interviews and rare archive live footage. As well as Muddy Waters: Classic Concerts. Live in concert in Story of his life and career. Highly recommended. One of the greatWas. CD covers ss, inc. Early years D. Poetry and potent songs including the magnificent B-Movie.

Ann Charters New York: Penguin, Komunyakaa, Neon Vernacular, Morton was, in fact, a pimp, and his memoir, Mister Jelly Roll, is a fascinating example of an early jazz hustle. New York: Da Capo Press, Hereafter LSB. See Ben L. Leslie Gourse, ed. Nicholson, Billie Holiday, Hereafter BU. Hereafter MA. There are some who will make the case that early s fusion albums like Agartha and Dark Magus used the timbres of rock and roll, but to such dissonant and atonal effect, the results were anything but sell-outs.

Thomas Pynchon, V. New York: Harper and Row, I transcribed these remarks from Derrida, dir. Kirby Dick, Zeitgeist Video, Samuel and Shierry Weber.

Cambridge, Mass. Albertson, Chris. New York: Stein and Day, New Haven: Yale University Press, revised edition. Appel, Alfred. New York: Alfred A. Knopf, Baker, Houston. Chicago: University of Chicago Press, Baldwin, James. New York: Dial Press, Toni Morrison. New York: Library of America, Baraka, Amiri as LeRoi Jones. New York: Morrow, Black Music. Barthelme, Donald. Marcela Breton. London: Bloomsbury, Bergreen, Laurence. Louis Armstrong: An Extravagant Life.

New York: Broadway, Berliner, Paul. Berman, Paul, Ed. Blacks and Jews: Alliances and Arguments. New York: Delacourte, Birkerts, Sven. Brazeau, Peter. Parts of a World: Wallace Stevens Remembered. New York: Random House, Broyard, Anatole.

Kaf ka Was the Rage. New York: Vintage, Carby, Hazel. Charters, Ann. The Portable Beat Reader. New York: Penguin Books, Chinitz, David. Lisa Rado. Garland,— Eliot and the Cultural Divide. Clarke, Donald. New York: Viking Press, Coleman, Janet, and Al Young.

Berkeley: Creative Arts, Collier, James Lincoln. Benny Goodman and the Swing Era. New York: Oxford University Press, Cook, Eleanor. Harold Bloom. New York: Chelsea House, Crane, Hart. Brom Weber. London: Oxford University Press, The Letters of Hart Crane, — New York: Hermitage House, Crouch, Stanley. Notes of a Hanging Judge: Essays and Reviews, — New York: Pantheon, Personal communication.

September, Davis, Angela Y. New York: Pantheon Books, Davis, Francis. Davis, Miles, with Quincy Troupe. Miles: The Autobiography. New York: Simon and Schuster, Dearborn, Mary V. Mailer: A Biography. DeVeaux, Scott. Berkeley: University of California Press, Dickstein, Morris. Leopards in the Temple. Douglas, Ann. Terrible Honesty: Mongrel Manhattan in the s. New York: Noonday, Eliot, T.

The Waste Land. New York: Boni and Liveright, Inventions of the March Hare. Christopher Ricks. New York: Harcort Brace, Selected Prose of T. Frank Kermode. New York: Harcourt Brace and Company, Ellison, Ralph. Invisible Man. Collected Essays. New York: Modern Library, Trading Twelves. Living With Music. Elledge, Jim.

Ann Arbor: University of Michigan Press, Feinstein, Sascha. Jazz Poetry: From the s to the Present. Westport, Conn. Feinstein, Sascha, and Yusef Komunyakaa, eds. The Jazz Poetry Anthology. Bloomington: Indiana University Press, The Second Set. Ferguson, Otis. The Otis Ferguson Reader. Dorothy Chamberlain and Robert Wilson. Highland Park, Ill: December, Finklestein, Sidney. New York: International Publishers, Fisher, Clive.

Hart Crane: A Life. New Haven: Yale University Press, Forrest, Leon. Gabbard, Krin. Jazz Among the Discourses. Durham, N. Duke University Press, Gates, Henry Louis. Thirteen Ways of Looking at a Black Man. Gillespie, Dizzy, with Al Fraser. To Be or Not to Bop. Garden City, N. Giddins, Gary. New York: Doubleday, Gooch, Brad. Gourse, Leslie. New York: Schirmer Books, New York: Schirmer, Hajdu, David. Positively Fourth Street. New York: Farrar, Straus and Giroux, Hammer, Langdon, and Brom Weber, eds.

Hamilton, Ian. In Search of J. Hammond, John. John Hammond on Record. New York: Summit Books, Hartman, Saidiya V. Lady Sings the Blues. Homans, John. Howley, Kerry. Hughes, Langston. The Collected Poems of Langston Hughes. Arnold Rampersad. Weary Blues. Verve,Originally released in Jackson, Lawrence. Ralph Ellison: Emergence of a Genius.

New York: John Wiley and Sons, Directed by Ken Burns. PBS Home Video, Jemie, Onwuchekwa. Langston Hughes: An Introduction to the Poetry. New York: Columbia University Press, Johnson, James Weldon. Autobiography of an Ex-Coloured Man. Kelley, Robin D. Komunyakaa, Yusef. Blue Notes: Essays, Interviews, and Commentaries. Radiciani Ciytus. Neon Vernacular: New and Selected Poems. Hanover, N. Lahmon, W. Washington, D. Leeming, David. James Baldwin: A Biography.

New York: Henry Holt, Lehman, David. The Last Avant-Garde. Litweiler, John. Ornette Coleman: A Harmolodic Life. New York: William Morrow, Lott, Eric. Krin Gabbard. Maggin, Donald L. Stan Getz: A Life in Music. Mailer, Norman.

Advertisements for Myself. Mann, Thomas. Doctor Faustus. Marsalis, Wynton. Robert Walser. Maynard, Joyce. At Home in the World. New York: Picador, Melnick, Jeffrey. Meltzer, David, Ed. The string instruments are not solo, however, but accompanied by tabla and pakhavaj. There is a short pakhavaj solo piece, followed by two tabla solos that close the second volume of North Indian Classical Music.

Part three focuses on string instruments and features Arvind Parikh on sitar during Raga Marva, followed by surashringar an eight-string, picked instrument player Sulalit Sinha and surbahar large sitar player Manfred Junius showcased during Raga Miyanki Malhar.

The closing piece on this volume features Gopal Krishna on the vichitra vina a fretless vina. The final disc is split between string and wind instruments, with featured musicians Ashok Roy on sarod, Om Prakash Sharma on dilruba a more modern bowed instrumentflutist Hariprasad Chaurasia, and shahnai Indian oboe players Kali Charan and Hiralal. Menovky: compilationFLACworld music. Newer Posts Older Posts Home. Subscribe to: Posts Atom. Labels: Carole KingNew York. Killing Ground - Joe Richardson.

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9 Responses to Big Boy - Bix Beiderbecke - An Introduction to Bix Beiderbecke: His Best Recordings 1924-1930 (CD)

  1. Arashizahn says:

    Nov 19,  · As there are many collections of Bix Beiderbecke's early vintage jazz to choose from, it would be hard to peg any as definitive, save his complete works or the Classic label discs. This grouping of 22 selections from the mid-'20s to is a very good starter set, featuring many well-known tunes and Bix's excellent soloing in a variety of contexts.8/

  2. Mezim says:

    Nov 19,  · Review by Michael G. Nastos. As there are many collections of Bix Beiderbecke's early vintage jazz to choose from, it would be hard to peg any as definitive, save his complete works or the Classic label discs. This grouping of 22 selections from the mid-'20s to is a very good starter set, featuring many well-known tunes and Bix's excellent soloing in a variety of .

  3. Kiganos says:

    View credits, reviews, tracks and shop for the CD release of "An Introduction To Bix Beiderbecke: His Best Recordings " on Discogs.

  4. Brataur says:

    Nov 16,  · Bix Beiderbecke "An introduction to Bix Beiderbecke " () Posted by Fábio Gutterres Fernandes at as in all of Bix at his best," writes the trumpeter Randy Sandke, "is that every note is spontaneous yet inevitable." Beiderbecke's piano playing, meanwhile, can be considered on his recordings "Big Boy" (October 8, ), "For No.

  5. Shakagore says:

    Every tune in this CD had been recorded by Bix in the period The first tune is Fidgety Feet, the first recording ever made by Bix (with the Wolverine Orchestra), and the last tune is Bessie Couldn't Help It, Bix's last recording (with Hoagy Carmichael and his Orchestra). In between, the tunes are from the Wolverine, Jean Goldkette and Paul Whiteman years.

  6. Majin says:

    Frank Big Boy Goudie and his Orchestra, Paris These original Goudie compositions may be his most delightful European recordings. They're certainly among the best examples of his Coleman Hawkins-inspired tenor saxophone style. Leading this septet Goudie comes on strong, with solos from trumpeter Jack Butler, Joe Turner, piano and French.

  7. Tojami says:

    - 1. Oh Baby! 2. Riverboat Shuffle 3. Tiger Rag 4. Big Boy 5. My Pretty Girl 6. Singin' The Blues 7. Slow River 8. Riverboat Shuffle 9. I'm Coming Virginia Way Down Yonder In New Orleans For No Reason At All In C In A Mist (Bixology) Clementine At The Jazz Band Ball - Bix Beiderbecke And His Gang Jazz Me Blues

  8. Yokinos says:

    His best recordings by far are from a series of records made in mostly released as JABBO SMITH & HIS RHYTHM ACES. And he was a pretty fair composer, often literally making tunes up in the studio during those sessions made with ‘Banjo Ikey” Robinson.

  9. Mooguramar says:

    VARIOUS Great Jazz Brass ( UK issue of the track mono LP compilation, featuring great brass players of the past including Louis Armstrong, Bix Beiderbecke, Muggsy Spanier, Jack Teagarden & more, front laminated sleeve variant. The sle eve shows minimal wear & the vinyl is near mint CDM) vinyl LP: £

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