BLACK BROWN AND BEIGE FAVTRAX:MiX ~ 50 FAVOURiTE tracks 1950-1962 3h 11m >>Duke Ellington, Mahalia Jackson, Muddy Waters, Shoeshine Johnny (Johnny Shines), Jimmy Rogers, John Lee Hooker, Les Paul, Moondog, Tal Farlow, Bill Haley, The Stan Getz Quartet, Jimmy Smith, Russell Garcia, Buddy Cole, Nina Simone, Jimmy Rushing, The Beatles, Tony Sheridan, Dave 'Baby' Cortez, Milt Jackson & Wes Montgomery, Tom Dissevelt, Kid Baltan<<
Duke Ellington, Mahalia Jackson
While moved and inspired by the blues, gospel legend sang "only for God" from the 1930s til the '70s.
Part 1 (Duke Ellington) 8:16
Part 3 (aka Light) (Duke Ellington) 6:21
Part 4 (aka Come Sunday) (Duke Ellington) 7:57
from Black Brown and Beige / Rec. 1950 (1958)
Duke Ellington originally wrote the 50-minute Black, Brown and Beige in 1943 for a Carnegie Hall concert, where critics dismissed it as overreaching for a jazz composer. Over the next 15 years, he periodically resurrected it for performances of excerpts or, as in the case of his 1958 Columbia album, transmuting it into what was essentially a new work. Columbia's Black, Brown and Beige was one of the most extraordinary products of Ellington's second stay with the label, growing out of his 1956 Newport triumph, and it was received somewhat more readily than the original 1943 "Black, Brown and Beige." The main problem for those who knew the piece and its history lay in the absence of Johnny Hodges, who was hardly ever with the Ellington band during 1958, and on whose talents "Come Sunday," the centerpiece of the original work and even more the core of the revamped Black, Brown and Beige, was built. Instead, Mahalia Jackson sings a version of "Come Sunday" that is, if anything, equally affecting, backed by the orchestra led by Ray Nance's violin. The result on the original album was a piece that started off in big band-style blues and led to one of Ellington's most moving, wrenching pieces of work, and music that, had it been better known, might also have done more to raise people's consciousness about Civil Rights than 100 folk songs of the period.
Muddy Waters - Rollin' Stone 3:01
Shoeshine Johnny (Johnny Shines) - So Glad I Found You 2:26
Jimmy Rogers - The World's in a Tangle 2:56
John Lee Hooker - Leave My Wife Alone
from The Chess Story Vol.2 1950-1951
How High The Moon 2:07
Tennessee Waltz 3:10
from The Timeless Les Paul 1950-1952 Vol 2
Dragon's Teeth - Voices of Spring 2:32
Tree Frog - Be a Hobo 1:44
Theme and Variations - Rim Shot 3:34
from Moondog and His Friends 1953
I Like to Recognize the Tune (Lorenz Hart / Richard Rodgers) 2:58
Autumn in New York (Vernon Duke) 5:02
Tal's Blues (Tal Farlow) 5:11
from Autumn in New York 1954
A generally relaxed date, Tal Farlow's pretty tone and tasteful improvising style are the main reasons to search for this disc. Pianist Gerry Wiggins, bassist Ray Brown, and drummer Chico Hamilton offer quiet and swinging support of the great guitarist...
Rock Around the Clock (Jimmy DeKnight / Max Freedman) 2:34
Shake, Rattle and Roll (Charles E. Calhoun) 2:34
Birth of the Boogie (Johnny Grande / Bill Haley / Billy Williamson) 2:15
Thirteen Women (Dickie Thompson) 2:54
from Shake Rattle & Roll 1955
It's a shame that, except for Elvis Presley's long-players, rock & roll and R&B albums just didn't sell in the early days -- those kids might have appreciated the music, but they just didn't know what they were missing by failing to absorb it eight or ten songs at a time. Bill Haley's first long-player, Shake, Rattle & Roll was a 10" platter that came out almost too early for its own good, in the first half of 1955, when most people had scarcely bought their first rock & roll single...
The Stan Getz Quartet
Blues for Mary Jane (Stan Getz) 7:48
Like Someone in Love (Johnny Burke / James Van Heusen) 6:23
from The Steamer 1956
It doesn't happen too often, but there are times when the title of a jazz album and the material within interface perfectly. Hence The Steamer, where Stan Getz joined forces with a super West Coast-based rhythm section to produce some truly steaming music...
Zing Went the Strings of My Heart (James F. Hanley) 8:39
Blue Moon (Lorenz Hart / Richard Rodgers) 8:45
The Fight (Jimmy Smith) 5:07
from The Sounds of Jimmy Smith 1957
...Excellent straightahead jazz from the innovative organist.
Into Space 2:39
Lost Souls of Saturn 3:39
Frozen Neptune 5:17
from Fantastica: Music From Outer Space 1958
Fantastica remains the gold standard by which all outer space exotica records are judged -- composed and conducted by Russ Garcia, the album is a marvel of sound and structure, brilliantly evoking the music of the cosmos via revolutionary studio techniques, cinematic arrangements, and innovative electronic elements...
The Lady is a Tramp 1:58
Georgia on My Mind 3:44
from Powerhouse! 1959
Blue Prelude (Joe Bishop, Gordon Jenkins) 3:15
That's Him Over There (Lew Spence, Marilyn Keith) 2:28
Can't Get Out of This Mood (Frank Loesser, Jimmy McHugh) 2:30
from The Amazing Nina Simone 1959
There is a remarkable amount of variety on this disc, Nina Simone's second recording... She does not play much piano (just cameos on two songs) and is backed by a subtle orchestra arranged by Bob Mersey that is effective accompanying her vocals. This session finds Nina Simone's voice in top form and with a few exceptions is generally jazz-oriented.
You Can't Run Around (Count Basie / Jimmy Rushing) 3:16
Did You Ever (Jimmy Rushing) 3:32
Good Rockin' Tonight (Roy Brown) 3:16
from Rushing Lullabies 1960
The most popular and influential rock act of all time, a band that blazed several new trails for popular music.
The Beatles, Tony Sheridan
With his 1961 recording of "My Bonnie," Tony Sheridan forever secured rock & roll immortality; while the song was certainly a respectable hit during its heyday, its place in music history is instead assured as the first studio session to feature the Beatles.
Ain't She Sweet (Milton Ager / Jack Yellen) 2:14
My Bonnie (Charles Pratt / Traditional) 2:43
Let's Dance (Jim Lee / Tony Sheridan) 2:36
Ya Ya, Pts. 1-2 (Lee Dorsey / Morris Levy / Clarence Lewis / Morgan Robinson) 5:10
from In The Beginning 1960
Before beginning their recording career, the Beatles recorded a few tracks in Hamburg in 1961 as the backing group for British singer Tony Sheridan. Reissued in countless different packages around the globe after the Beatles became famous, this should in no way be considered their first album; not only were their skills rudimentary, but Sheridan takes all but one of the lead vocals on this set of fairly tame covers of popular and early rock standards. Several tracks are of interest: "Ain't She Sweet," with a lead vocal by John Lennon, was a small American hit single in 1964... and "My Bonnie," with Paul McCartney's shouts clearly audible in the background, was responsible for bringing the group to the attention of Brian Epstein.
|Tony Sheridan and original Hamburg Beatles|
Dave 'Baby' Cortez
Movin’ and Groovin’ 2:15
Honey Baby 2:41
September Song 3:29
from The Happy Organ and Other Great Recordings 1956 - 1961
Although light on charting hits, Dave 'Baby' Cortez was able to craft many catchy melodies, riffs and hooks that fans of organ music and a soulful, bluesy sound will enjoy greatly. Oh, and just for good measure we have thrown in his biggest hit 'The Happy Organ' to really get your feet tapping.
Fully detailed liner notes with a biography of his career achievements and a selection of early album tracks that can really be given the moniker of 'ultra-rare', this is another must have release! (JASMINE Records)
Milt Jackson & Wes Montgomery
Wes Montgomery was one of the great jazz guitarists, a natural extension of Charlie Christian, whose appealing use of octaves became influential and his trademark. He achieved great commercial success during his last few years, only to die prematurely. / The most influential jazz guitarist of the 1960s, who expanded the resources of the guitar in all its main functions: chordal, melodic, and rhythmic.
S.K.J. (Milt Jackson) 5:15
Stairway to the Stars (Matty Malneck / Frank Signorelli) 3:38
Jingles (Wes Montgomery) 5:34
from Bags Meets Wes 1961
Milt Jackson was 38 when, in December 1961, he co-led this superb hard-bop date with the distinctive guitarist Wes Montgomery. A jazzman who was as opinionated as he was gifted, Jackson wouldn't hesitate to tell you exactly what he thought of a musician -- so when he praised Montgomery, you knew his praise was genuine. Not surprisingly, the boppers prove to be quite compatible on Bags Meets Wes, which finds them co-leading an all star-quintet that also includes pianist Wynton Kelly, bassist Sam Jones, and drummer Philly Joe Jones (who shouldn't be confused with swing drummer Jo Jones)...
Composed By Tom Dissevelt and Produced by Tom Dissevelt and Kid Baltan
Kid Baltan is an early pseudonym of Dutch electro-acoustic composer Dick Raaijmakers, "Kid" being simply a reversal of his first name and "Baltan" being a reversal for the NatLab studios of Philips where he worked.
from Electronic Movements 1962