Freddie Keppard The Complete Set: Get email alerts for Freddie Keppard. Add to Cart. Add to Wishlist. Related products: James P. Join ourfans. Salty Dog. Song previews provided courtesy of iTunes. For several practical reasons, this could very well be the best Freddie Keppard collection currently available on compact disc. Until someone comes out with an expanded set containing everything even remotely connected with Keppard, this Retrieval edition, unflawed yet arguably not "complete," deserves top recommendation.
The art and science of Keppard appreciation has always been filled with challenges. This is because there always seems to be a number of recordings included on which Keppard does not appear or -- even better -- where Keppard's presence has been hotly disputed for generations.
That marvelous tribute, covering the yearswas garnished with copious liner notes. A Jazz Treasury LP covering the years made further material available to collectors. The producers of King Jazz brought out their own version of the chronology inand a Jazz Archives edition proved to be a thinly veiled reissue of a EPM Musique release.
These are some of the primary milestones in the study of Freddie Keppard's recorded legacy, and let it be said that the earlier CD editions were marred by serious technical problems.
Although grouping together both Keppard's and Louis Armstrong's recordings made with Erskine Tate, the Jazz Archives issue omits three crucial sides by the Jazz Cardinals, which happen to be the only recordings ever actually released under Keppard's name.
How they rationalized that excision is anybody's guess. The producers also edited out a magical glockenspiel intro from "Scissor Grinder Joe," and the sound quality is weak enough that some of the subtleties of the performances are lost. The King Jazz edition is ruined by a catastrophic mistake in their discography, as track 23 appears as track 17, causing most of the rest of the printed titles to be out of step with what is actually heard.
Like almost every musical historian, Berresford cops attitudes wherever he sees fit, sneering at Elwood Graham's vaudevillian "laughing" cornet solo on "So This Is Venice" and disparaging certain unverified Keppard recordings as residing somewhere outside of the Keppard canon -- apparently, Jasper Taylor's State Street Boys didn't qualify -- while embracing others that are equally unsubstantiated.
Even if the enclosed discography says Keppard is absent from Doc Cook's 14 Doctors of Syncopation, Berresford hears him there and says so. The most important contribution that he makes to Keppard studies and jazz literature in general is a reconsideration of Keppard's legendary refusal in to make what would have been the first jazz recording, not so as to prevent others from "stealing his stuff" but for the excellent reason that " Freddie Keppard expected to be paid for his work!
Imagine that. Sal Marquez. Louis Armstrong. Buck Clayton. Al Hirt. Kenny Ball. Freddie Hubbard. Chet Baker. These white singers use black dialect, which some people today may find demeaning, but at least in this song the implication is that blacks originated and enjoyed jazz. Full credit is being given to blacks for this new music, however tasteless the delivery may strike some listeners. The song shares much with earlier songs about ragtime bands. Collins and Harlan in also recorded Will D.
Oh boy! What is it they're playing? Oh joy! That's got 'em all swaying? Hurry for the clearing Hear the darkies cheering For that big sweet band The word "jazz" is not used but in these songs we can sense popular music evolving towards jazz.
Lyrics celebrate brass bands from dixieland playing syncopated melodies. Irving Berlin' s "Alexander' s Ragtime Band" is prototypal- -even here Collins and Harlan played a part, deserving much credit for popular- izing the tune. Their Victor recording of it 16 was among the best-selling discs of that decade Eddie Morton's "Oceana Roll" on the other side could not have - hurt sales.
Their Columbia version also sold well. Berlin's tune was perhaps the most successful of these songs celebrating brass bands but it was not the first of the genre. Lyrics in most of these songs credit the cornet player with generating the most excitement --we are not far from the reverence with which Louis Armstrong and Bix Beiderbecke were held by the next generation of music lovers analogous today is the revered guitar soloist in rock music. The music is said to feature "queer" harmony. The rhythm marks the musicians as "mad, " or crazy.
The music is said to be perfect for wild dancing notions that audiences should sit and listen to jazz came much later- -the music originally provided new dance rhythms. The lyrics suggest jazz is a music for the uneducated working class- -specifically, the black working class.
In the song, payday arrives. Henry brags about "a roll of money" and invites Mandy to a cafe "full of pep and ginger. Here is the chorus that follows the first verse: Oh honey dear, I want you to hear That harmony queer When you listen to Mad musicians playing rhythm Everybody dancing with 'em Hold me close in your arms I'm in love with your charms and The funny jas band from dixieland Comic dialogue follows the chorus, with Byron Harlan playing the female in minstrel show fashion.
Now, for instance Is that one of the ways? And another is. No suggestion is made that improvisation or solos matter. At one point the singers step away from the recording horn so studio musicians can play momentarily. We hear early jazz! The interlude is a little wilder for Edison- -a little hotter- -than for Victor the Victor interlude actually employs slide whistles, with the two singers making noises in the background.
Played by an Edison studio band, this musical interlude on cylinder and Diamond Disc is arguably the first jazz on record. One is "Mr. Prince's Band recorded the same "Mr. It appeared as a Blue Amberol in August of He rightly points out that Edison recordings have been unjustly ignored by jazz historians. The last line spoken by Arthur Collins "Then we'll sing some more" suggests singing is appropriate in this cafe featuring a jazz band.
If Collins and Harlan ever improvised in the recording studio, then we can argue that these two seasoned performers were the first jazz singers. Obviously that stretches the definition of jazz singer too much for an Ella Fitzgerald fan. It is enough that we remember Collins and Harlan for celebrating jazz on record even before jazz itself was preserved on shellac.
Knowing genres of past decades allows jazz historians to place jazz in the wide context in which original LP) knew the music. Hearing a few Collins and Harlan recordings is a start- -especially the comic songs that refer to jazz. In the '20s the duo performed in the old style, which may explain why the discs didn't sell well. A veteran of vaudeville and the chorus line, the lovely Miss Smith was 37 years old when she waxed her historic recording in New York City.
On January 10,Mamie had Price U. Victor never issued the side. The black press proclaimed "Mamie made a recording! General Phonograph Company, OKeh' s parent company, then set the stage for Mamie's historic blues recording. Johnson insisted its melody was derived from an old sporting-house ballad called "Baby, Get That Towel Wet.
A good measure of Mamie's success was due to Perry Bradford, a young composer who spent his afternoons working out new songs on the piano at Harlem's Colored Vaudeville and Benevolent Association. According to Bradford's outspoken and occasionally self -contradictory autobiography, Born With The Blues Oak Publicationsmost New York musicians didn't care for blues, which seemed to symbolize everything they tried to leave behind in the South.
For months he had been making the rounds of record companies, trying to sell them on his songs and his protege Mamie Smith. His persistence had earned him the nickname "Mule. Five years later she joined the chorus of the Smart Set company, which landed her in Harlem. Mamie settled there and married comedian Sam Gardner. Bradford spotted her singing at a cabaret and landed her a spot in Maid Of Harlem at the Lincoln Theater. Her big number was his song "Harlem Blues. Otto Heineman, president and general manager of the fledgling OKeh label, decided to take a chance on Perry and Mamie, but according to Perry, recording director Fred Hager was worried about letters from "some Northern and Southern pressure groups warning him not to have any truck with colored girls in the recording field.
If he did, OKeh products-- phonograph machines and records - - would be boycotted. Still, Mamie poured bluesy feeling into "That Thing Called Love": That thing called love has a sneaky feeling, Being too sure of yourself sets your brain a-reeling, You lay in bed but just can't sleep, Then you walk the streets and refuse to eat "Man, " Bradford enthused, "I was overjoyed when Mr.
Hibbard, the engineer, said, ' It' s okay. When it finally hit the shelves that summer, Bradford reported, it sold 10, copies "just as fast as the Button-Hole Factory at ScrantonPennsylvaniacould press and ship them all over the South. Perry convinced Heineman to give Mamie a chanceusing the Jazz Hounds. Bradford's book recounts that the session was held at the OKeh studio near Times Square: "We had no arrangements.
They were what I called ' hum and head arrangements. Man, it was too much for me. Her voice drenched with emotion, Mamie began with a theme that would echo through countless blues: I can't sleep at night, I can't eat a bite, 'Cause the man I love, He don't treat me right Her performance built to a heartbreak climax: I went to the railroad To lay my head on the track But is "Crazy Blues" a true blues?
The best answer is that parts of it are and parts of it aren't. The song's ingenious structure mixes three verses of 12 -bar blues with three verses of 16 -bar professional songwriting using a harmonic idiom similar to what might appear in a Scott Joplin rag or World War I pop song.
The recording is in the key of E, and verses four and five are straight 12 -bar blues. Verse two is a slightly modified bar blues, going to the dominant in its second bar.
Verses one, three, and six are 16 -bar structures, with verses three and six having an identical harmonic scheme. They have trickier chord progressions and some chromaticismssuch as the descending bass line in the ninth through eleventh bars of verse one. Verses three and six feature secondary dominants that sound relatively "sophisticated" next to simpler blues verses two, four, and five. Every family had a phonograph in their housespecifically behind Mamie Smith's first record.
For a brief period, New York City became the blues recording capital of the world. Singers and orchestra leaders, publishers, talent scouts, record executives- -all were ready to cash in. Dorsey, "because the blues was paying off. Colored singing and playing artists are riding to fame and fortune with the current popular demand for "blues" disk recordings and because of the recognized fact that only a Negro can do justice to the native indigo ditties such artists are in demand.
Emerson Phonograph proclaimed Lillyn Brown "not only a favorite with her own people, but with white audiences as well. Among the so-called "classic blueswomen" who recorded inonly Alberta HunterEthel Watersand Edith Wilson would have enduring success as blues divas.
Lavinia Turner's days in front of the horn were over by Octoberwith six 78s to her credit. Lillyn Brown cut only two; Lulu Whidby made varia- tions of only one. Katie Crippen' s four titles with Fletcher Henderson's Novelty Orchestra helped her land a vaudeville tour, but she was soon working outside of music. Not long after the Pace -Handy Co. Bowers, Inc. Covering another copyright case, The New York Clipper reported in January that Bradford had instigated others to perjure themselves on his behalf and that the songwriter had served four months in the Essex County Penitentiary.
For a while, Mamie Smith fared better than her former partner. During she undertook promotional tours of the South, Midwest, and Southwest. In an interview with the Norfolk Journal And Guide, Mamie explained that thousands of people who had heard her phonograph records were coming to her shows and that "they want to hear me sing these songs the same as I do in my own studio in New York.
PAGE 12 not a blues. A simple instrumental with sparse chords and slide melodies played with a knife, his "Guitar Blues, " No. Handy described seeing in the Tutwiler, Mississippi, train station circa Weaver returned to the recording horn a few days after his first session, backing singer Sara Martin on two cuts, thus becoming the first blues guitarist to back a blues singer on record. On November 2nd, Weaver recorded the first version of his monumental "Guitar Rag, " echoing traces of ragtime and Hawaiian steel guitar music.
The recording of rural male blues singers commenced during the spring ofwhile Ralph Peer was making his second OKeh territorial visit to Atlanta. A rough-hewn vocalist with a wide-shaking vibrato similar to Johnny Shines', Andrews accompanied himself with utilitarian pick-and-strum guitar. Andrews never recorded again. Billed as Daddy Stovepipe, Johnny Watson accompanied himself on a guitar and harmonica during his Gennett session in Richmond, Indiana, on May 10, The songs came out as GennettClaxtonolaand Silvertone 78s.
Watson' s third selection that day, "Tidewater Blues," was never issued. Whereas Daddy Stovepipe got his name from the hat he wore, Stovepipe No. His relaxed, easily understood vocals could address "brownskin mamas" and Jesus with equal conviction. His first 78s came out on the Gennett Special label, and three of his first six sides were labeled as blues.
By far the most important bluesman to record in was Papa Charlie Jackson, a relaxed, confident crooner with an accomplished 6 -string banjo style seasoned in medicine shows and vaudeville.
Look for Papa Charlie's story in an upcoming issue. He invites anyone with additions, corrections, or an interest in early blues music to write him in care of Barclay Way, Belmont, CA Used by author's permission.
All rights reserved. Louis Blues" Pathe The song lacks a blues structure. It ain't no use to arguefy [sic] for the blues is blues a!
Months later, on January 28,the white Original Dixieland Jazz Band records "Crazy Blues" as an instrumental Victorand this version of Perry Bradford's tune sells more copies than any other version. Her 78s sold well but saying they saved Columbia as some books claim overstates her popularity. Bessie Smith 78s would be easier to find today if her 78s sold that well. Banks Early speech recordings tend to be problematic for several reasons. Turn of the century recording techniques usually failed to pick up sibilants.
People were speaking without the benefit of previous experience before the horn. Many who made documentary recordings were not trained as public speakers. Peculiar accents and poor intonation added to the problems. Moreover, today' s listener of early speech recordings rarely has a reliable printed text to follow. Even if the recording features an excerpt from a famous play or poem, the recording's text will probably be riddled with variations and omissions.
Often the speaker' s delivery will not correspond with the scansion of the original printed text. There is also the invariable rule that says the level of scratch, rumble, and roar will increase in direct proportion to the historical importance of a recording. I recently prepared my own texts for a series of speech recordings I planned to play for some friends.
While making the transcriptions directly off the recordings. I wanted to guard against the listener getting lost in the text when the audio program faded or dropped out for a few beats. Readers may recall the movie cartoon series "Follow the Bouncing Ball" --song lyrics appeared on the screen, a chorus sang, a tiny white ball bounced along the top of the lyric line.
A ball hit the letter in the text corresponding to the musical beat as participants sang. That was the idea behind my method of setting up the text.
Everyone has a unique rhythmic speech pattern. Some people talk fast, some slow. I set up my textual transcrip- tions so that each line ends at a rhythmic beat in the speaker's delivery. If you let your mind's eye provide the bouncing ball and let it hit the end of each line, you can follow the speaker through the text. When the audio fades out, count the beats along the syllables in the text and mentally bridge the audio gap.
I give a sample of a text I prepared. I chose the cylinder recording of composer Sir Arthur Sullivan Pinafore Arabesque Z It has been included in some lp anthologies. The recording was made over a century ago on October 5, The critics were ecstatic.
Sullivan had another hit and was getting a lot of newspaper publicity, which inspired Colonel George E. Gouraud to invite Sullivan to his home for a demonstration of Edison's new phonograph.
Colonel Gouraud was an American living in England while pursuing a number of business ventures. He was also an old acquaintance of Thomas Edison and had successfully solicited the inventor to become Edison's chief European agent. The idea was to have them record messages which would be sent to Edison himself.
These messages would also provide free advertising copy. Sullivan's reaction to the "experiment" was mixed, as we can hear. This is among the very- earliest recordings to survive. I suspect there was no set rule about this. Take the Grand Opera Columbias, for instance. There certainly seems to have been a house announcer, and one who rather fancied himself as an elocutionist.
Actually, I'm not sure about Suzanne Adams' "Coquette. Could it be the composer and Adams' husband Leo Stern? Ernestine Schumann - He ink announces her own. These can easily be compared to existing recordings of her radio broadcasts. What a beautiful speaking voice! I assume Charles Gilibert announces his own since the French is good.
A quite different and heavily accented voice takes over for the Martha aria and "Serenade de Don Juan. Was this Victorian chivalry on the part of the record companies or a practical measure because male speaking voices recorded better than women's?
The announcer for the three Caruso Pathes resembles the Zonophone voice. Announcements are in two styles. On the de Negris, only the title is announced. On the Toresella and Signoretti, we get the title and then "eseguito dal la. Although the Toresella and Signoretti items were recorded a year apartthe announcer sounds the same to me. Another thing that may interest collectors is that the announced Caruso recordings use both styles. The Zonophones give titles only whereas the Pathe recordings are announced like the items by Toresella and Signoretti along with the words "Anglo- Italian Commerce Company' 1 at the end.
Berliner policy I will leave to Paul Charosh since he is completing a Berliner discography. It is dated Feb. In my mind's eye, I can see a young Fred Gaisberg shouting the announcement into the horn, then bolting over to the piano to begin playing!
The voice announcing sounds like Affre. I have never heard of an announced Fonotipia. As for Victor, why not Calvin Child? Victor was so much more organized and systematic than other companies that it would be characteristic for Victor executives to find one voice which recorded well and use it again and again.
I imagine that with so many foreign artists being recorded, it made sense to have a native English-speaking announcer for recordings to be sold mainly in the U. Even Columbia thought of that- -some of the time! Campanari has made arrangements with the Spizzi and Campanari Concert Bureau which will secure operatic and concert engagements for his advanced pupils.
Victor Everybody has a favorite Caruso record. This one's mine. This is Bach's famous Concerto in D, performed by two of the acoustic era's greatest violinists. First of a three-record set. The first recording of Gershwin's jazz- age masterpiece, with the composer at the piano. The acoustic recording sounds delightfully primitive. Better known as "0 Come All Ye Faithful. Halfway through, he is joined by an unnamed baritone, and the result is absolutely superb.
A melodious lullaby sung in German. Good harmony and a beautiful tune. Verdi's great vocal masterpiece sung by four of the greatest voices of the first decade of the century. The great alto at the end of her 27 year career proved she had lost none of her impeccable phrasing and delivery. A lovely rendition of a song many feel should have been our national anthem. The 17 year-old Heifetz demonstrates his unique technique. A dazzling demonstration by one of the century's great instrumentalists.
Until this one, pre 5 comedy records were a curiosity for me more than a source of humor. This one actually made me laugh. Here is the greatest bel canto singing since Jenny Lind. Somehow all is squeezed on a 10" disc by slow playing and narrow grooves. She has that peculiar Dresden tone. She only sings the opening phrases to show what she can do! Abendroth' s fleet coloratura is so rapid it leaves one breathless. She seems able to swell on any note.
Of course, Patti was nothing but a wreck when she recorded at -but what a wreck! She sings the only correct version. It is a great red seal Victor. She has complete command of the aria, her lovely trills floating on the air, her bel canto fleet and true. Edison, also IRCC The tune might be vulgar but notice what Yaw does with it!
Fabled swelling on the tones, then tremendous trills, even in thirds which sounds like a yodel. She can hit the highest notes. Her one appearance at the Met was a failure, probably because she was a poor actress. Victor Tetrazzini always sings like clockwork. This is a dazzling example. She could swell and die out twice in one breath. Early in her career the bottom was chesty with a gorgeous top, but by the time she recorded this, she could sing almost any soprano aria.
She cut no bad discs. All are classics of how to sing: lovely trills, fine staccato notes, and great emotion. A friend of mine who heard her in in vaudeville said some of the splendor was gone but her voice rang out sweet and true. The mystery Scissor-Grinder Joe - Freddie Keppard - Stockyard Strut (Vinyl why she made no duets. And why did she cut no electrics? Fabbri sings here in a man's role. Her voice is dark and rich, reaching to an earlier time of a coloratura contralto.
Her rather harsh voice points a fine melody from an opera almost never heard today. She knows all the tricks, dotting all i's and crossing all t's. This evokes echoes of Pauline Viardot -Garcia.
IRCC 3recorded in No one dreamed that this early contralto had recorded. She's 63 on this record, Scissor-Grinder Joe - Freddie Keppard - Stockyard Strut (Vinyl.
This is a great, dark German voice- -a typical homely contralto and before Schumann -He ink. She renders this short aria with great fire and elan. The trills, jumps, and fire are all there. The best versions are Pathe dubs, the poorest from a cylinder. One of the great LP) arias. Here is one of the best contraltos of all time: fabled bel canto, fine breath controlimmense heart. Even in her old age she was a commanding figure! Columbia This genius could sing almost everything!
Fabulous high C's and the finest bel canto. Nordica did not like her records. In this disc, she goes absolutely wild with her high C's and trills.
Every attempt to put her on a U. Her birthplace still stands in Farmington, Maine, which is open to the public. This is marvelous singing with clicking castanets and even yodeling!
Her joy is apparent. Nobody knows why Arral had a second rate career. She even made radio broadcasts in her later years. She helped make the "Golden Age" great the age ended about Brunswick Here is one of the loveliest voices ever recorded.
She seems to soar effortlessly through the aria with gorgeous tone and fabulous trills. She cut few discs and had an unremarkable career- -but eventually collectors began to swoon over her marvelous 78s. She wrote me many letters as Edith Mason Ragland! Here, as a substitute for commentary, Mr. Moran cites accurate speeds for ten outstanding operatic 78s.
This reminds us that we should judge performances only if discs are played at correct speeds. He writes in the second volume of the work cited above, "A deviation in speed of 4 rpm.
A wrong speed does injustice to an artist's interpreta- tion but also distorts tone quality of the sound. Inexplicably, Victor catalogs instruct Victrola owners to set a turntable regulator to 78 rpm and "never change it. As Mr. Moran explains in his book, "The figures given correspond to the bands so named on a stroboscope designed for observation under a 60 Hz.
Listeners should try to adjust the turntable speed as closely as possible. Moran writes that the third volume of The Encyclopedic Discography of Victor Recordings soon goes to press. Readers will have matrix numbers for all Victor catalog numbers from to ! Gerville-Reache : "Plus son obscurite" from La Gounod. Victor 30 Oct. Speed : First ed. Speed: Speed: Tosti.
Speed Ai Jan. Choir: "Laudate dominum" Mozart. Frank St. Leger Dvorak. Recorded 12 Jan. I know, I know, this record sold a million and it seems like every one of them exists to this very day.
But take a few minutes and listen closely to this wonderful disc. Gluck' s voice is pure, sweet, and hauntingly beautiful. Listen especially to the final chorus- -the orchestra stops playing and she gently softens her voice, which marvelously blends with the Orpheus Quartet's fine harmony. It sold a million and not without some valid reasons. This record seldom shows up, but if you get a chance to pick it up, you should.
A great band and a splendid arrangement of WWI songs. Great jazz, topped off by a foot tapping scat vocal by Clarence. A fun record. My love for quartet singing puts this one on my "Ten Most Played" list. It always brings a tear to my eye. Two great examples of novelty black vocal harmony.
I still don't know which side I like best. Everyone that I've ever played these sides for says, "Wow- -great! What a voice! Has America ever produced his equal? Two outstanding songs and, again, I don't know which I prefer. I think this is by far the best version of this often recorded jazz tune.
It is also the most common of Oliver's Vocalions, if there is such a thing. Other renditions pale when compared to this one. It has to be one of the greatest performances ever! If you don't possess this 12" Deluxe, I'm not surprised. It is plainly and simply as rare as hen's teeth. But its rarity is exceeded by Pryor' s phenomenal trombone execution. Here isunquestionably, the greatest trombone soloist of all time, playing, again unquestionably, his greatest recorded performance.
I picked this up a year ago and it may well be my most prized possession. I am in awe each time I play it! A fine hillbilly version of a classic I love listening to. This epitomizes the lost art of the comic song.
At a time when other artists- - Collins and Harlan, Billy Williams, Harry Lauder, Nora Bayes, Bert Williams- -also performed in this style, Billy Murray stood at the forefront with a recording career that began in 18 96 and continued until at least This enjoyable song about the strengths of a Model "T" Ford would be excellent for advertising today. The words to this version have been altered slightly from the original sheet music, enabling it to flow more smoothly. The recording that Billy Murray made for Edison follows the sheet music more closely but lacks the polish and finesse of this Victor performance.
This gem was recorded around the time these two artists performed with the "Eight Popular Victor Recording Artists. The sound quality of this disc demonstrates the fullness of tone that Victor could often capture on early orthophonic records.
Performed by the great black comedian and "Ziegfeld Follies' 1 star, this song has a clever text and infectious ragtime tempo. This has exceptional sound quality for the period. All I can say is that this almost borders on high fidelity- -in the late s!
The sound is clear and has a full rich bass, which allows the listener to enjoy the music from its subdued beginning to its lively ending. I had the good fortune to know Mr.
Crooks during the last years of his life. This private recording, a copy of which has been in my collection since shortly after it was made, demon- strates a vocal amplitude which was not captured on many of his earlier commercial recordings. This live performance also shows that at the age of 67, twenty- two years after retirement, Crooks could sing better than many younger singers. This famous English contralto was a vocal phenomenon. On this recording we hear her unique tonal quality and vocal power- -a majestic singer.
A serious student of voice could much from this recording. To my ear, this soprano is one of the best exponents of coloratura singing. When in its prime, her voice seemed to float and soar. Although the aria has been slightly edited, this recording is still one of my favorite examples of Galli-Curci' s singing. This recording shows why this dramatic soprano was called "the Caruso in skirts.
The ad proclaims these arti repertoire, reputation, and box office power. Photos "The Three Musical Ameri ad from a issue of sts are "big" in voice, suggest literally big? Corning 1 William A. I call this 1. It actually got me started in record collecting.
My aunt brought it, with others, to a family gathering. Playing it, I was mesmerized and begged her to let me keep it. Kennedy, who had a beautiful high tenor voice, made discs from the '20s to the '40s, appearing on Columbia acoustics and Viva-tonals as well as Brunswick, Decca, and Victor.
If anyone has more information on Kennedy, I'd love to hear. I played this many times for my mother and have played it in her memory a thousand times since. It is always a moving experience.
I consider this a consummate perform- ance by the greatest singer of songs. I'm a McCormack fan of the highest order. LP) can only classify this record as "vocal fireworks. Two of the most beautiful male voices God ever gave are serenely blended in a magnificent performance. Why this record was never released on a regular issue is almost a crime against music.
This takes my breath away every time I play it. Another amazing vocal performance. Surpasses performances of the many others, male and female, who have essayed this.
Also my wife's favorite of my collection. A late McCormack performance bringing all his interpretive skills and lifetime of feeling to bear. One must hear it to realize the depths conveyed by the master storyteller of song. There is a message for all of us in this song. Always a fan of Lauder, I admire the man and the message.
A lifting performance utilizing several distinct vocal shadings. Gigli, always in all things, of the beautiful voice. Just a beautiful singing performance. A melodious, lilting performance by an underrated per- former. A great favorite of mine. De Gogorza was a record pioneer, a consistent performer, and a wonderful singer for over 30 years. The first five are recent finds. I play recently acquired records many times before they become part of my collection. The last five are all time favorites.
Choosing for this category is hard: all my 26, 78s are favorites. The great trumpeter Bubber Miley was in Reisman' s band and is heard here in a wonderful muted solo, backed by Adrian Rollini on bass sax. This record eluded me for many years even though it is not rare. Hot jazz at the staid old Thomas Edison studio! The joint was jumping on this date. Some of the fun of record collecting is bringing to light facts behind some pseudonyms used by bands or record companies.
Bobby Hackett plays a lovely cornet solo. This features an intimate chase chorus between Bix Beiderbecke on cornet and Frank Trumbauer on C-melody sax. Louis teams up with Earl Hines and Don Redman. It is hard to say any one Armstrong record stands out: all are great.
This is a recording on a paper pressing. Cootie Williams plays the expressive trumpet chorus. Just for fun! Schueler 1 Nat M. It makes me laugh every time I hear it, and friends really enjoy it. The punch line- -"Other than that, there ain't no news" --is excellent. He talks on both sides of the record and in the process tells you nothing! Leaves one in total confusion. The lyrics are basically meaningless but, oh, those low notes he sings I 4 Spike Jones: "Cocktails for Two" Victor The epitome of the parody technique of Spike Jones and those crazy singers and musicians!
From the works of the Original Tuxedo Jazz Band to those of Kid Ory, Freddie Keppard and Johnny Dodds, each one of these tracks (yes, count 'em; !!!) is a little gem. Each track is a shining example of N.O jazz at its best and should be in every jazz lovers library -if it isn't already/5(19). View credits, reviews, tracks and shop for the Gatefold Vinyl release of The Legend of Freddie Keppard on Discogs. Label: Kings Of Jazz - NLJ - ,Kings Of Jazz - NLJ - • Format: 2x, Vinyl LP, Compilation, Mono Gatefold • Country: Italy • Genre: Jazz • Style: Big Band. Nov 07, · Provided to YouTube by The Orchard Enterprises Scissor Grinder Joe · Freddie Keppard Jazz Classics ℗ Master Classics Records Released on: Auto-generated by YouTube. JSP's Breaking Out of New Orleans compiles four CDs with tracks containing a mixture of both rare and classic jazz from the '20s, including the Original Tuxedo Jazz Band, Piron's New Orleans Orchestra, Red Onion Jazz Babies, Cookie's Generals, New Orleans Wanderers, and Chicago balnalatelesupprosivadisbere.coinfo this set excludes solo recordings by Louis Armstrong, he is featured as an ensemble player Price: $ View credits, reviews, tracks and shop for the Vinyl release of Louis Armstrong With The Red Onion Jazz Babies & Freddie Keppard With Doc Cook's Dreamland Orchestra on Discogs. Label: Fountain Records (5) - FJ • Series: Vintage Jazz Series • Format: Vinyl LP, Compilation • Country: UK • Genre: Jazz •4/5(4). The Legendary Freddie Keppard: New Orleans Cornet - High Fever - It Must Be The Blues - The Memphis Maybe Man - Messin' Around - Moanful Man - The One I Love Belongs To Someone Else - Salty Dog () # - Scissor Grinder Joe - So his Is Venice - Stockyard Strut - Stomp Time Blues # Freddie Keppard and his Jazz Cardinals with Papa Charlie. Full text of "Victrola and 78 Journal, vol. 2" See other formats V ictrola Journal Issue 2 Fall if/ Music for Your Socials NEW EDISON ™The Phonograph with a Soul 99 EDITOR'S COMMENTS I am gratified by the reception given the first issue of Victrola and 78 . Full text of "Victrola and 78 Journal, vol. 2" See other formats V ictrola Journal Issue 2 Fall if/ Music for Your Socials NEW EDISON ™The Phonograph with a Soul 99 EDITOR'S COMMENTS I am gratified by the reception given the first issue of Victrola and 78 . Apr 02, · Amazon Music Unlimited HD Prime Music CDs & Vinyl Download Store Open Web Player MP3 cart Settings Scissor Grinder Joe Scissor Grinder Joe. Cook's Dreamland Orchestra. From the Album s: The Jazz Age In New Orleans April 2, $ Start your day free trial of Unlimited to listen to this song plus tens of millions more songs. 10 inch LP notes by Orrin Keepnews Riverside RLP (US ) 10 inch LP - Stockyard Strut () Freddie Keppard and his Jazz Cardinals (with Papa Charlie Jackson, voc) - Salty Dog () - Scissor-Grinder Joe. London AL (?) Ma Rainey with her Georgia Band Volume 3.
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