Label: Retrieval
Format: CD
Barcode: 0608917905823
Catalog number: RTR 79058
Releasedate: 02-07-09
Format: CD
Barcode: 0608917905823
Releasedate: 02-07-09
A collection that celebrates the Jazz Modernists from l924-33. Music from a time when a new intellectual generation introduced new influences into jazz.
• Wonderful collection of ‘modern’ jazz from the 1924-1993
• With compositions by Fud Livingston, Arthur Schutt, Frank Signorelli, Hoagy Carmichael etc.
• Liner notes by Digby Fairweather
• With compositions by Fud Livingston, Arthur Schutt, Frank Signorelli, Hoagy Carmichael etc.
• Liner notes by Digby Fairweather
The Wolverine Orchestra| Original Memphis Five | Hitch’s Happy Harmonists| Ross Gorman and His Orchestra | The Red Heads | Red Nichols and his Five Pennies | Frankie Trumbauer and His Orchestra | Tram, Bix and Eddie | The Six Hottentots | The Charleston Chasers | Miff Mole and His Molers | Don Voorhees and His Orchestra
Tram, Bix and Lang | Red Nichols and His Orchestra | Red Norvo
For most general jazzlovers the term ‘modern jazz’ is retrospectively defined – however obstinately or anachronistically - by the postwar revolutions of Charlie Parker, Dizzy Gillespie and Thelonius Monk; all of them more than sixty years old now. So how can there be a collection such as this which delves back yet another twenty years in order to (gloriously) celebrate ‘the Jazz Modernists l924-33’?
Well, if we know that on February 26th l917 the first cacophonous jazz recording - ‘Livery Stable Blues’ and ‘Dixie Jass Band One-Step’ by the Original Dixieland Jazz Band - burst unrepentantly on the public ear, it follows that not only had a new and virile artform launched itself on the world, but that its refinement by a new intellectual generation was both urgent, inevitable and musically seductive too. So that by June l924 Paul Whiteman – an historic champion of Beiderbecke and his contemporaries - had already presented his groundbreaking “Experiment in Modern Music” concert at Aeolian Hall New York; a broad reflection of what was around in American music of the period, including not only jazz sweet and hot, but what might be (gratuitously) called ‘light music’ as well as the premiere of George Gershwin’s ‘Rhapsody in Blue’. And it’s no surprise, therefore, that, at the same time, American jazzmen were drawing on the same contemporary influences to enrich and enlarge their own artistic outputs.
Classical music seemed to have been closer to jazz at this point that its longhair afficionadoes might have been prepared to admit. “But” said Paul Whiteman “ – you’ll never learn to bounce in jazz if you don’t know your Bach and your Beethoven!” And even if it was Ravel, Delius and Debussy who were the men of the day, they certainly provided some of the incidental inspirational sources which l920s jazz musicians brought to their creations. And this was inevitable. Because ten years previously the music of which they would subsequently be historic pioneers had yet to furnish viable artistic premises by existing on record at all!
Tram, Bix and Lang | Red Nichols and His Orchestra | Red Norvo
For most general jazzlovers the term ‘modern jazz’ is retrospectively defined – however obstinately or anachronistically - by the postwar revolutions of Charlie Parker, Dizzy Gillespie and Thelonius Monk; all of them more than sixty years old now. So how can there be a collection such as this which delves back yet another twenty years in order to (gloriously) celebrate ‘the Jazz Modernists l924-33’?
Well, if we know that on February 26th l917 the first cacophonous jazz recording - ‘Livery Stable Blues’ and ‘Dixie Jass Band One-Step’ by the Original Dixieland Jazz Band - burst unrepentantly on the public ear, it follows that not only had a new and virile artform launched itself on the world, but that its refinement by a new intellectual generation was both urgent, inevitable and musically seductive too. So that by June l924 Paul Whiteman – an historic champion of Beiderbecke and his contemporaries - had already presented his groundbreaking “Experiment in Modern Music” concert at Aeolian Hall New York; a broad reflection of what was around in American music of the period, including not only jazz sweet and hot, but what might be (gratuitously) called ‘light music’ as well as the premiere of George Gershwin’s ‘Rhapsody in Blue’. And it’s no surprise, therefore, that, at the same time, American jazzmen were drawing on the same contemporary influences to enrich and enlarge their own artistic outputs.
Classical music seemed to have been closer to jazz at this point that its longhair afficionadoes might have been prepared to admit. “But” said Paul Whiteman “ – you’ll never learn to bounce in jazz if you don’t know your Bach and your Beethoven!” And even if it was Ravel, Delius and Debussy who were the men of the day, they certainly provided some of the incidental inspirational sources which l920s jazz musicians brought to their creations. And this was inevitable. Because ten years previously the music of which they would subsequently be historic pioneers had yet to furnish viable artistic premises by existing on record at all!
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1Royal garden blues02:54
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2The meanest blues03:17
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3Washboard shuffle02:42
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4Boneyard shuffle03:06
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5Rhythm of the day03:11
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6Nervous Charlie02:42
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7The chant02:37
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8That's no bargain02:45
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9Singin' the blues03:01
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10For no reason at all in C03:04
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11Melancholy Charlie02:50
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12Delirium03:00
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13Mean dog blues03:14
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14Three blind mice03:02
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15Feelin' no pain02:51
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16Solilognoy02:44
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17Wringin' and twistin'03:03
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18Humpty Dumpty03:01
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19Krazy kat02:55
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20Jubilee03:17
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21A imagination02:58
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22Harlem twist02:53
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23In a mist03:18
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24Dance of the octopus03:20