1941 Нападение Западній Фронт

Edmond Hall, James P. Johnson, Sidney De Paris, Vic Dickenson - The Complete Blue Note Sessions (1985) {4CD Mosaic rec 1941-52}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 883 Mb | MP3 @320 -> 628 Mb
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© 1941-52, 1985 Mosaic Records / Blue Note | MD4-109
Jazz / Early Jazz / New Orleans Jazz / Swing / Dixieland / Stride

To say that this limited-edition six-LP Mosaic box is overflowing with classics is an understatement. Included are a variety of small-group sessions (with overlapping personnel) from the early days of Blue Note. The Edmond Hall Celeste Quartet has five songs that are the only existing examples of Charlie Christian playing acoustic guitar; clarinetist Hall, Meade Lux Lewis (on celeste), and bassist Israel Crosby complete the unique group. The king of stride piano, James P. Johnson, is heard on eight solos; other combos are led by Johnson, Hall (who heads four groups in all), trumpeter Sidney DeParis, and trombonist Vic Dickenson (heard in a 1952 quartet with organist Bill Doggett).

A massively comprehensive look at the earliest years of Ella Fitzgerald on record – the legendary recordings she made with the Chick Webb orchestra at the end of the 30s and start of the 40s! Ella was way more than just another singer with a band – as her presence in the Webb group really dominated its recording history, so much so that there were nearly five times as many Chick Webb singles with vocals by Ella as there were instrumentals by the group! Fitzgerald's placement was for good reason, too – as her singing abilities were landmark – almost more with the deftness of an instrument than most other singers who'd come before, and developed amazingly over the course of the seven years presented in the set. If you only know Ella from all her later famous sides – and plenty of those are wonderful, too – you'll find even more to love here – a beautifully remastered presentation of 187 titles that were originally issued on 78rpm singles, all collected here for the first time ever – with amazing notes, photos, and details on all the music. The set's not only a great illustration of the strength of the Webb and Fitzgerald team, but also of the way that Mosaic's talents for compilation can work especially well for the pre-LP years of jazz!

Coleman Hawkins was the first important tenor saxophonist and he remains one of the greatest of all time. A consistently modern improviser whose knowledge of chords and harmonies was encyclopedic, Hawkins had a 40-year prime (1925-1965) during which he could hold his own with any competitor…

In the summer of 1941, Artie Shaw organized yet another big band, his fourth in five years. This particular ensemble was one of his most fun groups, featuring trumpeter/singer Hot Lips Page, trombonist Jack Jenney, tenor saxophonist Georgie Auld, pianist Johnny Guarnieri, drummer Dave Tough, and a full string section with some arrangements by trombonist Ray Conniff. All but the last six recordings of this big band are on this CD, including "Blues in the Night," the adventurous "Nocturne," "Take Your Shoes off, Baby," "Just Kiddin' Around," "Dusk," and the two-part "St. James Infirmary." The music alternates between swing, Hot Lips Page features, and classical-oriented works, succeeding on all levels. But shortly after Pearl Harbor, Artie Shaw called it quits again, enlisting in the navy.

By the autumn of 1941, Benny Goodman's orchestra had taken on a polished, slightly oily aspect that was quite different from the bands he'd led a few years earlier. Pianist Mel Powell was now the arranger, Peggy Lee sang on most of the records, and the focus of the material often drifted away from authentically swinging jazz to include quite a number of pop tunes. This tendency is most dramatically demonstrated by two consecutive versions of "Buckle Down, Winsocki," with its John Philip Sousa intro and jocular group vocal. Although the arrangement gets hipper in midstream, one would never guess that the great Cootie Williams was in the band. Maybe nobody did - Williams left in mid-October, knocking the trumpet section down more than one peg…

All 20 of the Lucky Millinder Orchestra's valuable 1941-1942 recordings are on this recommended CD. Millinder himself was not a musician and his only vocal here is mostly shouting on "Ride, Red, Ride," but he was an effective bandleader and frontman. Other than a couple of World War II propaganda songs, the music on these sessions emphasizes swing, and several notable artists are featured. Sister Rosetta Tharpe (who also played excellent guitar) has six rollicking showcases, and among the soloists are clarinetist Buster Bailey, tenorman Stafford Simon, pianist Bill Doggett, and (on the final four songs) altoist Tab Smith and the rapidly emerging trumpeter Dizzy Gillespie. On "Little John Special," Dizzy quotes directly from the as-yet-unwritten "Salt Peanuts." Other highlights include "Rock Daniel," "Apollo Jump," "Rock Me," "That's All," and "Mason Flyer."

All of these sides but one (a pop vocal by Charles Trenet) were made in December 1940, just half a year into the Nazi occupation of Paris. People are still marveling over the fact that Django Reinhardt, a Gypsy who played music closely aligned with Jews and Afro-Americans, was not arrested and put to death by the invasive regime, for these collective jams were and are the antithesis of fascist ideology. It just so happens that this little slice of the chronology contains some of Reinhardt's most interesting material, wonderfully evolved from the earlier Hot Club de France, yet filled with premonitions of how jazz would come to sound ten or even 20 years later. Hubert Rostaing was an inventive clarinetist, sounding something like Marshall Royal, and is featured on most of these sides…

A chronological history of jazz vocal presented by André Francis and Jean Schwarz. 10 CDs with more than 12 hours of music.
The resulting 2 boxed sets of 10 CDs in each, unlike any other available today, groups together the main vocalists in the story of jazz from the first half of the 20th century. Each of these 20 CDs offers in more or less the same proportion, the purest of African-American song with gospel and blues singers, from truculent Ma Rainey to majestic Bessie Smith, sophisticated Sarah Vaughan to popular Louis Prima, the folk-related tones of Charlie Patton to the honeyed voice of Frank Sinatra.