| | Jelly Roll Morton Last Sessions CD Jelly Roll Morton Discography of CDs
 (3 Customer Reviews)
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This CD contains Jelly Roll Morton's final studio recordings (the only existing later performances by Morton are a couple of tunes from a radio broadcast) and supercedes an earlier two-LP Atlantic set. The main reason to acquire this 1997 CD is Morton's 13 classic piano solos, which include five vocals, his first on record other than the much earlier "Dr. Jazz" and the Library of Congress sides. Only ten of the solos were originally released, so this is a very complete reissue. Morton, despite ailing health, was in very good form for the sessions, and his versions of "The Crave," "King Porter Stomp," "Winin' Boy Blues," "Buddy Bolden Blues" and "Don't You Leave Me Here" are quite memorable. In addition, he is heard heading three band dates that, despite the presence of trumpeter Henry "Red" Allen and clarinetist Albert Nicholas, do not quite live up to their potential. They did introduce Jelly Roll's "Sweet Substitute" (a future standard) and include a hot rendition of "Panama," but such songs as "Get the Bucket" and "Mama's Got a Baby" have not been revived since. Still, this set is highly recommended for the solo performances, Jelly Roll Morton's final contribution to the music he claimed to have founded. ~ Scott YanowJazzTimes (9/97, p.76) - "...The 25 tracks...were originally made for the General label in 1939-40. They were his last commercial recordings and among the thirteen piano solos that begin the program are some of his best..." Jelly Roll Morton Last Sessions Songs Last Sessions Music Review Average Rating: (5 out of 5 stars)  Great recordings from the end of his career
This album is about half piano solos (some with Morton's own vocals) and half band sides featuring Henry 'Red' Allen on trumpet. The sound is mostly excellent, taking advantage of improvements in technology between the 1920s and 1940. Morton's playing is as good as ever, and his singing has a wry disillusionment reflecting a career with many ups and downs. This is jazz.
Submitted by BR (Boston, USA)
Was This Review Helpful? Yes No Unexpected pleasure
Ass a person who previously not had any Jelly Roll Morton in their CD collection, this was an unexpected pleasure. I love Morton's piano playing and the band is great too. There are one or two tracks that are a little over-compressed, otherwise the sound is excellent.
Submitted by C.Peppel (Arlington, Massachusetts)
Was This Review Helpful? Yes No STUFF!!!!
Jelly Roll FOREVER!!!!
Submitted by najponk (Prague)
Was This Review Helpful? Yes No | Have you heard this album? |  |
Purchase Last Sessions CD To buy, Click on price to add to cart | Jelly Roll Morton 1923-1924 CD (1991)
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Originally released on Columbia (30008). Includes liner notes by Paul Oliver.
When writer and blues scholar Paul Oliver first came along, the genre he specialized in was something of a mystery to the music audience. Young listeners hearing the Rolling Stones do an old Delta blues number on the group's very first record usually thought this was some kind of original concept, not a tribute to a great Afro-American art form which at that point had been languishing in obscurity. The growing popularity and staying power that has accompanied the blues into the millennium has of course brought with it enormous amounts of additional research and the release of old and new blues material on what can only be considered a massive scale. The work of Oliver has certainly lost much of what used to make it exclusive. Fans no longer have to turn to his productions or books out of desperation. This double-album set may have been one of the best blues compilations available at one point, but that was only because that particular bin was almost completely empty. With so much other material subsequently available, consumers are free to look at this set with a sneer forming on their lips that may rival that of Mick Jagger. Of course there is nothing wrong with any of the 32 tracks that are included; it is all perfectly good music and some of it is downright brilliant. The rating above, then, is for the music performances. Judged purely as a historical document, this set has severe problems and should be rated much lower. The problem was that Oliver had come to his own conclusions about blues history and used whatever tracks he had access to contractually to try to shore up these points. For the most part, the seasoned blues listener would see this set not as a thorough history but as a collection of country blues tracks, although there are short excursions into the area of classic female blues singers such as Bessie Smith and a slight nod toward the electric urban blues sound. Oliver himself was much less fond of the latter development in blues than he was the work of solo acoustic artists, which, combined with problems licensing material, makes his urban blues section more like a trip to the suburbs. There is no Muddy Waters, for example, just a track with some of his backup players. Trouble starts immediately with the very first piece on the album, an untitled performance recorded in Ghana in 1964. That the blues "came from Africa" was always one of this writer's preoccupations. Nobody will argue ...
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