Jelly Roll Morton - 1923-1924 CD

1923-1924 songs A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune"). All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. In fact, although Bloomfield and Stills don't play together on any of the cuts (Bloomfield played on one side of the original LP, Stills on the other), all three principals get off lots of good licks and producer Kooper has some interesting tricks up his sleeve, as in the over-the-top phasing he lavishes on "You Don't Love Me." The only real disappointment here is that Stills, a far better singer than Kooper, never opens his mouth. Those familiar with the Live Adventures album these two recorded at the Fillmore West know how brilliant they could be on stage, and here's another gem, recorded at the Fillmore East this time and featuring 'One Way Out,' 'It's My Own Fault' (with Bloomfield trading licks with Johnny Winter...Johnny was signed to Columbia after this gig!). Newly remastered & now with 4 bonus tracks, 'Albert's Shuffle' (2002 Remix w/o Horns), 'Season of the Witch.' (2002 Remix w/o Horns), 'Blues For Nothing' (Studio Outtake) & 'Fat Grey Cloud' Previously Unreleased Live Track). Features 12-page booklet with unpublished photos from the recording session, new liner notes by Al Kooper & the Rolling Stone Hall Of Fame review by David Fricke. 60 scintillating minutes! 13 tracks. Colunbia/Legacy. 2003. Includes liner notes by Al Kooper, Michael Thomas. Includes liner notes by Michael Thomas. Full performer name: Mike Bloomfield/Al Kooper/Steve Stills. Personnel: Mike Bloomfield (electric guitar); Al Kooper (vocals, 12-string & electric guitars, piano, organ, ondioline); Steve Stills (electric guitar); Barry Goldberg (electric piano); Harvey Brooks (bass); Eddie Hoh (drums). Personnel: Mike Bloomfield (electric guitar); Al Kooper (piano, organ, ondioline, vocals, 12-string & electric guitars); Steve Stills (electric guitar); Barry Goldberg (electric piano); Harvey Brooks (bass); Eddie Hoh (drums). Reissue producer: Bob Irwin.

1923-1924 buy CD music Digitally remastered by Larry Walsh (February 1990, Capitol Recording Studios). A nicely chosen best-of by the most popular instrumental rock band in the world, ranging (chronologically) from their first big American hit, 1959's "Walk Don't Run," to their last, 1969's "Hawaii Five-O." Other signature tunes here are the Latin-tinged "Perfidia," and the surf classic "Ram-Bunk-Shush," but the best track is a stomping "Slaughter on Tenth Avenue," from their great LIVE IN JAPAN album. You also get some ace period covers--an appropriately arch version of the "Lolita Ya-Ya" and a fierce and fiery take on "Secret Agent Man," which actually works better as an instrumental. Includes liner notes by Steve Kolanjian. This is part of the EMI Legends Of Rock & Roll series. Audio Remasterer: Larry Walsh. Audio Remixers: Larry Walsh; Ron Furmanek. Liner Note Authors: Ron Furmanek; Steve Kolanjian. Recording information: Boles Studio, Seattle, WA (11/15/1960-10/01/1968); Boles Studios, Seattle, WA (11/15/1960-10/01/1968); Custom Recorders, Hollywood, CA (11/15/1960-10/01/1968); Liberty Recording Studios, Los Angeles, CA (11/15/1960-10/01/1968); Liberty Studios, Los Angeles, CA (11/15/1960-10/01/1968); RCA Studios, Los Angeles, CA (11/15/1960-10/01/1968); Sunset Sound Studios, Los Angeles, CA (11/15/1960-10/01/1968); TTG Studios, Hollywood, CA (11/15/1960-10/01/1968); United Studios, Hollywood, CA (11/15/1960-10/01/1968); Western Recorders, Los Angeles, CA (11/15/1960-10/01/1968). Photographer: Jeffrey Scales. The Ventures: Bob Bogle, Nokie Edwards (guitar, bass); Don Wilson (guitar); Howie Johnston (drums). Producers: Bob Reisdorff, Josie Wilson, Dick Glasser, Joe Saraceno.

1923-1924 album for sale Live Recording Includes liner notes by Steve Greenberg. Personnel: Rufus Thomas (vocals). Audio Remasterers: Dan Hersch; Bill Inglot. Liner Note Author: Steve Greenberg. The Best of Rufus Thomas: Do the Funky Somethin' is an overdue, career-spanning collection of Thomas' best material, centering around his Stax hits from the '60s and early '70s. The whole "dog" series of novelty dance songs from 1963-1964 is here, as well as the hit "Jump Back" and a clutch of Stax singles that weren't hits but became pretty well-known anyway, like "Sister's Got a Boyfriend" and "Sophisticated Sissy." There are also the early-'70s funk-dance hits "Do the Funky Chicken," "(Do The) Push and Pull," "The Breakdown," and "Do the Funky Penguin," a couple of '60s duets with his daughter Carla, and his 1953 blues single "Bear Cat (The Answer to Hound Dog)," the first hit on Sun Records. A few other compilations have gone into specific phases of his career in greater depth, but this is certainly the best overview of a man who offered some of the funkiest and funniest Memphis soul around. ~ Richie Unterberger Personnel includes: Rufus Thomas, Carla Thomas (vocals); The Mar-Keys; The Drapels; Booker T. & The MG's; Godchildren Of Soul.

1923-1924 CD music After his pop smash "Kansas City," Wilbert Harrison never recorded a single to match it, the only close call being his other chart hit, the pleasantly grooving "Let's Work Together." Those songs lead off this Collectables set (the second appears in its full two-part version), followed by a parade of Harrison's versions of R&B hits of the '50s and '60s, among them "C.C. Rider," "Stand by Me," "Blue Monday," and "Stagger Lee." These weren't just tossoffs, though. Harrison's performances were more interesting than the usual R&B crossovers of the day; he possessed the pacing of an urbane blues vocalist like Jimmy Rushing but his delivery and pitch were oddly reminiscent of honky tonk singers (check out his especially strong version of the Lenny Welch hit "Since I Fell for You"). "Kansas City" and "Let's Work Together" are his only true classics, but Wilbert Harrison recorded some other solid material during his time with Bobby Robinson's Fury label. ~ John Bush Personnel: Wilbert Harrison (vocals, guitar, harmonica, piano, drums). Liner Note Author: Mark Marymont.

1923-1924 buy CD music Track Listing of songs: DISC 1: Black Bottom Stomp; Smoke-House Blues; Chant, The; Sidewalk Blues; Dead Man Blues; Steamboat Stomp; Someday, Sweetheart; Grandpa's Spells; Original Jelly Roll Blues; Doctor Jazz; Cannonball Blues; Hyena Stomp; Billy Goat Stomp; Wild Man Blues; Jungle Blues; Beale Street Blues; Pearls, The; Wolverine Blues; Mr. Jelly Lord; DISC 2: Red Hot Pepper; Deep Creek Blues; Pep; Seattle Hunch; Frances; Freakish; Burnin' the Iceberg; Courthouse Bump; Pretty Lil; Sweet Anita Mine; New Orleans Bump; Down My Way; Try Me Out; Tank Town Bump; Sweet Peter; Jersey Joe; Mississippi Mildred; Mint Julep; Smilin' the Blues Away; Turtle Twist; My Little Dixie Home; That's Like It Ought to Be; DISC 3: Each Day; If Someone Would Only Love Me; That'll Never Do; I'm Looking for a Little Bluebird; Little Lawrence; Harmony Blues; Fussy Mabel; Ponchartrain; Oil Well; Load of Coal; Crazy Chords; Primrose Stomp; Low Gravy; Strokin' Away; Blue Blood Blues; Mushmouth Shuffle; Gambling Jack; Fickle Fay Creep; DISC 4: Chant, The; Sidewalk Blues; Dead Man Blues; Someday, Sweetheart; Grandpa's Spells; Original Jelly Roll Blues; Cannonball Blues; Hyena Stomp; Billy Goat Stomp; Wild Man Blues; Jungle Blues; Beale Street Blues; Pearls, The; Wolverine Blues; Georgia Swing; Kansas City Stomp; Shoe Shiner's Drag; Boogaboo; Shreveport Stomp; Mournful Serenade; DISC 5: Shreveport Stomp; Seattle Hunch; Freakish; Burnin' the Iceberg; Courthouse Bump; Pretty Lil; Sweet Anita Mine; New Orleans Bump; Tank Town Bump; Sweet Peter; Jersey Joe; Mississippi Mildred; Each Day; Oil Well; Load of Coal; Crazy Chords; Primrose Stomp; Strokin' Away; Blue Blood Blues; Gambling Jack;

1923-1924 songs Digital remastered by Gary Hobish (1991, Fantasy Studio, Berkeley, California). Recorded in 1971, THE AFRO-EURASIAN ECLIPSE reads in many ways like a follow-up to the 1967 epic FAR EAST SUITE. Compelling, cosmopolitan and organic, this music comes from Ellington's sifting of travel experiences, and it sounds as if he is using his impressions of places and peoples rather than appropriations of 'authentic' scales and rhythms. "Chinoiserie" is boisterous and fun, with long-tone horn peals forming the melodic cornerstone. Tenorman Harold Ashby takes his place blowing pure swing. "Afrique" is a percussion-based piece, with a liberal layering of the horn players' entrances - creating strains that are at first incongruous, then tie briefly together towards the middle of the affair. Preceded by the more even-tempered melodic and rhythmic structures of "Acht" and "Gong," "Tang" takes the picture to the outer limits again with strident opening horn blasts that yield to staccato call-and-responses that chill to the bone. All in all, a textured, cross-cultural treat for the ears. Recorded at National Recording Studio, New York, New York on February 17, 1971. Originally released on Fantasy (9498). Includes liner notes by Stanley Dance. Personnel: Duke Ellington (piano); Norris Turney (alto saxophone, clarinet, flute); Russell Procope (alto saxophone, clarinet); Paul Gonsalves, Harold Ashby (tenor saxophone); Harry Carney (baritone saxophone); Cootie Williams, Money Johnson, Mercer Ellington, Eddie Preston (trumpet); Booty Wood, Malcolm Taylor (trombone); Chuck Connors (bass trombone); Joe Benjamin (bass); Rufus Jones (drums).