| | Louis Jordan At The Swing Cat's Ball CD Louis Jordan Discography of CDs
His best work recordings from 46/54.
Personnel includes: Louis Jordan (vocals, alto & baritone saxophones); Josh Jackson, Lem Johnson, James Wright, Eddie Johnson, Maxwell Davis, Lowell Hastings (tenor saxophone); Aaron Izenhall, Courtney Williams, Eddie Roane, Bob Mitchell (trumpet); Wild Bill Davis, Bill Doggett, Clarence Johnson (piano); Charlie Drayton, Jesse Simpkins, Dallas Bartley, Billy Hadnott (bass); Eddie Byrd, Walter Martin, Joe "Chris Colombus" Morris (drums).
Producers include: Milt Gabler, J. Mayo Williams.
Compilation producers: Peter A. Grendysa, Andy McKaie.
Recorded between 1946 & 1954. Includes liner notes by Peter A. Grendysa.
All tracks have been digitally remastered.
Personnel: Louis Jordan (alto saxophone, baritone saxophone); Bert Payne, Carl Hogan , James Jackson, Bill Jennings (electric guitar); James Wright , Lowell Hastings, Lem Johnson, Maxwell Davis, Josh Jackson (tenor saxophone); Earle Warren (baritone saxophone); Courtney Williams, Aaron Izenhall, Eddie Roane, Bob Mitchell (trumpet); Chester Lane, Clarence Johnson , Arnold Thomas, Bill Doggett (piano); Eddie Byrd, John Kirkwood, Walter Martin (drums).
Liner Note Author: Peter Grendysa.
Recording information: LA, CA (03/29/1938-01/04/1954); New York, NY (03/29/1938-01/04/1954).
Released as an attempt to cash in on the swing revival that swept through America in the late '90s, MCA's At the Swing Cat's Ball contains 12 songs that spotlight Louis Jordan's hardest-swinging material. Since Jordan towered above most jump blues practitioners in the '40s, it's easy to enjoy the compilation, even if you question the reasons behind its assembly. Since it concentrates on swinging material, it isn't a strict hits compilation (even though there are hits here), but that probably won't bother Generation Y swingers, whom this compilation is clearly targeted at. ~ Stephen Thomas Erlewine
At The Swing Cat's Ball Music Louis Jordan At The Swing Cat's Ball Songs At The Swing Cat's Ball Review
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B L U E T U N ACryin' blues from the west coast scene of the 1940s, 1950s, & beyond, with a half-dozen BLUE TUNA originals "Plenty of muscle." Blues Revue"Class musicianship perched at the top of the heap." Blues FreePress"The CD is one of the best I've ever heard." BlueSpeak"After I'm gone, you'll be the man!" Charles BrownThis new CD by veteran blues club band BLUE TUNA is a deep fusion of Chicago and West Coast electrified blues traditions. Screaming guitars, tasty keys, fabulous horns, and a rhythm section that just won't quit.Unlike any blues album you've ever heard, "Cryin'" is half 'original' blues and the other half tunes from the West Coast scene of the 1940s and 1950s by Charles Brown, T-Bone Walker, Jimmy Witherspoon, and Lowell Fulsom. on the web at www.bluetunas.comreviews: "There's plenty of muscle in the blues of Blue Tuna. On Cryin' (self-release), all the pieces fit together perfectly: Tom Lutz's bold keyboard work, the tough-knock bass-drum work of John Stefaniak and Kerri Collings, and sterling guitar by a variety of axemen. Whether on the pulverizing blues-rocker Don't Owe You or the smooth seven-minute ballad Trouble Blues, these guys know exactly where they're going." --Jeff Calvin, Blues Revue "Bandleader/keyboardist Tom Lutz ably anchors center stage with his passionate, vintage-blues vocal rasp, but the group boasts mondo firepower from all stations. Ace guitarists Gary Gibson, Steve Grismore, and Johnny Kilowatt constitute an embarrassment of riches, bassist John Stefaniak and showy tub-thumper Kerri Collings form one of the swingin'-est rhythm sections around, and 'CannonSaul' Lubaroff curls off beauties on both alto and tenor. The 13 tracks on Cryin' are divided almost evenly between swinging, '40s/'50s-era big-band blues standards (by Charles Brown, T-Bone Walker, Jimmy Witherspoon, and Lowell Fulsom) and a half-dozen cool Lutz originals that are so thoroughly in-the-tradition that they slip into the mix without causing a ripple. The hour-plus-long disc's sound is big, airy, and natural, and the grooves are deep and relentless. Kudos, too, to the 'PostBohemian' horn section." --Jim Musser, ICPC "Blue Tuna are ...
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