| | Eddie Condon Midnight In Moscow/The Roaring Twenties CD Eddie Condon Discography of CDs
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Our Price: $11.69 CDFor Sale Usually ships in 1-2 days (Only 1 available)
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2 Lps On 1 CD
2 LPs on 1 CD: MIDNIGHT IN MOSCOW (1962)/THE ROARING TWENTIES (1957). Personnel: Eddie Condon (guitar); Billy Butterfield, Bobby Hackett (trumpet); Wild Bill Davison (cornet); Vic Dickenson, Cutty Cutshall, Lou McGarity (trombone); Bob Wilbur, Peanuts Hucko (clarinet); Dick Cary (alto horn, piano); Gene Schroeder (piano); Leonard Gaskin, Jack Lesberg (bass); George Wettling, Buzzy Drootin (drums). A pair of dates from Eddie Condon & His All-Stars make up this Collectables two-fer. Both are quasi-concept albums, the first (1962's Midnight in Moscow) a swing-around-the-world session prompted by Kenny Ball's surprise hit with the title song one year earlier. The lineup includes trumpeter Bobby Hackett, pianist Dick Cary, Peanuts Hucko on clarinet, and Lou McGarity on trombone; Hucko, especially, does some great work during the opener, "Meadowland," and a stately version of "Londonderry Air." The second LP included on the program, 1957's The Roaring Twenties, salutes a host of jazz luminaries of the pre-swing era, from Lee Wiley and Turk Murphy to Duke Ellington and Louis Armstrong. Condon -- appearing with cornetist Wild Bill Davison, drummer George Wettling, clarinetist Bob Wilber, bassist Leonard Gaskin, and trombone player Vic Dickenson -- illustrates perfectly how much fun jazz was before it took itself seriously, jamming on "Minor Drag," "That's a Plenty," and ten other tunes. ~ John Bush
Midnight In Moscow/The Roaring Twenties Music Eddie Condon Midnight In Moscow/The Roaring Twenties Songs Midnight In Moscow/The Roaring Twenties Music Review Purchase Midnight In Moscow/The Roaring Twenties CD To buy, Click on price to add to cart | Eddie Condon Bixieland/Treasury Of Jazz CD (1955)
Midnight In Moscow/The Roaring Twenties
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Midnight In Moscow/The Roaring Twenties
$14.29 Full title: Lester Young With The Oscar Peterson Trio. Personnel: Lester Young (vocals, tenor saxophone); Oscar Peterson (piano); Barney Kessel (guitar); Ray Brown ...
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$14.29 | | Peter Bjorn & John Writer's Block CDs (2006) Bonus CD
Midnight In Moscow/The Roaring Twenties
$9.85 Bonus Disc Included. Personnel: Peter Bjorn and John (vocals, whistling, tambourine); John Eriksson (vocals, whistling, guitar, electric guitar, dulcimer, harmonica, Moog synthesizer, drums, bongos, shaker, steel drum, tambourine, tubular bells, sound effects); Björn Yttling (vocals, whistling, harmonica, piano, organ, synthesizer, drum machine, tambourine); Peter Morén (vocals, guitar, acoustic guitar, electric guitar, Spanish guitar, harmonica, piano); Victoria Bergsman (vocals); Beyond the Wizard's Sleeve (guitar, sitar). Audio Mixers: Janne Hansson; Linus Larsson; Lasse Mĺrtén. Audio Remixers: Oscar Tillman; Beyond the Wizard's Sleeve. Recording information: Hogald; Hogalid. Arrangers: Peter Morén; Björn Yttling; John Eriksson. The Stockholm trio of Peter Moren, Bjorn Yttling, and John Eriksson scored a European hit with their delightfully amateurish "Young Folks" single, included here complete with whistling and bongos. The rest of their second album, a fully realized fusion of intelligent songwriting and innovative production, is equally enchanting. Moren's "Objects Of My Affection" combines the rhythm, soul, and self-analysis of a RUBBER SOUL-era John Lennon composition with the atmosphere and melodic distortion of My Bloody Valentine, and Eriksson's "Up Against The Wall" evokes Blur's early Syd Barrett-influenced songs. Peter Bjorn and John's third album deserves every bit of attention and hype it's received, from large media outlets right down to the lowliest blog. It's a major work of post-everything indie rock that has enough hooks, production genius, and emotional strength to make other rock acts (indie or otherwise) sound like they are just wasting everyone's time. The group's previous two albums were excellent power pop records with an excess of brains and style, whereas Writer's Block scales back the guitars in favor of subtler arrangements that deliver just as much power sonically and ups the stakes in every other way. Every song has that kind of stripped-down, well-thought-out, whatever-works production style that brings the music fully to life. Check the steel drums on "Let's Call It ...
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