The Cavalcade Of Swing 1938/39 - Jazz Piano Vistousos, Benny Goodman SextetJeśli film narusza twoje prawa zgłoś go tutaj »
1. I Got Rhythm (Gershwin) – Benny Goodman Sextet (Benny Goodman, clarinet; Charlie Christian, electric guitar; Lionel Hampton, vibraphone; Fletcher Henderson, piano; Arthur Bernstein, bass; Nick Fatool, drums); 1938 2. Cavalcade of Boogie (Lewis-Ammons-Johnson) – Meade Lux Lewis, Albert Ammons, Pete Johnson, pianos; Walter Page, bass; Jo Jones, drums; 1939 3. Memories Of You (Eubie Blake) – Benny Goodman Sexet, same personnel as p.1; 1938 Above 3 recordings are the part of John Hammond’s Spirituals to Swing (1938/39) vol. 1&2; AMADEO Long Playing 33 1/3 rpm, Austria 1959 NOTE: John Henry Hammond II (1910 – 1987) - American record producer and music critic active in USA and UK from the 1930s to the early 1980s. In his service as a talent scout, Hammond became one of the most influential figures in 20th-century popular music, who discovered and furthered musical careers of many artists, including Benny Goodman (John Hammond’s sister was married to him), Billie Holiday (he saw her singing in a Harlem club and arranged for her a large debut), Count Basie, Harry James, Aretha Franklin, Bob Dylan, Bruce Springsteen or Leonard Cohen. In 1938 and 1939 John Hammond promoted two concerts at Carnegie Hall just before World War II. presenting a broad program of blues, jazz and gospel called “Spirituals To Swing” with participation of the white and black jazz artists. The performers included Benny Goodman, Count Basie Bib Bill Broonzy, Sidney Bechet, Sonny Terry, Ida Cox, Helen Humes, Joe Turner, Jimmy Rushing, Golden Gate Quartet, Albert Ammons, Pete Johnson, James P. Johnson, Meade "Lux" Lewis, Sister Rosetta Tharpe, New Orleans’ Feetwarmers. The idea was to present the connection between blues and jazz, and all that happen on stage of the most distinguished concert Hall in front of the white New York upper class audience (in that time black jazz performers were not taken seriously by the musical establishment). Both concerts became an explosive event and are considered now as one of the most important musical sessions in the history of jazz. Both concerts were privately recorded for John Hammond and were played and replayed many times at his home. Only in the 1950s – when in the passage of time it became obvious that these performances were of great musical and historical significance – it was decided to remaster them and preserve for the posterity. Ofcourse, the recording technique was not comparable in the 1950s with what we have now in the digital recording and remastering era. However, these recordings are still exciting and stirring and should be presented as a memento what the great artists can do with the “simple pop music”, bringing it up to the level of the highest artistry.
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