More Jazz » Frog Records
By 1929 the end of Chicago's Jazz Age was already in sight. The closure of many small black and tan cabarets by the Federal Authorities for violation of teh Volstead Act prohibiting the sale of Alcholic liquir, the advent of the 'talking picture' and the increasing effect of network radio all combined to dimish the work available for musicians. Then the Great Depression was the final blow. The recordings preswented on this CD are representative of the ... [MORE]
The City of New York was - since before the turn of the 20th Century, the commercial centre for popular music. By the mid-20s the black popularion of the City had increased greatly and was largely concentrated in Harlem. Jazz was the popular music of the day and the city was full of theatres, night clubs and dance halls providing employment for musicians, and entertainment for the masses.
Bands here are SAVOY BEARCATS, EVELYN PREER ACCOMPANIED BY ... [MORE]
It was the migration of southern black to northern cities in the years 1916-19 which triggered Chicago's Jazz Age. The cabarets, theatres, dance halls clubs all provided employment for skilled musicians who could sight read and accompany performers such as dancers and comedians. The stock market crash of October 1929 marked the end of this Jazz Age and the beginning of the Great Depression. Recording activity virtually came to a standstill. So these are ... [MORE]
The Complete Sessions of The Dixieland Jug Blowers featured here is a culmination of more than thirty years of jug and band tradition radiating from Louisville, Kentucky. Here the 'jug' is an empty one-gallon stone jar that might have contained whisky or cider. it acts solely as a resonator for a double-lip blown 'raspberry'. Most of the band had known one another sine 1914 when there were several stings and jug bands working the area as this was a ... [MORE]
All lovers of New Orleans jazz appreciate the importance of Johnny Dodds. Second to none as a blues clarinettist, he contributed to many classic recordings including those made by King Oliver and his Creole Jazz Band, Louis Armstrong and his Hot Five and Hot Seven, Jelly Roll MOrton's Red Hot Peppers, but far too few sessions under his leadership. These sides were cut in Chicago for the Victor studio between 1928 and 1929. Listen and enjoy!
Combos on ... [MORE]
The New Orleans Owls were formed in 1922 and cut 18 sides for Columbia Records between 1925 and 1927, among them some of the finest jazz to emerge from their native city in the 1920s. The tracks on this CD were recorded in New Orleans and Atlanta 1925-1927.
The album is completed by bonus tracks The New Orleans Rhythm Kings and John Hyman's Bayou Stompers. 26 tracks in all [MORE]
It is strange that precious little is known about the cornet player Thomas Morris, who recorded prolifically in New York in the 1920s. Thereafter he joined the religious sect of Father Divine having given up the life of a musician at some point in the 1930s. Here we have all known takes of his recordings for Victor in 1926.
Bands led on these sessions are: Tracks 1-7 and 17-25 Thomas Morris and his Seven Hot Babies
Track 8 Thomas Morris and his ... [MORE]