Dougie MacLean • Fiddle

Folk musician, composer and vocalist, born in Perthshire, Scotland in 1954, playing fiddle and mandolin and touring all over the world (either solo or as part of various bands) since the seventies.

dougiemaclean.com ...

Claude Williams • Call For The Fiddler

Claude "Fiddler" Williams (February 22, 1908 – April 26, 2004) was an American jazz violinist and guitarist.

Williams was born in Muskogee, Oklahoma, in 1908, and by 10 he had learned to play guitar, mandolin, banjo and cello. Upon hearing Joe Venuti play, he was inspired to take up the violin. In 1928, he moved to Kansas City and toured with Andy Kirk's territory band Twelve Clouds of Joy, which also included Mary Lou Williams, and further honed his musicianship by participating in jam sessions. Count Basie discovered him in Kansas City and later invited him to play rhythm guitar in his band. From the late 1960s, he often played with fellow Kansas City resident Jay McShann. From the 1980s, Williams performed on violin exclusively.

In 1997, Claude Williams was inducted into the Oklahoma Music Hall of Fame.

He died of pneumonia in Kansas City at age 96. He was the last surviving jazz musician to have recorded before 1930.

His memorabilia has been donated to the LaBudde Special Collections Department at the Miller Nichols Library at the University of Missouri-Kansas City. Full info ...

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Claude "Fiddler" Williams (22 de febrero de 1908 - 26 de abril de 2004) fue un violinista y guitarrista de jazz americano.

Williams nació en Muskogee, Oklahoma, en 1908, y a los 10 años ya había aprendido a tocar la guitarra, la mandolina, el banjo y el violonchelo. Al escuchar a Joe Venuti tocar, se inspiró en el violín. En 1928 se trasladó a Kansas City y realizó una gira con la banda territorial de Andy Kirk, Twelve Clouds of Joy, que también incluía a Mary Lou Williams, y perfeccionó aún más su musicalidad participando en jam sessions. Count Basie lo descubrió en Kansas City y más tarde lo invitó a tocar la guitarra rítmica en su banda. Desde finales de los 60, tocó a menudo con su compañero de Kansas City Jay McShann. A partir de los años 80, Williams tocó exclusivamente con el violín.

En 1997, Claude Williams fue admitido en el Oklahoma Music Hall of Fame.

Murió de neumonía en Kansas City a los 96 años. Fue el último músico de jazz sobreviviente que grabó antes de 1930.

Sus recuerdos han sido donados al Departamento de Colecciones Especiales LaBudde de la Biblioteca Miller Nichols de la Universidad de Missouri-Kansas City.

 

 

 

Stuff Smith • The Stuff Smith Memorial Album

 

Hernan Oliva • Nieblas del Riachuelo

 

Nació el 4 de julio de 1913 en Valparaíso, Chile. Comenzó sus estudios de violín a los 8 años, en medio de una familia de no músicos (su padre era político, posiblemente Daniel Oliva integrante de los llamados "señores del salitre", y su madre, ama de casa), llegando a dominarlo rápidamente.
Hacia 1927 ingresó a la orquesta de Ernesto Davagnino. Su padre, quien había elegido para él la carrera de leyes, al enterarse que Hernán solo quería dedicarse a la música, lo conmina a elegir o ser desheredado. Hernán, de carácter bohemio, elige y es expulsado del hogar. Hacia 1935 cruzó a Mendoza. Trabajó pocos meses en la radio LV 10 de Cuyo, con su orquesta.
Migró hacia Buenos Aires, donde vivía Luis Davagnino, hermano de Ernesto y músico el también, quien lo recibe en su casa luego de encontrarlo silbando de esquina en esquina de la calle Alsina una tonada que sabía que Luis reconocería. Le consiguió trabajo como acompañante de Betty Caruso y Fanny Loy, en Radio Belgrano. El 15 de septiembre ingresó a la orquesta de René Cóspito, haciendo los bailables de Radio Belgrano y el té en Gath y Cháves.
Hacia 1940 pasó al grupo que tocaba en la boite La Chaumiere, con Enrique "Mono" Villegas en piano, David Washington en trompeta, y el inglés Phillips en saxo.
Al año siguiente pasó a la orquesta de Oscar Alemán. Disputas musicales y económicas terminaron con una reyerta, que los separó definitivamente.
Hacia 1944 ingresó a trabajar con los Cotton Pickers de Ahmed Ratip. Luego con Tito Alberti y José Finkel formaron la Jazz Casino, debutando en 1951 en el club Villa Crespo, con Lorna Warren como cantante.
De allí pasó al restaurante El Caballito Blanco, tocando lo que viniera. Según declaraba Oliva, la aparición del Club del Clan había desplazado al jazz como música bailable, y por lo tanto comercial.
En sus últimos años, solía rondar por los bares de San Telmo, tocando para quien se lo pidiera, a veces por un vaso de whisky. Muchas veces, los responsables de esos lugares, incapaces de apreciar su enorme talento, ni siquiera apagaban la música ambiental cuando iba a ejecutar, o le decían: "Tocás tres y te vas".¨En esos tiempos solía interpretar tango, para adecuarse al medio, y lo hacía con gran maestría, pero no dejaba de decir que la música que realmente amaba era el jazz.
Falleció en la madrugada del 17 de junio de 1988, a punto de cumplir 75 años. Apareció tirado en una vereda del barrio de Palermo, abrazado al estuche de su violín.
https://es.wikipedia.org/wiki/Hern%C3%A1n_Oliva

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Automatic Translation:
He was born on July 4, 1913 in Valparaiso, Chile. He began studying violin at age 8, amid a family of non-musicians (his father was a politician, possibly Daniel Oliva member of the so-called "masters of salt", and his mother, housewife), reaching quickly master .By 1927 he joined the orchestra of Ernesto Davagnino. His father, who had chosen for him a career in law, to learn that Hernán just wanted to pursue music, it urges to elect or be disinherited. Hernán bohemian character, choose and is sent home. By 1935 he crossed to Mendoza. He worked a few months in the Cuyo LV 10 radio, with his orchestra.He migrated to Buenos Aires, where Luis Davagnino, Ernesto brother and fellow musician lived, who receives at home after finding whistling from corner to corner of the street Alsina a tune he knew Luis recognize. He got a job as companion Betty Caruso and Fanny Loy, on Radio Belgrano. On September 15 he joined the orchestra of René Cospito, doing the dance of Radio Belgrano and tea in Gath and Chaves.By 1940 the group spent playing in the boite La Chaumiere, with Enrique "Mono" Villegas on piano, David Washington on trumpet and sax Phillips in English.The following year he became the orchestra of Oscar Aleman. Musical and economic disputes ended with a brawl, which definitely separated.By 1944 he began working with the Cotton Pickers Ahmed Ratip. After Tito Alberti and José Finkel formed the Jazz Casino, debuting in 1951 at the club Villa Crespo, with Lorna Warren as a singer.From there he went to the restaurant El Caballito Blanco, playing whatever came. As stated Oliva, the appearance of the Club of the Clan had moved to jazz and dance music, and therefore commercial.In his later years, he used to hang around the bars of San Telmo, playing for whom being asked, sometimes for a glass of whiskey. Often, those responsible for these places, unable to appreciate his enormous talent, even when turned off the background music was going to run, or he said, "three touch and go" .In those times used to play tango, to suit the medium, and did it with great skill, but kept saying that music really loved was jazz.He died on the morning of June 17, 1988, about to turn 75 years. It appeared lying on a sidewalk in the neighborhood of Palermo, hugging his violin to the case.https://es.wikipedia.org/wiki/Hern%C3%A1n_Oliva

Claude 'Fiddler' Williams • My Silent Love Album

 

Editorial Reviews

Decades after playing with Andy Kirk, Nat King Cole and Count Basie, this fantastic guitarist/fiddler started touring and recording again in the '70s. C Jam Blues; All of Me; Blue Moon; Exactly Like You , and more!

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Reseñas editoriales

Décadas después de tocar con Andy Kirk, Nat King Cole y Count Basie, este fantástico guitarrista/ violinista comenzó a hacer giras y grabaciones de nuevo en los años 70. C Jam Blues; All of Me; Blue Moon; Exactly Like You , y más!

 

 

 

Hernan Oliva • Capullito De Aleli

Nació el 4 de julio de 1913 en Valparaíso, Chile. Comenzó sus estudios de violín a los 8 años, en medio de una familia de no músicos (su padre era político, posiblemente Daniel Oliva integrante de los llamados "señores del salitre", y su madre, ama de casa), llegando a dominarlo rápidamente.
Hacia 1927 ingresó a la orquesta de Ernesto Davagnino. Su padre, quien había elegido para él la carrera de leyes, al enterarse que Hernán solo quería dedicarse a la música, lo conmina a elegir o ser desheredado. Hernán, de carácter bohemio, elige y es expulsado del hogar. Hacia 1935 cruzó a Mendoza. Trabajó pocos meses en la radio LV 10 de Cuyo, con su orquesta.
Migró hacia Buenos Aires, donde vivía Luis Davagnino, hermano de Ernesto y músico el también, quien lo recibe en su casa luego de encontrarlo silbando de esquina en esquina de la calle Alsina una tonada que sabía que Luis reconocería. Le consiguió trabajo como acompañante de Betty Caruso y Fanny Loy, en Radio Belgrano. El 15 de septiembre ingresó a la orquesta de René Cóspito, haciendo los bailables de Radio Belgrano y el té en Gath y Cháves.
Hacia 1940 pasó al grupo que tocaba en la boite La Chaumiere, con Enrique "Mono" Villegas en piano, David Washington en trompeta, y el inglés Phillips en saxo.
Al año siguiente pasó a la orquesta de Oscar Alemán. Disputas musicales y económicas terminaron con una reyerta, que los separó definitivamente.
Hacia 1944 ingresó a trabajar con los Cotton Pickers de Ahmed Ratip. Luego con Tito Alberti y José Finkel formaron la Jazz Casino, debutando en 1951 en el club Villa Crespo, con Lorna Warren como cantante.
De allí pasó al restaurante El Caballito Blanco, tocando lo que viniera. Según declaraba Oliva, la aparición del Club del Clan había desplazado al jazz como música bailable, y por lo tanto comercial.
En sus últimos años, solía rondar por los bares de San Telmo, tocando para quien se lo pidiera, a veces por un vaso de whisky. Muchas veces, los responsables de esos lugares, incapaces de apreciar su enorme talento, ni siquiera apagaban la música ambiental cuando iba a ejecutar, o le decían: "Tocás tres y te vas".¨En esos tiempos solía interpretar tango, para adecuarse al medio, y lo hacía con gran maestría, pero no dejaba de decir que la música que realmente amaba era el jazz.
Falleció en la madrugada del 17 de junio de 1988, a punto de cumplir 75 años. Apareció tirado en una vereda del barrio de Palermo, abrazado al estuche de su violín.

https://es.wikipedia.org/wiki/Hern%C3%A1n_Oliva

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Automatic Translation:

He was born on July 4, 1913 in Valparaiso, Chile. He began studying violin at age 8, amid a family of non-musicians (his father was a politician, possibly Daniel Oliva member of the so-called "masters of salt", and his mother, housewife), reaching quickly master .By 1927 he joined the orchestra of Ernesto Davagnino. His father, who had chosen for him a career in law, to learn that Hernán just wanted to pursue music, it urges to elect or be disinherited. Hernán bohemian character, choose and is sent home. By 1935 he crossed to Mendoza. He worked a few months in the Cuyo LV 10 radio, with his orchestra.He migrated to Buenos Aires, where Luis Davagnino, Ernesto brother and fellow musician lived, who receives at home after finding whistling from corner to corner of the street Alsina a tune he knew Luis recognize. He got a job as companion Betty Caruso and Fanny Loy, on Radio Belgrano. On September 15 he joined the orchestra of René Cospito, doing the dance of Radio Belgrano and tea in Gath and Chaves.By 1940 the group spent playing in the boite La Chaumiere, with Enrique "Mono" Villegas on piano, David Washington on trumpet and sax Phillips in English.The following year he became the orchestra of Oscar Aleman. Musical and economic disputes ended with a brawl, which definitely separated.By 1944 he began working with the Cotton Pickers Ahmed Ratip. After Tito Alberti and José Finkel formed the Jazz Casino, debuting in 1951 at the club Villa Crespo, with Lorna Warren as a singer.From there he went to the restaurant El Caballito Blanco, playing whatever came. As stated Oliva, the appearance of the Club of the Clan had moved to jazz and dance music, and therefore commercial.In his later years, he used to hang around the bars of San Telmo, playing for whom being asked, sometimes for a glass of whiskey. Often, those responsible for these places, unable to appreciate his enormous talent, even when turned off the background music was going to run, or he said, "three touch and go" .In those times used to play tango, to suit the medium, and did it with great skill, but kept saying that music really loved was jazz.He died on the morning of June 17, 1988, about to turn 75 years. It appeared lying on a sidewalk in the neighborhood of Palermo, hugging his violin to the case.https://es.wikipedia.org/wiki/Hern%C3%A1n_Oliva

Hernan Oliva • El Violin del Jazz

 

Nació el 4 de julio de 1913 en Valparaíso, Chile. Comenzó sus estudios de violín a los 8 años, en medio de una familia de no músicos (su padre era político, posiblemente Daniel Oliva integrante de los llamados "señores del salitre", y su madre, ama de casa), llegando a dominarlo rápidamente.

Hacia 1927 ingresó a la orquesta de Ernesto Davagnino. Su padre, quien había elegido para él la carrera de leyes, al enterarse que Hernán solo quería dedicarse a la música, lo conmina a elegir o ser desheredado. Hernán, de carácter bohemio, elige y es expulsado del hogar. Hacia 1935 cruzó a Mendoza. Trabajó pocos meses en la radio LV 10 de Cuyo, con su orquesta.

Migró hacia Buenos Aires, donde vivía Luis Davagnino, hermano de Ernesto y músico el también, quien lo recibe en su casa luego de encontrarlo silbando de esquina en esquina de la calle Alsina una tonada que sabía que Luis reconocería. Le consiguió trabajo como acompañante de Betty Caruso y Fanny Loy, en Radio Belgrano. El 15 de septiembre ingresó a la orquesta de René Cóspito, haciendo los bailables de Radio Belgrano y el té en Gath y Cháves.

Hacia 1940 pasó al grupo que tocaba en la boite La Chaumiere, con Enrique "Mono" Villegas en piano, David Washington en trompeta, y el inglés Phillips en saxo.

Al año siguiente pasó a la orquesta de Oscar Alemán. Disputas musicales y económicas terminaron con una reyerta, que los separó definitivamente.

Hacia 1944 ingresó a trabajar con los Cotton Pickers de Ahmed Ratip. Luego con Tito Alberti y José Finkel formaron la Jazz Casino, debutando en 1951 en el club Villa Crespo, con Lorna Warren como cantante.

De allí pasó al restaurante El Caballito Blanco, tocando lo que viniera. Según declaraba Oliva, la aparición del Club del Clan había desplazado al jazz como música bailable, y por lo tanto comercial.

En sus últimos años, solía rondar por los bares de San Telmo, tocando para quien se lo pidiera, a veces por un vaso de whisky. Muchas veces, los responsables de esos lugares, incapaces de apreciar su enorme talento, ni siquiera apagaban la música ambiental cuando iba a ejecutar, o le decían: "Tocás tres y te vas".¨En esos tiempos solía interpretar tango, para adecuarse al medio, y lo hacía con gran maestría, pero no dejaba de decir que la música que realmente amaba era el jazz.

Falleció en la madrugada del 17 de junio de 1988, a punto de cumplir 75 años. Apareció tirado en una vereda del barrio de Palermo, abrazado al estuche de su violín.

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Automatic Translation:

He was born on July 4, 1913 in Valparaiso, Chile. He began studying violin at age 8, amid a family of non-musicians (his father was a politician, possibly Daniel Oliva member of the so-called "masters of salt", and his mother, housewife), reaching quickly master .By 1927 he joined the orchestra of Ernesto Davagnino. His father, who had chosen for him a career in law, to learn that Hernán just wanted to pursue music, it urges to elect or be disinherited. Hernán bohemian character, choose and is sent home. By 1935 he crossed to Mendoza. He worked a few months in the Cuyo LV 10 radio, with his orchestra.He migrated to Buenos Aires, where Luis Davagnino, Ernesto brother and fellow musician lived, who receives at home after finding whistling from corner to corner of the street Alsina a tune he knew Luis recognize. He got a job as companion Betty Caruso and Fanny Loy, on Radio Belgrano. On September 15 he joined the orchestra of René Cospito, doing the dance of Radio Belgrano and tea in Gath and Chaves.By 1940 the group spent playing in the boite La Chaumiere, with Enrique "Mono" Villegas on piano, David Washington on trumpet and sax Phillips in English.The following year he became the orchestra of Oscar Aleman. Musical and economic disputes ended with a brawl, which definitely separated.By 1944 he began working with the Cotton Pickers Ahmed Ratip. After Tito Alberti and José Finkel formed the Jazz Casino, debuting in 1951 at the club Villa Crespo, with Lorna Warren as a singer.From there he went to the restaurant El Caballito Blanco, playing whatever came. As stated Oliva, the appearance of the Club of the Clan had moved to jazz and dance music, and therefore commercial.In his later years, he used to hang around the bars of San Telmo, playing for whom being asked, sometimes for a glass of whiskey. Often, those responsible for these places, unable to appreciate his enormous talent, even when turned off the background music was going to run, or he said, "three touch and go" .In those times used to play tango, to suit the medium, and did it with great skill, but kept saying that music really loved was jazz.He died on the morning of June 17, 1988, about to turn 75 years. It appeared lying on a sidewalk in the neighborhood of Palermo, hugging his violin to the case.

Stuff Smith • The Complete Verve Stuff Smith Sessions Vol.1

It is a shame that Stuff Smith did not live to see the revival of interest in swing violin due to his premature death in 1967, almost three decades prior to the passing of fellow violinist Stephane Grappelli. Almost all of Smith's recordings languished out of print until a two-CD set finally appeared on Verve, soon followed by this more complete four-CD Mosaic collection of Smith's recordings for the label, which adds three completely unissued sessions and five additional previously unreleased tracks.
The first two studio dates were scheduled for release but never put out by Verve, yet the music is simply astonishing. Smith is in top form throughout all ten sessions. The supporting cast is tremendous: pianists include Jimmy Jones, Carl Perkins, Oscar Peterson, Wynton Kelly, Shirley Horn (who was overlooked and credit was originally given to John Eaton, who likely appears on two tracks), and Paul Smith. Bassists include Red Callendar, Curtis Counce, Ray Brown, Red Mitchell, and Milt Hinton; other important musicians are Dizzy Gillespie, Barney Kessel, Alvin Stoller, J. C. Heard, Kenny Burrell, and fellow violinist Ray Nance. Smith plays quite a few enjoyable originals (including his blazing "Hillcrest," the very catchy "Calypso," and the exotic "Desert Sands"), but he also covers an extensive collection of Gershwin songs and other standards from some of the best composers of the Great American Songbook, and classic songs from the playbooks of Duke Ellington and Fletcher Henderson. While some tracks are clearly stronger performances than others, there is not one song that won't be devoured eagerly by fans of Smith's swinging jazz violin.

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Es una lástima que Stuff Smith no viviera para ver el resurgimiento del interés por el violín swing debido a su muerte prematura en 1967, casi tres décadas antes del fallecimiento de su compañero violinista Stéphane Grappelli. Casi todas las grabaciones de Smith languidecieron fuera de circulación hasta que finalmente apareció un conjunto de dos CD en Verve, seguido pronto por esta colección más completa de mosaicos de cuatro CD de las grabaciones de Smith para el sello, que añade tres sesiones completamente inéditas y cinco temas adicionales no publicados anteriormente.
Las dos primeras fechas de estudio estaban programadas para su lanzamiento pero nunca fueron editadas por Verve, sin embargo la música es simplemente asombrosa. Smith está en plena forma durante las diez sesiones. El reparto de apoyo es tremendo: los pianistas incluyen a Jimmy Jones, Carl Perkins, Oscar Peterson, Wynton Kelly, Shirley Horn (que fue pasada por alto y se le dio crédito originalmente a John Eaton, que probablemente aparece en dos pistas), y Paul Smith. Entre los bajistas se encuentran Red Callendar, Curtis Counce, Ray Brown, Red Mitchell y Milt Hinton; otros músicos importantes son Dizzy Gillespie, Barney Kessel, Alvin Stoller, J. C. Heard, Kenny Burrell y el violinista Ray Nance. Smith toca bastantes originales agradables (incluyendo su ardiente "Hillcrest", el muy pegajoso "Calypso" y el exótico "Desert Sands"), pero también cubre una extensa colección de canciones de Gershwin y otros estándares de algunos de los mejores compositores del Great American Songbook, y canciones clásicas de los libros de canciones de Duke Ellington y Fletcher Henderson. Aunque algunas canciones son claramente más fuertes que otras, no hay una sola canción que no sea devorada con entusiasmo por los fans del violín de jazz de Smith.

 

 

Stuff Smith • The Complete Verve Stuff Smith Sessions Vol.2

It is a shame that Stuff Smith did not live to see the revival of interest in swing violin due to his premature death in 1967, almost three decades prior to the passing of fellow violinist Stephane Grappelli. Almost all of Smith's recordings languished out of print until a two-CD set finally appeared on Verve, soon followed by this more complete four-CD Mosaic collection of Smith's recordings for the label, which adds three completely unissued sessions and five additional previously unreleased tracks.
The first two studio dates were scheduled for release but never put out by Verve, yet the music is simply astonishing. Smith is in top form throughout all ten sessions. The supporting cast is tremendous: pianists include Jimmy Jones, Carl Perkins, Oscar Peterson, Wynton Kelly, Shirley Horn (who was overlooked and credit was originally given to John Eaton, who likely appears on two tracks), and Paul Smith. Bassists include Red Callendar, Curtis Counce, Ray Brown, Red Mitchell, and Milt Hinton; other important musicians are Dizzy Gillespie, Barney Kessel, Alvin Stoller, J. C. Heard, Kenny Burrell, and fellow violinist Ray Nance. Smith plays quite a few enjoyable originals (including his blazing "Hillcrest," the very catchy "Calypso," and the exotic "Desert Sands"), but he also covers an extensive collection of Gershwin songs and other standards from some of the best composers of the Great American Songbook, and classic songs from the playbooks of Duke Ellington and Fletcher Henderson. While some tracks are clearly stronger performances than others, there is not one song that won't be devoured eagerly by fans of Smith's swinging jazz violin.

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Es una lástima que Stuff Smith no viviera para ver el resurgimiento del interés por el violín swing debido a su muerte prematura en 1967, casi tres décadas antes del fallecimiento de su compañero violinista Stéphane Grappelli. Casi todas las grabaciones de Smith languidecieron fuera de circulación hasta que finalmente apareció un conjunto de dos CD en Verve, seguido pronto por esta colección más completa de mosaicos de cuatro CD de las grabaciones de Smith para el sello, que añade tres sesiones completamente inéditas y cinco temas adicionales no publicados anteriormente.
Las dos primeras fechas de estudio estaban programadas para su lanzamiento pero nunca fueron editadas por Verve, sin embargo la música es simplemente asombrosa. Smith está en plena forma durante las diez sesiones. El reparto de apoyo es tremendo: los pianistas incluyen a Jimmy Jones, Carl Perkins, Oscar Peterson, Wynton Kelly, Shirley Horn (que fue pasada por alto y se le dio crédito originalmente a John Eaton, que probablemente aparece en dos pistas), y Paul Smith. Entre los bajistas se encuentran Red Callendar, Curtis Counce, Ray Brown, Red Mitchell y Milt Hinton; otros músicos importantes son Dizzy Gillespie, Barney Kessel, Alvin Stoller, J. C. Heard, Kenny Burrell y el violinista Ray Nance. Smith toca bastantes originales agradables (incluyendo su ardiente "Hillcrest", el muy pegajoso "Calypso" y el exótico "Desert Sands"), pero también cubre una extensa colección de canciones de Gershwin y otros estándares de algunos de los mejores compositores del Great American Songbook, y canciones clásicas de los libros de canciones de Duke Ellington y Fletcher Henderson. Aunque algunas canciones son claramente más fuertes que otras, no hay una sola canción que no sea devorada con entusiasmo por los fans del violín de jazz de Smith.

 

 

Stuff Smith • The Complete Verve Stuff Smith Sessions Vol.3

It is a shame that Stuff Smith did not live to see the revival of interest in swing violin due to his premature death in 1967, almost three decades prior to the passing of fellow violinist Stephane Grappelli. Almost all of Smith's recordings languished out of print until a two-CD set finally appeared on Verve, soon followed by this more complete four-CD Mosaic collection of Smith's recordings for the label, which adds three completely unissued sessions and five additional previously unreleased tracks.
The first two studio dates were scheduled for release but never put out by Verve, yet the music is simply astonishing. Smith is in top form throughout all ten sessions. The supporting cast is tremendous: pianists include Jimmy Jones, Carl Perkins, Oscar Peterson, Wynton Kelly, Shirley Horn (who was overlooked and credit was originally given to John Eaton, who likely appears on two tracks), and Paul Smith. Bassists include Red Callendar, Curtis Counce, Ray Brown, Red Mitchell, and Milt Hinton; other important musicians are Dizzy Gillespie, Barney Kessel, Alvin Stoller, J. C. Heard, Kenny Burrell, and fellow violinist Ray Nance. Smith plays quite a few enjoyable originals (including his blazing "Hillcrest," the very catchy "Calypso," and the exotic "Desert Sands"), but he also covers an extensive collection of Gershwin songs and other standards from some of the best composers of the Great American Songbook, and classic songs from the playbooks of Duke Ellington and Fletcher Henderson. While some tracks are clearly stronger performances than others, there is not one song that won't be devoured eagerly by fans of Smith's swinging jazz violin.

///////

Es una lástima que Stuff Smith no viviera para ver el resurgimiento del interés por el violín swing debido a su muerte prematura en 1967, casi tres décadas antes del fallecimiento de su compañero violinista Stéphane Grappelli. Casi todas las grabaciones de Smith languidecieron fuera de circulación hasta que finalmente apareció un conjunto de dos CD en Verve, seguido pronto por esta colección más completa de mosaicos de cuatro CD de las grabaciones de Smith para el sello, que añade tres sesiones completamente inéditas y cinco temas adicionales no publicados anteriormente.
Las dos primeras fechas de estudio estaban programadas para su lanzamiento pero nunca fueron editadas por Verve, sin embargo la música es simplemente asombrosa. Smith está en plena forma durante las diez sesiones. El reparto de apoyo es tremendo: los pianistas incluyen a Jimmy Jones, Carl Perkins, Oscar Peterson, Wynton Kelly, Shirley Horn (que fue pasada por alto y se le dio crédito originalmente a John Eaton, que probablemente aparece en dos pistas), y Paul Smith. Entre los bajistas se encuentran Red Callendar, Curtis Counce, Ray Brown, Red Mitchell y Milt Hinton; otros músicos importantes son Dizzy Gillespie, Barney Kessel, Alvin Stoller, J. C. Heard, Kenny Burrell y el violinista Ray Nance. Smith toca bastantes originales agradables (incluyendo su ardiente "Hillcrest", el muy pegajoso "Calypso" y el exótico "Desert Sands"), pero también cubre una extensa colección de canciones de Gershwin y otros estándares de algunos de los mejores compositores del Great American Songbook, y canciones clásicas de los libros de canciones de Duke Ellington y Fletcher Henderson. Aunque algunas canciones son claramente más fuertes que otras, no hay una sola canción que no sea devorada con entusiasmo por los fans del violín de jazz de Smith.

 

 

Stuff Smith • The Complete Verve Stuff Smith Sessions Vol.4

It is a shame that Stuff Smith did not live to see the revival of interest in swing violin due to his premature death in 1967, almost three decades prior to the passing of fellow violinist Stephane Grappelli. Almost all of Smith's recordings languished out of print until a two-CD set finally appeared on Verve, soon followed by this more complete four-CD Mosaic collection of Smith's recordings for the label, which adds three completely unissued sessions and five additional previously unreleased tracks.
The first two studio dates were scheduled for release but never put out by Verve, yet the music is simply astonishing. Smith is in top form throughout all ten sessions. The supporting cast is tremendous: pianists include Jimmy Jones, Carl Perkins, Oscar Peterson, Wynton Kelly, Shirley Horn (who was overlooked and credit was originally given to John Eaton, who likely appears on two tracks), and Paul Smith. Bassists include Red Callendar, Curtis Counce, Ray Brown, Red Mitchell, and Milt Hinton; other important musicians are Dizzy Gillespie, Barney Kessel, Alvin Stoller, J. C. Heard, Kenny Burrell, and fellow violinist Ray Nance. Smith plays quite a few enjoyable originals (including his blazing "Hillcrest," the very catchy "Calypso," and the exotic "Desert Sands"), but he also covers an extensive collection of Gershwin songs and other standards from some of the best composers of the Great American Songbook, and classic songs from the playbooks of Duke Ellington and Fletcher Henderson. While some tracks are clearly stronger performances than others, there is not one song that won't be devoured eagerly by fans of Smith's swinging jazz violin.

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Es una lástima que Stuff Smith no viviera para ver el resurgimiento del interés por el violín swing debido a su muerte prematura en 1967, casi tres décadas antes del fallecimiento de su compañero violinista Stéphane Grappelli. Casi todas las grabaciones de Smith languidecieron fuera de circulación hasta que finalmente apareció un conjunto de dos CD en Verve, seguido pronto por esta colección más completa de mosaicos de cuatro CD de las grabaciones de Smith para el sello, que añade tres sesiones completamente inéditas y cinco temas adicionales no publicados anteriormente.
Las dos primeras fechas de estudio estaban programadas para su lanzamiento pero nunca fueron editadas por Verve, sin embargo la música es simplemente asombrosa. Smith está en plena forma durante las diez sesiones. El reparto de apoyo es tremendo: los pianistas incluyen a Jimmy Jones, Carl Perkins, Oscar Peterson, Wynton Kelly, Shirley Horn (que fue pasada por alto y se le dio crédito originalmente a John Eaton, que probablemente aparece en dos pistas), y Paul Smith. Entre los bajistas se encuentran Red Callendar, Curtis Counce, Ray Brown, Red Mitchell y Milt Hinton; otros músicos importantes son Dizzy Gillespie, Barney Kessel, Alvin Stoller, J. C. Heard, Kenny Burrell y el violinista Ray Nance. Smith toca bastantes originales agradables (incluyendo su ardiente "Hillcrest", el muy pegajoso "Calypso" y el exótico "Desert Sands"), pero también cubre una extensa colección de canciones de Gershwin y otros estándares de algunos de los mejores compositores del Great American Songbook, y canciones clásicas de los libros de canciones de Duke Ellington y Fletcher Henderson. Aunque algunas canciones son claramente más fuertes que otras, no hay una sola canción que no sea devorada con entusiasmo por los fans del violín de jazz de Smith.

 

 

Hernan Oliva • El paso del tigre

Nació el 4 de julio de 1913 en Valparaíso, Chile. Comenzó sus estudios de violín a los 8 años, en medio de una familia de no músicos (su padre era político, posiblemente Daniel Oliva integrante de los llamados "señores del salitre", y su madre, ama de casa), llegando a dominarlo rápidamente.

Hacia 1927 ingresó a la orquesta de Ernesto Davagnino. Su padre, quien había elegido para él la carrera de leyes, al enterarse que Hernán solo quería dedicarse a la música, lo conmina a elegir o ser desheredado. Hernán, de carácter bohemio, elige y es expulsado del hogar. Hacia 1935 cruzó a Mendoza. Trabajó pocos meses en la radio LV 10 de Cuyo, con su orquesta.

Migró hacia Buenos Aires, donde vivía Luis Davagnino, hermano de Ernesto y músico el también, quien lo recibe en su casa luego de encontrarlo silbando de esquina en esquina de la calle Alsina una tonada que sabía que Luis reconocería. Le consiguió trabajo como acompañante de Betty Caruso y Fanny Loy, en Radio Belgrano. El 15 de septiembre ingresó a la orquesta de René Cóspito, haciendo los bailables de Radio Belgrano y el té en Gath y Cháves.

Hacia 1940 pasó al grupo que tocaba en la boite La Chaumiere, con Enrique "Mono" Villegas en piano, David Washington en trompeta, y el inglés Phillips en saxo.

Al año siguiente pasó a la orquesta de Oscar Alemán. Disputas musicales y económicas terminaron con una reyerta, que los separó definitivamente.

Hacia 1944 ingresó a trabajar con los Cotton Pickers de Ahmed Ratip. Luego con Tito Alberti y José Finkel formaron la Jazz Casino, debutando en 1951 en el club Villa Crespo, con Lorna Warren como cantante.

De allí pasó al restaurante El Caballito Blanco, tocando lo que viniera. Según declaraba Oliva, la aparición del Club del Clan había desplazado al jazz como música bailable, y por lo tanto comercial.

En sus últimos años, solía rondar por los bares de San Telmo, tocando para quien se lo pidiera, a veces por un vaso de whisky. Muchas veces, los responsables de esos lugares, incapaces de apreciar su enorme talento, ni siquiera apagaban la música ambiental cuando iba a ejecutar, o le decían: "Tocás tres y te vas".¨En esos tiempos solía interpretar tango, para adecuarse al medio, y lo hacía con gran maestría, pero no dejaba de decir que la música que realmente amaba era el jazz.

Falleció en la madrugada del 17 de junio de 1988, a punto de cumplir 75 años. Apareció tirado en una vereda del barrio de Palermo, abrazado al estuche de su violín.

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Automatic Translation:

He was born on July 4, 1913 in Valparaiso, Chile. He began studying violin at age 8, amid a family of non-musicians (his father was a politician, possibly Daniel Oliva member of the so-called "masters of salt", and his mother, housewife), reaching quickly master .By 1927 he joined the orchestra of Ernesto Davagnino. His father, who had chosen for him a career in law, to learn that Hernán just wanted to pursue music, it urges to elect or be disinherited. Hernán bohemian character, choose and is sent home. By 1935 he crossed to Mendoza. He worked a few months in the Cuyo LV 10 radio, with his orchestra.He migrated to Buenos Aires, where Luis Davagnino, Ernesto brother and fellow musician lived, who receives at home after finding whistling from corner to corner of the street Alsina a tune he knew Luis recognize. He got a job as companion Betty Caruso and Fanny Loy, on Radio Belgrano. On September 15 he joined the orchestra of René Cospito, doing the dance of Radio Belgrano and tea in Gath and Chaves.By 1940 the group spent playing in the boite La Chaumiere, with Enrique "Mono" Villegas on piano, David Washington on trumpet and sax Phillips in English.The following year he became the orchestra of Oscar Aleman. Musical and economic disputes ended with a brawl, which definitely separated.By 1944 he began working with the Cotton Pickers Ahmed Ratip. After Tito Alberti and José Finkel formed the Jazz Casino, debuting in 1951 at the club Villa Crespo, with Lorna Warren as a singer.From there he went to the restaurant El Caballito Blanco, playing whatever came. As stated Oliva, the appearance of the Club of the Clan had moved to jazz and dance music, and therefore commercial.In his later years, he used to hang around the bars of San Telmo, playing for whom being asked, sometimes for a glass of whiskey. Often, those responsible for these places, unable to appreciate his enormous talent, even when turned off the background music was going to run, or he said, "three touch and go" .In those times used to play tango, to suit the medium, and did it with great skill, but kept saying that music really loved was jazz.He died on the morning of June 17, 1988, about to turn 75 years. It appeared lying on a sidewalk in the neighborhood of Palermo, hugging his violin to the case.

 

Stuff Smith • Cat on a Hot Fiddle

Review by Thom Jurek

Recorded on two dates in 1959, this full-length by Stuff Smith features a pair of rhythm sections. One contains the great Red Mitchell on bass, the other the magnificent Shirley Horn on piano. In 1959, Smith had been on the scene for over two decades. And while he was well-known by the public at large for his novelty persona and his singing -- as evidenced by his 1936 smash hit "I'se A-Muggin'," this long-player aptly displays his stunning virtuosity as a jazz violinist, from standard jazz repertoire such as Duke Ellington's "Take the 'A' Train" and "They Can't Take That Away from Me" to "Strike Up the Band." His bowing is dizzying and the band pushed hard to keep up with him. On "Nice Work if You Can Get It," the tempo middles along but Smith swings hard in his tasty way. And Smith's vocal skills are showcased on the classics "Oh, Lady Be Good" and "Somebody Loves Me," offering a well-rounded portrait of a man who many thought was past his prime. Not so. This date smokes and is a welcome addition to the jazz violin canon.

Biography

Stuff Smith was one of the big three of pre-bop violinists along with Joe Venuti and Stephane Grappelli. Many of his fans said that he could outswing all of his competitors, and certainly Stuff was a major force on the bandstand. Smith, who cited Louis Armstrong as his main influence, studied music with his father and played with the family band as a child. His first major job and recordings were with Alphonse Trent's territory band in the 1920s, but it was not until 1936 that he had his breakthrough. Leading a quintet at the Onyx Club with trumpeter Jonah Jones, Smith's comedy vocals and hard-swinging approach made the group a hit on 52nd Street for several years; his novelty "I'se a Muggin'" became a hit. Smith worked regularly with his trios in the 1940s, but was in danger of being forgotten in the '50s when Norman Granz recorded him fairly extensively for Verve; Stuff also participated in Nat King Cole's After Midnight sessions for Capitol. The violinist moved to Copenhagen in 1965 and was active until his death two years later.

https://www.allmusic.com/artist/stuff-smith-mn0000919618/biography

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Reseña de Thom Jurek

Grabado en dos fechas en 1959, este LP de Stuff Smith presenta un par de secciones rítmicas. Una contiene al gran Red Mitchell en el bajo, la otra a la magnífica Shirley Horn en el piano. En 1959, Smith había estado en la escena por más de dos décadas. Y aunque era conocido por el público en general por su personalidad novedosa y su canto - como lo demuestra su éxito de 1936 "I'se A-Muggin'", este intérprete de larga duración muestra acertadamente su impresionante virtuosismo como violinista de jazz, desde el repertorio estándar de jazz como "Take the 'A' Train" y "They Can't Take That Away from Me" de Duke Ellington hasta "Strike Up the Band". Sus reverencias son vertiginosas y la banda se esforzó por seguirle el ritmo. En "Nice Work if You Can Get It", el tempo se reduce a la mitad pero Smith se balancea con fuerza en su sabrosa forma. Y las habilidades vocales de Smith se muestran en los clásicos "Oh, Lady Be Good" y "Somebody Loves Me", que ofrecen un retrato completo de un hombre que muchos pensaban que había pasado su mejor momento. No es así. Esta cita echa humo y es una bienvenida adición al canon del violín de jazz.

Biografía

Stuff Smith fue uno de los tres grandes violinistas pre-bop junto con Joe Venuti y Stephane Grappelli. Muchos de sus fans decían que podía superar a todos sus competidores, y ciertamente Stuff era una fuerza importante en el escenario. Smith, que citaba a Louis Armstrong como su principal influencia, estudió música con su padre y tocó con la banda familiar cuando era niño. Su primer trabajo importante y sus grabaciones fueron con la banda del territorio de Alphonse Trent en los años 20, pero no fue hasta 1936 que tuvo su gran avance. Dirigiendo un quinteto en el Onyx Club con el trompetista Jonah Jones, la voz de Smith en la comedia y su enfoque duro hizo que el grupo fuera un éxito en la calle 52 durante varios años; su novedad "I'se a Muggin'" se convirtió en un éxito. Smith trabajó regularmente con sus tríos en la década de 1940, pero corría el riesgo de ser olvidado en los años 50 cuando Norman Granz lo grabó bastante para Verve; Stuff también participó en las sesiones After Midnight de Nat King Cole para Capitol. El violinista se mudó a Copenhague en 1965 y estuvo activo hasta su muerte dos años después.

https://www.allmusic.com/artist/stuff-smith-mn0000919618/biography

Claude Williams • Swing Time In New York

Claude "Fiddler" Williams (February 22, 1908 – April 26, 2004) was an American jazz violinist and guitarist.
Williams was born in Muskogee, Oklahoma, in 1908, and by 10 he had learned to play guitar, mandolin, banjo and cello. Upon hearing Joe Venuti play, he was inspired to take up the violin. In 1928, he moved to Kansas City and toured with Andy Kirk's territory band Twelve Clouds of Joy, which also included Mary Lou Williams, and further honed his musicianship by participating in jam sessions. Count Basie discovered him in Kansas City and later invited him to play rhythm guitar in his band. From the late 1960s, he often played with fellow Kansas City resident Jay McShann. From the 1980s, Williams performed on violin exclusively.
In 1997, Claude Williams was inducted into the Oklahoma Music Hall of Fame.
He died of pneumonia in Kansas City at age 96. He was the last surviving jazz musician to have recorded before 1930.
His memorabilia has been donated to the LaBudde Special Collections Department at the Miller Nichols Library at the University of Missouri-Kansas City. Full info ...

Review by Scott Yanow
Violinist Claude Williams, at the age of 86, shows that he is still in his musical prime during this quintet date with Bill Easley (who switches between tenor, clarinet and flute), pianist Sir Roland Hanna, bassist Earl May and drummer Joe Ascione. Williams was with both Andy Kirk and Count Basie shortly before they made it big but has spent most of his long career in Kansas City in obscurity. Fortunately he has made several worthy recordings in his later years and this is one of his best, a well-rounded set ranging in repertoire from one of the first songs he ever learned ("You've Got to See Your Mama Ev'ry Night or You Can't See Mama at All") to Ellington, Monk ("Straight No Chaser") and even Stevie Wonder ("You Are the Sunshine of My Life"). The emphasis is on swing and Claude Williams is heard near the peak of his powers.

 

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Claude "Fiddler" Williams (February 22, 1908 – April 26, 2004) was an American jazz violinist and guitarist.
Williams was born in Muskogee, Oklahoma, in 1908, and by 10 he had learned to play guitar, mandolin, banjo and cello. Upon hearing Joe Venuti play, he was inspired to take up the violin. In 1928, he moved to Kansas City and toured with Andy Kirk's territory band Twelve Clouds of Joy, which also included Mary Lou Williams, and further honed his musicianship by participating in jam sessions. Count Basie discovered him in Kansas City and later invited him to play rhythm guitar in his band. From the late 1960s, he often played with fellow Kansas City resident Jay McShann. From the 1980s, Williams performed on violin exclusively.
In 1997, Claude Williams was inducted into the Oklahoma Music Hall of Fame.
He died of pneumonia in Kansas City at age 96. He was the last surviving jazz musician to have recorded before 1930.
His memorabilia has been donated to the LaBudde Special Collections Department at the Miller Nichols Library at the University of Missouri-Kansas City. Full info ...

Review by Scott Yanow
Violinist Claude Williams, at the age of 86, shows that he is still in his musical prime during this quintet date with Bill Easley (who switches between tenor, clarinet and flute), pianist Sir Roland Hanna, bassist Earl May and drummer Joe Ascione. Williams was with both Andy Kirk and Count Basie shortly before they made it big but has spent most of his long career in Kansas City in obscurity. Fortunately he has made several worthy recordings in his later years and this is one of his best, a well-rounded set ranging in repertoire from one of the first songs he ever learned ("You've Got to See Your Mama Ev'ry Night or You Can't See Mama at All") to Ellington, Monk ("Straight No Chaser") and even Stevie Wonder ("You Are the Sunshine of My Life"). The emphasis is on swing and Claude Williams is heard near the peak of his powers.

 

 

Vassar Clements • Livin' with the Blues

Review by Ken Dryden

While the extraordinary fiddler Vassar Clements is known for his countless recordings in the world of bluegrass and country music, he's also a convincing blues interpreter. He is matched with a wide-ranging group of musicians and repertoire by producer David Grisman in this delightful Acoustic Disc CD. Clements' playing takes on an almost conversational tone throughout a good part of these sessions, while he is obviously having a rollicking good time with his fellow players, no matter the setting. The legendary bluesman Robert Johnson's "Beatrice Got a Phonograph" is an amazing duet by Clements with Roy Rogers (who sings while playing an amplified Martin guitar), though it is the leader's personal sound that leaves a lasting impression. His fiddle almost seems to smirk throughout Tampa Red's "Dead Cats on the Line," which is also highlighted by Bob Brozman's guitar and Bobby Cochran's lead vocals, with Norton Buffalo providing harmony. It's hard to beat the interplay between Clements, Buffalo (on harmonica), and guitarist Bob Brozman in the trio rendition of "Keep Your Lamp Trimmed and Burning." Clements and Brozman evidently concocted "Fiddlin' and Faddlin'" in the studio, with Brozman also playing percussion on his guitar behind the leader's blistering introductory solo. Elvin Bishop adds a touch of humor with his amusing originals, including the down-home blues "Dirty Drawers" and the funky "That's My Thing," adding Norton Buffalo's soulful harmonica. Maria Muldaur's gritty vocals shine in Doc Watson's "Honey Babe Blues" and "I Ain't Gonna Play No Second Fiddle." Dave Matthews is at the piano for the infectious "Mambo Boogie" (co-written by Clements, Matthews, and Buffalo). All in all, this is a very entertaining meeting by a group of seasoned musicians.

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Reseña de Ken Dryden

Mientras que el extraordinario violinista Vassar Clements es conocido por sus innumerables grabaciones en el mundo del bluegrass y la música country, también es un convincente intérprete de blues. Se le combina con un amplio grupo de músicos y un repertorio del productor David Grisman en este delicioso CD de disco acústico. La forma de tocar de Clements adquiere un tono casi conversacional durante buena parte de estas sesiones, mientras que obviamente se divierte con sus compañeros, sin importar el escenario. El legendario bluesman Robert Johnson "Beatrice Got a Phonograph" es un asombroso dúo de Clements con Roy Rogers (que canta mientras toca una guitarra Martin amplificada), aunque es el sonido personal del líder lo que deja una impresión duradera. Su violín casi parece sonreír a través de "Dead Cats on the Line" de Tampa Red, que también se destaca por la guitarra de Bob Brozman y la voz principal de Bobby Cochran, con Norton Buffalo proporcionando la armonía. Es difícil superar la interacción entre Clements, Buffalo (en la armónica) y el guitarrista Bob Brozman en la interpretación en trío de "Keep Your Lamp Trimmed and Burning". Clements y Brozman crearon "Fiddlin' and Faddlin'" en el estudio, y Brozman también tocó la percusión en su guitarra tras el arrollador solo de introducción del líder. Elvin Bishop añade un toque de humor con sus divertidos originales, incluyendo el blues casero "Dirty Drawers" y el funky "That's My Thing", añadiendo la conmovedora armónica de Norton Buffalo. La voz de Maria Muldaur brilla en "Honey Babe Blues" y "I Ain't Gonna't Play No Second Fiddle" de Doc Watson. Dave Matthews está al piano para el contagioso "Mambo Boogie" (co-escrito por Clements, Matthews y Buffalo). En general, es una reunión muy entretenida de un grupo de músicos experimentados.

 

 
www.vassarclements.com ...

 

Stuff Smith Quartet Featuring Svend Asmussen • Hot Stuff

 

Biography
by Scott Yanow
Stuff Smith was one of the big three of pre-bop violinists along with Joe Venuti and Stephane Grappelli. Many of his fans said that he could outswing all of his competitors, and certainly Stuff was a major force on the bandstand. Smith, who cited Louis Armstrong as his main influence, studied music with his father and played with the family band as a child. His first major job and recordings were with Alphonse Trent's territory band in the 1920s, but it was not until 1936 that he had his breakthrough. Leading a quintet at the Onyx Club with trumpeter Jonah Jones, Smith's comedy vocals and hard-swinging approach made the group a hit on 52nd Street for several years; his novelty "I'se a Muggin'" became a hit. Smith worked regularly with his trios in the 1940s, but was in danger of being forgotten in the '50s when Norman Granz recorded him fairly extensively for Verve; Stuff also participated in Nat King Cole's After Midnight sessions for Capitol. The violinist moved to Copenhagen in 1965 and was active until his death two years later.
https://www.allmusic.com/artist/stuff-smith-mn0000919618/biography

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Biografía
por Scott Yanow
Stuff Smith fue uno de los tres grandes violinistas pre-bop junto con Joe Venuti y Stephane Grappelli. Muchos de sus fans decían que podía superar a todos sus competidores, y ciertamente Stuff era una fuerza importante en el escenario. Smith, que citó a Louis Armstrong como su principal influencia, estudió música con su padre y tocó con la banda familiar cuando era niño. Su primer trabajo importante y sus primeras grabaciones fueron con la banda territorial de Alphonse Trent en la década de 1920, pero no fue hasta 1936 cuando dio el salto a la fama. Al frente de un quinteto en el Onyx Club con el trompetista Jonah Jones, la voz cómica de Smith y su enfoque duro hicieron que el grupo fuera un éxito en la calle 52 durante varios años; su novedad "I'se a Muggin'" se convirtió en un éxito. Smith trabajó regularmente con sus tríos en la década de 1940, pero corría el riesgo de caer en el olvido en los años 50 cuando Norman Granz le grabó ampliamente para Verve; Stuff también participó en las sesiones de After Midnight de Nat King Cole para Capitol. El violinista se trasladó a Copenhague en 1965 y estuvo en activo hasta su muerte dos años después.
https://www.allmusic.com/artist/stuff-smith-mn0000919618/biography

VA • Violin, Sing The Blues For Me African American Fiddlers 1926-1949

El violín tiene una significativa importancia en los comienzos del blues, esta antología intenta acercarnos a ese sonido primigenio, que por ser tal, todavía conlleva en muchos casos el corte rural o country del que provenía.

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The violin had a more prominent role in early blues than has often been supposed. Violins were far more apt to be played than guitars in the 19th century, and even when the blues began to be recorded in the 1920s, violins were still often used, although they weren't as apt to be featured on disc as the guitar and other instruments were. This 24-track compilation (with only one cut dating from after 1935) includes some fairly recognizable blues names like Peg Leg Howell, Howard Armstrong, Cow Cow Davenport, the Mississippi Sheiks, the Memphis Jug Band, Charley Patton (accompanying Henry Sims), and Big Joe Williams (a 1935 version of his signature tune "Baby Please Don't Go"), although many of the performers are far more obscure. The material tends toward the more good-timey and folky side of the rural blues tradition; the violins can get into a hoedown kick, as on Peg Leg Howell's "Beaver Slide Rag," or get into a rapid ragtime mode, as on Louie Bluie & Ted Bogan's "Ted's Stomp." Because of the chronological span and wide roster of artists represented, it's a good overview of violin-informed early blues, a subgenre that hasn't gotten a whole of attention. And check out Frank Stokes' "Right Now Blues" to get your head spun around when you hear a lyric that was repeated in Chuck Berry's classic "Reelin' and Rockin'."

~Review by Richie Unterberger

Roger Cooper • Going Back To Old Kentucky

 

Review by Stephen Thomas Erlewine
Going Back to Old Kentucky is essentially a showcase for the instrumental skills of Roger Cooper, one of the best old-timey fiddlers of the '90s. As a result, there's might be a lack of full-fledged songs here -- nearly every song is arranged as a vehicle for Cooper's fiddling -- but it stands unparalleled as a fiddle record. There is zest and vigor within in his playing, which elevates him from the category of a mere technical wonder and into a fully rounded musician.
https://www.allmusic.com/album/going-back-to-old-kentucky-mw0000080086



Artist Biography
Roger Cooper of Lewis County grew up in a family of musicians. His father’s family was filled with guitar and banjo players, and he had one uncle who played fiddle. At eight years old, Cooper began playing the guitar, and at twelve he was playing backup to local fiddlers. Throughout the years, he played with most of the fiddlers residing in Lewis County, learning as they played together. In his early teens, local fiddler Buddy Thomas convinced Cooper to quit playing the guitar and focus on the fiddle. Thomas mentored Cooper, and they remained close until Thomas’ death in 1975. His teacher and friend’s death was hard for Cooper, but “by then he had done what he set out to do which was make me a fiddler,” he explains.

In the years following, Cooper worked hard and won multiple old-time fiddle contests, including contests throughout Kentucky and The Ohio State Championships. He also placed in the top 20 at the World’s Championship at Union Grove, North Carolina. Cooper has taught three apprenticeships through the Kentucky Arts Council, and in 2017, he received a Kentucky Governor’s Award in the Arts for his fiddling.

The fellowship will allow Cooper to focus on expanding his experience as a swing and jazz fiddler which he also enjoys playing in addition to old-time. He plans on traveling to meet some of the great swing fiddlers in the region, like Kenny Sears of Nashville, Greg Dearth of Franklin, Ohio, Dave Edmundson of Cincinnati, and Tom Cunningham of Louisville. He also plans on recording a swing fiddle album with the funds.
https://www.southarts.org/grant-fellowship-recipients/roger-cooper

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Reseña de Stephen Thomas Erlewine
Regresando al Viejo Kentucky es esencialmente un escaparate para las habilidades instrumentales de Roger Cooper, uno de los mejores violinistas de los 90. Como resultado, puede haber una falta de canciones completas aquí - casi todas las canciones están arregladas como un vehículo para el violín de Cooper - pero no tiene paralelo como un disco de violín. Hay entusiasmo y vigor en su forma de tocar, lo que lo eleva de la categoría de mera maravilla técnica a un músico completo.
https://www.allmusic.com/album/going-back-to-old-kentucky-mw0000080086



Biografía del artista
Roger Cooper del condado de Lewis creció en una familia de músicos. La familia de su padre estaba llena de guitarristas y banqueros, y tenía un tío que tocaba el violín. A los ocho años, Cooper empezó a tocar la guitarra, y a los doce tocaba como refuerzo de los violinistas locales. A lo largo de los años, tocó con la mayoría de los violinistas del condado de Lewis, aprendiendo mientras tocaban juntos. En su adolescencia, el violinista local Buddy Thomas convenció a Cooper de que dejara de tocar la guitarra y se concentrara en el violín. Thomas fue el mentor de Cooper, y se mantuvieron unidos hasta la muerte de Thomas en 1975. La muerte de su maestro y amigo fue muy dura para Cooper, pero "para entonces ya había hecho lo que se propuso hacer, que era convertirme en un violinista", explica.

En los años siguientes, Cooper trabajó duro y ganó varios concursos de violín antiguos, incluidos concursos en todo Kentucky y los Campeonatos del Estado de Ohio. También se colocó entre los 20 primeros en el Campeonato Mundial de Union Grove, Carolina del Norte. Cooper ha enseñado tres aprendizajes a través del Consejo de Artes de Kentucky, y en 2017, recibió el Premio del Gobernador de Kentucky en las Artes por su violín.

La beca permitirá a Cooper centrarse en ampliar su experiencia como violinista de swing y jazz, que también disfruta tocando además de los viejos tiempos. Tiene previsto viajar para conocer a algunos de los grandes violinistas de swing de la región, como Kenny Sears de Nashville, Greg Dearth de Franklin, Ohio, Dave Edmundson de Cincinnati y Tom Cunningham de Louisville. También planea grabar un álbum de swing fiddle con los fondos.
https://www.southarts.org/grant-fellowship-recipients/roger-cooper

 

www.southarts.org/roger-cooper ...

 

John Daly • Traditional Irish Fiddle

A native of Cork, fiddle player John Daly now lives in Chicago where he performs about town and often anchors the sessions at the famous Abbey pub. This is where I myself first met John, and had a wonderful time playing with him and discovering on the go his inventive style of variation. John confessed almost apologetically that it wasn't to everybody's taste, but I have always been fascinated by that aspect of traditional playing, and could not get enough. John seems to have kept that penchant somewhat in check on this, his first solo album, and the music is a little more tame than my "live" experience had made me expect. Not that the album is in any way boring, quite the opposite. The influences on John's style of playing are diverse, from the music of Co. Leitrim and Fermanagh which he was exposed to while living in Co. Cavan, to the air playing of the great Shetland fiddle master Willie Hunter. These diverse influences reflect on the repertoire chosen for this album, including quite a few tunes penned by John himself, and on the manner in which it is performed, to give great variety to the whole. John is accompanied on piano by several well-known players, including Marty Fahey, Kevin Brehony (Sligo), and Davie Keith (Shetland), and is joined on a couple of airs by violin and viola player Liz Knowles.

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Nacido en Cork, el violinista John Daly vive ahora en Chicago, donde actúa por toda la ciudad y a menudo es el presentador de las sesiones en el famoso pub Abbey. Aquí es donde yo mismo conocí a John por primera vez, y pasé un tiempo maravilloso jugando con él y descubriendo sobre la marcha su inventivo estilo de variación. John confesó casi apologéticamente que no era para todos los gustos, pero siempre me ha fascinado ese aspecto de la interpretación tradicional, y no podía ser suficiente. John parece haber mantenido esa afición algo controlada en este, su primer álbum en solitario, y la música es un poco más mansa de lo que mi experiencia "en vivo" me había hecho esperar. No es que el álbum sea aburrido, sino todo lo contrario. Las influencias en el estilo de tocar de John son diversas, desde la música de Co. Leitrim y Fermanagh, a los que estuvo expuesto mientras vivía en Co. Cavan, al aire del gran maestro del violín de Shetland, Willie Hunter. Estas diversas influencias se reflejan en el repertorio elegido para este álbum, incluyendo bastantes temas escritos por el propio John, y en la forma en que se interpreta, para dar gran variedad al conjunto. John está acompañado al piano por varios músicos de renombre, entre ellos Marty Fahey, Kevin Brehony (Sligo) y Davie Keith (Shetland), y está acompañado en un par de aires por el violín y la viola Liz Knowles.

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