Winifred Atwell • Rag & Boogie

 

Tiempo de Rag y Boogie, con esta pianista sumamente exitosa y poco conocida en paises de habla hispana, con una excelente seleción de rags y boogies.
Nacida en Tunapuna en Trinidad y Tobago en 1910 ó 1914 (es incierta su fecha de nacimiento), se fue a Trinidad en la década de 1940 y viajó a los Estados Unidos para estudiar con Alexander Borovsky y, en 1946, se trasladó a Londres , donde había ganado una beca en la Royal Academy of Music . Ella se convirtió en el primer pianista femenina que se le otorgó la más alta calificación de la Academia de música.
Mientras hacía sus estudios tocaba en clubes y teatros londinenses, fue descubierta por el empresario Bernard Delfont, con quien grabó su primeros discos logrando enorme éxito, que continuó ininterrumpidamente hasta bien entrada la década del 60. Ha sido la primer persona de raza negra en tener un puesto Nº 1 en el chart.

Bio completa en inglés: http://en.wikipedia.org/wiki/Winifred_Atwell

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Automatic translation:

Una Winifred Atwell (27 February or 27 April 1910 or 1914 – 28 February 1983) was a Trinidadian pianist who enjoyed great popularity in Britain and Australia from the 1950s with a series of boogie-woogie and ragtime hits, selling over 20 million records. She was the first black person to have a number-one hit in the UK Singles Chart and is still the only female instrumentalist to do so.

Biography: https://en.wikipedia.org/wiki/Winifred_Atwell

Eddie Condon • Eddie Condon In Japan

 

Review by Scott Yanow  
By 1964, Eddie Condon was not recording all that regularly; in fact this CD has his only recording from the 1963-67 period. Condon, who does some announcing and contributes some barely audible rhythm guitar, is joined by a particularly strong group consisting of trumpeter Buck Clayton, trombonist Vic Dickenson, tenor saxophonist Bud Freeman, clarinetist Pee Wee Russell, pianist Dick Cary (doubling on alto horn), bassist Jack Lesberg and drummer Cliff Leeman. The band plays Dixieland and swing standards with spirit and enthusiasm while singer Jimmy Rushing takes four vocals including a previously unissued "Blues Medley." The CD reissue also adds "new" versions of "Caravan" and "Basin Street Blues"; other highlights include "I Can't Believe That You're in Love with Me," "Pee Wee's Blues," "Royal Garden Blues" and Dickenson's charming feature on "Manhattan". Recommended.
https://www.allmusic.com/album/in-japan-mw0000273398

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Reseña de Scott Yanow  
En 1964, Eddie Condon no estaba grabando con tanta regularidad; de hecho, este CD tiene su única grabación del período 1963-67. Condon, que hace algunos anuncios y aporta una guitarra rítmica apenas audible, se une a un grupo particularmente fuerte formado por el trompetista Buck Clayton, el trombonista Vic Dickenson, el saxofonista tenor Bud Freeman, el clarinetista Pee Wee Russell, el pianista Dick Cary (doblando en la trompa alta), el bajista Jack Lesberg y el baterista Cliff Leeman. La banda toca Dixieland y estándares de swing con espíritu y entusiasmo, mientras que el cantante Jimmy Rushing toma cuatro voces, incluido un "Popurrí de Blues" no publicado anteriormente. La reedición en CD también agrega "nuevas" versiones de "Caravan" y "Basin Street Blues"; otros aspectos destacados incluyen "I Can't Believe That You're in Love with Me", "Pee Wee's Blues", "Royal Garden Blues" y la encantadora característica de Dickenson en " Manhattan". Recomendado.
https://www.allmusic.com/album/in-japan-mw0000273398

Hans Vlig Van Der Sys • It's Rag Time

 

Dutch pianist
He was born 18 September 1917 in Rotterdam and died 3 March 1983 in Munich, Germany.

The Product of Our Souls: Ragtime, Race, and the Birth of the Manhattan Musical Marketplace

 

In 1912 James Reese Europe made history by conducting his 125-member Clef Club Orchestra at Carnegie Hall. The first concert by an African American ensemble at the esteemed venue was more than just a concert--it was a political act of desegregation, a defiant challenge to the status quo in American music. In this book, David Gilbert explores how Europe and other African American performers, at the height of Jim Crow, transformed their racial difference into the mass-market commodity known as "black music." Gilbert shows how Europe and others used the rhythmic sounds of ragtime, blues, and jazz to construct new representations of black identity, challenging many of the nation's preconceived ideas about race, culture, and modernity and setting off a musical craze in the process.

Gilbert sheds new light on the little-known era of African American music and culture between the heyday of minstrelsy and the Harlem Renaissance. He demonstrates how black performers played a pioneering role in establishing New York City as the center of American popular music, from Tin Pan Alley to Broadway, and shows how African Americans shaped American mass culture in their own image.

 

  David Gilbert (Author)

 

Wycliffe Gordon • Standards Only

 

 

 

Biography by Rose of Sharon Witmer
Trombone player Wycliffe Gordon is best known for his work with the Lincoln Center Jazz Orchestra, under the direction of jazz maestro, Wynton Marsalis. The versatile trombonist can scat, multi-note, slide, and plunge, just like he stepped out of the 1930s. Gordon has played with many jazz luminaries, including Dizzy Gillespie, Joe Henderson, Branford Marsalis,Lionel Hampton, Tommy Flanagan, and Shirley Horn. His musical colleagues call him "Pine Cone," since he grew up in the piney woods of Georgia.

It must have been this Ellington era quality that caught the ears of jazz educator Wynton Marsalis, who heard Gordon play while the trumpeter was giving a workshop at Gordon's alma mater, Florida A&M University. Their fortuitous meeting resulted in Gordon joining the Wynton Marsalis Septet, as well as the Lincoln Center Jazz Orchestra, in 1989. As a member of the illustrious band, Gordon contributed as both musician and composer. Gordon, who like Charles Mingus says he hears music in his head all the time, has managed to write some of it down, and then hear it performed all over the world by the Lincoln Center Jazz Orchestra. Whether they know it or not, National Public Radio fans are familiar with the musician's work: In 1993, Gordon composed the NPR theme song.

Gordon, an admirer of Louis Armstrong, J.J. Johnson, and Jack Teagarden, prefers the melodic approach to playing and composition. The listener can hear that on any of his outstanding recordings. His first outing was with fellow trombonist Ron Westray on their 1996 release, Bone Structure. More good things came with Slidin' Home, recorded in 1999. Joined by Victor Goines, Eric Reed, Rodney Whitaker, Herlin Riley, Milt Grayson, Joe Temperley, and Randy Sandke, Gordon really struts his stuff on this one, showing a wide range of influences from big band to gospel.

The Search, recorded in 2000, ranges as far and wide as the title suggests, and includes Gordon holding forth on the didgeridoo. Gordon, whose father was the pianist at the church the trumpeter grew up in, devotes himself to his gospel roots on The Gospel Truth, (2000). What You Dealin' With, (2001), continues in a jazz vein with original compositions and jazz standards. Gordon's 2002 release We may be his best yet, as the trombonist collaborates with pianist Eric Reed on jazz and gospel tunes.

Besides performing and educating at his own music school in his hometown of Augusta, GA, Gordon has another important project: writing the score for the Oscar Micheaux 1925 silent film, Body and Soul. Paul Robeson starred in the movie about race, religion, and small town life in the South. Gordon drew upon his own Southern upbringing to produce music from the church, the bars, and the home, to be performed by the Lincoln Center Jazz Orchestra. Gordon has begun to evidence an interest in vocalizing, something which he says he plans to do increasingly. The results are sure to be top drawer, as the exuberant Wycliffe Gordon throws himself into things, body and soul.
https://www.allmusic.com/artist/wycliffe-gordon-mn0000960062/biography

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Biografía de Rose de Sharon Witmer
El trombonista Wycliffe Gordon es más conocido por su trabajo con la Orquesta de Jazz del Lincoln Center, bajo la dirección del maestro de jazz, Wynton Marsalis. El versátil trombonista puede hacer scat, multi-notas, deslizarse y zambullirse, tal como lo hizo en los años 30. Gordon ha tocado con muchas luminarias del jazz, como Dizzy Gillespie, Joe Henderson, Branford Marsalis, Lionel Hampton, Tommy Flanagan y Shirley Horn. Sus colegas musicales lo llaman "Pine Cone", ya que creció en los bosques de pinos de Georgia.

Debe haber sido esta cualidad de la época de Ellington la que llamó la atención del educador de jazz Wynton Marsalis, que escuchó a Gordon tocar mientras el trompetista impartía un taller en el alma mater de Gordon, en la Universidad A&M de Florida. Su encuentro fortuito dio lugar a que Gordon se uniera al Septeto Wynton Marsalis, así como a la Orquesta de Jazz del Lincoln Center, en 1989. Como miembro de la ilustre banda, Gordon contribuyó como músico y compositor. Gordon, que al igual que Charles Mingus dice que escucha música en su cabeza todo el tiempo, ha logrado escribir algo de ella, y luego escucharla interpretada en todo el mundo por la Orquesta de Jazz del Lincoln Center. Lo sepan o no, los fanáticos de la Radio Pública Nacional están familiarizados con el trabajo del músico: En 1993, Gordon compuso el tema de la NPR.

Gordon, un admirador de Louis Armstrong, J.J. Johnson y Jack Teagarden, prefiere el enfoque melódico a la interpretación y la composición. El oyente puede escuchar eso en cualquiera de sus grabaciones destacadas. Su primera salida fue con su colega trombonista Ron Westray en su lanzamiento de 1996, Bone Structure. Más cosas buenas vinieron con Slidin' Home, grabado en 1999. Junto a Victor Goines, Eric Reed, Rodney Whitaker, Herlin Riley, Milt Grayson, Joe Temperley, y Randy Sandke, Gordon realmente se pavonea en esta, mostrando un amplio rango de influencias desde la big band hasta el gospel.

La Búsqueda, grabada en el año 2000, se extiende tan lejos como el título sugiere, e incluye a Gordon sosteniendo el didgeridoo. Gordon, cuyo padre era el pianista de la iglesia en la que creció el trompetista, se dedica a sus raíces evangélicas en The Gospel Truth, (2000). What You Dealin' With, (2001), continúa en una línea de jazz con composiciones originales y estándares de jazz. El lanzamiento de Gordon en 2002, We may be his best yet, ya que el trombonista colabora con el pianista Eric Reed en temas de jazz y gospel.

Además de actuar y educar en su propia escuela de música en su ciudad natal de Augusta, GA, Gordon tiene otro proyecto importante: escribir la partitura para la película muda de 1925 de Oscar Micheaux, Body and Soul. Paul Robeson protagonizó la película sobre la raza, la religión y la vida en un pequeño pueblo del sur. Gordon se basó en su propia educación sureña para producir música de la iglesia, los bares y el hogar, para ser interpretada por la Orquesta de Jazz del Lincoln Center. Gordon ha comenzado a evidenciar un interés en la vocalización, algo que dice que planea hacer cada vez más. Los resultados serán sin duda de primer orden, ya que el exuberante Wycliffe Gordon se lanza a las cosas, en cuerpo y alma.
https://www.allmusic.com/artist/wycliffe-gordon-mn0000960062/biography

wycliffegordon.com ...

Ragtime Its History, Composers, and Music

 

 

Essays on ragtime music cover rhythm, instruction, novelty songs, influence on early country music, and the works of Scott Joplin, James Scott, and James P. Johnson

 

John Edward Hasse (Editor) 

 

Joe ''Fingers'' Carr • Honky Tonk Hits

 

 Although Lou Busch (not Bush, he changed the spelling) is best known for his honky-tonk piano recordings under his stage name, Joe "Fingers" Carr, his contributions to space age pop go well beyond that. He got his start early, leading his own band by the age of 12 and leaving home at 16 to work as a professional musician. He played with a number of sweet big bands--Clyde McCoy, Henry Busse, and George Olson--then took a short break to study at the Cincinnati Conservatory.

Joe 'Fingers' CarrAfter that, he went back to the sweet bands, this time joining one of the most successful of them, Hal Kemp's. Bush stayed with Kemp for most of the 1930s and married the first of his several wives, the band's girl singer, Janet Blair. After the band's lead arranger, John Scott Trotter, departed in early 1936, Bush and fellow band member Hal Mooney split most of the arranging duties. When Kemp died in from a car crash 1940, they moved to Los Angeles and started working as studio musicians, but World War Two came along and pulled Bush into the Army for a three-year stint.

When he returned to L.A. in 1945, he hooked up with Johnny Mercer's fledgling Capitol Records label and ended up working as an A&R executive. He continued to do occasional session work as a pianist, though, and provided the key ingredient in the 1949 Jo Stafford-Paul Weston hit, "Ragtime Cowboy Joe." In 1950, he sold the label on the idea of recording his ragtime playing, and he made up the name, Joe "Fingers" Carr, during his initial studio session. His first single, featuring his original tune, "Ivory Rag," became an international hit.

Although Capitol played up the nostalgic cariacature of Carr the honky tonk pianist, wearing derby hat, bowtie, vest, and suspenders, Bush tried not to let his recordings slip into mere novelty.

Carr's success spurred a revival of ragtime in the form of camped-up honky tonk.

* Born Louis Ferdinand Bush, 18 July 1910, Louisville, Kentucky

* Died 19 September 1979, Camarillo, California 

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Aunque Lou Busch (no Bush, cambió la ortografía) es mejor conocido por sus grabaciones de piano de honky-tonk bajo su nombre artístico, Joe "Fingers" Carr, sus contribuciones al pop de la era espacial van mucho más allá. Comenzó temprano, liderando su propia banda a los 12 años y saliendo de casa a los 16 para trabajar como músico profesional. Tocó con varias bandas grandes y dulces, como Clyde McCoy, Henry Busse y George Olson, y luego se tomó un breve descanso para estudiar en el Conservatorio de Cincinnati.

Joe 'Fingers' Carr Después de eso, volvió a las bandas dulces, esta vez se unió a uno de los más exitosos de ellos, Hal Kemp's. Bush se quedó con Kemp durante la mayor parte de la década de 1930 y se casó con la primera de sus varias esposas, la cantante de la banda, Janet Blair. Después de que el coordinador principal de la banda, John Scott Trotter, partió a principios de 1936, Bush y su compañero de banda Hal Mooney dividieron la mayoría de los deberes de organización. Cuando Kemp murió en un accidente automovilístico en 1940, se mudaron a Los Ángeles y comenzaron a trabajar como músicos de estudio, pero la Segunda Guerra Mundial llegó y llevó a Bush al ejército por un período de tres años.

Cuando regresó a L.A. en 1945, se conectó con el incipiente sello de Capitol Records de Johnny Mercer y terminó trabajando como ejecutivo de A&R. Sin embargo, continuó trabajando ocasionalmente como pianista y proporcionó el ingrediente clave en el éxito de 1949 Jo Stafford-Paul Weston, "Ragtime Cowboy Joe". En 1950, vendió la etiqueta con la idea de grabar su juego de ragtime, y se inventó el nombre, Joe "Fingers" Carr, durante su sesión inicial de estudio. Su primer sencillo, con su canción original, "Ivory Rag", se convirtió en un éxito internacional.

A pesar de que Capitol jugó con la nostalgia de Carr, el pianista honky tonk, con sombrero de derby, corbatín, chaleco y tirantes, Bush intentó no dejar que sus grabaciones se convirtieran en una mera novedad.

El éxito de Carr estimuló un resurgimiento de ragtime en forma de honky tonk acampado.
* Nacido Louis Ferdinand Bush, 18 de julio de 1910, Louisville, Kentucky
* Fallecido el 19 de septiembre de 1979, Camarillo, California.

Eddie Condon • Bixieland

Eddie Condon was on of the young 'White' Chicagoans who, during the 1920s, were instrumental in creating a new, hard driving type of “Chicago Dixieland Jazz”. His career started at just age 17 when he played Banjo (his original instrument) with the 'Hollis Peavey Jazz bandits', and he even played briefly with some members of the now fabled “Austin High School Gang”.

In 1927 he co-led the McKenzie-Condon Chicagoans on a record that was popular in Chicago. In 1929, after organizing some other recording sessions, Condon switched cities and instruments. He moved to New York, and began playing the guitar. In New York, he worked with Red McKenzie's Mound City Blue Blowers and with Red Nichol's and His Five Pennies. He appeared on one record (1929) with Louis Armstrong and His Savoy Ballroom 5.

In New York (ca. 1930), fellow Chicagoan Joe Marsala had a band that played at John Popkin's Hickory House on 52nd Street in New York for nearly ten years. Condon became Marsala's guitar player, and, between sets, spent a good deal of time at the bar. Between 1937 and 1944, he worked nightly at a famous New York Jazz club, Nick's, in New York 's Greenwich Village section. It may be said that Condon's “big break” came in 1938 when he led a group on some recording sessions for Milt Gabler's Commodore Label. These recording made Eddie a New York icon.

From 1944 to 1945, Condon was involved in a series of weekly broadcasts (and recordings) from New York's Town Hall . In 1945, Condon and Pete Pesci - manager of Julius's Bar - came up with a plan to open a jointly owned Club and this became the first “Eddie Condon's” (on West 3rd Street - Greenwich Village area). Eddie had excellent qualifications for a nightclub operator, - he was a sociable man who could hold his liquor, and was a very fine musician with many musician friends who could come in and help out.

Condon loved what he called “our particular brand of Jazz”, by which he meant 'Dixieland Jazz' with a strong rhythmic beat. His groups never used tubas or banjos and this was curious because Eddie's very first instrument was the Banjo. Sidemen that were often heard with him included Pee Wee Russell on clarinet, Gene Schroeder on piano, Big Sid “Rim Shots” Catlett on drums, as well as Muggsy Spanier or Bobby Hackett or Wild Bill Davison on trumpets.

In 1947, H.Holt Company published his biography”We Called It Music: A Generation of Jazz”. In the 1950s, he recorded for the Columbia label, these were a series of live recordings that are some of his best work.

In 1961, the club lost the 3rd Street lease to New York University. Condon and Pesci then relocated to the posh Hotel Sutton on East 56th. Street, where the club continued until 1967. Referring to his clubs, Condon once said that his policy was, “We don't throw anybody in, and we don't throw anybody out”.

Eddie Condon was a real character and a strong supporter of jazz. He always had racially mixed bands and fought for that cause as well. His playing was fiercely rhythmic, and he set the tempo for his outfits. He rarely took solos, and preferred to give the spotlight to the other players, but it was his band for sure.

Condon left a generous discography, and many of his prime era recordings have been reissued on several labels as Jazzology, Mosaic, Collectables, Storyville and others.

Eddie Condon passed away at age 68, in 1973

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Eddie Condon fue uno de los jóvenes "blancos" de Chicago que, durante los años 20, fue instrumental en la creación de un nuevo tipo de "Chicago Dixieland Jazz". Su carrera comenzó a la edad de 17 años cuando tocó el banjo (su instrumento original) con los bandidos de Hollis Peavey Jazz, e incluso tocó brevemente con algunos miembros de la ahora legendaria "Banda de la Escuela Secundaria de Austin".

En 1927 codirigió a los Chicagoanos de McKenzie-Condón en un disco que fue muy popular en Chicago. En 1929, después de organizar otras sesiones de grabación, Condon cambió de ciudad y de instrumento. Se mudó a Nueva York y comenzó a tocar la guitarra. En Nueva York, trabajó con Red McKenzie's Mound City Blue Blowers y con Red Nichol's and His Five Pennies. Apareció en un disco (1929) con Louis Armstrong y His Savoy Ballroom 5.

En Nueva York (alrededor de 1930), el chicagüense Joe Marsala tuvo una banda que tocó en John Popkin's Hickory House en la calle 52 de Nueva York durante casi diez años. Condon se convirtió en el guitarrista de Marsala, y, entre los sets, pasó mucho tiempo en el bar. Entre 1937 y 1944, trabajó todas las noches en un famoso club de jazz de Nueva York, Nick's, en la sección de Greenwich Village de Nueva York. Se puede decir que la "gran oportunidad" de Condon llegó en 1938 cuando dirigió un grupo en algunas sesiones de grabación para el sello Commodore de Milt Gabler. Estas grabaciones hicieron de Eddie un icono de Nueva York.

De 1944 a 1945, Condon participó en una serie de transmisiones semanales (y grabaciones) desde el Ayuntamiento de Nueva York. En 1945, Condon y Pete Pesci - gerente del Julius's Bar - idearon un plan para abrir un Club de propiedad conjunta y éste se convirtió en el primer "Eddie Condon's" (en la calle 3 Oeste - zona de Greenwich Village). Eddie tenía excelentes calificaciones para ser operador de un club nocturno, - era un hombre sociable que podía sostener su licor, y era un músico muy fino con muchos amigos músicos que podían entrar y ayudar.

A Condon le encantaba lo que él llamaba "nuestra marca particular de Jazz", con lo que se refería al 'Dixieland Jazz' con un fuerte ritmo. Sus grupos nunca usaron tubas o banjos y esto era curioso porque el primer instrumento de Eddie fue el Banjo. Los sidemen que se escuchaban a menudo con él incluían a Pee Wee Russell en el clarinete, Gene Schroeder en el piano, Big Sid "Rim Shots" Catlett en la batería, así como Muggsy Spanier o Bobby Hackett o Wild Bill Davison en las trompetas.

En 1947, la compañía H.Holt publicó su biografía "We Called It Music": Una generación de Jazz". En los años 50, grabó para el sello Columbia, una serie de grabaciones en vivo que son algunos de sus mejores trabajos.

En 1961, el club perdió el contrato de la calle 3 con la Universidad de Nueva York. Condon y Pesci se mudaron al elegante Hotel Sutton en la 56 Este. Street, donde el club continuó hasta 1967. Refiriéndose a sus clubes, Condon dijo una vez que su política era: "No echamos a nadie dentro, y no echamos a nadie fuera".

Eddie Condon era un verdadero personaje y un gran partidario del jazz. Siempre tuvo bandas de mezcla racial y también luchó por esa causa. Su forma de tocar era muy rítmica y marcaba el ritmo de su ropa. Rara vez hacía solos, y prefería dar el protagonismo a los otros músicos, pero era su banda, seguro.

Condon dejó una generosa discografía, y muchas de sus grabaciones de la época de la primacía han sido reeditadas en varios sellos como Jazzology, Mosaic, Collectables, Storyville y otros.

Eddie Condon falleció a los 68 años, en 1973

Sidney Bechet • The Legendary Sidney Bechet

Winifred Atwell • Hall Of Fame

 

Biography
by Sharon Mawer
Winifred Atwell was one of the stars of the early British charts when they were introduced for the first time in the 1950s, playing an upright piano in a boogie-woogie style of ragtime. She was born on February 27, 1914, in Tunapuna on the island of Trinidad. Her father owned a pharmacy, and although the young Winifred was trained in chemistry and was expected to join the family business, she was always more interested in performing for U.S. servicemen either at the air base or a local club, Piarco. Having trained from a very early age on the piano, she was proficient enough to satisfy the troops stationed in the Caribbean, when someone asked her to play in the popular style of boogie-woogie. When she returned to the club, she had written the song "Piarco Boogie," which was later to be retitled "Five Finger Boogie." Atwell moved to America in the early '40s to study the piano with Alexander Borovsky and later to London, where she studied at the Royal Academy of Music and became the first female pianist to be awarded the highest grade for musicianship. Supplementing her income while studying, she played ragtime at various London clubs and was spotted at the Casino Theatre by entrepreneur Bernard Delfont, who signed her to a recording contract with Decca Records.

In 1946 Atwell met the comedian Lew Levisohn, who was to become her husband. Levinsohn suggested that an original sound and stage presentation might be achieved if Atwell first played a classical piece on a concert grand piano and then a ragtime on a battered upright, which they purchased in a junk shop for £2.50. This would become known as Atwell's "other piano," and would travel with her around the world, even to the Sydney Opera House. Both pianos would be very slightly detuned to give a faint off-key sound, and this originality was one of the stepping stones to her successful career. She also appeared cheerful with a dazzling smile and a warm personality, and in Britain during the late '40s, dominated by rationing after World War II, it was a welcome relief to be entertained by this very special lady. One of her recordings that became extremely popular in the early '50s was actually written in the 1920s by George Botsford and titled "Black and White Rag," which received an enormous amount of radio play and would later become famous as the signature tune for the BBC snooker series Pot Black.

When Britain introduced pop charts in November 1952, Atwell was one of the first black artists to hit the Top Ten and the first instrumentalist in the chart, with the song "Britannia Rag." The hits continued throughout the 1950s, including "Coronation Rag" in the summer of 1953 to celebrate Queen Elizabeth II's coronation, and at Christmas she recorded the first of her piano medleys of music hall songs under the title "Let's Have a Party," which included "If You Knew Susie," "The More We Are Together," "Knees Up Mother Brown," "Daisy Bell," "Boomps a Daisy," and "She Was One of the Early Birds." Setting a trend that would continue on all of her medleys, side one of the single was an uptempo rag while the B-side was a slightly slower medley. Reverting to her classical training, she hit the charts in 1954 with Rachmaninov's 18th Variation on a Theme by Paganini, and at Christmas she achieved her first number one hit with another medley, "Let's Have Another Party." The mid-'50s were a period of peak popularity for her in Britain, with Atwell playing at the Royal Variety Show and even at a private party for the Queen, where a personal encore of "Roll Out the Barrel" was requested.

Her breakthrough performance in the U.S.A. was due to have been as a guest on The Ed Sullivan Show in 1956, but she was confronted with racist opposition to the idea of a black woman appearing as a guest, and the show was never even recorded. She encountered no such problems in Australia, where she visited in 1956 and became equally as popular. Back in Britain in that year she enjoyed her second number one single, a version of the French song "Poor People of Paris." After this hit, her massive popularity diminished with the two-pronged attack from the rise of rock & roll and a new young British pianist, Russ Conway, who began to have hit records with the same style of honky tonk/ragtime playing, and she found the Top Ten of the singles chart a difficult goal to reach, apart from her subsequent Christmas season medleys "Let's Have a Ding Dong," "Make It a Party," and "Piano Party." She was also exceedingly popular in Australia and was an outspoken critic of the plight of the Aborigines, and eventually she and her husband settled in Sydney. When Lew Levisohn died in 1977, she considered relocating back to Trinidad but remained in Australia. Tragedy struck in the early '80s when a fire destroyed her home in Narrabeen and she suffered a heart attack shortly afterwards. She died on February 28, 1983.
https://www.allmusic.com/artist/winifred-atwell-mn0000573685/biography

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Biografía

por Sharon Mawer

Winifred Atwell fue una de las estrellas de las primeras listas británicas cuando se presentaron por primera vez en la década de 1950, tocando un piano vertical en un estilo boogie-woogie de ragtime. Nació el 27 de febrero de 1914 en Tunapuna en la isla de Trinidad. Su padre era dueño de una farmacia y, aunque la joven Winifred tenía formación en química y se esperaba que se uniera al negocio familiar, ella siempre estuvo más interesada en actuar para los Estados Unidos. militares ya sea en la base aérea o en un club local, Piarco. Tras aprender a tocar el piano desde muy temprana edad, logró satisfacer a las tropas estacionadas en el Caribe cuando alguien le pidió que tocara el popular estilo boogie-woogie. Cuando regresó al club, había escrito la canción "Piarco Boogie", que luego pasaría a llamarse "Five Finger Boogie". Atwell se mudó a Estados Unidos a principios de los años 40 para estudiar piano con Alexander Borovsky y más tarde a Londres, donde estudió en la Royal Academy of Music y se convirtió en la primera pianista en recibir la calificación más alta en musicalidad. Para complementar sus ingresos mientras estudiaba, tocó ragtime en varios clubes de Londres y fue descubierta en el Casino Theatre por el empresario Bernard Delfont, quien le firmó un contrato discográfico con Decca Records.

En 1946, Atwell conoció al comediante Lew Levisohn, quien se convertiría en su marido. Levinsohn sugirió que se podría lograr un sonido y una presentación escénica originales si Atwell tocara primero una pieza clásica en un piano de cola de concierto y luego un ragtime en un vertical bateado, que compraron en una tienda de chatarra por £ 2,50. Este sería conocido como el "otro piano" de Atwell y viajaría con ella por todo el mundo, incluso hasta la Ópera de Sydney. Ambos pianos estaban ligeramente desafinados para dar un ligero sonido desafinado, y esta originalidad fue uno de los peldaños de su exitosa carrera. También parecía alegre, con una sonrisa deslumbrante y una personalidad cálida, y en Gran Bretaña a finales de los años 40, dominada por la racionalización después de la Segunda Guerra Mundial, era un alivio bienvenido ser entretenida por esta dama tan especial. Una de sus grabaciones que se hizo extremadamente popular a principios de los años 50 fue escrita en la década de 1920 por George Botsford y titulada "Black and White Rag", que recibió una enorme cantidad de reproducción en la radio y más tarde se haría famosa como la melodía característica de la Serie de billar de la BBC Pot Black.

Cuando Gran Bretaña introdujo las listas de éxitos pop en noviembre de 1952, Atwell fue uno de los primeros artistas negros en llegar al Top Ten y el primer instrumentista en la lista, con la canción "Britannia Rag". Los éxitos continuaron a lo largo de la década de 1950, incluido "Coronation Rag" en el verano de 1953 para celebrar la coronación de la reina Isabel II, y en Navidad grabó el primero de sus popurrís para piano de canciones de music hall bajo el título "Let's Have a Party", que incluyó "If You Knew Susie", "The More We Are Together", "Knees Up Mother Brown", "Daisy Bell", "Boomps a Daisy" y "She Was One of the Early Birds". Estableciendo una tendencia que continuaría en todos sus popurrís, la cara uno del sencillo era un trapo rápido mientras que la cara B era un popurrí un poco más lento. Volviendo a su formación clásica, llegó a las listas de éxitos en 1954 con la 18.ª variación de Rachmaninov sobre un tema de Paganini, y en Navidad logró su primer éxito número uno con otro popurrí, "Let's Have Another Party". A mediados de los años 50 fue un período de máxima popularidad para ella en Gran Bretaña, con Atwell tocando en el Royal Variety Show e incluso en una fiesta privada de la Reina, donde se solicitó un bis personal de "Roll Out the Barrel".

Su gran actuación en los EE.UU. Debía haber estado como invitada en The Ed Sullivan Show en 1956, pero se enfrentó a una oposición racista a la idea de que una mujer negra apareciera como invitada, y el programa ni siquiera fue grabado. No encontró tales problemas en Australia, donde visitó en 1956 y se hizo igualmente popular. De regreso a Gran Bretaña ese año, disfrutó de su segundo sencillo número uno, una versión de la canción francesa "Poor People of Paris". Después de este éxito, su popularidad masiva disminuyó con el ataque doble del ascenso del rock & roll y un nuevo joven pianista británico, Russ Conway, que comenzó a grabar discos con el mismo estilo de tocar honky tonk/ragtime, y ella Consideró que el Top Ten de la lista de sencillos era un objetivo difícil de alcanzar, aparte de sus popurrís posteriores de la temporada navideña "Let's Have a Ding Dong", "Make It a Party" y "Piano Party". También fue muy popular en Australia y criticó abiertamente la difícil situación de los aborígenes y, finalmente, ella y su marido se establecieron en Sydney. Cuando Lew Levisohn murió en 1977, consideró regresar a Trinidad, pero permaneció en Australia. La tragedia se produjo a principios de los años 80 cuando un incendio destruyó su casa en Narrabeen y poco después sufrió un ataque cardíaco. Murió el 28 de febrero de 1983.
https://www.allmusic.com/artist/winifred-atwell-mn0000573685/biography

Chris Barber's Jazz Band • Ice Cream

Biography

Barber/Ball/Bilk are a British traditional jazz trio comprised of trombonist Chris Barber, trumpeter Kenny Ball, and clarinetist Acker Bilk, whose individual recordings were compiled from time to time on joint best-of collections such as At the Jazz Band Ball (1994) and Boaters Bowlers & Bowties (2009). The recordings of Barber (born on April 17, 1930, in Welwyn Garden City, Hertfordshire, England), Ball (born on May 22, 1930, in Ilford, Essex, England), and Bilk (born on January 28, 1929, in Pensford, Somerset, England) were first compiled jointly in 1962 on The Best of Ball, Barber & Bilk, which was released in the wake of "Stranger on the Shore." Performed by Mr. Acker Bilk & the Leon Young String Chorale and originally released in October 1961, "Stranger on the Shore" was one of the biggest hits of 1962 in not only the U.K., where it was the best-selling single of the year, but also the U.S., where it topped the Billboard singles chart for a week in May. Even though "Stranger on the Shore" isn't featured on The Best of Ball, Barber & Bilk, which includes songs by Mr. Acker Bilk & His Paramount Jazz Band, Kenny Ball & His Jazzmen, and Chris Barber & His Jazz Band, the song's popularity, along with that of the British traditional jazz movement, propelled the compilation to the top of the U.K. albums chart in September 1962. From time to time over the years, the recordings of Barber, Ball, and Bilk were likewise compiled jointly. At the Jazz Band Ball (1994) is a particularly notable compilation of 1962 recordings drawn from the BBC Archives. In addition, Boaters Bowlers & Bowties (2009) is notable for its double-disc length as well as for its inclusion of "Stranger on the Shore."

by Jason Birchmeier

https://www.allmusic.com/artist/chris-barber-mn0000105761/biography

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Biografía

Barber/Ball/Bilk es un trío de jazz tradicional británico compuesto por el trombonista Chris Barber, el trompetista Kenny Ball y el clarinetista Acker Bilk, cuyas grabaciones individuales se compilaron de vez en cuando en colecciones conjuntas de lo mejor, como At the Jazz Band Ball (1994) y Boaters Bowlers & Bowties (2009). Las grabaciones de Barber (nacido el 17 de abril de 1930, en Welwyn Garden City, Hertfordshire, Inglaterra), Ball (nacido el 22 de mayo de 1930, en Ilford, Essex, Inglaterra) y Bilk (nacido el 28 de enero de 1929, en Pensford, Somerset, Inglaterra) se compilaron conjuntamente por primera vez en 1962 en The Best of Ball, Barber & Bilk, que se publicó a raíz de "Stranger on the Shore". Interpretado por el Sr. Acker Bilk & the Leon Young String Chorale y estrenado originalmente en octubre de 1961, "Stranger on the Shore" fue uno de los mayores éxitos de 1962 no sólo en el Reino Unido, donde fue el single más vendido del año, sino también en los EE.UU., donde encabezó la lista de singles de Billboard durante una semana en mayo. Aunque "Stranger on the Shore" no aparece en The Best of Ball, Barber & Bilk, que incluye canciones de Mr. Acker Bilk & His Paramount Jazz Band, Kenny Ball & His Jazzmen, y Chris Barber & His Jazz Band, la popularidad de la canción, junto con la del movimiento de jazz tradicional británico, impulsó la compilación a lo más alto de la lista de álbumes del Reino Unido en septiembre de 1962. De vez en cuando a lo largo de los años, las grabaciones de Barber, Ball, y Bilk también fueron compiladas conjuntamente. At the Jazz Band Ball (1994) es una compilación particularmente notable de grabaciones de 1962 extraídas de los archivos de la BBC. Además, Boaters Bowlers & Bowties (2009) es notable por su longitud de doble disco así como por su inclusión de "Stranger on the Shore".

por Jason Birchmeier

https://www.allmusic.com/artist/chris-barber-mn0000105761/biography

Chris Barber's Jazzband • The Original Copenhagen Concert

 

Recorded live, Odd Fellow Palaet, Copenhagen, October 10th, 1954 Chris Barber’s Jazz Band have always been a great live attraction.Many of their concerts have been recorded with no less than ten commercially recorded performances between 1954 and 1961. And it all started in Copenhagen, Denmark on October 10th, 1954. Here then – for the first time, and in chronological order – you can enjoy listening to this remarkable concert, which gave way for an outstanding international career for Chris Barber and the boys. The Album contains three previously unissued performances.

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Grabado en directo, Odd Fellow Palaet, Copenhague, 10 de octubre de 1954 La Chris Barber's Jazz Band siempre ha sido una gran atracción en directo. Muchos de sus conciertos han sido grabados, con no menos de diez actuaciones registradas comercialmente entre 1954 y 1961. Y todo comenzó en Copenhague, Dinamarca, el 10 de octubre de 1954. Aquí, pues, por primera vez y en orden cronológico, se puede disfrutar de la escucha de este notable concierto, que dio paso a una destacada carrera internacional de Chris Barber y los chicos. El álbum contiene tres actuaciones inéditas.

Joe Fingers Carr • Plays Zambezi-Plays Young Bulls Of Pamplona

Louis Ferdinand Busch
Profile:
* Born Louis Ferdinand Bush, 18 July 1910, Louisville, Kentucky
* Died 19 September 1979, Camarillo, California

Although Lou Busch (not Bush, he changed the spelling) is best known for his honky-tonk piano recordings under his stage name, Joe "Fingers" Carr, his contributions to space age pop go well beyond that. He got his start early, leading his own band by the age of 12 and leaving home at 16 to work as a professional musician. He played with a number of sweet big bands--Clyde McCoy, Henry Busse, and George Olson--then took a short break to study at the Cincinnati Conservatory.
After that, he went back to the sweet bands, this time joining one of the most successful of them, Hal Kemp's. Bush stayed with Kemp for most of the 1930s and married the first of his several wives, the band's girl singer, Janet Blair. After the band's lead arranger, John Scott Trotter, departed in early 1936, Bush and fellow band member Hal Mooney split most of the arranging duties. When Kemp died in a car crash in 1940, they moved to Los Angeles and started working as studio musicians, but World War Two came along and pulled Bush into the Army for a three-year stint.
When he returned to L.A. in 1945, he hooked up with Johnny Mercer's fledgling Capitol Records label and ended up working as an A&R executive. He continued to do occasional session work as a pianist, though, and provided the key ingredient in the 1949 Jo Stafford-Paul Weston hit, "Ragtime Cowboy Joe." In 1950, he sold the label on the idea of recording his ragtime playing, and he made up the name, Joe "Fingers" Carr, during his initial studio session. His first single, featuring his original tune, "Ivory Rag," became an international hit.
Although Capitol played up the nostalgic cariacature of Carr the honky tonk pianist, wearing derby hat, bowtie, vest, and suspenders, Bush tried not to let his recordings slip into mere novelty.
Carr's success spurred a revival of ragtime in the form of camped-up honky tonk.
http://www.spaceagepop.com/carr.htm 

 

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Louis Ferdinand Busch
Perfil:
* Nacido Louis Ferdinand Bush, 18 de julio de 1910, Louisville, Kentucky
* Fallecido el 19 de septiembre de 1979, Camarillo, California

Aunque Lou Busch (no Bush, cambió la ortografía) es más conocido por sus grabaciones de piano honky-tonk bajo su nombre artístico, Joe "Fingers" Carr, sus contribuciones al pop de la era espacial van mucho más allá. Empezó pronto, dirigiendo su propia banda a los 12 años y dejando su casa a los 16 para trabajar como músico profesional. Tocó con varias grandes bandas de música -Clyde McCoy, Henry Busse y George Olson- y luego se tomó un breve descanso para estudiar en el Conservatorio de Cincinnati.
Después de eso, volvió a las bandas dulces, esta vez uniéndose a una de las más exitosas, la de Hal Kemp. Bush permaneció con Kemp durante la mayor parte de la década de 1930 y se casó con la primera de sus varias esposas, la cantante de la banda, Janet Blair. Después de que el principal arreglista de la banda, John Scott Trotter, se marchara a principios de 1936, Bush y su compañero Hal Mooney se repartieron la mayor parte de los arreglos. Cuando Kemp murió en un accidente de coche en 1940, se trasladaron a Los Ángeles y empezaron a trabajar como músicos de estudio, pero la Segunda Guerra Mundial hizo que Bush se alistara en el ejército durante tres años.
Cuando regresó a Los Ángeles en 1945, se unió a la incipiente discográfica Capitol Records de Johnny Mercer y acabó trabajando como ejecutivo de A&R. Sin embargo, continuó haciendo trabajos ocasionales de sesión como pianista, y proporcionó el ingrediente clave en el éxito de 1949 de Jo Stafford-Paul Weston, "Ragtime Cowboy Joe". En 1950, vendió a la discográfica la idea de grabar su forma de tocar el ragtime, y se inventó el nombre de Joe "Fingers" Carr durante su primera sesión de estudio. Su primer sencillo, con su tema original, "Ivory Rag", se convirtió en un éxito internacional.
Aunque Capitol se empeñó en la nostálgica cariacontecimiento de Carr, el pianista del honky tonk, con sombrero, pajarita, chaleco y tirantes, Bush intentó que sus grabaciones no se convirtieran en una mera novedad.
El éxito de Carr impulsó un renacimiento del ragtime en forma de honky tonk acampado.
http://www.spaceagepop.com/carr.htm

King of Ragtime: Scott Joplin and His Era

 

In 1974, the academy award-winning film The Sting brought back the music of Scott Joplin, a black ragtime composer who died in 1917. Led by The Entertainer, one of the most popular pieces of the mid-1970s, a revival of his music resulted in events unprecedented in American musical history. Never before had any composer's music been so acclaimed by both the popular and classical music worlds. While reaching a "Top Ten" position in the pop charts, Joplin's music was also being performed in classical recitals and setting new heights for sales of classical records. His opera Treemonisha was performed both in opera houses and on Broadway.
Destined to be the definitive work on the man and his music, King of Ragtime is written by Edward A. Berlin. A renowned authority on Joplin and the author of the acclaimed and widely cited Ragtime: A Musical and Cultural History, Berlin redefines the Scott Joplin biography. Using the tools of a trained musicologist, he has uncovered a vast amount of new information about Joplin. His biography truly documents the story of the composer, replacing the myths and unsupported anecdotes of previous histories. He shows how Joplin's opera Treemonisha was a tribute to the woman he loved, a woman other biographers never even mentioned. Berlin also reveals that Joplin was an associate of Irving Berlin, and that he accused Berlin of stealing his music to compose Alexander's Ragtime Band in 1911.
Berlin paints a vivid picture of the ragtime years, placing Scott Joplin's story in its historical context. The composer emerges as a representative of the first post-Civil War generation of African Americans, of the men and women who found in the world of entertainment a way out of poverty and lowly social status. King of Ragtime recreates the excitement of these pioneers, who dreamed of greatness as they sought to expand the limits society placed upon their race.

 

  Edward A. Berlin (Author)

 

Chuck Gould • Plays A La Fletcher Henderson

 

Notes LP:

Charles “Chuck” Gould was born in Staples, Minnesota, and grew up in Seattle, Washington. His unusual musical career has included the composing, conducting and producing of such musicals as “Flyin’ Hi,” Olsen and Johnson’s “Funzapoppin’,” the “American Revue in Paris.” He has composed the lyrics and music for many popular songs, is prominent as a vocalist and as the composer-conductor of the popular álbum “White Satín and Black Velvet.” He is well fitted to bring us the culmination of the talents of his great friend Fletcher Henderson in this remarkable alburn, showing what can be 'done with the only native American art—Jazz. But this is more than the combining of the talents of Henderson and Gould or a creating of vital living jazz history—it’s also fun to listen to, to dance with, and to hear again'and again as the magic of mood and music are portrayed thru the talents of two men who knew what they were doing.

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Notas LP:

Charles "Chuck" Gould nació en Staples, Minnesota, y creció en Seattle, Washington. Su inusual carrera musical ha incluido la composición, dirección y producción de musicales como "Flyin' Hi", "Funzapoppin'" de Olsen y Johnson, la "American Revue in Paris". Ha compuesto la letra y la música de muchas canciones populares, se ha destacado como vocalista y como compositor y director del popular álbum "White Satín and Black Velvet". Está bien preparado para traernos la culminación de los talentos de su gran amigo Fletcher Henderson en esta notable alburna, mostrando lo que se puede hacer con el único arte-jazz nativo americano. Pero esto es más que la combinación de los talentos de Henderson y Gould o la creación de una historia vital de jazz viviente: también es divertido escuchar, bailar y escuchar una y otra vez y otra vez como la magia del humor y la música se retratan a través de los talentos de dos hombres que sabían lo que hacían.

Rags and Ragtime: A Musical History

 

"A work for all time . . . (with) a tremendous amount of historical information which has never been published. . . . It will be the standard text and reference work in the ragtime field." — Rag Times.
This well-known, highly praised book is the definitive history of ragtime music and its composers. Both authors are widely celebrated composers, performers, collectors, historians, and critics of ragtime music. With great enthusiasm and expertise, they trace the growth and diversification of ragtime from its earliest beginnings in the late nineteenth century through its heyday in the Folk, Classic, Popular, Novelty, and Stride Ragtime periods to its current revival.
Forty-eight major composers are discussed, including Scott Joplin, Zez Confrey, Jelly Roll Morton, Fats Waller, and many other greats. In addition, 800 important rags are profiled, most of them bearing the carefree titles that were part of the tradition, titles like "Canned Corn Rag," "Bantam Step," "Too Much Raspberry," "Ragging the Scale," and "Red Onion Rag." Each profile includes date of publication, original publisher, a discography, and a commentary of the unique character and appeal of each rag.
Over 100 photographs, many of them rare, illuminate this lively chronicle, along with reproductions of original sheet music and many other items of interest from the authors' personal archives.
"Jasen and Tichenor have no peers in ragtime knowledge. . . .They are the two unchallengeable authorities in the field of ragtime history, personalities, and musical forms." — The Classic Rag.
"A combination encyclopedia/biography/history/analysis and review, it teems with what would appear to be everything the ragtime buff or casual inquirer needs or wants to know about the music that won't stand still." — The Christian Science Monitor.
"Rags and Ragtime tells it all. There's a lot here I didn't know in pictures, music, and words." — Eubie Blake.

 

by David A. Jasen (Author), Trebor Jay Tichenor (Author) 

 

Jean-Pierre Rampal • Plays Scott Joplin

www.jprampal.com ...

Sidney Bechet • Petite Fleur [Quadromania]

 

Ragtime An Encyclopedia, Discography, and Sheetography

 

Ragtime: An Encyclopedia, Discography, and Sheetography is the definitive reference work for this important popular form of music that flourished from the 1890s through the 1920s, and was one of the key predecessors of jazz. It collects for the first time entries on all the important composers and performers, and descriptions of their works; a complete listing of all known published ragtime compositions, even those self-published and known only in single copies; and a complete discography from the cylinder era to today. It also represents the culmination of a lifetime’s research for its author, considered to be the foremost scholar of ragtime and early twentiethh-century popular music. Rare photographs accompany most entries, taken from the original sheets, newspapers, and other archival sources.

 

Sidney Bechet • Ten Songs For You