Miguel Matamoros tenor v, g / Rafael Cueto v, g / Siro RodrÃguez baritone v, claves.
Recorded in Camden, NJ on May 28, 1928.
Trio Matamoros - Victor 81378 (1928)
Unfortunately, the store sticker has been cut but I've been told it was from Cuba.
Miguel Matamoros tenor v, g / Rafael Cueto v, g / Siro RodrÃguez baritone v, claves.
Recorded in Camden, NJ on May 28, 1928.
Miguel Matamoros tenor v, g / Rafael Cueto v, g / Siro RodrÃguez baritone v, claves.
Recorded in Camden, NJ on May 28, 1928.
Trio Matamoros - HMV G.V.8 (1928)
Miguel Matamoros tenor v, g / Rafael Cueto v, g / Siro RodrÃguez baritone v, claves.
Recorded in Camden, NJ (Mujer) and New York (Elixir) on May 29 & 31, 1928.
Recorded in Camden, NJ (Mujer) and New York (Elixir) on May 29 & 31, 1928.
Tommy McClennan - Bluebird 34-0716 (1942)
Here's gravelly voiced Mississippi blues musician, Tommy McClennan. He frequently played with fellow Yazoo City born, Robert Petway.
McClennan was with Bluebird from 1939-1942 but this record was released in 1944.
Tommy McClennan g, v / Ransom Knowling sb.
Recorded in Chicago on February 20, 1042.
McClennan was with Bluebird from 1939-1942 but this record was released in 1944.
Tommy McClennan g, v / Ransom Knowling sb.
Recorded in Chicago on February 20, 1042.
Billy "Red" Love & His Orchestra - Chess 1508 (1951)
Unofficially chosen to replicate the success of Jackie Brenston's (or more so, Ike Turner's) single, Rocket 88, Sam Phillips recorded several Billy "Red" Love tracks at Memphis Recording Service...which would later become the legendary Sun Studio.
While Love did not reach anywhere near the level of Rocket 88 (what could?), Drop Top can evoke that familiar rocking rhythm.
Recorded in Memphis on July 31, 1951.
While Love did not reach anywhere near the level of Rocket 88 (what could?), Drop Top can evoke that familiar rocking rhythm.
Recorded in Memphis on July 31, 1951.
Rev Rice's Sanctified Singers - Vocalion 1444 (1929)
From wikipedia...
Reverend D. C. Rice (born Barbour County, Alabama, c.1888; died Montgomery, Alabama, March 1973) was a preacher and singer. He was raised as a Baptist by his father, and moved to Chicago during World War I. There he joined The Church of the Living God, Pentecostal, and in 1920 became a preacher in this denomination.
Following the examples of Rev. J. M. Gates and Rev. F. W. McGee, in March 1928 Rice made his first recordings for the Vocalion label in Chicago, and over the period until July 1930 he recorded a total of 28 sides although two are lost. These are described in terms such as "Rev D. C. Rice, sermons with singing, assisted by His Congregation." Many of the performances begin with Rice intoning a verse from the Bible and then giving a short sermon, his voice rising and falling with blues inflections, while members of the congregation respond with "amen." Then Rice leads the ensemble into a hymn, generally of an evangelical type. Rice's singing dominates the recordings, the other singers providing harmonized support. The instrumental accompaniment is by piano plus one or more of mandolin, string or brass bass, triangle or other small percussion, trumpet, and trombone.
Rice continued to be active in black churches, as a preacher and ultimately a bishop. Music continued to feature in his religious career but no further recordings are known after 1930.
Recorded in Chicago in November, 1929.
Reverend D. C. Rice (born Barbour County, Alabama, c.1888; died Montgomery, Alabama, March 1973) was a preacher and singer. He was raised as a Baptist by his father, and moved to Chicago during World War I. There he joined The Church of the Living God, Pentecostal, and in 1920 became a preacher in this denomination.
Following the examples of Rev. J. M. Gates and Rev. F. W. McGee, in March 1928 Rice made his first recordings for the Vocalion label in Chicago, and over the period until July 1930 he recorded a total of 28 sides although two are lost. These are described in terms such as "Rev D. C. Rice, sermons with singing, assisted by His Congregation." Many of the performances begin with Rice intoning a verse from the Bible and then giving a short sermon, his voice rising and falling with blues inflections, while members of the congregation respond with "amen." Then Rice leads the ensemble into a hymn, generally of an evangelical type. Rice's singing dominates the recordings, the other singers providing harmonized support. The instrumental accompaniment is by piano plus one or more of mandolin, string or brass bass, triangle or other small percussion, trumpet, and trombone.
Rice continued to be active in black churches, as a preacher and ultimately a bishop. Music continued to feature in his religious career but no further recordings are known after 1930.
Recorded in Chicago in November, 1929.
Albert Brunies & His Halfway House Orchestra - Columbia 1542 & 1959 (1928)
Here are 4/5ths of the sides issued by The Halfway House Orchestra with Albert Brunies' name out in front on the label.
That 5th one is gonna prove a difficult one to obtain as it was only issued in Australia.
Albert Brunies c, dir / Sidney Arodin cl / Joe Loyacano as / Glyn Lea "Red" Long p / Angelo Palmisano bj / Chink Martin bb, sb / Emmett Rogers d / Johnny Saba v.
New Orleans, April 26 (Love Dreams) & 27 (Tell Me Who) & December 17, 1928.
That 5th one is gonna prove a difficult one to obtain as it was only issued in Australia.
Albert Brunies c, dir / Sidney Arodin cl / Joe Loyacano as / Glyn Lea "Red" Long p / Angelo Palmisano bj / Chink Martin bb, sb / Emmett Rogers d / Johnny Saba v.
New Orleans, April 26 (Love Dreams) & 27 (Tell Me Who) & December 17, 1928.
Nashville Jazzers - Madison 50001 (1927)
Here we have the Nashille Jazzers' lone recording...but not the lone recording by this core trio.
Victor 20316 & Conqueror 7081.
Tom Morris c / Bob Fuller cl / as / Mike Jackson p / bj.
Recorded in New York in 1927.
Victor 20316 & Conqueror 7081.
Tom Morris c / Bob Fuller cl / as / Mike Jackson p / bj.
Recorded in New York in 1927.
New Orleans Owls - Columbia 1261 (1927)
Wonderful last sides by the New Orleans Owls. (And I believe the second recording session by Nappy Lamare, the first being on Victor 20593, John Hyman's Bayou Stompers)
Benjie White cl, as, dir / Bill Padron c / Red Bowman c, v / Frank Netto tb / Pinky Vidacovich cl, as / Lester Smith ts / Sigfre Christensen p / Nappy Lamare bj, v / Dan LeBlanc bb / Earl Crumb d.
Recorded in New Orleans on October 26, 1927.
Benjie White cl, as, dir / Bill Padron c / Red Bowman c, v / Frank Netto tb / Pinky Vidacovich cl, as / Lester Smith ts / Sigfre Christensen p / Nappy Lamare bj, v / Dan LeBlanc bb / Earl Crumb d.
Recorded in New Orleans on October 26, 1927.
Mi Nena - Estudiantina Oriental (1928) / Estudiantina Ensemble (2012)
As you may know, I have an affinity for early Cuban music. And, as you may also know, a few years back, I came across a 78 by the Cuban group, Estudiantina Oriental. The outfit recorded six sides during one session in Havana on February 6, 1928. (As far as I can tell, no other copies of this record have been found and no copies of the other two issues have yet to be discovered.)
I quickly posted the record on this blog and it soon caught the attention of Ricardo Bekema, who fronts Estudiantina Ensemble, quite possibly, the only group continuing the Cuban Estudiantina style outside of the island today.
He contacted me expressing his excitement to finally hear the record he had only known about in discographies. He likened it to discovering "King Solomon's mines."
That correspondence took place over four years ago.
Just this week, I received a file featuring his ensemble performing one of the songs from that 78...Mi Nena.
They have done an excellent job in resurrecting a song from old grooves and breathing new life into it.
Hear for yourself...
I quickly posted the record on this blog and it soon caught the attention of Ricardo Bekema, who fronts Estudiantina Ensemble, quite possibly, the only group continuing the Cuban Estudiantina style outside of the island today.
He contacted me expressing his excitement to finally hear the record he had only known about in discographies. He likened it to discovering "King Solomon's mines."
That correspondence took place over four years ago.
Just this week, I received a file featuring his ensemble performing one of the songs from that 78...Mi Nena.
They have done an excellent job in resurrecting a song from old grooves and breathing new life into it.
Hear for yourself...
Red Nichols & His Five Pennies - Vocalion 15536 (1927)
Red Nichols t, a / Miff Mole tb / Jimmy Dorsey cl, as / Joe Venuti vn / Arthur Schutt p / Eddie Lang g / Vic Berton d.
Recorded in New York on March 3, 1927.
Recorded in New York on March 3, 1927.
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