Titel: Upstairs - Four on the FloorFormat: Audio CDTracks: Disc 1:1. Darlin´ 2. I´m Tore Down 3. Blue Midnight 4. Crossfire 5. Down Town 6. Blowin´ The Family Jewels 7. Come To Me 8. Educated Fool 9. Trust My Baby 10. Cold Shot 11. Juke
(2017/Madewright) 10 tracks. Jazz, R & B und Funk, authentischer Mississippi Delta Juke-Joint Blues von Luittle Freddie King. Ein tolles Live-Set.´Wacko´ Wade Wright - Schlagzeug, Little Freddie King - gtr, Voc, Bobby Lewis Ditullio - hca, William Jor
(2017/Madewright) 10 tracks. Jazz, R & B und Funk, authentischer Mississippi Delta Juke-Joint Blues von Luittle Freddie King. Ein tolles Live-Set. ´Wacko´ Wade Wright - Schlagzeug, Little Freddie King - gtr, Voc, Bobby Lewis Ditullio - hca, William Jordan - bass
(1992/SONY SPECIAL PRODUCT) 12 tracks (33:51) very rare original release, feat. The Animals, Freddie Bell & The Bellboys, The Dave Clark Five, Garage band stars The Standells, jazz saxophonist Stan Getz and Brazilian singer Astrud (´The Girl From Ipanema´) Gilberto. They all appear on GET YOURSELF A COLLEGE GIRL! This long forgotten 1960´s juke-box movie, soundtrack album mixed vintage garage/punk, classic British rock, and proto-British. The plot may have been a bit thin but the beefy soundtrack remains a prime mid 1960´s
(Muddy Roots) 11 tracks (31:19) - Billed as a purveyor of ´country blues, rag time, and viper jazz,´ Woody Pines is that and more. He’s also a purveyor of fine original songs that draw on those traditions and others as well: ´his Train Rolls By´ evokes Tom Waits and Woody Guthrie simultaneously, ´New Nashville Boogie´ evokes Hank Williams and the Andrews Sisters simultaneously, and his version of ´Junco Partner´ manages to avoid evoking the Clash at all. Recorded warmly but cleanly (none of that lo-fi pretense for him, and bless him for it), this album provides plenty of good rootsy enjoyment. - On his new self-titled album, Pines looks back to streets and hollers, juke joints and dancehalls, and brings them all forward for a new generation to enjoy..
(Disky) 30 tracks The Hottest Sounds from the IMPERIAL/LIBERTY Record Company Catalogues. America, that extraordinary melting pot of music and home to a number of musical eccentrics and oddballs, was, by the 1920´s, already producing music, that, in anyone´s terminology, would be called ´Hot´. Hot Jazz came up the Mississippi from New Orleans and permeated it´s way across America, followed by the Bluesmen and the Hillbilly String Bands, all of whom were to make their mark during this very important period of musical experimentation. The 1930´s saw the small Jazz Bands grow into large travelling, Swing Bands, the Bluesmen forming small, Juke Joint, Combos and the String Bands growing into much larger and louder, Western Swing Bands. There was an evergrowing dance public at this time, consequently venues grew larger and the music needed to be louder. Sadly, the advent of the Great Depression resulted in enormous cutbacks in the recording budgets and in the disbanding of innumerable Bands and Combos, due to lack of work. World War Two did not help much either, with a long term ban on shellac usage, but, throughout History, people at war, have always demanded entertainment and consequently, work for Bands/Combos/Singers of all styles increased dramatically. After the War was over, America went back to work with a vengeance and the whole entertainment scene began to grow at a tremendous pace. In all forms of Music, stylists were appearing and attracting their own recording contracts and artists, as opposed to being slaves to the world of sheet music, as artists had mostly been before the war. Independent record companies began to appear catering, once again, to all forms of music in all styles. Probably one of the key points to the success of ´Hot´ music, since the 1920´s was the ´Backbeat´. That crack on the snare drum quite simply had kept millions of people dancing around the world and has continued to do so. After the War, the music became louder again -the ´American Dream´ was rearing its head on the Horizon and the people wanted to loosen their inhibitions just a little more. Electric guitars were introduced fully into Country Music/Western Swing/Jazz/Blues/Dance Band Music/Rhythm ´n´ Blues during and after the War, creating a completely different musical energy level, from which there was no turning back. At the same time, despite segregation in many parts of America, at this time, both White and Black Musicians and Vocalists were listening intently to each others styles and rhythms and began ´borrowing´ ideas for their recording dates and ´Live´ shows. By the turn of the Half Century, the Rock ´n´ Roll melting pot was boiling and Blues/Country/Gospel/Latin/Hillbilly and Jazz fused together was beginning to produce some astounding records for the time. America still, however, needed a Rudolf Valentino style icon to lead it away from the ultra staid ´Pop´ music fare that trumpeted out of the Radio Speakers of Middle Class Homes everyday and dominated the ´Pop´ Charts, almost permanently. Finally, the Icon was found, in a small studio in Memphis, Tennessee, where, on July 5th. 1954, Elvis Presley made his first record ´That´s all right mama/Blue moon of Kentucky´ for the fledgling Sun Record Company. Presley confused everyone, because radio listeners were not sure if he was black or white, so, initially, the record sold to both markets and took off like a tornado through the South creating a whole new era, where Country Boys threw away their fiddles and banjos, bought guitars, grew sideburns, sported ducktails checked out their hip swinging potential in the bedroom mirror and, between them, recorded thousands of gut-wrenching 45´s, desperately attempting to emulate the ´Hillbilly Cat´, as he blazed a path across the USA, laying down some all timeclassics for Sun Records, before moving on to permanent stardom with RCA Victor and a Hotel of Lonely Hearts! Rockabilly, one step on from Hillbilly Boogie, borrowed generously from Blues/Country/Gospel/R ´n´ B and even Bluegrass, to create those echo laden sounds, yet, despite an initial burst of popularity, it only really lasted commercially for about 1 /2 to 2 years. A slew of Independent Labels certainly were responsible for some of the greatest Rockabilly Music ever recorded, but the Majors were not slow to jump into the situation and sign up a strong collection of pulsating teen angst of the time. Imperial Records and, to a marginally lesser extent, Liberty Records were
(King) 12 tracks - Re-issue of the original 1959 ´King´ LP album Big Jay McNeely, the greatest jazz sensa-tion to come out of California since Lionel Hampton, is known to his thousands of fol-lowers as the ´Go! Go! Go!´ boy. He plays a powerful lot of tenor saxophone. In fact, he has been known to devote 45 minutes to blowing hot and sweet in one number. It left him exhausted. A jazz devotee, Big Jay has studied under modern music greats. He has become the new jazz Pied Piper of teen-agers; has been called ´the greatest jazz artist since Louis Armstrong,´ and also, ´California´s hottest showman-saxophonist.´ As Big Jay himself tells it, ´I first came to Los Angeles on April 29, 1927. I did not come there to get into the movies. I just came there to be born.´ His was a musical family. Both parents and two brothers, Robert and Dillard, were musical. But Big Jay was 16 before he ´inherited´ his first musical instru-ment. While attending grade school, Big Jay thought it would be nice to take up the trom-bone. But Papa McNeely took inventory of the bankroll and decided the world would have to do without Big Jay´s trombone toot-ing. So Big Jay went on to Jefferson High School, majored in music (harmony and the-ory), but couldn´t get an instrument to play. Brother Robert had inherited an alto saxo-phone from a cousin. Since he now was em-ployed, he decided to go out and splurge on a tenor. That´s how Big Jay came to ´inherit´ the alto. Shortly thereafter, Uncle Sam sum-moned Robert, and his parting gift to Big Jay was his treasured tenor. That Big Jay made good use of the gift is musical history. He was a 16 year old high school student at the time. He and the tenor became the best of friends. Within six months he organized a 15 piece dance band, ´The Earls Of 44´, after Fatha Earl Hines. Withal, Big Jay lacked confidence in his musical prowess. He appeared in an amateur contest as a comedian—and was hooted off. Hurt, but mostly mad, Big Jay came back the next week. This time he had his sax along. He took second prize. The third week he won first prize with his torrid tenor. Family hardship actually started Big Jay off on his march to fame. His brothers were in the Army. His mother was a complete in-valid. Then his father took sick and couldn´t work. Big Jay had to find a job. He formed a five man combo and went before the Union board for special dispensation. It was grant-ed, and Big Jay went to work at the Club Savoy, but because he was under-age, he had to leave the club between sessions and remain outside as long as he was off the stand. He finished high school while playing such clubs as the Rendezvous, Zanzibar, and Last word. Next thing he knew he was a hit on wax. By 1949, at the age of 22, he was on the national popularity and best-selling lists. H is records have been favorites in pop-ular sales and have been spun in juke boxes and by disk jockeys from coast to coast. Recently, Big Jay´s ´Jazz Concerts´ at Shrine and Olympic Auditoriums in Los An-geles attracted thousands of Southern Cali-fornia teen-agers, who scream, shout, stomp and chant ´Go! Go! Go!´ in mounting ex-citement to his rhythmic rompings. His agon-ized blue notes left them limp, disheveled and white with exhaustion as the perspiring Big Jay sank to his knees, played from a jack-knife position and finally stretched out on his back, still torturing his tenor. Most of Big Jay´s fans are of high school and college age, but the older folks find his music contagious, too. At the Shrine jazz con-certs, one woman came night after night and sat there, just knitting placidly. ´Oh, I feel it, all right´, she said, ´I feel it. It´s all inside.´