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Release Date December 23, 1999
Ten of these fifteen tracks feature the legendary trumpet player Louis 'Shots' Madison. Madison (1899-1948) was placed in the same New Orleans Waif's Home as Louis Armstrong, around 1911 where he also learned to play in the Home's band. He made his first recordings with Oscar 'Papa' Celestin's New Orleans Jazz Orchestra in 1925. During the Depression years of the 1930's Madison worked mainly in brass bands for parades, funerals and other occasions. This was certainly where he developed his powerful, rich, brassy tone. Less inventive or dynamic than Armstrong, he was a strong middle range player. From the mid 1930's to early 1940's he was one of the three trumpeters in the Eureka Brass Band. Percy Humphrey, later leader of the band, said that ... Read More:
Release Date February 05, 2001
Ten of these fifteen tracks feature the legendary trumpet player Louis 'Shots' Madison. Madison (1899-1948) was placed in the same New Orleans Waif's Home as Louis Armstrong, around 1911 where he also learned to play in the Home's band. He made his first recordings with Oscar 'Papa' Celestin's New Orleans Jazz Orchestra in 1925. During the Depression years of the 1930's Madison worked mainly in brass bands for parades, funerals and other occasions. This was certainly where he developed his powerful, rich, brassy tone. Less inventive or dynamic than Armstrong, he was a strong middle range player. From the mid 1930's to early 1940's he was one of the three trumpeters in the Eureka Brass Band. Percy Humphrey, later leader of the band, said that ... Read More:
Release Date October 11, 1991
The CD starts with a rousing version of Louis Armstrong's "New Orleans Stomp" that sets the scene for the whole CD. All band members contribute with vigour and though there are excellent contributions from clarinet it is brass instruments that are at the heart of the San Francisco sound. For brass this CD has Turk Murphy on trombone supported by various cornet and tuba players including Bob Scobey and Dick Lammi from the jazz revivalist era, as well as such clarinet players as Bob Helm plus support from piano, banjo etc. San Francisco jazz was derived by trained musicians listening to early material by King Oliver, Jelly Roll Morton etc. but performed with a distinctive and fresh good-time approach. Turk Murphy had played in a number ... Read More:
Release Date November 19, 1996
The CD starts with a rousing version of Louis Armstrong's "New Orleans Stomp" that sets the scene for the whole CD. All band members contribute with vigour and though there are excellent contributions from clarinet it is brass instruments that are at the heart of the San Francisco sound. For brass this CD has Turk Murphy on trombone supported by various cornet and tuba players including Bob Scobey and Dick Lammi from the jazz revivalist era, as well as such clarinet players as Bob Helm plus support from piano, banjo etc. San Francisco jazz was derived by trained musicians listening to early material by King Oliver, Jelly Roll Morton etc. but performed with a distinctive and fresh good-time approach. Turk Murphy had played in a number ... Read More:
Release Date May 02, 1998
This 1998 CD features cornetist Ken Colyer on three separate occasions broadcasting for the BBC with his part-time bands of the '70s. Two of the groups (from 1972 or 1977) also have trombonist Len Baldwin, either John Warr or Gerry Turnham on clarinet and a three- or four-piece rhythm section with pianist Ray Smith on the later date. The other session (from 1975) features Colyer with a reunited Crane River Jazzband, an expanded group with a second trumpeter and such notables as clarinetist Monty Sunshine and John R. T. Davies tripling on alto, baritone and trombone. Overall, the three dates are quite consistent, each offering high quality examples of New Orleans jazz. Among the highlights are "There's Yes, Yes in Your Eyes," "Shim-Me-Sha ... Read More:
Release Date October 01, 1999
Listening for the first time to these tracks, cut thirty years ago, I felt a few powerful old reflexes stirring, Ken's music has always had that effect on people. They either love it or hate it. For his musicians, or at least for those of us who understand what he was at , the relationship with the man and his music was ambivalent frustration and euphoria went side by side. You loved it when things were going well, and hated it when things went wrong, for the same reason as before. Repeated defects could be eliminated in rehearsal. This was all part of the turbulence that was the essential Colyer make up . The only possible comparison in the jazz canon that one can think of is Charles Mingus, with his determination to make it happen " On the spot ... Read More:
Release Date August 21, 1995
Listening for the first time to these tracks, cut thirty years ago, I felt a few powerful old reflexes stirring, Ken's music has always had that effect on people. They either love it or hate it. For his musicians, or at least for those of us who understand what he was at , the relationship with the man and his music was ambivalent frustration and euphoria went side by side. You loved it when things were going well, and hated it when things went wrong, for the same reason as before. Repeated defects could be eliminated in rehearsal. This was all part of the turbulence that was the essential Colyer make up . The only possible comparison in the jazz canon that one can think of is Charles Mingus, with his determination to make it happen " On the spot ... Read More:
Release Date October 20, 2003
Listening for the first time to these tracks, cut thirty years ago, I felt a few powerful old reflexes stirring, Ken's music has always had that effect on people. They either love it or hate it. For his musicians, or at least for those of us who understand what he was at , the relationship with the man and his music was ambivalent frustration and euphoria went side by side. You loved it when things were going well, and hated it when things went wrong, for the same reason as before. Repeated defects could be eliminated in rehearsal. This was all part of the turbulence that was the essential Colyer make up . The only possible comparison in the jazz canon that one can think of is Charles Mingus, with his determination to make it happen " On the spot ... Read More:
Release Date November 19, 1996
Listening for the first time to these tracks, cut thirty years ago, I felt a few powerful old reflexes stirring, Ken's music has always had that effect on people. They either love it or hate it. For his musicians, or at least for those of us who understand what he was at , the relationship with the man and his music was ambivalent frustration and euphoria went side by side. You loved it when things were going well, and hated it when things went wrong, for the same reason as before. Repeated defects could be eliminated in rehearsal. This was all part of the turbulence that was the essential Colyer make up . The only possible comparison in the jazz canon that one can think of is Charles Mingus, with his determination to make it happen " On the spot ... Read More:
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