CD-Charts Position 101

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The Charleston Chasers [IMPORT]

CD-Charts > Music > Traditional Jazz
by: Charleston Chasers

Release Date August 01, 1999

CD-Charts Position 102

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Bunk Johnson in San Francisco

CD-Charts > Music > Traditional Jazz
by: Bunk Johnson

Release Date

CD-Charts Position 103

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Jazz Band Favourites

CD-Charts > Music > Traditional Jazz
by: Chris Barber

Release Date September 02, 1991

CD-Charts Position 104

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Beano Boogie

CD-Charts > Music > Traditional Jazz
by: Humphrey Lyttelton

Release Date March 30, 1992

CD-Charts Position 105

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The Complete Holy Trinity Church Concert 1954

CD-Charts > Music > Traditional Jazz
by: George Lewis

Release Date November 04, 2005

CD-Charts Position 106

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Jazz from the Roots

CD-Charts > Music > Traditional Jazz
by: Cy Laurie

Release Date October 22, 2001

CD-Charts Position 107
Average Rating:

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Jazz in the Classic New Orleans Tradition

CD-Charts > Music > Traditional Jazz
by: George Lewis

Release Date July 01, 1991
George Lewis was a gifted and forceful clarinetist in the Johnny Dodds style. He stayed on in New Orleans after the closing of Storyville and the move of jazz to Chicago and beyond, and he was largely unknown until he played with Bunk Johnson as part of the revivalist movement in the early 1940s. The tracks for this superb CD were recorded in New Orleans in 1951 and 1953. The CD is in two halves having 6 tracks by a quartet with support for George Lewis's clarinet from piano, banjo and bass; and 6 tracks by a traditional band with trumpet and trombone joining George Lewis in the front line, and support from piano, banjo, bass and drums.

Revivalism implies that traditional jazz had at best been superceded, or had been lost, or even ... Read More:

CD-Charts Position 108
Average Rating:

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By Request

CD-Charts > Music > Traditional Jazz
by: Neville Dickie

Release Date March 26, 2007
George Lewis was a gifted and forceful clarinetist in the Johnny Dodds style. He stayed on in New Orleans after the closing of Storyville and the move of jazz to Chicago and beyond, and he was largely unknown until he played with Bunk Johnson as part of the revivalist movement in the early 1940s. The tracks for this superb CD were recorded in New Orleans in 1951 and 1953. The CD is in two halves having 6 tracks by a quartet with support for George Lewis's clarinet from piano, banjo and bass; and 6 tracks by a traditional band with trumpet and trombone joining George Lewis in the front line, and support from piano, banjo, bass and drums.

Revivalism implies that traditional jazz had at best been superceded, or had been lost, or even ... Read More:

CD-Charts Position 109
Average Rating:

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With Kidshots

CD-Charts > Music > Traditional Jazz
by: George Lewis

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 the ... Read More:

CD-Charts Position 110
Average Rating:

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Come Friday

CD-Charts > Music > Traditional Jazz
by: Chris Barber

Release Date
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 the ... Read More: