Fletcher Henderson and His Orchestra Fletcher Henderson and His Orchestra Vol

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Fletcher Henderson And His Orchestra Fletcher Henderson And His Orchestra Vol. 1 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Fletcher Henderson And His Orchestra Vol. 1 Country: Denmark MP3 version RAR size: 1979 mb FLAC version RAR size: 1230 mb WMA version RAR size: 1840 mb Rating: 4.2 Votes: 246 Other Formats: VOC RA MMF AU AHX AAC AUD Tracklist A1 Gulf Coast Blues A2 Down Hearted Blues A3 Dicty Blues A4 Do Doodle Dom A5 Just Hot A6 Down South Blues A7 You Got To Get Hot A8 Charleston Crazy B1 Old Black Joe's Blues B2 Potomac River Blues B3 Cotton Picker's Ball B4 Lots O'Mama B5 Chicago Blues B6 Feelin' The Way I Do B7 Tea Pot Dome Blues B8 Mobile Blues Credits Alto Saxophone – Don Redman Banjo – Charlie Dixon Baritone Saxophone – Billy Fowler Bass Tuba – Bob Escudero Clarinet – Don Redman Drums – Kaiser Marshall Piano – Fletcher Henderson Tenor Saxophone – Coleman Hawkins Trombone – Teddy Nixon Trumpet – Elmer Chambers, Howard Scott Notes Coating Cover Flipback Style. Related Music albums to Fletcher Henderson And His Orchestra Vol. 1 by Fletcher Henderson And His Orchestra Fletcher Henderson - The Immortal Fletcher Henderson Monette Moore - Down Hearted Blues/Gulf Coast Blues Fletcher Henderson And His Orchestra / Fletcher Henderson His Orchestra - The Gouge Of Armour Avenue / Hard Hearted Hannah Fletcher Henderson - Swing 1929 To 1937 Fletcher Henderson And His Dixie Stompers - 1927-28 Fletcher Henderson - The Harmony & Vocalion Sessions Volume 2 1927-1928 Fletcher Henderson And His Orchestra - 1934 Fletcher Henderson's Orchestra Featuring Louis Armstrong - Coleman Hawkins - Joe Smith - Fletcher Henderson Orchestra 1923-1927.

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Louis Armstrong
A+ LOUIS ARMSTRONG 1. Chimes Blues (Joe “King” Oliver) 2:56 King Oliver’s Creole Jazz Band: King Oliver, Louis Armstrong-co; Honore Dutrey-tb; Johnny Dodds-cl; Lil Hardin-p, arr; Arthur “Bud” Scott-bjo; ?Bill Johnson-b; Warren “Baby” Dodds-dr. Richmond, Indiana, April 5, 1923. first issue Gennett 5135/matrix number 11387-A. CD reissue Masters of Jazz MJCD 1. 2. Weather Bird Rag (Louis Armstrong) 2:45 same personnel. Richmond, Indiana, April 6, 1923. Gennett 5132/11388. Masters of Jazz MJCD 1. 3. Everybody Loves My Baby (Spencer Williams-Jack Palmer) 3:03 Fletcher Henderson and his Orchestra: Elmer Chambers, Howard Scott-tp; Louis Armstrong-co, vocal breaks; Charlie Green-tb; Buster Bailey, Don Redman, Coleman Hawkins-reeds; Fletcher Henderson-p; Charlie Dixon- bjo; Ralph Escudero-tu; Kaiser Marshall-dr. New York City, November 22-25, 1924. Domino 3444/5748-1. Masters of Jazz MJCD 21. 4. Big Butter and Egg Man from the West (Armstrong-Venable) 3:01 Louis Armstrong and his Hot Five: Louis Armstrong-co, voc; Edward “Kid” Ory-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; May Alix-voc. Chicago, November 16, 1926. Okeh 8423/9892-A. Maze 0034. 5. Potato Head Blues (Armstrong) 2:59 Louis Armstrong and his Hot Seven: Louis Armstrong-co; John Thomas-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; Pete Briggs-tu; Warren “Baby” Dodds-dr. Chicago, May 10, 1927. Okeh 8503/80855-C. Maze 0034. 6. Struttin’ with Some Barbecue (Armstrong) 3:05 Louis Armstrong and his Hot Five.
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THE RECORDINGS OF ERNEST ELLIOTT An Annotated Tentative Name - Discography ELLIOTT, ‘Sticky’ Ernest: Born Booneville, Missouri, February 1893. Worked with Hank Duncan´s Band in Detroit (1919), moved to New York, worked with Johnny Dunn (1921), etc. Various recordings in the 1920s, including two sessions with Bessie Smith. With Cliff Jackson´s Trio at the Cabin Club, Astoria, New York (1940), with Sammy Stewart´s Band at Joyce´s Manor, New York (1944), in Willie ‘The Lion’ Smith´s Band (1947). Has retired from music, but continues to live in New York.” (J. Chilton, Who´s Who of Jazz) STYLISTICS Ernest Elliott seems to be a relict out of archaic jazz times. But he did not spend these early years in New Orleans or touring the South, but he became known playing in Detroit, changing over to New York in the very early 1920s. Thus, his stylistic background is completely different from all those New Orleans players, and has to be estimated in a different way. Bushell in his book “Jazz from the Beginning” says about him: “Those guys had a style of clarinet playing that´s been forgotten. Ernest Elliott had it, Jimmy O´Bryant had it, and Johnny Dodds had it.” TONE Elliott owns a strong, rather sharp, tone on the clarinet. There are instances where I feel tempted to hear Bechet-like qualities in his playing, probably mainly because of the tone. This quality might have caused Clarence Williams to use Elliott when Bechet was not available? He does not hit his notes head-on, but he approaches them with a fast upward slur or smear, and even finishes them mostly with a little downward slur/smear, making his notes to sound sour.
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Howard Scott
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Fletcher Henderson and His Orchestra
THE RECORDINGS OF FLETCHER HENDERSON AND HIS ORCHESTRA EARLY PERIOD An Annotated Tentative Personnelo - Discography This list does not encompass Fletcher Henderson´s numerous vaudeville blues accompaniments for singers on solo piano. These recordings can be found in the Fletcher Henderson Discography elsewhere on this website. FLETCHER HENDERSON 001 FLETCHER HENDERSON New York, early 1921 Fletcher Henderson – pno P-107 Santana BS unissued (test), Third Man Records mp3 002 KATIE CRIPPEN Henderson´s Novelty Orchestra New York, Mar. 1921 Katie Crippen – voc; unknown – tpt; Chink Johnson – tbn; Garvin Bushell – clt; Cordy Williams – vln; Willie Gant – pno P-103-2 Blind Man´s Blues BS 2003, Document DOCD-5342 P-104-1 Play Ém For Mama, Sing Ém For Me BS 2003, Document DOCD-5602 P-104-2 Play Ém For Mama, Sing Ém For Me BS 2003, Document DOCD-5342 All players present play their arranged parts straight (as written in the arrangement). There are no ad-lib solos to possibly detect any individual traces in what is played by the wind instruments and the prominent violinist. The retained clarinet player might well be the youthful Garvin Bushell recalling to have recorded with Miss Crippen. He is not Campbell for stylistic reasons! The pianist plays close to the arrangement – probably as written – and was assumed to be Henderson judging from the band name and Henderson´s position with the Black Swan company. But: in the second chorus of the second title suddenly a different piano player appears – much livelier and much looser than Henderson. The band ceases playing to give room for the piano soloist who accompanies Miss Crippen´s spoken chorus in early Harlem stride/ragtime style to be relieved by the band again in the third/last chorus.
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Maggie Jones
THE RECORDINGS OF MAGGIE JONES An Annotated Tentative Personnelo - Discography JONES, Maggie: born: Hillston (Hillsboro?), Texas, c. 1899; died: many years ago Came to New York by 1923; booked by Matson office (1924). TOBA tour (May 1925 early 1926) acc by Ruth Penn, piano. Partner in New York dress shop (Jan. 1927); with Clarence Muse vaudeville company (Feb. 1927); with Hall Johnson singers, Roxy Theatre, New York (Nov./Dec. 1927); with Lew Leslie´s ‘Blackbirds’ before 1932; returned to Texas, had own show and orchestra in Dallas/Fort Worth area (1932 – 1934 at least). Her real name was ‘Fae’ (or Faye) Barnes, and she recorded under that name, q.v.; known to Ed Kirkeby as ‘Lucy Jameson’ according to his notes for her Perfect (PA) session below. Record with Fletcher Henderson, also recorded numerous other sides for Columbia. (W.C. Allen, Hendersonia) This personnelo-discography is based on RUST, JAZZ AND RAGTIME RECORDS 1897 - 1942. Personnels are taken from this source, but modified in the light of earlier or subsequent research or on the strength of my own listening, discussed with our listening group or other interested collectors. - Documented, most certain and aurally absolutely obvious identifications are listed thus: Maggie Jones - Probable, generally agreed, but not documented identifications are listed in italics, thus: Maggie Jones - Not attributable identifications – although the musician in question might be an otherwise well-known person – are listed thus: unknown - If a possible identification for an otherwise unknown musician is suggested by the author without the possibility to prove the factual evidence, it is listed thus: (Maggie Jones) When feeling certain without a musician´s documented presence, I have not refrained from altering Rust´s statements without using italics.
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George Brashear
THE RECORDINGS OF GEORGE BRASHEAR An Annotated Tentative Personnelo - Discography BRASHEAR, George, born: prob St. Louis, c. 1900, died: Washington, D.C., about 1971 His name is erroneously given occasionally as Henry or Lorenzo, and his last name sometimes as Brecheur. Played with Fate Marable on riverboats, c. 1919; joined Fletcher Henderson on Ethel Waters tour (Feb. 1922 - July 1922); styed in New York, recorded for Black Swan and others (1922-23); Harlem Orchestra, concert NY (Feb. 1923); on tour with Will Marion Cook troupe (Mar. 1923); Fletcher Henderson or George Francis Orch. At Terrace Gardens, NY (1923-24). Later to Europe, with Benny Peyton (Paris, Dec. 1929). Moved to Washington, D.C., where he was locally famous as the teacher of Trummy Young. (W.C. Allen, Hendersonia) Bo Lindström of Sweden published a fantastic and meticulously rrsearched biography of Brashear in 2018 „Oh Joe, Play That Trombone, The Life and Music of George L. Brashear“. STYLISTICS STYLE “Western” style, i.e. style as heard from New Orleans or Chicago musicians. Frequent use of “tailgate” glissandos, mainly in bottom register. Style is not melodic, but restricted on playing a bass foundation to the band. This he executes very effectively. It is often difficult to distinguish whether he plays from music/arrangement or ad-lib. He definitely is not an accomplished soloist and thus gives no impression in solos. TONE Strong and assured tone. VIBRATO Medium vibrato TIME Mainly using simple fourth or eighth notes in simple sequences. After-beats or off-beat phrasing are rare, but can be discerned on some titles.
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