Buster Bailey Drum Sticks • Trumpet • and Dixieland Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Buster Bailey Drum Sticks • Trumpet • and Dixieland Mp3, Flac, Wma Buster Bailey Drum Sticks • Trumpet • And Dixieland mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Drum Sticks • Trumpet • And Dixieland Country: US Style: Dixieland MP3 version RAR size: 1397 mb FLAC version RAR size: 1658 mb WMA version RAR size: 1277 mb Rating: 4.3 Votes: 788 Other Formats: MP2 AUD TTA MIDI APE AU RA Tracklist A1 Struttin' With Some Barbeque A2 Tin Roof Blues A3 Royal Garden Blues A4 Basin Street Blues B1 Muskrat Ramble B2 High Society B3 When The Saints Go Marching In B4 Late Date Companies, etc. Record Company – Pickwick Music Corp. Credits Cover – Leonard Pearl Notes K. M. Corp - Freeport, L.I. Full Frequency Sound Stereo Records Barcode and Other Identifiers Matrix / Runout (Side A): AKS-164-A Matrix / Runout (Side B): AKS-164-B Other versions Category Artist Title (Format) Label Category Country Year Vic Dickenson / Marty Vic Dickenson / Napoleon / George Marty Napoleon / Wettling / Rex Stewart George Wettling / / Arvell Shaw / Buster Rex Stewart / Bailey / "Pee Wee" Grand Prix KS-164 Arvell Shaw / KS-164 US Unknown Irwin* / Milt Hinton / Series Buster Bailey / Claude Hopkins - "Pee Wee" Irwin* / Drumsticks, Trumpets Milt Hinton / & Dixieland (LP, Claude Hopkins Album) Buster Bailey, Vic Buster Bailey, Vic Dickenson, Marty Dickenson, Marty Napoleon, Arvell Shaw, Napoleon, Arvell Rex Stewart, George Shaw, Rex Wettling, "Pee Wee" International AK-164 Stewart, George AK-164 US Unknown Irwin*, Claude Award Series Wettling, "Pee Hopkins, Milt Hinton - Wee" Irwin*, Drum Sticks • Trumpet Claude Hopkins, • And Dixieland (LP, Milt Hinton Album, Mono) Vic Dickenson / Vic Dickenson / Marty Marty Napoleon / Napoleon / George George Wettling / Wettling / Rex Stewart Rex Stewart / / Arvell Shaw / Buster Pickwick PR. 126 Arvell Shaw / Bailey / "Pee Wee" PR. 126 UK Unknown International Buster Bailey / Irwin* / Milt Hinton / "Pee Wee" Irwin* / Claude Hopkins - A Milt Hinton / Visit To Dixieland (LP, Claude Hopkins Comp) Buster Bailey, Vic Buster Bailey, Vic Dickenson, Marty Dickenson, Marty Napoleon, Arvell Shaw, Napoleon, Arvell Rex Stewart, George Shaw, Rex Wettling, "Pee Wee" International AK-164 Stewart, George AK-164 US Unknown Irwin*, Claude Award Series Wettling, "Pee Hopkins, Milt Hinton - Wee" Irwin*, Drum Sticks • Trumpet Claude Hopkins, • And Dixieland (LP, Milt Hinton Album, Mono) Vic Dickenson / Marty Vic Dickenson / Napoleon / George Marty Napoleon / Wettling / Rex Stewart George Wettling / / Arvell Shaw / Buster Rex Stewart / Bailey / "Pee Wee" Grand Prix K-164 Arvell Shaw / K-164 US Unknown Irwin* / Milt Hinton / Series Buster Bailey / Claude Hopkins - "Pee Wee" Irwin* / Drumsticks, Trumpets Milt Hinton / & Dixieland (LP, Claude Hopkins Album, Mono) Related Music albums to Drum Sticks • Trumpet • And Dixieland by Buster Bailey Louis - When The Saints Go Marching In Cozy Cole, Buddy Tate, Wallace Davenport, Vic Dickenson - Nice All Stars Claude Hopkins, Bud Johnson, Vic Dickenson - Swingville Volume 41: Swing Time! Marty Napoleon, Cozy Cole - Lionel Hampton Presents: Who's Who In Jazz Buster Bailey - All About Memphis King Oliver's Creole Jazz Band the worlds greatest jazz band featuring yank lawson Muggsy Spanier bobby haggart & hot lips page Sidney Bechet George Lewis pee wee russell vic dickenson max kaminsky bud freeman jess stacy jo jones buck clayton buster baily Lionel Hampton - Hello, Dolly! Claude Hopkins - Music Of The Early Jazz Dances.
Recommended publications
  • Frisco Dwindles to Two Franklin Ave^ Brooklyn; No «Overt ASTOR HOTEL (Time« Square)
    1951 Chicago. December 14, 1951 NEWS-FEATURES DOWN BEAT 11 LOPA (Chicago and Much) no cuvar or minimum). Roy Kral’« piano and vocal« blending with Jackie Cain’s voice and Ken­ SWINGIN' THE GOLDEN GATE ny Buchanan*« bam for a welcome and unique sound and sight. On The Town DE LISA (5521 S. State) no minimum or eovor). A big bright show which often S' ' — ------------------------------------------------------- features the singing of Joo Williams and NEW YORK always the band of drummer Red Saunders. Number Of Jazz Clubs In HOTSPOTS trio—Frank Cerrehia on guitar. Norman Mondav morning breakfast shows draw un piano, and Justin Arndt on base. •elebritiea. THE ALBtKl (13» E. 36«h| PImUi Cy LITTLE CLUB (70 S. 55th). Sonny Walter after 10 p.». every night but Mon* Kendis trio, with Lionel Meth soloing at 1111 CLUB (1111 W. Bryn Mawr; no day, pint the Johnny Smith trio. piano. minimum or cover). Johnny Lane’s Dixie DINE AND DANCE erew, with Benny Woodworth, trampet) BEDFORD REST (Eastern Parkway and Lane, clarinet; George Winn, trombone and Frisco Dwindles To Two Franklin ave^ Brooklyn; no «overt ASTOR HOTEL (Time« Square). Ted euphonium; Roy Wasson, piano, and Hey- minimum). Semi-organised jam ECMioni Huston's band in Columbia room from 10 Hey Humphrey, drums. By RALPH J. GLEASON Sunday. p.m. Broadway eoektail lounge now open, 113 CLUB (113 E. 47th) no cover or San Francisco—The small jazz combos may be all over the CAFE SOCIETY (2 Sheridan Square). where you can dance to Alan Holmes’ minimum). Friis Jones, formerly of Pitts­ Claude Hopkina quartet playa for dancing.
    [Show full text]
  • Swingville Label Discography
    Swingville Label Discography: 2000 Series: SVLP 2001 - Coleman Hawkins and The Red Garland Trio - Coleman Hawkins and The Red Garland Trio [1960] It’s a Blue World/I Want to Be Loved/Red Beans/Bean’s Blues/Blues For Ron SVLP 2002 - Tiny In Swingville - Tiny Grimes with Richardson [1960] Annie Laurie/Home Sick/Frankie & Johnnie/Down with It/Ain’t Misbehaving/Durn Tootin’ SVLP 2003 - Tate's Date - Buddy Tate [1960] Me ‘n’ You/Idling/Blow Low/Moon Dog/No Kiddin’/Miss Ruby Jones SVLP 2004 - Callin' the Blues - Tiny Grimes [1960] Reissue of Prestige 7144. Callin’ the Blues/Blue Tiny/Grimes’ Times/Air Mail Special SVLP 2005 – Coleman Hawkins’ All Stars - Coleman Hawkins with Joe Thomas and Vic Dickenson [1960] You Blew Out the Flame/More Bounce to the Vonce/I’m Beginning to See the Light/Cool Blue/Some Stretching SVLP 2006 - The Happy Jazz of Rex Stewart - Rex Stewart [1960] Red Ribbon/If I Could Be with You/Four or Five Times/Rasputin/Please Don’t Talk About me When I’m Gon/San/You Can Depend on Me/I Would Do Most Anything For You/Tell Me/Nagasaki SVLP 2007 - Buck Jumpin' - Al Casey [1960] Buck Jumpin’/Casey’s Blues/Don’t Blame Me/Ain’t Misbehavin’/Honeysuckle Rose/Body & Soul/Rosetta SVLP 2008 - Swingin' with Pee Wee - Pee Wee Russell [1960] What Can I Say Dear/Midnight Blue/Very Thought of You/Lulu’s Back in Town/I Would Do Most Anything For You/Wrap Your Troubles in Dreams/Englewood SVLP 2009 - Yes Indeed! - Claude Hopkins [1960] It Don’t Mean a Thing/Willow Weep For Me/Yes Indeed/Is It So/Empty Bed Blues/What Is This Thing Called Love/Morning Glory SVLP 2010 – Rockin’ in Rhythm - Swingville All Stars (Al Sears, T.
    [Show full text]
  • 6. Count Basie's Cleveland Connections
    6. Count Basie's Cleveland Connections illiam Basie, pianist and bandleader, was not a In his autobiography, Good Morning Blues, Basie Clevelander, but he certainly perfonned recalled he married the girl from Cleveland in 1943 in Wfrequently in Cleveland and hired a number of Seattle. Their honeymoon was a series ofone-night band Clevelanders to play in his swinging band. Basie' s appearances. strongest tie to Cleveland is frequently forgotten. He The Basie band was working in New York when Katy married a girl from Cleveland and their only child was was about to have a baby. She returned to Cleveland and born here. stayed with her parents. Katy and Bill Basie's only child, Diane Basie, was born in Cleveland. He rushed to Catherine Morgan Basie Cleveland to be with his wife and Catherine Morgan left Cleveland daughter. at the age of 16 in 1931 to become a Later, when they rejoined Basie in dancer. She joined a very popular New York, he said he had vivid vaudeville act, the Whitman Sisters. memories of seeing Katy getting off She was one of three girls in the the plane from Cleveland carrying dance company who called their baby. He said, "It was a special themselves "The Snake Hips thrill bringing my family home from Queens." When they appeared at the the airport that day, Old Base, his Lafayette Theatre in New York City, wife and daughter." there was a jazz band from Kansas They moved into an apartment City on the same bill. The young building near New York' s Central dancer from Cleveland noticed the Park.
    [Show full text]
  • The Assimilation of American Jazz in Trance, 1917-1940
    le hot the assimilation of american jazz in trance, 1917-1940 William h. kenney iii The assimilation of American jazz music in France, an instance of the cultural transmission of an emerging American musical art, began at the time of World War I. Within the subsequent history of jazz in France lies the tale of the progressive mastery of the two principles of improvisation and rhythmic swing and the modification of American sounds to suit the particular cultural terrain of France between the two World Wars. The process was eased by the obvious fact that France already contained, indeed originated in some cases, the basics of western music: instrumental definitions, chromatic and diatonic scales and the myriad chords from which they were constructed. Still, the principles of melodic and particu­ larly harmonic improvisation were little known in France as was the surprising phenomenon of rhythmic swing so that when early jazz arrived in that country French musicians knew most of the vocabulary of jazz without knowing how to make jazz statements. A small number of French musicians learned to "sing" with a swing and in the process created their own "école française de jazz." Ragtime and the musical precursors of jazz were carried from the U.S.A. to France by military bands sent by the American government in 1917. The most famous was the 369th Infantry Regiment's Hell Fighters Band, an all-Black outfit organized and led by James Reese Europe. Europe was a pioneer of ragtime in New York City where he had organized 0026-3079/84/2501-0005S01.50/0 5 concerts of Black music, headed the famous Clef Club, and accompanied Irene and Vernon Castle's introduction of the foxtrot in America.
    [Show full text]
  • JUBILEE PART 2 Programs 101-200
    Glenn Miller Archives JUBILEE PART 2 Programs 101-200 AFRS/SSD Series H-11 BLUE Third Edition GREEN Second Edition Prepared by Dennis M. Spragg Updated December 23, 2020 101 AFRS program announcer: Melvin (Mel) Allen Mistress of Ceremonies: Ida James Studios: NBC Radio City (Rockefeller Center) New York Pre-recording dates: October 1944 Date of dubbing: October 16, 1944 Label information: Notes: (1) Mel Allen announces this program to be “another Broadway edition of Jubilee.” Side 1, wax info: ND4-MM-6963-1B Time 15:10 01 Drum Roll & theme: Mop - band vocal 02 Introduction & theme: One O‘Clock Jump (nc) 02 Let‘s Have A Session 03 Perdido 04 I‘m Gonna See My Baby - v IJ 05 Dorothy‘s Boogie Side 2, wax info: ND4-MM-6964-1B Time 29:25 Fill to 30:00 06 One Meat Ball 04 Knock Me A Kiss - v IJ 02 Let‘s Hop - band vocal 01 Signoff & theme: One O‘Clock Jump (nc) 01 AFRS Studio Orchestra No details 02 Claude Hopkins and his Orchestra Probably Nathanael Courtney Williams, Kenneth Roane, trumpets; Jimmy Archey, Floyd “Stumpy” Brady, trombones; Rudy Powell, alto sax; Joe Garland, Elbert “Skippy” Williams, tenor saxes; Ernest “Pinky” Williams, baritone & alto saxes; Claude Hopkins, piano; Eddie Gibbs, guitar; John Benjamin Peabody Brown, string bass; Wilbert Kirk, drums; band vocal. NOTE: Ida James states that the Hopkins Orchestra is at the “Zanzibar” at present. Rudy Powell can be aurally identified as alto sax soloist on “Let´s Hop”. Discographers have always listed Nathanael Williams and Courtney Williams separately, but it is one and the same person, according to Jean-Pierre Battestini, who interviewed him in the late 1980s.
    [Show full text]
  • Chronological Discography
    Chronological Discography arranger g guitar as alto saxophone 0 pipe organ bb brass bass (sousaphone/tuba) p piano bj banjo ss soprano saxophone bs baritone saxophone t trumpet c comet tb trombone cl clarinet ts tenor saxophone d drums v vocals db double bass vib vibraphone dir director vn violin f flute This chronological list contains most known releases on which Danny Barker plays and sings. Titles are given as they appear on the record labels. Where possible, the first issue number is given, but the complexity of subsequent reissues is such that these are not shown. In preparing the list much use has been made of the works cited in the acknowledgment section as well as Stagg and Crump: New Orleans: the Revival (Dublin, 1973). 1931 Ward Pinkett (t, v); Albert Nicholas (cO; Jack Russin (p); Danny ]une9 NewYork Barker(g);Joe Watts (db); Sam Weiss (d) Dave's Harlem Highlights 95337-1 Everything is okey-dokey (WP:v) Bluebird B-6144 Dave Nelson (1, v); Clarence Brereton (t); Melvin Herbert/Harry 95338-1 I'm on a see-saw (WP:v) Bluebird B-6130 Brown (t); Wilbur de Paris (tb); Buster Bailey (cl, as); Glyn Paque (cl, 95339-1 Red sails in the sunset (WP:v) Bluebird B-6131 as); Charles Frazier (ts); Wtryman Caroer (ts, f); Sam Allen (p); 95340-1 Tender is the night (WP:v) Bluebird B-6131 •Danny Barker (bj); Simon Marrero (bb); Gerald Hobson (iii 95341-1 I'mpaintingthetownred 69905-1 Somebody stole my gal Timely Tunes C-1587 (to hide a heart that's blue) Bluebird B-6130 69906-1 Rockin' Chair Timely Tunes C-1576 95342-1 Tap Room Special (Panama) Bluebird B-6193 69907-2 Loveless Love Timely Tunes C-1577 69908-2 St.
    [Show full text]
  • Download the Tenor Saxophone of Buddy Tate
    1 The TENORSAX of GEORGE HOLMES TATE “BUDDY” Solographer: Jan Evensmo Last update: Jan. 4, 2020 2 Born: Sherman, Texas, Feb. 22, 1914 Died: Chandler, Arizona, Feb. 10, 2001 Introduction: We became familiar with Buddy Tate very early through his recordings with Count Basie. I met him once, many years ago, at the Molde International Jazz Festival. He was a very kind man, and when he realized I was doing some useful work on ja zz tenor saxophone, he invited me to his hotel room for whisky. We had a very nice time together in the light summer night of Norway! Early history: His brother, a saxophonist, gave Buddy an alto in 1925. Two years later began gigging with McCloud's Night Owls (led by his cousin, trumpeter Roy McCloud). In 1929 played for several months in Wichita Falls with the St. Louis Merrymakers, later that year joined Troy Floyd's Band in San Antonio. Briefly with Gene Coy's Band, then with Terrence Holder's 12 Clouds of Joy from 1930-33. Worked with E. J. Malone and his Rhythm Kings (early 1933), Wesley Smiths' Band, ‘Tan Town Topics’, and Ethel May's Band before joining Count Basie in Little Rock, Arkansas (ca. July 1934). From late 1934 until early summer 1935 with Andy Kirk, played with band at Wiley College, Texas, then long spell with Nat Towles until joining Count Basie in spring 1939. Remained with Basie until September 1948, brief return in early 1949, then for the rest of that year worked mostly with Hot Lips Page, occasionally with Lucky Millinder.
    [Show full text]
  • Iii D. the Jazz Component: the Written Word
    III D. THE JAZZ COMPONENT: THE WRITTEN WORD TWO PIONEERING JAZZ CHRONICLERS One of the truisms of jazz history is that from its beginnings the European response to this quintessentially American music has been more enthusiastic and intellectually vital than the more commercially oriented interest of the American music market. Today in Europe jazz is considered another serious musical idiom, and it is presented with much of the respect shown to classical music. The first book generally considered to be a serious study of jazz, On the Frontiers of Jazz, was published in 1932 by Robert Goffin, a lawyer and poet who was part of Brussels’ avant-garde. The most comprehensive discography of jazz recordings has for many years been produced by Brian Rust, a researcher in England, and much of the serious reissue of historical jazz recordings today is produced by small, idealistic English companies. These two French writers, Hughes Panassie and Charles Delaunay, whose work began appearing in the 1930s, were part of a generation whose pioneering work gave a new direction and focus to the growing interest in jazz as a new art. Delaunay, Charles. Hot Discography: 1938 Edition. Paris: Editions Jazz Hot, 1938. This copy is one of 30 specially bound copies. Dodd A 9631 and Dodd B 5586 Charles Delaunay was typical of the many French intellectuals who were instinctively drawn to jazz. As the son of the artists Robert and Sonia Delaunay, the music was already part of his childhood. In the same year as this volume he also published his personal story about his involvement with jazz, About Life and Jazz.
    [Show full text]
  • Selected Discography
    Part 1 of Selected Discography Milt Hinton as Leader or Co-leader Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. It is estimated that between 1930 and 1995, Milt Hinton performed on more than nine hundred jazz record sessions. He made at least as many records, especially during the ’50s and ’60s, that featured hundreds of non-jazz performers, as well as countless jingles and film and television soundtracks. Specific and comprehensive information about Hinton’s recordings outside of jazz is nearly impossible to obtain. A partial list of non-jazz performers with whom he recorded includes: Paul Anka, Pearl Bailey, Harry Belafonte, Tony Bennett, Brook Benton, Archie Blyer, Teresa Brewer, Diahann Carroll, the Clancy Brothers, Nat King Cole, Perry Como, Sam Cooke, Bing Crosby, Vic Damone, Bobby Darin, Sammy Davis Jr., the Drifters, Percy Faith, Eddie Fisher, Connie Francis, Judy Garland, Jackie Gleason, Arthur Godfrey, Eydie Gormé, Skitch Henderson, John Lee Hooker, Lena Horne, Langston Hughes, Mahalia Jackson, Jack Jones, Frankie Laine, Steve Lawrence, Guy Lombardo, Johnny Mathis, Paul McCartney, Bette Midler, the Mills Brothers, Mantovani, Willie Nelson, Patti Page, Leontyne Price, Leon Redbone, Della Reese, Debbie Reynolds, Frank Sinatra, Kate Smith, Barbra Streisand, Sonny Terry and Brownie McGhee, Bobby Vinton, Dionne Warwick, Roger Williams, Jackie Wilson, and Hugo Winterhalter. The recording location is the New York City area unless otherwise noted. CDs have the same title as the LPs unless otherwise noted. [MH comp] indicates that Hinton was the composer or co-composer of a piece.
    [Show full text]
  • Guide to the Ernie Smith Jazz Film Collection
    Guide to the Ernie Smith Jazz Film Collection NMAH.AC.0491 Ben Pubols, Franklin A. Robinson, Jr., and Wendy Shay America's Jazz Heritage: A Partnership of the The Lila Wallace- Reader's Digest Fund and the Smithsonian Institution provided the funding to produce many of the video master and reference copies. 2001 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical...................................................................................................................... 2 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Ernie Smith Presentation Reels................................................................ 4 Series 2: Additional Titles.....................................................................................
    [Show full text]
  • Notes from the Prez
    March 2015 Volume 40, Number 3 GERRY GREEN’S CRESCENT CITY SHAKERS BRING A FAMILIAR LINE-UP TO PSTJS ON MARCH 15 By George Swinford Last year Gerry and his band Expect this sextet to bring us a WHERE: entertained us at our March concert. For variety of numbers played in musical Ballard Elks Lodge, 6411 Seaview Ave. this year’s March event he will lead the styles from the first four decades of NW, Seattle. same top-notch group, plus one. The band jazz. From long association these WHEN: will include Gerry on clarinet and sax, Jim guys know what to expect from each 1 p.m. - 4:30 p.m. Sunday, March 15 Armstrong on cornet and trombone, with other. They’ll provide a maximum of ADMISSION: banjo and guitar by Bill Dixon. The pianist hot improvisation, no charts required. $12 PSTJS members; $15 non-members. will be Bob Pelland. He and the above We can surely look forward to several Pay only at door. three Canadians are long-time members of vocals from Jim Armstrong, and it will FURTHER INFO: the festival-favorite Grand Dominion JB. be no surprise to hear a few from Mike Carol Rippey 425-776-5072. Completing the rhythm section on the 15th Daugherty and others. Or - website: www.pstjs.org. Plenty of free will be Dave Brown on bass, with Mike Come on out on the 15th, bring your parking; great view & dance floor, snacks, Daugherty added this year on drums. With dancing shoes and spend a rewarding coffee, and other beverages available.
    [Show full text]
  • Bernard Addison
    THE RECORDINGS OF BERNARD ADDISON An Annotated Tentative Personnelo - Discography ADDISON, Bernard S. Born Annapolis, Maryland,15th April 1905. Died New York City, 22nd December 1990. Played violin and mandolin during early childhood, moved to Washington, D.C., in 1920, was soon co-leading a band with Claude Hopkins, worked for a while in Oliver Blackwell´s Clowns, then to New York City with Sonny thompson´s Band. Worked in the Seminole Syncopators led by pianist Graham Jackson (1925), whilst with this band accompanied vocaliste Virginia Liston. From 1925 until 1929 worked mainly for Ed Smalls (sic!), first as a sideman, then leading own band. With Claude Hopkins (1927), from 1928 specialised on guitar. With Louis Armstrong at the Cocoanut Grove, New York, then briefly with Bubber Miley´s Mileage Makers (September 1930). With Milton Senior´s Band in Toledo, Ohio (1931), working with Art Tatum, then with Tatum in group accompanying Adelaide hall. Joined Russell Wooding´s Band at Connie´s Inn, worked briefly with Fats Waller and Sam Wooding, then with Fletcher Henderson from early 1933 until summer of 1934. Again, worked as accompanist for Adelaide Hall, then led own small band in New York at the Famous Door and Adrian´s Tap Room (1935). Accompanist for the vocal group The Mills Brothers from 1936 until 1938 (including tour of Europe 1936), during this period also worked with Mezz Mezzrow´s Disciples of Swing (November 1937) and in guitar-duo with Teddy Bunn. With Stuff Smith from 1938 until November 1939, then led own small group, briefly with Sidney Bechet Quartet (March – April 1940), then again led own band until Army service in World War II.
    [Show full text]