DOCSLIB.ORG

Benny Goodman 1934 Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Benny Goodman 1934 Mp3, Flac, Wma Benny Goodman 1934 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: 1934 Country: US Released: 1975 Style: Easy Listening, Big Band MP3 version RAR size: 1751 mb FLAC version RAR size: 1758 mb WMA version RAR size: 1431 mb Rating: 4.9 Votes: 163 Other Formats: AHX MOD AIFF WMA AIFF AHX MP1 Tracklist Hide Credits A1 –Red Norvo In A Mist A2 –Red Norvo Dance Of The Octopus Live And Love Tonight A3 –Johnny Green And His Orchestra Vocals – Howard Phillips Easy Come, Easy Go A4 –Johnny Green And His Orchestra Vocals – Lee Wiley Repeal The Blues A5 –Johnny Green And His Orchestra Vocals – Lee Wiley Cocktails For Two A6 –Johnny Green And His Orchestra Vocals – Howard Phillips How Can It Be A Beautiful Day? A7 –Adrian Rollini And His Orchestra Vocals – Joey Nash Stars B1 –Bennie Goodman Orchestra* Vocals – Ray Hendricks Stars B2 –Bennie Goodman Orchestra* Vocals – Ray Hendricks It Had To Be You B3 –Adrian Rollini And His Orchestra Vocals – Ella Logan B4 –Adrian Rollini And His Orchestra Sugar B5 –Adrian Rollini And His Orchestra Davenport Blues B6 –Adrian Rollini And His Orchestra Somebody Loves Me B7 –Adrian Rollini And His Orchestra Riverboat Shuffle Credits Alto Saxophone – Benny Goodman (tracks: A3 to A6) Bass – Art Miller (tracks: A7), Art Bernstein* (tracks: A1, A2, B1 to B7) Bass Clarinet – Benny Goodman (tracks: A1, A2) Bass Saxophone – Adrian Rollini (tracks: A7, B3 to B7) Clarinet – Benny Goodman Drums – Stan king (tracks: A7, B3 to B7) Guitar – Dick McDonough (tracks: A1, A2, A7), George Van Eps (tracks: B3 to B7) Marimba – Red Norvo (tracks: A1, A2) Piano – Fulton McGrath (tracks: A7), Howard Smith (tracks: B3 to B7), Johnny Green (tracks: A3 to A6), Teddy Wilson (tracks: B1, B2) Tenor Saxophone – Art Rollini* (tracks: A7, B3 to B7) Trombone – Al Philburn (tracks: A7), Jack Lacey (tracks: B1, B2), Jack Teagarden (tracks: B3 to B7) Trumpet – Bunny Berigan (tracks: A7), Dave Klein (tracks: B3 to B7), "Doc" Cheatham* (tracks: B1, B2), Manny Klein (tracks: A3 to A6, B3 to B7) Xylophone – Adrian Rollini (tracks: A7) Notes Trumpet, trombone, alto and tenor saxophone, 2 violins, guitar, bass, drums in Johnny Green And His Orchestra unknown. Artie Shaw might play clarinet and alto sax and Herb Weil might play drums on A7. The presence of Benny Goodman is not sure. Charlie Teagarden might play trumpet + unknown tenor sax, guitar and drums. Presence of Jack Lacey, Artie Bernstein and Ray Hendricks not sure Fulton McGrath might be playing piano on B3 to B7, but I checked the Affinity CD AFS 1030, Adrian Rollini - Swing Low, containing the tracks in question, and according to the booklet, he is not. Any knowldedgeable person is welcome to correct! Related Music albums to 1934 by Benny Goodman Benny Goodman And His Orchestra - The "Music Of Your Life" Benny Goodman And His Orchestra - "Get Happy" - Benny Goodman and his Orchestra (4 APRIL 1935 to 23 APRIL 1936) Benny Goodman And His Orchestra, Benny Goodman Trio - Love Me Or Leave Me / Exactly Like You Adrian Utley - Guitar Orchestra In C Benny Goodman - Swingin' Down The Lane Joe Venuti & Eddie Lang - Wild Cats Various - A Jazz Holiday Adrian Rollini And His Orchestra - Good Morning, Glory / Many Moons Ago Tchaikovsky, London Philharmonic Orchestra, Sir Adrian Boult - 1812 And Hamlet Overtures Sam Lanin And His Dance Orchestra / Adrian Schubert's Salon Orchestra - Somebody Mighty Like You / Miss Wonderful.
Load more

Recommended publications
  • Adrian Rollini M M C – a Klasszikus
    M������� M������ C������� a klasszikus jazz stílusjegyei Korb Attila Attila, a Bohémekhez egykor 13 évesen kerülõ harsonás, kornettes, zongorista, énekes a magyar jazzpaletta egyik legtehetségesebb figurája. Segítségével érthetõbbé válik a klasszikus jazz és más füllel hallgat majd zenét az olvasó. Kirkeby több néven is eladta a Ramblerst Nem tudom kikerülni, hogy megemlítsem, Adrian Rollini különbözõ lemezkiadóknak. Little illetve egyfajta párhuzamot vonjak Rollini Ramblers, Golden Gate Orchestra, Palace és a kiváló fekete tenor szaxofonos Cole- Garden Orchestra, Goofus Five az man Hawkins között. Hawkinst a swing- utóbbi Rollini egy különleges hangszerérõl szaxofonozás atyjaként tartják számon, s kapta a nevét. A goofus egy szaxofon- nevével bizonyára többen találkoztak, mint formájú melódika, ami harmónikaszerûen Rolliniéval. Mégis jogos a mostanában több hangot is meg tud szólaltatni. Érdemes többször felmerülõ vita, miszerint Rollini meghallgatni az 1927-es -t, játékmódja semmivel nem volt kisebb amiben Rollini elõször fütyül, majd goofus- volumenû, mint Hawkinsé. A korábbi Louis on is játszik. Természetesen basszusszaxo- Armstrong-cikkekben már említettem, hogy fonozást is hallhatunk, a szám elsõ felében Hawkins ebben az idõben (1923-tól) virtuózan egészít bele a szólóhangszerek Fletcher Henderson zenekarának tagja volt. játékába, teljesen kilépve a basszusfunk- Arról talán nem volt szó, hogy Hawkins cióból. Az utolsó tutti közepén egy 4 üte- nem csak tenorszaxofonozott, de klariné- mes breakben fültanúi lehetünk Rollini tozott és basszusszaxofonozott is a Hender- Adrian Rollini (1903-1956) Bix könnyed, de mégis folyamatosan zakatoló, son-zenekarban. Az 1925-bõl való Beiderbecke-hez hasonlóan zongo- swingelõ játékmódjának. De menjünk még ban képet kaphatunk Hawkins rista csodagyerekként kezdte karrierjét (sõt visszább az idõben, hiszen 1927 már bõven basszusszaxofonozásáról.
    [Show full text]
  • The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas the the Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas the Dave Oliphant
    Oliphant: The Wisconsin Texas Jazz Nexus The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas The The Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas The Dave Oliphant The institution of slavery had, of course, divided the nation, and Chicago. Texas blacks had earlier followed the cattle trails and on opposite sides in the Civil War were the states of Wis- north, but, in the 1920s, they also felt the magnetic pull of consin and Texas, both of which sent troops into the bloody, entertainment worlds in Kansas City and Chicago that catered decisive battle of Gettysburg. Little could the brave men of the to musicians who could perform the new music called jazz that Wisconsin 6th who defended or the determined Rebels of the had begun to crop up from New Jersey to Los Angeles, beholden Texas Regiments who assaulted Cemetery Ridge have suspected to but superseding the guitar-accompanied country blues and that, one day, musicians of their two states would join to pro- the repetitive piano rags. The first jazz recordings had begun to duce the harmonies of jazz that have depended so often on the appear in 1917, and, by 1923, classic jazz ensembles had begun blues form that was native to the Lone Star State yet was loved performing in Kansas City, Chicago, and New York, led by such and played by men from such Wisconsin towns and cities as seminal figures as Bennie Moten, King Oliver, Fletcher Jack Teagarden, courtesy of CLASSICS RECORDS. Teagarden, Jack Fox Lake, Madison, Milwaukee, Waukesha, Brillion, Monroe, Henderson, and Duke Ellington.
    [Show full text]
  • The Evolution of the Baritone Saxophone in Jazz History
    THE BARITONE CHRONOLOGY a study of the baritone saxophone evolution in jazz history Piersimone Crinelli Degree Project, Master of Fine Arts in Music, Improvisation Spring Semester 2015 Degree Project, 30 higher education credits Master of Fine Arts in Music, Improvisation Academy of Music and Drama, University of Gothenburg Spring Semester 2015 Author: Piersimone Crinelli Title: The baritone chronology – a study of the baritone saxophone evolution in jazz history Supervisor: Per Anders Nilsson Examiner: Anders Tykesson ABSTRACT This project investigates the history of the baritone saxophone. The role of the baritone saxophone as a soloist instrument has historically often been overshadowed by the tenor or the alto saxophone. Even if important innovations have been made by many great baritonists during the years, no extensive literature regarding the baritone saxophone is to be found. My aim with this Masters´ thesis is to trace the history of the baritone saxophone from its invention until the modern era, around the 80´s. My research questions are: which innovations have been done on the baritone saxophone in the previous century regarding sound, phrasing and articulation? Is there a relation between the first baritone players in jazz history and the modern ones? My purpose is to contribute to the literature regarding the baritone saxophone, creating a chronology of the most influential soloists in jazz music. My aim is also to find methods that could be helpful in a correct approach to the instrument. In addition to this, I have analyzed the ways in which the greatest baritonists have influenced my personal musical background, thus creating a link to my own artistic profile.
    [Show full text]
  • THE INFLUENCE of BIX BEIDERBECKE – VOLUME ONE: USA by Max Easterman Even Though It Became Known As “The Jazz Age”, Real Ja
    THE INFLUENCE OF BIX BEIDERBECKE – VOLUME ONE: USA By Max Easterman Even though it became known as “The Jazz Age”, real jazz was rarely popular in its own right during the 1920s, as witness the rarity of many of the finest jazz recordings from this era. Jazzmen – particularly white jazzmen – made much more money and often won greater fame using it to pep up dance music than they ever did making pure jazz recordings, though, of course, it’s by the jazz they played on records that we now judge their worth. Such is the distorting mirror of history! Of course, to the general public of the time, arranged dance music played with a rhythmic bounce and offering the occasional jazz-like solo was what they thought of as “jazz”. Two recordings suffice to illustrate the point. The recording of Paul Whiteman’s Back In Your Own Backyard , issued in March 1928, sold 88,000 copies; Bix’s recording of Somebody Stole My Gal , recorded a few weeks later, made sales of only 2400. The first is a highly arranged dance band recording containing just two short solos by Bix; the latter is a romping jazz gem, on which Bix flies like a bird throughout and inspires his fellows to greater things than they knew they were capable of. Bix was a legend in his lifetime for the men who played with him, or listened to him and tried to play like him. But for the general public, who bought the discs, he was just another name, a name which only became significant, for some of them, long after his death.
    [Show full text]
  • A Linked-Data Jazz Project for Stanford University Libraries
    A Linked-Data Jazz Project for Stanford University Libraries Linked-Data Jazz Project Report December 2013 page Goal . 2 Background Objectives Audio surrogate example . 3 Status . 5 End notes . 7 Images . 8 1. Disc photos 2. COM index Experiment: RDI Label + issue-number links to re-releases 9 For access to internal document links and external URLs, please read this document on a computer, pad, etc. Page | 1 Goal Use linked data to rehabilitate and extend the reach of the explicit and implicit discographic relationships in the metadata that was built from 600,000+ commercial 78 rpm sound recordings during the early 1980s by the Rigler and Deutsch Record Index (RDI) project.1 Background The RDI project dealt with the historical sound collections at the Library of Congress and the New York Public Library, plus those at Stanford, Syracuse, and Yale universities. The work began by taking two high-resolution photographs of each disc-side – one photo with lighting designed to capture printed labels and a second aimed at highlighting information embossed into the disc surface (e.g., matrix numbers ). The metadata itself was created by data-entry staff who keyed input from enlarged images of the disc labels that were projected onto screens from copies of the photos stored on microfilm. An individual metadata record was created for each side of a disc – each side being equivalent to a separate recording session or take. It was common industry practice, especially with jazz and popular music, to release 78 rpm discs with different combinations
    [Show full text]
  • We Like Jazz in June…
    Volume 35 • Issue 06 JerseyJazz June 2007 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Jazzfest Is Here! flight jazz artists presenting con- We Like Jazz he New Jersey Jazz Society’s 35th tinuous music from Tanniversary summer jazz festival noon to 6 PM Saturday and Sunday at and picnic is all set for the weekend of three venues on the Drew campus. in June… June 9–10 at Drew University in The sanofi-aventis Jazzfest Saturday Madison, NJ. The state’s oldest jazz artists include: the Winard Harper How About festival will feature more than 60 top Sextet, Five Play, Hendrik Meurkens’s You? continued on page 21 Five Play JAZZFEST Jazzfest facts, PREVIEW hot off the press. See pp 2, 8, 10 and ad p 3 ARTICLES REVIEWS Shanghai Jazz . 7 in this issue: Classic Stine . 9 Sonny Rollins at NJPAC. 30 Lana’s Fine Dining . 11 NEW JERSEY JAZZ SOCIETY Crow’s Nest . 9 CDs+ DVD: Other Views. 34 Grove Street Stompers . 12 Pres Sez/NJJS Calendar & Bulletin Board. 2 Jazzfest Preview: The Tent. 10 Oosterdam Jazz Cruise . 38 Newark Museum Jazz in the Garden . 15 Salt Creek Grille . 17 The Mail Bag. 4 Big Band in the Sky . 13 EVENTS Jazz Trivia . 4 Trumpets . 27 Dan’s Den . 18 Toots Thielemans at the Blue Note . 42 Stonefire Grille . 29 Editor’s Pick/Deadlines/NJJS info. 6 Jazz U: College Jazz Scene . 20 Institute of Jazz Studies. 43 Jazzdagen Tours . 31 Notes from the Music Committee . 8 NJJS Honors Frank Sinatra, Jr.
    [Show full text]
  • EDDIE LANG – the FORMATIVE YEARS, 1902-1925 by Nick Dellow
    167 Eddie Lang Part One_Layout 1 05/09/2013 12:07 Page 1 EDDIE LANG – THE FORMATIVE YEARS, 1902-1925 By Nick Dellow Jazz musicians who live short lives often leave the deepest impressions. There is something about their immutable youth, echoed through the sound of distant recordings, that encapsulates the spirit of jazz. One thinks of Bix and Bubber, Murray and Teschemacher, and Lang and Christian. Of these, guitarist Eddie Lang left the largest recorded testament, spanning jazz, blues and popular music generally. Whether his guitar was imparting a rich chordal support for other instrumentalists, driving jazz and dance bands with rhythmic propulsion, or providing a sensitive backing for a variety of singers, Lang’s influence was pervasive. Django Reinhardt once said that Eddie Lang helped him to find his own way in music. Like his contemporary Bix Beiderbecke, Lang’s defining role as a musician was acknowledged early on in his career, and has been venerated ever since. As is often the case with musicians who are prolific, there are gaps in our knowledge. This article attempts to address some of these, with particular attention being paid to Lang’s early career. In the second part of the article the Mound City Blue Blowers’ visit to London in 1925 is discussed in detail, and possible recordings that Lang made during the band’s engagement at the Piccadilly Hotel are outlined and assessed. More generally, Lang’s importance as a guitarist is set in context against the background of the guitar’s role in early jazz and dance music.
    [Show full text]
  • MUNI 20111017 – (New Orleans), New York, Swing 1. Struttin' with Some Barbecue (Lilian Hardin Armstrong) Louis Armstrong
    MUNI 20111017 – (New Orleans), New York, swing 1. Struttin’ with Some Barbecue (Lilian Hardin Armstrong) Louis Armstrong and His Hot Five: Louis Armstrong-co; Edward “Kid” Ory-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo. First issue OKeh 8566. December 9, 1927. 2. Hotter Than That (Lil Hardin Armstrong) Louis Armstrong and His Hot Five: Louis Armstrong-co, voc; Kid Ory-tb; Johnny Dodds- cl; Lil Armstrong-p; Johnny St. Cyr-bjo; guest Lonnie Johnson-g. OKeh 8535. December 13, 1927. 3. West End Blues (Joe “King” Oliver, Clarence Williams) Louis Armstrong and His Hot Five: Louis Armstrong-tp, voc; Fred Robinson-tb; Jimmy Strong-cl; Earl Hines-p; Mancy Cara-bjo; Zutty Singleton-dr. OKeh 8597. June 28, 1928. 4. Weather Bird (Joe Oliver) Louis Armstrong and Earl Hines: Louis Armstrong-tp; Earl Hines-p. OKeh 41454. December 5, 1928. 5. Singin’ the Blues (Jimmy McHugh) Frankie Trumbauer and His Orchestra: Bix Beiderbecke-co; Frankie Trumbauer-C melody sax; Bill Rank-tb; Jimmy Dorsey-cl, as; Paul Mertz-p; Eddie Lang-g; Chauncey Morehouse- dr. OKeh 40772. February 4, 1927. 6. Riverboat Shuffle (Hoagy Carmichael) Frankie Trumbauer and His Orchestra: Bix Beiderbecke-co; Bill Rank-tb; Don Murray-cl, bs; Frankie Trumbauer-Cmel sax; Doc Ryker-as; Itzy Riskin-p; Eddie Lang-g; Chauncey Morehouse-dr. OKeh 40822. May 9, 1927. 7. Dinah (Henry Akst) Red Nichols and His Five Pennies: Red Nichols, Manny Klein, Leo McConville-tp; Jack Teagarden, Bill Trone or Herb Taylor-tb; Benny Goodman-cl; Babe Russin-ts; Arthur Schutt-p; Carl Kress-g; Art Miller-b; Gene Krupa-dr.
    [Show full text]
  • A Portrait of Tommy Dorsey
    A PORTRAIT OF TOMMY DORSEY Prepared by Dennis M. Spragg Glenn Miller Archive Updated April 21, 2015 1 THE TALENTED AND TEMPERAMENTAL TD Although he celebrated his birthday as November 19, 1905, according to Schuylkill County records, Thomas Francis “Tommy” Dorsey, Jr. was born November 27, 1905 in Mahanoy Plane, a small town outside Shenandoah, Pennsylvania, the second son of Thomas Francis “Pop” Dorsey (born 1872) and Theresa “Tess” Langton (married 1901), Americans of Irish ancestry. Their firstborn son was James Francis “Jimmy” Dorsey, born February 29, 1904. The Dorsey couple bore two additional offspring, Mary, born 1907 and Edward, born 1911. Edward only lived to the age of three. Shenandoah was located in the heart of Pennsylvania coal country. Coal miner Pop Dorsey was once quoted as saying; “I would do anything to keep my sons out of the mines”. The Dorsey parents were interested in music and musically inclined. They saw music as a path for their sons to escape what they considered the “dead-end” future of coal mining. Pop and Tess Dorsey instilled a love of music in their sons. The father favored the cornet as an instrument and his sons fought over who would play it better. Ultimately, Jimmy Dorsey would gravitate to reed instruments and Tommy Dorsey to brass instruments. As children, the sons played in local parades and concerts. As they grew into adolescence, the brothers took nonmusical jobs to supplement the Dorsey family income. Young Tommy worked as a delivery boy. In 1920, the family moved to Lansford, Pennsylvania, where Pop Dorsey became leader of the municipal band and a music teacher.
    [Show full text]
  • Richard Hadlock Annals of Jazz Collection ARS.0065
    http://oac.cdlib.org/findaid/ark:/13030/kt0z09r4w0 No online items Guide to the Richard Hadlock Annals of Jazz Collection ARS.0065 Finding aid prepared by Franz Kunst Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] © 2010 The Board of Trustees of Stanford University. All rights reserved. Guide to the Richard Hadlock ARS.0065 1 Annals of Jazz Collection ARS.0065 Descriptive Summary Title: Richard Hadlock Annals of Jazz Collection Dates: 1982-1991 Collection number: ARS.0065 Creator: Hadlock, Richard Collection size: 12 boxes, 231 open reel tapes Repository: Archive of Recorded Sound Abstract: Open reel tape recordings of the Annals of Jazz radio program produced and hosted by historian and educator Richard Hadlock, broadcast on KCSM, San Mateo between 1982 and 1991. Language of Material: English Access Open for research; material must be requested at least two business days in advance of intended use. Contact the Archive for assistance. Publication Rights Property rights reside with repository. Publication and reproduction rights reside with the creators or their heirs. To obtain permission to publish or reproduce, please contact the Head Librarian of the Archive of Recorded Sound. Preferred Citation Richard Hadlock Annals of Jazz Collection, ARS-0065. Courtesy of the Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, Calif. Source The Richard Hadlock Annals of Jazz Collection was donated to the Stanford Archive of Recorded Sound by Richard Hadlock in October 2006. Sponsor This finding aid was produced with generous financial support from the National Historical Publications and Records Commission.
    [Show full text]
  • The Strutter
    The Strutter VOLUME 26 NUMBER 11 Traditional Jazz in the Philadelphia Tri-State Area JUNE 2016 OUR NEXT CONCERT Bob Rawlins, who also led last year's Tri-State Jazz Society jam session, is a professor of music theory Annual Jam Session at Rowan University, and is the author of several books on jazz including Tunes for the Twenties and The Real Dixieland Book, a collection of 250 classic Dixieland tunes he compiled and edited while living in New Orleans. ANNUAL TRI-STATE JAZZ MEETING The Annual Meeting of Tri-State Jazz Society will be held on June 26 at the Community Arts Center, Wallingford, during the intermission of the Jam Session. The meeting will last 15 minutes. The agenda will primarily include election of Directors. The nominating committee has recommended the Sunday, June 26, 2016 following nominees for Director to serve three-year 2:00 – 4:30 p.m. terms: Community Arts Center Sanford Catz, currently President 414 Plush Mill Road Mike Mudry, currently Treasurer Wallingford, PA 19086 Chic Bach, currently Sound Coordinator Directions at http://www.tristatejazz.org/directions- cac.html Nominations from the floor will also be accepted. An annual Tri-State Jazz tradition, we will hold our Jam Session again this year at the Community Arts Center, Wallingford, PA 19086. Musicians who are interested will be invited to sit in with the “house Concert Admissions band” shown below: $10 First-time attendees and Members Bob Rawlins - Clarinet, Saxophones, Leader $20 General Admission Danny Tobias - Trumpet, Cornet High school/college students with ID and Franny Smith - Banjo, Vocals children with paying adult admitted free Brian Nalepka - Tuba, Bass Paul Midiri - Drums, Vibes, Trombone Pay at the door Last year's event was another huge foot-stomping success and drew rave reviews.
    [Show full text]
  • ARSC Journal
    LOUIS AND BIX FROM WORLD RECORDS The Louis Armstrong Legend. Vol. 1: 1925-26; Vol. 2: 1926-27; Vol. 3: 1927-28; Vol. 4; 1928-29. Compiled by Chris Ellis; annotated by Brian Rust. World Records: Retrospect Series, SH 404-407. Bix Beiderbecke: The Studio Groups. Vol. 1: 1927, with Frankie Trum­ bauer & his Orchestra. Vol. 2: Late 1927; Broadway Bellhops, Bix and his Gang, Chicago Loopers, Frankie Trumbauer & his Orchestra. Vol. 3: 1928, Bix and his Gang, Lou Raderman & his Orchestra, Trumbauer. Vol. 4: 1928-30, Bix and his Gang, Irving Mills Hotsy Totsy Gang, Trumbauer. Compiled by Chris Ellis; annotated by Brian Rust. World Records: Restrospect Series, SH 413-416. Two series (available singly) from England that could well serve as models for reissuing classic jazz in every way but one: the sound qual­ ity is not state-of-the-art. The standards set for transfers by John R. T. Davies in England and Jack Towers hereabouts are not approximated, especially when one considers that Okeh, the source for 98% of the material, was matched only by Victor for quality recording in the '20s. Not that the level here isn't decent, especially considering that three of the Armstrong and six of the Beiderbecke sides contain nine tracks (the rest have eight--LP standard for 78 material). It is, and commen­ dable results have been obtained from the acoustic Louis masters. It's only because everything else is so close to perfection that the issue is raised, and I might not have focused on it at all but for the disap­ pointment of finding my favorite Bix item, Sorry, marred by an engineer­ ing defect.
    [Show full text]