Category Archives: digging

Charlie Christian’s Genius of the Guitar

This is a truly fab box set. The packaging is a bit dumb, but it’s a great set of music. 4 CDs worth of goodness. Christian died young of TB, but he did some truly fabulous work with people like Benny Goodman. A lot of this stuff covers the Goodman RCA collection, and if you pick up the shorter version of this set and the Goodman, you should be right. But for ob-con collectors like me, this set gives you lots of silly 30 second out-takes which are fascinating.
The set is a bit expensive, but I finally decided to take a risk with the second hand ones. One CD is a bit dodgy (it can’t talk to Gracenote, so the song info doesn’t import automatically into itunes), but that’s not a big deal. The liner notes are a good read, and for sheer tactile loveliness, this set is worth it. It’s almost all great dancing, though a lot of it tends towards ‘bal’ music – especially the Goodman Sextet stuff. Great, technical musicianship, but a little precise and fiddly for lindy hoppers. Perfect for jazz nerds and balboa dancers who like tiny, precise music for their tiny, precise dancing.

Count Basie’s Chairman of the Board

I wanted the album that featured the perennial favourite “Blues in Hoss’s Flat”. I’d had a version from a greatest hits, and seeing as how hi-fi, new testament Basie is always in fashion, I thought I’d pick up this recommended favourite. It doesn’t hurt that I’m on an anti-preswing kick at the moment.
So this album is pretty good. Highlights – “Moten Swing” and “Blues in Hoss’s Flat”. Again, not all the best dancing, but still an example of a really good later big band.
Another Basie gem I keep coming back to is The Count Basie Story. Two CDs of hi-fi new testament Basie big band action. They play some of the old school favourites, and while there’s no going past the older sound, this is a pretty freakin’ good album.

artie shaw’s Self Portrait and Kid Ory’s completed Decca recordings

Ok, so we never found out what happened the other night. We suspect the cops just gave up and went home. Nice one.
I am currently the most boring person in the world. It’s The Squeeze’s birthday today, so I’m organising dinner for him tonight with whoever could make it at the last minute. I’m also sending him off on a CAE cooking course, probably the one with Cam from Eat It on RRR. The Squeeze loves to cook, but he’s mostly a wok man and doesn’t like masses of meat. So we’ll just have to see how he goes.
On other fronts, something lovely came in the mail for me today:
Artie Shaw’s Self Portrait. It’s lovely. Its packaging is lovely – nice box with nice ‘recycled’ paper sleeves, book and box. Five discs of loveliness. This is a really special thing as I’ve been saving and saving for it and needed some good Shaw action. Plus it’s interesting because Shaw selected the songs himself – in 2001. It’s not all that common for big olden dayes jazz doods to select the songs for their box sets, mostly because they’re dead. So this is not only a nice set of music (I’m enjoying it very much), but an interesting text. It’s also all remastered and nice.
I’m also on a major Kid Ory kick atm (continuing…), and this cheapy arrived the other day. The quality is kind of mixed, which isn’t all that surprising for the price, and the fact that a chunk of the music was recorded in 1922! I’m sure I’ll get over the whole New Orleans revivalist thing soon – Sidney Bechet gets up my bum a bit now, and I can see Ory heading that way too. But until then…

Mora’s Modern Swingtet’s 20th Century Closet

Mora’s Modern Swinget‘s 20th Century Closet.
A contemporary band who specialise in the sort of music I like most (earlier swinging jazz and 20s hot jazz), the Swingtet are a smaller version of the Rhythmists (they could be a completely different band that Mora runs, I haven’t checked – I have Dumb Brain right now). I was happy with the Rhythmists’ Call of the Freaks and have my eye on their latest album
This is fun stuff because the quality’s good, the songs are really neat (some of my favourites) and this sort of action is a great introduction to old school music for the more conservative/groover dancing crowd.
It’s nice to have a few songs by my favourite artists – I’ll list them below – my favourite small group artists:

The album contains 20 tracks of great swing of the 1930s and 1940s, originally performed by such bands as the John Kirby Orchestra, Artie Shaw’s Gramercy Five, Tommy Dorsey’s Clambake Seven, and the Duke Ellington small groups

And you know how I feel about Ellington. But I’m also a keen fan of John Kirby. I like that smaller, ‘chamber jazz’ sound. Maybe I need to explore Tommy Dorsey’s smaller groups?
Song highlights:
Hop, Skip and Jump – 191bpm – 2004 – 2:44
It’s interesting to compare this with the Campus Five version (which I talked about here). I might prefer the Campus 5 version, but I haven’t listened to them back to back yet, so I can’t be sure.
Krum Elbow Blues – 162bpm – 2004 – 2:45
I love the Ellington version of this song that I have (‘Krum Elbow Blues’ – Johnny Hodges and His Orchestra – 153bpm – 1938 – The Duke’s Men: The Small Groups, vol. 2 – 2:35), and I don’t have Mora’s liner notes in front of me, but he could have used that arrangement (that’s actually a big fat guess). It’s still a great song, and this is a decent version.
Effervescent Blues – 122bpm – 2004 – 3:07
Another ‘cover’ of one of my favourite songs (‘Effervescent Blues’ – John Kirby Sextet – 119bpm – 1939 – John Kirby Sextet: Complete Columbia and RCA Victor Recordings (disc 01) – 2:50), I do prefer Kirby’s version, but the quality of that version that I have is a bit dodgy. Not really up to places like CBD at all.
Jump Steady – 172bpm – 2004 – 2:39
I don’t have the liner notes in front of me, nor do I have another version of this in my itunes, so I’m not sure who the original’s by. But this is fun.
There are many other great tracks, but these are the ones at the front of my brain right now.
I do have some complaints about this album, though. I’m not struck on the vocalist, Kayre Morrison. She’s a bit… hoity toity. This band, all over, is a bit… uptight. Unhep.
I prefer the Willie Bryant versions of Rigamarole and A Viper’s Moan, for example, because they sound rawer, wilder and more emotionally authentic. The problem with some of these recreationist guys, is that they spend so much energy and effort on doing really careful reproductions of other artists’ work, they forget to put themselves into the music. I’ve written about this before here, so I needn’t say more than to repeat the last line of that post: “I like a little grunt, a little grit in my …music”.

Roy Eldridge’s After You’ve Gone

Roy Eldridge’s After You’ve Gone.
I’m feeling a bit tired and bashed about my the anithistamines I’ve had to take to save my sanity (I could, quite possibly, scratch my nose off my face otherwise), so I can’t write much.
Song highlights:
All the Cats Join In – Buster Harding with Roy Eldridge and his Orchestra – 176bpm – 1946 – 2:45
Jump Through The Window – Roy Eldridge and his Orchestra – 154bpm – 1943 – 2:42
Hi Ho Trailus Boot Whip – Roy Eldridge and his Orchestra – 224bpm – 1946 – 2:45
Sometimes a bit too much squawky brass, but also some greatly fun dancing action.

Tommy Dorsey’s Yes Indeed!

I probably spent more on this baby than I should have (I have a $30 dollar limit for single CDs, including postage), but this is some sweet action.
Trev mentioned it eight days ago, I checked it out, did some late night impulse CD purchasing, and it arrived from somewhere foreign yesterday. How’s that for amazingly speedy gratification?
Ok so here’s what I think of it:
Some bits are a bit squawky. But that’s ok… well, I don’t like that squawk much because it sounds fucked at CBD, but it’s ok for this album. Some bits are a bit sweet, but, well, we can ignore that. Overall, there are at least six songs that I’d happily DJ, a couple that I’m very keen to DJ and some that probably need to be tested. There are also a good number of clappy/shouty songs, which is pleasing.
We’re looking at a spread of stuff from 1939 to 1945, reasonable sound quality (well, at home anyway) and some nice liner notes. Not amazing liner notes, but useful liner notes. It seems Sy Oliver is my man.
What tracks? Have a look down there below. But let’s look at some highlights.
What a coincidence – The Minor Goes Muggin’, as crapped on about here (and which I now realise I do like, have liked and have had a copy of for ages). Duke Ellington with Tommy Dorsey’s Orchestra in 1945.
Well, Git It!, made fairly famous with local dancers by the Mad Dog people in 2003 (check out that performance on youtube here). Mad Dog of course included a bunch of now-rockstar dancers. I had a couple of versions of this song, but this is the slower one and it’s decent quality. It’s less sweet than the version that’s on that Swingin’ in Hollywood, but not quite as good as the chunky fun version Mad Dog used.
I really like At the Fat Man’s (more clapping and talking about food) – nice, unscary tempo. Bit squawky, but fun. Fun lyrics, too.
There’s also a great version of Easy Does It (made famous by Basie and his versions are the ones I’ve heard mostly – kind of dull though goodish). This version chunks along and really makes me feel like dancing.
The version of Stomp It Off (a song originally written for Jimmie Lunceford by Sy Oliver and recorded in 1935) isn’t anywhere as good as the Lunceford versions I have. In fact, the Lunceford versions are ones I really adore – they make me dancing-crazy, clock in at about 190bpm and have a fun, upenergy, perky feel. This Dorsey one is a bit too sweet and kind of annoying. The tempo is a bit low as well, so it kind of drags. It doesn’t feel as ‘crisp’ either. But it’s a curiousity.
Swingin’ on Nothing is an old favourite, and I’m fond of it. It’s a trifle slow and draggy for me, but it’s a goody for newer/tireder dancers. Bit squawky, but you know, I can deal.
Well, All Right is fun, but I can’t decide if it’s the same song as the Lunceford Well Alright Then, which I’m fond of. There are vocals in this Dorsey one and they’re different tempos. I don’t think they’re the same. The Lunceford one is better, of course. But this is kind of fun. Reminds me of Calloway. But Calloway sung by a straighty-one-eighty chick.
There are songs like Opus #1 which everyone has a copy of and I don’t particularly like. It’s ok.
So What, Quiet Please and Swing High are fasty fun tracks (I prefer the last one, but there’s good shouting in Quiet Please). The rest are either a bit sweet, a bit slow or a bit dumb. Or I’ve just forgotten to talk about them.
But this is actually a good album if you want some good Dorsey action.
Lonesome Road, Part 1 Tommy Dorsey and His Orchestra 1939 Yes, Indeed! 2:36
Lonesome Road, Part 2 Tommy Dorsey and His Orchestra 129 1939 Yes, Indeed! 2:19
Well, All Right Tommy Dorsey and His Orchestra 150 1939 Yes, Indeed! 3:13
Night In Sudan Tommy Dorsey and His Orchestra 139 1939 Yes, Indeed! 3:14
Stomp It Off Tommy Dorsey and His Orchestra 160 1939 Yes, Indeed! 3:46
Easy Does It Tommy Dorsey and His Orchestra 155 1939 Yes, Indeed! 3:15
Quiet Please Tommy Dorsey and His Orchestra 292 1940 Yes, Indeed! 2:47
So What Tommy Dorsey and His Orchestra 301 1940 Yes, Indeed! 2:43
Swing High Tommy Dorsey and His Orchestra 251 1941 Yes, Indeed! 2:49
Swanee River Tommy Dorsey and His Orchestra 111 1941 Yes, Indeed! 3:14
Deep River Tommy Dorsey and His Orchestra 277 1941 Yes, Indeed! 3:59
Yes, Indeed! Sy Oliver and Jo Stafford with Tommy Dorsey and His Orchestra 134 1941 Yes, Indeed! 3:30
Loose Lid Special Tommy Dorsey and His Orchestra 114 1941 Yes, Indeed! 2:47
Swingin’ On Nothin’ Sy Oliver and Jo Stafford with Tommy Dorsey and His Orchestra 126 1941 Yes, Indeed! 3:17
Hallelujah Tommy Dorsey and His Orchestra 277 1941 Yes, Indeed! 3:04
Moonlight On The Ganges Tommy Dorsey and His Orchestra 136 1942 Yes, Indeed! 2:55
Well, Git It! Tommy Dorsey and His Orchestra 189 1942 Yes, Indeed! 3:03
Mandy, Make Up Your Mind Tommy Dorsey and His Orchestra 152 1942 Yes, Indeed! 2:59
Opus #1 Tommy Dorsey and His Orchestra 170 1944 Yes, Indeed! 2:55
Chloe Edythe Wright with Tommy Dorsey and His Orchestra 1945 Yes, Indeed! 3:14
At The Fat Man’s Charlie Shavers with Tommy Dorsey and His Orchestra 151 1945 Yes, Indeed! 3:11
The Minor Goes Muggin’ Duke Ellington with Tommy Dorsey and His Orchestra 177 1945 Yes, Indeed! 3:01

i’m comin’ virginia

I’m currently really loving the song I’m Coming Virginia, penned by Donald Heywood and Marion Cook, recorded by a whole range of people, from Django Reinhardt to Fletcher Henderson.
I’m still loving the Maxine Sullivan version from this album (you can listen to bits of the song here). I think it’s a minor key thing. But Sullivan’s version is really just the beginning.
I’m also quite taken by a 1927 Fletcher Henderson version (Sullivan’s is 1956), though there’s a really big tempo shift (Henderson’s is about 200bpm, Sullivan’s 110bpm), and quite a serious difference in mood – Sullivan’s is mellow and laid back, Henderson’s (though mellow for much of his stuff in this period) is pretty well pre-swing and very up-and-down feeling (ie makes you want to charleston rather than swing out like a groover).
I also have a version by Sidney Bechet which I quite like, and I’m pretty well partial to another 1927 version, this time by Frank Trumbauer and his Orchestra with Bix Beiderbecke. This one, while the same year as Henderson’s, is really far more serious. You can hear the New Orleans funereal march echoes in this version (which is actually called I’m Coming Home Virginia and comes from this album). This one sits on about 132bpm.
I’m Coming Virginia is really the best song.
I think my favourite thing about it is the way it’s spelt on both my Henderson albums – I’m Coming Virgina.

solomon douglas’ swingtet’s swingmatism and the basie mosaic set!

I scored with two bits of music for christmas.
First, a friend’s band’s album: the Solomon Douglas Swingtet‘s album Swingmatism from The Squeeze’s mother, and second, The Basie Mosaic set from The Squeeze.
Both are, of course, really fricking great. It’s unfortunate, though, that Sol’s album arrived with the Basie one – they’re working (in a very general way) in the same sort of style* as the new testament Basie on the Mosaic set, and really, it’s cruel to set the two head to head. Basie wins, of course.
CDcover_small.jpg But Sol’s album really is very good – if this band was playing regularly in my city I’d be a very happy lindy hopper indeed. They’re certainly better than the B# Big Band who are the closest thing Melbourne has in comparison, and I prefer them to the JW Swing Orchestra, who are our other major swinging big band (there are others, but these are the only dancer-oriented/dancer-trained bands).
For lindy hoppers, this album is definitely worth the cash**.
…I’m try to write an even partially coherent discussion of this album, but I’m feeling a bit scatty.
Actually, my feelings about this album are mixed. Firstly, I really appreciate it as a present – it was a very thoughtful gift, and definitely something I really like. Well chosen, mother of The Squeeze (and Squeeze).
Secondly, as a general into-music type person, I like it very much. I like to support current day swinging bands, especially ones like Sol’s, where the band is led by a dancer, and tailors its sets specifically for dancers. I can also really appreciate this album as a dancer – this is some fun shit.
Thirdly, as a DJ, this is some good stuff. The version of the Big Apple Contest is a bit of a score, and there are some really nice songs on the album.
But, fourthly, as a picky, DJ nerd wench, I’m not sure this is my cup of tea. It’s a little hi-fi/new testament for my liking (though I MUST admit that it wanders through a fair old range of musical territory – there’s a nice version of Black and Tan Fantasy, for example), and I’m not sure how often I’d play this for my own pleasure at home. I do, however, really really like songs like Funky Blues – it feels like this is where it’s at.
As a picky DJ, I’m wondering when I’d play many of these songs. I’m not sure I’d choose this version of Shiny Stockings, for example, when there are so many wonderful versions by people like Basie, which really are fabulous. I’d definitely spin that version of the Big Apple song, though, and I might play a few of the other tracks to win over a few of the groover/US-favouring dancers in our scene. But I’m not sure if I’d play things from it if I was compiling my ideal set. Having said that, when do we ever get to play our ‘ideal’ sets?
So, thinking sensibly, this is one of those albums (like Mora’s Modern Rhythmists’) which is great for getting the pickier hi-fi dancers interested in proper swing-era bands: this is some shit-hot recreationist work. I’d put this CD on my sneak list. Which, of course, makes this a very useful album indeed.This is a band we should support by buying the album, as these guys are the bread and butter of swing dancing – without wonderful live bands who put such effort into their live sets and recordings, many local scenes would founder in their early days, and we’d really miss this sort of superior big band action at our big balls and major events.
I do regret the fact that I’ve been listening to this with the Basie set at the same time. There simply is no comparison. Which is a shame, as I do think Sol has done fabulous work, and I don’t doubt the band live are frickin awesome.
229.jpg The other CD I scored was the fabulous 8-CD Mosaic set. The Squeeze is the sneakiest beast on earth. In town doing our christmas shopping the other week, he suggested popping in to Basement Discs (where I’d seen this set) for a bit of browsing. I poo-pooed the idea in favour of goal-oriented shopping. He later (or had already – I’m not sure which) popped in to pick this up himself. And I scored big time.
This is one fabulous collection of new testament Basie action. There are some fricking awesome versions of lindy hopping favourites (including another version of Jive at Five for my collection), all in fantastic quality. I’m not the hugest late testament Basie fan, but this is such a great, solid collection of the dood’s work in the 1950s, I’m really very happy to have it. This was a period where Basie had some pretty shit-hot musicians on hand, working a band who were really cooking together. I can’t get over the quality. Though most of this later Basie stuff is pretty good quality, this is a really, really nice collection.
As I’ve already said, it’s a shame I first heard Sol’s band in such close proximity to this set.
But I do think that the two are complementary and definitely very nice additions to any lindy hopper (let alone DJ)’s collection. The Basie set is, however, a massive luxury, and Sol’s CD is far more accessible and practical for small-time collectors.
At the end of the day, I’m very very happy with these two presents – I couldn’t have asked for anything better…. though this Basie set has me hankering for the Peggy Lee set, which I do not need! 184.jpg
*As in they’re hi-fi, have a kind of late testament sound, etc.
**Incidentally, when I asked The Squeeze if I could use his paypal account to buy this album the other day, he declared “no way – I’m not wasting paypal dollars on that guy’s band”, and then immediately sneaked off to coordinate its purchase with his mother. This album is, of course, very Squeeze like, and he does actually think it was worth spending paypal dollars on this album. Even if they were his mother’s paypal dollars.