Volume 11
Lista utworów: Vol 11
Dekada Swingu II
Calloway, Lanceford, Shaw, Dorsey, James, Krupa, Miller
1. Harlem Camp Meeting (White)
Cab Calloway And His Orchestra /3,2,4,4/
Cab Calloway - voc, Ed Swayzee, Lamar Wrighr, Doc Cheatham - tps, D.P. Wheeler - tb, Harry White - tb, arr., Eddie Barefield
- cl, as, Andrew Brown - as, br, Foots Thomas - cl, ts, Bennie Payne - p, M. White - bj,g, Al Morgan - b, Leroy Maxey - d.
N. York, XI 1933, RCA VIctor 78504-1
2. Father's Got His Glasses On (Swayzee)
Cab Calloway And His Orchestra /3,2,4,4/
Cab Calloway - voc, Ed Swayzee, Lamar Wrighr, Doc Cheatham - tps, D.P. Wheeler - tb, Harry White - tb, arr., Eddie Barefield
- cl, as, Andrew Brown - as, br, Foots Thomas - cl, ts, Bennie Payne - p, M. White - bj,g, Al Morgan - b, Leroy Maxey - d.
N. York, XI 1933, RCA VIctor 78504-1
3. Pickin' the Cabbage (Gillespie)
Cab Calloway And His Orchestra /3,3,5,4/
Dizzy Gillespie, Mario Bauza, Lamar Wright - tps, Tyree Glenn Quentin Jackson, Keg Johnson - tbs, Jerry Blake
, H. Jefferson, Andrew Brown - as, Chu Berry, W. Thomas - tss, Bennie Payne - p, D. Barker - g, Milt Hinton - b, Cozy Cole - d.
Chicago, III 1940, Vocalion-Okeh 5467
4. Kickin' the Gong Around (Koehler-Arlen)
Cab Calloway And His Orchestra /3,3,5/
Cab Calloway - voc, Bernard Glow, J. Maxwell, JoeWilder - tps, Urbie Green, Ch. Welsh, T. Mitchell - tbs, Sam marowitz, Ch. O'Kane, Abe Richman, Sam Donahue, St. Webb - sxs, Hank Jones - p, Ev. Barksdale - g, Milt Hinton - b, Joe Reisman - b, J.C. Heard - d.
N. York XII 1958 RCA J2PB 139
Licencja udzielona przez BMG Poland
5. Minnie the Moocher (Calloway-Mills)
Cab Calloway And His Orchestra /3,3,5/
Cab Calloway - voc, Bernard Glow, J. Maxwell, JoeWilder - tps, Urbie Green, Ch. Welsh, T. Mitchell - tbs, Sam marowitz, Ch. O'Kane, Abe Richman, Sam Donahue, St. Webb - sxs, Hank Jones - p, Ev. Barksdale - g, Milt Hinton - b, Joe Reisman - b, J.C. Heard - d.
N. York XII 1958 RCA J2PB 139
Licencja udzielona przez BMG Poland
6. Lunceford Special (Durham)
Jimmy Lunceford And His Orchestra / 3,3,5/
Snooky Young, Gerald Wilson, Paul Webster - tps, E. Crumbley, Russ Bowles, Tr. Young - tbs, Willie Smith, Earl Carruthers, Ted Buckner, Dan Grissom - ass, Joe Thomas - ts, Edwin Milcox - p, Al Norris - g, Moses Allen - b, Jimmy Crawford - d.
N. York, XII 1939, Vocalion-CBS CS9515
7. Rockin' Chair (Carmichael)
Gene Krupa And His Orchestra /4,3,4,4/
Gene Krupa - d, Roy Eldrige, Graham Young, T Halten, N. Murphy - tps, Babe wagner, Jay Kelliher
, John Grassi - tbs, M. Ruffo, S. Listengard - as, S. Musiker, W Bates - ts, Milton Raskin - p, Ray Biondi - g, Bud Bistien - b.
N. York II 1941, Okeh-Columbia C2L 29
8. Yesterdays (Kern)
Artie Shaw And His Orchestra / 1,3,3,4,4/
Artie Shaw - cl, Chuck peterson, John Best, Cl. Bowem - tps, G. Arus, Russel Brown, Harry Rogers - tbs, G. Koenig, Hank Freeman
, Tony Pastor, Ronn Perry - sxs, Les Burness - p, Al Avola - g, Sid Weiss - b, Cliff Leeman - d.
N. York, VII 1938, RCA Victor-Bluebird
9. Stardust (Carmichael)
Artie Show And His Orchestra /1,3,2,4,8,4/
Artie Shaw - cl, G. Wendt, J. Cathcart, B. Butterfirld - tps, Jack Jenney, vernon Brown - tbs, Bus Bassey, neely Plumb, Les Robinson, Jerry jerome . sxs, 8-piece strings, J. Guarnieri - p, Al Hendrickson - el. G, Jud DeNaut - b, Nick Fatool - d.
Hollywood, X 1940, RCA Victor 055097-1
10. I Got a Kick Out of You (C. Porter)
Artie Show And His Orchestra /4,4,1,5,4/
Artie Shaw - cl, D. Pagerquist, Vic Ford, D. Paladino, D. Pierce - tps, B. Varsalona, P. Cohen, F. Zeto, S. Russo - tbs, herb Steward, F. Socolow, Al Cohn, Zoot Sims, D. Bangs - sxs, Gil Barrios - p, Jim Raney - g, D. Niverson - b, I.Kluger - d.
N. York, I 1950, MCA-EMI CDLM 8024
11. Strictly Instrumental (Battle-Benjamin)
Harry James And His Orchestra /4,3,5,4/
Harry James, C. Gozzo, N. Buono, A. DePew - tps, J. Tizol, G. Roberts, Dick Nash - tbs, W Smith, C. Corcoran, T. Suthers, H. Lorden, J. Masingill - sxs, L. Kinamon - p, T. Timbrell - g, J. Comfort - b, B. Combine - d.
N. York 1955, Capitol. Supr. 1115-2917
Licencja udzielona przez Pomaton EMI
12. Two O'Clock Jump (James Goodman)
Harry James And His Orchestra /6,4,5,3,+ string section/
Harry James, C. Gozzo, N. Buono, Phil Cook, R. Osborn, Ev, McDonald - tps, J. Tizol, H. Bohannon, Roy Main, L. McCreary - tbs, H. Lorden, J. Masingill, B. Chartrand, W Smith, B. Poland - sxs, D. Parker - p, A. Reuss - g, J. Mills - d, string section.
N. York 1955, Capitol. Supr. 1115-2917
Licencja udzielona przez Pomaton EMI
13. Sentimental Journey (Brown-Homer)
Les Brown And His Orchestra
N. York, 1949, Capitol-Supraphon 1115 2917
14. T.D.'s Boogie Woogie (Kincaid)
Tommy Dorsey And His Orchestra /3,3,5,4/
Charlie Shavers, M. Mangano, Doc Severinsen - tps, Tommy Dorsey, W. Bradley, N. Dimaio - tbs, H. Lowenstein, W. Levinsky, B. Ufelton, B Fresk, S. Schlinger - sxs, L. Garritson - p, S. Herman - g, B. Cronk - b, G. Simon - d.
N. York 1950, MCA-EMI 8024
15. How About You? (Freed-Lane)
Tommy Dorsey Orchestra with Frank Sinatra
Hollywood, XII 1941, RCA Int. NL 89343
16. Tuxedo Junction (Dash-Hawkins)
Glenn Miller And His Orchestra /4,4,5,4/
Glenn Miller - tb, Dale McMickle, C. Hurley, J. Best, L.Knowles - tps, F. Tunner, F. D'Anolfo, T. Mack - tbs, Hal McIntyre, W. Schwartz, J. Abato, Tex Beneke, Al Klink - sxs, Ch. McGregor - p, R. Fisher - g, R. Bundock - b, M. Purtill - d.
N. York, II 1940, RCA Victor BS 0467 86 2
17. Moonlight Serenade (Miller-Parish)
Glenn Miller And His Orchestra
G. Miller - tb, L. Knowles, B. Price, D. McMickle - tps, Al Mastren, P. Tanner - tbs, same sxs, Ch. McGregor - p, Allan Reuss - g, R. Bundock - b, F. Carlton - d.
N. York, IV 1939, RCA Victor BS 035701-1
18. Chattanooga Choo Choo (Gordon-Warren)
Glenn Miller And His Orchestra
G. Miller - tb, D. McMickle, Ray Anthony, J. Best, Billy May - tps, P. Tanner, F. D'Anolfo, J. Priddy - tbs, same sxs, Ch. McGregor - p, Jack Lathrop - g, Trigger Alpert - b, Moe Purtill - d, The Modernaires - voc. J. Gray - arr.
Hollywood, V 1941, RCA Victor PBS 061245-1
19. American Patrol (Meachan)
Glenn Miller And His Orchestra
G. Miller - tb, D. McMickle, St. Lipkinc, J. Best, Billy May - tps, P. Tanner, F. D'Anolfo, J. Priddy - tbs, same sxs, Ch. McGregor - p, Bobby Hackett - g, Doc Goldberg - b, Moe Purtill - d, The Modernaires - voc. J. Gray - arr.
N. York, IV 1942, RCA Victor BS 072283-1
3:06
3:07
2:45
2:44
3:24
2:50
3:01
2:45
3:41
3:16
3:09
2:56
2:06
3:20
2:50
3:24
3:20
3:22
3:16
Pod koniec lat Trzydziestych dekada Swingu obfitowała w zespoły i związane z nimi postaci leaderów i wirtuozów. Rywalem Benny Goodmana stał się klarnecista Artie Shaw, który w latach 1940-41 włączył do swego big bandu sporą sekcję smyczków. Własne orkiestry utworzyli Gene Krupa, Bunny Berigan i Harry James. Po czarnej stronie Swingu, obok Chicka Webba i Counta Basiego (dysk-10). pojawiły się świetne i nadziane gwiazdami big bandy Jimmy Lunceforda i następcy Ellingtona w Cotton Club, Casa Callowaya. Lunceford szczycił się niezwykłą precyzją sekcji saksofonów i solistami, jak Paul Webster, Joe Thomas, Trummy Young i dwin Wilcox.
Z Callowayem grali Ben Webster, Eddie Barefieid, Chu Berry, a później Hank Jones, Milt Hinton i Cozy Cole. Przez dwa lata w jego sekcji trąbek grał młody i niesforny Dizzy Gillespie, który nagrał w 1940r. z big bandem Callowaya swą pierwszą kompozycję "Pickin'The Cabbage".Na czele licznych białych big bandów, oprócz już wspomnianych, znajdowały się zespoły Tommy Dorseya, Charlie Barneta, Lesa Browna i Glena Millera. Dorsey zyskał popularność nagraniem "T.D.'s Boogie Woogie", Lesa Browna rozsławiła "Sentimental Journey", Barnet wnikał w alchemię brzmień Ellingtona, a słynny Miller's sound orkiestry Glenna Millera świat poznał jużpo jego tragicznej śmierci nad Kanałem La Manche, dzięki filmowi "Sun Valley Serenade".Po roku 1945 big bandy zaczęty zanikać.
Przyczyn było wiele: odrodzenie stylu nowoorleańskiego, nowy dynamiczny styl, be-bop, ale głównymi były przyczyny ekonomiczne: 20% podatek od rozrywki, który praktycznie sprawił iż właścicielom lokali nie opłacało się angażować dużych zespołów tym bardziej iż potencjalnych klientów zatrzymywała w domu telewizja. Także sporadyczne występy często nie pokrywały nawet kosztów przejazdu i hoteli. Tak więc, na placu boju utrzymywały się nieliczne, słynne i wytrwałe big bandy. Niektórzy liderzy po paru latach przerwy próbowali szczęścia na nowo. Pojawili się też nieliczni nowi (dysk 21) gotowi stawić czoła trudnościom.
By the end of the 1930's, the swing decade was in full bloom with many famous bands, leaders and adored players. The main rival of the Goodman Orchestra was clarinetist Artie Shaw (b. 1910) who, during his peak years of 1940-41, added a sizable string section to his big band. The stars of the Goodman Orchestra, Gene Krupa,'Bunny Berigan, and Harry James, formed their own big bands as well. On the black side of swing, besi-des Chick Webb and Count Basie (cd-10), the excellent and star-studded orchestras of Jimmy Lunceford (1902-1947) and Cab Calloway (1907-1994) made their appearance.
Lunceford boasted of his precision-famous saxophone section and such distinguished soloists as Paul Webster, Joe Thomas, Trummy Young, and Edwin Wilcox, Calloway, who succeeded Ellington at the Cotton Club, employed Ben Webster, Eddie Barefieid, Chu Berry, and later Hank Jones, Milt Hinton and Cozy Cole. The young and brilliant prankster, Dizzy Gillespie, played in his trumpet section for two years (1940-41), and it was wrth Calloway that he recorded his composition "Pickin' the Cabbage" and his first full-blown improvised solo.Among the many outstanding white bands, in addition to those already mentioned, were the very successful bands of Tommy Dorsey, Charlie Barnet, Les Brown and Glenn Miller Tommy Dorsey (1905-1956) owed much of his popularity to "T.D.'s Boogie Woogie" and to his vocalist, Frank Sinatra. Les Brown (b. 1912) gained popularity with his "Sentimental Journey," and Barnet (1913-1991) followed the intricacies of Ellington's sound alchemy.
The exceptional "Miller sound" of the Glenn Miller Orchestra spread mainly through the movie "Sun Valley Serenade." Two years later, in December 1944, Miller perished in a plane crash over the English Channel.After World War II, the big bands began to disappear due to many varied reasons. They struggled to compete with the New Orleans Revival movement and with the new dynamic be-bop style; however, the economical reasons proved to be the most decisive to their demise.
The 20% tax ondance floors made it impossible for the owners to afford the big bands; moreover, many potential customers chose to stay home to watch the fascinating new invention, television. One night stands ceased to be profitable, covering barely travel and hotel expenses. As a result, only a few ofthe best bands remained in the business, though some leaders who gave up tried their luck again and chose to struggle uphill. Now and again there appeared some new ambitious leaders (CD-21) ready to face the challenge.
