The Encyclopedia of Jazz Swing Time The Heyday Of Jazz Vol 7 - 16 (jazz)(mp3@320)[rogercc][h33t]

The Encyclopedia of Jazz: Swing Time - The Heyday Of Jazz

Disc 7 -16 of 100

Released : December 9, 2008

Label: Membran

Quality: Mp3@ 320







Disc 7 Charlie Christian Vol.1 1939-40



Christian was an important early performer on the electric guitar, and a key figure in the development of bebop and cool jazz. He gained national exposure as a member of the Benny Goodman Sextet and Orchestra from August 1939 to June 1941. His single-string technique, combined with amplification, helped bring the guitar out of the rhythm section and into the forefront as a solo instrument. John Hammond [1] and George T. Simon [2] called Christian the best improvisational talent of the swing era. In the liner notes to the 1972 Columbia album Solo Flight: The Genius of Charlie Christian, Gene Lees writes that, "Many critics and musicians consider that Christian was one of the founding fathers of bebop, or if not that, at least a precursor to it."

Christian's influence reached beyond jazz and swing. In 1990, he was inducted into the Rock and Roll Hall of Fame. Christian was raised in Oklahoma City and was one of many musicians who jammed along the city's "Deep Deuce" section on N.E. Second Street. In 2006 Oklahoma City renamed a street in its Bricktown entertainment district Charlie Christian Avenue







01. Flying Home [03:13]

02. Rose Room (In Sunny Roseland) [02:48]

03. Star Dust [03:15]

04. Homeward Bound (Flying Home) [03:16]

05. Memories Of You [03:11]

06. Soft Winds [02:27]

07. Seven Come Eleven [02:47]

08. Honeysuckle Rose [03:03]

09. Shivers [02:49]

10. Ac-Dc Current [02:46]

11. Till Tom Special [03:05]

12. Gone With 'What' Wind [03:23]

13. The Sheik [03:16]

14. Poor Butterfly [02:51]

15. I Surrender Dear [03:01]

16. Boy Meets Goy (Grand Slam) [02:54]

17. Six Appeal [03:19]

18. These Foolish Things [03:13]

19. Wholly Cats [03:04]

20. Wholly Cats [03:00]

21. Royal Garden Blues [03:01]

22. As Long As I Live [03:20]

23. Benny's Bugle [03:06]



Benny Goodman Sextet (Tracks1-7, 9-23)

Benny Goodman and His Orchestra (Track 8 )



Disc 8 Charlie Christian Vol.2 1940-41



Christian was born in Bonham, Texas, but his family moved to Oklahoma City, Oklahoma when he was a small child. His parents were musicians and he had two brothers, Edward, born in 1906, and Clarence, born in 1911. All three sons were taught music by their father, Clarence Henry Christian. Clarence Henry was struck blind by fever, and in order to support the family he and the boys would work as buskers, on what the Christians called "busts." He would have them lead him into the better neighborhoods where they would perform for cash or goods. When Charles was old enough to go along, he first entertained by dancing.[4] Later he learned guitar, inheriting his father's instruments upon his death when Charles was 12.

He attended Douglass School in Oklahoma City, and was further encouraged in music by instructor Zelia Breaux. Charles wanted to play tenor saxophone in the school band, but she insisted he try trumpet instead. Because he believed playing the trumpet would disfigure his lip, he quit to pursue his interest in baseball, at which he excelled.

In a 1978 interview with Charlie Christian biographer Craig McKinney, Clarence Christian said that in the 1920s and '30s Edward Christian led a band in Oklahoma City as a pianist and had a shaky relationship with trumpeter James Simpson. Around 1931, he took guitarist "Bigfoot" Ralph Hamilton and began secretly schooling the younger Charles on jazz. They taught him to solo on three songs, "Rose Room", "Tea for Two", and "Sweet Georgia Brown". When the time was right they took him out to one of the many after-hours jam sessions along "Deep Deuce", Northeast Second Street in Oklahoma City.

"Let Charles play one," they told Edward. "Ah, nobody wants to hear them old blues," Edward replied. After some encouragement, he allowed Charles to play. "What do you want to play?" he asked. All three songs were big in the early 1930s and Edward was surprised that Charles knew them. After two encores, Charles had played all three and "Deep Deuce" was in an uproar. He coolly dismissed himself from the jam session, and his mother had heard about it before he got home.

Charles fathered a daughter, Billie Jean Christian, born December 23, 1932, by Margretta Lorraine Downey of Oklahoma City, Oklahoma. They never married. Billie Jean (Christian) Johnson died 19 July 2004.

Charles soon was performing locally and on the road throughout the Midwest, as far away as North Dakota and Minnesota. By 1936 he was playing electric guitar and had become a regional attraction. He jammed with many of the big name performers traveling through Oklahoma City including Teddy Wilson and Art Tatum. It was Mary Lou Williams, pianist for "Andy Kirk and His Clouds of Joy", who told record producer John Hammond about Charlie Christian.







01. I Can't Give You Anything But Love [03:23]

02. Gilly (1) [02:36]

03. Gilly (2) [02:37]

04. Gilly (3) [02:36]

05. Breakfast Feud [03:04]

06. On The Alamo [03:25]

07. I Found A New Baby [03:03]

08. Gone With What Draft (1) [02:41]

09. Gone With What Draft (2) [02:42]

10. Jamming In Four [04:19]

11. Edmond Hall Blues [04:12]

12. Profoundly Blue [04:08]

13. Profoundly Blue No. 2 [04:13]

14. Celestial Express [03:54]

15. Solo Flight (1) [02:47]

16. Solo Flight (2) [02:47]

17. Blues In B-Flat [01:43]

18. Waitin' For Benny (Incl. 'A Smo-O-Oth One') [05:06]

19. A Smo-O-O-Oth One (1) [03:17]

20. A Smo-O-O-Oth One (2) [03:20]

21. Good Enough To Keep (Air Mail Special) [03:23]



Benny Goodmam and His Sextet (Tracks 1-9)

Edmond Hall Celeste Quartet (Tracks 10-14)

Benny Goodman and His Orchgestra (Tracks15-16)

Jam Session (Tracks 17-21)



Disc 9 Roy Eldridge Vol.1 1935-39



Eldridge was born on the North Side of Pittsburgh, Pennsylvania on January 30, 1911 to parents Alexander, a carpenter, and Blanche, a gifted pianist with a talent for reproducing music by ear, a trait that Eldridge claimed to have inherited from her. Eldridge began playing the piano at age five; he claims to have been able to play coherent blues licks at even this young age. The young Eldridge looked up to his older brother, Joe, particularly because of Joe's diverse musical talents on the violin, alto saxophone, and clarinet. Roy took up the drums at the age of six, taking lessons and playing locally. Joe recognized his brother's natural talent on the bugle, which Roy played in a local church band, and tried to convince Roy to play the valved trumpet. When Roy began to play drums in his brother's band, Joe soon convinced him to pick up the trumpet, but Roy made little effort to gain proficiency on the instrument at first. It was not until the death of their mother, when Roy was eleven, and his father's subsequent remarriage that Roy began practicing more rigorously, locking himself in his room for hours, and particularly honing the instrument's upper register. From an early age, Roy lacked proficiency at sight-reading, a gap in his musical education that would affect him for much of his early career, but he could replicate melodies by ear very effectively.







01. Swingin' At That Famous Door [03:04]

02. Farewell Blues [03:05]

03. Christopher Columbus [02:54]

04. I Hope Gabriel Likes My Music [03:03]

05. Mutiny In The Parlor [03:01]

06. I'm Gonna Clap My Hands [02:58]

07. Swing Is Here [02:56]

08. Mary Had A Little Lamb [02:56]

09. Too Good To Be True [03:09]

10. Warmin' Up [03:16]

11. Blues In C Sharp Minor [03:19]

12. Wabash Stomp [03:07]

13. Florida Stomp [02:55]

14. Heckler's Hop [02:34]

15. Where The Lazy River Goes By [02:30]

16. That Thing [02:58]

17. After You've Gone [02:58]

18. It's My Turn Now [02:51]

19. You're A Lucky Guy [03:04]

20. Pluckin' The Bass [03:02]

21. I'm Getting Sentimental Over You [02:58]



The Delta Four (Tracks 1-2)

Roy Eldridge and His Orchestra (Tracks 3, 12-21)

Teddy Wilson and His Orchestra (Tracks 8-11)



Disc 10 Roy Eldridge Vol.2 1939-45



Eldridge led and played in a number of bands during his early years, moving extensively throughout the American Midwest. He absorbed the influence of saxophonists Benny Carter and Coleman Hawkins, setting himself the task of learning Hawkins's 1926 solo on "The Stampede" (by Fletcher Henderson's Orchestra) in developing an equivalent trumpet style.

Eldridge left home after being expelled from high school in ninth grade, joining a traveling show at the age of sixteen; the show soon folded, however, and he was left in Youngstown, Ohio. He was then picked up by the "Greater Sheesley Carnival," but returned to Pittsburg after witnessing acts of racism in Cumberland, Maryland that significantly disturbed him. Eldridge soon found work leading a small band in the traveling "Rock Dinah" show, his performance therein leading swing-era bandleader Count Basie to recall young Roy Eldridge as "the greatest trumpet I'd ever heard in my life." Eldridge continued playing with similar traveling groups until returning home to Pittsburgh at age seventeen.

At the age of twenty, Eldridge led a band in Pittsburgh, billed as "Roy Elliott and his Palais Royal Orchestra", the agent intentionally changing Eldridge's name because "he thought it more classy." Roy left this position to try out for the orchestra of Horace Henderson, younger brother of famed New York bandleader Fletcher Henderson, and joined the ensemble, generally referred to as The Fletcher Henderson Stompers, Under the Direction of Horace Henderson. Eldridge then played with a number of other territory bands, staying for a short while in Detroit before joining Speed Webb's band which, having garnered a degree of movie publicity, began a tour of the Midwest.[18] Many of the members of Webb's band, annoyed by the leader's lack of dedication, left to form a practically identical group with Eldridge as bandleader. The ensemble was short-lived, and Eldridge soon moved to Milwaukee, where he took part in a celebrated cutting contest with trumpet player Cladys "Jabbo" Smith, with whom he later became good friends.

Eldridge moved to New York in November 1930, playing in various bands in the early 1930s, including a number of Harlem dance bands with Cecil Scott, Elmer Snowden, Charlie Johnson, and Teddy Hill. It was during this time that Eldridge received his nickname, 'Little Jazz', from Ellington saxophonist Otto Hardwick, who was amused by the incongruity between Eldridge's raucous playing and his short stature. At this time, Eldridge was also making records and radio broadcasts under his own name. He laid down his first recorded solos with Teddy Hill in 1935, which gained almost immediate popularity. For a brief time, he also led his own band at the reputed Famous Door nightclub. Eldridge recorded a number of small group sides with singer Billie Holiday in July 1935, including "What a Little Moonlight Can Do" and "Miss Brown to You", employing a Dixieland-influenced improvisation style. In October 1935, Eldridge joined Fletcher Henderson's Orchestra, playing lead trumpet and occasionally singing. Until he left the group in early September 1936, Eldridge was Henderson's featured soloist, his talent highlighted by such numbers as "Christopher Columbus" and "Blue Lou." His rhythmic power to swing a band was a dynamic trademark of the jazz of the time. It has been said that "from the mid-Thirties onwards, he had superseded Louis Armstrong as the exemplar of modern 'hot' trumpet playing".

In the fall of 1936, Eldridge moved to Chicago to form an octet with older brother Joe Eldridge playing saxophone and arranging. The ensemble boasted nightly broadcasts and made recordings that featured his extended solos, including "After You've Gone" and "Wabash Stomp." Eldridge, fed up with the racism he had encountered in the music industry, quit playing in 1938 to study radio engineering.[ He was back to playing in 1939, when he formed a ten-piece band that gained a residency at New York's Arcadia Ballroom.

In April 1941, after receiving many offers from white swing bands, Eldridge joined Gene Krupa's Orchestra, and was successfully featured with rookie singer Anita O'Day. In accepting this position, Eldridge became one of the first black musicians to become a permanent member of a white big band. Eldridge was instrumental in changing the course of Krupa's big band from schmaltz to jazz. The group's cover of Jimmy Dorsey's "Green Eyes," previously an entirely orchestral work, was transformed into jazz via Eldridge's playing; critic Dave Oliphant notes that Eldridge "lift[ed]" the tune "to a higher level of intensity." Eldridge and O'Day were featured in a number of recordings including the novelty hit "Let Me Off Uptown" and "Knock Me With a Kiss".

One of Eldridge's best known recorded solos is on a rendition of Hoagy Carmichael's tune, "Rockin' Chair", arranged by Benny Carter as something like a concerto for Eldridge. Jazz historian Gunther Schuller referred to Eldridge's solo on "Rockin' Chair" as "a strong and at times tremendously moving performance," although he disapproved of the "opening and closing cadenzas, the latter unforgivably aping the corniest of operatic cadenza traditions."[ Critic and author Dave Oliphant describes Eldridge's unique tone on "Rockin' Chair" as "a raspy, buzzy tone, which enormously heightens his playing's intensity, emotionally and dynamically" and writes that it "was also meant to hurt a little, to be disturbing, to express unfathomable stress."

After complaints from Eldridge that O'Day was upstaging him, the band broke up when Krupa was jailed for marijuana possession in July 1943.







01. High Society [03:03]

02. Muskrat Ramble [02:43]

03. Who Told You I Cared [03:22]

04. Does Your Heart Beat For Me [02:42]

05. The Gasser [02:53]

06. Jump Through The Window [02:41]

07. Minor Jive [02:41]

08. Stardust [02:27]

09. Don't Be That Way [03:13]

10. I Want To Be Happy [02:56]

11. Fiesta In Brass [02:54]

12. St. Louis Blues [02:35]

13. Can't Get Started [03:16]

14. After You've Gone [03:00]

15. Body And Soul [03:16]

16. Fish Market [03:10]

17. Twilight Time [02:51]

18. St. Louis Blues [02:21]

19. The Grabtown Grabble [02:58]

20. The Sad Sack [03:07]

21. Little Jazz Boogie [02:48]

22. Embraceable You [03:27]



Roy Eldridge and His Orchestra (Tracks 1-8,13-18,12-22)

'Little Jazz and His Trumpet Ensemble (Tracks 9-12)

Artie Shaw and His Grammercey Five(Tracks 19-20)



Disc 11 Roy Eldridge Vol.3 1945-46



[size=150][color=orangered]After leaving Krupa's band, Eldridge freelanced in New York during 1943 before joining Artie Shaw's band in 1944. Owing to racial incidents that he faced while playing in Shaw's band, he left to form a big band,[27] but this eventually proved financially unsuccessful, and Eldridge returned to small group work.

In the postwar years, he became part of the group which toured under the Jazz at the Philharmonic banner. and became one of the stalwarts of the tours. The JATP's organiser Norman Granz said that Roy Eldridge typified the spirit of jazz. "Every time he's on he does the best he can, no matter what the conditions are. And Roy is so intense about everything, so that it's far more important to him to dare, to try to achieve a particular peak, even if he falls on his ass in the attempt, than it is to play safe. That's what jazz is all about."

Eldridge moved to Paris in 1950 while on tour with Benny Goodman, before returning to New Yor