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FULL CD - 20 TRACKS
(66:00)
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$14.99 |
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(Mr. Ace Records, 2000) The band's third CD contains 20 wonderful selections from the swing era, with a special recording of "It's Over Because We're Through" by the legendary Leonard Reed (inventor of the Shim Sham Shimmy). Other highlights include "Cuban Pete" and the Duke Ellington classic "Daybreak Express".
FEATURING THESE 20 GREAT TUNES!
CALL OF THE FREAKS ~ QUEER NOTIONS ~ JAZZ PIE ~ A VIPER'S MOAN ~ RIGAMAROLE ~ I'M GOOD FOR NOTHING BUT LOVE ~ TAR PAPER STOMP ~ UPTOWN RHAPSODY ~ NIGHT WIND ~ SERENADE FOR A WEALTHY WIDOW ~ GET RHYTHM IN YOUR FEET ~ I GOTTA RIGHT TO SING THE BLUES ~ CUBAN PETE ~ THE DIPSEY DOODLE ~ HONEYSUCKLE ROSE ~ ANNIE'S COUSIN FANNIE ~ HUNKADOLA ~ IF DREAMS COME TRUE ~ DAYBREAK EXPRESS ~ IT'S OVER BECAUSE WE'RE THROUGH
Includes:
20 high quality MP3 audio files
M3U playlist file
Front & Back Cover JPG
Booklet JPG
Format: ZIP file
Fle Size: 138mb
YOU MAY PURCHASE AND LISTEN TO SAMPLES
FROM INDIVIDUAL TRACKS BELOW
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CALL OF THE FREAKS
(3:22)
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CALL OF THE FREAKS, originally recorded by Luis Russell & His Burning Eight in 1929, was Russell’s most well-known composition. Although his legacy in jazz history has been reduced to being only known as leading the backup band for Louis Armstrong during most of the 1930s & 1940s, we can get a glimpse into his own musical genius with this haunting tune. (Transcribed and arranged by Dean Mora)
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QUEER NOTIONS
(3:05)
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Written by the great tenor saxophonist Coleman Hawkins and originally recorded by Fletcher Henderson’s band in 1933, QUEER NOTIONS certainly delivers what the title promises -- a strange brew of dissonant harmonies and jagged melodies, unusual in its day. We use the arrangement provided by Henderson himself for Benny Goodman’s early band.
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JAZZ PIE
(3:26)
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This song from 1932 was first recorded by the orchestra of Joe Haymes, one of the great forgotten bandleaders of the 1930s (some of his other tunes appear on our GOBLIN MARKET cd). Unfortunately, Haymes is now remembered only as the guy who let other leaders take over his band -- first by Buddy Rogers in 1933, then by Tommy Dorsey in 1935. Our recording of JAZZ PIE (or HOT JAZZ PIE, as it is also known) uses the stock arrangement by Haymes himself, and features JOHN REYNOLDS on vocals.
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A VIPER'S MOAN
(3:29)
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This lowdown number from 1935 was written and recorded by Willie Bryant and His Orchestra, at the time one of the most popular dance bands in Harlem. Bryant was a singer-dancer who fronted an all-star band which included, among others, Teddy Wilson on piano, and Ben Webster on tenor saxophone. (Transcribed by Dean Mora)
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RIGAMAROLE
(2:36)
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This hot tune from 1935 (from the pen of Hal Mooney) was recorded by various bands, including those of Willie Bryant, Les Brown, Ozzie Nelson, and Jimmy Dorsey. (Stock arrangement by Hal Mooney)
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I’M GOOD FOR NOTHING BUT LOVE
(3:31)
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We first recorded this 1931 torch song on our MY FAVORITE BAND album, but now we present it again, this time presenting it as a vocal showcase for KAYRE MORRISON, and basing the arrangement on the period recording by Ruth Etting. (Arranged by Dean Mora)
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TAR PAPER STOMP
(3:32)
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If you’ve ever wondered where the original theme for “In The Mood” came from, here it is! One-armed New Orleans trumpet player Joe “Wingy” Manone (the nickname was given to him for the obvious reasons) waxed the original recording back in August of 1930. In our version, we let some of our musicians loose for some great soloing. (Arranged by Dean Mora)
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UPTOWN RHAPSODY
(2:39)
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From 1936 comes a real killer-diller from Teddy Hill, who led a hard-swinging Harlem band that included such now-famous jazzmen as Chu Berry, Roy Eldridge, Dickie Wells, and a very young Dizzy Gillespie. Hill is now remembered not for his time as a bandleader, but afterwards as the longtime manager of Minton’s Playhouse in Harlem, the birthplace of bebop music. (Transcribed and arranged by Dean Mora)
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NIGHT WIND
(3:11)
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This 1935 pop tune was recorded by various bands, including those of Fats Waller and the Dorsey Brothers; however we’ve decided to use the recording by Benny Goodman as our model. KAYRE MORRISON sings the chorus originally sung by Goodman’s vocalist Helen Ward. (Transcribed and arranged by Dean Mora)
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SERENADE FOR A WEALTHY WIDOW
(2:54)
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SERENADE FOR A WEALTHY WIDOW was written by Englishman Reginald Foresythe, whose compositions were considered advanced for its time. His music attracted the attention of Benny Goodman, who in 1935 put together a group consisting of his own bandsmen and, under an assumed name, recorded some of Foresythe's tunes, including SERENADE. (Stock arrangement by Frank Skinner)
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GET RHYTHM IN YOUR FEET
(2:20)
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One of the hallmark tunes of Benny Goodman’s legendary 1935 band (originally recorded just prior to his fabled cross-country tour which wound up at Los Angeles’ Palomar Ballroom), we utilize Fletcher Henderson’s original arrangement, obtained from the Benny Goodman Collection at the Yale Music Library. KAYRE MORRISON joins us on vocals.
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I GOTTA RIGHT TO SING THE BLUES
(4:49)
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From the pen of songwriting team Harold Arlen and Ted Koehler, I GOTTA RIGHT was recorded by many jazz icons, including Louis Armstrong, Benny Goodman, Billie Holiday, and Art Tatum, but it’s most closely associated with the great trombonist Jack Teagarden, who made it his theme song for many years. Here we’ve recorded the original 1932 stock arrangement by Paul Weirick, and is sung with great effect by our own JIM ZIEGLER.
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CUBAN PETE
(3:25)
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This lively rhumba from 1936 owes its longevity primarily to Desi Arnaz & Lucille Ball, who sang it in a memorable episode from I Love Lucy. The song’s author, José Norman, is quite an interesting character himself -- Born in England as Joseph Sternberg, Norman was studying to be a classical pianist when he was introduced to Cuban music in the early 1930s. He was immediately smitten, changed his name to José Norman and became a lifelong devoteé; he is now widely credited with introducing the rhumba to England. He married a Cuban woman in 1933 and later moved to Havana; after the country’s takeover by Fideo Castro in the 1950s, Norman and his family fled to America, and soon afterwards settled in Los Angeles, where he lived until his death in 1990. We are playing the original stock arrangement by Jack Mason, with KAYRE MORRISON singing the chorus.
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ANNIE’S COUSIN FANNIE
(3:05)
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A song that was banned from the radio airwaves in 1934 for its suggestive lyrics, this Dorsey Brothers’ Orchestra tune was written by Glenn Miller, at the time only a sideman in the group. The vocal duties are handled by KAYRE MORRISON, JIM ZIEGLER, and DEAN MORA. (Transcribed and arranged by Dean Mora)
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IF DREAMS COME TRUE
(2:52)
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This was a 1934 song co-written by Edgar Sampson and Benny Goodman, and recorded twice by drummer Chick Webb’s band -- an instrumental version in 1934, and again in 1937, this time with band vocalist Ella Fitzgerald. Our own Jim Ziegler arranged our version using elements from both of the Webb recordings. KAYRE MORRISON joins in on the chorus.
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DAYBREAK EXPRESS
(2:49)
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This 1933 composition by Duke Ellington is one of his masterpieces, and we hope we did justice to this work. Transcription arrangement by Jasper Collins.
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IT’S OVER BECAUSE WE’RE THROUGH
(3:34)
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We finish with this 1932 song written by Leonard Reed and recorded by Willie Bryant’s band in 1935 (whose version was transcribed and performed on this album). We were very fortunate to have had the then 93-year old Reed come to the studio and sing his own song. Leonard was a showbiz legend whose career spanned over 80 years, and was still maintaining a busy schedule until his sudden death in 2004 at the age of 97.
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