Swing Music

Yeah, this is a fabulous disc--and one of my favorites. It features Red on xylophone or marimba, accompanied by luminaries like Jimmy Dorsey, Benny Goodman, Artie Shaw, Chu Berry, et alii. Two wonderful tracks feature the very feminine, almost "Betty Boopish" vocals of Mae Questal. A great disc.

Freddy Johnson though poor, never worked at odd jobs, he loved the piano and worked playing under aged in speakeasys until 1922 when he became an accompanist for Florence Mills. Formed his own band in N.Y. 1924. He was born in N.Y. 3/12/04 and Died in N.Y. 3/24/61.Settled in Europe in 1929 and recorded and arrainged on European Labels with musicians such as Coleman Hawkins, Benny Carter, et. el.before being interned by The German War Machine In Dec. 1940 in Holland.Returned to USA in a prisoner exchange in 1944 shortly after which he opened his studio on B'way As a vocal coach and arrainger. Where he remained until his death from cancer in March of 1961.He was a prolific writer of music.

I originally heard most of these cuts played on the great radio show on NPR "Hot Jazz Saturday Night." The music is perfect background for a relaxing Saturday evening with a cold beverage.

Pianist Joe Sullivan was a long-time favored accompanist of both Bing Crosby and Bing's brother, Bob. Sullivan led his own combos from time to time, and was given studio time by the great John Hammond to record a few sweet sides on Columbia and Parlophone. This is the first volume of Sullivan's work done under his own name; the best recordings on here are piano solos that show his gracefulness and melodic warmth (and a heavy debt to Fats Waller). The tracks recorded with a full band get a little more raucous and less subtle. Still, all in all, this is a mighty fine set. Worth checking out.

Joe Sullivan was the leading pianist in the white Chicago jazz tradition, with a distinctive style synthesising elements of the Harlem pianists and Earl Hines, and with a strong percussive approach which often concealled a surprising lyricism.

This CD featues some of his best known recordings. Tracks 1 - 8 and 21 - 24 are excellent solos, including such originals as the Waller / Johnson influenced "Gin Mill Blues" the swinging "My Little Pride and Joy", and his driving showpiece, "Little Rock Getaway".

Tracks 9 - 16 feature his successful if rather uninspired Cafe Society Orchestra from 1940. Tracks 17 - 20 feature Sullivan in a trio with the unique Pee Wee Russell, whose bronchial rasping clarinet style suited Sullivan well.

The solo tracks are essential for lovers of mainstream piano jazz: Sullivan never quite equalled these performances.

I originally heard most of these cuts played on the great radio show on NPR "Hot Jazz Saturday Night." The music is perfect background for a relaxing Saturday evening with a cold beverage.

Pianist Joe Sullivan was a long-time favored accompanist of both Bing Crosby and Bing's brother, Bob. Sullivan led his own combos from time to time, and was given studio time by the great John Hammond to record a few sweet sides on Columbia and Parlophone. This is the first volume of Sullivan's work done under his own name; the best recordings on here are piano solos that show his gracefulness and melodic warmth (and a heavy debt to Fats Waller). The tracks recorded with a full band get a little more raucous and less subtle. Still, all in all, this is a mighty fine set. Worth checking out.

Joe Sullivan was the leading pianist in the white Chicago jazz tradition, with a distinctive style synthesising elements of the Harlem pianists and Earl Hines, and with a strong percussive approach which often concealled a surprising lyricism.

This CD featues some of his best known recordings. Tracks 1 - 8 and 21 - 24 are excellent solos, including such originals as the Waller / Johnson influenced "Gin Mill Blues" the swinging "My Little Pride and Joy", and his driving showpiece, "Little Rock Getaway".

Tracks 9 - 16 feature his successful if rather uninspired Cafe Society Orchestra from 1940. Tracks 17 - 20 feature Sullivan in a trio with the unique Pee Wee Russell, whose bronchial rasping clarinet style suited Sullivan well.

The solo tracks are essential for lovers of mainstream piano jazz: Sullivan never quite equalled these performances.

Good early work--shows the promise of his more mature performing years.

This is a great collection of great music, well performed.

The 5-6 cuts featuring Red McKenzie are pretty horrible ( entertainingly so, though, like a Simpsons version of Al Jolson ) , but there is so much exciting invention going on that it doesn't matter. First, the guitar, is basically the Django-type stuff of the time, but played with more abandon, and with what I believe is a more clever musical sense : often you are built up to expect a cliche, and then WHOMP! a very original little line. Next, how many string bands can you name that used the tiple? And lucky for you, cos its great tiple playing! Another fun thing are the vocals (when they are covered by the band members) : perhaps the only scat music I can say I really appreciate, mostly because it doesn't riff without purpose, but has an odd, elliptical narrative quality, and again, is clever, light-hearted, and simultaneously urbane and slangy ( or, because that probably doesn't make sense, I'll say : It sounds like intelligent people acting stupid.)

This is light-hearted swing music, not meant for posterity. It delights my ear and the group sound is unique. Standards and seldom-heard songs are combined with good humour and an irresistible approach to swinging a melody. Teddy Bunn's guitar is featured prominently throughout. These titles are echoes from an era that will never come back. It's a pity that today's musicians seem to be ashamed of playing in such an unassuming manner.