What are muffled R B music
EXIL 5666-2 / LC 08972 / VÖ: 24.01.2005 / DISTRIBUTION: INDIGO
Putumayo Goes Jazz? And whether! Only at first glance do the black and white aesthetics of jazz and the brightly colored global orientation of the world music label seem to contradict each other. Because at the big end of his family tree, jazz was by no means a purely academic matter. In New Orleans in particular, he has remained true to his original attitude to this day: African, Caribbean and French tones mixed freely, the winds of the black marching bands settled next to the blues of the Mississippi Delta, next to gospel and Dixieland, high art developed of the individual lines of improvisation, the early R&B raged. From the turn of the century before last, the 'Crescent City' has produced an endless parade of luminaries who have all made jazz history: from perhaps the most influential musician in the world, Louis Armstrong, to R&B giant Dr John and today's jazz stars like Nicholas Payton and Kermit Ruffins. They all create (s) a music in which countless ingredients romp around like in a Creole stew - and after they are mixed they are all clearly distinguishable and ensure pleasant explosions in the palate and the auditory canals.
After Putumayo our enthusiasm for the music of Lousianas already with the R&B record Louisiana Gumbo, the folky sounds of Cajun and the down-to-earth rock Zydeco has sparked, we now take our hats off to the most genuine music of the southern states and their global triumph, with cleverly put together examples from five decades. Is accompanied New Orleans from a second record, just in time for Mardi Gras the innovative trumpeter Kermit Ruffinspays homage with partly out of print recordings. And now have fun walking through the streets and neighborhoods "down in New Orleans"!
KERMIT RUFFINS is considered among all innovators of New Orleans jazz as the one with the freshest drive and his music guarantees at the same time that the bridges to the legacy of marching bands are not broken. The trumpeter and singer is considered the legitimate successor of Louis Armstrong and has played a decisive role in the Crescent City scene since the 1980s. At that time he launched the Rebirth Brass Band, one of the most important combos on the revival scene of old jazz. He has been going solo since 1992, which has been documented on seven impressive albums. Rarely does one play second line, that intimate parade of the black musicians, in contrast to the large-scale boulevard parades of Mardi Gras - without Kermitsche participation, and in this carnavalesque mood we already know him from Putumayos Carnival-Compilation. In "Drop Me Off In New Orleans" is reflected respectfully bowing to the past, but also the finely tuned modernization of the New Orleans sound. Incidentally, at the same time as the present collection, we can look forward to a compilation of partly out of print Ruffins recordings on Putumayo, this track comes from the 2001 album 1533 St Philip Street.
Another youngster of the jazz trumpet who was able to gain international fame from New Orleans is NICHOLAS PAYTON. The subdued yet sassy instrumental intro in "I Gotta Right To Sing The Blues" leaves no doubt about his origins, as he advanced as one of the outstanding ambassadors of the Louisian metropolis worldwide. In the moody syncopated number, Payton shares the solo presence with the singer and trumpeter Doc Cheatham from Nashville. When he heard Louis Armstrong play in Chicago, it was clear that from now on the New Orleans style would always be an integral part of his program. A masterful meeting of the generations, originally captured by the Verve label, which is rounded off by bluesy lyrics, at the same time an excellent obituary for Cheatham, who died in 1997.
Went as a TV show titan of the 1930s and 1940s LOUIS PRIMA into the history of American popular music - his appearances on the Ed Sullivan Show, for example, are legendary. The man of Italian ancestry was born in New Orleans, and here he pays homage to his hometown with a classic: The "Basin’ Street Blues ", Composed in 1928 by Spencer Williams and covered countless times since then, tells of the famous street and the surrounding disreputable Storyville district, which served as a natural breeding ground for many early jazz greats from 1897 to 1917 - until it was closed by the US Navy because of the feared the moral health of their officers. Primate's version takes up the evergreen in a classic cast.
The PRESERVATION HALL HOT 4has helped the recent history of New Orleans jazz get going again. Founded in 1961 by Alan Jaffe and his wife Sarah, the band with its headquarters in St. Peter Street created a home for the city's jazz, which was then in decline. Former legends who played with Louis Armstrong or Pops Celestin experienced their second spring here. The Presevation Troop will be in "Wrap Your Troubles In Dreams" reinforced by those who died in 2003 DUKE DEJAN. He and his Olympia Brass Band were a permanent fixture in the hall, which is still a tourist attraction in the French quarter today (www.preservationhall.com).
The homage to the great lady of the old blues, Bessie Smith, is unmistakable TOPSY CHAPMAN raise her voice. Raised in the country in Kentwood, Louisiana, the Chapman brought it to Broadway popularity and toured Europe. "Baby won't you please come home" In addition to the rarely achieved blues intensity on the vocal side, it also demonstrates a peculiarity of New Orleans jazz, which has shaped the entire jazz history since swing: the sequence of different solos with which the various soloists make their calling cards.
Exporting the New Orleans Sound to its northern neighbor Canada? That’s also available, of course, like the vita of KEVIN CLARK demonstrated. The trumpeter took the music from his homeland to his new location in Toronto. For his publication Jazz Revelation, he brought together musicians from the gospel-oriented scene who pair the spiritual hymns with the blues - in the great tradition of New Orleans. "Devil Done Got Me The Blues" comes from this jewelry box and is also a prime example of how individual instrumental lines can merge into a wonderful whole.
And now the old master himself: LOUIS AMRSTRONG Of course, he also contributes his mite to the New Orleans portrait, in the company of his All Stars, who are considered by not a few critics to be his best combo. Recorded in 1966 the features "Tin Roof Blues" Buster Bailey on clarinet and Marty Napoleon on piano, with whom Satchmo talks here in the finest musical mood. Even if this is a late take on the legend, his narrative style, intimate atmosphere and breathtaking trumpet tone show him in top form.
Again it is due "Basin Street Blues" the honor, but this time in a completely different guise: the pianist and musicologist Mac Rebennack has been alias since the 1950s DR. JOHN bustling. He is one of the giants of the Crescent City who has left his mark on almost every style from R&B to rock'n'roll to jazz and funk. Here he subjects the Delta classic to a completely renewed treatment in a session from 1992. It has become a very own creation, with a compelling honky-tonk piano, handsome horn section, brisk clarinet interludes and freely remodeled lyrics - just as the trademark of the gruff all-rounder wants.
Another visit from a doctor: A curious plant is "Give It Up (Gypsy Second Line) " from the pen of DR. MICHAEL WHITE. When composing the gem, he was inspired by the music of the gypsies and Jewish klezmer and at the same time alludes to the musical parades that move through the small streets during the Mardi Gras season. White shines with his clarinet in an enchanting combo that perfectly reproduces this intimate atmosphere. The musician has his doctorate from another discipline: White is professor of Spanish and Afro-American music at the city's Xavier University.
DEACON JOHN has been one of the local R&B warriors of the Crescent City for decades and is a valued partner in all music circles in the city. So it's hardly surprising that on "Going Back To New Orleans" Dr. John sits at the piano while Deacon stands out on guitar and contributes the vocals. A nice bow to the rhythm and blues of today's and former New Orleans.
The clarinet of DR. MICHAEL WHITE cheers again in the finale, now unites with the singing of GREGG STAFFORD. "Bye & Bye / Saints" presents the virtues of New Orleans jazz once again: spontaneous joy in playing, improvisations in which every instrumentalist has a chance and an amazing union of all individual lines - to the well-known spiritual ending "WhenThe Saints Go Marchin 'In".
Successful debut: Even with jazzy sounds, the colorful label from New York maintains the usual high sampler level with a gorgeous mix of traditional and innovative sounds between early jazz, blues, Dixie and R&B.
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