 Исполнитель: Alberta Hunter Название альбома: Complete Recorded Works Volume 1-4 1921-1946 Год выпуска: 1996 Формат файлов: Mp3, 320 Размер архива: inside Скачать с: ifolder, depositfiles
Как и обещал - все диски Complete Recorded Works In Chronological Order Альберты Хантер от австрийской фирмы Document Records. Извините, 3 диск повторяю - для завершенности.
CD 1 - Complete Recorded Works. Volume 1. 1921-1923
The first volume in Document's Complete Recorded Works series of Alberta Hunter compilations includes her earliest recordings from the '20s. Along with a 1922 version of her own song, "Downhearted Blues," which became a hit in the hands of Bessie Smith, the disc includes the classic performances "You Gotta Reap What You Sow" and "Chirpin' the Blues," plus sides recorded with help from some outstanding sidemen: Fletcher Henderson, Eubie Blake, and Don Redman, among others. For less-dedicated listeners, the long running time and poor fidelity will be hard to digest. The serious blues listener will find all these factors to be positive, but casual listeners will find that the collection is of marginal interest for those very reasons.
Thom Owens, AMG
01. He's A Darn Good Man (To Have Hanging 'Round)
02. How Long, Sweet Daddy, How Long
03. Bring Back The Joys
04. Some Day Sweetheart
05. Down Hearted Blues
06. Why Did You Pick Me Up When I Was Down, Why Didn't You Let Me Lay?
07. Gonna Have You - Ain't Gonna Leave You Alone
08. Daddy Blues
09. Don't Pan Me
10. After All These Tears
11. I'm Going Away Just To Wear You Off My Mind (Take 1)
12. I'm Going Away Just To Wear You Off My Mind (Take 2)
13. Jazzin' Baby Blues (Take 1)
14. Jazzin' Baby Blues (Take 4)
15. You Can't Have It All
16. Lonesome Monday Morning Blues
17. Come On Home
18. You Shall Reap Just What You Sow
19. Tain't Nobody's Biz-ness
20. If You Want To Keep Your Daddy Home
21. Bleeding Hearted Blues
22. Chirping The Blues
Personnel:
Alberta Hunter - Accompaniment, Vocals
Eubie Blake's Orchestra
Fletcher Henderson's Novelty Orchestra
Ray's Dreamland Orchestra
Sam Wooding & His Orchestra
The Original Memphis Five
Eubie Blake - Piano
George Brashear - Trombone
Elmer Chambers - Trumpet
Charlie Dixon - Banjo
Ernest Elliott - Sax (Alto)
Fletcher Henderson - Piano
Chink Johnson - Trombone
Jimmy Lytell - Clarinet
Phil Napoleon - Trumpet
Charles Panelli - Trombone
Don Redman - Clarinet
Jack Roth - Drums
Frank Signorelli - Piano
CD 2 - Complete Recorded Works. Volume 2. 1923-1924
Volume two in the complete early works of Alberta Hunter as reissued by Document in the 1990s covers the remainder of her Paramount recordings dating from 1923-1924. Her accompanists on these sides included pianist Fletcher Henderson as well as Henderson's Dance Orchestra, consisting of cornetist Elmer Chambers, trombonist George Brashear, clarinetist Don Redman, and banjoist Charlie Dixon. The cornetist paired with Henderson on "Michigan Water Blues" and "Down South Blues" was Joe Smith, a capable accompanist who also made records with Bessie Smith. The pianist on "Stingaree Blues" and "You Can't Do What My Last Man Did" was young Thomas Fats Waller who, like his mentor James P. Johnson, provided a lot of backing for blues singers during the mid-'20s. On Blind Willie McTell's "Experience Blues" and its flipside, the "Sad 'N' Lonely Blues," Hunter is heard with her Paramount Boys, a trio composed of cornetist Tommy Ladnier, clarinetist Jimmy O'Bryant, and pianist Glover Compton. The piano/clarinet duo providing accompaniment on "Miss Anna Brown" and "Maybe Someday" has been identified as Lovie Austin and John Obrigant. The vocal group heard on "Old Fashioned Love" and "If the Rest of the World Don't Want You (Go Back to Your Mother...)" was the Elkins-Payne Jubilee Quartette. This highly rewarding compendium of early Alberta Hunter rarities closes with two Blu-Disc recordings made in November 1924 by a small group of musicians led by a dapper pianist from Washington, D.C. who had just arrived in New York City under the wing of clarinetist and bandleader Wilbur Sweatman. Existing at the very beginning of the extensive Duke Ellington discography, "It's Gonna Be a Cold, Cold Winter" and the rowdy theatrical "Parlor Social de Luxe" feature a vocalist identified as Alberta Prime.
arwulf arwulf, AMG
01. Someone Else Will Take Your Place
02. Vamping Brown
03. You Can Have My Man If He Comes To See You Too
04. Aggravatin' Papa
05. I'm Going Away To Wear You Off My Mind
06. Loveless Love
07. You Can Take My Man But You Can't Keep Him Long
08. Bring It With you When You Come
09. Mistreated Blues
10. Michigan Water Blues (Take 2)
11. Down South Blues (Take 1)
12. Michigan Water Blues (Take 4)
13. Stingaree Blues
14. You Can't Do What My Last Man Did
15. Experience Blues
16. Sad 'n' Lonely Blues
17. Miss Anna Brown
18. Maybe Someday (Take 1)
19. Maybe Someday (Take 2)
20. Old Fashioned Love
21. If The Rest Of The World Don't Want You (Go Back To Your Mother And Dad)
22. It's Gonna Be A Cold, Cold Winter
23. Parlor Social De Luxe
CD 3 - Complete Recorded Works. Volume 3. 1924-1927
Volume three in the "complete" early works of Alberta Hunter as reissued in the 1990s by Document covers a timeline from November 1924 to February 1927, a period that could be called her post-Paramount, post-Fletcher Henderson rise to prominence. The collection opens with five titles cut for the Gennett label under the name of Josephine Beatty. Here she is backed by a group billed as the Red Onion Jazz Babies, with a collective lineup of cornetist Louis Armstrong, soprano saxophonist Sidney Bechet, trombonists Charlie Irvis and Aaron Thompson; clarinetist Buster Bailey, banjoist Buddy Christian, and pianist Lil Hardin Armstrong. The man heard singing a highly charged duet with Hunter/Beatty on "Cake Walking Babies from Home" was New Orleans-born Clarence Todd, composer of pleasantries like "Looka There, Ain't She Pretty?" and "I'm Goin' to See My Ma." With "Your Jelly Roll is Good" and "Take That Thing Away," Hunter crossed over to Okeh with backing by pianist Perry Bradford & His Mean Four, a gutsy little group believed to consist of cornetist Bubber Miley, trombonist Big Charlie Green, and reedman Don Redman. Following a spate of lesser-known recordings involving the aforementioned Clarence Williams, an unidentified trio and a band drawn from Jimmy Wade's Orchestra, this excellent album closes with four titles recorded in early 1927 with pianist Mike Jackson. Despite Document's claim of completeness, two important titles are missing from this volume: "If You Can't Hold the Man You Love (Don't Cry When He's Gone)" which was the flipside of "You For Me, Me For You," and "I Didn't Come to Steal Nobody's Man" which should have appeared between "Wasn't It Nice?" and "Everybody Mess Around.
arwulf arwulf, AMG
01. Everybody Loves My Baby
02. Texas Moaner Blues
03. Nobody Knows The Way I Feel 'Dis Mornin'
04. Early Every Morn
05. Cake Walking Babies (From Home)
06. Your Jelly Roll Is Good
07. Take That Thing Away
08. Everybody Does It Now
09. A Master Man With A Master Mind
10. Don't Want It All
11. I'm Hard To Satisfy
12. Empty Cellar Blues
13. Double Crossin' Papa
14. You For Me, Me For You
15. I'm Tired Blues
16. Wasn't It Nice?
17. Everybody Mess Around
18. Don't Forget To Mess Around
19. Heebie Jeebies
20. I'll Forgive You 'Cause I Love You
21. I'm Gonna Lose Myself 'Way Down In Louisville
22. My Old Daddy's Got A Brand New Way To Love
23. I'm Down Right Now But I Won't Be Down Always
Personnel:
Alberta Hunter - Vocals
Lil Armstrong - Piano
Louis Armstrong - Cornet
Buster Bailey - Sax (Soprano)
Sidney Bechet - Clarinet, Sax (Soprano)
Perry Bradford - Piano
Buddy Christian - Banjo
Charlie Irvis - Trombone
Mike Jackson - Piano
Aaron Thompson - Trombone
Clarence Todd - Performer, Vocals
Clarence Williams - Composer, Piano
CD 4 - Complete Recorded Works. Volume 4. 1927-1946
The fourth and final volume of Alberta Hunter's early recordings as reissued by Document during the 1990s covers a substantially longer stretch of time than any of the preceding installments, beginning in May 1927 and following her progress through the year 1946. Although she recorded sporadically during these years, she worked with an impressive roster of instrumentalists as her voice gradually deepened, enabling her to deliver the goods with visceral fortitude and earthy candor. This fine disc opens with three duets featuring Thomas "Fats" Waller at the pipe organ, with Hunter singing in a mellifluous contralto. Dazzled by his amazing ability to play real jazz on an instrument usually confined to churches, the singer garnishes Waller's handiwork with spoken asides along the lines of "Plonk that thing, Fats" and "Play it, Mr. Waller Lord," a variant on Jelly Roll Morton's famous composition "Mr. Jelly Lord." A pair of sides cut for Columbia in 1929 have accompaniment by an unidentified piano and guitar duo, and then Document skips an important chapter in this singer's story, presumably because the marvelous and charming pop recordings she made in London during the autumn of 1934 with British dance bandleader Jack Jackson do not fit into the conventionally imposed genre straitjacket of a blues singer with jazzy overtones. In reality, Hunter was an unusually versatile performer who specialized in blues and swing but was just as comfortable and skilled when handling songs by Maceo Pinkard, Mitchell Parish, or Cole Porter. This kind of over-categorization has been applied even more ruthlessly and incongruously to the lives and works of Mildred Bailey and Billie Holiday, both of whom sang the blues but mainly specialized in Tin Pan Alley pop songs. In March, 1935, Hunter waxed four titles for the American Record Corporation with Alex Hill at the piano. The next phase of her career is represented here with a series of Decca sides from August 1939, with backing by a tough little jazz ensemble consisting of pianist Lil Hardin Armstrong, Duke Ellington's first noteworthy bassist Wellman Braud, trumpeter Charlie Shavers. and clarinetist Buster Bailey, soon to shine together as cardinal members of the John Kirby Sextet. Note the cover of Lady Day's "Fine and Mellow." In June, 1940, Hunter was paired with pianist Eddie Heywood, Jr. for several fine recordings released on Victor's Bluebird subsidiary. "The Love I Have for You" is a stunning example of her ability to work up a love song with disarming intensity. "My Castle's Rockin'" and "Boogie Woogie Swing" are among this singer's most lively and stimulating recorded performances. The feisty "Take Your Big Hands Off" and "He's Got a Punch Like Joe Louis" are strongly steeped examples of Hunter's early maturity. Why Document didn't include the remaining titles from the session that produced these two gems is anybody's guess, for they would have fit onto the disc while rounding out the first half of Alberta Hunter's long and eventful career.
arwulf arwulf, AMG
01. Sugar
02. Beale Street Blues
03. I'm Going To See My Ma
04. Gimme All The Love You Got
05. My Particular Man
06. Driftin' Tide
07. You Can't Tell The Difference After Dark
08. Second Hand Man
09. Send Me A Man
10. Chirpin' The Blues
11. Downhearted Blues
12. I'll See You Go
13. Fine And Mellow
14. Yelping Blues
15. Someday, Sweetheart
16. The Love I Have For You
17. My Castle's Rockin'
18. Boogie-Woogie Swing
19. I Won't Let You Down
20. Take Your Big Hands Off
21. He's Got A Punch Like Joe Louis
Personnel:
Alberta Hunter - Vocals
Wellman Braud Standup Bass
Al Matthews - Standup Bass
Charlie Shavers - Trumpet
Fats Waller - Composer, Organ, Piano
Eddie Heywood, Jr - Piano
Lil Hardin Armstrong - Piano
Buster Bailey - Clarinet
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Спасибо!!!
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