01 Jambalaya
02 City Lights
03 At the End of the Lane
04 Jolie Blon
05 Barnyard Boogie
06 Orange Blossom Special
07 Bayou Blues
08 Send Me the Pillow You Dream On
09 Alligator Man
10 Just A Closer Walk
If you like very good country, cajun, and western-swing this stuff is just for you.
In the world of pop music, time changes everything, and last year's sensation is this year's has-been. In the less fickle environs of American roots music, artists like the Hackberry Ramblers--who'd been together for over 60 years by the time of this recording--exist to show the value of hard-earned experience. Playing a raw, energetic combination of Cajun music, country and even rock & roll (guitarist Glen Croker was an early proponent of electric guitar), the Ramblers display all the verve and enthusiasm of musicians half their age. Guests like Rodney Crowell and Beausoleil fiddler Michael Doucet drop by, but the Ramblers need no help to establish themselves as a vital and distinctive part of America's rich musical history.
Recorded at La Louisianne Studio, Layfayette, Louisiana; Lake Charles Music, Lake Charles, Louisiana; MasterTrack Studio, Crowley, Louisiana; Enactron Truck, Nashville, Tennessee. Includes liner notes by Barry Jean Ancelet.
The Hackberry Ramblers: Glen Croker, Johnny Farque (vocals, guitar); Edwin Duhon (vocals, electric guitar, accordion); Luderin Darbone (vocals, fiddle); Johnny Faulk (acoustic bass, background vocals); Ben Sandmel (drums).
1. Apeman Ray Davies (2:26)
2. If You Let Me Make Love to You Then Why Can't I Touch You? (3:01)
2. Ride on Sammy (2:54)
3. Simple Calypso (4:28)
4. Cecilia Paul Simon (2:48)
5. I Want You Back The Corporation (2:19)
6. Sabre Dance Aram Khachaturian (2:09)
7. Come to the Sunshine Van Dyke Parks (1:21)
8. Erasmus B. Black Francisco Slinger (2:56)
9. If I Had the Wings (Like a Dove) (3:15)
10. Singer Man The Kingstonians (3:03)
11. Aquarium (2:36)
Produced by Van Dyke Parks, the Esso Trinidad Steel Band's self-titled LP is a wonderfully funky collection of calypso-inspired renditions of pop hits like the Jackson 5's "I Want You Back" and Simon & Garfunkel's "Cecilia." The sheer magnitude and intricacy of the steel drumming is astounding. The two-dozen percussionists are like cogs in a colossal machine, each working in perfect harmony with the others and all of them essential to the outcome. Parks' sun-kissed production contributes mightily to the overall party vibe. This music is the tropical fantasia of the collective unconscious. ~ Jason Ankeny, All Music Guide
Recorded at Esoteric Studios, New York, New York on November 12-13, 1954.
Personnel includes: Jack Teagarden (vocals, trombone); Leonard Feather (piano); Jimmy McPartland, Edmond Hall, Walter Page, Jo Jones, Kenny Davern, Kass Malone, Norma Teagarden, Ray Bauduc, Dick Cary.
1 Sweet Like a Honey Bee 3:01
2 Song No. 99 2:59
3 Uncle Jo' Gimme Mo'! 3:11
4 Trifling Men 2:59
5 No Mo' Bench and Board 3:10
6 Sweet Papa Willie 3:15
7 Honey I'm Bound to Go 3:13
8 The Cooks in Trinidad 3:18
9 Arima Tonight, Sangre Grande Tomorrow Night 2:27
10 Black But Sweet 2:33
11 I Need a Man 3:24
12 Stop Coming and Come 3:05
13 Tiger Tom Kill Tiger Cat 2:52
14 That Big Black Woman 3:08
15 West Indian Sugar Crop 3:06
16 Unfortunate Milley 2:51
17 Teacher Nose Gay the Shouter 3:04
18 Mickey Cipriani's Career (Sports Car) 3:11
19 Glorius Centenary 2:53
20 Cipriani's and Bradshaw's Death 2:51
21 Bandsman Shooting Case 2:54
22 African Love Call 2:56
23 The Devil Behind Me 3:08
24 Poor But Ambitious 3:07
“The CD version of Arhoolie's vinyl Wilmoth Houdini collection has been expanded to twenty-four tracks and presents the premier exponent of the calypso singer's art in the 1930's commenting on everything from `Unfortunate Milley' to `Mickey Cipriani's Career' and `The Bandsman Shooting Case.' Once again the notes are by John Cowley - although they date from 1984 and the original issue - and the general presentation, as ever with Arhoolie, is excellent. Highly recommended.”
(Ray Templeton and Keith Briggs — Blues & Rhythm)
You know what? Wingy Manone's best records were instrumental. That doesn't mean he wasn't a great singer. It's more of a commentary on the excellent bands he led, and the apparent ease with which the players interacted. Take for example the OKeh session of October 3, 1934. You've got Wingy the one-armed trumpeter, a New Orleans clarinetist by the name of Sidney Arodin (co-composer of the song "Lazy River"), and trombonist Santo Pecora, who wrote two of the four tunes recorded on that day. Wingy could have sung on any of these numbers -- even "Royal Garden Blues," which does in fact have lyrics. Instead, here is an opportunity to savor the sound of seven men swinging together, listening carefully and measuring out their individual contributions without having to work around a vocal line. Wingy seems to be savoring the experience, too. If Wingy's vocals alter the structural dynamics of the songs, Nappy Lamare's falsetto interjections distract and even detract. Nappy, who impersonates a nagging child during "On the Good Ship Lollipop," tended to come across that way regardless of subject matter. This Shirley Temple hit, by the way, does have redeeming social value when swung by Wingy's septet. But "Lollipop" would have been really outstanding without any vocals. If only they had recorded each song twice, side A as a vocal, backed with an instrumental take on the flip. Then listeners could have had it both ways. Fats Waller did up a few tunes in this manner, and the results were wonderful. Speaking of Waller, the great Wingy/Waller parallel of this package is a pretty love song with the title "I Believe in Miracles." Utilizing the Hammond organ, Fats recorded a sweet version on January 5, 1935. Wingy's more danceable interpretation was waxed on the 8th of March. Both artists seem to have enjoyed every word and in both cases the poetry makes for very pleasant listening. Four tunes, realized on the 8th of April 1935, are very satisfying instrumentals. It is easy to imagine what the effect would have been had Wingy sung the lyrics to these Tin Pan Alley creations. Some would smile at the na?vely rhyming stanzas, and everyone's ears would perk up when the instruments would take brief solos in the precious time remaining after an entire chorus had been eaten up by words, words, words. Instead, Wingy is heard putting all of his energy into blowing trumpet, Eddie Miller booting around with his tenor sax, and Matty Matlock garnishing the melody with attractive little clarinet runs. Without a doubt, a lot more from the piano of Gil Bowers is featured, simply because no space is taken up by vocals. When Wingy sings on two songs from May 27, 1935, it's nice to hear him again. "Every Little Moment" is charming and "Black Coffee" is a harrowing tale of misbehavior and confusion. Vocally or instrumentally, Wingy was always ready to show the people a good time. ~ arwulf arwulf, All Music Guide
Fifteen fine '70s country songs are here, including the aching "Blue Is Not a Word."
In 1947 Bunk Johnson, who played in New Orleans with Buddy Bolden in the 1890's, hand-picked a group of New York musicians from a much laer age group: the Harlem milleu of Chick Webb, Fletcher Henderson, etc. ... Men who played dramatically different from the George Lewis band which Bunk had fronted on his earlier recordings. Bob Stendahl and Harold Drob recorded them at Carnegie Recital Hall and the results were issued by Columbia. Delmark is proud to issue this historic event for the first time on CD - and with two alternate takes added.
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