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Cover

The Modernists

The Jazz Modernists 1924-1933

€ 10.95
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  • Type 1CD
  • Label Retrieval
  • UPC 0608917905823
  • Catalog number RTR 79058
  • Release date 02 July 09

About the album

The Wolverine Orchestra| Original Memphis Five | Hitch’s Happy Harmonists| Ross Gorman and His Orchestra | The Red Heads | Red Nichols and his Five Pennies | Frankie Trumbauer and His Orchestra | Tram, Bix and Eddie | The Six Hottentots | The Charleston Chasers | Miff Mole and His Molers | Don Voorhees and His Orchestra
Tram, Bix and Lang | Red Nichols and His Orchestra | Red Norvo

For most general jazzlovers the term ‘modern jazz’ is retrospectively defined – however obstinately or anachronistically - by the postwar revolutions of Charlie Parker, Dizzy Gillespie and Thelonius Monk; all of them more than sixty years old now. So how can there be a collection such as this which delves back yet another twenty years in order to (gloriously) celebrate ‘the Jazz Modernists l924-33’?

Well, if we know that on February 26th l917 the first cacophonous jazz recording - ‘Livery Stable Blues’ and ‘Dixie Jass Band One-Step’ by the Original Dixieland Jazz Band - burst unrepentantly on the public ear, it follows that not only had a new and virile artform launched itself on the world, but that its refinement by a new intellectual generation was both urgent, inevitable and musically seductive too. So that by June l924 Paul Whiteman – an historic champion of Beiderbecke and his contemporaries - had already presented his groundbreaking “Experiment in Modern Music” concert at Aeolian Hall New York; a broad reflection of what was around in American music of the period, including not only jazz sweet and hot, but what might be (gratuitously) called ‘light music’ as well as the premiere of George Gershwin’s ‘Rhapsody in Blue’. And it’s no surprise, therefore, that, at the same time, American jazzmen were drawing on the same contemporary influences to enrich and enlarge their own artistic outputs.

Classical music seemed to have been closer to jazz at this point that its longhair afficionadoes might have been prepared to admit. “But” said Paul Whiteman “ – you’ll never learn to bounce in jazz if you don’t know your Bach and your Beethoven!” And even if it was Ravel, Delius and Debussy who were the men of the day, they certainly provided some of the incidental inspirational sources which l920s jazz musicians brought to their creations. And this was inevitable. Because ten years previously the music of which they would subsequently be historic pioneers had yet to furnish viable artistic premises by existing on record at all!


  • 1
    1
    Royal garden blues
     
    02:54
  • 1
    2
    The meanest blues
     
    03:17
  • 1
    3
    Washboard shuffle
     
    02:42
  • 1
    4
    Boneyard shuffle
     
    03:06
  • 1
    5
    Rhythm of the day
     
    03:11
  • 1
    6
    Nervous Charlie
     
    02:42
  • 1
    7
    The chant
     
    02:37
  • 1
    8
    That's no bargain
     
    02:45
  • 1
    9
    Singin' the blues
     
    03:01
  • 1
    10
    For no reason at all in C
     
    03:04
  • 1
    11
    Melancholy Charlie
     
    02:50
  • 1
    12
    Delirium
     
    03:00
  • 1
    13
    Mean dog blues
     
    03:14
  • 1
    14
    Three blind mice
     
    03:02
  • 1
    15
    Feelin' no pain
     
    02:51
  • 1
    16
    Solilognoy
     
    02:44
  • 1
    17
    Wringin' and twistin'
     
    03:03
  • 1
    18
    Humpty Dumpty
     
    03:01
  • 1
    19
    Krazy kat
     
    02:55
  • 1
    20
    Jubilee
     
    03:17
  • 1
    21
    A imagination
     
    02:58
  • 1
    22
    Harlem twist
     
    02:53
  • 1
    23
    In a mist
     
    03:18
  • 1
    24
    Dance of the octopus
     
    03:20
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