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1933 CD


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Includes FREE MP3 version of this album.
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£12.33 & FREE Delivery in the UK on orders over £20. Details Only 2 left in stock (more on the way). Dispatched from and sold by Amazon. Gift-wrap available.

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Product details

  • Audio CD (18 Dec. 2008)
  • Number of Discs: 1
  • Format: CD
  • Label: Retrieval
  • ASIN: B000005R5K
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 275,401 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song TitleArtist Time Price
Listen  1. NocturneSpike Hughes 2:55£0.99  Buy MP3 
Listen  2. Someone Stole Gabriel's HornSpike Hughes 3:04£0.99  Buy MP3 
Listen  3. PastoraleSpike Hughes 3:11£0.99  Buy MP3 
Listen  4. Bugle Call RagSpike Hughes 2:52£0.99  Buy MP3 
Listen  5. ArabesqueSpike Hughes 2:59£0.99  Buy MP3 
Listen  6. FanfareSpike Hughes 2:48£0.99  Buy MP3 
Listen  7. Sweet Sorrow BluesSpike Hughes 2:58£0.99  Buy MP3 
Listen  8. Music At MidnightSpike Hughes 2:39£0.99  Buy MP3 
Listen  9. Sweet Sue, Just YouSpike Hughes 3:00£0.99  Buy MP3 
Listen10. Air In D-FlatSpike Hughes 2:55£0.99  Buy MP3 
Listen11. Donegal Cradle SongSpike Hughes 2:57£0.99  Buy MP3 
Listen12. FirebirdSpike Hughes 3:13£0.99  Buy MP3 
Listen13. Music At SunriseSpike Hughes 3:00£0.99  Buy MP3 
Listen14. How Come You Do Me Like You Do?Spike Hughes 2:59£0.99  Buy MP3 
Listen15. Swing ItSpike Hughes 3:12£0.99  Buy MP3 
Listen16. Synthetic LoveSpike Hughes 3:28£0.99  Buy MP3 
Listen17. Six Bells StampedeSpike Hughes 2:41£0.99  Buy MP3 
Listen18. Love You're Not The One For MeSpike Hughes 3:34£0.99  Buy MP3 
Listen19. Devil's HolidaySpike Hughes 3:11£0.99  Buy MP3 
Listen20. Devil's Holiday (Previously Unissued)Spike Hughes 3:10£0.99  Buy MP3 
Listen21. Lonesome NightsSpike Hughes 3:36£0.99  Buy MP3 
Listen22. Symphony In BuffsSpike Hughes 3:07£0.99  Buy MP3 
Listen23. Blue LouSpike Hughes 3:10£0.99  Buy MP3 

Product Description

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Most Helpful Customer Reviews

7 of 7 people found the following review helpful By JJA Kiefte on 4 Nov. 2008
Format: Audio CD
Patrick "Spike" Hughes was a man of many talents, and these sides he cut for Decca / Brunswick in New York with an all star band (its members drawn from Luiz Russel's, Benny Carter's and Fletcher Henderson's orchestras) attest to the most memorable: composer arranger and leader. Hughes had recorded small band sides in Britain, worked as a conductor arranger and bassist and after a particularly busy season in 1933 he went on holiday to the USA where he stayed with the influential John Hammond (who a.o. put Benny Goodman, Count Basie, Billie Holiday and Teddy Wilson on their way to fame). Here germinated the idea to assemble a band containing the cream of (black) jazz musicians and record some sides. At three separate sessions fourteen sides were cut, most of them original Hughes compositions. The personel reads like a veritable who-is-who, Coleman Hawkins, Chu Berry, Benny Carter, Henry "Red" Allen, Dickie Wells and Sid Catlett being the most famous. All rise to the occasion playing the often intricate arrangements with gusto and making the most of the generous solo space they are accorded. The material ranges from down to earth hot music like "Bugle Call Rag", "Someone Stole Gabriel's Horn", "Firebird" and "Sweet Sue" (the latter by a small contingent) to beautiful atmospheric gems: "Fanfare", "Pastorale", "Arabesque" and the splendid "Donegal Cradle Song" (recorded some 15 years later by Ted Heath in one of his most sumptuously arranged ballad outings). Hughes quit playing and arranging jazz after this, commenting that "anything that came later would be an anti-climax".Read more ›
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5 of 5 people found the following review helpful By Mr. T. J. Posnett on 5 Oct. 2010
Format: Audio CD
Let's first talk about the mastering - one can compare this brilliant job by John R. T. Davies to that done by any number of other excellent engineers (Lionel Risler, for example, on the Masters of Jazz Benny Carter set). And what is amazing is the amount of grime that Davies has been able to remove. Some pieces almost sound like alternate takes - the sonic atmosphere is so different from what I've become accustomed to. The music is ALIVE in a way previously only accessible to those who have a collection of mint - condition 78s (and the proper player, naturally). Hughes' work can now be seen in its proper light. He decided to become a Jazz composer, when there were few of those. Somehow, he believed that his particular understanding of Ellington justified his coming to New York from London and recording with some of the greatest Black musicians of that time without seeming like some ridiculous parvenu. And he was right. These pieces have an incredible sophistication for the time - especially in terms of the use of dynamics. And the musicians (Dicky Wells, Coleman Hawkins, Benny Carter, Henry Red Allen, etc.) rise to the occasion. They seem to have really appreciated the challenges presented by this music. Occasionally the seams show - Swing and swinging are not things that you LEARN, exactly. And Hughes' idiom is not totally idiomatic. There is stiffness, there is overwriting. But there is also (Nocturne, Pastoral, Music at Midnight, Sweet Sorrow Blues) some of the most beautiful Jazz writing of the time. Maybe this was MEANT to be a one-shot by a talented amateur with a limited amount to say. But, hey, he said it - and 75 years later, we're still listening.
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2 of 2 people found the following review helpful By Richard E. Taylor on 21 May 2010
Format: Audio CD
For anyone interested in 1930's Jazz and the musicians playing in and arround New York at that time, these Spike Hughes and Benny Carter recordings are a must. The tunes and arrangements are neglected today by most re-creative bands and orchestras, they offer though a broader out look on the period than the often repeated Ellington and Henderson arrangements.
Listen to Dicky Wells, Colman Hawkins, Red Allen and many others at their very best.
A great album to listen too and a great slice of New York musical history.
Richard E Taylor May 2010.
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By Barry McCanna TOP 500 REVIEWER on 28 May 2013
Format: Audio CD Verified Purchase
Like many of those involved in the popular music scene in the twenties and thirties, Spike Hughes was a classically-trained musician who was fascinated by the new music from America. He became a music critic for the "Melody Maker", wrote arrangements for various dance bands, and in the early thirties directed a studio band which recorded for Decca. In 1933 he visited America, where he directed three recording sessions with what was then labelled as his Negro Orchestra.

He included four standards, but it's his own compositions that make the most impression. Nocturne and Pastorale, from the first session, have an introspective quality about them, and Sweet Sorrow Blues is suitably elegiac. I rate Fanfare far more highly than does Menno Daams, whose detailed liner note describes it as less successful, with too much rather limp writing for the brass section. The highlights of the final session are the rhapsodic Donegal Cradle Song and the stomping Firebird. It's worthy pointing out that all fourteen numbers were first takes, and that most of them were not issued in America.

The compilation is filled out by the recordings made by Benny Carter & his Orchestra (which was in effect the outfit Hughes used) in March (again, not issued in America) and October 1933. They include another Hughes composition, namely Six Bells Stampede, which title referred to the proximity of the Six Bells public house to the Decca recording studio in London.

These were trail-blazing recordings at the time, and they sound even fresher today, thanks to audio restoration by the late John R.T. Davies.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 4 reviews
10 of 10 people found the following review helpful
Hughes' swan songs 15 Jan. 2009
By JJA Kiefte - Published on Amazon.com
Format: Audio CD
Patrick "Spike" Hughes was a man of many talents, and these sides he cut for Decca / Brunswick in New York with an all star band (its members drawn from Luiz Russel's, Benny Carter's and Fletcher Henderson's orchestras) attest to the most memorable: composer arranger and leader. Hughes had recorded small band sides in Britain, worked as a conductor arranger and bassist and after a particularly busy season in 1933 he went on holiday to the USA where he stayed with the influential John Hammond (who a.o. put Benny Goodman, Count Basie, Billie Holiday and Teddy Wilson on their way to fame). Here germinated the idea to assemble a band containing the cream of (black) jazz musicians and record some sides. At three separate sessions fourteen sides were cut, most of them original Hughes compositions. The personel reads like a veritable who-is-who, Coleman Hawkins, Chu Berry, Benny Carter, Henry "Red" Allen, Dickie Wells and Sid Catlett being the most famous. All rise to the occasion playing the often intricate arrangements with gusto and making the most of the generous solo space they are accorded. The material ranges from down to earth hot music like "Bugle Call Rag", "Someone Stole Gabriel's Horn", "Firebird" and "Sweet Sue" (the latter by a small contingent) to beautiful atmospheric gems: "Fanfare", "Pastorale", "Arabesque" and the splendid "Donegal Cradle Song" (recorded some 15 years later by Ted Heath in one of his most sumptuously arranged ballad outings). Hughes quit playing and arranging jazz after this, commenting that "anything that came later would be an anti-climax".
The remainder of the disc is filled by nine items by Benny Carter's orchestra, which are very good too, featuring a very young Teddy Wilson and Wayman Carver's flute (also present on the Hughes sides) a pity that Carter's own contributions are very short.
The music on this disc still sounds very fresh, vigorous, swinging and even modern (compared e.g. with Casa Loma's or Isham Jones's more vertical and frenetic (although very well played) outings from around the same period, which generally have dated much more) and should be included in the discography of anyone seriously interested in the development of jazz.
6 of 6 people found the following review helpful
A Major Achievement 5 Nov. 2009
By jive rhapsodist - Published on Amazon.com
Format: Audio CD
Let's first talk about the mastering - one can compare this brilliant job by John R. T. Davies to that done by any number of other excellent engineers (Lionel Risler, for example, on the Masters of Jazz Benny Carter set). And what is amazing is the amount of grime that Davies has been able to remove. Some pieces almost sound like alternate takes - the sonic atmosphere is so different from what I've become accustomed to. The music is ALIVE in a way previously only accessible to those who have a collection of mint - condition 78s (and the proper player, naturally). Hughes' work can now be seen in its proper light. He decided to become a Jazz composer, when there were few of those. Somehow, he believed that his particular understanding of Ellington justified his coming to New York from London and recording with some of the greatest Black musicians of that time without seeming like some ridiculous parvenu. And he was right. These pieces have an incredible sophistication for the time - especially in terms of the use of dynamics. And the musicians (Dicky Wells, Coleman Hawkins, Benny Carter, Henry Red Allen, etc.) rise to the occasion. They seem to have really appreciated the challenges presented by this music. Occasionally the seams show - Swing and swinging are not things that you LEARN, exactly. And Hughes' idiom is not totally idiomatic. There is stiffness, there is overwriting. But there is also (Nocturne, Pastoral, Music at Midnight, Sweet Sorrow Blues) some of the most beautiful Jazz writing of the time. Maybe this was MEANT to be a one-shot by a talented amateur with a limited amount to say. But, hey, he said it - and 75 years later, we're still listening.
WHAT GREAT DEPRESSION? 28 May 2013
By Barry McCanna - Published on Amazon.com
Format: Audio CD
Like many of those involved in the popular music scene in the twenties and thirties, Spike Hughes was a classically-trained musician who was fascinated by the new music from America. He became a music critic for the "Melody Maker", wrote arrangements for various dance bands, and in the early thirties directed a studio band which recorded for Decca. In 1933 he visited America, where he directed three recording sessions with what was then labelled as his Negro Orchestra.

He included four standards, but it's his own compositions that make the most impression. Nocturne and Pastorale, from the first session, have an introspective quality about them, and Sweet Sorrow Blues is suitably elegiac. I rate Fanfare far more highly than does Menno Daams, whose detailed liner note describes it as less successful, with too much rather limp writing for the brass section. The highlights of the final session are the rhapsodic Donegal Cradle Song and the stomping Firebird. It's worthy pointing out that all fourteen numbers were first takes, and that most of them were not issued in America.

The compilation is filled out by the recordings made by Benny Carter & his Orchestra (which was in effect the outfit Hughes used) in March (again, not issued in America) and October 1933. They include another Hughes composition, namely Six Bells Stampede, which title referred to the proximity of the Six Bells public house to the Decca recording studio in London.

These were trail-blazing recordings at the time, and they sound even fresher today thanks to audio restoration by the late John R.T. Davies.
Five Stars 2 Dec. 2014
By Mr Dammers - Published on Amazon.com
Format: Audio CD Verified Purchase
Fantastic to have all the recordings on one CD.
The sleeve notes are very informative.
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