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Product Description
CD Description
AVID Jazz here presents four classic albums including original LP liner notes on a finely re-mastered and low priced double CD. 'Percy Humphrey's Crescent City Joymakers'; 'Sweet Emma Barrett 'The Bell Gal' & Her Dixieland Boys featuring Jim Robinson'; 'Jim Robinson's New Orleans Band' and 'Billy And Dede Pierce Vocal Blues And Cornet In The Classic Tradition'. Jazz, New Orleans style is the order of the day on these four classic albums of the genre. The difference being these albums were all recorded in 1961 by a bunch a disparate musicians who had had musical careers of varying success over the previous thirty years. On these albums you will meet some of the characters who populated the New Orleans of the 30's, 40's and 50's and who maybe never quite made it, in the sense of becoming worldwide familiar names in their chosen field of jazz and blues. Say 'Hi' to Percy Humphrey, Albert Burbank and Emmanuel Sayles. Meet the lady with the bells down her legs, Sweet Emma Barrett, and trombonist Jim Robinson who pops up on two of our four albums including his own album with his New Orleans Band. Then there is Billie and Dede Pierce performing some of the oldest forms of New Orleans music with their blues in the classic tradition. That tradition being the singing of the blues to the accompaniment of cornet and piano, one of the earliest forms of negro jazz when it was first recoded in the 1920's. Billie was 54 when this album was made but she could boast about how she had played piano for Bessie Smith when she was only 15!! They could also both boast that they had been chosen by none other than Ida Cox to support her on her final tour of the south! All four albums plus have been digitally re-mastered for probably the finest ever sound quality!
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Customer Reviews
Most Helpful Customer Reviews
2 of 2 people found the following review helpful
Format:Audio CD
In the late twenties and early thirties talent scouts from companies such as Victor and Okeh travelled south to seek out and record so-called territory bands in places like Atlanta, St. Louis, Culver City and Dallas. In 1961 Riverside carried out a similar exercise in New Orleans, and the result was issued as a series of LPs, designated as New Orleans Living Legends. Four of them have now been reissued by Avid Jazz, and they make for an interesting study in contrasting styles.
Percy Humphrey's Crescent City Joymakers imparts the flavour of a marching band, with a pervasive bass drum beat. Their playing allows plenty of opportunity for the individual musicians to solo, whereas Sweet Emma "The Bell Gal" & her Dixieland Boys employ a more ensemble approach to the music, and the band (which includes the Humphreys brothers) displays great vivacity. Jim Robinson's New Orleans Band has a similarly polyphonic sound, and like Percy Humphreys adopts a solid four-four beat. The final album, Billie & DeDe Pierce, presents a duet between cornet and piano, with the latter's vocal blues and a drum background, which harks back to the twenties. DeDe's playing is perfectly pitched, and Billie's style is eerily reminiscent of Bessie Smith, whom she accompanied for a spell in the early twenties.
This is an historic document, which captured the then surviving spirit of New Orleans. These albums have been reissued separately in CD format with one or more additional numbers, but understandably this composite set, which totals 156 minutes, reverts to the original LP selections. Sound quality reflects the environs in which the recording sessions took place, so don't expect studio quality, but what is here is more than adequate. The liner notes are extracted from Herb Friedwald's originals.
Percy Humphrey's Crescent City Joymakers imparts the flavour of a marching band, with a pervasive bass drum beat. Their playing allows plenty of opportunity for the individual musicians to solo, whereas Sweet Emma "The Bell Gal" & her Dixieland Boys employ a more ensemble approach to the music, and the band (which includes the Humphreys brothers) displays great vivacity. Jim Robinson's New Orleans Band has a similarly polyphonic sound, and like Percy Humphreys adopts a solid four-four beat. The final album, Billie & DeDe Pierce, presents a duet between cornet and piano, with the latter's vocal blues and a drum background, which harks back to the twenties. DeDe's playing is perfectly pitched, and Billie's style is eerily reminiscent of Bessie Smith, whom she accompanied for a spell in the early twenties.
This is an historic document, which captured the then surviving spirit of New Orleans. These albums have been reissued separately in CD format with one or more additional numbers, but understandably this composite set, which totals 156 minutes, reverts to the original LP selections. Sound quality reflects the environs in which the recording sessions took place, so don't expect studio quality, but what is here is more than adequate. The liner notes are extracted from Herb Friedwald's originals.
1 of 2 people found the following review helpful
Format:Audio CD
In 1961 New Orleans jazz had become a specialist field in the U K but this was also the year that the city was about hit singles many of which scored high on the charts in both the U K and the States.Fats Domino was followed by Clarence Frogman Henry,Ernie Kador,Lee Dorsey and Chris Kenner to name but 4.Not forgetting that in the U K the Trad Boom was in full effect
Albums such as the 4 issued here would if the U K issued them would have been on independent labels as they were in the States
With more awareness today than in 1961-when stuff was issued here to make money-we have labels which are for collectors
In the early 60s 8 LPs were issued by the Riverside label in its new series Living Legends and the albums would be reissued in the 80s.This is the first appearance on CD
The musicians here were born in the 1890s which was when jazz started to develop and while the odd one recorded for Columbia in the 30s it took advantage of the Dixieland Jazz Revival of the 50s when many of the old musicians were being rediscovered
Albums such as the 4 issued here would if the U K issued them would have been on independent labels as they were in the States
With more awareness today than in 1961-when stuff was issued here to make money-we have labels which are for collectors
In the early 60s 8 LPs were issued by the Riverside label in its new series Living Legends and the albums would be reissued in the 80s.This is the first appearance on CD
The musicians here were born in the 1890s which was when jazz started to develop and while the odd one recorded for Columbia in the 30s it took advantage of the Dixieland Jazz Revival of the 50s when many of the old musicians were being rediscovered
Most Helpful Customer Reviews on Amazon.com (beta)
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1 review
1 of 1 people found the following review helpful
JOYFUL 1961 NEW ORLEANS SESSIONS
11 Feb 2012
Format:Audio CD
In the late twenties and early thirties talent scouts from companies such as Victor and Okeh travelled south to seek out and record so-called territory bands in places like Atlanta, St. Louis, Culver City and Dallas. In 1961 Riverside carried out a similar exercise in New Orleans, and the result was issued as a series of LPs, designated as New Orleans Living Legends. Four of them have now been reissued by Avid Jazz, and they make for an interesting study in contrasting styles.
Percy Humphrey's Crescent City Joymakers imparts the flavour of a marching band, with a pervasive bass drum beat. Their playing allows plenty of opportunity for the individual musicians to solo, whereas Sweet Emma "The Bell Gal" & her Dixieland Boys employ a more ensemble approach to the music, and the band (which includes the Humphreys brothers) displays great vivacity. Jim Robinson's New Orleans Band has a similarly polyphonic sound, and like Percy Humphreys adopts a solid four-four beat. The final album, Billie & DeDe Pierce, presents a duet between cornet and piano, with the latter's vocal blues and a drum background, which harks back to the twenties. DeDe's playing is perfectly pitched, and Billie's style is eerily reminiscent of Bessie Smith, whom she accompanied for a spell in the early twenties.
This is an historic document, which captured the then surviving spirit of New Orleans. These albums have been reissued separately in CD format with one or more additional numbers, but understandably this composite set, which totals 156 minutes, reverts to the original LP selections. Sound quality reflects the environs in which the recording sessions took place, so don't expect studio quality, but what is here is more than adequate. The liner notes are extracted from Herb Friedwald's originals.
Percy Humphrey's Crescent City Joymakers imparts the flavour of a marching band, with a pervasive bass drum beat. Their playing allows plenty of opportunity for the individual musicians to solo, whereas Sweet Emma "The Bell Gal" & her Dixieland Boys employ a more ensemble approach to the music, and the band (which includes the Humphreys brothers) displays great vivacity. Jim Robinson's New Orleans Band has a similarly polyphonic sound, and like Percy Humphreys adopts a solid four-four beat. The final album, Billie & DeDe Pierce, presents a duet between cornet and piano, with the latter's vocal blues and a drum background, which harks back to the twenties. DeDe's playing is perfectly pitched, and Billie's style is eerily reminiscent of Bessie Smith, whom she accompanied for a spell in the early twenties.
This is an historic document, which captured the then surviving spirit of New Orleans. These albums have been reissued separately in CD format with one or more additional numbers, but understandably this composite set, which totals 156 minutes, reverts to the original LP selections. Sound quality reflects the environs in which the recording sessions took place, so don't expect studio quality, but what is here is more than adequate. The liner notes are extracted from Herb Friedwald's originals.
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