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early jazz) Hociel Thomas & Lillie Delk Christian - In Chronological Order (1925-1928) [Document Records] - 1996, FLAC (tracks), lossless

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Hociel Thomas & Lillie Delk Christian - In Chronological Order (1925-1928) [Document Records]
Жанр: piano blues / female blues / early jazz
Страна-производитель диска: Austria
Год издания диска: 1996
Издатель (лейбл): Document Records
Номер по каталогу: DOCD-5448
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 74:43
Источник (релизер): manhatan
Наличие сканов в содержимом раздачи: да
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Gambler's Dream (Hociel Thomas)
Sunshine Baby (Hociel Thomas)
Adam And Eve Had The Blues (Hociel Thomas)
Put It Where I Can Get It (Hociel Thomas)
Wash Woman Blues (Hociel Thomas)
I've Stopped My Man (Hociel Thomas)
Deep Water Blues (Hociel Thomas)
G'wan I Told You (Hociel Thomas)
Listen To Ma (Hociel Thomas)
Lonesome Hours (Hociel Thomas)
Lonesome And Sorry (Lillie Delk Christian)
Baby O' Mine (take A) (Lillie Delk Christian)
Baby O' Mine (take B) (Lillie Delk Christian)
It All Depends On You (Lillie Delk Christian)
Ain't She Sweet (Lillie Delk Christian)
My Blue Heaven (Lillie Delk Christian)
Who's Wonderful! Who's Marvellous?  Miss Annabelle Lee (Lillie Delk Christian)
You're A Real Sweetheart (Lillie Delk Christian)
Too Busy (Lillie Delk Christian)
Was It A Dream  (waltz) (Lillie Delk Christian)
Last Night I Dreamed You Kissed Me (Lillie Delk Christian)
I Can't Give You Anything But Love (Lillie Delk Christian)
Sweethearts On Parade (Lillie Delk Christian)
Baby (Lillie Delk Christian)
I Must Have That Man (Lillie Delk Christian)

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by Uncle Dave Lewis
Singer and pianist Hociel Thomas (married name "Tebo") was a member of the Houston, Texas-based Thomas family. Her father was George W. Thomas, who made the first boogie-woogie solo on records, "The Rocks," for Okeh in October, 1923. Hociel Thomas' nephew was pianist and bandleader Hersal Thomas, composer of the popular "Suitcase Blues." Hociel Thomas' aunt was blues legend Sippie Wallace. You might conclude that her fortune would have been easily made, given her royal family connections. On the contrary, her career was marked by unimaginable personal tragedies and her work is preserved on only 22 recordings, most of which are mainly remembered on account of the musicians who worked with her.
Hociel Thomas relocated from Houston, Texas at about the age of 12 to live with Sippie Wallace in New Orleans. There she made a living as a singer and pianist in the Storyville redlight district until it closed, then afterward worked private parties and the summer resorts, often in combination with Wallace. Wallace resettled in Chicago in 1923, and it is assumed that Hociel Thomas followed her there about a year later. Thomas made her first three records for Gennett in their Richmond, Indiana studio on April 6, 1925 backed by a small band led by her nephew, Hersal Thomas. The following month, two more sides were made with Hociel and Hersal on piano for Okeh, and the tune "Worried Down With the Blues" was a small-scale hit, and Okeh asked for more.
For their next session, held on November 11, 1925, Hersal Thomas managed to bring in Louis Armstrong, recently returned from New York to Chicago, and reunited him with clarinetist Johnny Dodds, his old bandmate from King Oliver's Creole Jazz Band. Adding banjoist Johnny St. Cyr, the group resembled Louis Armstrong's pivotal group the Hot Five, and it should -- the first Hot Five session was held the following day on November 12, adding Kid Ory and replacing Hersal Thomas with Lil Hardin Armstrong. Altogether "Louis Armstrong's Jazz Four" made six records backing up Hociel Thomas, and these are currently included along with the rest of Armstrong's "Hot" records on The Complete Hot Five and Hot Seven Recordings issued on Columbia/Legacy. Armstrong, as was his wont, returned the favor on February 24, 1926 by providing the obbligato on four more sides with the Thomases, and it was on these that Hociel Thomas was heard to her best advantage among her early recordings.
Hersal Thomas perished of food poisoning later in 1926; he was only 20 years old. This sad development was devastating to Hociel Thomas and Sippie Wallace, yet both attempted to move on with their careers. But while Sippie managed to keep things going, even after moving to Detroit and taking up work in sacred music, Hociel ultimately drifted away from music. She was discovered living in Oakland after the Second World War, and recorded seven more tunes, her last, for Circle Records with New Orleans trumpeter Mutt Carey (these were later re-issued on Riverside and on American Music). They are the best recordings that Thomas made, and are the only ones on which she provides her own, fine piano accompaniment. "Tebo's Texas Boogie" is a great example of primordial Texas boogie woogie, and the only example of her boogie piano playing left. Hociel Thomas is often cited as an annoyance in her early recordings with Armstrong, and admittedly she sounds weak on songs like "Sunshine Baby" which is played in a key that is too low-lying for her voice. Nothing in the Circle session suggests this problem; her singing throughout is rich, soulful and suggests the presence of a master blues singer.
In the later '40s Hociel Thomas was not recorded again, but did continue to perform with Kid Ory's band in the San Francisco area. In 1948, Thomas got into a knockdown, drag-out fight with one of her sisters, during which Hociel was blinded and the sister was killed. After a lengthy incarceration and trial she was acquitted of manslaughter charges, but barely two years later, totally blind and badly overweight, Hociel Thomas died of heart disease at the age of 48.

by arwulf arwulf
It is difficult to obtain relevant information about Lillie Delk Christian because virtually every historian or music critic who has written about her felt it necessary to vent his personal bias while complaining about her voice and even ridiculing her for not sounding enough like an "authentic" jazz singer. Curiously, no such criticism seems to have been leveled at her light-skinned contemporaries Ruth Etting and Annette Hanshaw. All three sang in a comparable jazz-pop style, using feminine warmth and a sprinkling of sugar to infuse every melody with a friendly candor that apparently violates certain attitudes about how jazz was supposed to have been sung during the late '20s. If of the three singers "girl next door" Hanshaw delivered the most consistently high quality performances and "gangster's moll" Etting maintained a theatrically saccharine superficial poise, Lillie Delk Christian sang gently and sweetly, employing a soft parlor vibrato that perfectly suited much of her pop-oriented repertoire. During the years 1927 and 1928 she cut more than 15 titles for the popular Okeh label. Few cynical objections to her tidy technique seem to have been in evidence back then, and some of Chicago's top jazz musicians were pleased to back her in the recording studio. Certainly she was good enough for cornetist Louis Armstrong, clarinetist Jimmie Noone, and pianists Richard M. Jones, and Earl Hines. The eight sides she cut with Armstrong's Hot Four really put her on the historical map and have since ensured her inclusion in numerous early jazz compilations. The best of her Okehs, "Too Busy!" is prized for Satchmo's scat singing, but it's worth noting that the less jazzy numbers (especially the critically vilified but beautifully arcane waltz "Was It a Dream?") allow Lillie to savor the melodic contours while glowing with her own light.

Released in 1996, this 25-track compilation of recordings made in Chicago between 1925 and 1927 by Hociel Thomas and Lillie Delk Christian fills gaps in the early Louis Armstrong story, with cameo appearances by classic jazz heroes like clarinetists Johnny Dodds and Jimmie Noone, banjoist Johnny St. Cyr, and pianists Hersal Thomas, Richard M. Jones, and Earl Hines. Both singers have been posthumously pilloried by critics who deplore Hociel's casual, free spirit approach to timing, pitch, and intonation even while jeering at Lillie for sounding too tame, concise, and sweetly mannered. Hociel Thomas was the daughter of George Washington Thomas, Jr., a pianist who recorded under the name of Clay Custer and who composed the "Muscle Shoals Blues" and the "New Orleans Hop Scop Blues." She was the niece of Beulah Thomas, better known as blues singer Sippie Wallace, and Beulah's little brother Hersal Thomas, a piano prodigy who died suddenly only months after setting up these sessions for Hociel and accompanying her himself. If you're fussy about pitch and intonation, you're listening up the wrong tree with Hociel. She sang intuitively with her heart and let the tones fall where they may. There's something intensely rewarding about this kind of earthy, organic singing, and it should not be judged according to normal standards of musicianship. These are not her complete recordings. There were a handful made before the Okeh sessions that yielded tracks one-ten, and another very fine cluster of tunes cut some 20 years later with trumpeter Mutt Carey. What you do get are all of the records she made in the company of Louis Armstrong. As for Lillie Delk Christian, the charge of excessive sweetness is greatly exaggerated and needs to be overruled. Stylistically she belongs somewhere among Ruth Etting, Annette Hanshaw, and other similarly pleasant pop singers from the 1920s, with a polite candor that suggests a background in cabaret and musical theater. She is best on upbeat numbers like "Ain't She Sweet?" "My Blue Heaven," "You're a Real Sweetheart," "Who's Wonderful? Who's Marvelous? Miss Annabelle Lee," and especially "Too Busy" during which she sings a duet with Armstrong, who scats beautiful circles around her. Jimmie Noone interacts wonderfully with the voice, and lucky listeners will experience a completely unfounded sense of well-being. Virtually everyone who has ever pontificated on the subject of Lillie Delk Christian (including Steve Tracy, the author of the mean-spirited liner notes) hastens to complain bitterly about her rendition of "Was It a Dream?" a slow and gentle waltz that was popularized by Fred and Tom Waring. (Bear in mind Armstrong's fondness for Italian opera - his favorite soprano was Luisa Tetrazzini.) In truth this is a halting romantic ode of breathtaking delicacy, and those who are unencumbered by impatient postmodern cynicism will be moved by its old-fashioned sentimentality, hopefully sensing that an opportunity to hear Armstrong blowing his horn in this kind of a setting is a rare and delicious treat.

О технике: материал в m4a lossless, конвертировал во flac, проверил auCDtect (всего 2 трека - CDDA, остальные - MPEG) и добавил playlist.
arwulf arwulf дал альбому 4 звезды...
Остановлюсь подробно на нашей первой героине - Hociel Thomas... Известнейшая музыкальная семья Thomas, папа - George W. Thomas, который сделал первое boogie-woogie соло на записи "The Rocks" для Okeh в октябре 1923; племянник - пианист и бэнд-лидер Hersal Thomas, сочинивший известнейший "Suitcase Blues." Её тётка - блюзовая легенда Sippie Wallace...
В записи принимали участие Louis Armstrong, кларнетисты Johnny Dodds и Jimmie Noone, банджоист Johnny St. Cyr и пианисты Hersal Thomas, Richard M. Jones и Earl Hines.
Но вот чем дело закончилось: "В конце 40-ых годов Hociel Thomas не записывалась, но продолжала выступать с оркестром Kid Ory в районе Сан-Франциско. В 1948 году, Hociel втянулась в драку с одной из своих сестер, в результате которой Hociel была ослеплена, а сестра была убита. После длительного лишения свободы и суда она была оправдана в обвинениях в убийстве, но всего лишь двумя годами позже, полностью ослеплённая и набравшая ужасно избыточный вес, Hociel Thomas умерла от сердечной болезни в возрасте 48 лет." Ужасная судьба...
Merci beaucoup, manhatan!
Приятного прослушивания!
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