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(blues / piano) Tiny Parham & The Blues Singers - Complete Recording Sessions (1926-1928) [Document Records] - 1995, FLAC (tracks), lossless

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Tiny Parham & The Blues Singers - Complete Recording Sessions (1926-1928) [Document Records]
Жанр: blues / piano
Страна-производитель диска: Austria
Год издания диска: 1995
Издатель (лейбл): Document Records
Номер по каталогу: DOCD-5341
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 69:43
Источник (релизер): manhatan
Наличие сканов в содержимом раздачи: да
Треклист:

Код:

[b]Ardell 'Shelly' Bragg[/b]
- Pig meat blues
- Canebreak blues
- Bird nest blues
- Don`t fail on me bones
- That`s alright
- What makes you treat me this a way?
- Wolf man
- Doggin` me
[b]W. Lawrence James[/b]
- River rousty song
- Oh cap`n
[b]Ora Brown[/b]
- Twe twa twa blues
- Jinx blues
[b]Hattie McDaniels[/b]
- I thought i`d do it
- Just one sorrowing heart
[b]Sharlie English[/b]
- Down on the Santa Fe
- Broke woman blues
- Transom blues
- Tuba lawdy blues
[b]Bertha Henderson[/b]
- So sorry blues
[b]Daniel Brown[/b]
- Now is the needy time
[b]Johnny Dodds & Tiny Parham[/b]
- Oh daddy
- Loveless love
- 19th Street blues
[b]Brady's Clarinet Band[/b]
- Toledano Street blues (Lazybone blues)

Код:

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Код:

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by Scott Yanow
Tiny Parham (who was actually rather large) was most significant as an arranger/bandleader in Chicago who recorded many memorable sides from 1927-1930. After growing up in Kansas City, Parham toured the Southwest with a territory band and then settled in Chicago in 1926. In addition to accompanying blues singers and cutting sides with Johnny Dodds, Parham recorded extensively with His Musicians, bands that mostly consisted of now-obscure Chicago players; best-known are cornetist Punch Miller and (in 1930) bassist Milt Hinton. Parham's arrangements were often atmospheric, and such numbers as "The Head-Hunter's Dream," "Jogo Rhythm," "Blue Melody Blues," "Blue Island Blues," "Washboard Wiggles," and "Dixieland Doin's" were particularly memorable. After 1930, Parham spent the remainder of his life playing in theaters, often on organ after the mid-'30s, only recording three further titles in 1940 before his premature death. Before the end of the LP era, Swaggie had reissued all of Parham's recordings (including alternate takes); the master versions have since been compiled on two Classics CDs.

Hartzell Strathdene "Tiny" Parham (February 25, 1900, Winnipeg, Canada - April 4, 1943, Milwaukee, Wisconsin) was a Canadian-born American jazz bandleader and pianist of African-American descent.
Parham grew up in Kansas City where he worked as a pianist at The Eblon Theatre being mentored by the ragtime pianist and composer James Scott, and later touring with territory bands in the Southwestern United States before moving to Chicago in 1926. He is best remembered for the recordings he made in Chicago between 1927 and 1930, as an accompanist for Johnny Dodds and several female blues singers as well as with his own band. Most of the musicians Parham played with are not well known in their own right, though cornetist Punch Miller, banjoist Papa Charlie Jackson, saxophone player Junie Cobb and bassist Milt Hinton are exceptions.
His entire recorded output for Victor are highly collected and appreciated as prime examples of brilliant late 1920's jazz.
After 1930 Parham found work in theater houses, especially as an organist; his last recordings were made in 1940. His entire recorded output fits on two compact discs.
The cartoonist R. Crumb included a drawing of Parham in his classic 1982 collection of trading cards and later book "Early Jazz Greats". Parham was the only non-American born so included. The book also includes a bonus cd which has a Parham track.

by arwulf arwulf
Tiny Parham's primary recordings have been reissued by several labels, first on Swaggie, followed by two volumes of master takes from 1926-1940 on Classics, and a supplementary stash of rarer treats from 1928-1930 on Neatwork, the label that always digs a little deeper. Leave it to Document to dredge up the least-known recordings Parham is believed to have made, together with some on which his presence has never been entirely verified. Released in 1995 and again ten years later, Document's Tiny Parham & the Blues Singers combines 20 titles on which he accompanies eight different vocalists, three classic instrumental duets with clarinetist Johnny Dodds, and a little-known stomp by King Brady's Clarinet Band. The first singer had a name that was spelled differently each time she recorded. Tracks one through four are credited to Ardell "Shelly" Bragg (with guitarist Dad Nelson on "Canebreak Blues") and tracks five and six to Ardella Bragg & Her Texas Blues Blowers, with clarinetist Vance Dixon blowing alto sax on "What Makes You Treat Me This A-Way," which sounds like W.C. Handy's "Loveless Love" with different lyrics. "Wolf Man" and "Doggin' Me" are Tiny Parham/Ardelle Bragg duets. The only drawback is the sound quality on the first eight selections, which is at its worst on Paramount 12398: "Pig Meat Blues" and "Canebreak Blues." Not scratchiness -- all of the Bragg sides are scratchy -- but on these first two titles there is a periodic gross distortion of the piano tones. Here Document's laid-back attitude toward sound quality permitted a badly flawed recording to sully Bragg's chances of being heard and appreciated for posterity.
Ora Brown and Sharlie English were both expressive blueswomen; probably the most memorable recording either of them left to posterity is Sharlie's "Tuba Lawdy Blues," which has a nice bass clef brass accompaniment by one Bert Cobb. At the beginning of Bertha Henderson's "So Sorry Blues" there is a rare instance of Tiny Parham's speaking voice: it's one of the few recorded examples in existence. Like Henderson and even more so, Hattie McDaniels was a commanding presence, largely because she was a professional actress. Her two Okeh recordings stand as the strongest vocal tracks in the entire collection. As for Daniel Brown and W. Lawrence James, they sang folksy melodies ("River Rousty Song," "Oh Cap'n," and the gospel tune "Now Is the Needy Time"), possibly dating back to the late 19th century and resonating with an old-timey element that contrasts nicely (some may say oddly) with the authentic blues performances. The inclusion of three duets with clarinetist Johnny Dodds is a welcome treat, for "Oh Daddy," "Loveless Love," and "19th Street Blues" find both men performing at their very best. The rarest and most exciting track of all is "Toledano Street Blues" (named for a New Orleans thoroughfare running from Tchoupitoulas to Broad Street), recorded for the Black Patti record label in July 1927 by Brady's Clarinet Band. Directed by King Brady, this little unit featured clarinetist Ernest "Mike" Michall, an unidentified alto saxophonist, violinist Leroy Pickett, and either Johnny St.Cyr or Ikey Robinson on banjo. This collection is well worth investigating on its own or as a fully loaded appendix to the recorded works of Tiny Parham & His Musicians, Tiny Parham's "Forty" Five, and the Pickett-Parham Apollo Syncopators.

О технике: материал в m4a lossless, конвертировал во flac, проверил auCDtect (все треки - CDDA) и добавил playlist.
arwulf arwulf поставил всего 3,5 звезды, но альбом пикнул.
Ну пора уже и любителей пианинки порадовать Прекрасный пианист, органист, джазз-бэнд лидер... На этом диске Tiny Parham представлен как аккомпаниатор блюзовых вокалистов (смотрите трек-лист).
Для тех, кто заинтересуется - на трекере есть вот такой релиз Tiny Parham feat. Punch Miller, Charles Johnson, Milt Hinton (1928-1930). Пользуясь случаем, ещё раз выражу свою благодарность papa1954!
Опять говорим Merci beaucoup, manhatan!
Приятного прослушивания!
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Каталог "Document Records" (ссылки на альбомы)

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