Path: news.nzbot.com!not-for-mail
From: usenet@goon.org (DB)
Sender: usenet@goon.org
Newsgroups: alt.binaries.sounds.lossless.jazz
Subject: Trad Jazz Studio of Prague - 1970 LP Plays King Oliver - "00 TJS-Oliver Notes.txt" [01/25] yEnc (1/1)
Organization: Camelsystem
X-Newsposter: Camelsystem Powerpost (Modified POWER-POST http://powerpost.camelsystem.nl)
Message-ID: <part1of1.s9d7wfTW$d3XAWdgmPnB@Goon-Show.local>
Lines: 119
X-Complaints-To: http://abuse.usenetxs.com
NNTP-Posting-Date: Sat, 20 Jul 2019 14:59:21 UTC
Date: Sat, 20 Jul 2019 14:59:21 GMT
X-Received-Bytes: 15630
X-Received-Body-CRC: 2598872713
Xref: news.nzbot.com alt.binaries.sounds.lossless.jazz:4668
00 TJS-Oliver Notes.txt
Plays Joe King Oliver
Supraphone 1 15 0794, 1970
LP rip by Dick Baker, January 2010
side one
1. RIVERSIDE BLUES (R. M. Jones - T. Dorsey) 2:45
2. SNAKE RAG (J. Oliver - A. Picou) 2:55
3. SNAG IT NO.2 (J. Oliver) 3:05
4. LONDON CAFE BLUES (F. Morton) 2:40
5. MABEL'S DREAM (I. Smith) 3:05
6. SOBBIN' BLUES (A. Kassel - V. Berton) 3:30
7. MANDY LEE BLUES (M. Bloom - W. Melrose) 2:15
side two
1. RHYTHM CLUB STOMP (J. Oliver - F. Nelson) 2:50
2. WHAT DO YOU WANT ME TO DO? (C. Williams - J. Oliver)
3:10
3. SHAKE IT AND BREAK IT (F. Louchiha - H. Q. Clark)
2:55
4. YOU ARE JUST MY TYPE (J. Oliver - D. C. Nelson) 2:55
5. I WANT YOU JUST MYSELF (J. Oliver) 3:15
6. TOO LATE (F. Nelson - J. Oliver) 3:15
Personnel of the Traditional Jazz Studio Prague:
II/1, 4), soprano sax (I/l, 5), tenor sax (I/3,
drums.
Recording direction: Vlad. Popelka (I/1, 2, 4, 7,
Recorded at the Supraphon Studio, Prague-Dejvice,
September 1969
The Traditional Jazz Studio s intention to record
compositions which we already know from the records of
the famous son of New Orleans, Joe King Oliver, is by
no means a chance matter. Many members of the Prague
public may still recall the thematic concerts of the
Traditional Jazz Studio, of which several, some ten
years or so ago, were dedicated to the repertoire of
Oliver s orchestras. At that time there was already
question of bringing out such a record. However,
although the technical possibility of the orchestra had
by then reached European standards, the interval which
has passed has certainly had an influence on the
Traditional Jazz Studio s present approach to the works
in question. It may be said that formerly this
repertoire and above all the following of Oliver s
style was merely a means of getting-to-know, whereas
nowadays it is an inspirational source for their own
creative ends. The Traditional Jazz Studio has covered
over the last decade all the different style periods of
jazz from the semifolk types right up to the
commencement of the swing era, and has created many
interesting and quite individual arrangements.
Moreover, from the pens of the orchestra s members have
emerged compositions of their own for the most varied
purposes, from film and stage music to large concert
formations. It should be added that there has also
been the influence of other artistic genres which have
affected the members of the orchestra to an unusual
degree. One of the results of the interaction of all
these forces is this recording.
The informed jazz-lover will see at once from the
selection here recorded that the Traditional Jazz
Studio covers the whole life range of the grand master
of Negro jazz. Walter C. Allen the critic has divided
the work of Joe King Oliver stylistically into the
following periods (based on available gramophone
recordings): 1922 1924, i.e., the period of King
Oliver s Creole Jazz Band at Lincoln Gardens and
recording for Gennett, Paramount and OKeh. The
following tracks from this record also fall into this
period: Riverside Blues, Snake Rag, London Cafe
Blues, Mabel s Dream, Sobbin Blues and Mandy Lee
Blues. The second period, dated 1925 1927, and fixed
as the period of Oliver s orchestra at the Plantation
Cafe, is represented by the composition Snag It No.
2. The third stylistic period (1927 1929) covers
various instrumental groupings for the purposes of
recording, for instance Joe King Oliver s collaboration
with the famous pianist Clarence Williams. This period
is represented by What Do You Want Me to Do? I Want
You Just Myself and Too Late. The final period is
bounded by the year 1930 and Oliver s death in 1938.
During this time Joe King Oliver among others recorded
a number of outstanding compositions for RCA Victor,
including the following chosen for this record:
Rhythm Club Stomp, Shake It and Break It, and You
Are Just My Type.
Joe King Oliver left his native New Orleans shortly
after the close-down of the night clubs in Storyville,
and, apart from a one-year engagement in California,
worked till 1927 in Chicago. Then he moved to New York
and from 1931 he wandered all over the United States to
die in seclusion, forgotten by pupils and followers
alike. His first stay in Chicago is marked by the
transfer of New Orleans jazz to the American North.
Oliver brought with him from his native city the
majority of his compositions, and the brilliant
technique of four-voice harmony over a rhythm group
shocked the visitors to Lincoln Gardens. The second
Chicago period is represented by traditional jazz at
its peak, when Oliver with the birth of numerous new
compositions expanded the orchestra by two saxophones
and tuba and left more room for solo performances of
the individual musicians. The first years in New York
were accompanied by the search for new paths. This
period in essence still belongs to classical jazz, but
through various changes in personnel and thus also in
arrangement is felt the emerging swing era. Different
authors give different turning points for the beginning
of the era of swing, but it is surely no mistake to
state that Joe King Oliver is one of its founders. And
the final period of his artistic career fully confirms
this.
We should not then be surprised that such a wide
repertoire and range of styles, as symbolized in the
person of Joe King Oliver, should have been ready
source of inspiration for the Traditional Jazz Studio.
Now, of course, there is the question, in what lies the
creative share of our orchestra. The best we can do is
to refer the listener to the original recordings and
suggest he compare for himself. However, we might
answer the question ourselves thus: It has already
been said that Oliver s repertoire has been a source of
inspiration, and the same may be said of the stylistic
trend of the individual tracks. In the main then it is
the atmosphere breathed from the old 78s, with their
out-of-date print on the labels, which puts instruments
into the hands of the Traditional Jazz Studio s
musicians and causes them to ponder on times long past.
In places they adhere quite closely to the original
sound, and elsewhere the transformation is more to be
felt, but throughout the whole record shines the strong
individuality of the musicians and arrangers who have
put new values into the pillars of Czechoslovak and
European jazz.
Another album of the Traditional Jazz Studio you will
surely enjoy: SUA ST 55830
|
|