Essential Collections

[Lawrence]

too funny, I alwasy ask dancers who danced during the swing era what their favorite Bands where. Lunceford was more dancers favorites then any other band (of both white and black dancers, including Lindy Hoppers as well as Swing dancers)....closely followed by Goodman, and third Basie...then Barnet...Webb...Shaw...(quite alot of dancers considered Barnett the dance band version of Ellington). But none has ever mention Ellington in their Top 5 as a dance band...

Perhaps that reflects the fact that we can only form our opinions exclusively on recordings, not the live performances of vintage music. That's no rip on us, it just means that Ellington left better recordings behind than Lunceford did. I only can wish that I could have seen Lunceford live.

Likewise, today, some of the very best Lindy Hop bands I've seen live so far have not even made it onto CD. (e.g., the Southwest Texas Big Band at last year's Austin Exchange.)

It also might reflect the fact that Ellington ascending into a "higher eschelon" of gigs that dancers would not be able to afford commonly. Similarly, how many dancers nowadays would spend $30 for one night?

[falty411]

[ Lunceford was more dancers favorites then any other band (of both white and black dancers, including Lindy Hoppers as well as Swing dancers)....closely followed by Goodman, and third Basie...then Barnet...Webb...Shaw...(quite alot of dancers considered Barnett the dance band version of Ellington). But none has ever mention Ellington in their Top 5 as a dance band...

I hear Erskine Hawkins mentioned a lot too.

[djstarr]

It also might reflect the fact that Ellington ascending into a "higher eschelon" of gigs that dancers would not be able to afford commonly. Similarly, how many dancers nowadays would spend $30 for one night?

So what was Ellington's target audience? To me it seemed that developing an orchestra was more important to him than a dance band; tempo and brevity are not as important as musical richness.

Today's example would be LCJO --- Live at Swing City swings because it was created with dancers involved; I just got "They Came to Swing" which is awesome to listen to, but IMHO only a couple of tracks are danceable -- the tempo changes a lot in most of the songs, the solos are very extended - etc. I think the approach is similar - aiming for orchestral compositions, and well if some of the stuff is good to dance to that's great, but that's not the target audience.

[Lawrence]

So what was Ellington's target audience? To me it seemed that developing an orchestra was more important to him than a dance band; tempo and brevity are not as important as musical richness.

In some sense, Ellington's target audience was anyone who would pay for the talent in his band so as to keep them with him. And that was not always dancers.... Ellington was also very picky about tempo and brevity, especially when playing for dancers... but he didn't always play for dancers, and he didn't always play swing music.

Our impression of Ellington comes from literally thousands (tens of thousands?) of recordings. He was perhaps the most prolifically recorded musician ever: far more than the Beatles or any other rock band except maybe the Dead (including bootlegs). But I estimate that less than 10-20% of his music was stuff I would play as a DJ. But because we're talking in the tens of thousands, less than 10-20% still leave several hundred, if not over a thousand, danceable recordings. Lunceford, by contrast, only recorded a few hundred songs, total. A greater percentage of those songs are danceable, but it still leaves us with far fewer recordings of top-notch, knock-your-shoes-off dance songs.

Today's example would be LCJO --- Live at Swing City swings because it was created with dancers involved; I just got "They Came to Swing" which is awesome to listen to, but IMHO only a couple of tracks are danceable --

I agree. LCJO has nothing I have heard that is worth playing or buying except the Live at Swing City CD.

[Mr Awesomer]

I agree. LCJO has nothing I have heard that is worth playing or buying except the Live at Swing City CD.

"Mr. Jelly Lord" is one of my favorite modern recordings. In many cases I prefer playing it over the original Jelly Roll recordings. Hell, I should add it to my essential modern list.

[djstarr]

I agree. LCJO has nothing I have heard that is worth playing or buying except the Live at Swing City CD.

"Mr. Jelly Lord" is one of my favorite modern recordings. In many cases I prefer playing it over the original Jelly Roll recordings. Hell, I should add it to my essential modern list.

Very nice sound --- though technically it's not LCJO though - sounds more like a combo?

and the reviews on Amazon mention Harry Connick Jr. plays "Billie Goat Stomp" ---- he is an amazing pianist, and I got a chance to hear him with his big band (I think maybe 10 years ago), we were sitting facing the piano in the Seattle Opera house which was fun --- too bad he gets distracted with singing, acting and marrying Victoria Secret models

[CafeSavoy]

Essential Swing Era:
-Al Cooper Savoy Sultans, 1938-1941 [Classics]
-Andy Kirk, Mary's Idea <<1936 - 1941>>
-Artie Shaw, Begin the Beguine [Bluebird/RCA] <<'38-41>>
-Artie Shaw, Complete Gramercy Five Sessions <<'40-45>>
-Benny Goodman, The Birth of Swing
-Buddy Johnson, Walk 'Em
-Cab Calloway, Are You Hep to the Jive? <<1935 - 1945>>
-Chick Webb, Spinning the Web
-Chick Webb, Strictly Jive
-Count Basie, The Complete Decca Recordings (1937-1939)
-Count Basie, Count Basie Story
-Duke Ellington, Braggin' in Brass: The Immortal 1938 Years
-Duke Ellington, Duke at Fargo 1940
-Duke Ellington, Blanton-Webster Band <<1939-1942>>
-Earl Hines, 1937-1939 [Classics]
-Earl Hines, Masterpieces, Vol. 14 <<1934 - 1942>>
-Ella Fitzgerald, Early Years, Pt. 1 <<1935 - 1938>>
-Erskine Hawkins, Original Tuxedo Junction <<1938 - 1945>>
-Fletcher Henderson, Hocus Pocus <<'27-'36>> [http://www.redhotjazz.com/fho2.jpg][http://www.itry.ca/trocadero/history16.html]
-Fletcher Henderson, Tidal Wave <<'31-'34>>
-Ivie Anderson & Duke Ellington, Raisin' the Rent
-Jay McShann, Blues from Kansas City <<1941-1942>>
-Jimmie Lunceford, For Dancer's Only [Decca] <<'35-37>>
-Jimmie Lunceford, Lunceford Special:[/b] 1939-1940
-Jimmie Lunceford, Rhythm Is Our Business [ASV/Living Era] <<'34-35>>
-Jimmie Lunceford, Stomp It Off <<'34-35>>
-Lucky Millinder, 1941-1942 [Classics]
-Lucky Millinder, 1943-1947 [Classics]
-Mills Blue Rhythm Band, 1934-1936 [Classics]
-Roy Eldridge with Gene Krupa and Anita O'Day, Uptown
-Roy Eldridge, After You've Gone <<'36-46>>
-Roy Eldridge, Little Jazz [CBS] <<'35-40>>
-Slim & Slam, Groove Juice Special <<'38-'42>> [Columbia]
-Slim & Slam, Slim and Slam: 1938-1939 [Giants of Jazz]
-Tommy Dorsey, Yes, Indeed! <<1939-1945>>

Essential Modern:
-Coleman Hawkins, Body and Soul Revisited--Coleman Hawkins in the 50's
-Count Basie, Complete American RCA-Victor Recordings
-Count Basie, Basie's Golden '58
-Count Basie, Count Basie at Newport
-Count Basie, The Complete Atomic Basie
-Count Basie, The Golden Years


Essential Early Jazz:
-Duke Ellington, OKeh Ellington <<'27-'30>>

-Jimmie Noone, Apex Blues <<'28-30>>
-McKinney's Cotton Pickers, Band that Don Redman Built (1928-1930)

Essential New York:

Essential Chicago:

Essential New Orleans:
-Sidney Bechet, Fabulous Sidney Bechet <<'51 & '53>>
-Sidney Bechet, Best of Sidney Bechet <<'39-50's>>



Essential West Coast:

Essential Central Avenue:

Essential Male Vocalists:
Essential Female Vocalists:
-Sarah Vaughan - Sassy Swings The Tivoli [2 CD]

Essential Vocal Groups:

Essential Big Bands:
-Complete Decca Count Basie or Proper Records Basie box set.
-Duke Ellington - Ellington at Newport 1956 [Complete]
-Fletcher Henderson -- A Study in Frustration [Box]

Essential Small Groups:
-Duke Ellington, The Indispensable Duke Ellington and the Small Groups vol 9,10 (1940-1946)

Essential Jazz Me Blues:
-Jimmy Witherspoon, The Spoon Concerts

Essential Jazz Blues:
-Port of Harlem Jazzmen, The Port of Harlem Jazzmen [http://www.pastperfect.com/newgallery3/pics/29.jpg]

Essential Jump:
-Roy Milton and His Solid Senders - Specialty Series (Greatest Hits)
-The Okeh Rhythm & Blues Story...[Box]
-Jumpin' Like Mad: Cool Cats & Hip Chicks [Capitol]
-Jack McVea, McVoutie's Central Avenue Blues <<'45>>


Essential Piano:
-Oscar Peterson - Exclusively For My Friends [Box Set]

Essential Saxophone:
-Lester Young, complete studio sessions on Verve, and Proper Records Lester Young box set

Essential Trumpet:
-Louis Armstrong, Portrait of the Artist as a Young Man or the not-out-of-print ... um, that flat one with all the photos. uh, yeah.

Essential Organ:

Essential Clarinet:

Essential Guitar:
-Charlie Christian, genius of the electric guitar.


Essential Drums:
-Chick Webb, Standing Tall

Essential Swing DJ Collection:
Duke Ellington, The Essential Recordings (1927-1962)

Essential Swing Dancer Collection:
Essential Jazz Early:
Essential Jazz Bebop:
-Miles Davis Quintet - Relaxin'

Essential Jazz Post Bop:
-Art Blakey and the Jazz Messengers (self-titled, on Impulse!)

Essential Compilations:
-Really Swingin': Frankie Manning's Big Band
-Swinging at the Savoy: Home of Happy Feet 1937-45
-Oscillatin' Rhythm: Great Swing Hits in Hi-Fi
-An Anthology of Big Band Swing (1930-1955)
-Ken Burns Jazz: The Story of America's Music
-Prewar Vocal Jazz Story, 1923-1945
-Harlem Swings: Black Big Band Swing
-Big Band Box[Box Set] [Box Set] [Original Recording Remastered] [Import]

[Mr Awesomer]

I agree. LCJO has nothing I have heard that is worth playing or buying except the Live at Swing City CD.

"Mr. Jelly Lord" is one of my favorite modern recordings. In many cases I prefer playing it over the original Jelly Roll recordings. Hell, I should add it to my essential modern list.

Very nice sound --- though technically it's not LCJO though - sounds more like a combo?

Didn't say it was, rather it was a recommendation based on it's close association with the LCJO. As for a combo, anything more then one person playing is a combo, so yeah. (minus the "Billy Goat Stomp" which is solo piano.)

[SirScratchAlot]

too funny, I alwasy ask dancers who danced during the swing era what their favorite Bands where. Lunceford was more dancers favorites then any other band (of both white and black dancers, including Lindy Hoppers as well as Swing dancers)....closely followed by Goodman, and third Basie...then Barnet...Webb...Shaw...(quite alot of dancers considered Barnett the dance band version of Ellington). But none has ever mention Ellington in their Top 5 as a dance band...

Perhaps that reflects the fact that we can only form our opinions exclusively on recordings, not the live performances of vintage music. That's no rip on us, it just means that Ellington left better recordings behind than Lunceford did. I only can wish that I could have seen Lunceford live.

You couldn't be more right. all we have is what was left on records...which is not a fair assessment of the band.

I was told Teddy Hill's Orchestra was the flat out best. Ask frankie about his band. But if you listen to his few recordings you have just an average band at best.

some of the greatest bands that ever exsisted never even recorded! such as Zack Whyte's band , who went on a tour with Chick Webb's band and Benny Moten's Band and Battled nightly...(Sy Oliver was in Whytes band at the time.)


But thats why I through out that Tid Bit of information, less we forget that we Judge on the recordings left , when in fact those that attended shows had a very different opinion as too what they Favored as a Dance Band...

It also might reflect the fact that Ellington ascending into a "higher eschelon" of gigs that dancers would not be able to afford commonly. Similarly, how many dancers nowadays would spend $30 for one night?

No, i wouldn't nessesarily say "eschelon" , I beleive the price would have been the same,being that when he came to town he would always do a show for the lower income people at the Lincoln Theater or Ross 54 ballroom, while his primary engagement would have been a Ritzier place like the Orpheum.

I beleive Duke primarily Booked Theaters and not "as many" dance engagements. While ofcourse he did do both, I got mixed comments from dancers, from " His music was too difficult to dance too" too " His music was too good to dance too" (meaning they'd rather see him in a Theater...)

and On one occasion Barnet battled Ellington at the Casa Manana Ballroom , where the dancers (4 that I talked to)clearly enjoyed both , but said Barnet had a better dance book....

[SirScratchAlot]

So what was Ellington's target audience? To me it seemed that developing an orchestra was more important to him than a dance band; tempo and brevity are not as important as musical richness.
.

Correct....I don't think he was known as a Dance band.

Dancers at that time prefered simple Riff style songs, such as the music from Al Coopers Savoy Sultans...or even Count Basie...

[SirScratchAlot]

[ Lunceford was more dancers favorites then any other band (of both white and black dancers, including Lindy Hoppers as well as Swing dancers)....closely followed by Goodman, and third Basie...then Barnet...Webb...Shaw...(quite alot of dancers considered Barnett the dance band version of Ellington). But none has ever mention Ellington in their Top 5 as a dance band...

I hear Erskine Hawkins mentioned a lot too.

I've never heard a dancer from the swing era mention him as a Favorite band to dance too...

tell me who mentioned him and I'll add that to the list...or email me about the person you spoke too...

[SirScratchAlot]

Likewise, today, some of the very best Lindy Hop bands I've seen live so far have not even made it onto CD. (e.g., the Southwest Texas Big Band at last year's Austin Exchange.)

Your totally right...whats a Lindy Hop Band today? a band in which you can Lindy Hop too? or a band that plays in a style in which Lindy Hop was traditionally done?

obviously the prior opens the door for alot of bands, being we can pretty much dance to anything.

such as Lincoln Center Orchestra...

however, the Latter ,would be Bands that infact play primarily for dancers while focusing on the sound in which the dance was originally done.

anyone from Dean Mora (30's) to Eddie Reed (40's).....etc...

how many dancers nowadays would spend $30 for one night?

HAHAHA welcome to Harlm Jazz dance festival...

[Nate Dogg]

[ Lunceford was more dancers favorites then any other band (of both white and black dancers, including Lindy Hoppers as well as Swing dancers)....closely followed by Goodman, and third Basie...then Barnet...Webb...Shaw...(quite alot of dancers considered Barnett the dance band version of Ellington). But none has ever mention Ellington in their Top 5 as a dance band...

I hear Erskine Hawkins mentioned a lot too.

I've never heard a dancer from the swing era mention him as a Favorite band to dance too...

tell me who mentioned him and I'll add that to the list...or email me about the person you spoke too...

On the Frankie Cruise a few weeks back, Frankie specifically talked about Erskine Hawkins. So, that is at least one.

[falty411]

frankie, norma, and charlie (from harlem, dont know his last name) all mentioned him

[Nando]

Male Vocalists
Joe Williams Sings, Count Basie Swings
Joe Williams at Newport
Joe Carroll w/Ray Bryant Quintet
Leo Watson - The Original Scat Man
Jimmy Rushing - Little Jimmy Rushing and the Big Brass