Charlie Johnson

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Charlie Johnson

Post by Musicgate on Wed Oct 20, 2010 3:03 am

Charlie Johnson - The Complete Sessions - Jazz Archives No. 78 (1994)

Жанр: Classic Jazz
Дата записи: Oct 1925 - May 8, 1929
Дата выпуска: Jun 18, 1996
Производитель диска, страна: Jazz Archives, a label of EPM Musique, France, 158912
Тип: Compilation

Аудио кодек: FLAC
Тип рипа: (tracks + .cue)
Битрейт аудио: lossless
Включает: Full artwork
Источник: Collection of Render
Риппер: Мой рип

2. MEDDLIN' WITH THE BLUES - 2'55 (Johnson)
3. PARADISE WOBBLE - 3'15 (F. Johnson - T. Morris)
4. BIRMINGHAM BLACK BOTTOM (take 1) - 3'03 (F. Johnson - T. Morris)
5. BIRMINGHAM BLACK BOTTOM (take 2) - 3'00 (F. Johnson - T. Morris)
6. DONT YOU LEAVE ME HERE (tk 1) - 3'40 (F. Morton)
7. DONT YOU LEAVE ME HERE (tk3) - 3'37 (F. Morton)
8. YOU AIN'T THE ONE (take 1) - 3'30 (С. Johnson - A. Porter)
9. YOU AIN'T THE ONE (take2) - 3'23 (C. Johnson - A. Porter)
10. CHARLESTON IS THE BEST DANCE AFTER ALL (take 1) - 2'48 (C. Johnson - A. Porter)
11. CHARLESTON IS THE BEST DANCE AFTER ALL (take2) - 2'42 (C. Johnson - A. Porter)
12. HOT-TEMPERED BLUES (tk 1) - 3'13 (C. Johnson - A. Porter)
13. HOT-TEMPERED BLUES (tk 2) - 3'23 (C. Johnson - A. Porter)
14. THE BOY IN THE BOAT (take 1) - 3'43 (С. Johnson)
15. THE BOY IN THE BOAT (take 2) - 3'40 (C. Johnson)
16. WALK THAT THING (take 1) - 3'19 (C. Johnson)
17. WALK THAT THING (take 2) - 3'26 (C. Johnson)
18. WALK THAT THING (take з) - 3'49 (С. Johnson)
19. DUSKY STEVEDORE - 2'46 (Razaf -Johnson)
20. TAKE YOUR TOMORROW - 2'52 (Razaf - Johnson)
21. HARLEM DRAG (take 1) - 3'12 (B. Waters)
22. HARLEM DRAG (take 2) - 3'17 (B. Waters)
23. HOT BONES AND RICE (take 1) - 3'26 (C. Johnson)
24. HOT BONES AND RICE (take2) - 3'20 (C. Johnson)

(1-2) Charlie Johnson's Paradise Orchestra : Gus Aiken, Leroy Rutledge (tp). Regis Hartman (tb), Ben Whittet (cl, as), ? Edgar Sampson (as, cl, vln. arr), Alec Alexander (ts, cl), Charlie Johnson (p, Idr, arr), Bobby Johnson (bjo). Cyrus St. Clair (tu). George Stafford (dm). NYC, ca. 10/1925.

(3-7) Charlie Johnson's Paradise Orchestra : Jabbo Smith, prob. Thomas Morris (tp), Charlie Irvis (tb),
Ben Whittet (cl. as), Benny Waters (as, ts, arr). Charlie Johnson (p. Idr), Bobby Johnson (bjo), Cyrus St. Clair (tu), George Stafford (dm), Monette Moore (vo). NYC, 25/02/1927.

(8-13) Same, but Sidney De Paris (tp) replaces T. Morris ; Benny Carter (cl, as, arr) & Edgar Sampson (as, vln) added ;
Monette Moore (vo on 8 S 9 only). NYC, 24/01/1928.

(14-18) Charlie Johnson's Paradise Orchestra : Leonard Davis, Sidney De Paris (tp). Jimmy Harrison (tb), Ben Whittet (cl, as), Edgar Sampson (cl. as, vln), Benny Waters (cl, ts, arr), Charlie Johnson (p, Idr), Bobby Johnson (bjo), Cyrus St. Clair (tu), George Stafford (dm). NYC. 19/09/1928.

(19-20) Jackson and His Southern Stompers : Personnel probably as for 14-18. NYC. ca. 09/1928.

(21-24) Charlie Johnson's Paradise Orchestra : Same, but George Washington (tb) & Billy Taylor (tu) replace Harrison & St. Clair. NYC, 08/05/1929.


1996 CD EPM Musique JA158122
1996 CD Epm Musique 158122
2000 CD Jazz Archives 158122

In 1925, when the Charleston was all the rage, Fletcher Henderson, generally credited as "the inventor, of big-band jazz", was still firmly installed at the New York's celebrated Roseland Ballroom, and calling upon the services of such jazz star as Louis Armstrong, Busier Bailey, Don Redman and Coleman Hawkins. A young competitor recently arrived in town, a man by the name of Edward Kennedy Ellington, was popping up all over Harlem, but more especially at the Barron Wilkins Club (later the Kentucky Club), with Bubber Miley as his trumpet star, and Cotton Club days no longer very far away. Sam Wooding, already a veteran, opted to take his men — Tommy Ladnier and Gene Sedric among them — over to Berlin as members of a black revue. Charlie Johnson, for his part, set his sprits upon the about-to-be-opened Small's Paradise Club, an arrangement that evidently proved satisfactory to all concerned, since the band would remain a fixture there until 1937. But unlike Henderson, Ellington, Wooding and company, Johnson would not have the opportunity to make more than a handful of records, all of them within the period 1925-1929. Barely a dozen titles in all, 24 tracks when allowing for alternative takes, they fit comfortably onto the single CD you know have in your hands. Charles Wright Johnson was born in Philadelphia, Pennsylvania, on November 21st 1891, and died in New York, at the age of 68, on December 13th 1959. Attracted by ragtime from an early age, he taught himself trombone, and was soon playing with various outfits around his then home-town of Lowell, Massachussetts. By 1914-15 he had launched himself upon the New York circuit, but subsequently studied in Atlantic City, where he formed his own group in 1918. Among his principal influences where the black big bands led by Jim Europe, Туm Brymn and Ford Dabney.
However, it is interesting to note that of the four main black bandleader operatings in New York during those early days — Henderson, Wooding, Ellington and Johnson — only Henderson hailed from the south. Their music, therefore, at first no doubt reflected various New York brands of ragtime rather than the suppler, more emotional sounds that southern musicians would bring to the city around the mid-twenties.
Yet southern influences had certainly taken a hold by the time Charlie Johnson inaugurated Small's Paradise on October 22nd 1925, as the orchestra's first two recordings amply testify. Gus Aiken, one of the trumpeters Earl Hines quotes as having most influenced his so-called trumpet-piano style, can be heard on both Don't Forget You'll Regret Day By Day and Meddlin' With the Blues. Bassist Cyrus Saint-Clair and saxophonist Ben Whitlet, both of whom would become long-serving members of the Johnson outfit, are also present on these first studio efforts by the band, recorded by a small local company. In the course of the ensuing four years — extremely fruitful years for the recording industry as a whole — an impressive string of top-notch soloists graced Johnson's Small's Paradise band. The first in line — sometimes referred to as the Dizzy Gillespie of the 1920s — was a trumpet acrobat by the name of Cladys "Jabbo" Smith. A daring musician not always appreciated by the purists, Smith proved skilled at stepping into other men's shoes, wether subbing for Bubber Miley in Duke Ellington's band, or making a series of records targeted at competing commercially with those of Louis Armstrong. In truth, Jabbo's fiery, somewhat epic style was some way from Louis' majestic classicism, and, although his records sold well, they never succeeded in rivalling Armstrong's masterly efforts. With Johnson, Jabbo's playing was more sober, witness Paradise Wobble, Birmingham Black Bottom and Don't Vou Leave Me Here. A musician of such a versatility inevitably found himself with many competing calls, and his frequent absences led to Johnson's decision in early 1928 to
dispense with his services. The remarkable Sidney De Paris stepped into Smith's shoes in January 1928; and, for the lead-trumpet chair, Johnson also took on Leonard Davis, a native of St. Louis who would subsequently play with the Benny Carter, Don Redman and Luis Russell bands. A couple of years earlier, Charlie Johnson had already signed another notable player, saxophonist Benny Waters, today a strapping 88 years old still alive and well and living in Paris. Born in Maryland in January 1902, Waters had recorded with King Oliver and Clarence Williams prior to joining the Johnson orchestra and becoming its official arranger. Most of the charts in the present album are by Waters, among them two of the finest pieces the band ever produced, Boy In The Boat and Walk That Thing. Benny Carter, another saxophonist-arranger of already considerable talent, was also a member of Johnson's team, but Carter Himself has explained that, along with other members of the band, he only supplied the occasional idea, and that it was Waters who was responsible for knocking the arrangements into shape and taking care of the book as a whole.
During 1928, a third saxophonist-arranger, Edgar Sampson, entered the Johnson ranks. Indeed, he may even have been there as early as 1925. However, his undoubted arranging talents would begin to flourish only after he joined the Chick Webb organisation in 1933. An artist already fully established by that year of 1928 was Jimmy Harrison, one of the great trombonists of the so-called classic era of jazz, and a man Charlie Johnson had no hesitation in luring away from the Fletcher Henderson orchestra. Sombre on double-entendre Boy In The Boat, irrepressible on the up-tempo Walk That Thing, Harrison nere otters us some of the finest solo wo* ot hs oriel career, matching up magnificently to an equally impressive Sidney De Paris on trumpet. Such is the inspiration of these two oustanding players that he seemed indispensable
to bring you the various takes of both pieces. Harrison and De Paris were again present on the two titles probably recorded that same September, Dusky Stevedore and Take Your Tomorrow. This coupling, pressed ior the Marathon Label, never actually found its way onto the market, the company having in the meantime gone bankrupt. A small stock of discs was nevertheless shipped to Europe, where they remained buried away until a french collector unearthed them in 1962, the packing boxes still unopened! Only then did the surprise emerge: the mysterious Doctor Jackson and his Southern Stompers were none other than Charlie Johnson and his Small's Paradise Orchestral ft is not too fanciful to imagine that the same session produced some further sides.
In May 1929, this time under his own name, Charlie Johnson cut the last two titles of his recording career. Although the unfaithful Jimmy Harrison had by now moved back to the Fletcher Henderson camp, and Benny Carter had left to form his own band, Harlem Drag and Hot Bones and Rice still turn out remarkably well. The only real difference this time round was that there would be no sequel. The financially crash of 1929 wrought such chaos that by 1930 all but the strongest record companies began to fold. For the few hardy survivors, guaranteed sales became the only valid yardstick. When prosperity finally returned some years later, many former talents never made it back into the recording scene. Charlie Johnson, still a regular at Smairs Paradise as late as 1938, was among them. No doubt disillusioned, around 1940 he gave up the music business. Yet, disprte illness, he lived on long enough to witness the demise of so many of the glorious big bands from this golden era. And who, by the way, was that "boy in the boat"?[/spoiler]


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