Dorsey Brothers Orchestra

Both Dorsey Brothers were major figures in the development of jazz music and especially, swing. Tommy Dorsey is the man who gave a young Frank Sinatra’s burgeoning career a major boost.

Thomas Francis Dorsey Jr. was born in Shenandoah, Pennsylvania, in 1905. He was the younger brother of Jimmy Dorsey, who was born in Shenandoah the previous year. Both brothers would become huge big band music stars. Both boys studied music as children, with Jimmy playing saxophone, trumpet and clarinet, while Tommy concentrated on  trombone. At Jimmy's recommendation, 15-year-old Tommy replaced Russ Morgan in the Scranton Sirens.

The brothers worked with many bands during the Twenties, including a stint with the Paul Whiteman Orchestra, before recording their first side, “Coquette,” on the Okeh label in 1928. They were signed to Decca Records in 1934 and enjoyed a major hit with “I Believe in Miracles.”

Conflict between the brothers, which at times escalated to fistfights, resulted in Tommy dissolving the partnership and forming his own orchestra in 1935. Teaming up with former members of the Joe Haymes Orchestra, he signed with RCA/Victor in 1935 and released the first in a string of major hits, “On Treasure Island.”

In 1940, Tommy Dorsey acquired Frank Sinatra from The Harry James Orchestra, resulting in more hits and the establishment of Sinatra as a star.

During the forties, Tommy Dorsey’s orchestra featured some of the best musicians in swing such as Bunny Berigan and Gene Krupa. Jimmy Dorsey dissolved his own band in 1953 and joined Tommy’s band, with the two becoming “The Dorsey Brothers” once more.

In 1956, Tommy Dorsey died of choking. His former orchestra has continued into the 21st century, with Jimmy Dorsey taking charge until he died in 1957.

Compilations of the Dorsey Brothers' recordings and those of the bands of Tommy and Jimmy Dorsey are easily found here

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the Allman Brothers: Ramblin' Man

Southern rock and blues rock legends the Allman Brothers were formed in Jacksonville, Florida, in 1969. The band was named after brothers Greg and Duane Allman, the band’s lead singer and lead guitarist, respectively. The Allman Brothers are perhaps the quintessential example of “Southern Rock.” Southern rock bands such as the Allman Brothers, Lynyrd Skynyrd, and the Marshall Tucker Band all hailed from below the Mason-Dixon Line and infused their hard rock with elements of the blues and country music and often expressed the conservative or “redneck” outlooks.

 The Allman Brothers were perhaps the most blues-influenced of the southern rock bands. Their first two albums, “The Allman Brothers Band” (1968) and “Idlewild South” (1970), contained several blues cover tunes each. The ragged, soulful voice of Gregg Allman and the bluesy slide guitar of Duane Allman and Dickey Betts enabled the band to produce some of the best blues rock of the era.

 The Allman Brothers Band was a tremendous live act, and live performances allowed the band’s instrumental highlight, Duane Allman, to display his prodigious slide guitar technique. Two of the band’s finest albums, "Live at the Fillmore East (1971) and "Eat a Peach" (1972), are live albums that feature long tracks that serve as vehicles for Duane Allman and Dickey Betts’ impressive chops. Duane Allman died tragically in a motorcycle accident in 1971, at the age of 23, when the motorcycle he was riding collided with a peach truck. Following the death of Duane Allman, Dickie Betts became the instrumental centrepiece of the band, and the Allman Brothers Band continued to record and tour. The band reached the height of their commercial success with the classic album “Brothers and Sisters” (1973), which featured two of their best-known tunes, “Ramblin’ Man” and the instrumental “Jessica.”

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Louis Jordan and His Tympany Five Album Guide

Louis Jordan is another of the key figures in the development of rock and roll and R&B. He was a talented and colorful figure who was a saxophonist, songwriter, and bandleader. He has been credited with creating a style of music called “jump blues” which is the direct forerunner of R&B, the music which would later morph into rock and roll.

Jordan was born in Brinkley, Arkansas, in 1908. He studied clarinet and saxophone and while still in his teens, and in the Thirties, he was invited to join Chick Webb’s orchestra at New York’s Savoy ballroom. As Webb was physically disabled, Jordan took over the leader’s usual role of MC at shows. In 1938, Webb fired Jordan after he suspected Jordan of trying to take over control of the orchestra.

Jordan soon had a new band and a recording deal with Decca Records. The first recording session for his new band, which would later be dubbed, “The Tympany Five,” was in late 1938. His band contained an ever-changing lineup of sidemen that would accompany Jordan’s singing and saxophone on his Forties hits, “Five Guys Named More,” “Knock Me A Kiss,” “Caledonia,” and a song which some claim to be the first rock and roll recording, “Saturday Night Fish Fry.” Jordan’s recordings were raucous and often humorous, with a solid narrative structure. His songs celebrated good times, food, drinking, parties, and women.

Jordan became the most successful African-American bandleader in the country save Duke Ellington and Count Basie. He was one of the first African-American “crossover” artists as well. Unlike other African-American artists who were known only to African-American audiences, Jordan was very popular with white audiences, too.

Jordan’s best recordings can be found on the following collections: “The Best of Louis Jordan" (1975), “Louis Jordan's Greatest Hits” (1980), and “Rock and Roll" (1989).

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Art Tatum: Tea for Two

Art Tatum is considered by many to be the greatest pianist in the history of jazz music, whose technical skills were unrivalled. Tatum’s unmistakable sound was the result of his prodigious speed, harmonic inventiveness, and swinging style, which featured the frequent use of thrilling cadenzas. His playing was drawn from the stride style of James P. Johnson and Fats Waller and the more modern approach of Earl Hines. When a young Oscar Peterson first heard a recording of Tatum and was told that the recording was the work of a single pianist, Peterson refused to touch a piano for a week.

Tatum was born in Toledo, Ohio, in 1909. His parents were both musicians at a local Toledo church. As a child, Tatum developed cataracts and eventually lost sight in one eye completely, while being left with only partial sight in the other. Tatum was a child prodigy at the piano and learned to play by ear while listening to church hymns and music on the radio. In 1925, he began learning music and Braille at a school for the blind.

By 1933, Tatum was in New York City, and he began to make a name for himself at piano-playing competitions known as “cutting contests.” It was at one of these contests that Tatum famously out-duelled stride legends James P. Johnson, Willie “The Lion” Smith, and Fats Waller with spectacular versions of “Tea for Two” and “Tiger Rag.” While Tatum was working at the Onyx Club in March of 1933, he recorded his first four sides for the Brunswick label. For the remainder of the thirties, he toured around the Midwest and had stints in Chicago and trips out to Los Angeles before returning to New York.

In the forties, Tatum recorded with singer Big Joe Turner for Decca Records and formed a trio with guitarist Tiny Grimes and bassist Slam Stewart. By the end of the Forties, Tatum had returned to solo performing and continued solo until he died in 1956.

Any compilation of Tatum’s incredible recordings is a must-have. The best of these include “Piano Starts Here” (1968), "The Complete Capitol Recordings (Volumes 1-2)” (1989), “Classic Early Solos” (1991), “The Chronological Classics: Art Tatum 1934-1940” (1991), and “The Complete Capitol Recordings of Art Tatum" (1997).

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James P. Johnson: The Charleston

James Price Johnson was born in New Brunswick, New Jersey, in 1894. He was a ragtime-turned-stride pianist whose composition, “The Charleston,” became one of the anthems of the “Jazz Age” of the Twenties. Johnson and Jelly Roll Morton were probably the two pianists most responsible for taking ragtime music and turning it into jazz via the piano.

Although he started out playing ragtime music in the tradition of Scott Joplin, Johnson became the innovator of a jazz sub-genre of piano playing that was dubbed “stride.” This piano style got its name from the walking or “striding” sound produced by the pianist’s left hand. Stride piano incorporated elements of the blues, and it allowed for on-the-spot improvisation, which is an essential characteristic of jazz music. Ragtime was a rigidly composed form of music that stifled improvisation.

A future jazz star, Fats Waller, would become Johnson’s protégé, adopt his stride style, and later expose it to the masses.

Johnson was a prolific composer, and he wrote some of the most familiar compositions of the Roaring Twenties. Aside from the Charleston, he penned “You’ve Got to Be Modernistic,” “If I Could Be with You One Hour Tonight,” “Carolina Shout,” “Keep Off The Grass,” and “Old Fashioned Love,” among others. In addition to jazz and pop tunes, Johnson wrote waltzes, ballets, and symphonic pieces.

Johnson’s finest recordings can be found on a number of compilation albums, including the multi-volume "Chronological Classics: James P. Johnson" (1996) series and "Snowy Morning Blues" (1991), "Harlem Stride Piano" (1992), and "Father of Stride Piano" (2001).

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The Original Dixieland Jazz Band: Livery Stable Blues

The Original Dixieland Jazz Band was originally an offshoot of Stein’s Dixie Jass Band and started out under the leadership of cornetist Nick LaRocca. By 1917, the band had moved from Chicago to New York, where, in February of that year, they would make the first-ever jazz recording, “Livery Stable Blues/Dixie Jass Band One Step,” for Victor.

The recording was a huge commercial success, and it introduced jazz to a nationwide audience. The huge sales of that first recording motivated other record labels to record jazz and thus sparked the spread of the music.

The initial incarnation of the band recorded several other excellent sides, including “Darktown Strutters’ Ball,” “Ostrich Walk,” and “Tiger Rag.” Their music was typical early Dixieland jazz, but the ODJB had some of the finest musicians in jazz music at the time, including LaRocca on cornet, “Daddy” Edwards on trombone, Henry Ragas on piano, and Larry Shields on clarinet.

The ODJB was a white band, and Larocca was a proud member of the white race who always maintained that it was not African Americans who had created jazz, but white musicians. Larocca’s overt racism has probably hurt the reputation of the ODJB and encouraged many observers to write them off as simply a bunch of second-rate white musicians who only had the opportunity to make the first jazz recording due to the institutionalized racism of the time. However, this is clearly not the case. Freddie Keppard, an African-American cornetist, turned down the opportunity to make the first jazz recording in 1916.

The ODJB reunited several times in the thirties and toured Europe. Drummer Tony Sbarbaro was the only original member to appear on all the band’s recordings between 1917 and 1938.

Several compilations of the band’s early sides can be found, including "The Complete Original Dixieland Jazz Band (1917-1938)" (1995). The band also appears on several compilations of early recorded jazz.

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Django Reinhardt and the Quintet of the Hot Club of France

Guitarist Django Reinhardt and violinist Stephane Grappelli were probably the two greatest European jazz musicians of the 20th century. Both men were founders and members of an outfit known as the Quintet of the Hot Club of France, a jazz ensemble that recorded during the forties.

Reinhardt, born in Liberchies, Pont-a-Celles, Belgium, was a gypsy guitar prodigy. When he was eighteen, his hand was so badly burned by a fire in his caravan that two fingers on his left hand were rendered useless. His family and friends thought that any future career plans as a musician had been prematurely snuffed out, but Reinhardt adapted and learned to play with just the index and middle finger on his fret hand. Despite his handicap, Reinhardt still earned a reputation as one of the greatest guitarists in the history of popular music.

 In 1934, Reinhardt, jazz violin virtuoso Stephane Grappelli, brother and fellow guitarist Joseph Reinhardt, guitarist Roger Chaput, and bassist Louis Vola formed the “Quintette du Hot Club de France” and recorded some of the best jazz of the thirties and forties.

 During his tenure with the Quintet of the Hot Club of France, Reinhardt recorded the classic selections “Minor Swing,” “Djangology,” “Runnin’ Wild,” “Paramount Stomp,” “Belleville,” and “Night and Day.” The Hot Club recorded in the swing style that was the vogue of the mid and late thirties. The band would disband in 1939, only to reform in the 1940s with a different lineup of sidemen supporting Django Reinhardt and Stéphane Grappelli.

Reinhardt died in 1953 at the age of 43, while Grappelli would continue playing and recording until his death in 1997, a month shy of his 90th birthday. Django Reinhardt would leave behind a legacy of musical brilliance and serve as an inspiration and major influence on countless guitarists from rock, country, jazz, and even classical music. Rock guitarists Jerry Garcia of the Grateful Dead and Tony Iommi of Black Sabbath both suffered serious injuries to their hands early in their careers and credit Reinhardt as a huge inspiration in overcoming their respective injuries. Reinhardt and the Quintet of the Hot Club of France appear on numerous fine compilation albums, including "Djangology" and "Gypsy Jazz."

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Tommy Johnson: Canned Heat Blues

Tommy Johnson was a country blues singer and guitarist from Terry, Mississippi. Johnson was born in 1896, and by the twenties, he was an established figure in Mississippi blues. The sixties blues rock band, Canned Heat, took their name from the Johnson song, “Canned Heat Blues.”

Johnson was a dissolute figure who actively cultivated a sinister image through excessive drinking and stories that he had sold his soul to the devil in exchange for his musical mastery. A similar mythology would later be attached to Robert Johnson.

Johnson made his first recordings for the Victor label in 1928 with the sides “Canned Heat Blues” and “Big Road Blues.” Johnson also recorded for Paramount Records in two sessions, one in 1928 and another in the following year. These recordings proved Johnson to be a vocalist of great depth and a fine guitarist. Unfortunately, his recordings for Paramount are of low fidelity.

Johnson’s classic sides can be found on the compilation "Complete Recorded Work in Chronological Order" (1994).

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Johnny Burnette and the Rock ‘n Roll Trio: The Train Kept a-Rollin'

Singer Johnny Burnette was born in Memphis, Tennessee, in 1934, and was a boyhood friend of Elvis Presley. Burnette and the Rock ‘n Roll Trio are often credited as the “pioneers” of rockabilly music.

The legendary album, "Rock and Roll Trio" (1988), is one of the finest collections of early rock and roll. The album collects the early singles of Burnette and the Trio and contains at least three masterpieces: “The Train Kept a-Rollin’,” “Honey Hush,” and “Lonesome Train.” The title of the song, “Rock Billy Boogie,” is believed to be the origin of the name given to this style of music, “rockabilly.”

Burnette scored pop hits in the Sixties without the Rock and Roll Trio, including “You’re Sixteen” in 1960, but his best work was during the birth of rock and roll about five years earlier. Burnette died in a boating accident in 1964, at the age of 30.

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Josh White: Jim Crow Blues

Josh White, like Leadbelly, was a country blues singer from the early part of the 20^th century who found new life and success as a part of the Sixties folk boom. White was born in Greenville, South Carolina, in 1915, and made his recording debut in 1932 with “Baby Won’t You Doodle-Doo-Doo.”

White recorded for a number of labels, including Perfect and Melotone, in the 1930s during his initial incarnation as a country blues performer. In the early forties, White’s music became some of the first African-American music to find acceptance among a white audience when he scored a million-selling single with his song, “One Meatball,” in 1944.

By the forties, White had become a civil rights leader and, in fact, became a close confidant of President Franklin D. Roosevelt. During the decade, White became the first African-American performer to perform at previously segregated clubs, and he later became the first folk/blues performer to appear on a U.S. postage stamp. White also appeared on Broadway as Blind Lemon Jefferson in the musical “John Henry.” White’s appearance on Broadway brought him to the attention of the New York City folk crowd, which at that time included Woody Guthrie, Leadbelly, and Burl Ives.

By the late fifties, White was a fixture in the folk revival and was recording more folk-oriented material. White continued performing in folk music festivals and touring the world up until his death in 1969.

The best collections of White’s music include “Chain Gang” (1940), “Blues and Ballads” (1946), and the great collection of civil rights tunes, “Southern Exposure: An Album of Jim Crow Blues Sung by Josh White” (1941).

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