Uncategorized


This gospel quartet caught-on in the U.S. national scene in the 1940s and kept up their popularity & musical quality into the 50s. The great Ray Charles has said that the Pilgrim Travelers, and particularly their baritone Jesse Whitaker, influenced him and his then developing musical style: a brew of blues, gospel and jazz which would eventually come to be known as “soul” music.

This acapella take of “I Was There When the Spirit Came” is vocally tight, light and snappy, especially much of the accompaniment behind the lead.  On the Specialty label out of L.A., which was known for its many excellent black rock & roll and gospel sides, this is a pretty clean copy with plenty of lustre on the shellac, and the voices are clear and really ring out so beautifully.

 

20170830_104306

“Sweet Leilani” was written in 1934 by Harry Owens for his one-day-old daughter, Leilani; her name is Hawaiian for “garland of flowers from heaven”. This song became a standard in many genres, but this Ray Kinney version with its sorta “island country western” feel with the sliding chords & 1920s pop crooner vocal is my favorite so far. The shellac is a bit worn  (from plenty of loving plays I’m sure), but I still love to spin it nonetheless, and the melody is just so charming and a little funny.

 

Ray Kinney - Sweet Leilani

This Latin side from 1933, on the Brunswick label, is a terrific little rhumba, and the bottle percussion is just the perfect, final piece for the arrangement. Palm trees, sea, and sun come to mind immediately when this tune gets going. Mr. Molina, who was born in Puerto Rico in 1899, was a very popular orchestra leader for about 40 years or so, and he had a big role in introducing tango and rhumba to Californians in the 1940s. And though his 78s are tough to track down in any condition, I found this one, and luckily in Excellent shape – “dime” (di-me) is “tell me” in Spanish.

 

Carlos Molina - Dime

Mr. Olvera was born three days before Christmas 1936, in Aguascalientes, Mexico. He was blinded by lightning at the age of seven months, became a piano prodigy later on, and around 13yo began to play the Hammond organ in the Guadalajara restaurant where he worked. He eventually developed an original technique of gradually opening the organ bars in ways which created vocal inflections, to make the organ sound as if it was singing words! The first big success with his new style was this 1956 78, “Pancho Lopez”, a take on the popular “Ballad of Davy Crockett.” On the RCA label, recorded in Mexico, and such a very creative, colorful cover of this timeless frontier classic.

 

Ernesto Hill Olvera - Pancho Lopez

This virtually forgotten release from 1956 on Chicago’s Argo Label is a classic Mike Simpson, on tenor sax, doing a snazzy spy lounge snapper with JUST the right amount of 007 meets Sammy Davis, Jr. and that 50s space-age boozy vibe.

 

mike-simpson-cuban-twilight-78rpm

This a Serbian folk tune which is probably a traditional and has no one author, but through time has changed and evolved as generations of musicians have played it and sang it millions of times. “Nas Dva Brata” in the Serbian language is “Us Two Brothers” in English. Two piece vocal duo, guitar and accordion for accompaniment. I would call this a rustic, Balkan toe-tapper, and a great drinking song; and I just love the Italianesque, but very Balkan as well, guitar string work and dense, quick harmonies coming off the accordion against the vocals. Released on Chicago’s PERUN label in the late 1940s, I’m guessing.

 

Nas Dva Brata - Torbica & Velimirovic (PERUN) 78 rpm

This is from Hampton’s “New Movements in Be-Bop” album (1947) which is a real treasure of the initial be-bop storm that was happening in New York in the 40s. Featuring a young, hungry Charles Mingus on bass playing his own composition, the futuristic “Mingus Fingers”, Hamp’s orchestra is as spirited, and tight, as ever.

 

Lionel Hampton - Mingus Fingers

Next Page »