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. “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

Such a great great jumpy blues, a hopper and a skipper for them alive ones; tappin’ away on repeat at home, too. Crudup outdoes Elvis by some 10 years. Made in Chicago.

Arthur “Big Boy” Crudup, voice  & guitar

Melvin Draper, drums

December, 1944

 

Arthur %22Big Boy%22 Crudup - Who's Been Foolin You 78rpm

This is a Greek Decca, #4056. “O riQProE” is my English alphabet translation of the Greek title. I have no clue about any of the information on this label, unfortunately.

But the tune is a wonderful Greek folk-dance number, almost like a very sophisticated waltz; with harmonized vocals, compound rhythms and perfect string interplay.

 

Greek Decca 4056 - %22O riqproe%22 78rpm

Not much information to be found on Pickard’s Chinese Syncopators. They were an active string band on the Vaudeville circuit in the 1920s & 30s, and seemed to be a Chinese/American combo. This is a cool and quirky rumba called “Ali Baba”.

This is on an English-made His Master’s Voice from like 1932 I wanna say.

 

Pickard's Chinese Syncopators AliBaba

Florencia Morales Ramos, “Ramito”, is one of the kings of Puerto Rican Jibaro music. Born in 1915, in Caguas, PR, he was considered a really good singer by the age of thirteen; and by the late 1930s he was a renowned star. He had a long career, even playing for JFK at the White House in 1961 in a huge showcase of Puerto Rican talent.

“Una Mujer en Mi Vida” is a bolero son, and totally infectious. It is full of those famous conga rhythms, horn lines, and vocal harmonies which really make so much of Puerto Rican music so sexy and hip-swerving.  And of course, Ramito’s beautiful tenor just soars.

Recorded in New York, NY, on the rare BMC label.

 

Ramito - Una Mujer en Mi Vida

Mr. Charles COULD certainly play a mambo if he felt like it; and lord was he a brilliant piano player who could SWING-it when he felt like that, thank the LORD.

From 1956, when he was 26yo.

mary ann selda

 

mary ann ray charles

 

 

Willie “Billy” Gales was Ike Turner’s drummer during the 1940s and 50s, but he did cut a few sides as a singer in his lifetime. This tune, “If I Never Had Known You” is a Turner original; is a lyric about feeling low and ashamed (and grateful); is sung so tenderly, but in the way of a powerful gospel singer confessing himself to his congregation.

This is on Federal Records out of Cincinnati, which was actually Mr. James Brown’s first label. Released in 1956, it has that warm, hi-fi fidelity which is a feature of many great 1950s-era 78 rpm recordings.

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