Herb Lance’s boozy, bongo-laden, somewhat Latin-styled take on the Bernice Petkere chestnut “Close Your Eyes” from 1957, which is very different from the several versions he had already recorded for various labels starting in 1949. I prefer this one by far, the chorus and flute adding a sweet and slightly cheesy sheen, Herb’s crooning conjuring a casino scene from the collective memory of technicolored cinema’s golden age.

Lance was a jazz, blues and gospel singer, songwriter, record producer, recording studio owner and radio DJ. As well as recording several hits himself in the late 1940s, he co-wrote Ruth Brown’s signature song, “Mama, He Treats Your Daughter Mean.”

Chicagoan Bernice Petkere, a composer, songwriter and very young vaudevillian at the age of 7, was called the “Queen of Tin Pan Alley” by Irving Berlin himself.

 

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Recorded in 1952, “Nostalgia” and “Caminito” by Emil Coleman are characteristic tangos of 1940s & 50s NYC hotel nightlife, and feature his impressive, well-gigged Orchestra. These certainly have a cinematic quality to them as the brass, strings, winds and piano drive and interplay some serious, moody romance. Pizzicato passages sneak into the drama, along with some tasteful accordion flourishes, reminding us of the essence of tangos – they are the sensual partner-dance that began to evolve in 1880s Buenos Aires from the combination of Spanish tangos and Argentine milongas.

Emil Coleman was born in Odessa, Russia in 1892 and by the 1920s was a star orchestra leader performing in the high-society hotels of New York City, most notably the Trocadero and the Waldorf-Astoria. He also recorded quite a bit for Vocalion, Brunswick, Columbia and RCA Victor labels, and had many hits on the national pop charts.

Couldn’t decide which side of this excellent tango 78 to post, so I went with both.

 

“Nostalgia”

“Caminito”

 

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Getting his start playing clarinet in Glenn Miller’s big band in 1921, Boyd Senter eventually moved to Chicago in 1923 and managed to make several recordings with Jelly Roll Morton’s Steamboat Four. Soon thereafter he struck out alone as the “Jazzologist Supreme” (sometimes with his band, the Senterpedes) and recorded a string of sides for various labels in the 20s and 30s, all in the hot jazz/New Orleans idiom that was the rage during those decades. Sometimes the playfulness of his approach, especially the “laughing” or “whining” phrasing that became a signature of his clarinet style, was criticized by some as gimmicky, but he sold a lot of sides and was very popular in the public nevertheless.

What makes this 1927 trio take of “Down Hearted Blues” (a Lovie Austin/Alberta Hunter tune) so great is the guitar playing of the iconic Eddie Lang, an innovator who really raised the bar on guitar approach and its place in popular music, and also paved the way for giants like Django, Lonnie Johnson and Wes Montgomery. This performance is just so beautifully toned and nuanced, and to my ears sounds like he was playing from about 15-20 years into the future. Lang’s genius was very unfortunately cut short at 30 years old, a bad surgery in New York in 1933 seeming the culprit. His impact on Jazz cannot be underestimated.

Boyd Senter left music in the late 30s after his popularity waned, became a sporting goods salesman, settled down, and lived into old age, retiring to Oscoda, Michigan, and finally giving up the ghost in 1982 at 84 years old.

This Velvet Tone 7070 is a reissue copy of the original Okeh pressing, matrix no. W81001.

 

 

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Pastora Pavón Cruz, best known as La Niña de Los Peines (“the Girl of the Combs”), was born in Sevilla, Spain in 1890 and is probably the most important flamenco singer of the 20th century. She never learned to read or write, but began singing at 8 years old and was a prodigy. She was already celebrated in her teens and came to be regarded as a genius of many Spanish song-forms, or “palos”, including: tangos, tientos, malagueñas, tarantas, cartageneras, granaínas, peteneras, and the bambera. Cruz has been compared to historical illuminators of music like Bach, and her mark on Spanish cultural history is indelible.

In 2010, UNESCO declared flamenco one of the Masterpieces of the Oral and Intangible Heritage of Humanity; the contribution of La Niña de Los Peines undoubtedly playing a large part in this distinction.

Here she sings an absolutely haunting “saeta”, a revered style of Spanish religious song, here simply titled “Saetas”, and she is joined by cornets, trumpets and a tambourine player. Stark and striking, her voice so thick and impassioned, this kinda of performance slows down time with it’s gravity. This is one of the great songs of all time, and I am lucky to have found an impeccably clean copy.

 

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Born Alexandra Nicholas Badran in 1924, in Mersin, Turkey, to Lebanese parents, she changed her name to Nour el Houda (“Light of Guidance”) just as she was becoming a famous actress and singing star. During her long career, which began at ten years old, El Houda recorded a huge chunk of classical, religious and popular Arabic songs and is considered one of the greatest Lebanese singers. For her tone, intonation, power and control, she was hailed as “the Girl with the Golden Voice” and was a cultural sensation for almost 30 years.

“Ala Oum el Manadili” is mostly a big, insistent groove and melody which eventually open up into a slow, bare, and moody bridge section that allows you to really hear her incredible vocal talent, before taking it back to the top for a fierce finale. Besides the lead voice and backing singers, the instruments I hear are the mijwiz (a reed clarinet), tablah, the buzuq (strings, long-fretted neck and a tone like a viola), and handclaps. The arrangement and the sounds are pretty typical for middle 1950s, popular Arabic recordings.

This is a song on two sides, so I edited them together in Logic Pro.

 

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Pablo Rodriguez Lozada, better known as “Tito” Rodriguez (“tito” meaning “uncle” and sometimes “giant” in Puerto Rican Spanish) was a massively popular bandleader, singer and arranger in the 1950s when the mambo and cha-cha craze was at its height in the U.S. During this era he was just about as renowned and requested as the great Tito Puente, another legendary timbalero, who was also Rodriguez’s rival in the salsa and Latin scenes of the 50s and 60s.

This is the other side of Tito Rodriguez, “Desert Dance” (on TICO #10-035A) from the last post, and it is a groovy, medium-burning mambo called “Donde Estabas Tu?”, “where were you?.”

 

 

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Pablo Rodriguez Lozada, better known as “Tito” Rodriguez (“tito” meaning “uncle” and sometimes “giant” in Puerto Rican Spanish) was a massively popular bandleader, singer and arranger in the 1950s when the mambo and cha-cha craze was at its height in the U.S. During this era he was just about as renowned and requested as the great Tito Puente, another legendary timbalero, who was also Rodriguez’s rival in the salsa and Latin scenes of the 50s and 60s.

This side, “Desert Dance”, written by R. K. Mozian, is a characteristic mover-and-groover from his repertoire that features flawless execution from the horns and rhythm section, particularly the pianist who I can’t seem to identify, and of course Señor Rodriguez’s timbales sound crisp and solidly “in the pocket.” Such a hidden classic.

 

 

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“Cindy, Oh Cindy” was a 1956 Top 40 hit for folk & rock pioneer Vince Martin; it was his initial breakthrough onto the national music scene. In the 1960s he released a well-known, considered “seminal”, album of folk-rock called Tear Down These Walls with a band that included John Sebastian of The Lovin’ Spoonful.

“Cindy, Oh Cindy” is a calypso-tinged arrangement of the Barron & Long penned song which features the backing band The Tarriers, which itself features a young Alan Arkin, the legendary actor, director and screenwriter, playing guitar and singing vocal harmony. Vince Martin sings in his beautiful tenor a lyric about a sailor at sea longing for a love he left behind when he joined the Navy…

This was released on the small 1950s label Glory out of New York city which specialized in pop, r&b and folk, and which recorded many less-known, but incredible, vocal groups. These singles, especially on 78rpm, are much sought after by collectors.

 

 

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I can’t find any information whatsoever about this duo, Jack and Betty, who seem to be lost to history at this point. And it also seems like this is their only record: TEEN 107A, “Satisfied Mind” and 107B, “This Is My Story”.

From 1955, “Satisfied Mind” made a moderate-sized splash as a popular jukebox rendition of this Red Hayes & Jack Rhodes C+W classic which has been covered many times since it was first recorded that same year. Even Jeff Buckley, the 1990s NYC songbird who tragically died way too young at 30yrs old, did a cover of this tune, which is really amazing, and it is available on the Columbia Records release “Live at Sin-E” (Legacy Edition.) This, however, is my favorite take of this beautiful secular hymn. Jack plays the rhythm guitar and Betty plays the organ, and they sing in harmony virtually the whole time. There is also an unknown electric guitar player plucking some great sounding lead lines, wish I knew who that was… The simplicity of the arrangement, the passion in the playing and the singing, and just one hell of a lyric, make for a powerful, haunting piece of Americana.

 

 

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A legendary side man saxophonist for the likes of Aretha Franklin, Freddie Hubbard, Carl Perkins and Gladys Knights and the Pips, Jimmy Coe already had a previous recording career in the 40s and 50s and got his start playing in Jay McShann’s band sharing seats with the everlasting Charlie “Bird” Parker.

“The Jet,” on the small mid-50s Chicago label States Recording Company, is a great little groovy B3 Hammond organ and saxophone jammy-jam, and a relentless 2-and-a-half-minute flight of fancy. This virtually unknown number makes its way into many of my 78s set out in the wilds of nighttime party gigs and clubs.

Happy New Year 2019!

 

Jimmie Coe - The Jet