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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This is a Thai luk thung 78 I found in a flea market in Chiang Mai. Luk thung, which translates to “children of the field”, is the name of a folk/country genre of music that developed in the central rural areas of Thailand after WWII. The sound can be described as traditional Siamese/Thai elements combined with Western musical instruments (mostly brass and electronic) and styles emerging in 1940s and 50s America.

I had the great luck of having my friend Oraboon “Taeng” Imchai Bulut from Doisaket, Thailand, translate the writing on this very rare disc. So, the artist is called Fascination and the song is “Love You Girl (Thai folk dance); and it is catalogue number R.H. 2001 on the Hong Barge label, which is one of hundreds of tiny, obscure labels operating at the time. I am guessing this is from around 1959. That’s about all know at this time, unfortunately, wish I knew more…

The “Love You, Girl” melody is sung by a male tenor voice on top of a simple arrangement of accordion and percussion. The moody, serpentine-slow groove and harmonic flutters from the accordion are all that’s needed to float the lover’s passionate incantation.

 

 

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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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This is a really swanky, swingin’ little instrumental number from 1955 on the TEEN label; it features piano and a drummer playing a small kit setup that includes one or two tambourines. It pulses along like a good-time get-together with the right party crowd, full of light-hearted merriment and boozy smiles all around.

“Dizzy Brown” was one of the many aliases of pianist, bandleader, orchestra leader, record producer and record company executive Bernie Lowe. He founded TEEN Records that same year, and also the Cameo label in 1956, both which were dedicated to rock, soul, doo-wop and folk rock groups. He also wrote or co-wrote many well-known hits in the 1950s and 60s, including Elvis’ “(Let Me Be) Your Teddy Bear”, Charlie Grace’s “Ninety-Nine Ways”, “Teen Age Prayer” by Gale Storm, and Chubby Checker’s “That’s The Way It Goes”, as well as many Bobby Rydell tunes that charted. Lowe was quite important to the growth of rock-n-roll during this era just as it was entering the true mainstream of American music.

 

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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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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

Tito Puente is a musical legend whose success and popularity helped bring the music and culture of Puerto Rico, Cuba and Africa to larger mainstream audiences around the world. Very often referred to as the “King of Timbales”, Puente was born in NYC in 1923 to immigrant Puerto Rican parents, and was raised in Spanish Harlem. A naturally talented and artistic child, his career spanned six decades of the 20th century, with many, many international performances, achievements, and awards; and his discography is considered a cultural treasure. A couple of notable examples of his lasting legacy are: his 1958 album Dance Mania is listed in the National Recording Registry, and his song, “Oye Como Va”, which is considered a standard (and which Carlos Santana took to even greater heights when he released his version in 1963.)

Here he is performing his pulsating, hypnotic “Mambo Rama” with his orchestra in 1955; and man do those horns sound amazing. On the New York label TICO.

 

Tito Puente - Mambo Rama

This version of Jelly Roll Morton’s classic “Wild Man Blues” by jazz clarinetist Johnny Dodds (1892-1940) and his Chicago Boys is my absolute favorite ever; its melody is a New Orleans blues if ever there was one, bub. He recorded this tune several times in the course of his career, all different takes with different approaches to the solos and the arrangements. This one is from a 1938 New York session and features the New Orleans legend towards the very end of his life still playing with so much energy and so much feeling for a song which was “a hit” for him and which he presumably played very often until his premature end. He died in 1940 leaving a tremendous legacy of music and recordings, and this is one of those songs which I will always love and never forget.

Thank you, Mr. Dodds, for this little heart & joy that you left the world.

Charlie Shavers (tpt) ; Johnny Dodds (clt) ; Lil Armstrong
(p) ; Teddy Bunn (g) ; John Kirby (bs) ; O’Neil Spencer (dr)

 

 

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A. Kostis was the pseudonym of Konstantinos Bezos (1905-1943), a guitarist and singer from Greece who recorded sides for RCA Victor and Columbia in the 1930s and 40s. He played several different styles throughout his career, including a large Hawaiian steel guitar repertoire. However, this song is a “rebetika”, a kind of Greek popular song and “outlaw blues” which typically dealt with street culture: sex, violence, drugs and death. Springing up around the turn of the 20th century in places like Constantinople (Istanbul!) and Ottoman Smyrna, its origins are hazy and, as it was a song tradition associated with hashish dens, criminals, jail, and the poorest classes, it was banned for a time starting in 1937. So the music went underground and the tradition carried on, ever with the possibility of imprisonment or worse.

“Isouna Xypoliti” translates to “Without Stockings.” I looked around the internet and found a really great translation of the lyrics, which deal with a man addressing his wife who now wants luxuries like earrings:

“you were barefoot, out on the streets, now that I took you in (or married you) you even ask for a horse and stable boys, you were out in the market begging for some food, now that I took you in you want earrings”

However, because of all the antiquated Greek slang, some of the lyrics are difficult to connect. The last two verses deal with imprisoning Death to live forever, dice gambling and something about the cops, but it is not entirely clear. To me, the incomplete understanding of the lyrics is just another reason to dig in and inhabit the world and voice of the character. And the two guitar attack playing a traditional 9/4 meter full of quick, dark, and sort of “Eastern blues” runs, is hypnotizing.

This shellac is also of the much rarer 12″ sort, which makes for an almost 4-minute song, whereas most 78s are 10″ and hold between 2-3 minutes of music. Opa!

 

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“White Silver Sands” is a famous pop song written in 1957 by Red Matthews and covered quite often thereafter, but this Don Rondo & Billy Rock Orchestra version has a cheerful, bop-country rock feel and the melody is fun to hum (and can get stuck in yer’ head)

“Where the deep blue pearly waters
Wash upon white silver sands
There on the brink of love I kissed her
And obeyed our hearts command
Where the deep blue pearly waters
Wash upon white silver sands
We watched the sun set in the evening
In a far and distant land”

 

On the NYC Jubilee Records label, Rondo scored a Billboard #7 chart hit with this one the same year Matthews wrote it.

 

 

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