Slim Gaillard - The Chronological Classics: 1945, Vol.2 (1996)

04 Mar, 08:02
change text size:

Artist: Slim Gaillard
Title: The Chronological Classics: 1945, Vol.2
Year Of Release: 1996
Label: Classics[911]
Genre: Jazz, Swing
Quality: FLAC (tracks + .cue,log)
Total Time: 59:58
Total Size: 193 MB(+3%)
WebSite: Album Preview

Tracklist

01. Scotchin' with Soda (2:48)
02. Cuban Rhumbarini (2:50)
03. As Long as I Have Your Love (3:22)
04. Cement Mixer (3:19)
05. Atomic Cocktail (2:44)
06. Yep-Roc-Heresay (3:06)
07. Penicillin Boogie (2:35)
08. Jumpin' at the Record Shop (3:13)
09. Drei Six Cents (2:44)
10. Minuet in Vout (2:59)
11. Tee Say Malee (2:51)
12. Navachord Boogie (3:01)
13. Baby Won't You Please Come Home (3:21)
14. Groovy Juice Jive (3:07)
15. The Hop (2:50)
16. Three Handed Boogie (3:02)
17. Dizzy Boogie (3:12)
18. Flat Foot Floogie (2:37)
19. Popity Pop (3:01)
20. Slim's Jam (3:16)

The nucleus of Slim Gaillard's professional activity during December of 1945 was a trio consisting of himself, singing bassist Tiny "Bam" Brown, and shuffle drummer Zutty Singleton. The addition of pianist Dodo Marmarosa created a modern-sounding quartet that hinted at stylistic changes very much in the air at that time. Sixteen sides originally issued on the Atomic and Cadet labels document this group's evolution over the course of three weeks. By 1945 Gaillard had become extremely popular in the Los Angeles area, and his music was beginning to sound quite different from that of his pre-war period. His collaborations with Slam Stewart between the years 1938 and 1942 were peppered with Stewart's inspired singing over the bowed bass. Bam Brown had a much different approach, which was to echo Gaillard's every utterance in a silly little voice almost like that of a cartoon character. This was essentially a bop-era vaudeville routine and it caught on quickly with West Coast audiences eager for "hip" entertainment but largely distrustful of the less accessible face of modern music as represented by serious, innovative young musicians from New York. Gaillard's topical humor made fun of everything in sight. During "Jumpin' at the Record Shop" he drops the names of famous DJs and popular entertainers, from Carmen Miranda and Xavier Cugat to Spade Cooley, Bob Wills, Jack Benny, and Bob Hope in addition to a solid roster of jazz luminaries including of course his own bad self. On the "Novachord Boogie" Gaillard rocks away on what seems to have been a rudimentary electric piano, sounding almost like a premonition of Sun Ra's Farfisa organ. But Gaillard's main axe was the electrically amplified guitar, the main force behind "The Hop," which has a ferocious, explosive drum solo by Zutty Singleton. This chronology builds up marvelously to the famous "Slim's Jam" session recorded for the Bel-Tone label on December 29, 1945, with an added front line of Charlie Parker, Dizzy Gillespie, and Jack McVea, who Gaillard insists on introducing as "McVouty." These superb performances are greatly enhanced and contextualized by this compilation's unprecedented inclusion of all the records made by Gaillard's groups during December of 1945. "Dizzy Boogie" features Gaillard at the piano and a cool bass solo with vocal accompaniment by Bam Brown, who sounds more dignified than ever. "Flat Foot Floogie" and "Popity Pop" are outstanding novelty jump tunes suffused with the leader's infectious sense of humor. As a prime example of the intersection of innovative modern jazz and immaculately hip shenanigans, "Slim's Jam," with Gaillard introducing each participant in a smooth, laid-back voice, belongs among the very greatest three-minute episodes in the entire history of recorded jazz.

XLD Log

MY BLOG

IsraCloud