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7 Videos  
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  duke ellington 1930: juan tizol, bigard,...
duke ellington in 1930: harry carney, barney bigard and johhny hodges in sax; cootie williams, freddy jenkins and arthur whetsol, trumpets, fred guy, bass, sonny greer, drums; wellman braud, bass; juan tizol, valve trombone and joe tricky sam nanton, slide trombone and the duke at the piano. tizol, sitting in the rear right, from puerto rico was the only white musician in the band and his face was painted color dark duke ellington in 1930: harry carney, barney bigard and johhny hodges in sax; cootie williams, freddy jenkins and arthur whetsol, trumpets, fred guy, bass, sonny greer, drums; wellman braud, bass; juan tizol, valve trombone and joe tricky sam nanton, slide trombone and the duke at the piano. tizol, sitting in the rear right, from puerto rico was the only white musician in the band and his face was painted color dark duke ellington in 1930: harry carney, barney bigard and johhny hodges in sax; cootie williams, freddy jenkins and arthur whetsol, trumpets, fred guy, bass, sonny greer, drums; wellman braud, bass; juan tizol, valve trombone and joe tricky sam nanton, slide trombone and the duke at the piano. tizol, sitting in the rear right, from puerto rico was the only white musician in the band and his face was painted color dark
  china boy - bechet-spanier - big four 1940
china boy - bechet-spanier - big four 1940 from the same recording session as in four or five times on march 28 1940 comes this very hot swinging version of impromptu jazz. they say that sidney bechet never learned to read music. muggsy is a very natural creative musicians as well and the two blend uniquely together. for any trumpet man it is always hard to play with a soprano sax player and with bechet's energy and obvious volume i believe that even louis armstrong wasn't too keen to play with bechet. bechet would not take a back-step to any one, was not in his character. however there is sympathy in the power exchange between muggsy and sidney. good for them.. bechet on soprano sax, muggsy spanier on trumpet, carmen mastren guitar and wellman braud bass. china boy - bechet-spanier - big four 1940 from the same recording session as in four or five times on march 28 1940 comes this very hot swinging version of impromptu jazz. they say that sidney bechet never learned to read music. muggsy is a very natural creative musicians as well and the two blend uniquely together. for any trumpet man it is always hard to play with a soprano sax player and with bechet's energy and obvious volume i believe that even louis armstrong wasn't too keen to play with bechet. bechet would not take a back-step to any one, was not in his character. however there is sympathy in the power exchange between muggsy and sidney. good for them.. bechet on soprano sax, muggsy spanier on trumpet, carmen mastren guitar and wellman braud bass. china boy - bechet-spanier - big four 1940 from the same recording session as in four or five times on march 28 1940 comes this very hot swinging version of impromptu jazz. they say that sidney bechet never learned to read music. muggsy is a very natural creative musicians as well and the two blend uniquely together. for any trumpet man it is always hard to play with a soprano sax player and with bechet's energy and obvious volume i believe that even louis armstrong wasn't too keen to play with bechet. bechet would not take a back-step to any one, was not in his character. however there is sympathy in the power exchange between muggsy and sidney. good for them.. bechet on soprano sax, muggsy spanier on trumpet, carmen mastren guitar and wellman braud bass.
  sweet sue, just you
the bechet-spanier big four 1940: sidney bechet (ss, cl), muggsy spanier (co), carmen mastren (g), wellman braud (b). storyville sep 333. the bechet-spanier big four 1940: sidney bechet (ss, cl), muggsy spanier (co), carmen mastren (g), wellman braud (b). storyville sep 333. the bechet-spanier big four 1940: sidney bechet (ss, cl), muggsy spanier (co), carmen mastren (g), wellman braud (b). storyville sep 333.
  four or five times -- bechet -spanier bi...
four or five times -- bechet -spanier big four 1940 since the beginning of my involvement in jazz the fabulous spanier-bechet big four have always been part of my collection and i consider these very valuable jazz treasures. in two recording sessions in the spring of 1940 a total of 8 different tunes were recorded. muggsy spanier trumpet,, sidney bechet soprano sax, carmen mastren guitar and wellman braud bass four or five times -- bechet -spanier big four 1940 since the beginning of my involvement in jazz the fabulous spanier-bechet big four have always been part of my collection and i consider these very valuable jazz treasures. in two recording sessions in the spring of 1940 a total of 8 different tunes were recorded. muggsy spanier trumpet,, sidney bechet soprano sax, carmen mastren guitar and wellman braud bass four or five times -- bechet -spanier big four 1940 since the beginning of my involvement in jazz the fabulous spanier-bechet big four have always been part of my collection and i consider these very valuable jazz treasures. in two recording sessions in the spring of 1940 a total of 8 different tunes were recorded. muggsy spanier trumpet,, sidney bechet soprano sax, carmen mastren guitar and wellman braud bass
  muskrat ramble kid ory 1956.mov
muskrat ramble ory kid 1956 in this second clip from paris in 1956 kid ory and his new orleans jazz band play ory's composition muskrat ramble. ory recorded the tune some 30 years before with louis armstrong's hot five. sorry about the film quality but it might be the only visual witness of their band's music from this first trip to europe in september 1956. i have a few lp albums of that 1956 period and from the pictures it appears that ory's band on this tour had the following musicians in the band. alvin alcorn trumpet, phil gomez clarinet, cedric heywood piano, wellman braud bass and minor muskrat ramble ory kid 1956 in this second clip from paris in 1956 kid ory and his new orleans jazz band play ory's composition muskrat ramble. ory recorded the tune some 30 years before with louis armstrong's hot five. sorry about the film quality but it might be the only visual witness of their band's music from this first trip to europe in september 1956. i have a few lp albums of that 1956 period and from the pictures it appears that ory's band on this tour had the following musicians in the band. alvin alcorn trumpet, phil gomez clarinet, cedric heywood piano, wellman braud bass and minor muskrat ramble ory kid 1956 in this second clip from paris in 1956 kid ory and his new orleans jazz band play ory's composition muskrat ramble. ory recorded the tune some 30 years before with louis armstrong's hot five. sorry about the film quality but it might be the only visual witness of their band's music from this first trip to europe in september 1956. i have a few lp albums of that 1956 period and from the pictures it appears that ory's band on this tour had the following musicians in the band. alvin alcorn trumpet, phil gomez clarinet, cedric heywood piano, wellman braud bass and minor
  the harlem footwarmers - i'm so in love ...
this wonderful song is a is interpreted by its composer ellington, one of the greatest jazz musicians ever. indeed, the harlem footwarmers seems to have been a pseudonym for ellington & his orchestra when recording for several labels like clarion and odeon. no need to present this jazz giant, information about him is abundantly available. very concisely, it may be useful to recall that he was born edward kennedy ellington, and that he is considered as one of the founding fathers of jazz music. he started playing piano at the age of seven, and by the time he was 15, he was composing. a pianist, bandleader, arranger, and composer, ellington and his band played together for 50 years. some of ellington's most famous songs include this wonderful song is a is interpreted by its composer ellington, one of the greatest jazz musicians ever. indeed, the harlem footwarmers seems to have been a pseudonym for ellington & his orchestra when recording for several labels like clarion and odeon. no need to present this jazz giant, information about him is abundantly available. very concisely, it may be useful to recall that he was born edward kennedy ellington, and that he is considered as one of the founding fathers of jazz music. he started playing piano at the age of seven, and by the time he was 15, he was composing. a pianist, bandleader, arranger, and composer, ellington and his band played together for 50 years. some of ellington's most famous songs include this wonderful song is a is interpreted by its composer ellington, one of the greatest jazz musicians ever. indeed, the harlem footwarmers seems to have been a pseudonym for ellington & his orchestra when recording for several labels like clarion and odeon. no need to present this jazz giant, information about him is abundantly available. very concisely, it may be useful to recall that he was born edward kennedy ellington, and that he is considered as one of the founding fathers of jazz music. he started playing piano at the age of seven, and by the time he was 15, he was composing. a pianist, bandleader, arranger, and composer, ellington and his band played together for 50 years. some of ellington's most famous songs include
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