Fletcher Henderson: Money Blues, Carolina Stomp, Gershwin:That Certain Feeling, Eddie Lang: Best Black, C. Williams with Armstrong, Bechet, Eva Taylor: Papa De-Da-Da, Lovie Austin: Heebie Jeebies, Henderson: Alabamy Bound, Piron: Red Man Blues, Austin: Don’t Shake It No More, University 6: Charleston Baby of Mine, Art Gillham: Angry, U6: Desdemona, The Camel Walk, Ellington: I’m Gonna Hang Around My Sugar, Moten: 18th Street Strut.
Henderson’s dance band combined rhythm with levity. Armstrong, Hawkins, Redman are special signatures. Money Blues is among the great delights caused by Redman’s new saxophone choir and Armstrong, Bailey and Hawkins’ storytelling. Carolina Stomp gives the bass sax a spotlight, is so much fun. Gershwin on piano lacks only the rhythm of dancers hoofing on a Broadway stage. Eddie Lang creates modern guitar as an essential jazz sound from the blues legacy. Clarence Williams made some of the best jazz records, here with a Bechet tune. Lovie Austin demonstrates rhythm piano. Piron gives another definition of New Orleans jazz. The University Six debut under that name, with Rollini. Ellington flashes on piano but Hardwick carries the band like Hawkins did for Henderson. If the enduring Ellington brass sound came from Bubber Miley (from Joe Oliver) similarly the essential reed sound was Hardwick (coming from Redman/Hawkins) with later Carney and Hodges filling out the choir. We hear the nucleus of the Ellington sound in 1925.
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