Rediscovering Frankie Quartell (1921-1929) скачать в хорошем качестве

Rediscovering Frankie Quartell (1921-1929)

Rediscovering Frankie Quartell (1921-1929) 1. Frankie and Johnny–Frank Crumit acc. Paul Biese Trio (Columbia, 1921) [0:00] 2. I Wonder Where My Sweet Daddy’s Gone–Marion Harris acc. Paul Biese’s Orchestra (Columbia, 1921) [2:51] 3. Crooning–Paul Biese’s Orchestra (Columbia, 1921) [5:59] 4. Dangerous Blues (Intro: Sweet Love)–Paul Biese Trio (Columbia, 1921) [8:41] 5. I’m Looking for a Bluebird–Marion Harris acc. Paul Biese’s Orchestra (Columbia, 1921) [11:33] 6. Oriole Blues–Oriole Terrace Orchestra (Brunswick, 1922) [14:47] 7. Serenade Blues–Oriole Terrace Orchestra (Brunswick, 1922) [17:58] 8. Toot Toot Tootsie–Oriole Terrace Orchestra (Brunswick, 1922) [21:13] 9. Carolina in the Morning–Oriole Terrace Orchestra (Brunswick, 1922) [24:28] 10. Bee’s Knees–Oriole Terrace Orchestra (Brunswick, 1923) [27:35] 11. Come Back to Me–The Romancers, dir. Paul Specht (Columbia, 1924) [31:00] 12. You Should Have Told Me–Art Kahn and His Orchestra (Columbia, 1924) [34:00] 13. Insufficient Sweetie–Art Kahn and His Orchestra (Columbia, 1924) [37:16] 14. Some of These Days–Art Kahn and His Orchestra (Columbia, 1924) [40:24] 15. Prince of Wails–Frankie Quartell and His Melody Boys (Okeh, 1924) [42:58] 16. Heart Broken Strain–Frankie Quartell and His Melody Boys (Okeh, 1924) [45:47] 17. Alabamy Bound–Isham Jones and His Orchestra (Brunswick, 1925) [48:53] 18. Danger!–Isham Jones and His Orchestra (Brunswick, 1925) [51:55] 19. River Boat Shuffle–Isham Jones and His Orchestra (Brunswick, 1925) [54:57] 20. The Original Charleston–Isham Jones and His Orchestra (Brunswick, 1925) [57:58] 21. Sweet Man–Isham Jones and His Orchestra (Brunswick, 1925) [1:00:46] 22. Sweet Baby–Frankie Quartell’s Little Club Orchestra (Brunswick, 1928) [1:03:32] 23. Pining–Frankie Quartell’s Little Club Orchestra (Brunswick, 1928) [1:06:37] 24. I’m Telling You–Nick Lucas (Brunswick, 1929) [1:09:06] 25. Some Rainy Day–Nick Lucas (Brunswick, 1929) [1:12:10] Special thanks to Dave Bock, Kevin Coffey, Ate Van Delden, Vince Giordano, Javier Soria Laso, David Sager, Andrew J. Sammut, and Dustin Wittman for their help in preparing this article and providing precious source materials including recordings, clippings, and photographs. Thanks to Kevin Coffey and Andrew J. Sammut for their careful edits to this piece. Thanks also to Coffey for his help with establishing an accurate timeline of the Oriole Orchestra and Quartell’s Texas, Louisiana, and Chihuahua activities. Thanks to Sammut for inclusion of this piece on his “Pop of Yestercentury” blog. Personnel and discographical information taken from Brian Rust’s “Jazz Records” and “American Dance Band Discography,” Johnson and Shirley’s “American Dance Bands on Record, and the Discography of American Historical Recordings, with edits, additions, and revisions by Kevin Coffey, Javier Soria Laso, and Colin Hancock. Thanks to Dave Bock for use of his copies of “Prince of Wails,” “Sweet Baby,” and “Pining.” Thanks to Dustin Witmann for his great transfers and restorations of these titles and the two by Nick Lucas. Thanks to Ate Van Delden for his use and transfer of his copy of “Bee’s Knees.” All other transfers and restorations done by Colin Hancock via a 3.0ml lateral styli in VM670SP cartridge and VM95SP cartridges via Audiotechnica AT-LP120. All other discs from the Colin Hancock Collection.   In the 1920s, trumpeter Frankie Quartell was one of the most in-demand musicians in Chicago. An ace trumpeter, Quartell possessed a strong tone, expressive vibrato, and serious talent with mutes–made all the better by the fact that he was a great reader too. He was a veteran recording artist–by 1930, he’d already recorded with such famed artists as Paul Whiteman, Isham Jones, Ben Pollack, Paul Specht, the Oriole Orchestra, Paul Biese, Nick Lucas, Art Kahn, Frank Crumit, and his own various groups. And when he wasn’t in Chicago, there’s no telling where you might have found him: Miami, Florida? Juarez, Mexico? Green Bay, Wisconsin? London, England? New Orleans, Louisiana? Havana, Cuba? Why not all of these options in the span of a few years? Such was the case of Quartell. This set of 25 recordings focuses on Quartell’s extremely active 1920s, including all four of his own recordings as a bandleader, and several as a sideman. For more information on Quartell’s fascinating life, check out my accompanying article “Rediscovering Frankie Quartell” available on the Pop of Yestercentury blog [https://yestercenturypop.com/2024/11/...]