Marion Harris acc. Paul Biese's Orch "I'm Looking For a Bluebird" (Columbia, 1921) Vic Berton (?) скачать в хорошем качестве

Marion Harris acc. Paul Biese's Orch "I'm Looking For a Bluebird" (Columbia, 1921) Vic Berton (?)

Marion Harris, v acc. Paul Biese’s Orchestra Paul Biese, ts, dir: Frankie Quartell and another unknown, c / Angelo Cavallo, tb / Frank H. Borstadt, as, cl / Anthony Ciccone, vn, as, cl / George Mallon, p / Vic Berton, d / unknown, bsx. Herbert Zeller and Walter Smith may be the two unknown musicians Columbia Phonograph Company Studios New York, NY 22 June, 1921 79904-4 “I’m Looking For a Bluebird (To Chase My Blues Away)” (Fred Rich–Blanche Morrill) Col A3457 Transferred with 3.0ML lateral stylus in Audiotechnica VMN70SP cartridge via Audiotechnica AT-LP120 Turntable. Discographical Info and Research from Brian Rust’s Jazz Records, Variety Magazine, Newspapers.com, Javier Soria Laso, Kevin Coffey, and Colin Hancock. Recordings from the Colin Hancock Collection. Here is one of my favorite recordings by the wonderful vocalist Marion Harris, giving her rendition of Fred Rich’s bluesy moan “I’m Looking For a Bluebird.” This was one of a few titles Harris cut backed by the newly reorganized Paul Biese Orchestra, direct from the College Inn in Chicago. In the spring of 1921, Biese brought on some new musicians including cornetist and mute expert Frankie Quartell, well known multi-instrumentalist Anthony Ciccone, and a young drummer by the name of Victor Berton. Though the personnel on the band’s dates with the vocalist Marion Harris is not concretely known, it is entirely possible that these recordings, made in New York City, are Berton’s first ever. There are several reasons for this. First of all, the personnel of the band is listed in the October 1921 issue of Variety, along with a photo of the band on a separate page. Berton’s name is mentioned in the list and he is most certainly the drummer in the photo of the band. Then there is the fact that there is so much drumming on this record: not out of character for Berton both because he was experimental, and because he wouldn’t have known that the company would have wanted. It is not present on any of the other Harris/Biese sessions. Another less obvious giveaway is the pitch of the cymbal which resembles the pitch of his distinct thinner cymbal used on later recordings. Whatever the case, it is a wonderful recording.