Roaring Twenties: Chicago Rhythm Kings - There'll Be Some Changes Made, 1928 скачать в хорошем качестве

Roaring Twenties: Chicago Rhythm Kings - There'll Be Some Changes Made, 1928

Chicago Rhythm Kings – There’ll Be Some Changes Made (Higgins-Overstreet), Fox-Trot with Vocal Chorus (Eddie Condon?), Brunswick 1928 (USA) NOTE: The Chicago Rhythm Kings were the legendary and not strictly defined group of musicians, who attended the Austin High School in Chicago west end, and in 1922 they established their boys’ band. The orchestra included such later famous musicians as Bud Freemman who played C-melody sax, Jimmy McPartland (cornet) and his elder brother Dick (banjo), Frank Teschemacher (alto sax), Jim Lannigan (tuba), Benny Goodman (clarinet) and occasionally the transplanted Indiana native Eddie Condon (banjo, guitar, cornet, piano and vocal). They all came from the middle class families, they all played violin (except for Bud Freeman) and all were mad about jazz. Their age ranged from 14 to 17 y.o. and they played as a group in the theaters, on the parties (at the afternoon high school dances, which had the endorsement of the Parent-Teacher Association), they practiced in school and in the vacant apartment of a house owned by the father of one of them. At that time the Al Johnson Orchestra, heard in a local theater, was their inspiration, but it did not last long. Across the street from Austin School was a dessert bar "The Spoon and the Straw" where the boys dropped in to have an ice cream and drop a nickel into an automatic phonograph. One day they made a discovery, listening to a new record by New Orleans Rhythm Kings (which was recorded under the label name: Friars’ Inn Society Orchestra). They played the record over and over, all of them getting a kick out of hearing that kind of music for the first time. They decided, it is the kind of music they want to play. A bit later, when they also heard Gennett records made by Bix Beiderbecke and the Wolverines, they were ready to adopt “the similar steady, compelling rhythm, contrapuntal improvisations, a comparable quality in tone color, a similar economy of notes melodic and ease of interpretation”, as wrote musical critics in the “Jazzmen” magazine in NYC, in 1939. It’s how the Chicago style in jazz music was born. In later years, the group The Chicago Rhythm Kings was impoverished by Benny Goodman’s takeoff towards his own career, but also enriched by such later jazz- moguls as Mezz Mezzrow (tenor sax) Red Mac Kenzie (comb, kazoo and singing), Gene Krupa (drums), Francis “Muggsy” Spanier (cornet) or Joe Suillivan (piano). There’s not enough room here for “essay” about the “Chicago style” in jazz, especially when large volumes had so far been written about it. Let me just add, Chicago style can be set apart by a number of characteristics: a superior technique of the players, the raucous approach to rhythm, the substitution of guitar for banjo, and emphasis of soloists rather than ensemble improvisation. Jazz experts sometimes identify 3 recordings that perhaps best encapsulate the Chicago sound: Charles Pierce’s Orchestra version of “China Boy” and “Bull Frog Blues” (1927) and “There’ll Be Some Changes Made” by the Chicago Rhythm Kings. I am very glad, the third recording can be presented now.