"Barnyard Blues" Original Dixieland Jass Band (Aeolian-Vocalion, 1917) скачать в хорошем качестве

"Barnyard Blues" Original Dixieland Jass Band (Aeolian-Vocalion, 1917)

Nick LaRocca, c, dir: Eddie Edwards, tb / Larry Shields, cl / Henry Ragas, p / Tony Sbarbaro, d. Aeolian-Vocalion Studios, Aeolian Hall New York, NY 7 Aug. 1917 - “Barnyard Blues” (Nick LaRocca) AV 1205 Transferred with 3.0ML lateral stylus via 3.0ML VM95SP cartridge and an Audiotechnica AT-LP120 Turntable. Declicked and given light EQ by Colin Hancock. Disc from Colin Hancock Collection. Discographical Information from Rust’s “Jazz Records,” DAHR, H. O. Brunn’s “The Story of the Original Dixieland Jazz Band,”and Colin Hancock. Images from Louisiana Digital Archive and Colin Hancock Collection. When tensions arose between the Original Dixieland Jass Band and the Victor Talking Machine Company due to the two lawsuits surrounding both titles cut for their first issued session, several labels swooped in at the chance to give the band another opportunity to record. One of those companies was the recently formed Aeolian-Vocalion label, with studios located in the Aeolian Hall. The band’s manager Max Hart secured the group a contract with AV and in July of 1917 the band commenced recording for the label, which cut via the less common vertical/hill and dale method. The major benefit of recording for AV was their relaxed policy in terms of performance style and repertoire, particularly in comparison to Victor and Columbia who made sure to emphasize novelty as much as possible in the ODJB’s records. Unfortunately, the band’s initial attempts at recording for AV were marred by technical issues. The recordings sounded out of balance and distant, and even when the band finally cut a usable master of one of their never otherwise recorded tunes “That Loving Baby of Mine,” Eddie Edwards recalled that the master was ruined by the joyous shouting of “Oh, boys, that’s good!” from an observing Florence Eastman, the Met Opera star and fan of the ODJB who was a “fly on the wall” that day. Still, the band did figure out a good rhythm to cutting masters for AV, and all in all seven sides were pressed. “Barnyard Blues” was waxed during the band’s second session for AV, and was the first recording of the tune after the lawsuit around “Livery Stable Blues.” Rather than completely forgoing their first hit, the band simply renamed the number and recopywrote the piece, making for an easy evasion of legal recourse. The AV version is unique particularly for drummer Tony Sbarbaro’s polyrhythms in the second half of the performance.