1 	–Albert Ammons And His Rhythm Kings 	Nagasaki 	
2 	–Albert Ammons And His Rhythm Kings 	Boogie Woogie Stomp 	
3 	–Albert Ammons And His Rhythm Kings 	Early Mornin' Blues 	
4 	–Albert Ammons And His Rhythm Kings 	Mile-Or-Mo Bird Rag 	
5 	–Albert Ammons 	Shout For Joy 	
6 	–Albert Ammons 	Boogie Woogie Stomp 	
7 	–Albert Ammons 	Chicago In Mind 	
8 	–Albert Ammons 	Suitcase Blues 	
9 	–Albert Ammons 	Boogie Woogie Blues 	
10 	–Albert Ammons 	Untitled Ammons Original 	
11 	–Albert Ammons 	Bass Goin' Crazy 	
12 	–Albert Ammons 	Backwater Blues 	
13 	–Albert Ammons 	Changes In Boogie Woogie 	
14 	–Albert Ammons 	Easy Rider Blues 	
15 	–Harry James And The Boogie Woogie Trio 	Woo-Woo 	
16 	–Harry James And The Boogie Woogie Trio 	Jesse 	
17 	–J.C. Higginbotham Quintet 	Weary Land Blues 	
18 	–Port Of Harlem Jazzmen 	Port Of Harlem Blues 	
19 	–Port Of Harlem Jazzmen 	Mighty Blues 	
20 	–Port Of Harlem Jazzmen 	Rocking The Blues

Albert Ammons 	Piano, Primary Artist
Dalbert Bright 	Clarinet, Alto Saxophone	(1-4)
Teddy Bunn 	Guitar	(17-20)
Big Sid Catlett 	Drums	(17-20)
Israel Crosby 	Baritone Saxophone	(1-4)
Eddie Dougherty 	Drums	(15-16)
J.C. Higginbotham 	Trombone, Tuba	(17-20)
Jimmie Hoskins 	Drums	(1-4)
Harry James 	Trumpet		(15-16)
Pete Johnson	Piano	(15-16)
Guy Kelly 	Trumpet	(1-4)
Frankie Newton 	Trumpet	(17-20)
Ike Perkins 	Guitar 	(1-4)
Johnny Williams 	Baritone Saxophone (15-20)

Albert Ammons, father of Gene Ammons, became so thoroughly associated with boogie-woogie and Blue Note Records that it is thrilling to hear him in 1936 leading a straightforward swing band in a solid stride treatment of "Nagasaki" for the Decca record label. Naturally, the flip side is an authentic, upbeat rendition of "Pinetop's Boogie Woogie," and most of the material on this disc contains five times its weight in danceable blues protein. "Mile-Or-Mo Bird Rag," however, swings like "Nagasaki" did, and once again we get to hear Albert playing genuine stride piano with outstanding support from bassist Israel Crosby and guitarist Ike Perkins. There are refreshing solos from trumpeter Guy Kelly and from a fine alto player by the name of Dalbert Bright. Act two opens in 1939 with ten piano solos, packed with blues and boogie. While some folks disparage the woogie, they are most likely complaining about imitators rather than this archetypal, fundamental body of definitive good-time piano. If you're lucky enough to be able to submerge yourself in this many Albert's solos, you'll most likely succumb to his dignified realism, his gut-level understanding of the blues. The coolest surprise of the whole package is the session of February 1, 1939, whereby Harry James made two sides for Brunswick backed by the "Boogie Woogie Trio." The pure excitement of "Woo-Woo" is worth a million bucks, as muted trumpet wails over a churning rhythm section, egged on by neat little crashes of the cymbal. "Jesse" is a minor stomp on open horn, with Albert back in a Harlem stride piano groove. When James puts the mute back on his horn it becomes clear that these are two of the very best undiluted jazz records that this trumpeter ever made! The CD ends with four sides recorded at the Blue Note "Port of Harlem" session of April 7, 1939. The sound quality is a bit misty, but that seems to be the case with most reissues of this material. On the "Weary Land Blues," trombonist J.C. Higginbotham was designated as leader. Frankie Newton's expressive trumpet was added to this band to form the Port of Harlem Jazzmen, resulting that day in three 12" 78 rpm records, each containing more than four minutes of undiluted blues. The moods are disarmingly intimate and uncontrived. Teddy Bunn's guitar sounds particularly good throughout the entire session. Things begin to solidify during a stern walk through the "Mighty Blues," and everybody cuts loose during "Rocking the Blues," a boogie-woogie for sextet driven at a healthy clip by two powerful engines: the drumming of Sidney Catlett and the double-fisted piano of Albert Ammons. ---arwulf arwulf, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

back

1 	St. Louis Blues 	3:50
2 	Mecca Flat Blues 	3:54
3 	Bass Gone Crazy 	3:35
4 	Monday Struggle 	3:53
5 	Boogie Woogie 	3:27
6 	Albert´s Special Boogie Woogie 	2:59
7 	The Boogie Rocks 	3:01
8 	Blues On My Mind 	3:06
9 	Bugle Boogie 	2:50
10 	Blues In The Groove 	3:02
11 	The Breaks 	3:07
12 	Jammin´ The Boogie 	4:03
13 	Bottom Blues 	4:34
14 	Bedroom Blues 	3:16
15 	Buzz Me 	3:02
16 	Doin´The Boogie Woogie 	2:49
17 	Oh, Lady Be Good! 	2:32
18 	Suitcase Blues 	2:44
19 	Boogie Woogie At The Civic Opera 	2:34
20 	Swanee River Boogie 	2:31
21 	Why I´m Leaving You 	2:38
22 	I Don¨t Want To See You 	2:49
23 	Red Sails In The Sunset 	2:30

Albert Ammons 	Piano, Primary Artist
Mildred Anderson 	Vocals
Don Byas 	Sax (Tenor)
Israel Crosby 	Bass
Vic Dickenson 	Trombone
Lonnie Johnson 	Guitar
John Lindsay 	Bass
Hot Lips Page 	Trumpet
Ike Perkins 	Guitar
Artie Starks 	Sax (Alto)
Tom Taylor 	Drums
Sippie Wallace 	Primary Artist, Vocals 

This CD offers three distinct periods in the development of boogie-woogie pianist Albert Ammons. Kicking off with solo tracks recorded in 1939 and 1944 for the Solo-Art and Commodore labels, the next batch follows him into a small-band format with Hop Lips Page practically stealing the show in his demonstrative style. The final ten selections emanate from Chicago sessions for Mercury -- again with a small group -- featuring vocals from Sippie Wallace and Mildred Anderson. Ammons was a giant in his chosen field of endeavor, and these sides make a marvelous addition to his too-short discography. ---Cube Koda, AllMusic Review

Albert Ammons (1907-1949) was an American boogie-woogie pianist.

Ammons formed his own band in 1934, and in 1938 performed in the Spirituals to Swing concert at Carnegie Hall, which among other achievements launched the boogie-woogie craze. He and two other performers at the concert, Meade Lux Lewis and Pete Johnson, became the leading boogie-woogie pianists of the day. The three worked together at Café Society and also toured and recorded as a trio.

His biggest hit was "Swanee River Boogie". Ammons played the melody of "Old Folks at Home" over a boogie woogie bass. The recording was used as a theme song by pioneer rhythm and blues disk jockey Gene Nobles on WLAC radion in the 1950s.

He worked steadily till his death in 1949; he played at Harry S. Truman's inauguration that year. He is the father of tenor saxophonist Gene Ammons. ---jazzmusicarchives.com

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

back

1 	Kilroy Boogie 	2:42
2 	Deep in the Heart of Texas Boogie 	2:56
3 	Sweet Patootie Boogie 	2:55
4 	Twelfth Street Boogie 	2:46
5 	St. Louis Blues 	2:5
6 	Shufflin' the Boogie 	3:02
7 	S.P. Blues 	2:34
8 	Hiroshima 	2:44
9 	Roses of Picardy 	2:54
10 	Sheik of Araby 	2:45
11 	You Are My Sunshine 	2:48
12 	In a Little Spanish Town 	2:47
13 	Margie 	2:36
14 	Tuxedo Boogie 	2:41
15 	Mr. Bell Boogie 	2:56
16 	Bear Den Boogie 	2:19
17 	Rhythm Boogie 	3:02
18 	Ammons Stomp 	2:54
19 	Baltimore Breakdown 	3:02
20 	When You and I Were Young, Maggie 	3:05
21 	The Clipper 	3:02

Alto Saxophone – Riley Hampton
Bass – Israel Crosby
Drums – Alvin Burroughs, Armand "Jump" Jackson, Jack Cooley
Guitar – Ike Perkins
Piano – Albert Ammons
Tenor Saxophone – Gene Ammons
Trumpet – Marvin Randolph

Here's vibrant proof that virtually any melody could be heated up and hammered out into an enjoyable boogie-woogie stomp. "Deep in the Heart of Texas," "Margie," "Roses of Picardy," "You Are My Sunshine," "Sheik of Araby," "When You And I Were Young, Maggie," and "Twelfth Street Rag" were all fair game for Albert Ammons' eight-to-the-bar gyrations. The twangy electrified guitar of Ike Perkins maintained rhythmic velocity with well-timed kicks and struts. On August 6, 1947, Ammons' Rhythm Kings quartet was fortified by the presence of Albert's son -- tenor saxophonist Gene Ammons -- and trumpeter Marvin Randolph. The pianist sounds deliberately old-fashioned during the introduction to W.C. Handy's hit of 1914, "St. Louis Blues." When the horns chime in during the bridge, everyone's rolling in a solid groove. Then Gene takes over, sounding majestically hip. This mood is continued and expanded on the flip side, "Shufflin' the Boogie," which is a rocker. "S.P. Blues" cooks just a bit hotter, and Gene wails up a storm. "Hiroshima" is this band's version of "Nagasaki," another goofy 1930s pop song turned jazz jam standard. Given what had happened to both cities in August of 1945, the retitling seems grimly playful. This session is perfectly symmetrical, with two steamy up-to-date boogies sandwiched between old standards. The Albert-and-Gene father-and-son combination is very exciting, and should be better known than it seems to be, even among seasoned jazz heads. "In a Little Spanish Town" sounds like a premonition of Professor Longhair's own Louisiana approach to the boogie-woogie, and compares well with Lester Young's version recorded in March of 1951. "Tuxedo Boogie" begins with a guitar lick that would eventually surface as "Shake Your Money Maker." Israel Crosby plays his upright bass on all six sessions, and the final date introduces a fine alto sax player by the name of Riley Hampton. These are the final sessions of Albert Ammons, preserved for posterity on Mercury Records. He passed away in Chicago on December 2, 1949, at the age of 42. ---arwulf arwulf, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

back