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| Volume 1 "New York" November 1945-January 1946 |
| Bunk Johnson |
| első megjelenés éve: 2005 |
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| (2005)
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CD |
| 4.401 Ft
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| 1. | Maryland, My Maryland [Take B]
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| 2. | Alexander's Ragtime Band [Take B]
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| 3. | Tishomingo Blues [Take A]
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| 4. | You Always Hurt the One You Love [Take B]
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| 5. | I Wish I Could Shimmy Like My Sister Kate [Take 2]
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| 6. | A Closer Walk with Thee [Take 1]
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| 7. | Snag It [Take 1]
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| 8. | One Sweet Letter from You [Take 2]
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| 9. | When the Saints Go Marching In
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| 10. | High Society
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| 11. | Darktown Strutters' Ball
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| 12. | Franklin Street Blues
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| 13. | I Can't Escape from You [V Disc]
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| 14. | Snag It
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| 15. | Maryland, My Maryland [Take A]
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| 16. | Alexander's Ragtime Band [Take A]
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| 17. | Tishomingo Blues [Take B]
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| 18. | You Always Hurt the One You Love [Take A]
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| 19. | I Wish I Could Shimmy Like My Sister Kate [Take 1]
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| 20. | A Closer Walk with Thee [Take 2]
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| 21. | Snag It [Take 2]
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| 22. | One Sweet Letter from You [Take 1]
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Jazz
Bunk Johnson - Trumpet
Bunk Johnson & His New Orleans Jazz Band
Alton Purnell - Piano
Baby Dodds - Drums
George Lewis - Clarinet
Jim Robinson - Trombone
Joseph "Slow Drag" Pauageau - String Bass
Laurence Marrero - Banjo
Red Jones - Drums
* Alan Taylor - Digital Remastering
* Gary Atkinson - Producer
* Gerhard Wessely - Remastering Supervisor
* Howard Rye - Liner Notes
* Johnny Parth - Compilation, Producer
* Kevin Witt - Graphic Design
This single CD collects Bunk Johnson's sessions for Decca and Victor plus his two V-discs and eight alternate takes, three of which were previously unissued. Bunk is heard throughout in prime form, and his band -- clarinetist George Lewis, trombonist Jim Robinson, pianist Alton Purnell, banjoist Lawrence Marrero, bassist Alcide "Slow Drag" Pavageau, and drummer Baby Dodds (without Dodds, this would become the Lewis group of the 1950s) -- is mostly in tune and swinging hard. Johnson and Lewis never sounded better together, and unlike some of the earlier American Music performances, the recording quality here is mostly quite good despite a faulty piano. For the two V-discs (versions of "I Can't Escape From You" and "Snag It" that exceed five minutes), Bunk's band (with Red Jones on drums) is heard live from the Stuyvesant Casino. Among the highlights of the high-quality New Orleans Dixieland set, which was put out by Document in 1996 (much of the music had formerly been on an Arhoolie LP), are spirited renditions of "Maryland, My Maryland," an up-tempo "A Closer Walk With Thee," "When the Saints Go Marching In," and "Darktown Strutters Ball."
---Scott Yanow, All Music Guide
Bunk Johnson
Active Decades: '10s, '20s, '30s and '40s
Born: Dec 27, 1889 in New Orleans, LA
Died: Jul 07, 1949 in New Orleans, LA
Genre: Jazz
Styles: Dixieland, Classic Jazz, New Orleans Jazz, New Orleans Brass Bands
Due to the difference of opinion between his followers (who claimed he was a brilliant stylist) and his detractors (who felt that his playing was worthless), Bunk Johnson was a controversial figure in the mid-'40s, when he made a most unlikely comeback. The truth is somewhere in between.
Bunk Johnson, who tended to exaggerate, claimed that he was born in 1879 and that he played with Buddy Bolden in New Orleans, but it was discovered that he was actually a decade younger. He did have a pretty tone and, although not an influence on Louis Armstrong (as he often stated), he was a major player in New Orleans starting around 1910 when he joined the Eagle Band. Johnson was active in the South until the early '30s, but did not record during that era. Discovered in the latter part of the decade by Bill Russell and Fred Ramsey, he was profiled in the 1939 book -Jazzmen. A collection was taken up to get Johnson new teeth and a horn. In 1942, he privately recorded in New Orleans, and the next year he was in San Francisco playing with the wartime edition of the Yerba Buena Jazz Band. An alcoholic, Johnson's playing tended to be erratic, and when Sidney Bechet recruited him for a band in 1945, he essentially drank himself out of the group. In 1946, Bunk Johnson led a group that included the nucleus of the ensemble George Lewis would make famous a few years later, but Johnson disliked the playing of the primitive New Orleans musicians. He was more comfortable the following year heading a unit filled with skilled swing players, and his final album (Columbia's The Last Testament of a Great Jazzman) was one of his best recordings. In 1948, the trumpeter (who was only 59 but seemed much older) returned to Louisiana and retired. Many of Bunk Johnson's better recordings have been reissued on CD by Good Time Jazz and American Music.
---Scott Yanow, All Music Guide |
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