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| 3.261 Ft
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| 1. | Teapot Dome Blues
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| 2. | Shanghai Shuffle
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| 3. | Copenhagen
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| 4. | Sugar Foot Stomp
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| 5. | The Chant
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| 6. | Hot Mustard
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| 7. | Sensation
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| 8. | Livery Stable Blues
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| 9. | My Pretty Girl
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| 10. | Hot and Anxious
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| 11. | Comin' and Goin'
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| 12. | Radio Rhythm
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| 13. | Oh! It Looks Like Rain
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| 14. | King Porter Stomp
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| 15. | Queer Notions
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| 16. | Can You Take It?
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| 17. | Happy Feet
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| 18. | Big John's Special
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| 19. | Hotter Than 'Ell
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| 20. | Christopher Columbus
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| 21. | Grand Terrace Swing
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| 22. | Stealin' Apples
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| 23. | Jimtown Blues
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| 24. | Stampede
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| 25. | Kitty on Toast
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Jazz
Adam Block - Project Manager
Adam Owett - Art Direction
Ben Young - Discographical Information
Benny Carter - Clarinet, Sax (Alto)
Benny Morton - Trombone
Bernard Addison - Guitar
Big Sid Catlett - Drums
Bob Lessey - Guitar
Bobby Stark - Trumpet
Brian Priestley - Liner Notes
Bryan Koniarz - Project Manager
Buster Bailey - Clarinet
Carlos Kase - Discographical Information
Charlie Dixon - Banjo
Charlie Green - Trombone
Chu Berry - Sax (Tenor)
Clare Walker - Packaging Manager
Clarence Holiday - Guitar
Claude Jones - Trombone
Coleman Hawkins - Sax (Bass), Sax (Tenor)
Darcy Proper - Mastering
Darren Salmieri - Coordination
Dick Robertson - Vocals
Dick Vance - Trumpet
Dicky Wells - Trombone
Didier C. Deutsch - Coordination, Discographical Information
Don Pasquall - Clarinet, Sax (Alto)
Don Redman - Arranger, Clarinet, Oboe, Sax (Alto)
Ed Cuffee - Trombone
Edgar Sampson - Sax (Alto), Violin
Elmer Chambers - Cornet
Elmer James - Bass
Elmer Williams - Sax (Tenor)
Fats Waller - Organ
Fernando Arbello - Trombone
Fletcher Henderson - Main Performer, Piano
George "Scoops" Carry - Sax (Alto)
Harry Coster - Restoration
Harvey Boone - Sax (Alto)
Henry "Red" Allen - Trombone
Hilton Jefferson - Sax (Alto)
Hollis King - Art Direction
Horace Henderson - Arranger, Piano
Howard Fritzson - Art Direction
Howard Scott - Cornet
Israel Crosby - Bass
Jeff Jones - Executive Producer
Jeffrey Peisch - Photo Research, Project Director
Jimmy Harrison - Trombone
Joe "Fox" Smith - Trumpet
Joe Thomas - Trumpet
John Christiana - Packaging Manager
John Kirby - Tuba
Joseph "Kaiser" Marshall - Drums
June Cole - Tuba
Ken Burns - Compilation Producer, Executive Producer
Ken Druker - Project Manager
Kristin Kozusko - Coordination
Lauren Atlas - Packaging Manager
Lawrence Lucie - Guitar
Louis Armstrong - Cornet
Michael Brooks - Compilation Producer
Mike Charlasch - Project Director
Nate Herr - Project Manager
Nathan Savage - Design
Patti Matheny - Coordination
Peter Keepnews - Editing
Ralph Escudero - Tuba
Rex Stewart - Cornet
Ron Goldstein - Executive Producer
Roy Eldridge - Trumpet
Russell Procope - Clarinet, Sax (Alto)
Russell Smith - Trumpet
Sarah Botstein - Project Director
Seth Rothstein - Project Director
Teddy Nixon - Trombone
Tommy Ladnier - Trumpet
Victoria Gohl - Photo Research
Walter Johnson - Drums
With cooperation from the Verve and Columbia Legacy catalogs, the Ken Burns Jazz series on CD individually spotlights the musical excellence of 22 jazz originators whose careers and influence are explored in Burns' PBS documentary Jazz. Bandleader Fletcher Henderson's ability as a composer and talent scout greatly outweighed his skills as either a pianist or showman. Henderson allowed his musicians to show off their own talents, while he preferred to stay in the background. A number of soon-to-be legends moved through his ranks over the years, including Don Redman, Benny Carter, Ben Webster, Roy Eldridge, Art Blakey, Louis Armstrong, Coleman Hawkins, Lester Young, Rex Stewart, and even Sun Ra. This is also the band that led the initial swing craze, influencing many followers (especially Benny Goodman). On Ken Burns Jazz, Henderson's output for a number of labels is represented in chronological order from 1924 through 1940; classics on the CD include "Big John's Special," "King Porter Stomp," "Queer Notions," "The Chant," and "Christopher Columbus." While it's impossible to sum up the history of Fletcher Henderson on a single disc, the highlights on Ken Burns Jazz retain enough interest for the listener to continue searching out more material.
---Al Campbell, All Music Guide
Fletcher Henderson
Active Decades: '20s, '30s, '40s and '50s
Born: Dec 18, 1897 in Cuthbert, GA
Died: Dec 29, 1952 in New York, NY
Genre: Jazz
Styles: Big Band, Swing, Classic Jazz
Fletcher Henderson was very important to early jazz as leader of the first great jazz big band, as an arranger and composer in the 1930s, and as a masterful talent scout. Between 1923-1939, quite an all-star cast of top young black jazz musicians passed through his orchestra, including trumpeters Louis Armstrong, Joe Smith, Tommy Ladnier, Rex Stewart, Bobby Stark, Cootie Williams, Red Allen, and Roy Eldridge; trombonists Charlie Green, Benny Morton, Jimmy Harrison, Sandy Williams, J.C. Higginbottham, and Dickie Wells; clarinetist Buster Bailey; tenors Coleman Hawkins (1924-1934), Ben Webster, Lester Young (whose brief stint was not recorded), and Chu Berry; altoists Benny Carter, Russell Procope, and Hilton Jefferson; bassists John Kirby and Israel Crosby; drummers Kaiser Marshall, Walter Johnson, and Sid Catlett; guest pianist Fats Waller; and such arrangers as Don Redman, Benny Carter, Edgar Sampson, and Fletcher's younger brother Horace Henderson. And yet, at the height of the swing era, Henderson's band was little-known.
Fletcher Henderson had a degree in chemistry and mathematics, but when he came to New York in 1920 with hopes of becoming a chemist, the only job he could find (due to the racism of the times) was as a song demonstrator with the Pace-Handy music company. Harry Pace soon founded the Black Swan label, and Henderson, a versatile but fairly basic pianist, became an important contributor behind the scenes, organizing bands and backing blues vocalists. Although he started recording as a leader in 1921, it was not until January 1924 that he put together his first permanent big band. Using Don Redman's innovative arrangements, he was soon at the top of his field. His early recordings (Henderson made many records during 1923-1924) tend to be both futuristic and awkward, with strong musicianship but staccato phrasing. However, after Louis Armstrong joined up in late 1924 and Don Redman started contributing more swinging arrangements, the Fletcher Henderson Orchestra had no close competitors artistically until the rise of Duke Ellington in 1927. By then, Henderson's band (after a period at the Club Alabam) was playing regularly at the Roseland Ballroom but, due to the bandleader being a very indifferent businessman, the all-star outfit recorded relatively little during its peak (1927-1930).
With the departure of Redman in 1927, and the end of interim periods when Benny Carter and Horace Henderson wrote the bulk of the arrangements, Fletcher himself developed into a top arranger by the early '30s. However, the Depression took its toll on the band, and the increased competition from other orchestras (along with some bad business decisions and the loss of Coleman Hawkins) resulted in Henderson breaking up the big band in early 1935. Starting in 1934, he began contributing versions of his better arrangements to Benny Goodman's new orchestra (including "King Porter Stomp," "Sometimes I'm Happy," and "Down South Camp Meeting"), and ironically Goodman's recordings were huge hits at a time when Fletcher Henderson's name was not known to the general public. In 1936, he put together a new orchestra and immediately had a hit in "Christopher Columbus," but after three years he had to disband again in 1939. Henderson worked as a staff arranger for Goodman and even played in B.G.'s Sextet for a few months (although his skills on the piano never did develop much). He struggled through the 1940s, leading occasional bands (including one in the mid-'40s that utilized some arrangements by the young Sun Ra). In 1950, Henderson had a fine sextet with Lucky Thompson, but a stroke ended his career and led to his death in 1952. Virtually all of Fletcher Henderson's recordings as a leader (and many are quite exciting) are currently available on the Classics label and in more piecemeal fashion domestically.
---Scott Yanow, All Music Guide |
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