Tracklist: Mardi Soir Sessions (Vol.12):
“ Jivin' & Rollin' ”
1. billy holiday - comes love
2. oscar peterson - band call
3. the chic brothers - daddy
4. mr. sad head - hot weather blues
5. the monglows - tempting
6. harry james - woo-woo
7. louis jordan - caledonian
8. renato carosone - boogie woogie italiano
9. brian setzer - dirty boogie
10. teddy mcrae & his orchestra - hi-fi baby
11. the champs - clubhouse
12. mike robinson - lula
13. bola sete - bayou blues
14. the revelairs - ridin' high
15. the sunlights - day train
16. kai winding ft kenny burell - surf bird
17. mina - eclisse
18. thilo's combo - i've got my mojo workin'
19. various - chop suey rock
20. the upsetters - popcorn
21. dr adolf ahanotu - Ijere
From Jump Blues to R&B to Rock’n’Roll to Surf Rock…and beyond…
Louis Thomas Jordan was a pioneer. As a musician, songwriter and bandleader, he enjoyed his greatest popularity from the late 1930s to the early 1950s. Known as "The King of the Jukebox", Jordan was highly popular in the later years of the swing era.
Jordan was one of the most successful African-American musicians of the 20th century. After Duke Ellington and Count Basie, Louis Jordan was probably the most popular and successful African-American bandleader of his day.
Jordan was a talented singer with great comedic flair, and he fronted his own band for more than twenty years. He duetted with some of the biggest solo singing stars of his day, including Bing Crosby, Ella Fitzgerald and Louis Armstrong. He was an instrumentalist who specialized in the alto saxophone but played all forms of the instrument, as well as piano and clarinet. A productive songwriter, many of the songs he wrote or co-wrote became influential classics of 20th-century popular music.
Although Jordan began his career in big band swing jazz in the 1930s, he became famous as one of the leading practitioners, innovators and popularizers of “jump blues”, a swinging, up-tempo, dance-oriented hybrid of jazz, blues and boogie-woogie. Typically performed by smaller bands consisting of five or six players, jump music featured shouted, highly syncopated vocals and earthy, comedic lyrics on contemporary urban themes. It strongly emphasized the rhythm section of piano, bass and drums; after the mid-1940s, this mix was often augmented by electric guitar. Jordan's band also pioneered the use of electric organ.
With his dynamic Tympany Five bands, Jordan mapped out the main parameters of the classic R&B, urban blues and early rock&roll genres with a series of hugely influential 78 rpm discs for the Decca label. These recordings presaged many of the styles of black popular music in the 1950s and 1960s, and exerted a huge influence on many leading performers in these genres. Many of his records were produced by Milt Gabler, who went on to refine and develop the qualities of Jordan's recordings in his later production work with Bill Haley, including "Rock Around The Clock".
In the 1940s, Jordan released dozens of hit songs, including the swinging "Saturday Night Fish Fry" (one of the earliest and most powerful contenders for the title of "First rock and roll record"), "Blue Light Boogie", the comic classic "Ain't Nobody Here but Us Chickens", "Buzz Me," "Ain't That Just Like a Woman (They'll Do It Every Time)", and the multi-million seller "Choo Choo Ch'Boogie".
One of his biggest hits was "Caldonia", with its energetic screaming punchline, banged out by the whole band, "Caldonia! Caldonia! What makes your big head so hard?" After Jordan's success with it, the song was also recorded by Woody Herman in a famous modern arrangement, including a unison chorus by five trumpets. Muddy Waters also cut a version. However, many of Jordan's biggest R&B hits were inimitable enough that there were no hit cover versions, a rarity in an era when poppish "black" records were rerecorded by white artists, and many popular songs were released in multiple competing versions.
Jordan's raucous recordings were also notable for their use of fantastical narrative. This is perhaps best exemplified on the freewheeling party adventure "Saturday Night Fish Fry", the two-part 1950 hit that was split across both sides of a 78. It is arguably one of the earliest American recordings to include all the basic elements of the classic rock'n'roll genre (obviously exerting a direct influence on the subsequent work of Bill Haley) and it is certainly one of the first widely popular songs to use the word "rocking" in the chorus and to prominently feature a distorted electric guitar.
Originally formed in their native Louisville, Kentucky as the Crazy Sounds, the group moved to Cleveland, where disc jockey Alan Freed renamed them the Moonglows (after his own nickname, 'Moondog'). Freed helped to promote the group during their early years and, in a common practice of the day, often took a co-writer credit as compensation for his efforts. Lead singer Harvey Fuqua served as the group's leader and chief writer. Vocals were split between Bobby "Lester" Dallas and Fuqua, and sometimes, in the group's occasional duet leads, both. The other members were tenor Alexander "Pete" Graves and bass Prentiss Barnes, with Billy Johnson on guitar. The Moonglows recorded one single for Freed's Champagne label in late 1952, and then for Chicago's Chance Recording in 1953 and 1954. After a moderately successful release of the Lester led version of Doris Day's "Secret Love" on Chance, the Moonglows signed to Chess Records in mid 1954.
Their first Chess release, 1954's "Sincerely" became a number one R&B hit. Between 1955 and 1957, the Moonglows reached the R&B chart frequently with hits like "Most of All", "In My Diary", "When I'm With You", "See Saw", "We Go Together", and "Please Send Me Someone to Love." Different styles defined the Moonglows lead singers: Fuqua favored the uptempo R&B/rock numbers while Lester sung more of the romantic ballads, for which the group was better known, and occasionally the two would share the leads, duet-style. Although Lester and Fuqua are credited as forming a spinoff group called the Moonlighters, recording in 1955 for the Chess subsidiary label Checker, they paired on only two numbers released as by the Moonlighters, "So All Alone" and "New Gal." The b-sides of these two songs, respectively "Shoo-Do-Be-Doo" and "Hug And A Kiss" featured the full group. The flip side of "Starlite" called "In Love" also featured a Lester-Fuqua duet. In 1957, the Moonglows appeared in the Alan Freed film, Rock, Rock, Rock.
The Champs were an Amerian rock&roll band, most famous for their Latin-tinged instrumental "Tequila". Formed by studio executives at Gene Autry’s Challenge records to record a B-side for the Dave Burgess (aka Dave Dupree) single, the intended throwaway track became more famous than it’s A-side, "Train to Nowhere". "Tequila" went to No. 1 in just three weeks and the band became the first group to go to the top spot with an instrumental that was their first release. The song won the 1959 Grammy Award for Best Rhythm & Blues Recording.
The Champs also recorded a sequel to Tequila entitled "Too Much Tequila".
Surf music is a genre associated with surf culture, particularly as found in Southern California. It was particularly popular between 1961 and 1965, has subsequently been revived and was highly influential on subsequent rock music. It has two major forms: largely instrumental surf rock, with an electric guitar or saxophone playing the main melody, pioneered by acts such as Dick Dale and the Del-Tones, and vocal surf pop, including both surf ballads and dance music, often with strong harmonies that are most associated with The Beach Boys. Many notable surf bands have been equally noted for both surf instrumental and surf pop music, so surf music is generally considered as a single genre despite the variety of these styles. During the later stages of the surf music craze, many groups started to leave surfing behind and write songs about cars and girls; this was later known as hot rod rock.