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10th Anniversary: New Orleans Jazz & Heritage Festival

produced by Steve Rathe, fl. 1978 and Michael Cuscuna, 1948- (Rounder Records, 1979), 39 mins

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Africa and the Blues

written by Gerhard Kubik, 1934- (Jackson, MS: University Press of Mississippi, 1999), 240 page(s)

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African American Music: A Chronology: 1619-19953: 1901-1920: The New Secular Voice

written by Hansonia L. Caldwell, fl. 1999 (Los Angeles, CA: Ikoro Communications, 1995), 34 page(s)

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African American Music: A Chronology: 1619-19954: 1921-1945: The Music of the Renaissance

written by Hansonia L. Caldwell, fl. 1999 (Los Angeles, CA: Ikoro Communications, 1995), 78 page(s)

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performed by Dinah Washington, 1924-1963, Clarence Anderson, 1924-1971, Keter Betts, Cándido de Guerra Camero, 1921-, Eddie Davis, 1922-1986, Julian 'Junior' Mance, 1928-, Paul Quinichette, 1916-1983, Clark Terry, 1920-2015 and Ed Thigpen, 1930-2010 (Verve Records, 2004), 51 mins

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Any self-respecting jazz musician would leap at the chance to record an afterhours session with Dinah Washington. One of the finest musician's singers, Washington demanded respect from her band and paid in return by giving her fellow players plenty of room for solos, on record or in concert. Her Dinah Jams LP from 1954 isn't just one of the finest jazz-meets-vocals dates, it's one of the best jam sessions ever released. One year earlier, she bega... Any self-respecting jazz musician would leap at the chance to record an afterhours session with Dinah Washington. One of the finest musician's singers, Washington demanded respect from her band and paid in return by giving her fellow players plenty of room for solos, on record or in concert. Her Dinah Jams LP from 1954 isn't just one of the finest jazz-meets-vocals dates, it's one of the best jam sessions ever released. One year earlier, she began recording the songs heard on After Hours With Miss D, a date sparked (as the original liner notes explained) by her enjoyment of the time after a standard recording date, those late hours when she could sing what she wanted, stretch out and treasure her notes while her musicians relaxed the rhythm. (The record also helped feed the appetite of many record-buyers, who would only after the fact hear tales of unmissable sessions at neglected clubs.) Listeners expecting a record of narcoleptic torch songs, however, may well be shocked by the dynamic range of this date, comprising ebullient stormers as well as slow blues. (Just because the band relaxes the rhythm certainly doesn't mean they have to slow it down.) The results of three sessions recorded one year apart, After Hours With Miss D featured a hand-picked band -- including Clark Terry on trumpet and Eddie "Lockjaw" Davis or Paul Quinichette on tenor, plus Washington's rock-solid rhythm section of bassist Keter Betts, drummer Ed Thigpen, and usually pianist Junior Mance (who made his debut with Dinah on the first of these dates). The first two selections are the best, the opener "Blue Skies" a studied introduction for all the principals (each of them heard in extended form on the eight-minute track), and the second a runaway train with Clark Terry's hyper-inflated trumpet as the conductor and the rest of the band carried along for the ride. Organist Jackie Davis leads the group into traditional afterhours territory, setting into a bluesy groove for "Am I Blue?" and "Pennies From Heaven." Washington meanwhile is at her interpretive best, whether tormented ("Love for Sale") or reflective ("A Foggy Day") or tranquil ("Pennies From Heaven"). Everyone gets to solo, as it should be, and the controlled environment makes this session a tighter display of finesse than the live-in-the-studio, completely frenetic Dinah Jams LP. ~ John Bush, All Music Guide Show more Show less

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1. Blue Skies, 8 mins

2. Bye Bye Blues, 7 mins

3. Am I Blue, 3 mins

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All Night Long They Play The Blues

produced by Kirk Roberts, fl. 1970 (Specialty Records, 1992), 1 hour 9 mins

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The Asch Recordings, 1939 to 1947 - Vol. 1: Blues, Gospel, and Jazz

produced by Samuel Barclay Charters, 1929-2015 (Folkways Records, 1966), 37 mins

From the Moses Asch archives comes a pair of early blues, gospel and jazz compilations. Lead Belly, celebrated albeit volatile American folk and blues singer / guitarist, graces this first volume with “Defense Blues” and “Keep Your Hands off Her,” but you’ll also find powerful performances in the Josh...

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Barrelhouse Piano Blues & Stomps (1929 - 1933)

performed by Herve Duerson, Barrelhouse Piano Blues & Stomps (1929 - 1933) (Document Records, 1994), 4 page(s)

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Basic Jazz on Long Play

written by John Lucas, 1917-2001 (Northfield, MN: Carleton College, 1954), 103 page(s)

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The Best of Michael Bloomfield

performed by Michael Bloomfield (Takoma, 1997), 56 mins, 12 page(s)

By the time the majority of these 12 tracks from various solo projects were recorded, Michael Bloomfield was already well-established as America's first official guitar slinger of the baby boomer generation. The selections on Best of Michael Bloomfield come from the later stages of his career, and as such are a ma...

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