The record changer (Mar 1946-Feb 1947)

Record Details:

Title:
The record changer
Date:
Mar 1946-Feb 1947
Publisher:
Fairfax : Gordon Gullickson
Volume:
The record changer (Mar 1946-Feb 1947)
Leaf #:
000289
Language:
English
Subjects:
sound recording periodical, Jazz -- Periodicals","Jazz -- Discography -- Periodicals
Collection:
Broadcasting & Recorded Sound and Recorded Sound
Contributor:
Library of Congress, MBRS, Recorded Sound Section
Sponsor:
Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division
Coordinator:
Media History Digital Library
Date Added:
October 27, 2022
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IMMEDIATE DELIVERY THE FOLLOWING 12 SIDES KING JAZZ 140 Gone Away Blues De Luxe Stomp KING JAZZ 143 tB/ood on the Moon House Party KING JAZZ 141 Bowin the Blues Old School (Mezzrow-Bechet Quintet) KING JAZZ 144 * Levee Blues * Sew Mill Man Blues (Mezzrow-Bechet Septet) KING JAZZ 142 Out of the Gallion Ole Miss KING JAZZ 145 Boogin with Mezz I Finally Gotcha (Piano Solos, Jimmy Blythe, Jr.) PRICI 1 PERSONNEL QUINTET: Sidney Bechet Mezz Mezzrow Fitz Weston Pops Foster Kaiser Marshall IEPTET. Sidney Bechet Mezz Mezzrow Pappa Snow White Jimmy Blythe, Jr. Danny Barker Pops Foster Sidney Catlett VANO SOLOS: Jimmy Blythe, Jr. UUFS VOCALS. ♦ Pleasant Joe t Pappa Snow White Soprano Sox Clarinet Piano Bass Drums Soprano Sox Clacinet Trumpet Piano Guitar Bass Drums Mail orders now being accepted for these records. Address: KING JAZZ, INC., 140 WEST 42nd STREET, NEW YORK 18, N. Y. EACH (Plus Tax. Pacing and Postage) HUGUES PANASSIE Seldom, if ever, has such extraordinary music been heard on records. What is unique in these records is that, although they are in pure New Orleans style, they do not resemble any other records ever made. It's not an effort to duplicate the performances of the Twenties; it's the natural way of playing of some great New Orleans style musicians who, instead of playing the same thing over again, have matured and discovered new musical ideas. That is the biggest point of difference between these Mezzrow records and most of the other attempts at making New Orleans style records, whose weakness has been to try to recapture exactly the music of twenty or thirty years ago— the result being that they were vastly inferior to such gems as King Oliver's records or Louis' Hot Five's. Such a thing cannot be said about Mezz's new records. They stand by themselves, they are not imitations or "pastiches." They will make history because, although they belong to the tradition, they are something new.