Document Records - Vintage Blues and Jazz

Document Records
The Unissued 1951 Yancey Wire Recordings


£7.49    7.49 New

This album can be downloaded, fully or by individual tracks, directly from these recommended on-line retailers. Cover artwork may differ to that shown here.

Available as a download on iTunes

Available as a download on eMusic

 

FEATURED ARTIST / S
Mama Yancey
Jimmy Yancey
Walter Joplin
Unknown Pianist
Dick Mushlitz

    TRACK LIST

Unknown Pianist
01 - Lux`s boogie

Mama Yancey
02 - Make me a pallet on the floor
03 - Chicago in mind

Unknown Pianist
04 - Cow Cow blues

Mama Yancey
05 - Tomorrow morning - damaged
06 - Four o`clock blues - damaged
07 - Shave `em dry - fragment

Jimmy Yancey
08 - Elephant rag
09 - Mellow blues

Walter Joplin
10 - Scott Joplin`s new rag

Mama Yancey
11 - Royal Garden blues
12 - Hurry sundown
13 - Don`t you wanna know
14 - How long blues

Jimmy Yancey
15 - Yancey`s bugle call - damaged
16 - Fives

Dick Mushlitz
17 - Blues

Mama Yancey
18 - Chicago in mind
19 - Don`t you wanna know
20 - How long blues

Jimmy Yancey, piano vocal.
Mama Yancey, vocal.
Includes Dick Mushlitz, piano (1 track)

 Genres: Blues piano, boogie-woogie piano.

Informative, 24 page, illustrated booklet, with booklet notes written by Dick Mushlitz.
Detailed discography.

We arrived at Yanceys sometime before midnight. It was still June 16. The party had probably been in progress for some time. Jimmy had been feeling ill for the past few weeks, and when we got there he was resting in the small bedroom just off of the living room where the piano was located, but he soon joined the rest of us. After being introduced to those whom we didn't know, Phil set up the wire recorder and, after asking for and getting an extension cord for the machine from Estelle, began recording. This CD contains all of what was captured on the wires that night.

I might note at this point that wire recorders did not have any recording meters on them, so it was difficult to adjust the recording gain properly. Also, the microphone cord on wire recorders was only about four feet long which made microphone placement mostly a matter of luck, and there seemed to be extraneous noises that could have come from a possible "intermittent" short in the microphone connection. It is also quite possible that Phil had to move the microphone around in order to capture the vocals as they were sung. But as one can tell from listening to the recordings, the gatherings at Yanceys were the epitome of informality. If you were a musician and wanted to play, you played. If you just wanted to sit and listen, you listened. There was always much conversation going on between the attendees, and at times it tended to overpower the recording. Nobody minded the recorder, and Estelle moved about the room, sometimes singing, sometimes exhorting a musician to play, sometimes talking. As I said, informality reigned. On a couple of occasions, as I remember, Jimmy returned to the bedroom to rest and listen to the other musicians from there. The party was still in full swing when we left, which was probably between three and four A. M.

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