Document Records - Vintage Blues and Jazz

Montana Taylor 1929 - 1946 and the complete

7.49   

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Available as a download on eMusic

 

FEATURED ARTIST / S
Bertha 'Chippie' Hill
Montana Taylor
J H 'Mr. Freddie' Shayne
The Jazoo Boys

    TRACK LIST

Montana Taylor
01 - Whoop and holler stomp Listen
02 - Hayride stomp Listen
03 - Indiana Avenue stomp Listen
04 - Detroit rocks Listen

Bertha 'Chippie' Hill
05 - Worried jailhouse blues Listen
06 - Black market blues Listen

Montana Taylor
07 - Low down bugle Listen
08 - Mistreatin` Mr. Dupree Listen
09 - Sweet Sue Listen
10 - In the bottom Listen
11 - Rotten break blues Listen
12 - I can`t sleep Listen
13 - `fo day blues Listen
14 - Indiana Avenue stomp Listen
15 - Montana`s blues Listen
16 - Five o`clocks (broadcast) Listen
17 - I can`t sleep (broadcast) Listen

"Freddie" Shayne
18 - Original Mr. Freddie blues Listen
19 - Lonesome man blues Listen
20 - Mr. Freddy`s rag Listen
21 - Charleston blues Listen
22 - How long blues Listen
23 - Chestnut Street boogie Listen

Montana Taylor 1929 – 1946 and the complete “Freddie” Shayne 1935-1946

Featuring:
Montana Taylor, vocal, piano.
Bertha “Chippie” Hill, vocal.
Harry “Freddie” Shayne, vocal, piano.
With contributions by: Almond Leonard, washboard, kazoo; Baby Dodds, drums; Lee Collins, trumpet, John Lindsay, stand-up bass.

Informative booklet notes by Karl Gert zur Heide
Detailed discography.

Well into the '60s, Arthur "Montana" Taylor and Henry "Freddie" Shayne, two Midwestern blues cum boogie pianists whose names were familiar from some "race" records, were rumoured to be still living around Cleveland and Chicago respectively. Paul Affeldt, editor of Jazz Report and producer of the Euphonic piano LP series, tried to locate them, obviously without success. Two decades earlier, architect and author Rudi Blesh was more fortunate and recorded Taylor and Shayne for his revivalist Circle label in Chicago. Two decades before that, both musicians had cut their first sides there for the one and only Mayo Williams (who was probably responsible for Shayne's 1935 session, too) after their recording potential had been spotted in St. Louis (Shayne, 1924) and Indianapolis (Taylor, 1929), two cities with strong piano traditions.

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