Document Records - Vintage Blues and Jazz

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Big Bill Broonzy Volume 13 (1949-1951)
Big Bill Broonzy: vocal, guitar. Includes: Black Bob, piano; Charley McCoy, mandolin; Antonio Casey, alto sax; Ransom Knowling, bass; Alfred Wallace, drums; Graham Bell's Australian Jazz Band. Genres; Country Blues, City Blues, Chicago Blues, Jazz. Informative 8 page booklet notes by Gary Atkinson Detailed discography This thirteenth volume of recordings by Big Bill Broonzy gives some idea of how this consummate performer was able to adapt to the many musical styles, trends, settings and eras that he encountered from the pre-war to post war years. From recording studios and night clubs of Chicago, Illinois, to the concert stage and night clubs Europe; Big Bill was one of the most remarkable of the blues artists to come from the pre-war period and ultimately became a pioneer as one of the blues world's most famous ambassadors. Continued...

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The Blues Revival Volume 1 (1963-1969)
Featuring: Sleepy John Estes, vocal and guitar. (With Yank Rachel, mandolin) Brownie McGhee: vocal and guitar. Mississippi John Hurt, vocal and guitar. Sonny Boy Williamson (Rice Miller), vocal and harmonica. John Jackson, vocal and guitar. Sippie Wallace, vocal with piano accompaniment. Big Walter Horton aka "Shakey" Horton Sonny Terry, vocal, harmonica. Informative 16 page booklet by Gary Atkinson. Detailed discography. The blues revival of the late 1950s and into the 1960s was marked by the rediscovery of some of the musicians that had made some of the finest recordings from the pre-war era. Musicians such as Skip James, Son House, Bukka White, Robert Wilkins, Sleepy John Estes and Mississippi John Hurt were just a few. It also encouraged blues fans and researchers to discover musicians that had never recorded before, including Mance Lispcomb, Mississippi Fred McDowell, Snooks Eaglin, Robert Pete Williams and John Jackson. Some were already active and were known to audiences both in the black urban clubs of cities such as Chicago in the north and Houston in the south, such as Sonny Boy Williamson, Muddy Waters and Little Walter. The emerging "coffee house" and college circuits had already begun to see the appearances of musicians like Lead Belly, Sonny Terry, Brownie McGhee and Josh White. As these musicians travelled from city to city and then on from country to country the hospitality that they received from their new fans, who's admiration and great respect was often equal to that of rock stars, was warm and welcoming with many new found friends made in the process. With the Blues revival came opportunities for artists and their fans to engage and socialise unlike before and with that came informal, impromptu, performances at parties, often organised by fans and patrons of the venues where concerts were performed. On rare occasions these performances were captured; recorded, using little more than a home, reel-to-reel tape recorder and a single microphone. In addition, privately funded studio sessions were arranged, or artists were recorded during "live" performances in front of audiences or in TV and Radio studios. In all cases they were away from the commercial recording pressures of the record companies. Continued...

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