torsdag 9 mars 2017


Not writing this as a jazz expert of any kind, just a concerned music lover. In comparison to the King Oliver 1923 recordings (see earlier post) it's amazing how much happened with the genre in just three years. And that from identical roots - Jelly Roll played with Oliver in the early twenties and the two sets were performed by partly the same crew. Hard to say which came first - the change in recording facilities from acoustic to electric with microphones or a more elaborate songwriting. There's no doubt the songwriting mostly developed because of influences from adjacent art forms, larger public attention or other signs of the times. But being able to record in an electric studio and there produce a more natural sound, thus enabling some of the music to move from the common dance parlours to more private pleasures through radios and grammophones, must also have coloured the creativity to some extent. However while the 1923 King Oliver recordings are of historical importance, they don't offer much audiophile pleasure - coming through dense with limited range. In comparison these from 1926/27 sounds amazing - wide and warm with fine separation, offering lots of connection to the roaring twenties. And the fact that five of the songs have talking intros brings me even closer to the guys. So wherever I'm coming from or going to - they're still here as they were, spreading joy. Series of old Jelly Roll recordings were issued in US from mid-forties and on by different labels, both on 78 and 33 rpm. UK HMV had its own serie and this was the third from that. First press had label as shown here, thick unflexible winyl and fully laminated cover with crescent flips. (CLÄZ*) (NYFÖ*)

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