There Ain't No Nothin' (Gonna Take the Place of You) - Fletcher Henderson, Burns
My Oriental Rose - Fletcher Henderson, Vanderveer
Baby Girl - Fletcher Henderson, Johnson
Unknown Blues - Fletcher Henderson, Henderson, Fletcher
Fancies - Fletcher Henderson, Spencer, Otis
Say It While Dancing - Fletcher Henderson, David
Love Days - Fletcher Henderson, Jones, Isham
Bamboo Isle - Fletcher Henderson, Bernard
Blue - Fletcher Henderson, Clarke, Grant
Chime Blues - Fletcher Henderson, Henderson, Fletcher
I Want To - Fletcher Henderson, Grant
Farewell Blues - Fletcher Henderson, Mares, Paul
Wet Yo' Thumb - Fletcher Henderson, Akst, Harry
Down by the River - Fletcher Henderson, Layton, Turner
Trot Along - Fletcher Henderson, Jones, Isham
Beale Street Mama - Fletcher Henderson, Robinson, J. Russel
Don't Think You'll Be Missed - Fletcher Henderson, Harrison
Downhearted Blues - Fletcher Henderson, Austin, Lovie [1]
Gulf Coast Blues - Fletcher Henderson, Williams, Clarence
When You Walked Out, Someone Else Walked Right In - Fletcher Henderson, Berlin, Irving
Gulf Coast Blues - Fletcher Henderson, Williams, Clarence
Midnight Blues - Fletcher Henderson, Thompson, Bob [1]
In the early 1920s, Fletcher Henderson was at the heart of African American recording activity in New York City, working as producer, arranger, and accompanist to classic blues singers like Alberta Hunter and Ethel Waters.... more » He also recorded instrumentals with his "orchestra"--small bands, actually, that ranged from four to eight players. This CD concentrates on the instrumentals, including three of Henderson's piano solos, and they offer a rare window into the formative years of jazz in New York. There's little on the early tracks that would pass for traditional jazz today; instead it's instrumental ragtime and blues with tight sectional play from the clarinets that would later evolve into the swing orchestra at the hands of Henderson and his associate, arranger-clarinetist Don Redman. Redman's presence on the 1923 material is part of a significant change, with vocal growls and smears from muted cornets and Redman's own wailing clarinet solos signaling the arrival of jazz. --Stuart Broomer« less
In the early 1920s, Fletcher Henderson was at the heart of African American recording activity in New York City, working as producer, arranger, and accompanist to classic blues singers like Alberta Hunter and Ethel Waters. He also recorded instrumentals with his "orchestra"--small bands, actually, that ranged from four to eight players. This CD concentrates on the instrumentals, including three of Henderson's piano solos, and they offer a rare window into the formative years of jazz in New York. There's little on the early tracks that would pass for traditional jazz today; instead it's instrumental ragtime and blues with tight sectional play from the clarinets that would later evolve into the swing orchestra at the hands of Henderson and his associate, arranger-clarinetist Don Redman. Redman's presence on the 1923 material is part of a significant change, with vocal growls and smears from muted cornets and Redman's own wailing clarinet solos signaling the arrival of jazz. --Stuart Broomer